Category Archives: California

John English III “I Need You Near” on Sabra

John English in KRLA Beat
John English in KRLA’s Beat newspaper, May 21, 1966

Updated with information from my phone interview with John from September 2010

Retail Clerks Auditorium, Buena Park
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, 1966
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

John English III Sabra 45 I Need You NearJohn English III Sabra 45 Some PeopleThe 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.

 KRLA Beat, September 18, 1965
September 18, 1965
The Preachers, Moonglow 45 Stay Out of My World
John English, lyrics and lead vocals

John English III Moonglow 45 Moanin'
This Lemondrops were actually the Preachers
The 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.

The Standells

Standells photo early 1963
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
Standells, early 1964: Gary Lane, Larry Tamblyn, Gary Leeds and Tony Valentino

Standells Liberty 45 Peppermint Beatle1964

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
French EP taken from the Liberty album In Person at PJ’s

Standells Liberty 45 So FineSeptember 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.

Get Yourself a College Girl lobby card with Standells
Larry Tamblyn, Tony Valentino, Dick Dodd and Gary Lane

Standells VJ 45 The Boy Next Door(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
Standells, late 1964: Tony Valentino, Gary Leeds, Larry Tamblyn and Gary Lane

Standells MGM 45 Someday You'll Cry

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.

The Standells on the Munsters, from left: Larry, Tony, Dick and Gary
On the Munsters, from left: Larry, Tony, Dick and Gary
Later Japanese release of "Dirty Water"
Later 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
Rare Tower promotional photo from 1966, featuring second bassist Dave Burke

Standells Tower LP Dirty Water

Standells Tower 45 Sometimes Good Guys Don't Wear White

Standells Tower LP Why Pick on Me

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
The Standells in 1967, from left: Larry Tamblyn, Dick Dodd, Tony Valentino and John Fleck

Standells Tower PS Poor Shell of a Man, Try It

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
From left: Gordon McLendon, Art Linkletter, Larry Tamblyn, John Fleck, Dick Dodd and Tony Valentino

McLendon stations complaintMay (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
Larry Tamblyn, American Recording Studios, 1967

Standells color photo

Live, 1967: Larry Tamblyn, Tony Valentino, Dick Dodd and John Fleck
Live, 1967: Larry Tamblyn, Tony Valentino, Dick Dodd and John Fleck
Late 1967, just before Dick Dodd left the band for a solo career
Late 1967, just before Dick Dodd left the band for a solo career

First Evolution of Dick Dodd Tower LP
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 Downing
Standells 1969, from left: Larry Tamblyn, Tony Valentino (in front), Bill Daffern (Willie Dee), Tim Smyser, Paul Downing
Standells Thai EP
Rare EP from Thailand that seems to include a version of “La Bamba” not heard anywhere else – anyone ever heard this version?

Standells Rhino LP Rarities

Standells Tower PS Riot on the Sunset Strip

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.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Email: Warchive@aol.com

 

The Caretakers of Deception “Cuttin’ Grass”

Caretakers of Deception Sanctus 45 Cuttin' GrassA 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.

The 4th Street Exit

I don’t own this 45 by the 4th Street Exit, but I like their song “Strange One” so much I have to cover it.

After the crashing opening chords, the organ carries the melody while the guitar switches to a dry sound repeating licks and bending notes like crazy. No faulting the rhythm section either, with the fluid bass runs and great drum breaks.

The song was written by M. Fichera and published by Janell Music, a subsidiary of Tiki Recording Service in San Jose, California, released in May of ’67. I believe the studio is still in existence, run by one of the original owners, Gradie O’Neal. I don’t know anything about the group and I haven’t even heard the flip yet, “A Love Like This”.

Rowena also released the Rock Shop’s great “State of Your Mind” / “Is That Your Halo”, produced by Norm Flint.

Scan from Brent’s old auction of the 45.

The Nite Walkers

The Nite Walkers, 1965: Rich Hernandez, Joe Stoddard, Ray Almonza and Robert Stoddard
The Nite Walkers, 1965. From left: Rich Hernandez, Joe Stoddard, Ray Almonza and Robert Stoddard,
with go-go dancer Linda Hernandez

The Nite Walkers Russell 45 Florence AveThe Nite Walkers cut two 45s at Russell Recording, a studio located (according to the liner notes to Teenage Shutdown vol. 6) above an air conditioning store in Downey, CA. Mop Top Mike tells me the studio basically disappeared when the owner skipped out without paying back rent.

All four songs they released are originals. Their first 45 has a cool guitar instrumental on the A-side, “Florence Ave”. The group yells an intro “Let’s meet at Al’s on Florence Avenue!”. It was backed with a dirge-like ballad “My Girl” (not the Miracles song by a long shot).

The Nite Walkers Russell 45 My GirlThe second 45 has “High Class”, the singer alternates between a menacing spoken mumble and an intense shouting, sometimes within the same line of verse. The band creates a gloomy background through a droning riff and rolling drums for most of the song’s three minutes. The backing vocals are straight out of “Gloria” but the verse seems to have some awareness of “You’re Gonna Miss Me”, with the line “you’re gonna wake up one morning, you’re gonna start to cry, you’re gonna wonder why”.

The flip “You’ve Got Me” is another moody number, something similar to “My Girl” but it works better. I spent a lot of time with audio software taking out clicks from a bad scratch on the 45, but the result is excellent.

With no names or publishing on the label, it was nearly impossible to trace these guys so I thought we may never know the story of this group until Robert Stoddard contacted me:

The band was formed in 1964 I believe. Members are Richard Hernandez (bass), Ray Almonza (rhythm guitar), Joe Stoddard (lead guitar), and Robert Stoddard (drums). We were indeed from Bell Gardens and all songs are originals. What made this band unique at the time was their ages. I was 12 and the other three were 13.

The Nite Walkers Russell 45 High ClassMy drumming was a direct result of the music scene of the time. I beat on couch pillows with sticks for two years to “Pretty Woman” and Beatle tunes. Christmas of ’64 brought me a cocktail drum and Joe a cheap electric guitar and super small amp. Richard and Ray were aquaintances of Joe’s from Bell Gardens Junior High.

