Category Archives: Suffolk County

Categories: East Northport, Huntington, New York, South Grape Street, Suffolk County

Utopia Carwash

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Utopia Carwash South Grape Street 45 Loneliness

Utopia Carwash South Grape Street 45 Wait and SeeUpdated April 2011

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.

Lloyd F. Deckman

Categories: Dellwood, Hackensack, Hampton Bays, New Jersey, Saddle Brook, Suffolk County

The Yorkshire Puddin on Dellwood Records

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Yorkshire Puddin Photo Dellwood
The Yorkshire Puddin, from left: R. Ponce de Leon, Danny Jolin, Bob Heinich, and Bob Cotherin

The Yorkshire Puddin cut two 45s on Dellwood Records in ’67 and ’68. Their first 45 is the fine “Good Night Day” backed with “Ain’t Gonna Love Ya No More”. They updated their sound for the second release, “Keep Me In Mind”.

“Keep Me in Mind”, like both sides of their first 45 were written by Cotharin – De Leon and produced by Woody Gardella. “Black Jacket Woman”, the flip of “Keep Me in Mind”, is the same moody pop number also done by the Zone V and the Tropics (the original?). I hear a female voice on the harmonies on this song only.

Dellwood was based in first Hackensack then nearby Saddle Brook, New Jersey.

Rhythm guitarist and vocalist Frank DePauw left a detailed comment about the band below, that I’ll repeat here:

Bob Cotharin, left hand Hofner bass player, and head singer and spokesman of the group.
Reynold Ponce De Leon, keyboards, (harpsichord), rhythm guitar, and harmonies.
Robert Heinick, lead guitar, and vocalist.
Gail Koennemann did some backup singing, and wed Bob Cotharin in ’69 or ’70. No longer together.
Daniel Jollen, drummer, drafted into the Army in the summer of ’68
Frank DePauw, second guitar, harmonies, backup keyboards, and in spare time, light show producer.

The group was the “house band” for the “Castaway” in Hampton Bay, Long Island, N.Y. in the summer of “68, when the drummer was drafted. A mad search went out, but no one could fill Dan’s job, and the group, after trying to get the “sound” back, broke up.

The photo of the group gives Danny Jollen’s name as Danny Jolin, I’m not sure which is correct. Also it’s hard to read the hand writing, but is it Bob Heinick or Bob Heinich? The photo also has what may be a manager’s name, George Appleyard, as well as a second address for Dellwood at 10 Banta Place in Hackensack.

Can anyone fill in more history on how they came to record for Dellwood and play at the Castaway?

Thanks once again to JP Coumans for the scan of “Keep Me in Mind” and transfer of “Black Jacket Woman”.

Special thank you to Harvey Kornbluth for sending the photo of the group.

Yorkshire Puddin Photo Dellwood Back
Back of 8 x 12 glossy photo of the band with Dellwood Music info
Categories: Bronx, Goldbug, New York, New York City, Suffolk County, Westhampton Beach

The Brotherhood of Soul

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Brotherhood of Soul Goldbug 45 Save Me“Save Me” is a slow and intense psychedelic 45 featuring the anguished vocal of Richy Pecchio over the Brotherhood of Soul’s repetitive vamp. The flip is a shorter instrumental version of “Save Me”, retitled “The Morning After” with the bass guitar right up at the edge of the red on the meters.

The Brotherhood of Soul – Save Me
The Brotherhood of Soul – The Morning After

Released on the Goldbug label, the RCA custom press number ‘UK4M’ indicates this was released in 1967. Both sides were written by Rich Pecchio and B. Sell. The 45 was produced by Ron Gittman, who was the agent that brought the Magnificent Men to Capitol Records.

This session was engineered by Abe Steinberg at Abtone Recording Studio. Abtone was located at 1733 Broadway in New York City, and in 1966 had been the site of some sessions featuring Lonnie Youngblood, Jimi Hendrix, Lee Moses and Herman Hitson, as well as other r&b artists like Ronnie Forte.

I couldn’t find any further info on this record until Richard Pecchio himself contacted me:

I was recruited by an ex-DJ turned manager when he saw me singing at a nightclub. He was or still is the owner of a trucking company in Manhattan, New York, his name is Lonnie Kaufman. He eventually got me signed to a record label called Kip Records in ’61. At that time I did not write songs, so we went with a cover for fast results: “Dream Lover” a cover of Bobby Darin’s hit record. The other side was a song called “Cherrie” by Bobby Rydell.

Richie Sings Dream Lover KIP Records sleeveHe also signed Nate Bouknight, also known as “Little Nat” from the Shells. Their hit song was “Baby Oh Baby” (late 50’s fame). Nate wrote a real good song called “Do This Do That,” that made some noise. Certainly I learned a lot from him.

I also went on a tour and performed on television programs, one called Boston Ballroom – the other guest was Brenda Lee. Being only 17, I was thrilled. Our make-up was put on in the same room. Lonnie Kaufman also managed Tony Darryl, who was on the Ed Sullivan show. It was a great start to my recording career.

