The Revolvers: Left to Right: Harold Beardsley, Ted Pearson, Don Hales, and Stan Burger.
The Revolvers hailed from the Detroit neighborhood of Lake Orion, forming in the hallways of Lake Orion High School.
According to his brother, ex-Detroit area disc jockey and program director, Bill Pearson, the band’s founder, Earl “Ted” Pearson, excelled at sports — both basketball and baseball — from his Little League diamond days up through high school. As a star player for the Oxford High Wildcats, he was scouted by the Pittsburgh Pirates and the St. Louis Cardinals. A refusal to cut his long hair resulted in his dismissal from the team; a later shoulder injury ended his baseball career. He soon formed the Revolvers at the age of 16 in 1966 with his long-time music associate, bassist Harold Beardsley.
The Revolvers opening for Scot Richard Case at Club Limberlost
Rounded out with guitarist Don Hales and drummer Stan Burger, the Revolvers frequently appeared at Club Limberlost in Leonard, Michigan, just outside of Detroit. One of the Revolvers’ gigs at the Limberlost — which hosted many gigs by the more-established SRC, the MC 5, and the Rationals — was as a prestigious undercard to Panic & the Pack opening for a-soon-to-be-signed-to Capitol Records’ SRC.
While Stan Burger’s later musical exploits are forgotten, the Ortonville-born Don Hales graced the stages of Lake Orion’s Royal Oak Inn and Waterford’s 300 Bowl with Jacob’s Folly.
Madrigal, out back behind the Silverbell Hideout, 1968. Left to Right: Ted Pearson (tree), Don Hales (bass), and Jim Roland (vest; drums), and Ray Campbell (guitars; keys). Courtesy of Tom Welscher.The Whereabouts: Marty Blair, then on keyboards, second from right.
By 1968, with drummer Jim Roland (previous bands, unknown) and ex-Echoes from a Broken Mirror/Good Tuesday keyboardist Paul Cervenek, the Revolvers became the harder-edged Madrigal — managed by Bob Seger associate Joe Aramini. Along the way, Marty Blair, formerly of the Whereabouts (1966 to 1967) joined on keyboards.
Walpurgis: Left to Right: Ray Campbell, Harold Beardsley, Jim Roland, and Ted Pearson at Cranbrook Manor, 1973.Walpergis with SRC at the Palladium
Upon more line-up changes — and with only Ted Pearson and Harold Beardsley from the original the Revolvers — Madrigal became Walpurgis in 1970. Under the new moniker, Walpurgis (for a time as Walpergis) shared the stage with SRC on August 19, 1970, at the Birmingham, Palladium with Julia (a Bob Seger-associated act) on the bill.
Upon the return of Jim Roland, and the addition of ex-Downtown Clergy keyboardist Russ Klatt, Walpurgis signed with Punch Andrews’s Hideout Productions. Rechristened as Phantom by Andrews, they recorded the 1974 Capitol Records release Phantom’s Divine Comedy: Part 1. Marty Blair, now a drummer, was a brief, non-recording member of Phantom.
The Whisky a Go Go: Ted Pearson (center) with Iggy Pop and Ray Manzerek.The Whisky a Go Go: Ted Pearson, center, with Danny Sugerman and Ray Manzarek.
Ted Pearson eventually worked with Ray Manzarek and appeared at the infamous “Jim Morrison Third Anniversary Disappearance Party” at the Whisky A Go Go on July 3, 1974. After a stint with the touring solo band Mitch Ryder, Pearson fronted — under his legal name change of Arthur Pendragon — the band Pendragon from 1976 to 1983. Pendragon’s rosters featured Rick “The Lion” Stahl from Wilson Mower Pursuit and Sincerely Yours, Joe Memmer of the Free, and Jerry Zubal of the Kwintels. Late ‘70s demos by Pendragon were recorded and produced, in part, by Tom Carson, formerly of the Lazy Eggs, at his music store-studio, Fiddlers Music.
Pendragon: Top Left, clockwise: Ed Lawson, Ted Pearson, aka Arthur Pendragon, Marc Kopchak (ex-Wildwood with Billy Csernits of Mitch Ryder’s solo bands), Bob Ellis, and Rick Stahl. Courtesy of Rick Stahl.
The Revolvers, Madrigal, Jacob’s Folly, Echoes from a Broken Mirror, Good Tuesday, and Downtown Clergy recorded no singles. It is said the Revolvers completed acetates that were never officially pressed; any radio airplay given to those acetates, are unknown. If anyone can provide a background on the Whereabouts and Jacob’s Folly, it would be appreciated.
Our thanks: David McLaughlin, publisher of the private-press book, Rockin’ the Limberlost, (2009), University of Michigan Press for the Revolvers’ flyer images, Tom Weschler/Bill Pearson for the photo and Gordon Jones for the roster information on the Revolvers, Mike Delbusso of Splatt Gallery of Walled Lake, Michigan, for the Whereabouts and SRC flyers, Tom Weschler/Bill Pearson for the Madrigal and Walpurgis photos, and James Fortune for the Whiskey photos.
The 2 ‘B’s Club, located at 2B Bank Street in Ashford, Kent, was a short-lived music venue that had previously hosted local bands when it was known as the Beat House.
However, in July 1966 it changed name and began advertising better known visiting groups such as The Birds (with Ron Wood on guitar) who opened the new venue, David Bowie & The Buzz, Bluesology (featuring future solo star Elton John) and The Gods (with Mick Taylor on guitar) among others.
I’ve started a list of acts, taken from the Kentish Express newspaper, which advertised gigs for Saturdays and Sundays, from its opening night on 16 July until its closure; the exact date is unclear, but the newspaper stopped advertising the venue around early May 1967.
Please leave comments with any memories and missing acts.
