Lamar Collins at home with his mother’s piano All photos are courtesy Jeanette Bleckley, except where noted.
James and Lamar at the high school promSam Camp writes this tribute to Lamar Collins, bassist and vocalist with the Chashers and the Avalons:
The first time I met Lamar Collins was in 1963 at Bell’s Drive Inn in Toccoa, Georgia. I was a curb hop there at the time and just happened to walk to his car to take his order. Lamar asked was I the guy that played saxophone and I shyly replied, ‘yes’. I was barely 14 years old and Lamar was in his very early 20s. We started a conversation about music and the rest is history.
Lamar was already jamming with several musicians from Hartwell, Georgia – David Conway, Calvin Coker, Larry Mayo, and a saxophone player whose name I do not recall. Little did I know at the time, I would soon replace the nameless saxophone player. We began to practice at the house where Lamar and his wife Shirley were living on Prather Bridge Road. Occasionally, we would travel to Hartwell to practice. After joining the band, I recall playing at Lake Rabun Georgia for a party and making near nothing and then driving the car back to Toccoa. This band, the name which I do not recall, played a couple more meaningless gigs and soon fizzled out.
Evelyn Bowden-Spencer, Jeanette Bleckley, Lamar Collins & R.J. Spencer at Jeanette’s home. “We often played and sang together.”Calvin Coker continued to drive to Toccoa to keep the enthusiasm going, but something was obviously missing. Two weekends later, Lamar brought in another musician named Jimmy Sipes. I could tell right away that Sipes was a seasoned musician and that he and Lamar had a lot in common. When the four of us practiced I could sense that there was a little competition between Coker and Sipes and, soon after, Coker did not return to any more practices. Sipes was to play keyboard, “Wurlitzer piano”, and Lamar quickly bought a bass guitar and we continued to practice. The group was not complete without a drummer and guitar player. Somehow Ronnie Crunkleton (drums) and Roy Thompson (guitar) made their way into the band.
After several months of rehearsing, we started sounding like a real rock and roll band. We called ourselves “The Avalons”. We were ready to gig. I recall our first gig at the ELKS Club in Toccoa, Georgia where we had to stretch 33 songs into 4 sets, but all went well. They wanted us to come back!
Lamar and Jeanette Bleckley at the J-S Prom;We began playing regularly in Northeast Georgia and South Carolina. Lamar Collins and Jimmy Sipes could give The Righteous Brothers a run for their money singing, “You’ve Lost That Loving Feeling”. We were popular for this quality of vocal harmony and on occasion we were labeled as the Righteous Brothers of Georgia.
Lamar was very popular among the ladies with his blond hair, blues eyes, and strong tenor voice. He was endowed with a gift that enabled him to sing straight to your heart and make you remember that feeling the next day. Without question, Lamar was the driving force of the band and well respected among his fellow musicians.
Lamar Collins at the Chicken Shack Photo courtesy Sam CampThe Avalons gained much popularity as the house band at a local teen club called “The Chicken Shack” located in Seneca, South Carolina. It was not uncommon to pack a thousand fans in on Saturday night where our records and pictures were sold.
I remember our opening song, an instrumental of “You Can’t Sit Down”, by The Dovells on which I played the sax. As its title suggests, it’s an amazing dance number that would heat up any dance floor. This was our signature song and always got the crowd going. They would start to scream the minute we began to play.
During the band’s popularity, we opened for several national acts including such names as The Swinging Medallions, Billy Joe Royal, Sam the Sham and the Pharaohs, Keith, and The Impressions.
Lamar was the lead singer of the band and you can see him in the picture inside the Chicken Shack playing his red Gibson bass guitar. Lamar loved to perform. Folks that came to The Chicken Shack in the late sixties will certainly remember this setting.
The Avalons’s “Come Back Little Girl” was No 1 at WHYZ radio station in Greenville South Carolina. The group brushed closely to fame, but due to conflicts of interest, they sadly chose to split in 1968.
After a period of time, everyone went their separate ways. Soon after, Lamar and Roy Thompson collaborated and put their heart and soul into two songs “The Wind” and “Without My Girl”.
