Raunch live at the Cellar in Ossining, 1966. From left: Tommy Walker (on drums), Jay Manning, Sandy Katz (playing the Vox Mark VI “Teardrop”) and Frank Taxiera on bass
Sandy Katz – rhythm guitar and vocals Jay Manning – lead guitar Frank Taxiera – bass Tommy Walker – drums
Raunch were from Ossining with the exception of Sandy Katz, their lead vocalist and songwriter, who was from Briarcliff Manor. Raunch’s great cover of Paul Revere & the Raiders’ “Hungry” leads off the fabulous Ren-Vell Records Presents Battle of the Bands Vol. 1 LP.
Raunch recording at Ren-Vell Studio 317 N. Central Ave, White Plains Even better is a 45 they cut for Bazaar Records, “A Little While Back” / “I Say You’re Wrong”. The A-side is a great song featuring heavy fuzz guitar and a blistering solo by Jay Manning. Jay kindly provided the photos here, including the first I’ve seen of Ren-Vell’s studio, and the story behind the band:
The Synners was the first band I had, while still in high school. It was myself (lead guitar) and my two best friends David Perugini (rhythm guitar) and Alan Raycraft (drums), and later another high school friend, Curt Mienel(bass guitar). We played at our high school a couple of times and parties. I don’t think we ever got paid, but in those days the motivation was impressing girls, not financial rewards.
I have a recording from 1965 of us playing at an Ossining High School Spanish Club banquet. Dave’s dad got a hold of an old Wollensak reel to reel and, unbeknownst to me, recorded three songs.
We graduated in 1965 and in the fall David went to college, in New Paltz, New York, so the band evolved. Alan and Curt stayed, I think we called ourselves the Invaders. I don’t really remember all the iterations of the bands. I do remember that Alan was still playing drums when we met Sandy Katz. I don’t remember how we found him, but he and I clicked. He had a great voice and wrote decent songs. His dad was in business for himself so was very savvy about copyright and publishing rights, so all of Sandy’s songs were copyrighted.
Alan finally quit, we replaced him with another Sandy, whose last name I don’t remember. Curt left and eventually we added Frank Taxiera as bass player. He couldn’t play and didn’t have equipment, he was just cool and he fit. He became a really good bassist and now plays some great blues lead, in Colorado, with some renowned bluesmen.
That’s when Raunch was born. Sandy’s dad wanted us to be The Four Seasons (clean cut, stylish), I had very long hair for 1966 and was not interested in being clean cut.
Raunch played all over Westchester County. Ossining, of course, Tarrytown, Yonkers, White Plains, Armonk, Briarcliffe Manor (that’s where Sandy lived). “The Cellar”, the Ossining Recreation Department’s teen hangout had live music almost every weekend. I can’t remember all the places we played, but it was a lot. Just about every weekend and some weeknights all over the place. I don’t remember playing any bars at that point, but we did banquets and lots of dances and teen clubs.
We were very egocentric. We considered ourselves the best band in the area and thought of all the others as pretenders to the throne, at least I did.
There were a lot of “battle of the bands”, at high schools. recreation departments, clubs, all over the place. We won most of the ones we were in, so didn’t really pay attention to second place.
The two I remember not winning was one for all of Westchester County, NY in the summer of 1966, at the base of Kensico Dam, in Valhalla, NY, we came in 4th. Not really a “battle of the band” but a tryout to open for the Beach Boys, at Iona College in New Rochelle. The best bands in Westchester, New York City and from Connecticut were there. We lost out to a band called The Young Savages, really great band and they lost out, in a second round of tryouts, to a band called Chain Reaction. The lead singer was Steven Tallarico (later Steven Tyler – Aerosmith). I remember them playing “I’m Not Talking”, by the Yardbirds.
Marty Katz, Sandy’s dad, really got into it. He knew his kid was good, but he had never been in a really good band before that could showcase his music. Marty Katz owned a corporation already, so he just created a record label, Bazaar Records, he paid for everything. The actual name of the band was Raunch Inc. and we really were part of a small corporation.
Raunch at Ren-Vell StudioWe recorded everything at Ren-Vell. We were, I believe, Joe Renda’s first project. I really don’t remember the other bands on the album, there were so many bands at that time and so many places to play.
Sandy Katz wrote “A Little While Back”, and on the record, sang the harmonies. I sang the harmony when we played it live.
Sandy is playing the Vox [in the photos], he also had the 12-string model. I had a Phantom, the odd, irregular hexagon shaped guitar, but it was a real pig. Thick neck, weak pickups, tinny sounding. Unfortunately that’s what I played at the battle of the bands, because it was “cooler” than my Hagstom, which was a much better guitar.
I was a terrific guitarist, for the time, if I do say so myself. That was really all I lived for, that and girls of course. I learned everything by ear and watching better players, never had any lessons, still haven’t and I still play quite a bit. Now it’s classical and fingerstyle jazz.
Jay Manning
Update April 2016: Jay Manning reports that Tommy Walker died in 2014, and that recently Sandy Katz’s father Morris “Marty” Katz also passed away.
Thank you to Jay for his help with this article. Scan of the Raunch 45 from David Perugini. Thanks to Patrick Lundborg for his help.
left to right, top row: Scotty Celsur and Mike Farr bottom row: Johnny Holbert (standing in for Randy Ridell), Jimmy Holbert and Sammy Simmons
Scotty Celsur, lead guitarist and vocalist with the Chesea Five gives the story behind this Dallas group that recorded for Zero Records, the legendary label originally based in Austin that released the Spades 45s:
My first band, the Exclusives, was made up of my brother and my two best friends who liked to play for fun and entertainment of others on occasion. Sure was not the money at that point. However, after a couple of years of that I got down to business and started to put together a band that would go somewhere. I was in it for the big go.
My best friend, Mike Farr, was my guitar backup rhythm player starting out but finding a bass player was a challenge so after finding a good guitar player of rhythm Mike said he would change to bass to get this thing going. He wanted this bad like myself.
After a couple of months of searching out talent we started to put a show together and we put ourselves out there. After a few months of playing local gigs we just happened to be at the right place at the right time. Oddly enough we were at McCords Music Co. in downtown Dallas one Friday afternoon picking up a new PA system when a guy [Gary McCaskill of Zero Records] asked me if we were a working band and if so he wanted to talk. So we did and told him of a sock hop we were playing that night at a local school.
He said he would attend and about halfway thru the second set he and his wife showed up. He loved our version of “Play With Fire”, why I don’t know and he liked the “Leave Me Alone” song that I had written two years prior to that date. In two days he had us playing dates for a month on weekends. I liked this and then he wanted to start a recording company and he did, with us being his main band. He was a booking agent at the time for a couple of groups in Austin and did some with Kenny and the Kasuals. His mainstream focus was on us.
First he wanted to change the name to an English sort to go along with the fad of the times and that’s when The Chelsea Five brand came to be.
Jimmy Holbert – lead singer except on “Leave Me Alone” Scotty Celsur – lead guitar, vocals and lead singer on “Leave Me Alone” Randy Ridell – rhythm guitar Mike Farr – bass Sammy Simmons – drums
Funny thing, when we went to the Sherwood Forest complex over by Love Field airport to have pictures taken, Randy Ridell didn’t get there in time so with the evening darkness coming we opted to use Jimmy’s younger brother Bobby [sic – should be John Holbert] as the fifth person stand-in. By the way that is the only picture I have of our band. I have some slides somewhere or I think I do but I not sure where they have been stored at the present.
We were practicing four nights a week then playing on the weekends, mostly in Austin, he had contacts there and at the time bands from Dallas were a good draw for attendance. Pay was good and we were happy. Never considered us to be anything but a rock & roll band with a little edge.
Back then it seemed that everybody and their brother had a band of some kind so that in itself set up competition. Getting a gig could be a hard thing to do if you were looking in your own backyard. Many gigs would get canceled at the last minute just because someone knew someone that was a friend or whatever. That was the trick bag for us. Each one of us had a different group of friends. Strange in a way, but it worked and after we took on an out of town manager who was really in the loop of clubs around it made the whole world bigger.
Two weeks after we signed with Gary the Beach Boys were coming to town for a concert along with the Buckinghams and he asked if we would like to be the warm up band. Being in our home town I said no way. We had never played a venue of that size so the setup it self would be a guess and I didn’t want to take a chance and kill our sound and business by doing something stupid. As things happened Kenny and the Kasuals took the spot and in my opinion it was not good. Best decision I ever made because they suffered from what I feared for us. Poor sound quality but even the headliner bands didn’t sound good in that building [the Memorial Auditorium]. I went to a lot of concerts there and the building was perfectly round so the sound would bounce everywhere. I saw the Beatles there in ’64 and it was the worst concert ever, could not hear anything.
We were friends with a couple of other bands and in fact the Vaughan brothers dropped by for a couple of afternoon jams. Stevie Ray was very young, around 14 I think, but the kid was amazing and could play as good as his brother Jimmie.