Photo may be subject to copyright
16 July 1966 – The Birds and The Oscar Brooke Bluesette
17 July 1966 – The Bo Street Runners and The Noyse
23 July 1966 – The Noyse
24 July 1966 – The Riot Squad and The Oscar Brooke Bluesette
Photo may be subject to copyright
30 July 1966 – The Stormsville Shakers and The Noyse
31 July 1966 – The Herd and The Noyse
Photo may be subject to copyright
6 August 1966 – The Downliners Sect and support
7 August 1966 – The Shades of Black
Missing dates here
Photo may be subject to copyright
27 August 1966 – The Fingers and The Pastel Shades
28 August 1966 – The Shades of Black
29 August 1966 – The Noblemen and The End (this is a Monday)
Photo may be subject to copyright
3 September 1966 – Cops ‘N’ Robbers
4 September 1966 – Chaos
10 September 1966 – Steve Darbyshire & The Yum Yum Band and Bobby Gibson & The 004s
11 September 1966 – The Stormsville Shakers and The Moral Set
Photo may be subject to copyright
17 September 1966 – Dave Anthony’s Moods
18 September 1966 – missing gig
Photo may be subject to copyright
24 September 1966 – David Bowie & The Buzz
25 September 1966 – Parker’s Mood (replaced by The Couriers)
1 October 1966 – The Fingers
2 October 1966 – Pastel Shades
Missing dates here
Photo may be subject to copyright
15 October 1966 – Bluesology and The Guests
16 October 1966 – The Suspect
21 October 1966 – The End (this is a Friday)
22 October 1966 – The Rick ‘N’ Beckers and The Shades of Black
23 October 1966 – The King Pins
Photo may be subject to copyright
29 October 1966 – Julian Covey & The Machine and The Noyse (featuring Mouse)
30 October 1966 – The Mixed Feelings
5 November 1966 – Philip Goodhand Tait & The Stormsville Shakers and The End
6 November 1966 – The Noyse (featuring Mouse)
Photo may be subject to copyright
12 November 1966 – The Majority (straight from the Playboy Club, London) with support
13 November 1966 – The Kult
Missing dates here
Photo may be subject to copyright
26 November 1966 – The [Mike] Stuart Span plus support
27 November 1966 – The Rebounce
Missing dates here
24 December 1966 – MI Five and Moral Set
Photo may be subject to copyright
26 December 1966 – The Savoy Brown Blues Band and Shades of Black
Photo may be subject to copyright
31 December 1966 – The Motivation (ex-Noblemen) and The Suspects
1 January 1967 – The Meantimers
Missing dates here
Photo may be subject to copyright
14 January 1967 – The Gods and The Roots of Evil
15 January 1967 – The End
21 January 1967 – The Rick ‘N’ Beckers and The Rebounds
22 January 1967 – The Poor Boys
Missing dates here
Photo may be subject to copyright
4 February 1967 – Motivation (ex-Noblemen) and Spectre Quin Team and Vaughan & Diana
5 February 1967 – Vaughan & Diana’s Spin
Missing dates here
Photo may be subject to copyright
18 February 1967 – The Warren Davis Monday Band with support
19 February 1967 – The Rick ‘N’ Beckers
Missing dates here
4 March 1967 – Heinz & The Wild Boys and The Suspects and Vaughan & Diana
Photo may be subject to copyright
5 March 1967 – The Rick ‘N’ Beckers
11 March 1967 – The Joyce Bond Show
12 March 1967 – Missing gig
Photo may be subject to copyright
18 March 1967 – The Gods
19 March 1967 – Heart & Soul
Photo may be subject to copyright
25 March 1967 – Long John Baldry Show and The Silhouettes
The Rogues in the South Omaha Sun, September 9, 1965
The Rogues came from Omaha, Nebraska, and made one record in 1966, “Anything You Say” / “Summertime” on Action 100. The deadwax etching shows it was recorded and mastered at Sears Recording Studio in Omaha and pressed at Kaybank in Minneapolis.
James G. Churchill wrote “Anything You Say” published by Peter Jan.
Members on the single were:
Ed Hoke – lead guitar Jim Churchill – drums Joe DeRozza – lead vocals Mike Hoke – bass Mike Chapman – rhythm guitar
Early lineup of the Rogues in a Hospe’s ad, May 2, 1965
On May 2, 1965, Hospe’s music store on 1512 Douglas ran an ad in the Omaha World-Herald featuring an earlier lineup that included the Hoke brothers along with Bill Nassarallah and Greg Mutz. The photo shows the Rogues with some awesome equipment:
They’re Fender-equipped, and they’re great!
Bill Nassarallah, rhythm with a Fender Stratocaster Guitar and Fender Bandmaster Amplifier and Echophonic echo-chamger; Greg Mutz with a 4-piece Gretch [sic] Drum Set and Zildjian Cymbals. Eddie Hoke, leader of the group, has a Custom Guitar which he plays through his Fender Showman amp; and Mike Hoke with a Fender Jazz Bass and Fender Bassman Amp.
By September, 1965 the lineup had changed to the group that would record the 45, as the South Omaha Sun profiled the group with a photo, noting that the groups favorite bands were “‘The Kinks,’ ‘The Birds’ [sic] and ‘Them'”:
Chuck Hoke, night manager at Mickey’s No. 1, invited us to a rehearsal … of his sons’ rock ‘n roll band, “The Rogues” …
The combo held its rehearsal on a stage, complete with risers, which they built themselves in the Hoke’s recreation room. The array of mikes and amplifiers made us feel like we were in a major network studio. Vocalist Joe hugged the mike at the front of the stage and pounded out ryhthm [sic] on a tambourine while he bounced to and fro with his vocal routines. Jim, like Gary Lewis, had a mike hanging over his drum set and harmonized with Joe on many numbers. The whole group sang in unison occasionally. They bounced, rocked and shook in unison no so occasionally.
Finally came their rendition of “End of the World,” and many oldsters might view it as just that.
The group continued until 1967, with a “Combo Catch-All” article in the World-Hearld on March 3, 1967 titled “Rogues Aim for Originality, Prefer to Be Called ‘Group'”
By this time the group included a sixth member, Mike Riehle, and the article mentions that Joe Derroza was “from San Francisco”.
