All posts by Chris Bishop

Categories: Fayetteville, JCP, North Carolina

The Symbols

December 27, 2007 Chris Bishop 33 Comments

From left: David Moore, Don Willin, Carl Erwin and Joe Boyland

Here’s a record I don’t own myself, but after writing about the Marke 5, I heard from a member of another band from Fayetteville, the Symbols.

The Symbols released this one 45. The A-side is the Beatlesesque “Can I See You Tonight?” with an unusual guitar solo. Less restrained is the excellent flip “Give Me Time,” full of energy and originality, and written by David Moore and Joe Boyland.

Jerry Miller put me in touch with his brother George, who was the second lead singer of the group, joining right after the 45 was recorded. Prior to the Symbols, George was in the Taxmen, a rival band to the Marke 5 at Seventy First High School in Fayetteville.

George Miller wrote to me about the Symbols:

David Moore played lead, Don Willin bass, Joe Boyland (he was a preacher) rhythm, Carl Erwin drums.
Don Willin was a McCartney freak at the time and copied his style. Willin played a big red Gibson hollow body Bass, like Peter Tork of the Monkees. Moore and Boyland wrote their songs.
Johnny Betz did the original vocals of “Can I See You Tonight.” I have no idea why, but after the record was cut and got dist. going, Betts and the drummer quit. Carl Irwin, from Pine Forest H.S. and myself from 71st, moved into those to places and the Symbols really clicked. I sounded exactly like him doing that song so we did it all the time and I got the credit for making it a hit.
We did “Words” by the Bee Gees then; and the crowd always went crazy. We played all over N.C. The Symbols were the first to use strobe and stage lighting. Very limited at the time, but effective. We had that stage magic. I won’t ever forget the fun and work it took to be on the road in H.S.
Jimmy Capps Productions was in Raleigh, N.C. Capps produced “Can I See You Tonight” 600 copies (at total $625.00). We had a recording offer from ‘Colgems’ (Columbia/Gem) in California, four songs all original, and I was too young to go on tour without an adult chaperone. So I got in trouble and headed off to Viet Nam with Mike and Jim, who were the other getter-in-troubles …..and we got to be War Heroes n’stuff and be cool around Fayyette-Nam….
By the way it is Bradley Moffet, lead guitar – Marke 5, that was working at Edwards Music not Donnie Wofford. Wofford is retired from the Army as an E-7, and runs some convenience stores in Hope Mills.
The Taxmen: Bobby Williams – Lead, Jay Shepherd – Rhythm, Bob Holmes – Bass, George Miller – Vocals, Bill Palmer – Drummer # 1, ? – Drummer #2. Anyone know where Bob Holmes and John Holmes might be? Old Jr. High School band “The Barons” the best song we did was “Shapes” by ‘The Yardbirds’… Barons was ahead of their time.

Categories: Lavender, Longview, NWI, Washington

The Impacts

December 26, 2007 Chris Bishop 35 Comments

The Impacts of Longview, Washington

One of several bands called the Impacts in Washington state, this group was from Longview, a small city along the Columbia River, a half-hour’s drive north of Portland. Original members were Ron Baldwin and LaDonna Lockman on vocals, Bruce Farquhar on guitar, Dick Sayles keyboards, Bill Uhlig bass and Spook Brusco on drums.

By the time of their first 45, Dan “Spyder” White and Steve Green had replaced Sayles and Brusco, respectively, and LaDonna Lockman had either left the band or was only appearing at their live gigs, as she isn’t on any of their recordings.

They recorded their first 45 at Northwestern Inc., the legendary Portland studio where the Kingsmen cut Louie Louie, and paid the studio to press it on its NWI label. “A Little Bit More” is a fine original, and may have helped get them signed with Pat Mason, a major booking agent in the Pacific Northwest.

“Leavin’ Here” is an Eddie Holland song on Motown that became a staple of live acts like the Who and the Birds in the UK, but in the states was less often covered. The Impacts probably learned it from Jimmy Hanna & the Dynamics’ version on Bolo.

