Wednesday, May 24, 2017

The Argyles/The Mind's Eye

Another San Antonio story, The Argyles were a group formed in early 1965. The band rose to fame from one regional hit and would eventually relocate to California and rebrand as The Children.
All five members hailing from different sections of the Alamo city: Alamo Heights, Keystone, Macarthur, Jefferson and Cole graduates, jumped into music at a young age.
The Argyles regularly played Sam Kinsey's Teen Canteen and Ft. Sam Houston.

The Members were: Steve Perron on guitar and vocals, Louis Cabaza on the keys, Ben Treiber on bass, Steve Anderson on drums, Chris Holzhaus on guitar and vocals.

 "Farmer John"

Some time in 1966 The Argyles meet up with the Cajun producer Huey Meaux. Meaux recorded and produced the bands first single: Farmer John/White Lightnin’ on his Pic-One label. Both sides were recorded at Meaux’s recording facility, Pasadena Sounds in Pasadena, TX, which at the time of this recording would have only been up and running for a little less than a year. Farmer John was a cover written by Dewey Terry and Don Harris who were a part of a group called the Squires in the mid and late 50s. Their song became a hit by the California based group The Premiers in 1964 after being covered by The Searchers a year prior with no success.

Both the Searcher’s and Premier’s versions follow the original lyrics “Farmer John, I’m in love with your daughter.” The Argyles veered from the original giving the song a real Texas Raunchy feel with “Farmer John, I’m in love with your Mother.” I’m not sure who had the idea to change the lyrics of the chorus whether it was Meaux or The Argyles, however I love it and feel it is the best of the three versions. The Argyles also deviated by excluding the guitar break on the Premiers version and shoving in a real nice slice of organ. The Premiers started a trend with their cut of Farmer John by creating a live feel on the recording. The track was supposedly recorded live in the Rhythm Room in Fullerton, California, however they laid down the track in a studio in Hollywood. The Argyles also went after a live feel for their version of Farmer John with laughter and party noises in the background through out the track.

Note the nifty dark red vinyl on this promo copy!

"Turn On Your Love Light"

Later in 1966, The Argyles recorded a second single at Abe Epstein's recording studio and released it on his Jox records label. This one featured two cover songs: "Turn On Your Love Light" (made famous by Houston legend Bobby Bland) b/w "Still In Love With You Baby" (originally written by Ron Elliott of the Beau Brummels).
A rift between Chris Holzhaus and the rest of the band led to his departure. Chris would soon be replaced by Bill Ash from the legendary band The Stoics. Ash then introduced new drummer Andy Szuch to the group.

The new line up changed their name to The Mind's Eye and recorded another single with Abe Epstein, once again releasing it on his Jox imprint. As the new name would suggest, the band ventured into a more psychedelic style at this point with the classic "Help, Im Lost". The flip side would see the group reusing "Still In Love With You Baby".

"Help, I'm Lost"

The band also opened their own eponymously named music venue at this point.
From what I can tell, The Minds Eye was a real hip joint with smoke machines and strobe lights creating one of the first hippie hangouts in San Antonio.
The Mind's Eye club only remained open a few months after pressure mounted from the city to close the place down after allegations of frequent drug use on the premises.

Ben Treiber died in 1969 in a boating accident only three years before Steve Perron passed on, far too young for both of these talented men.
The group went on to form The Children and move to California. The Children released one LP originally released on the local Houston based Cinema label, but was then picked up by national Atco records.

Story originally assembled by Michael Selman and posted at Additional editing, research, and writing by Jason Chronis in 2017.
Michael's information source was from a now defunct website: 
Thanks to Sam Kinsey for the Argyles band photo.

