Forum durchsuchen:
Erweiterte Suche »


Navigation
Home »
Foren-Übersicht »
Letzte Beiträge »
Kalender »
Karte »
Links »
Mitgliederliste »
Benutzergruppen »
FAQ »
Private Nachrichten »
Statistik »

R & R - Ära
Ankündigungen
Allgemein
Schallplatten-Label
Elvis Presley
Engl.-sprachig & Instrum.
ORIGINAL & Dt.- VERSION
The Legendary Joe Meek
Phil Spector
Cliff & The Shadows
The Spotnicks
Tauschecke
Tipps & Tricks

BEAT - Ära
YEAH, YEAH, YEAH
BEATLES & MERSEYBEAT
BEACH BOYS & SURF
ROLLING STONES
TAMLA MOTOWN
ENGL-SPRACHIG & INSTRUM.

POP
50er JAHRE INTERPRETEN - nicht englisch
60er JAHRE INTERPRETEN - nicht englisch
GRAND PRIX

DOWNLOADS
Downloads




Foren-Übersicht
Impressum  |  Registrieren  |  Fotogalerie  |  Login
The RIALTOS - BOBBY HOLLISTER etc.
Gehe zu Seite 1, 2  Weiter
 
Neue Antwort erstellen    Foren-Übersicht » restliche Interpreten mit R Vorheriges Thema anzeigen
Nächstes Thema anzeigen
The RIALTOS - BOBBY HOLLISTER etc.
Autor Nachricht
Gerd Miller



Anmeldedatum: 17.09.2008
Beiträge: 18898
Wohnort: Wien

Beitrag The RIALTOS - BOBBY HOLLISTER etc. Antworten mit Zitat
Bobby Hollister soll aus Tulare in Kalifornien stammen, und das war es auch schon.
Bekannt ist mir nur diese eine Single:
PIKE
?? 61....5910....EM 6 4577 BOBBY HOLLISTER WITH THE RIALTOS..Love's Gamble (RF 129)/Ring Around Your Neck (RF 130)

Keep Searchin'
Gerd
[/b]



k-hollister 1.JPG
 Beschreibung:
 Dateigröße:  72.24 KB

k-hollister 1.JPG



k-hollister 2.JPG
 Beschreibung:
 Dateigröße:  69.94 KB

k-hollister 2.JPG




Zuletzt bearbeitet von Gerd Miller am Do Okt 29, 2015 6:16 pm, insgesamt einmal bearbeitet
Di Nov 24, 2009 1:07 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
Hallo Gerd,

falls Du die Pike 5907 haben solltest, scheint mir die Gruppe völlig identisch zu sein.

1961 Like thunder (Freddie Thomas, Bobby Hollister, M.Nolan) / Breakin'
nur hier heisst es "The Rialtos feat. Freddie Thomas"

1962 gibt es noch The Rialtos auf dem Label C.B.5009, da ziemlich zeitgleich wahrscheinlich
die selbe Gruppe, mit den Titeln "It hurts / Let me in"

Gruss Billy
Di Nov 24, 2009 1:36 pm Benutzer-Profile anzeigen Private Nachricht senden
Gerd Miller



Anmeldedatum: 17.09.2008
Beiträge: 18898
Wohnort: Wien

Beitrag Antworten mit Zitat
Danke Billy!
Diese Singles habe ich leider nicht aber dafür fand ich eine weitere PIKE-Single, auf der die Rialtos aufscheinen. Das dürfte eine Art "Firmen-Band" von PIKE gewesen sein. Ich habe dann noch zwei weitere Rialtos entdeckt. Ob die mit der PIKE-Gruppe ident sind weiß ich leider nicht, aber vielleich hilft es eines unserer Forums-Mitglieder auf die Sprünge:
PIKE
06 61....P-5905....DICKIE GARLAND Music by THE RIALTOS..Shake Bop (RF 119)/You're Gonna Be Sorry (RF 120)
JIN
?? 62....45-154....CHANO and THE RIALTOS..Guardian Angel/Don't Forget To Write
ALL BOY
08 63....45-8512....JERRY & The RIALTOS..What 'Cha Gonna Do (ZG 69025)/It's All In Fun (ZG 69026)

Keep Searchin'
Gerd
Di Nov 24, 2009 2:16 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
Hallo Gerd,
auch wenn das Label nicht so schön wie deins ist, hier ein Scan aus einem CD-Booklet.
Gruss Billy



Rialtos .jpg
 Beschreibung:
 Dateigröße:  194.73 KB

Rialtos .jpg


Di Nov 24, 2009 3:02 pm Benutzer-Profile anzeigen Private Nachricht senden
DieterM



Anmeldedatum: 06.03.2005
Beiträge: 26309

Beitrag Antworten mit Zitat
BOBBY HOLLISTER stammte aus Visalia und er war so um 1967
Leadgitarrist und Sänger bei The Brymers:

In 1964, Coast Artists and Diplomacy Records took a teen rock band named The de-Fenders and, for a publicity stunt, shaved their heads to capitalize on the success of then popular actor Yul Brynner. Renamed The Brymers (pronounced “Brimmers”), the group became a popular backing band for many of the hit makers of the era and, in 1966, scored regionally with a composition of their own entitled “I Want To Tell You”. With the garage rock classic “Sacrifice” as the B-side, the single conclusively proved that The Brymers didn’t need promotional gimmicks in order to prove they were a group to take notice of.

