In early 1963 our Milwaukee band, the Damells, was appearing in Ishpeming, MI and we became good friends with the Blue Echoes from Sarnia, Ontario. There were two places with live music in Ishpeming, the Venice and the Roosevelt, and although both bands played the same nights, we managed to get over to hear a couple of songs on our breaks once or twice (the two clubs were very close together), and we got together a few times in the afternoons. In May the Darnells headed for Southern California and, on the referral of a former band mate, we connected with Tide Records in Los Angeles.
We eventually returned to Milwaukee and the band broke up. Denny King, guitarist and leader of the Darnells, went back out to L.A. in early 1964, and invited Vic Blunt (aka Vic Miller), guitarist and leader of the Blue Echoes, to join him as bassist. Blunt and King recorded for Tide as the Mojo Men. (This record has no connection with any other Mojo Men; it was just Tide’s way of trying to get more mileage out of that name, since Larry Bright’s “Mojo Workout” was their only national chart record). Both sides are instrumental, except for Blunt’s Jackie Gleason impression of “And away we go” to kick off the A-side. Blunt then left a tape of his Blue Echoes with Tide owner Ruth Christy (aka Ruth Stratchborneo) and returned to Sarnia. A few months later Christy sent for the group and they came to Los Angeles with Blunt on guitar and vocals, Paul Case on drums and vocals and Bruce Pollard on bass and vocals.
Blunt (b: 12/18/43; Vancouver, B.C.) credited the Ventures and Fireballs among his early influences, as well as his father, who was a CBC studio guitarist. Blunt had previously recorded with Edmonton DJ Barry Boyd for the Quality label. Drummer Case had a strong Roy Orbison flavor to his vocal style and the group’s entire LP (probably the only LP ever released on Tide) was recorded in only 10 hours of studio time, according to Blunt.
It was early 1965 and Tide booked the group into a show at the L.A. Coliseum titled KFWB’s Beatle Alley. Requirements were that the groups had to be from outside the U .S. and had to have some sort of Beatle tie-in, hence the name change to the Canadian Beadles. (Perhaps the spelling was in order to avoid any claim of name infringement). Christy and Rena Fulmer (a partner in the Tide label), acting as an agent/manager team, booked the band, and Blunt said that both of the group’s singles got airplay. I saw Blunt’s band (I don’t recall if they were still using the Canadian Beadles name) at a bowling alley lounge in the South Bay area of Los Angeles around 1966.
One of Blunt’s songs, “Questions I Can’t Answer”, was covered by Don Atello (Tide 2002), and by German singer Heinz, whose version had some success in his home country. Los Angeles country artist Tony Treece, who was a later member of the Canadian Beadles, cut another of Blunt’s tunes, “Before I Lose My Mind”. Blunt later formed a show group called Center Stage and did additional unreleased recordings. As late as 1985 he was still playing full-time and living in Sequim, WA.
List of releases: Tide 2000: Surfin’ Fat Man/Paula (as the Mojo Men) /64 Tide 2003: I Think I’m Gonna Cry/I’ll Show You The Way /65 Tide LP 2005: Three Faces North /65 Tide 2006: I’m Coming Home/Love Walk Away (as Vic, Paul & Bruce) /65
Jim Robertson (Vocals) (circa May 1966-circa July 1969)
Tim Forsythe (Keyboards, Harmonica) (circa May 1966-August 1967)
Domenic Angelicchio (Drums) (circa May 1966-circa July 1969)
Danny Barrucco (Bass) (circa May 1966-December 1966)
Dave Hanna (Guitar) (circa May 1966-July 1966)
Don Duncan (Guitar) (July 1966-September 1966, May 1967-August 1967)
Jean Pierre Lauzon (Guitar) (September 1966)
Richard Lasnier (Guitar) (circa October 1966)
Gary Marcus (Guitar) (circa October-December 1966)
Bob Burgess (Bass) (December 1966-May 1967)
Louis McKelvey (Guitar) (December 1966-May 1967)
Ken Duffy (Bass) (May 1967-circa July 1969)
Les Kozichinsky (Guitar)(August 1967-July 1968)
Don Hay (Keyboards)(August 1967-December 1967)
Jerry Carruthers (Keyboards)(December 1967-July 1968)
Dick Stenstrum (Keyboards)(July 1968-circa July 1969)
Roald Longhi (Guitar)(July 1968-circa July 1969)
The original band was formed in the summer of 1966 by former Haunted members Jim Robertson and Tim Forsythe. Robertson was originally from Edinburgh, Scotland where he’d played sax in a group during 1964 before moving to Montreal.
Based in Lachine, Quebec, the band made its debut at the local YMCA.
Hanna left soon after the band started playing live. However, the group went through a succession of lead guitarists, starting with Don Duncan, who left in September 1966, before McKelvey joined in December.
McKelvey’s arrival coincided with that of Bob Burgess from The Haunted. In between Duncan leaving and McKelvey joining, Our Generation featured temporary stopgap guitarists, J P Lauzon, who went on to The Jaybees, Richard Lasnier and Gary Marcus from Oven.
The line up with Duncan, however, was responsible for the first single, a cover of the Muddy Waters blues favourite ‘I’m a Man’, backed by Forsythe’s ‘Run Down Every Street’.
Irish-born and British raised guitarist Louis McKelvey, who had arrived in Montreal around October 1966 after playing with west London band Jeff Curtis & The Flames and later South African groups The Upsetters and The A-Cads, appeared on the band’s second single, before forming Influence in late May 1967.
Prior to joining Our Generation, McKelvey had played with Les Sinners for a few weeks and was later given co-production credit for The Haunted’s third single with fellow ex-A-Cads member Hank Squires.
This line up of Our Generation provided the soundtrack to the Canadian Film Board film, ‘It’s Not Jacques Cartier’s Fault’. McKelvey wrote ‘Cool Summer’ while Burgess composed the A-side, ‘Out to Get Light’.
Burgess left Canada in late 1967 to spend some time in the UK where he recorded, and then returned to form a new band Lilac. In the ‘70s he led Aean.
Angelicchio, Forsythe and Robertson kept the band going bringing back guitarist Don Duncan and adding new bass player Ken Duffy. This line-up lasted until August 1967 when Forsythe left to join Peter & The Pipers and Duncan moved on.
Angelicchio, Duffy and Robertson brought in keyboard player Don Hay and guitarist Les Kozichinsky for a few months. Then in December Jerry Carruthers took over keyboards from Hay.
This line-up settled and performed into the summer of 1968 before further changes.
Keyboard player Dick Stenstrum and guitarist Roald Longhi joined Jim Robertson, Dominic Angelicchio and Ken Duffy and also played Our Generation’s most significant concert date, the Summer Pop Festival held at The Autostade, Montreal on 17 July, which was headlined by The Who, The Troggs, Mitch Ryder & Detroit Wheels and The Ohio Express. The Haunted also appeared at the festival.
The band continued on for another year or so before splitting.
After The Jaybees, Lauzon went on to play with The Carnival Connection, Life, Mylon Le Fevre and ultimately The Wackers. Marcus joined The Haunted.
Recordings
45 I’m A Man/Run Down Every Street (Barry 3461) 1966 45 Cool Summer/Out To Get Light (Trans World 1678) 1967
Selected advertised gigs
February 17 1967 – West Hill High, Montreal February 18 1967 – Stanstead College, Montreal February 24 1967 – Malcolm Campbell High, St Laurent, Quebec February 25 1967 – The Barn (on Du Hamel)
March 3 1967 – Gig in Hudson (Quebec?) March 4 1967 – Salle Espangnola, St Therese, Quebec March 10 1967 – The Jail, Montreal March 11 1967 – Gig in Huntington, Quebec March 18 1967 – St Hubert Inn Club, St Hubert March 25 1967 – Caveman’s Hive, Montreal March 27 1967 – St Augustine’s NDG (Montreal?)
April 8 1967 – The Jail, Montreal April 14 1967 – St Willabroads School (Montreal?) April 22 1967 – St Bartholemew (Montreal?) April 28 1967 – The Barn, Ile Perrot April 29 1967 – Roxboro Chalet, Roxboro May 5 1967 – Hot Spot, Rosemere May 6 1967 – Town and Country, Cote de Liesse with Munks May 7 1967 – Town and Country, Cote de Liesse with The Jaybees
September 24-30 1967 – Garden of Stars, Montreal
Live dates taken from the Montreal Star newspaper.
Many thanks to Bill Munson, Carny Corbett, Louis McKelvey, Bob Burgess, Ken Duffy.
Grant Smith & The Power, spring 1967, shortly after their formation. Left to right: Brian Ayres, Val Stevens, Charlie Miller, Ralph Miller, Jim Pauley, Mike Harrison, Wayne Stone and Grant Smith
Grant Smith (Vocals) all line ups
Val Stevens (B-3 Organ) line up ABCDEHI
Jim Pauley (Guitar) line up AB
Mike Harrison (Bass) line up ABCDE
Wayne “Stoney” Stone (Drums) line up ABCDEF
Charlie Miller (Drums) line up A
Ralph Miller (Trumpet) line up ABCDEFGH
Brian “Otis” Ayres (Saxophone) all line ups
Jon Palma (Guitar) line up CD
Steve Kennedy (Saxophone, Harmonica) line up DEF
Kenny Marco (Guitar) line up EF
William “Smitty” Smith (Organ) line up F
Sonnie “Jiggs” Bernardi (Drums) line up GHI
Gord Baxter (Guitar) – line up GH
Rick Berkett (Bass) – line up GH
Wulf Stelling (B-3 Organ) – line up G
Ted Stack (Trumpet) – line up GH
Bert Hermiston (Saxophone/flute) – line up GHI
Josef Chirowski (Keyboards)
Frank De Felice (Drums)
Joe Agnello (Bass)
Terry Aubertin (Guitar)
Pedro Cortez (Keyboards)
Pierre Galipeau (Trumpet)
Former Weepers member Val Stevens together with Mike Harrison and the Miller Brothers had been playing with Toronto band Eddie Spencer & The Power when a decision was made on 1 January 1967 to shake up the band.
