The High Numbers from left: Danny Daniels, Bruce Bruscato on drums, and Bill St. John
The High Numbers made one record, “High Heel Sneakers” / “I’m a Man” on their own Ocean label, 885S-0594. The TK4M-0594 code dates the pressing to the second half 1966. Both sides clock in at over four minutes, rather long for single sides from that time. The band cheekily listed Giorgio Gomelsky as producer of “I’m a Man” (he was of course the producer of the Yardbirds’ version!)
Members were:
Danny Daniels – lead guitar and vocals Glen Engleking – rhythm guitar Bill St. John – bass, harmonica and vocals Alan Gratzer – drums and backing vocals, replaced by Bruce Bruscato
Bass player Bill St. John sent in these photos and told me about the group:
Danny Daniels and Bill St. John
I had a band in the mid-60s in Arlington Heights.
When Danny and I were about 14, we formed a little group and played at some house parties for $5.00! We got more serious, bought some nice equipment and had a few gigs. Alan Gratzer had a band called The Questions, and they had better gigs. He called me one day and asked if I would join his band as bass player. I said I would if Danny could come along and play lead guitar. We were getting really good and found 14 year old Glen Engleking who was still in 8th grade to join as rhythm guitar.
We cut one record in 1966. I was 15 and Alan 17. When we recorded “I’m a Man”, Glen took over the bass part and I played harmonica and sang. Pretty rough and basic with no over dubs! Somehow it found its way to the Garage Punk Unknowns Volume 3 compilation album.
About three months after we cut the disc, Alan left for college. We added different drummers along the way, but it was never the same. I left for college in 1968 and never saw or talked to Danny or Glen again. Both are deceased.
Bruce Bruscato went on to replace The Shadows of Knight original drummer. Alan formed REO Speedwagon at University of Illinois in 1967.
The Shandells, from left: Sean Ryan, Joe Stanley, Tom Nyquist, and Tom Blomquist
The Shandells came from Mount Prospect and Arlington Heights, Illinois, adjacent suburbs about 20 miles northwest of Chicago. The Shandells cut one treasured record, “Caroline” / “Mary, Mary” on Sizzle SS-5130 in August, 1965. The label reads “That Fabulous Four Sean, 2 Toms, Joe”. Members were:
Joe Stanley – lead guitar Sean Ryan – bass Tom Nyquist – guitar Tom Blomquist – drums
Crypt Records included “Caroline” and “Mary, Mary” on Back from the Grave volumes 3 and 6, respectively.
A feature in the Chicago Tribune on August 5, 1965 includes three photos of the group in the studio (which goes unnamed, unfortunately), and even quotes a verse of “Caroline” a little different to what was on the record:
The last time I saw her she said to me She’d be mine if I wanted her t’ be I said ah-Hey! Hey! Hey! Hey! Hey! Hey! Hey! YA-A-A-OWWW!
The band downplay rock music in the article, presenting a wholesome image.
An article from Arlington Heights Herald notes how they would regularly fill the Knights of Columbus Hall. It goes on to say that Sean Ryan was leader of the group and primary writer of their original songs, and that he was an Irish citizen. He was a senior at Prospect High School.
Joe Stanley also wrote for the group, was a sophomore at St. Viator High and “has a B average.”
Tom Blomquist was class president at Arlington High School, wrote “Caroline”, and also averaged Bs in school.
Tom Nyquist is “lead rhythm guitarist” and a sophomore at Prospect High School.
When they cut their single, the group were 15 years old, except for Sean who was 17.
Thank you to Mikael for alerting me to the photo of the group, and to Mike Markesich for pointing out the articles.
David and the Huns as part of the Ray Smithers Revue with the Night Watch, Perpetual Motion and other bands
The Huns came from Arlington Heights, Illinois, a suburb NW of Chicago, most of them students at St. Viator High School, class of 1969. They cut one of the best double-sided 45s of the ’60s, the incredible, blasting “Destination Lonely” with the more tuneful “Winning Ticket.”
