The Beau Havens had one record, the fantastic “Elizabeth” / “Feel So Good” on Gama Records 45-705 from September, 1966. The photos seen here were taken about a year earlier, in 1965.
I’m trying to decipher the hand-writing on this card, so members’ names may not be spelled correctly. Any help would be appreciated:
John Colgan – drums, vocals on “Feel So Good” Kerry Miller – lead guitar Jim Whelan – lead vocal on “Elizabeth” Allan Hurdle (or is it Allen Hurdle?) – guitar Tom Whelan – piano
Kevin Miller – manager
The group were all young teenagers in ’65.
Belle Haven, VA has been listed as their town of origin, though that is nearly four hours drive from the Springfield, VA American Legion Hall where these photos were taken. Belle Haven may be confirmed from a neighborhood newsletter that featured the group, the Belle Haven Tribune, from May 7, 1965. The newsletter spells the brothers names as Tom Whealen and Jim Whealen.
A Pi Alpha Gamma banner appears behind the group, and it’s likely the Beau Havens shared the bill with the Londoners and the Roaches.
This should be Johnny Colgan on drumsPhoto of the Beau Havens – the drummer lacks his cravat
Jim Whelan wrote and, I think, sang lead on “Elizabeth”.
Rick Fulton wrote “Feel So Good”. I’m not sure if Rick was a later member of the band or simply a friend. Johnny Colgan appears to have sang lead on this side.
Both songs likely were cut at Edgewood Recording Studio at 1627 K Street, N.W. in Washington D.C. A couple of Edgewood acetates of the single exist. On one the song has the title “She Makes Me Feel So Good”, corrected in pen to “She Makes Me Feel Right”.
Doesn’t sound like the Beau Havens had a keyboard player on the record. Claiborne Music published both songs.
I believe this is Kerry Miller of the Beau Havens
More info on the Beau Havens would be appreciated.
Update May, 2022:
Danny G purchased a guitar in the D.C. area and the name on the case helped him trace it to this post, where it is clearly the guitar in the last photo above. Below are some interesting photos of this custom-made guitar provided by Danny along with his description:
Kerry Miller’s custom-made guitar
Likely a neck taken from an unbranded Kay guitar and put onto a solid chunk of mahogany (?). The white paint was to emulate the pickguard on a Höfner bass.
The guitar uses two Lafayette pickups, a 99-4536 in the neck which is a screw on pickup made for jazz arch top guitars and a PA-297 acoustic soundhole pickup in the bridge. The guitar has a really unique sound because of the odd choice of pickups, and that’s part of the reason I bought it.
The bridge pickup came with an RCA input and he simply repurposed it as the main input.
Kerry’s guitar – one hook to keep the pickup selector in place, and an eye for the guitar strapGretsch Tone-Twister palm vibratoLafayette pickups
Receipt from Clifford Herring Sound Equipment for the Motovators session
Clifford Herring and Sound City were two separate recording studios at the same address, 1705 W. 7th St. at the corner of Fournier St. in Fort Worth.
Clifford Herring opened his studio in the 1930s or early ’40s, a large room that could fit an orchestra or big band. Herring recorded many country, rockabilly and pop records, most famously Bruce Channel’s “Hey! Baby” and Paul and Paula’s “Hey Paula”, both produced by Major Bill Smith.
Besides the recording studio, Clifford Herring Sound Equipment Co. sold, rented and installed film, dictating and sound equipment, and also had a Muzak business.
The Motovators recorded a demo there on March 4, 1965, one of the last artists to use Herring’s studio.
On April 2, 1965, the Star-Telegram reported:
Radio station KXOL has purchased Clifford Herring Sound Equipment Co. for more than $200,000, The purchase includes the Herring firm’s recording studio and sound equipment operation said Wendel Mayes Sr. of Brownwood, president of the broadcasting station.
Earle Fletcher, the station’s vice president and general manager announced Thursday. Extensive remodeling of the Herring building at 1705 W. 7th will begin immediately with occupancy expected about June 1. The building will house the station’s AM and FM broadcasting studios, news facilities, sales offices and other departments.
Fletcher said remodeling of the Herring building will give the station more than double its present space at 3004 W. Lancaster.
KXOL renamed the Herring business Sound City, Inc. I believe Herring’s large recording room was converted into KXOL’s studios or office. The new Sound City Recording Studios opened in the basement below KXOL’s studios.
