The Riffs made this one cool single “Tell Her” / “I Been Thinkin'” on Lubee 304 in early 1965. The songs show pronounced Merseybeat influence, especially “Tell Her”.
J. Gocioch wrote both songs, and registered copyright in March, 1965. “I Been Thinkin'” lists only Gacioch on the label, but the registration includes Timothy Ryant, and also that Dandelion Music Co. published both songs along with Debra Music Corp.
I believe J. Gacioch is either Joe Gacioch or James Gacioch. Tim Ryant was likely a member of the band as well. He passed away in 2008.
The deadwax codes include SJW and Clingman, indicating a Wakefield Pressing, and also that Loy Clingman produced the single at his Viv Studio in Phoenix, like the Lost and Found’s “Don’t Move Girl” on Pins.
I can not find any news articles or other info on the band.
The 45 saw national release on Jamie 1296, but was not reviewed in the trades.
Harold Horn was born March 6, 1933 on the Northern Cheyenne Reservation in Lame Deer, MT. He served in the Army from 1950 until 1953, including ten months in Korea. Returning to Spokane, he became a professional musician around Spokane and in Coeur d’Alene.
He played guitar with Bobby Wayne and the Warriors, appearing on their only single on the LJV label, “Sally Ann” / “War Paint”. He also sang a fine lead vocal with the group on “Long Lean Baby”, which was only released in 2005 on the Sundazed EP ’55 Spokane Rockabilly!
Bobby Wayne would produce Harold Horn’s only solo release, “Dew B. Dewey”, a pop song set to a thumping beat with horns and cooing female backup vocals. The flip was the Little Richard standard, “Miss Ann”, a simpler production of acoustic guitar backed by another pounding drum beat.
Bobby Wayne (Robert Wayne Snyder) and Don Weise wrote “Dew B. Dewey”, published byBurdette Music Co. and released on Jerden 750 in 1965.
Harold Horn would lead his own bands during this time. One notice in the Spokesman-Review from June 13, 1964 gives the name of the other musicians in his trio:
Patients at the Shrine Hospital for Crippled Children were entertained Friday with a two-hour concert of music donated by a Spokane band.
The three-piece musical group of Harold Horn played for the children in the hospital’s auditorium. Other members of the band were Jimmy Mitten on drums and LaCharlie Cook on guitar.
Harold Horn left music around 1966, not long after the Jerden single.
The Spokane Daily Chronicle profiled Harold on June 22, 1968, when he was social service coordinator with the American Indian Community Center. Headlined “Indian Aide Recalls Frustration and Depression: Now Helping His People” it is well worth a read.
This is a Chicago 45 featuring Sons of Adam with Ron Steele on “Sleep in Public Places” backed with an instrumental, “I’m All Through with Her”.
It was released on Flop Records, a subsidiary of Jim-Ko Inc. In fact, “Sleep in Public Places” was also the A-side of Cole Steele and the Steele Drivers on Jim-Ko Inc. JK-41095.
I’m not sure if it’s the identical recording to the Sons of Adam version, but given both are Jim-Ko productions and include an artist named Steele, I would think it’s likely.
The flip is a fine instrumental in a different style, “I’m All Through with Her”, which doesn’t include horns, backing vocals or sound effects like “Sleep in Public Places”. Ron Steele is not credited on this side.
Jim Kolb produced the Sons of Adam 45, and Jim-Ko Pub published the songs. The dead wax includes “For Jeanette” on the A-side and “J. Kolb” on the flip, plus 41095 which was the Jim-Ko release number of the Cole Steele 45.
The Sons of Adam were a real group, including Bill Zimmerman and Joe Estok on drums, who was replaced by Marcus David in 1967. There was a well-known session guitarist in Chicago named Ron Steele, but I don’t know if this is the same person.
I couldn’t find publishing info on “Sleep in Public Places”, which was written by Zimmerman and Failla.
The July 12, 1966 registration for “I’m All Through with Her” lists Bill Stewart, pseudonym of William A. Zimmerman.
There’s another Stewart/Zimmerman registration on that date, for a song called “I Can’t Stand It”, words by Jim Dee, pseudonym of James N. Skarzynski, and words and music by Bill Stewart aka William Zimmerman. I’m not sure if this song exists on record.
Additional info on the Sons of Adam or Jim Kolb would be appreciated.
The Apostol brothers, Eddie, John, and Paul, formed the Pulsating Heartbeats in their home town of Anchorage Alaska.
The Pulsating Heartbeats were:
Eddie Apostol – guitar, vocals John Apostol (Raphael Apostol) – guitar, vocals Paul Apostol (Raul Apostol) – drums Frank “Skip” Konte – keyboards, vocals
Originally known as simply the Heartbeats, the group rehearsed in Betty Poeschel’s garage, and recorded in Betty’s Record Den.
