Eddie Reeves
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Eddie Reeves

All material in this article  are owned and copyrighted  “2012 Word Wrestler” by Eddie Reeves. Any reproduction without expressed written permission is a violation of applicable laws. All material was written by Eddie Reeves and his son  Marc Reeves. We at Lone Starr Music would like to express our thanks to Eddie for the use of this material to document his participation in the development of music of yesteryear and today. Thanks Eddie for your contribution.

  Edward Benton (Eddie) Reeves, (born November 17th, 1939) is an American songwriter, who has also been a recording artist, music publisher, artist manager, record company executive, and author. BMi awarded Reeves and co-writer Alex Harvey their Special Citation of achievement for “Rings” having having received over one million radio and television performances (the equivalent of over 40,000 broadcast hours or nearly five years of continuous airplay), making it one of the most performed songs from BMI’s repertoire of over 8 millions songs. Reeves’ songs are associated with three Grammy Award Nominations: 1971 Pop Vocal - Sonny and Cher - All I Ever Need Is you (lyrics); 1971 Best Country Vocal Performance - Duo or Group - Tompall and the Glaser Brothers - Rings; and Best Country Instrumental Performance - Chet Atkins and Jerry Reed - Me and Chet (album included “All I Ever Need Is you”.

   In the spring of 1980 Reeves returned to his hometown of Amarillo, Texas where he managed real estate properties for four years. In the spring of 1984 he was hired by former employee Jim Ed Norman as General Manager of Warner Bros Records in Nashville, Tennessee where he spent sixteen years, the last ten years as Executive Vice President and General Manager until retiring  at the end of 1999 at the age of 60.  In 2000 Eddie moved to Winnipeg, Canada and started the process of compiling his song writing catalog of over 100 songs as well as beginning to work on his collections of writings from notes he had been keeping since 1972. “When Sin Stops”, a collection of life stories and other thoughts, was privately published for friends ans family and currently being revised for possible commercial publication.

Eddie Reeves
All That Music & Video


6800 Gateway East, Ste. 1B

El Paso, Texas 79915

(915) 594-9900


   Reeves has three children - Marc, Natalie, and Sophie - and he currently resides in the Houston, Texas area with his wife, singer/songwriter Lena Shammas Reeves where he lives by the credo of “work hard, play hard, and love hard” while never wavering from his commitment of being the teenager he was born to be.

When Sin Stops: - Excerpt from Eddie’s book

By Eddie Reeves

Copyright 2012: Word Wrestler

The Combo Kings

   Bob Venable and Billy Sansing were also members of Amarillo High School basketball Team. Bob attended a different jounior high school than me, but we met in the summer of 1955, just a few weeks before the beginning of our sophomore year. Sometime early in that school year I heard Bob play guitar and piano at his home. He was self-taught on guitar and for the most part played chords, but on the piano he was great. He played the complicated, entertainment piece “Kitten On The Keys” and I was impressed with his ability. Six weeks of piano lessons in the second grade had not taken me one step down the path that Bob had traveled.

   As the school year progressed something remarkable was happening to young people in America that was partially fueled by the movies “Blackboard Jungle” in January 1955, “Rebel Without a Cause” in January 1955, and “East of Eden” in March 1955. Probably more than any other factor, the influence of these movies was bringing drastic changes in the language, cars, clothing, music, and thinking of America’s teenagers. Elvis Presley’s first record was released in July 1954 and his most successful and last two singles on Sun Records, “Baby Let’s Play House” and “Mystery Train” were released in February and July of 1955. Although Bill Haley and Fats Domino had thier first showing on the Top 40 pop music charts in 1953, Bill Haley, The Drifters, and the Midnighters had some Top 40 success in 1954. It was not until 1955 that the tide of teenage musical taste began flowing strongly away from the music of Eddie Fisher, Perry Como, Doris Day, the McGuire Sisters, Nat King Cole and other easy going pop music artist, toward the revolutionary new music of rock ‘n roll. That year Bill Haley’s “Rock Around the Clock” was propelled by it’s inclusion in the hit movie “Blackboard Jungle”; Fats Domino’s landmark “Ain’t That a Shame” made its mark; the Penguins’ “Earth Angel” started its long run of popularity; Lavern Baker’s “Tweedlee Dee” was a hit’ and Chuck Berry’s first hit “Maybellene” appeared. Bill Haley and the Comets had several singles in the Top 40 that year and Elvis’s fourth and fifth Sun Record singles sold over 500,000 copies each but nearly all in the South since Sun Records was not yet distributed nationally. This southern success by Elvis led to his signing with RCA Records and his first national hit, “Heartbreak Hotel” in January 1956.