KXOL sold off the equipment and rental parts of the business to Thomas Electronics at the end of 1965. I’m not sure when KXOL sold the basement studio, but I’ve read the owners were Jim Rutledge and, apparently, T-Bone Burnett (Joseph Henry Burnett III) though he was only 17 in 1965.
Phil York became a house engineer at Sound City. York had worked with Dewey Groom at Echo Sound in Mesquite and would go on to work at Autumn Sound in Garland. While at Sound City he cut his own demo as Philip & the Yorkshires, “Once Again” / “Someone To Love You”, that was not released to my knowledge. York’s name appears in many classified ads run in 1966 and 1967 trying to drum up business for the studio.
A November 27, 1968 article notes that the studio was “recently sold to Don Schafer Promotions of Dallas”. Frank Henderson was another engineer at the studio about this time.
Perhaps the biggest hits recorded at Sound City were by the Van Dykes, such as “Never Let Me Go”, “No Man Is an Island”, “I’ve Got to Go On Without You”, and “You Need Confidence”, all produced by Charles Stewart and released on Mala.
T-Bone Burnett was usually referred to as Jon T. Bone on record labels during his Sound City time.
The Loose Ends included Burnett, Don McGilvray and David Graves, their singles “Free Soul” / “He’s a Nobody” (produced by Stan Rieck) and “Dead End Kid” / “Verses” were released on Mala, with co-producer credits to Burnett and Charles Stewart.
It would be interesting to assemble a discography of releases made at Sound City, but it’s an impossible task without documentation. Besides the ones mentioned above, it would include:
Brownfield BF-33 – The Rondels – “I Lost My Love” / “Crying Over You” Brownfield BF-1034 – Arthur Noiel - “It’ll Make You Holler” / “She Don’t Love Me” Brownfield BF-1035 – The Barons – “Don’t Burn It” / “I Hope I Please You” Brownfield BF-1037 – The Rondels – “You Made Me Cry” / “I Cry Cause I Care” Brownfield BF-1038 – Bruce Channel - “Don’t Go” / “The Actor” Brownfield BF-1040 – Jerry Williams & the Epics – “Whatever You Do” / “Tell Me What You See”
Cee Three – The Mods – “Days Mind the Time” / “It’s for You”
Cherry 101 – Charles Christy and the Crystals – “Cherry Pie” / “Will I Find Her”
Emcee Records - E-014 – The Gnats – “That’s All Right” / “The Girl”
Fat 12966 – Little Joe and the Gentlemen - “This Land” / “Stagger Lee”
Hue 375 – The Musical Training School – “Don’t You Fret” / “I’ll Go” (arranged by Jon T. Bone, produced by Charles Stewart) Hue 377 – James Mays – “Nothing’s Bad as Being Lonely” / “Gotta Make A Move”
Jan-Gi T-91 – The Trycerz – “Almost There” / “Taxman”
Psycho-Suave’ - PS-1033 – The Legendary Stardust Cowboy – “Paralyzed” / “Who’s Knocking at My Door” (picked up by Mercury)
Soft S-1008 – Roman Chariot - “Five Sensations” (arranged by John T-Bone) / “Cool” Soft S-1033 – Johnny Nitzinger – “Plastic Window” / “Life of John Doe” (produced by John Burnett and Charles Carey)
Unknown group the “Souls”
Sound City acetates or tapes:
Charles Christy & the Crystals – various titles (info to come)
The Cynics – “I’ll Go” / “Don’t You Fret”
Jackie Layne (with the Pathfinders) – “Give a Little, Take a Little” / The Galaxies – “Someone To Love You”
Larry & the Blue Notes – “In and Out” (early version) Larry & the Blue Notes – “Train Kept a Rollin'”
The Mods – “Evil Hearted You”
Rising Suns – “I’m Blue” / “Little Latin Lupe Lu” + two other cuts
Some tracks on the Galaxies CD collection Think About The Good Times were cut at Sound City, but I don’t have that release on hand.
LPs:
The Abstracts on Pompeii
The Yellow Payees cut one song from their Volume 1 album, “Never Put Away My Love For You” at Sound City.
Whistler, Chaucer, Detroit, and Greenhill – The Unwritten Works of Geoffrey, etc. , a Sound City studio group of two former members of the Mods, Scott Fraser and Edd Lively, with Phil White, David Bullock and John Carrick. Produced by Burnett.
Thank you to George Gimarc for help with this article.
Sources included: Frank Gutch, Jr., “Lost in Space: The Epic Saga of Fort Worth’s Space Opera” from the No Depression site is an excellent read with detailed information about later Sound City sessions.
