L-R: Roger Smith (rhythm guitar); Ron Prior (vocals); Jess Hodges (drums); Graham Bradley (vocals); Keith Greaves (bass); and Roger Tinkler (lead guitar). Photo: Ron Prior
Ron Prior – lead vocals
Graham Bradley – lead vocals
Roger Tinkler – lead guitar
Roger Smith – rhythm guitar
Keith Greaves – bass
Jess Hodges – drums
This northwest Surrey band evolved out of The Black Arrows and featured two lead singers – Ron Prior and Graham Bradley.
Invited by Cyril Stapleton to record a demo recording at Radio Luxembourg in central London, the sextet cut two tracks, including a cover of Solomon Burke’s ‘Stupidity’ via Cliff Bennett & The Rebel Rousers (featuring Prior on lead vocals), but it was never released.
Prior and Tinkler subsequently joined Jeep Rongle in March 1966.
Ron would love to hear from any surviving band members in the comments section below
Selected gigs:
6 December 1964 – Sunday Club, Addlestone, Surrey with The Applejacks (Woking Herald)
26 January 1965 – Walton Playhouse, Walton-on-Thames, Surrey (Woking Herald)
26 February 1965 – The British Legion Hall, Virginia Water, Berkshire (Staines & Egham News)
5 March 1965 – Co-op Hall, Addlestone, Surrey (Woking Herald)
8 May 1965 – Egham Hythe Social Club with The Roosters (Staines & Egham News)
12 June 1965 – St Paul’s FC, Social Centre, Egham Hythe, Surrey (Staines & Egham News)
19 June 1965 – Social Club, Egham Hythe with the Cherokees (Staines & Egham News)
21 August 1965 – Egham Hythe Social Centre with The Stormsville Shakers (Staines & Egham News)
19 September 1965 – Co-op Hall, Addlestone, Surrey (Woking Herald)
Clockwise from front: Roger Smith (rhythm guitar), Alan Smith (lead guitar), Keith Greaves (bass) and Ron Prior (drums). Photo: Ron Prior
Alan Smith – lead guitar
Roger Smith – rhythm guitar
Keith Greaves – bass
Ron Prior – drums
Former Highlights and Magnets singer/turned drummer put this band together in 1962 with Chertsey, Surrey-raised brothers Alan and Roger Smith.
Like Prior’s previous band The Magnets, The Black Arrows played extensively throughout Surrey, including appearing frequently at the Walton Playhouse (see 1962 on that entry).
Although The Black Arrows did not record, all of the members (with the exception of Alan Smith) stayed on when the group became The Legends (not to be confused with the west London band of the same name) in 1965.
Ron would love to hear from any surviving band members in the comments section below
L-R: Roger Smith, Ron Prior, Keith Greaves and Alan Smith. Photo Ron Prior
L-R: Craig Collins (drums), Paul Baxter (lead guitar), Ron Prior (lead vocals), Mick Angel (rhythm guitar). Ronnie Knight not pictured. Photo: Ron Prior
Ron Prior – lead vocals
Paul Baxter – lead guitar
Mick Angel – rhythm guitar
Ronnie Knight – bass
Craig Collins – drums
Formed in 1960 by Virgina Water, Surrey-raised singer Ron Prior, who’d started out with The Highlights, a group that briefly included future Kinks drummer Mick Avory.
The group played extensively throughout Surrey for the best part of two years before Prior departed to form The Black Arrows.
Ron would love to hear from any surviving band members in the comments section below
L-R: Ron Prior (hands at the microphone), Paul Baxter, Mick Angel and Ronnie Knight. Photo: Ron Prior
Happy to be kicking off the new vinyl DJ night of my old friend, DJ $mall ¢hange, at the Half Moon at 48 S. Front St. in Hudson, NY 12534 this Friday, Jan 24, 2025.
All kinds of (old) music, including garage. Come out and say hello.
The Buck Rogers Movement, April 1968, from left: Karl Larson (Carl Larson), Beverly Rogers, Buck Rogers, Rod Trembley, Cynthia Trembley, and Bill Wanat
From Holyoke, Massachusetts, the Buck Rogers Movement cut three singles on their own 21st Century Records label in 1967 and 1968, then continued for a couple more years until tragedy struck.
The first mention of the band I can find comes from the Holyoke Transcript-Telegram on September 20, 1967, noting the group “formed only three months ago”.
