The Lemon Sandwich released the very cool “Give Me Love” on La Salle Records L-371, backed with “I Must Be Dreaming”. Eddie Hileman wrote both songs.
Tommy Burke used the Lemon Sandwich’s exact recording of “Give Me Love” for his 45 on Lauren L-2513 backed with “I Don’t Want to Be Your Keeper”, with writing credit for both songs to Tommy Burke.
Eddie T. Burke then released the Lemon Sandwich’s “I Must Be Dreaming” on E.T.B. Records ETB-113. I’m not sure if this was the same recording as the Lemon Sandwich or not, but with LA SALLE CE 15/16 cut into the dead wax, I believe it probably is. The flip is the Taboos “So Sad” but with Eddie Burke doing new vocals. For this release Eddie Hileman is given writing credit for both songs, even though the Taboos was by Brennan and Palazzo.
Phil Fallo contacted me about the Lemon Sandwich:
I was lead guitarist in the Lemon Sandwich back in 1968-69. When I joined, they were a quartet, Ed Hileman was the sole guitarist. I was brought in to play lead guitar and we became a 5 piece. The bassist was Tom Davis, the drummer was Mike Kritsky and the organist was named Al. We were all from New Jersey.
I believe that single predates me – maybe early 1968. We were very successful in Greenwood Lake, NY where we were house band at “Mother’s”, the largest club on the lake for an extended period. We played other places on the lake like the Long Pond, Big Daddy’s and TA’s East. We broke up in 1969.
At the time the drinking age was 18 in NY and 21 in NJ and all these clubs were located just over the Jersey line on the NY side of the lake. Flocks of teens from NJ would come up to the lake to be able to drink. When the drinking age changed, most of those clubs burned down killing the scene.
That was probably the most successful band I was in. After that played in a number of bands that worked the northern New Jersey circuit or in Greenwich Village. Syren, Apollon, Buck Scrub, St. Jack. Also played in a band led by Tom Feher, who had been in the Left Banke, and another led by Paul Klein who prior to my time had a band called the Wind in the Willows. My last band broke up in 1978-79.
The Silver Byke at Arthur’s, photo courtesy of Reggie WardThe Silver Byke released only one single, “I’ve Got Time” / “Who Needs Tomorrow” on Bang Records B-557.
Charly Cazalet wrote “I’ve Got Time”, while “Who Needs Tomorrow” is credited to Cazalet, Nelson, Platania, and Ward.
Cash Box gave it a favorable review in April, 1968. It was also released in the UK on London Records.
Supposedly the group had more songs completed for an album when Bert Berns of Bang Records passed away on December 30, 1967. If they still exist, I’d love to hear them!
Members were:
Reggie Ward – lead vocals and rhythm guitar John Platania – lead guitar Charly Cazalet – bass guitar Michael Nelson – drums
An unsigned profile of the Silver Byke appeared in the May 4, 1968 edition of the Kingston Daily Freeman:
Silver Byke Rolls Along Sporting Guitar and Song
The Silver Byke is a recording group out of Poughkeepsie …
The Silver Byke was the last group to be signed to a recording contract and become proteges of the late great Bert Burns [sic] of Bang Records. Two of their recent releases on this label are “I’ve Got Time” and “Who Needs Tomorrow”.
Among the many successful college concerts where the Silver Byke has made its sound are Vassar, Harvard, Bard and Finch…
Founder of the group is Michael Nelson, a drummer who began his career several years ago with the Lost Souls. He later recorded with Bobby Dylan. After a stretch on the New York music scene he returned to the Hudson Valley where he had spent most of his life after coming over from his native England.
Charlie Cazalet [sic], bass guitarist, immigrated here from France and stepped right into the music scene at 17. After accompanying well known groups here and in Canada, he joined Mike in The Silver Byke, then under the name of The Meek and Obscure.
Most recent member of the Byke brigade is 20-year-old John Platania, lead guitarist. A well known instructor in upstate New York, John gained fame as lead singer and guitarist with the big city group, Love’s Body.
