Saturday, Feb 24, 2007, there’s a benefit in Brooklyn for Rudy Martinez aka “Question Mark” the singer and songwriter of 96 Tears. His house burned down on January 9, and he lost all of his memorabilia, including the actual Farfisa on which Mysterians’ organist Frank Rodriguez played the famous 96 Tears riff. There’s a moving video of Question Mark walking through the wreckage at http://96tears.net/ and if you want to donate something to Rudy, you can do it there.
Come out to the Laila Lounge, 113 N. 7th St. (near the L train at Bedford) in Williamsburg, Brooklyn. There will be bands from 8 pm until 11, then djs including Phast Phreddie, Mike Lynch and myself, and a raffle of rare 60’s movie posters. Only $5, and all proceeds will go to Question Mark.
Most people familiar with garage will know their famous songs “96 Tears”, “I Need Somebody”, “‘8’ Teen”, so I’m including just a few lesser-known tracks as samples of their sound.
The version of “96 Tears” here is an earlier, slower take. It’s good, but I don’t think this version would have gotten them to #1 on the charts. “Ten O’Clock” is one of the best songs from their first lp, and was never released on 45. The soulful “Ain’t It a Shame” is from a 1969 single on the Tangerine label (? has a thing for the color orange, supposedly signing with Cameo-Parkway and Tangerine because of the color of their labels!)
? and the Mysterians cut plenty of good garage songs, and I definitely can recommend either of their original lps or the ‘Best of’ compilaton for those who want to hear more.
Johnny Green at Surfers A Go Go club in DallasTwo members of Johnny Green and the Greenmen at Surfers A Go Go club in DallasJohnny Green and the Green Men at Surfers A Go Go club in Dallas
Johnny Green was raised near Green Bay WI, then moved to California in the early ’60s, and eventually settled in Bismark, North Dakota. Johnny and the Green Men toured constantly, and ads I’ve found cite the band as from California or Las Vegas.
Johnny Green & the Green Men may not have started in Dallas, but they seem to have been regulars on the live music scene in the area, so I’m including them in the Dallas section for the time being.
The Grand Prairie Daily News-Texan published a photo of the group on August 29, 1965, noting that the Green Men would be playing at the Hi-Ho Ballroom on W. Jefferson would be playing at its “Shabang” with a battle of the bands and go-go girls.
The photos on the right are from the Surfers a Go Go club in Dallas and were sent to me by Jerry Colwell of Kit and the Outlaws. Howard Wales may have been the keyboardist in the Green Men when these photos were taken. I don’t know the names of any other group members from this time.
As far as I know, Johnny Green & The Green Men’s first single was “Something You Got” / “Green Thumb” on Emerald 2001 and picked up by Tou-Sea. Ken Elliott produced and Mickey Miller sang lead vocal. They later recorded for Ranwood, Edmar and Barak labels.
Johnny Green would become one of the Joker’s Henchmen on the Batman TV series. He kept touring as Johnny Green and the Green Men throughout the years, as far as I know, he may still be at it.
This is a bizarre pop-psychedelic gem of a 45 by Chris Carpenter of Detroit, Michigan.
“This World (Is Closing In on Me) (written by L. Drake) is full of paranoid lyrics. “Waterfalls” (songwriting credits by Parsons, Toma, and Carnes) features a harmonium, thunder sound effects, rattles and yet more obsessive lyrics. Both sides were produced by P. Carnes for Sidra Records, and arranged by L. Drake. Not sure if this is the same Chris Carpenter now involved in sound mixing for Hollywood.
This was originally released on Ocean-Side, a subsidiary of the Sidra label of Detroit in October 1966, then on Sidra itself a month later, and then picked up for national release by United Artists in February 1968, over a year after the original release.
Someone named Jim wrote to me to say that this 45 exists without the sound effects, dampening the impact. Same label, but it’s less common than the 45s with these tricked-out versions.
To make matters more confusing, both sides were remixed with heavy fuzz guitar overdubs and released under the artist name ‘Preston’ on yellow vinyl on the Sound Patterns label in 1969.