The slicked back look in the hair was Mom’s idea, you know how Moms are. The mop cut was about a year later with the British Invasion in full swing and all. The girl in the one pic is Richard’s little sister, she was our occasional go-go dancer, her name was Linda.

KCOP Countdown '65
We played mostly for school assemblies, grand openings of businesses, weddings. We used to play at a place in Hollywood called Pandora’s Box on Sunset and La Brea. Made a TV commercial in a topless bar. Came in 2nd place in the famous “Countdown ’65” battle of the bands at the Olympic Auditorium which was televised. It was sponsored by “the Royals” a British family of con artists who just ripped everybody off and never had any intention of awarding any prizes.

Other bands were the Cosmictones and the Velvetones. The Cosmictones tried to compete. The velvetones were a surf band and they were older and really good. their drummer Al Stigler taught me alot. Lead guitarist Gary Stovall went on to make a name for himself in the biz.

There was definitely a music scene in town. we played at the City Parks Dept. dances often, and every summer there was a Battle of the Bands at the yearly amusement park also held at the Parks Department.

The songs were written basically by all of us, we used to rehearse in the Toler Ave. garage next to my house.

The Nite Walkers Russell 45 You've Got MeBoth [records] were done at the same time. Don’t remember much about the studio but I know I was behind a glass wall, no plexiglass yet. Music tracks were done first and vocals were done second with all of us circling one auditorium type microphone.

Russell recording I believe was affiliated somehow with Downey Music Center where we purchased all our equipment. I remember the man’s name was Nate. They were pressed somewhere on Melrose in West Hollywood, I remember because we all went there in the band car, a 1948 Cadillac candy apple red hearse. I believe we got it because the Monkees had a candy apple red dune buggy kind a thing.

I don’t really know much about those transactions, my Dad handled all that stuff. But I do know that only 300 copies were pressed due to the cost at the time. My Dad sent them everywhere, radio stations, etc, but to no avail.

Q. Is it Joe who yells “Let’s meet at Al’s on Florence Avenue”?

It was indeed Joe who yelled but he was just closest to the mike, we all had a hand in that. To this day I still think that was cheesy. Al’s however was a real place we used to hang out at. It was like a really good Greek hamburger stand built on the lot on the north west corner of Florence Ave. and Garfield. It was kitty corner from Toler Ave where we were based. I believe it’s a donut shop now, I don’t know.

I had to quit due to the war in Vietnam. Joe stayed in music and is still performing, check him out at joestoddardshow.com. Richard lives up north somewhere, and I haven’t heard from Ray since the 60’s. I returned to playing live and touring with several bands from ’76 through the 80’s and still occaisionally dabble in it.

Robert Stoddard

Russell RRC-43106: Florence Ave / My Girl
Russell RRC-43107: High Class / You’ve Got Me

 The Nite Walkers, 1966. From left: Rich Hernandez, Joe Stoddard, Rob Stoddard and Ray Almonza
The Nite Walkers, 1966. From left: Rich Hernandez, Joe Stoddard, Rob Stoddard and Ray Almonza

Clear Light

clockwise from left: Doug Lubahn, Bob Seal, Dallas Taylor, Michael Ney, Cliff De Young and Robbie Robison
counter-clockwise from bottom left: Robbie Robison, Doug Lubahn, Bob Seal, Michael Ney and Dallas Taylor

Cliff De Young (vocals)
Bob Seal (lead guitar, vocals)
Doug Lubahn (bass)
Ralph Schuckett (keyboards)
Dallas Taylor (drums)
Michael Ney (drums)
Robbie Robison (guitar)
1966

Georgia-born guitarist Bob Seal teams up with Dallas Taylor (b. 1948, Denver, Colorado, US) during the summer when they meet in Phoenix, Arizona as Seal is heading to California. Taylor has already tasted the Sunset Strip scene while drumming with Lowell George’s Factory some months earlier.

They arrive in Los Angeles and set up camp in Manhattan Beach where they meet up with Robbie Robison (real name: Clyde Edgar Robison) and Michael Ney at a Peanut Butter Conspiracy gig. Robison is the husband of Barbara Robison (aka Sandi Peanut Butter), the Peanut Butter Conspiracy’s lead singer – and had recorded an album in 1964 as Robbie the Werwolf – Live at the Waleback Club.

Deciding to make a go of forming a group with two drummers they recruit Wanda Watkins as an additional vocalist and name themselves The Garnerfield Sanitarium.

In late 1966, Doug Lubahn (b. Colorado, US), who has spotted Seal and Taylor on Fairfax Avenue wearing signs reading “Seeking singing, writing bass player” joins on bass. Lubahn had moved to Los Angeles a few months earlier from Aspen, Colorado where he was working as a ski instructor and playing with several local groups. He is spotted by Mama Cass of The Mamas & The Papas and she encourages him to relocate to the West Coast.

They acquire Bud Mathis as manager and change name to the Brain Train – a name given to them by the Peanut Butter Conspiracy’s Alan Brackett. In the process they lose Watkins, who will turn up in another Bud Mathis outfit, The Joint Effort. Mathis finances a recording session at the Electro Vox Studios and takes the resulting demo recordings of Wolfang Dios’ “Black Roses” and Lubahn and Mathis’s “Me” to Elektra Records.

1967

Elektra snaps the band up but persuades them to ditch Mathis and be taken under the wing of producer Paul Rothchild. The Brain Train moves into a large house on Franklin Avenue in the Los Feliz area of Los Angeles, which has previously been the home of WC Fields and begin reheasing material for their proposed album.
March (26) Renamed Clear Light, the band plays at Los Angeles’ first “Love-In” at Griffith Park on the same bill as The Steve Miller Band, The Grateful Dead and The Other Half.
April The recording sessions for the band’s debut album begins. Two of the first tracks completed are a reworking of “Black Roses” and a Robbie Robison composition titled, “She’s Ready To Be Free”. Around the same time, the group lands a cameo role in the movie, The President’s Analyst starring James Coburn. Soon after filming, Clear Light adds lead singer Cliff De Young (b. 12 February 1945, Los Angeles, California, US).