As the Pulsating Heartbeats they made one very rare record, “Anne” / “Talkin’ Bout You” on Pace Setters Internationale 007 1/2.
John Apostol wrote “Anne” and co-wrote “Talkin’ Bout You” with Eddie. A local DJ, Ron Moore produced. I believe Pacesetters was a booking agency run by Poeschel and Ron Moore. The address on the record was 425 East 5th Avenue in Anchorage.
The group toured throughout Alaska, and also performed at rallies for Mike Gravel’s failed run as Congressman in ’66.
Heartbeats join union to play Mike Gravel’s campaign rally in Fairbanks, July 1966
Skip Konte left the group. He would move all the way to Tampa, Florida, joining the Blues Image in 1967 and co-writing their hit “Ride Captain Ride”.
Emerson Crivillo took Skip’s place on the keyboards. Eddie Apostol was drafted, leaving the band as a trio.
The group played in Hawaii and probably California as well.
In 1967 they went to Leo Kulka’s Golden State Recorders in San Francisco to cut a single as the Hartbeet Band. John and Paul Apostol wrote “Wait ‘Till Then” while “Run Around Kind” is credited to Apostol – Crivell [sic].
The Hartbeet Band single saw release on Golden Gate Records GG-1263 in small quantities, and is very rare now. The labels list Golden Gate’s publishing wing Guard Music Co. but I cannot find copyright registration for either, or for “Anne” / “Talkin’ Bout You”.
Lisa Wheeler found a demo of “Wait ‘Till Then” and wrote about the group for her site Elk Bugles.
The demo lists Pacesetters Custom Recording Studio.
I believe the Heartbeats / Hartbeet Band ended their touring around this time and returned to Anchorage. Eddie Apostol returned from service and the band would continue to play locally.
Most of the above videos above were made by one of the Apostol’s sons, and feature cool photos and info.
I have photos of a group called the Sect according to their drum head. I don’t know the names of any members, or where they were from other than possibly the Los Angeles area.
Two of the photos feature actress Deborah Walley. Someone suggested it was her husband John Ashley in the white suit in one shot, but Chas Gibson informs me this is Jimmy Hawkins, who had roles in TV shows like The Adventures of Ozzie and Harriet, Leave It to Beaver, and The Donna Reed Show. Hawkins and Walley were in the Elvis movie Spinout, which would date these photos to about 1966.
Arizona is another possible location. There was a group called the Sect from Mesa, Arizona, just east of Phoenix & Tempe, that included J.R. Lara, Tom Smith, Buford “Corky” Allred, Brad Reed and Rusty Martin. That Sect recorded two songs at Audio Recorders that were not released until 2003, “Simply Sunday” / “Just Can’t Win”.
Two people have identified the guitarist in the white hat as Kenny Vaughn of the Superlatives, Marty Stuart’s band. Perhaps someone can confirm or refute this possibility.
If it is Kenny, it is possible these photos were taken in Denver, Colorado, where he was based in the ’60s.
I like their look that mixes western and rock styles. Any info on the Sect would be appreciated.
This isn’t the first time Deborah Walley crops up in Garage Hangover. She and John Ashley appeared at an opening of Sergeant Deadhead with the Jerks in Birmingham, Alabama.
Thank you to Chas Gibson for help with identifying Jimmy Hawkins.
Two people have identified this guitarist as Kenny Vaughn of the Superlatives, Marty Stuart’s band.
Is this actress Deborah Walley ?
Jimmy Hawkins in white suit at left, and actress Deborah Walley in front of him.
A band that may have the name Stitch in Time (Stuck in Time or Stich in Time? It’s difficult to read the writing) cut a four-song demo acetate at Fiesta Studio in Hartford, CT.
Two of the songs are “Visions of a Dream” and “Darkness of My Mind”. The other label only has “Wayne” written along the edge. The acetate is in terrible condition, with severe flaking on those two songs, but I was able to salvage one track on the other side. I don’t know the name of the song, maybe “I Want to Live”. Hear an excerpt below:
Fiesta Recording Studio was located at 922 Main Street in Hartford, Connecticut. The best thing cut at Fiesta that I know of was the Bends “If It’s All the Same to You”.
Fiesta also seems to cut a number of polka LPs by Johnny Menko, Ted Nowack’s Harmony Kings, and Ed Podolak & his Polka Cats.
