The Polaras released a good instrumental 45 “Cricket” / “Breaker” on Pharos PR 100. Harry Baldwin wrote both songs, published by Bevlynn. Cashbox reviewed the single on July 11, 1964.
My copy is inscribed by Harry Baldwin and Don “Pickle” Nadow. Copyright registration from September 21, 1964 shows the band’s names for an unreleased pair of songs, “Polara 500” and “Pickled Drums”, with music by Les Peterson, Harry Baldwin, Arden Fennell, and Don Nadow. Bevlynn Music Corp. also published these songs. I hope they exist on a demo.
Assuming these are the members of the group, the lineup might be:
Harry Baldwin – guitar Arden Fennell – guitar Les Peterson – bass Don Nadow – drums
Cash Box review, July 11, 1964
Arden Fennell is the only member I can find further info on. Arden had a 1969 single on Evolution, “Baby” b/w his original song “Smile A Little Smile”.
Arden was also guitarist and vocalist in other groups: The Daniel Paul Revelation with Sam Haughland, John Kerns, Rich Tiley, and Randy Tiley; and The Tryb with Ralph Gonzalez, Jerry Lawson, Tim Rock, Leroy Shuster, Bill Shuster, both of which recorded unreleased songs at Norman Petty’s studio.
Pharos was based in Hollywood, mainly releasing records by TV actress Rosemary Prinz, and a jug-band type single by the Nomads, produced by Jackie DeShannon.
The Apogees were a drum and organ duo. The drummer was Bud Lee and the organist Izzy Navarrete. Izzy’s name is spelled differently each time I find it in print – Izzy Navarette and Izzy Navarrette for example.
Together they made one of the strangest EPs I’ve ever heard, echo-laden versions of Guantanamera, Sweet Caroline (“Sweet Adeline” on the label), Quiet Village (“Quite Village” on the label) and an almost-unrecognizable version of La Bamba. The Apogees release is on Stripe 99 Hollywood 10001A/B. It’s hard to date this, but I guess about 1970.
At one point Izzy was a member of the Spirals, a long-running group from Tulare, California, led by Ralph Alvarez and Manny Alvarez, whose members included Mary Murillo and Ed Torres and probably many others. At this time I don’t know if the Spirals ever recorded.
Photos of Tulare groups the Spirals and the Charades, along with some history the area’s music, can be found in the Tulare Advance-Register, July 5-6, 2003.
Izzy Navarette had a duo with Terry Wall that played often at the El Dorado restaurant on East Tulare Ave in the mid-1970s. The advertisements call it “Izzy Listening” music. There are notices for him appearing in lounges in Palm Springs into the 2000s.
Bud Lee’s name is too common to trace, so I can’t tell you anthing about “El Tomborro” (tamborro?).
Stripe 99 had one further release by the Sand Trackers, “Track of the Scarab” / “Big Bird Blues”, both by F. Stuart Wilson (Ford Stuart Wilson aka Fred Lile), and released as Stripe 99 SNN45-10002.
Drum and organ duos were an efficient combination, and more common than you might think, as I’ve profiled three others on this site.
Business card for Psycho, from Chico, with Guy Williamson and Marty Howard’s contact info
Arvey Andrews headed two record labels in 1965 and 1966, Frantic Records and Vardan Records. He was also part of Management By Martin, Inc., with George Martin and Robert Clark. George Martin co-produced some of these singles and handled bookings for the groups.
In 2020 I bought a collection of records and 1/4″ tapes that belonged to a previously unknown investor in Management By Martin. I am not disclosing his name at this time, but he is now in his mid-90s. He was a colonel in the Air Force, and obviously a music enthusiast. One could map his likely military postings from his record collection: Ty & Johnny on Red Wing suggests Eglin Air Force Base near Pensacola, FL, and Wailers & Sonics records obtained while stationed at McChord Field near Tacoma.
