The Five Flys, from left: Rich Murlo, Tony Tonon, Steve Kucey, Skip Nehrig and John Gallagher. Photo courtesy of Tony Tonon
The Five Flys released their only single “Livin’ for Love” / “Dance Her By Me” in 1966. It was the last single on Samron Records S-104, and the only one with Coaldale, PA on the label.
Members included Rich Murlo, Tony Tonon, Steve Kucey, Skip Nehrig and John Gallagher. They were from the Coaldale area in Schuylkill County, like Angie and the Citations.
Five Flys and the Chevelles at Tam-Au-Go-Go Bandstand, Mahoney City, August 1965
The Five Flys played local shows in Coaldale and Mahoney City in 1965 and 1966, and further away in Allentown and Bethlehem.
A report of an August 1966 show at St. Joseph’s in Summit Hill described “music for street dancing by the Five Flys”.
Thank you to Tony Tonon for the photo. I would appreciate more info on the Five Flys.
Five Flys at Jamaican A Go-Go, Bethlehem, July 1966, days after the King’s Ransom and the Scott Bedford Four
To celebrate 20 years of Garage Hangover I will be spinning some records at Do The 45 Rock ‘n’ Soul Party at Quinns in Beacon, NY on Friday, July 12, with old friends and fellow DJs Pete Pop (garage collector extraordinaire) and Phast Phreddie (who has known everyone cool in the music world since 1973).
Photo may be subject to copyright (from Pacific Northwest Bands website). Left to right: John Simpson, Danny O’Keefe, Clyde Heaton and Paul Goldsmith.
Very little is known about Seattle rock group Calliope so Garage Hangover would welcome any additional information in the comments section below
Lead guitarist, singer and writer Paul Goldsmith formed the group after his previous band The Emergency Exit disbanded in late 1967. He also recruited Clyde James Heaton (b. 13 July 1949, Seattle; d. 2 November 2005) and drummer Paul Simpson.
Heaton had previously been a member of The Dimensions while Simpson had worked with The Bumps.
According to singer/guitarist and writer Danny O’Keefe (b. 20 May 1943, Spokane, Washington), he was the last to join (see our interview below).
O’Keefe had worked as a solo artist for several years and, like his colleagues, issued some previous recordings.
The band signed to Buddah Records around June 1968 and recorded a lone eclectic LP in Los Angeles, which was issued around November/December that year. They also opened for Cream and Iron Butterfly at the Eagles Auditorium in Seattle.
O’Keefe dropped out soon after the LP’s release to establish a prolific solo career and bass player Luther Rabb (b. 7 September 1942; d. 21 January 2006), who’d worked with Goldsmith in The Nitesounds and The Emergency Exit joined. Rabb, incidentally, had been a sax player in Jimi Hendrix’s early group, The Velvetones.
When the band fell apart in 1969, Goldsmith subsequently played with Soldier and wrote “Southern Celebration”, which was recorded by Genya Ravan.
Heaton apparently played with The Sunday Funnies while Simpson worked with Christopher. The drummer tragically died in a plane crash in 1973.
Rabb meanwhile recorded with Ballin’ Jack and West Coast Revival. He also later worked with War and Santana.
Garage Hangover would welcome any more information plus photos, which we will credit.
Nick Warburton interviewed Danny O’Keefe by email on 31 May 2024 about his time with the group.
Prior to the formation of Calliope in 1968, you’d been working as a solo artist and had recorded quite prolifically – a 1966 LP on the Panorama label and a clutch of singles for Piccadilly. Your songs had also been covered by other artists, such as “Blackstone Ferry”, which The Daily Flash recorded. Most, if not all, of these recordings subsequently appeared on The Seattle Tapes LP and tracks like “Baby” and “Graveyard Pistol” sound like they were recorded with a band. Did any of the other soon-to-be members of Calliope appear on any of these recordings?
Danny O’Keefe: No. Calliope was a band that Paul Goldsmith put together with Clyde Heaton and John Simpson. They needed a singer and I needed a gig. I hadn’t known them before I joined the band.
The LP that you did for Buddah Records only lists the four of you, but I understand that bass player Luther Rabb, who’d worked with Paul Goldsmith in his previous bands, was also involved with the group?
Danny O’Keefe: Luther Rabb joined after I left the group, and wasn’t involved in the Buddha recording.
I have read somewhere that Calliope was very well received on the local Seattle live scene. Did you play extensively in Seattle and the Washington state before landing the record deal with Buddah Records and were there any shows that stand out, perhaps opening for better known bands?
Danny O’Keefe: I think we opened for Iron Butterfly and I notably threw out a lid’s worth of joints to the audience before we started. We also opened for Cream on one of their last shows. Both shows were at the Eagles Auditorium. I think we were only together for a few months before we got the Buddha deal.
How did the deal with Buddah Records come about? It looks like the LP came out around November 1968, so I guess the recording sessions took place that summer?
Danny O’Keefe: Denny Rosencrans was a local record promoter who took an interest in the group, largely because he was Paul Goldsmith’s friend. He contacted Neil Bogart at Buddah who came out to see a performance at the Seattle Center, I believe.