Lamar was a “star” that shined from Toccoa, Georgia. He was loved and respected by many for his musical abilities, but those who knew him closely could tell you what a kind and gentle heart he possessed as well. It was this that shone through in his character. Lamar was responsible for getting me started in my music career and I still play today. During the years I knew him, the man ate, slept and lived for his music. He inspired a surprising number of us to continue in the gift of music God had placed in each of our souls, and for that I will always be grateful.
Lamar Collins gave birth to The Avalons. Essentially, Lamar Collins was The Avalons.
Lamar passed away in 1982 of a brain tumor. To say that I miss him would be an understatement. I think of him often and can testify of many others who do the same.
This is written in tribute to my dear friend, Lamar Collins.
Sam Camp
A special thank you to Jeanette Bleckley for the additional photos of Lamar.
Lamar, with Mike Stephens on guitar “Lamar & his niece at my old home place”
Lamar & R.J. Spencer
Lamar Collins, photo courtesy Sam Camp
The Satellites: Mike Stephens (guitar), Trig Dalrymple (drums), Horace Baker (trumpet), Ray Deaton (trombone), Gary Huth (clarinet), Lamar Collins (piano). Photo courtesy of Mary Stephenson.Lamar Collins and Mike Stephens. Photo courtesy of Mary Stephenson.
Mary writes, “My brother, the late Mike Stephens and Lamar started a band around 1958-1959, and it was called the Sattelites. They mainly played for school dances.”
Sam Camp of the Avalons and later the Voxmen sent in this history of the band, who had a fine 45 on the Pyramid label, “Come Back Little Girl” / “Mad Man’s Fate”:
The Avalons was one of the first successful Rock and Roll bands from Toccoa, Georgia. The original members consisted of:
Some time after the band began performing, Tommy Owens, a studio drummer from Greenville, South Carolina, joined the band.
The group appeared roughly from 1963 thru 1967 in Georgia and South Carolina. The Avalons gained much popularity as the house band at a local teen club called The Chicken Shack located in Seneca, South Carolina. It was not uncommon to pack a thousand fans in on Saturday night where records and pictures were sold.
During the band’s popularity, we opened for several national acts including such names as The Swinging Medallions, Billy Joe Royal, Sam the Sham and the Pharohs, Keith, and The Impressions.
The Avalons recorded in the late sixties and the songs were composed by Collins and Thompson. The recordings were done at Arthur Smith studios in Charlotte, North Carolina and Mark V Studios in Greenville, South Carolina.
The two songs, “Come Back Little Girl” and “Mad Man’s Fate”, received airtime on many southeastern radio stations. “Mad Man’s Fate” got the most air time and was the song that was #1 at WHYZ, a local radio station in Greenville, South Carolina. The record also received recognition in the Billboard Top 100 magazine.
Our manager at the time was Tommy Scott. He is still living and is some character. He has a book out, ‘Snake Oil, Superstars and Tommy Scott”. There is a write-up about our band and a very good picture on page 400. Tommy Scott knew a lot of people at the time and got us in with Arthur Smith.
James Brown “The Godfather of Soul” made a personal visit to Toccoa, where he once lived, to discuss the purchase of one of the songs. There were talks of the Avalons touring with James Brown as his opening act, but this did not materialize.
Q.: Why is the name on the record and photo the Avlons instead of the Avalons? Which name did you go by when you played live?
We went by The Avalons. There was another band out there called The Avalons. At the time of our recording, we may have not been able to spell it A.V.A.L.O.N.S, it might have been a legal thing.
Thank you to Sam Camp for sharing his history of the Avalons and for sending the photos seen here. Be sure to read about Sam’s next band, the Voxmen. Special thanks to Ben and Rich for label scans.
The Avalons at the Chicken ShackThe Avalons at the Chicken Shack
The Apollos in the Georgia Southern College newspaper The George-Anne, April 22, 1966
The Apolloes cut an interesting variety of work, from the off-the-cuff and updated renditions of 50’s standards like “Slow Down” and “Summertime Blues” to the intricately produced psychedelia of “Chained and Bound”.
