Category Archives: US

Categories: Maryland, Monument, Rockville, Washington DC

The Hangmen “What a Girl Can’t Do”

May 2, 2007 Chris Bishop 61 Comments

Early photo of the Hangmen — Earliest known pic of the original Hangmen with (from left) first bass player Mike (Walters) West, George Daly, Dave Ottley, Tom Guernsey and Bob Berberich

The Hangmen formed at Montgomery Junior College, and included bassist Mike West and rhythm guitarist George Daly. They were joined by fellow students Tom Guernsey and Bob Berberich, whose previous group the Reekers, dispersed when other members went away to college.

Looking for a vocalist, George Daly called the British Embassy asking for someone who was British and could sing! The person he talked to referred him to a girl who could sing, who in turn recommended Dave Ottley, a hairdresser for Vincent Hair Stylists who had been in the U.S. for two years at that time. Variously reported in articles about the Hangmen as being from Liverpool or London, Ottley was actually from Glasgow, Scotland.

First press on the group, from the Washington Evening Star of April 3, 1965. The Hangmen lose a battle of the bands at the Shirlington Shopping Center to the Shadows.

In early summer of ’65, the band’s managers Larry Sealfon and Mike Klavens played “What a Girl Can’t Do” for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him – only Tom as he was the songwriter and leader of the Reekers.

Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers’ recordings of “What a Girl Can’t Do” and “The Girl Who Faded Away” under the Hangmen’s name, even though only Tom and Bob Berberich had played on them.

Some sources report that the Hangmen rerecorded the “The Girl Who Faded Away” for the Monument 45. A close listen shows that the Hangmen’s Monument 45 version uses the same instrumental backing as the Reekers’ original Edgewood acetate. The vocal track does not match the demo, with different lyrics, but the lead vocalist is the same (Triplett I think). The acetate also runs about 24 seconds longer than the Monument 45.

Confusion also exists about “What A Girl Can’t Do”, but there should be no doubt, the Monument 45 version released under the Hangmen’s name is actually the Reekers. In 1966 the Hangmen recorded their own version of the song for their LP, which sounds very different.

Arnold Stahl, a lawyer, and Mike Klavans of WTTG formed 427 Enterprises to promote the band. Their connections landed gigs for the Hangmen in embassies and a mention in Newsweek. One memorable event was playing a party for Robert Kennedy’s family and getting drunk in their kitchen!

Despite these connections, the Hangmen were still primarily a suburban band, playing for kids at parties and shopping malls but not getting into the clubs like the big DC acts like the British Walkers and the Chartbusters. This would change as the Monument 45 of “What a Girl Can’t Do” started gaining momentum locally.

Algerian Ambassador and Cherif Guellal (in tux) and former Miss America Yolande Fox to his left, with Dave Ottley on the far right and Tom Guernsey behind Yolande, 1966. Photo by Frank Hoy.

Billboard, 2/19/66: Hangmen Cause ‘Swingalong’
FALLS CHURCH, Va. — Jack Shaver, owner of Giant Record Shop, said last week a mob of teen-agers turned out to hear The Hangmen (4) and when police cleared the store because the crowd created a fire hazard a near-riot ensued.
Shaver said browser bins and display cases were smashed and two girls and a boy fainted during the chaos. He said damage was estimated at $500.
Shaver said The Hangmen are from the nearby Washington area and are local favorites. He said he had sold about 2,500 copies of their single, ‘”What a Girl Can’t Do”‘, on Monument, and it was No. 1 on local charts.
He said school was out that day because of snow and the store began filling up at noon for the 4 p.m. show. He estimated 400 ‘were jammed and packed’ inside and some 1,500 were outside.
Shaver said traffic was snarled, police came, declared the gathering a fire hazard and began clearing the store. He said The Hangmen had been playing 15 minutes at the time and it took half an hour to disperse the crowd.
Shaver said he had had record stars perform at his store before, including Johnny Rivers, Johnny Tillotson, Peter and Gordon, and Ramsey Lewis, ‘but they never created anything like this.’
He said he did not have insurance to cover the loss.

“What a Girl Can’t Do” knocked the Beatles’ We Can Work It Out/Day Tripper out of the top spot of the charts for Arlington radio station WEAM on Feb. 7, 1966. On a national level, though, Monument wasn’t doing enough to promote the 45. “What a Girl Can’t Do” remained only a local hit. Their best opportunity had been wasted, but from their perspective as the top band in the D.C. area, success seemed certain.

Tom chose to quit college when an offer to play the Jerry Blavat TV show coincided with his final exams in late 1966. On the show, the Hangmen played “What a Girl Can’t Do” then backed the Impressions on a version of “Money”. (If anyone has a copy of this, please get in touch!) The Hangmen played all along the east coast from New York down to Florida, doing shows with the Animals, Martha Reeves, the Yardbirds, the Count Five, the Dave Clark Five and the Shangri-Las among others. Tom remembers Link Wray coming up on stage during a Hangmen show, borrowing a guitar and launching into a long version of Jack the Ripper. Link played solo after solo while Tom’s arm nearly fell off trying to keep up the rhythm!

Profile of the Hangmen in the May 8, 1966 Sunday magazine of the Washington Evening Star:

Cover
Introduction
First page
Second and third pages

The Hangmen recorded a fine follow up, “Faces”, and this time Monument put some money into promotion, taking out a full page ad in the trade magazines. Propelled by fuzz guitar and a heavy bass line, “Faces” is a tough garage number with a fine vocal by Ottley. Tom points out that the song finishes quite a bit faster than it starts, making it difficult for those on the dance floor to keep up! The flip is another Guernsey/Daly original, “Bad Goodbye”, which features studio musician Charlie McCoy on harmonica.

By this time Mike West had left the band and Paul Dowell plays bass on “Faces”. After its release, Ottley moved to London and was replaced by Tony Taylor. The Hangmen went into Monument Studios in Nashville to record their album Bittersweet. Remakes of “What a Girl Can’t Do” and “Faces” on the album fall flat compared to the 45 versions. Monument pushed the band into recording a version of “Dream Baby”, produced by Buzz Cason and released as the A-side of their last 45. The band does a good job with a slamming beat and catchy guitar and sitar sounds, but I can’t help but feel it’s not the right song for the band.