David Campbell and Larry Harrison – notes to Fort Worth Teen Scene! volumes 1-3 on Norton Records.
The Trophies released one single in October, 1965, “With a Love” backed with the uptempo “C’mon Little Lady”.
If the members were also the song writers, then the band included:
George Jevicky Andy Martin Daniel Nasimento
Geo. Jevicky, Andy Martin wrote the moody “With a Love” published by Blue Coast Music, administered by SESAC. Daniel Mascimento wrote “C’mon Little Lady” published by Duval BMI.
This is the only release on the Golden Sound label that I know of, GS 1011.
Teen Beat Mayhem lists the band’s location as San Francisco, California, but the label credits read “produced by Suwanee Songs, Lenoir City, Tennessee”.
I’d like to know how a San Francisco band wound up on a label out of Lenoir City, a small metropolis southwest of Knoxville.
Little Richard Morton cut this one single on his own Morton Records in June of 1964, backed by “His Musical Four”. Richard Morton wrote both songs, the rocker “Sad, Sad Song” and the slow “A Love I Once Enjoyed Is Now a Dream”.
The crude recording quality, prominent organ and r&b backing help push “Sad, Sad Song” into what could be called ‘garage’. His intonation is very country, so it’s no surprise the same month he made this single, he played a western dance at Womack Hall in Clifton, TX as Little Richard Morton and His Rainbow Valley Tophands.
The dead wax etchings “Manco-Morton #1 6-10-64” show this was recorded and released through Manco Recording, a Fort Worth company that released over forty singles, including “She’s A Doll” / “Kiwi Boogie” by Jim Jones & the Chaunteys.
The address of N. Pendell Ave, Cleburne was probably Morton’s home address at the time. Cleburne, TX is 30 miles south of Fort Worth.
According to copyright records, his full name was Richard Lowell Morton. Bluebonnet Pub Co. published both songs.
Richard Morton has other copyright registrations for religious songs.
The Templars, from left: Skip Pawson, Chris Rez, Tom Larson, John Hall and Bob Ellis
The Templars came from the Del Mar area of San Diego County. They cut one single, “Chafungie” / “Get Out of My Life” on Paragon Records k-57.
Members were:
Bob Rez – guitar (bass?) Tom Larson – guitar Bob Ellis – guitar Skip Pawson – keyboards John Hall – drums
Both songs on the single were originals by the group. “Chafungie” is an organ and fuzz guitar instrumental by Robert Ellis and Robert Rez (though the article above gives his name as Chris Rez). “Get Out of My Life” is a half-spoken vocal, written by Skip Pawson and Robert Ellis.
Robert Ault produced the single and signed the copy pictured here, along with the band.
The San Bernardino County Sun ran a feature on the group on April 14, 1967 about their upcoming appearance in the Jerry Lewis movie, The Big Mouth:
Teen Band Gets Break by Karen Rhiner
Tom Larson was so excited about appearing with Jerry Lewis in a movie that he couldn’t talk straight …
Tom is the leader of the Templars, a Del Mar area band which will go to Hollywood soon to film a sequence for Jerry Lewis’ new movie, “Big Mouth.”
It’s a big break for this five-man, clean-cut combo. They’ll appear on screen – alone – for almost three minutes playing their “Chafungie,” a song written by Templars Bob Ellis and Chris Rez. They’ll also provide background music during a scene taking place in a teen nightclub.
And, after the film is released, they’re scheduled for a 25-day, 51-city personal appearance tour to promote the movie.
Other members of the band are John Hall and Skip Pawson. All-are either juniors or seniors at San Dieguito High School or San Diego Military Academy near here.
What’s the secret of their success?
“We have an original sound and an original appearance,” Tom said. “We don’t have long hair, and our clothes are neat. We decided we wanted to look like boys and like ourselves. We’d be copying if we’d go with long hair. We wanted to bend the trend.
“Our sound is a driving one. We have one of the best drummers in the county (John Hall), and he comes through to pace a driving beat. Yet we can play the smoothies, too like “Georgia On My Mind” as well as polkas and Roaring 20s tunes.
“Our morale is pretty high, too. That helps. There’s nothing that can tear a band down more than dissension. If you don’t get along with each other, playing is a job. With us, it’s a pleasure and a hobby.”
The band leader thinks originality is important. “Bands shouldn’t try to copy,” Tom said. “Record companies don’t want copies of big groups. You’ve got to play around until you find a sound of your own.
