Here’s a little-known group, the Canadian Legends, who recorded on New Orleans labels, and whose only member I know of is Ronald Buro.
Their first record contains two crude covers, “I’m a Believer” (spelled “I’m a Beleiver”) with lyrics rewritten for U. of Alabama’s Crimson Tide football (tip of the hat to Kip). This release presumably dates to shortly after Alabama’s victory in the Sugar Bowl on January 2, 1967 against Nebraska, which is mentioned in the song.
The flip a version of the Knickerbockers’ “Just One Girl” that is almost unrecognizable from the original. This version does have a lot of charm, however.
Later in 1967 came their second, “Happy” by Ray Stevens backed with an original by Ronald Buro, “One and Only”.
Their last record has two originals by Ronald Buro, “Can’t You Spare the Time” / “Where Were You When I Needed You” on Polar 102.
This Canadian Legends group is considered unrelated to the Legends, a Wisconsin group sometimes based in Miami that had been recording since 1961, including “Just in Case” / “If I Only Had Her Back” and “Alright” / “How Can I Find Her” on Parrot in 1965, and “How Can I Find Her” / “Raining in My Heart” on Thames (and Date) in 1966.
By February 1965, they were being billed in Miami as the Canadian Legends (“originally from Ontario, Canada” according to the Tampa Times), with Sam McCue on lead guitar, Larry Foster on guitar, Jerry Schils on bass and Jim Sessody on drums. Rick Jaeger from the Beau Gentry also played drums with the group from about October 1965 to early 1966. The Beau Gentry also had Wisconsin connections, recording on Ken Adamany’s Feature label.
To further the confusion, a version of “One and Only” shows up on the B-side of the Chessmen’s “The Lycra Stretch” on Suncrest, a label who had only one other release, by The Invaders, a Miami group who were good friends of the Legends.
I have heard the Chessmen version but not the Canadian Legends version yet, so I can’t tell you if it’s the same performance or not.
The Limeys were Andrea Gennard and Stephen Gennard, a sister and brother duo who arrived in Miami, Florida from London about 1962. While students at Rockway Junior High, they made this great single “Come Back” / “Green and Blue” with the London Sounds.
Released on Sherwood 1715, a Miami News notice gave the exact release date, Monday, April 25, 1966. Printed sleeves included a small photo of the duo.
An February 25, 1966 ad for the Palmetto Bandstand featured the Limey’s backed by the Outcasts, on a bill with the Dirt Merchants. (The following night featured the Invaders, the Impacts and the Hares.)
The Miami News profiled the band on March 15, 1966, including:
Here are two down-to-earth teens with an out-of-this-world singing talent. They have no set style, but their music lends itself mostly to folk-rock …
Stephen and Andrea, together with their parents, Mr. and Mrs. Eddie Gennard, of 1715 SW 97th Pl., arrived from London almost four years ago …
Usually they are coupled with a five-member band, the Outcasts.
With the Outcasts, the Limeys have appeared on Florida Bandstand, the Miami-Dade Junior College campus, on Chuck Zinc’s TV program and at the Cloverleaf Center.
The entire Gennard family has become involved: Dad is business manager, Mom a critic and booster.
They also appeared on the Rick Shaw show on May 27.
On the single, the backing band is called the London Sounds, and includes horn players and strings. I’m not sure if the Outcasts were involved, or even who was in the Outcasts – if anyone knows please contact me.
Stephen and Andrea wrote “Come Back”, and co-wrote “Green and Blue” with Pat Tallis, publishing by Chalfont Music Publishing.
Copyright registration from February 1966 shows three other songs: “Take It Easy”, “I Love You”, and “Melonie”, the last two co-written with Pat Tallis.
In June both the Miami News and the Herald mentioned the duo signing to Scepter Records, I wonder if anything came of that.
They must have been unaware of the English group the Limeys, releasing singles on Amcan in the U.S. and Decca and Pye in the UK.
Back in England, Record Mirror profiled the duo on May 11, 1968, providing different last names, Andrea Gerome and Steve Gerome.
The article mentions they did work in America “but, as ever, work permits for artistes so young (Anna is 17, Steve 16) proved difficult. Anna used to be apprenticed to hairdresser Vidal Sassoon, abandoning haircutting for disc-cutting.”
Anna and Steve made two singles for Fontana under the artist name Too Much, “Wonderland of Love” / “Mr. Money” (written by Gerome) in 1967, then “It’s a Hip Hip Hippy World” / “Stay in My World” in February 1968.