One day in early May of ’67 Gary called me and said he had booked studio time at Sellers Recording in downtown Dallas for Saturday to cut a record. When we got there and after we set up he said he wanted to cut the “Play With Fire” song on the A side and my song, “Leave Me Alone” on the B side. I argued to cut the Otis Redding song “Respect”. We had a killer version of it and had request to play it a number of times a night at our gigs but he was paying and I lost the battle with him. This was two weeks before Aretha Franklin cut her song “Respect”, the rest is history and so are we.
5,000 copies were pressed but during the that time we added an organ player thus changing the name to the end result of Jimmy C and The Chelsea Five. There was no Jimmy C. it was actually Jimmy H. but that sounded bad so we used my last name letter C to fix that. We didn’t care we just wanted to play music, cut records and get paid. My manager gave me 500 and I don’t know what happened to the rest, now I only have around 25 left.
Didn’t work out to my way of thinking. I was the only one, other than Gary, who had a car that would go down the road every time. I was killing my car and not getting much in the money end of things for it. Sure, everyone would buy gas but tires and repairs, did those myself, were an expense for me and the others didn’t see it that way. I told them we need to rent a truck for all this, after all the organ was a Hammond with a Leslie speaker so it was no small item.
Other things started get in the way like girlfriends and some members smoking grass, I said no to that from the start. That was a sure way to ruin all we had worked for. I bid farewell to the band I put together and quit. Didn’t play for almost two years. They disbanded two months after I left and so goes the death of a rock and roll band. Gary asked me to form up an R&B group a few months after I had left and the band had vanished. I considered it just because Gary was such an up right guy and I had trust in him. I really liked to play blues more anyway but it just didn’t work in our area of play. Mike, my best friend and bass player soon surfaced and we set up a small band to play local and not very often at that.
I got married and started my family so I still think I did the right thing at the time. After all I did embark upon a career of auto racing for twenty five years and I traveled all over the USA, Canada, and a couple of trips to Mexico seeing things I would have never seen on my own so I don’t have any regrets.
I started the band when I was 14 and I was 17 when I recorded. I’m 60 now and have written over 200 songs of all kinds but they are in a box in my house along with the guitar and amp I bought new and used on the record, 1964 Fender Jaguar and Fender Bandmaster amp. I still play for my self satisfaction and friends on a rare occasion. I have not been in contact with any of the guys since 1973. Don’t have a clue where they are. I still miss them though.
Scotty Celsur
Zero discography:
10001 – The Spades – “I Need a Girl” / “Do You Want to Dance” 10002 – The Spades – “You’re Gonna Miss Me” / “We Sell Soul” 1003 – Jimmy C. & the Chelsea Five – “Play With Fire” / “Leave Me Alone” 1004 – Sammy Julian – “Lead Guitar Man” / “Is It True” (both by S. Julian and C. Kirk) 1005 – Curtis D. Hall and Cactus Café – “Diggin’ On Country Music”/ “I’ll Be Here Awhile” (1975)
Thanks to Gregor Kessler for sending the scan of the “Leave Me Alone” label, and for suggesting I contact Scotty.
“Sitting on the drums is lead singer Bubba Busceme; Brian, lead guitar is kneeling to his right (left in the picture) in front of me holding the bass. Holding the other end of the bass is rhythm guitarist Joe Priddy; his hand in resting on the shoulder of keyboardist Tom Laughlin and in the center is drummer Dale Bond.”
Glen Moyer provides details about his time with three Beaumont, TX groups, the Past Tymes, S. J. & the Crossroads and the Kidds:
I was the last and probably most insignificant addition to SJ & the Crossroads’ lineup. I played bass guitar and replaced Phil Battaglia after he was drafted/joined the armed forces (I don’t recall which). As such I was the youngest member of the group – I recall Sal Serio (SJ and Johnny’s Dad) telling my parents that he and Mar (Mary Serio – his wife) would look after me if they would let me join the band.
Sometime earlier one of my school buddies Gerry Mouton had joined the band partly upon my recommendation. I knew Sal (Mr. Serio) as he owned a Beaumont drive-in grocery and trailer park (Circle Grocery on 11th St) where he later opened SalMar record shop next door. When the band was looking for a lead singer I knew Gerry was pretty good and suggested the band talk to him. I told Gerry to go see Sal and the rest is history.
The SalMar label the Crossroads recorded on was also named for he and his wife. They were great people and I’ve got many fond memories of playing gigs throughout southeast Texas. By the time I joined the band it had moved away from its earlier rock roots and we played a lot of pop and soul tunes – Sam and Dave, Archie Bell and the Drells, etc. Sadly, for me anyway, I’m seldom noted as a member of the band because I came along after they did all of their records.
At the time I joined the group we were practicing in the Serio’s garage of their home on Major Drive in west Beaumont. I vividly recall the song we were learning at my first practice with the guys was “You’ve Made Me So Very Happy” by BS&T.
After the Crossroads broke up – thanks to the Vietnam war and fears of being drafted, etc. I joined another Beaumont group in their last throes – the Kidds – where I replaced a friend of mine, John Schmidt, on bass. Johnny Serio also joined the band with me for a short time but we too soon broke up. Both groups were originally all from Kelly HS (the Catholic HS) as I recall. Gerry Mouton and I were in the South Park school system – having gone to Fehl elementary, MacArthur Jr. Hi, and later South Park HS.
Prior to the Crossroads I was with a less well known band called The Past Tymes. Myself and Bubba Busceme – both from South Park – and later Joe Priddy combined with Tommy Laughlin, Dale Bond and Brian Kalinec from French HS. We played gigs in Vidor, Beaumont, Silsbee, and elsewhere in southeast Texas. This band is never mentioned in 60’s reviews I guess because we never recorded nor did we ever reach the level of playing gigs like the Rose Room, Crown Room, etc. Brian continues to play and has won a few recent texas Songwriters awards and has a debut CD out, Last Man Standing.
Over the years I’ve lost my entire collection of SJ and the Crossroads vinyl 45s and a lot of personal photos of the band. I didn’t appear in any of their “press photos”. If anyone ever comes across any photos of the band performing, I’d love to see them in case I might be there.
clockwise from left: Doug Lubahn, Bob Seal, Dallas Taylor, Michael Ney, Cliff De Young and Robbie Robisoncounter-clockwise from bottom left: Robbie Robison, Doug Lubahn, Bob Seal, Michael Ney and Dallas Taylor
Cliff De Young (vocals) Bob Seal (lead guitar, vocals) Doug Lubahn (bass) Ralph Schuckett (keyboards) Dallas Taylor (drums) Michael Ney (drums) Robbie Robison (guitar)1966
Georgia-born guitarist Bob Seal teams up with Dallas Taylor (b. 1948, Denver, Colorado, US) during the summer when they meet in Phoenix, Arizona as Seal is heading to California. Taylor has already tasted the Sunset Strip scene while drumming with Lowell George’s Factory some months earlier.
They arrive in Los Angeles and set up camp in Manhattan Beach where they meet up with Robbie Robison (real name: Clyde Edgar Robison) and Michael Ney at a Peanut Butter Conspiracy gig. Robison is the husband of Barbara Robison (aka Sandi Peanut Butter), the Peanut Butter Conspiracy’s lead singer – and had recorded an album in 1964 as Robbie the Werwolf – Live at the Waleback Club.
Deciding to make a go of forming a group with two drummers they recruit Wanda Watkins as an additional vocalist and name themselves The Garnerfield Sanitarium.
In late 1966, Doug Lubahn (b. Colorado, US), who has spotted Seal and Taylor on Fairfax Avenue wearing signs reading “Seeking singing, writing bass player” joins on bass. Lubahn had moved to Los Angeles a few months earlier from Aspen, Colorado where he was working as a ski instructor and playing with several local groups. He is spotted by Mama Cass of The Mamas & The Papas and she encourages him to relocate to the West Coast.
They acquire Bud Mathis as manager and change name to the Brain Train – a name given to them by the Peanut Butter Conspiracy’s Alan Brackett. In the process they lose Watkins, who will turn up in another Bud Mathis outfit, The Joint Effort. Mathis finances a recording session at the Electro Vox Studios and takes the resulting demo recordings of Wolfang Dios’ “Black Roses” and Lubahn and Mathis’s “Me” to Elektra Records.
1967
Elektra snaps the band up but persuades them to ditch Mathis and be taken under the wing of producer Paul Rothchild. The Brain Train moves into a large house on Franklin Avenue in the Los Feliz area of Los Angeles, which has previously been the home of WC Fields and begin reheasing material for their proposed album. March (26) Renamed Clear Light, the band plays at Los Angeles’ first “Love-In” at Griffith Park on the same bill as The Steve Miller Band, The Grateful Dead and The Other Half. April The recording sessions for the band’s debut album begins. Two of the first tracks completed are a reworking of “Black Roses” and a Robbie Robison composition titled, “She’s Ready To Be Free”. Around the same time, the group lands a cameo role in the movie, The President’s Analyst starring James Coburn. Soon after filming, Clear Light adds lead singer Cliff De Young (b. 12 February 1945, Los Angeles, California, US).
