Category Archives: US

Categories: Black Light, Louisiana, New Orleans

The Local Traffic “Time Gone to Waste” on Black Light

April 23, 2011 Chris Bishop 17 Comments

The Local Trafffic, circa 1967, from left: Mick Hassell, Buddy Bullard, Stormy Folse, Steve Morant and Mike Cottage — The Local Traffic, circa 1967
From left: Mick Hassell, Buddy Bullard, Stormy Folse, Steve Morant and Mike Cottage

Mickey Hassell singing with the Local Traffic, 1967

The Local Traffic’s incredible single on the Black Light label has remained almost unknown until recently and never reissued or compiled since its original release in June, 1968. “Time Gone to Waste” is a wild original sure to take its rightful place at the top of ’60s psychedelia. I love how it ends with that roll on the tom-toms. The B-side is “Second Century”, slow and stately but also excellent. Two copies of the 45 attained huge sums at auction in 2009 and 2010; there’s no doubting the rarity or musical quality of this 45.

Myles Hassell, then known as Mickey Hassell, sent in the photos and memorabilia seen here and wrote this history about the group:

In the later part of 1965, The Local Traffic came into being in the living room of Mickey Hassell’s house on Citrus Road in River Ridge; a sleepy little suburb located about 7 miles west of New Orleans, in between Harahan and Little Farms. The members of the band included Mickey Hassell (lead vocals and guitar), Stormy Folse (guitar, organ, vocals, and saxophone), Mike Cottage (bass guitar and vocals), Steve Morant (lead guitar and vocals), and Buddy Bullard (drums). The band’s manager, Skip Robinson, also played tambourine during live performances.

Our band existed outside the mainstream of the traditional music genres one associates with New Orleans (jazz, R&B, funk, etc.). Instead, we were strongly influenced by the British Invasion bands and the psychedelic music scene. If it was far-out, we played it.

When we began playing music together, we were all in high school (ranging in age from 14-16). From the start, we did not have an easy go of it. Our musical instruments and sound system were second tier: a hodgepodge gathered from pawnshops, family members, and wages earned by working after school. We had to make do with what we had – pushing our instruments and equipment to the limit when we performed. Because we were all underage, many of the local music venues such as bars, nightclubs, and other places where liquor was served were off limits to us; and other doors were slammed in our faces because we were not members of the local union of musicians. Furthermore, nobody knew us; we didn’t even have a booking agent. But we were young, and nothing was going to stop us. Through the efforts of the band’s members and word of mouth, we started to find gigs at local CYO Dances in Harahan, Little Farms, Metairie, and Kenner, along with some frat parties and block parties—anywhere we could find an audience for our music. We were beginning to build a reputation for being a band of versatile musicians that worked up a sweat and put on a good show every time we performed.

Many of the bands in New Orleans frequented Tippet’s Music store in Orleans Parish. Being kids from the suburbs, however, The Local Traffic shopped at Werlein’s Music at Lakeside Shopping Center in Metairie, at that time an open-air facility. It was there that we met Andy Gallien, who was working in Werlein’s music department. Sometime during late 1966 to early 1967, Andy and Mike (our bass player) negotiated a way for us to lease some first-rate equipment—Fender and Gretsch guitars, Ludwig drums and Zildjian cymbals, Fender Dual-Showman and Fender Twin amplifiers, Farfisa keyboards, Shure microphones, a solid sound system, and all the electronics needed to make things hum. This equipment leveled the playing field for The Local Traffic, thus enabling us to stand toe-to-toe with well-known bands from New Orleans, Baton Rouge, and the Gulf South.

From 1967 on, The Local Traffic developed a reputation as a hard-driving force in the local music scene. This led to better-paying gigs at psychedelic teen clubs, such as The Purple Pickle in Slidell and The Hullabaloo Club in Metairie, along with high school dances and private parties. During this time, Bill Strong, a producer and promoter in the music business, approached us at one of our gigs, saying that he liked our music. Ultimately, we signed a recording contract with his company, Black Light Productions. At that time, we were still a cover band, and while we had dabbled in songwriting, we had neither practiced nor performed any original music. Therefore, we had some work to do for our upcoming recording session at the now legendary Cosimo Matassa’s studio on Camp Street in New Orleans.

Mickey wrote the chord progression, words, and melody for “Time Gone to Waste,” which was to be the A-side for our 45-rpm record. During this time, he was living in an efficiency apartment in the French Quarter, scratching out a living playing music, working as a roadie for a couple of bands from the area, and working at the PDQ Car Wash on Metairie Road. As the lyrics below reveal, the song’s imagery came from his mind and soul, his apartment, and life on the streets outside:

Before the flashing dawn, I put my new face on
And I take the time to pull out my mind and then
I can see once more the same mind I had before
In my single window pane with a crystal picture frame
Love lights the night before, it makes me think of you once more
And it leaves me senseless with a time relentless
I pick my eyes up off the floor, I throw them out the open door
And I laugh out crying instead of lying, I’ve got no use for lying
I sing out loudly mine, inside the flashing sign
It’s a neon stillness like a creeping illness
I see the carpets crawl up and down the patterned wall
And they leave me a taste of the time gone to waste

Buddy’s driving drumbeat and Mike’s punching bass line created a rhythm section with the power of a locomotive roaring at full throttle. The guitar work of Stormy and Steve slashed, soared, and intertwined with the rhythm section. Mickey’s vocalization was defiant, yet laden with emotion. As recorded, “Time Gone to Waste” was a kick-ass song—combining poetry with rock-and-roll and psychedelics, and capturing the energy, creativity, and musicianship of The Local Traffic.