New lead singer (and former drummer with The Missing Links) Ellis Grant Smith (b. London, Ontario), together with guitarist Jim Pauley from his previous band, E G Smith & The Express and sax player Brian Ayres, who’d previously played bass guitar with Brantford, Ontario groups, The Galaxies, The Marque-Royals and The Beau Keys were brought in.
Two weeks later, another former Express member and second drummer, Wayne Stone joined. Stone had also previously played with London, Ontario band The Sticks and Stones with bass player Jim Laramie before the pair joined Grant Smith in The Express with Jim Pauley and keyboard player Vern Pickle.
The first line-up remained together until mid-1967 and initially gigged as E G Smith and The Power before adopting the better known, Grant Smith & The Power.
Canadian music publication RPM Music Weekly featured a short article and photo of the group in its 10 June 1967 issue on the front page. The article notes the group first started playing at the In Crowd in Toronto’s Yorkville Village.
RPM Weekly article in June 1967
After Charlie Miller’s departure in June, the group went to the United States, now working with only one drummer, and played on the Atlantic Seaboard, including playing at the Number 3 Lounge in Boston.
After returning to Canada, Jim Pauley quit and was replaced by Jon Palma in September. Palma had previously played in The Weepers alongside Val Stevens and Charlie Miller.
The band’s debut 45, a soul version of The Spencer Davis Group’s ‘Keep on Running’ coupled with Smith and Stevens’s ‘Her Own Life’, came out in January 1968 and featured line up C.
Both singles were recorded (with Steve Kennedy on the sessions) at Toronto music mogul, Art Snider’s Sound Canada studios in Toronto. Kennedy, a former member of Diane Brooks, Eric Mercury and The Soul Searchers, joined the group as its musical director in January 1968.
RPM Music Weekly’s 20 January issue notes that the group opened their second US tour in Revere, Massachusetts on 15 January, with follow up appearances in Boston, Baltimore, Philadelphia, New York and Chicago. The first half of the tour was due to end on 9 March and then they returned to Toronto.
The band, spring 1968. Left to right: Mike Harrison (missing), Jon Palma, Wayne Stone, Val Stevens, Ralph Miller, Grant Smith (front), Steve Kennedy and Brian Ayres. Photo used for front cover of their LP.
While in New York in May 1968, Palma left to join Mary Ann Brown & The Good Things and guitarist Kenny Marco, who had played alongside Brian Ayres in The Galaxies, The Marque-Royals and The Beau Keys joined.
Grant Smith & The Power, summer 1968, shortly after Kenny Marco (second left) joined and before Mike Harrison (second right) and Val Stevens (far right) departed
With Marco on-board the group recorded their second single, ‘Thinkin’ About You’ c/w ‘You Got What You Want’ at Art Snider’s Sound Canada studios in Toronto. The tracks were picked up by MGM and released that autumn. (Ed. Stone thinks Jon Palma was the guitarist on these two tracks and not Marco).
In October 1968, Harrison left to join McKenna Mendelson Mainline.
Stevens also left at this point and William Smith, who’d previously worked with The Soul Searchers came in, covering bass on Hammond organ.
November 1968, left to right: Brian Ayres, Kenny Marco, Wayne Stone, Grant Smith, Steve Kennedy, Ralph Miller and William Smith. Photo used for back cover of their LP
Line up F was responsible for recording the bulk of the group’s album on Boo in November 1968, which also included the band’s debut single and a few tracks recorded by earlier line ups.
However, Marco, Kennedy, Smith and Stone weren’t happy with the recording and its reliance on cover material and left in mid-January 1969 to form Motherlode.
Four members of Franklin Sheppard & The Good Sheppards took their place. Gordon Baxter had started out with Kitchener, Ontario group The Counts Royale.
In mid-1966, however, Wulf Stelling, who had played alongside Brian Ayres in The Marque-Royals in the early 1960s, invited the guitarist to join a new band he was forming in Brantford, Ontario that also featured former Jay’s Rayders members Rick Berkett (aka Ric Barker) and sax player Glen Higgins.
After rehearsing for several months with another singer (Larry Lewellan), Stelling’s group was picked up by Franklin Sheppard in October; Sheppard had broken up the original Sheppards following dates in Vancouver the previous month. In August 1967 Sonnie Bernardi joined from Mary Ann Brown & The Good Things and The Sheppards toured the US before splitting in mid-1968.
Franklin Sheppard & The Good Sheppards, August 1967. Left to right: Chuck Slater, Rick Berkett, Glen Higgins, Frank Sheppard, Wulf Stelling, Gordon Baxter and Sonnie Bernardi. Photo: Gord Baxter
Baxter had started to put together a new R&B group in Kitchener when Stelling called him to join Grant Smith in January 1969 alongside Bernardi and Berkett. At the same time, Smith added two more horn players, Ted Stack on second trumpet alongside Ralph Miller and Bert Hermiston on second sax and flute.
Following several weeks of rehearsals at the Hawk’s Nest in Toronto and playing some local gigs, line-up G headed to the Boston area in the first week of May 1969.
Sonnie Bernardi next to gig sign for 30 June to 6 July 1969 at Mill Hill Club, West Yarmouth, Cape Cod. Photo: Gord Baxter
However, Grant Smith soon clashed with Stelling and Val Stevens was brought back into the group around July.
Left to right: Rick Berkett, Ralph Miller, Val Stevens and Gordon Baxter. Photo: Gord Baxter
The revised line-up continued to gig around Boston and the Cape Cod areas before returning to Toronto in August 1969. Smith then briefly disbanded The Power because he wanted a break. Baxter then reunited with Wulf Stelling in The Wulf Pack.
The Wulf Pack, 1970. Clockwise from left: Blake Barrett, Wulf Stelling, Gordon Baxter and Stacy. Photo: Gord Baxter
When Smith reformed The Power as a sextet in September 1969, he retained Brian Ayres, Bert Hermiston, Sonnie Bernadi and Val Stevens. However, the line-up remained fluid throughout 1970 and Smith expanded the line-up again to an 11-piece.
Former member Kenny Marco re-joined during this period as well after Motherlode split up and the group played in Las Vegas at Caesar’s Palace.
Grant Smith & The Power, 1970. Left to right: Brian Ayres, Bert Hermiston, unknown musician, unknown musician, Sonnie Bernardi, unknown musician, unknown musician, unknown musician, Val Stevens and (front) Grant Smith.
During 1970 Bernardi left and subsequently worked with Ronnie Hawkins, King Biscuit and then Crowbar. Hermiston did sessions with Heaven and Earth among others while Stevens formed his own trio before travelling to England in late 1970 and played with Clown, Tucky Buzzard and Steve Hillage’s Khan.
Marco subsequently joined former member William Smith in Los Angeles backing David Clayton-Thomas.
At some point (most likely late 1969/early 1970), keyboardist Josef Chirowski, who’d previously played with The Mandala and The Power Project worked with Grant Smith & The Power briefly. Also, another former Franklin Sheppard & The Good Sheppards member Frank De Felice was a brief member before forming Jericho.
Grant Smith continued to front various line-ups of The Power throughout the 1970s and beyond.
Former Leigh Ashford bass player Joe Agnello recalls playing with Grant Smith & The Power around 1971-1972 before he formed Fullerton, Little and Agnello Group (Flag). He says that former Power member Wayne Stone was on drums alongside guitarist Terry Aubertin and organist Pedro Cortez. He also remembers two trumpet players Pierre Galipeau and a guy called Benoit.
Stone subsequently worked with Johnny Otis in Los Angeles in the early 1970s and then returned to Toronto to play with Dr. Music, a band that had previously featured Kenny Marco and also included Steve Kennedy.
In the mid-1970s, former members Kenny Marco, Wayne Stone and Val Stevens (after he had returned from England) returned to play with Grant Smith in a line-up that also featured sax player Leo Sullivan.