A collection of Brymers’ recordings - including an unreleased single by The de-Fenders, never-before-heard demos, a backing session for April Silva on a 45 side, live performances and a very rare and complete one-take demo recording from March 1965 of The Brymers performing the era’s greatest hits - is now available on the 60sgaragebands.com label. It is a CD that proves without question the group could truly do it all.

This is a brief story of a how a teen rock-n-roll band was formed in Lemoore, California then proceeded to record several records and travel around the country. To my surprise, one of the group’s recordings, “Sacrifice” has been a collector’s item for the past 35-40 years. I and the other Brymers band members had no idea that “Sacrifice” had been popular through out the United States, Europe, New Zealand and Australia. This newfound information was accidentally discovered on a late September 2006 night while I was surfing the web. I wondered if The Brymers would show up on any web search. I typed in The Brymers and began seeing various web pages associating The Brymers with a B-side of one of our recordings called, “Sacrifice.” I accessed one website in the Netherlands and found that “Sacrifice” was on an Internet radio playlist. Additional web surfing revealed that “Sacrifice” was on numerous other Internet radio station playlists, in Italy, Japan, Australia, and the U.S. I emailed the owner of one station in the Netherlands and asked about The Brymers. I received a reply back stating, “I have always been a fan of The Brymers and the song ‘Sacrifice.’” The owner then referred me to an individual in Chicago whose website specialized in 1960’s bands. The owner, Mike Dugo, wrote back and stated the same thing and asked if he could do an in-depth interview about The Brymers and all their recordings. Joey D (a deejay from the Sacramento area and owner of Frantic Records) contacted me and said: “Where have you guys been? We have been trying to find you for the past 35-40 years.” Continuing, he mentioned that he was associated with Alec Palao (Ace Records/Big Beat Records) and wanted to know more about the group, if any more recordings existed, and a history of the band. After an hour-long interview, Alec called and also asked in-depth questions about the group. Alec mentioned that Ace Records wanted to do a compilation of California groups and would like to include “Sacrifice” and “I Want to Tell You” on the CD. Three weeks later I met with Joey D and Alec in Sacramento and provided more information, pictures, etc.

I was astonished that anyone even knew of The Brymers. I was then referred to a website that specialized in ‘60’s garage punk music. For the next two weeks I began receiving e-mails from all over the United Stated, Europe, New Zealand, and Australia inquiring about the band, its recording of “Sacrifice”, and pictures of the group. One individual from Portland, Oregon wrote, “Are you just finding out about the band’s continued popularity? ‘Sacrifice’ has long been a favorite.” Another individual from New York wrote, “The Brymers is a well-known 45 to all garage fiends (evidently, everyone refers to the ‘60’s music as garage punk music). I was lucky enough to find a copy years ago as did several other individuals on this forum.” Hans from Italy wrote: “Hello Dick! ‘Sacrifice’ has long been a favorite with its wailing harp and syncopated beat. I purchased a copy of it on a compilation CD a few years ago.” Michael from Australia wrote, “Hello Dick. Count me and my friends in Sidney as long time Brymers fans.”

I have now again made contact with all the group members. Many still reside in the Hanford, Visalia, and Porterville areas. Others have moved to different states for their careers. As a result of the above inquiries about The Brymers, 60sgaragebands.com has asked if they could release a CD of The Brymers music. In late March or early April 2007, the 60sgaragebands record label will be releasing a CD with most of The Brymers’ recordings. There will be an accompanying 12-page booklet with pictures of the group from 1963 through 1967.

On a Saturday night in May 1962 I was attending a Melco Dance by Mel Simas, a local radio deejay in Lemoore. A good friend named Charlie Brown introduced me to Ken Valentine, a local guitar player. Ken and I stated talking about music and as the evening progressed we decided to start a band. Mike Wagner, another Lemoore resident and friend, was a guitar player, too. The music bug sort of hit all of us at the same time.

The next weekend all three of us were in my parent’s garage on Champion Street in Lemoore attempting to learn a few songs. Soon, another guitar player joined the group. His name was Frank Bento. Frank played with the group for a month or two then left. After a few months of playing we decided we needed a name. Hence, a new band with a new name was born. We were called The Challengers. Bass player Robert Virden (from Stratford) joined soon afterwards. We rehearsed at nights and on the weekends until we had enough songs for a gig. Our first gig was at the local Navy base. Needless to say we were excited, but the excitement subsided when we found out that only male Navy personnel were in the audience. We made the most of it and had a great time.

In late 1962, Mel Simas approached the group and asked if we would like for “Melco Int.” to become our manager. The group voted yes and our longtime friendship with Mel began. The surf sound was “in” so a lot of music played was from The Ventures, Dick Dale, etc.

In September 1963, an electric piano player joined the group. His name was Bobby Cox (from Chowchilla). During that same time period, Sharon Lee (guitar and vocals) joined the group. She added the female voice for high harmonies and for some of the girl songs out at the time (i.e., “A Thousand Stars”). What made it even better was that she was my sister.

To our surprise, we received a letter that stated we had to stop calling ourselves The Challengers as another group in town owned the name. Therefore, “The de-Fenders” (for Fender amps) was decided upon. After a period we began learning how to play our various instruments and started playing at local dances.

