The Other Half at Chadwick’s Recording Studio in Utica
Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.
Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.
The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.
The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Other Half at Chadwick’s Recording in Utica
Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.
The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.
The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.
While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.
The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.
Pete Lipsio
Other Half vocalist Jeff Lyman at the Evening InnAt the Evening Inn
Rhythm guitarist Glenn SchenengaPete Lipsio at the College Inn
At the Evening InnIn the 60s this became the College Inn at Saratoga Lake
The Kynds, from the Schenectady Gazette, September 16, 1966
The Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.
Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.
Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”
A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:
The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”
In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.
The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).
“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:
The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966
It really makes no difference if you like what you see in me Not a chance babe, ‘Cause I’m happy, That we are free (?) What you say girl, It don’t have no effect on me So, if someone sends you flowers, babe, You know it wasn’t me.
It was written by Dan Wood and Joe Cirincione, Jr.
The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.
Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.
I grew up on 34th Street with Barry Bozzone though I was a few years younger. The Poor Soul’s covered many of The Primates’ songs including “Fate”. I don’t believe The Primates recorded a studio version of the song.
Earlier this year, our lead singer, Phil Borgia sent me The Poor Soul’s recording of the song, made in the late 60’s. It was put on tape by Phil’s uncle, using a guerilla recording technique during a rehearsal i.e., using a microphone placed in front of the room plugged into a reel-to-reel deck.
Unfortunately, no one has been able to find photos of the band though I know we had enough taken that some should still exist. I have the band rehearsing on converted 8mm film that was put on 1.2 VHS and then converted to digital media.
The Poor Souls business card [to the right] was very unusual. My father designed it, he was a graphic artist.
After our bands split up, Barry and I played together in a number of bands with only limited success. We also co-wrote quite a few songs though our careers in other fields short-circuited any chance for popularity. However, we have reconnected too after 40 years and we are making plans to reunite, at least on one song we think has a fighting chance in the Christian song market.
I’ve been living in Mahwah, NJ for the last 12 years or so. My former bandmates are all on the east coast – two in NY, one in PA and one in North Carolina. The five members of The Poor Souls (sans Mark) are reuniting for the first time in over 40 years this weekend. I’ve attempted to find Mark on several occasions but no luck.
Rick Grande, November 2010
Here is some great 8mm film of the band, with “Fate” and their version of “C.C. Rider” / “Jenny Take a Ride” added as a soundtrack.
2010 reunion, from left to right: Rick, Joe (Mac), Phil’s daughter Lorissa, Vinny and John
Rick also sent two interesting photos of Hy Fenster’s Universal Rehearsal and Recording, a studio which is still in business at the same address, 17 W. 20th Street in Manhattan.
Universal Rehearsal and Recording
Tascam founded in 1971, so this photo must be no earlier than that year.
The Intruders were from the small towns of Glenville and Scotia, outside Schenectady, New York. They were students at Burnt Hills-Ballston Lake and Scotia-Glenville High Schools and formed the band in 1964.
Carl Buell – vocals Mark Hecker – lead guitar Mark Ernst – rhythm guitar Mike Collins – bass guitar Snooky Mercoglan – drums, replaced by Warren Droms
They recorded their 45 at WRGB studios in Schenectady. The number RK4M 5992/3 indicates an RCA Custom pressing from 1964.
Mark Ernst has a very cool website on the Intruders and his later career, though he doesn’t say what happened to the group after releasing the single. Presumably, they broke up as members graduated school.
The A-side features the slower “What Kind of Girl Are You”, which starts out with a great bluesy riff and has some good soloing as the song fades.
The flip, “Hey Hey” is a good rocker.
“Hey Hey” was written by Marc Hecker, Mark Ernst and Carl Buell, with credits to AC Production and Intruders Music. “What Kind of Girl Are You” was written by Hecker and Buell.
Thank you to Brian Kirschenbaum for the scan and transfers of the 45.
Selling records at the WFMU fair kept me so busy that I had zero time to look at other folks’ tables. Of course, sharing a table with Mr. Robinson is dangerous, and sure enough I spent a chunk of my sales on a few of his records, including buying back a copy of P.B. & the Staunchmen that I had sold to him last year. Why did I sell it in the first place? Why did I bother to buy it again? These are questions that haunt record collectors.