Recordings
45 Keep On Running/Her Own Life (BOO 681) 1968
45 Thinkin’ About You/You Got What I Want (MGM 13979) 1968
LP Grant Smith & The Power (BOO 6802) 1968
RPM, 28 October 1969RPM, 17 March 1969
Selected advertised gigs
5 February 1967 – The Syndicate Club, Toronto, Ontario (formerly Club Isabella) (billed as E G Smith & The Power)
11 February1967 – The Hawk’s Nest, Toronto, Ontario (billed as E G Smith & The Power)
18 February 1967 – Gogue Inn, Toronto, Ontario with Franklin Sheppard & The Good Sheppards and The Wyldfyre (billed as E G Smith & The Power)
4 March 1967 – The Hawk’s Nest, Toronto, Ontario (billed as E G Smith & The Power)
10 March 1967 – Gogue Inn, Toronto, Ontario with The Five Good Reasons, Dana and Sunny & Peter
24 March 1967 – Avenue Road Club, Toronto, Ontario
26 March 1967 – Avenue Road Club, Toronto, Ontario
9 April 1967 – Crang Plaza, Downsview, Ontario with R K & The Associates (billed as E G Smith & The Power)
14 April 1967 – Club 888, Toronto, Ontario (billed as E G Smith & The Power)
29 April 1967 – The Hawk’s Nest, Toronto, Ontario (billed as E G Smith & The Power)
6 May 1967 – Broom and Stone, Scarborough, Ontario with Luv-Lites and The Tiaras and The Syndicate Five (billed as E G Smith & The Power)
13 May 1967 – Whitby Arena, Whitby, Ontario with Shawne Jackson, Jay Jackson & The Majestics, Bobby Kris & The Imperials, The Last Words, Jack Hardin & The Silhouettes, The Tripp, The Ugly Ducklings, Roy Kenner & The Associates and others (billed as E G Smith & The Power)
2 June 1967 – The Hawk’s Nest, Toronto, Ontario
2 June 1967 – Annadale Country Club, Pickering, Ontario (billed as E G Smith & The Power)
9 June 1967 – Don Mills Curling Club, Toronto, Ontario with The One Eyed Jacks
16 June 1967 – Whitby Arena, Whitby, Ontario with James and Bobby Purify, Shawne Jackson, Jay Jackson & The Majestics, Jack Hardin and Stitch In Tyme (billed as E G Smith & The Power)
27 June 1967 – Broom and Stone, Scarborough, Ontario with The One Eyed Jacks and Who & The Blazers
The band travelled to the United States for the summer
6 September 1967 – The Hawk’s Nest, Toronto, Ontario
23 September 1967 – Club 42, Stratford, Ontario (billed as E G Smith & The Power)
29 September 1967 – Jubilee Auditorium, Oshawa, Ontario (billed as E G Smith & The Power)
30 September 1967 – Broom and Stone, Scarborough, Ontario (billed as E G Smith & The Power)
Grant Smith and the Power RPM 2 October 1967
14 October 1967 – The Hawk’s Nest, Toronto, Ontario
21 October 1967 – York University, Toronto, Ontario (billed as E G Smith & The Power)
22 October 1967 – Teddy Bear Club, Toronto, Ontario
10 November 1967 – Club Boogaloo, Chandelier, near Wentworth, Hamilton, Ontario (Hamilton Spectator)
11 November 1967 – Broom and Stone, Scarborough, Ontario with The Taxi
17 November 1967 – Club Shade Blue, Hamilton, Ontario (Hamilton Spectator)
18 November 1967 – The Hawk’s Nest, Toronto, Ontario
1 December 1967 – Club Shade Blue, Hamilton, Ontario (Hamilton Spectator)
8 December 1967 – Jubilee Auditorium, Oshawa, Ontario (billed as E G Smith & The Power)
15 December 1967 – Club Trocadero, Toronto, Ontario
22 December 1967 – Club Boogaloo, Chandelier, near Wentworth, Hamilton, Ontario (Hamilton Spectator)
23 December 1967 – Bunny Bin, Toronto, Ontario with Christopher Edward Campaign and The Village Stop
26 December 1967 – Hidden Valley, Huntsville, Ontario
31 December 1967 – The Hawk’s Nest, Toronto, Ontario
6 January 1968 – The Hawk’s Nest, Toronto, Ontario
12 January 1968 – Jubilee Auditorium, Oshawa, Ontario
The band’s second US tour begins on 15 January and concludes on 9 March, according to RPM Music Weekly’s 20 January issue. It also says they will record most of their Boo LP from 11-23 March.
22-26 January 1968 – Buttercup Hill Club, Lunenburg, Massachusetts (Fitchburg Sentinel)
28 January 1968 – Buttercup Hill Club, Lunenburg, Massachusetts (Fitchburg Sentinel)
29 January-2 February 1968 – Buttercup Hill Club, Lunenburg, Massachusetts (Fitchburg Sentinel)
4 February 1968 – Buttercup Hill Club, Lunenburg, Massachusetts (Fitchburg Sentinel)
8 March 1968 – Jubilee Auditorium, Oshawa, Ontario (may not have happened if US dates correct above)
10 March 1968 – Teddy Bear Club, Toronto, Ontario (billed as E G Smith & The Power)
17 March 1968 – O’Keefe Centre, Toronto, Ontario with The Hollies and Spanky & The Gang (billed as E G Smith & The Power)
19 March 1968 – Club Riviera, Norval, Ontario with Stitch In Tyme and The Lords of London
20 March 1968 – Civic Centre Auditorium, Brantford, Ontario (The Expositor) Advert says they are leaving for Los Angeles next week but this seems unlikely
23 March 1968 – London Arena, London, Ontario with The Entertainer
24 March 1968 – The Hawk’s Nest, Toronto, Ontario
29 March 1968 – Jubilee Auditorium, Oshawa, Ontario
30 March 1968 – Neil McNeil Student Council, Toronto, Ontario (billed as E G Smith & The Power)
31 March 1968 – Intersection, Windsor, Ontario with The Amboy Dukes (Windsor Star)
RPM Music Weekly’s 20 January 1968 issue says the second half of their second US tour starts on 25 March and ends on 15 June. It looks like the start date may have been pushed back though to early April.
Mid-May 1968 – Trudy Heller’s, New York, USA (Toronto Daily Star)
14 June 1968 – Memorial Centre, Kingston, Ontario with The Varmints and Paper Dream (Kingston Whig-Standard)
16 June 1968 – Broom and Stone, Scarborough, Ontario (billed as E G Smith & The Power and says just back from US tour)
20 June 1968 – Huron Park Recreation Centre, Cooksville, Ontario with The Lords of London, The Five Shy and The Cat (billed as E G Smith & The Power)
21 June 1968 – Jubilee Auditorium, Oshawa, Ontario
22 June 1968 – Club Commodore, Kawarthas, Ontario
23 June 1968 – Summer Garden, Port Dover, Ontario
25 June 1968 – London Arena, London, Ontario with The Entertainer with The Soul Agents and The Grass Company
29 June 1968 – Balm Beach Danceland, Balm Beach, Ontario
2 July 1968 – The Hawk’s Nest, Toronto, Ontario
5 July 1968 – BCI, Brantford, Ontario (billed as EG Smith & The Power) (The Expositor)
6 July 1968 – The Cove, Long Beach, St Catherine’s, Ontario (The Standard)
12-13 July 1968 – Sauble Beach Pavilion, Sauble Beach, Ontario (Sun Times from Owen Sound)
14 July 1968 – Summer Garden, Port Dover, Ontario
29 July 1968-18 August 1968 – Tony Marts Somers Point, Ocean City, New Jersey, US with The Shades and The Shadettes, The Aerodrome and The Pop Explosions (Courier-Post/Press of Atlantic City)
24 August 1968 – The Hawk’s Nest, Toronto, Ontario
25 August 1968 – Summer Garden, Port Dover, Ontario with The Federation (The Expositor)
28 August 1968 – The Glenbriar, Waterloo, Ontario with George Olliver & His Children and The Web & Dover Street (Waterloo Region Record)
1 September 1968 – Hidden Valley, Huntsville, Ontario with The Private Collection
10 January 1970 – Pillar Square, Hamilton, Ontario (Hamilton Spectator)
Early February 1970 – Lakeview Manor Hotel, Centennial Room, Kingston, Ontario (Kingston Whig-Standard) Week-long residency; advert says it’s a six-piece
13 February 1970 – Jubilee Auditorium, Oshawa, Ontario
3 April 1970 – Town & Country Palace, Toronto, Ontario (Toronto Daily Star)
13 April 1970 – Town & Country Palace, Toronto, Ontario (Toronto Daily Star) Advert suggests longer residency. Last Canadian appearance before opening at Caesar’s Palace, Las Vegas
30 May 1970 – Grange Tavern, Hamilton, Ontario (Hamilton Spectator) Advert suggests long residency
6 June 1970 – Grange Tavern, Hamilton, Ontario (Hamilton Spectator) Advert suggests long residency
13 June 1970 – Grange Tavern, Hamilton, Ontario (Hamilton Spectator) Advert suggests long residency
22 June 1970 – Town & Country Palace, Toronto, Ontario (Toronto Daily Star)
25 June 1970 – Town & Country Palace, Toronto, Ontario (Toronto Daily Star) Advert says it’s an 11-piece
23 October 1970 – Town & Country Palace, Toronto, Ontario (Toronto Daily Star)
Early November 1970 – Choo Choo Stop, Guelph, Ontario (Waterloo Region Record)
21 December 1970 – Grange Tavern, Hamilton, Ontario (Hamilton Spectator) According to article in Hamilton Spectator, 22 December, p36, this is the start of three-week stand
Thanks to Carny Corbett, Mike Harrison, Sonnie Bernardi, Craig Webb, Gordon Baxter, Joe Agnello, Wayne Stone and Grant Smith for their help. Thanks to Grant for some band photos and gig posters.
The source for most of the live dates listed here was the “After Four” section, published in the Toronto Telegram and RPM Music Weekly unless otherwise noted. RPM images courtesy of Ivan Amirault. I’d also like to credit John Mars’s article on Kenny Marco in Blitz magazine, published in 1982.
Bernie Prost, drummer for the British Columbia band 2 x 2, knocked me out when he sent me five unreleased songs the band cut in 1967. If a 45 had been released of Jim Davidson’s originals, “By and By” and “2 x 2 Theme” it would be a major collectible today, and justifiably famous – at least among fans of garage bands! They aren’t slouches with their cover songs, either, as they rip up the Monkees’ “Let’s Dance On” and one of the better versions of “Stepping Stone” I’ve heard. Here’s the story in Bernie’s own words:
“2 By 2”, formed in Kelowna in 1965 and disbanded in 1968. Our band formed because Jim and Barry were playing a lot of parties wanted to take their playing to the next level. So they started looking for a drummer and bass player. My sister, who was friends with them both, mentioned one day that I played the drums, I was 15 at the time and a few years younger but there weren’t too many drummers around. I had a friend, Mel, who played guitar and said he’d give the bass a shot so we had a couple of practice sessions late in the summer of 1965 and we hit it off. As it turned out Mel was an incredible bass player right from the start.
We needed a place to rehearse where we wouldn’t drive people crazy and luckily for us one of Barry’s neighbors owned a trucking company located in the industrial section of Kelowna. He offered to let us practice there in the evenings after the place was closed for business. The place was a warehouse where he garaged his trucks. It was pretty crowded with large trucks and tractor tires etc. Often we would set up our equipment on the flat bed of one of the trucks. In the summers we’d sometimes practice at my parent’s house in the garage. We’d leave the door open on purpose as quite a few girls lived & roamed in the neighborhood. So in that sense we really were a garage band.
