Dueces Wild featured in the Amarillo Sunday News-Globe on May 28, 1967
The Deuces Wild formed in high school in Amarillo, Texas in 1965. They continued at least through 1967 and cut one 45 on their own Deuce Records label, “Hey Little One” / “Come Easy Go”.
Members were:
Mark Fenlaw – lead vocals Freddy Johnson – bass and vocals Donnie Rae – lead guitar Mark Hart – rhythm guitar Tommy Pena – organ Bill Hegedus – drums
AY a Go Go: DJ Rick West emceed, and local youngsters were featured in fashion photos by Lonnie Sutherland. Models included Malee Miller, Sally Lewis, Suzanne Thompson, Dennis Coyne, Jane Pangburn, Lynn Hagemeier, David Spooner, Melissa Cox and Susan Elliott.
First mention I can find for the band comes from August 12, 1965, announcing their participation in the Allied Youth’s AY a Go Go at the Amarillo Little Theatre, along with the Illusions, the Windthieves, the Others and the Echoes. I haven’t heard of these other bands.
The group’s ages ranged from 16 to 20 at the time of their 45 release. “Hey Little One” is the Dorsey Burnette song. Freddy Johnson wrote and sang the B-side, “Come Easy Go”. The songs were recorded at Larry Cox Studio on N.E. 24th Street, formerly Ray Ruff’s Checkmate Studio.
On May 28, 1967, the Amarillo Sunday News-Globe ran a feature on the band by Gloria Denko:
Rock ‘n’ Roll Band Cuts First Record
The Deuces Wild started about 2 1/2 years ago …
This week the group joined the ranks of performers on record. Their first release, “Hey, Little One,” on Era, with Mark Hart on the vocal, was produced and reocrded by Larry Cox Recorders, 3412 NE 24th, and hit the airways at KGNC, KPUR, KIXZ and other Panhandle radio stations.
“Come, Easy Go” on the flip side, with Freddie Johnson on the vocal, is an original by Johnson. He wrote the ballad, his first, about two years ago and since has written about 15 others. Johnson said about a third of his songs are ballads and the rest are rock ‘n’ roll.
The Deuces Wild count their appearance following Paul Revere and the Raiders at an all-city dance last fall as the high point of their career to date…
Bobby Harper, the buyer at Cooper & Melin, has been their manager for the past year …
They have performed … at Amarillo Air Force Base, for groups in Hereford, Spearman, Dumas and Vega, as well as in Amarillo.
The Dueces Wild had a stage show that included black light, a siren-whistle, flashing lights in time with music and a strobe.
Before becoming the Tuesday Club, they were the Garfield Air Mattress. Flyer courtesy of Bruce Lambert
The Tuesday Club started as the Garfield Air Mattress, a band formed in 1966 by Bruce Lambert and Tony Tezak in Grand Junction, Colorado.
In an early flyer they are shown as a quartet with three members from Grand Junction: Terry Tezak (bass), Daryll Cooper (guitar and keyboards), Bruce Lambert (lead guitar); plus Salvador “Pete” Friese from Fort Collins on drums. Bill Wagner managed the Garfield Air Matress, who advertised as playing “rhythm and blues and what have you”.
Tony Decker of Salt Lake City, a freshman at Mesa College, joined on guitar and lead vocals.
The Garfield Air Mattress profiled in the Mesa College Criterion in May, 1967, courtesy of Bruce Lambert. From left: Daryll Cooper, Bruce Lambert, Pete Frease, Terry Tezak and Tony Decker
When the Mesa College paper, The Criterion profiled the Garfield Air Mattress on May 16, 1967, Mercury Records had just signed the group and Ray Ruff was their manager. All of the group were freshmen at Mesa College, except Bruce Lambert, a senior at Grand Junction High School. Tony Decker had already written “A Goddess in Many Ways”, which would be the A-side of their single for Philips (a Mercury subsidiary), and the group had already decided to change their name to The Tuesday Club.
The Tuesday Club relocated to Amarillo, Texas, recording at Checkmate Studios, with Marty Cooper and Ray Ruff producing. Ray Ruff was producing and managing a number of bands at the time, including Tracers, Them, the Orange Confederation and the Page Boys.
A-side of their single, with goddess misspelled!
Even though Tony Decker wrote both sides of the 45, each song is incredibly different from the other; they could almost be by separate bands. The top side is “A Goddess in Many Ways” a gentle paean to a seventeen year old beauty who commits suicide. For years it’s been overshadowed by the flip, the garage classic “Only Human”, but will probably be garnering more fans from the recent resurgence of interest in Fargo. It did reach #24 on Grand Junction AM station KEXO on August 26, 1967.
Notice in Billboard, August 19, 1967
I’m sure “Only Human” is familiar to every fan of ’60s punk, with it’s memorable opening bass slides and tambourine, the powerful guitar line and Tony Decker’s shouting delivery of the lines “… when you turn the heads of everybody in the crowd!” and “… but all this competition’s driving me insane!”
After the 45 was recorded, Terry Tezak and Bruce Lambert left the group and returned to Colorado. Dean Wilden joined: he had been in Maudz Only with Tony Decker at their Salt Lake City high school. The band changed their name to Fargo, and in 1968 relocated first to Grand Junction, where Cooper and Friese left the group, and then to Salt Lake, where Randle Potts joined on drums, later replaced by Bob Holman. By the time they became Fargo, neither song from the Tuesday Club single was part of their live sets.
Fargo traveled to Los Angeles to record a single, “Robins, Robins” / “Sunny Day Blue” for Capitol and an LP I See It Now for RCA, both produced by Marty Cooper.
Dean wrote to me about how he joined the group and their change to Fargo:
Garfield Air Mattress was a Grand Junction based band with Tony Decker. When they moved to Texas, two of the members quit and I joined. At that time we were called the Tuesday Club. Tony & I had previously played together in a band called Maudz Only.
