Early photo of the Sloths, from left: Hank Daniels, Michael Rummans, Jeff Briskin, Steve Dibner and Sam Kamarass
Hank Daniels – vocals Michael Rummans – rhythm guitar Jeff Briskin – lead guitar Don Silverman – lead guitar Steve Dibner – bass Mick Galper – bass Sam Kamarass – drums
The Sloths cut the great “Makin’ Love” in September 1965. The sliding guitar rhythm doesn’t quite mesh with the other guitar part. The production is so muddled the drummer’s Bo Diddley beat on the toms produces a constant hum that drowns out most of the bass notes. The sound is a turgid, dense r&b, like the Stones’ take on “Not Fade Away” turned inside-out. Hank Daniels shouts his lyrics in a hoarse, slobbering voice: “I wanna be with you all night, makin’ love, good good good lovin’ baby, makin’ love”!
Sloths logo on drumhead hand painted by Hank Daniels
This was not commercial music, but Impression’s owners actually had another group re-record “Makin’ Love” in the hopes of a hit the second time around. Long before I’d heard the Sloths, I knew this song from the version by the Dirty Shames, cut a year later, also for Impression. The Shames’ singer doesn’t have Hank Daniels’ wild incoherence, but the band actually plays together and in tune. Both releases credit Hank with song writing, and publishing listed with Vendo (BMI) on the Sloths and Vendo-Ramhorn (BMI) on the Dirty Shames.
Mick Galper on Gibson EB3 bass
Marty Wons of the Dirty Shames told me there was no connection between his band and the Sloths, and Michael Rummans of the Sloths confirmed this: “I was the rhythm guitarist for the Sloths. Your information is correct – no shared members between Sloths and Dirty Shames.”
The flip, “You Mean Everything to Me” is much tamer but also very good, with twelve string guitar, accomplished playing and clear production. (Thank you to Mike D. and Freddy Fortune for sending clips of this in). It’s another original by Hank Daniels.
This was the first rock release on Al and Sonny Jones’ Impression label, just before they relaunched it with a new design (there had been two or three soul singles before the Sloths). It’s a rare 45 now, with one copy recently selling for over $2,200, and that was without the even rarer picture sleeve!
Sleeve to their Impression single, with original lineup of the Sloths From left: Michael Rummans, Hank Daniels, Steve Dibner, Sam Kamarass and Jeff BriskinMichael Rummans with his first Gibson, Hank Daniels with Electro Voice microphone
Michael Rummans wrote the following account of the band, aided by Steve Dibner’s recollections:
This was my first band and, like many other firsts, has its origins among my high school friends & associates. I attended Beverly Hills High School, ’62 to ’66. During that time, there were many creative individuals including Richard Dreyfuss, Albert Brooks and Michael Lloyd who contributed to an atmosphere of artistic creativity. I first started practicing with Jeff Briskin, a surfer and guitarist. Fun for awhile, but I wanted more – a full band.
Sam Kamarass on drums. Smaller b&w photos originally taken by Julie Olen
I saw my chance when I met Hank Daniels, a transfer student who was attracting a lot of attention. Hair too long, often barefoot with a 12 string Gibson acoustic strapped on his back, he was drawing a lot of attention, both good & bad (there were a lot of preppie types). We started hangin’ out, both of us now hiding from the boy’s Vice Principal and sharing a common interest in music. Soon we decided to start a band, and it wasn’t long before we found Steve Dibner to play bass and Sam Kamarass for drums. We found our name in an American history textbook from a 19th century political cartoon (as did another BHHS band, The Mugwumps).Once the band was formed, the next step was to learn songs and find somewhere to perform them. Even though the Sloths were by all definitions a garage band, we avoided that actual type of structure when one of Dibner’s parents foolishly agreed to let us rehearse in their living room. We also rehearsed in Hank’s pool house, grudgingly tolerated by his parents. Joking aside I must point out that the band was able to gain invaluable early momentum because most of our families supported and contributed to our effort (most, not all).
Early photo of the Sloths, from left: Hank Daniels, Jeff Briskin, Steve Dibner, Michael Rummans and Sam Kamarass
What we needed next was material. Hank had some background in acoustic folk music; me and Jeff with surf music but, just like most of the kids of that time, we were all enamored with the music of the British invasion. One of the things that distinguished our group from many others was a realization that we had to develop originality to have success.
Wallach’s Music City
This was largely because of a chance meeting I had had with James Brown backstage at the TAMI show. I was with my dad, and when we met JB, he told him I was getting in to music & wanted to know if he had any advice. James said, “Don’t take any lessons, develop your own style – otherwise you’ll never be more than second rate”. That has stayed with me my whole life. So, instead of learning a set of cover songs, we would go to Wallach’s Music City on Sunset & Vine and spend hours in the listening booths looking for songs to cover that no one else was doing, and arrange them in our own style. One of my favorites was “Messin’ With The Kid” by Junior Wells (just stumbled on to it).
Michael Rummans at Pandora’s Box, 16 years oldBandmaster amp stood on side, Vox style
Hank also wrote originals, as exemplified by the record. Having an artistic background, he designed the logo as well (you can see it on Sam’s bass drum).
The Clubs
Don’t misunderstand me, playing for our friend’s pool parties was fun, but we wanted more. There was the Teenage Fair at the Palladium and all those cool clubs on the Sunset Strip. To this day it amazes me that we got hired – not that we weren’t entertaining, but we were all so obviously underage. The thing is, nobody had told us how impossible it would be, so we were undeterred.
Michael Rummans, Hank Daniels and Don Silverman
One of the first venues we performed at was called Stratford on Sunset (now the House of Blues). The owner was Jerry Lambert and his nephew’s group, The East Side Kids, was the house band. At that time, they had another name, the Sound of the Seventh Son, I think (no wonder they changed it). They were older, very professional and served as mentors to us. Despite our lack of experience, I think Jerry must of liked our youthful enthusiasm and originality. Anyway, Stratford was great while it lasted (I also got picked up for the first time there). And it was Jerry Lambert again who got me the audition for the Yellow Payges a year later – small world.Other Strip clubs we played at: The Sea Witch, Pandora’s Box, Hullabaloo – but more about that later …
Michael will be adding more about the band at a later date. He left the Sloths and joined the Yellow Payges for a time in 1968. In the ’70s he played with the Hollywood Stars and then the King Bees, among other groups.Michael kindly responded to some of my questions about the Sloths and their record:
Hank Daniels with Don Silverman (?) to his left
Q. How did the record on Impression happen? Did the label sign the band?
We were approached by the brothers at one of our shows. At first I thought they were kidding. I don’t remember signing an official recording contract, but I’m pretty sure we signed an agreement. I do remember them bringing in a copyist to write down lyrics and melody.
Q. Do you remember specifics of the recording session?
Regarding the actual session, I remember the studio quite well. It was an old-fashioned large room, similar to the one used in “The Buddy Holly Story”. It was located on E. Sunset Blvd near Western. The brothers let us do pretty much what they heard on stage, with one exception. One of them suggested the repeating high E on the guitar near the end of the song. I asked why, and he referred to it as a “sensation note”. He was right – it works.
Q. I was watching a film on October Country in a studio in ’67, and noticed graffiti: “Sloths” and “Jeff”. The studio may have belonged to CBS Records at Sunset and Gower in Hollywood, California.
I see my name below Jeff’s as well. It may well be the one we recorded the single in.
Q. Did the label do any promotion for the record?
Don Silverman on Gretsch Country Gentleman, Mick Galper on bass
I don’t remember much promotion, other than what we did ourselves. One thing we accomplished was getting it played on KRLA and KFWB, just by having our friends call the station a lot. Some of us even went to KFWB on Argyle & Selma and banged on the door!
