Tags: texas

16 Nov 2010, Comments (3)

Sir David and His Knights (Pa-Go-Go 1966?)

Author: alex larotta


Sorry for the hiatus, folks, but life’s little nuisances were getting in the way of bloggin’ business. But, I’m back with something new and exciting from my collection of Texas soul treasures. Sir David and His Knights recorded their stunning garage/soul version of Jr. Walker’s signature r&b screamer, Shotgun, giving it a full-on teenage punker treatment with a distinctive Texas-born flair. With its mod drum beat, vicious snot-filled screams and hollers, and wild guitar solo at the near halfway mark, Sir David and His Knights answer Jr. Walker’s original with an unmatched early punk gusto.

Sir David and His Knights recorded their 7″ single for the small San Antonio-based Pa-Go-Go label, notably rare amongst collectors of its kind. Pa-Go-Go is perhaps most well known for originally releasing ? Mark and The Mysterians‘ “96 Tears”–now considered a 60s garage rock staple–that was later picked up and distributed by the larger Cameo record label in the fall of 1966. The original Pa-Go-Go issue of 96 Tears is known to be in the range of 750 pressings, fetching high dollars on auction sites and highly regarded amongst Texas and garage rock aficionados. According to rumor, Sir David and His Knights were from the same industrial Mexican-American community of Michigan (Saginaw County) as ? Mark and The Mysterians, and apparently came to Texas with them to record their single for the Pa-Go-Go label. If this story is based in any facet of legitimacy, this would put Sir David’s recording around mid 1966, which is very well likely and plausible, but by no means confirmed.

It’s also been said that one of the band members died shortly after the recording, which caused a hinderance of pressings and promotion of the record, now considered to be a rather short quantity. If I were to make an estimation based on these assumptions, I’d say definitely under 500 pressings, and likely considerably less. Regardless, it’s a certifiable Texas garage knockout!

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LISTEN: Sir David and His Knights-Shotgun

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

11 Oct 2010, Comments (1)

Soul One’s-Soul Pot (Deal 1971)

Author: alex larotta

From the dusty, multicultural border pueblo of El Paso, TX, comes today’s Soul One’s with their 7″ single Soul Pot b/w This Is My Prayer. Steeped in wah-wah guitar fuzz, party-styled hoots and hollers, and latin-tinged percussion fills by way of 70s west-coast fusionists War and Azteca, Soul Pot takes the cake for some of the best in border town funk. Not much to report on the personnel makeup of Soul One’s or how active they may have been in recording/performance, but one single can speak volumes on talent and output. From inference, I could gather that there’s a handful of fellas in the group; from bass guitarist to rhythm and lead guitarists to multi-percussionists, all of which take a stab at singing/hollering throughout the song.

Considering the overall lo-fi ‘muddied’ feel to the track, it almost sounds like a single-track (possibly mono) recording with little post-production mixing or studio effect, adding to its lure as another fine addition to independent funk recordings in the great Lone Star State. After a series of dead ends looking for in-depth information on the group, it seems the Escondido publishers may have been based in western New Mexico, not too surprising considering the relative distance from El Paso city limits. Either way, I’m glad to finally have my hands on a copy, and more than happy to share with our audience. Should anyone have more info on this mysterious group, please feel free to send it along. Enjoy!

LISTEN: Soul One’s-Soul Pot

Another recording in the seemingly endless vault of San Antonio westside soul, Joe Bravo’s “It’s Okay” was originally written and recorded by Tex-Mex music mogul Manny Guerra and The Sunglows. With its simple R&B arrangement, heavy-handed vocal reverb, and spikes of maniacal laughter interspersed throughout the song (which is so over the top it’s nothing short of brilliance), It’s Okay retains a uniquely dark and unsettling overtone for an R&B/pop single. The song follows a young man’s woes of heartbreak and ultimate acceptance of lost love, pouring over the details of the story in a seemingly drunken stupor. But, maybe that’s what makes it such a great teenage love song.

I can’t recommend Ruben Molina’s Chicano Soul: Recordings and History of an American Culture enough to our readers. Full of great stories, pictures/record scans, concert bills (and related ephemera), label discographies, and in-depth conversations with artists and band members of the era, Molina covers the little-known subgenre in great detail with unfettered determination to the cause. I thought I might borrow his lyric transcription of It’s Okay as written in the liner notes of the book and share it here–it’s just too good not to share, in my opinion. I might note that the laughs were written in the lyrics as per Manny’s original composition of the song. Enjoy:

He he he ha ha ha ha
It’s alright, I’ve been hurt before
You don’t love me anymore
He, ha
Maybe someday, I’ll find a way without you

What am I saying?
It’s okay, huh
Baby, I can see
It’s okay
But, but will it make you happy?
Maybe someday I’ll find a way without you
He he he he ha ha ha ha
Someday, huh, it won’t be long.
He he he he ha ha
You’re going to find yourself all alone

LISTEN: Joe Bravo y Su Orquestra-It’s Okay
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