The group is somewhat unusual in that it has two married couples within its membership: Roderick Trembley, lead guitarist, Mrs. Cynthia Trembley, rhythm guitar; Buck Rogers, sax; Mrs. Beverly Rogers, organ. Also members of the group are: Carl Larson, bass and William Wanat, drums.
Rod Trembley came out of a Chicopee band called the Del Vicounts, who competed in the Jaycees Western Massachusetts Regional band contest. Other members of the Del Vicounts included Tym McDowell, vocals; Pierre Provost, bass, George Barsalou, drums, and Michael Dubiel, rhythm guitar.
December 1967 shows at Mountain Park in Holyoke
The Transcript-Telegram ran a photo of the Buck Rogers Movement on April 25, 1968, with some inconsistencies in spelling from the earlier article: Buck Roger, Beverley Roger, Cindy Trembley, Rod Trembley, Carl Larsons and Bill Wanat.
It claims “Buck holds an exclusive song writer’s contract with United Artists.”
“We like the clean sounds of the Buckingham[s] and The Young Rascals,” Buck says.
… they find time for bookings like the Showboat in New York City and a two-week tour in Labrador. The group has appeared at Mountain Park, the Catacombs, and at every Hullabaloo in New England.
The article notes Carl was a student at Chicopee Comprehensive High School and Rod Trembley attended Northampton Commercial College.
signed by Buck Rogers!
Copyright registration lists Buck Rogers real name as Herman Joseph Rogers, sometimes rendered as “Bucky Rogers” or Herman J. Rogers.
Registration dates are interesting, as some are a year or two before the recordings:
June 25, 1965: “You’ve Got Me Hurting Again” Sept. 16, 1965: “Radio Station Commercial” Oct. 19, 1965: “Here I Go Again” Nov. 8, 1965: “Do Christmas Trees Really Grow?” Nov. 22, 1965: “Come on Home” Oct. 18, 1967: “Would You Believe?” Nov. 8, 1967: “Take It From Me Girl”
WHYN DJ Dick Booth informed me he produced “Do Christmas Trees Really Grow” at Audio Dynamics in 1967, but not their other records. At the time he was booking them in shows around Springfield, MA and Stafford, CT.
21st Century Records 601: “Would You Believe” / “Baby Come Home” 21st Century Records 602: “Do Christmas Trees Really Grow” / “Music to Watch Christmas Trees Grow” 21st Century Records 603: “Take It From Me Girl” / “LA”
signed by Karl Larson (not Carl Larson as news clips indicate)
H.J. Rogers wrote all six songs, publishing the first two with Trish Music, and Unart Pub. on the third.
“Baby Come Home” was issued twice, the second time with the title changed to “Baby Come On” which sounds closer to what is being sung. Note that the signature on “Would You Believe” is Karl Larson, not Carl.
There was some local radio chart action, for example, “Would You Believe” reached #8 on WHYN on November 11, 1967, and “Take It From Me” reached #9 on the WAIC top ten on April 13, 1968.
At some point, Karl Larson left and was replaced by Ray Mason, who had just graduated high school.
The Atlanta Journal had a report on February 24, 1970 headlined Sniper Suspected of Earlier Attack:
Twenty-four hours out of Albany, N.Y., the Buck Rogers Movement was awake, anticipating arrival in Atlanta where they thought they had a contract to play rock music in a midtown nightclub.
Harlan Cornelius, the bearded, 24-year-old guitarist for the group was working on a list of songs the group could do, and discussing his choices with the rest of the group.
Buck Rogers, 29, the leader, was driving his gold convertible south on I-85, and turned on the car’s interior light so Harlan could see his list.
About 60 miles out of the city, a car whipped around the group’s rented trailer and pulled alongside. A young man inside hollered, “Fink.”
“There’s your ‘Easy Rider,'” Rogers said, remembering how the two motorcyclist in the movie had been scorned and abused by people who thought long hair and beards repugnant … he turned away the insult, and held up the two-fingered peace sign to the pair in the other car.
The car, a black compact – he thinks a Falcon – with lots of chrome, and raised on its axles, slowed down and allowed the group to pass. As they went by, one of the youths gave a vulgar finger signal in return.
Later, Rogers told the Atlanta Journal Tuesday, they saw the car parked alongside the road, with its two occupants standing at its opened trunk. “When we saw them parked, we thought they were getting a jack handle or something,” the band leader said.
You’d be surprised how much aware we were that something was going to happen – we definitely knew they were looking for trouble.”
