Windlesoul
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For sale Epsilons - Mad at the world / I'm so devoted - Shrine ex condition. £250 One feint pencil X on 'Mad' side. Paypal please. Pm if interested. Mark.
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Duke label 45s, paypal please. Postage per 45: £3 UK, £5 elsewhere. Please note I can only post Saturdays. PM me if interested in anything. Prices in GBP. All excellent or better condition unless stated. John Roberts - To be my girl - promo 20 Paulette Parker - (Gimme back) my love 15 on hold Bobby Bland - Lover with a reputation 15 Bobby Bland - Gotta get to know you 15 Junior Parker - I'm in love 5 Bobby Bland - Call on me 10 Bobby Bland - You're worth it all 15 Bobby Bland - These hands, small but mighty 15 Junior Parker - Why did you make me cry label vg+ vinyl ex 15 Bobby Bland - Poverty 10 Bobby Bland - Ain't myself any more 15 Bobby Bland - Piece of gold 5 James Davis - Blue Monday vg+ 5 Junior Parker - Wait for another day - promo 10 Buddy Ace - Hold on - promo 10 on hold Lamp Sisters - Woman with the blues 10 Buddy Lamp - Hen pecked 10 Bobby Bland - Ask me bout nothing but the blues 10 Bobby Bland Aint nothing you can do 5 wol -
I have one for sale, it really is a fantastic record, but I tried pushing it for months and no takers. Just one of those no-demanders these days unfortunately. It's still there for £30.
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Articles: The (Soul) Generation
Windlesoul replied to Windlesoul's topic in Front Page News & Articles
I have a copy of their Mockingbird contract -
The Generation By Mark Windle This Wilmington, North Carolina band was largely composed of high school students. Their sole 45 release was a very competent beach cover of The O’Jay’s Minit classic “Hold on” on a local Wilmington label in 1968. As The O’Jays version was already a northern soul classic, it was perhaps not surprising that The Generation’s take (Mockingbird MR 1010) would also find favour on the British soul scene. An up-tempo soul dancer, this track is not dissimilar to The O’Jays, other than the blue-eyed vocal presence and a short organ break characteristic of many beach bands. Wigan Casino DJ Richard Searling originally acquired it from John Anderson at Soul Bowl in 1976 and was first to play this on the UK scene. The track was covered up as The Soul Generation – a risky cover up name perhaps, yet its true identity remained unknown to the scene for at least 18 months and it was even released with the cover up name on UK RCA’s northern soul reissue label (Grapevine GRP 131). Band members were Eddie Miller (rhythm guitar, lead vocal), his brother Bobby Miller (bass guitar, backing vocal), Robert Bordeaux (lead guitar, backing vocal), Chuck Shipton (keyboards) and Randy Luther (drums). Eddie Miller, lead singer for The Generation, still performs today with the Jamie Band throughout the Carolinas. He describes the band’s influences at the time as a mix of the British Invasion and soul – The Beatles, The Who, The Rolling Stones and The Moody Blues, but also Sam and Dave, The Spencer Davis Group, Wilson Pickett and Ray Charles. He also remembered recording “Hold On”. The Mockingbird label was the brainchild of ‘Doc’ Johnson, a Wilmington local who had his own recording studio and label. The studio and label slogan was “Listen to the Mockingbird”. There were a couple of other soul orientated releases on Doc Johnson’s label, including the 1969 release by King Louie and the Court Jesters (MR 1007) “I’ve Been Down So Long” a deep soul ballad, with the funk flip “Broadway Up Tight” (King went on a year later to cut sessions, unreleased at the time, at Reflection Recording Studios in Charlotte, NC, backed by what was essentially The Tempests). The Generation were together for two years, from the spring of 1967 until 1969. “Eddie, Robert, Bobby and I originally attended New Hanover High School” says Chuck Shipton. “Randy Luther had graduated High School in Statesville NC and came to Wrightsville Beach. He became our drummer in 1967. In 1968 Hoggard High School was opened and Bobby and Eddie went there. Randy was our leader and influenced our music more toward Motown and soul. He picked “Hold On” to be recorded at Dr. Hubert Johnson’s recording studio around 