FRANTICS, The

Homebase: Seattle, WA
Stats: 1955-66
Misc Notes:
SEE ALSO:
1.) FOUR PEARLS, The [Dolton 26]
2.) FLEETWOODS with The FRANTICS, The [Dolton #30 - "I Love You So"]
3.) LITTLE BILL with the FRANTICS [Topaz #1303 - "Sweet Cucumber"]
4.) STAN & MIKE [Topaz 31691 / 31692]
5.) GOOD SISTERS, The (Hitt #0001)
6.) PETERSON & THE ACCENTS, RON
7.) THOMAS and THE TRU-SONICS, TRACY
8.) HENRY & THE OLYMPICS, JAMES
9.)
MOBY GRAPE
10.) JR. CADILLAC

The Four Frantics:
Ron Petersen ~ Guitar
Chuck Schoning ~ Accordion (d. 2001)
Gary Gerke ~ Piano
Joel Goodman ~ Drums

The Frantics Original Members:
Ron Petersen ~ Guitar
Chuck Schoning ~ Accordion, Keyboards, Sax (d. 2001)
Bob Hosko ~ Sax (d. )
Jimmy Manolides ~ Bass, Vocals (d. 2016)
Joel Goodman ~ Drums

Frantics Later Members:
Joe Valentine ~ (2nd /Drums)
Gene "Geno"  Landis ~ Bass

Dean Tonkin ~ Bass
Don Fulton ~ Drums (d. )
Joe Johansen ~ Guitar (d. 1997)

Jerry Miller ~ Guitar
Don Stevenson ~ Drums
Jon Keliehor ~ Drums

"THE FRANTICS: SEATTLE's TOP TEENAGE '50s BAND"
by Peter Blecha

IN THE EARLY YEARS OF ROCK ‘N’ ROLL major recording artists often toured through regions of the country alone or with an accompanist, hiring various local bands to perform with them. So it was on February 22, 1959 when Bobby Darin rocked his hits, “Early In The Morning,” “Splish Splash,” “Queen of the Hop,” and “Plain Jane” for a capacity crowd at Parker’s Pavilion. His backup band?...Seattle’s top teen band, the Frantics.

L-to-R: Jim Manolides, Chuck Schoning, Bob Hosko, Don Fulton, Ron Peterson.

From all accounts Darin was ecstatic that evening, returning to the stage after his featured set to join the band on backing vocals, a little piano, and even drumming a song or two. Later that night, phoned arrangements were made for an impromptu recording session with Joe Boles, the local audio engineer responsible for “Come

Softly To Me” the then-current breakout hit by Olympia’s teen trio, the Fleetwoods – a song that would soar to the nation’s #1 spot by March.

The Frantics arrived at the West Seattle neighborhood studio the following morning half-wondering whether the pop star from New York would actually follow-through on the previous evening’s late-night talk. But, Darin did arrive and immediately set about arranging, with the band, two brand new songs, each freshly

penned on Olympic Hotel stationary. Three hours later the session was completed, Darin was thrilled and grateful to have gotten great takes on both songs. Each player was paid $90, thanked, and then Darin headed south to complete the final dates on his tour schedule.

Less than two months later the “Dream Lover” / “Bullmoose” single entered the national charts, climbing to the #2 slot, and eventually selling over 3.5 million units. Along the way, however, Darin’s corporate overlords back in New York had gotten him to cut the tunes from scratch, but the Frantics could hear little difference from their “Dream Lover” and even chuckled after listening to how the New Yorker players had worked to capture their band’s sound on “Bullmoose.”

The Frantics’ beginnings trace back to Jane Adams Jr. High School, and yes, the proverbial talent show. Billed as the Four Frantics, Ron Peterson (guitar), Chuck Schoning (accordion), and a couple buddies then performed at community dances for the next few years. By October 1957, the combo’s lineup had solidified with Peterson, Schoning, Bob Hosko (sax), Joel Goodman (drums), and

Jimmy Manolides (vocals – though he was soon peer-pressured into learning electric bass). The Frantics were one of only three known Seattle rock bands at that time – the other two being from the town’s Central District: the Dave Lewis Combo and the Playboys (with Ron Holden).

FOUR FRANTICS: Joel Goodman, Ron Petersen, Chuck Schoning, Gary Gerke

Based in the North-end, and with all-Caucasian members, the Frantics filled a void and they quickly became a hit on the P.T.A. dance circuit. It was at one early show that the boys were seen by the head of Seattle’s Musicians Union AFM #76, Chet Ramage. Miffed that they were performing before a large crowd without being dues-paying union members, he unplugged their amps mid-song and admonished them to come to headquarters and join up. That done, the Frantics soon found an almost unlimited range of gigs to play: theaters, proms, community halls, and television spots. Highlights included gigs where they played support for additional touring stars including Gene Vincent, Jimmy Clanton, and even Fabian.

 

One evening in late-1958, after a rehearsal and apparently on a collective whim, the guys loaded their gear into a couple of cars and drove to the downtown studios of KOL radio. They waved at the DJ, Art Simpson, through a window and then, before they knew it, they were inside the station’s small studio recording. That same night Simpson began broadcasting their original instrumental, “Checkerboard.” In fact the DJ was impressed enough to send them over to meet Bob Reisdorff, A Seattle record distributor who had just signed a teen vocal trio from Olympia, the Fleetwoods. Within a few months Reisdorff’s Dolton Records would score national hits by five different teenage groups from the Northwest.

