Category Archives: Country

Categories: Columbia, Elsmere, Erlanger, Kentucky

The Bad Seeds of northern Kentucky

May 9, 2016 Chris Bishop 10 Comments

The Bad Seeds of Kentucky, Cincinnati Enquirer January 14, 1967 — The Bad Seeds featured on January 14, 1967.
From left to right, top row: Jerry Foster, Gene Clarke and Ernie Bands; bottom: John Reynolds and Donald Hodge

The Bad Seeds came from northern Kentucky, in the greater metropolitan Cincinnati area. The Enquirer featured the band in its Teenager section on January 14, 1967. At the time the members were John Reynolds, Donald Hodge, Jerry Foster, Gene Clarke and Ernie Bands [sic – should probably read Ernie Banks]. The article notes the Bad Seeds appeared at Granny’s teen club in Elsmere, that the group would have an album in addition to the single, and also that “all except Ernie hail from Northern Kentucky”.

As far as I know, the album never materialized, but nine months earlier a different version of the group traveled to New York to cut a single for Columbia Records featuring two original songs by the band, the Dylanesque “King of the Soap Box” (written by John Reynolds) and the fine 12-string song “He’s Lying”, written by Jerry Foster, both songs published by Red Brick Music, Inc BMI. Robert Mersey conducted and produced the single, released on Columbia 4-43670 in May, 1966

According to a comment by Lloyd McGlasson, the band’s members on the single were:

Jerry Foster – six string guitar and backing vocals
Lloyd McGlasson – 12 string guitar and backing vocals
John Reynolds – bass and lead vocals
Earnie Banks – drums (Ernie Banks?)

Other sources list additional members, including Vicki Spencer on backing vocals on the single, and even Charlie Brown. Vicki Spencer would sing with The Bubble Gum Machine on their 1967 LP for Senate Records.

These Bad Seeds were not the Texas group who had three singles on J-Beck, nor the group from Oxnard, California with a single “Why Oh Why” / “Hearts of Stone” on TVA.

Categories: Missouri, Skipper, Springfield

Tonky Tomson, David & the Boys-Next-Door, and Skipper Records

May 8, 2016 Chris Bishop 4 Comments

Skipper Records came from Springfield, Missouri and released at least eight singles in 1965-1966 before folding. It was a creation of Si Siman, a promoter, manager and part-owner (along with Ralph Foster and John B. Mahaffey) of Earl Barton Music, Inc., which published most of the songs featured on the Skipper label.

Everything I’ve heard on the label is snappy and well-produced. Half are upbeat country but there are two rock singles and a couple r&b. The releases by Tonky Tomson and David & the Boys-Next-Door are notable for featuring the earliest work of two men who would go on to have huge successes in the music industry.

Siman Launches Skipper Label Billboard, October 2, 1965 — Skipper Records announced, October 2, 1965

Tonky Tomson seems to be a pseudonym for Wayne Thompson, who wrote both “On My Way” and “I’ve Been in Love”, and probably sings on this single from October, 1965. I’d say he was listening to a lot of Hollies at the time. I wonder who was the lead guitarist on these tracks, as he did excellent work, with the country tinge that the Beatles and other groups were starting to reach for.

Wayne Carson Thompson is much better known as Wayne Carson, who would write “The Letter” a couple years after his time at Skipper and go on to write many other hits. Wayne Carson died on July 20, 2015.

Wayne Thompson also wrote the A-side of David and the Boys-Next-Door catchy party song “Land O’ Love”, and co-write “If I Was King” with David Kershenbaum, the leader of the group.

In 1967 David and the Boys Next Door released a second single on Del-Ray Records of Poplar Bluff, MO, “It Ain’t No Use” / “Spring Fever”, both originals by David Kershenbaum published by Earl Barton. I’ve heard the A-side and it’s good pop, with a nice guitar hook. David Kershenbaum had a solo single on Capitol Records in 1968, “White Velvet Cat” / “Forbidden”, both written by Bobby Lile. Kershenbaum would go on to a successful career as a producer starting in the 1970s.

Steve Sanders would sing “Land of Love” for a single on MGM 13475, a single I haven’t heard yet.

