8 Aug 2010, Comments (3)

The Argyles – Farmer John (PIC-1) 1966

Author: michael selman

Another San Antonio story, The Argyles were a group which formed in 1965, which rose to fame from one hit and went on to relocate to California and become 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 Members were: Steve Perron on guitar and VOX, Luis Cabaza on the keys, Ben Trieber on bass, Steve Anderson on drums, Chris Holzhaus on guitar, VOX.


The Argyles regularly played The Teen Canteen and Ft. Sam Houston, as it turns out the group formed The Minds Eye Club as well. 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 dive next to The Minds Eye was a 50s hang out called The Big Orange known for it’s territorial hoods coined “The Big Orange Hoodlums.” Well it seems that at this time, “The Hoods,” were the only source for dope, seeing that in those days 20 years was given out for possession of a joint. As it turns out the Big Orange Hoodlums shot The Argyles bassist, Benny Tieber, in the leg over a deal gone wrong.


Some time in 1966 The Argyles meet up with the Cajun producer Huey Meaux. Meaux recorded the Argyles only single, Farmer John/White Lightnin’ on the 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. There 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 switched up the Premiers version by excluding the guitar break 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. Ben Treiber died in 1969 only three years before Steve Perron, two young for both of these talented men. The group went on to form The Children and move to California. I received most of this information from a great website dedicated to San Antonio, www.saboomie.com. I was lucky enough to make a trade with my friend Kevin for this copy of Farmer John, hope you enjoy.

LISTEN: The Argyles – Farmer John

24 Jun 2010, Comments (1)

Black Blood and the Chocolate Pickles-Mississippi Mud (Black Blood 197?)

Author: alex larotta
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Novelty band names rarely get this good. Black Blood and The Chocolate Pickles cut their somber down-tempo funk number, “Mississippi Mud” in Baton Rouge, LA, on what I presume to be their own custom label, Black Blood Records. I was waiting to gather some more info on the group but they seem to be largely unknown, even in meticulous discography circles.

Black Blood went on to distribute and re-release their 45 with Stax subsidiary Enterprise Records, changing their band name to ‘Smithstonian’ before disbanding and leaving behind a trail of mystery for those seeking answers of their origins. I can only assume the name Black Blood and the Chocolate Pickles didn’t sit well with some of the higher ups at Enterprise, perhaps they were coerced to change it up to something more radio (ahem, white)-friendly. Enterprise released their version of Mississippi Mud under the Smithstonian tutelage, changing the b-side to an equally superb song entitled ‘Just Sitting’, both of which were featured on bootleg funk compilations.

With its haunting message and moody bass-heavy instrumentation, its story is eerily foretelling of the Hurricane Katrina disaster that struck the Mississippi basin in August of 2005, and thematically applies to the oil disaster that devastated the Gulf Coast earlier this year. Mississippi Mud is prime cut Gulf Coast music culture; a funereal song of the region’s largest natural resource with a rich yet often brutal history, and a deep-rooted Americana narrative as long as its furthest extensions.

LISTEN: Black Blood and the Chocolate Pickles-Mississippi Mud
28 May 2010, Comments (0)

Warren Storm – Slow Down (Sincere) 1965

Author: michael selman

Warren Joseph Schexnider was born in Vermilion Parish in 1937. Being that his father was a drummer, Warren fell into music at an early age, picking up the sticks and standing in for his father at 15. Storm is considered a pioneer of the Swamp-Pop sound, which features a blend of Cajun signatures with an overlay of R&B. Warren was greatly influenced by Fats Domino, which was the inspiration for his first group, The Wee-Wows. Continuing to play drums, in 1956 Storm formed The Wee-Wows a name Storm decided on because crowds would yell WEE WOW during their set. They were a cover band playing everything from Fats Domino to Elvis to Hank Williams.


Storm changed the name of his group to the Jive Masters, when Storm signed a contract with Jay Miller. Warren also changed his name from Schexnider to Storm as to fit on the record easier. The name supposedly came from a 50s star name Gale Storm. With this new contract Warren also picked up the microphone and started singing for the group. Amazingly Storm’s first single was a hit. It was recorded in 1958 for Miller’s Nasco label. The “Prisoner’s Song” b/w “Mama, Mama, Mama,” hit #81 on the Billboard charts and sold 250,000.