As for the record, I only know of three copies; mine, Steve Dibner’s (original bass player) and my sister’s (which she gave to Hank’s son). Jeff Briskin had a box of 100 records in his garage and threw them out a few years ago. However, he’s going to check and see if he can find any other memorabilia-pics, articles, etc. I must have given away most of mine for promotional purposes, which is what they were intended for. We’re going to collaborate and finish the story I started, so I’ll be able to give you more info on Impression and the recording.
Q. Any chance of a Kingbees reunion?
The Kingbees still get together and perform from time to time, but Jamie doesn’t want to hustle gigs any more. Maybe we can find an agent in the future, because the band still sounds great. Unlike the Sloths, I still have a large supply of Kingbees memorabilia.
Friends of the Sloths, the East Side Kids, from left: Joe Madrid, Jimmy Greenspoon, Dennis Lambert, Dave Doud, Mike Doud and Danny Belsky
Below, photos of the Sloths playing Hollywood au Go Go, October 28, 2011 This was their 3rd show since reuniting.
The Sloths playing Hollywood au Go Go, October 28, 2011,
Photos taken by Angel Jason Peralta. Thanks to Elva for sending the photos in.
October Country with Sloths graffiti in the background – is this CBS studios at Columbia Square?
Starting in February, 1966, KHJ radio (930 AM) in Los Angeles hosted a battle-of-the-bands called the Big Boss Battle, sponsored by Pepsi. According to their program, over 100 bands competed, with semi-finals at the club It’s Boss, and the finals at the Hollywood Palladium on May 10. After I saw the front cover to the program on Ray Randolph’s excellent blog 93/KHJ Boss Radio: a Look Back, Ray sent me the inside of the program at my request.
Judges included Charlie Green and Brian Stone of York-Pala just before they began managing the Buffalo Springfield, Len Waronker and Russ Regan from Warner-Reprise, Fred Rice and Jack Schnyder from Capitol, along with Danny Hutton and Dick and Dee Dee. The DJs included Gary Mack, Johnny Mitchell, the Real Don Steele and Johnny Williams.
Prizes were substantial and included cash, plus Fender guitars and amplifiers and St. George drums. Sonny & Cher, Bob Lind or the Blossoms did the trophy presentations. Unfortunately, recording time was not included, so I’m not sure how many of these groups cut records.
Are any of these bands familiar?
The competing bands were:
Randy Pitzer – St. Monica’s High The Young Men – Lathrop Junior High Ron and and the Jumping Beans – Loyola High Bobby and the SenSaShuns – El Monte High Los Reyes del Ritmo – Bishop Montgomery High The What – Stevenson Junior High Sheilagh and the Trio – Mater Dei High The Spydres – Eagle Rock High The Donnybrooks – Bakersfield High The Teen Turbans – Los Angeles High
plus the Generations, who won the San Diego Pepsi Boss Battle.
Check out this page on Ray’s site to see the front cover of the program and a ticket to the show. Does anyone have flyers or posters for the semi-finals at It’s Boss, or photos from any of the shows?
Dan Nielsén, who had conducted the interview with John Ford of the Index published here back in February, asked me to dig into the story of the Scorpio Tube, the group behind the incredible B-side “Yellow Listen”.
The lead guitar track dominates the sound with a piercing distortion and echo that breaks up with stroboscopic effect. You can hardly hear the piano in the background, though it provides much of the droning sound at the intro and becomes apparent towards the end as the lead guitar is mixed down.
I just recently heard the A-side, “White Birches” and it’s more polished than “Yellow Listen”, with a progressive sound that would have done fine on radio at the time. The instrumental break is excellent too.
As far as info goes, I know what the label tells me, that both songs were written by Conn. MacDonald.
H. Eugene MacDonald produced the record for Vita Records from Hollywood, CA, which is probably not the same Vita owned by Laurence Mead that released a good number of records in the 1950’s with a Pasadena address.
As for dating this, it may have been recorded as late as 1970.
Transfer of “Yellow Listen” taken from the expanded CDR version of Psychedelic Disaster Whirl. Thanks also to bosshoss for the scan of “White Birches”. Transfer of “White Birches” sent to me by Max Waller.
Mop Top Mike suggested I cover the Majestics, an unknown group who cut this one 45 for MGM in 1965. Hopefully we’ll be able to find some more info on this band.
The A-side is “Smile Through My Tears”, a ballad something in the style of the Beau Brummels, written by Cruz-Columbo. It’s backed with “Love Has Forgotten Me”, which I find less compelling.
Tommy Smalls produced the single independently. Mastered in late 1965, MGM purchased it for release in April, 1966. Tommy Smalls is possibly the same DJ known as “Dr. Jive” who was involved in the payola scandal in 1958. That Tommy Smalls relocated to Los Angeles, where he was an R&B DJ for KADY in 1964 then back to New York at WLIB in 1965. By 1968 he was Vice-President in charge of r&b for Jubilee Records.
The publishing was through Earl Music, BMI, though I can’t find any listing in BMI’s database for either song.
The MGM Labels: 1961-1982 by Michel Ruppli and Ed Novitsky indicates “Smile Through My Tears” and the flip as “purchased titles” and “this group was listed in files as “The Mysterians”.
Other groups called the Majestics
There were many other groups by the name Majestics. I don’t think any are related to this group, but I’ll list some of them here.
The one closest in time to this group recorded the soul classic “(I Love Her So Much) It Hurts Me” b/w “Girl Of My Dreams” on Linda 121, both songs written by Arthur Robles, produced for Faro Productions and released in the fall of 1965. The same songs (minus the horn intro on “It Hurts Me”) had a second release as by David and Ruben on Warner Bros 7316, this time listing production by Eddie Davis. A third release on Rampart in 1969 reused the original Linda stampers. David and Ruben were Art Robles’ brothers. Their group was generally known as ‘Art’s Majestics’.
Interestingly, there was another release by the Majestics on Linda 111, “Strange World” / “Everything Is Going to Be All Right” (by Chick Carlton, produced by Bobby Gross), but this is on the blue Linda label, distributed by Scepter, NY in 1963. Supposedly, this was another band entirely, black, not Hispanic.
Other Majestics include: a doo-wop group from Detroit who recorded for Contour, Chex and V.I.P.; a Miami, Florida group who cut “Cave Man Rock” on Marlin; a vocal group from Massachusetts who recorded for 20th Century Fox and other labels.
Background on unrelated Majestics groups from Soulsource and Doo-Wop.blogg.org. Thanks to Mike Markesich for the scan and transfers.
The Regents, 1966, from left: Jerry Rosa, John Harris (sitting, holding his knee), Craig Boyd (sitting in front looking down), Johnny Mann and Mike McDonald (far right) Scan courtesy of Joni Bartley
The Regents were house band at Jack Martin’s A.M-P.M. on La Cienega Blvd., one of the many discos that opened up to compete with the Whisky a Go Go.
In 1964 Capitol recorded the band at the club for an LP of standard songs of the day. I really dig their cover of James Booker’s instrumental, “Gonzo”.
Despite having a gatefold cover to fill with photos and notes, Live at the A.M./P.M. Discotheque doesn’t bother to list a single member of the band. I’ve read some members were originally from Bakersfield. Craig Boyd and Tom Baker had started in a group called the Raiders, then Tom joined the Midnight Flyers. Jerry Rosa had been in a band called the Defiant Ones.