Scene from The President’s Analyst
Barry McGuire cast as their singer, for some reason.
from left to right, back row: Ralph Schuckett, Dallas Taylor, Michael Ney and Doug Lubahn front row from left: Bob Seal and Cliff De Young
(30) The group performs at the “Freedom of Expression Concert” at the Hullabaloo, Hollywood, alongside The Doors, Canned Heat, The Poor and many others. May Despite having put down most of the tracks for the album, Elektra decides that Robison’s acoustic approach is incompatible with the group’s new electric direction and he is dropped from the group, although he remains part of the entourage, operating his own light show, set up at the group’s live appearances. After auditioning many guitarists as possible replacements, including Doug Hastings (ex-Daily Flash and soon-to-be Buffalo Springfield) they eventually decide to go with keyboard wunderkind Ralph Schuckett. Schuckett overdubs keys to several of the tracks already in the can as well as collaborating with fellow newbie Cliff De Young. June (11) The new line up performs at Cheetah, Venice, California with Kaleidoscope. (30) The band performs at the Oracle Benefit at the Valley Music Theatre, Los Angeles with Kaleidoscope and The Fraternity of Man (the Byrds cancel – McGuinn was sick). After this Clear Light embark on a cross country tour driving non-stop to Philadelphia where the band goes on strike, forcing Elektra to fly them to New York. The group is met by Danny Fields, who checks the musicians into Albert’s Hotel. The band initially plays at Steve Paul’s Scene East in the Delmonico Hotel but on the first night Schuckett lambasts the crowd for not paying attention to the group’s performance and it is fired. The next day, Steve Paul places the group at his main club, The Scene. July (6-23) Clear Light play at Steve Paul’s Scene, New York. While there, the group jams with various guests including Tiny Tim, Howlin’ Wolf and The Candy Men, formerly members of The McCoys. The band plays further dates in Boston before returning to Los Angeles. August (31) – September (3) Clear Light performs at the Magic Mushroom, Los Angeles with Kaleidoscope. Soon afterwards, the band’s debut single, “Black Roses” c/w “She’s Ready To Be Free” is released. (25) Lubahn participates in the sessions for The Doors’ Strange Days album. (30) Clear Light appears at the Earl Warren Showgrounds, Santa Barbara with The Quicksilver Messenger Service, Van Morrison and Blue Cheer. October (20-22) The band plays at the Cheetah, Venice, California with The Electric Flag. (26-28) The group supports Lee Michaels and Pink Floyd at the Fillmore Auditorium, San Francisco. November The group’s eponymous debut album is released climbing to US #126. The band’s second single, “They Who Have Nothing” c/w “Ballad of Freddie & Larry” is issued to support the album. The debut longplayer is subsequently released in the UK, and although it is not a hit, it is greeted with interest, particularly on the underground scene. (Clear Light’s records are regularly featured on John Peel’s Top Gear). Bud Mathis licences The Brain Train demos to Titan Records in order to cash in on the release of the Elektra album. (8) Clear Light appears on Pat Boone’s weekly show Pat Boone in Hollywood. (17-19) They play at the Cheetah in Venice, California with The Nazz. (22) Clear Light performs at the Santa Monica Civic Auditorium, Santa Monica, California with The Peanut Butter Conspiracy, The Merry Go Round, The Hour Glass and others. (25) They appear at the Earl Warren Showgrounds in Santa Barbara, California with The Youngbloods, Canned Heat and The Merry Go Round. (30) – December (2) The band is joined by The Nitty Gritty Dirt Band for a series of shows at the Fillmore Auditorium. (8-9) They play at the Boston Tea Party, Boston with The Street Choir. (19-31) Clear Light perform at the Café Au Go Go in New York where they are joined by Tim Buckley on the 28th and 30th. After much behind the scenes manipulation and Svengali–ism by Rothchild, the band starts auditioning guitarists, including Kenny Pine and Jeff Jacobs, on the club’s stage to replace Bob Seal, who has come to blows with the producer. Danny Kortchmar, who has previously played with New York groups, The King Bees and The Flying Machine and recently returned from Los Angeles where he had tried out for Elektra’s project supergroup (later Rhinoceros) takes over lead guitar. Seal meanwhile relocates to the Bay area and, disillusioned with playing six string takes up the bass – gigging but not recording with Gale Garnett & The Gentle Reign. He later takes up the six string again, replacing the original guitarist in the Transatlantic Railroad. He subsequently teams up with former Salvation member Joe Tate in Redlegs, a popular Bay Area group.
1968
January (5-6) With Kortchmar on guitar, Clear Light play at the Grande Ballroom, Detroit with Gypsy and Children. February A third single, “Night Sounds Loud”, is only released in the UK, but is not a hit. (23-24) Clear Light support Jefferson Airplane at the Shrine Auditorium, Los Angeles with the Ceyleib People. (26 & 28) Kortchmar, Schuckett, Lubahn and Ney appear on the recording of The Monkees’ “The Porpoise Song”, produced by Russ Titelman and Gerry Goffin. Also on the session are Leon Russell and British jazz pianist, Victor Feldman. March (17) Clear Light plays at Pasadena Exhibition Hall, Pasadena, California with The Peanut Butter Conspiracy, Iron Butterfly, Steppenwolf, Procol Harum and many others. (24) The group joins The Buffalo Springfield, Jefferson Airplane, H.P. Lovecraft, The Quicksilver Messenger Service and various others at a benefit for the Radio Strike Fund for disc jockeys at KPPC Pasadena and KMPX San Francisco. (29-30) The band appears at the Kaleidoscope with Bo Diddley and The Peanut Butter Conspiracy. April (13) Clear Light appears at the Salt Lake Coliseum, Salt Lake City, Utah with Blue Cheer and Jerry Abrams. (18-23) Clear Light plays at the Cheetah, New York with Harvey and The 7 Sounds. (26-28) The band appears at the Trauma in Philadelphia with The Mandrake Memorial. May (3-4) The group performs at the Boston Tea Party with Butter and Tim Rose. The group then returns to New York and plays some shows at the Electric Circus with The Chambers Brothers and Circus Maximus where they are a huge hit. (25) Clear Light plays at the “McCarthy Happening” in Santa Clara County Showgrounds, San Jose, California with H.P Lovecraft, The Nitty Gritty Dirt Band, The Flamin’ Groovies, The Strawberry Alarm Clock, Crystal Syphon, Womb and others. (30) Kortchmar takes part in the recording of The Monkees’ “As We Go Along”. June (14-16) The band appears at San Francisco’s Avalon Ballroom with Frumius Bandersnatch and Buddy Guy. Sessions for a second album begin but after a few recordings Cliff De Young quits to return to college. He later pursues an acting career. Two tracks from the sessions survive – “Darkness of Day” (a Schuckett/De Young collaboration) and Kortchmar’s “What A Difference Love Makes”. August Kortchmar appears on The Fugs’ album, It Crawled Into My Hand Honest. September Clear Light unofficially splinters. Lubahn briefly becomes The Doors’ studio bassist, appearing on albums Waiting For The Sun and The Soft Parade before forming jazz/rock band, Dreams with ex-Blood, Sweat & Tears member Randy Brecker, while Schuckett and Ney (in the guise of Mike Stevens) join The Peanut Butter Conspiracy for a summer and winter tour of the Pacific Northwest. Schuckett also does session work for people like James Cotton. Dallas Taylor, who initially works with ex-Lovin’ Spoonful singer/guitarist John Sebastian is subsequently introduced to Stephen Stills. Around this time, Taylor, Lubahn and Schuckett do a recording session with Stills at TTG studio in Hollywood. Taylor strikes up a rapport with Stills and is chosen as drummer for Crosby, Stills & Nash. November Kortchmar and Ney join Carole King’s City, although the latter will soon be replaced by Jim Gordon.
1969
January Elektra’s news letter, Revelation announces that Clear Light have split up. February The City’s sole album, Now That Everything Has Been Said is released on Lou Adler’s Ode label. December Taylor appears on Essra Mohawk’s album, Primordial Lovers, released on Reprise Records.
1970
May (12) Taylor is sacked by Crosby, Stills, Nash & Young after a gig in Denver and rejoins John Sebastian’s backing band. September Schuckett and Kortchmar reunite in Jo Mama, which signs to Atlantic Records. November Lubahn’s group Dreams release their eponymous debut album.
1971
March Debut Jo Mama album, O Sole Mio is released. Schuckett also appears on Carole King’s Tapestry album and follows this with two US and one UK tour with James Taylor in support. September Taylor appears on John Sebastian’s Four Of Us, before joining Stephen Stills’s Manassas. November Second Jo Mama album J Is For Jump is released, but is not a success and the band splinters. Kortchmar works for David Crosby and Graham Nash, while Schuckett does sessions for Todd Rundgren amongst others.
1972
Lubahn appears on the Everly Brothers album Stories We Could Tell. May Manassass’ eponymous debut double album is released. October After doing a multitude of sessions for people like Crosby & Nash, Kortchmar forms The Section, who release their eponymous debut album on Warner Brothers.