Tuesday, May 23, 2017

Richard B & The Hickory

I recently heard from band leader Richard Batchelor about his late 60's, early 70's band that recorded two 45's at L&F Recording studio in Port Arthur, TX. I only have one of the records, so you will only be able to listen to one of them in this write up. Below is the email that he sent me about the band:

I had written several songs over a period of time .. while playing in groups like 
"The Realms of Darkness" .. and "The Upjohn Spigot".  But by the time we finally
got into the studio to record them .. the "band years" were actually over.  There
were no more dance gigs .. no more "battle of the bands".. no more talent shows,
and no more being on the road to "somewhere" all of the time.  Even so, a few of 
us got back together long enough to record two 45 rpm records (On "Top Ten" label).  

"Soft Summer Dreams"
"Wind At My Back"

I had done a "demo" recording of "I'm Home" in the production room of radio 
station KLVI .. and took that to the record company to see what they thought
about getting it onto wax.  ( The 45 record ).  Things fell in place .. and we
came up with a rather hurriedly picked name for the group. ( Richard B and
the Hickory )  We got the recordings done ... and then had a publicity photo 
made.  The recording process was more complex .. and considerably more 
time-consuming than any of us had expected.  I was the lead singer for those 
recordings .. and played bass.  

The publicity photo was taken on a railroad track, very late in the day.  Things
got rather .. shall we say .. "interesting" during that shoot .. because what you
don't see in the picture .. is the fact that the photographer was using the light 
from an on-coming train, to help illuminate us .. and make up for the fading light 
of day.  He snapped the final shot, and we got off the tracks just in time.  Whew.  

The guys in that photo were .. ( left to right )

Toby Hayes .. ( Drummer )
Jerry Bell .. ( Keyboard )
E. George Strong .. ( guitar )
W. Richard Batchelor .. ( Singer and Bass ) .. with the shotgun

The "push" side for the first record was "I'm Home" and "Soft Summer Dreams"
was the "push" for the second one.  ( Flip sides were "Making a Main Road" and 
"Wind at My Back". )

Many specifics and details are lost in the mist of time, with muddled memories
and uncertainties as to exactly what or when or how ..etc.  I've often said that 
memories are basically quick snapshots that we piece together in our minds, in
order to create the larger overall memory of a certain event or time period.  But
the basic story here is pretty simple.

The experience of being in a professional recording studio and actually cutting 
a couple of records .. was quite special indeed.  The records were played 
locally for a while .. ( In the Beaumont, Texas / Golden Triangle area ) .. and 
although none of us heard it ourselves .. we were told at the time that one of 
the Houston stations picked up "I'm Home" .. and played it now and then.  I 
have no way of knowing that for sure though.  Getting good distribution
proved to be difficult .. but overall, it was a positive and exciting time.

Thanks to Richard for taking time to write the story and for sending me a copy of the 45!

Friday, May 19, 2017

The Ones

The Ones have been a long time mystery band who recorded and released one very rare 45 single on Emil J Henke's Satin Records label in the May of 1967.

With the help of Sam Kinsey, I was able to finally locate an original member of the band: Michael Godowns.

From Left to Right: Jay Miller, Ronnie Weid, Mike Godowns, Tommy Lovelace, Jack Walker

The band line up was:

Ronnie Weid - Guitar, Vocals
Tommy Lovelace - Guitar
Michael Godowns - Saxophone
Coyle Stoffel - Bass Guitar
Jackie Walker - Drums
Jay Miller - Keys (not on the 45 record)

Mike had been playing saxophone in the Alamo Heights High School band when he got the rock and roll bug. He recalls one of his friends doing the twist dance at a class party while "Twist & Shout" played over the loudspeakers. This energetic new music made him decide it was time to join a rock band! The chance soon came in 1964 when a brand new band formed by his classmates asked Mike if he would join them on sax.

For the first year the band played with no bass player, eventually adding a musician named Alan Newman who was the son of an officer stationed at Ft Sam Houston. Alan was only in the band a short while.
By the time they were adding their second bassist (a musician named Coyle Stoffel) in 1966, the band had gotten serious and were doing a lot of regional appearances.

