ACETATE-DUBPLATE-SATAN'S HENCHMEN-PSYCH W/SAX-45-CHICKENHOUSE CACKLE-HEAR

$

77

UP FOR AUCTION THIS RARE ACETATE DISC OR DUBPLATE, BY SATEN'S HENCHMEN ENTITLED, "CHICKENHOUSE CACKLE" PART 1 (SIDE 1); "THE CHICKEN'S BACK" PART 2 (SIDE 2) RECORDED AT MASTERTONE RECORDING STUDIO INC.; 130 WEST 42ND STREET, NEW YORK, 36, N.Y.; WI-7-2940. CHECK OUT SOUND CLIP BELOW:

http://youtu.be/BurwafQAmes

I HAVE BEEN TRYING TO FIND A LEAD ON WHO USED THIS BAND NAME IT'S DEFINETLY LATE FIFTIES TO SIXTIES WHEN LISTENING TO PART 1 THE CHICKENHOUSE CACKLE TO ME I CAN IMAGINE MANZAREK'S KEYBOARD AND DUNSMORE'S DRUMS BACKROUND WITHOUT HORNS SOUNDS LIKE PSYCHEDELIC DOORS MUSICAND THE SQUEALS AND MOANS IN THE BACKGROUND SOUND LIKE EARLY JIM MORRISON AND THE BACKGROUND VOCAL VOICE SOUNDS LIKE VAN MORRISON, BUT THOSE HORNS AND ESPECIALLY SAX AND TRUMPET PLAYING IN THIS ONE ARE WAY TOO GOOD TO BE ANY AMATEUR GARAGE BAND, AND DEFINITELY NOT WITH THE DOORS. I MEAN THE HORNS REALLY BLOW IN THIS ONE AND HAVE MORE OF A JAZZ QUALITY.  (ALSO KEEP IN MIND THAT I COPY RECORDED THIS WITH A COMPUTER MICROPHONE WHILE PLAYING THE DISC OR RECORD ON A 1960 ZENITH SOLID STATE RECORD PLAYER SO YOU CAN JUST IMAGINE THE DIFFERENCE OF WHAT YOU WOULD HEAR ON MODERN HIGH QUALITY EQUIPMENT)THE HORNS ARE REMINESCENT OF THE MAR KEYS DOING "LAST NIGHT",  I DO KNOW THAT THE RECORDING ENGINEER FOR VAN MORRISON AND THE DOORS HAD AN OFFICE IN THE BUILDING UPSTAIRS FROM WHERE MASTERTONE WAS LOCATED IN NYC.  FURTHER LEARNED THAT JIM ROCKED OUT ONE NIGHT WHEN ON THE EAST COAST WITH VAN AT ONDINES AND PLAYED A SET OR TWO.

 CLIP re: JIM MORRISON ONLINE 

(The band members earn $10.00 a night and play Thursday - Sunday doing five sets ... It worked and the band was hired on the spot and the next night no one was there, ..... The Doors open for Them (with Van Morrison) for a two week engagement. ..... The Doors will be in NYC for a month playing at Ondine's at night)

COULD THEY HAVE BEEN JUST GOOFING OR COULD BE TEST PRESS FOR MOVIE OR AN EARLY DOORS GROUP NAME ATTEMPT, BUT WHOEVER THE HORN IS ITS WAY BETTER THAN 60'S ROCK AND PSYCH STUFF, ITS MORE JAZZ TALENTED!

ANYONE OUT THERE WHO HAS INPUT INTO WHO THIS MAY BE, PLEASE GIVE A HOLLER!  

I HAVE BEEN DOING A LOT OF RESEARCH ON THIS ONE ONLY HISTORY OF GROUP CALLED SATAN'S HENCHMEN WERE TOO LATE FOR THIS EARLY RECORDING.  HOWEVER, I DID LEARN THAT MASTERTONE RECORDING STUDIOS,

MASTERTONE RECORDING STUDIOS, INC; 130 WEST 42ND ST.; NEW YORK, 36, N.Y.; PHONE WISCONSIN 7-2940

RECORDING SUPERVISOR................GENE SAYET

CHIE ENGINEER.......................SID FELDMAN

SEVICES OFFERED:  PROFESSIONAL RECORDING; EDITING, STUDIO; MONO, STEREO; ACETATE MASTERING; MONO & STEREO.

APOLLO RECORDS, N. Y. CORP., Mastertone Recording Studios, Inc., Gene Sayet, Sidney Feldman, George Albert and Carl Le Bow.

