The State of Mind, from left: Tommy Devore, Gary Redwine, Mike Darby, Glenn Coleman and Bobby Corley This photo and the one of the band van from Bobby’s blog Diary of a Drummer
Last year Bobby Corley of the State of Mind sent me a copy of their cool single for the Tener label. I sent him a couple emails to thank him and ask for more information on the band, but haven’t heard back yet. Bobby has a blog Diary of a Drummer with many good photos, but he hasn’t updated it in a couple years.
The members of the State of Mind were Tom Devore (vocals), Glenn Coleman (lead guitar), Mike Darby (rhythm guitar), John Dumas (bass) and Bob Corley (drums). Their original drummer was Leo Gates, replaced by Corley in 1967 when Gates went to college. Gary Redwine also played bass with the group, though I’m not sure if he came before or after John Dumas.
The band was from Winter Park, by Orlando, often appearing on bills at the Orlando Youth Center and The Place, but other than that I don’t know much about them.
Their first release was probably this very fine version of “My Back Pages” on the Bee Jay Demo Volume II compilation from 1967 (Tener TC 1014). I hadn’t heard this until recently.
Their single came out in late ’67 or ’68. “City Life” is really unusual, with static noise layered over the music throughout the song, giving it an apocalyptic feel. It was written by Mike Darby, Tom Devor and Glenn Coleman. The flip “Time Will Tell” is also good, written by Devor and Darby.
Glenn Coleman and Tom Devore, and later Mark Darby, played with a later group called the Orange Wedge (not the Michigan group who recorded “From the Tomb to the Womb” or the Baltimore group with two LPs in the ’70s).
Thank you to Jeff Lemlich for the transfer of “My Back Pages”.
Orlando Youth Center, Fall 1968 schedule, featuring the State of Mind, Ron & the Starfires, the Marshmellow Steamshovel, Plant Life, Magic Circle and more.Orlando Youth Center, Fall 1968 schedule From the collection of Rootbound at the Limestone Lounge.
The Surprize, from left: Roger Fuentes, James Marvell and Buddy Good. (Paul Paris not shown)
You can hardly find a better intro than the one to the Surprize’s “I Will Make History”, with an immortal fuzz riff that hooks the listener immediately. I find the lyrics don’t match the intensity of the music, and that hokey interlude just doesn’t make sense to me, cutting the momentum in the middle of the song.
The flip “Too Bad” is more consistent, if more conventional, and is the side I play the most these days. I’ve seen this listed as from the summer of ’67 but I would speculate it was cut a little later.
Members of the band included:
James Marvell (Carlos Zayas) – lead vocals Paul Paris – lead guitar Buddy Good – bass and vocals Roger Fuentes – drums
Roger Fuentes came from the Early Americans who have a great single on Paris Tower, “Night After Night” / “It’s So Cold Outside” where his drumming stands out. Carlos Zayas wrote “Too Bad” and co-wrote “I Will Make History” with Centinaro.
John Centinaro managed and produced the band on his own Cent Record label out of Tampa, Florida. Centinaro he also managed the Robbs and the Mysterians for a time.
Prior to the Surprize, Good and Marvell collaborated with Centinaro as the Skopes with “She’s Got Bad Breath” / “Tears In Your Eyes” on the USA label in the summer of ’67.
In 1968 Good and Marvell released one single with lead guitarist Eddie Wasenberg as ‘Together’, with “I Loved You” (credited to Centinaro, Wonderbuna and Zayas) / “Don’t Laugh at Me” on Cent Records, recorded at Charles Fuller Studios in Tampa. Both sides are poppy productions, and “Don’t Laugh at Me” seems to feature some zippy speeded-up guitar runs.
Marvell, Fuentes and Good went on to join Mercy (“Love Can Make You Happy” on Warner Bros), another band managed by Centinaro. After Mercy, Marvell and Good formed the gospel country music duo the Country Cavaleers, again with Centinaro managing, then went solo in 1976.
James Marvell wrote to me:
The Surprize was originally a 1966 three piece Tampa, Florida band.