I never recorded with Tony’s early Grand Junction band, so I really don’t know where the two tunes were recorded. I don’t remember ever even hearing those two Tuesday Club songs, and they weren’t anything we ever played live. The Tuesday Club/Fargo, Texas drummer was Pete Frease. I was on bass, Tony on guitar & Daryl Cooper on keyboard. Tony & I went to Grand Junction for a short time after Texas. Long enough to lose the other two and return to Salty.
In Amarillo, Ruff’s company, Checkmate Productions, included the bands Them, The Tracers, The Orange Confederation & Fargo. We played Texas, New Mexico, Kansas & Oklahoma. I would take a dozen or better of the Salt Lake bands over the best band I ever heard in Texas, during that period. We played venues alongside many of them & they all seemed to be listening in the past. You didn’t hear much of the British Invasion coming out their speakers. In fact, having played both Texas & Oklahoma, I’d say the three most requested songs were “Louie Louie”, “Wipe Out” & “Gloria”. It was as if they couldn’t comprehend beyond three chords. It was nice to leave there & get back to the ’60s.
As for those Texas bands, I’d say the Tracers were the best I heard. Richie was The Tracers drummer & one of the funniest people I ever knew.
Ray was our gig manager, and a good record producer, but Marty Cooper was our producer. Marty was based in L.A. and this was where Fargo recorded all it’s tracks. Tony & I had a unique vocal blend. Our – Fargo’s – earliest Capital recording was “Robins, Robins” / “Sunny Day Blue”.
Back in Utah, we decided to go three-piece. We needed a drummer and I suggested my old school mate & drummer from Maudz II, Randle Potts. He played on one album cut, “Lady Goodbye”. He froze up like playing in front of 100,000 people, so we hired 2 different studio players to finish off the recordings. We got rid of Potts and stole Bob [Holman] from a band called the Avanti’s, which was strange, seems how Potts drove an Avanti. So Bob was our live drummer and was with us to the end. We’re still in touch. Bob is a remarkable artist with a clever edge to his creations.
I played bass on all but two of the “I See It Now” cuts, and Tony did a great deal of the guitar work. Why bass & guitar credits were given otherwise on the back of the album is baffling. Kind of negated us as musicians. We were damned good & tight on stage. Dr. John played piano on the album but was given no credit, nor were the drummers. Tony was given composer credit for “The Sound Of It,” which is one of my songs. I had Tony sing the first verse because of how I’d layered the harmonies, thus the confusion. When I first saw the back of that album I thought I must be in a parallel universe. The references to religion, alone, blew me away. I was and am as far removed from that world as is possible.
The post-RCA Fargo recordings were mostly made on a Sony sound-on-sound recorder using those cheap little microphones. We were a 3 piece band back then: Tony on guitar, Bob Holman on drums, & me on bass. These later nine sound-on-sound recordings need to be tuned-up a bit before I’d feel comfortable with anyone hearing them.
I’m still writing up a storm & recording “one-man-band” tracks in my studio. I’ve recorded recently in Nashville, & am now working with a couple of different people to promote me as either a singer/songwriter, or songwriter.
Dean and Tony are working on reissuing Fargo’s Capitol single and RCA LP, possibly with bonus tracks from their later self-produced recordings.
Thank you to Dean for information on his time with the Tuesday Club and Fargo.
Special thanks to Bruce Lambert for the Garfield Air Mattress flyer and news clip and for additional information about the group.
“A Godess in Many Ways” enters KEXO’s survey at #24, August 26, 1967 (chart from ARSA)
First UK EP showing lineup January 1965. From left: Alan Henderson, Pat McAuley, Van Morrison, Billy Harrison and Jackie McAuley
Van Morrison (harmonica, saxophone, vocals) Alan Henderson (bass) Billy Harrison (lead guitar) Eric Wrixon (keyboards) Ronnie Millings (drums)
1963
The group is formed in Belfast, Northern Ireland by Henderson (b. 26 November 1944, Belfast, N. Ireland), Harrison (b. 14 October 1942, Belfast, N. Ireland) and Millings (or Mellings), who have previously played in a local three-piece outfit, The Gamblers. The trio adds keyboard player Eric Wrixon (b. 29 June 1947, Belfast, N. Ireland) and a short while later completes the original line up with singer Morrison (b. George Ivan, 31 August 1945, Belfast, N. Ireland) from local band The Monarchs. Wrixon names the band after a 1950s B horror film.
1964
April (10) According to an article in Belfast weekly, Cityweek, dated 22 September 1966, Them had played their first ever gig at the Maritime Hotel in College Square North as a trio of Harrison, Henderson and Millings as Van Morrison was playing at the Plaza and had give two weeks’ notice. The trio played in the break for The College Boys.
(17) One of the first R&B/beat group’s in the province, the Morrison fronted Them quickly build a reputation as a strong live act holding down a residency at the Maritime Hotel. The group’s repertoire includes a blistering 15-minute version of Bobby Bland’s “Turn On Your Love Light”, and a 20-minute improvisation of Morrison’s celebration of teenage lust, “Gloria”. (Although Morrison is credited for the song’s lyrics, Harrison and Henderson have contributed significantly on the musical side.)
(24) Them return for a show at the Maritime Hotel in Belfast.
May The band attracts the attention of manager Phil Solomon (currently working with Irish pop trio The Bachelors), who is greatly impressed by the band’s live performances (and Morrison in particular). Solomon encourages Decca’s Dick Rowe to see the band perform at the Maritime, and Rowe in turn arranges a session in London. (According to Cityweek‘s 22 September 1966 issue, the group had already recorded a three-track demo for local producer Peter Lloyd comprising “Stormy Monday”, “I Got My Mojo Working” and “Don’t Start Crying Now”.)