Shortly after midnight, they found it. Rogers saw the car approaching in his rear view mirror. “I heard the first shot, then as he drove past, I saw the kid with his arm out the window.” Through the glass of his rolled up window, Rogers saw the flash of the gun, apparently aimed at his face.
“Then Harlan said ‘I’ve been shot; I’ve been shot,'” Rogers recalled. His wife, Beverly, turned around and saw blood coming from the guitarists nose. “He put his hand down and said he thought they’d gotten his eye, but I looked at it and said No, it’s still there,” she said.
Rogers said the shot that hit Harlan came through the cloth top of the convertible.”
“I think the way America is today, that’s the way things happen,” Rogers said. “Those two guys started something, and they just had to finish it.”
Detective W. Tony Crook said the same sniper may have been involved in a similar incident in DeKalb Count a week ago, when a shotgun blast was fired into a car as a woman was driving on I-20 …
Meanwhile the group waiting Tuesday in Atlanta for their companion, who will be in the hospital for a while. The job they thought they had didn’t pan out, and Rogers said he may have to wash dishes or drive a truck until they get another booking.
The group had just returned from a USO show in Laborador and Greenland.
For all their concern about the future, they are still mainly concerned about Harlan.
“He’s an easy-going guy, and he wouldn’t hurt a fly,” Beverly added. “After he was hit, he kept asking if Ray (Raymond Mason, 19, the bass guitar player) was all right,” she said. Ray had been sitting on Harlan’s right.
Police are working on the theory that the sniper just didn’t like people with long hair, and the Buck Rogers Movement does, indeed wear its hair long. “It’s the style that’s in with the music,” Rogers said. “You just can’t look like Bill Haley and the Comets.”
But sometimes it’s not a good idea to look like the Buck Rogers Movement.
The Journal followed up on February 25, noting the epithet shouted at the band was either “fink” or “freak” and noting the assailants’ car was a black Ford Falcon, and the second shot “penetrated the front door of the car”:
The rock guitarist wounded on the Northeast Expressway by a sniper definitely will lose the sight of his left eye, his father said Wednesday.
Harry Cornelius, in Atlanta with his wife to visit their wounded 24-year-old son, Harlan, said surgeons at Grady Memorial Hospital have not yet removed the bullet which struck their son Sunday night.
The bullet [entered] the musician’s skull near the left temple.
Harry Cornelius said his son never lost consciousness during the ordeal, although the wound was painful.
The Corneiliuses are from Glenville, Minn., a small town in the southern part of the state that has about 700 residents.
“I can’t understand how this could have happened. We don’t have anything like that in Glenville. Do you think the ones who did it could have been on drugs?”
The Springfield Union ran an article about a benefit at the Paramount Theater tonight to help a fund being collected for Harlan Corneilius and the Buck Rogers Movement “which calls itself ‘The White Soul Group'”.
The bullet his lodged in his sinus passages, and doctors at Grady Memorial Hospital … were still undecided whether to remove the bullet.
The groups performing tonight … are The Fat, The Glass, and Sin.
On May 5, 2000, the Daily Hampshire Gazette profiled local musician Ray Mason who “spoke about the shooting: ‘I was asleep in the back, and I woke up to see our guitar player with blood all over the side of his face'”.
The Atlanta Constitution gave a summary of the events on April 4, 1970:
On the night of Feb. 23, the Buck Rogers Movement was bound for Atlanta for an engagement of a local night club.
They stopped for gas near Commerce, Ga., and as the car entered the expressway, the car containing the assailants sped around the musicians’ car.
The driver of the musician’s car, “Buck” Rogers, said he held up two fingers in a peace sign.
Closer to Atlanta, the group noticed the car again, this time parked on the side of the expressway, and the two occupants were standing beside the open trunk.
As the musicians neared the North Druid Hills exit on I-85, the other car roared up again and one of the occupants fired into the musicians’ car, hitting Cornelius in the head.
DeKalb County police said Friday they have located two prime suspects in a case in which a rock musician was shot in the head while in a car with other musicians while coming into Atlanta on the Northeast Expressway. But, the pair will probably never stand trial for the offense, officers said.
Officers said the suspects had been bragging about the incident in the Paulding County community in which they live.
Location of the suspects followed a month-long investigation by Detectives C.H. Staples and Tony Crook …
But the musicians involved couldn’t agree on the description of the car from which the night rider fired, except that it had round tail lights and that it was raised in the rear end, police said.