Before their days as The Surprize, James Marvell and Buddy Good were singing and writing songs together. It was during those teen years that James and Buddy formed The Scopes. They released a song co-written by their manager John Centinaro titled “She’s Got Bad Breath.” Scope mouthwash banned the song and the duo changed their group name to The Surprize.
Around 1968 Surprize members James Marvell, Buddy Good with their drummer Roger Fuentes joined Mercy and recorded the million seller “Love Can Make You Happy” written by Mercy founder Jack Sigler Jr.
James & Buddy wrote many songs during their teenage years in Florida and even had songs published by The Isley Brothers’ publishing company in New York. James hopes to dig up those recordings from the middle to late 60s.
After Mercy, Marvell & Good went on to form The Country Cavaleers. Today, James Marvell is still traveling and reliving the the music of the 60s. Joining Marvell is his wife Faye.
The Mixed Emotions give us two beautiful downers on their only release. The songs are similar in style but each is a gem of moody garage, especially “I Lied” which is all regret and a plea for forgiveness.
“I Lied” was written by Mike Schneider and “Marie” by Mackey / Schneider. I don’t know anything else about the group, however.
Bob Quimby ran the National Songwriters Guild in Deland, Florida, pairing lyricists and arrangers and for a fee setting people’s lyrics to music and making a record for them. Tropical was one of his labels for the various song-poems he recorded (the earlier Carellen label being the other).
Local bands such as the 2/3rds used Quimby’s studio in Ormond Beach and sometimes would pay him for a vanity release, which is what the Mixed Emotions single seems to be, recorded January 19, 1967. The Mixed Emotions was released on Tropical, the 2/3rds on April, while the Offbeets had an acetate on April (“Double Trouble” / “I Wanna Do It”, as by the Nonchalants) and Tropical (“Double Trouble” / “She Lied” as by the oFfBeEtS). All of these releases share publishing – Alison Music.
Bob Quimby died in 1994, but some of his many studio tapes were released on a series of CDs called Drive-In a GoGo where you can hear these songs in better fidelity than my worn 45.
The Rovin’ Flames at “Safety Village” theme park, 1966
Revised November 2009
The Rovin’ Flames were a major group out of Tampa, Florida. They went through many lineup changes, and it’s only thanks to Dorothy Chapman, the former Secretary and later Vice President of the Rovin’ Flames Fan Club that I can give a detailed listing of lineup changes.
Original lineup, 1965 – spring or summer of 1966:
Paul Battle – rhythm guitar, vocals Jimmy “Mouse” Morris – lead guitar J. R. Maietta – bass Jerry Goff – drums
I don’t know how the band started, but at least some of the Rovin’ Flames were students at Chamberlain High. The Rovin’ Flames first record was “Gloria” / “J.J.J.P.” cut in September 1965 on the Fuller label owned by Charles Fuller who also ran the Boss and CFP (Charles Fuller Productions) labels. This 45 was produced by John Brumage, whose name crops up repeatedly on Rovin’ Flames records, usually as producer.
The group uses the guitar line to “Shakin’ All Over” to open “Gloria”. The singer’s voice on “all I have to do is call her on the phone, and … she’ll be … huggin’ me and kissin’ me” doesn’t make him sound like much of a lady killer – this Gloria might be too much to handle! Mop Top Mike pointed out that this was one of the earliest covers of the Them song, released about six months before the Shadows of Knight had a major national hit with their version.
“J.J.J.P.” is the band’s original, an instrumental take on the Louie Louie bass line and changes. Paul Battle handled the vocals for “Gloria”.
Early lineup with original band plus Hardy Dial
Spring or summer, 1966:
Hardy Dial – lead vocals Paul Battle – rhythm guitar, vocals Jim Morris – lead guitar J. R. Maietta – bass Jerry Goff – drums
Forvus (Brooke Chamberlain) with the Rovin’ Flames
Hardy Dial came from the Outsiders, another Tampa group that cut two great 45s for the Knight label, including “She’s Coming On Stronger”. Dial left the Outsiders before their second 45, a ripping take on “Summertime Blues” sung by John Delise. Interestingly, Delise would be behind the microphone with the Rovin’ Flames as well, but not until their last 45 in 1967.