What can you recall of the recording sessions? Buddah is a New York label, but I presume they didn’t fly you to the Big Apple to record? Also, it’s a very eclectic album that showcases a huge breadth of styles. Did the final product reflect what you all envisaged for it from the outset?
Danny O’Keefe: The recording sessions were produced by Lew Merenstein for Buddah. I don’t remember the name of the studio but it was a well-known studio in LA that Jimi Hendrix had recorded in. I don’t remember much about the sessions, of which there were three, I think. I had throat problems during the sessions and have always felt my vocals could have been much better. I didn’t like the recording when it came out, as it wasn’t really what I was interested in at the time, and I quit the band after I heard it. I went back to LA (from Seattle) to pursue a different route and eventually landed on Atlantic Records.
You were clearly a very prolific writer, even during this period, but only two of your original songs (and two from Paul) appear on the LP. How did you come to choose “The Rainmaker’s Daughter”, which had already been demoed and later surfaced on The Seattle Tapes, and “Atlas” and what were they about?
Danny O’Keefe: I liked “The Rainmaker’s Daughter”. It was only a demo on The Seattle Tapes, which were never intended for release except for a couple of singles. “Atlas” was a performance song and was the number we closed our sets with. “Atlas” was always assumed to have been about the Ayn Rand book. When those who uphold the world shrug their obligations the Earth becomes chaotic. “The Rainmaker’s Daughter” was from a short story by Hermann Hesse. Both early attempts to learn the craft of songwriting.
Did the band members have any say in the choice of covers, which, in themselves, are quite varied – everything from a raunchy version of “Hound Dog” to brilliant interpretations of Bob Dylan’s “Like a Rolling Stone” and Lee Michaels’ “Hello, Hello”, the latter released as a US and Dutch single?
Danny O’Keefe: The material was picked by Paul Goldsmith. Again, I was only the vocalist in the band, which was Paul’s.
From this writer’s perspective, the production on the LP is very punchy and the arrangements are dynamic; I particularly love the horns and strings on “Atlas”. What role did Lewis Merenstein have on the final recordings?
Danny O’Keefe: He took the tapes back to Chicago and put the strings on and mixed the recordings. I had virtually no say in any of the production and, as I said, I quit the band when I heard the final recording.
By 1968, you’d already written and recorded such classics as “3.10 Smokey Thursday”. Did you record any more of your songs that were never issued at the time or perform them live? I heard rumours that a second LP was cut but subsequently shelved. Is that true?
Danny O’Keefe: I didn’t record any more songs for Buddha and asked Neil Bogart for release from my contract. He was hopeful I would stick around for another record, but I had other interests. I wasn’t involved in any recordings except those on the “Steamed” recording.
The back cover also credits your road manager. Was there any significance in listing him?
Danny O’Keefe: His name was Scott Strong, and he was a member of the band in every sense, and also a good player.
The LP came out late 1968 and one 45 was issued. Did you do much promotion of the release in Seattle or play elsewhere in the US or did the band pretty much fall apart as soon as the LP came out?
Danny O’Keefe: I left the band when the recording came out. The band persisted in the Northwest for a while, but eventually the members went their own ways.
What prompted the band’s split in early 1969 and did you keep in touch with the other band members, who all appear to have kept a relatively low profile in the aftermath?
Danny O’Keefe: John Simpson went to Alaska and worked in his grandmother’s bank. He was with his twin brothers (if I remember correctly) in a small plane that crashed in the Alaska bush. He tried to go for help but never made it. I don’t believe his body was found, but it’s a long time ago and I’m not sure of all the facts. I lost touch with the other members of the band. I’ve tried to find out what happened to Paul Goldsmith but haven’t been successful. I don’t think he’s still alive.
Fans of your music will probably be surprised that you worked with a heavy rock band in the 1960s, but when you look back at Calliope, what are your best memories of that brief period in your career?
Danny O’Keefe: A couple of shows at the Eagles Auditorium where I got to do a couple of “art rock” pieces, and smoking a joint in the stairwell with Clapton when we opened for Cream in an afternoon show. Other than that, as I mentioned, it was just a gig and I left as soon as I had other prospects.
Here’s a little-known group, the Canadian Legends, who recorded on New Orleans labels, and whose only member I know of is Ronald Buro.
Their first record contains two crude covers, “I’m a Believer” (spelled “I’m a Beleiver”) with lyrics rewritten for U. of Alabama’s Crimson Tide football (tip of the hat to Kip). This release presumably dates to shortly after Alabama’s victory in the Sugar Bowl on January 2, 1967 against Nebraska, which is mentioned in the song.
The flip a version of the Knickerbockers’ “Just One Girl” that is almost unrecognizable from the original. This version does have a lot of charm, however.
Later in 1967 came their second, “Happy” by Ray Stevens backed with an original by Ronald Buro, “One and Only”.
Their last record has two originals by Ronald Buro, “Can’t You Spare the Time” / “Where Were You When I Needed You” on Polar 102.