Formerly a member of the Dirty Elbows recording group, Reginald Wald [sic], also 20, does honors as lead singer and rhythm guitarist for the Bykes. He also switches from guitar to trumpet and does a good deal of horn dubbing for the Bykes recording sessions.
Recent engagements have been two weeks at the Discotheque Arthur in New York City and weekend performances at the Dew Drop Inn, Eddyville.
from the Daily Freeman, October 17 1969I can find listings for the band around the Poughkeepsie area from December 1967 until April 1969, including at the Dew Drop Inn on Route 213 in Eddyville, and at the “Us” teen club at Roosevelt High School in Hyde Park.
Then in October 1969, an ad for the Pleasure Yacht in Eddyville announces the Bak Steppe, “including members of the Famous Silver Byke”.
Charly Cazalet wrote a partial history of his career for his release Rough Mix-NYC, which I’ll excerpt here:
The Silver Byke, photos courtesy of Reggie Ward
My first professional performance was with my first band ‘The Outsiders’ at the Steve Paul Scene nightclub in New York City, the fall of 1964. I was sixteen years old and the band had already recorded two songs at Mirror Sound for a couple of writers from the infamous Brill Building. Soon after we signed with Audio Fidelity Records. Over the next few years I continued to perform in NYC clubs, The El Mio, Ondine’s, The Phone Booth, Arthur’s, The Bitter End and The Salvation to name a few.
In May 1966 after a four month tour in Quebec with French Canadian rock star Tony Roman I came home to NYC and met the band ‘The Left Banke’. They had just recorded “Walk Away Rene” and were looking for a guitarist to join the band. I didn’t join the band but maintained a professional and personal relationship with some of the band members until today. I played bass guitar on most of the tracks for The Left Banke’s third and last album ‘Voices Calling’ around 1978 that was released in Britain in 1988.
The Left Banke lead singer Steve Martin Caro co-wrote and sings lead on track 1 and 4 and sings harmony vocal on track 8 [on Rough Mix-NYC]. The Left Banke drummer George Cameron plays on track 5, 6, and 8. These five songs were recorded between 1978 and 1979. Reginald Ward sings lead on Track 5.
Reggie and I performed in a four piece band called The Silver Byke with John Platania and Mike Nelson between 1967-1970. We signed with legendary music producer Bert Berns, but Bert passed away before we recorded and released a 45 rpm for his label Bang Records. Chris Houston from the British rock band The Undertakers produced the session.
I asked Charly about how he joined the Silver Byke and he wrote to me:
I met Mike Nelson around early 1965 at a club called Ondine in midtown Manhattan. He was playing there with his band The Lost Souls. When they finished the set I went up to him and started talking with him.
At the time I was in a band called The Outsiders and we were the house-band at the El Mio club not to far away from Ondine. A short time later he quit his band and started spinning records at El Mio for a while. My band left El Mio and broke up soon after and some time after that I ran into Mike and he didn’t have a place to stay so, I took him to my parents and they said he could stay with us. To make a long story short, he got a recording gig with Bob Dylan and made a bunch of money $500, so we got an apartment together.
After playing in a number of bands together we formed The Sliver Byke. When the lead guitarist quit we got John Platania to fill in. We broke up in Jan. 1969. I played with John for a while, until he sent on to play with Van Morrison. Mike and I parted ways.
John Platania would go on to play on albums by Van Morrison, Chip Taylor and Genya Ravan, among many others. See www.johnplatania.com for more info on his career.
The Los Angeles Times profiled Mike Nelson in January, 1987, describing his move to California while playing fusion jazz, then leaving music to become a sculptor.
Thank you to Reggie Ward for sending in the photos of the group seen here. Reggie was in a group called Easy Street in the 1970s.
When singers John Finley and Lee Jackson left The Jon-Lee Group (aka Jon & Lee and The Checkmates) in mid-September 1967, Toronto singer David Clayton-Thomas picked up their backing band, renamed it The Phoenix and moved to New York.
After a month’s rehearsals, the group debuted at the Bitter End and then briefly played at the East Scene in October before working as the house-band at Steve Paul’s The Scene.
