Last updated: 8 hours ago
San Antonio real estate magnate Abe Epstein took an omnivorous approach to recording and releasing records on his Cobra, Jox, Dynamic, Soulsville USA, Suzuki, Vollado, Groovy, Beckingham, and Metro-Dome labels. Tape was running constantly at his 735 North General McMullen Drive studio, capturing Latin balladeers, soul crooners, country yodelers, garage rockers, and top 40 hopefuls alike. Epstein was chasing, above all else, hits. “Recording became like a disease to me,” Epstein said.
Claire Peralta, Sylvia Wilburn, Cecilia Silva came together in 1961 as the Royaltones in the choir room of South San Antonio High, harmonizing the latest hits while waiting for their parents to collect them. After changing their name to the Dreamliners—inspired by the San Antonio transit system—they began performing at VFW Halls and military bases in greater Bexar County, singing a set of McGuire Sisters-esque ditties for the ranking folks, and the Sound of Young America for the NFG privates. Epstein caught wind of the group in 1963 and signed them without hesitation. A split single with the Velvedeers appeared on Cobra later that year, featuring Wilburn’s original “Just You and Me” as the A-side. The 45 failed to find a footing locally, a by-product of his bloated release schedule and overshadowing by the duo that put Epstein and his ragtag group of labels on the map and in the black.
Claire Peralta, Sylvia Wilburn, Cecilia Silva came together in 1961 as the Royaltones in the choir room of South San Antonio High, harmonizing the latest hits while waiting for their parents to collect them. After changing their name to the Dreamliners—inspired by the San Antonio transit system—they began performing at VFW Halls and military bases in greater Bexar County, singing a set of McGuire Sisters-esque ditties for the ranking folks, and the Sound of Young America for the NFG privates. Epstein caught wind of the group in 1963 and signed them without hesitation. A split single with the Velvedeers appeared on Cobra later that year, featuring Wilburn’s original “Just You and Me” as the A-side. The 45 failed to find a footing locally, a by-product of his bloated release schedule and overshadowing by the duo that put Epstein and his ragtag group of labels on the map and in the black.
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