The Viscanes, from left: Al Martansic, John Ayers, Lou Dobrolosky, Jerry Hyde and Donald Jack Four song EP cut at Hertz Sound in Newark
The Viscanes came from Morristown, New Jersey, and included:
Donald Jack – lead guitar John Ayers – rhythm guitar Al Martansic – keyboards Jerry Hyde – bass Lou Dobrolosky – drums Billy King – vocals
They cut four unreleased songs at Hertz Recording Studio in Newark. From the songs on the acetate, the Viscanes had a style influenced by soul sounds of the day. There’s a cover of “Ooh-Poo-Pah-Doo”, and two original songs, the uptempo “Windstorm” and a ballad, “Black and Blue”. They also recorded a loose jam of organ and guitar solos with some ad-libbed vocals.
The Viscanes played regularly at Danny’s Hideaway in East Hanover NJ, located on Route 10, attached to a bowling alley. Some silent 8mm footage of the band exists, with part of the recordings as the Front Row added for a soundtrack:
They also played at Idaho Pines in Parsippany NJ, Dude Ranch Inn in Dover NJ, and Aunt Kate’s on Rt 46 in Stanhope NJ, as well as the Boardwalk at Seaside Heights and Atlantic City.
The Viscanes on stage Danny’s Hideaway, April 1966
The Front Row perform “The World’s Fantasy”, produced by Marty Foglia at Regent Sound Studio
The Front Row
With a couple lineup changes the Viscanes became the Front Row:
Donald Jack – lead guitar John Arends – rhythm guitar Frank Knox – keyboards Jerry Hyde – bass Lou Dobrolosky – drums Al Martansic – vocals
As the Front Row they made two acetates at Regent Sound Studios on West 56th St in Manhattan. One has two vocals, “The Worlds Fantasy” b/w “Hey Little Girl”. The second acetate has backing tracks for both songs, but with “The World’s Fantasy” titled “Roaches” for some reason.
“The Worlds Fantasy” is well-crafted commercial pop, with a great opening guitar lick and pounding drums. It certainly is good enough to have deserved release, but I don’t think it ever was. I can’t find copyright information on either song, and wonder if “The World’s Fantasy” was a working title.
The Front Row perform on the backing track to “The World’s Fantasy” produced by Marty Foglia
“Hey Little Girl” is a slower ballad. Marty Foglia’s name is on the labels, probably as producer. In 1966, Foglia recorded an early Jim Croce song called “Sun Come Up” with an unknown group called the Clique that Laurie Records released.
Marty Foglia had been active in the late ’50s, running the Cecilia Records label with a handful of pop and doo-wop singles by the Criterions, Johnny Starr and Mike Figlio. He co-wrote “New Orleans Beat” with Michael Ralph Colicchio. Foglia also recorded the Viscounts, selling the masters to Madison Records which hit with “Harlem Nocturne” in 1959 and again in 1965. But I can’t find many credits for him after 1961. Some info from Pop Archives.
Donald Jack moved to Sunrise, Florida in 1975 where he opened D&J Chevron in Deerfield Beach. His sons Don and Steve contributed the photos and info on the band. Don passed away in 2001, and Jerry Hyde passed in 2006.
Thank you to Don and Steve Jack for sharing these great photos and history.
The Viscanes on stage Danny’s Hideaway, April 1966
The Snakes, from left: unidentified woman, Cecil Cotten, unidentified man in white coat, Keith Ferguson (on floor), Steve Karnavas (seated in barber’s chair) and Benny Rowe
In 1969, four Texans formed a band in San Francisco known as Benny, Cecil and the Snakes. I believe the group’s name was a take on the popular cartoon, Beany and Cecil the Seasick Sea Serpent by Bob Clampett.
Members were:
Cecil Cotten of the Briks on vocals Benny Rowe of the Wig and a later lineup of the Jackals on lead guitar Steve Karnavas of the Chaparrals on drums Keith Ferguson – previously with Johnny Winter, and later with the Fabulous Thunderbirds, on bass
Keystone Korner, July 1970, photo taken by Fred King, used with permissionThey played parties for for the Rip Off Press and opened shows for Boz Scaggs, including at the Keystone Korner in July of 1970. Reese Wymans and George Raines of Boz’s band would sit in with the Snakes on occasion.
I found a few published notices for the band:
Benny, Cecil and the Snakes shared a bill on July 24, 1970 with Joy of Cooking at the New Orleans House on San Pablo in Berkeley.
They played for a Young Replublicans of Santa Clara event at the Ramada Inn on November 13, 1970!
July 1-4, 1971 they opened for Charlie Musselwhite at In Your Ear, 135 University Avenue in Palo Alto.