The band would perform at venues in Corpus Christi, Victoria, Uvalde, frat parties at Texas State University in San Marcos, Eastwood Country Club (a mostly soul/R&B club on the east side of San Antonio where the Ones once played with Bobby Bland!), The Cave (In SA), and of course, San Antonio's most well known club for high school bands: the Teen Canteen.
One of their most regular venues was the Mule Stall on Alamo Heights HS campus. It was a teen rec center that would frequently put on after school events.
The band was making decent money at their gigs, and Mike recalls paying for half his tuition with earnings from the Ones nightly appearances.

Guitarist Tommy Lovelace was a huge Yardbirds fan and had built his own fuzz pedal for his guitar in order to replicate the British bands guitar sound. One night after a Yardbirds performance at the Municipal Auditorium, The members of the group stopped in to The Cave while The Ones were playing! The young group was stunned to see their idols walk in, but as soon as they entered the room, they walked right out!

Band member Ronnie Weid's dad George was a business associate of some kind of Emil Henke's and helped organize getting the Ones to do a recording session (possibly recorded at Alamo Audio studio) in the late spring/early summer of 1967. The group spent 12 hours in the studio recording material for their soon to be released single. They chose two original songs written by Ronnie: the excellent jangle pop of "Sure Gonna Miss You" (all copies that have surfaced of this single seem to have the word "You" crossed out and "Me" written in its place), and a fine ballad with "What's It Like To Be In Love".
It seems there was some sort of dispute over the particulars of the recording contract that was to be signed upon release of the record, because paper documents left over from these sessions indicate a delay in paying for and signing the contracts for release of this single. It seems Ronnie or his father were not happy with some element in the agreement and were refusing to move forward. In the end, Emil ended up agreeing to give them 50 copies of the single upon payment for the session or pressing.
Unfortunately Ronnie passed away at a young age in the 1970's, so we may never know what exactly happened there.

"Sure Gonna Miss Me"

"What's It Like"

Tensions must not have lasted too long between the parties, because EJ Henke eventually asked the group if they would change their sound to country and become a touring act promoting some of Henke's more western material (possibly to back up Bailey Anderson or one of his other country acts). They declined.

The bands record did a get a bit of airplay and actually charted and made the top 100 on KONO radio.

A few months later, the band drove up to Dallas to record at Sumet Sound studio. They recorded two songs: "Bells Of Rhymney" (which had recently been covered by The Byrds) and an unknown cover of a Strawberry Alarm Clock song. These sessions went unreleased because the band split up a short while after making these recordings.

Their last performance was at an extremely wild frat party at Trinity University on New Year's Eve in 1967. The trouble that stemmed from that night was the last straw. The Ones broke up the next day, on January 1st, 1968.

Many thanks to Michael Godowns and to Sam Kinsey for their help!

Friday, April 14, 2017

The Reddlemen

The Reddlemen's excellent "I'm Gonna Get In That Girls Mind" is among one of the classic Texas 1960's garage band 45's. Having been included on compilation albums as early as by the mid 80's, the single has picked up a cult following over the years.
I recently had the pleasure of getting to visit with and interview one time band member Gary Cotton, who along with his brother Mike, played in the incarnation of the band who recorded the 45 in 1966.
Below is the story, assembled from Gary's memories.

The Reddlemen!
Gary Cotton was about 13 years old when he began taking an interest in learning to play the drums.
His older brother Mike had been playing in bands for several years by then, having been influenced by his cousin Keith Allison (yes, THAT Keith Allison) in San Antonio to pick up an instrument.
Like Keith, Mike was a gregarious and good looking young man who never had problems finding himself a girlfriend.
Gary had practically grown up watching his brother play in bands, keeping a close eye on Richard Smith, the drummer in Mike's band The Kingsmen. On most Sunday rehearsals, Gary would be at his brothers band rehearsals, picking up influence and inspiration from Richards musicianship.