This Canadian Legends group is considered unrelated to the Legends, a Wisconsin group sometimes based in Miami that had been recording since 1961, including “Just in Case” / “If I Only Had Her Back” and “Alright” / “How Can I Find Her” on Parrot in 1965, and “How Can I Find Her” / “Raining in My Heart” on Thames (and Date) in 1966.
By February 1965, they were being billed in Miami as the Canadian Legends (“originally from Ontario, Canada” according to the Tampa Times), with Sam McCue on lead guitar, Larry Foster on guitar, Jerry Schils on bass and Jim Sessody on drums. Rick Jaeger from the Beau Gentry also played drums with the group from about October 1965 to early 1966. The Beau Gentry also had Wisconsin connections, recording on Ken Adamany’s Feature label.
To further the confusion, a version of “One and Only” shows up on the B-side of the Chessmen’s “The Lycra Stretch” on Suncrest, a label who had only one other release, by The Invaders, a Miami group who were good friends of the Legends.
I have heard the Chessmen version but not the Canadian Legends version yet, so I can’t tell you if it’s the same performance or not.
The Shaggs: Bottom Left/Clockwise: Jim Gilliam/bass; Stan Burger (glasses)/drums; Perry Rouse/guitar and lead vocals, bottom center; Roy Rouse, guitar and lead vocals; Doug Preston/lead guitar, right corner
In March 2024—ironically, on the 50th anniversary of the release of the Phantom’s Divine Comedy effort—we received an email from drummer Stan Burger, in response to our March 2023 posting regarding his band, the Revolvers, and their connection to that infamous “Jim Morrison solo album” from 1974.
Stan tells us that, prior to their joint tenure in the Revolvers, he and guitarist Don Hales, along with guitarist John McDaniel, formed the 3 Deuces.
“We were just these kids forming our first band. Don lived a few houses down from me, while John lived past Don and was friends with him. Our sets were all covers, featuring stuff from the Byrds and the Hollies. We did ‘Eight Miles High,’ which sounded great because Don played a 12-string and we were great at harmonies. We played at places like the White Oaks Inn. A few school dances, too.
The 3 Deuces, Left to Right: John McDaniel (vocals), Stan Burger, and Don Hales.
“I wasn’t in the Revolvers that long, so I don’t remember much, I’m sorry to say. I knew Ted [Pearson] from Oxford High School. I didn’t know Harold [Beardsley] and met him through Ted and they knew Don through me. Ted was always the tallest guy in the room and was on the school’s baseball team.
“I know that Limberlost flyer for the Revolvers show you posted [November 04, 1967] says the band was releasing a ‘new single,’ but I don’t recall us ever recording or doing original material. We did a lot of covers. Ted particularly loved Cream and we did a lot of Doors tunes. I believe I was in the Shaggs at that point [their earliest documented show was in November 1967]. So maybe they kept going and did something with another drummer.
“The Revolvers played The Limberlost a lot, as it was a popular teen hangout in the day. We went to [the] Mount Christie [ski resort] in Oxford quite a few times and The Roostertail [for their “Upper Deck” and “Saturday Night at” all-ages events]. I had no idea of Ted’s career accomplishments with the [Capitol] album, and after that [Pendragon] until seeing your article on the Revolvers.”
While most Detroit garage bands disappeared without recording a long-forgotten single, Stan Burger was fortunate enough to have his drumming last via overseas-bootleg compact disc compilations dedicated to ’60s U.S teen bands [a fate that plagued Detroit’s the Ascots and the Sincerely Yours with their own, one-off 45-singles]. After leaving the Revolvers, Burger joined Orchard Lake’s the Shaggs, which released their one-off single on Capitol Records—both on U.S shores and select European markets.
German issue
“Those were some exciting times playing in the Shaggs,” continues Stan Burger. “Ray Skop, our manager, was enthusiastic, ambitious and had some big plans for us. He was obsessed with Brian Epstein and wanted that type of success, so the Shaggs did a lot of Beatles covers. We idolized the Thyme out of Kalamazoo [Michigan, 1966 to 1968; three singles] and tried to be like, sound like the Thyme. They opened for Jimi Hendrix and Cream and we wanted that for ourselves.
“Since we had a single on a big label, Ray booked us into a lot of clubs, like the Silverbell Ski Lodge [Hideout], the Mount Holly Ski Lodge in Oakland County, the Grande Ballroom, the Crow’s Nest, the Village Cave in Lake Orion, and there were a lot of high school events. The Silverbell was particularly memorable: It was a fixed up old barn out on Bald Mountain Road that had a dance floor on the second level with a stage at the other end. The first floor had a stage and dance floor with a big working fireplace. Most nights bands played on both stages. We saw everyone there: Bob Seger, SRC and Tea, so the Shaggs playing there was exciting.
“You mentioned Pioneer Recording Studios in Detroit [where the Rationals and the Detroit Vibrations, aka Frijid Pink, recorded] as where we [possibly] recorded our Capitol single. It does seem to ring a bell; maybe the Shaggs tried to record there after I left. I do remember, when recording the single, the three of us, me, Roy and Perry, standing in the booth, under the microphone, singing vocals over the backing track. I thought, ‘I’m recording for Capitol Records like Bob Seger. This could be big.’ [Seger released his Capitol debut single, “2 + 2=?” from Ramblin’ Gamblin’ Man, in 1968].