The Outsiders from Cleveland, Ohio were famous for the nationwide hit, “Time Won’t Let Me”.
Here I’m featuring their fifth single, the classic “I’m Not Trying to Hurt You” (which my band the Trip 9’s used to cover) with the uptempo flip “I’ll Give You Time (to Think It Over)”. Both songs were written by guitarist and leader Tom King with Chet Kelley and Bob Turek.
Tom King’s brother, Don produced another Ohio band on Capitol, the Turfits.
I remember how knocked out I was by the Bondsmen’s version of “I See the Light”, which I played over and over after taping it off of WNYU’s Mod Monday radio show when I was in high school.
I had the song on the tape but didn’t know who it was at the time, having missed the dj’s rundown of the songs he played. (If anyone has a tape of this show, please let me know; I do know “I See the Light” was followed by the Q65’s “I Got Nightmares”, which I also played endlessly.)
For years after I lost the tape I searched out who this could be, and was even disappointed (initially) by the Five Americans’ original version when I heard it. Finally I picked up a copy of Tobacco a Go Go vol. 1, and there it was, the opening track! By pure coincidence I later got in touch with the compiler of that lp, Ken Friedman, who provided me with this copy of the 45 and some information about the North Carolina garage scene.
Compared to the Five Americans, the Bondsmen’s version of “I See the Light” is faster, with a fuller sound to the organ. “Our Time to Try” is an ambitious psychedelic track, with thick forbodeing fuzz, and good drum and organ work. The vocalist does a great job on both songs, and the guitarist has a particularly fine solo on “I See the Light”.
The sound and plea for open minds on “Our Time to Try” dates the release to about 1968. The record has a dense production to it which makes it hard to hear the lyrics, and is that a horn I hear at times during “Our Time to Try”?
The Bondsmen came out of Durham, North Carolina, but recorded at Justice Records in Winston-Salem (“I Love You, Yes I Do” / “Out of Sight” on Justice 1003) and AMH Productions out of Chapel Hill. I recently heard from Gene Galligan, who filled me in on some of their story. I had heard that their drummer was Phil Lee, so I asked him about that too.
I am Gene Galligan, keyboard (organ) player for the Bondsmen. This AMH 45 of Our Time To Try and I See the Light was the result of us winning a Battle of the Bands at the baseball stadium in Durham. We did another 45 before this as the Bondsmen, two James Brown songs, Outasight / I Love you Yes I Do. I do not have any copies, however, Ken Heywood told me recently in a phone conversation that he has a box of them somewhere, he just has to find it.
Vocals: Archie Thomas Bass: Jim Bowen Drums: Philip Pearson Trumpet: Tim Hutchinson Organ: Gene Galligan Guitar: Ken Heywood
Just a tidbit about my part on I See the Light. I used to play a Vox Super Continental (Dual manual Black keys were white, white keys were black). But on that recording I used an organ that was in the studio … it was like an Allen Theatre organ which is why it has that skating rink sound!!
Yes that was trumpet on Our Time to Try.
Philip Pearson was our only drummer … I don’t know what Philip did later… I was told some 30 years ago that he was in California.. so I don’t know perhaps Phil Lee was a stage name.
Denver Cross playing in Bakersfield in 1977. Photo courtesy of Diane.
Updated 2014
The Road Runners were a great band from Fresno, California who released seven songs on four singles in a short period between August of 1965 and April of 1966.
Band members on the 45s were Denver Cross guitar, Dale Samuelian keyboards, Bob Trippell sax, Randy Hall lead vocals and bass, and Steve Heitkotter drums. Other members of the band at various times included Ozzie Georgener, Larry Karagozian, and Dave Mendoza and Bruce Conte on guitars.
Their first single is my favorite, “I’ll Make It Up to You” / “Take Me” on Miramar from August of 1965 (released nationally on Reprise in September).
Randy Hall’s original song “Goodbye” was released in Jan. 1966 with red labels on yellow vinyl with “Tell Her You Love Her” on the flip side. I’ve seen one copy with beautiful flaming yellow and red vinyl, also with red labels, and one with almost all red vinyl. Second pressings were on black vinyl.