They play mostly in Minnesota, Iowa and Nebraska, and get to and from these states in a painted bakery truck …
They used to have a go-go dancer but let her go because more and more combos were adding go-go girls.
The “Combo Catch-All” article mentioned other groups: the Exiles combo with Red Toll, the Ashes with own song “I Don’t Need Your Love”, and the Bushmen with Bob Geeny, Kent Bellows, Doug Fackler, Bob Drickery and Larry Minthorn. An adjacent ad for Sandy’s Escape lists various groups that weekend: the 6 Fortunes and 6 Misfits on Friday, the Wonders and 7 Legends on Saturday, and the Coachmen and 6 Impacts on Sunday.
The Coronoados, left to right: Bob Stayton on guitar, Bill Goddard on drums, Jerry Schemmel on saxophone, and Rick Stockwell on bass.
This tale of forgotten Detroit rockers begins in the Stockwell family basement in the early 1960s as Rick Stockwell formed the Coronados and his brother Joe formed the Nomads. Learning about rock ‘n’ roll through his older half-brothers was Michael Marsac. His first group, Old Friends, was an all-acoustic group with Dave Anderson, Ken Crawford and Johnny Heaton, later of the West End.
Managed by Cecil, the father of the band’s Jerry Schemmel, the Coronados appeared on WKHM disc jockey Robin Seymour’s CKLW-TV Channel 9’s television show, Swingin’ Time. Featuring Rick Stockwell on electric bass, the Coronados were rounded out with Bob Stayton on guitar, Bill Goddard on drums, Jerry Schemmel on saxophone, and Gene Gustafson on keyboards.
The Coronados soon had the support of a country music song-smith known for writing songs for Johnny Cash, Waylon Jennings, George Jones, and Jerry Lee Lewis. Mick Vickery produced and arranged four sides for the band across two singles. The first, “The Nomad” b/w “Center of Attraction,” was issued in 1965 on Paramount Pictures Productions’ musical division, Dot Records. Issued that same year—and with the “e” added—the Coronadoes recorded Vickery’s “Zig Zag” backed with an original, “What Would I Do,” for Dino Productions on Nashville’s Lamar Records.
The Vickery deal was the culmination of the band winning the Michigan State Fair’s annual “Battle of the Bands” talent show, along with winning the Starlit Stairway’s Talent Show hosted by Rita Bell (the station’s meteorologist) on WXYZ-TV Channel 7 in 1963, in addition to a well-received opening slot for a Walled Lake, Michigan, appearance by Frankie Valli and the Four Seasons. As the Vietnam War arrived, the Coronados splintered as result of Rick Stockwell and Jerry Schemmel’s service. Schemmell wouldn’t return home.
Above: Ron Course’s photo montage video featuring all four sides: Dot 45 first, followed by the Lamar single.
Once back in the states, Rick Stockwell, along with his brother Joe, joined fellow Vietnam veterans-friends Larry Merryman and Gary Markley in the Detroit-based jam-band collective, Stonefront: a band known for overseeing the Gar Wood Mansion commune located at 450 Keelson Drive, Detroit, on Greyhaven Island located on the Lower Eastside of the Detroit River. During the years of 1969 to 1972, with an ever-changing roster (featuring ex-Coronados’ guitarist Bob Stayton, along with drummer Jeep Capone and guitarist Rod Shivers of Seeds of Doubt), Stonefront hosted rent parties attended by—with the bands sometimes performing a second, free show after their gigs at the Cobo Arena, Eastown Theatre, and The Grande Ballroom—Cream, Joe Cocker, Iron Butterfly, the Rolling Stones, and Leon Russell.
The Gar Wood Gang, courtesy of Adrian Wright.Stonefront practice at Gar Wood, courtesy of Colleen Donovan.Newsprint photo of Stonefront at home in the Gar Wood: Left to right: Larry Merryman, Joe Ford, Jeep Capone, Bob Stayton, and Rick Stockwell. Courtesy of Jeep Capone.Stonefront inside Detroit’s Terra Sherma Studios: Left to Right: Jeep Capone, Bob Stayton, Rick Stockwell, Rod Shives, and Larry Merryman. Courtesy of Jeep Capone.After the Corondoes and before Stonefront: Leadville Feed, Seed & Bag Company, 1968-ish: Left to Right: Rick Stockwell, guitar, organ and lead vocals; Mark Lungdren bass and vocals; Bob Stayton, guitar; Dick Ayers, drums.Coloradus: Right to Left: Joe Stockwell, Elde Stewqrt, Ron Course, Rick Stockwell, and Mike Marsac.
By 1971 the Stockwell brothers—along with their then 16-year-old half brother, Michael Marsac—formed the country-rock driven Coloradus. By the mid-‘70s Coloradus consolidated their regional, Great Lakes-area success to the point of opening shows for Detroit-touring national acts, such as the like-minded .38 Special. Guided by producer Calvin Simon, formerly of Parliament/Funkadelic, Coloradus cut an album at Chess Records in Chicago. As is the case with new bands hoping to generate a hit single, Coloradus recorded two cover tunes by the Allman Brothers to complement their southern-rock styled originals. Unfortunately, the planned release stagnated for a variety of reason lost to the times, but mainly due to Rick Stockwell suffering an “accident-sustaining injury.” The band eventually rebounded with a 45-rpm single issued on the band’s vanity-press Saloon Records in 1979, fronted by Rick Stockwell’s “What Was I Do To” and Michael Marsac’s “Good Lovin’” on the B-side.
The Excels of Pontiac, Michigan, the first band (and drum set: a Slingerland Buddy Rich White Marine Pearl purchased from Pontiac Music) of Ron Course, center. From left to right: John Gains of Texas on bass, Nick Nickerson of Maine on guitar, and Leo “Rio” Carter of California on guitar.
