Category Archives: US

Categories: Ohio, Pla Me Records, Wooster

Me and the Guys

April 7, 2008 Chris Bishop 2 Comments

Me and the Guys were a band from Wooster, Ohio, southwest of Akron.

“I Can’t Take It” / “Why Can’t You Be True” is a double-sided winner from 1966, both sides written by Culp and Taylor.

My copy is autographed with the following names: Joel Culp, Tommy Taylor, Bill Ross and Steve Young.

Since posting this, I see Buckeye Beat has the full story on the group, including a couple additional photos from George’s collection.

The only other garage band I know of on the Ohio label Pla Me are the Oceans. This label doesn’t seem to be connected with the Pla-Me label located in Muskogee, Oklahoma, that released the Standels’ (not the Standells) ‘Let’s Go’ 45 as well as rockabilly 45s by Curtis Long, Walter Perkins, Jimmie Belden, and Gene Mooney & Joanie Hardesty.

Categories: Jersey Shore, Pennsylvania, Unknown, Wayne

The Escape Machine

April 5, 2008 Chris Bishop 1 Comment

The Escape Machine produced their own 45, recorded at Wayne Sound in a small town called Jersey Shore, located not anywhere close to what most east coast folks would think of as the Jersey Shore. It’s in central Pennsylvania, about 50 miles northeast of State College and 95 miles north of Harrisburg.

“Stop!” is a gloomy psychedelic piece written by M. Paige and A. Womer.

The flip, “I’ll Go on Loving You” is totally different, a country vocal written by K. Shingara and E. Shingara. Engineer on both tracks was J. Goditus.

Categories: California, Chico, Frantic, Vardan

The Boy Blues

April 5, 2008 Chris Bishop 29 Comments

Updated December, 2009

The Boy Blues came from Chico, and released two 45s in February 1966 and 1967.

This article is superceded by the release on CD of ‘Up From The Grave’ on Frantic Records (the reissue label, not the original Frantic label based in Universal City), which has all four songs they recorded in incredible sound quality, plus an extensive history of the group including some outrageous stories of baby food and a drug bust that I won’t repeat here. Get the CD to read the full story and hear 30 tracks by a number of Sacramento Valley bands. I recommend it highly.

Below is a brief history of the group:

The Boy Blues started out of a band called the Disciples, with Mark Cipolla on guitar and vocals, Jim Conley on lead guitar, Randy Reaves on bass and Rick Wagner on drums. Bob Brien joined to share rhythm guitar and vocal duties with Mark Cipolla, and then the band changed their name to the Boy Blues. Conley left and Chris Howard joined as lead guitarist.

They met their manager George Martin at a battle of the bands in Marysville, and in early ’66 he brought the band into Ikon Studios in Sacramento to cut their first 45 for release on the Vardan label.

The top side “Living Child” would be re-recorded in a much different arrangement for the b-side of their second 45. Most people prefer the Frantic label version, mainly because it has distorted guitar throughout instead of horns. Still, I wouldn’t dismiss the Vardan version, it’s faster and tighter, and even if the horns are superfluous, they add some dissonance to the chorus.

The b-side of the Vardan 45 is another good Bob Brien song, “Think About It Baby”, with a thick layer of horns arranged by Arthur Wright. I like this one as well, especially the Byrds-like guitar solo. The squeak of the bass drum pedal is really noticeable, especially in the introduction.

Would this be a better 45 without the horns? Maybe – it definitely would have had a more typical garage sound, but the horns don’t ruin either cut for me.

A drug bust in Novato got the band on the front page of the San Francisco Chronicle, and led to the departure of Randy Reaves and Chris Howard.

The band heard John Palmer playing while driving by his garage in Richmond, in the East Bay, where he had been a member of the Plague. The band convinced John to come up to Chico to join them as lead guitarist, and added Jeff Gadbois, who has since passed away, on bass.

The bust didn’t stop their popularity at live shows, nor did it dampen the expectations of George Martin, who brought the new lineup into Sountronics in Lodi for their second single.

‘Coming Down to You’ chugs along to the Batman theme for most of its three minutes, and features a great fuzz solo after its somewhat dreamy chorus. It was written by Bob Brien and Mark Cipolla. Some copies of this 45 were released with a picture sleeve that features the earlier lineup of the group.

John Palmer and Jeff Gadbois were with the group for about six months before departing to play a heavier type of music with Lincoln’s Promise. In the spring of ’67 John went back home to Richmond where he became a founding member of Savage Resurrection.

