Pierce Jr. High School Halloween dance, Oct. 29, 1965, left to right: Bob Pelmear, Dale Kath, John Neff, Chris Chappell, and Frank Giglio. Photo courtesy of John Neff.
The Ascots hailed from the northern Detroit suburb of Pontiac and lasted from 1964 to 1967. The members were between 14 to 16 years old at the time of recording their only single. Frat Records/Watkins Music is the band’s own label-publishing arm. The 45-rpm/7” has no catalog number; the numbers noted on the label are the matrix codes noted in the run-outs and pressed at Columbia’s Detroit plant. Columbia pressed records for smaller labels, such as fellow Detroit imprint, Hideout. The single was recorded in August 1965, but released in April of 1966. Both sides of the single received airplay on Detroit’s WXYZ-FM and Ontario’s CKLW-AM. The band was managed by Jim Baranowsky, who also managed fellow Detroit teen-rockers, the Kwintels.
Chris Chappell — vocals John Neff — lead guitar Dale Kath — rhythm guitars Bob Pelmear — bass Frank Giglio —drums Jim Stiel — bass (replaced Pelmear; doesn’t appear on the single)
1966: left to right: John Neff, Dale Kath, Frank Giglio, Chris Chappell, and Bob Pelmear. Photo courtesy of John Neff.
John Neff and Bob Pelmear from the Ascots would later regroup, along with the brothers Joe and Paul Felice, to form the Tribe. Signed to Punch Andrews’s Hideout Productions (who oversaw Bob Seger’s career, as well as the early Detroit bands of the Eagles’ Glenn Frey), the Tribe issued Neff’s second-composed single, “Maple Street Park,” recorded at Ralph Terrana and Al Sherman’s Tera Shirma Studios. The Tribe soon changed their name to Pavement, prior to their 1968 break up.
Dale Kath formed the harder-edged Electric Blues Band while John Neff formed the Toad and the Mushroom; the latter recorded but never released an album with Elektra Records; acetates of those sessions aired on local Detroit radio. While EBB opened shows for the MC5 and Bob Seger, T & M opened the Detroit stops of Fleetwood Mac and the Spencer Davis Group.
John Neff’s later career featured award-winning partnerships with Walter Becker of Steely Dan and filmmaker David Lynch, as well as producing the Arnel Pineda-era catalog of Journey. In addition to appearing on 200-plus R&B and soul singles cut at Detroit’s United Sound in the early ’70s, he toured as a guitarist for country cross-over artist Hoyt Axton, proto-metalers Steppenwolf, and ’70s one-hit-wonder country rockers, Redeye.
White Heat 1972: left to right, back row: Ron Course, Charlie Verno, Dave Anderson. Front row: Johnny Heaton, Mike Sneed, and Dale Kath. Photo courtesy of Ron Course.
Dale Kath worked steadily on the Detroit scene into the early ’70s with the house bands Danny and the Zeltones and White Heat. White Heat’s Johnny Heaton was formerly with the West End. You can learn more about Danny and the Zeltones as part of our exploration of the career of the Coronados.
Pontiac Music and Sound’s Grand Opening, April 1973: “I did a lot of business at this store that started with Frank Merwin at the old Pontiac Percussion Center. My band, Toad and the Mushroom, recorded an album at the studio, then known as Pontiac Music and Sound, and mixed it at United Sound in Detroit.” — John Neff of the Ascots. Photo courtesy of Johhny Heaton.
There are no images or online audio available for the releases by the Tribe and the Toad and the Mushroom. The Pontiac Ascots are not be confused with the 29 other Ascots that released local and national singles in U.S. during the mid-to-late 1960s.
Sadly, we lost John Neff in December 2022. You can learn more about his successful, post-Detroit career with an extensive, January 2023 obituary by Clive Young at Mixonline.com. You can also learn more about his BlueBOB project with David Lynch at Wikipedia, and his film career in composition and sound at the IMDb.
The Sincerely Yours was a short-lived studio band hailing from Detroit comprised of Rick Stahl and Erik Dahlgren. The duo never played out live, as the project was intended to establish each as songwriters. As typical of the time—and with all of the artists on the Impact label—studio musicians and arrangers cut the tracks, with the writer-singers themselves regulated to only performing the vocals. By the time of the single’s release, Rick Stahl co-founded his next band, a harder-edged concern known as Wilson Mower Pursuit.