Identification of the suspects by the victim or witnesses is necessary in this case before any further action can be taken, police said.
The rock group, the Buck Rogers Movement, has left the metro area to fulfill other engagements. “They had to make a living,” said Smith.
The victim, Harlan Cornelius who played lead guitar has returned to Minnesota.
Although the group is noted as a sextet in these articles about the shooting, only four members are named: Buck and Beverly Rogers, Ray Mason and Harlan Cornelius. I suppose Ray Twombley and his wife had already left the group, and have not seen the drummer’s name listed.
An obituary in the Leader Press noted that Harlan Cornelius passed away at age 35 on October 6, 1981. It noted Harlan performed with the USO, managed the Carlton Stewart Music Stores in Mason City and Waterloo, and entertained with Gordon Lennevold.
Harlan Cornelius played guitar, co-produced, and wrote three songs for Gordon Linn’s album Wild Oats, and played guitar, lap steel and banjo on Mike Price & the Townsmen LP, I Found You Last Night (And I Lost You Today).
The Buck Rogers Movement may have broken up soon after the shooting, as there are no further notices that I have found. I’d appreciate more info or photos of the band.
My good friend Jim (aka DJ Small Change) interviewed me (pictured above) about politics and music for JasonCharles.net, and I made a short mix of Hudson Valley records to accompany it.
The mix features five 7″ ballads, an album cut by jazz saxophonist Nick Brignola, and an acetate – all recorded at Kennett Sound Studio. I also included both sides of 45s by the Dirty Elbows and the Teddy Boys because they’re Hudson Valley artists and sound right here.
Tracklist:
The Cleaners – How I Feel Riccardo & the Four Most – There’s a Reason The Kynds – So If Someone Sends You Flowers Babe The Dirty Elbows – I Love You Girl Teddy Boys – She’s So Sweet and Kind Teddy Boys – Don’t Mess With Me The Dirty Elbows – To Carry On The Cleaners – Walking Through the Fields The Villagers – Cry On Nick Brignola – The Mace
The Five Flys, from left: Rich Murlo, Tony Tonon, Steve Kucey, Skip Nehrig and John Gallagher. Photo courtesy of Tony Tonon
The Five Flys released their only single “Livin’ for Love” / “Dance Her By Me” in 1966. It was the last single on Samron Records S-104, and the only one with Coaldale, PA on the label.
Members included Rich Murlo, Tony Tonon, Steve Kucey, Skip Nehrig and John Gallagher. They were from the Coaldale area in Schuylkill County, like Angie and the Citations.
Five Flys and the Chevelles at Tam-Au-Go-Go Bandstand, Mahoney City, August 1965
The Five Flys played local shows in Coaldale and Mahoney City in 1965 and 1966, and further away in Allentown and Bethlehem.
A report of an August 1966 show at St. Joseph’s in Summit Hill described “music for street dancing by the Five Flys”.
Thank you to Tony Tonon for the photo. I would appreciate more info on the Five Flys.
Five Flys at Jamaican A Go-Go, Bethlehem, July 1966, days after the King’s Ransom and the Scott Bedford Four
To celebrate 20 years of Garage Hangover I will be spinning some records at Do The 45 Rock ‘n’ Soul Party at Quinns in Beacon, NY on Friday, July 12, with old friends and fellow DJs Pete Pop (garage collector extraordinaire) and Phast Phreddie (who has known everyone cool in the music world since 1973).
Photo may be subject to copyright (from Pacific Northwest Bands website). Left to right: John Simpson, Danny O’Keefe, Clyde Heaton and Paul Goldsmith.
Very little is known about Seattle rock group Calliope so Garage Hangover would welcome any additional information in the comments section below
Lead guitarist, singer and writer Paul Goldsmith formed the group after his previous band The Emergency Exit disbanded in late 1967. He also recruited Clyde James Heaton (b. 13 July 1949, Seattle; d. 2 November 2005) and drummer Paul Simpson.
Heaton had previously been a member of The Dimensions while Simpson had worked with The Bumps.
According to singer/guitarist and writer Danny O’Keefe (b. 20 May 1943, Spokane, Washington), he was the last to join (see our interview below).
O’Keefe had worked as a solo artist for several years and, like his colleagues, issued some previous recordings.
The band signed to Buddah Records around June 1968 and recorded a lone eclectic LP in Los Angeles, which was issued around November/December that year. They also opened for Cream and Iron Butterfly at the Eagles Auditorium in Seattle.