At Beale AFB in Yuba County he met Arvey Andrews, who would involve this officer in his Frantic and Vardan operations. It would be a fruitful but one-sided association. This investor would describe his dealings with Andrews in an Air Force Statement of Witness dated March 2, 1970:
… while stationed at Beale AFB, California I became a stockholder in a corporation known as “Management by Martin, Inc.,” a firm which handles bookings and recordings by “rock and roll” groups. Other members of this corporation at its inception were Captain Arvey I. Andrews (hereafter called Subject), George Martin and a Robert Clark. I contracted a law firm known as Athearn, Chandler and Hoffman, 593 Market Street, San Francisco California to represent me and to establish the corporate structure of Management by Martin Inc. I am the Secretary-Treasurer of this corporation …
I noted that shortly after Management by Martin began to move forward that certain high expenses at Ikon Recorders … as well as fees paid to Lance Associates, a “public relations outfit,” might cause the business to fold… I told the other partners of the corporation that I would remain as a corporation officer but would no longer make financial contributions to the corporation’s support. Also, at this time, I told Subject [Andrews] that he must commence paying back the indebtedness. At that time, I believe it was the spring of 1967, Subject repaid me $100.00 a month for three consecutive months and stopped shortly thereafter. I told Subject that if he did not continue with the monthly payments, I would resort to legal action to recoup the loaned monies. Shortly after this, I became knowledgeable of Subject’s filing for bankruptcy.
These unfortunate transactions seem to have ended this investor’s involvement in the music business, though he continued to collect records and radio shows into the ’70s.
This Management By Martin, Inc ad ran in Billboard every week from April 30 – July 30, 1966The bankruptcy probably harmed Arvey Andrews as well. He remained involved with the Lovers as they changed their name to the Pacesetters and signed to Liberty / Minit, but I don’t believe he produced or released music again. Andrews would reach the rank of major by 1970, before retiring from the Air Force. On May 12, 1982 Andrews incorporated the Vardan Recording Institute of America at 1108 Black Knight Drive in Valrico, Florida, but I know of no releases from this company. Arvey Isaacs Andrews died on April 5, 1994, aged 59.
In the collection were at least one copy of every Vardan and Frantic single except Sonny Oliver & the Statics on Vardan, and the Boy Blues “Coming Down to You” / “Living Child” on Frantic. Most of these were promo copies, and there were multiple stock and promo copies of the Boy Blues “Living Child” / “Think About It Baby” on Vardan. There were Emotions singles on Gate and Philips as well as the Vardan issue.
There were also a couple 45s on Ikon. Along with Golden State Recorders in San Francisco and Sountronic Recording Studios in Lodi, Arvey Andrews used the Ikon studio, but I do not believe he was involved in any releases on that label.
Many of the records have warping and/or insect damage from years stored in an attic.
The Lovers “Leave Her” test pressing
Below is a description of the unique items:
The Lovers unreleased test pressing
Most notable among the 7″s was a styrene test pressing of two unreleased songs by the Lovers, “Leave Her” / “The E.T.”, numbered 2125 / 2126. For some reason Andrews did not release that single, and those numbers appear on the Styx single “My Girl” / “Stay Away” on Frantic Records CR-2125/CR-2126.
Test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128
Psycho test pressing
There was also a styrene test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128. The dead wax codes are in a different hand than the released version, though the versions sound identical.
Both test pressings are stamped June 13, 1966.
Also included were two test pressings of Custer and the Survivers, “I Saw Her Walking” / “Flapjacks”, which saw release on Golden State and Ascot. Production was by Shower Of Stars, another company of George Martin and Arvey Andrews with a Yuba City address.
Golden State acetate 45 of Psycho “Need Me”
Psycho acetate, and “What’s in the Bag, Goose” demo
Also in the collection were two acetates. One is a Golden State Recorders acetate 45 of Psycho “You Think You’ve Got Me” / “Need Me”; same versions as the released single. The Psycho business card at top was found in a tape box.
Audiodisc acetate 45 of “What’s in the Bag Goose”
The other was an unlabeled Audiodisc acetate with one song, “What’s in the Bag, Goose”. This cut also appears on two other 1/4″ tapes, one dated January 22, 1966. Apparently Drusalee and the Dead cut “What’s in the Bag, Goose”, however, there is no organ on the cut, and it doesn’t sound much like their Vardan single. Hear an excerpt.