It was on May 25, 1959, that the Frantics debut single, “Straight Flush” / “Young Blues,” hit the national charts (Billboard magazine, #91) and set the standard for most of their subsequent releases by topping the local radio charts at KOL, KJR, and even KING. At this point Don Fulton replaced Goodman, drumming on their second single “Fogcutter” / “Black Sapphire” which hit Billboard (#96) in September.

The third single ("Werewolf" / "Checkerboard)" had been intended to score during the upcoming Halloween/Christmas holiday shopping season, but technical issues delayed its release until the New Year. Entering the charts on February 29, 1960, its timing was fated to coincide with the United States Senate Subcommittee new hearings on payola and corruption in the music biz. During these the senators got all wound up investigating the content of songs rather than focusing on more serious aspects of the music industry’s Evil Empire. So, artists were attacked for the “gimmicky” or “disturbing” elements of their songs and the radio industry began to get gun-shy about breaking new songs that bore any questionable elements.

“Werewolf” featured creepy Thriller-esque spoken intro and maniacal wolf growls (as provided by audio engineer, Kearney Barton) and gothic pre-spaghetti-western guitar figures. After shooting up Billboard’s charts (“with a bullet”) for its first two weeks, “Werewolf” mysteriously disappeared. Reisdorff responded immediately by reissuing the song sans its sinister narration or howls -- retitling the thing “No Werewolf.” While no longer “gimmicky,” it was also no longer fun for the teenage masses and it died a quick death.

The Frantics released total of eleven singles between 1959 and 1962, all of which showed the band’s members to be top-notch players, but the latter ones – including “Yankee Doodlin,’” “San Antonio Rose,” and even “The Whip” (which featured the skills of famed bullwhip artist, Monty Whiplash), were all clearly attempts at cracking the novelty-instrumental market ala Johnny & the Hurricanes.

Ron Petersen (guitar), Bob Hosko (sax), Jim Manolides (bass), Chuck Schoning (keys), Don Fulton (drums).

In March 1961, when the last of the band’s members turned 21, the Frantics were hired at Dave Levy’s old jazz club, Dave’s Fifth Avenue, becoming the first bona fide rock band to be booked into a Seattle tavern. They played the room for months on end and it seemed that the whole town turned out to dance. Then Manolides jumped ship to join the Dave Lewis Trio who scored an extended gig at Dave’s.

The following year, when the 1962 Seattle World’s Fair opened across the street on the new Seattle Center campus in April, the Frantics retuned to Dave’s, playing to SRO audiences all through the following autumn. They also cut two Fair-themed singles: the “Meet Me In Seattle Twist,” and “The Gayway Twist.”

Time went by and the Frantics experienced additional personnel changes – including bringing aboard a new drummer, Jon Keliehor, who had been in the official World’s Fair Band, and then a new guitarist from Tacoma, Jerry Miller. The band was getting some good job offers in California and on one fateful trip southward, Keliehor was hurt in a car-wreck – and Don Stevenson (formerly with the Continentals) was brought aboard.

While gigging south of San Francisco the band was now coming into increasing contact with the blossoming Flower Power counterculture. After cutting one final single in 1966  for the Action label, there was a falling out over psychedelic influences on their music – and the renaming of band  Luminous Marsh Gas may have been the final straw. More changes happened: Hosko returned to Seattle, Bob Mosely (bass) was added, and Schoning was axed. Finally, when L.A. folkie Peter Lewis (guitar) and the Jefferson Airplane’s original drummer, Skip Spence, both connected the band changed names one more time. Moby Grape first played the Fillmore Auditorium in November 1966 and their mind-blowing single, “Omaha,” hit the charts in July 1967.

Meanwhile, Keliehor healed and joined a new psychedelic folk-rock band from Seattle's University District, the Daily Flash, who enjoyed their own successes locally and in California. Then Schoning resurfaced a bit later, filling an opening in Haight Ashbury’s beloved band, Quicksilver Messenger Service. Finally, in 1970 Manolides and Hosko helped found the Northwest’s ultimate goodtimes/oldies band, Jr. Cadillac, who went on to rule the region’s tavern rock scene for a quarter century.

[Note: This is an edited version of an essay that originally appeared in the “Northwest Music Archives” column of Seattle’s The Rocket magazine back in March, 1984. Text copyright © 1984, 2014 by Peter Blecha.]

Memories: "I'm Joel Goodman, the second drummer (1954-58) with the Frantics. I think that I was asked to join the Frantics because I had a full set of drums and a car that could carry everyone and everything all at once. The practice sessions were held in my families 'rec room' with all the doors wide open. I remember my dad being very proud of our music and the guys in the band. We had a small organ that my dad turned over to Chuck (Schoning) to give us a little fuller sound. We then bought a 'Family Car' from one of the funeral homes and it was our mode of transportation for all of us and the instruments for awhile. I remember getting all of the different outfits like the plaid jackets and the white 'Overhauls.' I had a heck of a time getting the same type of shoe as I was a 13-14 and everyone else was a 8-9. I tried singing once but was asked not to try again. We made our first recording in a basement recording studio in West Seattle. We were introduced to the Fleetwoods there and we made their first cut of 'Come Softly To Me' at that time (they then went to California for the recording that we all know and love). Bob Hosko joined us after we heard him doing solos,  jamming in the lunch room at Lincoln High School and this brought a 'raunchy' sound to our music. As Joe Valentine says....'The rest is history - ancient history... but what a good time and all of the memories for all of us.'" - Joel Goodman, October 2003 correspondence with pnwbands.com website [courtesy of webmaster Sam Carlson]

Pasco Tri-City Herald, August 2, 1959.