The band’s career, however, was cut short during early November when Clayton-Thomas was deported for being an illegal alien.
Leishman also returned to Toronto at this point and played with several groups, including The Power Project and Bobby Kris & The Imperials before joining The Duke Edwards Cycle in late 1968.
Hodgson meanwhile was offered a place in Project Supergroup (later Rhinoceros) in December and flew out to Los Angeles to audition.
After being passed over for the group in early 1968, he briefly rejoined David Clayton-Thomas in his group, David Clayton-Thomas Combine. When that split in mid-1968, Hodgson moved back to the US and became a member of the Paxton Ranch Band, playing on Jackson Browne’s early recordings (aka Baby Browning).
Cutler stayed in New York and worked with an embryonic version of Hot Tuna and then did a stint drumming and managing The Crazy World of Arthur Brown during the band’s summer ’68 North American tour. He later worked as a manager for The Holy Modal Rounders.
When Clayton-Thomas had previously worked in New York in March 1967, he had shared a flat with former Bob Dylan bass player Harvey Brooks, who was in the process of putting The Electric Flag together.
Apparently Brooks had offered Thomas the original vocal slot in the group, but he declined.
Fonfara however, did accept an invitation from the Flag’s drummer Buddy Miles to replace Barry Goldberg when the latter got busted in November 1967.
Fonfara duly appeared on the group’s debut album, before becoming a member of Project Supergroup the following month, which soon changed name to Rhinoceros.
Hodgson and Leishman both rejoined Fonfara in Rhinoceros in 1969.
David Clayton-Thomas joined Blood, Sweat & Tears in June 1968.
Advertised gigs
19-22 October 1967 – Steve Paul’s The Scene, New York with The Carnival Connection
The Essentials came from Schagticoke, New York, and cut two singles on their own Kandy label in 1969 and 1970. Members were:
Jason Wheeler – lead guitar Steve Wheeler – rhythm guitar Jeff Wheeler – bass guitar Fred “Squeekey” Stay – drums
Jeff Wheeler recalled to Max Waller:
Our ages were 13, 15, 17 and 17 at the time. We played Friday and Saturday nights and threw in a wedding now and then with the old standards on a Saturday or Sunday afternoon. Even went to Atlantic City and Raleigh, NC. cuz we won a few Battle Of The Bands – the Tea Berry song contest too (we didn’t win that tho). We made 2 45s in 1968. Never made a million but we sold 1000 records for $1 apiece after spending $500 to do it! It was fun.
The Essentials recorded at Vibra-Sound Studio in Schenectady for both their singles. The first was Kandy 101 from 1969. “Oklahoma Blues” has some falsetto vocals about a minute in, but really gets going after the guitar break, with a funky rhythm and chanting. Fred Stay and Steve Wheeler wrote “Oklahoma Blues”. Steve Wheeler wrote “Baby You Get to Me”, which I haven’t heard yet.
Their second 45, on Kandy 82042 from 1970, had two originals by Squeeky Stay. “Sunshine Baby” is light pop. I prefer “Freedom”, which starts out with wah-wah guitar over drumming and doesn’t let up for three minutes. It’s a styrene 45 and hard to find in fine shape.
Robert Barry Music published all four songs.
Squeeky Stay and Mark Galeo made another single recorded at Vibra-Sound, “Slippin’ Away” / “Mrs. Jones” on Jinhea 100.
Max Waller added, “in 2002 Jeff resided in Poestenskill, NY; Steve was in New Jersey; Jason was reported to be in Texas; and Squeeky Stay had stayed in Schaghticoke.”
Fred Stay, Jr. also played drums with a group called the World of Darkness, that back Alan Burn on two songs “Gotham City” and “See Susie Run”, released on Tuesday Records. “See Susie Run” was also on the flip of “Information (Help Me Please)” by Alan on Tuesday Records TR-1 / Tuesday Records TR-SSR.
The other members of the World of Darkness were David L. Ferretti guitar, Paul Orloski rhythm guitar, John Zullo (or John Sciuto) on bass, and Sandi La Barge on organ.
Thank you to Max Waller for help with this article.