(1) Them play at the Martime Hotel, Belfast.
(8)The group appears at the Maritime Hotel, Belfast.
(15) Another show takes place at the Maritime Hotel, Belfast.
(22) The group returns for a show at the Maritime Hotel, Belfast.
(29) Them appear at the Martime Hotel, Belfast.
June Them relocate to London and a hotel in Portobello Road, where they hang out with their label mates The Poets.
French EP showing original drummer Ronnie Millings (with shades)
July(5) The group enters Decca’s West Hampstead, London studios to begin recording, but the three-hour session is a stressful affair and Rowe decides to employ session musicians Arthur Greenslade (organ) and Bobby Graham (drums) to “fill out” the sound. Them records Slim Harpo’s “Don’t Come Crying Now” and Van Morrison’s “Gloria”, “One Two Brown Eyes” and “Philosophy”, which are all released over the next year. The band also records covers of “Groovin’”, “Turn On your Love Light” and “You Can’t Judge A Book By Its Cover” which are shelved. After the recordings, Wrixon is forced to leave (in part because his father objects to a disproportionate royalty split between the management and the group and in part because he is still at school and has ‘A’ levels to complete). Pat McAuley (b. 17 March 1944, Coleraine, N.Ireland) takes over the keyboard position.
September(4) The group’s debut single, “Don’t Start Crying Now” backed by “One Two Brown Eyes” is released but fails to chart.
October The group returns to the studio to record an electrifying version of Big Joe Williams’s blues classic “Baby Please Don’t Go”. Session guitarist Jimmy Page adds rhythm guitar to the recording (and does not play lead as some sources suggest).
(15) Them are billed to perform at the Zeeta House, Putney, Surrey. However, there is another west London band with this name who soon become Themselves to avoid confusion with Van Morrison’s band so this may be that group.
November(6) “Baby Please Don’t Go” backed by Morrison’s “Gloria” is released. Millings leaves and Pat McAuley moves onto drums.
December The short-lived (yet well photographed) new line-up appears on the popular TV show Ready Steady Go!
1965
January Pat’s brother Jackie (aka John) (b. 14 December 1946, Coleraine, N. Ireland) is added on keyboards as the group begins work on its next single, a recording of their new producer, Bert Berns’s “Here Comes The Night”. Some sources maintain that organ player Phil Coulter and drummer Alan White are brought in to play the McAuley brothers’ parts, but this is disputed by the band members. (Berns, an American producer working in the UK is impressed with Morrison as a vocalist and will continue to work with the group over the next few months.)
Photo: Cityweek
February Aided by TV appearances, “Baby Please Don’t Go” hits UK #10, while “Gloria” quickly becomes an anthem for the emerging US garage band generation. Decca releases an EP featuring both sides of Them’s debut single, the recent hit and Morrison’s “Philosophy” recorded during the July sessions.
(10) Western Scene lists the band playing at Bristol Corn Exchange.
(13)The Kilmarnock Standard lists the band playing at the Community Centre, Auchinleck, Scotland with The Blue Chekkers.
(15) Western Scene lists the band playing at Bath Pavilion.
(18)According to the Worthing Herald, the band appears at the Pier Pavilion in Worthing, West Sussex.
(20)Them appear at the Club Noreik, Tottenham, north London.
(22)The Warrington Guardian lists the group at the YOR Club, Parr Hall, Warrington, Cheshire with The Clayton Squares.
(25)The band performs at Swindon’s Locarno Ballroom with The Knives and Forks.
(26)Them plays at Woolwich Polytechnic in southeast London.
(27)The band appears at Manchester University.
March “Here Comes The Night” hits UK #2 and is the group’s most successful release. The band begins work on its debut album, but sessions are once again plagued with problems. Some sources suggest that the group’s three producers Bert Berns, Dick Rowe and Tommy Scott supplement the band with session players, although this is disputed by band members.
(1)The Dorset Evening Echo lists Them at the Pavilion Ballroom, Weymouth, Dorset with The Soundsmen and The Silhouttes.
(2)The band plays at Wallington Public Hall in Wallington, Surrey.
(3)Them perform at Stourbridge Town Hall in Worcestershire.
(4)The group appears at Kidderminster Town Hall in Worcestershire.
(9) The Yorkshire Evening Post lists the group performing at the Three Coins in Leeds, West Yorkshire.
(13) The Stockport County Express says Them appear at the Manor Lounge in Stockport with The Mersey Squares.
(14) The Birmingham Evening Mail reports that the band plays at the Brum Kavern Club, Small Heath, West Midlands with The King Bees.
(16)The Southern Echo lists the band playing at the Empire Hall, Totton with Gary Young & The Deacons.
(19)The Ruislip & Northwood Gazette lists the group playing at Botwell House, Hayes, Middlesex.
(20)The Grantham Journal has Them playing at Drill Hall, Grantham, Lincolnshire with The Delcounts.
(21)Them perform at the Pigalle in central London.
(22)The group plays at the Adelphi in West Bromwich, West Midlands with the Uglys.
(23)The Woking Herald lists the band at Walton Playhouse.
(24-28)Them takes part in a short tour of Scotland, according to Beat Instrumental.
(25)During the Scottish tour, the band appears at the Two Red Shoes in Elgin.
(29)Music Echo from Liverpool reports that Them appear at Silver Blades in Liverpool.
(30)Them play at the Floral Hall in Gorston-on-Sea, Norfolk.
April (1) The band returns to perform at the Manor Lounge, Stockport, Greater Manchester with The Mersey Squares.
Photo: Melody Maker, 3 April 1965
(4)Them appear at the Ritz in Birmingham.
Photo: Cityweek
(9)The group plays at Leamington Town Hall in Warwickshire. On the same day, Billy Harrison responded to the band’s critics in an article entitled “‘Them’ Hit Back” in the Belfast publication Cityweek.