The song is a novelty take on a Granny Goose potato chip commercial, with song writing credits to Nick DeCaro, Dave Pell, and Joe Saraceno. I like this performance more than the only released version I know of, from the T-Bones LP, No Matter What Shape (Your Stomach’s In).
Sountronic Recording Studios sheet in tape box compiling Frantic masters by the Lovers, Mystic, Boy Blues and D. Witherspoon
Sountronic Recording Studio tape
One of the tapes had ten songs compiled from the master recordings in either mono or 2 track stereo, according to an info sheet from Sountronic Recording Studios at 880 East Pine St., Lodi, CA. Dated September 22, 1966. Included are the A and B sides of four singles from the Frantic label: The Mystic’s “Weekend People” / “I Get So Disgusted”, the Boy Blues “Coming Down to You” / “Living Child”, and D. Witherspoon and the Future, and the Lovers “Without a Doubt” / “One Way to Love”. Also included are two songs by the Lovers with the Harlem Brass that never saw release: “She’s Supreme” / “Truly Truly”.
“She’s Supreme” has only been known on acetate. “Truly Truly” is a backing track without vocals. Alec Palao tells me it is the same backing track used on a rare single by the Kashos on Work Records 45-827, which I haven’t heard. Stanley and Archie Casher wrote that song, and possibly the backing track was reused from the Lovers session.
Joey D. told me that this is the first documentation from the Sountronic Studio that he has ever seen. This tape may be the only tape source for these songs in existence.
Tape box with unreleased cuts by Boy Blues, Psycho, and Drusalee & the Dead
Tape of unreleased songs
Another interesting tape was faintly labeled in pencil with only band names, but contains unreleased songs by the Boy Blues, Psycho and Drusalee & the Dead.
The Boy Blues cuts are both originals. The best, titled possibly “Baby Doll”, has a fuzz riff, tasteful use of horns, an extended guitar break and double-time ending. “Little Red Rooster” is not the Howlin’ Wolf standard but a light original with a more prominent horn arrangement.
The Psycho cut is “That Girl”, a good jangly original song with excellent harmonies.
The last two cuts are “What’s in the Bag, Goose”, as discussed on the Audiodisc acetate above, and a ballad. Although the tape box suggests Drusalee and the Dead, neither song sounds like the Vardan single.
Audio quality and occasional drop-outs suggest this tape is a later generation copy.
Stereo rehearsal tape by PsychoMono rehearsal tape by Psycho, the two original songs are early versions of “That Girl” and “You Think You’ve Got Me”
Psycho rehearsal tapes
There are two rehearsal tapes by Psycho. The first contains all cover songs, and is recorded in stereo. Two songs featured on the Up From the Grave CD were taken from a cassette in mono, so this tape is an upgrade.
The second tape is in mono, but includes a couple of originals as well as more cover songs. There are two takes of “You Think You’ve Got Me” titled “Why Can’t You Say” on the tape box. The vocals are upfront; the band’s harmonies are very good at times. I appreciate hearing these early versions, even with some rushed tempo changes.
The other original is “My Girl” perhaps more appropriately titled “Without That Girl”, which did not appear on their Frantic single.
They do a good job on many of the cover songs, and it’s cool to hear them try “It’s No Use.” The singers forget a line in the last verse of “Turn Turn Turn”.
Lastly, there’s a tape of a folk group with vocalist Sandy Knox, recorded at Ikon.
