The Oncomers came from the Mon Valley (Monongahela River) region south and east of Pittsburgh. Turtle Creek and McKeesport seem to be the main locations for the band members or where they played live.
The group members were:
Wayne Schillinger – guitar Billy Capranica – bass Jack O’Neill – drums
The Oncomers started in the early ’60s and often played live with a slightly younger act, the Arondies. This is their only release, on the Gateway Custom label. Wayne Schillinger wrote both songs, published by Telldell Music. Teen Beat Mayhem dates the 45 to 1967 but I’ve read the group had broken up in 1965.
“Every Day Now” is something of a throwback to early styles. “You Let Me Down” is a classic moody song, with a fine lead vocal and guitar work.
I’ve read there are more studio recordings and even a live tape from the Cove nightclub in the town of Large, PA, but I haven’t heard these yet.
The Oncomers later became Grant Street Exit with some lineup changes. Wayne Schillinger wrote both sides of the Grant Street Exit’s 1968 single on Del-la single (and re-released on Millage) “I Got Soul” b/w “That’s Why I Love You”, which I haven’t heard yet. Telldell Music is the publisher and distributor for that release.
Jack O’Neill joined Jim Pavlack and Gary Pittman of the Arondies to form the Soul Congress.
Source: the Tube City Almanac has some remembrances of the band & the local scene at that time.
The typically murky Band Box production enhances the strange outsider effect of this 1969 single from Florence S. Espinoza, credited on the label as Sab Florence E.
“Why Must It Be” has a gloomy guitar riff and a female chorus cooing the title. “I Need Your Love” adds harmonies over another leaden rhythm from the guitar, drums and very distant bass. Both songs are originals by Florence Espinoza, with copyright registration in October 1968.
Released on Band Box 389 during that label’s last year or two of production. This is a Rite pressing, 22737/8. Florence S. Espinoza’s patent diagram, from the Official Gazette of the US Patent Office, volume 855
A quick search turns up Espinoza was awarded a patent in March, 1967 for an “Acoustical Baffling Cove System: A method and apparatus for soundproofing the head space in drop ceiling construction … barricades space above the room dividing walls with a V-shaped sound baffling cove for deflecting sounds…” The patent gives his address as 1021 S. Patton Court, Denver, internet records suggest he or his family may still be living there.
An obviously creative person, I wonder if he did more in music besides this solitary release.
Cure of Ares came from St. Cloud, Minnesota and cut two excellent singles in 1969, but I’m surprised to find very little information on the group, and had to draw on many sources to assemble this post.
Members included:
Duane Korte – lead vocals Reynold Philipsek – lead guitar John Waverek- bass Mark Wenner – drums Steve Hoffman – original drummer
and possibly:
Doug Nelson – bass Michael McGlynn – organ (?)
Their first 45 from May included “Oval Portrait” an original by Reynold Philipsek and Michael McGlynn according to a Library of Congress copyright registration in March, 1969, although not credited on the label. On the flip is “Stepping Stone”, not the hit song but a cut from Steve Miller Band album Children of the Future.
Peter Steinberg produced Cure of Ares’ second release which included the excellent original song “Sunshine”, featuring plenty of wah-wah, vocal harmonies, stops and starts, and even cowbell.
No song writing credits appear on the label for “Sunshine”, but I found a July 1969 registration for “Sunshine Road” with words and music by Reynold Philipsek and music by Michael McGlynn. Registered at the same time was another song, “What About the People?” which may have not been recorded.
On the flip was a version of “Twenty Years Ago (in Speedy’s Kitchen)”, a song recently done by T.C. Atlantic and written by Steinberg with Barry Goldberg, Gary Paulak and Dale Menten. All of those writers were active in the Minneapolis music scene: Dale Menten had been in the Gestures and wrote “Run, Run, Run”, and produced the C.A. Quintet’s single on Falcon, “Mickey’s Monkey” / “I Want You to Love Me Girl”. Peter Steinberg had engineered at Dove Recording Studios in Minneapolis.
Cure of Ares recorded both records at Audiotek Studios in Minneapolis. Audiotek Systems Inc went out of business in 1979, but in 2016 the contents of the studio were offered for sale, including hundreds of records and master tapes. I do not know what became of the tapes, or if they included any Cure of Ares material.
Neither single had a label name, but “Oval Portrait” shows release number 69-99 while “Sunshine” has CPO-106.