We became a popular event in the dance halls of the Okanagan Valley. Our favourite place to play in Kelowna was The Aquatic, headquarters of the Kelowna Regatta. We also watched and were influenced by the bands that played at the Aquatic such as the Shadracks, Kount IV, Jimmy And The Rebounds, the Strange Movies, the Undertakers, and The Nocturnals to name a few. We also played The Okanakan Mission Hall which is still there. Much expanded, it features the same stage we perfomed on (http://www.okmissionhall.com/). The Aquatic burned to the ground in 1969, which was also the year of Altamont and Charles Manson which shook up the west coast scene, so it was a disquieting end to an era.
The Kount IV was another Kelowna band, one of the guitar players was Morris Bishop whom I went to school with. I’m not sure what happened to them. The Undertakers were from Kamloops, B.C. I remember them because they used a hearse to pack their gear in. We all thought that was pretty cool. I think they dressed in black suits. I’m good friends with Don Burnett, drummer of the Strange Movies… he was also the drummer for Jimmy and the Rebounds.
We played gigs at the Kelowna Regatta and the Penticton Peach Festival as well as other halls in Vernon, Kelowna, Peachland, Penticton and Kamloops. The best times were during the summers of 1966 and 1967, where we performed our own music at numerous events and private parties. In those days it was impossible to say no to girls and beer.
When we formed the band we were mostly influenced by the sounds of the British Invasion, of course, as they were the reason for the explosion of garage bands across North America, in the mid to late sixties. We were also influenced by the people who influenced the Brits: Chuck Berry, Buddy Holly and Elvis Presley. We were known for a cover of Elvis’ ‘One Night With You’, with Barry on killer lead vocals, which would have made The King himself proud. Unfortunately we no longer have a recording of that track. Later on we became more influenced by other west coast bands such as Paul Revere and The Raiders; The Youngbloods and The Buckinghams.
The tracks we have included here were recorded in the sound studios of radio station CKOV in Kelowna, 1967. There are only 5 songs, 2 are original material written and sung by Jim Davidson, Barry Green on harmonies. The others are Grizzly Bear….Youngbloods, I’m Not Your Stepping Stone….Paul Revere and The Raiders and Let’s Dance On…The Monkees.
Jim Davidson was singing the lead vocal on most of it. Barry Green sang on Let’s Dance On and Steppin Stone, and on Grizzly Bear it was a team effort between Jim & Barry. Barry’s voice is the high one while Jim’s was a bit lower with that nice unique quality. Mel and I sang the odd back up harmonies.
The instrumental tracks were played live to the floor back to back in one take for each. We then actually ran into the sound booth to record the vocals. We had to do the whole thing in one hour as that was all we could afford, so there wasn’t much room for error.
The original tape is long gone. I salvaged what I could from a cassette tape and burned them onto a CD. We’re still looking for photographs and I’ll send them if I find any.
Later Jim started another garage rock band in Toronto, in 1977, called The Membrains playing a mixture of original tunes and covers of primarily sixties rock. Jim and I occasionally got together to do some recording at my place in Toronto. Mel started a group with his brothers in Kelowna that became quite popular and they are still playing today. As of this date the band members are alive & well, doing their own things. We keep in touch…. with great memories for sure.
The 2 x 2:
Barry Green – lead guitar Jim Davidson – rhythm guitar Mel Kunz – bass guitar Bernie Prost – drums
This single was a Hank Squires production and featured Montreal singer Brian Redmond on lead vocals. The A-side of the single features ex-Influence member, Irishman Louis McKelvey (see entry on this website), who had played with Squires in South African group The A-Cads in early 1966.
McKelvey co-wrote the A-side with Englishman Roger Gomes, who had joined McKelvey in Canada after working as a DJ and as American singer Millie’s road manager. The track in fact had originally been recorded in demo form by Influence in 1967.
Issued in June 1970, the single was reportedly a minor hit, and is a fascinating piece of music.
The B-side was composed by a certain Martin Martin, who later composed a single for Brian Redmond, also produced by Squires. The track features Brian Redmond and his group Soundbox, who had previously recorded a single (see www.marcdenis.com/ckgm-soundbox.html).
Recordings: 45 Marble Hall/Get Your Things Together (Aquarius 5003) 1970
Many thanks to Hank Squires for his input. Marble Hall sleeve and CFCF scans courtesy of Ivan Amirault.
Copyright (C) Nick Warburton, 2009, All Rights Reserved
From CFCF’s weekly for February 14, 1970From CFCF’s weekly for February 27, 1970
Original lineup, l-r: Brian Hughes, Bob Ablack, Neil Lillie, Ed Roth and Bill Ross
Neil Lillie (Vocals, Bass) line up A-D
Bill Ross (Guitar) line up A-B
Brian Hughes (Bass) line up A-B
Ed Roth (Keyboards) line up A-D
Bob Ablack (Drums) line up A, C-D
Al Morrison (Drums) line up B
Wayne Davis (Bass) line up C
Jimmy Livingston (Vocals) line up C-D
Stan Endersby (Guitar, Vocals) line up C-D
Ed Roth (b. February 16, 1947, Toronto, Canada), Bob Ablack, Bill Ross (b. Bel Air, California, US) and Brian Hughes started out playing rock instrumentals in a suburban Toronto band known as The XLs, which became Gary & The Reflections with the addition of singer Gary Muir in 1964.
In early 1965, singer Bobby Neilson (b. Robert Neilson Lillie, December 27, 1945, Winnipeg, Manitoba, Canada) joined and the group parted with Muir. The new line up changed name to The Ookpiks (after a native-designed stuffed toy owl called Ookpik that was being promoted by the Canadian government). As another group was already using the name, the band briefly worked as The Sikusis, after another stuffed toy, but were unable to get permission from the Canadian government to use the name without compensation and settled on The Just Us.
Amid all of this confusion, the group recorded a lone single on Quality, which was issued under the names The Ookpiks, The Just Us and The Sikusis. Soon afterwards, Al Morrison replaced Bob Ablack on drums but the new line up was short-lived. In early 1966, Hughes left to dedicate his full time to school, and Ross and Morrison joined The Bossmen, who subsequently backed singer David-Clayton-Thomas.
Neilson, who now went by the name Neil Lillie, befriended ex-Mynah Birds singer Jimmy Livingston (b. February 28, 1938, Toronto, Canada) in Long and McQuade’s music store where he worked in the backroom as an amp and guitar repairman. At the time, Livingston was singing with a group called The Muddy Yorks but he left when Lillie asked him to join a new line up of The Just Us. To complete the new line up, the band picked up former C. J. Feeney & The Spellbinders members Stan Endersby (b. July 17, 1947, Lachine, Quebec) and Wayne Davis (b. April 28, 1946, Toronto) and convinced Ablack to rejoin.
An album’s worth of material was recorded at Arc Sound during in early 1966, but disappeared with the band’s manager. The Just Us were one of the few bands that could play the clubs on Yonge Street, Toronto high schools and the Yorkville village scene.
In June 1966, Davis left to play with Bobby Kris & The Imperials and Lillie learnt bass in two weeks to fill the spot. Around this time, an American duo with the same name appeared on the charts and the group was forced to adopt a new name, The Group Therapy for one show (opening for The Byrds on June 22). Another local group laid claim to the name, so the band took on a new moniker, The Tripp, in September.
Recordings
45 I Don’t Love You/I Can Tell (Quality 1738) 1965
Opening for the Byrds as Group Therapy
Advertised gigs
September 6 1965 – Devil’s Den, Toronto September 10 1965 – Mimacombo’s, Mimacombo, Ontario
November 12 1965 – Club 888, Toronto
December 3 1965 – Gogue Inn, Toronto with Little Caesar & The Consult and Jeff & The Continentals
January 1 1966 – Gogue Inn, Toronto with The Lively Set and Ronnie Lane & The Disciples
February 11 1966 – Gogue Inn, Toronto with Shawne Jackson and The Majestics and The Lively Set February 12 1966 – The Hawk’s Nest, Toronto February 25 1966 – Gogue Inn, Toronto with Jack Hardin and The Secrets
March 3 1966 – The Hawk’s Nest, Toronto
April 8-9 1966 – Avenue Road Club, Toronto April 22 1966 – The Hawk’s Nest, Toronto April 30 1966 – The Avenue Road Club (billed as The Just Us Group)
May 21 1966 – The Hawk’s Nest, Toronto
June 4 1966 – Avenue Road Club, Toronto June 22 1966 – Varsity Arena, Toronto with The Byrds (as Group Therapy)
July 8 1966 – Boris’, Toronto July 16 1966 – The Hawk’s Nest, Toronto July 20 1966 – North York Veterans Hall, Toronto July 28 1966 – Don Mills Curling Club, Don Mills, Ontario with The Ugly Ducklings, The London Set and The Del Tones
August 6 1966 – The Hawk’s Nest, Toronto August 19 1966 – The Hawk’s Nest, Toronto August 20-21 1966 – El Patio, Toronto August 28 1966 – Broom and Stone, Scarborough, Ontario with Jon and Lee & The Checkmates and The All Five August 31 1966 – Don Mills Curling Club, Don Mills, Ontario with The Twilights, A Passing Fancy and Little Diane & The Jades
September 3 1966 – The Hawk’s Nest, Toronto September 10 1966 – El Patio, Toronto (may be last show before becoming The Tripp)
Many thanks to Stan Endersby, Neil Lillie (aka Neil Merryweather), Ed Roth, Bill Munson, Carny Corbett and Craig Webb.
Thank you Stan for the great photos. The live dates are taken from the “After Four” section in the Toronto Telegram. Label scans courtesy of Ivan Amirault and Wyld Canada.