1973
Cliff De Young stars in the TV film Sunshine and subsequently releases a soundtrack album featuring songs by John Denver on MCA. September A second Section album, Forward Motion is released but is not a success. Kortchmar leaves to record a solo set Kootch. May A second Manassas album Down The Road is issued, but the group splinters soon after and Taylor moves into session work, appearing on albums by people like Bill Wyman and Sammy Hagar, before rejoining Stephen Stills’s backing group.
1974
Cliff De Young releases an eponymously titled solo album on MCA. He continues to be in demand as a film and TV actor. December After doing various sessions for people like David Blue, Carole King and Todd Rundgren, Schuckett becomes part of the latter’s Utopia. He will remain with the band for two years appearing on the albums Todd Rungren’s Utopia, Initiation and Another Live.
1975
September Kortchmar joins Crosby & Nash’s backing band, The Mighty Jitters, and subsequently appears on their albums Wind On The Water, Whistle Down The Wire and Crosby/Nash Live.
1976
June Schuckett appears on a recording by Free Beer, who release the album Highway Robbery on RCA. July Kortchmar forms The Attitudes, releasing an eponymous debut on George Harrison’s Dark Horse label.
1977
March Schuckett appears on a second Free Beer album, Nouveau Chapeau. Lubahn forms new a group, Pierce Arrow, with ex-Dreams member Jeff Kent and ex-Compton & Batteau guitarist/vocalist Robin Batteau. Schuckett fills in for Jeff Kent when he recouperates from a serious injury in 1978. October Pierce Arrow issue an eponymous debut for CBS. A second Attitudes’ album Good News is also released, but is not a success and Kortchmar returns to session work.
1978
July A second Pierce Arrow album Pity The Rich is released, but is not a success and Lubahn leaves to pursue other projects.
1980
Schuckett joins Ellen Shipley’s backing group and continues to do session work for such notable artists as Cher. Lubahn writes Treat Me Right for Pat Benatar, which appears on her album, Crimes of Passion. August Kortchmar meanwhile, releases second solo album, Innuendo, on Asylum Records.
1981
Lubahn forms Riff Raff who release the album Vinyl Future for Atlantic. He subsequently joins the Billy Squier band.
1982
Lubahn appears on Billy Squiers’ Emotions in Motion. October Kortchmar appears on ex-Eagle Don Henley’s debut solo album I Can’t Stand Still, which he also co-produces and co-writes several songs on. The pair will strike up a rapport and Kortchmar will become an integral part of Henley’s backing band for the next ten years.
1984
Schuckett produces an album for Clarence Clemons for Columbia Records. He also co-produces two tracks with Bruce Springsteen. Lubahn apears on Ted Nugent’s Penetrator and Billy Squiers’ Signs of Life. He also writes Talk To Me – recorded by Patty Smyth and Scandal on their album Warrior (which features Schuckett).
1987
September British indie label, Edsel issues Clear Light’s album with the bonus cut “She’s Ready To Be Free”. In 1991, Lubahn sings background vocals on Billy Squier’s album, Creatures of Habit.
Sources:
Einarson, John and Furay, Richie. For What It’s Worth – The Story Of Buffalo Springfield. Quarry Press Inc, 1997. Grushkin, Paul D. Art Of Rock – Posters From Presley To Punk, Artabras, Cross River Press Ltd, 1987. Hogg, Brian. Sleeve notes to Edsel’s reissue of Clear Light, 1987. Hounsome, Terry. Rock Record #6, Record Researchers Publications, 1994. David Peter Housden. The Castle – Love #9, page 63. Joynson, Vernon. Fuzz, Acid & Flowers, 1993. Long, Pete. Ghosts On The Road – Neil Young In Concert, Old Homestead Press, 1996. Sandoval Andrew. Sleeve notes to Rhino’s reissue of The Monkees’ album Head, 1994. Shaw, Greg. The Doors On The Road, Omnibus Press, 1997, pages 35 and 64. Village Voice, July 6, 1967, page 26, December 14, 1967, page 52 and December 28, 1967, page 39.
Thanks to Gray Newell for his extensive help in piecing this story together. Many thanks too to Marc Skobac for research on some of the live dates. Huge thanks also to Ralph Schuckett for filling in many of the gaps and Doug Lubahn for his input. Thanks to Marc Skobac for his corrections.
The Page Boys, back row, from left: Ronnie Hill, Tom McCarty, Richard Van Vliet front center: Mark Kay
The Page Boys cut one of the killer Texas 45s of the ’60s, “All I Want”, an original by Tom McCarty and Mark Kay. From the opening fuzztone guitar and drum beats you know this record is going to deliver, and it does, with solid rhythm, good harmonies and a wild scream followed by Mark Kay’s amped-up guitar solo. Tom McCarty wrote to me about his time with the group and working with Ray Ruff and Them in Amarillo in the summer of ’67:
Richard Van Vliet (drummer), Ronnie Hill (our bassman), Mark Kay (lead guitar), and myself made up the Pageboys.
Richard and Mark were part of a group call the Trespassers, which broke up. We started jamming together and got along well, so we started a group, originally called The Others.
The Others master tape for All I Want and Silver and Gold We heard a song written by Val Stecklein called “Silver and Gold” that was on one of their albums and liked it so we went down to Tommy Allsup’s studio in Odessa in 1966 and recorded it again, along with one Mark and I wrote, “All I Want”. Tommy was the bass player for Buddy Holly and the Crickets. He’s still in the business I think, in Nashville. I’ve got a mono master and an unmastered 4 track tape from the Tommy Allsup session, but I bet they would disintegrate if anyone tried to play them. They’re 43 years old.
We tried to get Liberty Records and several other labels interested to no avail, and then went to talk to Ray Ruff one day to see if he would be interested in us. Ray Ruff (given name: Ray Ruffin) had a recording studio in Amarillo at the Trades Fair shopping center at N.E. 24th and Grand. Ray was a Buddy Holly look-alike/wannabe who toured the mid-west with the Checkmates. If memory serves me right, The Checkmates had pretty well disbanded by 1966 which is about the time I met Ray Ruff. They were really a good group. Larry Marcum, their lead guitarist, was a good musician and a nice fellow. Galen Ray (full name was Galen Ray Englebrick) was the bass player for the Checkmates.
He didn’t want us “covering” other groups so we ditched it and started writing our own songs and recording them at the Checkmate Studio here in Amarillo. Unfortunately, I do not have any of the tapes or demos from those sessions, but am going to try to find them. I found some demos of groups that I think I did some backup work on with Ray.
Ray brought the group Them over from Ireland around that time. They actually lived in Amarillo for the better part of a year and we were all running mates during that time. I did a cello track on the song “Square Room” that was on the Sully record and the “Now and Them” album that was released in 1968 on the Tower label. Marty Cooper was involved with Ray on the production of that album. That was the beginning of what turned out to be a wild summer with all these guys. Alan Henderson (he and Van started Them) and I are starting a search for the tapes of all the recording sessions Them did with Ruff, but we’re just getting started.
Ray Ruff and Marty Cooper decided to try out concert promotions back in the summer of 1967 and booked bands like the Yardbirds, Beau Brummels, Turtles, Everly Brothers, Castaways, Tommy Roe, Them, and a bunch of others. My band got to be the opening act for all of them. We played 6-7 nights weekly and toured all over the mid-west and as far down as El Paso with them.
Of all the bands we toured with, The Turtles were the most fun! The Yardbirds were not fun at all. Jeff Beck was on bad behavior every night we played with him, and he was really into destroying every piece of equipment on the stage. He was a wild man. Beck didn’t like us much as we would not let him use our Vox Super Beatle amps when he would tear up his own equipment. We had brand new amps and were not about to let him tear them up. We had to pay for our equipment, Vox paid for the Yardbirds’ equipment. He was really PO’d about that and we didn’t care.
The Everly Bros. didn’t like each other, so they weren’t much fun to tour with. Ray also signed us up to be J. Frank Wilson’s backup group. J. Frank had a little problem with whiskey and we spent most of our time trying to keep him sober enough to go onstage. His one hit was “Last Kiss”, Ray Ruff recorded that for him.
The Beau Brummels had a drummer whose name I cannot remember, but one night while we were on tour with them, their equipment didn’t make it in so they had to borrow guitars and bass from a music store that was good enough to loan them to them. Our drummer (Richard Van Vliet) told theirs he could use his set since they didn’t have a reputation for destroying equipment. The Beau Brummels’ drummer de-tuned Richard’s floor tom and snare without asking permission or telling him ahead of time (that was part of their sound on most of their songs). When Richard sat down at his drums right before we went onstage, he was pissed to find out that their guy had messed with his tuning. Richard re-tuned his heads, so our set worked out fine. When the Beau Brummels went onstage and started playing, their sound was almost comical.
That’s when all of us in the rock ‘n roll business would have to pack up by ourselves after each concert, and then immediately drive to the next city and be there in time to set up for the next night’s concert. Fortunately, Wolfman Jack, broadcasting from station XERF in Del Rio, TX, was always there on the radio to keep us awake. Back then, KOMA was the big radio station (Oklahoma City) that all the Midwest bands like the Checkmates, Blue Things, etc. advertised their upcoming appearances on, as it had a HUGE broadcast area. So did WLS out of Chicago. But we ALL wanted to be sure to hear the “Wolfman”.