TITLE
LABEL
SERIAL
DATE

MISC NOTES: Unreleased reference disc from Ron Peterson's collection.

LOCATION: Seattle
RECORDING PERSONNEL: Ron Peterson (guitar);
RECORDING STUDIO: Northwest Recorders (622 Union Street)
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE:
SPEED: 45 rpm
DISC NOTES: acetate

A-SIDE MATRIX:
A-SIDE STAMPER CODE:
A-SIDE COMPOSER:
A-SIDE PUBLISHER:

B-SIDE MATRIX:
B-SIDE STAMPER CODE:
B-SIDE COMPOSER:
B-SIDE PUBLISHER:

MISC NOTES:

(All labels) Monarch Records pressing #s: ^   /   ^    (      )

LOCATION: Seattle, WA.
RECORDING PERSONNEL:
RECORDING STUDIO: Boles Custom Recorders
RECORDING ENGINEER: Joe Boles

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

Known Label Designs: 
1PA.) A - B promo label. NOTE: Based on available artifacts it appears that prior to distribution being picked up by Liberty Records there were no Dolton #2 black and white promotional labels. One pre-Liberty #2 "promo" label (1PA) has  a retail light blue background with dark 1st three fish blue logo, numerals, etc. with the words PLUG SIDE rubber stamped by hand in dark blue ink on the "Straight Flush"  title side.
1PB.)A - B promo label. 1st three fish logo centered above spindle hole. White  background. Black logo, numerals and lettering. PROMOTIONAL COPY NOT FOR SALE to right of lowest fish nose.  Disc # center right of spindle hole: No. 2. Address 708 - 6th Avenue No. Seattle 9, Washington center arced  along bottom edge of label.  Distributed by Liberty Sales Corp. Hollywood, Calif.
1RA.) A - B retail label. 1st three fish logo design centered above spindle hole. Light blue  background. Darker blue logo, numerals and lettering. Disc #  center right of spindle hole: 2 - 1, 2 - 2. Address:  708 - 6th Avenue No. Seattle 9, Washington center arced along bottom edge of label. No Liberty distribution wording.
1RB.) A - B retail label. 1st three fish logo design centered above spindle hole. Light blue background. Darker blue logo, numerals and lettering. Disc # center right of spindle hole: No. 2.  Address:  708 - 6th Avenue No. Seattle 9, Washington center arced along bottom edge of label. Distributed by Liberty Sales Corp. Hollywood, Calif.
3RA.) A - B retail label.3rd multi-colored three fish logo design center left center of spindle hole. Dark blue background. Black numerals and lettering except Division of Liberty Records, etc. arced along bottom of label. Disc # center right of spindle hole: No. 2. This label variation was released in 1962, to coincide with the Seattle World's Fair when The Frantics played "across the street" from the fairgrounds at Dave's 5th Avenue nightspot.
5RA.) A - B retail label. 5th  logo. Capital D  left center of spindle hole. Black and blue  background. Silver numerals and lettering. Vocal with Orchestra/Vocal with Orchestra This 5RA design  is a real puzzler. (The same holds true for Dolton # 62.) Release date is not known, but this capitol D format first appeared on a regular basis ca. 11/65 (Dolton #313) and was used through the end of the label's 45  run (Dolton #327, 12/66 or 1/67).

"Straight Flush" Album Reissues:
1964. Side one, track #2 on compilation lp The Original Great Northwest Hits Volume I (Jerden JRS - 7001/JRL - 7001 - S)

1976. Side one, Track #1 on compilation lp The History Of Northwest Rock Volume I (The Great Northwest Music Co. GNW 4003)

2004. Track #1 on compilation cedThe Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

"Young Blues" Album Reissues:
2004. Track #2 on compilation cd The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

A-SIDE MATRIX:
1PA.)  2 - 1
1PB.) DO - 602
1RA.)
1RB.)  DO - 602
4RA.)  DO - 602
5RA.) DO - 602
A-SIDE STAMPER CODE:
1PA.) 45 - 2B    A - DO - 1
1PB.) ^28945    DO  602 (2) (etched)
1RA.) ^28938   45 - D -  2B - RE - 1 (etched)
1RB.) ^28938   45 - DO 602 (2) (etched)
4RA.) ^289384  45 - DO  602 (etched)
5RA.) ^28938    DO 602 (1); (etched)
A-SIDE COMPOSER: Manolides - Peterson - Hosko - Schoning - Goodman
A-SIDE PUBLISHER: Cornerstone (BMI)

B-SIDE MATRIX:
1PA.)   2 - 2
1PB.)  DO - 603
1RA.)
1RB.)  DO - 603
4RA.)  DO - 603
5RA.)  DO - 603
B-SIDE STAMPER CODE:
1PA.) ^28939     45 - D - 2A (etched)
1PB.) ^28939     45 - DO 603 (2)
1RA.) ^28939   45 - D - 2A (etched)
1RB.) ^28939    45 - D) - 603 (etched)
4RA.) ^28939     45 DO - 603 (etched)
5RA.) ^28939    45  D0 - 603 (etched)
B-SIDE COMPOSER: Manolides - Peterson - Hosko - Schoning - Goodman
B-SIDE PUBLISHER: Cornerstone (BMI)

MISC NOTES:

"Fog Cutter." This was an excellent instrumental tune that was dubbed after a famous cocktail first concocted at Trader Vic's, a(n) historic nightspot that had been granted the very first post-Prohibition license to serve mixed drinks in Seattle."