Earl Kennett, left with members of Love Minus Zero inside the Sunnyside studio, January 8, 1967. Photo courtesy of the Kennett family.Kennett Sound Studio acetate of three songs by the East Coast Clique (previously known as the Cleaners), photo courtesy of Mike Dugo
Earl Kennett was born in 1912 in Augusta, Kansas. He attended the Kansas State Institute for the Blind and the Horner-Kansas City Conservatory of Music.
He established some reputation as a touring pianist in the 1940s, including at the Blue Note at 56 West Madison in Chicago, the Rainbow Room in Oklahoma City, and the Casablanca Supper Club at 101 May Avenue in, I believe, Oklahoma City.
On March 1, 1945 Down Beat published a review:
Jazz Concert Given in Minneapolis
From 3 to 5 Sunday afternoon, February 11, Doc Evans conducted the first in a series of jazz concerts held in station WCCO’s auditorium studio.
… on piano was Earl Kennett, a solo fixture at the Casablanca …
… Song Of The Wanderer, the final tune, developed into an all-out jam-session … Pianist Kennett drew a tremendous, spontaneous ovation from the audience with his three sensational choruses on this closing number.
In the 1960s he sometimes played with the Original Berkshireland Jazz Band in Williamstown, MA. I have not yet found any recordings with Earl prior to his own album Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music from circa 1967.
Though blind, he received training in audio recording. A 1957 LP on ABC-Paramount, Vinnie Burke’s String Jazz Quartet credits Earl Kennett as recording engineer.
Earl Kennett in the Carnegie Hall studio, May 1959
I believe his first studio was located at 115 West 49th Street, New York City. In January 1958, he moved the studio to rented space in Carnegie Hall. The May 1959 issue of Broadcast Engineering had a three page feature on Earl with detailed information about the studio construction materials made by the Johns-Manville company, with a console built by Fred C. Roberts.
Facing Earl are saw-tooth-shaped Imperial Transitone movable walls for accurate sound reflection. Next to the piano not in use is an even-finish movable wall, also for sound reflection, and a sound-absorbing perforated Transite acoustical panel. The floor is covered with quiet-under-foot Terraflex vinyl asbestos tile and the ceiling with Permacoustic, a sound-absorbing fissured acoustical tile.
In early 1964 Earl moved his studio for a brief time to Mountain View Road in Nevis, a small town near Bard College in Tivoli.
In 1965, Earl and his wife bought Sunnyside farm in Kinderhook, New York, about 20 miles southeast of Albany. Earl converted an old dairy barn on the property into a recording studio, substituting egg cartons for the pricey asbestos baffles.
The first recording from his studio I can find is the Kynds single “So If Someone Sends You Flowers Babe” / “Find Me Gone”. Pressed through RCA in September, 1966, there is no indication of where it was recorded on the labels, but drummer Jerry Porreca recalled making the single at Kennett’s studio.
Back of Love Minus Zero photo at top. What are these names in the middle? Freely, Freddy, Eby, Franky ??
On January 8, 1967, a group called Love Minus Zero did a session at the studio and sent a photo to Earl. The group came from Albany, and I may have their recordings on an unlabeled lacquer acetate. It’s difficult to make out the names of the group – but luckily I found a lineup in Al Quaglieri’s The Old Band Chronicle #4, a list of Capital District bands compiled in 1990.
Love Minus Zero were:
Gary Siegel – vocals Eberhard Kobryn – guitar Fred Everhart – bass Frank Herec – drums
I believe Everhard Kobryn passed away in 2012. Later lineups added Jack Reilly on organ, replaced by Mark Rabinow. Eventually Fred Everhart was the only original member of the group, with Steve Fuld on guitar, Gary Gardner on vocals, and Stanley ? on drums.
In 1967, Kennett engineered Nick Brignola’s first LP, This Is It! on Priam P-101M. Musicians were Nick Brignola, Reese Markewich, Glen Moore and Dick Berk, A&R by William Rezey, photography by Bob Mitchell.