Skipper Records discography (probably incomplete – any help with this would be appreciated)

Labels for Skipper are gold with black print with the exception of the Clint Harrison 45. Some list Radio TV Bldg, Springfield, MO as the address, and the 828 prefix on these indicates their account with RCA custom pressings.

Skipper 828R-0773/4 – Lewie & the 7 Days – “Night Train” / “What You Never Had”

Skipper 828R-1240 – David and the Boys-Next-Door – “Land O’ Love” (Wayne Thompson)/ “If I Was King” (Kershenbaum & Wayne Thompson) (SK4M-1240/1)

Skipper 828S-1241 – Truman-Lankford – “Arkansas Man” / “Here-Comes-Heaven-Again” (both by Truman Lankford, Jim James, Prod. M.A. Box)

Skipper 828R-1408/9 – Tonky Tomson – “On My Way” / “I’ve Been in Love” (both Wayne Thompson, SK4M-1408)

Skipper 828R-2735 – Wavie Self – “Kentucky” (Prichard) / “These Words” (SK4M-2736)

Skipper 828R-5695 – Lewie & the 7 Days – “You’ve Been Cheatin on Me” (L. Taylor) / “You’re the Reason” (T4KM-5695)

Skipper 828R-6255 Clint Harrison – “Record in My Album” (Eppright) / “Thirteen to Nineteen” (T4KM-6255, red label)

Skipper 828R-7917 – Don Clements w. Anita Kerr Group vocal background – “Made in the U.S.A.” (Ronnie Self) / “My Conscience Knows” (S4KM-7917)

Categories: Counterpart, Dayton, Hamlet, Ohio

The Villagers of Dayton, Ohio

May 5, 2016 Chris Bishop 4 Comments

There were a number of groups called the Villagers around the country, but these Villagers came from Dayton and cut only one record, the endearing garage original “He’s Not the Same” b/w the melancholy “Sunshine My Way”.

Released on Hamlet Records V-1000 in 1968, the Villagers are a mystery other than the info on the labels: authors J. Mills and M. Copp, publishing by Counterpart Music, BMI, the code 813L which was Counterpart Records account number with RCA custom pressings, and W4KM-6004/5 (indicating a RCA custom pressing from the first half of 1968).

Library of Congress copyright records give one name, Janis R. Mills, who copyrighted “He’s Not the Same” on January 5, 1968, and “Sun, Shine My Way” (notice the different rendering of the title) on May 20, 1968. M. Copp is not in these copyright listings.

BMI’s database lists Janice Mills and Michael Copp. The spelling of her name as Janice certainly is a mistake on BMI’s part, as BMI attributes two recent country songs by Janice S. Mills from Alabama to the author of “He’s Not the Same”. It wouldn’t be unlike BMI to conflate two similar names.

Strangely, BMI lists “He’s Not the Same” and “Sunshine My Way” as registered to Piagneri Music in Astoria, NY, even though Counterpart Music is still active in Cincinnati.

I can find no listings or articles on the band from that time, so it’s possible they were not even a semi-professional band or one that would play battle-of-the-bands. Maybe Janis Mills wrote these songs and brought them to the attention of Counterpart, which had Michael Copp arrange them with some local group or musicians.

Categories: Chetwyd, Kentucky, Lexington

The One of Hours, Lexington, KY

April 27, 2016 Chris Bishop Leave a comment

The One of Hours, September 1966, photo courtesy of Ed Commons

One of Hours came from Lexington, Kentucky and released two singles on the local Chetwyd Records label.

The band members on their first single were:

Shawn Foreman – keyboards
David Flynn – guitar, vocals
Dave Bogliole – bass, vocals
Robert Nelson – drums
Carol Craig – vocals

The band has the very first release on Chetwyd, CW-45001 featuring “It’s Best (by Foreman – Bogliole), a gentle ballad featuring the band’s vocal harmonies, accompanied by what sounds like autoharp and even whistling.

Ed Commons ran a studio in Lexington and also the Chetwyd label.