Members were:
David Grundhoefer – vocals Bob Dempsey – lead guitar Mark Abate – rhythm guitar Bill McCaffrey – bass (also spelled Bill McCaffery in one source) Herb Klein – drums
blue Sheldon version of “Destination Lonely”
An article in the Roselle Register from May 24, 1967 states that they made their first appearance at the Plum Grove Club in October 1965. It also goes on to say “they have cut one record and made the arrangements for the release of another.”
The article states that the members “recall the Oasis Drive-In Battle of the Bands last August [1966] as its first big step. WNWC sponsored the contest and the Huns were among the top five finalists from 67 entries. They went on to take top billing … and won the record contract.”
“‘Destination Lonely,’ written by Dave and Mark, was cut at Sheldon Recording Studios in Old Town. Distributed under the ROCK N’ JAZZ label, the record gained popularity here and in Milwaukee but could not be played on either WCFL or WLS due to lack of a copyright.”
red Stereo Sound version with added reverb to lead guitar and vocal on “Destination Lonely”
“In the words of Dave [Grundhoefer], ‘We started after Saturday’s Children but changed to more abstract folk in the lyrics, an obscure tough of Dylan.’ As examples he cites three new Huns songs: ‘Look My Way,’ ‘My Life’ and ‘Did You Believe Me?'”
“Their equipment, built up over the last 18 months, now totals over $5,000. … ‘Most of our earnings have gone into equipment’ said bass guitarist Bill McCaffrey.'”
Another article in the Daily Herald states that the band had played the Hut, the Cellar, and “are schedule to play with the Cryan’ Shames at the New Place in Cary.”
Dave Grundhoefer and Mark Abate wrote “Destination Lonely” and Grundhoefer wrote “Winning Ticket,” both published by RNJ Pub, BMI.
The Stereo Sound version of “Winning Ticket” with jet sounds
The Huns released their single in November, 1966 in two different versions: first with blue labels with a dry sound (no reverb), and then with red labels with added reverb on the vocals and jet noise overdubbed on “Winning Ticket.”
The blue label has a slightly different intro to “Destination Lonely”: the opening chord is struck twice, while the red version has a leading chord before striking the next chord two times.
Other than that, and the reverb added to the lead guitar and vocals, I can’t detect a significant difference in these versions of “Destination Lonely.”
The blue labels include “S-4923” and “S-4924” which indicates it was pressed at Sheldon in Chicago.
The red labels include “SS-8668-01A/B” which is supposed to indicate this single was recorded and pressed by Stereo Sound in Chicago.
However the versions are so close, that I do not think the entire song was rerecorded at Stereo Sound. I believe it’s possible that the lead guitar and lead vocal were both re-recorded over the original backing track done at Sheldon. That would explain the difference in the striking of the opening chords.
I haven’t heard the blue label version of Winning Ticket – any difference besides the overdubs?
The blue label version is considered much rarer than the already-scarce red label copies.
Rock n’ Jazz Records released 45s by the Night Watch – “The Goods Gone” (by Forbes – Loesch – Hanson) / “Shake”; the Perpetual Motion – “You Hurt Me” / “Sally Brown”; and one by Ray Smithers and the Perpetual Motion – “I Remember” / “We Will Share”.
“We Will Share and “Sally Brown” are original songs by Mertes and Saranpos, “You Hurt Me” by Saranpos alone. Publishing on all Rock n’ Jazz singles except the Huns was by Freemont Music.
I believe Ray Smithers owned the Rock n’ Jazz label, as the photo at top notes the Ray Smithers Revue. I haven’t seen any records by the Marie Antoinettes though!
“Fast-Rising Huns Take Next Big Step” Friday, March 24, 1967
I read some stories in Fuzz, Acid and Flowers about the group that I’m a little skeptical of: that they wore “animal skins with bleached white hair,” that “Robert Dempsey took guitar lessons from Ted Nugent … he apparently helped his student by writing some of the guitar solos for the 45.”