“Pretty Me” was released twice in 1966, once with a slow, bluesy cover of “Baby Please Don’t Go”, and later as the b-side to another Randy Hall original, “Sleepy Friend”.
The Morocco label was located at 1415 W. Scott in Fresno, and judging by label numbers seems to have put out 20 or so records, but I don’t know of any other releases. Dig the different spelling of Morocco between the first release and the later!
“Pretty Me” was written by the band’s drummer, Steven Heitkotter, who a few years later recorded a free-form psychedelic jam LP that has been reissued first by Time-Lag and then by Now-Again. Steven was institutionalized by 1972 and remains so today. See Greg Youngman’s blog for the full story on Steve Heitkotter’s album.
There are also a few unreleased studio recordings, and a well-recorded live set. Randy Hall had a solo 45 on a purple Morocco Records label, his original song “Don’t Stop Now” b/w “Baby Please Don’t Go” also from 1966. Judging from the release numbers (M-124/M-121), “Baby Please Don’t Go” is probably the same take as the Road Runners release. If anyone has clips of this release please let me know.
Xian (who left a long comment below) sent this photo of Randy Hall taken in 1977 when Randy performed at the West Hills Music Club Variety Show.
Discography:
Miramar 116 – “I’ll Make It Up to You” / “Take Me” (August 1965, also released on Reprise 0418 in September)
Morrocco 001/002 – “Goodbye” / “Tell Her You Love Her” (December 1965)
Lou Fargo started the Fargo label in 1957, recording doo-wop acts for the most part.
The last record released on the label was in 1964, which sounds about right as a date for “Walking Down the Street”, this frantic slice of r&b by the Vi Dels.
This was an unknown 45 up til now. No songwriting credits on either side of the 45, but as Euphonic points out in his comment below, Sebastian Zimmardo and Vito Ingoglia wrote the A-side, “Ya, Ya, Ya, Ya”, and Joseph A. DeAngelis and Zimmardo wrote “Walking Down The Street” for Instant Music Co. – Casgol Pub, BMI.
The Fargo label had offices on Broadway in New York City, but I don’t know where the Vi Dels came from.
I don’t know if there is any connection with an earlier vocal group called the Videls who released the doo wop single “Be My Girl” / “Place in My Heart” backed by the Frank Spino Orchestra on the Rhody Records label. M. Bouchard and P. Andreoli were the song writers for that disk, published by Starfire-Peer, BMI.
Robert “Whitey” Gwinup was guitarist in a group from Fremont, Ohio called the Vandaliers whose members included Wayne Van Doren on drums and Harry Kerr. The Vandaliers had been playing together since 1962, and recorded a demo, If “It’s Love You Want” on September 2, 1965 at Cleveland Recording.
Meanwhile in Findlay, Ohio was the American Way, with members Roger Hilty drums, Gary Reddick organ, Kenny Turner bass and Bob Peeler lead guitar. Whitey Gwinup left the Vandaliers on July 9, 1966 and took Bob Peeler’s place on lead guitar. This new lineup changed their name to the Other Ones, and later changed it again to the Turfits.
They based themselves in Xenia, at a nightclub the band half-owned called The Castaways. They also played often at a club called the Capitol in nearby Dayton.
Gwinup brought “If It’s Love You Want” with him when he joined the Turfits, who recorded their own version at Cleveland Recording in 1967. Although the original version was written by Gwinup and Harry Kerr of the Vandaliers, writing credits on the label list all the members of the Turfits.
Gwinup also wrote “Losin’ One”, but as with “If It’s Love You Want”, all the Turfits’ names were listed on the songwriting credits (with Gwinup’s name misspelled as Gwinep).
Capitol Records had done very well with the Cleveland band the Outsiders and Youngstown’s the Human Beinz, so Capitol were willing to take a chance on other local Ohio acts. The Turfits didn’t reach the charts like those other groups, but “Losin’ One” has a classic garage sound – mumbled self-pitying lyrics and a high-pitched organ behind a restrained garage solo.