(10)Them performs at Dudley Town Hall in the West Midlands.
(11) Them perform at the New Musical Express Poll Winners Concert at the Empire Pool, Wembley, west London with many others. Beat Instrumental also has the band appearing at the Co-Op in Gravesend, Kent earlier during the day. It is not clear whether this happens as the Sussex Evening Express also lists the band appearing at the Whitehall in East Grinstead, West Sussex with The Hounds.
(13)The Southern Echo lists the band at Haymarket Theatre, Basingstoke, Hampshire with John Mayall’s Bluesbreakers, The Evil Eyes and The Trinity.
(14) The Birmingham Evening Mail reports that Them appear at the Mackadown, Kitts Green, West Midlands with The Tombstones.
Gloria reaches #1 on KRLA, April 14, 1965Early US mention for band in KRLA’s Beat, May 19, 1965
(17)Beat Instrumental reports the band performing at the Market Hall in Redhill, Surrey.
(18)Beat Instrumental lists Them at the Oasis, Manchester.
(22)The Western Gazette advertises the group appearing at the Liberal Hall, Yeovil, Somerset with The Bo-Peeps.
(23)Beat Instrumental reports that the band is performing another show in Gravesend, Kent but this is unlikely.
(24) Beat Instrumental lists Them playing in Kirkcaldy, Scotland but this is unlikely as the band headed back to Northern Ireland around this time. Unhappy with the band’s direction and his personal treatment, Jackie McAuley leaves after a show at St Columbana’s Parish Church in Ballyhome, Northern Ireland and is replaced by ex-Cheynes member Peter Bardens (b. 19 June 1944, Westminster, London, England; d. 22 January 2002).
Them’s first UK LP, The Angry Young Them, Peter Bardens in pink shirt next to VanFirst U.S. issue, featuring “Here Comes the Night”Second U.S. cover to capitalize on “Gloria”
May “Gloria” charts for a week at US #93, selling mostly in California where it hits Top 10 in some major cities.
(1) The Walthamstow Guardian reports that Them play at Walthamstow Assembly Hall, Walthamstow, north London.
(7) Belfast publication, Cityweek reports that Them have been recording a lot in the past few days with new organist Peter Bardens.
(9) Them perform at the Winter Gardens in Margate, Kent with Wayne Fontana & The Mindbenders, The Nashville Teens and The Fourmost.
(11) The band appears at Bristol Chinese R&B Club, Corn Exchange, Bristol, according to the Western Scene.
Photo: Surrey Mirror, 14 May 1965
(14) The Streatham News reports that Them appear Wimbledon Palais, southwest London.
Photo: Boyfriend magazine, 15 May 1965
(17) The Enfield Gazette & Observer reports that Them perform at the Potter’s Bar Ritz in north London with The Zephyrs, Screaming Lord Sutch & The Savages and The Mark Four.
(20)The Worthing Herald lists the band playing at Worthing Assembly Hall.
(25) Them appear at the Assembly Hall, Wallington, near Croydon, south London.
(26) The band performs at Stourbridge Town Hall in Worcestershire.
(28) Them play at Winchester Town Hall in Hampshire.
(29) The band appears at the Rhodes Centre in Bishop’s Stortford in Hertfordshire.
(30) The band plays at Elm Park in Hornchurch, east London.
June(1)Them begin a UK tour at Tunbridge Wells Public Hall. (The tour will end on 21 June at the Beachcombers, Leigh and Bolton). During this period, Pat McAuley is briefly replaced by former drummer Ronnie Millings before rejoining the group.
(2) Western Scene lists the band playing at Bristol Corn Exchange.
(5)The Cornish Guardian notes the band will play at the Par Stadium in St Austell before later appearing at the Riveria Lido in the evening.
(7)The Gloucester Citizen reports the band appearing at the Top Spot, Ross-on-Wye, Herefordshire with The Saxons.
(11)The Morrison-penned “One More Time” fails to chart. Them’s debut album (The Angry Young) Them is released in the UK to coincide with the single but is another chart failure.
Thanks to Andy Neill for the photo
(17)Them perform at the Ritz Club, Skewen, south Wales with The Jay Birds and The Eyes of Blue.
(18) Belfast publication Cityweek reports that Jackie McAuley is back home and is helping to reform The Yaks. McAuley, however, soon moves to Dublin and learns to play guitar. He will rejoin his brother in a rival Them in late December 1965.
(19) Them play at Dudley Town Hall in the West Midlands.
(21) The band appears at the Beachcomber in Leigh.
(24) Them perform at Leeds University.
(25) The group appears at the Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with Rodgers Lodgers.
(26) “Here Comes The Night” hits US #24. On the same day, the Lincolnshire Standard reports that Them play at the Starlight Ballroom, Boston Gliderdrome, Lincolnshire with Mike Sheridan & The Nightriders and Rodgers Lodgers.
July Original Them member, Eric Wrixon completes his studies.
(3)The Lancashire Evening Post reports that Them appear at Public Hall, Preston, Lancashire with Bob Johnson & The Bobcats and The Wildcats.
Photo: Cityweek
(9)Harrison responds to rumours that Them are breaking up in an article in Cityweek. In the article, entitled “We are not breaking up”, he insists the group has no intention of splitting.
(15)Them perform at Salisbury City Hall, Salisbury, Wiltshire. Around his time Billy Harrison is sacked and replaced by Scottish guitarist Joe Baldi (b. Joseph Baldi, 16 March 1943, La Spezia Italy), who has played with Bardens in Hamilton King’s Blues Messengers. Harrison will briefly return in mid-October.
Photo: Richard Gleave
(17) Them appear at Clacton Town Hall, Clacton, Essex with The Vaqueros and The Blue-Berries.
(18) The new line-up plays the Whitehall in East Grinstead, West Sussex backed by Johnny Fine & The Ramblers, according to the Sussex Evening Express.