   As this  revolution began, I was a sophomore high school student playing basketball, making good grades, letting my hair grow longer, listening to the Louisiana Hayride and the blues record shows on Saturday nights broadcast by KWKH radio from Shreveport, Louisiana, and listening each morning and afternoon to Elvis Presley’s recordings of “Baby Let’s Play House” and “Mystery Train”. I was making my first trips to the record store to discover other rock ‘n roll music.

   At basketball practice I suggested to Bob Venable that we start a band. I explained with his musical adeptness he should be lead guitarist and he’d need to teach me to play guitar. I explained that eleventh grader teammate Billy Sansing played drums in junior high school and would be our drummer. Bob laughed at the idea and asked who would be the singer. I told him I would and he replied, “I’ll be the singer as soon as you will”. So I suggested that we both sing lead vocals by taking turns and by singing some duets. He didn’t seemed enthused by my idea and said, “I definitely won’t be teaching you how to play guitar.” I asked how he learned guitar and soon I was studying the guitar chords laid out in Bob’s chord book that I still have in my possession.

   I had a close relationship with my grandmother Reeves and she knew of my interest in learning to play guitar. For Christmas 1955 I received a $10.00 Kay acoustic guitar from her and my aunt Bonnie. According to an inflation calculator it would cost about $84.22 in 2011, which is still a modest sum for an acoustic guitar. I immediately began learning how to form the guitar cords and how to strum a rhythm with a guitar pick. I’d practice until the fingers of my left hand were sore and marked with the impressions of the guitar strings. On some occasions my fingers would bleed. The strings of the Kay guitar were fairly high off the fret board, which added to damage and pain of my fingers. Having only marginal natural musical talent, I had difficulty learning to properly tune my guitar. Eventually I learned to listen closely enough to hear the slight differences in a tone being a bit sharp or a bit flat. Driven by insatiable desire I was soon strumming along with the three-chord songs recorded on Sun Records by Elvis Presley, Johnny Cash, and Carl Perkins. While sitting at the piano I was surprised to learn that an E chord on my six string guitar was only three notes on the piano. I figured out some basic music theory and began banging on the piano to recordings by Little Richard and Fats Domino.


   With my Kay guitar tuned and the three-chords of the keys of E, A, and D in my portfolio, I invited Bob and Billy Sansing to my patents house on Mississippi Street where Bob sang and played his acoustic guitar, I sang and played my Kay guitar, and Billy played drum rhythms with two wooden sticks on a piece of cardboard from one of my dad’s newly laundered shirts taped across the open end of a small metal trash container. We just screwed around with a few different songs, but we had stuck our toes just deep enough into the rock ‘n roll waters to excite our collective enthusiasm. I had impressed upon Bob that I was serious and would sing and play guitar one way or another.

   Shortly after our first practice Bob purchased a 1955 or 1956 Fender Telecaster guitar and Fender amp. Billy put a new drumhead on his old junior high school snare drum, bought a cymbal and cymbal stand, a drum stool and snare stand, and drum sticks and brushes. I purchased a 1955 Martin D-18 acoustic guitar and a Tex electric pickup like the one Elvis had on his Martin D-28 guitar pictured on the cover of his first RCA album. My Martin D-18 cost $189.00 for which I paid $20.00 down and $10.00 a week until paid in full to Tolzien’s Music Store. Now we were ready for serious practice sessions that Bob and I would take turns having at his home then mine. Actually, it was our parents who were taking turns putting up with drums, guitars, and loud rock ‘n roll music.