I prefer some of the other album tracks, like their extended psychedelic version of “Gloria”, the tough sounds of “Isn’t That Liz” and “Terrible Tonight”, the delicate “Everytime I Fall in Love”, and “I Want to Get to Know You”, which sounds something like the Lovin’ Spoonful.

An announcement in the May 17, 1967 edition of the Star Ledger said that the Hangmen had changed their name to The Button to pursue further psychedelic stylings. Paul Dowell and George Daly were already out of the group and replaced by Alan Flower, who had been bassist for the Mad Hatters, and George Strunz. By June Tom Guernsey had left the band to be replaced by John Sears, and the group were being billed as “The Button, formerly The Hangmen.”

Relocating to New York, the Button cut an unreleased session for RCA and played at Steve Paul’s The Scene on West 46th St. and at the Cafe Au Go Go on Bleeker. Berberich left the band leaving Tony Taylor as the only one of the Hangmen still in the group. They band changed its name to Graffiti, recording for ABC.

Meanwhile, Tom Guernsey produced a legendary 45 for the D.C. band the Piece Kor, “All I Want Is My Baby” / “Words of the Raven”. He also wrote, produced and played on a great 45 by another Montgomery County band, the Omegas, “I Can’t Believe”. For the Omegas’ session, Tom played guitar and piano, Leroy Otis drums, and Joe Triplett sang, with backing vocals by the Jewels.

Bob Berberich briefly drummed with The Puzzle then joined George Daly and Paul Dowell in Dolphin a group that featured the young Nils Lofgrin. Berberich stayed with Lofgrin through Grin, while Paul Dowell of Hangmen became equipment manager for the Jefferson Airplane, and George Daly went on to A&R with Elektra Records.

Tom Guernsey deserves a special word of thanks for giving his time to answer my many questions, and also for loaning me the Evening Star magazine.

List of original releases by the Hangmen:

45s:
What a Girl Can’t Do / The Girl Who Faded Away – Monument 910, released Nov. 1965
Faces / Bad Goodbye – Monument 951, released June 1966
Dream Baby / Let It Be Me – Monument 983, released 1966

LP: Bittersweet – Monument SLP 18077, released 1966

Update

Tom Guernsey passed away on October 3, 2012 in Portland, Oregon, followed less than two months later by David Ottley, on November 27, 2012.

from left: Tom Guernsey, George Daly, Dave Ottley (center with white shirt), and Paul Dowell

What a Girl Can't Do at #1 on WEAM Top 40 hits February 7, 1966 — What a Girl Can’t Do at #1 on WEAM Top 40 hits February 7, 1966

Categories: Edgewood Recording Studio (DC), Garrett Park, Maryland, Monument, Ru-Jac

The Reekers

May 2, 2007 Chris Bishop 8 Comments

Tom Guernsey formed the Reekers in late 1963 with his brother John Guernsey and friends from Garrett Park, MD, a small town outside of Bethesda and a short distance from Washington D.C. Bass players and drummers would change over time, but the core of the band was always Tom Guernsey on guitar, Joe Triplett on vocals and Mike Henley on piano.

While playing the beach resorts at Ocean City in the summer of ’64, rich friend Toby Mason became interested in the band and offered to pay for studio session time. The Reekers first session didn’t go well, but then they went into Edgewood Recording Studio on K Street in downtown D.C. Engineer and owner Ed Green asked Tom whether they wanted to record in one track or two. When Tom asked what was the difference, Green said one track is $10 an hour, two would be $20 an hour! The Reekers went with one track, no overdubs, to record two original instrumentals that would make Link Wray proud.

Tom’s lead guitar and Joe Triplett’s screams combine with Jim Daniels’ ferocious take on surf drumming for “Don’t Call Me Fly Face” (named for the Dick Tracy villian). On “Grindin'”, Richard Solo makes incredible bass runs behind a bluesy guitar workout from Tom, accompanied by Henley’s keyboards and Triplett’s interjections (‘keep grindin’, ‘look good to me now’, ‘keep walkin’ boy’!)

Tom brought an acetate of the session to Lillian Claiborne, a legendary D.C. record producer. Claiborne had been Patsy Cline’s manager early on in her career, and was responsible for recording and supporting many local acts, especially soul and r&b artists. She released some records on her own DC label and leased other masters to labels around the country.

Claiborne signed Tom to a production contract and sent the Reekers to Rufus Mitchell, owner of Baltimore’s Ru-Jac Records, a label usually known for soul music. With Claiborne’s assurance of airplay on WWDC, Mitchell released the Reekers 45. The small first pressing lists Tom as sole writer of both songs. When that sold out, Ru-Jac ran a second press, this time correcting the songwriting credits on “Grindin'” to give John Guernsey co-credit.

Reekers Ru-Jac 45 Don't Call Me Flyface The Reekers never saw any money from this record, but it garnered them some attention. Local teen maven Ronnie Oberman profiled the band in the Washington Evening Star on April 17, 1965. About this time they went back to Edgewood to record a beautiful ballad, “The Girl Who Faded Away”. For this session Mike Griffin played bass and Bob Berberich replaced Daniels on the drums. This song shows some considerable development in the band, from Tom Guernsey’s songwriting to the harmony vocals and the band’s delicate handling of the arrangement. The band took a demo to the WWDC program director who had pushed “Flyface”. Not only did he pass on it, but his remark that they should stay an instrumental band disappointed vocalist Joe Triplett.

For his next song, Tom worked out a riff on piano loosely based on an instrumental he heard on the radio. The song he wrote around that riff, “What a Girl Can’t Do”, would change the fortunes of him and the rest of the Reekers.