Band members were:
Jerry Rosa – vocals and tambourine Mike McDonald – vocals and lead guitar Tom Baker – 12-string and rhythm guitar, replaced by Johnny Mann, then Marilyn Read John Harris – bass Craig Boyd – drums
David Axelrod produced the album. Domenic Priore’s book Riot on the Sunset Strip quotes Axelrod saying “Jack Martin’s AM-PM was the kind of place where you could order steak sandwiches, and a fistfight would break out every ten minutes. A lot of tough guys went there, so it didn’t last long.” Two songs from the album, “Sugaree” / “Mojo Workout” were released in Germany.
After the A.M./P.M. club closed, the band became the house band at It’s Boss. Following the LP they cut four singles for four different labels. First up was “She’s Got Her Own Way of Lovin'”, a good original by Mike McDonald backed with “When I Die, Don’t You Cry”, released on Reprise 0430 in November, 1965 and produced by Jack Nitzsche.
Tom Baker left in 1965 and the band hired Johnny Mann to replace him.
Next came “Summer Time Blues” / “You Don’t Love Me” on Peoria 008 in March of 1966, produced by John Harris.
The Regents on stage 1965, from left: Jerry Rosa, Tom Baker, Mike McDonald and John Baker. Not pictured: Craig Boyd on drums.
Their third single has the original version of the very catchy Boyce/Hart song “Words”, later done by the Leaves, the Boston Tea Party and the Monkees, usually with a slower opening tempo than the Regents arrangement. I have a promotional copy that has “Words” on both sides of the record, but stock copies have the excellent b-side, “Worryin’ Kind” another fine original by McDonald.
This disk was produced by Norm Ratner and engineered by John Haeny and released in July 1966 on Penthouse 502, distributed by Mira. It was also released in the UK on CBS.
Their last 45 was “Russian Spy and I” written by Jackie Javellin (aka Casper Koelman) and originally done by the Dutch group the Hunters. The Regents version is probably the most well-known, at least here in the U.S. Though the Regents lift the opening riff directly from Hunters guitarist Jan Akkerman, the solo is much more intense, the tempo of the song quicker and the harmonies much more effective than the Hunters version. I bet they could have done a killer version of this live. Produced by Norm Ratner for Dot 16970 in November, 1966, the flip was a cover of “Bald Headed Woman”.
Marilyn Read joined on guitar at some point in 1966 and stayed about a year. She was also in the Ladybirds.
When the band ended, Craig Boyd joined The Hook after Dale Loyola and Dennis Provisor had left the band. Recording as a trio with Bobby Arlin and Buddy Sklar, Craig plays drums on The Hook’s second album Will Grab You. The Hook appeared on the Ironside episode “Trip to Hashbury” miming to both sides of their single “Son of Fantasy” / “Plug Your Head In”.
Michael McDonald, Craig Boyd and John Harris formed McDonald’s Farm, releasing “Excited” / “Deep Feeling” on Vital Records 2369, produced by Ron Shannon.
I’ve also read that they were the band for The Dating Game in the early seasons of that show. Tom Baker wrote to me last summer, but I haven’t had a response to the last two emails I sent. A friend of the band confirmed that they were on The Dating Game, and added that they were UCLA students who played often at Chuck Druet’s club Barnacle Bills on E. Huntington in Duarte.
There seems to be some confusion as to whether or not these are the same Regents who recorded the original version of “Barbara Ann”, but that was an entirely different band, whose members were Sal Cuomo, Chuck Fassert, Tony Gravagna, Don Jacobucci, and Guy Villari.
Nor is the Michael McDonald of this Regents the same guy who was in the Doobie Brothers (but see the Implicits entry on this site for Tom Johnston’s early band).
There are other records by groups called Regents that aren’t related to this group, including: “Cape Fear” (T. Foley) / “Summertime” (produced by J. Choate for the Ohio label Prix); and “No Hard Feelilngs” / “That’s What I Call a Good Time” on the Kayo label. The Regents with “Me and You” / “Playmates” on Blue Cat was a Canadian group who also recorded the LP Going Places with the Regents on Quality.
Some info from a phone interview with Craig Boyd.
Regents Capitol LP Live at the A.M.-P.M. Discotheque gatefoldThe Regents opening for the Lovin’ Spoonful at It’s Boss, 1965 Photo from the collection of Nancy KuehlMcDonald’s Farm: John Harris, Mike McDonald and Craig Boyd Scan courtesy of Joni Bartley
Dr. John’s band at the Fillmore East, October 1969
A few years ago, I was fortunate enough to interview bass player Dave Johnson and guitarist Doug Hastings, both of whom played with Dr John in 1969 and spoke highly of their time working with him.
Johnson was an integral member of Dr John’s touring band throughout most of that year alongside drummer Richard Crooks. Together with conga player Didymus (aka Richard) Washington, guitarist Gary Carino and singers Eleanor Barooshian, Jeanette Jacobs and Sherry Graddie, they played all the high profile gigs that year, most notably the Atlantic, Detroit and Toronto Pop Festivals.
Later that autumn guitarist Doug Hastings (who had recently left Rhinoceros) joined Johnson and Crooks in a revised line up. Hastings told me that the band had been assembled in L.A specifically to record the album Remedies, which was later cut at Columbia Studios in New York on 19 and 21-23 October.
The new group debuted at the Whisky in A Go Go in West Hollywood on 23 September (playing six nights) in what Hastings said ‘amounted to a shake-down gig for the band’. Johnson told me that the cover for Remedies was taken at the club by his cousin Steve LaVere.
At the last minute, just before they set off on tour, Hastings’s former cohort from The Daily Flash Don MacAllister was added on electric mandolin for ‘breadth of sound and camaraderie’.
Dr. John at the Fillmore East, October 1969Hastings reckons, however, that Don’s real interest was the attraction to heroin that he had in common with Dr John. Sadly, MacAllister was ejected from the tour a few weeks before it ended. Hastings remembers walking in Manhattan with MacAllister the night he was fired and passing Unganos where Tony Williams’s Lifetime was playing. Miles Davis’s Ferrari GTO with bullet holes was parked outside!
When the guitarist got back to the West Coast, he discovered that MacAllister had overdosed. He was only 27 years old!
The photos are from the Fillmore East in mid-October. Johnson told me he doesn’t remember the name of the photographer but she was a girl he met in New York who sent him the 35 mm slides.
The group appeared at the Fillmore East on 10-11 October with Vanilla Fudge and AUM before playing four nights at Unganos from 12-15 October. The tour was wrapped up with two nights at the Fantasy East, running from 17-18 October. The sessions for Remedies took place after the tour but from what I gather only Hastings participated from the band.
Dr John put together a new road band in November but that wasn’t the end of his dealings with Johnson. Shortly after Dave Johnson replaced Randy Fuller in Blue Mountain Eagle (who had morphed out of Dewey Martin’s ill-fated New Buffalo Springfield) in April 1970, the group’s engineer Bill Halverson presented the musicians with a demo of Stephen Stills’s ‘Marianne’ and told them to cut a version.
The band’s lone album had sold poorly and despite having a stash of new songs, Atlantic would only allow them to cut a cover tune as a single before committing to a second album. The band didn’t feel Stills’s song fitted with the sound they wanted to project but begrudgingly cut a version at the Record Plant.
Johnson told me that he managed to get Dr John to come in and play some really funky piano on the song which really gave it a unique sound and feel. Halverson, however, was having none of it and forced the band to re-cut an identical version to the demo, which failed to chart on its release. It would be great to hear that version if it still exists.