———-
Members of the bands mentioned in this post (sources include notes to Up From the Grave and 60sgaragebands.com):
The Emotions & Lovers (Beale AFB): James Gregory (Greg), Daniel Saunders, Melvin Williams, McHenry Otis (Mike), and Bob Coleman
Psycho (Chico): Bob Williamson, Marty Howard, Jim Conley, Ron Murphy and Randy Reaves
Boy Blues (Chico): Jim Conley, Randy Reaves, Rick Wagner, Bob Brien, Mark Cipolla, Chris Howard, John Palmer, and Jeff Gadbois
Drusalee & the Dead (Marysville): Drew Sallee, Ernie Apodaca, Bob Covic, Bob Rathbun, Gordon McCollum, and John Piper
Statics (Marysville): Sonny Oliver, Freddie Bidasha, Johnny Rollins, Frank Lester
Custer & the Survivors (Oroville): Gary Gibson, Jodell Bruce Payseno (Jody Payseno), Mike McLoughlin, Bob Blade, Martin Blade, Richard Daugherty, and Claire Hinton
Mystics (Boise, Idaho): Tim Woodward, Vance Shirley, John Hynes, Rich Smith, and Dennis Schaffner
Thank you to Gary Gibson Jr. for sending in the photos of his father’s band, Custer and the Survivors. The group cut two unreleased songs at the same Los Angeles session as “I Saw Her Walking” and “Flapjacks”, including “With Love in Her Eyes”.
Custer and the Survivors, Custer with the goatee, second from left. Other personnel unknown.
The S.O.S. Unlimited seem to have been a short-lived group. They made only one single but it’s a good one, “Come On, Come On” / “Girl, You Don’t Know” on Whittier W-510, released in December, 1967 according to Teen Beat Mayhem.
Eddie Torres produced, and published the songs through Tormid Music, which also published many of Thee Midniters’ originals. Eddie Torres owned the Whittier label, and also managed and produced Thee Midniters. Eddie passed away on October 17, 2019.
Almost all Whittier releases were by Thee Midnighters, the only exceptions being Thee Impalas, the S.O.S. Unlimited, and a single with Godfrey backed by Thee Midniters, making it interesting that this single is so obscure.
B. Velasquez and S. Herrera wrote both sides.
Benjamin “Spider” Velasquez had been in the Desires who had a great 45 as Ricky René & the Fabulous Desires “Dance with Me” / “Ouch” on ERA Records 3138, from 1964. Ben Velasquez and Ricky Sanchez wrote both songs. The Blendells and Mark & the Escorts would record versions of “Dance with Me”.
I asked Mark Guerrero, formerly of Mark & the Escorts about Ben “Spider” Velasquez. Mark kindly called Albert Martinez, rhythm guitarist with the Desires, who confirmed with Spider Velasquez’s son that Spider was a member of S.O.S. Unlimited. I do not know the full name of S. Herrera, or any other members of the band.
Perhaps that is Spider playing the catchy guitar riff that opens “Come On, Come On” and the piercing guitar break later on in the song. “Girl, You Don’t Know” is slower and has a touch of psychedelic style to it.
SOS Unlimited and Thee Midniters mentioned in the Citizen News, March 1, 1968The first mention of S.O.S. Unlimited I can find is an item in a Hollywood newspaper, the Citizen News on March 1, 1968.
Three young men … are in trouble with the law today over a house on Rexford Dr. they allegedly rented to hold public dances.
Police got wind of the “social” when a crowd between 1500 and 2000 gathered at the house at 714 N. Rexford Dr. where two pop bands “The Midnighters,” and “SOS Unlimited” played for dancing.
Two weeks later on Friday, March 15, S.O.S Unlimited played a Vietnam benefit dance at Carpenters Union Hall, 7500 Van Nuys Blvd., sharing the bill with the Casuals, the Elegants, the Excessions, the Young Ideas, the Lights, the Classics, the Jems, and Leather Syrup.
The Saturnians Girls Club of the San Fernando CYO sponsored the show. “The president of the club is Irene Gomez. Jim Montoya will direct the show.”
The last mention of the group I can find comes from a flyer from Mark Guerrero’s essential website. “The Magnificent S.O.S. Unlimited” appeared at an Easter dance at Kennedy Hall, 451 South Atlantic Blvd on April 14, 1968, with Evergreen Blues, the Righteous Rhythms, The Exciting Men from Sound, and the American Fuzz Society. The show was produced “in cooperation with the Pace Setter & Foxetts Club”.
The Men From S.O.U.N.D. were a later version of Mark and the Escorts, and in 1968 changed their name to 1984, with two singles for Kapp Records as Nineteen Eighty-Four.
More info on S.O.S. Unlimited or a photo of the group would be appreciated.
