Tags: instrumental

20 Oct 2010, Comments (2)

The Raiders – Raisin’ Cane (Van) 1963

Author: michael selman
kenny and the kasuals

Our story starts in Lake Jackson, Texas, where the small record label Van was once based. Charles and Bobby Vanmeter, two brothers from Longview, TX, started the label out of the back of their music store in Lake Jackson. Both men ran the small studio where they used a Roberts 4 track recorder to recorded local acts from Angleton, Clute, West Colombia and Freeport. The two brothers took on an accountant to help with the business side of the label named Lonnie Roberts, who was also an accountant for Dow Chemical at the time. Lonnie’s address was used occasionally, which is why you see Angleton on the labels and not Lake Jackson. Lonnie once recorded a single for the label with The Raiders titled, “Rugged But Right/ Room Full of Roses.”

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The two groups I would like to spot light on this specific label are the Raiders and The Originals. I have come across some evidence that Van did in fact record a few groups in the Garage, Rocker vein, but have not acquired them as of yet.

The Raiders were a three piece consisting of Jessie Castor on bass, Bill Pitcock on drums and Terry Simpson on guitar. I had the pleasure of speaking with Terry Simpson on the phone to get the down low on this mysterious label and his group along with some information on The Originals.

Terry told me that the group started in 1961, but did not actually record until 1962. The group’s first recording was the hit, “Stick Shift.” It was outside of a club in Angleton that Terry just started playing around on the guitar and ended up writing the guitar section of the song on spot. The group went to the Vanmeters with the song where Terry and Jessie Castor then wrote the rest of the song and recorded the tune. “Stick Shift” sold 10,000 copies in Houston alone after being picked up by the Vee Jay label, giving the record worldwide distribution.

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When the group started playing Terry was a fifteen year old and a freshman in High School, Jesse Caster was twenty-two, and Bill Pitcock was twenty-six years old. Another single the group wrote, which was not a chart topper, was a track titled “Raisin’ Cane/Repetition.” This disc is my personal favorite and was recorded in about 1963 with two different members, Clyde Kirkpatrick on bass and Larry Cox on Drums. This tune features a slower bass line edging toward a tittyshaker.

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It was around this time The Raiders went through multiple lineup changes and finally became the backing band for Walter Crane, who was a popular vocalist in the area.

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The second group I would like to highlight is The Originals. Gary King on guitar, Ronnie Ellis on VOX, Gary’s brother Tommy King on bass, and George Shelton on drums made up the group. They started out with a sound similar to that of The Raiders, but later recorded a few slower ballads and a few moody garage numbers. The Originals went on to record Terry’s “Stick Shift,” with a slight title change, “Stick Shift 65.” Terry Simpson was a huge influence for Gary King and many other guitar players in Texas at the time. Billy Gibbons will even drop Terry Simpson’s name when asked of his early influences.

The Originals eventually recorded four singles for the Van Label. The first one, “Scatter Shot/Lucille,” was the topside written by Garry King and the flipside was a moody version of Little Richard’s “Lucille”.

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The group then recorded “Honey Blonde/ One Little Raindrop,” both tunes written by Monte Angell. Their third single contains the Terry Simpson and Jessie Castor cover of “Stick Shift 65/Blast Off”, with the “Blast Off portion written by Gary King. Their fourth single contains my favorite of the four singles “How Much of Your Heart/Searching For Your Love.” The song features Ronnie Ellis belting out the vocals and was written by Monte Angell. For more information on The Originals please refer to Garage Hangover’s interview, which features some additional tunes as well.

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I would like to thank Terry Simpson for giving me his time, and Doug Hanners for providing the photos of the band on stage and the publicity poster.

LISTEN: The Raiders – Stick Shift

LISTEN: Lonny Roberts & The Raiders – Rugged But Right

LISTEN: The Raiders – Raisin’ Cane

LISTEN: Walter Crane & The Raiders – Everyday I Have the Blues

LISTEN: The Originals – Lucille

LISTEN: The Originals – How Much of Your Heart

26 Aug 2010, Comments (0)

The New Breed – P.M. or Later (Jamie) 1967

Author: michael selman


I have been trying to locate members of The New Breed for a long time with no real luck. The confusion surrounding this band has proven to be quite a hardship to research, for in trying to cross facts many inaccuracies are found. The New Breed was another great Dallas area group headed up by the master writer and vocalist Ron Price. Ron wrote Texas hits such as “Wishy Washy Woman”, and “My Girl” for Jimmy Rabbit. He also wrote the tune “Didn’t We Have a Good Time” for The Mystics, another Dallas group, which is where some inaccuracies surface.