Scene from The President’s Analyst 

Barry McGuire cast as their singer, for some reason. 

Clear Light Elektra LP cover

from left to right, back row: Ralph Schuckett, Dallas Taylor, Michael Ney and Doug Lubahn front row from left: Bob Seal and Cliff De Young

(30) The group performs at the “Freedom of Expression Concert” at the Hullabaloo, Hollywood, alongside The Doors, Canned Heat, The Poor and many others.
May Despite having put down most of the tracks for the album, Elektra decides that Robison’s acoustic approach is incompatible with the group’s new electric direction and he is dropped from the group, although he remains part of the entourage, operating his own light show, set up at the group’s live appearances. After auditioning many guitarists as possible replacements, including Doug Hastings (ex-Daily Flash and soon-to-be Buffalo Springfield) they eventually decide to go with keyboard wunderkind Ralph Schuckett. Schuckett overdubs keys to several of the tracks already in the can as well as collaborating with fellow newbie Cliff De Young.
June (11) The new line up performs at Cheetah, Venice, California with Kaleidoscope.
(30) The band performs at the Oracle Benefit at the Valley Music Theatre, Los Angeles with Kaleidoscope and The Fraternity of Man (the Byrds cancel – McGuinn was sick). After this Clear Light embark on a cross country tour driving non-stop to Philadelphia where the band goes on strike, forcing Elektra to fly them to New York. The group is met by Danny Fields, who checks the musicians into Albert’s Hotel. The band initially plays at Steve Paul’s Scene East in the Delmonico Hotel but on the first night Schuckett lambasts the crowd for not paying attention to the group’s performance and it is fired. The next day, Steve Paul places the group at his main club, The Scene.
July (6-23) Clear Light play at Steve Paul’s Scene, New York. While there, the group jams with various guests including Tiny Tim, Howlin’ Wolf and The Candy Men, formerly members of The McCoys. The band plays further dates in Boston before returning to Los Angeles.
August (31) – September (3) Clear Light performs at the Magic Mushroom, Los Angeles with Kaleidoscope. Soon afterwards, the band’s debut single, “Black Roses” c/w “She’s Ready To Be Free” is released.
(25) Lubahn participates in the sessions for The Doors’ Strange Days album.
(30) Clear Light appears at the Earl Warren Showgrounds, Santa Barbara with The Quicksilver Messenger Service, Van Morrison and Blue Cheer.
October (20-22) The band plays at the Cheetah, Venice, California with The Electric Flag.
(26-28) The group supports Lee Michaels and Pink Floyd at the Fillmore Auditorium, San Francisco.
November The group’s eponymous debut album is released climbing to US #126. The band’s second single, “They Who Have Nothing” c/w “Ballad of Freddie & Larry” is issued to support the album. The debut longplayer is subsequently released in the UK, and although it is not a hit, it is greeted with interest, particularly on the underground scene. (Clear Light’s records are regularly featured on John Peel’s Top Gear). Bud Mathis licences The Brain Train demos to Titan Records in order to cash in on the release of the Elektra album.
(8) Clear Light appears on Pat Boone’s weekly show Pat Boone in Hollywood.
(17-19) They play at the Cheetah in Venice, California with The Nazz.
(22) Clear Light performs at the Santa Monica Civic Auditorium, Santa Monica, California with The Peanut Butter Conspiracy, The Merry Go Round, The Hour Glass and others.
(25) They appear at the Earl Warren Showgrounds in Santa Barbara, California with The Youngbloods, Canned Heat and The Merry Go Round.
(30) – December (2) The band is joined by The Nitty Gritty Dirt Band for a series of shows at the Fillmore Auditorium.
(8-9) They play at the Boston Tea Party, Boston with The Street Choir.
(19-31) Clear Light perform at the Café Au Go Go in New York where they are joined by Tim Buckley on the 28th and 30th. After much behind the scenes manipulation and Svengali–ism by Rothchild, the band starts auditioning guitarists, including Kenny Pine and Jeff Jacobs, on the club’s stage to replace Bob Seal, who has come to blows with the producer. Danny Kortchmar, who has previously played with New York groups, The King Bees and The Flying Machine and recently returned from Los Angeles where he had tried out for Elektra’s project supergroup (later Rhinoceros) takes over lead guitar. Seal meanwhile relocates to the Bay area and, disillusioned with playing six string takes up the bass – gigging but not recording with Gale Garnett & The Gentle Reign. He later takes up the six string again, replacing the original guitarist in the Transatlantic Railroad. He subsequently teams up with former Salvation member Joe Tate in Redlegs, a popular Bay Area group.