“As far as the Shaggs from Miami, Florida, you’ve told me about, that Ray Skop brought them to Detroit to record [“Ring Around the Rosie” b/w “The Way I Care,” 1966, on Palmer Records]: I don’t recall that piece of history. We were the Shaggs and Ray didn’t name us. I don’t recall covering those songs in our sets as a ‘continuation’ of that band, either. I never heard of this story until you told me. We did, however, in addition to Beatles covers, do a lot of Roy Orbison and Elvis covers at Ray’s request, which is probably why we recorded ‘Mean Woman Blues’ as our A-Side. Roy [Rouse] of course, was great, sounding like Roy Orbison and Elvis; even Jerry Lee Lewis tunes. Perry [Rouse] was great with the Beatles songs.”
A part of the Detroit Shaggs’ history is their connection to the city’s rock royalty that is embodied by Bob Seger, as well as making a coveted appearance on WKHM disc jockey Robin Seymour’s popular, CKLW-TV Channel 9’s television show.
“During the early, local days of Bob Seger’s career, he needed a backing band for one of his dates at the Silverbell, so the Shaggs did that gig,” tells Stan Burger. We also did our Byrdsy B-Side, ‘She Makes Me Happy,’ on Swingin’ Time.
“As far as this story you’ve told me about Ray Skop being the first manager of the Amboy Dukes and his co-writing ‘Journey to the Center of the Mind’ with Ted Nugent and Steve Farmer, at the same time he managed the Shaggs, that’s wild . . . if it’s true. It’s the first time I am hearing it. I never met Ted and we never did any shows with the Amboy Dukes. I’d think I’d remember an Amboy Dukes show! If Ray did work for Hideout Records [Ed “Punch” Andrews’s label], as you’ve said, that must have been after the Shaggs, too.
“The Shaggs met Ray Skop through Bob Burwell who produced the record and was the bassist in the Wilson Mower Pursuit [with Rick Stahl of the Sincerely Yours]. He was the bassist on the single and wrote ‘She Makes Me Happy.’ Our original bassist was Jim Gilliam; I don’t recall why he wasn’t on the record. Doug Preston was on lead guitar, I was on drums and backing vocals, and then the brothers Ray and Perry Rouse. Again, Ray sings lead on our Roy Orbison cover, ‘Mean Woman Blues’ [the A-Side], and Perry sings ‘She Makes Me Happy.’ I went to Oxford High School with Ray and Perry; we were in the school choir, together. The Rouse family was a large one with seven brothers, as I recall.
“Sadly, Perry passed some years ago. I reconnected with Doug Preston from the Shaggs in our next band, Circus. He’s a longtime friend of Bob Sexton, who was also in Circus, as well as with Don Hales from the Revolvers. Don knew everyone since he worked at [Frank Merwin’s] Pontiac Music [and Sound] in Sylvan Lake. That opened around 1973, when Circus got started. Those were the days of the Firebird Lounge where I remember [Johnny Heaton’s] White Heat being a very good band.”
Circus, 1972/73: Left to Right: Stan Burger, bottom; Doug Preston, middle; Bob Sexton, right.
As is the case with most teen bands on the Detroit scene, such as Waterford’s the Coronados, the Shaggs’ career momentum—that chance “to make it big,” as Stan Burger reflected during the recording of their single—was lost as result of the Vietnam War.
“I was drafted into the Army in 1969. I served from September 1969 to September 1971. So, I was out of the scene for two years and lost touch with everyone. That’s why there was never another single for the Shaggs. I understand Ray Rouse got together with Robert Burwell again in the Roustabouts [most likely inspired by Elvis’s 1964 movie of the same name, with the other “Rouse” about-brothers, Perry and Randy].
“The Rouse brothers formed a country-rock band, Summit, which was Roy and Perry on lead vocals, and their brother Randy. They released a nice album; Life’s a Dream [1981; rounded out by Marty McCarrick on drums and Ed Kubilus on piano, saxophone, and trumpet. As of 2021, the album is available on You Tube via CD Baby].
“When I returned from the war, I got back into music with Circus, which was, again, Doug Preston, Bob Sexton, and, for the life of me, I can’t recall his name, but he was a relative of Doug’s. That was the earliest version of the band. As with my previous bands, Circus covered popular songs. We were around for a while and played Lake Orion’s Royal Oak Inn, Waterford’s 300 Bowl, and the Mount Holly Ski Lodge, with its Swiss Chalet-styled building and big wood trusses. It was there I’d seen early shows by Bob Seger and Terry Knight and the Pack.
“As you wrote on the Revolvers post, yes, Don Hales did end up in Jacob’s Folly, but I think the band’s name was Jacob’s Kelly and they were from Flint. I haven’t spoken to him in ages, but I believe he is still alive in Clarkston, Michigan. I am sorry to hear that Harold Beardsley passed and sad about how Ted Pearson died. Don had a duo with someone named Jim Davis, and then did a rock ‘n’ roll oldies revival show with the Fast Eddie Band for many years. Roy Rouse is still around, I believe; he was a popular Elvis tribute artist in the area [You Tube] for many years.”