“Trifolia” (by Foreman – Flynn – Bogliole) is more rocking but the production gives it a distant sound. The release date was 1966, and like all their songs the labels list publishing by Chetwyd, though there’s no listing for them in the Library of Congress.

In April 1967 the One of Hours released their second single on Chetwyd CW-45005. The production is so much better, and the band more energetic and tighter. “Feel The Pain” (written by Foreman – Flynn – Bogliole) is a stand-out rocker with blistering lead guitar, some fuzz blasts, good lead and backing vocals, and a solid rhythm section behind it all.

“Psychedelic Illusion” (by Foreman – Willcutt) has the cloudier production of the first single, but has beautiful guitar picking and a melancholy feel to go with lyrics like “the sounds and the colors start to sway / the sounds and the colors are starting to fade / I feel my life slip away”. An organ, barely heard on the flip side, plays the instrumental break.

After speaking to Ed Commons, Lee Bryant reported to me that Carol Craig left, and the band added Bob Willcut on lead guitar for “Feel the Pain”. Lee sent in the news clip, below, of this lineup of the band:

One Of Hours Herald-Leader, May 7, 1967 — One of Hours in the Herald-Leader, May 7, 1967, from left: Shawn Foreman, David Flynn, Bob Willcutt, Robert Nelson (at drum kit), Dave Bogliole

Dave Baldwin spoke to a couple members of the band in the 1990s and said that Bob Willcutt played a Mosrite electric 12-string on “Psychedelic Illusion”.

Most intriguingly, Dave learned the group signed to Liberty Records with the group name changed to “Dandelion Wine”, and recorded and mixed an entire album only to have it cancelled by the label. Finally this LP has come to light courtesy of Bob Willcutt, and is definitely worth a listen, plus there are many photos within the videos for the twelve songs.

Lee Bryant reports that the lineup changed when they became Dandelion Wine, and included singer Vance Arnett and drummer Davie Rudolf (who could also be drumming on “Feel the Pain”).

Lee reports that the band began travelling to Washington, DC in the fall of 1968, trying to establish a foothold in the area’s music scene. In Lexington they were mostly a studio group, so it would be interesting to see some gig ads or news clips of their activity in DC.

Bob Willcutt owns Lexington’s Willicut Guitars.

Thank you to Dave Baldwin and Lee Bryant for their help. Special thanks to Ed Commons for the photo of the band at the top of the article.

Categories: Covington, Elsmere, Erlanger, Kentucky

The Maltese

April 24, 2016 Chris Bishop 9 Comments

Maltese at Granny's Club in Elsmere, KY, November, 1966 — The Maltese at Granny’s Club in Elsmere, KY, November, 1966. Top photo shows John Hyland and Donny Hutcherson of Boone County High, Mike Mahoney of Covington Catholic and Carol Dodd of St. Henry High. Bottom photo shows the Maltese in the background with dancers Sharon Riley, Charleen Riley, Brenda Clayton and Lindy Agner.

The Maltese came from northern Kentucky communities such as Covington, Park Hills and Erlanger, all part of the greater Cincinnati area.

An article in the Enquirer’s Teen-Ager section on Granny’s club in nearby Elsmere, KY shows a band called the Maltese. The article calls Granny’s teen club the “Home of the Dingos”, a band who played often in the area and who often appear in the local listings, unlike the Maltese.

Two members of the Maltese are identified in the article, John Hyland with the bass, and Mike Mahoney on guitar. Both songs on the single are credited to Akers.

There is some confusion about the early lineups of the group.

Dave Willis wrote to me:

Steve Marcum and I were learning to play chords and simple guitar riffs. We learned ‘Walk, Don’t Run’ and realized we needed a drummer. Steve Belew’s family had moved in a few doors from my family and somehow I learned he was a drummer and the three of us became the original Maltese. We tried out a couple of potential bassists but settled for another voice with a six-string and Tommy Angel joined the band.

It appears the Maltese from northern Kentucky never recorded. I had thought this was the same group who recorded on the Chetwyd label of Lexington, KY, which would have been about an hour’s drive to the south, but it turns out that group was from the Winchester area. I cover that group in a recent post.