In a comment below, Pat Ray gives the early history of the group:
I founded The Apolloes along with Ralph Whitsell, Jim Youmans and Tom Preston in the fall of 1964 when we were all students at Middle Georgia College in Cochran, Georgia.
The off campus “Animal House” fraternity at Georgia Southern College in Statesboro, Ga (SEX was the name of the fraternity) booked the Rolling Stones in May, 1965. We played as a warm-up band. When the Stones took the stage, they immediately grossed the South Georgia audience out. Jagger’s first word was a long “F***************K You!” The crowd booed them off the stage and began chanting “Apolloes!! Apolloes!!” We set up again and gave the crowd their money’s worth.
Tom Preston wrote in a comment below:
Playing with the Apolloes was great fun. I was still a part of the group at the Rolling Stones concert and will always remember it. Also, James Preston, my brother, sang as the front man and played harmonica for a time with the original group.
Pat Ray continues:
When Tom’s father passed away early, I got hold of Gerald Cox in Atlanta to play bass guitar. He and I had played together for years in Atlanta while we were in high school. The four of us blew the Night Shadows off the stage at Misty Waters in 1965 and we came to the attention of Pat Hughes (WQXI in Atlanta).
By the time of their first record in November 1965, the lineup was:
Ralph Whitsell – lead guitarist Jim Youmans – rhythm guitar Gerald “Mojo” Cox – bass Pat Ray – drums
The Apollos in the Georgia Southern College newspaper The George-Anne, April 22, 1966
Further info on the early history of the band is in a full-page feature by Tommy Drew in the Georgia Southern College newspaper, The George-Anne on Friday, April 22, 1966:
Apollos Achieve Phenomenal Popularity
Group Has Three GSC Students
… the shrill twangs of the lead guitar filled the Hanner building and the pulsating drum-beat hammered out the rhythm while two more guitars joined in. Hands began clapping, feet began stomping the wooden floor as four voices waled out the strains of “Lucille.” On this warm spring night Apollos were born.
In an amazingly short period of time – one year, the success of this shaggy-haired foursome has been phenominal [sic] … Since their first appearance on the Rolling Stones show in 1965.
Every member of the band is a college student …
The group is limited to weekend engagements of only two nights and must even curtail their travel plans to a 300 mile radius of Statesboro.
Ralph Witsell … related that he had only four years experience with the electric guitar but had become interested in music when his family was stationed in Tokyo. It was in Japan that Ralph worked as a disc-jockey.
Gerald Cox “Mojo” to his friends … finished his last months of high school appearing with Tommy Roe.
Pat Ray is a student at Armstrong State College in Savannah.
Jim Youmans wanted to be a concert pianist … He moved away from Sandersville in 1957 … Jim moved to Thompson, Georgia …
It usually takes road manager Bud Meritt an hour and a half to unload their new Dodge van and assemble the speaker and wires …
Although Ralph is from Shreveport, La., and Pat Ray is from St. Louis, they made Atlanta the home of the Apollos.
The booking agent for the group is Harvey Leach in Atlanta … an Atlanta disc-jockey, Pat Hughs … is producing their upcoming records …
Their first single recording should be released in May with their album coming out in the fall …
The Apollos leave on a tour of the Atlantic coast in June which will be culminated by appearances in Canada. Their televised appearance will open Lake Spivey in Atlanta …
Wayne White, leader of an Atlanta group the Famen happened to be in the studio when the Apolloes came in to play on a session for the Younger Brothers. Wayne taught “Laugh in My Face” to the band and may have played organ on it as well.
The flip, “Hey”, was written by Jim Youmans, who produced this single as well as the later “Chained and Bound”.
Pat Ray continues:
Gerald had known Wayne White (a house painter in Atlanta) for a number of years. We had booked time at Maurice LeFever’s studio and Wayne paid for the session and we cut “Laugh In My Face.” The flip side was “Hey” by Jim Youmans. Which side was “A” or “B” is a toss-up.
Pat Hughes produced a session at a different studio and we cut “Lucille” and “Gone” which Youmans also wrote. Brooksy Hunicutt sang the high female part at my suggestion and we dubbed it in.