Oval Portrait received enough mid-west regional radio airplay to garner an invitation to perform on the ABC Television show THE HAPPENING ’69, produced by Dick Clark Productions … Cure of Ares taped on Sunday, April 20, 1969, for the Season 2, Episode 24 installment, which aired on May 17, 1969. The telecast included performances by Three Dog Night, and The Peppermint Rainbow.
In 1970, Cure of Ares was chosen from over 15,000 entries as one of 50 semi-finalists in a national music competition, “Iced Tea’s Big Search for the New Sound”[5] presented by the Tea Council of the U.S.A., Billboard Magazine and over 200 radio stations.
The Wiki page has a link to a letter from Dick Clark to Tom Roman, who may have been the Cure of Ares’ manager.
After the Cure of Ares broke up, Philipsek made a 1973 single I haven’t heard under the name “reynold”: “Change (Not the Same)” / “Wordless Wonder” both original songs, produced by S. Gasner and Philipsek. His solo career continues to this day. Reynold Philipsek’s website is https://reynold.com/.
The Baytown Sun profiled the Descendants a young group that traveled to Houston for a Teen Fair band competition at the Astrohall. Members were:
Cleon Carraway – lead guitar C.A. Williams – rhythm guitar Victor Whitsell – organ Troy M. Hart – saxophone Tommy Davis – bass guitar Tommy Hale – drums
I don’t believe the Descendants recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
I often find records that are not garage rock, but are interesting enough to warrant research. The Pot label, the Texas location, & the title “The Exorcism” might raise one’s expectations, but this 45 by Isaac Sweat, David Kealy and Tom Lunar is conventional ’70s rock with a little horror in the lyrics. There is a cool backwards track version on the flip side.
Still, it’s obscure as can be: this is the only copy I know of, and have found no mention of it elsewhere. Some of members had their roots in the Houston garage band scene, though exactly how is murky at this point.
I found a copyright entry for “The Exorcism” from February, 1974, along with one for “A Love That Will Never Die” by David Kealey, Tom Lunar and Harold Fulton.
The address of 9717 Jensen Drive in Houston points to the Nashville Sound Studio (soon to be renamed Sound Masters) and the release number fits into other singles from that studio.
I thought Pot was the band name, because I.P. Sweat, David Kealy, Tom Lunar seems awkward for a group. But there are releases on the International Mod label that looks very much like this one, by Just Us, the Walkers, and Rocky Rhoades, all cut at Nashville Sound Studios.
I’ve read Isaac Payton Sweat played bass with Johnny Winter, I assume in the early days in Beaumont before Tommy Shannon joined in ’68 or ’69. Isaac died in 1990 after achieving some success with a rocking version of square dance and country music.
David Kealy has a credit as engineer on Kenny Cordray’s version of “Francene” from 1987. As David Kealey, he appears as a bassist on a Bill Nash LP and has many more engineering credits.
Tony Braunagel joined Paul Kossoff of Free in Back Street Crawler, and later became a studio drummer. Braunagel and David Kealey were both members of Bloontz who had an LP on Evolution in 1973.
The Blue Mountain Playboys – aunts and uncles of Buck played in this group
Jeffrey Harvey provides the story of Buck and the Hunters, who cut original songs for singles on Westland Records 15829/30 and Panorama 1004. “Without Your Love I’m A Nobody” has a wild desperate sound to it, unfortunately the youtube video is made from an off-center copy.
Buck Hunter was born into a musical family in Beaverton, Oregon in 1946. His aunts and uncles on his mother’s side played in a western swing group called The Blue Mountain Playboys, who at one time toured with The Sons Of The Pioneers.
Buck started playing music at age 13 and after a stint in the U.S. Navy, he formed Buck & The Hunters in Cove, Oregon in 1965 at the age of 19.
After winning a local battle of the bands competition, Buck & The Hunters were signed to cut a spec record for the local Westland label.
“The Train Is Leaving Me Behind” b/w “Without Your Love I’m A Nobody” was recorded in a basement studio in the Kennewick, Washington area and achieved significant airplay in the Washington, Wyoming, Oregon, and Idaho radio markets.
The band members at the time of recording were:
Buck Hunter – lead vocals / guitar / songwriter Dan Aguilar – lead guitar John McClay – bass Dan Ross – drums
After the release of “Train” on Christmas Day 1965, the band spent 18 months touring the Pacific Northwest, playing armory dances, state fairs, high schools, and clubs, and opening for such Northwest luminaries as Paul Revere & The Raiders, The Wailers, The Kingsmen, and more.