O’Keefe dropped out soon after the LP’s release to establish a prolific solo career and bass player Luther Rabb (b. 7 September 1942; d. 21 January 2006), who’d worked with Goldsmith in The Nitesounds and The Emergency Exit joined. Rabb, incidentally, had been a sax player in Jimi Hendrix’s early group, The Velvetones.
When the band fell apart in 1969, Goldsmith subsequently played with Soldier and wrote “Southern Celebration”, which was recorded by Genya Ravan.
Heaton apparently played with The Sunday Funnies while Simpson worked with Christopher. The drummer tragically died in a plane crash in 1973.
Rabb meanwhile recorded with Ballin’ Jack and West Coast Revival. He also later worked with War and Santana.
Garage Hangover would welcome any more information plus photos, which we will credit.
Nick Warburton interviewed Danny O’Keefe by email on 31 May 2024 about his time with the group.
Prior to the formation of Calliope in 1968, you’d been working as a solo artist and had recorded quite prolifically – a 1966 LP on the Panorama label and a clutch of singles for Piccadilly. Your songs had also been covered by other artists, such as “Blackstone Ferry”, which The Daily Flash recorded. Most, if not all, of these recordings subsequently appeared on The Seattle Tapes LP and tracks like “Baby” and “Graveyard Pistol” sound like they were recorded with a band. Did any of the other soon-to-be members of Calliope appear on any of these recordings?
Danny O’Keefe: No. Calliope was a band that Paul Goldsmith put together with Clyde Heaton and John Simpson. They needed a singer and I needed a gig. I hadn’t known them before I joined the band.
The LP that you did for Buddah Records only lists the four of you, but I understand that bass player Luther Rabb, who’d worked with Paul Goldsmith in his previous bands, was also involved with the group?
Danny O’Keefe: Luther Rabb joined after I left the group, and wasn’t involved in the Buddha recording.
I have read somewhere that Calliope was very well received on the local Seattle live scene. Did you play extensively in Seattle and the Washington state before landing the record deal with Buddah Records and were there any shows that stand out, perhaps opening for better known bands?
Danny O’Keefe: I think we opened for Iron Butterfly and I notably threw out a lid’s worth of joints to the audience before we started. We also opened for Cream on one of their last shows. Both shows were at the Eagles Auditorium. I think we were only together for a few months before we got the Buddha deal.
How did the deal with Buddah Records come about? It looks like the LP came out around November 1968, so I guess the recording sessions took place that summer?
Danny O’Keefe: Denny Rosencrans was a local record promoter who took an interest in the group, largely because he was Paul Goldsmith’s friend. He contacted Neil Bogart at Buddah who came out to see a performance at the Seattle Center, I believe.
What can you recall of the recording sessions? Buddah is a New York label, but I presume they didn’t fly you to the Big Apple to record? Also, it’s a very eclectic album that showcases a huge breadth of styles. Did the final product reflect what you all envisaged for it from the outset?
Danny O’Keefe: The recording sessions were produced by Lew Merenstein for Buddah. I don’t remember the name of the studio but it was a well-known studio in LA that Jimi Hendrix had recorded in. I don’t remember much about the sessions, of which there were three, I think. I had throat problems during the sessions and have always felt my vocals could have been much better. I didn’t like the recording when it came out, as it wasn’t really what I was interested in at the time, and I quit the band after I heard it. I went back to LA (from Seattle) to pursue a different route and eventually landed on Atlantic Records.
You were clearly a very prolific writer, even during this period, but only two of your original songs (and two from Paul) appear on the LP. How did you come to choose “The Rainmaker’s Daughter”, which had already been demoed and later surfaced on The Seattle Tapes, and “Atlas” and what were they about?
Danny O’Keefe: I liked “The Rainmaker’s Daughter”. It was only a demo on The Seattle Tapes, which were never intended for release except for a couple of singles. “Atlas” was a performance song and was the number we closed our sets with. “Atlas” was always assumed to have been about the Ayn Rand book. When those who uphold the world shrug their obligations the Earth becomes chaotic. “The Rainmaker’s Daughter” was from a short story by Hermann Hesse. Both early attempts to learn the craft of songwriting.
Did the band members have any say in the choice of covers, which, in themselves, are quite varied – everything from a raunchy version of “Hound Dog” to brilliant interpretations of Bob Dylan’s “Like a Rolling Stone” and Lee Michaels’ “Hello, Hello”, the latter released as a US and Dutch single?