Jacob’s Kelly, Left to Right: Bill Douglas, bass guitar; Don Hales, guitars; Bob Frakes, drums; Randall Curtis, lead vocals.
Ex-Revolver Don Hales joined the Ted Nugent-cum-Grand Funk Railroad-inspired, AOR-driven Jacob’s Kelly in 1972, which started in 1967. The band dissolved in1984 after twelve years of regional Midwest touring, during which they released three independent singles and one vanity-press, ten-song album. Hales and the band issued their debut single, “Confusion” b/w “Same,” in 1977.
As the “house band” at Pat’s Northview Lounge on Portage Avenue in Sault Ste. Marie, Michigan, Jacob’s Kelly memorably entertained officers at Kinchloe AFB, in addition to’80s head bangers at Flint’s beloved “metal bar,” Contos, Mr. G’s Lounge on Bristol Road, Good Times on Clio Road, and The 300 Bowl in Waterford. They consolidate their local success opening for Bob Seger at the IMA Auditorium (Industrial Mutual Association) in Flint.
The Shaggs: Detriot Club Dates
* Images Provided with Source Credit Top Row: Left to Right:
* July 22, 1967: Grande Ballroom (Detroit): Opening for Tim Buckley on the second date of two dates held July 21-22. Birmingham, Michigan’s Ourselves opened first night. Credit: Rock Posters.com, San Francisco. (Newspaper Print Advert for the same show, above.)
* August 19, 1967: Grande Ballroom: Headlining/Saturday Night local show w/Mothers Little Helper and the Troyes, opening. Credits: (2) Poster & Newsprint Advertisement/Mike Delbusso’s Splatt Gallery.
* August 24, 1968: Silverbell (Ski Lodge) Hideout (Auburn Hills): Opening for SRC. Credit: Artist James Render’s Archives Facebook.
Bottom Row: Left to Right:
* November 02, 1968: Silverbell Hideout (Auburn Hills): Opening for the Bob Seger System, with Asian Flu. Credit: Artist James Render’s Archives Facebook.
January 10, 1969: Something Different (Southfield): Undercard for Ted Pearson’s post-Revolvers concern, Madrigal, with Popcorn Blizzard (Meatloaf’s band), Train, and the Underground Wall.
January 17, 1969: Hideout #3 (Clawson): Opening for Toronto, Ontario’s Mandala.
* February 7, 1969: Something Different: Opening for Wilson Mower Pursuit. Credit: Mike Delbusso’s Splatt Gallery.
* February 9, 1969: Village Pub (Birmingham): WABX-FM Benefit Concert for the Birmingham Youth Assistance Program (with nine other Detroit bands). Credit: Vernon Fitch of Pink Floyd Archives: Birmingham Michigan Poster.com.
February 14, 1969: Crow’s Nest West (Westland): Opening for Plain Brown Wrapper.
* March 28, 1969: Village Pub: Headlining, with Poor Richard’s Almanac. Credit: Vernon Fitch of Pink Floyd Archives: Birmingham Michigan Poster.com.
June 27, 1969: Village Cave (Lake Orion): Headlining, with Licorice Philosophy.
Article by R.D Francis
Credits: All band images/Stan Burger Tim Buckley 1/4 newsprint /Mike Delbusso’s Splatt Gallery Rouse Brothers’ Summit Newsprint/Ron Course Shaggs poster graphic/R.D Francis Dates/The Concert Database.com Jacob’s Kelly images/Bob Frakes
The Villagers came from Sarasota County in Florida, just south of Tampa. Some or all of the members graduated from Riverview High School class of ’65.
They cut one fine record “Joann” / “Glad You’re Back” on Dale Records 107. “Joann” is a fine teen-type original by Jim Spoto. “Glad You’re Back” is an excellent fast-tempo original by Neal Larson, with neat harmonies and driving drumming.
The Sarasota Herald-Tribune featured a photo of the band on July 7, 1964, describing them as:
… a recently reorganized ensemble … a formerly all male group, now includes the talents of Gretchen Holland at the drums. Other musicians, from left, include, Ken Larsen, Jim Spoto, Neil Larsen and Bill Burgsteiner.
The Tampa Bay Times reported on May 6, 1965 that the Villagers came in third place at the Suncoast Star Parade talent contest at Bayfront Center, with members listed as Gretchen Holland, Kent Larson, Jim Spoto, Wally Kirsten and Neil Larsen.
A notice in the Tampa Tribune on September 23, 1965 gives a different lineup:
Bradenton – A free concert will be given at Cortez Plaza Shopping Center Saturday at 5 p.m. by “The Villagers.” The rock ‘n roll recording stars consist of Kent and Neil Larsen, Jim Spoto, Grechen Holland and Wally Kirstin and have won many honors through the state.
The record and articles have variations in spelling, Neil or Neal, Larsen or Larson.