Mike Cotton's first band The Royals
When Meet The Beatles was released in America in January of 1964, Mike immediately procured a copy. The two siblings would sit in Mike's room listening to the record on his homemade hi-fi stereo cabinet which Mike had built himself in shop class. This was the final push made Gary decide he would learn to play a musical instrument himself.
Starting out on a garbage can emblazoned with a hip fake band name of "The Vibra-Beats", Gary's parents took notice and bought him his first beginner drum set through Mike Batton from The Royals.

Gary's first band was called The Klansmen (complete youth innocence here and no reference to the hate group). It was largely the literal definition of a garage band, only playing a few public engagements.
When the Beatles came to Houston in August 1965, Gary and his band mates all got dropped off at the concert together at the Sam Houston Coliseum.

The Kingsmen at reheasal
Another photo of The Kingsmen
By this point Mike had been playing with The Kingsmen: a large R&B combo complete with several horn players. Led by twin brothers Gary and Larry Moore, the band quickly built a strong regional following and worked the local dance halls every weekend.

Having graduated from high school, college duties swept Mike off to Austin where he attended the University of Texas. Wasting no time there, Mike joined a group called The Hustlers.
The collegiate life was only to last a few months. The chance to become a part of the bustling music scene in California called too strong, and Mike soon dropped out of college and started staying with his cousin Keith in Los Angeles, hoping to find his own way into the limelight.

Allison himself had ended up in LA after having auditioned to be Ray Peterson's guitarist and winning the job. He soon met and befriended fellow San Antonio raised Mike Nesmith, and ended up playing on several Monkees records, including playing harmonica on their first album.
Frequently hanging out at the Whiskey a Go Go, Keith was noticed one night by the crew filming an episode of Where The Action Is on location. His striking resemblance to a certain Paul McCartney got him a regular role on the TV show.
Columbia records eventually signed Keith in 1967 and released his one and only solo album for the label: "In Action". Allison even joined Paul Revere & The Raiders shortly before the recording of their 1968 album "Hard 'N' Heavy".

Unfortunately, this path was not in the cards for Mike. He received a draft card in the mail almost immediately after dropping out of UT, and was summoned back home to spend a few months with his family before entering boot camp.
It was during this time that Mike joined hot local band The Reddlemen, who had been one of his competitors when he was playing in The Kingsmen.
The Reddlemen were one of the first bands in the area to get hip to the British Invasion sound, quickly donning matching grey collarless shirts and playing red colored guitars and drums.

When original drummer Billy Hammond left the group, Mike suggested they add his little brother Gary who was getting to be a pretty good drummer.
The new six piece line up worked fastidiously during the 6-9 month period that Mike was back in Angleton. Their first dance together was at Taylor Hall in Pasadena, a venue which featured girls in go-go cages. They would play this spot about 10 times during this period.
Their next job with the band was opening for The Beau Brummels at a large teen fair.
Other venues they played included and The Catacombs in Houston, a fraternity house in Austin (a connection from Mike's stint at UT Austin), and many local high school dances.

Their average pay was $25 a member, and the combo kept a steady work schedule, often playing several times in the same weekend.
The bands most regular venue was the Angleton Fairgrounds, where they played an estimated 25-30 times. They even once played there with legendary Houston band Thursday's Children.
They also played with The Moving Sidewalks (Billy Gibbons pre ZZ Top band) at the Dairy Bar on Surfside Beach near Freeport, TX.

The original kick drum head!
Still being a pretty young high school kid, Gary was only allowed to travel so much with the band because he would ride in a car with the groups manager: SL Hutchinson. SL was the father of lead guitarist Rick Hutchinson, and doubled as a chaperone to watch over Gary, who was a full 4-5 years younger than the rest of the band.
The band would rehearse at night inside the Hutchinson Jewelry shop in downtown Angleton. The streets would usually be empty at this time and the band could practice as loud as they wanted.