1968

January (5-6) With Kortchmar on guitar, Clear Light play at the Grande Ballroom, Detroit with Gypsy and Children.
February A third single, “Night Sounds Loud”, is only released in the UK, but is not a hit.
(23-24) Clear Light support Jefferson Airplane at the Shrine Auditorium, Los Angeles with the Ceyleib People.
(26 & 28) Kortchmar, Schuckett, Lubahn and Ney appear on the recording of The Monkees’ “The Porpoise Song”, produced by Russ Titelman and Gerry Goffin. Also on the session are Leon Russell and British jazz pianist, Victor Feldman.
March (17) Clear Light plays at Pasadena Exhibition Hall, Pasadena, California with The Peanut Butter Conspiracy, Iron Butterfly, Steppenwolf, Procol Harum and many others.
(24) The group joins The Buffalo Springfield, Jefferson Airplane, H.P. Lovecraft, The Quicksilver Messenger Service and various others at a benefit for the Radio Strike Fund for disc jockeys at KPPC Pasadena and KMPX San Francisco.
(29-30) The band appears at the Kaleidoscope with Bo Diddley and The Peanut Butter Conspiracy.
April (13) Clear Light appears at the Salt Lake Coliseum, Salt Lake City, Utah with Blue Cheer and Jerry Abrams.
(18-23) Clear Light plays at the Cheetah, New York with Harvey and The 7 Sounds.
(26-28) The band appears at the Trauma in Philadelphia with The Mandrake Memorial.
May (3-4) The group performs at the Boston Tea Party with Butter and Tim Rose. The group then returns to New York and plays some shows at the Electric Circus with The Chambers Brothers and Circus Maximus where they are a huge hit.
(25) Clear Light plays at the “McCarthy Happening” in Santa Clara County Showgrounds, San Jose, California with H.P Lovecraft, The Nitty Gritty Dirt Band, The Flamin’ Groovies, The Strawberry Alarm Clock, Crystal Syphon, Womb and others.
(30) Kortchmar takes part in the recording of The Monkees’ “As We Go Along”.
June (14-16) The band appears at San Francisco’s Avalon Ballroom with Frumius Bandersnatch and Buddy Guy. Sessions for a second album begin but after a few recordings Cliff De Young quits to return to college. He later pursues an acting career. Two tracks from the sessions survive – “Darkness of Day” (a Schuckett/De Young collaboration) and Kortchmar’s “What A Difference Love Makes”.
August Kortchmar appears on The Fugs’ album, It Crawled Into My Hand Honest.
September Clear Light unofficially splinters. Lubahn briefly becomes The Doors’ studio bassist, appearing on albums Waiting For The Sun and The Soft Parade before forming jazz/rock band, Dreams with ex-Blood, Sweat & Tears member Randy Brecker, while Schuckett and Ney (in the guise of Mike Stevens) join The Peanut Butter Conspiracy for a summer and winter tour of the Pacific Northwest. Schuckett also does session work for people like James Cotton. Dallas Taylor, who initially works with ex-Lovin’ Spoonful singer/guitarist John Sebastian is subsequently introduced to Stephen Stills. Around this time, Taylor, Lubahn and Schuckett do a recording session with Stills at TTG studio in Hollywood. Taylor strikes up a rapport with Stills and is chosen as drummer for Crosby, Stills & Nash.
November Kortchmar and Ney join Carole King’s City, although the latter will soon be replaced by Jim Gordon.

1969

January Elektra’s news letter, Revelation announces that Clear Light have split up.
February The City’s sole album, Now That Everything Has Been Said is released on Lou Adler’s Ode label.
December Taylor appears on Essra Mohawk’s album, Primordial Lovers, released on Reprise Records.

1970

May (12) Taylor is sacked by Crosby, Stills, Nash & Young after a gig in Denver and rejoins John Sebastian’s backing band.
September Schuckett and Kortchmar reunite in Jo Mama, which signs to Atlantic Records.
November Lubahn’s group Dreams release their eponymous debut album.

1971

March Debut Jo Mama album, O Sole Mio is released. Schuckett also appears on Carole King’s Tapestry album and follows this with two US and one UK tour with James Taylor in support.
September Taylor appears on John Sebastian’s Four Of Us, before joining Stephen Stills’s Manassas.
November Second Jo Mama album J Is For Jump is released, but is not a success and the band splinters. Kortchmar works for David Crosby and Graham Nash, while Schuckett does sessions for Todd Rundgren amongst others.

1972

Lubahn appears on the Everly Brothers album Stories We Could Tell.
May Manassass’ eponymous debut double album is released.
October After doing a multitude of sessions for people like Crosby & Nash, Kortchmar forms The Section, who release their eponymous debut album on Warner Brothers.

1973

Cliff De Young stars in the TV film Sunshine and subsequently releases a soundtrack album featuring songs by John Denver on MCA.
September A second Section album, Forward Motion is released but is not a success. Kortchmar leaves to record a solo set Kootch.
May A second Manassas album Down The Road is issued, but the group splinters soon after and Taylor moves into session work, appearing on albums by people like Bill Wyman and Sammy Hagar, before rejoining Stephen Stills’s backing group.

1974

Cliff De Young releases an eponymously titled solo album on MCA. He continues to be in demand as a film and TV actor.
December After doing various sessions for people like David Blue, Carole King and Todd Rundgren, Schuckett becomes part of the latter’s Utopia. He will remain with the band for two years appearing on the albums Todd Rungren’s Utopia, Initiation and Another Live.

1975

September Kortchmar joins Crosby & Nash’s backing band, The Mighty Jitters, and subsequently appears on their albums Wind On The Water, Whistle Down The Wire and Crosby/Nash Live.

1976

June Schuckett appears on a recording by Free Beer, who release the album Highway Robbery on RCA.
July Kortchmar forms The Attitudes, releasing an eponymous debut on George Harrison’s Dark Horse label.

1977

March Schuckett appears on a second Free Beer album, Nouveau Chapeau. Lubahn forms new a group, Pierce Arrow, with ex-Dreams member Jeff Kent and ex-Compton & Batteau guitarist/vocalist Robin Batteau. Schuckett fills in for Jeff Kent when he recouperates from a serious injury in 1978.
October Pierce Arrow issue an eponymous debut for CBS. A second Attitudes’ album Good News is also released, but is not a success and Kortchmar returns to session work.

1978

July A second Pierce Arrow album Pity The Rich is released, but is not a success and Lubahn leaves to pursue other projects.

1980

Schuckett joins Ellen Shipley’s backing group and continues to do session work for such notable artists as Cher. Lubahn writes Treat Me Right for Pat Benatar, which appears on her album, Crimes of Passion.
August Kortchmar meanwhile, releases second solo album, Innuendo, on Asylum Records.

1981

Lubahn forms Riff Raff who release the album Vinyl Future for Atlantic. He subsequently joins the Billy Squier band.

1982

Lubahn appears on Billy Squiers’ Emotions in Motion.
October Kortchmar appears on ex-Eagle Don Henley’s debut solo album I Can’t Stand Still, which he also co-produces and co-writes several songs on. The pair will strike up a rapport and Kortchmar will become an integral part of Henley’s backing band for the next ten years.