STOMP and SHOUT    R & B and the Origins of Northwest Rock and Roll. Pg. 83.
Peter Blecha. University of Washington Press (2023).

1PA & 1RA.) Monarch Records pressing #s: ^30622 / ^30623 (Jul., 1959)

9/59: "Fog Cutter" charted on Billboard's Top 100.

LOCATION: Seattle, WA.
RECORDING PERSONNEL:
RECORDING STUDIO: Boles Custom Recorders
RECORDING ENGINEER: Joe Boles

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

Instrumental/Instrumental

Known Label Designs:
1PA.) A - B promotional label. 1st three fish logo design centered above spindle hole. White background. Black logo, numerals and lettering. PROMOTIONAL COPY NOT FOR SALE to upper right of spindle hole below nose of lowest fish. Disc # right center of spindle hole: No. 6.

1RA) A - B retail label. 1st  three fish logo centered above spindle hole. Light blue background. Dark blue logo, numerals and lettering. Disc # right center of spindle hole: No 6.

"Fog Cutter" Album Reissues: 
1964.Side one, track #3 on compilation lp The Original Great Northwest Hits - Volume 1 (Jerden JRL - 7001 / JRL - 7001 - S)

1994. Track #1 on cd compilation album The History Of Northwest Rock Vol. 1 (Jerden JRCD 7002)

2000. Disc one, track #3 on compilation cd album Wild And Wooly - The Northwest Rock Collection (Experience Music Project EMPCD 001)

2004. Track #3 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

"Black Sapphire" Album Reissues: 
2004. Track #4 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

A-SIDE MATRIX:
1PA.)  DO  - 608
1RA.)  DO - 608
A-SIDE STAMPER CODE:
1PA.) 45  DO - 608 - (circled 5) (etched)
1RA.) DO - 609 (circled 2) (etched)
A-SIDE COMPOSER: Manolides - Peterson - Hosko - Schoning - Fulton
A-SIDE PUBLISHER: Cornerstone (BMI)

B-SIDE MATRIX:
1PA.  DO - 609
1RA.) DO - 609
B-SIDE STAMPER CODE:
1PA.) 45  D0 - 609 (circled 4) (etched)
1RA.) 45 DO - 609 (circled 5) (etched)
B-SIDE COMPOSER: Manolides - Peterson - Hosko - Schoning - Fulton
B-SIDE PUBLISHER: Cornerstone (BMI)

MISC NOTES:

1RA.) Monarch Records pressing #s: ^33781 / ^33782 (Nov. - Dec.,1959)

"Werewolf" composers (Terry) Wadsworth and (Gary) Hodge were young NW songwriters.

Wadsworh released a single on Seattle's Topaz Records (Topaz  #1302);.

Hodge issued two singles, the first under his real name Gary Hodge, (Dolton #7), the second  under the stage/recording name Jeff Tabor (Dolton # 17).

The "Werewolf" opening monologue recitation was by Dolton owner/producer Bob Reisdorff. The "Werewolf" growls were provided by recording engineer Kearney Barton. The concluding wolf howl was by Bonnie Guitar.

Promotional discs were  accompanied by a white paper enclosure featuring a  black ink cartoon drawing of a werewolf face (ala Lon Chaney, Jr.) plus written information about the "Werewolf" recording.

See Also: Dolton #16.

Known Label Designs:
1RA.) A - B retail  disc. lst three fish logo centered above spindle hole. Light blue label background. Darker blue logo, numerals and lettering. Disc # right center of spindle hole. 622 Union St. Seattle 1, Washington U.S.A.

"Werewolf" Album Reissues:
1.) [1964] Side One, Track #4 on compilation lp The Original Great Northwest Hits -Volume 1 (Jerden JRL - 7001 / JRL - 7001 - S)

2.) 1976. The History Of Northwest Rock Volume I, Side One Track #2.  (The Great Northwest Music Co., GNW 4003)

3.) 2001.  Side One Track #1 on compilation lp Stomp! (Norton Records NW 906)

4..) 2004. Track #5 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

"Checkerboard" album reissues:
1.)2004. Track #6 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

LOCATION: Seattle, WA.
RECORDING PERSONNEL:
RECORDING STUDIO: Audio
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

Instrumental / Instrumental

A-SIDE MATRIX:
1RA.) 45 - D0 - 624
A-SIDE STAMPER CODE:
1RA.) 45 - DO - 624 (etched)
A-SIDE COMPOSER: Wadsworth - Hodge
A-SIDE PUBLISHER: Cornerstone (BMI)

B-SIDE MATRIX:
1RA.)45 - DO - 625
B-SIDE STAMPER CODE:
1RA.) 45 - DO - 625 (etched)
B-SIDE COMPOSER: Peterson - Manolides - Schoning - Hosko- Goodman
B-SIDE PUBLISHER: Cornerstone (BMI)

#[No Serial numbers on labels.]
1960 (?)

MISC NOTES: This is an alternate version of "Don's Tune" -- different than the one issued on the Frantics CD. The song's may have referred to an early drummer, Don Fulton, or to a later drummer, Don Stevenson.