“In the beginning, as with the Templars, you conform to other groups. But along the way somebody in the group does something terrific and you stick with it. It took us about six months before we found out what our sound is.
Although the group is only a year and a half old, it already has a record, “Chafungie” – the tune they’ll play in the movie in release.
I’ve only seen a few clips from The Big Mouth, so I’m not sure if the band actually appeared in the film.
At least a couple members of the Templars became a group called the Magical Mist, who had an excellent single, “When We Use Our Minds” / “Time Out to Fly”, both songs by Robert P. Ellis, George Pawson and Alan Decotes (Alan Decoates according to BMI’s records). Robert Ellis produced the single, released on Cross-Winds CW 105 out of Wildomar, CA in June of 1968, publishing by Rolling Wheels Music.
Thank you to Jonas Carlsson for his help with the article.
The Hustlers included Chauncey Romero, Doug Grantz, and John Tavaglione Tavaliogne, plus two members I do not have first names for, Roach and Bedwell.
The Hustlers first cut “Hangin’ Five” and “Barefoot Adventure” on the House of Note Records label, as early as December, 1962. I haven’t heard either song yet. They were cut at Paul Buff’s PAL studio, and an alternate version of “Hangin’ Five” exists on tape.
Sometime in 1964 they made their next single, changing to the Original Hustlers, probably to differentiate the group from the Hustlers with Grant Baker who recorded two excellent R&B/exotica instrumental singles on Downey, “Inertia” / “Eight Ball” and “Kopout” / “Migraine”.
“Cueball” was written by L. Fields, with publishing by David Marshall Co., I’m not sure what the original source was for this song, but it’s a fine surf instrumental.
“Barefoot” is an original by the Hustlers, released on LaBelle L-64121.
LaBelle mainly released records by the folk group the Countrymen, but it also issued the Swords “Raunchy” / “Fibreglass”, which I haven’t heard yet (and could use label scans of).
Chauncey Romero first managed, then owned the House of Note music store in Redlands. The Redlands Daily Facts from July 18, 1966 wrote:
The House of Note music store at 20 N. Sixth street is now operating under the new ownership ot Chauncey Romero, former manager. Romero, a native and lifelong resident of Redlands, managed the House of Note here for four years. For the past six months, he has served as manager of the House of Note music store in Riverside. He purchased the Redlands facility, which had been a branch of the Riverside store, from owner Ted Peckles of Riverside.
The House of Note in Redlands is a franchised dealer for such well known musical instruments and accessories as Fender guitars and amplifiers, Grctsch drums and guitars, Gibson guitars and amplifiers and Martin Guitars …
Romero noted that members of several local musical groups, including the Hustlers, Templars, Tornadoes and Never So Few, received musical training at the House of Note. He said there currently are more than 100 students enrolled. The teaching staff is composed of Norman Sanders, Greg Tomquist, John W. Sessums III, C. P. Woods, Warren Wheeler, Dean Pickard and Casey Cunningham.
The House of Note closed in 1968.
The Tornadoes included Norman (Roly) Sanders, Gerald Sanders, Leonard Delaney, Jesse Sanders, and George White, and would cut “Bustin’ Surfboards” among other singles on Aertaun and an album on Josie.
The Templars included Garry Brier, Glen Hellman, Dave Gruver, Ron Norcross and Mike McGrath, but I do not believe they recorded (they’re not the Templars who cut Chafungie” / “Get Out of My Life” on Paragon).
The Countrymen recorded on Audio Adventures out of Piqua, Ohio, 20 miles north of Dayton in 1971. They were really a country act, but “Flare-Up!!” is a crude and bizarre song, and does sound like it was recorded in a garage.
On “Flare-Up!!”, Ron Lininger sang lead and played guitar, Harry Burd played bass and Bud Allen contributed the tambourine. Lyrics were by W.R. Lake, music by Harry Burd.
Are you ready girls?
Now there’s times I’m sorry, You can bet your bippy, That I ever decided to marry a long-haired hippie.
Well I like to eat, And hold down a job, You’d rather eat and drink and live like a slob.
I think we’re about to have a flare-up, Let’s not have another flare-up.
If you dress like a girl, Maybe put up your hair, I’m sure that we could avoid another flare-up.
If you’d only wake up, And do a little clean-up We might avoid another flare-up.
When I need a little loving, Tender loving care, All I ever see is your long, black, and greasy hair.
I think we’re about to have a flare-up, Let’s not have another flare-up.