Billy from Norton Records dropped off a copy of the latest collection of unissued garage acetates: You Tore My Brain! (half of it comes from tapes and not acetates, by the way). Besides the title cut and its flip by the James Street Overpass, there are some excellent and crude out-takes from the Fine Recording vaults, like “I Won’t Play Your Game” by an unknown group, and an incredible cut by Sir Winston & the Commons, “All of the Time”. I remember when that acetate came up for auction earlier this year.
The only other record I picked up was this bizarre psychedelic number by Utopia Carwash. Mr. Finewine turned up a batch of unplayed copies – unfortunately most of them including this one have a rolling warp. The warp was bad enough that I couldn’t make a transfer of “Loneliness”. I did get a decent, if noisy transfer of the flip, “Wait and See”, which hasn’t been compiled. It’s not a bad tune once you get past the droning organ intro.
“Loneliness” was written by Gary Costa. “Wait and See” by Lloyd Deckman.
I didn’t have any real clues as to the location of this band for a long time. South Grape Street could mean Denver, Colorado; Los Angeles CA, or Medford, Oregon. Etched into the trail-off vinyl is “SGS 001A/B – IFL” and “LW” for all the deadwax hounds out there. Mike Markesich thought it might be mid-upstate New York. As it turns out, they were from Long Island.
Last month I heard from bassist Lloyd Deckman, who filled me in on the group’s story:
Utopia Carwash was named after the “Utopia Carwash” that was visible from the Long Island Expressway in towards the city. It was a carwash. Prior to that name, we had called ourselves the Makos, from East Northport.
The Cast:
Barry Ambrosio – guitar Bryan Ambrosio – keyboard Gary Costa – percussion Lloyd Deckman – bass
We started – actually Barry and Bryan started – the Makos in their basement on Grant Street in East Northport. They were twins and they lived across the street from me – we grew up together, Boy Scouts, played army, etc. Barry was the brains and driving force behind the operation. As the Makos we played out at a firemens’ party in the firehouse in East Northport, at the Northport High School (video’d), and at a place called either “The Most” or “Hullabaloo” that was usually a roller skating rink in Northport. The time frame would have been around ’66 or ’67. Those were the only gigs I remember while I was in the band.
I don’t remember where South Grape Street Records came from; I was no longer in the band. “Wait and See” was actually written as “Just You Wait and See”, they chose to abbreviate it for labeling purposes. I wanted it done up-tempo too, but… They had the record cut in early ’69.
As I understand it, Barry has passed, his bio in the music world is rather impressive. I believe Bryan lives in Florida.
Bob Sanders ran the Knight and Spectra labels, among others, during the mid-’60s in Dallas, Texas.
The Knights 45 was completely unfamiliar to me until Brian Kirschenbaum wrote to me with the scan and transfers of the record. He was surprised to find a Texas 45 had made its way to upstate New York. It’s an interesting single, very much influenced by the British sounds of the time in changes and feel, especially on “I Know It Now”. Bob Kissell wrote both sides.
I had no information on the group until a couple comments were left (see below). As it turns out, this band made an unlikely journey from upstate New York to work in Dallas, Texas. In Watertown they were known as Dick and the Knights.
I’ll repeat most of Dick Kissell’s comment here:
The group consisted of Chuck Martuzas, bass (now deceased); Bob Lawlor, drums; Bob Kissell, lead guitar; and myself on rhythm guitar. The vocals were done by Bob and myself.
On a whim, we went to Dallas in the fall of 1964 because we had a friend down there who said he might be able to help us find some local clubs needing bands. We started out at a place called The Haunted House Club then moved on to the Disc-A Go Go and eventually LouAnns. We became house band at LouAnns.
Lewis Lindsey played the organ part on the “Stay” side. A guy named Bill Petty was friends with Lewis Lindsey and was also part owner in the Haunted House club; that’s how we got the recording deal. Only 300 copies were pressed. Later the following year, we became friends with The 5 Americans and played around Dallas for awhile until returning home.
Dick Kissell added in an email to me:
The single “Only You Hold The Answer” was a regional hit for us around 1967. My brother Bob Kissell wrote the melody while I wrote the lyrics. He plays (blues) around the Daytona Florida area in the winter, and then comes home and plays here (Watertown, NY) summers.