I also read that some years later they released a 45 for Ampex as Greenwood County Farm, but Roy Vombrack wrote to me to clarify: “that was a separate group that had former Huns singer Dave Grundhofer as lead vocalist. Greenwood County Farm released a Bill Traut-produced single “The Man”/”I Wish I Knew You” with Dave on lead. I was the tenor sax player. The band later became Greenwood & then morphed into Jamestown Massacre which later became Mariah.”
Thank you to Paul Sullivan for sending in the photo at top of what appears to be the Huns, listed on the sign behind the band as David and the Huns. Bob Dempsey has commented on youtube that this is his group of Huns from Arlington Heights, not the Ithaca, NY group.
The Shays in 1963, from left: Steve Naylor, Denis Ahlborn, Jim Harvey, Ken Heinrich and George Mattson
Updated June, 2016
The Shays came from Mount Prospect, Illinois, northwest of Chicago, and released one 45 on Astra, “People’ve Been Sayin'” / “Tell Me Where”. These two tracks feature basic but solid two-guitar instrumental backing for the vocalist.
Members were:
Ken Heinrich – lead vocals Denis Ahlborn – lead guitar George Mattson – rhythm guitar & backup vocals Steve Naylor – bass Jim Harvey – drums
Both songs were written by George Mattson, who contacted me about the band:
Jack Schapps owned three music stores in shopping centers in suburban Chicago and Astra Records was kind of a sideline business of his. The Shays’ bass player, Steve Naylor, and myself worked at his music store at Randhurst Shopping Center in Mt. Prospect and Jack agreed to record our band on his label. I understand that he had worked for RCA records before going into retail, therefore we recorded at the RCA studios in Chicago (somewhere near Navy Pier) around 1965. We did get airplay on WCFL-AM for “Tell Me Where”, which is what we considered the A side. Originally the playing time was almost 3 minutes. WLS told us that was too long to get airplay on their station. At that point, Jack had the 2nd verse removed to reduce the playing time. WLS still wouldn’t play it. 😉
While checking out your website, I discovered the pics of “The Mouse Trap” club in Vernon Hills. The Shays played there regularly in the mid-60s and I still remember The Riddles as another regular band from there. It was another flashback to see the photo of Phil Metzler there. I believe Phil was the guy who started the rumor that burned through the NW suburbs that The Beatles might make a stop at the Mouse Trap after their concert at Comiskey Park in 1965. That night the club was the most crowded that I ever remember. (Phil was a real promoter.)
George Mattson
As George added in a comment below, “we basically were busted up by the Viet Nam draft around 1966-67.”
This group was not connected to the Shays from Canada who had a couple 45s on Roman Records.
Astra Records were part of the Nova Corporation in Hillside, Illinois. Their RCA account number was 806N, with original songs (such as the Shays and Bobby Stanton Sextet) published through Randhurst Music, BMI. There about five other Astra labels from the ’60s including the the reissue label from Pittsburgh and one from Detroit specializing in doo-wop and r&b.
Astra Records discography:
Astra 300: Bobby Angel and the Hilltoppers “Submarine Races” / “Heartbreak Hotel” (instrumental) (N8OW-7560/1, 1962) Astra 301: Bobby Stanton Sextet Scree….Aghh” / “Scree….Aghh’s Gone” (1963) Astra 302: Tommy Johnson & Bobby Stanton Quintet “Do You Mean What You Say” / “Coolin’ My Heels” (both by Emme Mullis & Ruth Kling, P3KM-8119/20) Astra 303: ? Astra 304: ? Astra 305: The Shays “People’ve Been Sayin'” / “Tell Me Where” (1965, SK3M-1475/6)
Thank you to George Mattson for the photo and information on the band, and to Gary Cease for providing the photo of the label.
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.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