L-R: Andy, Louis and WalterAndrew Keiller, Bob Parkins and Jack Geisinger on stage
Influence:
Louis McKelvey (Guitar, Vocals) line up A-D Andy Keiller (Vocals) line up A-C Dave Wynne (Drums) line up A-B Jack Geisinger (Bass, Vocals) all line ups Walter Rossi (Guitar, Vocals) line up B-E Bob Parkins (aka Bobo Island) (Keyboards, Vocals) line up B-E Frank LoRusso (Drums) line up C-E
The Influence was one of the most fascinating bands to emerge from Canada during the ‘60s. The group’s rich diversity of styles was a result of the group members’ wide range of musical backgrounds and geographical origins.
The band’s driving force was Louis Campbell McKelvey (b. October 31, 1943, Killorglin, County Kerry, Eire), who had spent the early ‘60s playing with London bands, The Persuaders and Jeff Curtis & The Flames (frequent residents at the Ealing Jazz club).
After travelling to South Africa in the summer of 1965, he met singer Andy Keiller (b. August 16, 1941, Bodmin, Cornwall, England), who had already recorded a solo single, ‘Find My Baby/Elaine (Continental PD7-8936), and an album entitled ‘Round About Midnight’ after moving to South Africa in March 1964. Together they formed The Who-inspired band The Upsetters, named by McKelvey after Little Richard’s first support group. The Upsetters recorded a lone single, ‘Daddy Rolling Stone/Pain In My Heart’ (Continental PD7-9012), issued by the small Trutone label later that year. When Keiller left to return to London in November, McKelvey subsequently joined The A-Cads.
McKelvey was only a member of The A-Cads for a few months, but did appear on the single ‘Fool, Fool, Fool/Zip-A-Dee-Doo-Dah’ (RCA Victor 41-827) and helped finish off the band’s lone album. The A-Cads spent the early part of 1966 travelling with the Boswell-Wilkie circus before splitting up in April. Together with former A-Cads, Hank Squires and Les Goode, McKelvey returned to England and together they hatched plans to move to India. The project, however, never materialised and McKelvey (later joined by Squires) moved to Montreal in October 1966.
McKelvey played with Les Sinners for a few weeks then joined Our Generation in time to appear on their second single.
During his time with the latter band, he co-produced (with Hank Squires) The Haunted’s single ‘Searching For My Baby’ and through the group met former member Wynne (b. May 17, 1947, Stockport, England). McKelvey subsequently invited him to join the new group he was planning.
Around the same time, McKelvey met bass player Geisinger (b. Jakob August Geisinger, March 1945, Czechoslovakia), who had recently been playing with The Buddy Miles Quartet and before that The Soul Mates.
When Buddy Miles and the group’s guitarist and organist, Rossi (b. Rossignuoli Rossi, May 29, 1947, Naples, Italy) and Island (b. Bob Parkins, Montreal, Canada), were picked up by Wilson Pickett for a US tour, Geisinger accepted McKelvey’s offer to join the new group.
Shortly afterwards, McKelvey spotted an ad in the paper by Keiller (who had moved out to Montreal the previous spring and had tried to contact McKelvey after seeing him playing with Our Generation on TV), and invited him to join as the band’s lead singer.
Formed in late May, the quartet, named The Influence, immediately made its presence felt and became regulars at Montreal’s Barrel during the summer of 1967. In June, Rossi and Island returned to Montreal and, after catching the band’s set, joined the line-up. The new line-up became more musically adventurous, adopting a style that was influenced by jazz musicians Sonny Murray and Archie Shepp, and with Island adding a second lead voice. After tightening up their act, The Influence moved to Toronto and became a regular sight at Boris’ Red Gas Room throughout September-December.
On stage in Toronto, 1967.
Andy Keiller singing and Dave Wynne on drumsIn October 1967, the band sent demos to ABC Records in New York and with producer Dennis Minogue recorded a lone album on 4-track that was issued in January 1968.
The record is a startling piece of music and clearly shows how unique the band was. However, it didn’t sell well and is now something of a collector’s item. The highlights are the chanson styled ‘I Don’t Know Why’, composed by Rossi and Island, and heavier pieces like McKelvey’s ‘Natural Impulse’ and ‘Pieces of Me’, co-written with Andy Keiller.
Shortly after the album’s release, former Soul Mates’ drummer Frank LoRusso (aka Yum Yum) replaced Wynne. The new line-up toured extensively in the US Midwest and the New York area throughout the first half of 1968. A live album, captured in Chicago on a bill with Steppenwolf, was recorded on a rough tape during May but immediately afterwards, Keiller left to return to Montreal (he eventually returned to the UK briefly before emigrating to Australia).
The band continued but internal differences led to McKelvey’s departure in September 1968. The remaining members carried on as a heavy rock, blues band into 1969, but broke up when Rossi joined The Buddy Miles Express and Geisinger left for McKelvey’s new group Milkwood. LoRusso later rejoined McKelvey in Damage. McKelvey lives in Toronto and plays with his own band.
Island was subsequently killed in a highway accident in late 1969. Wynne joined the diplomatic service and is working in Singapore, while Keiller currently runs a fibreglass business making racing cars in Melbourne. Rossi has established a successful solo career and lives in Quebec while Geisinger was last heard of living in Montreal.
8 September 1967 – Boris’ Red Gas Room, Toronto with The Sky
10 September 1967 – Boris’ Red Gas Room, Toronto with The Sky
15 September 1967 – Boris’ Red Gas Room, Toronto
16 September 1967 – Boris’ Red Gas Room, Toronto with The Sky
22 September 1967 – Boris’ Red Gas Room, Toronto
23 September 1967 – Boris’ Red Gas Room, Toronto with The Sky
29 September 1967 – Boris’ Red Gas Room, Toronto
30 September 1967 – Boris’ Red Gas Room, Toronto with The Fringe
7-9 October 1967 – Boris’ Red Gas Room, Toronto
15 October 1967 – Boris’ Red Gas Room, Toronto
22 October 1967 – Boris’ Red Gas Room, Toronto
27 October 1967 – Boris’ Red Gas Room, Toronto
2-3 December 1967 – Boris’, Toronto
9 December 1967 – Boris’, Toronto
15 December 1967 – Boris’, Toronto
25-31 December 1967 – Steve Paul’s The Scene, New York with Blood, Sweat & Tears
17-18 February 1968 – Boris’, Toronto
2 March 1968 – Boris, Toronto
4-9 March 1968 – Penny Farthing, Toronto
15 March 1968 – Boris’, Toronto
22 March 1968 – Boris’, Toronto
29-30 March 1968 – Boris’, Toronto
5-7 April 1968 – The Static Journey, Toronto
13 April 1968 – Boris’, Toronto
20 April 1968 – CNE Hall, Toronto with The Doors, Earth Opera and City Muffin Boys
10-12 May 1968 – Chessmate, Detroit
17-19 May 1968 – Grande Ballroom, Detroit with Procol Harum, Nirvana, The Nickle Pulte Express, The Soul Remains and Muff
24-26 May 1968 – Electric Ballroom, Chicago with Steppenwolf
31 August-1 September 1968 – El Patio, Toronto
Live dates are largely taken from the Toronto Telegram’s “After Four” section. Thanks also to Andy Keiller for some concert details.
Thanks to Louis McKelvey, Walter Rossi, Andy Keiller, Dave Wynne and Jack Geisinger. Grande Ballroom concert poster from Walter Rossi’s site. LP front cover scan courtesy of Ivan Amirault.
Neil Sheppard (Producer) line up AB Michael Ship (Keyboards, Vocals) line up AB Marty Simon (Drums, Keyboards, Vocals) line up AB Danny Zimmerman (Bass) line up AB Jean Pierre Lauzon (Guitar) line up AB Barry Albert (Guitar) line up AB
Clockwise from top: Danny Zimmerman, Marty Simon, Mike Ship and Barry Albert
Neil Sheppard (real name Neil Ship) was a Brill Building songwriter who was trying to get his songs promoted with a group. Sheppard wrote all of the songs and produced Life’s lone album, released in spring 1970.In the early 1960s, Simon and Zimmerman had worked together in Montreal group, Marty Simon and The Capris and The Humdingers before forming The Scene.
Formed from the ashes of The Scene, the original line up was completed with Sheppard’s brother Michael Ship on keyboards and lead vocals, guitarist J P Lauzon (ex-Carnival Connection) and former Bartholomew Plus Three guitarist Barry Albert. Lauzon and Albert alternated lead guitar and rhythm on the band’s recordings.
The group’s debut single, a cover of The Beatles’ “Strawberry Fields Forever”, with an arrangement by Marty Simon, was a fascinating record with jazzy feel and featured Lauzon’s exquisite flamenco guitar solo. However, it did not do much chart wise (entered RPM on May 9, 1970, reached number 83 and charted for 5 weeks). Its follow up, “Hands of The Clock”, featuring Albert’s lead guitar intro, was the band’s only hit, reaching #19 on the RPM chart in August 1969, and charted for 12 weeks.
Life played at the First Montreal Bi-Cultural Pop Festival in June 1969, which was held at the Montreal Forum and featured Triangle, Robert Charlebois and headliner Steppenwolf.
The group’s lone album, which features contributions from Englishman Malcolm Tomlinson on flute from Milkwood, was recorded on four-track and then transferred to the first eight track in Canada by Andre Perry.
Towards the end of 1969, Simon left Life and moved to Los Angeles to work with a new group. The rest of the band carried on as After Life but split up in early 1970.
Simon and Lauzon reunited in Mylon Le Fevre. Simon later moved to the UK and formed Sharks with former Free bass player Andy Fraser.