1967/68. Mockingbird was the studio label. Doc Johnson was a doctor in Wilmington who had a love for music and enjoyed recording as a hobby. He had built a recording studio in a single car size garage on the back of his house at basement level. It had a small control room in it, say 5 by 10 feet, and an old 16 track reel to reel recorder. A local DJ called Jay Howard was the sound engineer and did the mixing on a 16 channel tube type mixer. We recorded the rhythm tracks for “Hold On” in two takes. The vocals were added later. “Lonely Sea” (originally done by the Ventures) was Dr. Johnson’s favourite even though it was on the “B”side. We did several takes because Doc wanted the drums to do a large symbol crash like the waves crashing. I thought it was over the top because the crash was so overpowering, but we did it the way Doc wanted because he wasn’t charging us studio time. Jay Howard was the prime time DJ on WGNI radio station and he played our record all the time. He even used “Lonely Sea” for a lead in to the news.” “We were booked by Jack Ford Theatrical Agency out of Tampa, Florida. In June 1968 we went on tour. My mother has film of the band playing in the Battle of the Bands in Wilmington 1968. The Generation played 30 days in Myrtle Beach, SC at the Bowery, a bar on the boardwalk of Myrtle Beach. We then did Clearwater, Florida where we played at the Bon Ton Club with “Strawberry Alarm Clock” and did other gigs around Tampa. In Florida, we had a disagreement and The Generation broke up in August 1968. When we returned to Wilmington we formed the Fifth Generation with a new drummer (Mickey Watson) and new lead guitar (Stacy Jackson). We were together through the summer of 1969 and were booked by Ted Hall’s Hit Attractions. Eventually Bobby joined the military and I got married. Eddie, Stacy, and Mickey got a new bass player (Bobby Stover) and formed Jamie. I went with the Brass Park in the fall of 1969. We had a reunion of The Generation, Soul Six, and Brass Park October 2010 and played for a High School reunion at Wrightsville beach recently.” Bobby Miller has passed away. Eddie has remained in contact with the other three members. Chuck shared this email from Randy Luther: “Hey, Chuck and Robert! It's been a long, long time. I hope you guys are doing well. I am the world's worst at keeping in touch with people. I have seen Eddie a couple times over the years, but I didn't even know where you guys are. I was saddened to hear that Bobby passed away. Who would have thought that "Hold On" would have reached England in the 70s, much less that someone still has interest in it and the band today. Very cool. I am curious about how many copies have been sold and who released it on a different label. I still have a copy of "Hold On" and the original recording contract we signed with Doc Johnson. I stopped playing professionally in 1978. I have done a few gigs and a couple of recording sessions since, but I got kinda of burned out on the business part of music in general, and especially the New York scene. I played with some great players and bands though. I have a fantastic drum studio in my home now, and I still play a couple of hours a day. My style and technique have developed over the years into something I am very proud of. I even got some great reviews from Rolling Stone magazine when I was with Warner Brothers in New York. These days I mostly stick with blues and R&B. I have fond memories of playing with you guys in The Generation. The music we played was clean, tight and fun.” Copyright E. Mark Windle 2013. References Chuck Shipton. Personal coms. June, August, October 2012. Eddie Miller. Personal coms. July 2012. Emily Marriott. Personal coms. June and August 2012. Sandy Williams. Personal coms. June 2012. -
This Wilmington, North Carolina band was largely composed of high school students. Their sole 45 release was a very competent beach cover of The O’Jay’s Minit classic “Hold on” on a local Wilmington label in 1968. As The O’Jays version was already a northern soul classic, it was... Tap to view this Soul Source News/Article in full
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Nat Speir and I eventually finding the famous old Cellar club in Charlotte NC, where just about every beach band including the Rivieras played in the 1960s....
