The Five Bucks, from left: Steve Hearn, Chris Rose, Bruce Kerr, Jerry Daller, and Bauchman Tom
The Five Bucks had two of the finest harmony songs of the mid-60’s: “No Use in Trying” and “I’ll Walk Alone”. The group had a third 45 as the Five Bucks, and then three more releases as the Byzantine Empire. Jim Heddle of Ann Arbor wrote to me and said I should cover the Five Bucks, “WPAG played ‘Now You’re Gone’, which was a ballad, but I remember WAAM playing the b-side, ‘No Use In Trying’, which is a great rocker.”
I contacted Bruce Kerr, the bassist and one of the principal songwriters, who kindly answered my questions about the group and provided photos:
We formed the band days after we all converged on University of Michigan/Ann Arbor in August of ’65. Chris Rose and I met in our dorm piano lounge and started harmonizing. He brought in his roommate from Glencoe, IL, Steve Hearn; we grabbed our guitars and had a trio. We then added Jerry Daller across the hall from me who had to call his parents and have his drums shipped up from Detroit. I called my parents to have my amp shipped over from Waukesha, Wisconsin. These are calls parents do not want to receive three days into a frosh year, as you can imagine.
“Now You’re Gone” makes #46 on Ann Arbor station WPAG’s chart on April 26, 1966We put up an ad for a keyboard player and Bauchman Tom from Akron, OH, also a frosh at U/M answered it. [He played] a Farfisa organ, that characteristic 60’s sound, but he could make it cook. He turned out to be very good, played rock, classical, and jazz, and was Chinese-American which gave the band’s look some uniqueness and, right in the middle of the Civil Rights era, some political correctness before that phrase was in use.
We decided to name the band, “The Five Bucks.” I recall it was Chris’s idea. Our band card was a fake $5 bill with our names and dorm phone numbers in the corners (plus 1).
Chris, Steve, and I were all rhythm guitar players so we decided I’d learn bass, Steve would sing lead and play rhythm, and Chris would play lead. The three of us started collaborating immediately and “No Use In Trying” was our first effort, “Now You’re Gone” was our second (misprinted as “Now You’re Mine. The band was plagued by label misprints, the “5 Bucs” [on the Omnibus single] was a misprint, we were never anything but the Five Bucks, then the Byzantine Empire).
And after playing frat parties, doing Beatles song with perfect replication of the harmonies, and getting a great reception, the thing in those days was to get out a single (as your website shows). An album was a distant dream but local bands who sustained nearly always got to a single. We had a date with Detroit’s Edwin Starr on a Sunday to record. We drove in and he didn’t show at the studio.
In the spring of ’66, as our freshman year was ending, we all decided to live in the Chicago area where Chris and Steve had their family’s homes and play for the summer. When we got to Chicago, Chris’s dad had arranged through a friend for us to audition for a label, which turned out to be Afton, eventually. The mistake, we felt, was the promotion ended up going for the ballad rather than “No Use In Trying.” So it got played on WLS a few times, got us some good gigs, but never made it.
The Five Bucks, from left: Bruce Kerr, Chris Rose, Jerry Daller, Bauchman Tom and Steve Hearn
Chris & Steve’s friend, Harlan Goodman, went to work for William Morris in Chicago and the next thing we knew that spring and summer, we were opening major concerts in Chicago and Indiana for the Animals, Turtles, Hollies and others.
“I’ll Walk Alone” reaches #1 on WCBN, March 19, 1967Harlan Goodman booked us in ’66 as Del Shannon’s band, backing him up at two county fairs in Minnesota and a small college, I think it was. It was amazing to be 19 years old playing bass behind “Runaway” and other hits that six years before I was dancing to at junior high dances.
Having flunked out of U/M Engineering, I had to go back to Ann Arbor for the second part of the summer and Steve Gritton filled in on bass on keyboards.
We played a bunch of venues like the Aragon Ballroom with other bands like the Shadows of Knight, Buckinghams, the Flock, the Real McCoys and a couple more that were popular locally that I can’t remember…ah, the Cryin’ Shames. Went between Ann Arbor and to Chicago on half the weekends and all summers.
There was camaraderie but competition too. Everyone wanted to be the breakout band, like American Breed finally did, and Chicago (Transit Authority) who became monster-big.
We hung back stage in Hammond, Indiana with the Hollies in ’66. I asked Graham Nash how long he’d be in the states and he replied, “about 6 feet.” everyone laughed and I shrunk back into the ranks of the opening acts.
“I’ll Walk Alone” a pick hit on WAAM’s chart on April 10, 1967Five Bucks opening for the Doors at the U. of Michigan Homecoming
The Five Bucks opened for The Doors, fall of ’67 for our U/Michigan Homecoming. Morrison got booed off the stage, he was drunk and the crowd wanted to DANCE. The student in charge came begging to us, “Please go back up and quiet down this crowd.” We took to the stage and opened with the Temps’ “Ain’t to Proud to Beg” and the place went crazy and the night was saved. Huge crowd, the old U/M gym, high stage, it was nuts.
That winter of ’66-’67, we recorded on Omnibus: “I’ll Walk Alone” / “So Wrong.” Came out in the spring, was #1 in Ann Arbor and some other places. In the fall we recorded “Breath of Time” / “Without Love” on USA Records.
Q. Where were the Afton and Omnibus singles recorded?
Both in Chicago, I forget the studio names. The Afton record was recorded in an old 4-track studio. I think Omnibus, as well. Only with Universal in ’68 were we in anything bigger, 12 track then. Still, the singles were mono, not stereo.
That fall, our agents, Bruce Shankman and Earl Glicken (the Monkees promoter in Chicago) hooked us up with Traut. We went in unplugged (another term before its time) to Traut’s office and played some new originals: “Whenever I’m Lonely,” “Girl In the Courtyard” and some covers and Traut was sold on us. Wanted us to be an answer to “The Association.” Even had the Asian-American. Bauchman briefly took on a Hawaiian stage personna as Kelly Kulukua, something like that.
The Byzantine Empire at Soldier Field, from left: Steve Hearn, Bauchman Tom, Bruce Kerr, Jerry Daller and Chris Rose
Bill said, rightly, we needed a new name. I was a history major and suggested the name [The Byzantine Empire], a weird choice of a name in retrospect, but what wasn’t that year?
In the winter of ’68-69, Traut signed us and booked us on spec into Universal Studios, a 12-track studio, state-of-the-art facility, hired members of the Chicago Symphony Orchestra. We recorded the two originals listed just above, plus the Association’s album song “Happiness Is,” “You,” “Snowqueen” by Carole King, and “Shadows & Reflections”, two sessions, a couple months a part, as I recall.
