The Wanted & Co. released one single in 1968, a dark, fuzzed take on “Smokestack Lightning” titled “Why”.
M. Gertin and B. Marksberry wrote the song, but there’s no publishing info on the labels and no one seems to have info on the band.
Shows at One Step Beyond in July, 1967: Blackwatch, For Sale, Wolf Pack, and the WantedThe A-side is an average cover of the Gants’ “My Baby Don’t Care”. The band recorded the single at King and pressed the records at Queen City Album.
This is likely the same group called the Wanted who played some shows in Cincinnati in 1967, including at the teen club One Step Beyond on Beechmont Ave. in Mt. Washington.
The Enquirer ran a feature on the club with a photo that was captioned the Wanted, but a letter pointed out the band was actually the Blackwatch.
Since the great Detroit area ban called The Wanted was having a modest national hit with “In the Midnight Hour” on A&M, the band likely added “& Co.” on the labels to distinguish them.
Thanks to Scott Lucas for inquiring about the Wanted & Co. to get this post going.
Fabulous Shantels, from left: Mike Dektas, Terry Williams, Mike Mays and Jay Cee Ectcon, November 12, 1966
The Fabulous Shantels came out of the Cincinnati and northern Kentucky music scene.
I can find notices of the Shantels playing live as early as September 5, 1964 at the Mabley & Carew fashion show with Bob Keith and Jim Martin of WCPO. In late November 1964 they appeared at screenings of Roustabout and other films at the Oakley drive-in on Madison Rd.
By November, 1965, they were playing at WSAI-sponsored dances, usually at the Withamsville-Tobasco Community Park Hall, with groups like with Gary & the Hornets, the Topics and the 2 of Clubs. On February 26, 1966, WSAI broadcast live a ‘Swing Thing’ from Shillito’s featuring DJ Dusty Rhodes and the Shantels.
The Shantels fan club letter, September 24, 1966
A September 1966 letter to the Enquirer mentions a fan club for the Shantels headed by Darleen Nieporte of Cincinnati and Camille Canfield of South Ft. Mitchell, Kentucky. It also gives the band’s names and instruments:
Mike Dektas – organ Mike Mays – lead guitar Jay Cee Ecton – bass Terry Williams – drums
On November 12, 1966, the Enquirer profiled the band in its “Teen-Ager” section (see photo at top).
In late December 1966 the Enquirer published a letter from Sandye Utley and Peg Rouse that they were running their own fan club for the band and that the group had recorded “Remain Unknown”.
Dusty Rhodes letter to “Teen-Ager”, January 21, 1967
In January, 1967, Dusty Rhodes wrote a letter from Detroit, Michigan where he was working at CKLW:
I have had several letters about the Fabulous Shantels band, a group who I worked very closely with while I was in Cincinnati. The fellows were here in Detroit just after Thanksgiving to visit, play a dance and have a recording session.
The band recorded four numbers at the Sound, Incorporated Studios in New Haven, Michigan. We were all satisfied with the session and the “rough” tapes. However, the rush of the holidays and the opening of additional studios by the company has delayed the “mastering” of the Shantels recordings.
This is the story for all the Shantel fans and I hope we have a hit.
Keep up the good work with “Teen-Age,” Ruth. I wish the teens of Detroit had something like it.
Despite the difficulties in mastering, the record did come out, probably in early 1967, on Sound Inc. SI-160.
“Remain Unknown Girl” was a group original (Dektas, Mays, Ecron, Williams on the credits), published by Sidrian Music BMI. The song features a long biting lead guitar solo and a sneering lead vocal as well as a melody that sounds something like “Louie Go Home” (tip of the hat to Peter Aaron for reminding me).
The lyrics were a bit obscure but Mike Dektas provided corrections:
You want little girl that we go on datin’, ’cause complications are so very frustratin’, If you need to be here right by my side, You gotta stay close to be in my right
Remain unknown girl, alright
If you want to be content both day and night, When decisions are made be right by my side Well you’re goin’ to have to play a very special game, To be satisfied to be known only by your name,
Remain unknown girl – alright – work it out
Take it down low,
Knock em dead,
Alright day and night,
You’re outtasight,
Knock em dead, knock em dead,
Unknown, unknown.
The flip is a cover of “For Your Love” (the Ed Townsend ballad, not the Yardbirds).