Mike created an elegant bass line, then Mickey created the chords, lyrics, and melody for a song titled, “Second Century,” which became the B-side for our 45-rpm record. The song was about a woman who kept others at a distance via mind-games and who tried in vain to ignore the passing of time and her loneliness. The song’s chord progression was tempered by Buddy’s skillful drum work and accentuated by Stormy’s sensitive touch on the electric organ. Steve’s guitar solo was adept, and his harmonic coda ushered the song to a climactic tonal flourish. Mickey’s vocalization was melancholy and the lyrics were poignant:

Second century woman, Second century child
Talk with your mask and not your mind
Singing songs stolen out of time
I feel the thunder, of the senseless words
Open to those who sing your song
Not trying to but aging along
I’ve been playing your lovely games
And I’m tired of feeling just the same
I’m cracked just like a broken dream
That stopped for a while just to scream
Second century woman, Second century child
You can remain with yourself
You can remain with yourself in falling
Second century woman, with a hand of brass
Reaching out to turn to gold
In a world that makes you grow so old
You’ve gone and you’ve left it
How hard to forget where you’re at

A limited number of 45-rpm discs were pressed on the Black Light label (the label is florescent and glows if you hold it under a black light), and “Time Gone to Waste” was introduced to the New Orleans market in 1968. The song got some airtime on local radio stations WNOE and WTIX, both during the day and on the underground broadcasts at night. Through local record stores, we sold some 45s to our fans, and the radio airtime helped us land some good gigs in the area. During this time, Mickey was becoming prolific as a writer of songs and lyrics, so we laid some more tracks at Cosimo’s recording studio; also teaming up with another local songwriter. None of the tracks made it outside of the four walls of the studio.

In early 1969, The Local Traffic played its last gig at a country club (now gone) near the current site of the Greek Orthodox Church on Bayou St. John, just off Robert E. Lee Boulevard in the Lakeview section of Orleans Parish. After our work was done, we sat on the bank of the bayou, smoking, drinking, and saying our goodbyes. Perhaps it was the strain of balancing divergent interests in music; maybe we were frustrated by the outcome of our efforts in the recording studio; perhaps we were exhausted from busting our chops in the music business in the Crescent City; or maybe it was just time to move on. Whatever the reason may have been, we parted company that night and went our separate ways.

Q. It’s amazing you were able to come up with a song as strong as “Time Gone to Waste” considering the band didn’t do originals in their live shows yet. Did you ever play that song live?

Thank you for your compliment about “Time Gone to Waste.” It was one of the first songs I had ever written. After it was released in New Orleans, we played “Time Gone to Waste” and “Second Century” whenever we performed.

Q. Were there other groups on the local scene that your band was either friends with or saw as competition?

We competed for jobs with bands from out of town, such as The Basement Wall and the Greek Fountains. There was plenty of local competition from groups such as The Palace Guards, Yesterday’s Children, The Clinging Vines, The Gunga Dyns, The Souls of the Slain, The Better Half Dozen, The Glory Rhodes, and Leaves of Grass and more. When I first set foot on the campus of the University of New Orleans, it was like “old home week,” because a lot of the local musicians were going to college there. We had all heard of each other, and got a chance to get to know each other, at that time. That’s where I met and became friends with Rickey Moore, drummer from The Better Half. I also got to know Frank Bua (drummer w/The Palace Guards and later with The Radiators), Camile Baudoin (later with the Radiators), Richard Morant (lead guitar with Yesterday’s Children; his brother, Steve, played lead guitar in the Local Traffic), Quint Davis (tambourine with Yesterday’s Children; started the Jazz Fest in NOLA). During this time, I did roadie work with The Palace Guards and Yesterday’s Children (when the Local Traffic was not working), so I knew the members of those groups pretty well.

Q. Were you in groups before or after Local Traffic?

Before the Local Traffic, I did not play music with anyone else, practicing guitar and singing by myself. After the Local Traffic, I was active as an “outsider” musician in New Orleans, making some studio recordings of songs I had written and trying to form some bands. Much of this activity was not noteworthy, but there are some things of substance. . . . In the late 60s – early 70s, I did some more recording work with Stormy Folse and Bill Strong at Cosimo’s, Butch Elliot (son of Ken Elliot aka Jack the Cat on the radio in NOLA) at his personal studio, and another studio, can’t remember the name, on Tulane Avenue (during these sessions, Rickey Moore, former drummer with the Zoofs and The Better Half was on drums). I co-wrote a few songs with some other musicians; I can only remember Eddie Volker (later with the Radiators). However, no records were released from these sessions.

At several gigs in the early 1970s, I sang lead in a band featuring Emile Guest (lead guitarist with Roger and the Gypsies), short-lived and I can’t recall the name of the group. I sang and played acoustic guitar at several local pubs, such as The Rear End in Lakeview. In 1973 – 1975, I sang lead and shared lead guitar duties with Stormy Folse (from the Local Traffic), in a cover band named Wet Leggs. From 1976 – 1978, I sang lead and played guitar in another cover band–Straight Whiskey–and Stormy played bass guitar. I hung up my rock-n-roll shoes in the later part of 1978, after earning an MA in English Literature and getting a job selling office machines. In 1987, I went back to college to earn an MBA, and taught in the English Department at the University of New Orleans. During that time, I picked up an acoustic guitar, writing several songs, singing and playing in private only for about six months. Since that time, I have not played music or written any songs.

Myles (Mickey) Hassell, April 2011

Thank you to Myles for the history and images, and also for kindly answering my questions.

Update, July 2012

Mike Cottage wrote to me:

I went on, moved to California in ’73 and was a founding member of Sneaker produced by Jeff “Skunk” Baxter. We had moderate success with a few hit songs, “More Than Just the Two of Us” and “Don’t Let Me In” (written by Walter Becker and Donald Fagan). You can view our web site for more songs and info: sneakersongs.com. Sneaker has a number of videos on you tube if you search for Sneaker the band or type the song title “More Than Just the Two of Us”. And of course most of Sneaker’s songs are available on itunes.