(19) The Belfast Telegraph reports that Pat McAuley was sacked today. He is subsequently replaced by Englishman Terry Noon, who has previously worked with Gene Vincent.
(21)The Littlehampton Gazette lists the band at the Top Hat in Littlehampton, West Sussex, possibly marking Noon’s debut.
Photo: Cityweek
(23)Cityweek reports that Them now contains only Van Morrison and Alan Henderson in an article entitled “…And then there were two”. Peter Bardens, however, does remain with the band. The Belfast publication also notes that Pat McAuley resigned from the band rather than was sacked.
(26-27) Them’s new line up appears at the Queen’s Ballroom, Cleveleys, Lancashire with two supporting groups after playing in Scarborough on the 25th July.
(28) The Bolton Evening News says the band performs at the Beachcomber, Bolton, Greater Manchester.
(29) Beat Instrumental reports that Them are appearing at the Pavilion Ballroom on the Isle of Man.
August A second Berns song, “(It Won’t Hurt) Half As Much” is released but doesn’t chart. In the US the single’s b-side “I’m Gonna Dress In Black”, written by producer Tommy Scott under the pseudonym ‘Gillon’, is released instead but is not a success.
(3) Them play at the Mexican Hat, Worthing, West Sussex, according to the Worthing Gazette.
(4) The Camberley News reports that Them play at the Agincourt Ballroom in Camberley, Surrey.
(15) The Western Gazette advertises the group appearing at the Gaumont, Bournemouth, Dorset with The Byrds, Unit 4 Plus 2, Charles Dickens & The Artwoods, Johnny B Great & The Quotations, Sue Holloway and Jerry Stevens .
(23) The Cambridge News reports that Them play at the Dorothy Ballroom in Cambridge.
(28) The Lancashire Evening Post lists the band appearing in the Marquee in the grounds of Clitheroe Castle, Burnley, Lancashire with The Fortune Tellers.
(30) The Cambridge News advertises the group appearing at Bigmore Hall in Cambridge.
(31) The Eastern Evening News reports that Them appear at the Gala Ballroom in Norwich with Pentad.
September (1) Former members Billy Harrison and Pat McAuley (now on keyboards) announce their own version of Them in London on this day, which contains singer Nick Wymer (ex-Pink Faires), drummer Skip Alan (ex-Donovan) and bass player Mark Scott (ex-Adam Faith). The group is initially dubbed “Some of Them”.
(4) The Bolton Evening News reports that Van Morrison’s Them play at Bury Palais De Danse, Bury, Greater Manchester. Soon afterwards, Baldi returns to Scotland. Bardens also departs and forms The Shotgun Express. He later moves into session work, records two solo albums for Transatlantic Records and then forms 1970s progressive/rock outfit, Camel. Terry Noon also leaves but will return briefly in mid-October.
Back in Belfast, Morrison and Henderson have formed a new version of Them with lead guitarist Jim Armstrong (b. 24 July 1944, Belfast, N. Ireland) from The Melotones and keyboard/sax, flute player and vibes player Ray Elliott (b. 23 January 1944, Belfast, N. Ireland; d. June 1993, Toronto) from The Broadways. Apparently, original keyboard player Eric Wrixon fills in briefly but soon leaves to rejoin Portadown band, The People before Elliott joins. The new version of Them is completed with new drummer John Wilson (b. 6 November 1947, Belfast, N. Ireland) from The Misfits. The band rehearses at the Martime for two weeks before making its live debut in Lisburn on 24 September (see below). Belfast’s publication Cityweek had reported in its 23 September issue that Morrison rehearsed with Wilson’s band The Misfits as a potential new version of Them for three days before the new line up was agreed.
Photo: Cityweek
(24)Morrison’s new version of Them make their debut at the Top Hat club, Lisburn, Northern Ireland where they perform a 40-minute set. Shortly after a show at the Flamingo in Ballymena, Morrison’s band returns to London and resumes work on its second album. The group’s debut album is released in the US as Them and hits #54.
Photo: Cityweek
(30) Cityweek‘s 30 September issue features an article on the new formation entitled “The return of Them”.
October(11) Morrison’s Them play at the Thorngate, Gosport, Hants.
Photo: Melody Maker
(15)Van Morrison’s Them play at Zeeta House, Putney, southwest London.
Rare French EP showing short-lived line up from October 1965, from left: Billy Harrison, Alan Henderson, Van Morrison, Ray Elliott and Terry Noon
(16) Them are billed to play at Big Daddy’s in Halifax, West Yorkshire with The Blues Set. Around this time, Jim Armstrong is forced to pull out of the band at short notice. Billy Harrison is drafted in to play some UK dates before joining the group for French and (in December) Scandinavian dates (see later).
Photo: Cityweek
(19) Them (with Billy Harrison) appear at the Olympia in Paris, France with Bo Diddley. The gig is reported in Cityweek‘s 21 October issue. John Wilson, who is considered to be too young to travel, is replaced by former member Terry Noon. The group then travels to Scandinavia for more live dates (although this may be later in the year). Back in England later this month, Noon makes way for a returning John Wilson and joins The Yum Yum Band before moving into rock management, working initially with Honeybus.
(21) Belfast publication, Cityweek reports that John Wilson’s former band, reduced to a trio since he left, is moving to London.
(22)Streatham News reports that Them play at the Wimbledon Palais in southwest London. However, it is not clear whether this is the rival Them or Morrison’s group after returning from Paris.
(31) The Eastern Evening News reports that Them appear at the Royal Hotel in Lowestoft, Suffolk with The Easi-beats.
November Early in the month, Skip Alan leaves the Harrison/McAuley Them to replace Viv Prince in The Pretty Things, who soon takes up Skip Alan’s place for a few weeks. Harrison, who has briefly returned to the rival Them after Jim Armstrong resumes his place, departs when Skip Alan lands the job with The Pretty Things. Harrison does session work for producer Joe Meek.