According to singer-guitarist Rick Stahl, the writer of the A-Side/”Plug Side,” the single reached #18 on the Detroit radio charts. The B-Side, “Little Girl,” features the lead vocals of Erik Dahlgren, with Rick Stahl on background vocals.
Issued in January 1967, the single was recorded on October 18, 1966, at Tera Shirma Studios founded by Ralph Terrana and Al Sherman; their chief engineer was Milan Bogdan. The studio is best known for its work with Issac Hayes. The label of issue, Impact Records, was founded by Harry Balk, known for his work with Edwin Starr, as well as co-producing the million-selling single “Runaway” by Del Shannon. (Web repositories place the release of Impact #1020 at either December 1966 and April 1967; we defer to Rick Stahl’s date-of-issue of January 1967. You’ll note the single was issued in both white and red labels; the white-labels were the promotional copies; consumer copies were issued in red.)
John Rhys, who produced both sides, went on to work as an engineer at the world famous Hollywood Sound Studios, which hosted the likes of Earth, Wind and Fire, Jackson Browne, and many others. His own band, John Rhys and the Lively Set, also record a single at Tera Shirma issued by Impact. The singles by Sincerely Yours and the Lively Set appear on The Best of Impact Records compilation issued on compact disc in 1997.
The Sincerely Yours featured:
Vocals — Rick Stahl Vocals — Erik Dahlgren Whistling — John Rhys (on “Shady Lane”) Bob Babbitt — bass Uriel Jones — drums Joe Hunter — piano Ron Koss — lead guitar Dennis Coffey — guitars
Babbitt, Jones and Hunter were known for their work with Motown’s the Funk Brothers. Ron Koss—known for his Motown session work—recorded two albums for Reprise with Savage Grace. He was a one-time member of Detroit’s the Lazy Eggs.
Dennis Coffey culminated his Funk Brothers-era session work on numerous Motown-cut R&B and soul recordings with the instrumental “Scorpio” by Dennis Coffey and the Detroit Guitar Band. Featuring ex-Funk Brother Bob Babbitt on bass, the Gold-selling single landed in the U.S. Top 10 in 1971.
Wilson Mower Pursuit, with Rick Stahl at left
Rick Stahl’s next band, Wilson Mower Pursuit, is remembered in Detroit for its many live appearances at the Grande Ballroom, as well as for their opening shows for the MC5, the Stooges, and Ted Nugent’s Amboy Dukes. After failed offers from Capitol and Kit Lambert’s Track Records, Wilson Mower Pursuit independently recorded their lone album, Last Night Out: Live at the Silverbell. The band’s final live show in the fall of 1968; it was captured-on-tape by Bill Julius, one of the band’s roadies (the album has since been reissued on compact disc). WMP’s Shawn Murphy joined the cast of Hair alongside Meatloaf, formerly with Detroit’s Popcorn Blizzard. Together, they formed the duo Stoney and Mealoaf in 1971.
Wilson Mower Pursuit, with Rick Stahl, center
Concentrating on a songwriting career and retiring from live performances, Rick Stahl returned to Detroit stages in 1981 with Pendragon. After releasing two, private-press 45s in 1983, Pendragon disbanded. A live version of one of their songs, “Queen of Air,” appears on the radio promotional album Live at Hart Plaza issued by WRIF radio. Rick Stahl then retired to Colorado Springs, where he produced music and designed album art for local indie artists.
You can enjoy more of the music of Rick Stahl with this You Tube playlist.
Today a new contributor, R.D Francis, profiles the Lazy Eggs in the first in a series of articles on Michigan bands.
The Lazy Eggs; image courtesy of Mike Dugo’s ’60s Garage Bands.com
Fronted by Tom Carson, the Lazy Eggs began in 1959 as TC and the Good Guys, with Gary Praeg, Sam Moceri, Clem Riccobono, Tom Pointe, and Bob Krause. Impressed with their writing and live performances, Carson’s band signed a management contract with Bob Swartz. While they never shared a stage, Swartz also managed the earliest beginnings of Bob Seger’s career with his band, the Last Heard. The Lazy Eggs’ first big bar gig was working as the houseband at the Red Carpet Lounge on Warren and Outer Drive in Detroit; they replaced Bob Seger and the Last Heard who moved onto the Roostertail. After the folding of Seger’s old label, Cameo-Parkway, he signed with Capitol Records in 1968; the Last Heard became known as the Bob Seger System.