The Knights second single, “Only You Hold the Answer” b/w “Walkin’ The Streets” may have been their own production with no involvement from Bob Sanders of Knight Records in Dallas. The labels credit their last name as Kisslle (sic). The single had publishing by Pinent Music, BMI and the band recorded it at Dayson Studio in East Syracuse, NY.
Many thanks to Brian Kirschenbaum for alerting me to the Knights 45 and to retrogirl86 for the info in her comment.
The Humans, 1966, standing l-r: Marty Busch, Dick Doolan, Bill Kuhns, Danny Long, Gar Trusselle sitting: Jack Dumrese
Dick Doolan – vocals Danny Long – vocals and harmonica Bill Kuhns – lead guitar Gar Trusselle – keyboards Marty Busch – bass Jack Dumrese – drums
The Humans were from Albion, New York, 20 miles north of Batavia. According to the liner notes for Back From the Grave vol. 5, all six members were in high school marching band when they decided to form a band in the summer of 1964. Their band’s moniker was a dig at all the groups naming themselves after insects and animals.
They toured throughout the northeast, opening for some big acts, including playing the Rheingold Festival in Central Park, Manhattan in 1966.
Their only 45 has a fine folk-rock original on the A-side, “Take a Taxi”. The instrumental passage is a neat combination of twelve-string guitar and organ.
For years now, it’s been overshadowed by the B-side, “Warning”, which has become almost an anthem in garage-rock circles, and rightly so. It’s a well-arranged combination of ringing guitar chords, thudding drum beat and bass line, simple organ melody, a great rough lead vocal answered by a second singer and a harmonica solo.
Lead guitarist Bill Kuhns (listed as William R. Kuhns, Jr. on the label) wrote both songs. It was recorded at Riposo Studios in 1966 and released on the Audition label, which had a number of classic mid-60s singles. I don’t know what happened to the band after its release, or if the record sold at all. It’s pretty hard to find these days.
Gar Trusselle answered some of my questions about the band:
Q. How did the band sign get to tour around the Northeast?
We were managed locally by Al Cecere in Rochester. As far as we knew, Al Cecere was the sole owner of Audition. He had some connections so he got us signed up with Premier Talent Associates (PTA) in NYC. Our agent with them was Rich Nader who went on to promote R&R revivals across the country. We also opened for the Hollies, Mitch Ryder and the Detroit Wheels (several times) and played a two week gig in Miami with the Standells.
We were friends with “The Heard” as they were also managed by Al Cecere. We alternated at Oak Orchard Lanes in Albion [with] Caesar and His Romans from Buffalo. By the way, Oak Orchard Lanes was quite a hot spot. In the summer, the owners would cover all 12 lanes with plywood and have dances on the lanes with some pretty big names. A couple that come to mind are the Rivieras and the Shadows of Knight.
Q. Do you remember any details about the Riposo Studio and making the record?
All I can remember is that the studio was in Syracuse. Someone said Wooly Bully was recorded there but I cannot verify that.
Q. Did it get any airplay at the time?
We did get good local airplay and some national as well. Billboard reported us in the top twenty in a Michigan and Texas market but it did not last.
Q. Did the band perform “Warning” and “Take a Taxi” during your live shows?
We did perform the two songs live at every performance.
Q. The band had long hair for 1966, did that cause any trouble?
Nothing but. However, we had a lot of local support even from the adult side.
Q. How did the band break up, and did you stay in music after?
It began when Dan died in a car accident in September of 1966. We went on from there but the draft started to whittle at the group. I think our last job was in November of 1966 at our own venue in Albion. We had rented the local (out of business) movie theater, remodeled it, and named it “Happiness Is…”.
Gar D. Trusselle
The photo at top originally provided to RambleMusic.com (link dead as of 2013) by Bill Vosteen. The site includes photos and clippings of other Batavia-area groups like Beethoven’s Dream Group, The Majestics, the Plague, Salt of the Earth, The Revengence, the Squires.