It’s a rare disc, one that has eluded many collectors, so I don’t think it received any distribution to speak of, whether in Detroit or the Cincinnati area.
The band’s name was wrongly rendered as the Chantels when the song appeared on the compilation Michigan Mayhem vol. 2.
The Turkey Combo (formerly the Topics and the Shantels) with the Dingos, Sunday November 26, 1967The Blackberry Time Tables (formerly the Turkey Combo) with Salvation and the Army, the Offsets, at Montgomery Hall on Sunday, February 11, 1968
The band continued to play Withamsville dances in early ’67, then drop out of sight for a time. On November 26, 1967, the Shantells and the Topics seem to have combined to become a new group called the Turkey Combo! The name stuck for more shows in December ’67 with the Outcasts and in January 1968 with the Jerms. The Turkey Combo changed to the Blackberry Time Tables for a Montgomery Hall show in February ’68 but by this time the Turkey Combo may not have had any of the Shantels in it.
The Shantels, 1966, from left: Terry Williams, Mike Mays, Mike Dektas and JC Ecton. Photo courtesy of Mike Dektas.
Update: The Fabulous Shantels were inducted into the Northern Kentucky Music Hall of Fame on June 9, 2016, and played a live set at the induction.
Mike Dektas answered some of my questions about the group:
The band was originally created by Terry Williams, our drummer, and Mike Mays our lead guitarist. Terry, Mike, and JC Ecton are all from northern Kentucky – they were looking for a keyboard player and singer, and they found me. At that time, I played a Farfisa organ. Later I switched to Hammond B-3.
We played all over the NKy and Cincinnati area. We were heavily promoted on the radio. Back in those days, they had dances, called “hops”. We played many of those. Typically the hops were from 8-11 pm, or afternoon sessions.
For these, we played at the Shillito’s (#1 department store in Cincinnati) “Swing Thing”. This was great fun – it was broadcast live on 700 WLW radio. We played on elevated decorative stages, live TV Hullaballoo stages.
Other places we played that were promoted included: VFW Hall (NKY, always sold out – 600-800 kids), Glenway Swim Club in Covington, KY (summer), Castle Farms (with headliners like Lou Cristie, Gary US Bonds – we backed these guys up. We also played at Knights of Columbus hall in Cincinnati, and yes, the Withamsville Tobasco Hall that you mentioned in your article – this is on the east side of Cincinnati. We also opened at Music Hall for Roy Orbison.
The Fabulous Shantels, ticket for the Middletown Armory Teen DanceWe also produced shows at that time with Shantel Productions. One event that I remember that was great fun was a giant “Battle of the Bands” at Hotel Alms in Cincinnati. We had 30 bands in that event – it started early and went into the night. Special guest appearance by the Fabulous Shantels.
We also played at the University of Kentucky, big crowd, played in Rupp Arena.
On the club scene, we played on Univ. of Cincinnati campus, regularly at a club called “The Pickle Barrel”. Other clubs included Rio Rita (NKY), clubs at Miami University (OH), and regularly at a club called “The Lagoon” in NKy.
Our band was known for fast music you can dance to, and all hits. So it was easy to get the crowd going. We really did play one summer 8 times a week – every night and twice on Sunday.
JC the bass player, who has passed on now, used to stand up on his amp and move back and forth – we followed a lot of the moves of Paul Revere and the Raiders. In fact, we were offered to tour with them moving around city to city opening for them, but it didn’t work out – we were young and in school and couldn’t travel that much.
The photo in the Enquirer standing around a tree was taken in Devou Park in NKy by a publicist for our booking agent, AJaye Entertainment. AJaye was headed up by Stan Hertzman and Ray Lemkuhl – Stan is still playing guitar out in clubs and coffee shops, I see him sometimes.
That’s me singing on “Remain Unknown Girl”. The other two songs the Shantels recorded were “Georgia on My Mind” and “Poison Ivy”, we never had those two pressed into a record. We recorded in Detroit – Dusty helped set up the session – we travelled there for the session, and we played a live concert in Chatham, Canada, which is across from Detroit. We also played live with Jan and Dean.
That Turkey Combo was a gag idea from DJ Steve Kirk from Dayton OH. Steve was always a jokester – he knew that us and the Topics were great friends, so he made that up and put our names on it – all just fun. We played a number of hops for Steve and he helped promote the band. But the main promoting came from Dusty Rhodes when he was Cincinnati’s #1 DJ on WSAI, a top 40 station.