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE:
SPEED: 33 1/3 rpm
DISC NOTES: Acetate disc with an "Audiodisc Recording Blank" label and hand-written credits.

A-SIDE MATRIX:
A-SIDE STAMPER CODE:
A-SIDE COMPOSER:
A-SIDE PUBLISHER:

B-SIDE MATRIX:
B-SIDE STAMPER CODE:
B-SIDE COMPOSER:
B-SIDE PUBLISHER:

MISC NOTES: "Werewolf" / "No Werewolf" composers Terry Wadsworth and Gary Hodge were young Seattle songwriters/recording artists. Wadsworth released a single on Seattle's Topaz (#1302) Records. Hodge released two singles. One, (Dolton #7), under his real name and a second (Dolton #17) under the stage/recording name Jeff Tabor. The "Werewolf" opening monologue recitation was by Dolton owner/ producer Bob Reisdorff. Wolf growls were provided by recording engineer Kearney Barton. The concluding wolf howl was by Bonnie Guitar. "Werewolf" b/w "Checkerboard" (Dolton 13) was issued to coincide with Halloween in 1959. At that time the payola  "pay to play" scandal was sweeping rock n' roll radio."Werewolf" with all of its sound effects was considered too controversial to receive airplay. In an attempt to save the instrumental tune itself  this disc featuring "Werewolf" and "No Werewolf" (same melody as A-side without opening monologue, growls or concluding wolf howl) was issued. It proved, however, to be too little, too late for what is truly a haunting original NW instrumental.

1PA.) Monarch Records pressing #s: ^33781 (Nov. - Dec., 1959) / ^34166 (Dec., 1959 - Jan., 1960)

LOCATION: Seattle, WA.
RECORDING PERSONNEL:
RECORDING STUDIO: Audio RECORDING
ENGINEER
: Kearney Barton

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES: Instrumental / Instrumental

Known Label Designs: 
1PA.) A - B promo label. White background.  1st three fish logo centered over spindle hole.. Black logo, numerals and lettering including PROMOTIONAL COPY NOT FOR SALE upper right of spindle hole between fish #2 and fish #3, Disc # right center of spindle hole: No. 16. Address:  622 Union St. Seattle 1, Washington U.S. A. center arced along bottom edge of label.
1RA) A - B retail disc. lst three fish logo centered over spindle hole. Light blue label background. Darker blue logo, numerals and lettering. Disc # right center of spindle hole. 622 Union St. Seattle 1, Washington U.S.A.

A-SIDE MATRIX:
1PA.)DO - 624
1RA.).
A-SIDE STAMPER CODE:
1PA.)45  - DO - 624 (etched)
1RA.)
A-SIDE COMPOSER: Wadsworth - Hodge
A-SIDE PUBLISHER: Cornerstone (BMI)

B-SIDE MATRIX:
1PA.)DO - 630
1RA.)
B-SIDE STAMPER CODE:
1PA.)
1RA..) 45 DO - 630 (etched)  ^34166
B-SIDE COMPOSER: Wadsworth - Hodge
B-SIDE PUBLISHER: Cornerstone (BMI)

MISC NOTES:

LOCATION:
RECORDING PERSONNEL: Monty Whiplash (whip crack)
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:*

Known Label Designs: 
1PA.) A - B promo label. White background.  1st three fish logo centered above spindle hole.  Black logo, numerals and lettering. No promo/audition notation. Disc # right center of spindle hole: No. 24. Address: 622 Union St. Seattle 1, Washington U.S.A center arced along bottom edge of label.
1PB.) A - B promo label. White background. 1st three fish logo  centered above spindle hole. Black logo, numerals and lettering. including AUDITION RECORD upper right of spindle hole and below nose of lowest fish. Disc # left center of spindle hole. No. 24. Dist. info on five lines right center of spindle hole: Distributed by: Liberty Records Sales Calif. Address: 622 Union St. Seattle 1, Washington U.S.A. arced along bottom edge of label. (One disc label rubber stamped: July 13  1960)
1RA.) A - B retail label. Light blue background. 1st three fish logo  centered above spindle hole. Darker blue logo, numerals and small font lettering. Disc # right center of spindle hole: No. 24. Dist. info on four lines lower right of spindle hole: Distributed by Liberty Records Sales Corp. Los Angeles, Calif. Address: 622 Union St. Seattle 1, Washington U.S.A. center arced along bottom edge of label.
1RB.)  A - B retail label. Light blue background. 1st three fish logo centered above spindle hole.  Darker blue logo, numerals and lettering. Large font for artist name and titles.  Distribution  info. on three lines upper right of spindle hole: Dist by: Liberty Records Sales Corp. Hollywood, Calif. Disc # right center of spindle hole: No. 24. Address: 622 Union St. Seattle, etc. center arced along bottom edge of label.
1RC.)  A - B retail disc. lst three fish logo design centered above spindle hole. Light blue label background. Darker blue logo, numerals and lettering. Disc # left center of spindle hole. No. 24. Address 622 Union St. Seattle, etc.*

"Delilah" album reissues:
1.) Track #9 on The Complete Frantics On Dolton (Collector's Choice Music CCM 463 - 2), CD album, 2004

"The Whip" album reissues:
1.)Track #8 on The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2), CD album, 2004.