The Apolloes released “Summertime Blues” on three different labels, though the first version on Soupa is not as wild as the one that would come out as the Swingin’ Apolloes. “Gone” the A-side to the first release of “Summertime Blues” was also written by James Youmans, and produced by Pat Hughs.
After Pat Ray left the band, Randy McDonald took over on drums. Randy commented below, and I’ll repeat much of here:
I had played in a small informal group with Ralph Witsell when I had lived in Macon, but then I had moved to Huntsville, Alabama. He tracked me down when the Apolloes needed a drummer [in 1966]. We were all in school in Statesboro, Georgia that fall and winter, traveling on weekends to gigs.
A journal page I have from then says we went into a recording studio in Atlanta at 7:30 on Friday night, January 13, 1967, and recorded all night, not leaving until 9:30 Saturday morning. That was the “Summertime Blues” session that became the June release.
July 19, 1967, we played the Atlanta Auditorium with the Dave Clark Five on what was billed as Dick Clark’s Caravan of Stars. We had just come from playing the pier at Daytona, if I recall correctly. I know I fell off the drum riser when we were doing our version of “Good Vibrations” because I stood up when I played, and they suddenly doused the stage lights and threw on two strobe lights with a bubble machine right next to me. I was completely disoriented. Our bass player, Mojo (Gerald Cox), was I think about the only person who really noticed, and thought it was hysterically funny. Me, not so much.
We split up in the fall of 1967, primarily because of the war draft and some other issues. I went back to Alabama.
Woody [Turner] was lead singer for a while. I think he had come into the band around the same time they got me to play drums.
The Apolloes single on Look “Summertime Blues” / “Slow Down” was also issued as the Swingin’ Apolloes on White Cliffs 262.
The band had a penchant for backwards guitar, as it’s all over their great version of Larry Williams’ “Slow Down”, and shows up again on their last single as the Swingin’ Apolloes, “Chained and Bound”, written by Chester, Lane and Freeman.
Porcupine commented below: “the backward guitar is also featured on another Jim Youmans production “Go Away” by the Younger Brothers (Wendy 101).
Bill Lane of the Younger Brothers commented below:
I was playing on the Apolloes recording of “Chained and Bound” as one of the three writers and a member of Georgia Southern’s “Younger Brothers” who were recording in Atlanta with Jim Youmans as producer. The entire music track is actually the Younger Brothers with Jim’s voice overdubbed.
45 releases:
The Apolloes – Hey / Laugh in My Face (Apolloe 5813/4, November 1965) The Apolloes – Gone / Summertime Blues (Soupa 001, May 1966) The Apolloes – Summertime Blues / Slow Down (Look 001, June 1967) The Swingin’ Apolloes – Summertime Blues / Slow Down (White Cliffs 262, 1967) The Swingin’ Apolloes – Chained and Bound / Chained and Bound (SAC 1001-1)
From what I understand, all copies of “Chained and Bound” have the same song on both sides, with a blank label on one side.
This article rewritten in 2022.
Thank you to Mike Markesich for info and Pat W. for the photo below.
Voxmen at the Hut in Toccoa, Georgia, l-r: Bill Harding, Bill Thompson, Eddy Jordan, George Dilworth (drums), and David Westmoreland.
The Voxmen released two 45s on their own VM label. Although most of the band was from the town of Toccoa in northern Georgia, they often performed throughout north Georgia and South Carolina and recorded one of their records in Charlotte, North Carolina.
They recorded their first 45 in Atlanta, produced by Barry Westbrook. “They Say (You’re Gonna Lose That Girl)” is their crudest number, it sounds like many a Texas record to me. “You Tell Me”, written by George Dilworth and Eddy Jordan, is less primitive but holds up equally well, with an excellent solo and scream during the break.