   In the spring of 1956 Johnny Burnett Trio released the single “Tear It Up” and “You’re Undecided” on Coral Records. We bought the record and learned both songs and soon added some songs of Chuck Berry, Elvis, and Carl Perkins to our repertoire. Bob sang Lonnie Donegan’s “Long Lost John” along with my vocal harmony on the chorus, but his ability to creatively sing high harmony parts eventually led us to perform Everly Brothers songs with Bob masterfully furnishing harmony.

   While we worked hard to sharpen our skills and develop our repertoire, Bob’s mother invited us to perform at a Parent-Teacher Association (PTA) meeting at Austin Junior High School. With little thought we accepted and my first experience of performing on stage was both baffling and a bit depressing. There we were delivering the flavor and texture of this revolutionary new music to adults, only teachers and parents, whose facial communication seemed to ask, “What in the world is this we are seeing and hearing?” They offered their politically polite applause and the affair was as much a non event as ever there could be one.

The Combo Kings-1956, Bob Venable & Eddie Reeves

The Combo Kings - 1956 Bob Venable & Eddie Reeves

   We practiced throughout the summer of 1956 and by the beginning of our junior year of high school and Billy’s senior year, we were prepared to perform for anyone at anytime and in any place. Some of our friends hung out during our practice sessions and their positive reaction helped steel our confidence regarding our little rock ‘n roll band. By then we had purchased another amplifier and a microphone to serve as a meager PA system. Bob and I plugged our guitars into one amp and the ElectroVoice Microphone into the other. We needed a name for our band and it was difficult finding one but we finally settled on the Combo Kings. I don’t remember why we chose that name or found it acceptable, but we did.

   There were high school dances at the YWCA (“The Cellar” on Friday nights) and the YMCA (“Drift Inn” on Saturday nights). A jukebox supplied the music and after a Friday night football game or a Saturday night movie, these dances were a common destination for high school students. Sometimes the jukebox would be turned off while a girl’s trio would perform three or four songs acapella. There were two talented girl’s trios in our school and they sang songs like “Sincerely” and “He” by the McGuire Sisters,  “Mr Sandman”  by  the  Chordettes,  and  “Hearts of Stone”  by  the

Fontane Sisters. The Combo Kings were invited to perform at either “The Cellar” or “Drift Inn” - an invitation possibly more meaningful than one from the PTA.

   I’m not sure which songs we performed, maybe “Tear It Up” and You’re Undecided,” but when we walked into the large dance room with guitars and drumsticks in hand just after a performance by a girl’s trio, fifty or more of our friends parted way for us to proceed to a corner of the room where we’d set up our equipment. I felt my heart race with excitement as we walked past our friends toward the event of our first public performance for our peers. Maybe the same kind of feeling a football player gets as he runs out the playing field between two rows of cheerleaders in his first high school game. Everyone encouraged us with slaps on the back and enthusiastic comments and none were more supportive than those of our friend J. M. Gilbert. In another time and place he could have been our our Col. Tom Parker, our Brian Epstein.

   Electricity filled the air and raced through my entire body as we played and sang our hearts out. It was a blast - a rocket blast into deep teenage space and time warp as we took our friends along for the ride. I didn’t think of our band as soon - to - be rock ‘n roll stars, but instead as a rock band for our high school friends. There was a high school football team, basketball team, cheerleaders, marching band, choir, and many other sports teams and clubs. But now for the first time in school history there was an Amarillo High School rock ‘n roll band - the Combo Kings.

   We continued to practice, learned new songs, and played more short shows at “The Cellar” and “Drift Inn.” Soon Bob and I quit basketball, although Billy continued playing. Neither Bob nor I were going to be basketball stars so it was no big loss for the team or for us. A few days before we quit, Coach T. G. Hull halted practice and directed the entire team to sit down on the benches, which usually meant some serious words were likely coming our way. After the team was seated and directed its full attention to Coach Hull, he paced back and forth a few times with his head down as he seemed to search for the precise words of wisdom and possibly to let some silence speak to the seriousness of the moment.  Then, in a low soft voice he calmly stated, “I really like all of my boys and because of that I’m willing to put up with just about anything you do.” Coach Hull paused and then continued, “But there is one thing I will not tolerate. I will not have any duckbill hepcats on my basketball team.” As he said, “duckbill hepcats” he looked directly at me with that insightful look he made such good use of - a facial expression that drilled his point home into the depths of one’s conscience.