Categories: Bethel, Box, Cincinnati, Ohio, Williamsburg

The What Four

April 22, 2016 Chris Bishop 2 Comments

What Four Cincinnati Enquirer. April 2, 1966 — The What Four on the cover of Teen-Ager, April 2, 1966. kneeling in front: Roy Jordan and Jim Hoerr, in back Frank Johnston and Larry Malott

Long rumored to be from Dayton, the What Four were actually from the Cincinnati area, namely the suburbs of Williamsburg and Bethel.

An April 1966 article in the Teen-Ager section of the Enquirer profiled the band:

Although the Greater Cincinnati area boasts hundreds of talented rock ‘n roll groups, only one, the “What Four,” claims a teacher among its members. Twenty-four-year-old Jim Hoerr, who teaches Latin, English and mathematics at Williamsburg High is rhythm and lead guitarist.

Jim Hoerr started rehearsing with student bass player Larry Malott. With Frank Johnson of Madeira High School on drums, they formed a trio called the Noblemen.

When guitarist Roy Jordan of Bethel High joined in 1965, the band became the What Four.

The What Four did well in a battle of the bands sponsored by WONE in Dayton, the prize was a free recording session. They cut two original songs, “Do You Believe” by Jim Hoerr, and “Whenever” by Jim Hoerr and Frank Johnson. The single was released on the Box label, with the band probably paying for the pressing if not the studio time.

I can find no further mention of the band after their April 1966 profile. Teen-Ager published the photo of another What Four in December 1966, a completely different group from Taft High School in Hamilton, Ohio to the north of Cincinnati.

What Four Cincinnati Enquirer. Dec. 31, 1966 — A different What Four from Hamilton, from left: Dave Bowman, Larry Combs, Tim Neff, and Tom Savage

That group was Dave Bowman on bass, Larry Combs on vocals and guitar, Tim Neff on drums and Tom Savage on lead guitar.

Categories: Muza, Poland, Pronit

Kawalerowie

April 21, 2016 Pete Kowalski 1 Comment

This is the third of Pete Kowalski’s articles on ’60s rock groups from Poland. Previously he wrote about Romuald i Roman and Chochoły.

Kawalerowie Pronit EP 0426 side A — Kawalerowie’s first EP

Founded in 1964 in Warsaw, Kawalerowie (The Bachelors) were active only for two years before disbanding in late 1966. The band was composed of four members, all in their twenties:

Jerzy Szczęśniak – guitar, vocals
Piotr Raczew – guitar
Marek Zarzycki – bass, vocals
Marek Rosiński – drums

Despite their fleeting activity, Kawalerowie managed to release a total of fourteen tracks: three full EPs and two songs issued on a 1967 compilation LP “1000 taktów młodości” (“1000 Bars of Youth”). Compared to other mid-1960s Polish beat groups that were lucky enough to be given a chance to make a record, their style seemed to lean towards British rhythm’n’blues of the day with evident influences of groups such as The Animals and The Yardbirds. As far as musicianship is concerned, the band’s recordings represent a rather uneven level – apart from brilliant covers of “I Ain’t Got You”, “I’m a Lover Not a Fighter” and “Long Tall Shorty” with Polish lyrics, and “Nigdy już nie wołaj mnie” which is a great up-tempo track with a sharp scream introducing the guitar solo, there are some less brilliant numbers.

Kawalerowie Muza EP 0437 Side A — Kawalerowie’s second EP, this time on the Muza label

Of all the band’s releases, their second 45, accompanied by a sleeve which bears the same graphics as Chochoły’s “Naście lat” EP, is probably the most appealing one. It opens with “Palcie tylko sporty” (“Smoke Only Sports”) which is the aforementioned rendition of the 1964 Tommy Tucker classic with Polish lyrics which ironically advertise Sporty brand cigarettes, presenting them as a miraculous remedy for the blues. “Piosenka o dziewczynach” (“A Song About Girls”) starts with a wild bass riff but is regrettably compromised by snotty vocals. Side B features “Nigdy już nie wołaj mnie” (“Don’t Ever Call Me Again”) which may very well be among the best Polish garage rock tracks and “Kochaj mnie” (“Love Me”), another Kawalerowie take on an evergreen rhythm’n’blues tune – “The Night Time (Is the Right Time)”.