The Paper Fortress, from left: Sam Chirico, Evan Zang, Joey Campo, and Jim Whittle
The Paper Fortress started out as the Royal Teens, making one single for the Rev Records label, “Tears in My Eyes” (Chirico) / “Chicanery” (Chirico, Whittle) in 1967.
Members were:
Sam Chirico – rhythm guitar, lead vocals Jim Whittle – lead guitar, vocals Joey Campo – bass, vocals Evan Zang – drums, vocals
The following year, they went into the studio with Tandyn Almer and Eddie Hodges to make “Butterfly High” / “Sleepy Hollow People”, released on VMC V719 at the Paper Fortress. Although the single used studio musicians, Sam Chirico sang lead vocals, with Evan Zang harmonizing, and Jim Whittle and Joey Campo adding backing vocals.
Evan Zang sent in the photos seen here and wrote to me about the group:
We were all from Redondo Beach. For various reasons the band went through three name changes in four years. We were initially The Royal Teens [but] learned there was another vocal group called the Royal Teens. Then the Candy Company, and finally the Paper Fortress.
From 1967 and on, and with many thanks to a local DJ, Casey Kasem, who managed us, we were one of the very rare South Bay pop bands that graduated from playing high school dances to the more lucrative and prestigious Hollywood scene. The other South Bay local band that cracked the Hollywood market were the Indescribably Delicious (who were also friends of ours. The Indescribably Delicious were like The Rolling Stones, while we were more like the Beatles).
We always played our originals in our live performances. We had an actual show, with routines and dialogue built into our sets. We also had revolving costume changes depending on the gig.
The venues where we were booked were the typically the hottest clubs in Hollywood, like the Whiskey A Go-Go, Pandora’s Box, the Hullabaloo (the club and the TV show), Arthur, the Roxy, Blue Law, and the Pendulum Club.
We also were fortunate enough to play at the Ice House and the Pasadena Civic Auditorium, both located in Pasadena. At the Pasadena Civic, we were the opening act for The Strawberry Alarm Clock, Electric Flag, Iron Butterfly, Standells, and The Merry-Go-Round.
Our center of the universe was Hollywood, and we felt we’d made it when the money started pouring in. In 1968-69 while my friends were working at McDonald’s and driving used VW Bugs, Sam had a new Corvette and I had a new Lotus Europa! We definitely were grateful for the good timing and fortune to have experienced so much, in such a great period of music.
The Candy Company, aka the Paper Fortress
We did appear on Felony Squad as a band called The Candy Company. We were on screen about 4 minutes but it took all day to film. Several years ago Dennis Cole, the star of Felony Squad, sent me a DVD of that episode which also guest starred Roddy McDowall who played the role of our manager. It was called “The Flip Side of Fear.” Cole’s beautiful wife at the time was Jacklyn Smith, and she was on the set that day. Like Roddy, and Dennis, she was very nice and talkative with us.
Again using the name, The Candy Company, we performed 2 songs on the Woody Woodbury Show. Woody was a very gracious host to us. I believe I have the ONLY existing recording of that performance. After we performed our songs we were invited to sit with the other talk show guests. I sat next to the late Red Foxx. He was outrageously funny.
We were recording our own original songs at several Hollywood studios, but nothing really hit. At one point we were then approached by VMC who introduced us to song writer, Tandyn Almer. Tandyn already had a huge hit with “Along Comes Mary” by The Association, and “Sail On Sailor”, which he co-wrote with Brian Wilson for The Beach Boys. Tandyn offered us two wonderful songs, “Butterfly High”, and “Sleepy Hollow People”.
Jim Whittle, vocalist and lead guitar, got married, which swiftly became the demise of the band. We were at our peak with recordings and gigs, but Jim didn’t think it’d make for a good marriage. He was undoubtedly right. Sadly, Jim passed away from a heart attack only five years after leaving the band. Jim taught me how to drive even before I had my license.
Sam Chirico, the lead vocalist and rhythm guitar has never stopped playing professionally. He lives in Las Vegas and gigs when the mood suits him. Sam often performs under the name, Sam Walker.
Joey Campo, Sam’s cousin, vocalist and bass player, stopped playing professionally. He recently retired as a Firefighter Captain.