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Here you go Ady, it's the "It's Better to Cry" title listed here (colour and B&W versions): https://www.blurb.co.uk/search/site_search?search=e.+mark+windle&filter=bookstore
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Well, this further excerpt from my book below might help answer the phenomenon of white Carolinian interest in black music in the 1960s, at least in part: ........Beach music technically encompasses a range of musical genres, not exclusively soul music. The term itself was a retrospective one, coined in the late sixties and early seventies. However the beach ‘scene’ can actually be traced back at least a couple of decades from here. By the 1950s kids (black and white) were listening and dancing to national bands who played blues orientated race music and doo-wop. Artists like The Clovers and Clyde McPhatter were popular. Arthur ‘Guitar Boogie’ Smith was a household name in the Carolinas. He was a talented country composer, guitar player, fiddler and radio presenter (and the original writer of the “Duelling Banjos” instrumental which was re-recorded and used on the 1972 film Deliverance). Arthur became successful after the Second World War with his Calling Carolina radio show and the Arthur Smith Show on the Charlotte NC WBTV channel. In the mid to late 1950s through his talent hunt search, he discovered doo-wop acts such as The Embers, Harry Deal & the Galaxies and Maurice Williams who would later go on to become big beach names of the sixties and beyond. Other TV shows also followed suit, particularly around NC, as a showcase for teenage music and dance talent. Motown, soul and R&B had arrived by the 1960s and could be heard all over the south east from radio stations with geographically wide broadcasting capabilities, both inland and along the coastal areas. These fresh sounds were an immediate hit with local high school and college students as well as vacationing teenagers and many local bands picked up on this. Of all the phases of the beach music scene, this period is undoubtedly the most prominent on the scene. Indeed, soul and R&B has remained the primary influence for beach bands that have followed in subsequent decades. Students played a major political role in the civil rights movement as discussed earlier, but also had a role in developing and supporting the 1960s beach music scene. Southern college and university fraternities by the 1960s had become social living communities notorious for drinking, sex and partying hard. The emerging sound of soul appealed to black and white students alike. Local bands, usually made up of high school or college students, were frequently hired to play at frat parties and high school proms and made their bread and butter in this way. It is not surprising then that many groups, including those discussed here, were a ‘live act’ or revue first and foremost, and vinyl recordings were sparse. Bob McNair, a (white) North Carolina resident, has been a fan and collector of beach, soul and R&B music for pretty much all of his adult life. Brought up in Sanford and now residing in Winston-Salem NC, he recounts his earliest memories of his record buying days. “I distinctly remember my very first 45 record purchase" says Bob. "In 1961, my best friend at the time, Billy Neal and I combined our funds (50 cents each) to buy “Blue Moon” by the Marcels at Buchanan’s TV-Appliances-Music store in Sanford, NC. Buchanan's had a fully stocked record shop inside of the appliance store. The shop was sound proofed with thick double paned glass so that you could crank up the volume on the high end stereo system with a manual turntable. The little shop was loaded with all the current 45s and LPs of the day including pop, rock, soul, country and black gospel. Mr. Buchanan had a private airplane and he would fly with his wife weekly to Charlotte, NC to stock up on all the latest releases and hot sellers. I worked in the shop sometimes on the weekends. Often for free, or for a couple of records. They had many black customers who would buy the latest R&B, soul and black gospel, like the Blind Boys of Alabama. I loved this music and got exposure to songs I may never have heard otherwise. Screw Pat Boone, the Beach Boys and the Beatles. We wanted James Brown, Joe Tex, Booker T. & the M.G.s, The Temptations, The Tams, Wilson Pickett, The Showmen, Gene Chandler, The C.O.D.s and many more. That was only the beginning of a lifetime of loving soul music." Racial tolerance and intolerance among artists and fans “We were all what you might call middle-class white - our neighbourhoods looked like Beaver Cleaver’s of the 1960s” says Nat Speir, founder member of Bob Meyer and the Rivieras. “But we were always very aware of the race issue and the sensitivity of our black acquaintances. We talked a good bit to Curtis and The Impressions about this when worked with them - but things were usually so rushed there was little time for that in most situations. Some of my friends’ parents became heroes to me by inviting four young black men from the Bedford-Stuyvesant project in New York to come and spend a summer with us in our homes, sponsored by an ecumenical group. They were singers too - fancying themselves as younger Little Anthony and the Imperials or The Manhattans. We gigged together for about four months and we all learned a great deal. Yes there were many tricky situations with these guys and with some of the national acts. But booking agents protected the groups somewhat. They wanted to make money. Also Charlotte was never like Mississippi. It was usually cool in Charlotte, or Greensboro, or Columbia - not everywhere was though in the early to mid 60s. The larger cities and towns were segregated in many ways of course. But the "the deal" with the south east was that there were many ways we did interact. Middle class whites