The Prisoner’s Song was a cover of a 1920s hillbilly tune. Guy Massey, however transcribed by his brother Robert, originally copyrighted the song. Robert F. Taylor, a prisoner, who in Blakely, Georgia county jail, carved The Prisoner’s Song into the wall of his cell. The version of this tune sung by Vernon Dalhart is rated as a 1920s all time best seller, selling seven million copies worldwide. The Dalhart version charted for thirty-two weeks, twelve of those weeks at #1.

Storm did continue to play as a session drummer playing with heavy blues musicians of the day including: Lazy Lester, Lightnin’ Slim, Slim Harpo and many others, not to mention a short time with The Shondells. In 1964 Storm joined up with the rising “Crazy Cajun” empire, which is the reason for this post. Meaux put Warren Storm singles on the Tear Drop, Pic 1 and Sincere labels. In 1965 via Huey Meaux, Storm recorded a cover of the 1958 tune by Larry Williams, “Slow Down.” Williams recorded for the Specialty label as a replacement to Little Richard, who had given his life to GOD and left the music industry behind. Williams is mainly remembered as a recording artist who influenced the increasing Rock & Roll movement, which he did mainly with his original tune “Bony Maronie.” “Slow Down,” in the mid sixties was already a rediscovered hit, for the masses, being that the Beatles covered the tune in 1964 for their Something New LP and Long Tall Sally EP.

In 1967 Storm recorded the “Prisoner’s Song” once again, this time for Meaux’s Sincere label, and not as a 78, as the original, but as a 45. This recording took place at Huey’s own Pasadena Studio, “Pasadena Sounds” professionally known as Recording Service Studio, Inc. I am not sure where “Slow Down,” was recorded I can only assume while on the road, but don’t have the resources to back it up. It could have been recorded at Gold Star, which Storm did record at numerous times, for Meaux didn’t build his studio, “Pasadena Sounds” until late 65. I personally enjoy the less successful “Slow Down” for it’s upbeat R&B qualities rather than the “Prisoner’s Song,” slower tone, not to mention the great scream and BBBBB (motor boat noise) half way through, “Slow Down” in which Storm gives a great rendition of Williams’ original. Storm went on through out the seventies and eighties and nineties recording and touring and was inducted into both Louisiana and Texas’ Music Hall of Fame. He actually still, to this day, plays 200 nights a year.


LISTEN: Warren Storm – Slow Down

LISTEN: Warren Storm – Prisoner’s Song

24 May 2010, Comments (0)

The Trashmen – Same Lines (Tribe) 1966

Author: michael selman

Influenced by doo-wop of the sixties, mixed with the surf take over, came rockers, The Trashmen. Recording first as Jim Thaxter & the Travelers (“Sally Jo/”Cyclone”) from their home of Minneapolis. Ironically playing surf tunes to an audience more than a thousand miles from any beach, received their break when they decided to combine three Rivingtons tunes (“The Bird’s The Word” and “Pa-Pa-Ooh-Mow-Mow” and “Mama-Oom-Mow-Mow”) to form the hit “Surfin’ Bird.” By 1964 The Trashmen were at the top of the charts, known for their screaming vocals and pounding rhythms.

The band consisted of Tony Anderson on lead, Dan Winslow on guitar and vocals, Bob Reed on bass, and Steve Wahrer on drums and vocals. The guys came together in 1962 had their hit in 1964, and did chart with a few other singles, “Bird Dance Beat” hit #30 in the states. The group overall released 14 albums, however broke up in 1967.

Just before the group broke up they recorded a single in Houston for Tribe records under the eye of, “Crazy Cajun” Huey Meaux. Huey met The Trashmen and their manager, while the group was on the road, through Doug Sahm and Augie Meyers via Sir Douglas Quintet. The group was between labels and with Huey’s savvy business sense and ear for music offered to record a single for the group on tribe who Huey worked with often. The recording took place in Pasadena right out side of Houston in Meaux’s studio called Recording Services. It was January 1966 when The Trashmen laid down “Same Lines” and “Hanging on Me.”

The topside is an original by Anderson with a strong Dylan influence smeared with an edgy garage sound. “Hanging on Me” is a jangly pop tune written by Mark Charron who wrote a few tunes for B. J. Thomas. The group liked the single, however sales were too small to warrant another Tribe release. So with out any further adieu I give you The Trashmen with the Crazy Cajun at the wheel.

I would like to thank Doug Hanners for providing me with information and the promo shot below, which features the group and their signatures along with Meaux’s signature.


LISTEN: The Trashmen – Same Lines

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