(4)Pat McAuley’s rival Them registers the Them name. By now the group contains a new guitarist, known as Don, who has replaced Billy Harrison.
(25) The Western Gazette advertises the band (but not clear which version) appearing at Liberal Hall, Yeovil, Somerset with The Fortunes and Screaming Lord Sutch & The Savages.
December(2) When Viv Prince leaves Pat McAuley’s rival Them, his place is taken by Ken McLeod.
(4) “Mystic Eyes” fares better in the States where it reaches #33. On the same day, Boyfriend magazine notes that Them appear at Leeds College.
Photo: Cityweek
(9) Cityweek reports that Billy Harrison has joined The Pretty Things and is currently touring with that band in Holland. He also plays with The Pretty Things on a Scandinavian tour in early December. At the turn of the year, he also covers for Jim Armstrong in Them for their first Scandinavian shows. Harrison quits the music business in mid-1966 after playing with The Pretty Things in the Isle of Wight during March and joins the GPO. Original Them keyboard player Eric Wrixon meanwhile had joined The Kings showband in late November before re-joining The People, according to Cityweek.
(10) The Gloucester Citizen reports that Them appear at Lydney Town Hall, Lydney, Gloucestershire, which might be a gig by the rival version of Them.
(17) The Southend Standard lists Them appearing at the Cricketers Inn, Westcliff, Southend, Essex with The Orioles.
Photo: Evening Sentinel. Wymer’s final gig with the rival Them
(19) Wymer leaves the rival Them after a gig in Stoke-on-Trent (this is Mr Smith’s in Hanley with The Beatroots). Soon afterwards, he is replaced by Pat’s brother Jackie McAuley on keyboards/vocals, who has been living in Dublin. Pat moves on to drums and Ken McLeod takes over guitar from Don who leaves in mid-January. On the same day, Van Morrison’s Them play at the nearby Majestic Ballroom in Shropshire. Around this time, the group plays in Liverpool and after the show Armstrong collapses with a suspected perforated appendix. He spends Christmas in the emergency ward at Liverpool’s Southern Hospital, according to Cityweek‘s 6 January 1966 issue.
Photo: Cityweek
(23) Cityweek notes that John Wilson left Them last weekend but no replacement has been announced. The article entitled “Them rush-release second album for States” also profiles the forthcoming Them Again LP. Wilson rejoins The Misfits (until April 1967) and then works with Belfast groups, Derek & The Sounds and Cheese. In the late 1960s, he joins guitarist Rory Gallagher in Taste before forming Stud in the early 1970s.
Photo: Cityweek, 6 January 1966
(29) Cityweek‘s 6 January 1966 issue reports that Alan Henderson and Ray Elliott have flown to Stockholm to join the other Them members (Van Morrison and Billy Harrison) for two shows at the weekend of 31-December-2 January. The group is still without a permanent replacement for John Wilson. However, David Harvey (b. David Tufrey 29 July 1943, Bude, Cornwall, England) takes his place on the drums in January after the group use a succession of temporary fill ins.
(31) Boyfriend magazine reports that Them play at the Fender Club in Kenton, northwest London but it’s not clear which version this is. However, it is most likely the Pat McAuley version considering Morrison’s version play in Stockholm this weekend.
1966
January Them’s second album Them Again fails to chart in the UK. It contains two of Morrison’s best songs: “Hey Girl” and “My Lonely Sad Eyes”, as well as an edited version of Bobby Bland’s “Turn On Your Love Light”. Original Them member Eric Wrixon leaves The People, who have relocated to Blackpool, and joins another expatriate Belfast band, The Wheels in February, who record two singles for Columbia.
Photo: Cityweek, 6 January 1966
(1) Jackie McAuley makes his debut with the rival Them in Peckham, southeast London. On the same day, Cityweek reports that Them make their first trip to Scandinavia this weekend, even though Armstrong hasn’t fully recovered from his hernia operation in late December. Billy Harrison takes Armstrong’s place.
(3) Van Morrison’s Them appear at the Shoreline club in Bognor Regis, West Sussex with new drummer David Harvey.
(4) Morrison’s Them play at the Assembly Hall, Aylesbury, Bucks.
(6)Cityweek reports that Them will return to Paris’ Olympia next week and are also resident in the Club Locomotive for three days.
(10) Them appear at the Labour Hall, Bletchley, Bucks.
(11) Morrison’s latest line up play at the Hut, Westcott, Surrey.
(22) The Coulsdon & Purley Advertiser reports that Them play at the Club Nevada, West Croydon, south London.
(27) Them appear at the Whitehall, East Grinstead, West Sussex. On the same day, Cityweek reports on the legal row over who is Them. Van Morrison’s version are currently on tour in Wales.
(30) The North Herts Herald reports that Them perform at Newbury Plaza Ballroom in Berkshire with The Just Men.
February(4) The McAuley brothers’ Them record three tracks at a demo session: a cover of Graham Bond’s “I Want You”, a cover of Bob Dylan’s “It’s All Over Now Baby Blue” and Jackie McAuley’s “Movin’ Free”.
(11) The Luton News reports that Them appear at Parkside Ampthill, Bedfordshire with The Sneakers but it is not clear which version this is.
(15)The Coulsdon & Purley Advertiser reports that Van Morrison’s Them appear at Club Nevada, West Croydon, south London.
(16)Melody Maker lists the band playing at the Last Chance on Oxford Street, central London.
(18)The rival Them perform at the KB Hall, Copenhagen, Denmark with The Pretty Things.
(19)Van Morrison’s version appears at Floral Hall, Southport, Lancashire with The Cryin Shames.