A fun story Buck shared with me about the Hunters’ touring days goes like this: The band was booked to play a high school dance in John Day, Oregon on a Friday night. Buck and the boys were traveling to the gig in two separate vehicles, when they came upon an active blasting zone on the interstate.
The state was using dynamite in the area for construction purposes, and after the first car carrying half the band made it through the blast zone “We all hear this big boom! Sure enough, we look back and saw a landslide had cut off all the traffic – including the second car with the rest of the band in it!”
Buck and two other band mates continued on to John Day High School to find that the dance they were booked to play was the school’s prom. “We ended up playing with three guys that night, and were asked to come back the next night with the full band. They held two proms so our entire band could play!” recalls Hunter.
Buck & The Hunters disbanded in 1967 when a few members went off to college and Buck moved to Everett, Washington. It was there he met his wife in the same year, and the two were married within months.
Buck took a nightclub residency gig as a solo folk act, doing a supper club show at a local restaurant/lounge called Kay’s Rice n’ Bowl. Here he opened for such artists as Pat Suzuki and The Four Freshman.
Buck Hunter and Mary
After putting in his time at the club, Buck and his new bride formed The Tragedy with four other players. The group went on to win a “contemporary folk music battle of the bands” put on by The Pat O’Day Show, broadcast on KJR radio in Seattle at the time.
An A&R man from the Pacific Northwest stalwart label Panorama signed the group to a one-disc deal and “The Entertainer” b/w “Unfaithful Love” was recorded. The Tragedy then toured, opening for such acts as Merrilee Rush & the Turnabouts and The Turtles.
After Buck’s father was diagnosed with cancer in 1969, he and his wife became born again Christians. They went on to write, record, and tour as a duo, preaching the gospel in churches around the country until 1985.
In 1992 Buck began hosting a nightly radio show that was broadcast from the floor of The Gold Coast Casino in Las Vegas. The program lasted until 2002, and in that time Buck met and interviewed thousands of artists including James Brown, Little Richard, Willie Nelson, Martha Reeves, and more. He also told me that the actress Betty White was an avid listener to his program and would call in on numerous occasions to co-host the show with him!
To say that Buck has lived an interesting and full life would be an understatement. He is still active in the business space and currently resides in Kuna, Idaho with his wife of 50+ years.
I asked him about the psychedelic sound of his two 45rpm releases, and if that was an intentional artistic choice or not. His response? “I was always looking for my own original sound.”
Charles Parry documented over a dozen local bands and some national acts in a series of 3.5″ x 3.5″ photos in 1965. I am trying to locate him to find out more about his career.
He labeled many of the bands and photos, but some were not identified. I am posting them here, hoping people who knew these bands and fans can comment and identify them.
Any help would be appreciated!
Thank you to Craig Mossman of the Roaches for help with the IDs of several people in these photos.
Unidentified Band 1 Photo 1Unidentified Band 1 Photo 2Unidentified Band 1 Photo 3 – Wes Thacker of the Mark 4Unidentified Band 1 Photo 4 – ID as Dave Tuno, later of the RoachesUnidentified Band 1 Photo 5 – ID as Gill Batts, later of the RoachesUnidentified Band 1 Photo 6 – ID as Gill Batts, later of the RoachesUnidentified Band 1 Photo 7 – ID as Gill Batts, later of the RoachesUnidentified Band 1 Photo 8Unidentified Band 1 Photo 9Unidentified Band 2 (maybe the Malibu’s?) Photo 1Unidentified Band 2 (maybe the Malibu’s?) Photo 2Unidentified Band 2 (maybe the Malibu’s?) Photo 3Unidentified Band 3 Photo 1Unidentified Band 3 Photo 2Unidentified Band 3 Photo 3Unidentified drummer, maybe from the LondonersUnidentified guitarist with recordsUnidentified singer maybe from the ChancellorsUnidentified girls at tablesUnidentified female singerUnidentified male 1Unidentified engineerUnidentified dancers 1Unidentified dancers 2Unidentified dancers 3Unidentified dancers 4Unidentified dancers 5Unidentified dancers 6Unidentified dancers 7Unidentified couple 3Unidentified couples 1
You and Me seems to be a studio production from two song writers, Ken Phillips and Gordon Goodman. The songs on this single are innocent pop with some definite English influences: “She’s One of a Kind” is uptempo and catchy; “I’ll Find a Way” slower and moody.
The labels list arrangement by Ken Phillips and Gordon Goodman, and produced by Ken Phillips.