In between the career development of the Coronados and Coloradus, the Stockwell brothers—as well as other Coloradus members, such as long-time Stockwell associate, drummer Ronald Course—strolled through the turnstiles of Detroit’s iconic Danny Zella. Zella—with the ampersand moniker The Zell Rocks—graced Detroit stages since the late 1950s with national and regional hit singles, such as “Black Sax,” “Wicked Ruby,” “Steel Guitar Rag,” a cover of Leiber and Stoller’s “Kansas City,” and “Sapphire.” Later opting for the Zeltones suffix by the early ‘70s, Zella became a fixture on Michigan and Great Lakes-area stages as he provided a “rock ‘n’ roll boot camp” for those musicians who invaded the Gar Wood during its progressive rock years. It was through Danny Zella, and his band’s eventual transition into Kottage, then his retirement from the stage, in which Coloradus, birthed.
Prior to the mid-70s arrival of the Stockwells’ Coloradus, the brotherly duo performed alongside Johnny Heaton in White Heat. That band’s rotating roster featured ex-Zeltones and Coloradus drummer Ronald Course, Dale Kath of the Ascots, as well as Dave Anderson and Ken Crawford of Mike Marsac’s Old Friends.
While the Stockwell brothers are no longer with us, Michael Marsac continues to record and perform in the Big Rapids area of western Michigan as part of the musical concern, Michigan Soul Tribe. Dale Kath and Ronald Course currently record on the Detroit scene as the Blue Room Band.
All band photos (banner and You Tube video) provided by Mike Marsac via Ron Course. Coronadoes Lamar 45 scans by Chris Bishop, Coloradus scan courtesy of Discogs.
Other stills of the Corondoes, dated between 1963 to 1965, were provided by Richard Bernard via Christine Evans.
Nightflier, in the early ’80s: Ron Course, left, Joe Stockwell, center.
Ron Course appears on the lost, early-1976/1977 home studio demos of Ted “The Phantom” Pearson’s next concern, Pendragon. The below audio montage features Ron with the following Detroit bands:
Bliss — Country Girl (featuring Ron Course on lead vocals) Coloradus — Love Shock Nightflier — We’re an American Band Shotgun Willie Band — Lonely Tears
The High Numbers from left: Danny Daniels, Bruce Bruscato on drums, and Bill St. John
The High Numbers made one record, “High Heel Sneakers” / “I’m a Man” on their own Ocean label, 885S-0594. The TK4M-0594 code dates the pressing to the second half 1966. Both sides clock in at over four minutes, rather long for single sides from that time. The band cheekily listed Giorgio Gomelsky as producer of “I’m a Man” (he was of course the producer of the Yardbirds’ version!)
Members were:
Danny Daniels – lead guitar and vocals Glen Engleking – rhythm guitar Bill St. John – bass, harmonica and vocals Alan Gratzer – drums and backing vocals, replaced by Bruce Bruscato
Bass player Bill St. John sent in these photos and told me about the group:
Danny Daniels and Bill St. John
I had a band in the mid-60s in Arlington Heights.
When Danny and I were about 14, we formed a little group and played at some house parties for $5.00! We got more serious, bought some nice equipment and had a few gigs. Alan Gratzer had a band called The Questions, and they had better gigs. He called me one day and asked if I would join his band as bass player. I said I would if Danny could come along and play lead guitar. We were getting really good and found 14 year old Glen Engleking who was still in 8th grade to join as rhythm guitar.
We cut one record in 1966. I was 15 and Alan 17. When we recorded “I’m a Man”, Glen took over the bass part and I played harmonica and sang. Pretty rough and basic with no over dubs! Somehow it found its way to the Garage Punk Unknowns Volume 3 compilation album.
About three months after we cut the disc, Alan left for college. We added different drummers along the way, but it was never the same. I left for college in 1968 and never saw or talked to Danny or Glen again. Both are deceased.
Bruce Bruscato went on to replace The Shadows of Knight original drummer. Alan formed REO Speedwagon at University of Illinois in 1967.
The Changing Tymes were based out of their own Club Moss in Gate City, Virginia, located in the far western part of the state just across the state line from Kingsport, Tennessee. Four of the band were from Hiltons, VA, with another from Johnson City, TN.
Members were:
Buzzy Jones – lead vocals, guitar Jimmy Harris – lead guitar, vocals Lenny Gillenwater – organ Allan McMurray – bass Buddy Babb – drums, vocals
The group released two seven-inch records on their own Moss label, featuring good original songs by the band. “The Only Girl I Love” (McMurray – Jones) / “Parody of a Love” (McMurray, Gillenwater) came out on Moss 000-001/002 in August 1967, followed by “Go Your Way” (Gillenwater – Jones) / “She Laughed at Me” (Gillenwater) on Moss 000-003/004 in December.
Chronos Music published all four songs.
The Clinch Valley College in Wise, Virginia newspaper, the Highland Cavalier, profiled the group on November 1, 1967, for their upcoming show at the Cotillion Club Harvest Dance on November 4:
They were called NUTHIN then … after a while they figured The Changing Tymes fit better’n anything else.
Last New Year’s Eve … the Changing Tymes opened a place of their own and they called it Club Moss …
Every Saturday night since, Moss has been open from 8:30 – 11:30 … Sometimes the crowds have been huge with hardly room to dance, and at other times there wasn’t more than 50, but the music goes on and the quality is good … the best sound around. “Big Daddy Harris” and “General Jones” are always around somewhere in the shadows, but they never give the feeling that they’re watching for you to do something wrong.
Club Moss ad with the Changing Tymes, in the Kingsport Times, February 3, 1967
In August the Changing Tymes went to Nashville for their first recording session. Allan McMurray, Bass player had written some words for which Buzzy Jones and Lenny Gillenwater had written some music … they called the two songs “Parody of a Love” and “The Only Girl I Love”, sung by Buddy Babb, drummer, and Buzzy Jones.
… Last week “Parody of a Love” made the “Top Forty” at WNVA …
… four of them are from Hilton, Virginia: Buzzy (Rhea Wilbur Jones, Jr.), Larry (Larry Wayne Gillenwater), Jimmy (James Oscar Harris, Jr.), and Alan (Alan Rhea McMurray).
Buddy (James Howard Babb, Jr.) lives at Weber City, but during school he lives in Johnson City while studying at East Tennessee State University.