Kawalerowie Pronit EP 0457 side A — Kawalerowie’s third EP, which includes “Jeszcze nie wiem nic o tobie”

The rest of the band’s discography is weakened by low recording quality and poor mastering which take away the youthful, vehement energy, so important in this musical genre. Of the tracks on the group’s EPs issued on the Pronit label, three seem to stand out: “Ej, stary” (“Hey, Fella”) which is the previously mentioned cover of “Ain’t Got You”, mistakenly credited to The Yardbairds (sic) on the record label, “Małgorzato, jeśli chcesz” (“If You Want It, Margaret”), a slower love song based on a catchy hummed tune and “Jeszcze nie wiem nic o tobie” (“I Don’t Know Anything About You Yet”) with a simple riff reminiscent of some of the Spencer Davis Group numbers.

1000 taktów młodości Pronit LP XL0370 — 1967 compilation LP “1000 taktów młodości” (“1000 Bars of Youth”)

The two songs exclusively released on the “1000 taktów młodości” compilation are sung by Wiesław Czerwiński (ex-Chochoły) and his wife Sława with Kawalerowie providing the instrumental backing.

Like the majority of Polish beat groups of the time, Kawalerowie recorded much more material than was officially released in the communist times. The complete Kawalerowie recordings are available on a CD compilation “Kawalerowie – gwiazdy polskiego big beatu” issued by Polskie Nagrania. “Od dzisiaj znów zacznijmy marzyć” (“From This Day On, Let’s Start Dreaming Again”, “I’m a Love Not a Fighter” cover) is available on vinyl compilation Working Class Devils vol. 2, released on Beat Road Records.

Kawalerowie discography:

Pronit N0426: “To ty w moim mieście” (“It’s You in My Town”) / “Ej, stary” (“Hey, Fella”) / “Małgorzato, jeśli chcesz” (“If You Want It, Margaret”) / “Nie wiem gdzie cię szukać” (“I Don’t Know Where to Look For You”)

Muza N0437: “Palcie tylko Sporty” (“Smoke Only Sports”) / “Piosenka o dziewczynach” (“A Song About Girls”) / “Nigdy już nie wołaj mnie” (“Don’t Ever Call Me Again”) / “Kochaj mnie” (“Love Me”)

Pronit N0457: “Jeszcze nie wiem nic o tobie” (“I Don’t Know Anything About You Yet”) / “Ja wiem co to znaczy” (“I Know What It Means”) / “Słońce w dłoni” (“The Sun in Hand”) / “Czemu chodzisz z głową w niebie” (“Why Do You Go With Your Head In the Clouds”)

Pronit XL0370: “Uderzaj w mig” (“Strike Fast”) / “Kiedy dziewczyna mówi nie” (“When a Girl Says No”)

Kawalerowie Pronit EP 0457 — sleeve for Kawalerowie’s third EP

Categories: Fort Wayne, Fulton, Indiana, New York, Tech, Upstate New York

The Shadows 5 “Gathers No Moss”

April 19, 2016 Chris Bishop 17 Comments

The Shadows 5 were thought to be from Oswego, New York, on Lake Ontario, northwest of Syracuse, but the band actually formed in Fort Wayne, Indiana.

The band members’ first names are on the labels but I only know two members’ surnames. Another member’s last name is Williams, but I don’t know which.

Bill – lead vocals
Randy – lead guitar (Fender Jaguar)
Craig McKinney – rhythm and occasional lead guitar (Mosrite “Joe Maphis”)
Ralph Riehl – bass (Fender Jazz)
Vic – drums (Ludwig)

“Gathers No Moss” is an incredible version of the song, and the flip “That Little Girl” is a fine jangler.

Tech Records released the single in August 1966; I can’t find anything else on this label. The quality of the recording is excellent, with the opening guitar riff jumping off the grooves.

This was a very rare record though in the last year about 10 copies have shown up, which is how I was able to afford one.