The Rovin’ Flames second record was the demented “I Can’t”, written by producer John Brumage and released on the Boss label in February or March of ’66. The short verse is followed by six bars where Dial (or is it Paul Battle?) simply chants “I Can’t” or sometimes just wails. After a short guitar solo it’s right back to more of the chant, a repetition of the verse and then a fadeout to those maniacal words.
For the flip they do the entirely more sedate “I’m Afraid to Go Home”, a cover of a Brian Hyland song. Despite the catchy rhythm of the guitar and bass this song drags, with rhymes of “what I’ll see” and “Tennessee”.
Next they provided the rhythm tracks for Brooke Chamberlain, a DJ who fancied himself a songwriter and singer. “Now That Summer Is Here” is nearly a parody of beach pop music, with lyrics like “‘watermelon so good” and a chant of “summertime, summertime” in the middle of the tune. Brooke tries holding the last word of each line, but he’s no Beach Boy. Interestingly there’s phasing on the backing tracks, I wonder if that was intentional or caused by some mishandling the tape.
Brooke’s taking himself even less seriously on the flip, “It’s Nothing New”. The awkward artist credits on the labels are another clue to the tongue-in-cheek nature of this 45, with “Now That Summer Is Here” billed to “The Forvus featuring Brooke Chamberlain with the Rovin’ Flames'”, while “It’s Nothing New”, is credited to “Brooke Chamberlain with the Forvus and the Rovin’ Flames and Harvey Swadnungle”. Chamberlain’s alias in BMI’s database is Frank Edmondson Jr.
Jeff Lemlich wrote to me “I think Tampa Bay was Brooke Chamberlain’s label. He was a disc jockey on WALT Radio in Tampa, and as such had a lot of influence. So when he wanted to cut a record, bands like the Rovin’ Flames and Four Letter Words obliged.”
Rovin’ Flames opening for the Dave Clark Five, July 1966
The Rovin’ Flames work with Chamberlain had some benefit to the band, as he contributed lyrics for a good ballad, “Seven Million People” for their next 45, released in June of ’66. The group runs the lyrics over an adaption of the Byrds “I’ll Feel a Whole Lot Better”. There’s more action on the other side, a good cover of “Bo Diddley”.
Like the Forvus single and the Outsiders 45s on Knight, this was recorded at H&H Productions in Tampa. The producer for this one is Phil Kempin, the only record they cut not produced by John Brumage.
Rovin’ Flames at Curtis Hixon with the Tropics and the Dave Clark Five
Third lineup with Jim Davis, John Rogers and Dave Tabak joining.
September, 1966:
*Jim Davis – lead vocals Jimmy Morris – lead guitar *John Rogers – organ J. R. Maietta – bass *Dave Tabak – drums
Paul Battle and Jerry Goff left the band for another project and about this time Hardy Dial left the group as well. By September of ’66 the band had added Jim Davis on lead vocals, Davy Tabak on drums, and for the first time they had an organ player, John Rogers, who came from Mississippi. This group would stay together for a few months but not record.
December, 1966:
*Paul Battle – lead vocals Jimmy Morris – lead guitar John Rogers – organ J. R. Maietta – bass Dave Tabak – drums
Jim Davis left the group in December of ’66 and Paul Battle returned for a very short time as lead vocalist. This lineup also would not record.
Article with the Changin’ TymesThe Rovin’ Flames, late 1966November ’66 – March ’67 photosSacred Heart Academy, February 25, 1967Summer of ’67, with John Delise and new drummer Eddie TaylorWALT beach party, June 24, 1967
February, 1967:
*John Delise – lead vocals Jimmy Morris – lead guitar John Rogers – organ J. R. Maietta – bass Dave Tabak – drums
Rovin’ Flames July 1967 photos
July 1967:
John Delise – lead vocals Jim Morris – lead guitar John Rogers – organ J. R. Maietta – bass *Eddie Taylor – drums
The next big change for the group was adding John Delise on lead vocals, the same singer who previously had replaced Hardy Dial in the Outsiders. Delise had a good run with the Outsiders. With their name changed to the Soul Trippers, a 45 of “I’m a King Bee” on the Laurie subsidiary label Providence was a minor sensation in the summer of ’66.