1984

Schuckett produces an album for Clarence Clemons for Columbia Records. He also co-produces two tracks with Bruce Springsteen. Lubahn apears on Ted Nugent’s Penetrator and Billy Squiers’ Signs of Life. He also writes Talk To Me – recorded by Patty Smyth and Scandal on their album Warrior (which features Schuckett).

1987

September British indie label, Edsel issues Clear Light’s album with the bonus cut “She’s Ready To Be Free”. In 1991, Lubahn sings background vocals on Billy Squier’s album, Creatures of Habit.

Sources:

Einarson, John and Furay, Richie. For What It’s Worth – The Story Of Buffalo Springfield. Quarry Press Inc, 1997.
Grushkin, Paul D. Art Of Rock – Posters From Presley To Punk, Artabras, Cross River Press Ltd, 1987.
Hogg, Brian. Sleeve notes to Edsel’s reissue of Clear Light, 1987.
Hounsome, Terry. Rock Record #6, Record Researchers Publications, 1994.
David Peter Housden. The Castle – Love #9, page 63.
Joynson, Vernon. Fuzz, Acid & Flowers, 1993.
Long, Pete. Ghosts On The Road – Neil Young In Concert, Old Homestead Press, 1996.
Sandoval Andrew. Sleeve notes to Rhino’s reissue of The Monkees’ album Head, 1994.
Shaw, Greg. The Doors On The Road, Omnibus Press, 1997, pages 35 and 64.
Village Voice, July 6, 1967, page 26, December 14, 1967, page 52 and December 28, 1967, page 39.

Thanks to Gray Newell for his extensive help in piecing this story together. Many thanks too to Marc Skobac for research on some of the live dates. Huge thanks also to Ralph Schuckett for filling in many of the gaps and Doug Lubahn for his input. Thanks to Marc Skobac for his corrections.

Be sure to check out the official Clear Light website.

Email: Warchive@aol.com

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Unidentified Flying Objects with Lisa Kindred

The Unidentified Flying Objects in KRLA Beat
The Unidentified Flying Objects – what’s the story?!
Clockwise from left: Lisa Kindred, Helena Tribuno, Ann Sternberg and Laurie Stanton.

Lisa Kindred was a New York folk artist with an LP on Vanguard in 1965. The story goes, cult guru Mel Lyman had his henchman David Gude, who was the engineer on the session, steal the master tapes for her second Vanguard LP. Warner Bros./Reprise unwittingly issued it in 1970 as The Lyman Family with Lisa Kindred: American Avatar.

Kindred became part of the blues scene in San Francisco in the late ’60s. What I didn’t know until I came across this clipping in KRLA’s Beat paper was that she was briefly part of a L.A. pop group, the Unidentified Flying Objects. They certainly didn’t make it big, as expected, but I wonder if they recorded any material – if so I’d like to hear it.

Happy New Year 2010!

I’ll be celebrating at the Roky Erickson show in Brooklyn on January 1!

The Portraits

The Portraits in New York, 1968, from left: Gary Myers, Jerry Tawney, Stan Ray and Phil Alagna
The Portraits in New York, 1968, from left: Gary Myers, Jerry Tawney, Stan Ray and Phil Alagna

The Portraits, by Gary E. Myers

Milwaukee Roots

The Capitol, Liz, Nike, RCA, Sidewalk and Tri-Disc record labels all released singles by groups called the Portraits between 1959 and 1968; I was a member of the Portraits on Sidewalk.

The Portraits, 1967
The Portraits, 1967
The roots of the band began in January 1964 in Milwaukee, when rhythm guitarist Duane Smith put together a new lineup for his band, the Cashmeres: singer/guitarist Doug Weiss, bassist Tom Hahn, and myself on drums. The new Cashmeres landed their first gig backing Tommy Roe in the Skyroom at Monreal’s on 16th & National, and soon moved into the regular six-night-a-week gig there. Hahn and I had recorded for Tide Records in Los Angeles the previous summer (’63) while working with Milwaukee’s Darnells in Orange County. Around April 1964 Tide contacted Hahn about cutting two more sides for them. The Kingsmen had placed Tide’s copyright, “Mojo Workout” on their “Louie Louie” album, and Tide wanted to put out a single with one of their signed artists. We cut the song and a B-side at Dave Kennedy Studios (augmenting our session with three members of the Skunks) and changed our name to the Mojo Men to help promote the record.

Nothing happened with the record, but the Mojo Men worked steadily in and around Milwaukee, along with gigs in Grand Rapids and Detroit. We backed Johnny Tillotson and Chuck Berry, and worked opposite Jerry Lee Lewis. In summer 1965 Doug Weiss was hit with a 30-day jail term (driving with a suspended license, I believe), so the Mojo Men had to make a move. Guitarist John Rondell (Beilfuss) and bassist Phil Alagna were looking for work, having returned from a Southern California trip along with singer Billy Joe Burnette. (Rondell and Burnette had also worked with Milwaukee’s Legends on their 1964 Florida trip). Duane Smith and Tom Hahn had begun to be at odds, so the Mojo Men let Hahn go and added Rondell and Alagna, expanding to five pieces when Weiss was released,

Move to Los Angeles

In August 1965 the Mojo Men relocated to the L.A. area. On the drive out we heard “Off The Hook” by another Mojo Men, but it didn’t chart nationally so we paid little attention to it. By October, however, that same San Francisco band did chart with “Dance With Me”. We were not happy about that, but the record only reached #61, so we took no action – except that an agent booked us on a few of their gigs. (We later learned that the record got airplay in Milwaukee on our reputation). Doug Weiss adopted the stage name of Doug Masters and left to join a Las Vegas style review. The Mojo Men briefly replaced him with Billy Joe Burnette and then Tim Welch, but Paul Stefan (Stefaniak), an excellent singer and another old friend from Milwaukee (where he had regional hits with the Royal Lancers and the Apollos), was also in the area. He joined around March 1966.

During a steady gig at the Tip Top in Inglewood we backed the Coasters, Penguins, Rivingtons, Dick & Dee Dee, and Jerry Wallace. The schedule included Friday and Saturday after-hours sessions where many musicians and music-biz people hung out, and we were getting a good local reputation. One of the frequent sit-in’s (possibly Bobby Mason) was a Mike Curb protégé and he convinced Curb to come and see us. Curb liked what he heard and we signed a record deal with him and a management contract with Clancy Grass, who had an office in Curb’s suite and some sort of connection with him.