Compared to the frantic pace of the UK groups who recorded “Leaving Here”, the Dynamics and the Impacts versions take a much more languid approach. The Dynamics make it work with swirling organ fills and horns responding to the vocal lines. The Impacts start off well, with a sharper sound than the Dynamics, but the band somehow fails to generate the energy to make this work, especially on the chorus.

Impacts Lavender 45 Green Green Field Once signed with Pat Mason, the Impacts started releasing records on his Lavender label, and recording at Bob Gibson’s Ripcord Studio in Vancouver, WA.

“Green Green Field” and “Don’t You Dare” show a much more confident and accomplished band. Like “A Little Bit More,” these two songs are originals by Dan White (Robert Douglas White on the BMI registration).

After this record they changed their name to the Impact Express and released three additional 45s on Lavender in progressively pop stylings. I’d feature “I’m Gonna Change the World” if I had a copy, but by “Sunshine Day” they sounds like a completely different band.

45 releases:

The Impacts:

A Little Bit More / Leavin’ Here (NWI 2006)
Don’t You Dare/Green Green Field (Lavender 2005)

The Impact Express:

I’m Gonna Change The World/ You Get Your Kicks (Lavender 2006)
Sunshine Day / Don’t You Dare (Lavender 2007)
A Little Love/Fly With Me (Lavender 2008)

Photo from PNW Bands

Categories: Amarillo, Texas, Tipton, United Artists

The Hysterical Society

December 23, 2007 Chris Bishop 26 Comments

Hysterical Society UA 45 Come With Me A double-sided winner from Amarillo, Texas. Both sides were written by M. Hinton (Markus Lee Hinton according to the song publishing info).

The producer Eddie Reeves was working for United Artists publishing at the time; he’d had a prior career as a vocalist with the Nighthawks and a solo 45 on Warwick, “Cry Baby” / “Talk Talk”. He was from Amarillo, and may have provided these songs for a home-town group.

There is a likely connection to a group who recorded a 45 as the Hysterical Society Boys, “Funny Face” / “I Got Shot Out Of The Saddle” on the EBR (Eddie B. Reeves) label in the early ’60s, but I haven’t heard that one yet. (Thanks Davie G for this info.)

Despite good songwriting, production and performance on both sides, the 45 didn’t make a dent in the charts.

The band had one more release, “I Put A Spell On You” b/w “Summertime (Variations)” on an Amarillo label, Tipton, in 1968.

Update May, 2018:

Michael Thom acquired a 10″ acetate of one song recorded at Associated Recording Studios in New York. Michael wrote, “the acetate is very badly damaged, with a lot of lacquer separation that goes through the entire disc”. Michael spent hours restoring the sound so we can hear what this unreleased song sounded like. Perhaps someone associated with the band has another copy of the demo, or the master tape from this session.

Click to hear an excerpt from “Ain’t Comin’ Back”

The Hysterical Society with friends including Mark Kirk

I knew next to nothing about the band until Woody Key contacted me about the band. I’ll reproduce the comment he left below here, because it contains so much info about the group:

The Hysterical Society lineup on this record (and most of their career) was Mark Hinton – guitar, organ, vocals; Ronnie House – guitar, vocals; Ken Hutchinson – bass, vocals; and Mike Pugh – drums, vocals. There was indeed a link between Eddie Reeves and the Hinton family; Mark Hinton’s uncle Mike was one of the members of the Hysterical Society Boys, which I think were a band that was formed in Austin when Mike went to University of Texas. I don’t think that Eddie Reeves was in the Hysterical Society Boys, but he and Mike Hinton were in the Nighthawks.
The record (and I think 4 more sides, which weren’t released) was done in New York City. The boys were excited to be in the Big Apple, and had the opportunity to meet Bob Dylan and Napoleon XIV of “They’re Coming to Take Me Away” fame.
The Hysterical Society were a popular TX Panhandle and regional band from 1966 – 1969. They recorded “Summertime” / “I Put a Spell On You” in 1968 at Norman Petty’s studio in Clovis, NM, with Norman producing. By this time, they had replaced Ken Hutchinson with David Fine on bass and keyboards. They eventually replaced Ronnie House with Mark Kay on guitar, and kept this lineup until they broke up in late 1969.
Mark Hinton and Eddie Reeves kept crossing paths musically, with Eddie producing demos by Mark’s band Piper in Los Angeles, and also Mark’s solo demo projects in the early ’70s.