They recorded their second 45, “Time Won’t Change My Mind”, at Arthur Smith’s studio in Charlotte, NC in December of 1967, a three hour’s drive from Toccoa. Their harmonies are smoother, the guitar jangly instead of distorted, and the organ takes a backseat to Sam Camp’s catchy harmonica lines. It’s a radio-friendly 45 that probably didn’t get much exposure, but it holds up very well to repeated listens.
l-r: Bill Thompson on rhythm guitar, Eddy Jordan on bass, George Dilworth on the drums, and David Westmoreland on lead guitar
I interviewed drummer, vocalist, and songwriter George Dilworth about his time with the Voxmen:
I connected with music from my earliest recollection of hearing it. Coming from a family of four – two girls and two boys – I was the oldest boy. My sisters had a small record player and I cut my teeth on Buddy Holly, Elvis, Shirelles, Platters, Bo Diddley, early rock and roll. I was always pounding away on something with my hands, which led to bongo drums. My dad died when I was eleven and my mother dated a musician for several years (they almost married). He talked me into buying a used set of drums (Slingerland, green glitter) at a music store in Greenville, SC.
Between the Beatles and Motown, I was in love with music. I played with a small three piece band (guitar, bass, and drums) called the Kapps for a few months. Meanwhile, I was also playing country music (which I dislike for the most part) with my mother’s boyfriend to supplement my income and stay in practice. We played VFW clubs, Moose Lodges, and Armory dances.
I had seen the Voxmen play at a popular hang-out in Seneca (my hometown), known as the Chicken Shack, and was impressed. When the group I first played with (The Kapps – guitar, bass, and drums) broke up, I sat in on a song or two to give drummers a break at the Chicken Shack occasionally, and Eddy and I had spoken a time or two at the shack. He undoubtedly remembered me as a drummer without a band and when they needed a drummer they tracked me down.
It surprised me to get a call from Georgia (if memory serves me correctly, [Voxmen manager] Barry Westbrook called me at home) asking if I was interested in auditioning as a drummer for the Voxmen. It was the summer of my sixteenth year. The original drummer was moving to keyboards. They also had a lead guitar (David Westmoreland), rhythm guitar (Bill Thompson), bass (Eddy Jordan). Bill Harding was the drummer moving to keyboards. I went after the position, never giving the first thought to the distance between Toccoa and Seneca should I become a member of the band. Ultimately, where there was a will, there was a way.
Mutually addicted to the Beatles, Eddy and I became close and began singing together (and later writing). Eddy tought me how to harmonize. That led to my doing more and more vocals. I am lead vocalist on both “You Tell Me” and “They Say You’re Gonna Lose That Girl”.
For the life of me, I do not remember where in Atlanta we went to record our first 45. It was an old chicken house or barn converted into a recording studio. Our manager probably set it up. Bill Harding, whom I haven’t been in contact with since the late 60’s, might recall where it was. I’ve been told he lives in Florida and that Sam has invited him to his 60th birthday jam, so, perhaps he can put you in touch with him. Anyway, it was a crude set-up, but we were excited just to be recording. We were pretty nervous at first, though we “settled in” once we began to play. The 45 sounds pretty much like what you would have heard if you had been there.
It was during this time that I met Sam Camp. He played with one of the best bands around at the time, the Avalons. I was a huge fan of the Avalons. I sat in for their drummer a time or two at the Shack and subsequently got to know some of them as time progressed. Sam was a member of the Voxmen when we recorded our second record, “Good Things” and “Time Won’t Change My Mind.”
[The photo above] was taken at the Chicken Shack sometime in 1967 prior to the Voxmen’s second release, “Time Won’t Change My Mind” and “Good Things.” The girl standing next to me was my date, Kay Chambers. Up front and center is Sam Camp on keyboards with Eddy Jordan to the far right.
The band was enjoying a close-knit period with Roy Thompson on lead guitar (not pictured) and his brother, Bill on rhythm (not pictured). Sam Camp and Roy Thompson came aboard not long after our gig in Greenville with the Dave Clark Five, bringing a much-needed seasoning to the band. We were experiencing a surge of creativity from virtually every musician in the group, culminating in the Voxmen’s last recording (December, 1967).
Our second recording was done, as you know, at Arthur Smith Studios in Charlotte. Sam loved getting to play the baby Hammond and blew us all away on the harmonica break on “Time Won’t Change My Mind.”