The Sideshow, 1967, standing: Dave Bishop and Freddie Mooney; seated: Chuck Riley and Dennis Wilbur
Dave Bishop – guitar, vocals Dennis Wilbur – guitar, piano, vocals Freddie Mooney – bass, vocals Chuck Riley – drums
Dennis Wilbur sent in the photo and history of his bands This Generation and Sideshow, out of Bell, California:
I have always been interested in music from the time I was about 3 years old. I was fascinated by the people I saw standing on a stage and performing and the applause from the crowd after each song.
My first band was called This Generation. We formed around 1965 and played dances, parties, etc. The members were Dennis Wilbur (guitar-vocals), Freddie Mooney (bass-vocals), Danny Shoaf (drums), and Tom Jonutis (guitar). Freddie Mooney and I were in the band and orchestra at Bell High School. I knew that he was playing with his step-dad Vern “The Voice” Gosdin, and Vern’s brother Rex, along with Clarence White (Kentucky Colonels, and later The Byrds). The Gosdin Brothers were former bluegrass musicians known as The Hillmen (with Chris Hillman playing mandolin prior to joining The Byrds).
I had gone to a rehearsal of the Gosdin Brothers and started talking with Freddie and said we should form our own group. One thing lead to another and This Generation was formed. We were together a little over a year when our drummer and guitarist were both drafted. Freddie said that he knew another guitarist named Danny Duran from the next town over (Maywood, CA). We auditioned him and added him to the group. I don’t recall who our drummer was at that time.
We played together for about 6 months and for some reason our guitarist left. Again, on the search for someone to replace him we found Dave Bishop (also from Maywood). We knew Dave from high school also. He had been playing with a local surf band and realized that surf music was quickly being replaced by the British Invasion and decided to join us. This was mid 1966. This also called for a name change and The Sideshow was born.
Sometime in late 1966 we landed a gig at The Street Scene in El Monte, CA which was owned by Gary Bookasta who also owned The Hullaballoo in Hollywood and was manager for The Palace Guard and The Yellow Payges. It was during this time that we again needed a drummer and while playing at the Street Scene that we found Bob Phillips from El Monte and he joined the band.
After a couple of more gigs at the Street Scene, Gary Bookasta hired us as the “house band”. We were still doing mostly Top 40 covers at this time but it did provide us with the opportunity to open for many of the big acts of the time (Grass Roots, Music Machine, Freddie Cannon, The Seeds, etc.). This also allowed us to play at The Hullaballoo with many other top acts (Linda Ronstadt with the Stone Poneys, Taj Mahal, Van Morrison, The Doors, John Lee Hooker as his backup band, and many more) and the regular groups that Gary Bookasta handled (Palace Guard, Yellow Payges, East Side Kids).
While playing the Street Scene we were approached by Lou Liuzzi about him becoming our manager. Lou was just out of college with a degree in Business and trying to get into the music biz as a manager. He didn’t really have any experience but he did try hard. I don’t think he ever managed anyone else but The Sideshow.
He initially was able to get us some gigs and financed our first recording session at a small studio somewhere in the San Gabriel Valley. We recorded two covers, one was a song by The Who (“Can You See Me”) that hadn’t been released in the US yet and the other was by The Blues Magoos (“One By One”). During this period we were continually playing various clubs around Southern California (Marina Palace in Seal Beach, and The Galaxy in Hollywood). The Galaxy was less than 100 feet from The Whisky, which provided us with some exposure to some of the big acts of the time that would just stop in and see us.
It was at this time, early 1967 that The Standells came in to see us. A few weeks later they came to see us again when we were playing a car show at the Anaheim Convention Center. They approached our manager about signing with their new production company. We recorded four tracks at Mama Joe’s recording studio in the San Fernando Valley. We didn’t have any original material at that time so The Standells found the songs that we recorded (“Paper People”, “Black and White”, and two other tracks that I don’t recall the names). The sessions were a lot of fun as The Standells played on the tracks with us. Our drummer felt left out as he didn’t get to play on the tracks. The lineup for the sessions was Dennis Wilbur (guitar-piano-vocals), Dave Bishop (guitar-vocals), Freddie Mooney (bass-vocals), Larry Tamblyn (organ), Dick Dodd (drums), Tony Valentino (guitar), and John Fleck (guitar). Unfortunately all of the recordings that we had done have gotten lost over the years.
Our drummer Bob Phillips left the group and became the drummer for The Rooney Brothers (Mickey Rooney’s sons, Tim, Ted, and Mickey Jr.). We found another drummer right away from Downey CA. His name was Chuck Riley. Things were looking good and we were about to sign a deal with Reprise Records when our manager fell victim to the dreaded “Greedy Manager Syndrome” and presented us with a ridiculous contract that was to be 10 years long with a 25% commission. Needless to say, we said “NO”. That’s when everything fell apart and the deal with Reprise disappeared. Shortly after things fell apart with The Standells. We continued to play for about another six months and then broke up. This was early 1968.
After a few months of not doing much of anything I received a call from Freddie Mooney. He had met Diana Di Rose from The Rose Garden and said that she was auditioning players for a replacement band as several members of the original group had been drafted and the remaining members had quit. Freddie and I auditioned and landed the gig but the group was still incomplete needing another guitarist/vocalist and a drummer. We immediately called Dave Bishop and added him to the group. After auditioning numerous drummers we found Ken Dalton recently arriving in California from New York. We started learning material and for the first time writing some of our own. At this time I was the only writer with some help coming from Freddie Mooney.
Diana Di Rose introduced us to Charlie Green and Brian Stone who had produced the original Rose Garden (also Buffalo Springfield, Iron Butterfly, Sonny & Cher, and Jackie De Shannon). They were interested in recording us but as things turned out Diana was more interested in promoting herself and our other guitarist as the new Sonny & Cher, and another potential deal bit the dust. This version of The Rose Garden lasted only about eight months.
After this I stopped playing for a while and went back to school for a couple of years.
After college I reformed The Sideshow with Wayne Boyles (vocals) (another high school friend), Mike Herrmann (guitar-vocals), David Ando (bass), and David “Frenchy” O’Brien (drums also a founding member of the group Animotion). After about a year we replaced Mike Herrmann with Michael White and continued playing the club scene for a few more years.
Overall my experiences with The Sideshow were fantastic. At that time everything was about the music. What a great time to be playing rock. I did get to meet a lot of interesting and talented people and I wouldn’t have changed anything.
John English in KRLA’s Beat newspaper, May 21, 1966
Updated with information from my phone interview with John from September 2010
The Retail Clerks Auditorium, 2010 8550 Stanton at Crescent in Buena Park Can anyone provide a better or vintage photo?John English played a small but very vital role in the Los Angeles band scene of the mid-60s. He was born in Kensington, London. His mother was British and his father from Oklahoma. Growing up he listened to skiffle, and later r&b and country music. His father always liked music, and bought him a harmonica when he was nine or ten years old. His favorite harp player was Sonny Boy Williamson.When he was twelve the family moved to Texas for one year, and then to California, where he lived until he joined the service at 21. In high school he started taking music seriously.
While enrolled in college at San Fernando Valley State College (now California State University, Northridge), he met the Heathens, initially sitting in as a guest during their performances. John told me he performed with the Heathens at Pandora’s Box, around Orange County and the legendary Retail Clerks Union Auditorium with the Crossfires.
When English was in the group, the Heathens included Dirk Acree (aka Vern Acree, Jr., former guitarist for the Blazers of “Beaver Patrol” and “Bangalore” fame), his sister Char Acree (Sharon Acree?) and drummer Johnny Rogers,.