It was a great experience and a lot of fun, but I was still in college at the time and decided to quit the band and go back to school in September 1967.
Tom McCarty
Special thanks to bosshoss for the transfers of both songs.
Page Boys poster, courtesy of Tom McCarty“To the Paige Boys” (courtesy of Tom McCarty of the Page Boys)
At the Chatter Box in Allen Park, from left: Tom Lojewski, Rick Rawson, Danny Balas (on drums), Mike Mac and Tom Madigan
The Lower Deck first got together in 1965 or 66, I really can’t remember. We played the same places the Satellites did, school Homecomings, college frat parties, teen clubs, you name it. The Lower Deck’s bass and drummer went to the same school as the Satellites; Mike Mac and I went to St. Frances Cabrini in Allen Park, Tom Lojewski went to UD High. There was something about Allen Park in those days, seemed like everyone was in a band and most of them were really good.
Here’s a breakdown of personnel:
Mike Mac: keyboards and lead vocals Tom Lojewski: rhythm guitar and vocals Rick Rawson: bass Danny Balas: drums and vocals Tom Madigan: lead guitar and vocals
We did a show at a place in Indiana called “The Swinging Gate” which touted itself as the first teenage country club in the US. Both the Lower Deck and Satellites played and we also were televised live the next day on a local TV show.
Both bands were managed by Ann Marston. It mentions in her biography in “Shooting Star” that the Satellites were her bad boys and the Lower Deck were her good boys. We did as she asked and the Satellites did as they saw fit. We did some recording but I believe Ann Marston had the tapes and when she died they were either given away or pitched. I was in the Air Force by then and really have no idea where they would be.
The Satellites were together for a very long time. I remember them being an opening act for the MC5 at Weaver’s Music at the corner of Allen Rd and Southfield, now Marshall’s Music. They were a great band in every respect, singing, playing, showmanship, they were a blast to go and see. So were we. We did costume changes every set, going from shark skinned suits to hippie garb to herringbone walking suits.
I remember we did a party for one of the guys we went to high school with, he had a pool and we played on the roof of his house. We all had Vox Super Beatles and dragging them up was tough. The guy’s dad nailed in 2x4s so the equipment wouldn’t slide off. I wish I could remember his name, oh well.
Equipment: Rhythm player had a Mosrite and Vox Royal Guardsman. I had a Fender Jazzmaster and Vox Super Beatle. Bass player had a Gibson bass and Vox Super Beatle. Though the picture doesn’t show it the lead singer had a Vox Continental organ played thru a Bogan per-amp and Leslie. Drummer had a Ludwig set.
PA was a Vox Superbeatle head and two Vox Grenadier columns with 4 12’s each.
I’ve included a pic of the band from 1967 I believe, this was taken at The Chatter Box which was a teen nightclub in Allen Park. It’s now an ACO. That is Tom Lojewski with the Mosrite, I’m in the upper right corner, playing a 1964 Jazzmaster. Bought it for $100 from Dave Fero.
In ’69 I got my draft notice and joined the Air Force, didn’t want to go to Nam, spent 5 1/2 years in London instead.
Danny Balas was the best drummer I ever played with, not sure what he is doing now.
Tom Lojewski still dabbles in music, last I heard he was in California writing software.
Mike Mac is in either Denver or Portland, he’s a marine biologist, he still plays.
Rick Rawson still lives in Allen Park, not sure what he’s doing.
I’m still playing, currently in a band called The Calcutta Rugs. We’re a 6 piece group, keyboards, horns, two guitarists, bass and drums. We play 6-7 times a year, working on a CD and Facebook site.
The Continentals at the Darry Starbird Rod and Custom Show, Wichita, KS. Front row, from left: Ron Jones, Randy Stark, Allen Correll. Back row, from left: Pat Smiley, Larry Rogers,Gary Rowland, Roger Harrison
The Continentals on stage in Edmond, OKBelow is Roger Harrison’s history of the Oklahoma City bands The Continentals, Phoenix and Harvest, followed by two personal recollections from Roger and John Proctor:
Beginnings:
Randy Stark & Roger Harrison met in grade school playing Little League baseball. They became lifelong friends, attending grade school, high school & college together. After the Beatles appearance on the Ed Sullivan show in 1964 their interest abruptly turned to music.
Roger’s father played guitar, so there was always a guitar lying around the house. Roger decided to take up the instrument. Meanwhile, Randy played in the Southeast High School band. After going to a James Brown concert in the mid-60’s, both teens had seen their immediate future & began making plans for forming a band.
Coming of Age:
Randy & Roger were freshmen in college, making ends meet by working after classes & on weekends at a local supermarket chain. They decided there must be a better way to pay their way through college. The supermarket Randy worked at was managed by a local musician by the name of Jerry Schell. He played in a well known nightclub band named Jerry Fisher & the Nightbeats (Jerry Fisher later replaced David Clayton Thomas as lead vocalist for Blood, Sweat & Tears). Jerry offered the supermarket warehouse as a place Randy & Roger could hold auditions. Recruited were fellow Southeast schoolmates Ron Jones (sax), Allen Correll (trumpet) & Gene Glover (drums). Randy was the front man & lead vocalist. At that time everyone played guitar, hardly anyone played bass. Deciding it was easier to find another guitarist than a bassist, Roger volunteered to learn the bass.
In a subsequent audition, Pat Smiley, who attended Northwest Classen High School, was brought on to play guitar & Lee Gross, organ. The group was christened “The Soul Authority”. Randy & Roger had correctly deduced that an actual horn section was the ticket to success, whereas most groups simulated the horns with a Farfisa Organ.
Phase II, The Continentals:
Gene Glover decided to leave the band to start his own group. At that exact time a very popular OKC band “The Continentals” had just broken up. The drummer, Gary Rowland, had copyrighted the name of the group. He offered to join our bandand also offered us the opportunity to use the name. The well known name & the horn section catapulted us to major status in the OKC market. Also at the time, another high school friend from Southeast High, Larry Rogers, replaced Lee Gross on organ. Larry brought with him a Hammond B-3 Organ (complete with a Leslie speaker enclosure!) which further fine tuned the sound they were seeking. Roger & Randy were then able to gladly bail from the supermarket gig.
top row: Allen Correll, Larry Rogers, John Proctor and Ron Jones bottom row: Roger Harrison, Randy Stark, Pat Smiley
Further Along, the Phoenix:
After about a year as “The Continentals” the band began having differing philosophies. As a result, Gary Rowland left the band, taking the name with him. Pat had a friend & classmate from Northwest Classen named John Proctor who played drums for another local band “Fairweather Forecast, who were slated to open for Janis Joplin at a concert at the University of Oklahoma. John, who at age 14, was already one of the premier drummers in OKC, left Fairweather Forecast & joined the band, now renamed “Phoenix”. This lineup enjoyed even greater popularity. Constant gigs, tv appearances & recording filled the next couple of years.
Band members would change as time elapsed. The following musicians also had stints with Phoenix:
Greg Gelman (trumpet), Larry Shear (trombone), Marvin Ferguson (guitar), Jesse Arviles (guitar), Len Platt (organ), Robert Baxter (drums), Tony Messina (vocals & percussion), Bob Brewer (guitar).
John Proctor rejoined the group after a short leave, much to the group’s satisfaction.
Their 45 on the P.I. label from 1969: Phoenix – Every Now and Then I Cry Phoenix – Love Have Mercy
Harvest, from left: Pat Smiley, Roger Harrison, John Proctor, Rick Cobble
Over a period of time there became musical differences within the band. Phoenix decided to call it a day. Four of the original members: Pat Smiley, Larry Rogers, John Proctor & Roger Harrison decided to form a new band, migrating from the horn sound to the more popular hard rock, at the time. They added vocalist Rick Cobble (who bore a striking resemblance to Robert Plant) & started performing as “Harvest”, formerly Phoenix. That group also attained moderate success.Live at Spav’s in Stillwater, OK, 1971:
Randy, Roger & John played in several bands (separately & together) over the next several years. In 1987, four original members of Phoenix (Randy Stark, John Proctor, Ron Jones & Roger Harrison) performed at their Southeast High School 20 year reunion.
In 1995, shortly after the Murrah Building bombing in Oklahoma City, at the request of longtime disc jockey Ronnie Kaye, the Continentals (5 original members-Ron Jones, Randy Stark, Roger Harrison, Gary Rowland & Allen Correll) played a reunion concert at the State Fairground Arena to 5,000 people. Over $50,000 was raised for the cause. Hermans’ Hermits headlined the show.
Roger formed bands in the 70s that included members who would achieve musical success on an international scale. Steve Crossley was in a group named Oklahoma, who was signed to Capitol Records & produced by Mark Lindsay (Paul Revere & The Raiders), Steve went on to co-write over 90 songs with Glen Campbell. Tom Wasinger, another bandmate, has now won three grammy awards as a producer. Rogers bands were the first bands that both Steve & Tom had ever been involved. Randy formed a band that included Dave Gant, who went on to become the musical director & keyboard-violin player with Garth Brooks.