Traut sold us to Amy records, a sub of Bell Records in NY for $25K. Problem is, he had his pal, Eddie Higgins & Bob Schiff produce us. They were competent but not the visionary Bill was. We would have done better with Bill producing but he was trying to build up his team. He was partnering with Jimmy Golden but they had a falling out just as we were hoping to blossom, which caused problems for Bill, and ultimately, for us, I think.
The Byzantine Empire in the studio, 1967, from left: Chris Rose, Bruce Kerr, Bauchman Tom, Jerry Daller and Steve Hearn
Q. So Bill Traut set up the Universal Studio sessions but didn’t produce any of them?
Right, he gave us Eddie Higgins & Bob Shiff instead; we were let down by that.
Q. Were you all playing your instruments on the Amy recordings, or using studio musicians for the backing?
We all played except Jerry Daller on drums. Traut brought in a jazz club drummer, especially for the 3/4 beat on “Snow Queen.” not many drummers in rock bands played 3/4, Jerry included. He was really a garage band drummer, but he held his own. Still, Traut was right to replace him for the two sessions, three songs at each.
Q. I can see “Happiness Is” as an obvious commercial choice, but how did you decide to record “Shadows and Reflections”?
Traut, it’s a weak song, strange too, but we couldn’t find anything better in the stack of writers’ promo demo copies he gave us to choose from. “Shadows & Reflections” was during our second session with Bill, probably summer/fall ’68.
Q. Were you aware of the original version by Eddie Hodges (ironically on Sunburst, which was distributed by Amy) or the one by the UK group the Action?
Interesting, no, I hope they were better than our version.
Q. Would you say the band tried to cultivate a more refined sound over time, or was that mainly Bill Traut’s doing?
Yes, the Byzantine Empire went for harmony a la Association. We liked their sound anyway, from “Mary” to “Cherish.” We could do chords (correctly) and we could do harmony, this was no band of blues three-chorders. So part of it was Traut…definitely the “You” / “Shadows & Reflections” stuff…we thought it was square, like the Vogues, and wanted something rougher but he knew we were no Troggs, that our look and sound had to be melodic and pop sounding. The USA side A, “Breath of Time” before that, was an attempt to get a rougher sound, fuzz tone, etc.
“Snow Queen” was a Gavin pick but, being 3/4 waltz time, and with no major hook other than the title being sung at the end of each verse, our soaring harmonies weren’t enough. Then “Happiness Is” was released (we pretty much copied the arrangement of the Association) and it didn’t make it. Finally, per the contract, “You” came out close to our graduating and did zip.
Bill Traut once told us, in retrospect, that “Whenever I’m Lonely” could have been a monster ballad hit. I’m not sure if he was hoping for a flip hit after “Happiness Is” which he thought was a sure-fired hit, if “Snowqueen” didn’t hit. None of them did and we maybe should have stayed with our original sound instead of thinking we had to have a hit with an almost exact replica of “Happiness Is.” But, we were hungry to make it, felt we could shape our sound after we had a commercial hit.
Even “Courtyard” and “Whenever I’m Lonely” were our soft side. We had a rockier, Beau Brummels type sound that had more grit and might have served us better by ’68, with the way music turned away from pretty harmonies toward heavy guitars and, if any, soul harmony, or none at all.
We graduated, did one more gig that summer in Chicago, and went our separate ways. Chris and I have maintained our friendship for the next 40 years, he still is in contact with Steve, but Jerry’s totally gone, and Chris and I only kept up with Bauchman through the mid to late 70’s and he disappeared also.
Q. Are there any unreleased recordings? Any live recordings?
Somewhere there’s our third song ever from ’65, “Say It Now,” that I think could have been a hit. It was a recording session dub, nothing ever came of it. Chris had a great song, “Inspector Hayes,” another dub from a session that never became a record. No one knows where these two are. Nothing live ever, too bad.
Q. Lastly has there been interest in re-releasing the records? I know they’ve come up on bootleg compilations, but I don’t think they’ve ever been legitimately released, at least not together.
Nothing I’ve heard about. Frankly, there may be more interest in our stuff now than from the record buying public back then (apparently)!
Q. Finally, I find it amazing that the group was able to stay together all four years of college with no changes, other than that short time “Stubs” subbed for you.
Yeah, we all got along pretty well. Steve, Chris and I were fast friends which was the core. We all liked the money (lots of gigs) and (mostly) not having to work other jobs in the summers or during the school year. Helped with meeting girls on campus since the band was popular there…
Mostly, it was the age-old (well…) bit of the dream to become like the Beatles or Stones, on the radio, songs people would love and hum, and the life of a millionaire rock star, as we envisioned it. All of this with the Vietnam War draft in the background. And there was no deferment for rock star. Some of the best moments were when we were in the studio, it seemed like we were about to make it, there with all the tools and “old guys” at the controls (they were probably in their 30’s), telling us, “it could be a hit!”
When you get played on WLS, you pretty much figure it’s just going to keep going up from there. It was a great time, and I’m probably happier today for our not making it and having to play state fairs now with REO Speedwagon.
When the band broke up, I went to law school and am a lawyer today (though I took 20 years off, ’73-’93 to be a solo performer, “Loose Bruce Kerr,” so the itch was not entirely scratched in the band years). Easier now as a lawyer than living in motel rooms and touring!
Bruce Kerr
Chris Rose adds:
It was Steve Hearn’s girlfriend’s father, Jerry Wexler, real estate tycoon, who got us the audition with Milt Salstone, owner of Reprise records [actually owner of M-S Distributors]. Milt started the Afton label as a subsidiary for rock and roll music.
I haven’t heard from or about our keyboardist in many years. His name is Bauchman Tom (people used to frequently mispronounce his name as “Tom Buachman”). He was, by far, the best musician in the group. He was up there with the best of the day in keyboard talent. On one mini-tour with The Iron Butterfly, Doug Engle (the composer of “In a Gadda Da Vida” ) told Bauchman that he played the song as well, if not better than Doug did. Our road managers [were] Terry Gano and Dean Suffka – they went on to work for The Seeds, Friend and Lover, Iron Butterfly, Blue Cheer, Tommy Boyce and Bobby Hart, The People, Kansas, Jimi Hendrix, Janis Joplin, Blues Image, The Doors, and Captain Beyond, and others after our group broke up.
The Seeds, Friend and Lover, Iron Butterfly, Blue Cheer, Tommy Boyce and Bobby Hart, The People, Kansas, Jimi Hendrix, Janis Joplin, Blues Image, The Doors, and Captain Beyond.