Update, March 2016

Myles Hassell (Mickey) passed away on Wednesday, March 2, 2016 at the age of 66. Interviewing Myles for this article has been one of the highlights of my work on this website over the last 11 years.

Mike Cottage adds, “all of his band mates from the 60’s and the many friends he made through his journey will always be richer for having known him. Though he will always be with us, those who played music with Mickey will forever share in a special brotherhood and miss his creativity and brilliance. RIP Mickey. Thank you again for leading the way.”

At the Hullabaloo on Airline Highway, 1967 Note other shows by the Gaunga Dyns and the Leaves of Grass — At the Hullabaloo on Airline Highway, 1967
Note other shows by the Gaunga Dyns and the Leaves of Grass

Categories: Capri, Houston, Texas, US

The Sands “Open Your Eyes” on Capri

April 20, 2011 Chris Bishop 5 Comments

The Sands in the Houston Post, January 9, 1966

Andrew Brown suggested I cover the Sands, a Houston group who cut the legendary Seeds sound-alike “Open Your Eyes” on the Capri label in 1966.

A Houston Post article from January, 1966, shows the band at what must have been one of the oddest gigs ever, playing for patrons of the Look Plaza Barber Shop in the Spring Branch neighborhood on the west side of Houston.

Members were Tom Smith (drums and vocals), Kevin Pitts (bass), Eddie Everett (guitar), Charlie Snell (guitar) and Keith Church (vocals).

The article also lists the barbers: Herb Barnum, Montaugn Wise and shop manager Bill Cox.

The Sands recorded their only 45 at Huey Meaux’s Pasadena studio on October 11, 1966, produced by Joe Falcone. The A-side, “Can’t Find a Way” was written by Tom Smith. The band is known today for the flip, “Open Your Eyes”, a rewrite of “Pushin’ Too Hard” credited to Eddie Everett. The band gives a spirited performance, with off-the-wall fuzz lead, frantic organ, snappy drumming and snotty lead vocals.

For whatever reason, this is one of the rarest of Texas garage singles.

Eddie Everett wrote to me:

Those were the days, my first real band! One of the barbers in the shop (keyboard player) replaced the rhythm guitar, Kevin Pitts. Shortly after that we recorded our first 45 rpm that put us on the map!
We did concerts with Fever Tree, Moving Sidewalks, 13th Floor Elevators. Down the road, I moved to Florida and played with the Night Crawlers (Little Black Egg) for two years.

Thank you to Andrew Brown for the clippings and 45 scans.

Categories: Julian, US, Washington, Wenatchee

The Chargers

April 15, 2011 Chris Bishop 25 Comments

The Chargers came from the central Washington state town of Wenatchee, like Billy and the Kids. Steve Barone was 16 years old when he played lead guitar on the Chargers single on Julian Records, “Taxi” / “I’m So Alone”, released in October 1966. Steve plays some great lead on Steve Nelsen’s original “Taxi” with its super-cool lyrics. The girl’s going to leave so he might as well just call her a taxi and get it over with. “I’m So Alone” is one of the better downer songs of the ’60s, with a neat sliding guitar riff towards the end of the break.

About a year after the single, they recorded three more songs in Spokane that have so far been unreleased. I’ve only heard short excerpts of each. “Need Your Love” sounds a lot like “Taxman” but has its own charms. “You Got a Hold” has a great distorted guitar opening. “In the News” might be my favorite, with it’s heavy tom-tom opening, fine organ playing and interesting rhythm changes. All three of these deserve getting a proper release on CD or vinyl, I hope it happens soon.

Steve Barone wrote to me in detail about the band:

I am the lead guitarist and vocalist for the Chargers. I was born in 1951, and my earliest memories are of watching my dad play with his bands, and by five years old was playing his instrument. In junior high, I had a little group called The Hustlers. One guitar, one drummer, and five singers! We had the chicks screaming when we played Beatles songs at assemblies and dances … how naive they were.
Then I met Ron Kinscherf, Curt Dorey, Tony Morgan and Steve Nelsen. They had a band The Undertakers with Larry Youngblood (passed on) singing, and they were very good; the Hustlers didn’t have a bass man. We did a “battle of the bands” … they even had a coffin to haul equipment in! I was so impressed with them, and they with me, that I quit the Hustlers.
Early lineup of the Chargers, March 1966
L-R, standing: Don Sandstrom, Larry Roller and Curt Dorey; kneeling Tony Morgan and Steve Barone
Steve and Ron were part of the Undertakers but Tony, Larry, and Curt formed the three-piece Chargers, then I joined. Larry Roller was lead singer in the beginning but he liked ripping off stuff, like other people’s cars, so we axed him. There was also Don Sandstrom, who sang as well.
Don and Larry are both [in the talent show clipping]. That is because Don had just joined the group. He hadn’t been at the talent show but joined before the picture so there he is. Then Ron replaced Larry, then Steve Nelsen joined later on keys.
We actually let Don into the band because he was the only one with a driver’s license and would drive us all around in his mom’s Corvair … and usually with one or two of us in the trunk as that was a very small car! Especially on drive-in nights! One other friend, Phil Dorschak, had a ’58 Chevy with a tri-power 348 and a big trunk. We always gave him a few beers if he would help haul the equipment for us. I don’t know where he is and haven’t seen him since 1968.
Don quit after a couple years, leaving us a five-piece for the duration. Me on my 1963 Tiesco art-deco Japanese guitar and Silvertone twin-twelve amp, playing lead and singing, Ron on his red Lyle guitar and Paul McCartney vocal stylings, Steve Nelsen on the Farfisa keyboard, Curt Dorey on Fender Mustang bass, and Tony Morgan on drums. Toward the end of the band Tony quit, and was replaced by Jerry Riley on drums. He was the absolute best drummer ever.
We played all over, every high and junior high school dance we could handle, plus Yakima, Bridgeport, Spokane, all over except for the Seattle area. We weren’t ready for that yet.
Steve Nelsen and Ron Kinscherf lived on the East side. Me, Tony, Jerry and Curt lived on the West side. When we played at either high school, or junior high, we had fans in either case. The town didn’t matter much to us, but Billy & the Kids were all living with their folks in East Wenatchee so they had a “town loyalty”, as it were. Billy & the Kids didn’t go over that well at Wenatchee High … we ruled there, and played for nearly every dance from 1966-68. Especially after the record came out. But on the East side, Billy & the Kids had the edge. We always enjoyed the competitive nature of it, but were all brothers and respected each other a lot. I do give them credit, they took it a lot further than I ever did, and now Bill and Bob Burns have a group called “The Called”! Christian stuff of course.
The Chargers won a talent show in 1966, first prize being recording time at Julian records. We were excited, to say the least. We packed up the trailer and headed for Spokane one Friday afternoon. We went to some restaurant for dinner and cruised around town for a while, trailer proudly in tow. Nobody knew who we were then … but that was about to change. After settling in at a motel; the band in one room and the manager and his wife in another, we commenced to “hootenanny” and light farts all night long. After they shut the power off, we continued to sing and light farts in the dark!
In the morning, all fucked up from not sleeping, we headed to the other side of town, and pulled in to an unassuming, plain-looking building. Inside were many rooms and corridors, all full of amps, wires, speakers, etc. I was in heaven. We proceeded to lay down all the instruments at once, and got the songs down fast, albeit with a couple small mistakes that we left in just because. Then we went into a booth and did the vocals. All this recorded on reel-to-reel, very primitive even then.
When that hit the street, and went to #3 on the local survey the first week, we were gods. How overwhelming it is to hear your songs on the radio! We played at virtually all the big dances after the record came out.