English wasn’t with the band for long, as he doesn’t seem to appear in any photos of the group, at least not that I can tell.
The Heathens at the Pussy-Kat a Go Go, circa 1966, after English had left the band. From left: Johnny Rogers (drummer), Don Adey, Colin Adey (with tambourine), unidentified girl in front, Dirk Acree, Char Acree
The first mention he receives in the press is from the May 13, 1965 edition of the Valley News of Van Nuys, California:
Dance, Show Event at College
NORTHRIDGE — Zeta Beta Tau Fraternity will hold a dance and show, “A Go Go Continental,” on Saturday, May 22, from 8 p.m. to midnight in the college gymnasium at San Fernando Valley State College, 18111 Nordhoff St.
The entertainment will highlight nationally famous recording artists, including The Parlays, formerly with Round Robin who made the Slauson popular. Their records include “Dance to the Slauson” and “Kick Your Little Foot, Sally Ann.”
Also on the program will be Bobby Day who made “Little Bitty, Pretty One” and “Rockin’ Robin” which was once No. 1 all over the world.
Direct from England and the first time in Los Angeles, John English and the Heathens will perform and sing a number of songs soon to be released. Finally, a surprise group will be featured doing many of its million sellers, it was stated.
The dress is school dress and tennis shoes …
As John related the story, someone named Brian who had done PR work for the Beatles brought Lelan Rogers to see the Heathens show at Pandora’s Box. According to John, Lelan had them record three or four sides, but only two were ever issued.
“I Need You Near” has a slashing rhythm from Acree, who takes an excellent solo early in the song. John’s singing is gravelly and cutting, and he has a great shouted bit, something like “alright Vern now step for me, c’mon give me that stroke (?) now!” “Some People” is much different, with a ringing acoustic guitar and an almost whispered vocal.
John’s singing on this record and his later ones shows not a trace of an English accent. I don’t believe the Heathens recorded anything besides this 45.
Both songs are English originals with “Some People” co-written with Vern Acree, publishing by Rattan Music, BMI. The record was produced by Lelan Rogers and arranged by Glen Spreen. Sabra released it in May, 1965, just after another disc produced by Rogers: “I Want My Woman” / “And Then” by the Emperors.
It’s hard to say why the single of “I Need You Near” is so rare now (literally only 4 or 5 copies are known!). Other 45s on the Sabra label, like the Emperors are not as difficult to find. The Heathens (master numbers S-5009 and S-5010) was actually ready to release before the Emperor’s (S-5011 and S-5012) but was given the next catalog number (5556 compared to the Emperors 5555). I would guess Sabra thought the Emperors disc was stronger, and once it started making an impact, Lelan and Sabra put all their promotional efforts into that record and let the John English & the Heathens record wither on the vine. Another reason could be Lelan soon left Sabra and then returned to Texas.
John told me the Sabra record received some good reviews, and the band was offered a deal to tour, but some of the Heathens were still in high school. John left the Heathens and went out on a 1965 Shindig summer tour as a solo artist.
September 18, 1965John English, lyrics and lead vocals
This Lemondrops were actually the PreachersThe September 18, 1965 issue of KRLA’s Beat paper has an interesting “personals” letter from one Chris Jones asking: “To John H. English of the used-to-be Heathen’s: What happened to the group? Will we never heard your beautiful London accent again?”
John English’s Sabra single was released in May, 1965, the same month the Preachers, another Los Angeles group, issued their first great single, “Who Do You Love” / “Chicken Papa” on Moonglow. After the Preachers released their second single, “The Zeke” / “Quit Talkin’ Bout Him” in August ’65, they’d realized their mistake in replacing their first singer, Richard Fortunato, with the smoother vocalist Burke Reynolds. Fortunato had a commanding r&b voice which helped make “Who Do You Love” such a classic.
Unable for whatever reason to bring Fortunato back into the group, the Preachers auditioned singers before their live crowds. John English did well with their audience and had the tough-sounding vocals the band wanted, and John told me he was also good friends with the Preachers’ bassist, Zeke. At this point the Preachers consisted of John English III (vocals), Hal Tennant (lead guitar), Rudy Garza (piano), James ‘Zeke’ Camarillo (bass) and Steve Lagana (drums).
English also had lyrics to two songs that would become the Preacher’s third 45, “Stay Out of My World” / “Pain and Sorrow”. Rudy Garza wrote the music for each song. As usual for Moonglow releases the production credit goes to the company’s owner Ray Maxwell. Recorded at R.J. Recorders in Hollywood, it was released in October ’65.
“Stay Out of My World” is a fantastic record, featuring dual harmonicas played by guitarist Hal Tennant and organist Rudy Garza over Steve Lagana’s catchy drum beat. John’s distinctive trebly rasp is even more expressive than it was on “I Need You Near”.
“Pain and Sorrow” is a gentler track, sung in a quiet voice just above the whisper he used on “Some People”. Moonglow later released another version of “Pain and Sorrow” by a singer named Wayne Dailey, but using the identical instrumental track recorded by the Preachers. It shows up on the flip to “Wreck of a Man”, Moonglow 5010.
While John English was in the band, the Preachers appeared on American Bandstand, the Lloyd Thaxton Show and KHJ-TV’s 9th St West dance show.
The Preachers returned to the studio and recorded two more songs, “Moanin'” (originally written by Bobby Timmons for Art Blakey, with lyrics by Jon Hendricks) and another English-Garza collaboration, “Just Don’t Complain”. A nihilist look at nuclear war, the music is full of tension, English’s vocals are snide and his lyrics unforgiving: the best advice he can give is “you got to maintain”.
They also cut a demo of “Hey Joe”. Rudy Garza said to Jeff Jarema:
We heard Arthur Lee and Love. He was doing “Hey Joe” in his nightclub act. We thought, man, that is a good song. Those other versions, like the Leaves’, weren’t out yet. We wanted to demo it for Moonglow Records. We had only heard it once or twice so we didn’t have the words, but we wanted to show them what the song was like. So Johnny English put some lyrics to it. They are completely different. He always seemed to write those doom and gloom, anti-war lyrics. We just did a demo for them, really. They didn’t like it!
After only a few months with the Preachers, John said, the FBI showed up at his door to make sure he would see to his induction, and he was drafted in December of ’65.
The Preachers were falling apart in any case, and Rudy Garza soon left the band because he felt Moonglow had buried his piano in the mix on “Moanin'”, and also that Moonglow was not producing the records as the band would like.
Lacking a band to support the new single, Moonglow thought they could promote John English as a solo act and released the single as by John English III and the Lemondrops in May, 1966. John’s solo career would have to wait until his stint in the Army finished four years later.
As an aside, I’d read a rumor of a group called John English III and The Carnaby Commoners but hadn’t seen any documentation to support it, and John told me he had never heard of that backing group.
The May 19, 1966 edition of the Beat:
English Long-hair Joins U.S. Army
John English is British. Less than a year ago he had shoulder length hair and was a member of the Preachers. Now he has a standard U.S. Army hair cut and proudly wears the uniform of this country’s army although he’s still a British subject. And he doesn’t regret for one moment cutting his hair or going in the army. John more or less went into the army voluntarily. He was drafted on December 13 and the same day he enlisted in order to get more of a choice of what he did in the service. He could have easily gotten out of it. He’s a British subject living here on a permanent visa and all he had to do was go back to England and they couldn’t have touched him. But he feels that if he lives in this country and takes advantage of everything it has to offer then he has to pay for it just like everyone else.