When the notion of cutting their own record came about, The Reddlemen got connected to Curtis Kirk and his Custom Records label and studio out in Tyler, TX. Curtis was old friends with an Angleton based country pedal steel guitarist named Jody Burhl Sanders, whose son was Dwayne Sanders, a teenage rock musician that The Reddlemen boys were friends with.
Curtis Kirk was a country musician himself, and having a rock band on his largely country western record label was an anomaly. But being friends with Burhl's son was enough of a liason, so the band came up to Tyler in the spring of 66. Spending one night at a motel there after recording their two songs for the single. Both songs had been written by Mike, though Curtis added himself to the writing credits (which was pretty standard at the time).
By April of that year, the bands excellent single was pressed and being sent to radio stations.
Unfortunately, it did no get much air time, nor did it sell very well. The band had made a great record, but it was hard to get the right people to notice. Not aiding the situation was the fact that Mike went off to boot camp not long after the 45 came out.

"I'm Gonna Get In That Girls Mind"

"I Can't Go This Way"

The band continued playing for a short while afterwards, but fell apart when bass player Charles Smith joined the army reserves, vocalist Pat Harris got married young, and rhythm guitarist Jim Howell was drafted (though later deferred).
When Dwayne Sanders band, The Brym-Stonz Ltd needed a new drummer, they brought in Gary Cotton.
The band had a great practice space in Burhl's converted garage studio. Later, they would practice at band member Les Roberts vacated parents country house.
Gary played with The Brym-Stonz until he graduated from high school, when he formed a band around 1969 called Concrete Rock.

Program sheet for the Teen Dance
This group was a power trio consisting of Mario Rodriguez (from Alvin, TX) and Reddlemen bandmate Jim Howell. They moved up to Kansas City, Kansas together and were booked by Alan Bell Enterprises who sent them on a long tour through the middle part of the country.
During this time, Gary began to grow weary of life on the road and decided to head back home to Angleton to take up day job.
In 1970 he did a short stint playing with Terry Simpson of The Raiders (of "Stick Shift" on Van Records fame).
After a short while playing with Terry, Gary quit playing in bands entirely.

Tragically, Mike Cotton was never to return from his stint in Vietnam. He died in 1968.

Many thanks to Gary Cotton for taking the time to visit with me and share all of these stories.
Stay tuned for the full story on label mates The Brym-Stonz Ltd! Coming soon.

Monday, February 27, 2017

Cyrkle Of Sound

The following is composed from a couple email conversations I had with original Cyrkle Of Sound band member Billy Miller.

The band members were:

Billy Miller - Guitar, Vocals, Writer
Jim Girarde - Bass Guitar
Chuck Booker - Trumpet
Alex Yanez - Guitar
David Gurrera - Drums
Zeke Esquivel- Lead Guitar
Ruben Gonzales - Keyboard

Note the additional accidental misspelling of "Sounds"

Cyrkle Of Sound was formed by South San Antonio High School students in 1966. 

The band was booked by Sam Kinsey (who ran the Teen Canteen) and would perform live at the usual array of gigs which included school functions, military bases, college parties. 

One noteworthy show that Billy recalls is playing at the Pusi-Kat Club in San Antonio opening for a band from Acapulco, Mexico called The Love Army.
They even once competed in a battle of the bands event and came up second behind scene kings The Chayns (known for their regional hit cover version of The Strangeloves "Night Time").

The band got connected with Augie Meyers through Sam Kinsey, as Sam was helping book appearances for Augie's band at the time, The Visions Of Lite. Augie at the time was still reeling from his recent success with "She's About A Mover" in his other band The Sir Douglas Quintet (featuring a young Doug Sahm). Meyers was responsible for the trademark Vox-organ-through-a-fender-guitar-amp sound that the Quintet was so known for.

"Lost Without You"

Augie had recently started up his own record label called VOL (which also featured two records of his own and an excellent record by another San Antonio band- The Graven Image). The Cyrkle Of Sound played all 8 of their original songs Augie, and he chose the two he liked best. 
Soon after, the band recorded the two originals over the course of an afternoon at Texas Sound Studios in the winter of 1967.