wanted black music. Some find this hard to understand. Why would the Charlotte Country Club Deb Ball want Hank Ballard instead of The Beach Boys for their entertainment? But I was right there every chance I got. I heard and got to know many soul and R&B acts in those places. On my turf of course. I doubt I would have been welcome on their’s. And that's fair.” Despite the racial tolerance in at least some areas of the Carolinas, The Rivieras did experience tensions when out on the road with coloured artists in the south east: “The Barbara Mason gig in South Carolina, 1966 was one of those things that reminds you of how small and powerless you are." says Nat. "The Rivieras were playing at a small college for women in the Darlington area. Barbara Mason along with our band and singers provided the entertainment. It was a good gig. Nice audience. No trouble. At the end of the gig we were packing up our gear and looking at the girls file out of the auditorium when some of us noticed that talmost everyone she was appointed to find out if we could help. After a few minutes she reported back that Barbara was tired and upset because she couldn't find a place to stay - the motels on the nearby highway were white only. Georgia insisted that we do something. We would go get her a room, pay for it ourselves, and get her moved in so she could get some sleep, seemed like the perfect answer. Of course it wasn't. Ms. Mason politely declined saying that it wouldn't work and we'd be found out. We slowly got the message that pride and dignity might be involved too. Georgia couldn't let it go - but we had to. Ms. Mason said that she and her guitar player would just point the car North and drive all night if need be. It was a good gig but we were all quiet as we hit the highway in our van. I know it turned out ok. This kind of situation was probably played out over and over in the early days. Within a couple of years all the motels and hotels were integrated.” When further refining the term 'beach music' in the context of the 1960s, a reasonable approach may be to reserve beach music for local and national acts (black and white) that particularly had a whole or partial R&B / soul repertoire along the coastal areas of the Carolinas at the time, or were big hits on the beach then. But even this is an over-simplistic view. As Greg Haynes’ work demonstrates, a myriad of teenage garage bands existed well outside of the Carolinas, who were aware of the emerging appeal and accessibility of the ‘new’ black sound of R&B and soul to a white audience, particularly on the beach resorts. Some tapped into this, even though their own individual musical approach may previously have been more mainstream pop orientated. A few bands briefly explored soul, some stuck with it, and others started with the specific intention of providing this music. Many bands and vocal groups were actually based inland. With the exception of the Wilmington NC-based group The Generation, or Ron Moody’s outfit from Richmond VA, all the acts described in this book were from areas which lie anywhere between 150 to 500 miles from the coast. Key R&B radio stations broadcast throughout the whole of the south east, ensuring access for teenagers even in remote locations. Inland pools and lake pavilions with jukeboxes were dotted throughout the Carolinas, which offered a ‘substitute beach’ environment where teenagers could swim and listen to music. Take as an example the Williams Lake rural resort near Fayetteville NC, which was originally built during the Second World War and continued to be a popular venue throughout the 1960s. Bob Collins and the Fabulous Five played there in Easter ’65. Other bands included The Monzas, The Aqua Lads, Gene Barbour and the Cavaliers, Maurice Williams and the Zodiacs, and national acts like Jackie Wilson, Barbara Lewis, Eddie Floyd and Mary Wells. That said, many inland bands also regularly travelled hundreds of miles (despite the dangers outlined by Nat Speir earlier) to play gigs at the coastal resorts. Long running groups like The Embers, Harry Deal and the Galaxies and Maurice Williams and the Zodiacs travelled extensively to both coastal and inland venues.
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News/Article/Feature Highlight: Bob Meyer and the Rivieras (not to be confused with the Indiana Rivieras) were from Charlotte, NC. They were one of the earlier beach groups, originally formed in View full article
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Just need the 'Find out what;s happening' 45 on Monza now - anyone?
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Cheers will check it out
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Need these Spidells 45s, but must be clean labels and ex condition. "Pushed out of the picture" Coral SORTED "If it ain't one thing etc" Coral SORTED "Hmmm, with feeling darling" Monza SORTED "Find out what's happening" Monza PM me please. Cheers, Mark
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Needed: Frank Howard & the Commanders - I'm so glad - Barry Frank Howard - Judy - Excello Please PM with condition (labels and vinyl please) and a price. Cheers, Mark.
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Hi, I need a high res scan of the Brunswick yellow DJ / demo / promo of Johnny Jones and the King Casuals "Purple Haze" (not the black & multicolour US issue or the UK release) for a writing project. Must be own personal copy, not an internet trawl etc. Label must be clean with no WOL. If you can help please PM me (I have specific scan requirements). Might be a day or two before I can get back to you due to internet connection. Cheers Mark.
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Darlings - Two time loser- Kay Ko white demo, wee bit of writing on label. ex £60 Irma Thomas - Don't mess with my man - ex Ron £20 PayPal please. £3 post UK £5 elsewhere.