As the Beatlesque the Lazy Eggs, the band released their first single, “I’m Gonna Love You b/w As Long as I Have You” (E-5060; both composed by Riccobono) for Detroit’s Enterprise Records in 1967 (not in 1965 as mistakenly web-cataloged).
Their second single, “I’m a Clown b/w Poor Boys Always Weep,” (E-5085; Praeg composed the A-Side; Moceri the B-Side) appeared shortly after. After the release of their singles, and the departure of guitarist Tom Pointe, Ron Koss—noted for touring and recording with Wilson Pickett, Merv Johnson, and Hank Ballard, as well as his Motown session work—joined, remaining with the band until their early 1969 demise (other sources place the end, later, at 1972).
“I’m a Clown b/w Poor Boys Always Weep” debuted on Ontario’s CKLW-AM “The Big 8” on March 6, 1967. Achieving a minor placing on Detroit’s “Keener 13” WKNR-AM’s Top 40 chart, the single peaked at #28 on CKLW-AM, and at # 15 and #11 on Flint, Michigan’s smaller WTAC 600 AM and Ann Arbor’s WPAG 1050 AM, respectively. The chart success led to WKHM/WKNR’s Robin Seymour (later of CKLW-AM) hosting the band’s performances of both sides during a March 11, 1967, episode of Swingin’ Time airing on CKLW-TV’s Channel 9.
Tom Carson continued to work on stage with Bob “Catfish” Hodge in the Catfish Blues Band. Carson wrote the lyrics for “Catfish” on Get Down, the band’s 1970 debut on Epic.
Gary Praeg also gigged on Detroit’s local stages as a member of the R&B flavored the Pacesetters (not to be confused with the West Coast soul group that cut “I’m Gonna Make It b/w What About Me, Baby” in 1968 on New Orleans’ Minit). Also featuring Ron Koss on lead guitar, along with drummer Vin Scalabrino, and future the Rockets’ bassist John Fraga, the Pacesetters—inspired by Major Lance’s chart-topping dance-craze hit, “The Monkey Time”—cut the one-off 45-rpm/7” “The Monkey Whip b/w Around the World” (CT-3476), released on the Detroit-based Correc-Tone on September 14, 1963. (Both sides were written by Motown writer-arranger, William Witherspoon.)
By 1970, Gary Praeg formed Katzenjammer with ex-Lazy Eggs’ bassist Angelo Palazzolo and drummer Chris Birg; they soon took over the houseband gig at Detroit’s Roostertail. Katzenjammer recorded no singles.
Tom Carson, along with former Lazy Eggs’ Clem Riccobono and Sam Moceri, founded Detroit’s Fiddlers Music in 1970. Dealing in instrument sales and rentals, as well as recording and releasing private press singles and albums, Fiddlers closed its doors in 1980. Gary Praeg founded Cloudborn Studios in the mid-’70s and recorded light-rock and jazz-influenced albums as Shivers and Dove Grey.
Clem Riccobono passed away in 2014; Sam Moceri and Tom Pointe in 2018.
TC and the Good Guys: Tom Carson — lead guitar, vocals Tom Pointe — rhythm guitar, vocals Clem Riccobono — bass, vocals Sam Moceri — drums
The Pacesetters: Ron Koss — lead guitar Gary Praeg — rhythm guitar John Fraga — bass guitar Vin Scalabrino — drums
The Lazy Eggs: Tom Carson — lead guitar, vocals Tom Pointe — rhythm guitar Sam Moceri — keyboards, vocals (rejoined in 1963) Clem Riccobono — bass, vocals Bob Krause — drums
Other Lazy Eggs members: Ron Koss — lead guitar (joined around 1963) Gary Praeg — rhythm guitar, vocals (joined around 1963) Angelo Palazzolo — bass Chris Birg — drums
Note: The single, “My Baby Don’t Care b/w The Hammer Song,” released in 1968 on the Sunspot label—that is oft-compilation and web-cataloged with the Detroit Eggs—is a different Lazy Eggs: one led by Sid Herring; he later formed Watchpocket, a Southern Rock concern with Steve Cropper. While not directly relevant to the Detroit Lazy Eggs-subject of this article: 45-rpm aficionados take note that the Sunspot-45 in question is actually a cover of the Gants’ “My Baby Don’t Care,” which was Sid Herring’s previous group. Another band covered at Garage Hangover, the Wanted & Co., also covered “My Baby Don’t Care” with a 1968 single. Terry Montgomery, the brother of the Gants’ bassist Vince Montgomery, was a member of the Sceptres.