Another single I can confirm was recorded at Kennett is Riccardo and the 4 Most “There’s a Reason” (written and sung by Bill White) / “Bare Footin'” (featuring Ricardo Wright) Foremost Records U4KM-0937.
The Jelly Bean Bandits at Kennett Sound Studios in Kinderhook, from left: Mike Raab, Jack Dougherty, Joe Scalfari and Billy Donald on the floor – photo taken by bass player Fred Buck.
The Jelly Bean Bandits made their first demo at Kennett Sound Studio, never released to my knowledge. Mike Raab wrote:
The Goodtimes had done some recording there and when we decided to lay down tracks Dave Kennedy suggested Earl’s place … We really didn’t know what we wanted to do or could do. We cut two demo songs: “Poor Precious Dreams” an original song that ushered us into the psychedelic music era; and “Hard, Hard Year” a beautiful b-side from The Hollies that we managed to brutalize.
I have found an acetate of this early version of “Poor Precious Dreams”. The duration is about thirty seconds longer than the version on their Mainstream album.
In 1967 Earl Kennett began offering pressing services through Decca’s plant in Gloversville. Some releases have “Kennett” at the bottom of the labels, but all have a distinctive four-digit release number, beginning with “00”.
There were at least twenty-three 45 rpm singles and one LP released through Kennett’s studio with this numbering system. The last release I can find dates to 1973.
In addition, I know of a number of unreleased lacquer acetates by the Cleaners, the Chain Reactions, and others:
If you or someone you know recorded at Kennett, please contact me.
Discography of Kennett Sound Studio (possibly incomplete):
Kleener Style Records 0011 – The Cleaners – “Dust” / “Hold Me, Thrill Me, Kiss Me”
Sunnyside Records 0012 – Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music (12″ album)
0013 – ?
Sunny-Side Records 0014 – Psychedelic Sound – “Sorry Baby = Goodbye” / “Stars Cease To Shine” produced by M. Rizzi. Tina was the drummer for the band, and (I believe) one of the vocalists.
0015 – ?
Charter Records 0016 – The East Coast Clique – “Dust” / “Last Stop (Everybody’s Getting Off)”
0017 – Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound, 1969
0018 – The Villagers – “Wishes and Memories” / “Cry On” (Chuck Petit)
Jim De Sorbo photo found with his recordScan courtesy of Brian Kirschenbaum
J.D.S. 0019 – Jim DeSorbo and the Country Casuals – “For Crying Out Loud” (Music, lyrics, vocal – Rusty Howard) / “I’ve Had All I Can Take from You” copyright ’69 BMI
The Gallery 0020 – The Gallery / Peter Dean – “Forever Sunshine” (Sal Costanzo) / “Our Man Jack” (Edward Duggan), Kennett Sound, Mlester Pub. BMI. The Gallery – label name or group?
0021 – ?
S Bar S Records 0022 – Slim Skellett & the Slim Skellett Trio – “Ghost Riders in the Sky” / “Wanderers of the Wasteland” (Brad Husson guitar, banjo; Bob Skellett bass)
S Bar S Records 0023 – Slim Skellett & the Slim Skellett Trio – “Strawberry Roan” / “Billy Richardson’s Last Ride” (Brad Husson guitar, banjo; Bob Skellett bass)
King Town 0024 – Coming Generation – “Tell Me Now” (Jim Du Bois) / “This Troubled Life” (Ed Barnhart) copyright ’69
0025 – ? 0026 – ?
Third Wave 0027 – Morning After – “I Don’t Need You Today” / “Dream” (Tate, Talbott, Kearney) Copyright 70 Dyad Music BMI, Prod. by Lance Naylor, group from Lake Latrine area
0028 – ? 0029 – ? 0030 – ? 0031 – ? 0032 – ?