Update January 2012

Ken Hutchinson sent in the photo at top, and answered some of my questions about the band:

The photo was one of my favorites and I’m happy that I found it. True that Eddie had some promo shots of us done while we were in New York but as the single never made a dent in the charts we saw proofs but I do not believe finished copies were ever made. My sister remembered some studio shots done in Amarillo by our mother who was a photographer with a local studio. My mother also took the shot that I sent you.
The formation of the band came about by a chance connection of me and Ronnie House, the lead guitar player. He also knew Mark Hinton from school and as he and I worked together he suggested that we get together with Mark who knew a drummer (Mike Pugh). At the first get together the chemistry was good and we decided to become a group. Mark and Mike were the real talent of the group and Ronnie and I were good enough to compliment them.
After a while we kind of took the Texas panhandle by storm as we were all high school students and were very good at copies. We practiced enough to keep our material current, were very energetic on stage and popular enough around school that the buzz got going pretty quick. What probably kicked us off the most was the opportunity to open for Buffalo Springfield and Jay and the Americans at The Amarillo Civic Center [Tri-State Exposition on June 23, 1967 with additional acts the Dearly Beloved and the Stumps – anyone have a poster of this?]. The crowd was packed and I believe we represented the local talent well as we were the only local band. There were a lot of people in the audience who had never heard of us and could not believe we were local. Members of both of the lead bands complimented us back stage on our performance.
The Hysterical Society February 1968
The connection with Eddie Reeves did indeed come through Mark’s uncle Mike Hinton who was pursuing a law degree at The University of Texas at Austin. He had booked us at some frat parties and such in Austin as he was still active in music and had a lot of connections down there. We had to be careful about booking Austin as it was a 500 mile drive one way from Amarillo but the pay was so good that it seems we were playing down there a lot. I’m not sure yet what those college kids saw in a high school band from Amarillo but we continued to be asked back.
Mike asked Eddie to come listen to us in Amarillo. I believe Eddie had some family ties in the area. He came, listened and asked us if we would be interested in coming to New York to record for the label – he would produce us and take care of us while there. How could four 17 year old kids refuse?
We did indeed cut six sides while there however the promo copy of the two that you acquired was all that was released. We received copies of the other four, but I have lost track of mine after being passed around to family members for 45 years. There were five rock and roll songs written by Mark and one ballad written by me recorded. Eddie picked the two for release.
“Come With Me” was very current for the time – it must have been as the Beatles used the same riff for “Tax Man” a short time later with a lot better result. The flip side, “I Know”, was, I think, a little ahead of it’s time but what is my opinion worth.
We did have the opportunity while in New York to meet Bob Dylan and Napoleon XIV but I doubt that it made any sort of impression on either of them as we were just some high school kids from Texas who happened to draw the attention of UA momentarily and they were stars. Probably just bored.
Drummer Mike Pugh
When I left the band I had an opportunity to tour with The Shirelles who later connected up with The Drifters and The Coasters. So I had a chance to appear on stage with all three for quite a while. This was late 1969 and the early ’70s and all three of the groups had seen the shining days of their careers go by but were still active on tour and still drew reasonably good crowds. I’m sure the groups I played with did not still retain all of the original members but the music was good, the crowds were large and the tour was fun so I stuck around for a while.
I also played with some opening bands around Los Angeles while we were there and got to meet quite a few more “stars” and perform for huge crowds. When I finally decided that what I was doing was really to big for me I returned to Amarillo. I was after all married with children and needed to settle down.
I took a break from music that turned out to be extended to almost 20 years before the itch was too much trouble to scratch and started playing again about 1992.
A couple of really good local bands and about 15 years later I took another break and do not at 62 have much desire to do it any more. That’s why I respect Woody Key so much. He is not that much younger than me and is still out there doing it every day and succeeding. The difference between an artist and a practitioner I guess but I would not give one minute of it back for anything.
Ken (Hutchinson) Warren

Thank you to Woody for info on the band, and to Ken Warren for the photo at top and history of the band.