You can enjoy all four sides — and two TV appearances — of the Lazy Eggs with this convenient, catch-all playlist on You Tube.
I found these promo sheets for Jerry Raye with Fenwyck on DeVille Records. Jerry Raye has a long and complex story. He started his career as Cal Raye, with about half a dozen singles on various labels. The fabulous “I Cry” on Runay RY-101/111 from 1966 would be reissued as Jerry Raye on DeVille.
The band Fenwyck came from Arcadia, California, just east of Pasadena. Members at one point included:
Pat Robinson – vocals and guitar Pat Maroshek – bass Keith Knighter – drums
The Monrovia CA Daily News-Post mentioned “Fenwyck”, “the Fenwyck Combo” and “Fenwyck’s Band” three times between August and December, 1965, including at the Citrus College Homecoming in November 1965.
The Los Angeles Times mentions Fenwyck playing a month-long battle of the bands at Pacific Ocean Park (POP), against the Grope, the Ives of Redwing, the Debris, the Tyfoo Five, Me and the Rest, the Quool “and hundreds of others”.
Fenwyck backed Jerry Raye on six songs released over four singles on DeVille, Challenge, and Progressive Sounds of America. Fenwyck are pictured on the album The Many Sides of Jerry Raye.
The back cover credits other musicians, including Jerry Cole, Ernie Freeman, and “the all-time personal friend from his hometown, Bristol, Rhode Island, Kenny Marshall”.
Considering “Mindrocker” is one of the iconic songs from this time period, I surprised I can’t find any detailed information on these sessions or Fenwyck.
In the 1970s, Pat Robinson formed Back Pocket with Patrick Maroshek, who also played with Hardchoir.
Patrick Robinson cut some solo 45s and worked with Gene Clark on Under The Silvery Moon and So Rebellious a Lover.
Besides Fenwyck, Raye also cut a couple DeVille singles with another band called the New Trend. Pete Apodeca wrote “Pray for Me” and also helped write “Children” / “Comin’ Back” for Pete Martin and the Features, also on DeVille. Tom Quilty wrote “I’ll Wait”.
A TV clip from circa 2011 has Cal crooning a couple numbers, mentioning he lived in Hollywood seven years, and that he appeared in a couple movies including Monte Walsh with Lee Marvin and Jack Palance.
Cal Raye advertising in the Tennessean, March 27, 1978
After leaving Los Angeles, Jerry Raye cut a few additional singles based in Nashville. He returned to the Cal Raye name with other records, “Sensuous Woman” on Laurie maybe his biggest seller.
Hit Talents letter from Charles W. Cabot accompanying Jerry Raye and Fenwyck promo sheets to Joe Dimaggio’s Restaurant in HoustonCal had one LP You Tell Such Lovely Lies that has the DeVille Records name on the front cover, but may not have been connected to the Hollywood company.
He seems to have ended up in Florida in the 2000s. The Cal Raye Connection Trio played at the Top O’ Mast in Fort Myers, and Cal Raye ran karaoke nights in Orlando.
The Hit Talents letter of August, 1969 to Sam Dimaggio in Houston seems to be looking for investment in return for pressing, distribution and/or promotion. This Joe Dimaggio’s Restaurant was not connected to the baseball player, by the way.
Charles W. Cabot is Chuck Cabot, whose true last name may have been Charles Cascoles. Chuck was a band leader and vocalist, owner of Hit Talents and either owner or A&R man of DeVille Records.