An Extra Year
Because he enlisted he’ll have to spend three years instead of two in the service but he’s doing what he wants to. He’s in weapons training at Fort Ord now and he’s continuing his career as a singer but as a solo singer now. “The Army’s not as bad as I thought it would be,” he says. “It’s good experience, as long as they don’t send me to Vietnam.” As it stands now the only way he’ll go to Vietnam is as a performer to entertain the troops. As for his hair, he had a Beatle cut for quite a while then he really let it grow, down to 12 to 14 inches long. “I liked it when I had it,” he says. “But I did want to cut it.” John cut his hair before he actually went into the army. “I wouldn’t have ridden down there on that bus with my hair long for all the money in the world.” And now he’s glad that he did cut it. “After you cut it off it feels real good.”
From Preachers To?
The Preachers, who have since disbanded, were a very long haired and very wild act. Where did they go? Well, John’s in the army, three other members of the original group are in The Vejtables, one is in The Bees and one is a physicist for Lockheed Air Corps! John’s starting out on his career as a solo singer and he has his first single release out now. It’s called “Moanin'” and it’s an old jazz number that’s pretty wild. …
Commenting on Sadler’s “Ballad of the Green Berets,” John says, “We used to hate it in basic training.” …
John’s somewhat unique in the pop world. He’s one singer who deliberately and voluntarily cut his hair and went into the armed service. It isn’t so bad after all according to this one exception.
After the Preachers, Richard Fortunato and Zeke Camarillo joined the Vejtables in time to cut their great 45 “Shadows” / “Feel the Music”, both sides co-written by Rich Fortunato.
Hal Tennant joined the Bees, who became the WC Fields Memorial Electric Guitar String Band and then was part of both ESB and Fields. Steve Lagana found a gig playing drums for Johnny Rivers and Rudy Garza went to work for Lockheed.
John English served four years as an officer in the Army, stationed at Ft. Lewis in Washington, where he had bands.
After leaving the service in 1969, he became a songwriter, writing “I’m Going Home” for Buck Owens who he toured with. His songwriting collaborators include Terry Clement, Larry Collins, Bryan Garofalo, Bob Moulds, Steven Diamond and David Wills.
John signed to Warner Bros in the mid-70s, then went back to Cal State for a graduate degree. In the ’80s, he went into production, first at Record One in Sherman Oaks and then in Nashville. In 1981 he hit the country charts with “Your Daddy Don’t Live in Heaven” and in 1989 produced Michael Ballew for Liberty Records. He now works as a communications consultant and lecturer.
Discography of the Preachers and John English III
John English III and the Heathens – “I Need You Near” / “Some People” (Sabra 5556, May 1965)
The Preachers – “Who Do You Love?” / “Chicken Papa” (Moonglow 240, May 1965, Richard Fortunato lead vocals) The Preachers – “The Zeke” / “Quit Talkin’ ‘Bout Him” (Pep 102, August 1965 – Pep was a Moonglow subsidiary, Burke Reynolds lead vocals) The Preachers – “Stay Out of My World” / “Pain And Sorrow” (Moonglow 5006, October 1965, John English lead vocals) The Preachers – “Hey Joe” (Moonglow demo, John English lead vocals)
John English, III with the Lemondrops (actually the Preachers) – “Moanin'” / “Just Don’t Complain” (Moonglow 5011, May 1966)
Rudy Garza mentioned an unreleased song by the Preachers called “Two Brothers” with Burke Reynolds on vocals, but that appears to be lost.
All four singles recorded by the Preachers are included on the Bacchus Archives release The Preachers – Moanin’, which I recommend, and “Hey Joe” appears on a Sundazed EP with “Who Do You Love?” and “Stay Out of My World”.
Sources include my conversation with John in September, 2010, Mike Dugo’s interview with Rudy Garza, and release dates provided by Mike Markesich. Heathens photo from hollywoodagogo.com.
Special thanks to Mark Taylor for scans and transfers of the Sabra 45.
Early 1963, clockwise from left: Tony Valentino, Gary Lane, Larry Tamblyn and Gary Leeds
Larry Tamblyn (keyboards, vocals) Tony Valentino (lead guitar) Gary Lane (bass) Gary Leeds (drums)
1962
The group is formed in Los Angeles by Larry Tamblyn (b. February 5, 1943, Inglewood, California, US), (brother of actor Russ Tamblyn), and guitarist Tony Valentino (b. Emilio Tony Belilissimo, May 24, 1941, Longi, Italy), who arrived in the US in 1958. Tamblyn has previously recorded three singles for local label, Faro.
Tamblyn and Valentino form the original Standells with Jody Rich (bass) and Benny King (drums) and work in Hawaii at the Oasis club in Honolulu for several months. The group takes its name from the long hours spent hanging around record company offices awaiting an audition.
1963
January The Standells work at the Club Esquire in Eureka, California. Soon afterwards, former New York Aerospace Technology school student, Gary Leeds (b. September 3, 1944, Glendale, California, US) and bass player Gary Lane (b. Gary McMillan, September 18, 1940, St Paul, Minnesota, US) take over from King and Rich. The group’s first recording is the single, “The Shake”, which receives airplay on KFWB radio station. May The group plays at the Royal Room in West Los Angeles. August The Standells appear at Tykes in Pasadena, California. September The band performs at the Trophy Room in Sacramento, California and then becomes the house band at the Peppermint West in Hollywood. December The Standells’ debut single, “You’ll Be Mine Some Day” is released as Larry Tamblyn and The Standells on Faro’s subsidiary label, Linda Records.
Standells, early 1964: Gary Lane, Larry Tamblyn, Gary Leeds and Tony Valentino
1964
February (6) Tamblyn, Valentino, Lane and Leeds sign a record contract with Liberty Records. March The group plays at the Thunderbird Lounge in Las Vegas billed as America’s answer to The Beatles. May Gary Leeds leaves to join first Johnny Rivers and then P.J. Proby, before co-founding The Walker Brothers, and is replaced by Dick Dodd (b. October 27, 1943, Hermosa Beach, California, US) from surf band, Eddie & The Showmen. (Dodd has also been an original mouseketeer on the popular TV show, The Mickey Mouse Club). June The Standells land a residency at Hollywood’s illustrious nightclub, PJ’s (where they record an album) and also play at the Haunted House on Hollywood Boulevard. Liberty releases the single, “Peppermint Beatle”, in an attempt to cash-in on The Beatles’ recent US success, but the single flops. July A cover of James Brown’s “I’ll Go Crazy” is lifted from the forthcoming album and issued as a single but fails to chart. In The UK, b-side, “Help Yourself” is released as the single.
French EP taken from the Liberty album In Person at PJ’s
September Liberty releases debut album, The Standells In Person At PJ’s, a blatant cash-in on The Kingsmen’s recent live album, Louie Louie: The Kingsmen In Person. The record is released in the UK the following year; the only Standells album to be issued there. The Standells travel to Nicaragua for 12 days. October (17) A final Liberty single, a version of Johnny Otis’ “So Fine” is taken from the album but does not chart. The band signs a new deal with VJ Records. December (5) The Standells perform at Sammy Lee’s Westlake in Chatworth, California. (22) The band makes its third return to P J’s in Hollywood.
Larry Tamblyn, Tony Valentino, Dick Dodd and Gary Lane
(26) Having signed a new recording deal with Vee-Jay Records, the band’s debut single for the label, “The Boy Next Door”, produced by Sonny Bono and featuring Cher on backing vocals, is released and eventually peaks at US #102. The single’s release comes on the heels of MGM film, “Get Yourself A College Girl”, where the band performs covers of “Bony Moronie” and “The Swim”. (31) The Standells appear on That Regis Philbin Show and perform a cover of The Beatles’ “I Want To Hold Your Hand” and one other song.