This was not the most opportune time for the band to head back to the Midwest, but Smith’s wife was pregnant and wanted to be near her family back home, so off we went. By the end of the summer everyone but Smith was itching to be back in California; the four of us decided to make the move while Smith stayed. Phil Alagna became the new leader mostly by default, being the only one interested in handling the business aspect.

Dr. Goldfoot and the Girl Bombs Tower soundtrack LP

Portraits Sidewalk 45 Let's Tell the World

Devil's Angels soundtrack LPName Changes

The Mojo Men went back into Curb’s studio, and returned to a five-piece lineup with the addition of another old Milwaukee friend, B3 player Pat Short (Cibarrich). John Rondell had written “Runaround Girl” and we cut it with Paul Stefan’s lead vocal. We also recorded the vocal for “Hiding From Myself”, a filler song for the Dr. Goldfoot & the Girl Bombs soundtrack LP. By this time (fall 1967) the San Francisco Mojo Men had hit Billboard’s top 40 with “Sit Down I Think I Love You”; now we needed to change our name. Stefan wanted it to be “Paul & the (something)”, so at a meeting in Mike Curb’s office, we began tossing out names. We thought it would be good to have another “P” word, and it got down to Paul & the Pack. I didn’t like it, but I was the lone dissenting voice so it won.

I had been a subscriber to Billboard Magazine for several years and, within a day or two of the Curb meeting, I discovered that “I (Who Have Nothing)” by Terry Knight and the Pack was edging its way up the Hot 100. This was no good! After our gig that night I began looking in the dictionary under “P” for another name. When I got to “picture” I noticed the synonym “portrait” and thought, “That’s it!” I called a couple of the guys at 3 AM (having just gotten off the gig at 1:45) and they agreed that Paul & the Portraits would be a good name. The next day I called Curb’s office and he understood, but said he had already ordered 20,000 record labels showing Paul & the Pack. So, the Dr. Goldfoot LP bills the Portraits as Paul & the Pack, while the photo on the back cover shows us holding a picture frame to go with the name Portraits. Members depicted (L-R) are Phil Alagna, Gary Myers, Paul Stefan, John Rondell and Pat Short.

Then came another typical 60’s setback – Paul got drafted. We did a few gigs, and even another recording session, as a four-piece band, but we were lacking a strong lead singer, and then Pat Short also left. Clancy Grass had previously managed singer Jerry Tawney, who had come to L.A. from West Virginia and released a 1966 single on Liberty. Tawney had since gone back to WV, but Clancy convinced him to return to the coast to join our band. We re-recorded “Runaround Girl” with Jerry and we did the vocal for “Devil’s Angels” (as “Jerry & the Portraits”) over the same track used for Davie Allan’s instrumental version. We also cut a remake of “A Million To One” along with one of Jerry’s songs, “Let’s Tell The World”.

Recordings

The Portraits always used much vocal harmony, influenced by the Four Seasons, the Happenings, the Buckinghams, Jay & the Americans, and others. Most of the band’s sessions began with a basic track of bass, guitar and drums (Phil, John and me), and then instrumental overdubs: Phil on piano or organ, John with a second guitar part, and I sometimes added acoustic rhythm guitar. On one or two sessions I added vibes, and we used studio horn men on a few songs. The four of us would lay down our background vocal parts and then double them before putting Jerry’s lead on top. Once, when John was gone, we used our friend Larry Carlton, who went on to become one of the top studio guitarists in the business. Phil Alagna and I also played on two sessions for the Mystic Astrologic Crystal Band, another group managed by Clancy Grass. The Portraits recorded several unreleased songs and we sang on a Curb-produced commercial that was never used.

The Four Seasons had hit with their update of Cole Porter’s “I’ve Got You Under My Skin” in 1966, and Jerry came up with the idea of re-doing “Over The Rainbow” in a similar fashion. We incorporated a bit of the arrangement from the Demensions’ 1961 hit, but added much of our own, along with the switch to the up-tempo rock beat. I did the group arrangement and studio guitarist/arranger Don Peake wrote the charts for the “sweetening” – French horn, chimes and strings.

The record was released December 1967 and everyone involved was excited about it. However, we were not happy about coupling it with “Runaround Girl”; we felt that both songs were A-sides. This turned out to be a valid belief, as each side got airplay in different areas. One or the other charted in several cities, but neither charted nationally. There was also some talk that December was not a good time to release it. Airplay was more limited that month because of Christmas music, and perhaps by January some stations would have already put it aside. The Portraits did a Beverly Hills show with Mike Clifford, Ian Whitcomb, Boyce & Hart, and Don & Goodtimes, and appeared on TV8 Dancetime in San Diego, but little else developed. The band probably should have toured, especially to the cities where the record was played.

In early 1968 John Rondell left to join a San Diego band and Stan Ray (Hartford) replaced him. Around March I saw a trade ad for the Schaefer Talent Hunt, a large advertising promotion seeking new talent to record the Schaefer Beer jingle in New York. Without even mentioning it to the other members, I filled out the entry blank and sent it along with our two Sidewalk singles. To my great surprise, a few weeks later I received a telegram stating that we were one of the 10 winners. We were flown to New York and, because our selection was based on our “Over The Rainbow” vocals (they didn’t know that we were a self-contained band), studio musicians (including noted drummer Mel Lewis) cut the tracks, which were arranged by Peter Matz in the style of our “Over The Rainbow” version.

At A&R Studios in New York, from left: unidentified, arranger Peter Matz, Stan Ray, Jerry Tawney, Gary Myers and Phil Alagna.
At A&R Studios in New York, from left: unidentified, arranger Peter Matz, Stan Ray, Jerry Tawney, Gary Myers and Phil Alagna.