The Heathens came from Schenectady, NY and cut one of the greatest singles of the area “The Other Way Around” / “Problems” on Vibra L-104. The Heathens recorded at Vibra Sound Recording Studio, but the cavernous sound does not diminish the energy of the group.
Michael Dellario wrote both songs and sang lead vocals. The labels credit Hooker, Stahl, Petticrew, Sheer & Marquez for arrangement.
I had to look back to Steve Rosen’s article in Kicks #2 for a full listing of the band, as there was none on the internet. In the article, the members are listed as
Michael Dellerio – lead vocals Laddie Stahl – guitar Steve Pedicrue – guitar Larry Hooker – keyboards Paul Marques – bass Mike Sherer – drums
The article lists different last names for four members of the band than the record labels. I suspect the article has a number of typos. Going by the labels the lineup would be:
Michael Dellario – lead vocals Laddie Stahl – guitar Steve Petticrew – guitar Larry Hooker – keyboards Paul Marquez – bass Mike Sheer – drums
The article gives some interesting information about Vibra Sound studio:
The Heathens were the first to record at Schenectday’s first studio, Vibra Sound, which at the time was located in the home of proprietor Nate Schwartz. As Mike Dellario remembers it, conditions were primitive: “At the time, the studio was his garage and the engineering booth was his basement. I remember there was no eye contact at all. All the talking was through the microphone. Everything was done basically in just one shot, no concept of tracking.”
The Heathens broke up when the members graduated high school in June, 1967. The article states that Dellerio stuck it out with several subsequent bands and eventually cut some demos for Warner Brothers … He hopes to work with local bands on a producer/arranger level.
Mike Dellario changed his name to Michael Dellaira and became an orchestral composer.
The Sensations, including Larry Hooker with the tambourine, and George Supreneault in the white shirt at right.Walter Phelps (who was lead guitarist for the Ravens, also managed by Marty Wade) sent in this photo of the Sensations, which had some members who would go into the Heathens.
The Tremors “Wondering Why” on Catalina is one of the greatest garage records, but almost nothing was known about the band until recently, when Matt Aquiline found an article from the Urbana Daily Citizen on December 12, 1966, detailing their first recording session, which would produce the 45.
Members were:
Bill Cromwell – lead vocals and rhythm guitar Derry Cox – lead guitar Gene Monroe – bass Herald Barker – drums and organ Jim Cummins – organ and drums
Buckeye Beat has a photo and mentions that four members were from Urbana, Ohio and one from Springfield OH. They cut their single at the O’Brien Studio in Springfield, produced by musician and race car driver Ron Knull, released in December 1966 or January 1967 on Catalina 03/04.
The 45 was pressed by Rite Record Productions, 19469/70, account # 1801, both songs published by Ronnie K Music.
The writer credit on “Wondering Why” is Cummins – Barker. For some reason, many scans of this side on the internet have erased their names. I need to see a good scan of the B-side, the fine ballad “What Have I Done” to see if there are similar credits.
Paul Lunnon suggests Harold Barker was known as Hal Barker, he and Jim Cummins were long-time friends and musicians. Hal Barker mainly played drums, James Cummins organ and keyboards.
“The Tremors” dance band in the Daily-Times, New Philadelphia OH, March 31, 1967
The only other notice I can find is a mention of “The Tremors” Dance Band at the Quarter Miler Rod & Custom Show on April 1 & 2, 1967, at the National Guard Armory in New Philadelphia, Ohio, almost three hours’ drive east of Urbana.
Other singles on Catalina:
Catalina 1 – The Shacklefords – “The Wonderer” / “The Unloved” (1966, written by D. Shackleford, published by Lunk Music, Rite pressing 17743/4, account # 1801)
Catalina 335 – Ron Frasier and Consolidations – “Summer with You” / “Another Girl” (I need a scan of this single, it is a Rite pressing 18803/4, account # 297)
December’s Children at the Alexandria Roller Rink, November 22, 1967, Jerry Burke holding the mic, photo courtesy of Bud Becker
December’s Children came from Fredericksburg, Virginia, but were part of the same Washington, D.C. music scene as the Telstars. Bud Becker managed both bands, and the photos here come from his collection.