Recordings 45 Strawberry Fields Forever/Come Into My Life (Polydor 540-005) 1969 45 Hands of The Clock/Ain’t I Told You Before (Polydor 540-009) 1969 45 Sweet Lovin’/Desire (Polydor 540-013) 1970 45 Needing You/Loving Time (Polydor 540-017) 1970 LP Life (Polydor 2424-001) 1970
RPM, April 14, 1969RPM, April 21, 1969RPM, May 5, 1969CFCF, April 25, 1969CFCF, May 9, 1969CFCF, July 4, 1969CFCF, July 11, 1969Life on the cover of RPM, July 14, 1969CFCF, August 8, 1969CFCF, November 7, 1969RPM, November 29, 1969
Original lineup of the Mike Jones Group circa 1965, from left: Earl Kimble, Bob Panetta, Mike Jones, Roger Rodier and Richard Dupuis. Photo courtesy of Louise D.
The Mike Jones Group’s “Funny Feeling” on Jet Recordsne of the very top Canadian records of the 60’s. Its origins were somewhat obscure until I heard from Bob Panetta and George Legrady in 2010 and 2011.
The A-side is a good cover of “Each and Every Day”, recorded by Manfred Mann and written by Mike Hugg. The flip, “Funny Feeling”, is something else altogether, blending a heavy fuzz riff, pounding drums, swirling organ and a first-rate vocal, with a ripping guitar solo to top it all off. It was written by the group’s bassist, Joey Campelone.
Mike Jones was an alias for Michael LaChance, a recording engineer from Montreal. I’d read that he put a studio band together with musicians from other groups for this 45, but the band was actually a working group. Roger Rodier described recording an acetate with the Mike Jones Group and traveling to New York to try for a record deal which didn’t materialize.
The original group, who recorded demos in New York that have yet to be released:
Mike Jones – lead vocals Bob Panetta – lead guitar Richard Dupuis – rhythm guitar Roger Rodier – bass Earl Kimble – drums
Later lineup:
Mike Jones – lead vocals Bob Panetta – lead guitar (replaced by Richard Lasnier) Billy Smith – rhythm guitar George Legrady – keyboards Joe Campelone – bass Earl Kimble – drums
Jet Records was run by Don Wayne Patterson and distributed by London Records. Rumor had it there is a whole LP’s worth of material in the Jet vaults, but that seems to be an exaggeration.
The Mike Jones Group, from left: Bob Panetta, George Legrady, Billy Smith, Joe Campelone, Earl Kimble and Mike Jones
Recently founding member Bob Panetta contacted me with the photos and some early history of the band:
I unearthed this rare photo of a later version of the Mike Jones Group. An old friend of the band, Louise D. had kept it in an old shoebox. From left to right: Bob Panetta lead guitar, George Legrady keyboards, Billy Smith rhythm guitar, Joe Camplone bass and vocals, Earl Kimble drums and Mike lead vocals.
When I met Mike at the St-Germain high school in Ville St-Laurent, I was already playing guitar for a few years. He was a great pop music aficionado. He had all the recent albums by Manfred Mann, The Animals, Stones, Beatles and the rest. We’d get together and learn all of the more obscure songs of these groups. We didn’t want people to tag us as a cover band.
We formed our first group The Forgotten, but it was just a garage band. I don’t think we ever played anywhere. Then we auditioned for Mel Younger who was to be our manager (he was also The Rabbles’ manager). We reformed the band with different musicians and changed our name to The Mike Jones Group with Earl Kimble on drums and Roger Rodier on bass. There was also a guy called Richard Dupuis on rhythm guitar. That’s the original band who went to New York to record a few demos.
We started at the Jail, a pretty hip little joint in the north-end of Montreal. We started getting a pretty good following of fans. As time went on we were playing bigger and bigger dance halls around Montreal. In those days there were literally hundreds of places you could play.
One of the more memorable places was the Bonaventure Curling Club in Dorval. That hall could contain thousands of people. If you were booked there, it meant that you had made it big in Montreal. There was also a place called the Hullabaloo but it’s kind of vague in my mind.
I was in the band for most of the journey and when I quit Richard Lasnier replaced me. They went on to record a single but the band broke up not long after that. I used to have a copy of the demos we recorded in New York but I lent them to some friends and never got them back.
I’ve been a musician all my life and still play to this day. In the ’60’s I played with a group called The Oven with Gary Marcus, a great guitarist and friend. We were the opening act for The Young Rascals at the Paul Sauvé arena if I recall. Then went on to backup French artists like Nicole Martin, Steve Fiset and Claire Lepage. Today I’m more into jazz & blues.
Bob Panetta
St-Germain high school in Ville St-Laurent, circa 1962. Mike Lachance (Jones) is in the second row, third from the right. Bob Panetta in the last row, fifth from the right.
Keyboardist George Legrady wrote to me with some information about the band and also his later experience with the Haunted:
The Mike Jones group in Montreal consisted of Mike Jones (Michel Lachance) on vocals, Earl Kimble on drums, Joey Campelone on bass, Ricky on lead guitar, I think Bill Smith on rhythm guitar, (he and I later played in the Haunted with Bob Bosak, Johnny Monk, Gary Marcus) and I on keyboards. I was the last to join the band in January 1966. We rehearsed in the basement of a suburban house out in north Montreal – I think Pierre Dumouchel was the name of the roadie and it was his parents’ house.
We were together for about 1.5 years and played all the time. There was a lot of youthful “lets conquer the world” energy. I was the youngest at 16 as most of the others were between 18-19 which at that time seemed to make a big difference. We played week-ends mostly french Canadian dance halls. I remember competition were “The Sinners” but then we crossed paths with the Rabble, and did see and admire the Haunted. We began with Animals songs, and moved on to Kinks, and other top music of the time. It was a great experience to be part of this group as for me, I was still in high school and it definitely gave me a boost in the “getting out into the world” scheme of things.
The group was very eager to get Don Wayne as manager.
“Funny Felling” was recorded in a Montreal studio near Cotes-des-Neiges Blvd. The song was written right near the end of the band’s existence, in fact. I played a Hammond B3 with Leslie speaker, but on gigs I normally used a Hohner keyboard and Fender amplifier. I don’t have any photos, nor have kept in touch with anyone, but I do have a tape with three other songs. We used to play at a club called the “Jail” in east end Montreal and one of the songs begins with an intro by Don Wayne…I have to find it…
Mike Jones Group stayed together from 1966 to about 1968. The band broke up because Mike got the offer to become a recording engineer at the studio where we recorded “Funny Feeling” [and] reverted back to Michel Lachance. I knew Roger Rodier but don’t remember when he was with the band. I think before I was in it. I don’t know what happened to the players.
Q. I asked Jurgen Peter of the Haunted if any members were involved in the Mike Jones Group, and he said no, but maybe he just didn’t know about it?
Jurgen does not list me at his website: http://www.thehaunted.com/ and he may have a block about keyboard players as there were others who are not listed either. I was part of the last group consisting of Johnny Monk, Joey Toplay, Gary Marcus, Bill Smith. The original mythic power of the early “1-2-5” rock band Haunted was gone. Jurgen continued to rebuild the band, and I was in the last one which was more Doors/Hendrix/LCD/hippie direction. Our lead guitarist wore a long Japanese robe and sword and went barefoot on Trois-Rivieres TV.
Jurgen did not play anymore but was the manager. He would travel with Hank Squires in front of the truck. I was also the youngest in this band. Jurgen and I had some email exchanges a few years ago about the fact I am not listed, and he was not that receptive to my request to list me as keyboard player. In fact, the exchange could have been a bit more constructive.
Q. How long did you play with the Haunted?
I think it may have been about 8-9 months. My father was pressuring me to go to college, and I had to drop around May 1969. I remember this as I chose to stop playing the night when the Haunted opened for the Who at the Forum who were on their highly successful “Tommy” tour.
Q. I’m curious as to how separate the French and English music scenes were in Montreal, and if it changed between the mid and late 60s. Did the Mike Jones Group sing only in English?
Mike Jones and also the Haunted played at a lot of French gigs. The odd thing was that the French were crazy about R & B. With the Mike Jones group at the Jail, I remember the minute we would break in-between sets Wilson Picket’s “Midnight Hour” would be received with total joy by everyone. We would make jokes about it.
Q. The flip of the Haunted’s 45 “Vapeur Mauve” was a cover of Talk Talk in French called ‘Porquoi’. I’ve read this was a different group and the Haunted were not pleased about it showing up on the b-side of their record. Any idea who the band was and why this was done?
I am playing the keyboards on “Vapeur Mauve” but there was a previous keyboardist I met who played on “Out of Time” the Rolling Stones song and some other recordings…I forget his name…nice person. Jurgen Peter was the business manager and so he was the one negotiating all of this. We were all surprised about the fact that someone else was put on the back.
George Legrady
The Mike Jones Group in Rag Pot vol. 1 no. 1, (Montreal’ s Latest Teenage Journal) Feb. 24, 1967 (click to see full cover)
Don Wayne Patterson sent to me the photo above from the cover of Rag Pot no. 1 and wrote to me:
Managed and recorded Mike Jones Group – have an album in the vault and a 45 RPM one-sided French version of “Each and Every Day”. Also put out a lot of other Garage bands on my Jet Label. Have a full album in the can from King Beezz (Edmonton). And have several master tapes of Louis McKelvey bought at a garage sale in Montreal.
Published seven issues of RagPot promoting Canadian groups … missing vol. 1 no. 3 and hope to reprint all issues (book form) along with several columns I wrote for Hollywood’s Teen Screen magazine and a small Rosemere newspaper.
Sources include: Roger Rodier’s notes in the reissue of his 1972 LP Upon Velveatur (thanks to Ivan for pointing that out). Thank you to George Legrady and Bob Panetta for their help.
Together with Jon and Lee & The Checkmates, Mandala spearheaded a vibrant R&B scene in Toronto during the mid-1960s. Helmed by the late Domenic Troiano, the band recorded a string of stunning singles and a noteworthy album before morphing in to the funk blues group, Bush in late 1969.
Although Mandala’s jazz-inspired soul-rock was too experimental for the mainstream rock market, interest in the band’s recorded output has been rekindled in recent years and a comprehensive CD detailing its entire work is long overdue.