According to the article, Jimmy Harris was the youngest of the group, a junior at Gate City High School. Larry Gillenwater attended Virginia Polytechnic Institute (now Viginia Tech), while Alan McMurray and Buzzy Jones were at Clinch Valley College.
Discussing Club Moss, February 2, 1968
The Kingsport Times ran a feature about Club Moss on February 2, 1968:
… a basement in the old Craft Motor Company Building … could hardly be described as swank …
“It has the best band in the Tri-Cities,” Steve McMurray said, “except maybe the Scat-Cats. They drew the largest crowd we’ve ever had, about 450, but there was still room to dance.”
“If you like to dance,” Lester Spivey said, “it’s a good place to go. They have a good sound system and the band is good.
“The walls have a black background with op art designs on them,” he said, “and they use colored lights. It looks real nice.”
“And you get bored just staying at home,” Chuck Quillen said. “You get tired of your parents, could even start to hate them …”
The last annoucement I can find for the group comes from the Kinsport Times on September 18, 1968, announcing a band competition at the Scott County Tobacco Festival in Weber City.
Club Moss continued for some time. Kingsport Times articles from January 17 and 29, 1969 discuss the re-opening of the club:
Last summer, its previous managers (teenage members of the Changing Thymes [sic] band) decided to close the club because of questionable legality of their license and a growing problem with teenage activity outside the club …
The new managers were Tommy Francisco and Eric Darnell [Eric Darnel in the other article], and Jack Francisco was a chaperone:
Gate City Sheriff Ernest Culbertson said that he hadn’t endorsed the re-opening of the club. “I do not approve of the re-opening of the Club Moss … Whenever teenagers get together, there’s going to be trouble.”
The article mentions a group the Seventh Dawn performing at the club and a bank Christmas party.
Club Moss did not last long, however, because in April 1970 another article mentioned several spots that closed: Club Moss, the Barn in Rogersville and the Purple Penguin in Kingsport; and discussed whether a new teen club could open.
Anyone have a photo of Club Moss, or pics of the Changing Tymes or other local bands?
The Kingsport Times ran this photo on April 24, 1970, but didn’t specify if it was one of the local clubs or a stock photo.
The Limeys were Andrea Gennard and Stephen Gennard, a sister and brother duo who arrived in Miami, Florida from London about 1962. While students at Rockway Junior High, they made this great single “Come Back” / “Green and Blue” with the London Sounds.
Released on Sherwood 1715, a Miami News notice gave the exact release date, Monday, April 25, 1966. Printed sleeves included a small photo of the duo.
An February 25, 1966 ad for the Palmetto Bandstand featured the Limey’s backed by the Outcasts, on a bill with the Dirt Merchants. (The following night featured the Invaders, the Impacts and the Hares.)
The Miami News profiled the band on March 15, 1966, including:
Here are two down-to-earth teens with an out-of-this-world singing talent. They have no set style, but their music lends itself mostly to folk-rock …
Stephen and Andrea, together with their parents, Mr. and Mrs. Eddie Gennard, of 1715 SW 97th Pl., arrived from London almost four years ago …
Usually they are coupled with a five-member band, the Outcasts.
With the Outcasts, the Limeys have appeared on Florida Bandstand, the Miami-Dade Junior College campus, on Chuck Zinc’s TV program and at the Cloverleaf Center.
The entire Gennard family has become involved: Dad is business manager, Mom a critic and booster.
They also appeared on the Rick Shaw show on May 27.
On the single, the backing band is called the London Sounds, and includes horn players and strings. I’m not sure if the Outcasts were involved, or even who was in the Outcasts – if anyone knows please contact me.
Stephen and Andrea wrote “Come Back”, and co-wrote “Green and Blue” with Pat Tallis, publishing by Chalfont Music Publishing.
Copyright registration from February 1966 shows three other songs: “Take It Easy”, “I Love You”, and “Melonie”, the last two co-written with Pat Tallis.
In June both the Miami News and the Herald mentioned the duo signing to Scepter Records, I wonder if anything came of that.
They must have been unaware of the English group the Limeys, releasing singles on Amcan in the U.S. and Decca and Pye in the UK.
Back in England, Record Mirror profiled the duo on May 11, 1968, providing different last names, Andrea Gerome and Steve Gerome.
The article mentions they did work in America “but, as ever, work permits for artistes so young (Anna is 17, Steve 16) proved difficult. Anna used to be apprenticed to hairdresser Vidal Sassoon, abandoning haircutting for disc-cutting.”
Anna and Steve made two singles for Fontana under the artist name Too Much, “Wonderland of Love” / “Mr. Money” (written by Gerome) in 1967, then “It’s a Hip Hip Hippy World” / “Stay in My World” in February 1968.
As Anna Hamilton with Stephen they made another single on Fontana in April 1968, “Everybody Wants to Go to Heaven (But Nobody Wants To Die)” / “You Laughed When I Cried” (b-side writing credited to Gerome). Their version competed with the Karlins, (triplets Linda Wilson, Elaine Wilson and Evelyn Wilson) who released their 45 on Columbia (UK) about the same time.
Thank you to Ansgar for pointing me to the Record Mirror article (which I never would have found considering they had changed their name!).
Andrea and Steve Gerome in Record Mirror, May 11, 1968
West End promo photo, left to right: Frank Mielke (vest), Mike Durette, Terry Worden, Johnny Heaton, and Jeff Deeks (poncho).
The West End is remembered as the teenage-start of lead guitarist Johnny Heaton, later of Tantrum, which opened Bob Seger’s 1974 U.S. tour in support of his album, Seven. After the West End, and prior to Tantrum, Johnny Heaton fronted White Heat, which featured Dale Kath of the Ascots.
The West End, which won the 1969 Farmington Hill Founders Festival band competition, also featured Mike Johns on lead vocals, Terry Worden on rhythm guitar, Mike Durette on bass, and Frank Mielke on drums. According to Frank Mielke, the members of the West End were all around 16 or 17 years old. The Farmington Hills event took place during their summer break between their junior and senior years in high school.