The band went to Rodel Studio in Georgetown, a larger studio than Edgewood, but with a less competent staff. By sheer accident the engineer captured an echo-laden drum sound that gave the song an instant hook. Tom took all but two strings off his guitar so he could play the riff cleanly. Joe Triplett delivered the lyrics with sneering satisfaction, his voice perfectly suited to the lyrics. Though the words were a Stones-like put-down, musically the song shows little influence of the British Invasion. This was the first time the band had tried overdubs, including Joe on the harmonica solo and Tom’s repeating high guitar notes that take the song out.

Guernsey received some instant feedback on whether this song had a chance at a hit: Mike Griffin, hired as bass player for the session, had been offered either $20 or a percentage of the record. Initially he wanted the $20, but on hearing the playback in the studio he changed his mind and asked for the percentage!

Just as the Reekers were getting attention around DC with “Don’t Call Me Flyface”, the band dispersed, with Mike Henley and Joe Triplett going away to college. Tom and Bob Berberich joined another band, the Hangmen, with bassist Mike West and rhythm guitarist George Daly, fellow students at Montgomery Junior College.

Fate would strike in the early summer of ’65, when Hangmen manager Larry Sealfon played “What a Girl Can’t Do” for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him – only Tom as he was the songwriter and leader of the Reekers. Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers’ recording of “What a Girl Can’t Do” under the Hangmen’s name, even though the only Hangmen that had played on it were Tom and Bob Berberich.

The Hangmen’s story continues here.

Though the Hangmen spelled the end of the Reekers, Tom now considers a number of his later projects with Joe Triplet (and often with Mike Henley, Sam Goodall and Bob Berberich) to be extensions of the Reekers, including a 45 released as the Omegas, and later recordings like 1972’s “Night Time of My Lifetime” and “Streakin’ U.S.A.”.Bob Berberich stayed with the Hangmen after Guernsey left the group, and would go on to join Dolphin with George Daly and Paul Dowell of the Hangmen and Nils Lofgrin, and then join Lofgrin’s own group, Grin.

Joe Triplett and Mike Henley joined a group called Claude Jones, John Guernsey joined the group soon after and became one of their primary songwriters. Joe Triplett later formed the Rosslyn Mountain Boys.

Meet The Reekers, a 20-track CD including the originals of Don’t Call Me Flyface and Grindin’, the Omegas’ I Can’t Believe and five ccver versions of What a Girl Can’t Do, is available at CD Baby, which also has Tom’s instrumental album, Same Place, Different Time.

Tom is working on a film inspired by the Reekers story called “The Girl From California”. He asked me to include this clip from the film:

Categories: Kix, North Carolina, Wilson

The Challengers

April 23, 2007 Chris Bishop 8 Comments

A group of teens from the town of Wilson, east of Raleigh, North Carolina, recorded this raver at Sound City studios in nearby Bailey.

“Moon, Send My Baby” was written by J. Hodges, and the flip, a 50’s type pop number called “Dream” (written by M. Holland). It was released on the Kix label in 1971.

I didn’t know who was in the group until Phillip Bunn commented below:

The first line-up consisted of guitarist Earl Daniels, drummer Bruce Pittman, bassist Billy Bradshaw, keyboards – Johnny Allen and lead singer J.A. Cooper. The last line-up consisted of guitarist Bobby Denton, guitarist Phil Bunn, bassist Charlie Williams, keyboards – Johnny Allen, drummers – Jimmy Renfrow, later replaced by Danny Hayes.

Phillip also wrote that original guitarist Earl Daniels died of cancer in the early ’70s.

Update, April 2018:

Johnny Corbett sent in the photo and business card and wrote:

This is the last line up in The Challengers Band from Wilson, N.C. The members were J.A.Cooper, the original singer; Johnny Corbett, lead guitarist; Steve Odom, drummer; Tommy Balance, bassist; Gail Daniel, keyboards; Randy Boykin, rhythm guitarist.
The band was active until 1976, Wilma Daniel was the manager & did bookings along with Joe Steinbach who was a local DJ and music store owner.

Challengers Wilson NC photo — Last line up of The Challengers Band from Wilson, including J.A.Cooper, Johnny Corbett, Steve Odom, Tommy Balance, Gail Daniel,and Randy Boykin.

Categories: Bismark, Dallas, Denton, Texas

The Chessmen of “I Need You There” on Bismark

April 17, 2007 Chris Bishop 65 Comments

The Chessmen, January 1965: Robert Patton, Tommy Carter, Tommy Carrigan and Ron DiIulio — The Chessmen, January 1965, from left: Robert Patton, Tommy Carter, Tommy Carrigan and Ron DiIulio

The Chessmen feature in almost every account of the Dallas music scene in the mid and late ’60s. Famous at the time for their live shows, the Chessmen are remembered now for the members who went on to national fame: Doyle Bramhall played with and wrote songs for Stevie Ray Vaughan; Bill Etheridge played bass with ZZ Top before Dusty Hill; and Jimmie Vaughan was in the Fabulous Thunderbirds.

Beyond their legend, the Chessmen’s legacy consists of rare photos of the band and a few 45s. Their second record, “I Need You There” / “Sad”, was their best, recorded before any of the people named above were even in the band. The Chessmen’s story is confusing with many personnel changes, but I’ll try to sort it out as best as I can.

The original Chessmen at the Adolphus Hotel in Dallas from left: Robert Patton, Tom Carrigan (drums), Tommy Carter and Ron DiIulio — The original Chessmen at the Adolphus Hotel in Dallas
from left: Robert Patton, Tom Carrigan (drums), Tommy Carter and Ron DiIulio

Original lineup:

Robert Patton – guitar and vocals
Ron DiIulio – keyboards
Tommy Carter – bass
Tommy Carrigan – drums

Fine Arts Theatre, Denton (photo taken 1977)
From the University of North Texas library

The Chessmen formed in early 1964 on the campus of North Texas State University (now University of North Texas) in the town of Denton, about 25 miles from Dallas. The original lineup included Robert Patton of the west Texas town of Midland on rhythm guitar and vocals, Tommy Carrigan of Denton on drums, Ron DiIulio on keyboards and Tommy Carter on bass.