Originally known as The Rogues, the group first came to prominence during the summer of 1964, working as the house band at the club Bluenote, supporting visiting US soul artists like The Supremes. Keyboard player Josef Chirowski (b. 2 March 1947, Germany), bass player Don Elliott (b. 8 December 1944, Toronto, Canada) and drummer Whitey Glan (b. Finland) had previously worked together in Whitey & The Roulettes (alongside future Luke & The Apostles guitarist Mike McKenna) and The Belltones.
During early 1965, former Belltones and original Roulettes singer George Olliver (b. 25 January 1946, Toronto, Canada) and ex-Robbie Lane & The Disciples and Ronnie Hawkins guitarist Domenic Troiano (b. Michaele Antonio, 17 January 1946, Mondugno, Italy, naturalised Canadian in 1955, d. 25 May 2005) completed the “classic” Mandala line up.
The Rogues, l-r: Don Elliot, Whitey Glan, Joey Davis, Don Troy (Troiano) and George Olliver, and (inset in lower right) David Clayton-Thomas
With Olliver and Troiano in place, The Rogues began playing extensively on the local scene, appearing regularly at clubs like the Devil’s Den, Club 888 and the Hawk’s Nest. For a brief period, the band took on a second lead singer – future Blood, Sweat & Tears front man David Clayton-Thomas but reverted to a five-piece in early 1966.
Following Clayton-Thomas’ departure, the band’s name was modified and, as The Five Rogues, they recorded two rare tracks – “I Can’t Hold Out No Longer” and “I’ll Make It Up To You” as rough demos.
Throughout 1966, the group consolidated its local standing by landing some important support slots, most notably opening for Wilson Pickett at the Gogue Inn on 25 May, and The McCoys at the North Toronto Memorial Arena on 9 August. In September 1966, however, the band decided to reinvent itself and emerged with a new name and image – Mandala.
Mandala is a symbol (a circle within a circle within a circle) used by Buddhist monks as an aid to contemplation and was chosen by the band’s manager, Rafael Markowitz (aka Randy Martin), a former TV clown. Markowitz envisioned the band as being a channel for the audience to release its emotions and the newly named outfit returned to the Toronto scene with its “Soul Crusade”, which was met with mass hysteria.
In its new guise, Mandala also made a visual impact with their pinstripe, gangster-style suits and were apparently among the first Canadian bands to use strobe lights at their concerts. Markowitz proved to be a master at manipulating the media and made sure that the band was one of the best paid on the local circuit.
The US market soon beckoned and in late November, Mandala travelled to Los Angeles to play (initially) a weekend show at the Hullabaloo and four nights at the famous Whisky A Go Go in West Hollywood. Kicking off with a performance at the Hullabaloo on 26 November, Mandala’s stage show caused quite a stir and the following weekend a huge crowd turned up, curious to see what all the fuss was about.
In “Los Angeles ‘Sun-set’ raves over The Mandala”, an article for the Toronto Star published on 12 December, the Hullabaloo’s manager Gary Bockasta spoke about the band’s immediate impact on the scene. “They have built up an impetus since their first day,” he said. “They drew 1,000 people billed as co-headliners with a local group. The next Saturday night we had 1,400, which is a capacity crowd for us, and they were our only attraction.
“Almost all of this rush comes from word-of-mouth, since we do almost no paid advertising. I think you could say that, for the money we are paying them, they have been our most successful act so far.”
According to the newspaper report, the band had to cut its finale short at its final weekend show as teenyboppers thronged the stage clutching at Olliver and dragging Glan off his drum stool. What’s more The Monkees, who reportedly were interested in signing the band for a US tour with them, had to flee the club when the excited fans rushed the stage, fearing their own safety.
Thanks to their dynamic stage act, Mandala had won a recording deal with the KR label in the US and, on their return to Canada, recorded their debut single, Troiano’s “Opportunity” c/w Olliver’s “Lost Love” at Chess studios in Chicago with The Dells providing backing vocals. Released back home at the tail end of January 1967, the group’s debut single stormed into the Toronto top 10, peaking at #3 on the CHUM chart on 20 February.
“Opportunity” is arguably one of the best recordings to emerge from the Canadian rock scene during the 1960s. Propelled by Olliver’s soulful voice and The Dells’ massed vocals, the track’s infectious rhythm and Troiano’s gutsy guitar solo is totally absorbing. It’s just a shame that the single never broke into the US national charts or attracted a wider audience.
Opportunity at #19 on CHUM’s Hit Parade, Feb. 6, 1967- it would reach #3 two weeks later.
In March 1967, the band travelled to New York to perform at Steve Paul’s The Scene for an extended engagement, running from 6 March through to 2 April. While in the Big Apple, Mandala took part in Murray “the K’s” famous “Music in the Fifth Dimension” held at the RKO Theater from 25 March to 2 April. The show featured a number of artists, including Wilson Pickett and The Blues Project as well as British bands Cream and The Who, both making their debut US appearances. The group returned to Steve Paul’s The Scene for a second run from 25 April through to 4 May.
While all this was going on, the group’s second single, Victor Chambers’s “Give and Take” c/w band collaboration, “From Toronto ‘67” was released but didn’t fare as well as its predecessor, only peaking at #21 on Toronto’s CHUM chart on 22 May.
In mid-June, Mandala returned to the New York area to play two shows at the Farm at Monroe County Fairgrounds, followed by a welcome back tour, kicking off with a one-nighter at the Bonaventure in Montreal on 22 June. Then, shortly after a show at the Broom and Stone in Scarborough, Ontario with Livingstone’s Tripp on 9 July, Mandala headed back to New York to play at Steve Paul’s The Scene on 18 July. Later that month, the group participated in the highly publicised Garden of Stars show in Montreal.
Returning to Toronto the musicians began work on an album, but creative differences resulted in the sessions being abandoned and after another show at Steve Paul’s The Scene in New York on 27 September, Olliver quit the group in frustration. After a brief respite, where he spent three weeks in the north country wondering what to do next, he formed his own band, the 10-piece soul outfit, George Olliver & His (Soul) Children, which featured several musicians who would end up playing with Mandala in later years.
Speaking to Ralph Thomas in the Toronto Daily Star on 2 December, the day before his new group debuted at Marsaryk Hall in Toronto, Olliver confessed that one of the reasons why he left Mandala was because each member of the group had been on a mere $40-a-week salaries. “It’s true that our weekly salary was $40, but Randy [Martin, the group’s manger and part-owner] used to fine us $1-a-minute if we were late for rehearsals or appointments,” he says.
Olliver explained to Ralph Thomas that he found it hard to be on time in the first year because he was in a state of almost complete exhaustion from overwork. It particularly became a problem when Mandala played at the Murray the K Show from 10am to 10pm, followed by late evenings playing at Steve Paul’s The Scene, where the group worked from 11pm to 4am. “That left us about five hours of sleep a night,” he says. “If we got to the job late the next morning, there would be Randy with his little black book. I averaged about $20-a-week after fines.”
Despite gigging incessantly on the Toronto scene from December 1967-January 1969, and opening for The Hollies in Ottawa during March 1968, Olliver’s new group never recorded and in mid-1969, he emerged with a new outfit, Natural Gas, who recorded an album for Firebird Records in 1969 (the long player, incidentally, includes an Olliver-Chirowski instrumental from the Mandala repertoire, “Tribute to Rubber Boots”).
When the band broke up in late 1970 following a US tour, Olliver subsequently recorded two singles, “I May Never Get To See You Again” c/w “Shine” for Much Records and “Don’t Let The Green Grass Fool You” c/w “If I Can Just Be Strong Enough” for the Corner Stone label (with George Olliver and Friends) before playing and recording with Toronto band The Royals in the mid-’70s. He continues to perform regularly on the local circuit.
Olliver’s departure prompted keyboard player Chirowski to also leave in September 1967. At first Chirowski found work for Canadian Pacific Railways, but soon returned to the live scene with The Power Project. When that band folded, he became a member of the highly-rated rock band, Crowbar. During the ‘70s, Chirowksi worked with Alice Cooper and briefly toured with Lou Reed. In later years, he did session work for Peter Gabriel among others.
Mandala meanwhile recruited singer Roy Kenner (b. 14 January 1948, Toronto, Canada) and keyboard player Henry Babraj from local outfit Roy Kenner & The Associates, who’d made the obscure recording “Without My Sweet Baby”.The new line up debuted at the Roost in Ottawa on 8 October 1967 and the following month kicked off their fourth US tour with a show at the Cheetah in Hollywood.
While playing on the West Coast, Mandala supported Buffalo Springfield at the Swing Auditorium in San Bernardino, California on 3 November.The new personnel signaled a change in the group’s fortunes. After Atlantic chief Ahmet Ertegun acted on a tip from producer Phil Spector and bought the group’s contract from KR, Mandala returned to the studios to record their Soul Crusade album.
The band reportedly recorded six tracks at Atlantic Studios, New York in February 1968 with Arif Mardin, including the new single, the Scales/Jacobs written “Love Itis” c/w Troiano’s “Mellow Carmello Pallumbo”, which was another huge Toronto hit, peaking at #9 on the CHUM chart on 8 July 1968. The band completed the sessions for its long-awaited album, and while in New York, played a show at the Action House with The Fallen Angeles on 17 April.
After further shows on the West Coast, this time at the famed Troubadour in West Hollywood in May, Mandala returned to Toronto where keyboard player Barry Hutt was brought in to replace Babraj after an audition on Parliament Street. (Hutt, incidentally, later played in George Olliver and Friends.)
The new line-up continued to be a popular local draw but Barry Hutt did not stay long and was replaced by Hugh Sullivan from local group, Mr Paul and The Blues Council. Sullivan, who’d once been a member of George Olliver’s band, was later credited on the album’s sleeve for keyboards (along with Babraj). With Sullivan on board, the band made a prestigious appearance at the Philadelphia Music Festival on 24 July 1968.