Standells, late 1964: Tony Valentino, Gary Leeds, Larry Tamblyn and Gary Lane
1965
January (7) The Standells open New Tiger A-Go-Go Room in the Hilton Hotel, San Francisco. (18) “Zebra In The Kitchen” is released as a single by MGM but is not a success.
March (18) The Standells appear in episode “Far Out Munsters” for the popular TV programme, The Munsters. After the initial success of “Help Yourself” as a single in Los Angeles, Dodd become the group’s principal lead singer. (20) The band appears on American Bandstand with Brenda Holloway. (25) The group appears on Shindig with Dick and Dee Dee, Shirley Ellis, Bobby Goldsboro, The Trade Winds and Glen Campbell.
On the Munsters, from left: Larry, Tony, Dick and GaryLater Japanese release of “Dirty Water”
April The Standells return to the Tiger-A-Go-Go at San Francisco Hilton Hotel where they are advertised as the “return of the Wild Standells”. May(28) The band plays at the Gardon Grove’s Alamitos Intermediate School assembly. July(12) The Standells appear on Hollywood Discotechque TV show. August Final Vee-Jay single, “Don’t Say Goodbye”, backed by “Big Boss Man” is released but fails to chart. October The band is introduced to Ed Cobb, a former member of fifties vocal group, The Four Preps, who is currently working as a freelance producer and songwriter. Cobb is looking for a group to record one of his recent compositions, “Dirty Water”; a song written about a recent experience he had fighting off muggers, while walking with his girlfriend along the River Charles in Boston. He is suitably impressed with The Standells to use them on the track and offers his services to the group as a manager/producer. Shortly after, Cobb is approached by Tower Records (a subsidiary of Capitol), who are eager to obtain a record he has produced for Ketty Lester. Cobb proposes a deal, whereby Tower agree to sign The Standells in return for the Lester single. November “Dirty Water” is released as a single but is slow to sell. Dodd, who apparently hates the song, leaves the group and is replaced by former Sir Raleigh & The Cupons, drummer/vocalist, Dewey Martin (b. Dewayne Midkiff, September 30, 1940, Chesterville, Ontario, Canada; d. 31 January 2009). The group records a version of “Why Did You Hurt Me” with Martin on lead vocal but it is re-recorded when Dodd rejoins the band a few months later. December (5) The Standells perform at the Tiger-A-Go-Go in San Mateo, California.
Rare Tower promotional photo from 1966, featuring second bassist Dave Burke
1966
February Dodd rejoins the band while they are working San Jose (and after Cobb arranges a summer tour supporting The Rolling Stones). Martin, meanwhile, leaves to join The Dillards, before gaining greater acclaim with The Buffalo Springfield. May Bass player Gary Lane leaves the band during its first concert tour and is replaced in Florida by former member of the Tropics, Choir and Rush, Dave Burke. (20) The Standells appear at Birmingham High School, Van Nuys with The Jefferson Airplane, The Doors, The Sunshine Company and The Nitty Gritty Dirt Band. (20) The Standells perform “Dirty Water”, “There’s a Storm Comin'” and “Hey Joe” on the Mike Douglas Show. June (11) After a long climb “Dirty Water” breaks into the US charts at #31, the group’s biggest hit to date. Liberty Records, exploiting the success of “Dirty Water”, reissues The Standells’ debut album as Live And Out Of Sight, adding the “Peppermint Beatles” single to the track listing. A single, “Ooh Poo Pah Doo” is also issued, to tie in with the album’s release. Second Tower single, Cobb’s “Sometimes Good Guys Don’t Wear White”, reaches US #43, while debut Tower album, Dirty Water hits #52. (24) The Standells supports The Rolling Stones at the Manning Bowl, Lynn, Massachusetts on the opening date of The Stones’ US tour. Also on the bill is The McCoys and The Tradewinds. The crowd is subdued with tear gas, and the concert (even though it goes ahead) will be the last to be held at the venue until 1985. July “Dirty Water” is The Standells’ second and final single to be released in the UK, but doesn’t chart. (9) “Dirty Water” peaks at US #11, the band’s biggest hit. (22) The Standells open with The McCoys and other acts for The Rolling Stones at the Memorial Auditorium, Sacramento, California. (25) The group supports The Rolling Stones at The Hollywood Bowl alongside The Buffalo Springfield, The McCoys and The Trade Winds. August “Ooh Poo Pah Doo” is lifted from the earlier live album and released on Sunset but is not a chart success. September Second album, Why Pick On Me – Sometimes Good Guys Don’t Wear White is released but doesn’t chart. November Third album in six months, Hot Ones which is entirely comprised of covers of recent hits like The Lovin’ Spoonful’s “Summer In The City” and The Beatles’ “Eleanor Rigby” is released but is not a success. Burke leaves, later to join San Francisco band Indian Puddin’ and Pipe [note: it may have been a different Dave Burke who joined Indian Puddin’ & Pipe and West Coast Natural Gas] and is replaced by John Fleck (b. Johnny Fleckenstein, US), who had been an original member of Love, co-writing “Can’t Explain” on that band’s debut album.
(26) Cobb’s “Why Pick On Me?” stalls at US #54.
The Standells in 1967, from left: Larry Tamblyn, Dick Dodd, Tony Valentino and John Fleck
1967
February The first single to feature Fleck on bass is “Try It”, arguably The Standells’ finest record. However, despite becoming an immediate hit in L.A., the record is soon banned by radio stations at the direction of rightwing moral majority radio mogul Gordon McLendon who argues that “Try It” is a blatant request for teenage girls to lose their virginity. (7-12) The band plays at the Ice House in Glendale, California. March The group releases the novelty tune, “Don’t Tell Me What To Do” under the name The Sllednats (The Standells backwards), but the single flops. (25) Valentino and Fleck’s “Riot On Sunset Strip” hits US #133. April Cobb is commissioned by Tower to come up with a soundtrack for a teenage protest film revolving around the disturbances on Sunset Strip 1966/67. The band is featured in the film, alongside label mates, The Chocolate Watchband.
From left: Gordon McLendon, Art Linkletter, Larry Tamblyn, John Fleck, Dick Dodd and Tony Valentino
May (27) The Standellls appear on Art Linkletter’s TV show, Let’s Talk, debating radio mogul Gordon McLendon, who has been leading the campaign to ban music with “objectionable” lyrics. The Standells handily defeat him. However, after creative editing, it appears the debate was more evenly matched. July (5) The Standells support The Doors and The Coasters at Lowell High School Auditorium, La Habra, California. (23) The group appears on the Shebang TV show with Brenton Wood. August (26) – September (4) The band performs at the ‘Fort Worth Teen Fair & Mardi Gras Festival’, the Will Rogers Exhibit Building, Fort Worth, Texas. (5-12) The Standells play at the Ice House in Glendale. October The Standells’ next release, the R&B/soul single, “Can’t Help But Love You” is a minor hit, peaking at US #78. Tower releases The Standells’ fourth and final album Try It, which doesn’t sell. November (7) The group appears on the TV show Groovy with The Sunshine Company. (9) The Standells make a TV appearance on Pat Boone in Hollywood. December The group appears on the Joey Bishop Show. (8-9) The Standells perform at the Cheetah, Venice, California with The Hour Glass.