In November 1963, The de-Fenders were comprised of: Mike Wagner, lead guitar and vocals; Ken Valentine, lead guitar, vocals, sax; Robert Virden, bass guitar and vocals, and Dick Lee, drums. This line-up made two recordings in January 1964: “More,” an instrumental, and “Irritation,” an original tune. “Irritation” was our first attempt at an original song and “More” was taken from a movie, but with a surf sound added. The purpose of the recordings was for demo purposes and to press two tracks. The group rented a studio in Fresno, California and proceeded. During the same time period, Mel Simas became our manager. Mel heard the recordings and agreed to attempt to shop out the tracks to various record companies in Hollywood. Two days after the session, Mel was in Los Angeles and visited with executives of Dot Records, Liberty Records, Del-Fi Records, and numerous others. He returned to Lemoore and met with the group with the same message from all labels, “The tracks had no commercial value.” The group did not rehearse for two weeks and we began to wonder whether The de-Fenders were good enough to play professionally.

It was during this time period that Mike Wagner left the group due to his draft notice. Bobby Cox soon followed him. The de-Fenders now had only three members: Ken Valentine, Bob Virden, and me. The de-Fenders found a new guitar player/vocalist named Jim Mellick (from Lemoore and later Hanford). The group was up to four members: Ken Valentine, Robert Virden, Jim Mellick, and me and would remain so for several months.

We began playing at high schools, parties, and local events. We initially played a lot of local gigs for free and then someone actually paid us. This first paid gig was probably more of an event for us than our first record. It was difficult to believe that individuals would actually pay us to play music. It sort of made it more special because we were all such good friends. None of us ever took what we were doing seriously. On the weekends you could find The de-Fenders in my parents garage at 234 Champion Street or around the corner at my aunt and uncle’s garage on Hamlet Street. To this day, I often wonder why the neighbors never turned us in to the local police for excessive noise.

We began to play all over and also became a recording band for various other vocal groups. The 1960’s saw an explosion of musical groups. We traveled and backed up many groups and/or artists including Ian Whitcomb, Cannibal and The Headhunters, The Five Satins, The Penguins, Dick and Dee Dee, Roddy Joy, Chuck Berry, The Uniques, The Isley Brothers, Frank J. Wilson, The Coasters, Dick Dale and The Del Tones, The Drifters, The Pyramids, Bobby Freeman, and many others. One of the coolest things is that we made friends with many groups while touring and many bands that had not yet recorded. I especially recall Jim Duvall and The Gauchos (Fresno), Jim Waller and The Deltas (Fresno), The Charades Band (Tulare), The Spats (Bakersfield), The Roadrunners (Fresno) and The Stepping Stones (Tulare). The Gauchos were a tremendous group out of Fresno that presented two drummers and great harmonies. The Deltas were probably my favorite with their style of “Oldies But Goodies.”

One of my favorite memories occurred while backing up Chuck Berry. It was late 1964 and we were on a Melco Dance bill with Chuck Berry, The Isley Brothers, and The We Five. Chuck Berry was the last act to perform. Fifteen minutes prior to his time slot he still hadn’t appeared. He finally arrived about five minutes prior to going on. Remember, that we did not have any time to rehearse any songs. Bob Virden approached Berry and asked, “Mr. Berry, what songs do you want us to play?” Berry responded, “What do you mean boy – we are going to do Chuck Berry songs.” And with that he jumped out on the stage and began playing the intro to “Johnny B. Goode”. We collectively said, “Oh Shit,” and began following him through the beginning cord progressions. The night went well…but what an experience. I heard a recent interview with Bruce Springsteen and he described the same sequence of events with our hero, Chuck Berry.

In late 1964 The de-Fenders signed with a Los Angeles talent agency named Coast Artists. It was Coast Artists decision to change the name of the group to The Brymers. The name is pronounced “Brimmers”. Coast Artists CEO was an individual named Milton Doltch. I recall walking into his office with the other members and he was on the telephone with Ed Sullivan. Needless to say we were quite impressed. Coast Artists came up with the idea of shaving our heads for promotional purposes.

The talent agency and Diplomacy Records thought the audience would connect our shaven heads with Yul Brynner, the actor. Diplomacy and Coast Artists thought it would be a great publicity stunt to have our long hair shaved off in public. We were taken into Hollywood to an upscale salon. As the heads were being shaved the ordeal was being filmed and photographed by several magazines and television cameras. The result was four kids with baldheads and a band name no one could pronounce.

Through Melco Interprises we became associated with Al Verrismo (Tulare, California), Bill Silva (Diplomacy Records) and Chuck Sagle (arranger) in the Los Angeles area. Our repertoire changed from a surf band to a more refined group with good harmonies and excellent arrangements. Diplomacy Records sent individuals to work with us on presenting a show and not just a concert of songs. The Ike and Tina Turner Review and James Brown were great influences. We saw them perform on numerous occasions and knew how an audience responded to a group presenting a “Review” or “Show” verses just music. Towards the end of The Brymers’ as a group we had several different shows with numerous songs and medleys. It was drilled into us: “What occurs between songs is as important as the music itself.” All shows were meticulously choreographed (comedy, words, harmony and the music). We became very good at entertaining and it separated us apart from other white bands of the time. While on tour many different groups would ask, “Where did you guys learn that?” After a time, the group transitioned into a tight four-piece band. We attempted to copy The Beau Brummels, Beatles, Byrds, Association, and Dave Clark Five.