Modern Times:
Randy, Roger, John & longtime friend, Bobby Smith would play in several more bands together throughout the next 18 years. They still get together, whenever possible, to play & record in Roger’s modest bedroom studio.
Where Are They Now?
John Proctor graduated from the Univ. of Central Oklahoma with a degree in music. He was the #1 drummer for the nationally recognized CSU Jazz Band. He moved to Dallas in 1990, where he works in the Financial Services Industry.
Roger Harrison graduated from Univ. of Central Oklahoma with a degree in Business. Immediately after college, he went to work for a small company in Oklahoma City, where he retired in 2003 as Sec.-Treasurer.
Randy Stark worked for the U.S. Postal Service, attaining full retirement in 2004. Randy spent summer vacations building his dream cabin in Vista Park, Colorado, where he resides during the summer.
Allen Correll graduated from Univ. of Central Oklahoma, with a degree in music. He spent 20 years as a band director in the Moore, Oklahoma School System. He now is a music professor at East Central University in Ada, Oklahoma & still actively plays in a classic rock band “Zoom City”.
Gene Glover graduated with a master’s degree in Music from the highly regarded North Texas State. He earned a grammy as part of the North Texas State Band. He now resides in Dallas, teaching music & playing in Dallas area bands.
Ron Jones graduated from the University of Oklahoma, obtaining dual degrees in accounting & psychology. He has spent the last several years employed by the State Comptrollers office & also the Okla. Dept. of Corrections.
Pat Smiley & Rick Cobble both met untimely deaths at age 50.
Legacy:Roger’s son, Matt has, at age 23, is a well known musician in the OKC area. He has toured all over the United State & Europe, played in major music festivals in Chicago, NYC, Austin & Amsterdam. He was part of a group that signed a recording contract with Touch & Go Records.
Roger Harrison, 2010
John ProctorRecollections of Phoenix drummer John Proctor:
I played in an Oklahoma City based seven-piece horn band called Phoenix, from March 1969 to late 1970. The band that became Phoenix was originally called The Soul Authority. Then they changed drummers about 1968 and became The Continentals. The Continentials then changed drummers again in 1969, (this is where I got into the band at the age of 14) and we became Phoenix.
We played all over Oklahoma and parts of southern Kansas. Some of the OKC bands that were doing that Kansas circuit in those days were sponsored by 1520 KOMA in Oklahoma City. Phoenix, and several other bands however, were sponsored by 930 WKY, also out of Oklahoma City. We probably played every National Guard Armory and VFW Hall in Oklahoma during the two years 1969 – 1970.
In 1969, we released a 45 rpm single in the Oklahoma City market, and it received airplay on WKY 930 AM for several weeks before dropping off the local charts. It was a cover of a Uniques tune called “Every Now and Then I Cry.” The flip side was a cover of a Porter & Hayes tune called “Love Have Mercy.”
For about a two-year period, Phoenix and The Midnight Rebels were the two top dogs in Oklahoma City. They had a great vocalist by the name of Mark Keller, and they had released a cover version of “Smiling Phases” by Blood, Sweat, and Tears some months before we released “Every Now And Then I Cry”, and they were in fact, to some degree, a motivating force to us in getting our own record completed and out there in the record shops.
Sullivan Studios, where we recorded both tunes was in a suburb of OKC called Capital Hill. The studio was owned and operated by Gene Sullivan, who at one time had been part of the duo Wiley & Gene. In 1941, Wiley & Gene recorded the country hit “When My Blue Moon Turns To Gold”. Sullivan’s was a three-track studio. We had the rhythm section on one track, the horns on a second track, and the vocals on the third track. Benson Studios in OKC had an actual four-track studio, but the hourly fee of $20 was prohibitive at the time.
Everything we did was cover material. We did throw in some novelty tunes however such as “A Boy Named Sue” “Long Tall Texan”, and “Folsom Prison Blues” to name three.
The photo of us playing at the ballpark was The Oklahoma City Pop Festival, just two months after Woodstock, and two weeks after the Dallas Pop Festival. We got to play early in the day with the other local bands, and then toward evening, the big name bands took the stage. I remember watching and listening to Grand Funk Railroad, The Grass Roots, Smith, a band called “Texas” who would later be renamed Blood Rock, and others.
In the 70s every city of any size had their local Johnny Carson. In Oklahoma City, it was a local DJ named Danny Williams. They gave him a mid-day talk show called Danny’s Day. He liked our band, and he scheduled us to do three tunes live on his show in July 1970. We chose to do “More and More” by Blood, Sweat, and Tears, “Evil Ways” by Santana, and an instrumental by Chicago called “Liberation”. This was a live performance on the air, and our singer had what was called a “dead microphone” meaning that the people tuned in on TV could hear him, but we could not! The guy in the booth that made us the sound recording of the performance accidentally cut off the beginning of “Liberation”.
“I’ll Be Back” was to be our second 45 single. We recorded this one at Benson Studios in OKC, but we never had it pressed into a 45 because the WKY DJs didn’t like it. This is a cover of The Beatles “I’ll Be Back”, rearranged for horns. The analog tape that this was taken from was so old that the sound goes in and out a little bit.
I went on to College at CSU in Edmond, OK and learned how to play jazz, and big band. In 1976, I was the #1 drummer with the #1 CSU Jazz Ensemble. I joined the Music Union in Oklahoma City, and did a lot of what I call “Vegas On The Road” gigs. These Vegas acts would come in to OKC for two weeks, and many times they would not bring their own musicians with them, choosing to rely on local union players instead. Those gigs were lots of fun.
John Proctor
Roger HarrisonPhoenix bassist Roger Harrison:
Phoenix was originally formed by Randy Stark & Roger Harrison in early 1968, while attending Central State University in Edmond, Oklahoma. The band was originally named the “Soul Authority”. We were quite enamored by James Brown and the various Motown acts at the time. Randy and I had gone through grade school, high school and college together. We attended Southeast High School.
In 1968 we recruited three additional muscians from Southeast: drummer Gene Glover, saxophonist Ron Jones & trumpeter Allan Correll. Later we recruited another Southeast alumni, Larry Rogers, to play the Hammond B-3 organ.
What set us apart from most of the other local bands was the horn section – other bands would emulate the horns with the Farfisa organ. The move paid off, separating us from the pack.
A short time later we hired drummer Gary Rowland who had been playing in a very popular band The Continentals. That band has disbanded, but Rowland kept the name. Since they already were well established, we adopted the name. After a year, we decided to replace Rowland with John Proctor for musical and philosophical reasons. That is when the band became Phoenix.
With Phoenix we enjoyed even greater success and played almost non-stop while attending school. Then came recording and local television appearances. We appeared on local disc jockey Ronnie Kaye’s television show “The Scene”. For some reason we were sent to a recording studio to record the songs and then lip synch them for the TV show. Another popular show we appeared on was a show called “Danny’s Day”. The co-host of the program was non other than Mary Hart! By that time our music had matured a great deal.
Another humorous thing that comes to mind is the way we traveled. Since there were 7 (sometimes 8 in the band) we usually took one car & a van. I usually rode in the van. With all our equipment there was room for only three people. Two people rode in the front. I had a huge black pleated Kustom Bass Cab with three 15″ speakers. I would place the Cab face down, bring a pillow & blanket and sleep on it all the way back from our sometimes long travels. All in all, some of the best memories of my life.
Roger Harrison
“Every Now and Then I Cry” at #25 on WKY’s Sept. 18-24, ’69 chartFan letter
Ray Ruff (Ray Ruffin) of Amarillo owned the Ruff label, and was also a partner in the Sully label, eventually taking it over from Gene Sullivan, who had started Sully Records in Oklahoma City in 1959.
Ruff also had the Storme label, with one release I know of “I’m Gonna Love You Too” / “Ummm Oh Yeah” as Storme #101 in 1964.
Any help with these discographies would be appreciated.
Ruff Records
The Ruff discography is fairly straightforward, though there are some weird jumps in the numbering after #1020, maybe because of distribution deals with Tower Records. Interestingly, Mop Top Mike pointed out that numbers 1010-1020 were all released between March and April, 1966.