   I know it’s difficult for teachers to be up to date on vernacular of the young, but I think “duckbill hepcat” was good enough for Coach Hull to make his point, even if “ducktail” as in a particular hairstyle of the time was the descriptive term he was after. He was right on with “hepcat,” a term meaning “hipster” that entered the English language in 1937.

   Sometime in late summer or early fall of 1956 as we continued to learn more songs, Billy Sansing introduced introduced us to his friend and fellow high school senior, Jimmy Sandlin. He played electric rhythm guitar, was handsome, and he was a great singer. He began practicing with the Combo Kings and soon the four of us were playing various school functions and floor shows.

   We were introduced to Allen Fairchild who claimed to be starting a record company. He recorded our band at the studio of local radio station KFDA where only primitive recording equipment existed. We recorded Lavern Baker’s “Jim Dandy” with Jimmy as lead vocalist and Carl Perkins’ “Gone, Gone, Gone” on which I sang lead vocal. It was a thrill to make a recording although the sound quality wasn’t very good, even for 1956. Allen Fairchild cut a few acetates with an Alfair label affixed to each for what can be described as “homemade” 45 - rpm records. Nothing else happened regarding these recordings as we continued having fun at our practice sessions and playing for school events.

   Early in January 1957 Jimmy Sandlin’s family moved to Florida and the Combo Kings were once again a band of three. Allen Fairchild asked us to record two more songs but wanted original material so Bob wrote “When Your Baby’s Gone” and I wrote a lame teenage ballad “Pretty Babe”. This time we recorded with the addition of a girl’s trio composed of Sylvia Ramsey (sister of friend Buck Ramsey), Sybil Todd, and Gracie Newman along with talented classmate and pianist Ann Roberts, although very little piano is audible on these recordings. Once again we were excited about our recording experience, but other than receiving a few acetates of the recordings, nothing happened.

   As the school year drew to a close in the spring of 1957, Bob and I wanted to take our band to the next level by adding a full set of drums instead of just the snare drum and cymbal Billy was using. We offered to purchase the drums with the band earnings but Billy’s hard working single mom was concerned that his participation in a rock ‘n roll band would interfere with his studies at Amarillo College where Billy would enroll in the fall of 1957. We understood his mom’s concern and knew we’d need to find a new drummer for the Combo Kings to continue having fun.

The Ravens and The Nighthawks

   To the best of my knowledge the Fayros (Earl Whitt, Gary Swafford, and Turkey, Texas brothers Joe Bob and Ted Barnhill) and Rick Tucker’s Rhythm Teens were the only other rock ‘n roll bands in Amarillo at that time. I’m not certain which band was the first to publicly perform, but I did learn that Gary Swafford was a dynamite drummer. Bob and I met Gary at his parents home to invite him to join the Ravens, but it was clear he would remain loyal to the Fayros. However, he quickly offered the suggestion of Mike Hinton, a young drummer that had just moved back to Amarillo from Kansas City. Gary told us Mike was a great drummer although he only played jazz.

   We located Mike and met him at his parent’s beautiful home on Julian Boulevard. Set up in his bedroom was a large set of Pearl drums, two floor toms, two clamp on toms, a clamp on bongo, three Zildjian cymbals, one of which was riveted, and of course a kick drum, high hat and snare. We were greatly impressed with what appeared to be a Rolls Royce set of drums.

   Mike put on a jazz record, sat down at his drum set and put on an unbelievable show. We could hardly believe our good fortune of possibly having such a talented drummer join our band. True to Gary’s word, Mike let us know he knew nothing about rock ‘n roll and had no idea what a rock drummer should play. We assured him that having seen and heard his prodigious talents as a jazz drummer that his adaptation to rock ‘n roll would be an easy one. We brought Mike some rock ‘n rool records and very soon he was ready for our first rehearsal.