Photo: Melody Maker
(21) According to Melody Maker, The Van Morrison version of Them play at the Club Continental in Eastbourne.
(22)Chris Groom’s book Rockin’ and around Croydon lists Van Morrison’s Them at the Gun Tavern in Croydon, south London.
March Morrison’s version of Them’s cover of producer Tommy Scott’s “Call My Name” fails to chart.
(5) The Malvern Gazette reports that Them perform at the Malvern Winter Gardens in Worcestershire with Lighting Blues but it is not clear which version this is.
Photo: Melody Maker
(7) The McAuley brothers’ Them appear at the Club Continental, Eastbourne.
Photo: Eastbourne Herald Chronicle
(9) The rival Them lose their court case and change name to “Some of Them”.
Photo: Melody Maker
(11) Van Morrison’s version play at Tiles on Oxford Street, central London with Steve Darbyshire and The Yum Yum Band.
Photo: Melody Maker
(28) Van’s version returns to Tiles for another show with The Quiet Five in support.
April Morrison’s Them’s final session produces a cover of Paul Simon’s “Richard Cory” and Morrison’s “Mighty Like A Rose”. “Gloria” is re-issued and climbs to US #71.
(2) The Nelson Leader reports that Them (possibly with Dave Harvey on drums) appear at the Imperial, Nelson, Lancashire with Cliff Bennett & The Rebel Rousers and Sounds Incorporated.
(9) Van Morrison’s version of Them appear at Torquay Town Hall in Devon with The Hunters and The Javelins, according to the Herald Express.
(16) The Shadows Of Knight’s version of “Gloria” hits US #10. On the same day, the Grantham Journal has Them playing at Drill Hall, Grantham, Lincolnshire with The Beathovens and The Nemkons.
From KRLA’s Beat, April 30, 1966. From left to right: Ray Elliott, John Wilson, Jim Armstrong, Van Morrison and Alan Henderson
KRLA’s Beat, April 23, 1966
May Paul Simon’s “Richard Cory” is the group’s last official single but is not a success. Morrison is particularly annoyed by its release, preferring his own song “Mighty Like A Rose” as a prospective single. In the US, Tommy Scott’s “I Can Only Give You Everything” is released as a final single and is quickly adopted by US garage bands like The MC5 as a punk anthem. Them Again reaches US #138.
(2)The Coulsdon & Purley Advertiser reports that Them perform at the Star Hotel in Croydon, south London.
(7) The Luton News reports that Them appear at Harpenden Public Hall, Harpenden, Herts with The Fuzz Bugs but it is not clear which version this is.
(14) Them perform at Decca Entertainment Centre, Ashton-under-Lyne, Greater Manchester.
(21) The Malvern Gazette reports that Them perform at the Malvern Winter Gardens in Worcestershire with Group 66 but it is not clear which version this is. In late May, PACE magazine reports that Van Morrison’s version play at Crayford Town Hall in southeast London. Soon afterwards, Morrison’s version flies out to New York to begin its debut US tour, with the first show in Arizona.
(27) Some of Them record two tracks with Kim Fowley – “Gloria’s Dream” and “Secret Police”. On the same day, Van Morrison’s Them appear at the Rollarena, San Leandro, California.
(30) Some of Them perform in Blackpool, Lancashire. On the same day, Van Morrison’s Them begins a residency at the Whisky-A-Go Go, West Hollywood, California.
May(31) – June (17)Morrison’s Them performs at the Whisky-A-Go-Go, West Hollywood, California, where they are sometimes supported by The Doors.
June (3) The rival version of Them performs at the Cricketers Inn, Westcliff, Southend, Essex with the Orioles, according to the Southend Standard.
(13 & 15)Some of Them record further tracks in London.
(18) On the last night at the Whisky, The Doors’ vocalist Jim Morrison joins Van Morrison’s group on stage for a 20-minute improvisation of “Gloria”.
(19)The band discovers that the club has been willing to pay the group $10,000 per week. However, due to their management deal with Phil Solomon (whereby they have agreed to play for $2,000 a week minus a 35% management fee and a guarantee), Them have received considerably less than they think they should. This causes a lot of bitterness between the group and Solomon, and as a result Them inform promoter Bill Graham that they will only play at their forthcoming Fillmore concert if they are paid in advance.
Photo: Cherwell
(21) Some of Them (billed as Them) appear at Balliol College, Oxford University alongside The Kinks, The Fortunes, The Alan Price Set, Geno Washington & The Ram Jam Band, The Caribbean All-Steer Band and Bunny Thompson.
(23) Morrison’s Them appear at San Francisco’s Fillmore Auditorium with The New Tweedy Brothers. After their performance, Morrison meets his future wife Janet Planet who accompanies the band on the rest of the tour. (She will be the inspiration for Morrison’s Astral Weeks.)
KRLA’s Beat, June 25, 1966
(26) Morrison’s group is supported by The Association at the Oakland Auditorium, Oakland, California.
(27-29)Some of Them move to Denmark where they perform as Them. The group performs three shows in Copenhagen and finish their final recordings. Over the next five months, the band gigs in Denmark, Sweden and Norway. In the last week of July, the band is briefly joined by former Them member Peter Bardens on keyboards, allowing Jackie McAuley to come up front as lead singer.
July(1-2) Morrison’s Them perform at the “Beat On The Beach”, Santa Monica, California with The New Generation.
(8-9)Them appear at the Waikiki Shell, Kapiolani Park, Honolulu, Hawaii.
(23) The band performs at the Strand Theater, Modesto, California.
(28) Morrison’s group is supported by The Doors and The Count Five at the Starlight Ballroom, Oxnard and (in the evening) the Earl Warren Showgrounds, Santa Barbara, California.
(29-30) Morrison’s Them is supported by The Sons Of Champlin at the Fillmore Auditorium, San Francisco.
August (9) The McAuley brothers’ Them play at the Complain-LA-Tour jazz festival in Belgium.