Production was by Don King – not, as I originally thought, the future boxing promoter (though that Don King was producing soul and gospel records in Cleveland at the same time as an investor in Way Out Records), but the brother of Tom King, singer for the Ohio group the Outsiders, who hit big with “Time Won’t Let Me” and cut the garage classic “I’m Not Trying to Hurt You”.
Thanks to BuckeyeBeat for some of the background information about the Turfits. Be sure to check out BuckeyeBeat’s site dedicated to Ohio garage. Additions and corrections were made from contact with Jaremy Hilty, son of Turfits drummer Roger Hilty, and by Wayne Van Doren and Whitey Gwinup.
A group out of Salem, Oregon, the Chaen Reaction recorded this one 45 around 1968.
Members were Larry Carroll guitar, Craig Gunter drums, Lee Gunter keyboards, Lane Weinberg bass and Jim Burris vocals. Earl Chipley seems to have been the maven behind this distinctly uncommercial venture, co-producing and releasing the 45 on his own Earl label, a “division of Royalty Records.”
“Sometimes I Think About” was written by the Blues Magoos and included on their first lp. A good song, but it’s a bit of a downer no matter who performs it. It was also covered by Delaware’s Fabulous Pharoahs who must have realized its lack of hit potential and threw it on the b-side of their great Reprize 45, “Hold Me Tight”.
The flip “Chain Reaction” is even less commercial but far cooler, featuring distorted guitar and a heavy organ and drum pounding over a collage of screams and crowd noise. The vocals are buried in the mix and almost unintelligible, but seem to have a very trippy bent. Hard to believe anyone but the band really wrote this ditty, but Chipley gives himself sole credit. It was produced by Earl E. Chipley, and Clayton Caughill was the engineer who put this all together.
Thanks to Lee for correcting the group lineup and to Bonnie W. for the photo.
Out of Memphis, Tennessee came Bobby Lawson with his group Bobby and the Originals, consisting of Joe Lee lead guitar, Joe Gaston bass, Bill Donati drums, a guy named Bernie on keyboards and Bobby playing rhythm guitar and singing.
They initially played r&b and soul, but by 1965 they added the Zombies “You Make Me Feel Good” for an appearance on the local TV show, Talent Party. Around this time, Terry Manning replaced Bernie on keyboards. Terry had played with Bobby Fuller in their hometown of El Paso. Terry wrote to me in 2007 about his early career in Texas:
The Wild Ones was a band I started with a couple of guys from my school, Austin High in El Paso. We played around at a few small parties and stuff, nothing very big or very good. Our big hero, as with all other local bands, was Buddy Holly. (Besides Bobby Fuller, the other best local guy was Rod Crosby.) I was on rhythm guitar and some vocals, but the best player was a guy named Jay Nye. Roy Moore was our resident tech genius and sort of a “manager,” meaning he had a back house and a tape recorder!
I did record an album as The Wild Ones there, but it was just me on acoustic gtr and singing, with Roy beating on a can or box in the background, and maybe one other guy on maracas or something. It was about 15 songs, all covers. I had it out the other day transferring it to digital for archiving, and considering whether or not I might release it. An album I recorded completely by myself of all originals in ’65-66, before the Home Sweet Home farce, is going to come out soon on Runt/DBK…no one else has ever even heard it before. But the Wild Ones, I don’t know…pretty raw and young!
When I left El Paso in ’63, The Wild Ones got a couple of new members, everyone everywhere matured a bit, and they started playing much more serious gigs there, as I did in Memphis. In fact, they got pretty good (without me, ha ha!) I have some recordings they sent me later on, some surf type instrumentals…pretty cool sounding! They then decided to try to make it in LA, and went out there, hooking up with Bobby Fuller and the other El Paso guys already there. In fact, they went to Bobby’s apartment house on the very day he was found dead, and actually saw the death scene, with police, etc. I was in Memphis by that time though.
The band came to the attention of John Fry, who was running a fledgling Ardent Studios out of a room in his parents’ house. Jim Dickinson contributed a song “Back For More”, and after an initial take was too mellow, took over as producer on a faster version of the song.