A record was mastered for pressing on November 16th, 1967, and was to be VOL Records #133.

While the record didn't do exactly take off, it received some airplay down the in the South Texas valley, and a few plays on the radio in San Antonio proper.

Like so many teen bands of the era, the group split up when most of the members were drafted by the US Army during Vietnam.

Thanks to Billy and Sam Kinsey!

Wednesday, August 31, 2016

The Trochais

line up:

Tommy Akeroyd - Rhythm Guitar
Dan Akeroyd - Bass Guitar
Francis Akeroyd - Lead Guitar/Vocals
Ronnie McAneer - Drums

The Trochais at a HS talent show, joined by occasional percussionist Greg Chesser.

The Trochais were a family band started circa 1965 at McCollum High School in the south side of San Antonio, TX.

Oldest brother Francis Akeroyd was a self-educated guitarist who taught his brother Tommy to play rhythm guitar, and his brother Dan to play bass guitar.
The trio were originally joined by drummer Bobby Cole, whose stint with the band was cut short when he sadly died at a very young age in a motorcycle accident.
One day at the Akeroyd boys aunts house, she mentioned to them that one of her friends had a son named Ronnie who could play drums.
Ronnie McAneer was first chair drummer in his school band at Lee High School, and made an excellent addition to the group.
The name of the band was derived from a meter in poetic verse that Francis was studying at the time in high school.

Starting off with performing at the typical high school dances, The Trochais quickly graduated up to playing at ever popular local teen club the Teen Canteen, and the south side's own version: Teen Town.

One day Francis got a call from a man named EJ Henke who asked if the band would perform for a few hours out front of his record shop on Military Drive in exchange for the chance to record at Jeff Smith's Texas Sound Studio.
At one point, EJ ran outside while the band was playing and asked what song they were playing. Henke insisted they record the song, and original written by Francis called "Give Me An Answer".
In addition to the latter song, EJ suggested they record an instrumental song and call it The Phantom in order to beat the production of a Hollywood movie of the same name that was to be released soon.
The idea was that the movie production would somehow be forced to license the recording for use in the movie since it already used the movies name.
Francis quickly came up with a song to fit the bill, a nice moody surf rock guitar instrumental.
The movie was never to see release, but the recording of the The Trochais first and only 45 proceeded. On January 12, 1966, Satin Records 004 was mastered for release.

"Give Me An Answer"


The boys once got a gig playing a "Band Bust" sponsored by local music store Caldwell Music where the music shop provided the bands with all the gear on loan to perform with. Celebrated KONO radio DJ Don Couser was the guest announcer and host of the event. Francis was already well acquainted with Don from his time as a regular guest dancer on popular teen TV dance show Swingtime. During the Trochais set, Dan pulled a stunt where he swung the bass back and forth between his right and left hand while playing, and this apparently drove the crowd into a frenzy!

By late summer of 1967, Ronnie went off to college and brothers Dan and Francis enrolled into the Navy. Like many teen groups during the period, the end of high school marked the end for the band.

Thanks to Francis and Tom Akeroyd for sharing their memories, and for use of the band photos!

Friday, July 8, 2016

The Pendeltons

Here's another mystery band, possibly from San Antonio.

They recorded at least one 45 on the Alamo Audio custom imprint, ran by Jim Ridgeway.

Both sides are cover versions. One is a cover of a Carole King/Gerry Goffin composition first popularized by The Cookies called "Chains." Presumably The Pendeltons were inspired by The Beatles version, which came out on their first UK album "Please Please Me."

The flip side is a cover of "Mustang Sally," which I would assume they heard from the 1966 cover rendition that the Young Rascals released, though it is quite possible they heard the Wilson Pickett version first.

"Mustang Sally"


Anyone out there know anything about this group? Drop me a line at shape3 "at"