Tommy Carter was the only member who stayed with the band until the Chessmen broke up in 1968.

"first Denton public appearance", February 8, 1965 — “first Denton public appearance”, February 8, 1965

They started by playing at basketball games and football pre-game rallies. At the start of 1965 they signed a management contract with George Rickrich, owner of the Fine Arts Theatre in Denton. George had them play between movie screenings, hired a photographer to take promotional photos, immediately brought them into a studio for their first record and began booking them for shows outside of Denton.

Denton Record-Chronicle, February 7, 1965, Tommy Gayle is listed as featured singer with the Chessmen — Denton Record-Chronicle, February 7, 1965
Tommy Gayle is listed as featured singer with the Chessmen

Ron Dilulio: “We were billed to play between showings of the movie ‘Get Yourself a College Girl’. Back then, there weren’t pop concerts like today’s concert that we think of. We were one of the first, and there were people that lined up down the street to see us that night.”

The Chessmen, at Louann's, April 1965 — At Louann’s, April 1965

This first lineup recorded one unremarkable 45 on Bismark, a cover of the Drifters’ hit “Save The Last Dance For Me” complete with a girl chorus. The flip was a good if mellow atmospheric instrumental “Dreams And Wishes” written by guitarist Robert Patton.

Ron DiIulio recently sent me many photos of this first lineup of the Chessmen.

Ron DiIulio left the Chessmen, but stayed on at college, forming two short-lived bands, first the Rejects and then the New Sound in 1966. Ron later joined both Noel Odom & the Group and the Bad Habits in his hometown of Shreveport, Louisiana.

May 21 - new guitarist Jimmy Kay introduced, though the photo still shows Ron DiIuliio — May 21 – new guitarist Jimmy Kay introduced, though the photo still shows Ron DiIuliio

July 9 - guitarist Ricky Marshall mentioned — July 9 – guitarist Ricky Marshall mentioned

July 12 - yet another new guitarist for the Chessmen, Richard Dace, left to right: Robert Patton, Tommy Carrigan, Richard Dace and Tommy Carter — July 12 – yet another new guitarist for the Chessmen, Richard Dace
left to right: Robert Patton, Tommy Carrigan, Richard Dace and Tommy Carter

Spinning Wheels Skating Rink, Denton, July 5, 1965

Transitional lineups, May 1965-1966

Robert Patton – guitar and vocals
*Jimmy Kay (aka Jimmy Kay Herbert) – guitar
*Ricky Marshall – guitar
*Richard Dace – guitar
Tommy Carter – bass and vocals
Tom Carrigan – drums

After Ron left the band in April or early May, 1965, the band tried out several guitarists to replace him, including at least three between May and July! The Denton Record-Chronicle lists these guitarists as members: Jimmy Kay (May 21), Ricky Marshall (July 9), and Richard Dace (July 12).

725 North Elm, Denton in 2010 - the former Spinning Wheels Skating Rink? — 725 North Elm, Denton in 2010 – the former Spinning Wheels Skating Rink?

According to a comment by Richard Parker, below, Jimmy Kay is Jim Herbert, who was the Chessmen’s guitarist on their second single, “I Need You There” b/w “Sad”. Either Jim Herbert was in the group for a much shorter time than I thought, or Jim rejoined the band after Ricky Marshall and Richard Dace left. Does anyone know Ricky Marshall or Richard Dace?

The band started appearing regularly at all-ages dances and “sock hops” at the Spinning Wheels Skating Rink on N. Elm.

The Chessmen, mid-late 1965. left to right: Robert Patton, Tommy Carter, Tom Carrigan and Jim Herbert — The Chessmen, mid-late 1965
left to right: Robert Patton, Tommy Carter, Tom Carrigan and Jim Herbert

Robert Patton, Tommy Carter and Tom Carrigan

Second lineup:

Robert Patton – guitar and vocals
Jim Herbert – guitar and vocals
Tommy Carter – bass and vocals
Tom Carrigan – drums

Chessmen Bismark 45 I Need You There At some point in 1965, Tom Carrigan met Jim Herbert while playing gigs around the NTSU campus, and invited him to a Chessmen rehearsal at Carrigan’s mother’s house just off campus. Jim Herbert joined the band as lead guitarist, and they recorded their classic second 45, “I Need You There” b/w “Sad”, released in October of ’65, and a third song which was never released “You’re No Good.”

It’s often stated that the ripping guitar on “I Need You There” is by Jimmie Vaughan, but Jim Herbert told me he is actually the lead guitarist on that song. There is confusion as to who was actually on the recording. Johnny Peebles, who joined sometime in late 1965 also told me he played lead on it. One person told me that is Doyle Bramhall singing lead on it.

Chessmen Bismark 45 Sad On the 45, Robert Patton sings the lead vocals. On live gigs, Robert Patton and Jim Herbert split most of the lead vocals, with Tommy Carter occasionally doing one or two songs. All three would sing harmony. The night they were cutting “I Need You There”, Delbert McClinton and the Ron-Dels were in the next studio recording “If You Really Want Me To I’ll Go”.

“I Need You There” was written by Norris Green and Thomas Sims (or Thomas Patrick Sims). Norris Green also wrote another song for the band, “No More”, but I’m not sure of his connection with the group.

Unissued acetate, scan courtesy of Brandy Herbert.

“Sad” was written by Robert Patton and Tommy Carter. An acoustic guitar carefully picks the melody. That sound and the use of harmonies for both verse and chorus would be expanded upon in the next single.

One unissued demo from this time is “You’re No Good”, written by Patton and done at the very end of a session when they had some spare time. I haven’t heard it, but it’s supposed to sound something like “Ticket to Ride”, with rough vocals from Robert Patton, whose voice was ragged on it.