At a 45th reunion at Riverview High School class of ’65, the Villagers played with a lineup of Bill Burgstiner, Jim Spoto, Harold Harms, and Kent Larson.
Somehow the record ended up on a New Orleans label, Dale Records 107, with mastering codes 133-3552/3. The code prefix 133 is unfamiliar to me.
It was recorded by Rick Jarmon, who is also unfamiliar to me. I cannot find any other credits for his engineering or production.
They were a talented group, and I wish they had made more records.
The Dynamics recording at Atlanta Sound Studios, 1967. From left: Steve Diehl, Bruce Allen, Stanley Newman, Ronnie Osborne, and Bob Garrett
The Dynamics Unlimited released one 45 on the Rose Records label, the melancholy “The Tide Rises” (lyrics taken from the poem by Longfellow) b/w “Baby Let’s Wait” on Rose 2890. Publishing is through Margie Music, BMI. The RCA custom press # U4KM-4910/1 points to a 1967 date.
The band then backed Jerry Ashley for his single on Rose 2091, “Don’t Tell Me Why” / “Come to Me”, two originals by Ashley also published by Margie Music.
The Dynamics on break at an officers’ club. From left: Bob Garrett, Stanley Newman, Bruce Allen, Steve Diehl, and Ronnie Osborne
I knew nothing about the Dynamics until drummer Bruce Allen contacted me in April, 2024 generously sharing the photos seen here:
Dynamics promotional photo, early 1967
My name is Bruce Allen, and I was the drummer for the Warner Robins, GA band known as The Dynamics Unlimited. I was one of the three founding members, along with Stanley Newman and Bob Garrett. About 1965-6 we added a keyboardist, Steve Diehl, and a bass player. At first Dan Ross (dec.) played bass for us, but by the time of our recording of “The Tide Rises”, bass was being played by Ronnie Osborne.
Beginning in about 1966, Steve Diehl’s father, Mr. Carl Diehl of Warner Robins, managed the band and handled all money matters. The band members were paid proportionally after each performance.It was during 1967 and 1968 that we had the promo photos made, played as a studio band for Jerry Ashley on one record, and recorded our version of “The Tide Rises”, and “Baby, Lets Wait”. Many weekends (we were still in high school) were taken up with rehearsals and local performances. During spring and summer breaks we performed further afield at several Officer’s Clubs, Battles of the Bands, and private clubs. Mr. Diehl was a fine gentleman and took great care of the band when we traveled. No one did drugs or even drank much alcohol. It was a fabulous way to spend our later high school years.
Regarding Jerry Ashley, I only recall The Dynamics Unlimited performing as a studio band for him on two or three recordings. I don’t recall performing with him outside of the studio.
Dynamics promotional photo, 1967Bruce Allen’s Ludwig drums, 1966
I left the band in 1968 after performing a show at Ronnie Barn’s club in Macon GA during late summer, after which I passed out and was diagnosed with mononucleosis. Because the doctor told me that I could not play for at least six months, and because we had bookings, I sold my 1966 Gold Sparkle Ludwig drums with Zildjian cymbals and all of my interest in the band and equipment to Ricky Hughes of Warner Robins, who played drums for the band until the band dissolved in about 1971-72.
I have lost touch with Ronnie and received no reply from what I believe to be his last address in Seneca, SC. All the other band members are deceased. Bob died first in (I believe) Nashville in the 1980s or 90s. Steve Diehl went to serve in Viet Nam about 1971 as a helicopter pilot, was decorated for bravery, and on return to civilian life he drove a heavy rig for (I believe) Hunt Transportation company. He died of a heart attack several years later. I do not know what happened to Steve’s marvelous Hammond B3 organ. Stanley went to work at Robins AFB and died about ten years ago, and Dan Ross was a prominent business man in Warner Robins in the auto industry, and died within the last ten or so years. So, as far as I know, I am the only member of the band that is still living.
Ronnie Osborne on bass, at recording of The Tide Rises 1967
I went off to the University of Georgia in Fall of 1968 and got a degree in Chemistry in 1972. I then went to medical school at the Medical College of Georgia, earned an M.D. honors degree in 1976, did a residency there in dermatology, and taught on the faculty until 1983. I entered private practice in Dermatology in Macon, GA in 1983, where I practiced until 1994. I left medicine in 1994 to run two LLC businesses, and in May of 2007, the Prince and the Government of Liechtenstein appointed me as the first diplomatic consul in history for the Principality of Liechtenstein. I still perform that job as a State Department accredited Honorary Consul.
Bruce Allen of the Dynamics in the studio, 1967Yours Truly, Cathead Dooley CD
I have continued to play drums and today have three sets of drums (Ludwigs, Gretsch, and Roland Pro Vs). In the 1990’s I played drums with the GEDA Allstars for three years (a band formed by the Economic Development Authority for the State of Georgia). I also had a very successful band in the early 2000’s called Cathead Dooley and we performed tours in Wales during 2003 and 2004. We recorded a CD of all original material called, Yours Truly, Cathead Dooley.
All photos courtesy of Bruce Allen.
Bob Garrett and Ricky Hughes would join Coldwater Army, who recorded a good blues-rock album Peace for Agape in 1971.