I don’t have the lineups down exactly but I believe members included:
Jerry Burke – lead vocals Clay Staples (J.C. Staples) – lead guitar Pete Kahn – rhythm guitar Steve Gilles Matt ”Red” Kilmer – organ Mike Martino – drums Mick Coiner (Mic Coiner) – lead vocals (replaced Jerry Burke)
Dick Alfers was a roadie for the band.
December’s Children at the Alexandria Roller Rink, Jerry Burke with tambourine, November 22, 1967
Ad for the December’s Children supporting the Turtles at the Alexandria Roller Rink, November 22, 1967December’s Children biggest show may have been supporting the Turtles on November 22, 1967 at the Alexandria Roller Rink with Bobby Howard and the Sweet, the Plum Beach Incident, the Hounds of Baskerville, the Fantastic Plastic, the Seeds of Life, the Rokz, the Kings Row, the Gnu Generation, and the Yorkshires. WPGC “Good Guy” DJ Jack Alix presented the show.
Also in 1967, the group made their only single, featuring a cover of Love’s “Signed D.C.” backed with an original “So Long Ago” by Burke, Gilles, and Staples.
On the record the group is listed as December’s Children, Ltd., released on Domestic Sound Records DS-123, with an address at 133 South Washington Street, Falls Church, VA. M.A. Becker and December’s Children and DSP Music published “So Long Ago”.
After Jerry Burke left for Vietnam in 1968, Mic Coiner took over on lead vocals.
I don’t know if the band’s members continued in music. Jerry Burke passed away in 2007.
Bud Becker’s silent footage of December’s Children at a VFW hall with Jerry Burke on lead vocals, followed by Jerry Burke’s haircut shortly before going into the Marines, ending with a short clip at a Hullabaloo with Mic Coiner on vocals.
Thank you to Bud Becker and Paul Burke for their help with this article.
December’s Children at the Alexandria Roller Rink, November 22, 1967
notice in the Courier-News, Thu, Sep 24, 1964Frank Jones was born in Plainfield, New Jersey and joined the Fabulous Strings at age 15. Frank wrote to me:
My band the Fabulous Strings won a talent show in Newark NJ and recorded two demos at Hertz Studio 38 Halsey Street, Newark, New Jersey. The tunes were “How High the Moon”, “Slow Hold It”, “Movin’ Up” and “Vibrating”. I would like to listen to them again.
Charlie Morton – lead guitar C.B. Hill – rhythm guitar R.D. Cunningham – bass guitar Frank Jones – drums
The Bridgewater Courier-News announced a benefit concert at Plainfield High School on Saturday, September 26, 1964 with 20 acts including Sammy and the Del Larks, the Conchords, Jimmy Gator, Mersey Johnson, the Plazas, Paradons, Jo Jo and the Admirers, the Tri Dells, Harry Ring and the Fabulous Strings, Parliaments and Parlets.
If anyone comes across any Hertz Recording Studio lacquer demos of the Fabulous Strings, please contact me.
Frank Jones has kept active in music, and can be found on facebook.
Morning After released one record in 1970, “I Don’t Need You Today” / “Dream” on Third Wave 0027.
Members were:
Joe Kearney – lead guitar and vocals Bruce Talbott – bass guitar and vocals Jim Tate – drums and vocals
Although all three have song writing credit on the labels, copyright registration from March, 1970 shows Bruce E. Talbott wrote words and music to “I Don’t Need You Today”, and Talbott and Joseph Kearney co-wrote “Dream”. Dyad Music published the songs, but I don’t see them in BMI’s database.
According to an article in the Kingston Daily Freeman from March 7, 1970, the group met in New Paltz but were based in Kingston, NY. The group were in their early 20s, so they may have had previous band experience.
For Them, Rock’s the Mother Tongue
Morning After is not much interested in talking up a revolution. Its three clean-cut, suede-jacketed-and-vested members prefer to sing songs that are rhythmic with vocal harmony rather than rife with social movement … forsaking screaming lyrics and fire-eating antics for music with a straight-ahead sound.
Relying on the powerful, bluesy, lean sounds of Wallkill drummer Jim Tate, Kingston lead guitarist Joe Kearney, and bass guitarist Bruce Talbott of Walden … Their impeccable instrumental style and express-track delivery has brought them bookings at The Creamery in West Park, the Thunderbird in Saugerties, the Blue Eagle in New Paltz, and the Trade Wind and Coral Reef in Newburgh …
Talbott … tied in with the other two members of the group during a jam session while he was a student at New Paltz State University College.