In March 1965, Coast Artists of Hollywood requested that we record a live set. The result was a live recording (one take) at the Bakersfield Civic Auditorium, Bakersfield, California. Mel Simas, Coast Artists, and Diplomacy Records picked the songs recorded. Coast Artists wanted a varied playlist that reflected the group’s versatility. Thus, pop, country, and commercial tunes were included.

Around this time we met a three-piece group that was finishing up two weeks at The Club Armona. The group was called Gear One and hailed from the Bay area. They quickly became friends and shared with us the recent 45 they had pressed for promotional purposes. The songs were “I Should Be Glad” (by a Swedish group called The Tages) and “Hello Little Girl” (a Lennon and McCartney song). In late March 1965, The Brymers entered H and R Studios in Hollywood and recorded “Only By Your Own” (original), “I Should Be Glad”, “Every Moment Of The Day”, and “Hello Little Girl” (a song written by Lennon and McCarthy, but never released in the U.S.). The group members were: Ken Valentine, guitar, sax and vocals; Jim Mellick, lead guitar and vocals; Bob Virden, bass guitar and vocal; and Dick Lee, drums. A few weeks after the session, Ken Valentine left the group and was replaced with Ken Sinner (organ, sax, guitar, vocals, songwriter) from Porterville. Within three months, Bob Virden left the group and was replaced with a new bass player, Bill Brumley of Visalia. Both Bill and Kenny were talented and versatile musicians and added a great deal to The Brymers. It was now 1966 and the group members were: Jim Mellick, Kenny Sinner, Bill Brumley, and me.

Some of the wildest times I can ever remember occurred when The Brymers were booked into University Fraternity Parties (i.e. U.C.L.A., University of California at Santa Barbara, San Diego State University, and numerous others). It was the mid 1960’s and the group was about to get its first initiation into the university scene. The following analogy is appropriate here – take Animal House and factor it by one thousand. The theme of the fraternity pledge party was, “who could do the grossest thing on the dance floor?” By 10:30pm or 11:00pm everyone was trashed, people were running around nude, and many fraternity brothers were lying in the hallways with their girlfriends (naked) trying to perpetuate the species (hummmm). Around 2:00am one young pledge won the grand prize for the grossest action. The fraternity pledge took his girl friend’s purse into the middle of the dance floor and opened it up. He then stripped off all his clothes, sat on the purse, and proceeded to *#%#@*& into it. He received a thunderous ovation from the onlookers and a round of drinks. Needles to say, it was a crazy evening for all.

Another funny incident occurred during the summer of 1967. The Brymers were performing a concert for a Bakersfield radio station (KAFY). It was a great gig and about 1500 kids were present at a venue by the lake on a warm August evening. Prior to going on, the group members decided to have a few “gin and tonics.” After 10 or 12, I had lost count. Now, it was time to go on and perform. I had a special drum platform, which stood about four feet high. Little did I know that as we progressed through the show, my drummers’ throne was getting dangerously close to the edge of the platform. In the middle of performing “Sacrifice,” the drummers’ throne and I went flying off the platform backwards. There I was – lying flat on my back wondering what had just happened. After catching my breath, I climbed back on the throne and continued playing. The big joke was that no one ever missed me!

In October 1966, the group entered the studio once more and recorded the songs “Sacrifice”, “I Want To Tell You”, and backed up April Silva on a cover of “Under My Thumb”. Remember, that during 1966 there were minimal studio effects that could be used. Kenny Sinner came up with the idea of taking a small amp and placing a huge 15” speaker in it. During the recording of “Sacrifice”, Kenny purposefully overpowered his amp causing smoke and sparks to pour out of the back. He eventually blew it up which resulted in the distortion sound you hear in “Sacrifice”. The engineer ran out of the booth - tape running - and yelled, “You fucking idiots are going to burn the studio down.” Kenny responded, “Now that is the sound I was looking for.” And, that sound is on the recording of “Sacrifice”. It should be noted that Kenny wrote both songs.

Bill Silva and Chuck Sagle both said they thought we had a hit with “I Want To Tell You.” “Sacrifice” was looked upon as a B-side filler. Silva said that his label did not have enough clout so they shopped it out to other record companies. Mercury Records was interested in both tracks, but sent in a songwriter and asked us to lay down new lyrics for the vocal track (“I Want To Tell You”) and rename the song. Since it was the middle of the Vietnam War, Mercury said we needed a protest song or war song. Therefore, new lyrics were recorded and the name of the song was changed to “Make Love Not War” on the Mercury label. The lyrics were rather lame but we re-recorded the song.

We never did get information from our managers or Coast Artists concerning the remake or distribution of “Make Love Not War.” I have no idea if it was ever released. Diplomacy Records then released “I Want To Tell You” (the original recording) and “Sacrifice.”

The Brymers became a working band with numerous gigs all over the west coast. Frequently after gigs in large cities, we would all head to after-hours black clubs. We probably learned more about entertainment than any record company could teach us. Many times we would be the only white faces in a black club in the wee hours of the morning. Racial prejudice was at its peak in the mid-‘60’s but musicians were colorblind. On numerous occasions, group members would be invited to sit in. Ken Sinner would be playing his late-‘50’s telecaster, there would be horns, and off we would go on “High Heel Sneakers” or “Stormy Monday Blues.” We learned a lot about people, music, and the presentation of music.