1000 – Blue Things – Mary Lou / Your Turn To Cry (Feb. 1965) 1001 – Buddy Knox – Jo Ann / Don’t Make a Ripple (December 1964) 1002 – Blue Things – Pretty Thing, Oh / Just Two Days Ago (May 1965) 1003 – Checkmates – Hey Girl / All the Time Now 1004 – Henson Cargill – Joe, Jesse and I / Pickin’ White Gold 1005 – ? 1006 – Charming Checkmates – Just to Make Me Cry / So Hard To Find 1007 – Bob Finn – Existing In City Stone / Why 1008 – ? 1009 – Arcades – She’s My Girl / Stay Away (Kent Tooms) arr. by Ruff and Paul Mathis 1010 – Trolls – That’s The Way My Love Is (Fred Brescher) / Into My Arms 1011 – Finnicum – Come On Over / On the Road Again 1012 – ? 1013 – ? 1014 – Robin Hoods – My Love Has Gone Away / Love a Game (both by Robin Harris) 1015 – BC’s – Oh Yeow! / Comin’ On Home 1016 – Y’Alls – Please Come Back / Run For Your Life 1017 – Burch Ray – Love Question 1018 – Troy Watson & the Del Troys – Sherry / Girl I Love And Adore (both by Troy Watson & M. Boyking, April ’66) 1019 – Tiaras – Sticks And Stones / Southern Love 1020 – Page Boys – All I Want / Sweet Love — 1088 – Them – I Happen to Love You / Walking in the Queens Garden (1967) (with picture sleeve) 1098 – Rubber Maze – Mrs. Griffith / Won’t See Me Down (with picture sleeve)
Sully Records
Begun by Gene Sullivan in Oklahoma City, Sully also operated out of Amarillo, Texas under Ray Ruff’s supervision. The 100 and 200 series are Oklahoma City productions, while the 900 and 1000 series are Amarillo, TX productions.
Generally the 100 series have “Oklahoma City, Okla” under the logo, while all the ones in the 900s (along with #100), have “Checkmate Productions” under the logo, indicating Ruff’s production company.
Also, some records (#929, #931 and #933 for example) have the label name spelled “Sölly” instead of “Sully”, why I’m not sure.
100 – Ray Ruff and the Checkmates – Long Long Pony Tail / Pretty Blue Eyes 101 – The Serenaders – Hymn-Time with the Serenaders (EP)- Whispering Hope / Beyond The Sunset (Should You Go First) / What Will You Say / The Twenty – Third Psalm (Oklahoma City) 102 – Gene Sullivan – Sleepin At tHe foot Of The Bed / Paul Revere O’ Malley 103 – Danny Williams – All American Girl / Fidel Castro Rock (Al Good – Danny Williams) 104 – The Plainsmen Chorale – Dream / Herb Jimmerson- Poinciana 105 – The Plainsmen Chorale – September Song / Herb Jimmerson- Goofus 106 – Bob Starr – Blue Train / Walls of Love (July 1959) 107 – Wiley Walker & Gene Sullivan – When My Blue moon Turns To Gold Again / Live And Let Live 108 – Charles Jones and the Stardusters – Whoo-oee and Oh So Fine / Natalie (1959-60) 109 – Danny Williams – Deck Of Cards / If Jesus Came To Your House 110 – Hyatt Stamper – Life You’re Living Now / Wild Side Of Life 111 – Shadows Five – Gary’s Boogie (Gary Sullivan) / Dynamic Drums (1960) 112 – Bill Snow & Sonny Woodring – Cry For Me Darling / Timber Wolf 113 – Dub Snow – Greyhound Talkin Blues / Yuma Pen 114 – Jo Kiser – True Love Is Hard / Lovey Dovey 115 – Bill Snow & Sonny Woodring – Golden River / Hands You’re Holding 116 – ? 117 – ? 118 – ? 119 – ? 120 – Jim Fitzgerald – Day On The Highway Patrol / Cryin Time (1966) 121 – Decades – I’m Lovin’ You / Thinking of You (1966) (also issued as Sully 921) 122 – ? 123 – ? 124 – Those Ellis Bros. – That Girl / Heaven 125 – George Peterson – Time Will Change Everything / I Could Have Been A Doctor (both by Peterson) 126 – Terry Canady – Hollywood Hotel / Scotch and Soda (1968) 127 – Bobby Caldwell – This House / Bronc-Buster 128 – Jerry Abbott – Big River / It’s Better Than I Got At Home 129 – Bobby Kent – When You Hear Me Call / I Fell In Love With An Angel 130 – B Bros. – Call Me Anything / Just Blue Memories 131 – ? 132 – Jay Hamilton – Somebody Anybody / Walkin & Talkin
201 – Jody Bennett – Heartland U.S.A. / Katy Is Now a Lady
—– 910 – Techniques – Short ride / Can’t Be Wrong To Be In Love (1965) 911 – Fantom – Baby Come on Home / Time Seems to Fly 912 – Rising Suns – Land of a Thousand Dances / Concentration 913 – ? 914 – Dinks – Nina-Kocka-Nina / Penny a Tear Drop 915 – Burch Ray – Love Questions / Blues Stay Away From Me (Oct 1965) * “Note – different version of ‘Love Questions’ than the one recorded and released later on Ruff. Discog also shows it as Sully 913, but I think this is a mistake” – (MTM) 916 – Bob Baker – Short Fat Texan / Suzurak 917 – Drivin’ Dynamics – So Fine /Hurt Me 918 – ? 919 – Gaylen & Royce – I Can’t Stay / Modern Day Fools 920 – ? 921 – Lanny Madden – My Only Son / Pressure Pains 922 – ? 923 – Danny Ferguson – Revengers / Long Neck Bottle 924 – Mike – I’ll Set Her Free / You Won’t Have Nothing 925 – Dinks – Kocka-Mow-Mow / Ugly Girl 926 – Carolyn Bennett – So Bad So Bad / I Wonder 927 – J. Frank Wilson – Me and My Tear Drops / Unmarked and Uncovered with Sand 928 – Tracers – She Said Yeah / Watch Me (1966) 929 – Patti Seymour – The Silencer / This Feeling He Left (produced by Nick Yazbek) 930 – Rick West – Crackin Up / What I’m Lookin For 931 – Patti Jo – I’ll Sleep Tonight / Heading for A Heartbreak (Il Suffirait d’un Rien) 932 – Carolyn Bennett – You’ll Always Be A Part of Me / Give Me Your Love 933 – Knu Castles – Bulldog (George Tomsco) / Boy Blue (Mike Reinheart) both songs Dundee Music BMI
—– 1004 – Epic Five – Don’t Need Your Lovin’ (Richard Ramiraz) / “I’ve Got That Feeling” (John Gatica) (October 1967)
1021 – Them – Dirty Old Man / Square Room (August, 1967)
Mop Top Mike writes: “There is also a 200 Sully series starting at 201 which followed the 100 series. Looks to be mostly or all country-western sounds.”
LP: Al Good “A Good Time For Music” Sully S-SLP-100
This discography was compiled from many sources, of which Rhett Lake & Ted Blackwell’s Oklahoma Guide to 45rpm Records and Bands ~ 1955~1975., Rockin’ Country Style and members of the G45 Central forum were the most helpful. Thanks also to Rich Strauss, Patrick, Mop Top Mike, Jim, Bob Garrett, Lisa Wheeler, Pete Adams, Keith, and eleelandc for their help.
The Pentagons, from left: John Coggeshall, Dave Lemieux, Steve Morse and Gary Lamperelli
The Pentagons cut one 45 at Audio Dynamics Studio, with the great rocker “About the Girl I Love” on the b-side. There’s a fine sense of urgency throughout the song starting from the opening bass line that immediately grabs the listener. I was surprised to learn it was played not on a bass but a Doric organ. Mistakenly listed as a Massachusetts band in the www.ugly-things.com database, the band was actually from Connecticut, as organist and song writer John Coggeshall informed me:
This photo is so old: it’s before Gary joined as sax player (notice one of our neighbors/friends playing maracas) and before me (left, playing the wheezing, air-run organ), Steve and Dave became The Pentagons.
I was the founder and lead singer of The Pentagons; a four-man group (yes, I know, a pentagon has five sides) based in Montville, Connecticut between 1964 and 1969 (our high school years at Montville High School). We featured Steve Morse on Kent guitar, Gary Lamperelli on C-melody sax (until I, uh, accidently kicked it down the stairs so he had to go buy a tenor sax like the Dave Clark Five had), Dave Lemieux on drums and me on Doric portable organ (it had the most bass notes of all the portables and there were no bass guitar players at Montville High).
Receipt for John’s Doric organ
We originally recorded on acetate at Thomas Clancy Recording Studio in New Haven studio before Audio Dynamics; “Summer’s Over” and “The Walk”, a pretty good vocal rock tune with a good hook. It predates our Audio Dynamics effort by about a year.
Early Pentagons from left: Steve Morse, a neighbor/friend guitarist, Gary Lamperelli, Dave Lemieux, John Coggeshall
We cajoled my grandfather into springing for some studio time in Stafford Springs, CT. Audio Dynamics was the only close and easily accessible studio we could find (Stafford Springs up a country road or two from Uncasville, if I remember correctly. There were no recording studios in the Norwich/New London area at the time, ya know, there was next to nothing in the way of any professional music business in that area at the time).
We recorded two songs I wrote on the Audio Dynamics label: “About The Girl I Love” and “Summer’s Over.” “Summer’s Over” the “A” side of our record is pretty depressing and forgotten. “About the Girl I Love” is the tune that has legs. Who would have thought that song, a “B” side, done in a few hours one afternoon, would be remembered and currently on two limited release compilation CDs [Gravel vol. 3 and Quagmire vol. 5].