Mike Mays, Terry and myself have practiced, trying to put together a new act of the Shantels. Terry put together a live venue called “Geezerfest” ha! The amazing thing is we will see a lot of the same people we’ve seen in the late sixties. What fun!
I’ll post more info about the upcoming Shantels show in the future.
Thank you to Barry Wickham for the scan of the Fabulous Shantels 45 labels. Special thanks to Mike Dektas for the scans of the promotional photo and ticket.
The Shōguns came from Latonia, Kentucky, now part of Covington, a town right across the Ohio River from Cincinnati. Members were:
Dan Herzog – lead vocals Gary Arnsparger – lead guitar Pat Mayerchak – rhythm guitar Fred Dishon – bass Larry Ackerson – drums
The Shōguns had two 45 releases, first a funky, tambourine-laden version of “Well All Right” that ends with dual guitar leads, shouts and breaking glass! The flip is one I haven’t heard, “In My Time”. It came out on the Schworer label in May of ’66.
Their second single was “The Look in Her Eyes” on Lemco, which again features interesting percussion as well as fine keyboard sounds, harmonies and even horns.
The Shōguns have a new CD and a website about the band at www.theshoguns.com
The Waters: clockwise from left: John Burgard, Ray Barrickman and John Mackey The Waters was a Louisville, Kentucky group with John Burgard guitar and vocals, Ray Barrickman bass guitar and vocals, and John Mackey on drums.
Their first 45 on the Soul Blvd. label was “Lady in the Field” (Barrickman and Burgard) / “American Cheese” (Barrickman, Burgard and Mackay) – I haven’t heard it yet.
Their second 45 features two excellent originals by Burgard and Barrickman, the upbeat pop song “Day In and Out” and the stupendous freakbeat of “Mother Samwell”.
Released on the one-off Delcrest label in January of ’69, all copies I’ve seen have white labels with black print. Promo copies exist on the Hip label, a Stax subsidiary from March of ’69, but that issue seems to be much rarer. Production was by Paine-Baker. Paine was Stuart Paine, who owned the Soul Blvd label.
John Burgard had an earlier group called Jonah and the Wailers with Chris and Courtney Johns that opened for the Rolling Stones at Memorial Auditorium. Burgard visited San Francisco in ’67 then returned to Louisville to form the Waters.
The Waters broke up in 1972 and Burgard went on to form CoCo Morgan and other groups.
Ray Barrickman previously played bass and sang in the Oxfords. He later played bass in Hank Williams Jr.’s band for a couple decades, and more recently was in a reformed version of another legendary Louisville group, Soul, Inc..
Thank you to Brian Talley for sending in the photo of the band – if anyone has other photos of the group please contact me.
Amway was the label of Alpo Music Productions of Sellersburg, Indiana, across the Ohio River and north of Louisville, Kentucky.
I haven’t heard the Torments or the Profiles yet, but the others are all excellent, if primitively recorded.
The Torments came from northern Kentucky. The Classics came from Paintsville, Kentucky – for more on them see the separate post. The recordings were likely made in a backroom of a radio station or very basic studio in Louisville, KY or Jeffersonville, IN, and the tapes were sent to RCA’s custom service for pressing.
This discography may be incomplete – any help with info and scans would be appreciated!
The Octives – “Love” (Bob Burton, Bruno Music BMI) / Laughing At Me” SK4M-6174/5 (second half of 1965)
The Classics – “Trisha” / “I’m Hurtin'” (Garland, Titlow,& Donahue, Playridge Music BMI) (825M-4956, T4KM-4956, first half of 1966)
The Emotions – “Every Man” (John S. Hodge, Playridge, BMI) / “I Just Do It” (825M-4957, T4KM-4957/8, first half of 1966)
The Profiles – “If You Need Me” (Golden & Bateman) / “Please Come Back” (Marion Howard and Mike Howard, Playridge, BMI) 825M-5840, T4KM-5840/1, first half of 1966, Mel-O-Dee Entertainment, Inc.)