In early, 1967, Jim Mellick left the group due to family responsibilities. Jim was replaced with a new lead guitar player and vocalist named Bobby Hollister from Visalia. Bobby had great presence, a tremendous voice, and looked a lot like Bobby Darin. Two of The Brymers’ vocalists sounded just like Bobby Hatfield and Bill Medley (The Righteous Brothers). One of our show tunes was “Turn On Your Love Lights.” We featured Bobby Hollister (low base voice like Bill Medley) and Bill Brumley (high end of the harmony like Bobby Hatfield). Both individuals would be stage center and use one mike to sing a verse then toss it about 15 feet to the other to sing a verse. It was a great presentation to end a show with.

Another crazy time occurred while the group was booked into a San Francisco venue in 1967. Bobby Hollister (lead guitar and vocalist) had hooked up with this beautiful young blonde after a concert. He proceeded back to his hotel with the young lady and both entered his room. The rest of the group was next door playing poker and having a few beers to unwind. At one point, we heard Bobby yell and run out of the room. We instantly went to the door to see what the problem was. Hollister came running into the room yelling, “It’s a guy! It’s a guy! She has a penis.” To his surprise, he had hooked up with a transvestite who was a working female impersonator in a North Beach nightclub. Needless to say, Bobby was always ribbed about the incident and always checked that future women did not have a “package.”


“I Want to Tell You” began to receive a lot of airplay around the country. As a result, we became more popular. After we recorded, we transitioned into touring and playing at universities and large concert halls. Coast Artists booked us numerous times in San Francisco at clubs such as The Condor Club (North Beach), Pierre’s (North Beach), The Purple Onion (North Beach) and The Hilton’s Tiger A Go Go. We were booked in Los Angeles into clubs such as P.J.’s and The Thunderbird Hotel. We played numerous times in Sacramento at The Embers and The Trophy Room. The group traveled through Utah, Oregon, Washington, and California. We were featured on various TV shows from Los Angles to Utah.

On the morning of September 2, 1965 and we received a call from Al Verrismo that the group had to be in Hollywood the next day at ABC Studios to audition for the TV show Shindig. Verrismo and Silva’s other group from the valley, Jim Doval and The Gauchos, had recently made their debut appearance. The Brymers audition consisted of three songs: “Hang on Sloopy,” “Sweet Little Sixteen,” and “Help.” After about fifteen minutes, the audition was over. Within the hour the group met with Simas, Verrissmo and Silva and were informed that ABC wanted the group to tape an appearance within two weeks. Within a month the show was cancelled from its time slot. Needless to say, The Brymers never appeared on Shindig.

While playing at the Gimlet Lounge (Ogden, Utah) a TV show promoter caught our act and asked to speak with me after the show. The individual’s name was Eugene Jalesnik. After introductions, Eugene asked if The Brymers would appear on his Saturday Night Live variety show in Salt Lake City. After contacting our manger it was a go. The show was called Stairway to the Stars and it featured amateur acts plus one professional act. We found out that individuals like Connie Francis, Bobby Freeman (“The Swim”), and numerous current recording artists had been featured. Due to the time period, the group was not allowed to play live, but had to lip-synch the words. Upon arrival, Eugene mentioned that he was ill and asked if I would emcee and introduce the amateur acts. I had never done anything like this before, but being a 21 year-old idiot said, “Sure.” I cannot believe that I made it through 45-minutes of introductions. The last act of the evening was the feature professional act. This Saturday night it was The Brymers. Another announcer introduced us and we went on and lip-synched “I Want to Tell You.”

The endless traveling, eating the same monotonous restaurant food, motel living, and poor money eventually led to the disbandment of The Brymers. The group members felt that Coast Artists and Diplomacy Records were making more money than we were at the time. Diplomacy Records and Coast Artists kept telling us, “Hang in there. Things will happen. You are going to make it.” Nothing ever really materialized. It was early 1968 and The Brymers formally disbanded. Later that year, I joined another group based in Pismo Beach, California. Its founder, Merrell Fankhauser, was a creative songwriter with whom I recorded an album. The group’s name was Fapardokly. But, that is another story for another time.

The Brymers’ band members are all still active musicians – some more than others. Probably the most active is Kenny Sinner. Kenny is still recording CDs and has written over 400 songs. The man is still the master of the guitar, keyboards, sax and percussion. Skinny (as he is know to all of us) resides with his wife in Porterville, California.

Jim Mellick (or Sluggo, as he is known to us) is still playing music part-time and works in the electronics field. It was Sluggo who repaired all the electronic gear, amps, and guitars while we were on the road. Jim is a great vocalist and lead guitar player. His voice often reminded me of Roy Orbison (especially on the cover track of “Pretty Woman”). Sluggo resides in a small mountain community of Three Rivers, California. On the weekends, he plays music and follows his passion of traveling everywhere on his Harley.