The Byzantine Empire at the Jaguar, April 6, 1968 with the Strawberry ExpressAdding to the list of groups and artists we played with or opened for: Del Shannon (opened and played as his band, the second set), Edwin Starr (he told Barry Gordy he wanted to manage our group because we could harmonize), Bobby Head (Sunny), People, The Iron Butterfly, Paul Revere and the Raiders (Lake Geneva), The Vogues (opened and backed them up instrumentally), Eric Burdon and The Animals, The Turtles (one concert at the Hammond Civic Center – crowd: 10,000, and one TV appearance), The Hollies, The Royal Guardsmen (they hated the Snoopy songs), Friend & Lover, colleagues of Herb Alpert (from our manager’s stable of talent) – he even went to Arlington Park racetrack with my Dad, all the Chicago based groups, multiple times – The Flock, The Buckinghams, The New Colony Six, The Shadows of Knight, The Mauds, The Ides of March with Jim Peteryk (they used to wear long-haired wigs when they were 17 – their parents wouldn’t let them grow their hair), Baby Huey and the Babysitters, The American Breed, Brenda Lee (a TV show in Windsor, Canada), Siegel-Schwall Blues Band, Sam the Sham, The Knickerbockers, The Kingsmen, The McCoys. I am sure I have left a few out.
The Byzantine Empire, 1968 from left: Chris Rose, Jerry Daller, Steve Hearn, Bauchman Tom and Bruce KerrThe Byzantine Empire, from left: Chris Rose, Bruce Kerr, Bauchman Tom, Steve Hearn and, Jerry Daller.
45 releases:
The Five Bucks
No Use In Trying / Now You’re Gone (erroneously printed as Now You’re Mine) (Afton 1701) May 1966 I’ll Walk Alone / So Wrong (Omnibus 1001) November 1966 (band listed as The Five Bucs) Breath of Time / Without You (U.S.A. 882) 1967
Byzantine Empire
Girl In The Courtyard / Snowqueen (Amy 11,018) 1968 Happiness Is / Whenever I’m Lonely (Amy 11,034) 1968 You / Shadows and Reflections (Amy 11,046) 1968
All photos courtesy of Bruce Kerr. Thanks to Jim Heddle for scans of the radio charts and Omnibus 45.
Great 45 with two originals by the Satisfactions on the Lee label from Lansing, Michigan. Production is a little murky and heavy on the echo but the performances are fantastic.
Don’t know much about the band except a Midland, Michigan origin, northwest of Saginaw. The RCA custom pressing code on the label TK4M-3735/6 indicates this was a 1966 release.
“Only Once” was written by Lashier and has a drum intro that picks up speed, a cool sounding nasal vocal and good rough guitar solo. “Never Be Happy” is the other side of the coin, a steady folk-rock ballad written by Weers and Hunter. Interesting how the rhythm changes up for the solo.
This is the same Lee label out of Don Lee Studios that the Marauders from Saginaw used for their June ’65 single, “Lovin” / “Nightmare”. That group paid $245 for one hour of session time and 1,000 45s, it’s likely the Satisfactions worked a similar deal.
Sources include: Article on the Marauders in Kicks #5.
The Wanderers, 1968, left to right: Bob Thompson, Mike Bresnahan, Don Thompson, Jack Petersen, Dave O’Brian
Don Thompson, December 19631964, from left: Robert Thompson, Tom Devers and Don Thompson
Don and the Wanderers were from Belding, Michigan, about 30 miles east northeast of Grand Rapids. Brothers Don Thompson and Robert Thompson founded the Flying Mustangs in 1963, with Don on guitar and his brother Robert on bass. They changed their name to Don and the Wanderers in 1964.For the next seven years the band would practice in the Thompson house. Their father Russ Thompson became their manager once they started taking paying jobs.
The band’s first drummers were Steve Whitford then Tom Devers. In 1965 the band added Jayne Traynor on vocals, and a rhythm guitar player. The following year Janet Sinclair became the drummer. In 1967, Jayne left the band and Dave O’Brien joined on keyboards. At this time Robert Thompson moved to rhythm guitar and Michael Bresnahan joined on bass. Bresnahan had been taking lessons from Robert, and his first group was Davy James and the In Men from Grattan.
Their only 45 was recorded at Audio Studios downstairs from the WKYC station in Cleveland in Spring 1968, and released with an orange Kustom label.
Producer Dick Wagner had them cut his original song “On the Road” for the A-side, a song he had done with the Bossmen the year previously with little chart success. This version has a progressive style for early 1968, with elements of the heavier sounds that were coming over the next few years.
For the flip they cut a mid-tempo pop number, “Sleepin’ in the Sun”. If it’s a Dick Wagner song, it’s not included in his BMI listing. The transfer featured here has better sound than the 45, and is also about twelve seconds longer, as the 45 fades earlier. They pressed 500 copies, selling more than 400 of them.
The band continued until 1972, playing many of the same clubs as Ted Nugent, Bob Segar, and The Frost.
L-R: Bob Thompson, Jayne Traynor, Don Thompson, John Goodsell and Ted Trudell on drums.
Don Thompson told me more about the Wanderers:
I started playing guitar in August of ’63 at age 10. Been doing it ever since. The band started out with my brother on bass and me on lead guitar and we just added members as we went along. Starting with the Ventures and grew into top 40 and then to heavy metal if you could call it back then. Led Zeppelin, Hendrix, The Doors, SRC, Amboy Dukes towards the end.
1966: Jim Wilson on rhythm guitar, Jayne Traynor, Don Thompson, Bob Thompson and Janet Sinclair on drums.Left to right: Jayne Traynor, Don Thompson, Bob Thompson, Tim Harris on keyboards, and Janet Sinclair.As a quartet: Don Thompson, Steve Connor on bass, Bob Thompson now on rhythm guitar, and Janet Sinclair.Late 1967, with new members Michael Bresnahan and Dave O’Brien
My father managed the band, built our band trailers, drove us to gigs, handled everything about the band. He had a gift of listening to a song on the radio, and could predict what song was going to be a hit. He’d buy the 45 record, and made sure we had our parts down and ready for each practice, and by the time the song hit #1 we already had it in our song list. I remember dad as one who took a chance on a 10 year old kid wanting to play guitar. He didn’t know if I had any talent or if I would stick with it, but he bought the best guitar to make sure I had a chance to learn on.
He made sure we worked, got paid for what we did, and we used that money to invest in better equipment. He taught us to do our best. Dad was not just our manager, but wore many hats, driving sometimes for hours in snow storms to get us to gigs and then hours to get us home. All the old band members I keep in contact with, say he was their friend. Not many teenagers would say that about most adults.
In West Michigan in the ’66 to ’69 era there were The Quests, Lynn & the Invaders, and the Soul Benders that recorded 45’s. Another great band was the Rainmakers out of Traverse City. It was very competitive back then.
We were a working band, most years we would have at least 45 to 50 weeks booked somewhere. Back then, every high school sponsored after-game dances. There were teen clubs all over Michigan to play. We played all over Michigan, from the west shores, South Haven to Traverse City, Rose City, West Branch, Bad Axe, Lansing, Detroit, just about any town that had a teen center, we’ve played it.