   Years later when our band played our twenty-fifth high school reunion, Bob would say to friend Buck Ramsy, “If you have Mike for a drummer, you don’t need much more to have a rock ‘n roll band.” And that was very true. Mike was a great drummer and a great showman and it all seemed effortless. He was just a natural showman, something one must be born with, not something one can learn. Mike played unbelievable licks, twirled his drumsticks, played amazing solos, was lightening fast, was handsome and cute at the same time and had as much energy as any drummer or person I have ever seen. Bob and I knew that discovering Mike was as good as good fortune could have been. We were now more excited than ever about our prospects of having fun playing rock ‘n roll music.

   Mike’s brother and sister-in-law, Boyd and Pat and children Mark and Michael, lived on Rusk Street where we were invited to practice. Boyd and Pat were gracious hosts and these practice sessions are the memories that I most treasure from that time. Sometimes we’d be joined by friends, especially Mike’s sister Jayne, her friend Phyllis Vigna, Mike’s girlfriend Sandra Daherty, and Boyd’s friend Rufus Gaut, an unusually quiet man who after a few beers might entertain us with his unusual dancing. And Boyd would look the other way if Bob, Mike or I got a beer from the fridge so long as we minded our limit of one each.

   One of the first times Bob and I visited Mike’s parents’ home on Julian Boulevard, Mike introduced us to the “Word Jazz” by Ken Nordine on Dot Records in which the artist told “beat” stories over a music bed of cool jazz. It was and is a great album. Nordine was a voice over-man for many well-known advertisements and an on-air personality in Chicago. He was Linda Blair’s vocal coach for The Exorcist and later would inspire Tom Wait’s spooky, spoken word-type pieces. Thanks to Mike we were turned on to the genius of Ken Nordine.

   One time I was talking to Mike and his friend Mouse in Mike’s driveway when a car with two guys stopped. One of the guys got out and told Mike he was going to “whip his ass.” Mouse didn’t seem like he’d be much help in this situation and Mike seemed much more of a “lover” type guy than a “fighter” and in fact, that may have been the reason for this threat (something about a girl). As the guy stepped toward Mike to fight I said, “you might whip Mike’s ass, but first you’re gonna have to whip mine.” Now I’ve really been much of a fighter. I was never very strong or very tough, but this guy didn’t look all that big, strong, or tough either. I don’t know what possessed me to step between this guy and Mike, but it probably had more to do with protecting The Ravens’ drummer than protecting my new friend, Mike Hinton. Mike’s new found enemy stopped in his tracks while contemplating that he’d now have to fight me before he could have a shot at Mike, so with a look of bewilderment he and his friend got in their car and drove away. I was very happy to see him back down even though I was ready and willing to fight him. Mike seemed impressed by my courage of the moment and this incident may have helped create the friendship bond we had for the next few years.

   Soon The Ravens were playing for the entire YMCA Saturday night “Drift Inn” dances that lasted from 8:00 until about 11:30 PM. There was also “The Cellar” -- a Friday night dance from 8:00 until about 12:00 at the YWCA at which we may also have performed. Whatever the case, we’d play about a fifty minute set, take a fifteen minute break while the jukebox played, and then play a second set, another break followed by our third and final set. We knew only a few slow songs and we’d play some of them more than once as slow song request increased toward the evening’s end. “You Cheated, You Lied,” “Send Me Some Lovin’” and “Who You Been Lovin’ ,Since I’ve Been Gone?” (aka “Red Cadillac and Black Mustache”) were three of the slow numbers we performed most often. Some of our up tempo staples were “Rave On,” “Peggy Sue,” “It’s So Easy,” “Maybe Baby,” “Oh! Boy,” “Maybellene,” “You Can’t Catch Me,” “Roll Over Beethoven,” “Johnny B. Goode,” “Breathless,” “Great Balls of Fire,” “Summertime Blues,” “Good Rockin’ Tonight,” “Baby Let’s Play House,” “Mystery Train,” “Wake Up Little Susie,” “Be Bop A Lula,” “Splish Splash,” “La Bamba,” “Do You Wanna Dance?” “Work With Me Annie,” “Sexy Ways,” “Party Doll,” “The Fool,” “Suzie Q,” “Tear It Up,” “Sweet Love On My Mind,” “Bony Maronie,” “Ooby Dooby,” “Rock House,” “Honey Don’t,” “Ubangi Stomp,” and “Black Jack David.”