Many sources falsely accredit Price as one of the musicians who played with The Mystics. I contacted Bud Buschardt who was part owner of GPC Enterprises in the 60s. GPC was the booking agency that promoted The Mystics. I Hoped Bud would have some information on The New Breed or could confirm or deny whether Price was in The Mystics. He was under the assumption that Price was in the group as well, but was not really sure, being that it had been forty years and that he only booked the group. He was nice and mailed me some great promo shots of the Mystics and some publicity prints.


Bud pointed out that in “Journey to Tyme” (Texas discography of 60’s psych), The Mystics and The New Breed were listed as the same group. Bud told me to try to contact Robin Hood Brians out of Tyler, TX. Robin had recorded and produced The New Breeds last record in 1968 “I’d Like To See Her Again/High Society Girl.” Robin Hood, as most know, is one of the heavy hitters when it comes to recording and production in Texas. He is known for recording Jon and Robin, Kenny and The Kasuals, The Moving Sidewalks and Jimmy Rabbit. I tried to contact Robin Hood for a while with little luck.


In the mean time I stumbled upon an interview at Garage Hangover with Dave Mitchell, the bassist from the Mystics. He confirmed that Price was never in the group, that he only wrote their single. Price became affiliated with The Mystics after they won a battle of the bands. This set them up with a single on the Spectra label, out of Dallas, who Price had been working with at the time. This interview shows many scans of the band lacking any photos of Ron Price. Mitchell claims that the Spectra label and the In Crowd label (The New Breed’s first label) had some affiliation. The two labels, according to Mitchell, mislead the public to believe that The Mystics became The New Breed, to give the band some publicity. I then tracked down a man by the name of Gerald Peirce, who was in a group named the Mystics and soon after joined another group called The New Breed. As it turns out there was another Mystics from Port Neches, TX and another New Breed from Beaumont, TX. For a side note Peirce was in a group named The Basic Things also from Beaumont; check it out on Garage Hangover.

I also stumbled upon a great interview at 60sgaragebands, where Bill Looney from The Penthouse Five, another amazing Dallas group, spoke of some affiliation with Price. The Penthouse Five used to play gigs in Dallas with The New Breed and actually recorded one of Price’s tunes, “Don’t Mess Around With My Dream”. This interview seems to reflect that Price was in The Mystics as well.

Around this time I received a call back from Robin Hood, he told me that he didn’t remember the exact details, but he thought that the group consisted of a few brothers and that he would contact Ron Price to verify. When Robin called me back I learned that Ron Price had passed away several years ago from multiple strokes. Robin Hood told me that Ron’s brother, who Robin spoke with on the phone, said the band consisted of five brothers. He also claimed to be the vocalist on “I’d Like to See Her Again.” The brother also said the group at one time had played as Roy Orbison’s backing band? Robin told me that he didn’t feel comfortable giving me the brother’s name or number and that he would forward my email to him so he could contact me. That email never came…

I am posting this hoping one of our readers will solve the mystery. If a person was to look close at the scan of “P.M. or Later”, D. Morris was credited as well as R. Price, proving that at least a portion of the writing crew was not of relation. BMI doest not reflect D. Morris, only Ron Price as the writer. Another thing that is funny to mention here is that after this track was pressed regionally, the Jamie Label picked it up and sited the production to Ray Price instead of Ron Price. Yet another bit of oddness for this group, the first release of “P.M. or Later” contains lyrics where the second release on Jamie is a straight forward instrumental. I want to apologize for the poor condition of the In Crowd release of “P.M. or Later,” it is the only one I have turned up as of yet. If anyone has any information about The New Breed or Ron Price please contact us and we will reference your contribution.

The New Breed Discography

In Crowd 001 – Sunny/P.M. Or Later
Jamie 1341 – Sunny/P.M. Or Later
In Crowd – Little Bit of Soul
In Crowd 1234 – Big Time/Summer’s Comin’
Fraternity 1003 – I’d Like To See Her Again/High Society Girl

LISTEN: The Mystics – Didn’t We Have Good Time

LISTEN: The New Breed – High Society Girl

LISTEN: The New Breed – P.M. Or Later

LISTEN: The New Breed – P.M. Or Later (In Crowd release)

13 May 2010, Comments (2)

Sol-Maranatha (GCP 1975)

Author: alex larotta
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Greetings all, this week I’m hauling in some Chicano jazz-funk from the seemingly endless musical depths of San Antonio, TX. Released in ‘75, bandleader/keyboardist/trombonist Joe Gallardo and Sol released their full-length self-titled album, from which this single comes, on Manny Guerra’s GCP record label. I’ve mentioned Manny Guerra on here before, his wide breadth and key development of San Antonio’s recording industry, from producer to arranger to session player and label owner, seems to stretch endlessly on credits from a diverse spread of recording artists in the region from the late 50s to present day. Manny is also well known to many for his arrangement credits with Sunny and The Sunglows and their cover of Little Willie John’s “Talk To Me” on Huey Meaux’s Teardrop Records, which was one of the biggest hits of their career.