The Torments – “Lying to Me” (Buddy Perryman – Tim Feldman, Playridge Music, BMI) / “I Love You More Each Day” (824P-3715, TK4M-3715/6)
If anyone has photos or info on any of these bands please get in contact with me at chas_kit [at] hotmail.com
The Sound Extraction (from left): Terry Jones, Tommy Stayton, Randy Edwards, Lanny Hays, Donald Housman, Dee Presson and Lana Edwards. Photo courtesy of Terry Jones
The Sound Extraction had one great 45 “I Feel Like Crying” / “Tina” on J-Three Records. The band was from the town of Mayfield, Kentucky in the southwestern corner of the state, not far from the borders of Tennessee and Missouri. Mario Aguayo interviewed Terry Jones and they both are allowing me to publish it on Garage Hangover:
How did you first get interested in music?
My mother passed away when I was only 8 years old. She was a guitarist, songwriter, and singer. Lanny’s dad was also a singer and guitarist and my dad was a singer. After our mom passed away, my aunt, her sister and 2 children moved in with us to help dad to take care of us, as she was divorced. Well, you guessed it, my dad ended up marrying his sister-in-law; so we became a large family of 2 boys and 5 girls.
My aunt who became my step mother was also a singer and guitarist. She taught all of us to play instruments and we formed a family band called, “Lanny and the Skylighters.” We played as the family band for several years at sock hops, grand openings, talent contests, festivals, and such. We were even on our town’s radio station for a while.
Lanny and the Skylighters
How did The Sound Extraction form?
We had entered a contest against the Sound Extraction and came in 2nd place to them. That’s how we met them.
At the time the record was made, my stepsister, Lana and I sang with the band, but later, I replaced the keyboard player, and Lana replaced the drummer. From left to right in the picture are me, Terry Jones – singer, guitarist, and keyboard player, Tommy Taylor – keyboard, but not for long, Randy Edwards – my stepbrother, played the bass and sang, Lanny Hays – my half brother, played rhythm guitar and sang, Donald Housman – drummer, but not for long, Danny Presson – lead singer and lead guitarist, and Lana – played guitar, drums, and sang. As you can see that very soon after joining the band, we were all family except for Danny, or Dee, as he liked to be called.
Lana and Dee fell in love and got engaged. That’s how the band formed.
Where did The Sound Extraction typically play?
As the Sound Extraction, we played mostly in bars and clubs. We had regular gigs at The Eagle and Moose Clubs, and then played at bars all over the 4 state area, including Missouri, Tennessee, Kentucky, and Illinois. We also played at picnics, family reunions, proms, festivals, etc.
Did The Sound Extraction have a manager?
Dee was the only manager we had. We enjoyed playing very much and had regular followers that would go everywhere with us and keep the people dancing and clapping! We had a blast! I was only 14 when we first started playing in the bars, but no one ever asked me my age, as I wore lots of makeup and looked older than I was. Our parents were always there, too, keeping watch on us and enjoying every minute of it. We played old rock and roll, country, and some bluegrass.
How did the band end up recording their 45 “I Feel Like Crying / Tina”?
The band recorded the 45 after we won a contest. The prize was the recording. Bill Scarbrough was the one who recorded it. He was one of the DJ’s at WNGO in Mayfield, KY where we lived.
I believe we only won 1000, but had more made. Not too many more though, so the actual records are very rare. I believe that Lanny, Dee, and I are the only ones that have one of the original records left. I have never known anyone else to tell me they have one. The 45 was recorded and released in 1968.
Danny Presson is known for his ‘cupped-hand’ harp action. What were the reasons for him doing that?
Dee was doing the hand harmonica music when we met him, so it is very hard to say how he actually learned to do that. He cupped his hands and did it with no instrument. You only heard a small portion of what he could do! He amazed people everywhere he played with that. When he opened his hand and there was nothing there, people could not believe it. He did it on a few other songs and did a great job at it.
What were your concerts / gigs typically like?
I loved the gigs and, of course, all the attention. I had always been a shy girl, but when I got on stage, I could just let it all go and I gave it all I had…. It was my identity, it was who I was. I loved wearing all the neat outfits and makeup and entertaining people. I still do to this day!
Did the group have any other recordings?
We never made any other recordings.
What year and why did the band break up?
The band broke up in 1969, because Dee and Lana broke up.
What are your fondest memories with the group?
I have so many fond memories… it’s so hard to tell you about all of them. Practices were great! We turned the music up so loud and were thrilled to learn almost every new song that came out.
Life after The Sound Extraction?