Kenny Valentine is still playing music part-time and writing music everyday in his Sparks, Nevada home. Val (as he is known to the group) is the master of musicology. Kenny plays the guitar, sax, keyboards, and about any other instrument placed in front of him. Val is also a lead vocalist, sings great harmonies, and is a tremendous songwriter. Kenny works frequently as a consultant to musicians in the Reno area. He resides in Sparks with his lovely wife, Kathy.

Bill Brumley resides in Colorado Springs, Colorado with his wife. Bill was the individual who provided the high-end harmonies on “Sacrifice” and “I Want To Tell You.” Bill brought the blues and soul influence to The Brymers. He was once a member of the great Fresno group, Hayward Lee and Te Mauraders. Bill always reminded me of a Bobby Hatfield or Timmy B. Schmidt with his soothing high voice. Bill was an excellent showman and front man.

Robert Virden resides in Idaho with his wife Linda. Robert was known as “The Thumb” because he accidentally shot off his right thumb with a shotgun when he was a teenager living in Stratford. Remember, that this guy is a bass player without a thumb. Robert would hold a special pick between his index finger and forefinger while he played. We would always kid Robert that he could never hitchhike going north since he did not have a right thumb. Robert was the bass man prior to Bill Brumley and was also an excellent vocalist.

Mike Wagner was with The de-Fenders and helped formed the group. Mike remains an excellent guitar player and resides in Visalia, California. Mike works part-time at a local school assisting with a class of students who have special needs.

Bobby Cox was also a member of The de-Fenders and played keyboards. It was Bobby you hear on the piano tracks of “More” and “Irritation.” Numerous attempts have been made to contact “Bobby C.” but all have been unsuccessful. It is believed that he resides in the Fresno area.

Bobby Hollister was a lead vocalist and lead guitar player who replaced Jim Mellick. Bobby was a tremendous vocalist/front man who often reminded me of Bobby Darin in appearance and voice. When The Brymers were booked into an upscale club, it was Bobby who could perform songs such as “That’s Life” and soul songs. Hollister along with Bill Brumley often perform show tunes by The Righteous Brothers. Bobby is another member who we have been unable to contact as of this writing.
As for me, I was also one of the founding members and stayed with the group until its disbandment in late 1967. It was a tremendous ride in which all of us shared some precious memories and some embarrassing memories. I recently found a journal that I kept from 1963 through 1967 and many of the entries embarrassed me. I remain a part-time musician and reside in Eugene, Oregon where I continue to work as a practicing psychologist. Mike, Val, Skinny, Sluggo, The Thumb, Bobby C., Bobby H., and Bill – thank you for being such great friends. You could never duplicate what we experienced together. You are my family.

It is difficult to talk about the experience in recording studios, cities, etc. with individuals who never experienced the life. It is something that I will never forget and it made a major impact on my life. The current fleeting ten seconds of attention to The Brymers is what it is: “10 Seconds of Brief Attention.” Being older and more mature helps place recent events in proper perspective. My main goal is to get some form of recognition for The Brymers band members and especially Kenny Sinner (writer/vocalist and excellent musician). We have been and still are great friends. During the ‘60s all of us shared one belief: “Our friendship and The Brymers band was bigger than any one individual.” October 2006 was the first time I was made aware that “Sacrifice” was a garage favorite. As a result of its popularity, group members (Jim Mellick, Ken Valentine, Kenny Sinner, Bill Brumley, Bob Virden, and I) will be re-entering the studio in March 2007 and record more originals from the mid 1960’s. Many thanks to all of you who love the ‘60’s garage sound and remember “Sacrifice.”
Di Nov 24, 2009 5:43 pm Benutzer-Profile anzeigen Private Nachricht senden
Gerd Miller



Anmeldedatum: 17.09.2008
Beiträge: 18898
Wohnort: Wien

Beitrag Antworten mit Zitat
Mir rinnen jetzt noch die Augen und meine Englisch-Kenntnisse wurden arg strapaziert, aber trotzdem mein Resümee:
Was Bobby Hollister für diesen Bereich noch prädestiniert sind neben dem PIKE-Label nurmehr die Rialtos. Alles Andere spielt sich bereits in den späten Sechzigern ab
Keep Searchin'
Gerd
So Okt 23, 2011 6:53 am Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
hier noch das Cover für die oben gezeigte Single von Bobby Hollister (11.9.1942 - 23.3.1993)

Billy



Hollister, Bobby .jpg
 Beschreibung:
 Dateigröße:  28.31 KB

Hollister, Bobby .jpg


Sa Feb 18, 2012 7:40 pm Benutzer-Profile anzeigen Private Nachricht senden
Gerd Miller



Anmeldedatum: 17.09.2008
Beiträge: 18898
Wohnort: Wien

Beitrag Antworten mit Zitat
Da ich jetzt endlich die Instrumental-Single der Rialtos auf PIKE bekommen habe, kam ich zwangsläufig wieder zu diesem Thread und konnte feststellen, dass ich seinerzeit zwar mit Bobby Hollister begonnen habe, dass sich aber seither alles in Richtung Rialtos entwickelt hat. Ich habe daher dieses Buchstaben-Forum zu einem Rialto-Forum "umgemodelt" was auch den Vorteil hat, dass man jetzt auch andere Rialtos "offiziell" behandeln kann.