Evan Zang of the Paper Fortress
I went off to UC Berkeley after the band broke up. While in college, I continued to play drums for several well established country singers in Northern California, and began writing songs on my own having taught myself to play piano and guitar. I’ve actually sold a handful of original tunes to be used for commercials.
In the 80’s I found myself on the ground floor of a start up Arizona based company called PET FOOD WAREHOUSE. Prior to taking our rapidly growing chain of stores public, we changed our name to PETsMART.
One of the Founders, Tye Smith, and I had previously worked together at another company. We became tight friends, especially since both of us had also been drummers in different California bands when we were teenagers. Playing music again was inevitable, and he and I, plus a local doctor, Tom Moss, formed a 3-piece combo band, humorously calling ourselves “The Barking Geezers.” Tye played drums, Tom manned the rhythm guitar, and I played bass guitar and piano.
“The Barking Geezers” unique (and then untested) niche was “live Karaoke,” and audience members could join us onstage to sing with a “real rock and roll band.” Initially I didn’t think the concept would get very far. I was dead wrong!
Apparently EVERYONE (especially after a few beers) wanted to experience their own 5 minutes of “rock and roll fame!” The concept was very well received and The Barking Geezers continued to gig in Arizona, California and Oregon for the next 14 years.
I still write and record in my home studio.
Our road manager, Al Taylor, passed away a few weeks ago. Al was a wonderful friend and asset to our band. He lived in Hermosa Beach.
Sam and I have remained in close touch, like brothers. I felt very fortunate to be a teenager in a band that had records playing on the radio, and very loyal fans.
Unreleased songs by the Royal Teens include “Run”, “The Beginning, and “Everybody Knows”. Evan added:
“Run” was the most popular song we played, and teenagers asked for it repeatedly. Jim Whittle, the lead guitarist, does some very nice riffs on “Run.”
Thank you to Evan Zang for contributing the photos and information for this article.
The Paper Fortress, from left: Joe Campo, Evan Zang, Sam Chirico, Jim Whittle
Paper Fortress’s 2nd appearance at the Alphabet Fairs at Devonshire Downs. March, 1968 Paper Fortress appearing with Hunger, Giant Crab and Wedge in Santa Maria, May 1968
Something Wild is known for their excellent 1966 single “Trippin’ Out” / “She’s Kinda Weird” on Psychedelic Records.
The group started as the Hustlers in 1962. By 1964 the lineup included Bill Evans on lead guitar, Tim Leach on rhythm, Joe Geppi on bass and Micky Moshier on drums. This lineup opened for the Byrds at Righetti High School. They won a battle-of-the-bands at the Blue Dolphin club in Solving, and appeared on a local TV dance show on KCOY-12.
Kal-X-Blue (Karl Gebhardt) asked to be their vocalist, and in early 1965, the group changed their name to Something Wild.
Micky Moshier left the group, and was replaced first by Bill Peckham, and then Ronnie Libengood (known in the band as “Red” Libben or Libbon), who played on their single. Ronnie Libengood passed away at a very young age.
Santa Maria Times January 21, 1966A
A couple of photos refer to Bill Peckham as “Rufus Peckham” in the captions. One that ran on January 21, 1966 lists Bob Pierce (should be Bob Piers, according to his brother) and William Michael in addition to Rufus Peckham, Kal X. Blue and Joe Geppi.
In 1966 Tim Leach left, and Bill Payne joined on guitar and keyboards.
Also in 1966 Something Wild did two recording sessions, including one at Stars International Recording in Hollywood. The first demo, “She’s Got a Hole in Her Soul” / “The Blues”, was unissued. Anyone have pics of the labels of demo?
The second session featured the awesome “Trippin’ Out” written by Blue, Payne and Evans, backed with Blue’s original, “She’s Kinda Weird”. The group released it on their own Psychedelic Records PR-1691 in July, with the credit “Produced by Kal X. Blue – Acid Head Productions” and the tag “if it’s PSYCHEDELIC then it’s happening”.