As Anna Hamilton with Stephen they made another single on Fontana in April 1968, “Everybody Wants to Go to Heaven (But Nobody Wants To Die)” / “You Laughed When I Cried” (b-side writing credited to Gerome). Their version competed with the Karlins, (triplets Linda Wilson, Elaine Wilson and Evelyn Wilson) who released their 45 on Columbia (UK) about the same time.
Thank you to Ansgar for pointing me to the Record Mirror article (which I never would have found considering they had changed their name!).
Andrea and Steve Gerome in Record Mirror, May 11, 1968
Bob Jabour of the Cave Men at Mallory Square, Key West
The Cave Men cut one of the wildest singles of the 1960s, “It’s Trash”, released on the B-side of ‘Chelle PH 148 in August, 1966.
Claus Rosenblad interviewed bass guitarist Bob Jabour of the Cavemen, who also sang the lead vocal on “It’s Trash”
What was your musical background?
I played trumpet, tuba and my parents were dancers.
How did the group get together and where did the practice take place?
The band I was in before the Cavemen was named the Coachmen. Paulie Walterson was the drummer for the Coachmen. He quit the Coachmen to form the Cavemen. Tony Rey was brought in to replace Paulie in the Coachmen. When the Coachmen broke up because of the draft, I went to California. I got a phone call from Paulie to come join the Cavemen when they changed bass players and I came back to Key West.
The Coachmen personnel:
Singer: Chuckie Ward Lead guitar: Ross Kilgore Rhythm guitar: Bobby White Bass guitar: Bob Jabour Sax: Leonard Rojas Sax: Austin Roberts Drums: Paulie Walterson Drums: Tony Rey
The Cavemen:
Drums: Paulie Walterson Drums and vocals: Tony Rey Lead guitar and vocals: Andy Johnson (deceased) Rhythm guitar and vocals: Sergio Roche Bass guitar: Robert Tiff (deceased) Bass guitar and vocals: Bob Jabour
How long time did the Cavemen exist before they split?
Maybe 3+ years.
Where did the Cavemen play live, and what was your best gig?
Lived and played mostly in Key West; played road gigs in the Keys and Miami; recorded in Miami.
Best gig… probably the Miami shows and recording for an appearance on the Rick Shaw show in Miami which did not happen because the band broke up.
What is the story behind “It’s Trash”?
I wrote the lyrics about a relationship that I was in which went bad. I am the lead singer on “Trash”.
The flip called “The Pillow Bit” is a ballad. Mostly Andy’s (guitar player, solo on “It’s Trash”). I contributed some of the lyrics.
What other big acts were your musical inspiration, (or genres)? Please name some of it.
I came up through R&B: Otis Redding, Solomon Burke, James Brown, Sun Records, Chess Records, Motown, funk…
The Cavemen were very much a show band… so were the Coachmen. The Coachmen did the entire James Brown at the Apollo album. The Coachmen were very much a rhythm and blues group. The Cavemen were more of what we would call “punk” today.
How did the record come to be made?
Rhythm guitar player’s father sponsored the 500 copy pressing of “It’s Trash” and “The Pillow Bit” on the label ‘Chelle which was our manager/engineer’s label, Steve Kimball.
Which studio did you record the songs in?
Our band manager Steve Kimball built and was the engineer for the studio. I forgot the name of the studio. Criteria was in business at the same time as the studio we recorded in. They were big competitors at the time and both studios had 4 track capabilities. If the Novas recorded at Criteria, it was because the other studio went out of business.
Any fun facts and stories from the making of the record?
We would pile in the VW van and drive to Miami and spend the weekend in the studio and playing gigs that Steve had set up for us. We recorded about a dozen cover tunes, and a few originals for appearances on the Rick Shaw dance show which never happened because the band broke up.
What other groups in that area did the Cavemen compete with?
Miami: The Kollektion, top Miami group featuring a guitarist that went on to play for Iron Butterfly.
Or make friends with?
The Hustlers, another group managed by Steve. We split recording time with them. [The Hustlers cut a great single on ‘Chelle 145, “My Mind’s Made Up” / “If You Try” – ed.]
Did you ever do any battle of the bands?
Yes. Every weekend in Miami. Once did a two band gig with Wayne Cochran & the CC Riders featuring Jaco Pastorius on bass in Key West.
Do any other recordings exist?