Cipolla moved to bass, while he and Bob Brien found new members Pat Varvel on drums, Ed Seymour on keyboards and Chuck Edwards on guitar and vocals. They changed their name to Colours and moved to the Bay Area for a new start. That period is documented in a two CD set also released by Frantic, but I haven’t heard it yet.

Arvey Andrews produced the Vardan 45, and co-produced the Frantic release with his business partner, George Martin, while they were stationed at Beale Air Force Base east of Yuba City.

Frantic had other good releases, including the Styx with ‘Stay Away’ and ‘My Girl’ (CR-2125/6), a group called Psycho with ‘You Need Me (CR-2128), and the Mystic ‘I Get So Disgusted’ / ‘Weekend People’. The Boy Blues might be the last 45 on the label.

Sleeve for their second 45 – but showing the earlier lineup of the group
anyone have a better quality scan of this sleeve?

Categories: Andover, Continental Recordings, Framingham MA, Cori, Insegrievious, Massachusetts

The End “Bad Night” on Insegrievious

April 1, 2008 Chris Bishop 5 Comments

The End band at Andover — The End at Andover, photo courtesy of Tony Curtiss

The End came out of Philips Academy in Andover, a private boarding school. In 1966, the band traveled forty miles south to Continental Recordings in Framingham to make their only record. Continental’s label Cori pressed their 45 for them with the End’s custom Insegrievious label.

Many Andover bands recorded during the sixties, including the Invictas in 1961, the Satans’ Raising Hell LP from ’62, the Torques in ’63, the Apostles with two albums in 1964-65, and the Group with a four song EP in 1967. The Ha’pennys recorded their album Love Is Not the Same at Continental about the same time as The End made their 45.

A year later another Philips Academy band, the Rising Storm would also travel to Framingham to make their LP, Calm Before…, by far the most famous of all these releases.

The End only recorded one 45 while the rest of these bands (with the exception of the Group) recorded entire LPs. In any case they do well with their two original songs, especially the catchy “Bad Night”. The flip, “Make Our Love Come Through” is a fine ballad.

As for the label name, that apparently comes from the Batman TV series, hugely popular that year: “Catwoman, I find you to be odious, abhorrent, and insegrievious.” It’s not as bad as it sounds – a slang dictionary defines insegrievious as expressing anything and nothing at the same time in an impressive sounding way.

Tony Curtiss wrote to me about the band:

It was my cheesy organ solo in “Bad Night.” Here is the band’s lineup:
John Leone: The lead singer and writer of “Bad Night” and co-writer of “Make Our Love Come Through.”
Jeff Lemkin: Lead guitar
Chris Moore: Backup singer
Cai Underwood: Drums. Cai had earlier been drummer for the Apostles at Andover.
Bruce Curran: Rhythm guitar
Mel Kendrick: Bass
Tony Curtiss: Organ and co-writer of “Make Our Love Come Through.”
The band only made this one record in the Spring of 1966 as all but Mel Kendrick graduated from Andover in June of 1966 (Mel in June of 1967). We soon scattered to the winds. John Leone was off to Harvard, Chris Moore headed to Princeton, I went out west to Stanford etc. Thanks for remembering us, Tony Curtiss

Thank you to Tony for sharing these photos of the band.

The End at Continental Recording Studio, Framingham, MA, “during the recording of ‘Bad Night.’ From left to right is me (Tony Curtiss), Jeff Lemkin’s dad who drove us, Bruce Curran, Chris Moore and John Leone (in glasses).

Categories: Bonna, New Jersey, Patterson

The Saucer Men

April 1, 2008 Chris Bishop 10 Comments

I didn’t know where the Saucer Men were from until one of the comments below gave Paterson, New Jersey. The ZTSP prefix on the label indicates this was a Columbia Records custom pressing, most likely out of New York. This band has nothing to do with the Saucermen of Dickie Goodman and Bill Buchanan fame.

“Another Chance” is a maudlin tune, good if you like the downbeat, weepy garage numbers. The flip, “Don’t Do It” is a poppier, somewhat awkward song.

Both songs were written by Tom and Nick Bonagura and released on their own Bonna label.

Thanks to Ra for sending in these clips and the label photo.

Categories: Bo Jo, Pennsylvania, Stroudsburg

The Vestells

March 27, 2008 Chris Bishop 18 Comments

Updated September 2010

Vestells Bo Jo 45 Won't You Tell Me “Won’t You Tell Me” is a song I used to cover when I played with a couple friends in the Trip 9’s. Running through those chords over and over would about make my arm fall off, but I never got tired of playing it.