The Chargers: Curt Dorey, Steve Nelsen and Tony Morgan; seated: Steve Barone and Ron Kinscherf — Standing, from left: Curt Dorey, Steve Nelsen and Tony Morgan; seated: Steve Barone and Ron Kinscherf
Photo courtesy Steve Barone

I have one old picture of the band in our suits, in a frame. We took many poses, in the house, in a tree, on another part of the roof, and gathered around our trailer that had the logo and a crazy horse on the sides. I don’t know where these photos ended up. It must have cost a lot; it was a professional photographer, and we took a LOT of shots.
Q. I notice Ron looks to be left handed and playing with a right-handed guitar turned upside down. Is he really left handed, or was this just for the photo?
Ron was intrigued with Hendrix but only for the photo was the guitar reversed unfortunately. That would have been something though! Sorta like I painted the “Vox” logo on my Silvertone/Tiesco guitar. Nobody ever knew but the band.
The story of “I’m So Alone” is a book in itself. I met Carl Hunt in 1963, at Pioneer Junior High. My neighbor, Jerry Highfill and I played guitars together a lot, and thus entered our first talent show playing a couple Ventures songs, and a tune called “Bulldog”. We caused pandemonium; nobody suspected I could really play and was actually “cool”. I looked like Fearless Fly; skinny, horn-rimmed glasses and clothes my mom picked out. But when Jerry and I won that first show, I suddenly had a lot more friends. Carl was way cool, smoking on the corner in his leather jacket, just being next to Carl made you cool.
He had one of those Silvertone guitars with the amp in the case. I never would have dreamed it, but Carl wanted to learn how to play, and all through junior high he was my body guard more or less, in exchange for guitar lessons. I spent the weekend at Carl’s often; his mom always fed us and let us smoke in his room, and occasionally we would smuggle in a few beers too. We had a few tunes down, and were joined by a drummer, Jerry Riley, in 1964. One night at Carl’s house, he said he had a new song, kind of a ballad. Then he started playing the two opening chords to “I’m So Alone” and started the plaintive vocal. I knew he was on to something, and before too long we sounded like the Everly Brothers on the chorus. But then I got asked to join the Chargers, formerly the Undertakers, and I spent a lot less time with Carl. Jerry joined the Chargers as well.
When the Chargers decided to record our first single, we already had “Taxi” on our playlist. But we needed a “B” side. So I remembered Carl’s song. I played it, and everybody liked it right away … and we ended up recording it. I never gave Carl credit for it though, and always felt a little bad. I didn’t see him much so I never knew if he was upset about me claiming his song. I did refine the lyrics but the music is all Carl.
Around 1976 I spoke with a man who was a former detective, and he said Carl had committed suicide that summer. I had not seen him since 1968.
You can sure tell in “I’m So Alone” that there is a Farfisa screeching away (man I hated that sound). We did an outdoor gig and it got so hot it just freaked out. The notes would go up and down and it finally pooped clear out. We got it fixed and jammed on. Later with Double Image, Steve got a B-3.
Ron Kinscherf, Steve Nelsen and I were always coming up with ideas for songs. Some were ok, most sucked, a lot of them were rip-offs of the Beatles or the Wailers songs, and all were eventually forgotten but for the five recordings. I spent a lot of time at Ron’s house in those days, and we would jam for hours on end.
We released the record, and in early 1968 went back, older and wiser, doing “You Gotta Hold”, “News in General” and “I Need Your Love”. With the three tunes in the can, the band split up before it was pressed. Only the masters and copies remain. By some miracle, of course, as Ron ended up with the masters at first. His stepdad was the manager. He ended up with at least 300 copies of unsold records, and used them for skeet. The rest of us were quite pissed when we found out where all the records went, but it was too late. I do have a copy, one I gave to my mom, and she gave it back to me just before she died. So it is priceless to me now and never sees daylight.
Eagles Hall, 1967 poster
One summer day, Ron and I went to a department store with a friend named Dale. He was, unbeknownst to us, a compulsive kleptomaniac. He would fill his trenchcoat with stuff and go unload it in the car while we were looking around the store. When we discovered how easy it was to rip stuff off, I tried to hork Jimi Hendrix’s first album and got caught by store security. After the cops came, and my folks came to get me from them, my guitar and amp were locked in a closet and I was forbidden to play music until I graduated the following year. This put an end to my membership in the band. They tried to carry on with replacements but it just didn’t work.
After I actually showed some remorse, worked hard at school and for the first time ever, made the honor roll, I got my guitar back. Then I hooked up with Dick and Jerry Riley, Bob Herron and Rick Troppman and formed “Subtle Difference”. We were cutting-edge, with a keyboard (Hammond B-3 and Leslie), two hot guitars and Jerry was one hell of a drummer. Rick was, and is, one of the best bassists I ever knew. We did Vanilla Fudge and all the hot psychedelic stuff.
Too bad it was the time of drugs, partying, Viet Nam and thoughts of marriage … all this combined to send all five of us in different directions. By 1969, the smoldering remains of the Chargers was officially put to rest.
Ron moved to Tacoma to play new wave, Tony and I joined the Army, Steve Nelsen joined “Double Image” with the Burns Brothers in Seattle, Curt Dorey went to work at Alcoa on the night shift. Jerry Riley overdosed on 96% pure heroin (from VietNam) in 1971. RIP old pal.
I moved to Tacoma in 1979, and played with Ron in “Kicker”, a three-guitar and keyboard band that specialized in AC/DC, Molly Hatchet, Led Zeppelin and Lynyrd Skynyrd. I also did time with Wakefield Manor and No Cheese Please … check them out on pnwbands.com. I left Tacoma in 1982 and never looked back.
Ron and I are the only ones still performing. I am in “Trio Deluxe + 1”, an oldies band ( the +1 is a sax player), “the Steamers” (check ’em out at lakeboys.com) and the church worship team. So I am heavily involved but in Wenatchee, also heavily poor. This town does not have a very supportive music scene, I have to spread it thin to stay working. But I will keep playin’ that rock and roll … until I die.
If there’s one thing I pray to never lose, it is my memory of those crazy times with that first “successful” band. This past October, on the occasion of Curt’s 60th birthday, we all got together, even some of our old “groupies” were there. I brought my Strat and Ron brought his bass and another guitar. We howled at the moon from 3pm until after midnight, and would not have stopped then except the neighbors complained. I still can’t believe we remembered all those old songs. But we are NOT going to get the band back together!
Steve T. Barone aka Bonehead