   During our breaks Bob, Mike and I would head for one of our cars where some Country Club malt liquor was iced down. We learned that drinking beer could mean nature’s call would beg during our next set, but the smaller size malt liquor would give the same or more punch with less liquid consumed. And the Ravens learned that two cans of malt liquor per break for each of us was the proper amount to conjure up just the right buzz for a good performance. We’d play our first set stone sober and on the first break we’d each chug-lug two malt liquors so by the third or forth song of the second set we were at peak performance. Then two more chug-lugs on the second break would usually lead to us being a bit drunk during our third and final set. Bob, Mike, and I consistently used alcohol during our lives, sometimes in excess. I don’t know if we were predisposed to drinking alcohol or if the fun we had being the Ravens conditioned us to accept it as a required ingredient of having fun. Either way, it certainly was the drug of choice for Amarillo High School’s early day rock ‘n rollers -- the Ravens.

   Shortly after Mike joined with Bob and me, we recruited standup bass player John Thompson. John lived on the north side of Amarillo and was a quiet, nice young man. He wasn’t a great musician, but in those days before electric bass, it was difficult to actually hear what the standup acoustic bass was actually playing. It more or less added a deep rhythmical resonance to the music, and lent an expected, unique visual image. But hauling that huge bass around wasn’t easy. All the bands back in those days had the problem of how to transport that large bass instrument. The drums were difficult enough but at least they could be disassembled into smaller parts than the whole. But the bass - well, it was just very large and very cumbersome.


The Nighthawks c.1958

Left to Right: Eddie Reeves - Rhythm Guitar,  Mike Hinton - Drums,

John Thompson - Bass, and Bob Venable - Lead Guitar

   John gave all the time he could and his best efforts to our endeavor. He played on the recording we made as the Nighthawks in Clovis, New Mexico at the Norman Petty Recording Studio on July 25th, 1958. I believe he joined us again when we played our Christmas gig in Amarillo on December 20th that same year after our record had received much airplay on local radio station KLYN and became number one on their Top 40 Chart. John joined us again for the second and last Norman Petty recording session for the Nighthawks on the evening of Sunday, February 1st, 1959 on into the early morning hours of Monday, February 2nd, 1959. We completed this session about eighteen hours prior to the plane crash in a cornfield near Clear Lake, Iowa at about 1:00 AM in the early morning of Tuesday, February 3rd, 1959 that took the life of Buddy Holly along with rock stars Richie Valens, J. P. Richardson (known as the “Big Bopper”) and the local 21-year old pilot, Roger Peterson. Petty later told me that he’d been having headaches during our February 1st and 2nd, 1959 recording session that he had attributed to some psychic warning regarding Buddy Holly’s impending disaster. And this last Nighthawks’ recording session was the last time John Thompson would join us on bass with the possible exception of a gig in the summer  of that same year. He was a good guy and I stayed in touch with him for a while but eventually lost contact. When the Nighthawks decided to play for our 20th high school reunion, my attempts to locate John failed. Someone said he had moved to Houston but I was never able to locate him.

   When the YMCA sponsors began paying us to play I believe we split the twenty five cents admission fifty-fifty with them. We made about ten dollars each dance and would split it equally between us. Such meager income hardly paid for guitar strings, drumheads, and drumsticks, but the meaningful payment we received was the great fun we were having. It was one of the best times of my life -- full of discovery, creativity, risk taking, and adventure. And as most kids from middle-income families on up would eventually learn, we had very little responsibility back then. It was about as good as it gets.