Al Cecere owned the record labels Audition and Nu Sound Ltd., of Rochester, New York. It seems Cecere changed the label’s name to Nu Sound Ltd. with release #6111 by the Wee Four. Any help completing this discography, or info on Al Cecere’s productions or Riposo Studios would be appreciated.
Discography:
Audition
6102 – The Vaqueros – Desert Wind / Echo (both by Weld-Heath-Corona) 6103 – Dick Jans Duo – I Am (Edwards, Shuman) / Venus (the Frankie Avalon hit) – June 64 6104 – The Vitrones – Linda (Cheshire, Couto, Downing) / London Fog (licensed to Barry, #3326X in Canada) 6105 – America’s Children – Do-Maka / No Need For Blame (1965) 6106 – America’s Children – Star / Swinging Christmas (1965) 6107 – The Heard – Laugh with the Wind (Jeff Wheat and Brad Wheat) / Stop It Baby (Karim Copli) (mentioned in Billboard, May 7, 1966) 6108 6109 – The Humans – Take a Taxi / Warning (both by Bill Kuhns, Jr.) 6110 – The Rogues – Train Kept a-Rollin’ / You Better Look Now (Jim Perotti*, Bob Radell*, Mike Spriggs)
Nu Sound Ltd.
6111 – The Wee Four – Weird (James Obi, T. Pilittere) / Give Me a Try 6112 – Terry Pilittere – It’s Not That Way / You Wouldn’t Believe Me 6113 – Pete Morticelli – Lost / If You See Me
* correct spellings of these two Rogues names are Jim Pierotti and Bob Radel.
Most originals on Audition and “Weird” by the Wee Four 45 published by Cecere Music, BMI.
The Heard have an unreleased song, “Leave Well Alone” on a Capitol Custom acetate.
The Montereys “Bye Bye” / “Sheryl-ane” also recorded at Riposo Studios.
Thank you to Davie Gordon for his help with this discography.
Yesterday’s Children, one of many groups by that name. Released in September, 1966, “Wanna Be With You” / “Feelings” was this particular group’s only 45, both sides written by Don Krantz.
“Wanna Be With You” was the top side. It starts off cooly as can be and builds, but the chorus comes as something of a letdown after the tension in the verses.
For me, it’s “Feelings” that has the magic. The bass floods the opening and I’m immediately hooked. The patented garage rhythm and Farfisa organ kick in and the background chorus repeats what, as far as I can make out, is the phrase “sure enough!” over and over through the verse.
There’s a great moment before the chorus as the bass (plugged directly into the board but still so well recorded and mastered) slides down the neck. You couldn’t ask for a better scream at the end of the chorus. The guitar break is nicely by the book – four bars of bluesy soloing and four bars of just one note picked in sixteenths until the emphatic return to the rhythm.
My feelings inside are [of?] this day and age And society. Those people walking around down there they say “Alright now, who are you? You walk around looking like a girl wearing boots up high and pigtails”. What’d I say?
Who are you? You tell me what I should do, You got your feelings, But mine are true – whaah!
My feelings inside are this day and age And society Those people walking around down there they say “Alright now, who are you?” They tell you how to dress, how to wear your hair, Not giving you the chance to think for yourself. What’d I say?
Who are you? You tell me what I should do, You got your feelings, But mine are true – whaah!
The Showcase label was part of Pickwick International based out of Long Island City in Queens. This 45 was produced by Ronnie Eden and Joe Simmons, with publishing by Impeccable Music and Barmour Music. Joe Simmons had a long career dating back to the late ’50s as both singer, song writer and producer, with many releases in one of those roles on Josie, Diamond and other labels. He had one other co-production with Ronnie Eden: The Ground Floor People “Walking on Eggs” / “It’s All Right Now”, (on Parfait 101, from 1966).
Exactly where Yesterday’s Children came from and who was in the band was something of a mystery until recently. I’d read them listed as being from Valhalla in Westchester County, but the only basis for that was the fact that Don Krantz also was in a hard-rock group called Valhalla. In actual fact they came from Rockville Centre in Nassau County, Long Island.