In a February 1971 feature in the San Francisco Examiner, Kathy Goss described the band playing a Bastille Day party at the Pacific Heights mansion she shared at 2300 Pacific before it was torn down. The photo at top was taken at this mansion, I believe; the unidentified man in the white coat was a tenant there. It’s worth quoting a small part of that article:
Maurice and Stanford, the owners of a shop that had recently moved from Union Street to upper Fillmore, had a gigantic French flag that they wanted us to hang outside the mansion for Bastille Day. And so we decided to have a Bastille Day party, and to invite not only our personal friends, but also people who we thought would enjoy having their minds blown by a beautiful, free, colorful party. The house was hung with banners of red felt and velvet, the tables were laden with food.
Benny, Cecil and the Snakes, a fine band and good friends of the house, began playing in the late afternoon. The rooms were filled with shifting images and colors of a light show, and we reveled in the blend of wildly costumed guests of all ages and pursuits who danced and talked and generally enjoyed themselves, sharing in the excitement and energy and splendor of the mansion.
Some unreleased tapes exist of rehearsals and live shows, including one that may have been recorded at the Pacific St. mansion.
Thank you to Wm. Lewis Wms for sending the photos that Cecil Cotten shared with him, and for much of the information in this post.
I’d appreciate more info on Benny, Cecil and the Snakes.
The Snakes, from left: Keith Ferguson, Steve Karnavas, Cecil Cotten and Benny Rowe
Delta Recording Center, aka Delta Studio, Fort Worth, 1965Opening announcement, Nov 23, 1965
Delta Recording Center opened in November 1965 at 910 Currie. It was one of a handful of Fort Worth recording studios in the mid-’60s, including Clifford Herring, Sound City, and Bluebonnet Recording Studios.
Garage rock was only a small part of their business, which would have included much gospel, country and other types of music.
I’m sure there were many other rock singles cut at Delta, but these seem to be definite:
Charay Records C-17 – The Elite – “One Potato” / “Two Potato” Charay Records C-31 – The Elite – “My Confusion” / “I’ll Come to You”
Ector Records 101 – The Jades – “I’m Alright” / “Till I Die” (Prod. & Eng. by Jesse Smith)
Sound Track ST-2000 – The Reasons Why – “Don’t Be That Way” / “Melinda”
November 1966 adJohn D. Maxson from Dallas was owner and engineer, Robert L. Farris, vice president, and John A. Patterson, production manager. It is often referred to as Delta Studio or Delta Recording Studio instead of Delta Recording Center.
Maxson was also part owner of Spot Productions, Inc, at 2831 Bledsoe, which produced TV and radio jingles, breaks, and programming.
Johnny Patterson, guitarist with Bob Wills’ Texas Playboys and other groups, bought the studio in 1969.
By 1973 it was running ads that boasted:
“Ampex and Scully mono, two, four and EIGHT TRACK recorders. When you record at Delta you receive a custom service … from mastering and processing, to labels, album covers, cassettes and cartridges.
In February, 1974 the Star-Telegram announced:
Lawton Williams is the new manager of Delta Recording Center, owned by Rick Snow and Jim Shadle. Johnny Patterson, formerly with the Bob Wills band is chief engineer and directs the house band.
Demos / acetates from Delta Recording:
The Tracks- “Rain in My Eyes” (?) / “Don’t Cut My Hair”
Louis Howard – “You Can Do as You Please” / “Comin’ Home to You”
Louis had a 45 on Impact Records I-4074 with the Red Hearts, “You’re Too Much” / “I’ve Got the Feeling”.
Uncredited band (probably the Creep) at Holiday A-Go-Go, April, 1965
Uncredited band (probably the Creep) at Holiday A-Go-Go, April, 1965The Creep had one fine single, “Betty Lou’s Got a New Tattoo” / “I’m Wise” in 1964.
Both sides are credited to Hobson and Kithas, though the A-side is an adaption of Bobby Freeman’s “Betty Lou Got a New Pair of Shoes”. Still it’s a great performance by the group, and a record I’ve never found.
Members included:
Nick Kithas – sax and vocals John Hobson – guitar Joe Moore – drums
I don’t know the names of any other members yet. I believe Nick sings lead on “I’m Wise”.
The Star-Telegram ran a feature on the Holiday Skating Rink’s Holiday a-Go-Go, mentioning only one group, the Creeps, with Nick Kithas the only member named (and misspelled Kethas). The feature has two unlabeled photos of a band, I assume these are the Creeps, can anyone confirm that?
The notes to Fort Worth Teen Scene vol. 3 states they were also called Creep and the Deacons, and that Homer Sewell engineered and released the 45 on Oakridge Records OK-1. The labels credit Mike Dooley Productions.
Nick Kithas later ran a couple clubs in Fort Worth, Daddio’s and The Jazz Café, and was still playing live as of 2019.
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