This is a 2024 update of a basic post from 2014.
Clippings for the Dynamics and Steve Sanders at Macon Auditorium
Today I’m featuring two rockabilly artists, George Quarta Jr. and Bob Cribbie, who both grew up in Hudson, New York.
In 1959 they each released a 45 on the Cool Records label out of Harrison, New Jersey. George Quarta Jr. cut “Get Loose” / “Don’t Move”, and Bob Cribbie made “Vow of Love” / “Rockabilly Yodel”.
Cool Records attracted artists from Florida to Vermont. The Hudson connection might be coincidental. The records do not sound similar and may have been cut at different sessions or studios. What makes me think this could be more than coincidence is the 45s had successive release numbers: Bob Cribbie on Cool Records CJ-117, and George Quarta on Cool CJ-118.
George Quarta was born on December 21, 1931 and died on September 6, 2017. Quarta’s obituary states “He performed in the Hudson area including at the old Community Theatre where billboards of George lined the walls as the girls excitedly gathered to hear him sing and play his guitar.” The Community Theatre still stands, but has been disused for decades.
Bob Cribbie’s vocal on “Vow of Love” is straightforward, but his delivery on “Rockabilly Yodel” is very much “outsider” in nature; he certainly has an odd sense of timing! Bob became known as a idiosyncratic yodeler, appearing on radio and late night TV under his own name and then as Avalanche Bob.
Did George and Bob know each other? I have no idea. Nearly everyone involved in these records has passed away.
What was the connection that brought Hudson NY artists to record at Cool?
It was likely veteran talent scout Jim Small, of nearby Elizaville, NY.
Jim Small and Slim Whitman after WCOP’s Hayloft Jamboree, Cash Box May 16, 1953
Jim Small’s ten years of mentions in trade publications hints at the tough life of a record A&R man.
In 1953 and 1954, Jim received mentions in Cash Box as manager of WCOP, Boston, and business manager of New England’s “Dude Ranch Jamboree” out of WJAR-TV, in Providence, RI.
Billboard, Sept. 29, 1958: Jim Small of Elizaville, N.Y. .. has accepted talent-scout duties with Johnny Dee’s Vitam Distribution Company, Harrison, N.J., and Johnny Ponz’s Ace Records, New York. Jim will cover Dee’s three labels, D, c.&w.; Vitam, pop, and Cool, rock ‘n’ roll. He’ll cover c.&w. and rock ‘n’ roll for the Pony label. Small, who was laid up most of last winter with pneumonia, says he’s good as new again.
Cash Box, October 11, 1958:
Jim Small … has been chosen by two record companies as a national talent scout. One is Vitam Distribs of Harrison, N.J., which has three labels: the strictly country “D” label, the pop Vitam, and the rock ‘n’ roll Cool label. Small will represent all three. The other outfit is Ace Records, New York, which will add country releases to its pop catalog.
(I am not familiar with a Harrison, NJ “D” label. It could be that it was not used because of Pappy Daly’s D label out of Houston which started earlier that year. I know of only one release on Vitam, Ray King and the Joe Derise Orchestra, “Can It Be Love” / “I’ll Always Love You.”)
Billboard, November 24, 1958 reported:
Visitors at the desk last Wednesday en route to the Nashville deejay festival, were promoter-manager Jim Small of Elizaville, N.Y. and a pair of his artists, Dick Sawyer of Stratford, N.Y. and Neil Swanson, who for the last four years has appeared on “Teen-Age Barn” TV show originating in Schenectady, N.Y … Sawyer’s initial release on Cool Records, “Sandy” b.w. “New Kind of Lovin’,” is due for early release.
The Glens Falls, NY Post-Star on August 6, 1959 mentions talent scout Jim Small in connection to Gerald Galusha, who made a record for Cool as Jerry Edwards, “Shedding Tears” / “Easy to Please” on Cool CJ-128.
Billboard August 3, 1959:
Jim Small, A&R man with Joe Flis’ Milo Recording Company, Harrison, NJ, has taken over the personal management of three Cool Records artists – Dave Osborn, Johnny White and Artie Davis. Small recently ushered Osborn to Wheeling, W.Va., for a guest shot on WJVA’s World’s Original Jamboree. White’s newest Cool release couples “Cryin’ Room” and “Rose in the Garden,” while Davis’ new one on that label is “Book of Love” b/w “Hawaiian Boogie.”
Billboard, April 4, 1960:
Jim Small, who has been associated with the c.&w. music field more than 25 years, has been named vice-president of Milo Recording Company, Harrison, N.J., by owner-manager Joe Flis. Jim has long served as talent scout for Milo and organized the firm’s c.&w. department with its Cool label. Small is presently in De Land, Fla., recuperating from an attack of ulcers which laid him low for several months. He is continuing with his scouting and auditioning during his Florida stay. With him is his right-hand man and assistant, Dave Osborn. Small’s home and office is in Elizaville, N.Y. [Dave Osborn came from nearby Hillsdale, NY, and made records on both Milo and Cool.]