EARLY HISTORY OF APOLLO RECORDS: In the early 1940s, the Bermans and Siegel were working at the Rainbow Record Shop in Harlem, located on 125th Street. Before naming their label after the nearby Apollo Theater, the Bermans issued some prospective discs with plain labels bearing no company identity;[1] Hy Siegel served as Apollo's first president. Initially Apollo employed three primary product lines, including a 300 series featuring principally Rhythm & Blues and jazz artists and a 100 series which was more of a catch-all for a variety of genres; Gospel, Calypso, Western, Jewish comedy records and the like. By about issue #188 the 100 series shifted exclusively towards Gospel. The third line, starting at #750, was dubbed "Jazz Masterworks;" a popular 1000 series was undertaken a little later in 1945.[2] Apollo Records recorded rhythm-and-blues superstars Dinah Washington and Wynonie Harris before they became far more famous for other labels, Washington on Mercury and Harris on King.

In 1946, the Bermans signed Mahalia Jackson to a recording contract; although she was already regarded as "The Queen of Gospel" based on her personal appearances, Jackson had previously known only scant contact with recording. With the release of Jackson's two-part "Move On Up a Little Higher" in January 1948, Apollo discovered they had a major hit on their hands, and overtime shifts were added to keep up with the demand for the record. At an Apollo board meeting held on May 27, 1948, Hy Siegel stepped down and Bess Berman was installed as president.[3] Berman was among a very few women serving in an executive capacity in the 78 era and apparently the only company head. Ike Berman was no longer directly affiliated with the company, but ran the pressing plant that manufactured the Apollo Records and continued in that capacity; ultimately, they separated as a couple.

 best known Apollo Records to exist was an independent record label in business from 1944 until 1962 in the United States. It was formed in New York City in 1944 by Bess Berman and her husband Isaac "Ike" Berman together with Hy Siegel and Sam Schneider. Apollo is most remembered for early doo-wop recordings from groups such as The Larks and The "5" Royales, blues artists such as Champion Jack Dupree, Duke Henderson and Doc Pomus and for releasing gospel records, particularly those by Mahalia Jackson.

Captivated by the popularity of secular vocal groups named after birds, such as The Orioles, Berman re-christened a Gospel group generally known as The Selah Jubilee Singers, but recording for her as the Southern Harmonaires, as The Larks and began to record them in popular material. The Larks scored a #5 spot on the R&B chart with "Eyesight To The Blind" in 1951, along with a couple of other numbers, but the group split in 1952. Berman stuck to her guns and renamed the Royal Sons Quintet The "5" Royales whose success even succeeded that of The Larks. In 1954, Apollo established a subsidiary called Lloyd's Records exclusively devoted to doo-wop, including recordings of a new edition of The Larks organized under their only remaining member, Gene Mumford

ALL VINYL SOLD AS IS.

NO RESERVE!

GOOD LUCK!

Apollo started issuing their singles on 45 rpm in 1951. From 1951-1958, singles had a blue label with silver print. Original issues of #510, the Cellos' "Rang Tang Ding Dong" (far left) did not have the subtitle "(I Am The Japanese Sandman)" that was later added. For a short time in 1959, the label design changed to a yellow label with a diamond logo (see LP examples below).issuing their singles on 45 rpm in 1951. From 1951-1958, singles had a blue label with silver print. Original issues of #510, the Cellos' "Rang Tang Ding Dong" (far left) did not have the subtitle "(I Am The Japanese Sandman)" that was later added. For a short time in 1959, the label design changed to a yellow label with a diamond logo Apollo started issuing their singles on 45 rpm in 1951. From 1951-1958, singles had a blue label with silver print. Original issues of #510, the Cellos' "Rang Tang Ding Dong" (far left) did not have the subtitle "(I Am The Japanese Sandman)" that was later added. For a short time in 1959, the label design changed to a yellow label with a diamond logo  Apollo started issuing their singles on 45 rpm in 1951. From 1951-1958, singles had a blue label with silver print. Original issues of #510, the Cellos' "Rang Tang Ding Dong" (far left) did not have the subtitle "(I Am The Japanese Sandman)" that was later added. For a short time in 1959, the label design changed to a yellow label with a diamond logo

Apollo started issuing their singles on 45 rpm in 1951. From 1951-1958, singles had a blue label with silver print. Original issues of #510, the Cellos' "Rang Tang Ding Dong" (far left) did not have the subtitle "(I Am The Japanese Sandman)" that was later added. For a short time in 1959, the label design changed to a yellow label with a diamond logo