“I was playing in Old Friends,” says Johnny Heaton, “an all-acoustic group with Dave Anderson, Ken Crawford, and Mike Marsac. Mike left to play with his brothers Rick and Joe Stockwell in Coloradus [an outgrowth of the Coronadoes] while I went through a short list of local bands, including the West End. I also worked with Dave Anderson and Ken Crawford in various incarnations of White Heat [one which featured drummer Ron Course of Coloradus]. I eventually moved onto Tantrum. Dave Edwards from Tantrum had later success on MTV with his band, the Look.” [Signed to the Canadian division of A&M Records, the Look was the first Detroit band to air on the channel in 1981/82 with the singles “We’re Gonna Rock” and “You Can’t Sit Down.”]
White Heat, Mk 1: Front Row, Left to Right: Johnny Heaton, Mike Sneed, and Dale Kath (the Ascots), Back Row: Ron Course, Charlie Verno, Dave Anderson.White Heat at the Firebird, 1972. Courtesy of Ron Course.
“By 1970,” continues Frank Mielke, “the West End broke up when our bass player and lead singer who, at the time, was Jeff Deeks [replaced Mike Johns], left. He was recruited to join Harpo Jets and they opened for [Suzi Quatro and] the Pleasure Seekers at the Birmingham Palladium, which trumped the West End’s accomplishments, thus far.
Ultra Structure, Mk. I. Courtesy of George Wallace via Jerry Zubal of the Kwintels.Ultra Structure, Mk. II, 1969. Courtesy of Mayo Heger.Image Left: Harpo Jets headline a CSA Hall show; Image Right: Flash Cadillac headlines a benefit concert with Harpo Jets for the WTSD (Waterford Township School District) campus radio station. Courtesy of Mike Delbusso of Splatt Gallery Art Gallery via Mayo Heger.Harpo Jets opens for Capitol’s SRC. Courtesy Mayo Heger.
“At the time, Harpo Jets, which also come to include Mike Durette from the West End, was known under a different name when they did the Palladium gig; I can’t recall the name [The Ultra Structure]. They changed their name to Harpo Jets because of Jeff Deeks’s similar looks and actions to Harpo Marx. I’d also have to note that guitarist Tony Combs [part of the management staff at Pontiac Music], who was the leader of Harpo Jets: he was the lead guitar player in my first band, the Patriots. We were twelve or thirteen years old and in junior high school at the time, of course, that’s before the West End. Our first professional gig outside of Mason Junior High in Waterford was playing my Aunt Kay and Uncle John’s wedding. Tony’s younger brother, Andy, was a drummer in another popular Detroit band, Orange Lake Drive. Later on, Tony founded Feather Canyon.”
Tony Combs, far right, of the Harpo Jets on the staff of Pontiac Music.Feather Canyon: Tony Combs, sitting center. Courtesy of Ron Course.
“By 1969,” recalls band roadie Mayo Heger, “Randy Arnold had left the band and Mike Durette [from the West End] joined on bass. By late 1970, George Wallace and Jeff Deeks were gone; Mike Durrette switched to guitar, and Gerry Christie joined in on bass. At that point the band became the Harpo Jets, then Isengard, then Pitch Blende, and ultimately [country-rock] Feather Canyon.” [Feather Canyon also featured guitarist Bryan Barnes, formerly of Tea/1776 with Jerry Zubal of the Kwintels.]
Flash Cadillac with Frank Mielke, bottom far right, to promote their appearance at the “Walk for Mankind Festival.” Courtesy of Frank Mielke.
“Later, I was asked to play drums for a newly-forming Waterford area, seven-member band known as Flash Cadillac [not to be confused with oldies retro-rockers Flash Cadillac and the Continental Kids from Boulder, Colorado],” continues Frank Mielke. “I was the last member to join for what I believed would be a one-time performance at a Battle of the Bands — and an opportunity to do battle with Harpo Jets. Flash Cadillac was an overwhelming hit with the audience and we walked away with a victory over the favored-to-win Harpo Jets!
“The Flash Cadillac project kept me busy and in gas money for the next year and a half playing all the available teen venues — including headlining Waterford’s first ‘Walk for Mankind’ rally [which was held annually from 1969 to 1971]. The out-of-state Flash Cadillac and the Continental Kids hadn’t yet been nationally recognized; however, after it became clear that we might be doing this for a while, we, Flash Cadillac, changed our name to David and the Diamonds.”
Tantrum tours in support of Bob Seger’s Seven (1974). Tantrum earned the opening slot after Phantom, aka Walpurgis, the band originally booked to promote the Phantom’s Divine Comedy album (1974), dissolved.White Heat, Mk II: Left to Right: Johnny Heaton, Mike Sneed, Dave Anderson, Charlie Verno, Ken Crawford, and Steve Dalton.White Heat, backstage at the Firebird in the early ‘70s: Left to Right: Charlie Verno, Mike Sneed, Dale Kath, Johnny Heaton , Dave Anderson, and Ron Course (part of the Coronadoes/Coloradus axis).
You can enjoy a playlist of the music of Johnny Heaton with White Heat, Tantrum, and Powerplay on You Tube:
In the uploaded playlist: White Heat — “Sympathy for the Devil” — 1972 Tantrum — “Way Back to the Bone” — 1974 Tantrum — “I Need to Know” — 1975 Tantrum — “Green Manalishi (with the Two-Pronged Crown)” — 1975 Powerplay — “Dragon Attack — 1981
Through the ’90s and 2000s, Jerry Zubal, formerly of the Kwintels, and Johnny Heaton, formed the bands Roxius, Catching Fire, Seize, and Rock Anthem. You can enjoy an 18-song playlist of those bands on You Tube.
All recordings/uploads courtesy of Jerry Zubal and Johnny Heaton.