Danny O’Keefe: The material was picked by Paul Goldsmith. Again, I was only the vocalist in the band, which was Paul’s.
From this writer’s perspective, the production on the LP is very punchy and the arrangements are dynamic; I particularly love the horns and strings on “Atlas”. What role did Lewis Merenstein have on the final recordings?
Danny O’Keefe: He took the tapes back to Chicago and put the strings on and mixed the recordings. I had virtually no say in any of the production and, as I said, I quit the band when I heard the final recording.
By 1968, you’d already written and recorded such classics as “3.10 Smokey Thursday”. Did you record any more of your songs that were never issued at the time or perform them live? I heard rumours that a second LP was cut but subsequently shelved. Is that true?
Danny O’Keefe: I didn’t record any more songs for Buddha and asked Neil Bogart for release from my contract. He was hopeful I would stick around for another record, but I had other interests. I wasn’t involved in any recordings except those on the “Steamed” recording.
The back cover also credits your road manager. Was there any significance in listing him?
Danny O’Keefe: His name was Scott Strong, and he was a member of the band in every sense, and also a good player.
The LP came out late 1968 and one 45 was issued. Did you do much promotion of the release in Seattle or play elsewhere in the US or did the band pretty much fall apart as soon as the LP came out?
Danny O’Keefe: I left the band when the recording came out. The band persisted in the Northwest for a while, but eventually the members went their own ways.
What prompted the band’s split in early 1969 and did you keep in touch with the other band members, who all appear to have kept a relatively low profile in the aftermath?
Danny O’Keefe: John Simpson went to Alaska and worked in his grandmother’s bank. He was with his twin brothers (if I remember correctly) in a small plane that crashed in the Alaska bush. He tried to go for help but never made it. I don’t believe his body was found, but it’s a long time ago and I’m not sure of all the facts. I lost touch with the other members of the band. I’ve tried to find out what happened to Paul Goldsmith but haven’t been successful. I don’t think he’s still alive.
Fans of your music will probably be surprised that you worked with a heavy rock band in the 1960s, but when you look back at Calliope, what are your best memories of that brief period in your career?
Danny O’Keefe: A couple of shows at the Eagles Auditorium where I got to do a couple of “art rock” pieces, and smoking a joint in the stairwell with Clapton when we opened for Cream in an afternoon show. Other than that, as I mentioned, it was just a gig and I left as soon as I had other prospects.
Here’s a little-known group, the Canadian Legends, who recorded on New Orleans labels, and whose only member I know of is Ronald Buro.
Their first record contains two crude covers, “I’m a Believer” (spelled “I’m a Beleiver”) with lyrics rewritten for U. of Alabama’s Crimson Tide football (tip of the hat to Kip). This release presumably dates to shortly after Alabama’s victory in the Sugar Bowl on January 2, 1967 against Nebraska, which is mentioned in the song.
The flip a version of the Knickerbockers’ “Just One Girl” that is almost unrecognizable from the original. This version does have a lot of charm, however.
Later in 1967 came their second, “Happy” by Ray Stevens backed with an original by Ronald Buro, “One and Only”.
Their last record has two originals by Ronald Buro, “Can’t You Spare the Time” / “Where Were You When I Needed You” on Polar 102.
This Canadian Legends group is considered unrelated to the Legends, a Wisconsin group sometimes based in Miami that had been recording since 1961, including “Just in Case” / “If I Only Had Her Back” and “Alright” / “How Can I Find Her” on Parrot in 1965, and “How Can I Find Her” / “Raining in My Heart” on Thames (and Date) in 1966.
By February 1965, they were being billed in Miami as the Canadian Legends (“originally from Ontario, Canada” according to the Tampa Times), with Sam McCue on lead guitar, Larry Foster on guitar, Jerry Schils on bass and Jim Sessody on drums. Rick Jaeger from the Beau Gentry also played drums with the group from about October 1965 to early 1966. The Beau Gentry also had Wisconsin connections, recording on Ken Adamany’s Feature label.
To further the confusion, a version of “One and Only” shows up on the B-side of the Chessmen’s “The Lycra Stretch” on Suncrest, a label who had only one other release, by The Invaders, a Miami group who were good friends of the Legends.
I have heard the Chessmen version but not the Canadian Legends version yet, so I can’t tell you if it’s the same performance or not.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