1956 - “Gone Gone Gone (vocals by Eddie Reeves) b/w “Jim Dandy” (vocals by Jimmy Sandlin) by The Combo Kings on Alfair Records(local Amarillo, Texas label owned by producer)  produced by Allen Fairchild. Recorded at KFDA radio station, Amarillo, Texas

1957 - “When You’re Baby’s Gone” b/w “Pretty Babe” by The Combo Kings (lead vocals by Eddie Reeves) on Alfair Records produced by Allen Fairchild. Recorded at KFDA radio station, Amarillo, Texas.

1958 - “When Sin Stops” b/w “All’a Your Love” by The Nighthawks on Hamilton Records (subsidiary of Dot Records) #45-50006 produced by Norman Petty at Norman Petty Studio, Clovis, New Mexico.

1961 - “Cry Baby” b/w “Talk, Talk” by Eddie Reeves on Warwick Records #M667 produced by Norman Petty at Norman Petty Studio, Clovis, New Mexico with strings added at Bell Sound Studio, West 54th Street, New York City, New York

1962 - “I Got Shot Out Of The Saddle” b/w “Funny Face” by The Hysterical Society Boys on EBR Records (Eddie’s own label) #62001. Group was Eddie Reeves - rhythm guitar and vocals, Bob Venable - lead guitar, George Atwood - bass, and Mike Hinton - drums. Produced by Norman Petty at Norman Petty Studio, Clovis, New Mexico.

1963 - “Heartbreak Hotel” b/w “The Way The Wind Blows” by Eddie Reeves back by The Fireballs. Unreleased. Produced by Norman Petty at Norman Petty Studios, Clovis, New Mexico.

1964 - “Heartbreakin’” b/w “You Ain’t The First Time I’ve Been Wrong” by Eddie Reeves backed by The Fireballs. On Ascot (United Artist Records) #AS 2155 produced by Norman Petty at Norman Petty Studios, Clovis, New Mexico.

1965 - “Hey, Mama, You’ve Been On My Mind” b/w “A Million Things” by The Restless Feelings, Eddie Reeves lead vocals with Ron Dante  harmony. United Artist Records #50053 produced by Eddie Reeves at Associated Studio on 7th Ave, New York City, New York.

1969 - “Forgot To Forget” b/w “Barely” by Eddie Reeves on United Artists Records # UA 50593 produced by Jimmy Holiday and Eddie Reeves at Liberty Recording Studio, Los Angeles, California.

1970 - “It’s A Hang Up Baby” b/w “Barely” by Eddie Reeves on United Artists Records #50680 produced by Jimmy Holiday and Eddie Reeves at Liberty Recording Studios, Los Angeles, California

1971 - “Here I Stand” b/w “On The Street Again” by Eddie Reeves on Kapp Records #K-2127 produced by Jerry Naylor and Eddie Reeves at Liberty Recording Studios, Los Angeles, California.

1971 - “What’s Goin’ Down” b/w “Go Away Woman” by Eddie Reeves on Kapp Records #K-2164 produced by Craig Doerge and Eddie Reeves at Liberty Recording Studios, Los Angeles, California.

1973 - Recorded album co-produced by Robert Appere with string arrangements by Dick Halligan (Blood, Sweat, and Tears) for ABC Dunhill Records. Recorded at Clover Recording Studios, Los Angeles, California. Album not released.

1975 - “The Lingo Song” b/w “The Lingo Song” (instrumental version) by Eddie Reeves on GRC Records #GRC 2049 produced by Steven Dorff and Eddie Reeves.

1975 - “What The Hell Are We Doing” b/w “Inside Out” on GRC Records #GRC 2065 produced by Robert Appere and Eddie Reeves at Clover Recording Studios, Los Angeles, California. These were two of ABC Dunhill masters bought by GRC.


Eddie Reeves Discogrophy - 1
Eddie Reeves Discogrophy - 2
Eddie Reeves Discogrophy - 3

Hysterical Society Boys


Norman Petty Recording Studios

Also check out Eddie’s web site www.eddiereevesmusic.com

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