The Chessmen, 1966, clockwise from left: Tommy Carter, Johnny Peebles, Robert Patton and Doyle Bramhall (front)

The Chessmen on Sump'n Else, from left: Tommy Carter, Johnny Peebles, Doyle Bramhall and Robert Patton — The Chessmen on Sump’n Else, from left: Tommy Carter, Johnny Peebles, Doyle Bramhall and Robert Patton

Third lineup:
(Peebles and Bramhall joined separately, so there was probably some overlap with Tom Carrigan or Jim Herbert)

Robert Patton – guitar and vocals
Johnny Peebles – guitar and vocals
Tommy Carter – bass and vocals
Doyle Bramhall – drums and vocals

Jim Herbert left the band and became one of the Pit Club’s ‘Pitmen’ along with Bill Heald and Rusty Brutsche, and later joined Galen Jeter’s Brass Blues Band. Johnny Peebles took over on lead guitar. Tommy Carrigan also left around this time, and was replaced by Doyle Bramhall. With this lineup they played the Sump’n Else TV show hosted by Ron Chapman.

Chessmen Bismark 45 No More Their next 45 contained two solid songs. “You’re Gonna Be Lonely” was written by Knox Henderson (who also co-wrote Mouse and the Traps’ “Public Execution” and “Maid of Sugar, Maid of Spice” and the Uniques “You Ain’t Tuff”, among other songs) and Larry Mackey. Knox Henderson also did A&R for the session. The Chessmen do a good job on the song, featuring twelve string guitar, group vocals and zooming bass accents by Carter. It’s all over in a minute and a half!

If “I Need You There” was their finest recording, “No More” is probably the next best, and it shares the same writer, Norris Green. Interlocking guitar lines, a mournful harmonica, and melancholy harmonies throughout. The 45 was released in April of ’66.

On April 19, 1966, Robert Patton drowned at White Rock Lake in Dallas after falling off a sailboat at 2 A.M. Also on the boat were fellow NTSU students Colin Mustain, Mike McGrew, Phil Teague and John Hargiss.

Although Doyle Brahmall characterized it as “a hazing accident” in a interview many years after the accident, he was not present at the time. John Hargiss wrote to me: “I was with Robert the night of the accident that took his life. There was no hazing. Robert had already been through pledgeship along with me and Mike McGrew. We were fully initiated brothers in Sigma Phi Epsilon as were the other two members of our party that night.

“Robert drowned when he fell out of the boat after our boat left a wind puff at 45 degrees. Three of us were all leaning over the elevated side of the boat to right it and thus avoid capsizing (called ‘hiking out’ in sailing terms). Exiting the wind puff at great speed, the boat then smacked down hard in the water. This sudden jar caused Robert to flip head over heels. I know this because he was right beside me and I almost went over too. We made all efforts possible, throwing out life preservers, reversing course, etc. However, we never saw him again.

“Robert was one of our most popular and beloved brothers. He was a young man of great talent with a winning personality. We all knew he was on his way to ‘big things’, making his loss all the greater. Our fraternity was in mourning for a long time after his death. His funeral drew what seemed to be the entire population of Denton, Texas.”

Bismark promotional, circa mid-late '67, From left: Doyle Bramhall, Johnny Peebles, Jimmie Vaughan and Tommy Carter — Bismark promotional, circa mid-late ’67
From left: Doyle Bramhall, Johnny Peebles, Jimmie Vaughan and Tommy Carter

Despite the tragedy, the Chessmen continued, with an announcement of an upcoming show in May appearing in the news as well as return engagements at the Campus Theatre on June 23 and the Spinning Wheels Rink on July 4.

Johnny Peebles soon brought in his friend Jimmie Vaughan of Oak Cliff to play lead guitar. Doyle Bramhall became the primary vocalist as well as drummer.

Fourth lineup:

Jimmie Vaughan – lead guitar
Johnny Peebles – guitar and vocals
Tommy Carter – bass and vocals
Doyle Bramhall – drums and vocals

The final Chessmen 45 included a repeat of “No More” from their previous 45, but this time as the A-side, and was released in September of ’66. The flip, “When You Lost Someone You Love”, shows some development in the group’s vocals, but otherwise it’s lightweight. It was likely recorded when Peebles was still in the group. It’s the only Chessmen recording with Jimmie Vaughan, his electric guitar playing the quiet fills in the background.

Final lineup:

Jimmie Vaughan – lead guitar
Bill Etheridge – rhythm guitar, keyboards and vocals
Tommy Carter – bass and vocals
Doyle Bramhall – drums and lead vocals

Johnny Peebles left the band by early ’67 and Bill Etheridge joined on rhythm guitar and keyboards. With this lineup, they opened for the Jimi Hendrix Experience in Dallas in 1968.

Later that year the Chessmen broke up. I have to wonder if any live tapes of the band exist, but if so, none have surfaced in all these years.

Jimmie Vaughan, Tommy Carter and Bill Etheridge first formed a more blues-based group called Texas with Sammy Piazza (often incorrectly listed as a member of the Chessmen) on drums and Cecil Cotten of the Briks on vocals. They were initially managed by Jimmy Rabbit who told me he has “small reel to reel with a few songs from that ‘Texas’ session, [including] B.B. King’s ‘Beautician Blues’ sung by Jimmy Vaughan.”

After Cecil left to California, Doyle Brahmall joined as lead vocalist. That group moved to Austin and became Texas Storm with Jimmie’s younger brother Stevie Ray on bass and Bill Campbell on drums.

Mike Leeman of Ft. Worth, TX sent in the following three photos, taken when he and a friend booked the Chessmen for a private party:

The Chessmen played at several parties for us in Ft. Worth, TX during my college days. First heard them at Luann’s in Dallas. These pictures were taken by me with a Kodak Instamatic August 18, 1967 at the Holiday Inn in Ft. Worth, TX @ I-30 and University Drive. Another motel now is at that same location. Tommy Carter on bass, Jimmy Vaughan, lead, Doyle Bramhall, drums and Billy Etheridge, rhythm guitar and keyboards. I also still have a business card, signed contracts (by Tommy Carter) from the Bismark Agency in Denton, TX which handled their bookings and a picture of the marquee in front of the Holiday Inn with “Chessmen” on it. Their booking agent was George Rickrich.
The New Year’s Eve party, Dec. 31, 1967 was quite a “bash”. I remember some of their songs: Train Kept a Rollin, The Nazz Are Blue, Under My Thumb, Purple Haze, You Keep Me Hangin’ On, Sunshine of Your Love, and Gimme Some Lovin.