Casino 0033 – The Coachmen – “Green Green Grass of Home” / “Hang Up Your Rock and Roll Shoes” Produced by Kennett AND QUINN
from the collection of Brian Kirschenbaum
Ranch Bar Records 0034 – Billy D. Hunter with the Santa Fe Riders – “I Still Belong to You” (Grace Hamilton, Billy D. Hunter) / “Will You Remember Me” (Gorden Bainbridge, Billy D. Hunter) – Waterford, NY
Drift 0035 – Denny and the Drifters – “Mountain of Love” (Harold Dorman) / “It’s Only Make Believe” (Twitty – Nance)
Ranch Bar Records OO36 – April Starr the Bluebirds and Chorus – “Lonely Heart” / “At the End of the Bar” (Del Monday) – arranged by M. Leddick’ produced by T. Carbonare, R. Hastings, B. Herold, D. Smith, and D. Oliver, from Crescent, NY.
Drift 0037 – Denny and the Drifters – “Broken Hearted Dreamer” (Ted Craver and Denny Haughney) / “Why Do I Love You” (Kenny White, Paul Desroches) produced by Kennett
Reeb 0038 – The Fownds – “Rosalin” (Sal Gambino) / “Comin On Strong” (Donald Moore) (1971)
0039 – ? 0040 – ?
Mojo 0041 – Exit 19 – “Angel of the Morning” / “To Be Alone” (written by Joe Cashara who also did lead vocal) produced by Lanse Dowdell, 1972
Quellthom 0042 – Bob Thomas – “It’s Just Not Fair” / “I’m Walkin’” / “Hello Mary Lou” (1973)
Parker 0043 – Country Express – “Trying to Quit” / “Ode to a $164 Plane Ticket” (both songs by D.B. Boucher, vocal by Frenchie La Shay) 1970
Reeb 0044 – The Founds – “Wheels” / “Remember” – vocal by Roy Jackson, both songs by Donald Moore, 1973
Ranch Bar 0045 – Jimmy DeSorbo and the Country Casual’s – “Listen to the Mocking Bird” / “Let the Rest of the World Go By” (Dolly McIntyre – producer)
King Records 0046 – Tommy Gene with the Kings of Country – “Somewhere U.S.A.” (words by Carol Curtis, music by Tommy Gene) / Tommy Gene and Don Horne – “Me Too” (accompanied by Alice Horn, words by Don Horne). A-side has 1968 copyright while B-side has 1973 copyright.
——————
Any help with additional releases, photos or memories of the Kennett Sound Studio would be appreciated.
The Gallery (formerly the Gayblades) included Sal Costanzo (organ), Peter Dean (drums, vocals), Holly Gregg, John Dean, Bob Dean, and Robbie Howard, though I am not sure exactly who played on their single “Forever Sunshine”.
Note: there was a Kennett Sound Studios operating out of Kennett, Missouri recording mostly country music, 1,100 miles away and unrelated to this studio.
The Cleaners came from Schenectady, New York, releasing two singles in 1966 and 1967.
Members included Larry Parks (listed in songwriting credits as Larry Podrazik), Bob Ives (Robert Iovinella), Bob Sands and Jay Camp.
The Cleaners’ first single was the super-soulful “How I Feel” b/w “If You Want Me” (described on the label as Rock-Jazz), both originals by Podrazik and Iovinella. A comment below mentions booking manager George DeVito recording the songs in his home studio. However, I have a 8″ laquer acetate of both songs from Earl Kennett’s studio. The sound of the bass, and the echo of the hand claps on “If You Want Me” suggests Earl’s studio rather than a home recording.
It was issued on Knight Records KN 3, of Bellevue Station, Schenectady, with a State Music Productions credit; the ZTSP 122826/7 codes indicate a Columbia custom issue, a styrene 45.
Podrazik and Iovinella copyrighted the songs in April and May of 1966, along with another original, “Just Until the End of Time” that was not released but would remain part of their live set.
In July of 1967 Podrazik and Iovinella registered another original song, “Dust”. The Cleaners cut it at Kennett Sound Studio in Kinderhook, NY, along with a cover of “Hold Me, Thrill Me, Kiss Me”, released on their own Kleener Style Records 0011.
These were among the earliest singles issued out of Earl Kennett’s studio, which would go on to record and release over twenty 45s into the 1970s.