DIE NEUE ZUSAMMENFASSUNG
1.)
Bobby & The Rialtos wurden im Jahre 1959 von Bobby Hollister, Lead-Gesang und and Rhythmus-Gitarre, Freddie Thomas, Lead-Gitarre, und Mike Nolan, Sclagzeug, in Tulare, Kalifornien, gegründet. 1961 landeten sie bei PIKE in Bakersfield, Kalifornien, wo sie einmal als Begleitung für Dickie Garland fungierten und zwei eigene Singles, einmal instrumental mit Freddie Thomas auf der Lead-Gitarre, und einmal vokal mit Bobby Hollister als Sänger. Möglicherweise arbeiteten sie bei PIKE auch im Hintergrund.
Die Singles:
PIKE
06 61....P-5905....DICKIE GARLAND Music by THE RIALTOS..Shake Bop (RF 119)/You're Gonna Be Sorry (RF 120)
?? 61....P-5907....THE RIALTOS featuring FREDDIE THOMAS..Like Thunder (RF 123)/Breakin (RF 124) (Delta-Nr.: 39397-x/39397)
?? 61....5910....EM 6 4577..BOBBY HOLLISTER WITH THE RIALTOS..Love's Gamble (RF 129)/Ring Around Your Neck (RF 130)
2.)
Über Chano and The Rialtos konnte ich bisher, ausser diesen zwei Singles, keine weiteren Daten finden.
Die Singles:
JIN
?? 62....45-154....CHANO and THE RIALTOS..Guardian Angel/Don't Forget To Write
CUE
?? ??....751....CHANO And The Rialtos..Love Party/Something From Heaven
3.)
Bei Jerry und seinen Rialtos ist zu vermuten, dass sie aus Texas stammen, da beide Labels dort ihren Firmensitz haben.
Eine Single mal zwei:
TAB
?? 63 T-108....JERRY AND THE RIALTOS..Whatcha Gonna Do/It's All In Fun (dann ALL BOY 8512)
ALL BOY
08 63....45-8512V....JERRY and The RIALTOS Whatcha Gonna Do (ZG 69025)/It's All In Fun (ZG 69026) (TAB 108)
4.)
Billy's Vermutung, dass es sich hier um die PIKE-Rialtos handelt, kann ich nicht bestätigen. Die Autoren bei beiden Titeln heißen nämlich "Rodriguez-Gaul-Zubillaca-Ruiz-Campos" und das schaut mir sehr nach Gruppen-Mitgliedern aus.
Die Single:
C B
?? 64....5009....THE RIALTOS..Let Me In (CRS 1017)/It Hurts (CRS 1018)

Keep Searchin'
Gerd



k-rialtos 1.jpg
 Beschreibung:
 Dateigröße:  58.34 KB

k-rialtos 1.jpg



k-rialtos 2.jpg
 Beschreibung:
 Dateigröße:  57.62 KB

k-rialtos 2.jpg


Do Okt 29, 2015 10:14 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
auf dieser LP mit Pike's

Karate - Rialtos
Shake Bop - Dickie Garland & the Rialtos
No hit - Dickie Garland & the Rialtos
Breakin' - Freddie Thomas & the Rialtos
Like thunder - Freddie Thomas & the Rialtos
Monkey bite - Freddie Thomas & the Rialtos
Ring around your neck - Bobby Hollister & the Rialtos



Pike Recordings - White Label 8888.jpg
 Beschreibung:
 Dateigröße:  38.72 KB

Pike Recordings - White Label 8888.jpg


Do Okt 29, 2015 11:02 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
hier gibt es ein Rudy & the Rialtos mit "Christmas tears will fall"



I Love My Doo Wop Christmas Vol 6 Front.jpg
 Beschreibung:
 Dateigröße:  99.21 KB

I Love My Doo Wop Christmas Vol 6 Front.jpg


Do Okt 29, 2015 11:12 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
hier ist der Titel von Jerry & the Rialtos drauf



Early Teenage Rockers - Vol 04 - (Back)x.jpg
 Beschreibung:
 Dateigröße:  71.25 KB

Early Teenage Rockers - Vol 04 - (Back)x.jpg


Do Okt 29, 2015 11:18 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
hier ist Chano mit seinem "Guardian angel" vorhanden: usw.



-- White Group Sound Vol 1 (3).jpg
 Beschreibung:
 Dateigröße:  812.87 KB

-- White Group Sound Vol 1 (3).jpg


Do Okt 29, 2015 11:27 pm Benutzer-Profile anzeigen Private Nachricht senden
DieterM



Anmeldedatum: 06.03.2005
Beiträge: 26309

Beitrag Antworten mit Zitat
Die Gruppen Nr. 3.) und 4.)