Chessmen at the Holiday Inn in Ft. Worth, August 1967, Jimmie Vaughan on guitar and Tommy Carter on bass, with Doyle on the drums

Chessmen at the Holiday Inn in Ft. Worth, August 1967, Jimmie Vaughn and Tommy Carter

Chessmen at the Holiday Inn, Fort Worth, August 1967: Doyle Bramhall singing and playing drums and Billy Etheridge on Fender Telecaster

In 2009 the Fort Worth Holiday Inn was demolished.

Ticket to the Chessmen, at the Red Garter Club, December 31, 1967

Thank you Mike, these are great photos of the band!

Chessmen at Texas A&M, August 1, 1967. Thank you to Bill Thompson for submitting this clip.

Chessmen original 45 releases:

Bismark 1010 Save The Last Dance For Me / Dreams And Wishes
Bismark 1012 I Need You There (Thomas Sims, Norris Green) / Sad (Tom Carter, Robert Patton)
B.R.S. 1014 You’re Gonna Be Lonely / No More (N. Green), A&R by Knox Henderson
Bismark 1015 No More / When You Lost Someone You Love

Sources include an interview with Ron Dilulio in the NT Daily, interview with Doyle Bramhall on Anatomy of a Scream site, and photos from BigD60s@yahoogroups.com, Andrew Brown, Kirby Warnock and Mike Leeman.

This page has been updated in July 2007, January 2010 and February, 2011.

Update, November 2011: I’m sorry to report Doyle Bramhall passed away Sunday, November 13 at the age of 62. For more info please see DFW.com.

Confusing the Beefeaters and the Chessmen

Same group? Victoria Advocate, March 19, 1965

Chessmen with Just Us Four at the Castle Big Spring Herald, Jan. 6, 1966 — with Just Us Four at the Castle Big Spring Herald, Jan. 6, 1966

The Chessmen with a residency in Freeport? At the Rip Tide Inn, Freeport, August, 1965 — The Chessmen with a residency in Freeport?
At the Rip Tide Inn, Freeport, August, 1965

"[George Rickrich] added that most college bookers want a group that can play hard rock, meaning more rhythm and blues than the English or 'Beatle' sound." Denton Record-Chronicle, April 18, 1967 — “[George Rickrich] added that most college bookers want a group that can play hard rock, meaning more rhythm and blues than the English or ‘Beatle’ sound.”
Denton Record-Chronicle, April 18, 1967

"former members of the Chessmen" at St. Davids<br /> Denton Record-Chronicle, October 15, 1965 — “former members of the Chessmen” at St. Davids
Denton Record-Chronicle, October 15, 1965

Categories: LeJac, Minneapolis, Minnesota, Unknown

The Motifs

April 12, 2007 Chris Bishop Leave a comment

Another band about which I know nothing, other than the fact that they were on the LeJac label of Minneapolis, Minnesota. I don’t believe there’s a connection to a band called the Motifs in Idaho, and they sound nothing like the New Jersey group with that name.

“Someday” is excellent upbeat garage pop with nice drum breaks and guitar solo. “Telling Lies” is more conventional but worth a listen if you like “Someday”. Both songs credit the band as songwriters.

One member was John Rusinyak, according to Jay, who had played with John in another group in the 1980s and 90s. He reports John passed away at the age of 58.

Categories: Bangor, East Stroudsburg, Mt. Pocono, Pennsylvania, Pocono, Stroudsburg

The Tumblers

April 12, 2007 Chris Bishop 9 Comments

Here’s an obscurity from the Tumblers, a quartet from Mt. Pocono, Stroudsburg and Bangor, towns in the eastern part of the Pennsylvania. They had one release on the Pocono label from July, 1965.

I think we can safely say this was not influenced by the British Invasion. The incredible “Scream” was ‘written’ by Larry LaSpina, and backed with a ballad, “Make You All Mine”, another LaSpina original.

Members of the band were:

Larry LaSpina
Daniel Altieri
Alex Coury
Huck Gould – bass and vocals

Tumblers Daily Record Friday, September 25, 1964 — Tumblers on the Chief Halftown show, September 26, 1964

Does anyone have a photo of the group?

Categories: Jewel, Louisiana, Robin Hood Studios (Tyler), Ronn, Shreveport

The In-Crowd

April 11, 2007 Chris Bishop 11 Comments

This is actually the very first record released on the Ronn label, a subsidiary of Jewel, based in Shreveport, Louisiana. “Nothing You Do” is fine garage-soul, and though there are horns, the vocals, keyboards and driving rhythm remind me of the Music Machine more than anything else. It was written by Roger Barnes and produced by Gene Kent and Don Logan.

Barnes usually wrote soul or funk music, and in fact, the In-Crowd may be the only white artists in the whole Ronn catalog. A good version of “Midnight Hour” is on the flip.

I’m pleased to say I’ve been in touch with Steve Tuminello, the drummer for the In Crowd, so I’ll let him tell the In-Crowd story in his own words:

I was 17 years old when we cut that record at Robin “Hood” Brians studios in Tyler, Texas. Band members on the record were:
James Gordon – Vocalist
Roger Barnes – Keyboard and Vocals
Steve Tuminello – Drums
Drake Lee – Guitar and Bass
Richard Meeks – Guitar and Bass (He is on the fuzz tone lead guitar solo)
Jimmy Lloyd – Tenor Saxophone
Wallace Dingee – Trumpet
Pat Anders – Lead Trumpet
Don Logan and Gene Kent were our managers and promoters of the shows we played. They called them dances, but the kids back then would stand in front of the band and “sweat” the band as they called it. It was kind of like playing a small concert because the halls we played would hold around a 1000 people.
Gene Kent and Don Logan were the top DJ’s in Shreveport, Louisiana at AM 710 KEEL Radio in the 1960’s. Don Logan also was a record executive with Jewel/Paula/Ronn Records. Stan Lewis founder of Jewel/Paula/Ronn records.
I remember Don Logan telling us we had to change the name of the band because we broke the Billboard top 100 (This was late 1966 and the first year Billboard had this designation) and we were being sued by a band named the In Crowd in California. I suggested we change the name to the Inn Crowd. I had the name painted on my bass drum and this was an easy fix. I believe the song hovered around the 10 or 11 mark on the regional charts, as I recall. I didn’t even know we were played outside of Ark-La-Tex.