The new disc, produced by Lance Naylor for Third Wave Records, was recorded at Kennett Sound Studios in Kinderhook: is currently available at Caldor’s Abrams and Britts.
(T.G.)
I don’t know if Talbott, Kearney or Tate continued in music after Morning After. Their record is one of the few singles from Kennett Sound studio that I don’t have in my collection.
Lance Naylor had a previous mention in the Daily Freeman, from March 25, 1969:
Theft of musical instruments valued at $1,000 from the Pleasure Yacht Tavern here, was under investigation …
Lance Naylor … manager of The Spurs, a musical group, reported the theft on Monday to authorities. He said the missing articles included three amplifiers and other musical equipment.
The Mystics, from left: Dan Searcy, Ben Willis, Donnie Fields, John Schuessler and Johnny Teague at an “infamous gig” at the Woman’s Club, 1965
The Mystics came from Tallahassee, Florida, and in late 1964 recorded “Snoopy”, a crude version of the Vibrations “My Girl Sloopy”.
Members of the band were:
Johnny Teague – guitar and vocals John Schuessler – guitar and vocals Ben Willis – guitar and vocals Dan Searcy – bass and vocals Donnie Fields – drums
Mark Hinson wrote a profile of the group’s upcoming reunion in the Tallahassee Democrat on April 3, 1998, featuring the photo at top, and mentioning that the Mystics cut “Snoopy” at a small studio on Adams Street.
Teen Beat Mayhem states “consensus opinion deems the McCoys patterned the arrangement of “Snoopy” for their own remake of ‘Hang On Sloopy.'”
The article quotes John Schuessler about the McCoys version:
It was the same producer and he used our exact same arrangement. But he left town with our contract, which was written on the back of an FSU speeding ticket, and there wasn’t much we could do.
Released on Black Cat 501, “Sloopy” is credited to C. Jim, aka Curley Jim (real name James Morrison), who did not write the song, but was associated with Marve-N-Harve Music Pub. out of Miami. The flip was a version of “Oo Poo Pah Doo”.
Somehow the single also saw release in February 1965 on Future Talent 13893/4, “A Rose-Givens-Mason Production” from tiny Waverly, Virginia, and also with Marve-N-Harve Publishing.
I don’t know who the Mystics producer was, but “My Girl Sloopy” / “Hang On Sloopy” was written by Bert Berns (aka Bert Russell) and Wesley Farrell, and produced by Feldman, Goldstein, Gottehrer (the trio behind the Strangeloves singles), so the connection is unclear.
In December 1965, the group released another single as the Many Others on Orchid BC-504. “(Tell Me Why) I’m Alone” is a great original by Johnny Teague. The flip is a version of “Can I Get a Witness”, which according to the article was “a fluke No. 1 hit in Japan”. However, I can find no release of this single in Japan.
Orchid and Black Orchid Publishing were based in Miami, like Black Cat and Marve’n’Harve Pub. Orchid singles from two other west Florida bands. From Marianna there was the Bangs “Then I’ll Cry” / “Tab Top” in 1965. In 1966 Orchid released the Pagans “Your Going To Lose That Girl” / “Strawman” (written by Frank Chandler), recorded live at Rutherford High School in Panama City.
Donnie Fields died in a car crash circa 1988, so when the Mystics reunited in 1998, Richard Bevis played drums. Another reunion in 2000 included David Cox on keyboards and vocals, and has been released on CD as “Live and Kickin'”, but I haven’t heard it.
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
The Ascots hailed from the northern Detroit suburb of Pontiac and lasted from 1964 to 1967. The members were between 14 to 16 years old at the time of recording their only single. Frat Records/Watkins Music is the band’s own label-publishing arm. The 45-rpm/7” has no catalog number; the numbers noted on the label are the matrix codes noted in the run-outs and pressed at Columbia’s Detroit plant. Columbia pressed records for smaller labels, such as fellow Detroit imprint, Hideout. The single was recorded in August 1965, but released in 