The lyrics are basically sung twice, separated by a break where the drummer & tambourine keep the beat while Ron slides the pick down the strings.
For the country ballad “That’s Why I’m Dreaming of You”, Bud Allen sang lead, Harry Burd played steel guitar (and wrote the song), and Ron Lininger played bass.
Fred Snyder played drums on both sides.
This is a Rite Records custom pressing, 27699/27770 from Rite account number 5216.
Viscount Records was based in Cranston, Rhode Island, releasing three singles in 1968.
I don’t know anything about the Night Walkers other than Bob Carey wrote the band’s original song, “In Our Time”, which is slow, moody and a little psychedelic.
The flip is a somewhat busy version of “Things We Said Today”. The Basement Walls site lists Warwick, just south of Cranston, as their base.
Released on Viscount VR4503, about 1968, this is a styrene record. The labels include a six-digit code 112681/2.
Prior to the Night Walkers, Viscount Records released Ken Lyon “Lonesome Trip” (Lyon – Bill McQuade) / “Rock Island Line” with his brother Don Lyon on harmonica. The picture sleeve has notes by the Rev. Donald Lavallee suggesting he was the owner of Viscount Records. Ken Blumberg took the photo and Leonard Hardisty designed the cover.
early photo of Homer, clockwise from top: Chet Himes, Pat Cosgrove, Galen Niles, Gary Crapster and Frank Coy
Homer was a group from San Antonio that would last from June of 1968 until about 1973. In Houston they would record three singles and an LP for URA Production (Universal Recording Artists).
The first press on the group that I can find comes from August 8, 1968 the Crystal City Sentinel ran a profile of the group by Margaret Anderson in her column, The Teen Scene:
… “Homer” has a really unique sound and the guys said that they plan to bring blues into Texas and prove that rock and roll isn’t “rinky-dinky”, but is something we can musically appreciate. The group seems to be striving for individuality among the many groups of today, rather than being just another band. All of the members of the group have been together for only two months and are all from different original groups.
The leader of the group is Galen Niles. He toured with the “Outcasts” … all through the East Coast, sings lead, and teaches music. The drummer is Pat Cosgroove [sic – actually it was Gary Crapster, Pat played guitar I believe], who won 1st place in International Drum Solo Contests. He has played in many major citys of the United States…
Other members are Frank Coy, Chet Hines, and Gary Crapster, who is also a music teacher. Kids in Crystal City look forward to having them back again for a dance in the near future.
At this early point in 1968, members were:
Frank Coy – vocals Galen Niles – lead guitar Pat Cosgrove – guitar Chet Himes – bass Gary Crapster – drums
Galen Niles has a stellar history in San Antonio music. He played on both the Pandas “Walk” / “Girl from New York City” on Swingtime and the Outcasts “1523 Blair” / “Smokestack Lightning” before joining Homer. He also played the solo on the Mind’s Eye “Help I’m Lost” (Steve Perrone – Luis Cabaza) on Jox (but not on the flip, which was taken from a single under their earlier incarnation as the Argyles).
Ron Houston wrote in the San Antonio Express and News on February 9, 1969:
… I sat ringside at the Web in Corpus Christi diggin’ the band playing a song called “Hi Ho Silver Lining.” It wasn’t Jeff Beck I was looking at. It was “Homer,” the band I had booked for Ray Schaff at the Web.
Frank Coy wrote the A-side of their first single, “Dandilion Wine”, (note spelling – not “Dandelion”) backed with a radical reworking of “I Never Cared for You”, which I would never have guessed was a Willie Nelson song if I hadn’t seen the credit on the label. It even uses “Hall of the Mountain King” in the break.
Their next single had two originals by Galen Niles, “On the Wall” / “Texas Lights”, published by Illiad Music.
Their third single had another Galen Niles composition, “Sunrise”, with a repeat of “Dandilion Wine” on the flip.
Homer at Sun Valley Ballroom on Friday, July 25, 1969 with Ron Houston, KTSA DJ, from the Victoria Advocate.
In September, 1969, Homer were one of the bands represented for booking by Fun People, Inc. at 4807 West Ave in San Antonio, along with the Laughing Kind, the Bubble Puppy, the Playboys of Edinburg, the Sweet Smoke, and Lavender Hill Express.