Thanks to Doug Shirk for his help in making this article possible.

The Chargers: Tony Morgan, Ron Kinscherf, Steve Nelsen, Steve Barone, and Curt Dorey — clockwise from left: Tony Morgan, Ron Kinscherf, Steve Nelsen, Steve Barone, and Curt Dorey (holding Ron’s guitar)
“My guitar is still sunburst … sort of. When I bought this ugly guitar, it had long cutaways which I took off with a hacksaw and made it a teardrop. The edges of the cuts still show raw wood in the pic. Then I painted it Krylon sea blue and hand-painted psychedelic stuff, along with boobs and snatches, all over it. I still have this guitar!”
Photo from the cover of Teenage Shutdown “I’m Down Today”

Categories: California, Hollywood, Los Angeles, US

The Scorpio Tube

April 12, 2011 Chris Bishop 8 Comments

Dan Nielsén, who had conducted the interview with John Ford of the Index published here back in February, asked me to dig into the story of the Scorpio Tube, the group behind the incredible B-side “Yellow Listen”.

The lead guitar track dominates the sound with a piercing distortion and echo that breaks up with stroboscopic effect. You can hardly hear the piano in the background, though it provides much of the droning sound at the intro and becomes apparent towards the end as the lead guitar is mixed down.

I just recently heard the A-side, “White Birches” and it’s more polished than “Yellow Listen”, with a progressive sound that would have done fine on radio at the time. The instrumental break is excellent too.

As far as info goes, I know what the label tells me, that both songs were written by Conn. MacDonald.

H. Eugene MacDonald produced the record for Vita Records from Hollywood, CA, which is probably not the same Vita owned by Laurence Mead that released a good number of records in the 1950’s with a Pasadena address.

As for dating this, it may have been recorded as late as 1970.

Transfer of “Yellow Listen” taken from the expanded CDR version of Psychedelic Disaster Whirl. Thanks also to bosshoss for the scan of “White Birches”. Transfer of “White Birches” sent to me by Max Waller.

Categories: Texas, TRC, US, Waco

Jeweldine Taylor

April 12, 2011 Chris Bishop 3 Comments

My name is Jeweldine Taylor. I wrote and recorded “Look Who’s Talking About Love”, backed by Jim Bogle and the Beaumen. Recorded at Clifford Harring Studio, Fort Worth, Texas, on the T.R.C. Label. On the flip side was a song I also wrote, “Your Choice”.
at Geneva Hall, with Dale McBride, Gaylon Christie and Roy Robinson
A few months later, I formed my own band, Jeweldine Taylor and the Rockets. On occasions I appeared with other bands as a female vocalist.I had two lead guitar players, Tommy Christian, who I lost when he took a job with Chuck Harding and his wife. I then hired Jim Walker who stayed as long as I had a band.
Bass players were Tony Fishers, Wallace Pelton, Johnny Eubanks, and Algie Roundtree. Drummers, James Jackson, Mike Stewart, Mickey Sharp, and David West. Two saxophone players, Danny Fisk and Paul Jones. Other musicians were sometimes employed on a temporary bases until a permanent member could be found.
In the spring of 1965 I met a young Army officer named Douglas B. Gremel. We were married on August 7, 1965. After about ten months, with all contracts fulfilled, I dissolved the band and quit professional music.
About three years later, I started writing and recording gospel music as Jewel Gremel. My last recording was in 1999. My song New Jerusalem, was recorded by the Belville Brothers in the late 1990s.
Sincerely,
Jewel Gremel

at the Imperial Club, featuring Earl Crosby 407 Dallas Highway

with the Rockets at the Flame Room, formerly the Tropical 1520 S. Loop Drive, Waco

with Link Davis, Big Mamou and Paul Wayne at the Terrace on Dallas Highway

In the Sahara Ballroom of the Sahara Club, 111 East Industrial Blvd.