A-SIDE MATRIX:
1PA.)  DO - 647
1PB.)  DO - 648
1RA.)  DO - 647
1RB.)  DO - 648
1RC.)
A-SIDE STAMPER CODE:
1PA.) DO - 648 (etched)
1PB.) DO - 648 (etched)
1RA.) DO - 648 (etched)
1RB.) DO - 648 - 1 (etched)
1RC.)
A-SIDE COMPOSER: Victor Young
A-SIDE PUBLISHER:

B-SIDE MATRIX:
1PA.) DO - 648
1PB.) DO - 647
1RA.) DO - 648
1RB.) DO - 647
1RC.)

B-SIDE STAMPER CODE:
1PA.) DO - 647 (etched)
1PB.) DO - 647 (etched)
1RA.) DO - 648 (etched)
1RB.) DO - 647 - 1 (etched)
1RC.)
B-SIDE COMPOSER: Schoning - Peterson - Manolides - Hosko - Fulton
B-SIDE PUBLISHER: Famous Music (ASCAP)

MISC NOTES:

1RA.) Monarch Records pressing #s: ^37135 / ^37135 - X (Oct. - Nov., 1960)

LOCATION: Seattle, WA.
RECORDING PERSONNEL: Ron Peterson (guitar); Chuck Schoning (keys); Jim Manolides (bass); Bob Hosko (sax);  Don Fulton (drums).
RECORDING STUDIO: Audio Recording, Inc.
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES: Instrumental / Instrumental

Known Label Designs: 
1RA.) A - B retail label. Light blue background. 1st three fish logo centered over spindle hole.  Darker blue logo, numerals and lettering. Distributed by Liberty Records Sales Corp. Los Angeles, Calif. on five lines  right center of spindle hole. Disc # right center of spindle hole: No. 31.Address 622 Union St., Seattle 1, Washington U.S.A. arced along bottom edge of label.

A-SIDE MATRIX:
1RA.) DO - 661
A-SIDE STAMPER CODE:
1RA.) 45 - DO - 661 (etched)
A-SIDE COMPOSER: Slim Gaillard
A-SIDE PUBLISHER: Vernon Music Co. (ASCAP)

B-SIDE MATRIX:
1RA.) DO - 662
B-SIDE STAMPER CODE:
1RA.) 45 - DO - 662 (etched)
B-SIDE COMPOSER: Peterson - Manolides - Hosko - Schoning - Fulton
B-SIDE PUBLISHER: Cornerstone (BMI)

MISC:

3PC & 3RA.) Monarch Records Pressing #s: ^38008 / ^38008 - X (Apr., May, 1961)

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:*

Instrumental / Instrumental

Known Label Designs: 
3PA.) A - B promo label. White background.  3rd three fish logo  centered above spindle hole. Black logo, numerals and lettering. including NOT FOR SALE   lower right of spindle hole. A Division Of Liberty Records, Inc., Los Angeles Calif. in four lines  right center of spindle hole. Disc # left center of spindle hole. No. 33. Address: 6920 SUNSET BLVD * LOS ANGELES 28 * CALIFORNIA * USA center arced along bottom edge of label.

3PB.) A - B promo label. White background. Black logo, numerals and lettering. No promo/audition wording.  Horizontal lines above and below printed information center left and right of spindle hole A Division of Liberty Records Inc. Los Angeles 28, Calif. on four lines left center of spindle hole.  Disc # center right of spindle hole: N0. 33. Address: 6920 SUNSET BLVD. * LOS ANGELES 28 * CALIFORNIA * USA center arced along bottom edge of label.

3PC.) A - B promo label. White background. 3rd three fish logo centered above spindle hole., .Black logo, numerals and lettering. No promo/audition wording. A Division of Liberty Records Inc. Los Angeles, Calif. left center of spindle hole. Disc # center right of spindle hole: No. 33. Address: 6920 SUNSET BLVD * LOS ANGELES 28 * CALIFORNIA * USA. center arced along bottom edge of label.

3PD.)  A - B promotional disc. White label background. 3nd three fish logo design. Black logo, numerals and lettering. No promo wording. Large print song titles. Disc # right center of spindle hole: No. 33.* (?)

3RA.) A - B retail label. Light blue background. 3rd three fish logo centered above spindle hole. Dark blue logo, numerals and lettering. A Division of Liberty Records Inc. Los Angeles, Calif. on four lines left center of spindle hole. Disc # right center of spindle hole No. 33. Address: 6920 Sunset Blvd. * Los Angeles 28 * California * USA. center arced along bottom edge of label.

3RB.)  A - B retail label. Light blue background. 3rd three fish logo centered above spindle hole.  Dark blue logo, numerals and lettering. A Division of Liberty Records, Inc., Los Aneles, Calif. on four lines lower right of spindle hole.  Disc # left center of spindle hole. No. 33. Address: 6920 SUNSET BLVD. * LOS ANGELES 28 * CALIFORNIA * USA

3RC.) A - B retail label. Light blue background. 3rd three fish logo centered above spindle hole. Dark blue logo, numerals and lettering. Horizontal lines above and below printed information left and right center of spindle hole. A Division of Liberty Records Inc. Los Aneles 28, Calif.  Disc. # right center spindle hole: NO. 33. Address: 6920 SUNSET BLVD * LOS ANGELUS 28 * CALIFORNIA * USA center arced along bottom edge of label.