Special thank you to Mike Pugh’s niece Deborah for providing scans of all the photos except the top one. These were added to this article in November, 2014.

The Hysterical Society Early Promo Photo 1 — From left: Ken Hutchinson, Mark Hinton, Mike Pugh and Ronnie House

Categories: A&M, California, Carmel, Los Angeles

Tommy and the True Blue Facts

December 23, 2007 Chris Bishop 7 Comments

Tommy & the True Blue Facts A&M 45 I'm Back Tommy Faia is the force behind Tommy & the True Blue Facts, writing his own songs, singing and playing the acoustic guitar. I didn’t know anything else about him until he contacted me in January 0f 2009.

“I’m Back” is an anti-drug song, more convincing than most with great lines like “I’m not trying to bring you down, but how long ago was your mind really sound?” The arrangement of guitar, congas and an out of tune electric piano perfectly matches the mood of the song; Tommy sounds like he was way out there indeed.

“Who’s Got the Right” is a bit of a rant sticking up for cops (“he must refrain from protecting his life because if he does, he’ll get the blame”) and denigrating looters, law breakers and welfare bums. It’s just an example of reactionary attitudes in the late ’60s.

I’ve heard one other 45 by Tommy, an original called “You’ve Got My Soul”, which sounds like Neil Diamond, backed with “An Exception to the Rule”. Gone are the politics, instead you get love songs, with fuller production, girl group backing singers and a generally unconvincing result.

Tommy recently got in touch with me and told me the story about his records on A&M:

Around 1966 I jumped in my friend David Rosenkranz’s pick up truck loaded with his drums and my guitar and amp etc and headed down to LA from Carmel. I was about 19-20 years old. We rented a little dump in Hollywood where we could practice..we’d only been playing together for 1-2 months. I had been writing songs for about a year.
David got a gig playing drums for a little recording studio on Santa Monica Blvd. He told the owner about me and the guy recorded Who’s Got The Right … just David and I played. I played an amplified acoustic classical guitar with a flat pick … like Willie Nelson (unfortunately I didn’t sound like Willie but it was a big driving rhythm sound). The guy said he’d take it around town.
About 2-3 days later we get a call at night from a guy that says to me “do you want to be a star?” I said sure but wasn’t convinced by the big talk. His name was Ed Forsyth and he had a nice plush office on Sunset Strip right across from the Whiskey. We loaded up David’s truck and drove over there the same night and played for him in his office.
About a week later we walked into a huge recording studio with lots of musicians. Jim Economides was the producer (he was a producer at Capitol Records and worked with Dick Dale, Johnny Burnette, Bobby Vee, Bobby Darin and others). What really impressed me on that session was that the guitar player was James Burton. He’s doing that Eastern sounding guitar on “I’m Back”. They spared no expense. Funny because David and I were disappointed that we didn’t have much say in the process. All the records are large productions. On the later ones we had three male back up singers and three female (the Blossoms!)
Just a note on “Who’s Got The Right”. I wrote that song during the Watt’s riots. Later my friends told me it was a “right wing song”. I was not yet political. But I think that my manager Ed Forsyth really liked the message of that song and that’s what got us the deal. I later wrote many anti-war songs during Vietnam. Anyway didn’t want you to think I had a shaved head.
The True Blue Facts was really just David and I. Our management came up with the name. We were horrified at the time. We were a duo. Now I kind of like the name. I also played harmonica (Jimmy Reed was my mentor). We had a big sound for two guys.
I’m 63 now and just starting up another band with original music that I’ve written over the years. After Tommy and the True Blue Facts I continued writing music hoping to get another record deal with a hit song….never happened….came close a few times….even spent 3-4 years in Nashville. Finally gave up in 1983 and moved back to my home town on the Monterey Peninsula in California. Today my songs are much better and I’m playing with some guys and eventually will record our stuff. It’s fun to be back and so cool to find your site.
Tommy Faia

Update June 2012

Tommy has a new website and is performing around Monterey. See www.tommyfaia.com for his current shows.