Beyond the 60’s

For the remainder of 1968 into 1969 the Portraits had a six-nighter at the Water Wheel in West Covina with little or no involvement from Clancy. However, we were still under contract to him and, when he learned of our beer commercial, he wanted a cut. We disagreed, but at some point, Jerry went back to him for more recording sessions without telling the rest of the band; the esprit de corps was fading. John Rondell had rejoined the band, but in August 1969 he and I left to join Duane Smith (original Cashmere’s leader from 1964), who now had a Nevada-based show group, the Cee & Dee Review.

The Portraits continued with more changes under Phil Alagna (now going as Phil Anthony). In December 1972, after I had left Duane Smith and worked many other gigs back in SoCal, I rejoined. The band had just joined forces with Sanetti & Rueda, a Stockton-based music/comedy team. Over the next few years we worked Reno and Lake Tahoe several times, along with Las Vegas and many other showrooms in California, Oregon and Arizona. I was replaced in March 1975 when a drummer who had previously worked with two of the other members was looking for work.

I continued playing full time in and around the greater L.A./Orange County areas until March 1982, and then joined a “casual” band led by Stan Ray, the guitarist from the Portraits’ beer commercial period. Phil Alagna kept the Portraits going through many more personnel shifts until that summer, when he disbanded the group and joined Stan and me on the casuals. By summer 1983 I was also doing occasional gigs as a leader, for which I exhumed the Portraits name. One day that summer, as a surprise to Phil and Stan, I called Jerry Tawney to see if he could come to our gig. He made it down and the four of us got together for the first time in 15 years.

Epilogue

Duane Smith, always a hard-working businessman, quit performing in the 80’s and opened a studio rental business in Portland, OR. That venture grew into West Coast Event Productions with major clients and a second office in Las Vegas.

Doug Weiss (Masters) gigged for many years in the Twin Cities and then returned to Las Vegas, where he was the Bobby Hatfield part of a Righteous Brothers tribute act. He died October 2007 (b: 8/3/42; Milwaukee).

Tom Hahn (b: 1939; Tipton, IN) had left the music business by 1970 and settled in Michigan.

Phil Alagna (b: 1943; Milwaukee) worked in piano sales and later as a piano tuner, while continuing to gig part-time. He was still playing in 2009 as the Phil Anthony Band, mostly for senior dances and functions.

John Beilfuss (Rondell) (b: 1945; Milwaukee) returned to Wisconsin in the 70’s and continued playing until 1996. He subsequently began a wedding photography business in the Eau Claire area.

Billy Joe Burnette had releases on many labels from at least 1965-79. He scored a big success in 1976 as the co-writer of Red Sovine’s “Teddy Bear” during the CB radio boom.

Tim Welch (b. 7/41; Wichita, KS and was shot & killed in W. Hollywood in 2/72) had previous releases on Edit and Reprise and a later release on Attarack.

Paul Stefaniak (Stefan) (b: 1941; Milwaukee) had rejoined the Portraits after his military duty, but left the music business by the mid-70’s. He was last known to be living in the Yuma, AZ area.

Pat Cibarrich (Short) had relocated to Louisville, KY in the late 60’s and subsequently returned to Milwaukee, continuing to play music. He died January 1998.

Jerry Tawney connected with writer/producer Jerry Fuller in the 70’s and had several solo releases on Bell. One of his songs appeared on Al Wilson’s La La Peace Song LP, and he was also in Yellow Hand on Capitol. Tawney left the music business in 1982 and became a mortgage loan consultant for Countrywide.

Stan Ray became a successful attorney in Los Alamitos, CA, specializing in estate planning.

Gary Myers (b: 1942; Milwaukee): I worked for a large music store in Arcadia, CA from 1985-2006, while continuing to play a variety of gigs in the greater L.A./O.C. area, including occasional work with Phil Alagna. As of 2009 I had written and self-published four books (see here for more information); still playing, and as recently as January 2008, had used the name “The Portraits”.

Sky Saxon of the Seeds passes away

Seeds MGM 45 Bad Part of TownSky Saxon (born Richard Marsh) passed away this morning, June 25, 2009. As any garage fan knows, he was singer for the Seeds, the prototypical ‘garage’ band of all time.

I saw him in concert a couple times, once circa 1994 at a free show in San Francisco. He had a pick up band and was pretty out of it. The band tried to get him to sing “Pushin’ Too Hard” but he would only repeat a chant “Happy Mothers Day to all the mothers out here”. Well, it was Mothers Day. A few years ago he came to Brooklyn, looking great in a white suit to match his beard and did a fine show with a new group that actually knew the material. I wish I’d taken the request to put him up for a few days.

Many of the Seeds early records on GNP Crescendo have been in print almost continuously since their release. Less well-known are two singles Sky made with a revamped Seeds lineup for MGM in 1970, the incredible “Bad Part Of Town” / “Wish Me Up” and “Love In A Summer Basket” / “Did He Die”. It’s a little vague who’s playing on these, but Patrick Lundborg gives a possible lineup of Sky Saxon, Daryl Hooper, and Richard Barcelona, with a few others only remembered by their first names, Chip, Rob, John.

Sky’s story is told piecemeal on the web. The ‘official’ skysaxon.com website is one place to start, but it lacks detailed info on his career. For info on his later recordings, including “Bad Part of Town” I recommend the Lama’s write up here.

“I ran out of gas one day, so I took Michael Jackson’s album in, and all I could get was a dollar” – Sky Saxon, ‘Rolling Stone’ #456, September 12, 1985.

The Whatt Four

 The Whatt Four photo: Greg Sanders, Tom Ference, Tom Bitters and John Langdon
The Whatt Four l-r: Greg Sanders, Tom Ference, Tom Bitters and John Langdon

Whatt Four ESP 45 Our Love Should Last ForeverThe Whatt Four released two amazing 45s in ’66 and ’67, both regional hits on KFXM in San Bernardino. The band cut two original songs for their first 45 on producer Gary Paxton’s own ESP label. “You Better Stop Your Messin’ Around” alternates between moody verses, deadly lyrics (“you say you’re shopping, but … someone else is buying you!”) and an upbeat chorus. Great harmonies and a driving bass line really propel this track. It was backed with the raver “Our Love Should Last Forever”, featuring Tom Ference’s slamming drum beats and John Langdon’s piercing guitar work.