All clippings courtesy Jewel Gremel

Categories: Bronx, New York, New York City, US

The DuCaines

April 5, 2011 Chris Bishop 41 Comments

The Ducaines came from the same Bronx music scene as the Elegant Four. They recorded two songs at Variety Recording on 46th Street in Manhattan which deserved a release, but have remained unheard until this year. Founder and lead guitarist Art Lent wrote to me about his group and sent the photos seen here:

I formed the The DuCaines in 1964 and they lasted until 1969. The original members when I formed The DuCaines were Jerry Silber (bass), Charley Vicari (rhythm guitar), Joe Barbato (drums) and myself, Artie Lent, on lead guitar. I replaced Joe when I was introduced to Freddy Baroni and he played the drums at his house for us. What a great drummer!
We played many of the Catholic high school dances in the upper Bronx. We also performed at the Worlds Fair held in Queens, New York. The singer was Tony Lavell (a stage name) and the rhythm guitar was Charlie in this early group pictured at the Fair. We played on the New York State Pavillion stage.

Early version of the DuCaines at the New York State Pavilion, World’s Fair, 1964 From left Freddy Baroni, Art Lent, Charlie Vicari, Tony Lavell (Bavaro), and Jerry Silber

Our very first recording, “How Do I Love Thee” was also done at Variety Recording studios in New York. I believe I was about 14 years old. The DuCaines was brand new with Joey on drums, Jerry on bass and myself on lead. I don’t believe we had a rhythm guitar yet. We were asked by a local singing group called “The Provincials” to back them up since they didn’t play instruments. They had a great lead singer. The DuCaines did a few shows with them around the high school dances. This recording [is] from my demo record so it’s a little scratchy.
The Provincials with the DuCaines – How Do I Love Thee
Freddy Baroni and bass player Jerry Silber stayed with me as I changed members during the years. I later replaced Charley and Tony with Marc Laflotte as lead singer/rhythm and Tommy Mariani on keyboard. We needed them because we wanted to do songs by the Rascals, Vanilla Fudge, Vagrants and other similar bands. We later bought a Hammond B3 like many other top bands back then like the Rascals. We were the house band for many of the WMCA Good Guy radio shows at the high schools. We played in concert at Cardinal Spellman High School as the opening band for The Vagrants.
We later lost Marc for some reason and Joey (?) came in as lead singer and rhythm guitar. These are the members that recorded two songs I wrote and copyrighted at Variety Recording studios in 1966 or 1967, “Little Angel” and “I’m New”.
The DuCaines – I’m New
The DuCaines – Little Angel
We only had demo records made at Variety, we never had the record pressed into a 45 for release. We were waiting to get some more songs together. I took the original Scotch 8 track tape to a studio in Tampa Florida just a few weeks ago and after much work was able to get it to play. He moved the two recordings after 45 years plus to a digital software and him and I sat in his studio and remixed each track for 2 1/2 hours.
A few months after the recording our bass player left for the Army. Joey filled in on bass and sang lead. He left for school soon after Jerry returned from Army reserve training. Then I left to join the US Marines and went to Vietnam. The band broke up a few months later. The DuCaines merged with The Elegant Four after I left to join the Marine Corps. I believe the Elegant Four were calling themselves Windigo at the time.
Art Lent

Update, January 2011:

Fred Baroni’s stepdaughter wrote to say Fred passed away of esophageal cancer in April of 1995 at the young age of 45.

From left: Tommy Mariani, Jerry Silber, Art Lent, Marc Laflotte and Freddy Baroni

The DuCaines at Variety Recording, circa 1967 Clockwise from bottom left: Art Lent, Jerry Silber, Joey Barbato, Tommy Mariani and (center), Freddy Baroni

The Ducaines, 1964 — The Ducaines first high school dance, 1964: Joe Barbato on drums. Jimmy Skau, founder and manager of The DuCaines, is standing off stage on far left. Tony is next to him off stage sitting waiting to come out and sing. Front stage left to right Jerry, Art and Charley on guitars.

Artie Lent sent in these photos of him and his son on stage with the Bronx Wanderers. Artie writes, “these are the pictures of when my son played on stage with me this past February 2020. He’s playing the Fender Jazzmaster that I played in the 1960’s with The DuCaines.” Read Jason’s blog post on the Ducaines & the ’60s Bronx music scene.

Categories: Hills Sound Service, Massachusetts, US, Worcester

The Nite Riders “She’s Mine / “Tornado”

March 29, 2011 Chris Bishop 30 Comments

Beep Beep & the Road Runners with the Night-Riders (sic), November 25, 1966, Millbury Town Hall

Nite Riders at the Firefighter Dance, Nov. 25, 1966 from left: Dave Daniels, Chucky Franczak and Bob Dube "Our bass player didn't show up that night" - Bob Dube — Nite Riders at the Firefighter Dance, Nov. 25, 1966 from left: Dave Daniels, Chucky Franczak and Bob Dube “Our bass player didn’t show up that night” – Bob Dube

Beep Beep & the Road Runners with the Night Riders (sic), December 10, 1966, Webster Memorial Auditorium

Beep Beep & the Road Runners with the Nightriders (sic), St. Bernard's Parish Hall — Beep Beep & the Road Runners with the Nightriders (sic), St. Bernard’s Parish Hall

at St. Peter's with WAAB DJ Steve Kane — at St. Peter’s with WAAB DJ Steve Kane

The Nite Riders were one of many very young bands of the ’60s who cut great records, releasing “She’s Mine / “Tornado” in 1967. “She’s Mine” opens with Chuck Franczak’s solid drum beat. Dave Daniels’ guitar has a fine natural distortion on the low notes and good reverb on the higher strings, which he makes use of for some fast runs and licks between chorus and verse.