By the time of their album’s release in 1972, with eight originals by the band, the lineup was:
Phil Bepko – vocals Frank Coy – vocals Galen Niles – lead guitar Howard Gloor – lead guitar and steel guitar Chet Himes – bass Gene Coleman – drums
Frank Coy, Galen Niles and Chet Himes seemed to be in all incarnations of the group. I’ve also seen Rob Randolph and Van Wilks named as members. Robin Overall was a member for a few weeks, but wound up forming Heironymous with Gene Coleman and Phil Bepko, ending Homer’s run.
Chet Himes went into audio engineering, he passed away in August 2020.
Some info from mikesbandarchive.com (now defunct).
Buddy Carson and Ricky Wright pressured to cut hair, October, 1966
The Outcasts were one of the top bands in San Antonio, and Texas in general. They cut several fine singles, including two absolute classics, “I’m in Pittsburgh (and It’s Raining)” and “1523 Blair”.
Two members of the band have sites about the group, which I’ve included below. I have found some interesting news clippings to add to their story.
The Outcasts were children of Air Force servicemen. By late 1964 they had become a quintet with:
Jim Carsten – guitar, vocals Buddy Carson – keyboards, harmonica, vocals Denny Turner – lead guitar Jim Ryan – bass Ricky Wright – drums
In June of 1965 they made their first record, “Nothing Ever Comes Easy” / “Oriental Express” recorded at Texas Sound in San Antonio, produced and written by Mike Post, released as Outcast 6865.
The Outcasts with Baby Cakes and the Greenmen, Austin Daily Texan, July 9, 1965Maj. John Carson was Buddy’s father and early manager of the group. San Antonio Express and News, April 2, 1966
In 1966 they had three singles on Askel. Jim Carsten was their main song-writer. Jim wrote both sides of their first Askel single, “I’m in Pittsburgh (and it’s Raining)” and “The Price of Victory”. It was their best-selling record, reportedly getting airplay on various stations around the country.
Jim Carsten wrote the top side of their next single, “Everyday”, while Carsten and Denny Turner wrote “I’ll Set You Free”, both fine original songs. Askel reissued “Everyday” with a great version of “Route 66”. One 45 label I’ve seen has “Buddy is singing” written on the “Route 66” side.
All of their Askel 45s had Ron Newdoll producing, at Accurate Sound Inc in San Angelo, publishing by Sangelo Music BMI.
During two summers when Jim Ryan returned to Oslo, Norway, where his father was stationed, he had two fill-ins, John (surname?) in 1965, and Kurt Linhoff in 1966.
Outcasts at The Casket in Kerrville, Sept. 14, 1967, from the Daily Times
Denny Turner left the band in late 1966, and the Outcasts found Galen Niles of the Pandas, to replace him. Jim Ryan wrote “[Galen] switched to a vintage Les Paul in late ’66 and recorded with us on our last single.”
“1523 Blair” / “Smokestack Lightning” came out in January 1967 on Gallant GT-101. Jim Ryan and Buddy Carson wrote “1523 Blair”, produced by H & H Productions at 243 Southill St in San Antonio. For certain, the song has incredible energy, with the vocalist (Buddy?) practically spitting out the lyrics.
1523 Blair was the address for Doyle Jones’ studio in Houston, where the band did some other recordings that were not released at the time.
Outcasts “a smashing success at California’s Hi-Ho Clubs” (did the group actually play in California?) and the Chaynes at the Olmos Club, San Antonio Express Nov. 5, 1966Outcasts now called the Proof, at New Orleans, October 20, 1967, from the Daily TexanOutcasts now called the Proof, at The Casket in Kerrville, November 3, 1967, from the Daily Times
In October 1967 at the New Orleans club in Austin, and then in November at The Casket in Kerrville, ads bill the group as “The Proof” (formerly the Outcasts).
One member wrote: “sadly, the group dissolved in a psychedelic haze in 1968”.
Jim Ryan would play with the Swiss Movement, then move to Los Angeles in 1969 for a couple of years.
The Outcasts story is told in some detail on various members sites, that are remarkably still active as of 2021. The photos unfortunately are mostly very small in size.
Denny Turner’s site has several pages on the Outcasts, try this one and this one.
Jim Ryan’s band page also has info on the Outcasts.
Mike Lowell’s site mikesbandarchive.com has been out of commission for about eight years now but is still partially available on the Internet Archive.
If anyone has better quality photos of the Outcasts, or more info on the members & group, please contact me.
Galen Niles Pandas San Antonio Light, Oct 16, 1966
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.
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Doesn’t sound like the Beau Havens had a keyboard player on the record. Claiborne Music published both songs.