Categories: Century Custom, Pasco, Washington

The Pastels

December 19, 2007 Chris Bishop 15 Comments

The Pastels from Pasco, WA

Pastels Century Custom 45 What Can I Say From Pasco in south eastern Washington State, near Kennewick and the Oregon border, the Pastels formed in 1964. Original members were:

Dale Anderson on guitar
Mark Gage on keyboards
Ron “Arjai” Jones on guitar and bass
Red Elder on drums

They became one of the bigger draws in that part of the state, playing shows at Richland Roller Rink and other venues, and appearing occasionally on local TV.

This original lineup of the band released three 45s between the fall of 1965 and the spring of ’66. All were recorded at Ron Jones’ family house by a Century label agent.

Pastels Century Custom 45 Circuit Breaker The first of these is the upbeat “Why Don’t You Love Me” b/w the slower “What Can I Say”. It did well enough locally to have a second pressing. Their second 45 was “Circuit Breaker”, demonstrating a darker sound, probably influenced by other Northwest acts like the Sonics.

Their third 45 is their best, at least to me. Fast and danceable, “Mirage” is an intense four minutes of music! Things slow down considerably for the flip, “Where Is the Answer”, a good, idealistic song but a little repetitive at over about four minutes long.

Pastels Century Custom 45 Mirage Frank Hames wrote on PNW bands.com:

I was in The Pastels from 1966 until the summer of 1968. I played keyboards. The guitar player was Dale Anderson who was eventually replaced by Larry Rogers sometime during 1967. The other guitar player who also doubled on bass is Ron Jones. Red Elder was the original drummer and was replaced by Larry Horne from Richland in 1966. The first keyboard player was Mark Gage from Pasco. I replaced the second keyboard player who was Don Clauson. Ron Jones’ father, Don, was our manager and produced our recordings.
The Pastels were very well organized. We each had several professionally designed costumes, individual voice coaches, a paid account at a local barber shop in Pasco as well as individual college fund bank accounts.
In 1967 we played the Teen Fair in Spokane where we were forced to join the union. We opened for The Vanilla Fudge there. Other bands on that show were Harpers Bazaar, The Chambers Bros, and Glen Campbell. Our PA system that was designed and built by Don Jones ended up being the house PA because it was so good. We worked almost every weekend and played all over the northwest.

In an interview with 60sgaragebands.com Frank Hames discussed recording with the group:

I joined the band after these recordings [the three 45s] were released. I did record with the band subsequent to the singles. All the Pastels’ recordings were done in the band’s rehearsal room in the band house: The Jones’. Don performed all the engineering and everything was cut on a consumer stereo recorder.
I recall recording eight or ten songs that were never released. There were many original pieces written and dragged on the stage. Most didn’t last long. Dale Anderson was the primary composer.
The band ended when Ron graduated from high school and went away to college. It was in the summer of 1968.

Red Elder and Mark Gage left the band in 1966 to join the Rock n’ Souls, who won a big area Battle of the Bands sponsored by KALE and later released one 45, Not Like You / Got No Love on Rich Tone.

Red Elder and Arjai Jones later formed the Backward Door with Billy Blair, and later added Larry Rogers as well.

Sources include: PNW Bands.com, and Mike Dugo’s interview with Frank Hames on 60’sgaragebands.com.