There were at least two acetates: a 12 tune one of cover material; and a five tune one. The 12 tune one was destroyed by overplaying before it was lost. The five tune one survived and was copied to the internet. There are tape copies of it around. “Mustang Sally”, “Talk Talk” (best cover), “That’s How Strong My Love Is”, two more I forgot right now.
What happened to you and the other band members after the band split up?
Went four different ways:
Serge, rhythm guitar, formed another group.
Tony, drummer, went back to playing guitar, his primary instrument. Resettled in Fort Lauderdale. Played the Miami / Ft. Lauderdale nightclub scene with various latin and rock bands. Tony was from Cuba.
AJ (Andy, lead guitar) was hired out of a Key West bar by Eric Andersen and went on to record and tour with Eric for about two years. Then he got hired by Sister Kate Taylor (James Taylor’s sister) and recorded and toured with her.
I went on to play Key West bars. First putting together house bands, then eventually doing pick up gigs on bass. In my house band days, I worked with Vinny [Vince Martell] for a few months before he returned to New York to become part of the Vanilla Fudge (guitar player).
Thank you to Claus Rosenblad and Bob Jabour.
‘Chelle discography (any help with this would be appreciated including scans of all but the Cavemen, or audio of A Pace of Change’s single).
PH-145 – The Hustlers – “My Mind’s Made Up” (McNicol) / “If You Try” (1966) PH 148 – The Cavemen – “The Pillow Bit” / “It’s Trash” (both by A. Johnson, B. Jabour, T. Rey) PH-162 – The Novas – “Please Ask Her” / “Whenever You’re Ready” (Bob Calaboro) January 1967 CK-301 – A Pace of Change – “Sync Higher” / “Death Comes Sweetly”
The Hustlers were: Bob Leavitt guitar, Johnny McNicol guitar, Joe Romeo bass and Nick Fresca drums.
The Novas were: Bill Campbell vocals, Kenny Wynn lead guitar, Rick Calaboro guitar, Jim LeFevre bass, and John Bernard drums.
The Burgundy Blues were the recording name of a Miami, Florida group called the Amen. Members included:
Tim Yero – lead guitar, lead vocals Bob Lewis – bass Bill Sabella – organ Keith Van Schaick – drums, replaced by Burt Compton
Tim Yero wrote “I’ll Get You Back Again” and “Nothing Without You”, published by Artrec BMI with copyright registrations on September 27, 1966.
Ron Deeb produced the band’s sessions at Dukoff Recording Studios in North Miami. They were well known locally as the Amen, but Deeb changed their name to the Burgundy Blues as more commercial; the band only played two or three shows with that name. Yero estimated a pressing run of 500 copies, on Deeb’s Argee Records 100. From what I’ve read, many demo recordings of the Amen performing Tim’s original songs exist, including a very different early arrangement of “I’ll Get You Back Again” recorded at Voice Incorporated studio, but I haven’t heard any of them.
The band broke up when Tim Yero was drafted.
Eric Sabella would join Jerald Cohn, Ronald Chassner, Ken Thomas, Rick Thomas and Alberto DeAlmar in the Leaves of Grass who cut two singles on Platinum in 1968. From that group came the Metaphysical Animation with Sabella, Alberto DeAlmar, Steve Margolis and Robbie Hansen. In 1973, Metaphysical Animation recorded about 60 minutes of music at Ben Scott Studios, which was pressed up on two LPs in a plain sleeve, now very rare.
Anyone have photos of the group?
Source: much information is available through searching in the Limestone Lounge.
Frank Milone sent the photos and history of this North Miami band who unfortunately never recorded.
Frank Milone – lead guitar Butch Cappolino – drums Jim O’Connell – bass Bob Wolfkill – rhythm
The 4-Dimensions were started 1963 in Miami Shores, Florida by three friends, Frank Milone, Butch Cappolino, and Jim O’Connell. Frank had been playing the guitar for several years, Butch had taken drum lessons and Jim volunteered to play bass.
They went through several lead guitar players when they met an older musician Buck Campbell. He trained Frank to play lead, Butch to play drums and Jim some bass. Once he had the band going with a list of top ten songs Buck moved on. The band auditioned several rhythm guitar players and found Bob Wolfkill who matched the temperament of the other three and fit right in.
The band started playing at many of the local schools and community clubs. Their first real big break came when they got a gig with local disk jockey Charlie Murdock. The band played every Friday night at the Cutler Ridge Mall south of Miami and eventually became the house band. They began playing all over the town and especially on Miami Beach. During the summer of 1964 they played in a small club call the Coffee House in Coral Gables where they played rock and roll music six nights a week.