The Vestells were a quartet from around Stroudsburg, northeast of Allentown. Their name seems to come from the vests they wore as stage outfits.

Two brothers, Bob and John Schick formed the basis of the band, originally with John Smoke on rhythm guitar and John Kegley on drums, later replaced by Clair Whitmore and Jim Cadue. They cut their only record at Cameo-Parkway studios in Philadelphia in 1966, then most of the band was drafted the following year.

“Won’t You Tell Me” was written by Bob Schick, and seems to feature only two guitars and drums, as I can’t make out any bass. The rhythm guitarist must have been pretty excited to be in the studio, he starts the song off so fast the drummer has a hard time getting the beat down! The song ends up at a noticeably slower tempo than when it began, but the shouts and spirited delivery really put this across. I love the ending, too, when first the drums then the guitars drop out.

The much more sedate flip side, “Please Walk Away”, was written by the group and features a different singer, Clair Whitmore. With harmonies and a bass line, I’d say the band spent considerably more time recording this song. It’s not bad if you like mellow pop ballads.

Bass player John Schick sent me the photo above and wrote to me about the band:

The pic is an earlier Vestells. I couldn’t find one with the players on “Won’t You Tell Me”. The band that recorded “Won’t You Tell Me” was Jim Cadue on drums, Clair Whitmore, rhythm guitar and vocal on “B” side of 45, and of course Bob and myself.
We played just about every bar and resort in the Poconos, including Mount Airy Lodge (now a casino), Buck Hill Inn, Fernwood, Pocono Manor, etc. We did get radio play in New Jersey (years after the band broke up).
We pressed a thousand. I’m not really sure how many we sold, given away, and lost. I still have 16 (just counted them).
Bob is now an organic farmer in Maine. He still writes songs, books, and articles on organic farming. Jim Cadue was Monroe County Commisioner for years (now retired), Clair Whitmore I believe has a sign business, and I’m still in the music business as a full-time composer. Some of my credits can be found on AudioSparx.com. All members except for my brother still live in the Poconos where the band originated.
John Schick

Update: drummer Jim Cadue passed away on May 14th, 2015.

Categories: Florida, Miami

The Dirt Merchants

March 26, 2008 Chris Bishop 14 Comments

Dirt Merchants at P.A.L. in south Miami.

Dirt Merchants in the Miami News, Saturday, May 7th, 1966 - text below — Dirt Merchants in the Miami News, Saturday, May 7th, 1966 – text below

Todd Reece sent in the story and photos of his band the Dirt Merchants, a Miami group that unfortunately never recorded. Todd was lead singer, other members were Danny Gray lead guitar, Lee Barchan rhythm guitar, Terry Goldman bass, and Bill Shimp on drums.

Todd Reece: We were strong at all the local spots from the p.a.l. to frats., etc. We played with, and I knew people from many of the bands you already mention.
Evil got to make their record, sadly because an audience screaming contest at the fair gave them the edge over us. It came down to us and them at the battle of the bands……alas that’s the way it goes!
I went to Coral Park, while most of my competition came from Southwest. I was the lead vocalist, and the youngest in the group. The rest of the guys were at Dade Jr. College. Our manager Bob Hannah was the little round Santa at p.a.l., you see in the pix.
We were the guys doing all the Animals and Stones, as they came out on record.
I left the dirt merchants to start another group, like an ego maniac lead singer would do, that was “̧Chelsea’s Children.” This group shifted to a lot of Love and Byrds. We were the house band at “the Depot” on U.S.1, across from the U of M. We played on the Rick Shaw TV show. I noticed Bill Banye went on to join together with some other folks, after our band Chelsea’s Children split.
My circle the next year included: Wet Paint, the Razors Edge, the Collection, the 7 of Us, nrbq, and Blues Image. After that I moved on. I have done a band a decade since. None with released recordings. I am currently recording a cd in atlanta. It is mostly covers of things from back in the day. I am calling this bunch of musicians “Big Love Day”. The album title at this point is “Covering the World”.
Q. So I take it the band never made it to New York to record, like the article says?
No, I left and started Chelsea’s Children. You of course know what a wild year 1967 was, and I went far into hangin’ with bands and not playin’ for quite a while. Foolish youth!

Miami News article:

So What’s in a Name?

‘S funny how bands get their names. Take the Dirt Merchants –

Half a dozen guys got together with their instruments in the home of a buddy, Bob Hannah, who worked on his car while they played.

Bob’s father arrived in the midst of the sound session and asked “What are you doing?”

“Practicing,” they said, then played a sample of what they could do. At the windup his candid criticism was, “You know, I wouldn’t sell that to a dirt merchant.”