I reached Don Howard Krantz who answered some of my questions about the band:
Q. Who else was in Yesterday’s Children besides yourself?
Bob Huling – vocals Don Howard Krantz – guitar Rich D’Benideto Dave Natis – keyboard Joe Delio – bass Fred Davenport – drums
Q. So was Yesterday’s Children your band between the Vibratones and Valhalla? Did you have other bands before Valhalla?
I had many bands thru the years (I won’t list them because we didn’t last long). The Vibratones included Mike “Eppy” Epstein (my oldest friend) who went on to own Never When (store) and was the owner & manager of My Father’s Place, famous club in Roslyn, Long Island. Eppy & I grew up together, his book is coming out in the fall. Yesterdays Children lineup was brand new.
Q. Did the band last long?
Probably three years…with various band members.
Q. How did you get the Pickwick contract?
Ronnie Eden heard me play at a club & approached me, we talk’d & he offered me a recording contract / management and I (being the only song writer) went with it. Remember I was only 17 yrs old at the time. Started playing guitar at 9 yrs. I will never forget the drive into New York City in the back seat of Ronnie’s car…but that’s another story.
Q. Do you remember any specifics about the recording session?
After the 45 was released i told the bass player (best friend at the time) to leave the band. We were all changing musically & he couldn’t. The sessions were tuff as I recall, get’n the bass right, & if you listen real close to “Wanna Be With You” the bass hits a wrong note.
The president of Pickwick was in the sound booth with the whole family….wife & kids….& I thought that was killing the moment/feel. I think I ask’d to have the light turned down so have a live club feel.
I have three or four Yesterday’s Children tunes that were rough demos done by me & Bobby Huling. I may add some other parts, mix down & upload on YouTube …. but that’s way in the future.
Bob Huling & I (best friends) went on to start Euphoria with Mark Mangold later to become Valhalla. Mark went on to play with many bands & co-wrote with Michael Bolton for Cher. For a long time I was teaching guitar & producing some & doing the unplugged thing on acoustic guitar. The Don Howard Band – Poet’s Road came next & was mixed & mastered by Jack Douglas who won a grammy for John Lennon’s last album. The DHBand is now “Poets Road” and we work on a new album in 11/12.
I’ve seen photos of the Vibratones from 1963 and Valhalla from 1967 on, but none featuring Yesterday’s Children. If anyone has any please contact me at rchrisbishop@gmail.com.
Not the Rock Garden from Arkansas who recorded “Super Stuff” for the Revise label, or the Georgia group who cut “Starry Eyed Woman” for Prophet, or even the one from Michigan (formerly Frederic) who recorded for Capitol. This Rock Garden seems to be an unknown group, possibly only a studio creation.
Released in 1968, “Sweet Pajamas”, written by Jason Schulman, was nearly forgotten for years. I could call this psychedelia-by-numbers due to the anonymity of the group, elaborate production touches like the harpsichord break, and an instrumental middle section taking after the Dead or Mad River. Despite these criticisms, the disparate parts add up to a gem of a song with an endearing hook. The musicianship is professional: the drums crack on the stop-and-start tempo changes, the bass nicely doubles the vocal melody and the rhythm guitar loosens up in the second half of the song.
The B.T. Puppy label was owned by the vocal group the Tokens. Their hit “The Lion Sleeps Tonight” was recently discussed on a garage forum as being possibly the most unbearable song of the ’60s. Regardless, by 1967 the Tokens used their harmonies and writing skills to craft some fine psychedelic pop for their LP It’s a Happening World, including “For All that I Am” that the Creation would cover for one of their final singles, and a brief vignette called “Perhaps, the Joy of Giving”.
On the B-side of the Rock Garden single, “Perhaps, the Joy of Giving” is extended to two minutes, laden with effects and voices.
The 45 was produced by Elliot Weiss & Bright Tunes Productions, engineered by Wally Sheffey.
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
Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
Primates
The Intruders were from the small towns of Glenville and Scotia, outside Schenectady, New York. They were students at Burnt Hills-Ballston Lake and Scotia-Glenville High Schools and formed the band in 1964.
Bob Sanders ran the 
Dick Doolan – vocals
Not the Rock Garden from Arkansas who recorded “Super Stuff” for the Revise label, or the Georgia group who cut “Starry Eyed Woman” for Prophet, or even the one from Michigan (formerly Frederic) who recorded for Capitol. This Rock Garden seems to be an unknown group, possibly only a studio creation.