I sang in a group called Jaroboga back in the 70’s … mostly singing in bars. I would sit in with Wolfman and the Pack at a little bar in Fulton, KY sometimes. As the years went by, I gave my heart to the Lord and now sing a new song. I have lead the singing in various churches, sang with gospel groups, and done some specials at singings and homecomings. I recently started to a new church and haven’t done anything since I have been there. I do sing on the Praise and Worship team where I work. I am blessed to have a job at a Christian college where our staff meetings are more like church!
Interview conducted by: Mario Aguayo
The original Sound Extraction, from left: Tommy Taylor, Ronnie Cox, Terry Bass, Danny Presson and Tommy Stayton
Update, June 2013:
Since posting this I heard from Tom Taylor, who sent me this early photo of the group and wrote to me:
First of all, I am not in the photo [at top of article].
In the begining we were a five-piece band and one day in our home town Archie Campbell of Hee Haw fame came to judge a talent contest with the first prize being a recording contract. We won playing the songs “I Feel Like Cryin'” and flip side “Tina”. I have attached a photo from the newspaper clipping when we won the contest. That’s me on bass, Ronnie Cox on rhythm guitar, Terry Bass on drums, Danny Presson on lead vocals and 12 string and Tommy Stayton on keys.
In the contest we competed against the sisters shown in the [top] photo and our lead singer fell in love and before long they were singing backup for us.
When the actual studio work was done, Tommy Stayton the keys player couldn’t be there so Ronny Cox’s little brother played the keyboard for the recording session. And of course the sisters sang back up. By this time I had gone and most all of the original members were too, but I did play the bass guitar during the studio session. I think we sold about 100 copies before I went to the Army. I never gave it a second thought until about three months ago when a friend said I read about you and the Sound Extraction.
As for the photo you show [at top of article], it must have been taken much later when the band had broken up. The boy playing drums in your photo is now a really good friend of mine named Donald Housman. I do not know the other people pictured.
I have 2 copies of the original 45 record. Just listened to it and not bad after all these years. Right now I’m back in the business with my own recording studio and I also do live sound for our 6 piece country/rock band. I would like to hear from any one in the photo or original group.
The Nite Owls had this one 45 on the Top Dog label of Louisville, Kentucky. Both songs sound very different from each other. “Act Your Age” is a good put-down song, written by Robby Burnfin and published by Fall City Music of Louisville.
“Act Your Age” sounds up-to-date for 1966. The flip is definitely from an earlier era, a cover of “Nite Owl”, written by Bernice Williams and originally done by the Dukays (who would later hit with “Duke of Earl” with Gene Chandler on vocals). Featuring a horn section instead of swirling organ, it could have been recorded at an earlier session.
I don’t think there’s any connection to the Illinois-based Nite-Owls who released “Come On Back” / “It’s a Hassle” on Rembrandt. I really don’t have any info on the band or their members.
There were two Top Dog labels. This one, based in Louisville, Kentucky in 1966 and 1967 had nine releases, all with 2300 series catalog numbers. It was owned by Ray Allen (Floyd Lewellyn) and Hardy Martin as were Boss, Bridges, Jam, Rondo and Tilt.
The Louisville Top Dog label had some good releases, like the Keyes “She’s the One”, the Merseybeats U.S.A. “Nobody Loves Me That Way”, and two bands I’ve covered on this site, the Rugbys and the Nite Owls.
Top Dog (Louisville) discography:
2313 – Mersey Beats U.S.A. – You’ll Come Back / Nobody Loves 2314 – The Keyes – Can’t Win For Losing / She’s The One 2315 – The Rugbys – Walking The Streets Tonight / Endlessly 2316 – The Nite Owls – Act Your Age / Nite Owl 2317 – The Scavengers – I Don’t Need Her Now / It’s Only So Long 2318 – Mersey Beats U.S.A. – Does She Or Doesn’t She / Stop Look & Listen 2319 – The Mags – Can’t Get Enough / Go On and Leave Me 2320 – The Premiers – The Ali Shuffle Parts 1 and 2 2322 – Mersey Beats U.S.A. – 30 Second Lover / Nobody Loves Me that Way
The other Top Dog label was based in Detroit Michigan, owned by Artie Fields, with some soul and pop acts. These labels have a bull dog with top hat and cigar. No connection to the Louisville label.