In fact, the Outsiders/Soul Trippers and Rovin’ Flames stories seem intertwined in ways that aren’t fully clear to me yet. With Delise moving on to the Rovin’ Flames, The Soul Trippers became Noah’s Ark, cutting two 45s for Decca, including a cleaned-up version of the Fugs “Group Grope” retitled “Love In” that the band credited to themselves. Ed Sanders could have sued over that one! One of the writers credited on “Love In” is Helen Uncapher who would co-wrote both sides of the Rovin’ Flames next release, “How Many Times” / “Love Song #6” with John Delise. As producer of these discs, John Brumage at H&H seems to have been responsible for placing both Noah’s Ark and the Rovin Flames with Decca in 1967.
“How Many Times” is one of the most memorable of all 60’s band 45s, with a swinging organ sound and Delise delivering the wild opening lyrics:
How many times can you put a gun up to your head, thinking about the pleasures of being dead
along with a lighter verse:
How many times have you pulled into a hamburger stand, waving your money in your hand, yelling and screaming like a hungry man, but the lazy waitress takes all of the day, but you don’t care she’s ugly anyway!
It was released a little late for its style, in September of 1967. The freewheeling flipside “Love Song #6” was also included on the 1968 Tener various-artists LP release Bee Jay Video Soundtrack.
John Delise went on to join Those Five, probably after their cool 45 “Sidewalks” was released on Paris Tower.
In July of ’67, Eddie Taylor replaced Dave Tabak on drums, though I believe Dave is playing on the Decca 45.
Autumn 1967, from left: John DeLise, Johnny Rogers, Jimmy Morris, Eddie Taylor and J.R. MaiettaThe Rovin’ Flames with new lead singer Bob Thompson, November 1967
November 1967:
*Bob Thompson – lead vocals Jim Morris – lead guitar John Rogers – organ J. R. Maietta – bass Eddie Taylor – drums
July 1968:
*Ronnie Goedert – lead vocals Jim Morris – lead guitar *Jay Colding – organ J. R. Maietta – bass *Jerry Nickerson – drums
Autumn 1968:
*Hobie O’Brien – lead vocals Jimmy Morris – lead guitar Jay Colding – organ J. R. Maietta – bass Jerry Nickerson – drums
John Delise lasted longer than most of the Rovin’ Flames lead singers, but still was with the group less than a year. Bob Thompson took over in November of ’67. Around this time the Flames started appearing with ‘Rovin’ Things’ emblazoned on Eddie Taylor’s drumhead, though I’m not sure if they really changed their name in their bookings.
Johnny Rogers died in March 1968 and Bob Thompson and Eddie Taylor left the band. Jim Morris and J.R. Maietta must have barely been able to hold the group together, but by July they had recruited three replacement musicians – Jay Colding on organ and Jerry Nickerson on drums, plus Ronnie Goedert on lead vocals. Ronnie didn’t stay long and was replaced by Hobie O’Brien in the fall of ’68. The band broke up for good in early 1969.
J.R. Maietta stopped performing and owned a record store for some years. He passed away in 1996. John Delise died on October 3, 2004, and the band’s last keyboard player Jay Colding passed away just this November 26, 2009. Ronnie Goedert later joined White Witch, and passed away in 2000.
Last known photo of the Rovin’ Flames, Soap Box Derby Parade, July 13, 1968
Much helpful information in writing this piece was found at The Limestone Lounge. Special thanks to Jeff Lemlich for providing additional info as well as scans of the Fuller, Boss and Forvus 45s, and transfers of “Gloria”, “J.J.J.P”. “Now That Summer’s Here” and “It’s Nothing New”.More information on John Delise is on the Tampa Bay Garage Bands site, where I also found the photo of the band from the autumn of ’67.