In 1966 there was a huge teen center in Grand Rapids called “The Place”. We won some of their Battle Of The Bands and we opened for the Music Explosion at The Place. I think that was sometime in ’67.
In August 1969 we were the opening act for Alice Cooper, in Hastings, MI. The name of the club was The Cobra. We had a wall of Kustom 3×15 cabinets and PA. Alice and the band got there, and realized the club didn’t provide a PA for them to use. The club was set up with a stage at each end of the main room. We did our first set, and wheeled our PA to their stage for their first show. The management had sold tickets for two shows, so they cleared the building and we did our second show for the late crowd, and wheeled our PA back for their second show.
I remember was Alice was in a really good mood and started swinging his (our) mic and the connector came loose and Alice launched our mic across the room and it hit the wall. Needless to say it didn’t work after that.
We met Dick Wagner through our booking agent. It was really important at that time to do a record for local radio play, so we met Dick, and he sold us the two songs we did, and he produced them. “On the Road” was side one and “Sleeping in the Sun” was the flip side. I was 15 at the time, it was huge to actually be making a record.
We recorded the songs in Cleveland and at the time of the recording Janet Sinclair was our drummer. The lead guitar intro on “On the Road” was done using a Fender Telecaster, a Mosrite Fuzzrite and recorded at half speed and played back full speed to get that octave up. I guess it was not cutting edge for the time but was effective.
We recorded on half inch tape and then transferred to 1/4 inch tape. The studio didn’t transfer just the masters but transferred all the takes so when the record company got the tape, they had no idea which was the master and didn’t bother to call us to see which take was the master, so we ended up with 500 45 RPM records with volume drops and gains. The MP3’s I sent were the masters and my brother had them done just last year from the original tape.
The record did get some local airplay, as did most of the local bands, [though] not as much as the Grand Rapids bands. At least we had the experience of recording and being part of that era. That was our only recording, we never did try it again.
As the photos show there have been lots of members over the years, I guess you have to make changes when they want something different. Some stayed for a few years, some made it less than a year. I’ve have the pleasure of working with lots of talented people through the years, yet marked with a lot of tragedy. The keyboard player and his brother were killed in a car accident in 1971, our main bass player’s brother joined the band on guitar in 1970 and was killed years later in a crane accident. Jayne was killed in a car accident in 84, so I guess I’m the lucky one.
Janet left the band a month after the recording and we replaced her with Jack Petersen. Jack and I are still working together playing music 40 years later. The Wanderers photo and 45 record are displayed in our Belding Museum. Never thought I’d be displayed in a museum while I was still alive!
One of my last bands was called exit 69 and I had a female singer onboard on that project. We worked for seven years and she and her family just moved to Texas. There are six tunes on the site that we recorded in the bass player’s spare bedroom, one person at a time is all that would fit, but I think it turned out a good demo.
My newest project is called LoRyder, we concentrate on all the one hit wonders of the 60’s and some Beatles. It’s funny how we can play songs 40+ years old and people in their mid 20’s will be singing right along with the band.
As far as what we are doing today, Bob now works for Negri Bossi Injection Molding Machines in Michigan and surrounding states. Don is an Independent agent for Aflac and holds a patent and manufactures the Tremorbender B String Bender for electric guitars – www.tremorbender.com. Janet is married, lives in Florida and still drums, and has several grandchildren who are musicians. Mike is in Everett, Washington and is an electrician. Jack is now semi retired.
Don Thompson, November 2009
February, 1968, just before recording the 45WKYC in Cleveland, home of Audio StudiosAudio Recording, unidentified engineer and Dick WagnerIn the studio with Dick Wagner, second from right in back. Janet holds lyrics to one of the songs.
Don Thompson, 1969
In 2007 Don and the Wanderers featured in a local Daily News article.Thanks to Mike Markesich for the 45 scans, and special thanks to Don Thompson for sharing his photos and band history.
The Chevrons, Jerry Vanderwal Wal at front leftThe Chevrons V came from Grand Rapids, Michigan.
Their first 45 from January 1966 has a sharp bluesy lament, “I Lost You Today” on one side and the nonsensical chant “Niat Pac Lavram” (read it backwards) on the flip. Total time for both songs clocks in at a succinct 3:40! Bands today should consider that approach to recording.
It was considered a rare 45 until 2008 when fourteen or more copies turned up. No song writing or production credits on the label, but the same band released a later 45 as simply ‘The Chevrons’ on Fenton, “Hey Little Teaser” / “What Everyone Wants”.
There’s also another single as the Chevrons on the Dawn label, “Seeing You” (B. Goote, pub. by Nigel Music) / “My Mind’s Made Up”, produced by Goote and J. Williams, product of Midwestern Sound Productions, engineer Denny Cuson, “label by John Stevens”.
Patrick Strong wrote to me that he played guitar on “What Everyone Wants”. I’m not sure if he was in the group for the first 45.
I knew almost nothing about the band until Bob Goote commented below that I’ll repeat here:
I was a founding member of the Chevrons. The members of the band were:
Bob Goote (keyboards/lead vocals), Pat Strong (lead guitar), Bob Vandenberg (guitar/vocals), Steve Vanderark (bass/vocals), and the great Jerry Vanderwal on drums.
I wrote “I Lost You Today”. “Niat Pac Lvram” (Captain Marvel spelled in reverse) was a collaboration with the whole band, I wrote the music. I also wrote the songs “What Everyone Wants”, “Hey Little Teaser”, “Seeing You”, and “My Mind’s Made Up”.
Our record “Hey Little Teaser” / “What Everyone Wants” made it to #5 on the radio music charts in Grand Rapids.
We had a great time playing gigs while in High school at East Christian High in Grand Grand Rapids (65-68). After high school in 1968 we all sort of went are own ways and the band broke up. After the group retired I wrote and recorded a song called “Somewhere (Someone Is Waiting)” on the Coventry label. It also got some air play in the Grand Rapids market.
Bob Goote
Thank you to Chip for sending in the photo of his uncle’s band and correcting the name to Jerry Vanderwal Wal. If anyone has more photos of the band please contact me
Update, January 2020:
I found this demo lacquer 45 of “Seeing You” / “My Mind’s Made Up” credited to Jerry Vander Wal instead of the entire band, and dated 2/28/68. Interestingly the labels read Bell Sound Studios in New York City, though I don’t believe it was recorded there!
As far as I know, Dick Curtis (Richard S. Curtis according to song publishing credits) only put out this one 45. The A-side, “Funny Girl” is kind of outsider pop, and interestingly it’s in stereo, primarily for the string arrangements. Most people reading this will prefer to skip that song and just listen to the quick moving “It’s Not the Same”.
The label is Colortronics Recording Industries, out of Ann Arbor, Michigan, a label that was active until at least 1972. I’d like to know who was backing Dick Curtis on this track.