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Want: Frank Howard and the Commanders - "I'm so glad" - Barry Frank Howard - Judy - Excello Condition and price please. Labels must be very clean, no WOL etc. for scanning. PMs, thanks.
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The Delacardos By Mark Windle The Delacardos were an all black vocal and instrumental group from Charlotte NC, who formed initially at high school. They made at least nine records between 1959 and 1967, some of which received national release on major labels. Vocalists were Vernon Hill, Chris Harris, Harold Ford and Robert Gates and later George Morris. Publicity shots generally featured the vocalists only, but regular musicians included Luther Maxwell (tenor saxophone and band leader), Amos Williams (guitar), Ronnie Grier (bass), Dallas Steele (drums), Timothy Donald (baritone saxophone), and on piano and guitar, Jeremiah Shepherd and James Knight. Ronnie Grier wrote most of their sides which appeared on Atlantic. The Delacardos were managed by Will Rhyne, and newspaper reports from the early sixties indicate that they were a popular live act at high schools, rock and roll revues and on the college circuit. The group have long attracted the attention of doo-wop record collectors for their first release in 1959, “Letter to a School Girl” (Elgey 1001) and beach music enthusiasts for “Hold Back the Tears” (United Artists; UA 310), recorded two years later. For northern soul fans, there is their 1966 Q-City / Atlantic release “She’s the One I Love” (45-2368); the original version before Lee Tillman and the Secrets (a Baton Rouge, Louisiana group whose take also had plays on the UK scene). The local Q-City format is a much tougher find than the national release. A further up-tempo Atlantic release from the same year (and possibly the same session) “I Know I’m Not Much” (45-2389) has also been of longstanding interest to soul fans. A previously unlisted demo of The Delacardos’ “Dance Gypsy Dance” (Dimension 1040) has surfaced recently via collector Bob Abrahamian. This quality early Impressions style mid-tempo dancer was written by Vernon Hill and arranged and produced by Gene Redd. Redd came from good musical stock. His father was a sax player, bandleader and A&R man for King Records, who also worked with James Brown between 1956 and 1963. Redd Jnr. was a prolific supervisor and writer and for many soul artists, many of northern interest. In the mid sixties he was part time producer along with George Kerr and George Clinton for the Jobete office in New York. Rumour has it that it was the unwanted Motown product from here which found its way onto the Stephanye label such as Roy Handy, Shirley Scott and The Prophets. Redd went on to set up his on label Red Coach in 1973 which gave us The Carstairs classic “It Really Hurts Me Girl”. This Delacardos number though is of course a much earlier affair, likely November 1964. It appears that “Dance Gypsy Dance” failed to get past the demo stage from currently available information. The Delacardos’ pre-Atlantic recordings were made in the studio garage of Bob Richardson in Charlotte. Bob’s first successful recording as an engineer was on The Delacardos’ 1962 release “On the Beach” on Imperial. Nat Speir and his Rivieras recorded in Bob’s studio when The Delacardos were still there about a year or so later, and knew them well: “To us white teenagers they sounded like the black groups of the late 50s to early 60s. They favoured the early Isley Brothers and sounded that way, but there was originality too. Vocally they were perfect. Their tenor lead Chris Harris had a smooth vocal and the band had a world class fiery tenor sax man, Luther Maxwell. He was my first up-close sax hero. They impressed. I think it might have been Bob Richardson who placed them with Atlantic. The Delacardos had some excellent national releases, not only “She’s the One I Love”. We became good friends early. Both bands recorded a couple of years before this one in Bob Richardson's garage studio and their drummer taught my brother about funky drumming. Luther Maxwell was the best tenor sax player around - a stylist with power and drive. He was a King Curtis type in those days but his tone was lighter. How did some of these minority guys get to be so good so young? I learned that there were two black high schools, both with most excellent legendary band directors. Black sax players received better instruction and encouragement than most whites.” Around this time Bob Richardson was also the Mercury label south east rep. By the mid to late sixties he worked with music publisher Bill Lowery to set up a studio in an old schoolhouse in Atlanta, GA and subsequently engineered a string of hits for Billy Joe Royal, The Swinging Medallions and The Classics IV. This studio was the precursor of the famed Atlanta Mastersound studio which in the seventies and eighties was one of the most technologically advanced facility of its kind, attracting artists such as James Brown and Isaac Hayes. Regarding The Delacardos' Atlantic tracks, Ronnie