From the 1967 index of copyright registration
Not long after, the East Coast Clique recorded “Dust” backed with another Podrazik/Iovinella original, “Last Stop (Everybody’s Getting Off)”, both with NemSong publishing. Released as Charter Records 0016, the Kennett Sound credit at the bottom indicates the studio, as does the 00 prefix on the release number 0016. The production on this version is fuller, with the drums more prominent and danceable.
The East Coast Clique, including at least two members of the Cleaners
A Schenectady news clipping about the East Coast Clique mentions a single on the “Cleaner Style” label, so the Clique were a continuation of the Cleaners with a new band name, and some different members. Larry Parks and Bob Ives had been in the Cleaners, and the East Coast Clique’s other members included Sal Cannavo, Kent Brust and John Malik.
The article states:
One of the group’s songs, “Just Until the End of Time,” arranged by Bob Ives, leader, and Larry Parks, will be dedicated to the memory of Dr. Martin Luther King Jr. during the performance.
Now appearing at the Bavarian Lodge in Hudson, the East Coast Clique … record on the Cleaner Style label and have appeared on Hank Brown’s Twistorama over WKTV, channel 2.
There is an 12″ acetate from Kennett Sound Studio of three songs by the East Coast Clique: a later version of “How I Feel”, “Last Stop (Everybody’s Getting Off)” and “Just Until the End of Time”. The second song was issued as the B-side to their single on Charter Records, “Dust” but I am not sure if this is the same version.
Podrazik and Iovinella registered two additional songs in 1968: “Captain Miller’s Flying Circus”, and “Sleepy Boy” (this last one shows Earl Kennett contributing to the music arrangement).
Kennett Sound Studio acetate for the Cleaners “Baby I Won’t Be Lonely”, from 1969. Scan courtesy of Brian Kirschenbaum
In January 1969, they registered “Baby, I Won’t Be Lonely”, which exists on a Kennett demo acetate as by the Cleaners, so it may have been considered for release.
Later copyrights include “I’m So Happy” (October 1969, with words by Brummer).
Al Quaglieri wrote a profile of Bob Iovinella for the March 8-14, 1990 issue of Metroland. He describes how Iovinella and Larry Parks had a five-year publishing contract by Nat Weiss, but only two songs saw publication in that time.
In 1970, Larry Parks had a solo composition “Pay Day” (using the name Adam Parks) recorded by Sha Na Na.
Starting in 1980, Iovinella and Parks would work together again as partners in Hendi-Parksives Productions.
Thank you to Brian Kirschenbaum for scans of the East Coast Clique 45 and the Cleaners acetate. Thank you to Bobby Iovinella for the photo at top and to Mikael for the news clipping.
The Villagers included Phil Haskins, Rick Haskins and Charles Petit.
They cut their only single in very early 1969 at Kennett Sound Studio, located in a renovated barn just south of the village of Kinderhook, NY.
Phil Haskins wrote the words to the slow, lovely “Wishes and Memories” and co-wrote the music with Rick Haskins (Richard J. Haskins).
Charles R. Petit wrote the more soul-styled “Cry On”, copyright registered February, 1969.
There is no label name, but Kennett Sound appears on other singles by the Cleaners and East Coast Clique, and the 0018 release number is similar to others from that studio, usually four digits starting with 00.
Thee Illusion at the Erie Canal Fest, August 1967, from left: Alan, Tommy, Jim and SlateMisfits photo with Slate Raymond on guitar and Alan Farnsworth on drums
Jim Kriss compiled an amazing history of Thee Illusion (later known as Thee Illusion and Brass). There are dozens of great photos, a detailed history, and info on other groups from the area like the Humans and the Cult.
The PDF is available at the link below – a fairly large file, 22 MB.