I found six songs registered with the Library of Congress: “You’re Gone”, “She’s Over There” and “I’d Feel Better With You Around” in 1965, “I’ll Find a Way” in February, 1966 and “Keep On With Me” in June of ’66, and “Anywhere” in 1967. All their compositions list Kenneth Phillips as writing words and music, and arrangement by Gordon Goodman.
I don’t have specific info on Phillips and Goodman, but this was released on the Detroit, Michigan label Malibu Records. The catalog number M-6801 suggests a 1968 release. This is on the same Malibu Records label as the crunching “Times Passed” by the Beaubiens from February, 1967. That record was a Joe Doll production with different arrangers, and likely no personnel in common with this single by You and Me. See my article on Tortoise Records for information on Joe Doll’s early production work.
I asked Joe Doll about this record and he responded:
I remember Ken Phllips. I engineered the recording of these two tunes in the same WCBN studio (at University of Michigan) where I recorded “Times Passed” by the Beaubiens and “Messin’ with the Kid” by the aftermath (they liked their name with no capitals.)
I believe Ken was a U of M student. He was hoping to find traction for “an old-fashioned love song” and thought this record might help. Ken lined up the musicians. I had the impression they were all U of M students within his circle of friends.
Malibu was my label. I considered it an upgrade from the earlier Tortoise label.
Bob Jabour of the Cave Men at Mallory Square, Key West
The Cave Men cut one of the wildest singles of the 1960s, “It’s Trash”, released on the B-side of ‘Chelle PH 148 in August, 1966.
Claus Rosenblad interviewed bass guitarist Bob Jabour of the Cavemen, who also sang the lead vocal on “It’s Trash”
What was your musical background?
I played trumpet, tuba and my parents were dancers.
How did the group get together and where did the practice take place?
The band I was in before the Cavemen was named the Coachmen. Paulie Walterson was the drummer for the Coachmen. He quit the Coachmen to form the Cavemen. Tony Rey was brought in to replace Paulie in the Coachmen. When the Coachmen broke up because of the draft, I went to California. I got a phone call from Paulie to come join the Cavemen when they changed bass players and I came back to Key West.
The Coachmen personnel:
Singer: Chuckie Ward Lead guitar: Ross Kilgore Rhythm guitar: Bobby White Bass guitar: Bob Jabour Sax: Leonard Rojas Sax: Austin Roberts Drums: Paulie Walterson Drums: Tony Rey
The Cavemen:
Drums: Paulie Walterson Drums and vocals: Tony Rey Lead guitar and vocals: Andy Johnson (deceased) Rhythm guitar and vocals: Sergio Roche Bass guitar: Robert Tiff (deceased) Bass guitar and vocals: Bob Jabour
How long time did the Cavemen exist before they split?
Maybe 3+ years.
Where did the Cavemen play live, and what was your best gig?
Lived and played mostly in Key West; played road gigs in the Keys and Miami; recorded in Miami.
Best gig… probably the Miami shows and recording for an appearance on the Rick Shaw show in Miami which did not happen because the band broke up.
What is the story behind “It’s Trash”?
I wrote the lyrics about a relationship that I was in which went bad. I am the lead singer on “Trash”.
The flip called “The Pillow Bit” is a ballad. Mostly Andy’s (guitar player, solo on “It’s Trash”). I contributed some of the lyrics.
What other big acts were your musical inspiration, (or genres)? Please name some of it.
I came up through R&B: Otis Redding, Solomon Burke, James Brown, Sun Records, Chess Records, Motown, funk…
The Cavemen were very much a show band… so were the Coachmen. The Coachmen did the entire James Brown at the Apollo album. The Coachmen were very much a rhythm and blues group. The Cavemen were more of what we would call “punk” today.
How did the record come to be made?
Rhythm guitar player’s father sponsored the 500 copy pressing of “It’s Trash” and “The Pillow Bit” on the label ‘Chelle which was our manager/engineer’s label, Steve Kimball.
Which studio did you record the songs in?
Our band manager Steve Kimball built and was the engineer for the studio. I forgot the name of the studio. Criteria was in business at the same time as the studio we recorded in. They were big competitors at the time and both studios had 4 track capabilities. If the Novas recorded at Criteria, it was because the other studio went out of business.
Any fun facts and stories from the making of the record?
We would pile in the VW van and drive to Miami and spend the weekend in the studio and playing gigs that Steve had set up for us. We recorded about a dozen cover tunes, and a few originals for appearances on the Rick Shaw dance show which never happened because the band broke up.
What other groups in that area did the Cavemen compete with?
Miami: The Kollektion, top Miami group featuring a guitarist that went on to play for Iron Butterfly.