Eddy and I stood side by side to sing “Time Won’t Change My Mind”, with a scream from me and a “hooooo” from Eddy. I was worried about my voice that day since I had a cold (stuffy nose, scratchy throat, etc.), but it didn’t seem to bother me. Eddy and I were grinning from ear to ear or laughing out loud the whole time.
Something most people do not know is that “Time Won’t Change My Mind” was really written by Eddy and me. The original song by Roy and Eddy never quite suited us, but after Eddy and I rewrote it, we never bothered to change the credits. It’s still mine and Eddy’s favorite song by the Voxmen.
We came up with the idea for the guitar and harmonies at the end of “Good Things” the night before going up to record in Charlotte. Hearing it play back the next day in the studio was a trip. We were never quite happy with the horns on “Good Things,” but had a lot of fun doing both songs. I sing lead vocal except on “Good Things”, which is sung by Roy Thompson. Eddy, David Westmoreland, and I sang background harmonies.
About where we played live. I mentioned the Chicken Shack in Seneca. It was owned by a fellow named Charlie B. Stancil (he and a friend went in together to convert an old chicken shed into a place the young people could hear live music and dance, but the friend took his share and pulled out) who later went on to give a few live outdoor concerts on his farm in the country with groups like Edgar Winter and White Trash, Cactus, Fleetwood Mac, Marshall Tucker Band, and REO Speedwagon to name a few. Charlie’s house burned down years ago and when he rebuilt his house, he finished the basement in a smaller replica of the old Chicken Shack. Charlie brought a lot of bands to this area who would never have come otherwise. All of the young people liked Charlie B. when I was coming up.
The Voxmen with the Dave Clark Five, at the Greenville Auditorium
We played places like the Chicken Shack, youth centers (like the Hut in Toccoa) throughout SC and GA, and, at our peak, opened for the Dave Clark Five at the Greenville Auditorium in Greenville, SC. An article in the Greenville paper made a big deal of our Beatle cover song, “A Day in the Life”. We heard from several sources that we outshone the Dave Clark Five that night. I still have some photographs of the two groups backstage. (Would you believe my future wife was in the audience and managed to get my autograph that night?)
It was during this phase of the band that we discovered a group in California already had legal use of the name Voxmen. We lost Roy Thompson, our lead guitar, so, Eddy and I made a trip to Jacksonville, Florida to try and recruit an old friend of Eddy’s. We brought Karl Hague back to Toccoa with us and formed the group Fredrick Haze. Internal problems (Karl was married and his wife was expecting) broke up a pretty good sound that never saw maturity. I got a job and married Deborah while the band was fizzling and never attempted to re-enter the field of music.
The keyboardist and harmonica player on “Time Won’t Change My Mind,” Sam Camp, has continued to play music over the duration of his life. He is primarily a saxophone player. He threw a big jam at his place ten years ago when he turned fifty. He’s doing it again this October for his sixtieth and it’s going to be the best yet. We’re trying to get all the old band members to attend.
George Dilworth drumming at the Greenville Auditorium. Eddy Jordan on bass in foreground.
Special thanks to George for taking the time to answer my questions and for sending the photos of the band, and to Sam Camp for the photo of the Frederick Haze poster. Sam tells me the reunion was a great success, with the band playing for over three hours. I hope to add his story on the band, along with some photos in the near future. Check out the Avalons, Sam Camp’s band before joining the Voxmen.
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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After a period of time, everyone went their separate ways. Soon after, Lamar and Roy Thompson collaborated and put their heart and soul into two songs “The Wind” and “Without My Girl”.
It was during this phase of the band that we discovered a group in California already had legal use of the name Voxmen. We lost Roy Thompson, our lead guitar, so, Eddy and I made a trip to Jacksonville, Florida to try and recruit an old friend of Eddy’s. We brought Karl Hague back to Toccoa with us and formed the group Fredrick Haze. Internal problems (Karl was married and his wife was expecting) broke up a pretty good sound that never saw maturity. I got a job and married Deborah while the band was fizzling and never attempted to re-enter the field of music.