Craig McKinney wrote to me with info about the group:

Two of us (Vic and I) are from Fulton, NY, a small city just south of Oswego, NY. Vic and I played together there before shipping off to Fort Wayne, IN and college. We started the band out there.
We recorded the record in Fort Wayne, IN at radio station WOWO and pressed 500 copies in Chicago. I wrote the words and music to “That Little Girl” as well as the arrangement for “Gathers No Moss.” Bill sings lead on “Girl” and that’s me on “Moss.” There is only copy out there that was signed by all members of our band. It was signed while we were on a tour trip to upstate NY in our old hometown.
Q. Were you or Vic in the Newberry 4 of Oswego when you lived in Fulton? They recorded a song called “That’s Why I’m a Rolling Stone” that is much like “Gathers No Moss”.
We were never in the “Newberry 4.” I heard them once or twice, though I was not there much in those days. They were the area’s top group at the time. They were excellent. A “Beatles” spin-off group if I remember right. Never knew them but admired them at the time. I didn’t remember their song until I heard it after reading a comment on your website. Still a great song to this day.
While we recording in the studio at WOWO, we had a professional photographer take pictures and videos of the group. We also left with the master tape. To this day, the pictures, videos and tapes cannot be found.
The group played backup for The Kingsmen in 1966 at my brother’s fraternity at Franklin College, Franklin, IN. They commented on how much better we were than them. Great fun! We played a LOT of frats and sorority houses in Indiana until Vic and I flunked out and the band broke up. Vic and I both later returned and graduated.
Randy was from Fort Wayne and, unfortunately, passed away about 8 years ago. I’m not sure where Ralph was from, but now resides somewhere in Florida. Bill was from Ohio and still resides there. Vic lives in Huntington, IN. I am back in Fulton, NY.
Craig McKinney

This is not the same Shadows Five who recorded “Dynamic Drums” / “Gary’s Boogie” for the Sully label and “Markham” / “Twistin’ Shadows” for Peacock. That group became the Ultimates and later Prince Charles & the Crusaders, then finally the Ultimate, with a 45 on Garland.

Categories: Camden-on-Gauley, Mo Go, West Virginia

Blue Creed “Need a Friend”

April 18, 2016 Chris Bishop 2 Comments

Blue Creed made this one great single on the Mo Go label, “Need a Friend” / “Sugarbabe”. Both songs feature hoarse, exaggerated vocals, a heavily distorted organ sound, a guitarist who sounds something like Jorma, especially on “Sugarbabe”, and a drummer who likes to hit the crash cymbal loudly and often.

Records like this one keep collecting interesting.

Amazingly this came with a sleeve (which I don’t own), sporting a photo of the band in hip clothes, wigs and sunglasses. Two or three of the band look like they’re from an earlier generation of musician than 1970 psychedelia.

It seems likely they recorded at Midway Recording Studio in Hurricane, West Virginia. The related Alta record label usually has a Hurricane address on it, but in the case of the Blue Creed single, Midway-Alta is listed at Camden-on-Gauley, WV, two hours drive east of Hurricane.

Luckily the Blue Creed put some of their names on the labels. Gary Gordon, Dave Franco and Bill Rexroad wrote “Need a Friend”, and the three of them plus Ron Sweeney wrote “Sugarbabe”.

I’ve seen the label listed as Moigo Records, but I think Mo Go is more correct, release # 4570. The ARP-1339/40 suggests American Record Pressing Co. in Michigan. Publishing by Sexman Pub Co.

William Henry Rexroad has many registrations in the Library of Congress copyright listings, usually co-written with Gerald W. Coakley. From the titles, many seem like they would be country or pop songs, so I’m surprised at the heavier sound on the Blue Creed 45.