Near the end of 1964 they became one of the regular bands at the North Miami Armory on Sunday nights and at War Memorial Auditorium in Fort Lauderdale on Saturday nights. These were the top dance locations for teenagers on the weekends.
At the end of the summer of 1965 Bob left for college and the band disbanded. The band had a reunion in 1999 and jammed for the last time.
Frank is now currently playing in two separate bands.
Butch use to jam with Frank every once in a while and still had his original set of drums when he passed in 2008 at age 60.
Jim still has his original Gibson SG bass but does not play.
Bob sold his guitar to go to school when he left the band. All agreed it was the best time of their lives.
Clockwise from left: Bob Wolfkill, Jim O’Connell, Frank Milone and Butch Cappolino
Here is Chuck Conlon on two fascinating 1967 45s on Henry Stone’s Marlin label after leaving the Nightcrawlers and relocating from Daytona Beach to Miami. “I Won’t Tell” reworks the opening guitar line of “Little Black Egg” and adds similarly odd lyrics like “A teaspoon holds more than the fork does”, sung in the same naive style.
“You’re Comin’ On” has fine production, opening with distinctive percussion, allowing the bass carry the melody and keeping the distorted guitar as decoration. Though credited to Conlon and the Crawlers, I don’t know if any of the his former band the Nightcrawlers actually played on these songs. I’ve heard that Ron and the Starfires were backing him on some of these tracks.
The A-side of the second 45, “Won’t You Say Yes to Me Girl” is a pop gem. I don’t usually object to horns on songs but I wish the producers had kept to the simple arrangement of the intro for this one. The piano trills and organ are excellent and the trombone player’s solo lines blend well.
“Midnight Reader” is more obscure, an ode to introspection as far as I can tell: “He goes behind closed doors every night / all that shines is a small intensity light / there’s no one inside the room but him”. Another verse goes “All the persons who are drunk are asleep / he cares not if they leave him in peace”: the scholar surrounded by hedonistic students maybe?
Compare the opening lines to another that Conlon wrote for the Nightcrawlers, “A Basket of Flowers”: “She sits in a cell at the midnight hour / gatekeeper tied in the darkest hour / she seems so lonely there”.
“I Won’t Tell” entered the charts of Orlando AM station WLOF in April ’67 and reached as high as #19 in May. The first 45 was a Bard Shapiro / Steve Alaimo Production, the second credited to Marlin Productions. All four songs are Conlon originals, though “Won’t You Say Yes to Me Girl” is co-credited to Brad Shapiro.
Chuck released a few solo 45s that I haven’t heard about once every ten years beginning with “When God Comes to Call” in 1965, all as Charles Conlon. He also wrote “Eric Cleveland” which appears on a 45 by the Yak on Tooth 533 and Avco Embassy AVE-4514 with a cover of the Beatles “Every Little Thing” on the flip. I don’t know if he had any involvement with that group, it was pressed at Queen City Album Co. in Cincinnati, Ohio in August, 1969. There seem to be some unreleased recordings as well, including one titled “Poor Little Mixed Up Kid”.
Thanks to Joe Emery for suggesting this post way back in February.
Dirt Merchants in the Miami News, Saturday, May 7th, 1966 – text belowTodd Reece sent in the story and photos of his band the Dirt Merchants, a Miami group that unfortunately never recorded. Todd was lead singer, other members were Danny Gray lead guitar, Lee Barchan rhythm guitar, Terry Goldman bass, and Bill Shimp on drums.
Todd Reece: We were strong at all the local spots from the p.a.l. to frats., etc. We played with, and I knew people from many of the bands you already mention.
Evil got to make their record, sadly because an audience screaming contest at the fair gave them the edge over us. It came down to us and them at the battle of the bands……alas that’s the way it goes!
I went to Coral Park, while most of my competition came from Southwest. I was the lead vocalist, and the youngest in the group. The rest of the guys were at Dade Jr. College. Our manager Bob Hannah was the little round Santa at p.a.l., you see in the pix.
We were the guys doing all the Animals and Stones, as they came out on record.
I left the dirt merchants to start another group, like an ego maniac lead singer would do, that was “̧Chelsea’s Children.” This group shifted to a lot of Love and Byrds. We were the house band at “the Depot” on U.S.1, across from the U of M. We played on the Rick Shaw TV show. I noticed Bill Banye went on to join together with some other folks, after our band Chelsea’s Children split.