Their next 45 went straight to national release on Mercury. “Dandelion Wine” is a tripped-out gem, sounding like a mix of Donovan and the kitchen-sink production of the Stones’ Her Satanic Majesties Request, but with greater focus than most of that LP. It was written by Jerry Scheff, a member of bands like Goldenrod, the Millennium, Friar Tuck and later Elvis Presley’s touring band. For the flip of “Dandelion Wine” we have “You’re Wishin’ I Was Someone Else”, a Greg Sanders original that would have qualified as the A-side for nearly any other group.

Whatt Four Mercury 45 Dandelion WineWhatt Four Mercury 45 You're Wishin' I Was Someone ElseI contacted the Whatt Four’s drummer Tom Ference who kindly shared these photos and comments about his time with the band:

The band members are Greg Sanders (bass and lead vocal), Tom Bitters (guitar), John Langdon (lead guitar), and myself as the drummer. Greg and I are cousins, Bitters was my neighbor growing up, so we three grew up together and started playing music off and on about 1965. Langdon was added later as lead guitar. Don’t remember how the name came about other than they’re was four of us, and adding WHAT, but spelled WHATT made it cool.

We were in Riverside, California. Played that whole area and into LA and San Diego. The Bush was our biggest local competition. But they played a different type of stuff. More of a dirty rock sound. The equipment we used were Fender amps and guitars, except Bitters used a Rickenbacker sometimes. We did have a really big Altec-Lansing PA system, which set us apart from most groups at that time. We were able to mike my drums and standard guitars for what ever effect we wanted.

We met Gary Paxton at the Decca Records office in LA. We were seeing Bud Dant of Decca, pushing some demo stuff. Paxton just happened to be there. Bud said he wasn’t interested, but Paxton spoke up and said he was. So we hooked up with him back at his garage, that’s where his studio was, and the rest is history. ESP was Gary’s own thing. The only picture of us and Paxton is us and him by his bus that had all his recording equipment in it.

“You Better Stop Your Messin’ Around” was mostly a So-Cal thing. I think Gary hoped a major label would pick it up and do it national. I did hear it was getting a little play in other parts of the country. Not much really became of it. “Our Love Should Last Forever” was written by Tom Bitters, our rhythm guitar player.

We didn’t know Scheff [Jerry Scheff, the writer of “Dandelion Wine”]. His stuff was in a pile of songs Gary wanted to see if we could do something with. Greg Sanders was told to sound “loaded” by our producer Gary Paxton.

It came out on Mercury Records, a big deal for us. It was really starting to get some action. Then Greg got drafted, a few months later I got drafted, so the group went down the drain. No group, no record. We were lucky, Greg went to Germany as a radio operator, I auditioned and made it into the 98th Army Band (Ft. Rucker Ala). Much better than Vietnam.

What was Ken Johnson’s role with the band? – he’s co-credited on the flip, “You’re Wishin’ I Was Someone Else”

Johnson was a guy who helped Greg put the words on paper with music. And maybe some words.

Greg and I both got out of the army in 1969. We did reform with Bitters, but Langdon had gone his own way out of music. We added Larry Reid and renamed ourselves as “Allis Chalmers”. We did make one record. “Sing a Song” on Cream Records (1971). It was written by Gary Wright, we got covered by that guy from “Blood, Sweat and Tears”. Shortly after that we went our own ways. Just couldn’t go back to playing bars and stuff like that. Never saw Paxton again, I hear he’s into religious country stuff now, boy what a difference from when we knew him. Greg works for the State of California, not sure what Bitters is doing, I retired from Verizon in 2003 and enjoy every day.

I’m always amazed and happy that what we did is still remembered. It was a fun time of musical experiments. I think that was the best part, the only rule was there were no rules. It was what sounded good to you that mattered.

Tom Ferrence, 2009

The Whatt Four with Gary Paxton
The Whatt Four with Gary Paxton, second from right.
The bus served as his studio’s control room.

Greg Sanders wrote to me in December, 2011 in answer to my questions about Gary Paxton:

Working with Gary was an experience. We were young and innocent, though we probably didn’t think so and he matured us quickly. Always willing to assist and took a real interest in who we were. Learned alot about recording and “inside” music stuff from him. Hal Blaine (prime session drummer) was visiting Gary during one of our sessions and he joined us for the hand clapping part on Dandelion Wine.

There is one person I want to mention who played a large part in helping us along the way: Bill (Kid) Corey. He was the owner/operator of the Mystic Eye teenage club in Riverside. He hired us in the beginning to be the house band. It was there that we practiced and got tight as a band. Sadly, the club closed sometime in 68 I believe.

The Whatt Four photo
The Whatt Four, l-r: Tom Bitters, Greg Sanders, John Langdon and Tom Ference

In a comment below, Kimberly Langdon-Sauceda sadly reports that her father John Langdon passed away in 2002 after fighting esophageal cancer.

See the entry on the New Wing for more about Gary Paxton and Ken Johnson. All four tracks by the Whatt Four will be appearing from the master tapes on an upcoming Big Beat comp dedicated to the Riverside and San Bernardino scene being produced by Alec Palao. “You’re Wishin’ I Was Someone Else” will also be on “Where The Action Is: LA Nuggets 1965-68” box set on Rhino, due to be released in late September ’09.

Special thanks to Tom Ferrence for sharing his memories and photos of the Whatt Four. Thanks to the G45 Secret Society and Jim Wynand for label scans. KFXM chart reproduced from ARSA. Also a tip of the hat to transoniq for name-dropping Dandelion Wine in a comment about the Rites.

"Better Stop Your Messin' Around", at #12, KFXM, December 9, 1966
“Better Stop Your Messin’ Around”, at #12, KFXM, December 9, 1966
 "Dandelion Wine" at #27, KFXM, November 3, 1967
“Dandelion Wine” at #27, KFXM, November 3, 1967