Categories: California, Fabor, Los Angeles, Louisiana, N-Joy

Don & Jerry with the Fugitives

December 16, 2007 Chris Bishop 1 Comment

Don Griffin and Jerry Strickland were primarily songwriters. In 1965 and ’66, they cut some of their originals as Don & Jerry with the Fugitives.

Their first 45 was “In The Cover Of Night” b/w “I Can’t Quit”, released on Fabor Robinson’s label in late spring of 1965. Ron Gray and the Countdowns would later record an excellent version of “Cover of Night” for N-Joy.

They next backed singer Delna Lee for another record on Fabor which I haven’t heard yet, “One Year Today” b/w “Big Man (That Ain’t Love, It Ain’t Right)” from June of 1965.

Returning to Louisiana, they released another original with a quick tempo, “Better Run & Hide” b/w “Too Much Confusion” on N-Joy. I’ve heard “Better Run & Hide”, and it’s good, but I don’t have a copy to make a transfer yet.

Jerry Strickland went on to work with Bobby Patterson on producing and writing songs for the Jewel and Paula family of record labels. He started two labels of his own, Soul Power with Bobby Patterson in ’72 and Alarm with Stewart Madison in ’75.

Categories: Belgium, Palette

Ariane

December 16, 2007 Chris Bishop 5 Comments

Ariane had about a dozen other releases besides this one, most accompanied by the band Les 10-20. Though Ariane was from Belgium, much of it fits into the standard French ye-ye style of femme-vox pop.

“Tu Voudrais Que J’Oublie” is a little different, a ballad backed with strong playing from the drummer and guitarists. Written by Jacques Nelissen and Nelly Byl, this was released in 1966 on the Palette label.

Categories: New Jersey, Parrot

The Monkey Men aka the Luv Bandits “Mizzer-Bahd”

December 12, 2007 Chris Bishop 14 Comments

The Monkey Men at the Cheetah Lounge NYC, 1966, from left: Bobby Hartnagle, Sam Allen, unidentified, Jimmy Hannah (?), and Ricky Riccitiello

The Luv Bandits’ “Mizzer-Bahd” is a great bit of psychedelia, laden with exotic-sounding guitar lines and gloomy coming-down vocals, released on Parrot 45-PAR-316 in January, 1967.

The flip is “Blues #2” which has the by-the-numbers sound you’d expect from the title, though the most prominent instrument is harmonica and the guitarist mostly hits some odd chords here and there.

Sam Allen and James Hannah wrote both songs. Hugo & Luigi produced.

As it turns out, the Luv Bandits were actually known as the Monkey Men (a different group than the Young Monkeymen from Trenton).

Members included:

Jimmy Hannah – lead vocals
Bobby Hartnagle – lead guitar
Harry Wallace – rhythm guitar
Sam Allen – bass, vocals
Ricky Riccitiello – drums, replaced by Freddy Morris who played on the Luv Bandits single

Other members included Joe Seddon and Harry Wallace, and possibly Roy Buchanan as well!

Fans remember them playing in a cage at the Satellite, getting in fights with soldiers over their long hair, and riding motorcycles on stage!

Harry Wallace wrote on the Tony Mart site:

I was with the Monkeymen during their 2 summer reign at Bay Shores, I think 67 and 68. Sam, James, Ricky, Bobby and and myself Harry then in 68 Fred Morris on drums. Great times stayed the Anchorage one year and some motel the next. Played at the Dunes with the The Insects I think and Johnny Caswell to start then moved up to Bay Shores. Played with Malcolm and the Bonnevilles one of those years. Sam and Bobby have passed. Fred, James and I are still here…..have no idea why! They were the fastest times of our lives and will never forget. After the Dunes we would drink beer and played pool at O’Burns which was on the way to the Dunes. The Monkeymen had one record under the name The Luv Bandits. We had to use that name because The Monkees were hot then and the label was afraid of being sued. James and I also did a few albums later Google CDbaby and look for The Monkeymen Then and Now or Google The Monkeymen or Itunes.