In a comment below Brenda mentions a 45 Curtis produced by J & B Ware, which I haven’t heard yet. J & B were R. Joslyn and D. Baisch.
The Rainy Days, l-r, back row: Paul Isaacson, Jim Nosakowski, Al Hafeli, Gary Rozycki; front: John Einowski, Tom BrzezinaMogen David and The Grapes of Wrath at the DrumBeat
The Rainy Days are known for a great version of “I Can Only Give You Everything”. They regularly won battle of the bands contests over Bob Seger and the Last Heard, and appeared many times on the Robin Seymour TV show, Swingin’ Time. The members were:
Tom Brzezina – vocals Gary Rozycki – lead guitar Alan Hafeli – rhythm guitar Paul Isaacson – organ John Einowski – bass Jim Nosakowski – drums
In early 1967 the Rainy Days released two 45s on the Panik label. Their first 45 was supposed to include a version of the Fugs’ “Dirty Old Man”, which I would love to hear. Though acetates were made, that song’s uncommercial lyrics may have doomed a commercial release, and the song hasn’t surfaced in the years since it was recorded.
Mogen David and The Grapes of Wrath at the DrumBeat“Go On and Cry”, an original song written with their manager is excellent, with a soulful sound at times very reminiscent of the Stones’ “Heart of Stone”, plus the vocals are full of attitude. The Panik label put “Go On and Cry” on the b-side of each of their 45s, once with “Turn On Your Lovelight” and again with “I Can Only Give You Everything”. I’ve seen “Turn On Your Lovelight” issued on red vinyl, with a plain Panik label.
When their third release “Without A Soul” was shelved the band slowly faded away. Tom Brzezina joined Target with Dennis Wezalis, who had written “Without a Soul”, while the other members stayed active in music for some time. As yet, “Dirty Old Man”, “Without a Soul” and their appearances on the Robin Seymour show seem to be lost, but until they are found we have their Panik releases to listen to.
Jim Nosakowski, Gary Rozycki, Alan Hafeli wrote this description of the band:
In the wake of the British Invasion, interest in forming bands to play live music was rampant in Detroit as well as across the country. In 1965, two groups of enthusiastic, budding musicians, The Brimstones and The 69ers combined to form Mogen David and the Grapes of Wrath which soon became The Rainy Days. This hard-driving six man group was noticed by PANIK Records and in the fall of 1967 they released ” I Can Only Give You Everything” backed by the original song, “Go On and Cry”.
The single charted in Detroit and resulted in several appearances on CKLW’s (Windsor, Ontario) popular show “Swingin Time” with Robin Seymour. The Rainy Days appeared with James Brown, The Contours, Bobby Hebb, and others. Recordings of “Turn on Your Lovelight” and an original, “Without a Soul”, failed to chart and the band broke up shortly after a three year run of good fun and great music. Alan and Jim continue to play together after 40 years in various blues and oldies bands.
The Rainy Days, l-r, back: Al Hafeli, Jim Nosakowski, mid row: Gary Rozycki, John Einowski, Paul Isaacson front: Tom Brzezina
I asked Jim Nosakowski some questions about the band, and he responded with Alan Hefeli:
The 69’ers were experimenting with a keyboard player, John Issacson, who could not really play. His brother, Paul Issacson, was a friend of Alan and Gary from the Brimstones and was a very good keyboardist. Through these brothers, the two bands became aware of each other and ultimately Tom (lead singer), and Jim (drums) from the 69er’s, Alan (rhythm), Gary (lead guitar), and Paul (keyboards) formed Mogan David and the Grapes of Wrath. John (bass) was a friend of Tom’s. Dan Bayer (Brimstone’s drummer) joined some of the remaining 69er’s to form Mother’s Little Helpers, a good British-type rock band.
We had been trying to find someone to record us. We wanted to record “Gloria” by Them sensing a sure hit, but the Shadows of Night beat us to it. One agent was interested in Tom but not the rest of the band. A soul recording studio called Big Mack Records, as we recall, was interested in us as their first white group but nothing came of that.
One day our bass player, John, was hitchhiking with his guitar and was picked up by Tony Printz of PANIK Records (he was driving a very cool pale blue Continental convertible). He came to a few practices and decided to sign us. Soon after the decision was made to record “I Can Only Give You Everything”.
We recorded ICOGYE backed by an original credited to our manager, Tony Printz, though we all worked on it. The recording studio was United Sound, a Motown studio near Wayne State University. Our producer was Danny Dallas and as I recall, PANIK was paying $60 an hour for studio time.
When we heard the master we were really disappointed. The lead guitar was out of tune but Tony said it sounded ok. After much pleading by the band, he agreed to go back and redo the cut. The second effort was much better.
Shortly after we recorded, Tony got a call from someone at United Sound saying that the MC5 had also recorded a version of ICOGYE at the same studio two weeks after we did. This motivated PANIK to release our record as quickly as possible.
Thanks to Jim, Gary and Alan for sending in the photos and history of the band, and to Don Rozycki for putting me in touch with his brother. One source for this story was Koen Goossens interview with Tom Brzezina and Jim Nosakowski on his site devoted to the song I Can Only Give You Everything. The link for that is http://icogye.0catch.com/icogyeinterview1.htm – but be warned of ugly pop-up ads that can crash your browser!
The Rainy Days, l-r, back row: Al Hafeli, John Einowski, Tom Brzezina, Jim Nosakowski; front: Paul Isaacson, Gary RozyckiThe Rainy Days, l-r: John Einowski, Gary Rozycki, Al Hafeli, Jim Nosakowski, Paul Isaacson, Tom Brzezina
The Blue Feeling, formerly known as the Satellites
Dennis Girard of the Ruins sent in these great photos of the Blue Feeling, a band who had been widely known in the Detroit area as the Satellites.
Dennis writes:
These pics show the Satellites in 1968 when they changed their name to the “Blue Feeling”. Note that Ann Marston was representing them.
They were possibly the best group in the Downriver area. At any of their gigs, the front row of the audience was made up of local musicians.
You can see all of their Vox equipment. Several Beatle amps and the infamous Vox T-60 are visible. They even used two Vox Beatle amps for their PA. In fact I bought a Beatle chrome amp stand from them.
The Satellites did the sound track for Tim Tam and the Turn-Ons (“Wait a Minute”).
Dave Fero……lead guitar Frank Schiavulli….drums (deceased 01-23-97) Ken Sipos……guitar Carl Sweets….bass Frank Vargo….lead vocals
I had kept in touch with Frank Schiavulli up until his death. Dave Fero is still playing and lives in Ann Arbor.
The Blue Feeling, formerly known as the Satellites. Notice the Ann Marston Presents and Espial Light Company posters on wall
The Satellites were freshmen at Allen Park High School. They signed with Ann Marston in October, 1965, partly because she liked their wholesome appearance. Ann Marston was a former archery champion, TV personality and Miss Michigan of 1960, who started managing bands after promoting live concerts with WKNR’s Frank Sweeney.