Original Transfusion line up, November 1968. Photo courtesy of Danny McBride
Simon Caine (Vocals)
Danny McBride (Guitar, Vocals)
Rick Shuckster (Bass)
Tom Sheret (Keyboards)
Pat Little (Drums)
Later members included:
Andy Kaye (Guitar)
Louis Yacknin (Bass)
Ray Arkenstaul (Keyboards)
Stan Endersby (Guitar, Vocals)
Brother of Lighthouse singer Bob McBride, Danny McBride (b. 1951, Toronto) had started out playing in The Shades alongside his brother in 1965. The group was the house band at Charlie Brown’s coffeehouse.
Danny McBride later helped Don Walsh start The Downchild Blues Band and also did stints with The Diplomats and Bob McBride and The Breath.
Danny McBride formed the original line up of Transfusion around July 1968 with former Georgian People (later Chimo!) drummer Pat Little (b. 10 March 1947, North Bay, Ontario), who had recently rehearsed with McKenna Mendelson. With the help of John Brower, who was looking for a house band to play at the Rock Pile, they completed the line up with former Simon Caine & The Catch members, Simon Caine, Tom Sheret and Rick Shuckster.
The first line up played together for most of the year before Caine, Shuckster and Sherett moved on and McBride and Little brought in Andy Kaye from Peter & The Pipers and Louis Yacknin from The Carnival Connection.
Former Livingston’s Journey member Stan Endersby replaced McBride in January 1969 after briefly working in England in late 1968 with Horace Faith and the house band at Hatchetts Playground in Piccadilly, London and then returning home to play a few shows with Leather.
Transfusion then changed name to Crazy Horse and opened for The Mothers of Invention in February. The band successfully auditioned for a show at Toronto’s Electric Circus during February 1969 but Endersby left soon afterwards and flew to England to form Mapleoak with Peter Quaife of The Kinks.
The rest of the band, still under the Crazy Horse name, began a show at the Electric Circus on 21 April 1969.
Yacknin left later that year to join Lighthouse and the band broke up soon afterwards. Little traveled to New York and played with Van Morrison.
Danny McBride rejoined Pat Little in January 1970 in a revamped Luke & The Apostles. McBride established a solo career and worked as a session player, subsequently joining Chris de Burgh among others.
Advertised gigs
20 September 1968 – Rock Pile, Toronto with Blood, Sweat & Tears
22 September 1968 – Rock Pile, Toronto with Blood, Sweat & Tears
27-28 September 1968 – Rock Pile, Toronto with The Silver Apples
4 October 1968 – Rock Pile, Toronto with Fever Tree
5 October 1968 – Rock Pile, Toronto with Procol Harum and Fever Tree
6 October 1968 – Massey Hall, Toronto with The Fugs and McKenna Mendelson Mainline
27 October 1968 – Rock Pile, Toronto with Jeff Beck Group
30 November 1968 – Rock Pile, Toronto with McKenna Mendelson Mainline
27 December 1968 – Rock Pile, Toronto with Mandala and The Paupers
31 December 1968 – Rock Pile, Toronto with Kensington Market and Sherman and Peaboby
15 February 1969 – Rock Pile, Toronto with Witness Inc (billed as New Transfusion)
Venue poster. Thanks to Stan Endersby for sharing
22 February 1969 – Unknown venue, Toronto with Leather (billed as Transfusion)
23 February 1969 – Rock Pile, Toronto with Frank Zappa & The Mothers of Invention (billed as Crazy Horse)
27-28 February 1969 – The Garage, Toronto (billed as Crazy Horse)
3-6 March 1969 – El Patio, Toronto (billed as Crazy Horse)
21 March 1969 – Rock Pile, Toronto with Mary Lou Horner (billed as Crazy Horse)
The group in August 1967. Left to right: Chuck Slater, Rick Berkett, Glen Higgins, Franklin Sheppard, Wulf Stelling, Gordon Baxter and Sonnie Bernardi. Photo: Gord Baxter
Franklin ‘Zeke’ Sheppard (Vocals)
Ed Patterson (Guitar)
Robbie King (Organ)
Ronnie Banks (Bass)
Gordon Eves (Drums)
Wulf Stelling (B-3 organ)
Gordon Baxter (Guitar)
Glen Higgins (Saxophone)
Rick Berkett (Bass)
Frank De Felice (Drums)
Sonnie Bernardi (Drums)
Chuck Slater (Drums)
Singer Franklin Sheppard had started out with The Dovermen in the early 1960s before putting together Franklin Sheppard & The A-Go-Gos around 1965 with the first line up. Guitarist Ed Patterson may have been the same musician who was in Brantford, Ontario band, Jaye’s Rayders, but this needs confirmation.
This band subsequently became The Good Sheppards and gigged extensively in Toronto before travelling to Vancouver in September 1966 for a show at Dirty Sal’s Cellar. On their return, the musicians went their separate ways and the singer looked around for a new band to become the second version of The Good Sheppards.
In October 1966, he found a Brantford, Ontario band led by Wulf Stelling and took over from the original singer Larry Lewellan. He then took the band back to Toronto.
Group leader Wulf Stelling had worked with The Marques Royales in the early 1960s alongside several future Grant Smith & The Power members.
During the spring of 1966, he began to put together a new soul/RnB group with former Jaye’s Rayders members Rick Berkett, Glen Higgins and Frank De Felice. To complete the formation, he brought in singer Larry Lewellan plus (from Kitchener group The Counts Royale) guitarist Gordon Baxter.
Photo: Gord Baxter
The new band rehearsed intensively for three months before Franklin Sheppard turned up and took over the lead singer position. Through their Toronto-based manager Gary Salter, they began to pick up work on the southern Ontario club circuit.
The new version also appeared on CTV’s It’s Happening and played tonnes of soul tunes. One of Sheppard’s popular numbers was Sam Cooke’s ‘A Change Is Gonna Come’.
During mid-1967 Sheppard and Stelling decided to add a second drummer and brought in Sonnie Bernardi from Marianne Brown & The Good Things.
However, when the group was offered a US tour in August 1967, Frank De Felice decided to leave and later worked with the band Jericho. Chuck Slater took his place.
The following month, Franklin Sheppard & The Good Sheppards embarked on a US tour that lasted until May 1968, kicking off with a residency at Tony Mart’s in Ocean City, New Jersey on 3 September, playing alongside The Coachmen.