Joe Seddon wrote:

Joe Seddon here, lead singer and guitarist for Plymouth Rock which consisted of Frank Appice on drums (Carmine Appice`s cousin), Ron Lovett on bass, Allen Weber on sax. I played Somers Point during the 60`s and shared the stages with such good buddies as Johnny Caswell and The Crystal Mansion, Ray Sharp and The Soul Set and many more … At one point I left The Sterling Brothers, my earlier group, featuring myself and Mark Hutchinson, and joined Sam Allen and The Monkey Men. Sam and the guys worked opposite The Sterling Brothers Band at the Satellite Lounge in Wrightstown, N. J. many times. It was fun stuff building that cage, and hard work. My friend Roy Buchanan took my place with the Monkey Men when I left for Hollywood. Roy was my inspiration.

Bobby Hartnagle would co-write “Chinese Chicken” with two former members of the Galaxies IV, Duke Williams (aka Chris Holmes) and T.J. Tindall, and play guitar on both albums by Duke Williams and the Extremes on Capricorn. Bobby Hartnagle died in December, 1994, according to an announcement in the Home News of a concert in his memory at the Trenton City Gardens nightclub on Sunday, March 12, 1995.

Ricky Riccitiello passed away in 1996.

I’d like to know more about the early days of the group, how they formed and where were they based originally.

Anyone have a photo of the group?

—-

Hugo & Luigi at Parrot Records

Parrot was a division of London Records and mainly released UK artists such as Them, the Zombies and Lulu, but also put out over a dozen singles recorded in the US, including this one. The release as Parrot 316 in January 1967 follows the Yesterday’s Children’s great “To Be or Not To Be” / “Baby I Want You”, released as Parrot 314 in December, 1966. Both singles share H. & L. Music Corp. BMI as publisher, and a similar quality of production. Hugo & Luigi were cutting some interesting music in late ’66!

Edward Pivirotto is listed as composer of the Yesterday’s Children songs. The only other act on Parrot that has Hugo & Luigi credits (that I know of) was Flip Cartridge with three singles on Parrot.

Parrot’s US artists usually came from either the upper Midwest or the West Coast, but Yesterday’s Children were from the towns of Cheshire and Prospect, Connecticut.

Both bands also had four-song EPs released in France that included two extra songs not released in the U.S.

The Luv Bandits EP came out on Disc AZ EP 1100 with both sides of the single, plus another original by Allen and Hannah, “The Land Of Ecstasy”, which sounds similar to “Mizzer Bahd”, and “Why Tell The World” (written by N.P. Tassone & Robert Mellin) which could be a different band altogether.

The Yesterday’s Children EP followed as Disc AZ EP 1101 and included “Love and Things” and “Dance All Night”. Unfortunately the Luv Bandits EP didn’t feature a cool band photo like the Yesterday’s Children. Yesterday’s Children were Denis Croce, Richard Croce, Reggie Wright, Chuck Maher and Ralph Muscatelli.

Categories: New Jersey, P&M, Trenton

The Young Monkeymen from Trenton

December 12, 2007 Chris Bishop 4 Comments

The Young Monkeymen were Trenton, New Jersey’s top band in the mid-60’s. Members were Al Dyott, James Markley, Eugene Patricella on lead guitar and Dean Wilcox.

Eugene was only a young teenager when he played the solos on “I Believed You” and “Bald Headed Woman”. These two songs were their first 45, recorded at Frankford-Wayne Recording Labs in Philadelphia.

Their second record, “I’m Waitin’ For the Letter” was written by Phil and Mary Ann Lombardo and released on their P & M label. The flip is a good original credited to the group, “I Love You”, with a catchy guitar riff and nice bass playing.

Joe Patricella is listed as their manager on the promotional material. I’ve read the band broke up from the draft. They have a later 45 on the P & M label I haven’t heard yet, “They’re Not Forgetting You” b/w an instrumental version of the same song.

This was NOT the same Monkey Men featuring Sam Allen and Jimmy Hannah who recorded as the Luv Bandits – you can find the article on that band at this link.

Photos from the great “Attack of the Jersey Teens” compilation.