Rialtos01TAB.jpg
 Beschreibung:
 Dateigröße:  23.31 KB

Rialtos01TAB.jpg



Rialtos02CB.jpg
 Beschreibung:
 Dateigröße:  23.8 KB

Rialtos02CB.jpg


Fr Okt 30, 2015 10:17 am Benutzer-Profile anzeigen Private Nachricht senden
Gerd Miller



Anmeldedatum: 17.09.2008
Beiträge: 18898
Wohnort: Wien

Beitrag Antworten mit Zitat
Wie ihr sicher alle wisst, interessieren mich CDs weniger als ein verdorrter Grashalm. Das Einzige, was bei CDs für mich von Interesse sein könnte, sind die Beipack-Informationen, die ich unter Umständen zu diversen Abgleichungen heranziehen kann. Allerdings ist immer Vorsicht geboten, was aber weniger mit der CD zu tun hat, denn das gilt auch für Vinyl-Wiederveröffentlichungen etc.
Jedenfalls wollte ich einmal versuchen, eine solche CD zu analysieren und nahm dazu "Billy's CD" aus den Niederlanden aus 1985 "The Pike Recordings" (WHITE LABEL 8888), und das kam dabei raus:
Die Titel: *)
..1. Dickie Garland & The Rialtos - Shake Bop (Alternate Version) (Unissued) (2:04)
..2. Dickie Garland & The Rialtos - No Hit (Unissued) (2:17)
..3. Freddy Thomas & The Rialtos - Breakin' (Alternate Version) (Unissued) (2:20)
..4. Bobby Hollister & The Rialtos - Ring Around Your Neck (Alternate Version) (Unissued) (2:57)
..5. Little Ronnie Sessions - Keep A Knockin' (Unissued) (1:57)
..6. Little Ronnie Sessions - I Got A Lot On My Conscience (Unissued) (2:05)
..7. Vancie Flowers - What A Man (Alternate Version) (Unissued) (2:14)
..8. The Rialtos - Karate (Unissued) (2:09)
..9. Al Hendrix With Jolly Jody & His Go Daddies - Monkey Bite (1:47)
10. Al Hendrix With Jolly Jody & His Go Daddies - Rhonda Lee (1:52)
11. Freddy Thomas & The Rialtos - Like Thunder (Unissued) (2:15)
12. Tommy Dee & Gene Moles - Sheep (Unissued) (1:52)
13. Al Hendrix With Jolly Jody & His Go Daddies - Foolin' Around (Instrumental) (Unissed) (2:07)
14. Baby Bugs - Bingo's Bongo Bingo Party (1:33)
15. Baby Bugs - Bingo (2:35)
16. Al Hendrix With Jolly Jody & His Go Daddies - Jumping Johnny (Unissued) (2:27)
17. Al Hendrix With Jolly Jody & His Go Daddies - Go Daddy, Rock (Alternater Version) (Instrumental) (Unissued) (2:16)

zu 5. und 6. diese Single gab es sehr wohl, oder man hat nur den Klammervermerk
.........(Alternate Version) vergessen (PIKE P-5908)
zu 8. hier wurde der Hinweis (Instrumental) vergessen
zu 9. = PIKE 5912
zu 10. dieser Titel wurde zu einer Zeit bei TALLY eingespielt (TALLY 119 dann
.........ABC-PARAMOUNT 9901), wo es PIKE noch garnicht gab
zu 14. und 15. hier handelt es sich um die Single VEE-JAY VJ 594 vom Mai 1964.
.........Es wurden offenbar für diese Novelty-Single unverwertete PIKE-Aufnahmen von
.........Tommy Dee & Gene Moles mit Gag-Overdubs versehen und dann veröffentlicht

Und dazu authentisch aus der Zeit, ein Scan einer meiner Neuzugänge.
Keep Searchin'
Gerd


*) Da habe ich mich völlig verrannt, wie mir Billy dankenswerterweise
....mitteilte. Ich habe zwar meine Meinung zur CD im Allgemeinen
....dargelegt, hier handelt es sich aber um eine LP (WHITE LABEL LP 8888)
....Gerd



k-rialtos 1.jpg
 Beschreibung:
 Dateigröße:  57.96 KB

k-rialtos 1.jpg



k-rialtos 2.jpg
 Beschreibung:
 Dateigröße:  57.69 KB

k-rialtos 2.jpg




Zuletzt bearbeitet von Gerd Miller am So Nov 01, 2015 3:38 pm, insgesamt einmal bearbeitet
So Nov 01, 2015 1:38 pm Benutzer-Profile anzeigen Private Nachricht senden
Billy Bryan



Anmeldedatum: 08.10.2008
Beiträge: 33709
Wohnort: Berlin

Beitrag Antworten mit Zitat
haha Gerd,

einen Fehler hat deine genaue Aufstellung trotzdem, es ist keine CD Wink Wink ,
sondern eine LP, wie man an der Rückseite (wenn auch etwas undeutlich) sehen kann.

Gruss nach Wien,
Billy



Pike Recordings WLP8888 (2)_Bildgröße ändern.jpg
 Beschreibung:
 Dateigröße:  230.4 KB

Pike Recordings WLP8888  (2)_Bildgröße ändern.jpg


So Nov 01, 2015 3:13 pm Benutzer-Profile anzeigen Private Nachricht senden
Beiträge der letzten Zeit anzeigen:    
Neue Antwort erstellen    Foren-Übersicht » restliche Interpreten mit R Alle Zeiten sind GMT
Gehe zu Seite 1, 2  Weiter
Seite 1 von 2

 
Du kannst keine Beiträge in dieses Forum schreiben.
Du kannst auf Beiträge in diesem Forum nicht antworten.
Du kannst deine Beiträge in diesem Forum nicht bearbeiten.
Du kannst deine Beiträge in diesem Forum nicht löschen.
Du kannst an Umfragen in diesem Forum nicht mitmachen.
Du kannst Dateien in diesem Forum nicht posten
Du kannst Dateien in diesem Forum herunterladen


Powered by phpBB © 2001, 2007 phpBB Group