Larry Tamblyn, American Recording Studios, 1967
Live, 1967: Larry Tamblyn, Tony Valentino, Dick Dodd and John FleckLate 1967, just before Dick Dodd left the band for a solo career
1968
January (9-14) The Standells are billed to appear at the Ice House in Glendale, California but the shows are postponed until after playing at the Guitar Center in February. February (10) The group plays at the Guitar Center in Hollywood, California. April The band is eager to write and perform its own material and decides to split from Cobb, who continues to work with The Chocolate Watchband. Cobb is offered another film commission and decides to record Dodd as a solo artist without the rest of the group. Dodd records “Guilty” for the film, Square Root but problems arise over its distribution and the single flops. (9-14) The Standells return to the Ice House in Glendale for further shows. (19) The group plays at Bakersfield College, Bakersfield, California with The Illinois Speed Press. May Dodd joins Green Grass Productions as a solo artist. His place is taken by drummer Bill Daffern. June A final single, “Animal Girl” is released but is poorly received, despite being one of the group’s finest records. Featuring Tower producer Richie Podolor on sitar, and recorded before Dodd’s departure, the record is a radical departure in sound for the band and is lost in the media rush which follows. July A Larry Tamblyn’s solo single, the instrumental “Summer Clothes (Parts 1 &2)”, is released on the small Sunburst label. The one-year old track was recorded around the same time as “Can’t Help But Love You”. Dodd’s first solo single “Little Sister’ is released but fails to chart. August Fleck also drops out and moves into film work. He later becomes a top cinematographer with Jaws among his credits. The Standells recruit ex-Factory lead vocalist and guitarist Lowell George (b. April 13, 1945, Hollywood, California, US), but no recordings are made. September (3-15) The new line-up begins a series of dates at the Ice House, Glendale, California with Pipe Dream but they are never completed due to differences between Tamblyn and George. October Tower releases Dodd’s solo album, The First Evolution Of Dick Dodd but it doesn’t chart. (27) The Standells appear at the Artists and Models Ball at the Century Plaza with Taj Mahal and others. November George leaves to join Frank Zappa’s Mothers Of Invention (and later Little Feat). December Dodd’s final single “Fanny” is another chart failure and he quits the music business for the next few years. (7) A new version of The Standells supports Johnny Rivers at the College of Sante Fe with Blue Marble Faun in Sante Fe. Daffern and Tamblyn contribute material to The Electric Prunes’ final album, Just Good Old Rock and Roll.
Standells 1969, from left: Larry Tamblyn, Tony Valentino (in front), Bill Daffern (Willie Dee), Tim Smyser, Paul DowningRare EP from Thailand that seems to include a version of “La Bamba” not heard anywhere else – anyone ever heard this version?
1969
Tamblyn and Daffern form Chakras with former Knack members Michael Kaplan and Larry Gould with Valentino acting as manager. Reprise releases the Charkras single, “City Buy” c/w “Agnes Vandalism”, both sides of which are written by Michael Kaplan. Daffern leaves and subsequently records with Hunger! and later records with Truk. Tamblyn and Valentino then reform The Standells with English guitarist Paul Downing. November (14-16) Billed as The Standells, the group appears at Pier 7 in Van Nuys, California. A photo circa this time includes new members Bill Daffern (Willie Dee) and Tim Smyser.
1970
July (7-12) The Standells play at the Beach House, California. September Dodd releases the single “Requim: 820 Latham”.
1975
Dodd emerges with Los Angeles group, Joshua, who release an album Willy And The Hand Jive (produced by Ed Cobb) for the independent AVI label.
1982
American indie label Rhino Records releases compilation album The Best Of The Standells. Around the same time Valentino cuts a number of solo demos (but is unable to attract a record deal), before joining Tamblyn and Dodd in a full-scale Standells reunion.
1983
August The Standells perform at the Club Lingerie in Hollywood, the Golden Bear in Huntington Beach, a weeklong engagement at Harrah’s in Reno, Nevada, supported by The Fleshtones.
1984
Rhino Records issues second album, Rarities, a collection of rare Standells tracks, including Dodd’s solo releases and the band’s pre-Tower Vee-Jay singles.
1986
Third Rhino release The Best Of The Standells is issued. July (19-20) The Standells appear at the Summerfest/Return to the Sixties at Glen Helen Regional Park, San Bernandino, California. Tamblyn, Valentino and Dodd reunite in 1999 for the Cavestomp Festival in New York. The group records a live CD, Ban THIS, a slam at Gordon McLendon.
2000
Gary Lane rejoins The Standells as they perform at the Las Vegas Grind, Las Vegas, Nevada.
2004
The Tamblyn/Valentino/Dodd/Lane line up play before the Game Two of the World Series.
2005
April (11) The Standells appear at Fenway Park. The band will return the following year for a show on September 8.
Many thanks to Larry Tamblyn for his personal contributions.
Sources:
Bronson, Harold. Sleeve notes to Rhino album, The Best Of The Standells. Burgess, Chuck and Nowlin, Bill. Love That Dirty Water! The Standells and The Improbable Red Sox Victory Anthem, Rounder Books, 2007. Doggett, Peter. ‘The Standells’. Record Collector, May 1991, #141. Grushkin, Paul D. Art Of Rock – Posters From Presley To Punk, Artabras, Cross River Press, Ltd, 1987. Hogg, Brian. ‘Little Feat’. Strange Things Are Happening, Vol 1, #3, July/August 1988. Joynson, Vernon. Fuzz, Acid And Flowers, Borderline Productions, 1993. Maclean, Hugh and Joynson, Vernon. An American Rock History – California The Golden State, Borderline Productions, 1985. Rees, Dafydd and Crampton, Luke. Book Of Rock Stars, 2nd Edition, Guinness Publications, 1994 Robertson, John. Neil Young – The Visual Documentary, Omnibus Press, 1994. Shaw, Greg. The Doors On The Road, Omnibus Press, 1997, pages 46 and 57. Whitburn, Joel. Billboard – USA Top 40 Hits, 3rd Edition, Guinness Publications, 1987. Whitburn, Joel. Joel Whitburn’s Pop Annual 1955-1994, Billboard Record Research Inc, 1995. Billboard, May 11, 1968, page 50. Billboard, September 7, 1968, page 3. Variety, September 2, 1970, page 60.
Another great resource is: www.newspaperarchive.com/
Some of the scans and photos seen here are on the Standells Facebook page. from the collections of Larry Tamblyn, Thomas Haaland and others.
A legendary disc since its inclusion on the original Psychedelic Disaster Whirl LP. Nothing is known about the band except they might have been from Los Angeles or somewhere in the San Fernando Valley. Tarzana is a possibility.
“Cuttin’ Grass” and “X+Y=13” were both written by T. Jones and released on the Santus Record Company label, SS-11/12, in 1967. The publishing was by Hoblong Music, produced by Long-Miller Enterprises. Half of Long-Miller was Joe Long of Encino, who had a 45 as Big Joe Long, “Just For a While” / “The Things You Do”.
The Caretakers of Deception 45 has recently been booted.
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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The Sloths cut the great “Makin’ Love” in September 1965. The sliding guitar rhythm doesn’t quite mesh with the other guitar part. The production is so muddled the drummer’s Bo Diddley beat on the toms produces a constant hum that drowns out most of the bass notes. The sound is a turgid, dense r&b, like the Stones’ take on “Not Fade Away” turned inside-out. Hank Daniels shouts his lyrics in a hoarse, slobbering voice: “I wanna be with you all night, makin’ love, good good good lovin’ baby, makin’ love”!
Dan Nielsén, who had conducted the interview with John Ford of the 
Mop Top Mike suggested I cover the Majestics, an unknown group who cut this one 45 for MGM in 1965. Hopefully we’ll be able to find some more info on this band.