Ann booked them into venues including the Chatterbox teen club in Allen Park, the Southgate Teen Center, the Harbor Theater in Lincoln Park and the Grosse Ile Naval Base, getting them regular work. Around this time Ann produced a demo of the band at Pioneer Studios, “I’ll Feel a Whole Lot Better” and “You Really Got a Hold on Me”.
Dave Fero and Frank Schiavulli had been part of the group backing Tim Tam and the Turn-Ons on their huge local hit, “Wait a Minute”, an unusual blend of doo wop with a contemporary rock sound. Tim Tam and the Turn-Ons were six vocalists who also met at Allen Park High. Rick Wiesend (Tim Tam) was lead vocalist, along with Danny Wiesend, Don Grundman, Nick Butsicaris, John Ogen and Earl Rennie. If you haven’t heard “Wait a Minute”, search it out on the internet and you’ll hear why it was such a sensation.
‘Wait a Minute” was released in February of 1966 on Palmer Records 5002, selling 30,000 copies in the first month of release. Frank was interviewed on the air by WKNR DJ Scott Regan about playing drums on “Wait a Minute.” Tim Tam and the Turn-Ons would release three more 45s on Palmer. Rick Wiesend passed away five years ago today (on October 22, 2003).
I’m not sure who is playing on the flip side, the fine surf instrumental “Opelia”, songwriting credited to Morton Patlow. Is this the Satellites?
Tim Tam & the Turn Ons next single was the very doo-wop sounding “Cheryl Ann” b/w a vocal with garage backing, “Seal It With A Kiss” (Palmer 5003)
On June 13, 1966, the Satellites went to United Sound Studios to record another demo of two songs, “I Believe” and “Midnight Hour”. These were mixed by Les Cooley who would soon engineer Bob Seger’s “Persecution Smith”.
The band won WXYZ-TV’s Talent Town competition, hosted by Rita Bell. The stereo console they won went into Frank Vargo’s basement where the band practiced.
The band clashed with Ann when they gave up their straight image, but nevertheless she continued to manage them into 1968. I’ve never heard any of their demos, I don’t know if they still exist or not.
The Blue Feeling“Ann Marston presents The Blue Feeling and the Espial Light Company”
Sources include: Shooting Star: The Amazing Life of Ann Marston by Alana Paluszewski, and the Tim Tam & the Turn Ons entry on myfirstband.com.
Special thanks to Dennis Girard for the scans of the photos and for sending me a copy of Shooting Star.
Ann Marston’s busy and unusual life is chronicled in Shooting Star. Those interested in her interactions with bands will find about seven pages on her time managing the very young MC5, a few pages on the Satellites, and mentions of other bands she worked with, like the Lower Deck, the Renegades, Julia, and Tom & the Fugitives. There are also photos of Ann with the Beatles and the Dave Clark Five.
Shooting Star lists Frank Vargo as the drummer on “Wait a Minute” and as the member of the Satellites interviewed on-air by Scott Regan, but this may be a mistake. Dan Wiesend, who was at the session, recounts Frank Schiavulli as the drummer.
The Ruins, 1968, l to r: Paul Turchetta, Paul Ferda, John Menadrysa on drums, and Dennis Girard.Tim Phillips, 1952 -2008
The Ruins were from Lincoln Park, Michigan, with only this one excellent 45 as their legacy. “The End” is an original song written by singer and guitarist Dennis Girard. “Take My Love (And Shove It Up Your Heart)” is a good cover of the Blues Magoos song.
What follows is Dennis Girard’s account of the Ruins, in his own words:
I come from a musical family (both parents had been involved with music and performed on local radio in Detroit, my father was a professional piano player), so it was natural to grab an instrument. The Beatles appearance on Ed Sullivan created my interest like many Americans in the guitar. My uncle was a professional guitar player and helped in selecting my first instrument.It was early 1965 when my cousin Tim Phillips was playing drums. His neighbor across the street was Randy McMillan and he played guitar. So the band started and we called ourselves the “Mysterions.”
We were fortunate to have Tim’s older brother Harry Phillips enter the scene. Harry was a few years older (we were only 13 years of age) and played with some of the bigger names in the Detroit music scene (Mitch Ryder and Catfish Hodge to name a few). He played the Hammond B3, and offered advice as we practiced.
The Ruins went through several changes in personnel. What is amazing is that these changes were never as a result of any disagreement or argument. It was a family in the true sense of the word, perhaps because it started out with cousins and close friends.
Early in 1966 the name of the group became a problem. Question Mark and the Mysterians had the hit 96 tears, there was confusion when we played out. I came up with the name, “The Ruins.” I had found a reference to the name in a Beatle tune (Think For Yourself).
We needed a bass player, Paul Ferda was a friend from junior high school and he had a bass guitar. 1966, The Ruins are created including the following members:
Dennis Girard – lead singer and rhythm guitar Tim Phillips – drums and backup vocals. Randy McMillan – lead guitar and backup vocals. Paul Ferda – bass guitar and backup vocals.
clockwise from left: Dennis Girard, Paul Ferda, Randy McMillan, and seated Tim Phillips
We played top forty tunes and were influenced by the Beatles, The English Invasion and the Motown sound of the Detroit Music scene. Our early outfits included Beatle collarless jackets and bright blue Nehru jackets. Our parents forked out the money for some big time equipment. At the time we made around $75.00 to a $100.00 dollars a night. This was immediately given to our parents to help defray the cost of more guitars, amps, and PA equipment. We were one of the few groups in Detroit to have not one, but four Vox Beatle amps. The group was enjoying popularity and playing every weekend. We hit the teen clubs (Chatter-Box, By-Pass, Hullabaloo, and the Club in Monroe Michigan) and local high schools.
In 1965 I had written a song called, “The End.” I was thirteen when I wrote it. We started including the song in our live performances. It was sometime in 1966 that we made contact with Mutt Records. As I recall Randy’s father had taken over the role of manager, and he put us in touch with Nate Dore. Nate Dore was the owner of Mutt Records located at 27316 Michigan Avenue in Inkster, Michigan (the studio was only 15 miles west of Detroit). Nate was a bondsman and the studio was located in the rear of this business. His sound engineer was Bill Williams.
From the beginning we were treated like family. Nate and the rest of the staff were African American and we were called, “the blue eyed soul boys.” Nate never charged us for studio time. He was convinced that The Ruins would allow him to break into the new sound that was being influenced by the English Invasion.
We signed a contract with Mutt records (well it was our parents who signed) and began to spend nights after school working on the two songs for the 45 record. My cousin Harry Phillips added the Hammond B3 and helped with arrangements for both songs. Harry because of other musical commitments, only performed a few times with the group. It was around this time I added a Farfisa organ to my instruments. Even with hours of practice, I never came close to the sound and skills of Harry. The record did not sell very well because of distribution problems or lack of. Nate Dore did stick with the group till the end.