Categories: Drum and organ duos, Fenton, Lansing, Michigan

The Chancellors

December 10, 2007 Chris Bishop 22 Comments

The Chancellors Fenton 45 One in a Million

The Chancellors were a quintet from Lansing, Michigan with two 45s on the great Fenton label. Since my original post I’ve been in touch with Chancellors rhythm guitarist Bruce Reinoehl, who wrote up a short history of the band:

The Chancellors was a mid-Michigan band which was active between mid 1965 and late 1967. The band formed around the direction of keyboard man and lead singer Jim Ovaitt. During the summer of 1965, the group underwent several personnel changes before its final composition of Jim Ovaitt, keyboards and lead singer, Rick Garfield drums, Rick Blomstrom lead guitar and vocals, Mike Gilliam bass guitar and vocals and Bruce Reinoehl rhythm guitar and vocals. At the time we were all high school students in East Lansing and Okemos, Michigan.
Our first jobs consisted mainly of high school dances. As we continued to improve we moved up to Michigan State University fraternity parties and local night clubs. In early 1966, we cut our first record. This was the “Journey” / “One in a Million” record of which only a few hundred were pressed. Today that record is quite scarce. I can remember the fairly primitive by today’s standards studio which at that time did not have the ability to double track recordings. That meant everyone had to play all parts of both songs well enough to make a record. That sounds easy especially with all of the rehearsing we had done before going to the recording studio. As with anything one makes, the builder is the one who knows where the blemishes are. There always seemed to be something that just was not good enough. By the time we were finished, I never wanted to play or hear either of those songs again. That changed when I heard “Journey”, an instrumental, used by one of the local radio stations as a lead up to one of their news broadcasts.
By late 1966, the Chancellors were becoming fairly well known in the mid Michigan area. We were playing jobs in Saginaw, Bay City, Jackson and as far away as Harbor Springs. We played at nightclubs where the Byrds and Beach Boys had played a week or two previously. We also cut out second and final record around this time. This was the “Dear John” / “5 minus 3” record.
The picture which was staged on the piano was taken in at the studio of Jim Ovaitt’s piano teacher. The on stage pictures taken while playing were taken at the Band Canyon a nightclub in Bay City, Michigan. Among other bands playing there were the Byrds. The pictures of the equipment were taken at Club Ponytail in Harbor Springs, MI. The Beach Boys also played that club. The motel photos were taken in Harbor Springs. Neither club is still standing.
Playing with the Chancellors was a great experience but it was also obvious that we were not cut out to be professional musicians. All of the members of the band ended up going into professions other than music. In looking back, it was a lot of work but also a lot of fun. I treasure the friendships and memories that have resulted from my experiences with the Chancellors.
Bruce Reinoehl

Bruce Reinoehl and Jim Ovaitt co-wrote both songs on the first 45, “One in a Milliion” and “Journey”. “Journey” and “5 Minus 3” feature Jim Ovaitt’s organ playing, but “5 Minus 3” is especially interesting for being a raucous duet by just Ovaitt and drummer Garfield.

The organ also dominates their first vocal song, “One in a Million”. “Dear John” gives the guitarist and vocalist more room and succeeds as a pop song.

Thank you to Paul Reinoehl for helping me get in touch with his brother and for sending in these great photos, and to Bruce Reinoehl for his history of the band.

Note: one source lists this group as cutting a third 45 on Chamus: “Places We Once Knew” / “Something for Sure”. However, this was a different Chancellors band out of Lincoln, Nebraska featuring Keith Goins and Max Carl Gronenthal. That band had another release on El Cid: “Everbody’s Got To Lose Someone Sometime” / “It Was A Very Good Year”, both singles are good blue-eyed soul with horns. Tip of the hat to Martin Hancock for pointing out this was a different band.

The Chancellors at the Band Canyon in Bay City, MI

The Chancellors at the Club Ponytail in Harbor Springs, MI — At the Club Ponytail in Harbor Springs, MI

Garage Hangover