The lineup that played on the Psychedelic single: Bill Payne, Bill Evans, “Red” Libben, Kal X. Blue, and Joe Geppi, from KRLA’s Beat newspaper, August 27, 1966
On August 27, 1966 KRLA’s newspaper The Beat featured Something Wild in the Beat Showcase, but in September the group split. Kal X and Bill Evans would continue in the Kal-X-Blues Band, playing at the Fillmore on Halloween 1966.
Wedge was based in San Francisco but was notable for including two musicians from Santa Maria, California, a small city near the coast, north of Vandenberg Air Force Base. Santa Maria is 150 miles northwest of Los Angeles, and part of Santa Barbara County.
Members included:
Howard Miller – lead guitar Kal X. Blue – drums (?) and vocals John Nicholas Kirk Patrick
An article in the Santa Maria Times from May 4, 1968 announced their participation in a teen dance at the Convention Center with the James Brothers Circus (a real circus, not a band name!) Other bands included Hunger, Giant Crab, and the Paper Fortress:
“Wedge” features two former Santa Maria musicians, Howard Miller and Kal X. Blue. This group is from San Francisco and recently returned after performing in Hawaii.
Miller was the former lead guitar player with the “Impacts,” now known as the “Hammermille Butter.” Kal sang with the “Something Wild”, and was a hit performer last summer at the county fair rock band contest.
They are being joined by John Nicholas and Kirk Patrick in the new organization. They have played at the Matrix and Avalon Ballroom in San Francisco and have appeared many times at the Ark in Sausalito.
Something Wild is known for their excellent 1966 single “Trippin’ Out” / “She’s Kinda Weird” on Psychedelic Records. Kal X and Bill Evans of Something Wild would continue in the Kal-X-Blues Band, playing a show at the Fillmore on Halloween, 1966.
I suppose the Impacts the article mentions was the group from San Luis Obispo who recorded on Del-Fi Records and had included Merrell Fankhauser on lead guitar until 1963. I haven’t seen Howard Miller listed as guitarist with the Impacts anywhere else.
Wedge did not record to my knowledge.
The Wedge became a trio featuring Kal X Blue (going by the name Linus) and Jason (real name LaVerne Miller) on lead guitar. The group traveled to Germany, where they added a bassist and drummer, changed their band name to Life, and made an album of original songs titled Spring, released in Germany by CBS in 1971.
Kal X Blue’s birth name was Karl Heinz Gebhardt. He was born in Germany in 1946, and died in Sweden on January 7, 2016.
“You Cry and I’ll Laugh” / “Doubt” by Hex was recorded in 1967 but only existed on acetate until someone pressed it to vinyl on Hexx HR-101. The vinyl is dark brown, translucent when held to light. The U-37756 in the dead wax indicates it was done in by United Record Pressing in 1995.
Both sides are fine hard rock, with some crushing lead guitar.
The band would be a complete mystery but luckily Preston Fong wrote a comment on Youtube:
This was recorded by our high school band (Hollywood High School). I think we recorded this as a demo for Dot Records. We did one other demo called “A Drop of Color” and another song on the flip side. I was the lead singer, George “Fidel” Bell on lead guitar and vocals … Mike Levy on drums, Mark Lewis (Rain – Beatles Tribute Band) on organ. Don’t remember who played bass on this … We were going to be developed by Dot Records at the time with producer Ray Ruff. The company opted to record the group “Colors” something like that and we didn’t want to wait around to be developed by them.
Another person commented with the list of members: Fidel Bell (guitar, vocals), Mark Lewis (organ), Lee Imes (bass), Mike Levy (drums), and Oden Fong (lead vocals). Also that the band either had no name, or “their real name is Unknown (not Hex). Hex was the name of the album, and Hexx was the name of the record company.”
I’d like to know more about the band, and how the record eventually saw release.
I have photos of a group called the Sect according to their drum head. I don’t know the names of any members, or where they were from other than possibly the Los Angeles area.
Two of the photos feature actress Deborah Walley. Someone suggested it was her husband John Ashley in the white suit in one shot, but Chas Gibson informs me this is Jimmy Hawkins, who had roles in TV shows like The Adventures of Ozzie and Harriet, Leave It to Beaver, and The Donna Reed Show. Hawkins and Walley were in the Elvis movie Spinout, which would date these photos to about 1966.