[For the next] four years I was with various different genre bands trying to find a fit for what type of music I wanted to sing: City Magic – “Going Back to Florida” [b/w] a slow cover of the Loving Spoonful’s “Do You Believe in Magic”, and the Minutemen “A Little Too Much.”

The Brotherhood of Soul was started by a Stan Summers, (real name of group: Stan Summers and the Unsual) who was in a group (don’t remember the name) that did the backups for Dion on “The Wanderer” and “Ruby Baby”.

I don’t remember my group’s last names, but I believe I remember their first names: another Richard: a B3 Hammond Organ player; Andre: bass & sax player, tenor vocals; Steve was the drummer; Stan just sang; finally, I played rhythm guitar, and sang lead and harmonies.

We played our first job on Long Island, NY, we only knew 13 songs at the start, needless to say, we played each song for a very long time. We progressed and the sax player’s father was a policeman who introduced the band to a club owner named Charlie Bates who owned clubs in Manhattan and Westhampton Bay, NY. The club owner liked our music and hired us in 1967 to play the total summer on the shore of Westhampton Bay.

He supplied the band with a large home to stay at, it was part of the package; it was called “Captain’s Lodge.” It was a sweet deal. The name of the club we played at was called “Charlie Bates”. The prior summer the Young Rascals came to fame at a club called The Barge. We played adjacent to a club called The Eye who was featuring the soon to be famous Leslie West. The crowds were enormous throughout the summer; needless to say it was a very successful summer and one to remember.

After that we went searching for “fame” and meet Ron Gitman, who produced the song (“Save Me”) and managed the band. Our tours were great, of course it all went down-hill after that. I still sing & write every so often, here is a link of a song that is on Youtube, called: “The Mojito Song”, also known as “Idle” www.youtube.com/user/rpecchio

PS: this was a long time ago, some of the facts might not be accurate.

Richard Pecchio

Sources: Info on Abtone Studios from Soul Source.

Categories: Bermuda, Duane, New York, Stony Brook, Suffolk County

The Weads “Don’t Call My Name” / “Today” on Duane Records

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The Weads Duane 45 Don't Call My NameThe Weads were the first rock band to release a record on the Duane label in Bermuda. I wondered, how did a band from Stony Brook, New York end up on a label from Bermuda? That question was answered when I spoke to Rodger Jackson, bass player for the Weads, who generously provided a lot of information about this great band.

Rodger Jackson started a band called the Statics with Allan Varela at their high school in Garden City, Long Island, Rodger playing bass and Allan lead guitar. Allan was 14 at the time and Rodger a little older. The next year, Allan moved to Stony Brook, where he attended the Stony Brook Boys School, though he continued playing music with Rodger. They recruited Dick Turano from Northport to play drums and Myron MacLeod McCloud to play rhythm guitar. Myron was from Texas but was attending the Stony Brook Boys School at the time.

The Weads distinguished themselves from other groups by playing only original songs, most of them written by Allan Varela (listed as Varella II on 45 label). They outfitted themselves in suits, and played through Vox Super Beatle amps. Allan Varela played a Stratocaster, Rodger a Precision bass, and Myron a Vox Teardrop guitar.

Also at the school was a student from Bermuda, Alan Dowdy, who took a demo tape of the Weads back home with him and played it for Eddy DeMello, owner of the The Music Box in Hamilton. DeMello liked what he heard, and in short order he contacted the Weads and signed them to 3 year, 10 song contract. The Weads recorded at least four songs at National Recording in Long Island. DeMello then took the masters back to Bermuda and pressed records there.

DeMello stocked them in his record shop and DJ Bryan Lodge got them played on the local radio station ZBM, sending “Today” to #2 in Bermuda. Allan Doughty from Bermuda became their manager. All the college students there for vacation knew the songs from the local radio play, so when the Weads arrived for College Week, they already had a good audience. Like the Savages, they played for college audiences around the island and at the Princess Hotel. It’s likely that the success of their 45, “Today” / “Don’t Call My Name”, led to the recording and release of records by the Savages and the Gents.

Back in the states, the flip side “Don’t Call My Name” went top 10 on Long Island. The Weads did an hour-long radio interview that may still exist on tape somewhere. They played shows at local Hullabaloo clubs and in Pt. Jefferson. They also started recording commercial jingles and may have recorded new material at Ultrasonic in Hempsted.

About a year after signing with DeMello the Weads decided they wanted to get out of contract in order to concentrate on breaking into the national scene. DeMello fought this and made it difficult for them to find another label. Columbia passed on them in late ’66/early ’67 and with members going to college, the Weads called it quits.

During college, Rodger joined a club band, playing the Hamptons and Lake George. He fondly remembers late night jam sessions with members of other Long Island bands at the Afterhours.

Master tapes of the Weads sessions should still be in existence. One of the unreleased songs has a title like “Her Name Was Lynn”. Until those tapes surface, we’ll have to wonder what else this talented group was capable of. Given the quality of their original material on the Duane 45, they could have done well if they had the backing of a major label.

Anyone have a photo of the group?