My circle the next year included: Wet Paint, the Razors Edge, the Collection, the 7 of Us, nrbq, and Blues Image. After that I moved on. I have done a band a decade since. None with released recordings. I am currently recording a cd in atlanta. It is mostly covers of things from back in the day. I am calling this bunch of musicians “Big Love Day”. The album title at this point is “Covering the World”.
Q. So I take it the band never made it to New York to record, like the article says?
No, I left and started Chelsea’s Children. You of course know what a wild year 1967 was, and I went far into hangin’ with bands and not playin’ for quite a while. Foolish youth!
Miami News article:
So What’s in a Name?
‘S funny how bands get their names. Take the Dirt Merchants –
Half a dozen guys got together with their instruments in the home of a buddy, Bob Hannah, who worked on his car while they played.
Bob’s father arrived in the midst of the sound session and asked “What are you doing?”
“Practicing,” they said, then played a sample of what they could do. At the windup his candid criticism was, “You know, I wouldn’t sell that to a dirt merchant.”
They’ve been the Dirt Merchants ever since: Lee Barchan on rhythm guitar, Terry Goldman, bass guitar, Danny Gray lead guitar, Bill Shimp drums and singer Todd Reece. Bob Hannah is self-appointed manager.
A year has passed since the boys united – four are students at Miami-Dade Junior College, the singer at Miami Coral Park. Their twice-a-week practice sessions at the Youth Center in Kendall have improved their technique so much even Bob’s father likes the band now with its identifying Rollin’ Stones beat, rhythm and blues, rock ‘n’ roll.
Palmetto Bandstand’s Howard Show gave the Merchants their first booking. They’ll return in June when the Bandstand will be open Saturday nights for the older crowd, 17 yrs and up.
Since then, the boys have played private parties, college fraternity and sorority parties and open houses, proms, bar mitzvahs and high school hops. In fact they’re so busy now their bookings run two months ahead.
The Dirt Merchants are shaping up for a record they will cut in New York. By going there, spokesman Bill Shimp felt the band’s chances of getting nationwide exposure would be greater. “If we cut it here, it would be like a miracle to get it out of Miami,” he said.
The instrumentalists wear conservative black suits and yellow shirts usually, with ties. “Todd makes up for the rest of us,” explained Bill.
“He wears levis, sometimes sports a purple shirt with ruffled cuffs he had sent in from California, with hip huggers and a big buckle in the front. Crazy, man.”
“One of the gassiest groups in Miami, man. Got a smash-a-demus going for ’em. The Invaders — it’s rated number two on the survey tonight. It’s called ‘She’s A Tiger’!”
Rick Shaw’s words in ’65 let teens in sixteen counties know that a band from South Florida — for that night, at least — had the second most-requested song in the area. On that night, the Invaders had outperformed the Beatles, the Supremes, the Byrds, and Herman’s Hermits, as their fans all flocked to their phones to give support to the guys who’d just won the Burdines Combo Castle Battle Of The Bands.
“She’s A Tiger”‘s brief success was certainly a highlight for the group, which had started out way back in 1962 as the Playboys. After adding Don Goodson on drums and Kenny Ahern on guitar, keyboard player Robert Haas renamed the group The Invaders.
Their electronics expert manager Richard Sano leased a rehearsal studio for the guys on Northwest 27th Avenue, near the Palmetto Expressway. Inspired by the Canadian Legends, the guys decided to buy all new Fender equipment. Ahern exited, and Dave Davis came in as the band’s new lead guitarist.
It was about that time that Goodson purchased a new Chevy van to transport the group’s new gear. Haas designed a logo that was then painted on the van. Everyone knew when the Invaders were coming!
By ’64 the band was booked solidly all over Dade County, and into Hollywood and Ft. Lauderdale as well. They played at spots such as PAL, Code One, the Diplomat, the Fontainebleau, the Bath Club, the Hollywood Armory, and the Surfside Community Center.
Notice both the Shaggs and the Blue Beatles had their names misspelled on this flyer.Burdine’s Combo Castle Ballot
The band members traded in their Fender equipment, after agreeing to an endorsement deal with Vox. Haas became one of the first keyboard players in America to own a Vox Continental organ. The Invaders appeared in a series of ads for Vox, including the one above that promoted the House Of Pianos and Organs, on Northwest 7th Avenue and 34th Street. The band also played at the South Florida premier of the movie “Help!”