Below is Jim’s list of musicians in the Misfits and Thee Illusion and Brass:
Tom McNall – (original member of the Misfits and Thee Illusion – Rhythm/Lead guitar and vocals T. Slate Raymond – (original member of the Misfits and Thee Illusion) – Lead Guitar Alan Farnsworth – (original member of the Misfits and Thee Illusion – Drums, Bass Guitar and Vocals Jim Kriss – (original member of Thee Illusion) – Drums and Vocals Mark Heard – (second generation member of Thee Illusion) – Keyboards Ray Colonna – (second generation member of Thee Illusion and Brass) – Percussion and Roadie Steve Rustay – (first generation member of Thee Illusion and Brass) – Trumpet and Percussion Bob Mathes – (first generation, former member of Thee Illusion and Brass) – Trumpet Chuck Lafferty – (second generation member of Thee Illusion and Brass) – Trumpet and Percussion
Here is a truly unknown single by the Odyssey, “Just to Be” b/w “Sunday Time” on Yorkshire Records YO 154. I’m not sure of the pressing date, but Leonard Novarro registered “Sunday Time” with the Library of Congress in July, 1968.
I couldn’t find a Library of Congress registration for “Just to Be”, but BMI lists the song as “Just to Be the Way I Want to Be” with Warner-Tamerlane.
Leonard Novarro, Vincent Leary and Richard Nusser co-composed the song.
Richard Nusser may have been the columnist for the Village Voice.
Vincent Leary may be the same Vinny Leary who played guitar with the Fugs on their earliest albums, and again in the mid-80s. Vinny Leary was also an engineer at Variety Recording Studio. This was one of only two song-writing credits he has on BMI, the other being co-composer of “Virgin Forest” with Ted Berrigan and Lee Soren Crabtree; there is also a “Benson Leary” credited on the Fugs’ “Doin’ All Right”.
David Gornston’s name appears as publisher. Ten years prior Gornston published a number of Big Bob Dougherty’s songs on Golden Crest: including “Honky”, “Squeezer”, “Lover’s Love” and “Lorelei”.
Golden Crest was based in Huntington, NY. I’m not sure where Yorkshire Records was located, but the label produced other good singles by the Dolphins, from Larchmont, and the Saxons, from West Palm Beach.
Leonard A. Novarro registered many other copyrights. Although the Odyssey labels spell his name as L. Navarro, it seems Novarro is correct. So far I haven’t discovered if any of the following were recorded:
In August 1967, Novarro registered “Don’t Disturb the Artist” and “Gypsy Man”.
In January 1969, using the pseudonym Gideon, Novarro registered “Candy Buttons”, “Dusty Shoes”, The Homecoming”, “Lady Liar”, “Sweet-Talkin’ Child”.
In May of 1970, he registered “Baby’s Sleeping”, “Sunny Day Woman” and “Time Again”, and in August “Hear My Warning” and “Legend of a Love Child, Linda” (echoes of Donovan on this title).
Thank you to J.W. Honeycutt for alerting me to the Odyssey single. Some info on Vinny Leary came from Mr. Smith, the Sybarite Who Also Was a Teacher by Warren Allen Smith.
The Four of Us came from Queens, NY, though I’m not sure which neighborhood.
“I Don’t Need No One” is good tough garage with sax, written by Joseph Guido, Stephen Guido, and Jose Maldonado, all probably members of the group.
“I Don’t Need No One” was reviewed as the top side in Cash Box in January, 1966: “Raunchy funky shouting tune based on an everpresent solid beat. Strong guitar and hard vocal work could start this one off toward being a biggie.”
The flip is the more pop “Iga Diga Doo”, technically the A-side, written by Harold Onderdonk, George Bonetti, Tom Cox, and Jim Carrick. Merrimac Music Corp. published both sides. This team also wrote “Stomp ‘Em Out” for the Exterminators on Chancellor CHC 1148, the flip to “The Beetle Bomb”, but were not credited on the label. Ding Dong Music Corp published “Stomp ‘Em Out”, registering copyright in April, 1964 (March, 1964 for “The Beetle Bomb”).
The Four of Us was released on Brunswick 55288. Producer Harry Goodman was Benny Goodman’s brother.
I would appreciate more info or photos of the group.
Joey Guido and Jose Maldonado (as Jose Mala) formed the Koala with Anthony Wesley, Joe Alexander and Louis Caine, releasing an album & single on Capitol in 1969 featuring all original songs by Guido and Maldonado. In 1974, Jose Mala replaced Eric Emerson in the Magic Tramps.
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