Joe Gallardo’s Sol LP is lauded by many as a Texas psych funk masterpiece, with diverse sound ranges of acid jazz, whirly space synths, guitar freakouts, and funky latin percussion mixed together in a way that only 70s fusion can pull off. “Maranatha”, a shorter stereo mix version of the LP version, embodies the jazz fusion spirit of Herbie Hancock’s “Headhunters” LP, with full body kick drums, wah-wah guitar effects, and luscious horn crescendoes. Joe continues arranging and writing music to this day, and is a centrifugal developer of the Texas Jazz Festival in Corpus Christi that initially started in 1959 when he was a member of the Jazz Club at Del Mar College. He also tenders Grammy credits for his composition work on Mongo Santamaria’s “Amanecer” LP, and continues to perform and record in Hamburg, Germany with a multitude of noted jazz artists and producers from around the world.

You’ll notice that though I don’t usually feature 70s fusion music, I always make exceptions for the exceptional. Sol’s “Maranatha” is a fine example of the rich, versatile soundscapes of Chicano soul in Texas, and I hope you enjoy it as much as I do! Also, just want to mention that we are packing our figurative bags and moving our site to a new server in the next few days. We’re also changing the domain name, but no worries, we will direct you to our new space so we can continue serving you music freaks with the depths of our music collections. Thanks for being with us thus far, we look forward to sharing our new digs with you and spreading the love of vinyl to all of our readers. All that aside, chew on some San Antonio funky fusion and we’ll be back next week on the new site!

LISTEN: Sol-Maranatha
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Giving some more love and attention to the diverse soundscapes of Houston’s funk and soul movement, I brought some hearty big-band orchestral funkness today from the Bayou City’s own legendary trumpeter, Mr. Calvin Owens. Originally recorded and released on Skipper Lee Frazier’s Ovide Records, this debut single then went on to be picked up by Owens’ own Sawdust Records and later saw a 3rd release on Klondike Records out of Memphis, TN. Interestingly enough, Klondike was a subsidiary label of Holiday Inn Records (yes, THE Holiday Inn) which saw a small career in record production and distribution in the 1960s. After a relatively unsuccessful run in the music industry, Holiday Inn Records was then acquired by Sun Records’ Sam Phillips until the end of its activity, estimated to be in the late 60s to early 70s.

Calvin Owens led a successful career as an arranger and session bandplayer primarily in Houston and Memphis, along with a decade-plus stint in Belgium, all of which included a top-notch musical resume with the likes of B.B. King, T-Bone Walker, David “Fathead” Newman, and Willie Nelson to name a few. Owens’ musical foundation was steeped in traditional jazz and blues, but flirted with contemporary stylings such as R&B and soul music as pop music went mainstream. Owens’ unique approach of blending jazz and blues elements created his signature sound, which is well represented here as well as his most well-known arrangement credits for B.B. King’s Grammy award-winning Blues n’ Jazz LP.

“The Cat” is a certifiable big band funk number, well known within the beat sample community for the featured drum break that plows in some 40 seconds after the opening. Outside of the big break, it’s simply a well orchestrated mid-tempo slab of brassy instrumental funk. The featured arrangement components include the continual dribbling of the snare and Owens’ colorful trumpet stabs, ushering a unique melding of swing-style jazz horns and funky rhythm syncopation. And it may come to no surprise that Owens was a good friend and collaborator with fellow jazz conductor and Houston icon, Conrad “The Prof” Johnson, known for his involvement with the Kashmere Stage Band in the 60s and 70s, as well his own lengthy career in music production. Owens passed away in 2008, leaving behind an illustrious discography of recordings and arrangements as well as his footing as a legend in Houston’s musical history. So, in his memory, take in “The Cat” and ready yourself for some big ol Houston trumpet funk!

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LISTEN: Calvin Owens’ Show-The Cat
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