I’ve also read that Dickinson convinced Fry to restart his then-defunct Ardent label specifically to record Lawson & Four More. In any case, the first version, supposedly sounding like the Kinks, remains unreleased. Studio musicians were used for all the instruments, including Jimmy Crosswaite playing maracas on a cardboard box, Charlie Hull on lead guitar, and Dickinson on piano. Another song by Dickinson, “If You Want Me You can Find Me”, became the A side. Before the release, Dickinson renamed the band Lawson & 4 More and in a move to make him a “southern” Mick Jagger, told Bobby to stop playing guitar on stage. Around this time, Jim told Bobby “I’m gonna make you a star.”
The top side of their second record “Relax Your Mind” was recorded in Nashville in 1966 at the Fred Foster Studio because Ardent was constructing its new studios in a building on National Ave. Bobby describes it as “an old Leadbelly song redone in a “Lovin’ Spoonful” type style.”
This copy of their second 45 signed by Terry Manning.
This time the whole band played on the record except for John Lee; Dickinson took over the lead guitar parts. It received a lot of local airplay despite a lack of promotional support from Ardent. This record also seems to be the last one released on the old Ardent label.
According to Bobby “our competition was the Guillotines, the Group, and Flash & the Casuals (the Radiants and the Counts had faded from the scene, and the Gentry’s were on the road with their hit record).”
The b-side is the psychedelic “Halfway Down the Stairs”, another Dickinson song. Bobby Lawson considers it “by far the best thing we ever cut.” the melodic guitar riff is taken from Beethoven’s Ninth Symphony, which I find kind of weird, but the guitar sound and overall performance is excellent.
On the strength of this moderate hit, Lawson & Four More joined a Dick Clark package tour that included the Yardbirds. The band’s live performances became more psychedelic, characterized by destruction of equipment and stage lights. Bobby puts this down to Terry Manning’s growing influence within the group. Bobby states, “as we infused more psychedelic and non-commercial elements into our show, we became less marketable (danceable).”
In between these two releases, the band cut a great 45 as the Avengers. One side is an instrumental “Batarang”, featuring Lee Baker on guitar and Terry Manning on keyboards along with Joe Gaston, Bill Donati and Bobby Lawson. The flip is “Batman” featuring the Robins on vocals with the Avengers backing, including Jim Dickinson on 12-string guitar. Production by Uncle John’s Gang, meaning John Fry’s team, including Jim Dickinson.
After a name change to the Goat Dancers, the band eventually split acrimoniously over musical direction.
Bobby Lawson was still interested in soul and r&b, but after Ardent moved from the University of Memphis area to its National Avenue studio, Fry and Dickinson shifted their focus from Lawson to Terry Manning. Manning didn’t have the voice of Lawson, but was more attuned to the new rock sound Ardent pursued when the label was relaunched again in 1970.
Terry Manning went on to a form Rock City with Chris Bell and Jody Stevens before those two formed Big Star with Alex Chilton and Andy Hummel. Manning then became a hugely successful engineer and producer for artists great and not-so-great. Part of his legacy is inscribing the Crowley maxim “Do What Thou Wilt” into the dead wax of Led Zeppelin III.
Bobby Lawson started Lawson’s Blues Bag and gigs around Memphis to this day. Much information for this post was taken from Bobby’s website – take a look for his detailed story about his career and Lawson & Four More.
Some specific info on Lawson & Four More’s recording sessions comes from an interview with Jim Dickinson at What a Nice Way to Turn 17.
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
Updated 2014
Out of Memphis, Tennessee came Bobby Lawson with his group Bobby and the Originals, consisting of Joe Lee lead guitar, Joe Gaston bass, Bill Donati drums, a guy named Bernie on keyboards and Bobby playing rhythm guitar and singing.
The band came to the attention of John Fry, who was running a fledgling Ardent Studios out of a room in his parents’ house. Jim Dickinson contributed a song “Back For More”, and after an initial take was too mellow, took over as producer on a faster version of the song.