Photo: Gord Baxter
Through their US booking agent Jack Fisher from Hillside, New Jersey, the band performed seven nights a week on the US ‘nightclub circuit’.
Through him, Gord Baxter remembers that they got to perform at #3 Lounge in Boston from early October 1967 and then worked a number of nightclubs in Boston, including the Intermission, before moving on to New York to play at Trude Heller’s in Greenwich Village, starting in mid-November. After playing in the Big Apple, Chuck Slater departed in December and later joined Ocean.
Photo: Gord Baxter. Castaways Club, Chicago
Reverting to a single drummer, the musicians next travelled to Chicago to perform at the Castaways Club before moving to Nashville. From there they headed to Miami, Florida and worked at Wayne Cochran’s club, the Barn during February 1968 alongside Wayne Cochran and The CC Riders and Freddie Scott & His Kinfolk.
Photo: Gord Baxter
Baxter remembers that after they finished up in Miami, the group headed north again and performed in Newport, Rhode Island, around Cape Cod and back to Boston.
In May 1968, the group was playing at the Inferno in Buffalo, New York when Sheppard decided he had had enough. With the rest of the musicians exhausted, everyone returned to Ontario where Baxter started to put together a new group in Kitchener.
Then, in January 1969, Stelling contacted him to join a new version of Grant Smith & The Power alongside Berkett and Bernardi.
Stelling left in May that year while the others remained with The Power until August when Grant Smith paired the band down. Baxter then reunited with Stelling in The Wulf Pack.
Sheppard joined Mainline in the spring of 1970 and later played with Blackstone. During the ‘70s he may have played with The Dutch Mason Band before moving to Nashville to work as a studio musician. After working in Florida he died of cancer.
Selected gigs
1 October 1965 – Jubilee Auditorium, Oshawa, Ontario with The Morticians (billed as Franklin Sheppard & The A Go Gos)
3-4 December 1965 – Devil’s Den, Toronto
10-11 December 1965 – Devil’s Den, Toronto
24-25 December 1965 – Avenue Road Club, Toronto
14 January 1966 – Gogue Inn, Toronto with The Counts
15 January 1966 – Gogue Inn, Toronto with Jaye’s Rayders and Hamilton and His Teejays
18-19 February 1966 – Avenue Road Club, Toronto
25-26 February 1966 – Avenue Road Club, Toronto
1 April 1966 – Avenue Road Club, Toronto with Jon and Lee & The Checkmates
2 April 1966 – Avenue Road Club, Toronto
22-23 April 1966 – Avenue Road Club, Toronto with G Lawson Knight & The Chancellors
14 May 1966 – Inn Crowd, Toronto
20-21 May 1966 – Inn Crowd, Toronto
22 May 1966 – Avenue Road Club, Toronto with Jon and Lee & The Checkmates
31 July 1966 – Avenue Road Club, Toronto
26-27 August 1966 – Avenue Road Club, Toronto
2-4 September 1966 – Avenue Road Club, Toronto
23 September 1966 – Gogue Inn, Toronto with Soul Searchers featuring Dianne Brooks and Eric Mercury, George Lawson Knight and & The Chancellors, Greg Winkfield and Al Lalonde
24 September 1966 – Dirty Sal’s Cellar, Vancouver, British Columbia with The Villains (Vancouver Sun)
The second version began here
18 February 1967 – Gogue Inn, Toronto with E G Smith & The Power and The Wyldfyre
24 February 1967 – The Gogue Inn, Toronto with The Five Good Reasons, The Dana and Sunny and Peter
3 March 1967 – The Gogue Inn, Toronto with The Lords of London, The New Breed and Murray McLaughlan
17 March 1967 – The Gogue Inn, Toronto with The Stampeders, The Dana and Doug Brown
24 March 1967 – The Hawk’s Nest, Toronto with Bobby Kris & The Imperials and R K & The Associates
31 March 1967 – Weston Legion Hall, Toronto with The Ugly Ducklings
15 April 1967 – The Gogue Inn, Toronto With G Lawson Knight & The Paytons
26 May 1967 – Don Mills Curling Club, Toronto with The People
27 May 1967 – Club 888, Toronto
24 June 1967 – Broom and Stone, Scarborough, Ontario with Luv-Lites and Act IV
27 June 1967 – Balmy Beach Club, Scarborough, Ontario
15 July 1967 – The Hawk’s Nest, Toronto
2-3 September 1967 – Sauble Beach Pavilion, Owen Sound, Ontario (The Sun Times)
1 October 1967 – #3 Lounge, Boston, Massachusetts, USA with The Coachmen (start of three-week engagement)
22 October 1967 – Intermission, Boston, Massachusetts, USA (start of week-long engagement)
12 November 1967 – Trude Heller’s, NYC, USA (start of four-week engagement at this club)
10 December 1967 – West Dance, New Jersey, USA (start of two-week engagement) The band returns to NYC after this to play at Trude Heller’s again
Photo: Gord Baxter. Castaways Club, Chicago
January 1968 – Castaways Club, Chicago, Illinois, USA
February 1968 – The Barn, Miami, Florida, USA with Wayne Cochran and The CC Riders and Freddie Scott & His Kinfolk
May 1968 – Inferno, Buffalo, New York
All Toronto area gigs are from The Toronto Telegram’s After Four section. RPM Music Weekly was also very helpful for background information.
Huge thanks to Gord Baxter for the group photos and providing details about the second version
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
According to his brother, ex-Detroit area disc jockey and program director, Bill Pearson, the band’s founder, Earl “Ted” Pearson, excelled at sports — both basketball and baseball — from his Little League diamond days up through high school. As a star player for the Oxford High Wildcats, he was scouted by the Pittsburgh Pirates and the St. Louis Cardinals. A refusal to cut his long hair resulted in his dismissal from the team; a later shoulder injury ended his baseball career. He soon formed the Revolvers at the age of 16 in 1966 with his long-time music associate, bassist Harold Beardsley.