Dennis Girard – a late night at Mutt RecordsJohn Menadrysa
1968: I cannot recall the exact details of why Tim Phillips left the band. I know he had a steady girlfriend (Jackie would become his wife) and started working with his brother Harry and Randy McMillan on another musical project. There was no argument or hard feelings.
Now Paul Ferda and myself set about trying to save The Ruins. It was in 1968 that Ann Marston approached me about helping to form a new band. Because of our record and local success, Ann wanted to manage the band. Again there were high hopes and dreams. Ann Marston was a well known band promoter at this time (you can read about her life in the book, “Shooting Star” by Alana Paluszewski). She introduced John Menadrysa as the bands new drummer.
There was a lot of competition during those years between bands. For the most part it was not malicious, it often was over your equipment status. Things were often territorial in those years. You had the East Siders (east side of Detroit), Ann Arbor bands, and the Downriver Groups. We were in the later. Downriver included the middle class blue collar suburbs located south of Detroit and near the Detroit River. These groups were often called, “The Downriver Rats.”
There was a unofficial tier system for groups. The highest tier would have had bands like Bob Seger, MC5, Stooges, Scott Richard Case (SRC), Mitch Ryder and the Rationals as examples. These guys played The Grande Ballroom and often left the state to perform.
We made it into the second tier. These groups would often open for the above listed and had a 45 record released. I would include The Unrelated Segments, The Satellites, and of course ourselves as examples. The third tier was made up of groups that had no management and often poor equipment. They were lucky to grab a high school dance.
What hindered our group was the fact that we were so young. We had to have our parents drive us to many gigs. That was the beauty of having Ann Marston take over. Ann would pull a rented trailer around with her 1965 Plymouth Fury.
When a second tier group opened for on of the main acts, there was not much contact. The big groups had their roadies and stuck to themselves for the most part. The one exception I can remember was Scott Richardson (SRC). We opened for them at a gig on their side of town (St Clair Shores). Scott offered his PA (which even had a guy mixing and was huge compared to ours) to our group. He went out of his way to make us feel relaxed, even inviting us to a party in Ann Arbor after the gig (all the parents present vetoed that invite).
The Ruins, 1968: l-r: Paul Turchetta, Paul Ferda, Dennis Girard, John Menadrysa
Again there was a good chemistry and now we searched for a lead guitar replacement for Randy. Ann brought Paul Turchetta to my basement for an audition. Paul was the first and only lead guitar player to try out. The three of us (Paul Ferda, John Menadrysa, and myself) knew after the first song that Paul Turchetta was the one. I had never seen anyone fit into a group as fast as Paul Turchetta. The group began to practice and within a week started playing clubs.
Paul Turchetta: “Would you believe I still have the Epiphone Riviera and the Sunn amp and the jacket. Dennis’s mom made us those.”
The Ruins were once again together, and working closely with Ann Marston and Nate Dore. But more changes waited around the corner.
Paul Turchetta after only eleven months announced that his family was moving to Arizona. The band was devastated. Ann wanted Paul to stay behind and offered to have him live with her parents. Paul’s parents were not fond of this idea (he was only 16). The group almost broke up, but Ann and Nate convinced us to stick it out. As I stated before, The Ruins were an extended family, and one phone call to Randy McMillan found him back in the group.
By late 1968 The Ruins were Dennis Girard, Paul Ferda, Randy McMillan, and John Menadrysa.
The Ruins with their manager Ann MarstonOn the Robin Seymour TV Show, l-r: John Menadrysa, Vic Grasso, Randy McMillan, Dennis Girard
In September, 1968 found the group again playing gigs and Ann Marston got what we hoped would be our big break. We were scheduled to perform our two songs (The End and Take my Love) on the popular television show, “Swingin Time” with Robin Seymour. Robin Seymour could make or break any group in the Detroit area.
The Ruins with Robin Seymour
This was our big chance, but another change was about to take place. Paul Ferda decided he wanted to quit music and take a real job. On the eve of appearing on Swingin Time, we found ourselves without a bass player. A good friend of mine from high school Vic Grasso appeared with the group on The Robin Seymour Television Show (broadcast from Windsor Canada).
Ann Marston quickly brought in Mike Monday as the permanent replacement for Paul Ferda. The one photo of me in the studio was taken when the final version of the Ruins went back to record a follow up record (late 1968). In the studio at this time was Randy McMillan, John Menadrysa, Mike Monday and myself. It’s a shame but several tracks were recorded of new songs, but I have no idea where they are.
The final version of the Ruins, l-r: Randy McMillan, Dennis Girard, John Menadrysa and Mike Monday
Again this version of The Ruins enjoyed success and began playing some major venues. A quick story: the night we played in Southgate Michigan with Teegarden and Van Winkle their song “God, Love and Rock & Roll” was big on the charts. the place was packed but they arrived with no equipment. Their trailer had been impounded by a local police department for improper plates.
They were not “hip” on using our equipment (they needed a Hammond B3, my small Farfisa was not a match). Enter Nate Dore the bail-bondsman. Nate was able to drive to the police department and get all of their equipment released in time for the show. We did a longer opening set and the show was a success.
Ann Marston was beginning to become upset with the many changes that The Ruins were going through. She began working with other bands. Randy’s father again stepped in and started booking the band. The Vietnam war would bring “The End” to the Ruins. John Menadrysa found himself drafted into the Marines. After the many changes and loss of Ann Marston, the group disbanded. The magic of the Ruins had ended. It had been an amazing experience with great memories and many friendships that would last a lifetime.
In 1969 Randy McMillan and myself entered the studio again with a band called “NRG” or “ENERGY.” The group lasted only a few months. I can only recall the first names of the bass player (Frank) and the drummer (Tom). We did record an album under that band name. None of this material was ever released. I exited the band scene as a full time musician in 1970.
I still talk daily with Paul Turchetta and have visited him in Arizona many times. Paul owns Cave Creek Guitar has provided me with many guitars and advice. The one member who continued in music full time was Harry Phillips. He played with Mitch Ryder, John Cougar and did studio work with the Rolling Stones.
– Dennis Girard, Feb. 2008
The Ruins single was released on Mutt Records M 27319, mastered at Nashville Matrix and pressed at Archer in Detroit in 1967. Mutt Records owner Nate Dore usually copyrighted original songs with his Mutt Music publishing, but I can’t find an entry for “The End”.
Thank you to Paul Turchetta and Dennis Girard for their help with this article and use of their photos.
l-r: John Spratto, Gordon MacDonald, Mike Cleary (seated), and Warren MacDonald.