“Tornado” shows this band had a handle on the tough instrumental style of a few years earlier, like “Shifting Gears” by fellow Worcester group Beep Beep and the Roadrunners. Through some error the label credits this song simply to “Dave”, probably for his lead playing, though the bass runs and drums are excellent here too.

David Daniels wrote to me about the group and included all the photos and clippings seen here:

Dave Daniels – guitar & vocals
Bob Dube – rhythm guitar
Bernie Thebado – rhythm guitar on the 45
Dean Johnson – rhythm guitar
Bill [surname ?] – bass
Tony Agby (Tony Agbay?) – drums until late ’66
Charles “Chucky” Franczak – drums
I started the Nite Riders when I was going to school at Chandler Jr. High, Worcester, Massachusetts. We were “The Nite Riders” (not “Night Riders”).
My dad played guitar and he showed me the basic chords. My family has always been around music, my sister “Snooky” (she worked at WORC late 50’s) was in charge most times of making contact and setting up gigs for the stars in and around Worcester. She became real good friends with Bobby Darin, he had been to the house many times. My mom would be making dinners for who ever was in town. So I grew up knowing a lot of famous folks.
The very first Nite Rider gig was a bar on Main St., Worcester, called the New Yorker. We made a $10 bill each and free cokes and chips. My dad who drove for the band in the beginning also got free drinks and $25 go figure. We found out real soon after the first set that this was a gay bar – remember we were 13 to 15 years old, we said “a what bar?”
We met Beep Beep and the Roadrunners when we had Tony Agby as drummer. He showed up with the “Roadrunners” (they were older than us) and boy we thought they were so cool with their full length double breasted dark blue “P” coats. They came to volunteer their time and help us learn how to improve our sound, and WOW! they were already professionals. Tony’s dad was our first manager.
After that is seemed we were always playing the same gigs together, I really had a great time back then. We were all age range 13 to 15 and the Road Runners were our idols. It was so cool that they had two drummers. We played most every place they played, Tony Agbie (spelling?) was our drummer and his dad Tony Sr was manager for the Road Runners.
The band really kicked off after winning a battle of the bands contest sponsored by WORC radio station and winning a chance to record a single, “She’s Mine” / “Tornado”. WORC paid for the session. It was recorded at Hill’s Sound Studio on Chandler St. in Worcester. Hill’s Studio was an old house made into a recording studio, they mostly recorded gospel groups. “Tornado” came about from a combination of the Ventures, Buck Owens, Chuck Barry, and maybe a little bit of “Shifting Gears” from the Beeps, but I think mostly from Danny & the Juniors, good friends of my sister Snooky especially Frankie.
Bernie [Thibodeau?] never played anywhere with us, he really wasn’t a guitar player. I showed him the chords so he could be on the record. You will also see “Hassett” as one of the writers (not). They were my friends and wanted to be involved with band, so I put there names on the record.
We got lots of airplay and loads of offers to play even in New Hampshire. “She’s Mine was #11 on the WORC request charts, July 1, 1967 (I think we had help). We sold our first 500 copies pretty quick mostly at Woolworths and another record store on Pleasant St. in Worcester. We also sold them at the concerts. We ordered another 500 on our dime this time but sales slowed down and we had like maybe 300 left but don’t know what ever happened to them.
The Nite Riders – three notches above Beep Beep & the Road Runners’ second single, WORC, August 25, 1967
The Nite Riders had two drummers Tony Agby and then 13 year old Chuckie Franczack, but Tony’s dad still stayed on as our manager.
Later on after the record in ’67 the drummer’s Mom bought a 1959 black hearse and 1960 black limo. Chuck’s mom would drive us to concerts and other gigs in a full chauffeur outfit and we all had black pants with white shirts and gold vests boy we thought we had made the big time.
Chuckie died at age 18 … drugs, he was a great drummer. Dean died in a motor cycle crash I heard. I would love to know if any folks from Worcester have any pictures or stories of The Nite Riders.

Nite Riders with Davey Daniels, November 9, 1967 Lucia's Restaurant's Peacock Lounge — Nite Riders with Davey Daniels, November 9, 1967 Lucia’s Restaurant’s Peacock Lounge

Nite Riders photo at Elm Park, clockwise from bottom left: David, Bill, Dean and Chucky — At Elm Park, clockwise from bottom left: David, Bill, Dean and Chucky

Charles W. Franczak, 14-year old drummer ... — Charles W. Franczak, 14-year old drummer …

The band broke up 1968 and I started a country-rock band “Dave Daniels and US.” When I was 19 years old, the band was playing a bar called Longo’s lounge and there was a big write up about me. Well some goodie goodie complained about an under age kid playing in a bar. I’d been playing bars since I was 13, even the police knew it, but always looked the other way. Well they couldn’t look away this time and I was banned from playing in bars.We fought it and even the Mayor was on my side. There was a town hall meeting and a council chamber meeting and up to 600 people showed up on my behalf. I won and there was an age ruling change for musicians as long as they did not drink and were accompanied by an adult. Until then many groups with minors could not work certain gigs. There was an article with the Cowsills and their trouble with playing certain clubs and in it they mention my case in the article paving the way for other young musicians.
Dave Daniels and US stayed together till 1971. We were to play Le Club International in Fort Lauderdale Florida, and while on the road some how the three cars got separated and the organ player and me wound up in Jacksonville where my car broke down. The organ player Rich went back to Worcester and I stayed and worked with a country band in Jacksonville.
One night some musicians came in and asked if I wanted to go on the road with a well known country singer Claude King (“Wolverton Mountain”) so I moved to Shreveport La. in 1973 and have been here since. We were called the Nashville Knights and then changed to “The Cotton Dan Band”. Our latest CD Claude King Live! can be found almost anywhere on the net.
The best thing I did (not the biggest) was my parents always wished I would be famous enough to play The Wheeling Jamboree WWVA, Wheeling West Virginia. Mom and Dad used to listen to that show every Sat. night and when I was a kid I told them I would be on that show one day. Claude King made it happen. He booked it February 1983 and it was recorded live. On the second half, not recorded but aired, he had me do two songs on his time and dedicated that section of the show to my parents in Worcester MA. Claude King is the best!
Tell Ronnie and the guys of the Beep’s David remembers them and hopes they are all well!
David Daniels