We became local celebrities and the attendance to our shows increased dramatically. We were just a bunch of high school kids but we were booking for a large amount of money for those times. We used to make a $100 per night each and in today’s dollars that would be around $500 per night.
Roger Barnes and Drake Lee are still in Shreveport and I’m not sure about the rest of the band members. I have often thought a reunion would be a lot of fun. As you mentioned we were a blue eyed soul 8 piece horn band playing R & B covers. “Nothing You Do” was not really our style but was fitting for the AM radio waves in late 1966.
My Uncle, A.J. Tuminello, who taught me to play the drums at age 5, was the original drummer on Dale Hawkins’ Suzie Q, and was involved in the origination of the tune. He was not available on the date of recording so Stan Lewis had his younger brother Ron Lewis fill in for my Uncle in the studio. Ron Lewis is the namesake for Ronn Records.

“Nothing You Do” reached #19 on KEEL in Shreveport in January of ’67.This In-Crowd has nothing to do with the many other In/Inn Crowds around in the ’60s, including the Inn Crowd that featured Hal Ellis (of John Fred’s band), that had three 45s for the Montel – Michelle label.

Despite having recorded at Robin Hood Brians studio, they were also not the In Crowd with Jim Glaves and Bobby Rambo on guitar that released a 45 on Abnak and became the backing band for Jon and Robin.

Wally Dingee and some other members continued the band with Bill Wray on vocals, eventually renaming it to Bill Wray and the Showband Royale. They had a 45 called “For Our Friends” on the Readie label that I haven’t heard.

Thanks to Steve Tuminello for his history of the band and the news articles, and to Wally Dingee for the poster and stills from the Super 8 film of the band.

Categories: Pennsylvania, Pittsburgh, St. Clair

Pat Wallace

April 11, 2007 Chris Bishop 23 Comments

Based in the Pittsburgh area, Pat Wallace released many 45s, this one being more garage in style than most.

“Fill the Hole in Your Soul” is a straightforward come-on, but danceable and catchy for all that. The musicians must not have had any other song in mind for this session, as “C’mon and Work” is just the band vamping with Wallace chanting the title repeatedly. Not bad, though.

Pat tells me the band was Prince Valiant and the Knights, who had their own 45 on St. Clair, “Back Yard”/”Front Yard”, though Rick Sharp recalls playing on the session with his group the Sharades (see below). Songwriting credits are Pat Wallace and Jules Kruspir on “Fill the Hole”, and Rick Sharp – Jules Kruspir on the flip, production by J.J. Jules.

The St. Clair label is famous for releasing the Swamp Rats’ most beserk 45s.

Thank you to Pat Wallace for the photos seen here of his early group, the Shadows. Please do not reproduce these images without permission.

The Shadows with Pat Wallace, plus Chubby, Bill, Jim, Ed and Denny

Rick Sharp of the Sharades provides his recollection of how he came to record with Pat Wallace on this single:

Jules Kruspir managed my first Pittsburgh, PA band, The Vel Mars. We knew Jules for a lot of years, from 1963 to the late seventies (he managed the Marcels). Not quite sure how we met him though. He used to invite us over to his house to rehearse every month or so and seemed to have a genuine interest in our band, The Vel-Mars.
We were a guitar band, a la The Ventures, and were playing local school dances. Jules said he knew all the right industry people and we could go places. Actually nothing happened until he signed Bob Stupec to do a Christmas song, “Jake The Flake”. This was a huge production number, full orchestra (Jim Drake conducting & arranging), backing vocals by the Ray Charles Singers (“Love Me With All Your Heart” fame) and recorded at Bell Sound Studios in NYC. The tracks were absolutely beautiful!
But, Bobby (Bobby Star) couldn’t sing. It took 157 takes to complete the lead vocal track. I remember, Phil Ramone was the engineer. Well, we were to record the back side “Jingle Bells”. Studio time was running out, we cut our song in 1 1/2 takes. We broke a guitar string, but they spliced the tape & our record turned out great. The record was released a few weeks later, became the National Record Mart “Pick of the Week” and was played in NRM commercials for a few weeks. Picked up a review in Billboard (Jules had a full page ad), but the record never took off. Too bad. Bobby Star quit recording and went to Vegas and opened a casino.
In 1965, our Vel-Mars band broke up and I auditioned for a club band in Beaver Falls, PA. The leader was Gary Glenn. The group was Gary Glenn and the Jeweltones. The Jeweltones had departed and left Gary without a band, for which I was auditioning & was ultimately hired for. They had a local record out, “Goodnight My Love”, on the Cove label. Great record. I wrote a couple of songs for Gary that were recorded at Jerree Records in Beaver Falls, PA. “Always So True” b/w “What Do You Want”, released early 1966, but went nowhere. The original Jeweltones were later to become the Jaggerz of “The Rapper” fame.
I left Gary Glenn in mid 1966 & formed the Sharades. We were a cover band [but] with a lot of original songs. Jules expressed an interest in us again and asked if we would do a demo session at Glen Campbell Studios in Pittsburgh, PA. We did the session but nothing came out of it. A few of the songs were good though. Jules later asked us to back up Pat Wallace for a couple of songs at the same studio. We did and that’s where “Gonna Fill The Hole” & “Come On & Work” came from. And yes, “Come On & Work” was nothing more than a “B” vamp.
In 1966,Jules opened a record store in the Southland shopping center (Pat Wallace worked there) and I took a job with Kleins One Stop (Itzy Records) heading up their oldies department. Jules bumped into The Fantastic DeeJays (who had some local Music For Young Lovers songs for Terry Lee). He changed their name to the Swamp Rats and recorded “Louie Louie” & released it on his St. Clair label. (Jules lived in a community named Upper St. Clair).
Also in 1966, Jules picked up a group named the Dynatones. They had recorded a record “And I Always Will” b/w “The Fife Piper”. The local DJs flipped it over & the record went to Number 1. HBR Records, who just recently started a pop records division, picked up national distribution. The record went all the way up the national charts. Then … HBR called for a album followup to the single. Jules took the Dynatones down to Glen Campbells studio & cut 10 or 12 absolutely terrible tracks. Truth is, Jules couldn’t produce & Glens’ studio (3 track Ampex) was nothing more than a reverb box. HBR Records rejected the cuts for the “Fife Piper” LP. They produced all the tracks in LA with studio musicians.
I continued on working at Kleins and with my band, the Sharades. We were working steady at local clubs when we decided to go into the studio on our own. Late 1966 we recorded “Only A Tear” b/w “It’s A Groovy Day” at Gateway Studios in Pgh, PA (Some of the Lou Christie hits were recorded there). Our session was quick…maybe 1 1/2 hours. We only recorded the two songs. The record was released on Fasicination Records which was my label. Kleins One Stop (my day job) became our distributor. I started college in January 1967 and played weekends with the band. By springtime Terry Lee had picked up the record & began playing it every night at 11:00 as the opening song for his “Music For Young Lovers” show segment. “Only A Tear” was the only record released by the Sharades. We continued on as a band until the mid-seventies. I recorded “Surfin’ USA – Pittsburgh, PA” b/w “Pipeline” in the mid-eighties with a new group – The Allegheny Surfers.
Rick Sharp