Jim Small’s A-B-S Records label in March 1963: the artist pays $300 for 300 records … future royalties uncertain. George Quarta and Bob Cribbie probably made a similar deal with Cool Records
Billboard, July 25, 1960:
Jim Small, Veepee of Milo Recording Company and Cool Records, Harrison, N.J. is currently on a talent-scouting expedition thru Pennsylvania. Touring with him are his assistants Bud Bailey and Bob Weiss. Dave Osborn, who worked with Small out of the Cool branch in DeLand, Fla. the past winter, is spending the summer with his band in his native New York State. He will return to Florida with Small in the late fall. Jim reports that he is amazed at the amount of solid c.&w. talent that has been overlooked in Pennsylvania.
Billboard April 13, 1963:
Jim Small, president of A-B-S Records, Inc., Elizaville, N.Y., is back in action after spending most of the last 10 months in the hospital. Small has named Bud Bailey as general manger of A-B-S. Firm last week released a new one by Mickey Barnett and His Wranglers, “Just a Memory” b.w. “I’m Sorry I Cheated on You,” both penned by Mickey himself. A new A-B-S religious release spots “I’ve Been With Jesus” and “When I Move” as done by the Missionaires Quartet of Miami.
The Wilmington, Delaware News-Journal March 10, 1964:
Howard Rash, a songwriter and singer of country and western ballads, has purchased ABS Records from Jim Small of Elizaville, N.Y., and DeLand, Fla.
The Xployts at a high school Valentine’s Day dance in Riverside, 1965
Mike Butler sent in these photos and wrote to me about his band, the Xployts. Members included:
Berl Bartz – vocals Mark Sherrill – guitar Mike Butler – guitar Ned Moore – bass Warren Moore – drums
The Xployts played in the Inland Empire area of Southern California from 1965 through 1969. We started as a surf band then moved to a cover band for top forty songs, and ended up as a blues band.
We played local high school dances, proms, street dances, teenage night clubs, and a local concert venue named Swing Auditorium. Swing Auditorium was the first place The Rolling Stones played when they arrived in the United States in 1964. We played a couple of gigs with the Whatt Four and The Light.
The Xployts drumhead, photo courtesy of Warren MooreI worked at Chauncey Romero’s House of Note in Redlands after graduating from Redlands High School. Chauncey is still a friend.
We broke up in 1969 when three of us were drafted. The draft caught up with us before we could record.
I’m still in touch with our drummer Warren and our bass player Ned. Warren still has the drum head with our band’s name.
Mike Butler
The Xployts at Liers Music in San Bernardino, from left: Berl Bartz, Mark Sherrill, Mike Butler (sitting), Ned Moore, and Warren MooreThe Xployts at a high school Valentine’s Day dance in Riverside, 1965
Photo card included with some copies of the Sunday Funnies 45 on Skoop. From left: John Rice, Luke Pride, Gary MacShara and Tom Sheffer.
The Sunday Funnies 45 on Skoop 1070 has two excellent original songs, “Sunny Covington Avenue” an uptempo rocker, and “It Won’t Happen to You”. The labels list Gary McShara (actually Gary MacShara) as the song writer on the labels, with publishing by Buna Music. I don’t own a copy of the 45, unfortunately.
A photo card included with some copies of the record has a photo that predates Pat Berry joining the group, and has the name of manager Wayne Watters crossed out.
Sunday Funnies profiled in the Evansville Press, March 30, 1967
I came across this profile of the group from March, 30, 1967, which would date the single to about April, 1967:
The group … has become known through various appearances at such Evansville places as the Community Center at the Coliseum and on local television.
The Messenger of Madisonville KY, Friday, Oct. 14, 1966The Sunday Funnies combo also has performed throughout the Tri-State area, but is hoping to become still better known through its recording of ” soon to be released
The group’s drummer, Gary MacShara, an 18-year-old employee of Our Lady of Mercy Hospital at Morganfield, Ky., wrote both of the tunes. The recording, which will be the Sunday Funnies’ first, is expected to be released soon on the Skoop label from the Santa Claus, Ind. studios.
Also in the combo are John Rice, 17-year-old Union County High School senior from Morganfield, on lead guitar; Luke Pride, 14-year-old Pride, Ky., resident who is a freshman at Sturgis Junior High, the organist; and Tom Shaeffler [Tom Sheffer], 16-year-old junior at St. Vincent Academy near Waverly, Ky., on bass guitar.
Newest member of the group is the singer, Pat Berry, 21, of Morganfield. Richard Young, a disc jockey for a Morganfield radio station, is the group’s business manager.
The group has been together since last September performing “mostly as a hobby and something to do,” Rice explained.
None of the group’s members are now planning to make music a career, he said.
In their appearances, the group strives for a different sound. “We don’t try to get real loud because we don’t especially care for that, but at the same time we try to move away from the old surfing sound,” Rice said.
“Our’s is a straight, no beat, but melodious sound lacking the tangy guitar sound. We’re trying to develop the Utah sound Gary played with a musical group before moving from the western state to the Tri-State,” Rice explained.
The instrumentalists each previously played with other combos, he noted.
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.
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