I hadn’t been able to find out anything about the group until Ronald Sweeney wrote to me in 2017:

This entire smorgasbord was the brainchild of William Rexroad. He owned the publishing company (Sexman), the record label (MoGo) and copyrights to the words and music.
Starting in the 50’s, Rexroad, who had written thousands of poems, began a quest to locate musicians who could set his words to music. He’d tried the commercial route with little success and sought out local people to do the job.
I was one of many he recruited for this endeavor. I met Rexroad around 1959 and we have been friends since. I’m a pianist, and play pipe organ for the church. Although I set many of Rexroad’s poems to music, it was what I called musical gibberish. Bill loved it. He thought I was a genius – lol!
Most of Rexroad’s music was country, modern flavor. He did make a trip to Nashville to peddle his country music. It was a waste of time.
Bill Rexroad financed these projects himself. He paid the musicians, recording studio, and any and every expense involved. Amazing, since he was a coal miner.
Blue Creed was never a true band. As far as I know they never performed publicly. They were gathered by Rexroad to perform in a studio and produce a commercial (“hit”) record of Rexroad’s musical creations. I think the heavier sound was because it was the “up and coming” rage. He felt his chances were better.
The record label shows a oil drum between the letters “Mo” and “Go”, thus the reason for the misspelling (MoiGo). The drum is significant because Rexroad, in an effort to create an original sound, put guitar speakers in a 55-gallon metal oil drum.
The 45 record you have was mailed to hundreds of stations. The fruits of this extraordinary adventure were disappointing, to say the least. A copy of the only proceeds Rexroad received is attached. A check from BMI for $1.20 for “Sugarbabe” royalties which played in France.
Some of Blue Creed members were involved with local pickup bands. They were in their twenties and thirties. Much too old to really get serious about a career in rock. Most had families to feed. This was just “fun and games” for them. I played with some of the band members, but was never keen on performing for the recording. Some are deceased, and those living are scattered into the unknown.
Gerald W. Coakley I never knew. Rexroad talked about him occasionally but he was never around during all the years I knew Rexroad.
Rexroad was 11 years my senior (which makes him 89 or older). His wife contacted me a few years ago and said he was in a nursing home. She would not tell me where, so I never pursued trying to find out.

Thank you to Ronald Sweeney for filling in the background on the Blue Creed and Bill Rexroad.

BMI royalty check for “Sugarbabe”, courtesy of Ronald Sweeney

Categories: Canada, Montreal, Quebec

A walk through my Montreal bands, 1964 -1967

April 18, 2016 Chris Bishop 18 Comments

A walk through my Montreal garage bands: the It Group, the Virgins, and Steve & the New Beats, 1964 -1967 by Gus Appignanesi

My name is Gus but went by the name George in garage band era. I started as a drummer playing in a number of garage bands in the east end of Montreal. Unfortunately, the people I met and played with was all with first names. We never thought that we would need last names or photos to find each other years later. We truly lived in the moment.

As a drummer I played in at least two bands; The Ancient and The Morticians. Please don’t laugh; bands had a variety of names. I played with a bass player called Perry and a guitarist singer by the name of Yehor. Downtown the street from us was a great garage band called Little Michael and the Archangels. Their drummer was Called Leddy and his younger brother was Michael. The last band, with the same line up, was called The It Group (managed my girlfriend at the time – Donna). At the same time bands that became more popular were sprouting all around us. There was; The Monks (later called the Exit 4), Bartholomew +3, The Haunted, The Rabble, J.B. and the Playboys and a number of great French bands (The Sinners, Les Classels, Les 409 to mention just a few).

In 1966, I bought and electric Fender Rhodes piano and started to play in bands that were actually getting real paying jobs. The Virgins was a really great rock and R&B band in which we had two drummers (Steve and Peter), guitarist (Dario), two lead singers (???) and me (aka George) playing piano with bass boost (similar to The Doors with no bass player). I then played with another dance R&B band that had changed their image from a rock band called Les Horribles to Steve and the New Beats. Steve was lead singer, Mario on bass, me (aka George) on piano, Serge on lead guitar and a drummer (???). We played every city and town throughout Quebec from 1966-1967.

Expo 1967 actually killed a lot of the local bands, since everyone was coming to Expo to hear a variety of international bands. I believe so called garage bands were coming to an end. Musicians and the equipment changed drastically over the years. People actually rented studios to practice in and recordings became more popular. Bands moved out of their local garages and moved into the larger arena of music. I miss those guys. Hopefully one of them may read this and contact me. Regardless, I hope this short history will be beneficial to anyone out there from that great era. Rock on!

Gus (aka George) Appignanesi

Garage Hangover