Categories: Agar, LeJac, Minneapolis, Minnesota

LeJac and Agar Records discographies

April 11, 2007 Chris Bishop 6 Comments

Ron Gjerde owned the LeJac and Agar labels of Minneapolis, Minnesota, using his basement as the studio.

Partial LeJac discography (any help would be appreciated):

Singles:
3002: Denny Dale – Mr Moon / Why Did You Leave Me (9/1965)
3003: Denny & Jack – One More For The Road / Love You Everyday (9/1965)
3004: Motifs – Someday / Telling Lies
3005: The Peers – Once Upon a Time / Palisades Park
3006: The Bedlam Four – Watch It Baby (Dick Pogue) / Blue Blue Feeling
JK-1942/3: The Transplant – Broken Engagement / With Her Head Tucked Underneath Her Arm (1968)

LPs:
1001: The Starliners – Live at Papa Joe’s Northern a Go Go (1966)

The first two LeJac releases are by Fendermen bassist Denny Dale (Dennis Gudim), with the second featuring Jack Kollodge of the Starliners.

I haven’t yet heard the Bedlam Four on LeJac. Originally known as the Echomen with one 45 “Long Green” / “Chocolate Chip” on Fox, the Bedlam Four recorded ten or more songs at LeJac over the course of a year, most of them cover songs. They had a later release “Hydrogen Atom” on Armada and two later songs “No One Left to Love” / “Psychedelic Mantra” that were finally released by Caped Crusader Records in the ’80s.

Categories: BB, Lebanon, Pennsylvania, Renco, Swan

The Centurys

April 10, 2007 Chris Bishop 22 Comments

The Centurys - Renco 45 "83"

Considering they were one of the greatest of all the 60s garage bands, there’s not much information out there on the Centurys.

From Lebanon, Pennsylvania, band members were:

Billy Beard – lead guitar and vocals
Larry McKinney – guitar
John Iacovone – bass
Bob Koch – lead vocals and organ
Bernie Orner – drums

In April of 1965, they recorded four songs at WSBA radio’s studios in York, PA, produced by Frank Treida. These four songs were released on two 45s on the Renco label and quickly sold out.

The first is “83” a lo-fi anthem that’s an absolutely classic. On the flip is the moody “So the Prophets Say”, another echo-laden number with wild drumming and intense vocals. It’s been described as anti-Vietnam war, but actually I think it’s pro-war. It’s definitely a dig at Dylan and the protest movement in general, and there’s a condemnation of communism: “a red slave song you’re singing, you’ll wish you had a gun in your hand.”

The second is “Don’t Bother”, with intense guitar riffing and haunting organ. The flip, “Together We’ll Stay” is not nearly as great as the other three songs, but it has some decent surf-type guitar in the break.

Their live reputation helped them land a 45 on Swan. “Hard Times” b/w “Endless Search” did very well in the area and should have been their big break. The Swan label was folding at the time, so it’s possible the record wasn’t promoted as well as it should have been.

Former Swan label head Bernie Binnick put out one last Centurys 45 on his BB label, “And I Cried” b/w “Catch Me Fast”. The band broke up in 1967 due to a combination of draft notices and a lack of success.

All their releases were original songs. Billy Beard wrote most of their best songs: “83”, “So the Prophets Say” and “Don’t Bother”, while “And I Cried”, “Hard Times” and “Endless Search” were co-written by Beard with Larry McKinney.

The two 45s on Renco were reissued on an EP in the ’80s as the Renco Demos. It’s possible the Centurys originally intended these songs to be demos for purposes of securing a record contract. Regardless, the Centurys did release these songs on 45 and sold them at gigs and local shops, which makes them not ‘demos’ in the usual sense. None of the songs on the EP are different versions of what was released on the 45s.

Centurys original 45 releases:

Renco 115 – 83 / What the Prophets Say
Renco 116 – Don’t Bother / Together To Stay
Swan 4265 – Hard Times / Endless Search
BB 4002 – And I Cried / Catch Me Fast

Garage Hangover