"San Antonio Rose" Album Reissues: 
2004. Track #12 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

"Trees" Album Reissues:
2004. Track #13 on cd album The Complete Frantics On Dolton (Collector's Choice Music CCM - 463 - 2)

A-SIDE MATRIX:
3PA.) DO - 665
3PB.) DO - 665
3PC.) DO - 665
3PD.)
3RA.) DO - 665
3RB.) DO - 665
3RC.) DO - 665
A-SIDE STAMPER CODE:
3PA.) 45 .. DO .. 665 .. 2 (stamped)
3PB.) DO - 665 - 1A  (etched)
3PC.) 45 - DO - 666 (circled 1) (etched)
3PD.)
3RA.) 45 - DO - 665 (circled 1) (etched)
3RB.) 45 .. DO .. 663 .. 2 (stamped)
3RC.) DO - 665 - 1A (etched)
A-SIDE COMPOSER: Bob Wills
A-SIDE PUBLISHER: Bourne, Inc. (ASCAP)

B-SIDE MATRIX:
3PA.) DO - 666
3PB.) DO - 666
3PC.) DO - 666
3PD.)
3RA.) DO - 666
3RB.) DO - 666
3RC.) DO - 666
B-SIDE STAMPER CODE:
3PA.)  DO - 666 - 1 (etched)
3PB.) 45 .. DO .. 666 - 1 (stamped)
3PC.) 45 - DO - 666   (circled 2) (etched)
3PD.)
3RA.) 45 - DO - 666 (circled 2) (etched)
3RB.) 45 .. DO .. 666 .. 2 (stamped)
3RC.) DO - 666 - 1 (etched)
B-SIDE COMPOSER: Rasbach - Kilmer
B-SIDE PUBLISHER: Shirmer, Inc. (ASCAP)

MISC NOTES: This postcard was one of a set of recordings marketed during the 1962 Seattle World's Fair. They were sold in an envelope meant to be addressed and mailed by out-of-town fair visitors back to friends and family back home.

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

 

FORMAT: postcard / record
SIZE:
SPEED: 33 1/3 rpm
DISC NOTES:

Roseland Records

Seattle World's Fair -oriented renaming of original tune titled  "Ventura Blvd." Later issued as "Ventura Blvd."   on cd The Complete Frantics On Dolton (Collector's Choice Music CCM 463 - 2 2004 Track #17)

PUBLISHER: Bolmin Pub. Co.

 

MISC NOTES: "THE ORIGINAL OFFICIAL WORLD'S FAIR SONG"

LOCATION:
RECORDING PERSONNEL: Peterson - Hosko - Landis - Schoning - Fulton
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

A-SIDE MATRIX: MB - 2094
A-SIDE STAMPER CODE: MB - 2904 - D2 (etched)
A-SIDE COMPOSER: Chambreau
A-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)

B-SIDE MATRIX: MB - 2095
A-SIDE STAMPER CODE: MB - 2905 - D2 (etched)
B-SIDE COMPOSER: Peterson - Hosko - Landis - Schoning - Fulton
B-SIDE PUBLISHER: Bolmin Publ. Co (BMI)

MISC NOTES: Seafair-Bolo Records mistakenly released two 45 rpm discs with the same #736. Based on stamper codes, this disc by The FRANTICS was likely the original.

LOCATION: Seattle / Los Angeles [summer 1961]
RECORDING PERSONNEL: A-side: Ron Peterson (vocals / guitar); B-side recorded in L.A.
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES: Vocal / Instr.

A-SIDE STAMPER CODE: 45 - NO8W - 0853 (etched)        ^45099
A-SIDE COMPOSER: Turner - Morascalco
A-SIDE PUBLISHER: Robin Hood Music Co.

B-SIDE STAMPER CODE: 45 - NO8W - 0584 (etched)         ^45099 - X
B-SIDE COMPOSER: Peterson - Fulton - Hosko - Schoning - Manolides - Landis
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)

"Oh Yeah" Album Reissues: 
2004.)  As "Oh Yeah!" track #14 on CD The Complete Frantics On Dolton (Collector's Choice Music CCM -463 - 2)

MISC NOTES:

LOCATION:
RECORDING PERSONNEL: Joe Johansen (guitar), Bob Hosko (sax);  Charlie Schoning (keys); Jon Keliehor (drums).
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

A-SIDE MATRIX: S - 111 - A
A-SIDE STAMPER CODE: ^53593 (ca. July, 1964)
A-SIDE COMPOSER: Johansen - Keliehor - Hosko - Schoning
A-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)

B-SIDE MATRIX: S - 111 - B
B-SIDE STAMPER CODE: ^53593 - X (ca. July, 1964)
B-SIDE COMPOSER: C. Schoning
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)

MISC NOTES: Artist credit on label: FRANTICS

LOCATION: California
RECORDING PERSONNEL: Jerry Miller (guitar); Don Stevenson (drums);
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:

A-SIDE MATRIX: AF - 1113A
A-SIDE STAMPER CODE: X - 2129        AF - 1 - 1113 - A (etched)
A-SIDE COMPOSER: Don Stevenson & Miller
A-SIDE PUBLISHER:  Comorja Publishing (BMI)

B-SIDE MATRIX: AF - 1113B
B-SIDE STAMPER CODE: X - 2130      AF - 2 - 1113  - B (etched)
B-SIDE COMPOSER: Don Stevenson & Miller
B-SIDE PUBLISHER: Comorja Publishing (BMI)

MISC NOTES: Previously unissued.