They’ve been the Dirt Merchants ever since: Lee Barchan on rhythm guitar, Terry Goldman, bass guitar, Danny Gray lead guitar, Bill Shimp drums and singer Todd Reece. Bob Hannah is self-appointed manager.

A year has passed since the boys united – four are students at Miami-Dade Junior College, the singer at Miami Coral Park. Their twice-a-week practice sessions at the Youth Center in Kendall have improved their technique so much even Bob’s father likes the band now with its identifying Rollin’ Stones beat, rhythm and blues, rock ‘n’ roll.

Palmetto Bandstand’s Howard Show gave the Merchants their first booking. They’ll return in June when the Bandstand will be open Saturday nights for the older crowd, 17 yrs and up.

Since then, the boys have played private parties, college fraternity and sorority parties and open houses, proms, bar mitzvahs and high school hops. In fact they’re so busy now their bookings run two months ahead.

The Dirt Merchants are shaping up for a record they will cut in New York. By going there, spokesman Bill Shimp felt the band’s chances of getting nationwide exposure would be greater. “If we cut it here, it would be like a miracle to get it out of Miami,” he said.

The instrumentalists wear conservative black suits and yellow shirts usually, with ties. “Todd makes up for the rest of us,” explained Bill.

“He wears levis, sometimes sports a purple shirt with ruffled cuffs he had sent in from California, with hip huggers and a big buckle in the front. Crazy, man.”

Categories: Fine, New York, Rochester, Unknown, Upstate New York

Little Peppy with the Bare Existence

March 24, 2008 Chris Bishop 3 Comments

From Rochester, Little Peppy is Marlene Torre, writer and singer on both these sides. She and the band turn in a spirited performance on “It Can Happen!!” The designated a-side, “Since You’ve Gone Away” is a slow ballad about missing her lover drafted overseas.

This was a custom press recorded at Fine Studios in September, 1966, and released with their house label. The master tape that turned up with the remains of the studio has alternate takes of each song.

One mystery is who was the band backing her as the Bare Existence.

If anyone has a photo of Little Peppy aka Marlene Torre, or the Bare Existence please contact me.

Categories: Back Beat, Houston, Texas

The Baroque Brothers

March 24, 2008 Chris Bishop 13 Comments

The Baroque Brothers and the Six Pents were house bands at George Massey’s La Maison Au Go Go in Houston, Texas in 1965.

The Six Pents went on to cut a few 45s (including “She Lied” on the Kidd label) before changing into the Sixpentz and then the Fun and Games Commission.

The Baroque Brothers only released this one 45. “So Glad Was I” combines distinctive folk-rock harmonies with a more typical bridge. The band is so competent that I wonder if they didn’t cut more records under a different name.

Members were Kirk Patrick, Bo Allison, Roger Romano and Jim Robertson. Both songs here are by Kirk Patrick, listed in BMI’s database as Har. Kirkpatrick.

The flip “Baroque au Go Go” is a light instrumental with horns and overdubbed crowd noise.

Thank you to Nancy Kuehl for the scans of the news articles and La Maison flyer. Another source for info was the 1960’s Texas Music site

Categories: Dene, Houston, Texas

The Chancellors, Ltd.

March 21, 2008 Chris Bishop 2 Comments

The Chancellors Ltd. were a Houston band with members David Singleton, Brian Evans, Clark Clem and Gary Bowen.

Somehow they connected with a local socialite, Dene Hofheinz Mann, who had written a book about her father Judge Roy Hofheinz titled You Be the Judge. Roy Hofheinz was a former mayor of Houston, Texas, owner of the Houston Colt 45s baseball team which became the Astros, and builder of the Astrodome.

Dene Hofheinz Mann wrote the song “You Be the Judge” and had the band record it for her own Dene label (dig the dome!) It was produced by Mann and Burchfield, and arranged by F. Beymer.

I’d say it was a tie-in to the book, except the lyrics are all centered on a love interest, not about politics (maybe indirectly – “who understands the rules that we live by!”)

In any case it’s a great moody rocker, catchy but completely uncommercial. The flip is a fine instrumental written by lead guitarist Clark Clem – its title, “From the Sublevels”, describes its sound perfectly.

Evans Music City, listed on the card, is still in business at a new address.

Clark Clem turns up in another bit of Houston music history, as the guitarist of the band Deuce Is Wild (or Deuces Wild).

Sources: Bio of Roy Hofheinz from the Handbook of Texas Online, interesting history of the Colt 45s at Everything2.

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