Categories: Chadwick's Recording Studio, New York, Oneonta, Upstate New York

The Other Half on Bell Sound, from Oneonta

March 22, 2011 Chris Bishop 24 Comments

The Other Half at Chadwick's Recording Studio in Utica — The Other Half at Chadwick’s Recording Studio in Utica

Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.

Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.

The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.
The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Other Half at Chadwick’s Recording in Utica
Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.
The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.
The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.
While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.
The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.
Pete Lipsio

Other Half vocalist Jeff Lyman at the Evening Inn

In the 60s this became the College Inn at Saratoga Lake

Categories: Ann Arbor, Michigan, Ultra-City, US

Love’s Alchemy

March 3, 2011 Chris Bishop 5 Comments

Love’s Alchemy had this one release on Ultra-City out of Saginaw, Michigan in 1970. The band named themselves after the poem by John Donne – the label spelling “Love’s Alchmey” is a simple typo.

“I Never Said Forever” is a Doors-influenced song written by Ray Love and Damon Hyde. The lyrics include “Jesus” at least twice.

I’m not as much a fan of “Ophelia” written by Nelson Bogart, though the guitar solo has a fine, sludgy distortion to it. My copy is very scratchy. Both were published through Luzar Publications, BMI. Song writing credits list Ray Love, Damon Hyde, and Nelson Bogart.

I couldn’t find much specific on the band until Charlie, a friend of the band wrote to me:

I went to high school with a couple of the guys in the band. They went to the University of Michigan and ended up as fraternity brothers and formed the band in the late ’60s in Ann Arbor. The members were Nelson Bogart on guitar and occasional trumpet, Myron Grant doing lead vocals, Damon Hyde on keyboards, mostly Hammond B3, Rob Martens on bass and Ray Love on drums.
I was at the recording sessions in Saginaw for the record. When we met Choker Chapbell, he had to tell us that he was the guy on Stevie Wonder’s “Fingertips Part 2” that shouts out “What key, what key?” about 3/4 of the way through the tune when Stevie starts ad-libbing and changes the key!
They are all still playing music, to the best of my knowledge.

Damon Hyde’s wife Pamela sent in the photos seen here and wrote:

Damon passed away in 1999 from a high fever after 9 days in the hospital. He graduated from the University of Michigan in 1971 with a B.A. in Literature.
Damon was a honey-voiced singr who travelled extensively before settling down with his wife Pamela in 1978. He turned his musical talent into a lifelong career as a pop/rock singer and published songwriter. His band backed up Lou Rawls, The Drifters in Puerto Rico, Tiny Tim in Miami, Chief James Billie of the Seminole tribe of Florida and many others.
Damon’s unique ability to sing and play a wide spectrum of music made him a sought after musician for many of South Florida’s most popular bands. A double CD was released in his honor by his wife, Pamela called Unfinished Business.

Pamela added these notes from Myron:

The studio that did that recording was Tri City Recording, which I think was in Saginaw, although it might have been Midland. The marketing guy was “Bill McCune, Man from the Moon,” and one of the owners was a previous member of the Motown horn section.
Actually, all three of us [Damon, Nelson & Myron] played trumpet (I played coronet), depending on the tune and arrangement. Nelson and Damon played solos, I played as part of the horn section in tunes such as “Hold on I’m Comin'”. I don’t recall ever having all three horns on the same tune.
[The photos] were taken shortly after Rick joined the group. We later changed the name to Ramblecrow. There was another band in A2 at the same time who’s name came from literature, Leaves of Grass.

Walter “Choker” Campbell owned or worked with a number of labels in Saginaw including Tri-City, Moonville USA, Gospel Train and Ultra-City, with releases around 1970-’71. Almost all of these were soul sides, making this 45 by Love’s Alchmey a big exception. Choker was a tenor saxophonist who started recording in 1950 for the Lucky-7, Fortune and Atlantic labels, among others. He hired on at Motown in 1960 to form the live band for their revue shows and had a 1964 album on Motown with his band playing the label’s hits. He produced records by Carla Whitney and Albert Jones in Toronto, Canada during the 1970s, and passed away in 1993.

Background on Choker Campbell from the Soulful Detroit forum. Thank you to Pamela Hyde for the photos and quote from Myron Grant.

from left: Myron Grant, Damon Hyde, Rick Dannely, Nelson Bogart, Ray Love and Rob Martens

Categories: Columbia County, Hudson, Kennett Sound (Kinderhook NY), Mo-Foag, New York, Schenectady, Troy, Upstate New York, US

The Kynds – “So If Someone Sends You Flowers Babe” / “Find Me Gone” on Mo-Foag

February 26, 2011 Chris Bishop 9 Comments

The Kynds, from the Schenectady Gazette, September 16, 1966

The Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.

Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.

Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”

A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:

The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”

In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.

The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).

“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:

Kynds, Good Times Troy Record 1966 April 9 — The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966

It really makes no difference if you like what you see in me
Not a chance babe,
‘Cause I’m happy,
That we are free (?)
What you say girl,
It don’t have no effect on me
So, if someone sends you flowers, babe,
You know it wasn’t me.

It was written by Dan Wood and Joe Cirincione, Jr.

The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.

Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.

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