LOCATION: Seattle, WA
RECORDING PERSONNEL: The Frantics
RECORDING STUDIO: Audio Recording, Inc.
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
A-SIDE MATRIX: NW 906 - A

Side One Track #6 Stomp! Norton Records NW 906, 2001 compilation LP

 

MISC NOTES:

LOCATION: Seattle, WA
RECORDING PERSONNEL: The Frantics
RECORDING STUDIO: Audio Recording, Inc.
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:

Side One Track #5 compilation lp Stomp! Norton Records NW 906, 2001

 

A-SIDE MATRIX: NW 905 - A

MISC NOTES:

LOCATION: Seattle, WA
RECORDING PERSONNEL: The Frantics
RECORDING STUDIO: Audio Recording, Inc.
RECORDING ENGINEER: Kearney Barton

FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:

Side One Track #4 compilation lp Stomp! Norton Records NW 906, 2001

A-SIDE MATRIX: NW 906 - A

MISC NOTES: Don Fulton was a long time drummer with The Frantics. This version of "Don's Tune" was a variation of the track released The Complete Frantics On Dolton CD

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

COMPOSER: Fulton - Landis - Peterson - Hosko - Schoning

MISC NOTES: This song was reportedly issued as "Gayway Twist" on Seattle World's Fair picture postcard record. (Roger H. Roseland, Inc.)

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: CD
DISC NOTES:
COMPOSER: Fulton - Manolides - Peterson - Hosko - Schoning

Track #17 on The Complete Frantics On Dolton CD

#CCM - 463 - 2
2004 - ?? - ??

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT:compact disc
DISC NOTES:

Track #22 on album The Complete Frantics On Dolton

 COMPOSER: Fulton - Landis - Peterson - Hosko - Schoning

#CCM - 463 - 2
2004 - ?? - ??

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #26 on album The Complete Frantics On Dolton

 COMPOSER: Peterson

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #24 on album The Complete Frantics On Dolton

 COMPOSER: Fulton - Landis - Peterson - Hosko - Schoning

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #23 on album The Complete Frantics on Dolton

 COMPOSER: Fulton - Landis - Peterson - Hosko - Schoning

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #19 on album The Complete Frantics On Dolton

 COMPOSER: Engelhart

#CCM - 463 - 2
2004 - ?? - ??

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #21 on album The Complete Frantics On Dolton

COMPOSER: Fulton - Landis - Peterson - Hosko - Schoning

#CCM - 463 - 2
2004 - ?? - ??

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #20 on album The Complete Frantics On Dolton

COMPOSER: Butler - Dogget

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #16 on album The Complete Frantics On Dolton

COMPOSER: Fulton - Manolides - Peterson - Hosko - Schoning

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT:compact disc
DISC NOTES:

Track #18 on album The Complete Frantics On Dolton

1962. Issued as "Gayway Twist" on Seattle World's Fair picture postcard. 33 1/3 rpm (No #)

COMPOSER: Fulton - Manolides - Peterson - Hosko - Schoning

MISC NOTES:

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

Track #15 on album The Complete Frantics On Dolton

 COMPOSER: Fulton - Manolides - Peterson - Hosko - Schoning

MISC NOTES:

1. Straight Flush (Fulton - Peterson - Hosko - Schoning)
2.  Young Blues (Goodman - Manolides - Peterson -Hosko - Schoning)
3. Fog Cutter (Manolides - Peterson - Hosko - Schoning - Fulton)
4. Black Sapphire (Fulton - Manolides - Peterson - Hosko - Schoning)
5. Werewolf (Wadsworth - Hodge)
6. Checkerboard (Goodman - Manolides - Peterson - Hosko - Schoning)
7. No Werewolf (Wadsworth - Hodge)
8. The Whip (Fulton - Manolides - Peterson - Hosko - Schoning)
9. Delilah (Young)
10. Yankee Doodlin' (Fulton - Manolides - Peterson - Hosko Schoning)
11. One Minute Of Flamenco (For Two Minutes) (Gaillard)
12. San Antonio Rose (Wills)
13. Trees (Basbach - Kilmer)
14. Oh Yeah! (Fulton - Landis - Peterson - Hosko - Schoning - Manolides)

15. Walkin' The  Beat (Fulton - Manolides - Peterson - Hosko  - Schoning)
16. Richmond Stomp (Fulton - Manolides - Peterson - Hosko - Schoning)
17. Ventura Blvd. (Fulton -  Manolides - Peterson - Hosko - Schoning)
18. Dirty Robber (Fulton - Manolides - Peterson - Hosko  - Schoning)
19. Sweet Cucumber (Engelhart)
20. Hold It (Butler Dogget)
21. Lost Loland (Fulton - Landis - Peterson - Hosko - Schoning)
22. Mio Amore (Fulton - Landis - Peterson - Hosko - Schoning)
23. Letter From Jenny (Fulton - Landis - Peterson - Hosko - Schoning)
24. Love Of My Life (Fulton - Landis - Peterson - Hosko - Schoning)
25. Don's Tune (Fulton - Landis - Peterson - Hosko - Schoning) **
26. Lost Love (Peterson)

LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:

FORMAT: compact disc
DISC NOTES:

According to packaging notes "Tracks 14 - 26 previously unreleased"  Track #14 was, in fact, issued in 1962 as 45 rpm Seafair-Bolo  #736 (Seafair-Bolo Records, Seattle, WA ). That same year  track #17 was released  as "Gayway Twist" on a Seattle World's Fair picture postcard. (33 1/3 rpm No #) flexi-disc record.

 

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