Or make friends with?
The Hustlers, another group managed by Steve. We split recording time with them. [The Hustlers cut a great single on ‘Chelle 145, “My Mind’s Made Up” / “If You Try” – ed.]
Did you ever do any battle of the bands?
Yes. Every weekend in Miami. Once did a two band gig with Wayne Cochran & the CC Riders featuring Jaco Pastorius on bass in Key West.
Do any other recordings exist?
There were at least two acetates: a 12 tune one of cover material; and a five tune one. The 12 tune one was destroyed by overplaying before it was lost. The five tune one survived and was copied to the internet. There are tape copies of it around. “Mustang Sally”, “Talk Talk” (best cover), “That’s How Strong My Love Is”, two more I forgot right now.
What happened to you and the other band members after the band split up?
Went four different ways:
Serge, rhythm guitar, formed another group.
Tony, drummer, went back to playing guitar, his primary instrument. Resettled in Fort Lauderdale. Played the Miami / Ft. Lauderdale nightclub scene with various latin and rock bands. Tony was from Cuba.
AJ (Andy, lead guitar) was hired out of a Key West bar by Eric Andersen and went on to record and tour with Eric for about two years. Then he got hired by Sister Kate Taylor (James Taylor’s sister) and recorded and toured with her.
I went on to play Key West bars. First putting together house bands, then eventually doing pick up gigs on bass. In my house band days, I worked with Vinny [Vince Martell] for a few months before he returned to New York to become part of the Vanilla Fudge (guitar player).
Thank you to Claus Rosenblad and Bob Jabour.
‘Chelle discography (any help with this would be appreciated including scans of all but the Cavemen, or audio of A Pace of Change’s single).
PH-145 – The Hustlers – “My Mind’s Made Up” (McNicol) / “If You Try” (1966) PH 148 – The Cavemen – “The Pillow Bit” / “It’s Trash” (both by A. Johnson, B. Jabour, T. Rey) PH-162 – The Novas – “Please Ask Her” / “Whenever You’re Ready” (Bob Calaboro) January 1967 CK-301 – A Pace of Change – “Sync Higher” / “Death Comes Sweetly”
The Hustlers were: Bob Leavitt guitar, Johnny McNicol guitar, Joe Romeo bass and Nick Fresca drums.
The Novas were: Bill Campbell vocals, Kenny Wynn lead guitar, Rick Calaboro guitar, Jim LeFevre bass, and John Bernard drums.
The Spidels featured in a Teen Canteen ad including the Outcasts, the Cave Dwellers, the Ones and the Trolls
I have a poor-quality photo of the Spidels from an ad for a show at the Teen Canteen at Wonderland Shopping City in December, 1965. The band is regularly cited as being from Sam Houston High. At least one member, Kurt Linhof attended Randolph High School.
Kurt Linhof supplied some information to the now-defunct website Mikes Band Archive:
The Spidels were a great Stones cover band, from late ’64 through ’66, the original lineup was: Sammy Vilnes – vocals, percussion, Jerry Osborn – lead guitar, Jesse Samudio – rhythm guitar, Gene Coleman – drums, Terry Patton, then Kurt Linhof – bass, Terry was the best bass player I ever heard in San Antonio, but left near the end of ’65, I think to make real money with a country band. I played with them from late ’65 through ’66. We had a fan club in Seguin with about 75 high school girl members, and played LOTS of gigs there. We always came in second to the Outcasts in Battles of the Bands, but were a good band, Sammy had the look (and the lips) to do an amazingly good Jagger. Jesse got drafted in ’66, Gene was still playing, in Dallas, a few years back, but the rest of their stories are a mystery to me.
The Spidels performed frequently including at the Teen Fair of Texas at Joe Freeman Coliseum. An August 31, 1967 article notes the Spidels would be playing at the Villita Assembly Hall, and that the band were students at San Antonio College.
Gregg Cheser took over on lead vocals from Sammy Vilnas at the start of 1967, and after personnel changes, the group became the Swiss Movement, retaining Gregg Cheser and Gene Coleman on drums.
As far as I know, the Spidels never recorded.
drum heads designed by Nancy Saffold, art teacher at Sam Houston High
If you have any photos or info on these or other local Texas bands of the ’60s, please comment below or contact me.
Sam Houston High band bust with the Spidels plus the Catalinas, the Ambassadors, the Inn Crowd, the Cave Dwellers, the Aggressors, the Great Unknowns, the Traydwins, the Forget-Me-Nots, and the Trochais, April 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.
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