Very special thanks must go to Dorothy Chapman. Her scrapbook of photos and fan club letters provides the timeline and documentation for this article. Without her help I could not have given an accurate account of the band’s history.
Here are Dorothy’s comments on the Rovin’ Flames:
My sister and I met the Rovin’ Flames during the summer of 1966, just before I started 10th grade at Chamberlain High School, through friends who were next-door neighbors to Hardy Dial’s family in our subdivision – he had just joined the band. J.R. Maietta lived with his parents, also in our subdivision, and they practiced there in the screened porch. Shortly thereafter Paul and Jerry left the band, taking the current “official Fan Club officers” with them, and my sister and I took over as “President” and “Secretary” respectively from about August 1966 until the band broke up in early 1969.
The Rovin’ Flames van with Fan Club officers, August, 1966
Every day after school we would either walk or ride our horses to J.R.’s parents’ house to listen to the band practice. While our school friends were going to football and basketball games, we spent our Friday and Saturday nights (and weeknights in the summers) traveling with J.R.’s parents (who were their managers) to their “gigs” all over Tampa, Clearwater and Sarasota. We even got to go to the Tiger’s Den in Cocoa Beach a couple times to cheer the band on and dance the night away! I kept a scrapbook containing photos, mementos, and some of the monthly newsletters that I laboriously typed on an old manual Underwood typewriter and mailed to our loyal Fan Club members, keeping them up-do-date on the band’s comings and goings. In addition to the newsletters, the members received a membership card and a copy of their latest record, all for $1.00 a year. We even had t-shirts with “Happiness is the Rovin’ Flames” printed on them.They performed some of their recorded songs live – Gloria and Bo Diddley were always favorites. They did play How Many Times regularly, but if I recall correctly they all hated Love Song #6 (which they called Love Song #69). It wasn’t theirs, but I remember that Mustang Sally was always the “dance contest” song. Among others, they performed with the Dave Clark 5, the Grass Roots, the Robbs and Mitch Ryder & the Detroit Wheels here in Tampa, and with ? and the Mysterians in Gainesville.
It’s hard to explain to people what it was like to run around with a local rock band in the late 60’s – they were truly local celebrities. There were so many places for kids to go for dancing, where they just sold cokes and pretzels and it was such fun to be a part of the scene! In the Tampa area we regularly went to the FCA Hall, Temple Terrace Rec Center, Sacred Heart Academy Auditorium, The Inn Crowd, Gandy Ballroom, Strawberry Patch, and the Hullabaloo Clubs in Clearwater and Sarasota, to name a few. The memories make me smile (well, most of them anyway).
When Johnny Rogers died it was a real shock – he was such a sweet guy, but obviously had problems we didn’t know about. Things were never quite the same after Johnny died although the band stayed together for about a year. They finally phased out in January or February 1969. Sadly, I’ve heard that a number of the guys have passed away.
Documented gigs and timeline:
August 1965 – first 45 “Gloria” / “J.J.J.P.” released (Fuller CFP2627).