Bad luck, however, dogged the band; Mandala had intended to tour Canada to promote Soul Crusade but Elliot was involved in a car accident and the tour was delayed until October.
Despite the setbacks, Soul Crusade received positive reviews in Canada. The album features some choice cuts, including “Every Single Day” co-written by Troiano with Kensington Market singer Keith McKie (when he was with The Vendettas) and Troiano’s “World of Love” and “Come on Home”. Local R&B singers Jimmy Livingstone, Diane Brooks, Eric Mercury and Shawn Jackson are among the cast of supporting players.
Mandala’s final single, the non-album tracks and Kenner-Troiano penned “You Got Me” backed by “Help Me”, was only given limited release in December and the group began to fall apart. Despite the positive reviews, the album failed to attract the sales the group had expected (some sources suggest that Ertegun felt artistic differences with Markowitz and Atlantic did not push the album).
During early 1969, the band made several visits to Michigan. On 7 April, Mandala played at the Detroit Pop Festival, held at the Olympia Stadium, alongside the MC5, SRC, Amboy Dukes and others, and then on the following day, performed at another festival, the Grand Rapids Pop Festival, held at the city’s Civic Auditorium, again with the same artists billed.
The end, however, was in sight. Returning to Ontario to play a string of dates, Mandala performed its final show on 1 June at the Hawk’s Nest in Toronto.
Following the group’s demise, Elliot went on to play with Leigh Ashford and Milestone while Sullivan moved to Los Angeles to briefly work with Toronto bass player/singer Neil Merryweather, before later doing sessions for former Steppenwolf frontman John Kay (alongside Glan).
Kenner, Troiano and Glan meanwhile brought in local bass player Prakash John and made a lone album as Bush (the live segment also features Sullivan) before splitting in 1971.
Glan and John subsequently became top session players, working for the likes of Lou Reed and Alice Cooper among others while Kenner and Troiano joined The James Gang after guitarist Joe Walsh left for a solo career. Troiano, who later joined The Guess Who and established a moderately successful solo career, sadly died in May 2005 after a long battle with cancer.
Kenner is currently doing jingles and voice-overs and working with a band in Toronto.While the group’s individual members have continued to plough successful careers as performers, Mandala’s recorded legacy remains largely undiscovered by the wider record buying public. The fact that the band’s Soul Crusade album and the non-album singles have yet to be picked up for a comprehensive CD collection probably doesn’t help, although there are murmurings that one collectors label may be set to put the record straight.
Many thanks to Carny Corbett, Bill Munson, Martin Melhuish, Nicholas Jennings, Brian Hunt, Elliott Prentice, Daniel Sneddon and Craig Webb for their help in piecing the Mandala story together. Special thanks to Craig Webb for the photos and transfers of Oppurtunity and the Rogues’ I Can’t Hold Out Much Longer. Hit Parader, Village Voice and Canadian Teen magazine also proved invaluable sources. Thank you to Ivan Amirault for the RPM scan.
To contact the author with further information or corrections, please email nick_warburton@hotmail.com
Mandala Promotional Bio (scans courtesy Ivan Amirault) Page 1 Page 2 Page 3
Advertised gigs
October 9 1966 – Club Kingsway, Toronto with Shawne & Jay Jackson, The Majestics, The Secrets and The Tripp
November 26 1966 – Hullabaloo, West Hollywood
December 3 1966 – Hullabaloo, West Hollywood
December 1966 – Whisky A Go Go, West Hollywood with Fever Tree (four nights)
December 10 1966 – Hullabaloo, West Hollywood
December 16 1966 – Michael Power High School, Toronto
December 17 1966 – George Harvey High School, Toronto
December 26 1966 – The Hawk’s Nest, Toronto
December 29 1966 – Avenue Road Club, Toronto
January 7 1967 – The Hawk’s Nest, Toronto
January 12 1967 – Ryerson Winter Carnival, Ryerson Theatre, Toronto with Dee & The Yeomen, The Creeps and Dianne Brooks, Eric Mercury and The Soul Searchers
February 3 1967 – Hawk’s Nest, Toronto
February 11 1967 – Orange Hall, Brampton, Ontario
February 11 1967 – Clarke Hall, Port Credit, Ontario
February 12 1967 – Syndicate Club, Toronto (formerly Club Isabella) with The Syndicate Five
March 6-April 2 1967 – Steve Paul’s The Scene, New York with Eric Anderson
March 25-April 4 1967 – Murray the K’s Easter Rock Extravaganza, RKO Theater, Manhattan, New York with The Blues Project, Cream, Wilson Pickett, Jim & Jean, Chicago Loop, Mitch Ryder and others
April 8 1967 – YMHA, Toronto (first show back from US trip)
April 15 1967 – Oshawa Civic Auditorium, Oshawa, Ontario with The Tripp, Shawne Jackson, Jay Jackson & The Majestics, Jack Hardin & The Silhouettes, The Midnites and others
April 16 1967 – Crang Plaza, Downsview, Ontario
April 25-May 4 1967 – Steve Paul’s The Scene, New York
June 16-17 1967 – The Farm, Monroe County Fairgrounds, New York state
June 22 1967 – Bonaventure, Montreal (welcome back tour)
June 23 1967 – Kin-Oak Arena, Oakville, Ontario
June 24 1967 – Milton Arena, Milton, Ontario
June 27 1967 – The Hawk’s Nest, Toronto
June 30 1967 – North York Centennial Centre, Toronto with The Power Project, The Spirit and Livingstone’s Tripp
July 1 1967 – Orange Hall, Brampton, Ontario
July 9 1967 – Broom and Stone, Scarborough, Ontario with Livingstone’s Tripp
July 18 1967 – Steve Paul’s The Scene, New York
July 23-24 1967 – Le Hibou, Ottawa
July 30-August 5 1967 – Garden of Stars, Montreal
August 14 1967 – Laporte County Fair, Laporte, Indiana with The Detroit Wheels
August 14 1967 – Laporte County Fair, Laporte, Indiana with Every Mother’s Son
August 14 1967 – Laporte County Fair, Laporte, Indiana with Every Mother’s Son and The Grass Roots
September 27 1967 – Steve Paul’s The Scene, New York (probably George Olliver’s final show)
October 8 1967 – The Roost, Ottawa (probably Roy Kenner’s first show)
October 27-29 1967 – Cheetah, Hollywood, California (fourth US tour)
November 3 1967 – Swing Auditorium, San Bernardino, California with Buffalo Springfield and Yellow Payges
December 27-28 1967 – Mad Hatter, Allentown, Pennsylvania
April 17 1968 – Action House, New York with Fallen Angels
May 10-12 1968 – Troubadour, West Hollywood
June 27 1968 – North Toronto Memorial Arena, Toronto
June 30 1968 – Port Carling Surf Club, Port Carling
July 6 1968 – Balm Beach Danceland, Balm Beach, Ontario
July 13 1968 – Jubilee Auditorium, Oshawa, Ontario
July 20 1968 – Biquin Island Hotel, Bracebridge, Ontario
July 24 1968 – Philadelphia Music Festival, Philadelphia with The Who, The Troggs, Pink Floyd and others
August 3 1968 – Kee-to-Bala, Bala, Ontario with Rifkin
August 4 1968 – Pav-Orillia, Orillia, Ontario with Scarboro Fair
August 5 1968 – Nelson Arena, Burlington, Ontario with The Dana
Photo: Ron Dey
August 13 1968 – The Hawk’s Nest, Toronto
August 17 1968 – Balm Beach Danceland, Balm Beach, Ontario with Mornington Drive
August 24 1968 – Dorval Arena with the Raja
September 14 1968 – Broom and Stone, Scarborough, Ontario
September 21 1968 – Neil McNeil’s High School, Toronto
October 6-20 1968 – Canadian tour accident – Elliott drops out and others play as quartet with Sullivan covering bass on keyboards
KRLA Beat, Nov. 4, 1967KRLA Beat, April 22, 1967
January 24 1969 – Village Pub, Detroit with Electric Blues Band
April 7 1969 – Detroit Pop Festival, Olympia Stadium, Detroit with MC5, SRC, Amboy Dukes and others
April 8 1969 – Grand Rapids Pop Festival, Civic Auditorium, Grand Rapids, Michigan with MC5, SRC, Amboy Dukes and others
May 17 1969 – Whitby Arena, Whitby with The Bedtime Story
May 24 1969 – Pavilion, Orillia, Ontario
June 1 1969 – Hawks Nest, Toronto
Sources: Ottawa Citizen, Montreal Star and “After Four” section in Toronto Telegram.
Mandala with the Raja at Dorval Arena, August 24, 1968
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
It was early 1965 and Tide booked the group into a show at the L.A. Coliseum titled KFWB’s Beatle Alley. Requirements were that the groups had to be from outside the U .S. and had to have some sort of Beatle tie-in, hence the name change to the Canadian Beadles. (Perhaps the spelling was in order to avoid any claim of name infringement). Christy and Rena Fulmer (a partner in the Tide label), acting as an agent/manager team, booked the band, and Blunt said that both of the group’s singles got airplay. I saw Blunt’s band (I don’t recall if they were still using the Canadian Beadles name) at a bowling alley lounge in the South Bay area of Los Angeles around 1966.
The Mike Jones Group’s “Funny Feeling” on Jet Recordsne of the very top Canadian records of the 60’s. Its origins were somewhat obscure until I heard from Bob Panetta and George Legrady in 2010 and 2011.
Despite gigging incessantly on the Toronto scene from December 1967-January 1969, and opening for The Hollies in Ottawa during March 1968, Olliver’s new group never recorded and in mid-1969, he emerged with a new outfit, Natural Gas, who recorded an album for Firebird Records in 1969 (the long player, incidentally, includes an Olliver-Chirowski instrumental from the Mandala repertoire, “Tribute to Rubber Boots”).