Audio Dynamics seemed somewhat fly-by-night to me (set up in an old theatre with obviously moved-in equipment, difficult to reach by telephone, vague publishing promises, very rough-cut 45 rpm records, etc.). I think the huge theatre is what gave us that reverb sound. Also, can’t complain about the heavy density bottom, since we never had a bass player except my left hand and, that early on, I didn’t have the best concept of how to imitate a real bass guitar player, (on “Summer’s Over”, which was supposed to be the “A” side, I was playing three-note chords for the bass part on some of the song—real dumb), but the studio made my left hand sound pretty bass guitar-ish on “About The Girl I Love”.
We got the local Norwich record store, Gaffney’s, to carry it for awhile by sending our girlfriends to the store every day to breathlessly request copies. We sold it at gigs, too. I recall we weren’t happy with the very rough pressing of the record, which gave turntable needles difficulty at times. Maybe we sold most copies.
I also had ties to The Breakers out of New London, CT, who took a song I wrote, “She Left Me” through various Battle of the Band competitions, eventually landing an MGM Records contract, releasing a bubblegum tune, “Jack B. Nimble” that went nowhere and is barely mentioned on the Internet and un-findable. I have “She Left Me” and “An Always Time” written by me and performed by The Breakers on acetate, before they became The New York Thruway.
Then there’s New London based Davy Jones and the Dolphins, who actually did a soundtrack to a “B” Hollywood movie, “Hellcats”, that barely survives mention, and who actually had Columbia Records release their song, “Shannon” a pretty good number, and that’s NOWHERE on the Internet. And yet, beyond all those major league labels, better recordings and “A” sides, “About the Girl I Love” is the one that survives for posterity.
We play New London’s meaner nights, The “backdoor” clubs, the dance floor fights, Rowdy Norwich Rooftop fans, Who punch Steve out whilst in the can. That high school gym was so fantastic, Tossing chairs and making baskets, Trashcans on the roof by Dave, Who claimed we were “The Purple Sage”, And after we had done all that, How come they never asked us back?
It was a backstreet New London club on the first floor of an old house, and people would walk by and throw lit firecrackers through open windows onto the dance floor while we played and people danced. Talk about a showstopper. My dad came to pick us up at the end of a gig one night, and a fight broke out on the hood of our family station wagon.
In regard to “Burnt Toast,” that’s The Pentagons minus our original drummer, Dave Lemieux, and with our original sax player, Gary Lamperelli, taking over on drums and us playing as a threesome. After we all graduated from high school in 1969, the group split up and three of us went to colleges in different states, and one went to air conditioning school (I think). After the end of our freshman years, we, for the first time in our teenage lives, had to get REAL summer jobs (during high school, our weekend Pentagon gigs made us enough money to keep our parents quiet regarding that “Get A Job!” syndrome). But now, it was GENUINE WORK time: me at the Thermos Factory on swing shift, Steve at McDonald’s, I think, and Gary sweeping up at his dad’s famous nightclub, “Lamperelli’s 7 Bros.” on Bank St. in New London.
Steve Morse (yellow shirt and pitchfork), Gary Lamperelli (yellow shirt), Dave Lemieux (gray shirt, kneeling) and John Coggeshall (blue shirt and jug) About halfway through those backbreaking months, I met up with Gary and his dad and we hatched a brilliant scheme: for the following three years, his dad (and the other 6 brothers) would hire us for the summer, every night, at less than what the club was paying other bands, and for advertising purposes we would re-name the band every week and say we were from a different big city (“Burnt Toast from Miami”, “Direct from Las Vegas, ‘Fistful of Worms’, etc. etc.). We cut our personnel to three to make more money apiece, and the club always let us pick the band name and didn’t much care what it was, thus, “Running Sores” from Boston, “Prep H” from Detroit—I remember making posters: cardboard stock with a real slice of burnt toast nailed to it, to place outside the club. Actually, the scheme worked great for three summers, and none of us had to get anymore real jobs through college. I loved that New London club (pretty well-known, it turns out), and Gary’s dad and uncles.
At the end of our run (around 1973), I wrote a three-page epic poem about the beginning, middle and end of The Pentagons. It covers every highlight and lowlight we experienced. I have had a lengthy time in the entertainment field, the legal profession and even politics (the meeting place of law and entertainment) since then.
John “Cog” Coggeshall.
A special thank you to John for his help with this article, including all photos and the transfer of the acetate of “The Walk”.
Update, September 2010
John has a new CD, John Cog: Bay Blues available on CD Baby with previews of the songs. Proceeds go towards restoring Chesapeake Bay.
Update, January 2014
John announces the upcoming release of the second and third volumes of his Bay Blues trilogy, Bay Blues Fools and Bay Blues 3 Times The Legal Limit.
Update, July 2022: I learned that John Coggeshall passed away on June 19, 2022. Besides his music career, he campaigned to protect the Chesapeake Bay, and became an attorney representing criminal defendants. This article from the Virginian Pilot is a great overview of his career, as is his obituary, also from the Pilot.
It was an honor to correspond with John and create this article on the Pentagons.
The Pentagons from left: Steve Morse, Gary Lamperelli, Dave Lemieux, some neighbor/friend, and John Coggeshall.Fan letter to the Pentagons
from left: Gary Lamperelli, Dave Lemieux, Steve Morse and John Coggeshall
Where The Pentagons rehearsed until the boyfriend of a female fan burned it down.
Steve Morse – Guitarist for “Burnt Toast” aka “Fistful of Worms” aka “The Running Sores”Gary Lamperelli – Drummer for “Burnt Toast” aka “Fistful of Worms” aka “The Running Sores”John Coggeshall – Lead singer/keyboardist for “Burnt Toast” aka “Fistful of Worms” aka “The Running Sores”
Mike and the Dimensions, from left: Jim Phifer, Mike Malonee, Ken Taylor, John David Kitts, and Foster Braswell. Ken Taylor writes: “This was our first picture. We had those suits made and mine wasn’t finished in time for the photo shoot so I was the only one dressed differently. I painted the name on the bass drum with nail polish.”
Ken Taylor gave me the history and photos of his first group, Mike and the Dimensions, also known as the simply the Dimensions, or the Fabulous Dimensions:
I was blown away to listen to “Little Latin Lupe Lu”. I haven’t heard it in 45 years! That is me singing and playing drums. We recorded it in one take with everyone playing live. No overdubs in those days! The guitars are horribly out of tune!
We recorded it at Frederick’s music store in Goldsboro before Doug [Farwig] joined the group. We only had 500 copies pressed and gave away most of those. We did manage to sell a few and they played it a few times on the local radio station WGBR.
We were called Mike and the Dimensions then and had a guy named Mike Malloney [Malonee] on guitar. The song “Why” was actually written by Mike with input from the rest of the band. Mike was moody and hard to work with. We replaced him with Doug after Mike broke a friend’s guitar at rehearsal one day.
Doug had been playing with another group called the Cobras at the time. They were more of a “surf” band and we were more “beach music” and R&B. We opened the first rock club in the area in an old abandoned county jail and called it “the Bastille”. I was still in high school at the time and we had studied Bastille Day which is where we got the name. We were the house band and also booked all the top Beach music groups to play there. The Embers performed there many times. We were just kids and had our own club! Pretty amazing at the time!
Doug Farwig’s Dad was our manager. He was so cool, he loaned us the money ($200.00) to buy our ’51 Cadillac hearse which was a party on wheels!
We used to go see the Counts IV at the teen club on Seymour Johnson Air Force base and wanted to be just like them. They wore black turtle neck shirts, tight jeans and Beatle boots and we thought they were the coolest thing we had ever seen! We started to play more rock and would go to their rehearsals to learn from them. I was the drummer and Chico taught me a lot!
We got Doug in the band and had a guy named Bill Stroud from a band called “The Spectaculars” on piano for a while. He was one of the most talented musicians I’ve ever known but … he would show up late or sometimes not at all so we had to let him go too.
We hired a local singer named Scotty Todd and started getting real popular, playing fraternity parties and other venues across the state. Meanwhile, Joe Booher quit the Counts IV and they broke up. Al and Chico went back to N.Y. We hooked up with Don Roof who had a bunch of gigs already booked to form the new Counts IV which later became the Inexpensive Handmade Look.
Ken Taylor
Click here for more on the Count IV and their later incarnation as the Inexpensive Handmade Look.
Thanks to Debbie Daniels for correcting the ID of the top photo above with David Kitts’ name.
The Dimensions, standing left to right: Jim Phifer, Foster Braswell and Ken Taylor, seated: Doug Farwig and Scottie Todd.
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
Sandy Katz – rhythm guitar and vocals
We graduated in 1965 and in the fall David went to college, in New Paltz, New York, so the band evolved. Alan and Curt stayed, I think we called ourselves the Invaders. I don’t really remember all the iterations of the bands. I do remember that Alan was still playing drums when we met Sandy Katz. I don’t remember how we found him, but he and I clicked. He had a great voice and wrote decent songs. His dad was in business for himself so was very savvy about copyright and publishing rights, so all of Sandy’s songs were copyrighted.