1966:
Feb. or March – second 45 “I Can’t” / “I’m Afraid to Go Home” released (Boss BOS-002) ? – Rovin Flames back the Forvus featuring Brooke Chamberlain on “Now That Summer Is Here” / “It’s Nothing New” (Tampa Bay BC-1110) June – third 45 “Seven Million People” / “Bo Diddley” released (Tampa Bay BC-1111). July – Hardy Dial joins on vocals July 10 – Curtis Hixon Hall, Tampa, with the Dave Clark Five and the Tropics, set list: “It’s All Right”, “Hey Little Girl”, “Younger Girl”, “Wild Thing”. July ? – Lakeland Shower of Stars July ? – Tiger Den, Cocoa, FL August 13 – Billboard predicts “Bo Diddley” likely to crack top 100 (it didn’t) Aug. 24 – Sacred Heart Academy September – Dave Tabak joins on drums, Jim Davis on vocals, followed shortly by John Rogers on keyboards Sept. 10 – Delta Sigma Phi, Gainsville, FL Sept. 17 – Tiger’s Den, Cocoa, FL – first show with lead singer Jim Davis Sept. 24 – Patricks Air Force Base Oct. 1 – Sacred Heart Academy Oct. 15 – Sacred Heart Academy/ “FCA” Oct. 29 – Sacred Heart Academy Oct. 31 – Lakeland Nov. 1, 2, 3 – Lakeland Nov. 4 – Umitilla Nov. 5 – Fla. Pres. College, St. Petersburg Nov. 11 – Daytona Beach Nov. 12 – Cocoa, FL Nov. 17 – Lakeland Nov. 18 – Fla. Pres. College, St. Petersburg Nov. 19 – Sacred Heart Academy Nov. 25 – Carrollwood Country Club Nov. 26 – Trowel Building, Tampa / Benefit for Robert McCord Oral School – with the Surfsiders December 1966 – Paul Battle rejoins as lead vocalist Dec. 25 – Sacred Heart Academy Dec. 31 – King Solomon’s Mine
1967:
Jan. 16-22 and late January – Beachcomber Club, Jacksonville Jan. 20 – Sacred Heart Academy Jan. 21 – band starts using new Vox equipment Jan. 31 – Feb. 6 – Lakeland February – John Delise joins on lead vocals Feb. 17 – Temple Terrace Feb. 18 – Punta Gorda Feb. 25 – Sacred Heart Academy Late Feb. – early March – Lakeland March 7 – Largo Fair March 11 – Tiger’s Den, Cocoa, FL with the McCoys March 17 – Big Moose Showcase March 18 – Apopka Youth Center March 20 – April 3 – Fontainebleau Hotel, Miami April 7 – Big Moose’s Showcase, St. Petersburg Apr. 8 – Sarasota Armory Apr. 9 – Benefit in memory of Charlie Beecham of the Emotions Apr. 21 – Big Moose’s Showcase, St. Petersburg Apr. 28 – Tiger’s Den, Cocoa, FL / benefit for Crippled Children’s Home Apr. 29 – Sacred Heart Academy, Tampa May 6 – Lake City May 12 – Sebring May 13 – Umatilla May 19 – F.C.A. May 20 – Tiger’s Den, Cocoa, FL June 2 – Inn Crowd, with the Robbs and the Gents (“15-minute psychedelic version of ‘Summertime Blues'”) June 3 – Sacred Heart Academy June 7 – Melborne Civic Center June 9 – Aloha June 16 – Temple Terrace June 17 – Inn Crowd June 23 – Tiger’s Den, Cocoa, FL June 24 – Aloha / WALT Beach Party June 28 – Sacred Heart Academy June 30 – Sacred Heart Academy Luau (private) July – Eddie Taylor replaces Dave Tabak on drums July 1 – Sacred Heart Academy Semi-formal (private) July 10 – Tiger’s Den, Cocoa, FL July 14 – J.C. Club July 17 – Temple Terrace July 19 – Sacred Heart Academy September – fourth and last 45 “How Many Times” released (Decca 32191) November – Bob Thompson joins on lead vocals Nov. 25 – Clearwater Hullabaloo late Nov. – Curtis Hixon Hall, Tampa, with Noah’s Ark, the 13th Hour and the Puddin’ Basin Group
1968:
March – Johnny Rogers dies March 9 – Tiger’s Den, Cocoa July – Ronnie Goedert joins on lead vocals, Jay Colding on organ and Jerry Nickerson on drums July 13 – Soap Box Derby Parade Autumn – Hobie O’Brien joins on lead vocals
1969: Band breaks up in January or February
At the Tigers Den in Cocoa, March 9, 1968At the Tiger’s Den, Cocoa, November 1966At the Inn Crowd with the Robbs, June 2, 1967J.C. Club, Clearwater, July 14, 1967Clearwater Hullabaloo, November 25, 1967
From Daytona Beach and named after the San Francisco nightclub, of course. The Hungri I’s were regulars at the Beachcomber Nightclub and the Surf Bar, as well as the Vanguard Club in Titusville. The lineup was Neil Haney lead vocals and organ, Danny Rowdon lead guitar, Chris Drake guitar, Allen Martin bass and Lou Shawd drums.