Top Dog (Michigan) discography:
100 – Camel Drivers – The Grass Looks Greener / It’s Gonna Rain 101 – Don Rondo – Just Before The Battle / 102 – Kris Peterson – Just As Much / Unbelievable 103 – Camel Drivers – Sunday Morning Six O’Clock / Give It A Try (also issued on Buddah) 104 – Camel Drivers – Forgive Us / 105 – Joe Towns – Together We Can Make / Down and Out World 106 – Joe Towns – Take Momma Out Of That Shack/ Down And Out World 107 – Joe Towns – You Can’t Hold Me Back / Busy Signal 108 – Joe Towns – Look Around And You’ll Find Me / Down and Out World 109 – The Pushcart – Yo Te Amo / I’ve Got A Ticket To The World 200 – Camel Drivers – Give It A Try / You Made A Believer Of Me
Top Dog Louisville discography from 45rpmrecords.com. Thanks to Jeff Lemlich for help with the Michigan Top Dog discography.
Left-right: Jim McDaniels, Mike McCloud, unknown drummer, Sonny Page, Cleo Riley, unknown bassist
Al Collinsworth of the Outcasts wrote this history of the band of his friend Sonny Page, and sent in the fantastic photo above.
Sonny Page and the Triangles represented Lemco Records’ entry into the country music scene. Sonny’s recording of “Big Wheels”, which began with the sound of an 18-wheeler shifting gears as it sped by, received air-play on country radio stations such as WAXU in Lexington, KY and was promoted by Grand Ole Opry and Columbia Records recording star Esco Hankins. The recording included the Triangles and studio musicians Kenny Whalen on guitar and Bill Wasson on bass.
The original Triangles included Sonny page on vocals and guitar, Charles Burgess on steel guitar, Raymond ‘Timber’ Lowery on bass, William Hanshaw on guitar and David Miller on drums. Later, the Triangles added Jim Mcdaniels and Cleo Riley on guitars. Sonny also recorded on the Rem Records label (“The Golden Book” / “Lost City”).
During the 1960s, Sonny and the Triangles played country music shows with such stars as Webb Pierce, Pee Wee King, the Collins sisters and George Morgan. Always a very popular singer in the Lexington area, Sonny worked with the famous 50s star Little Enis and was a regular performer at Lexington’s Zebra Lounge. Sonny also worked at Martins where JD Crowe first started in Lexington.
Sonny retired from professional music and had a very respectable career as a peace officer. He was a lieutenant with the Fayette County Police, a Fayette County Deputy sheriff, a Fayette County deputy jailer and a bailiff for several high profile Fayette County judges.
Sonny is now happily married and living peacefully in Lexington, KY. Sonny told me that like many of us 60s era musicians, he too had lots of fun and has always had a genuine love of music.
Left to right: Harold Scott (Scotty), Terry Childers, Jerry Childers and Bill Traylor
Bill Traylor sent me this photo of the Lovin’ Kind, a four piece from the northeast edge of Kentucky. If anyone has scans or good quality transfers of the 45s, please contact me.
I had a band in the late 60’s from Ashland, KY called “The Lovin’ Kind”. It consisted of Jerry and Terry Childers, Harold Scott (son of Hal Scott of Hal Scott Enterprises) and myself. We made on 45 in ‘69 for, I believe, Plato but I have no copies. Jerry, Terry and myself were former members of The Martels before we broke away and formed the Lovin’ Kind.
The Martels originally formed around 1964 and consisted of Pat Loving, Terry Sanders, and others. I joined the group in 1966 and it was an 8 piece band at that time which consisted of Terry Sanders on drums, John Sturgill vocals, Danny Young on keys, Larry Creech and Larry “Frog” Johnson on sax, a trumpet player whose name I can’t remember, Terry Childers on bass, Jerry Childers on guitar and myself on lead guitar. We made one record in Lexington in 1968 and performed until 1969 when three of us left and formed The Lovin’Kind.
Both groups were booked by Hal Scott and we performed at colleges and in all the clubs in KY, Ohio, and West Virginia.
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
The Wanted & Co. released one single in 1968, a dark, fuzzed take on “Smokestack Lightning” titled “Why”.
Owls had this one 45 on the Top Dog label of Louisville, Kentucky. Both songs sound very different from each other. “Act Your Age” is a good put-down song, written by Robby Burnfin and published by Fall City Music of Louisville.