Arizona is another possible location. There was a group called the Sect from Mesa, Arizona, just east of Phoenix & Tempe, that included J.R. Lara, Tom Smith, Buford “Corky” Allred, Brad Reed and Rusty Martin. That Sect recorded two songs at Audio Recorders that were not released until 2003, “Simply Sunday” / “Just Can’t Win”.
Two people have identified the guitarist in the white hat as Kenny Vaughn of the Superlatives, Marty Stuart’s band. Perhaps someone can confirm or refute this possibility.
If it is Kenny, it is possible these photos were taken in Denver, Colorado, where he was based in the ’60s.
I like their look that mixes western and rock styles. Any info on the Sect would be appreciated.
This isn’t the first time Deborah Walley crops up in Garage Hangover. She and John Ashley appeared at an opening of Sergeant Deadhead with the Jerks in Birmingham, Alabama.
Thank you to Chas Gibson for help with identifying Jimmy Hawkins.
Two people have identified this guitarist as Kenny Vaughn of the Superlatives, Marty Stuart’s band.
Is this actress Deborah Walley ?
Jimmy Hawkins in white suit at left, and actress Deborah Walley in front of him.
The Snakes, from left: unidentified woman, Cecil Cotten, unidentified man in white coat, Keith Ferguson (on floor), Steve Karnavas (seated in barber’s chair) and Benny Rowe
In 1969, four Texans formed a band in San Francisco known as Benny, Cecil and the Snakes. I believe the group’s name was a take on the popular cartoon, Beany and Cecil the Seasick Sea Serpent by Bob Clampett.
Members were:
Cecil Cotten of the Briks on vocals Benny Rowe of the Wig and a later lineup of the Jackals on lead guitar Steve Karnavas of the Chaparrals on drums Keith Ferguson – previously with Johnny Winter, and later with the Fabulous Thunderbirds, on bass
Keystone Korner, July 1970, photo taken by Fred King, used with permissionThey played parties for for the Rip Off Press and opened shows for Boz Scaggs, including at the Keystone Korner in July of 1970. Reese Wymans and George Raines of Boz’s band would sit in with the Snakes on occasion.
I found a few published notices for the band:
Benny, Cecil and the Snakes shared a bill on July 24, 1970 with Joy of Cooking at the New Orleans House on San Pablo in Berkeley.
They played for a Young Replublicans of Santa Clara event at the Ramada Inn on November 13, 1970!
July 1-4, 1971 they opened for Charlie Musselwhite at In Your Ear, 135 University Avenue in Palo Alto.
In a February 1971 feature in the San Francisco Examiner, Kathy Goss described the band playing a Bastille Day party at the Pacific Heights mansion she shared at 2300 Pacific before it was torn down. The photo at top was taken at this mansion, I believe; the unidentified man in the white coat was a tenant there. It’s worth quoting a small part of that article:
Maurice and Stanford, the owners of a shop that had recently moved from Union Street to upper Fillmore, had a gigantic French flag that they wanted us to hang outside the mansion for Bastille Day. And so we decided to have a Bastille Day party, and to invite not only our personal friends, but also people who we thought would enjoy having their minds blown by a beautiful, free, colorful party. The house was hung with banners of red felt and velvet, the tables were laden with food.
Benny, Cecil and the Snakes, a fine band and good friends of the house, began playing in the late afternoon. The rooms were filled with shifting images and colors of a light show, and we reveled in the blend of wildly costumed guests of all ages and pursuits who danced and talked and generally enjoyed themselves, sharing in the excitement and energy and splendor of the mansion.
Some unreleased tapes exist of rehearsals and live shows, including one that may have been recorded at the Pacific St. mansion.
Thank you to Wm. Lewis Wms for sending the photos that Cecil Cotten shared with him, and for much of the information in this post.
I’d appreciate more info on Benny, Cecil and the Snakes.
The Snakes, from left: Keith Ferguson, Steve Karnavas, Cecil Cotten and Benny Rowe
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