They cut some tracks at the Bee Jay studio run by Eric Schabacker, and “Hold On” was released on Bee Jay Demo vol. 2, on Tener. It’s a good organ-led version of the Sam and Dave hit (thanks for sending me that Ad Z.)
At Bob Quimby’s studio in Ormond Beach they recorded a fine original by Neil Haney, “Half Your Life”. Danny Rowdon’s lead guitar really gives the song some momentum. The flip is a relaxed cruise through How Come My Dog Don’t Bark, retitled “Comin’ Round” and credited to Danny Rowdon.
The band paid Gil Cabot to release the two songs on his Paris Tower label, supposedly because he offered to make them famous. Paris Tower was known as a vanity label, however, and never did any promotion for its releases. Years later you could say Cabot’s words have come true, as this 45 is very well known amongst fans of 60’s 45s.
Some Paris Tower singles were issued with a sheet with a photo of the band on one side and a bio &the Paris Tower logo printed on the back. I’m not sure if the Hungri I’s 45 came with this – could anyone verify that insert exists?
It was up to the band to distribute the 500 copies pressed in November of ’67, so for some reason they took to the road and toured Wisconsin, Minnesota and Indiana.
Fuzz, Acid and Flowers lists Ralph Citrullo and Allen Dresser as later members, but I believe it was Neil Haney and Chris Drake who left the I’s and joined the Third Condition, previously known as The 2/3rds, which already included Citrullo and Dresser.
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.
The Malemen from left: Bill Avera, Ed Bacon, Larry Bacon and Randy Bushee
Updated April 2011
I really like this 45. “My Little Girl” has rockabilly-style guitar with a light touch and drumming to match. “She Means All the World to Me” is the ballad side, and a great one if you can dig the slowness.
The T4KM- prefix in the coding signifies a RCA custom press from the first half of 1966. This predates other 45s I know of on the Pine Hills (PH) label. Don Gore ran the studio in the Pine Hills neighborhood, just west of downtown Orlando. H.F. Gore may have been the same person, or a relative, but he’s credited with producing this 45. H.F. Gore also had a country 45 backed by the Undertakers.
Jeff Lemlich’s Savage Lost mentions that the Malemen backed Sue Pennie on her Dunmar 45 “Ghost Town” / “He’s Everything I Need”, which I’ve never heard or seen. They also covered “Norweigan Wood” for the rare Bee Jay Booking Agency LP 12 Groovy Hits, 12 Florida Bands on Tener.
I couldn’t find much concrete info on the Malemen until guitarist Randy Bushee contacted me.
I played in a couple of good bands in Orlando during the ’60s … The Malemen and Oxford Blue. Also the Brass Opera at the Citizen’s Nation Bank building, downtown Orlando.
The Malemen during my time was Bill Avera on guitar, Ed Bacon on bass, his brother Larry Bacon on drums. Larry and I would switch off sets, I’d play drums a set while Larry played guitar, then we’d switch off. We played Beatles, James Brown tunes and I did a few ballads too.
I just met up with the drummer from Covington Tower (another group from Orlando). He gave me an old newspaper clipping about Don Gore. It has a picture of The Malemen while I was in the band. I don’t remember recording but the picture is of me and them and the story is about his recording place in Pine Hills. I was with the Malemen before or after those recordings.
Oxford Blue was a “soul band,” we had a horn section. We did several of the Blood Sweat & Tears hits as well as the James Brown type of stuff. I was pleased to see that old Orlando Youth Center Schedule with our name on it [see the State of Mind entry].
I wrote “Alice in Wonderland” in 12th grade. It was about my then girlfriend, Alice. I sang it at my 12th grade talent show, I won it too. The other side of the record was a cover of Carole King’s “Will You Still Love Me Tomorrow”. We were a band with horn section and put our own touch to it. I did a lot of work with Eric Schaubacher at BeeJay in Oxford Blue. Eric went on to a successful career. You can see him at Winter Wood studios in the Ozark mountains where he has a resort style recording studio with many gold records hanging on the wall. Oxford Blue got together a while back for a reunion.