The French Church were a band from Marquette, Michigan, a small town on Lake Superior about 180 miles north of Green Bay. Members were Mike Cleary singing lead vocals, John Spratto on guitar, Gordon MacDonald on bass, and his brother Warren MacDonald on drums.
I asked John Spratto how the band was named: “A good friend of the band, Floyd Maki, suggested we name it the French Church which is what St. John’s Catholic Church in Marquette was known as amongst the old timers. We were a little rebellious and figured that might get a rise out of certain people which would bring notoriety to the band. Some people, my mother actually, didn’t care for the name at first, but it was OK after a while, didn’t cause too much consternation.”
A sign for Slapneck inspired Gordon MacDonald and John to write a song imagining life in a small community in the woods. The band paid Princeton label owner Fred Krook to release the song, recorded in a studio located in the basement of a Marquette lumber company in early 1968.
Harry Walker, he’s the milkman there, No bills are paid, ah, he’s not well Slapneck, come on along with me yeah, Come on along with me, Yeah if you want to be free
Mrs. R.J. Green, she runs a restaurant there The tables they’re clean and the manners they’re clear Slapneck, come on along with me, Come on along with me, Yeah if you want to be free
The lyrics are quaint, but the playing is ferocious. From the sliding chords that open the song, John Spratto lays down some of the heaviest distortion ever put to vinyl.
The flip is a more conventional number, Without Crying, written by MacDonald and Mike Cleary.
John Spratto: “I am all grown up now and a Managing Partner in a CPA firm. Gordon recently retired as a music teacher and his brother Warren still owns MacDonald’s Music Store in Marquette.
“We got together about 5 years ago and recorded a dozen original songs that we wrote together and individually over the last 42 years. We got together again a couple of years ago with our boys who also play and recorded another 6 original songs. They are all very good songs. (My opinion anyway). One of the ones with our boys was a remake of Slapneck 1943.”
Sources: My correspondence with John Spratto, and Steve Seymour’s blog on Upper Peninsula music, Rock n Roll Graffiti.
Back row: Jim Ovaitt (keyboards), Rick Garfield (drums), Rick Blomstrom (lead guitar). Second row Mike Gilliam (bass guitar), Bruce Reinoehl (rhythm guitar). The Chancellors were a quintet from Lansing, Michigan with two 45s on the great Fenton label. Since my original post I’ve been in touch with Chancellors rhythm guitarist Bruce Reinoehl, who wrote up a short history of the band:
The Chancellors was a mid-Michigan band which was active between mid 1965 and late 1967. The band formed around the direction of keyboard man and lead singer Jim Ovaitt. During the summer of 1965, the group underwent several personnel changes before its final composition of Jim Ovaitt, keyboards and lead singer, Rick Garfield drums, Rick Blomstrom lead guitar and vocals, Mike Gilliam bass guitar and vocals and Bruce Reinoehl rhythm guitar and vocals. At the time we were all high school students in East Lansing and Okemos, Michigan.
Our first jobs consisted mainly of high school dances. As we continued to improve we moved up to Michigan State University fraternity parties and local night clubs. In early 1966, we cut our first record. This was the “Journey” / “One in a Million” record of which only a few hundred were pressed. Today that record is quite scarce. I can remember the fairly primitive by today’s standards studio which at that time did not have the ability to double track recordings. That meant everyone had to play all parts of both songs well enough to make a record. That sounds easy especially with all of the rehearsing we had done before going to the recording studio. As with anything one makes, the builder is the one who knows where the blemishes are. There always seemed to be something that just was not good enough. By the time we were finished, I never wanted to play or hear either of those songs again. That changed when I heard “Journey”, an instrumental, used by one of the local radio stations as a lead up to one of their news broadcasts.
By late 1966, the Chancellors were becoming fairly well known in the mid Michigan area. We were playing jobs in Saginaw, Bay City, Jackson and as far away as Harbor Springs. We played at nightclubs where the Byrds and Beach Boys had played a week or two previously. We also cut out second and final record around this time. This was the “Dear John” / “5 minus 3” record.
The picture which was staged on the piano was taken in at the studio of Jim Ovaitt’s piano teacher. The on stage pictures taken while playing were taken at the Band Canyon a nightclub in Bay City, Michigan. Among other bands playing there were the Byrds. The pictures of the equipment were taken at Club Ponytail in Harbor Springs, MI. The Beach Boys also played that club. The motel photos were taken in Harbor Springs. Neither club is still standing.
Playing with the Chancellors was a great experience but it was also obvious that we were not cut out to be professional musicians. All of the members of the band ended up going into professions other than music. In looking back, it was a lot of work but also a lot of fun. I treasure the friendships and memories that have resulted from my experiences with the Chancellors.
Bruce Reinoehl
Bruce Reinoehl and Jim Ovaitt co-wrote both songs on the first 45, “One in a Milliion” and “Journey”. “Journey” and “5 Minus 3” feature Jim Ovaitt’s organ playing, but “5 Minus 3” is especially interesting for being a raucous duet by just Ovaitt and drummer Garfield.
The organ also dominates their first vocal song, “One in a Million”. “Dear John” gives the guitarist and vocalist more room and succeeds as a pop song.
Thank you to Paul Reinoehl for helping me get in touch with his brother and for sending in these great photos, and to Bruce Reinoehl for his history of the band.
Note: one source lists this group as cutting a third 45 on Chamus: “Places We Once Knew” / “Something for Sure”. However, this was a different Chancellors band out of Lincoln, Nebraska featuring Keith Goins and Max Carl Gronenthal. That band had another release on El Cid: “Everbody’s Got To Lose Someone Sometime” / “It Was A Very Good Year”, both singles are good blue-eyed soul with horns. Tip of the hat to Martin Hancock for pointing out this was a different band.
The Chancellors at the Band Canyon in Bay City, MIThe Chancellors at the Band Canyon in Bay City, MIThe Chancellors at the Band Canyon in Bay City, MIAt the Club Ponytail in Harbor Springs, MI
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 Five Bucks had two of the finest harmony songs of the mid-60’s: “No Use in Trying” and “I’ll Walk Alone”. The group had a third 45 as the Five Bucks, and then three more releases as the Byzantine Empire. Jim Heddle of Ann Arbor wrote to me and said I should cover the Five Bucks, “WPAG played ‘Now You’re Gone’, which was a ballad, but I remember WAAM playing the b-side, ‘No Use In Trying’, which is a great rocker.”
The Five Bucks opened for The Doors, fall of ’67 for our U/Michigan Homecoming. Morrison got booed off the stage, he was drunk and the crowd wanted to DANCE. The student in charge came begging to us, “Please go back up and quiet down this crowd.” We took to the stage and opened with the Temps’ “Ain’t to Proud to Beg” and the place went crazy and the night was saved. Huge crowd, the old U/M gym, high stage, it was nuts.
The Chevrons V came from Grand Rapids, Michigan.