Grier confirms that “She’s the One I Love” was recorded at Arthur Smith Studios in Charlotte, NC in 1966. The lead singer on this one (and the flip) was George ‘Bubba’ Morris with Odell Grier on guitar and Ronnie Grier on bass guitar. The Q-City release was a Carolina label but credits Phil Walden and Redwal Music for publishing and distribution, as does the Atlantic release for publishing. Redwal Music was the culmination of an earlier extremely successful R&B Walden was a student at Mercer University he had set up his own company to promote Otis Redding (whom he had met a couple of years earlier) and over 40 other R&B acts. Phil and his brother Alan were determined to promote Otis as far as they could. In 1965 on the back of the success of the “Otis Blue” album, they set up Jotis Records, and with that, the Redwal production, a publishing and management arm. The Jotis label itself spawned only four releases by Arthur Conley, and two minor artists Billy Young (an army acquaintance of Phil when he was drafted for two years) and Loretta Williams, a singer who backed Otis on tour. However the activities of Redwal extended beyond Jotis, and they represented a whole host of future stars including Bobby Womack, James Carr, Clarence Carter and Tyrone Davis. Often Otis would produce and work directly with some of these artists. The Waldens already knew The Delacardos from the early sixties, when they promoted the band as a live act at a local club alongside Maurice Williams and the Zodiacs. “In the sixties the members of The Delacardos generally drifted away or went to work or college ” says Nat Speir. “There was a story that their (original) lead singer got hard up for cash and was caught stealing a safe. I think he eventually got an early parole. Don't know what happened to most of the other guys - except for Luther. He got out of show business about 1972 or 1973. By then he was working for Western Electric. Luther took advantage of social and business changes and worked hard and moved up and up in the local office. By the late 1960s he had bought a house on Providence Road, eight to ten miles south of town in white rich folk country. He retired not long ago, a wealthy man. His children went to the best colleges and he lived in what was once an all white south Charlotte neighbourhood. Ronnie kept going musically, making recordings with his daughter at home in his studio, doing early hip hop.” Van Coble of The Tempests reports that most of the musicians, with the exception of Amos Williams and Ronnie Grier, are now deceased. Sadly Luther Maxwell passed away during the preparation of this project. Copyright E. Mark Windle 2013. References Bob Abrahamian. Personal coms. November 2012. Van Coble. Personal coms. August, November 2012. Ronnie Grier. Personal coms. August to November 2012. Ted Hall. Personal coms. October, November 2012. Nat Speir. Personal coms. July, August, November 2012. http://www.gearslutz.com/board/so-much-gear-so-little-time/4000-rip-atlanta-studio-pioneer.html http://swampland.com/articles/view/title:alan_walden -
The Delacardos were an all black vocal and instrumental group from Charlotte NC, who formed initially at high school. Tap to view this Soul Source News/Article in full
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Everything £10, or an offer on the lot, some genuine bargains here. Paypal please. Post £3 UK each, £5 elsewhere. PM please Delacardos - She's the one I love - Atlantic ex Lee Lamont - Happy days - Back Beat ex Sebastian Williams & his Soul Men - The one you cant have - Cotillion demo ex fab Garnet Mimms & Enchanters - Quiet place - German UA ex Eddie Wilson - Get out in the street - Back Beat promo ex Fanatics - Moving too fast / Dancin to the shotgun - Back Beat ex Joe Hinton - Gotta have love - BackBeat ex Joe Stampley & Uniques - Not too long ago - Paula ex Bill Pinkney - Dont call me / I do the Jerk - Fontana ex Carl Carlton - Dont walk away - Back Beat ex Aaron Neville - Hard nut to crack - Parlo ex OV Wright - Working your game / Oh baby mine - Back Beat ex
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The Tempests on their USO tour. From left: Van Coble, Hazel Martin, Nelson Lemmon, Mike and Roger Branch, Rick White, Bill McPherson, Ray Alexander.
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...and a latter day photo of Tempests bass player Van Coble (who wrote or co-wrote a number of the Smash tracks) with the bands producer Ted Bodnar. Was lucky enough to meet up with Van in Charlotte NC last year.
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Hazel Martin's memorial sheet:
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Sorry but Billy Storm and the Tempests is a different group; they were Baltimore based. Their LeMans 45 may have been recorded in 1967 at Edgewood Studios, Washington DC. However the Tempests under discussion here are from around Charlotte, North Carolina.
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Hazel Martin was definately the vocal on the LP. Billy Storm - that LeMans thing? Nothing to do with these guys.