Larry is a retired sheriff now playing music with Patty Mann in Colorado. Eddie, Larry’s brother is a retired US Marine. Not sure what Bill is doing yet. I am trying to find those guys. My emails to them keep bouncing so they must have new ones. I just moved back to FL after being gone almost 30 years. I am still pretty active playing in bands even at the young age of 62!
Randy Bushee
Randy sent this profile of Don Gore and the Malemen from, I believe, the Orlando Evening-Star. It discusses the start of Pine Hills Recording in detail, saying that Don Gore put over $12,000 into buying Ampex decks, a Gates mixing board, a Fisher Eco-Reverb and a Rekokut dub cutter. He started the studio as much out of interest in recording engineering as in turning a profit. “‘Kids used to use my place to practice,’ he said. ‘There wasn’t any place in the area to record.'” Pine Hills had only a few small hits around the Orlando area, but Don’s legacy will include all the good music he recorded.
The article also mentions upcoming releases – a country disc by Jerry Morris & John Lindy’s String Band and a rock group called the Thunders. I’m not sure if these ever saw release. Jeff Lemlich tells me “The Thunders were probably the Fabulous Thunder. They were from the Orlando area, and were booked by Bee Jay (the guys behind the Tener label). The only 45 of theirs I know is ‘So Hold Me Tight’/’Jealous Of You’, on Tight 3606 from January 1966”.
Profile of Pine HIlls Recording Company’s Don Gore and the Malemen, Orlando Evening-Star
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.”
Gary Stites was a pop idol in the ’50s but is best known as the first manager of the Birdwatchers. He started the Living Legend and Legend labels, the “Legend” refering to himself, naturally!
The Birdwatchers at this point were Dave Chiodo guitar, Bobby Puccetti keys, Jim Tolliver bass, and Eddie Martinez drums and were based near Ft. Lauderdale. They had already released three 45s on the Tara label, the second and third of which list Stites as producer.
For some reason Gary decided to try his hand at singing again, with the Birdwatchers backing him up. “Real Appeal” is good uptempo ’50s-ish rock, with an uncredited girl chorus. The flip, “While I’m Gone” is kind of a poor man’s Roy Orbison. This 45 did better than any of the early Birdwatchers records, peaking at #22 on WQAM in August ’65.
In early ’66 the Birdwatchers dramatically changed their lineup and relocated to Miami. Chiodo and Tolliver left, to be replaced by Joey Murcia on guitar and Jerry Schils (formerly of the Canadian Legends) on bass. Sammy Hall, vocalist with the Mor-Loks, who were also managed by Stites early on, completed this second phase of the Birdwatchers. This lineup went on to some national success with “Girl I’ve Got News For You” and “I’m Gonna Love You Anyway”.
A year later, Tommy Strand & the Upper Hand remade “Real Appeal” for their 45 on Living Legend. Stites also reused the flip, “While I’m Gone” for the b-side of a 45 by the Legendary Street Singers (actually the Gents Five).
“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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Last year Bobby Corley of the State of Mind sent me a copy of their cool single for the Tener label. I sent him a couple emails to thank him and ask for more information on the band, but haven’t heard back yet. Bobby has a blog Diary of a Drummer with many good photos, but he hasn’t updated it in a couple years.
Their single came out in late ’67 or ’68. “City Life” is really unusual, with static noise layered over the music throughout the song, giving it an apocalyptic feel. It was written by Mike Darby, Tom Devor and Glenn Coleman. The flip “Time Will Tell” is also good, written by Devor and Darby.
The Mixed Emotions give us two beautiful downers on their only release. The songs are similar in style but each is a gem of moody garage, especially “I Lied” which is all regret and a plea for forgiveness.
From Daytona Beach and named after the San Francisco nightclub, of course. The Hungri I’s were regulars at the Beachcomber Nightclub and the Surf Bar, as well as the Vanguard Club in Titusville. The lineup was Neil Haney lead vocals and organ, Danny Rowdon lead guitar, Chris Drake guitar, Allen Martin bass and Lou Shawd drums.