The Invaders caught the attention of several WQAM Tiger d.j.s, including Rick Shaw and Jim Dunlap. It was only natural that their record would get airplay on the station. (Having the word “Tiger” in the title didn’t hurt matters, either). The single, by the way, was engineered by Mac Emmerman at Criteria.
The B-side title was changed from “She’ll Come Back” to please one of their sponsors, Honda… even though the word “Honda” is never mentioned in the tune.
Rick Shaw introduced two Capitol Records A&R men to the boys in the band, who were then offered a record deal — with one catch. The boys were told they’d have to devote all their time to their career, which would mean dropping out of school. That offer was turned down.
Steve Seitz and Dave Davis at the “She’s A Tiger” session
Some additional information on the Invaders, from Robert Haas:
The Honda Corporation, a sponsor of Burdine’s Combo Castle Battle of the Bands, insisted that the Invaders use the brand name, “Honda,” in one of the songs the group recorded. The recording, which took place at Criteria Studios on W. Dixie Highway in N. Miami, was as part of the grand prize for winning the contest. The requirement to use “Honda” in one of the two songs recorded was made known to the band AFTER I had written the lyrics to the original tune, “She’ll Come Back.” It was an absurd request since the song had nothing to do with a Honda motorbike and the only solution I could come up with on the spur of the moment was to use “Honda” as a nickname for the girl referenced in the song. Silly, but those were the rules!
The Invaders, the Calientes and the Stops appearing with WQAM DJs at screenings for Help!“She’s A Tiger” was never used intentionally for promotional purposes. I wrote the lyrics prior to winning the battle-of-the-bands-contest. WQAM, purely by coincidence, was called “Tiger Radio” and the DJs there did not miss the opportunity to capitalize on the coincidence. It was good for the Invaders, who had already caught the ear of DJs Rick Shaw and Jim Dunlap. Rick was instrumental in getting Capitol Records to offer the group a recording contract (which we turned down). He nevertheless continued to play the song nightly and used it to promote not only the Invaders but also WQAM.
There was another DJ on FM radio who came to prominence two or three years after the Invaders had disbanded. Her name was Trish. I don’t recall the station’s call letters. I would tune Trish’s show in at night and listen to her talk about the Invaders. She apparently had been a big fan of the group. To my knowledge, I never met Trish. She would regularly play “She’s A Tiger,” for her audience.
I think that’s about as much exposure as the song got. It was the very first song I had ever written, so I guess that’s not too bad for a first effort. Little did I realize that it would not be until I was 40 years old that I would become a major label recording artist and pen a few Billboard-charting songs! From 16 to 40 is quite a wait!
Peter Pan Productions was the name of the Invaders’ publishing/recording company. I cannot recall why we chose that name but I am fairly certain it was the result of a standing band joke. Humor ruled the day whenever the Invaders got together.
Don Goodson on the drums, at the “She’s A Tiger” session
Not long after, Dave Davis left town, and the members of the Invaders drifted into different directions. Don Goodson would join former Invader Kenny Ahern in The Echoes. Haas would replace Richie Borkan in Sounds Unlimited. (Borkan would soon join the Kollektion.)
Steve Seitz opened an artist management firm on Miami Beach in the 1980s.
Don Goodson worked at Ace Music in North Miami for many years, and made appearances recently at both Geezerpalooza and the “While We Still Can” reunions. Don passed away in late 2007.
Ahern can still play surf guitar with the best of them, and a few years ago was in a duo called The Stratospheres with Bill Kerti, another Echoes/Echo veteran.
Robert Haas went on to write the best-selling health and fitness book, Eat To Win, and collaborated with Cher on another best-selling book. He landed a major label recording contract with Mercury/Polygram with the group Siren (aka Red Siren), and has been told one of his songs is on hold for recent American Idol winner Taylor Hicks.
Unfortunately, Dave Davis killed himself in the 1970s, before he could see his music appreciated by a new generation of fans. I do not know what happened to Jeff Glass.
Thanks to Robert Haas for most of the photos. Invaders van picture by Linda Neary. Thanks also to Billy DeMoya. 45 transfers from Jeff’s Florida Flashbacks.
The Invaders story by Jeff Lemlich. Originally published on the Limestone Lounge and reproduced with permission.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
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Their first record contains two crude covers, “I’m a Believer” (spelled “I’m a Beleiver”) with lyrics rewritten for U. of Alabama’s Crimson Tide football (tip of the hat to Kip). This release presumably dates to shortly after Alabama’s victory in the Sugar Bowl on January 2, 1967 against Nebraska, which is mentioned in the song.