(19-21) Morrison’s group performs at the Losers North, San Jose, California.
(23-28) A further set of dates take place at the Losers North.
The Wheels with Eric Wrixon, September 1966
September (1) Belfast publication Cityweek reports that The Wheels are back in the city. The band will split soon after, however. In 1967, Eric Wrixon will move to West Germany with The Never Never Band and plays regularly at Hamburg’s Star club, supporting soul acts like Sam & Dave.
KRLA’s Beat, September 24, 1966
(2-3) Them performs at the Longshoreman’s Hall, San Francisco.
(8) Cityweek reports that Van Morrison, Alan Henderson and Jim Armstrong arrived home from America last week so it’s not clear whether the September US dates took place despite being advertised.
Photo: Cityweek
(9) They are billed to appear in Fresno, California. However, Morrison and Henderson may have already returned to London to sort out business matters with Solomon. Morrison continues to work on some new songs that will later comprise his masterpiece Astral Weeks.
The Belfast Gypsies, released as ThemRare French EP with Belfast Gypsies listed
(17) The McAuley brothers’ group, now dubbed The Belfast Gypsies score a minor US hit when “Gloria’s Dream” hits #124.
(22) Morrison and Henderson are profiled in Cityweek‘s 22 September issue in an article entitled ‘Van and Co. back to “square one”‘.
Photo: Cityweek
(29) Cityweek reports that Ray Elliott flew in to Belfast last week.
October(2) The Weston Mercury reports that Them appear at the Winter Gardens, Weston-Super-Mare, Somerset. This would have been the McAuley brothers’ version. In Belfast, Morrison soon returns to occasional live work in a new outfit dubbed, Van Morrison and “Them Again”, which features former Castaways and Unit guitarist Eric Bell alongside former Alleykatz members Joe Hanratty (drums) and Mike Brown (bass). Alan Henderson doubles up on second bass.
Photo: Cityweek. Eric Bell (top right)
(13) Cityweek reports that Jim Armstrong has left Them to play with The Federals. Ray Elliott will also briefly join this outfit, according to the paper, a short while later.
Photo: Cityweek
(28) The Belfast Telegraph reports that Van Morrison and Them play (their debut show) at the Square One Discotheque in Belfast with The Blue Angels.
Photo: Cityweek
November(4) Cityweek‘s 3 November issue reports that Them appear at Carrickfergus Town Hall today with The Carpetbaggers and The Fugitives.
Photo: Cityweek
(5) The McAuley brothers’ Them play their final date in Stockholm.
(10) The Belfast Telegraph reports that Van Morrison & Them perform at Sammy Houston’s Jazz Club. When Eric Bell leaves immediately after the Queen’s University rag ball gig, the band implodes. Van Morrison concentrates on a solo career. Bell meanwhile moves to Glasgow and plays with The Bluebeats for two years.
Cityweek profile October 1965
December Armstrong, Elliott, Harvey and Henderson decide to carry on with Them’s name, now that Morrison has abandoned the name and is pursuing a solo career. The group recruits a new vocalist Ken McDowell (b. 21 December 1944, Belfast, N. Ireland), previously a member of Belfast group The Mad Lads, who have recorded a number of singles for Decca Records, as well as a lone release “I Went Out With My Baby” as Moses K. & The Prophets. The new version of Them writes to Carol Deck, Californian editor of Flip magazine (who had given the band some encouraging reviews during its US tour) asking for help, and she in turn introduces them to Texan producer Ray Ruff, who has his own indie label, Ruff Records. The new version of Them moves out to Amarillo, Texas in June 1967.
1967
January Major Minor Records releases “Gloria”, backed by another Morrison song, the acoustic “Friday’s Child” as a UK single. The McAuley brothers’ Them implodes and Jackie McAuley returns to Dublin and forms Cult with singer/songwriter and guitarist Paul Brady.
March A second Major Minor single “The Story Of Them” is released. Morrison signs a solo contract with Bert Berns and travels to New York to record for his Bang label. This will result in an immediate US hit “Brown Eyed Girl”, which makes #10. After Berns’ death in December 1967, Morrison will sign with Warner Brothers and record the classic Astral Weeks, which proves to be the beginning of an illustrious career.
Photo: Cityweek
(4) The Belfast Telegraph reports that Van Morrison is one of the opening acts for The Stormsville Shakers at Queen’s University’s student union in Belfast together with The Interns.
June (30) The US-based Them appear at the Purple Onion Teen Club, Wichita Falls, Texas.
Them in Checkmate Studios, Amarillo, 1967, from left: Ray Elliott, Alan Henderson, Dave Harvey, Ken McDowell and Jim Armstrong. Photo from the collection of Tom McCarty
July (12) According to the Childress Index, Them appears at Fair Park Auditorium, Childress, Texas. The next day they also play a gig in Farmington, New Mexico. The newspaper says they will tour for five months and play 20 times in Texas.
KRLA’s Beat, May 6, 1967The McAuley brother’s group
August Nearly year after the band’s final performance, the McAuley brothers’ group The Belfast Gypsies have a belated album release on the Swedish label Sonet as Them Belfast Gypsies. Having relocated to Amarillo, Texas, Henderson’s Them release their debut single without Morrison, a cover of Tom Lane’s “Dirty Old Man (At The Age Of Sixteen)” / “Square Room” on Sully Records before a nation-wide distribution deal is struck with Tower Records.
(10) The Evening Sentinel reports that Eric Wrixon’s latest group, The Never Never Band appear at the Golden Torch in Tunstall, Staffordshire.
Above and below, first record by the Amarillo, Texas based Them
September Starting off in Amarillo, Henderson’s group kicks off a major tour. The gruelling 61-date tour takes the musicians across the US Midwest and then to Los Angeles, where Them begin work on its first album without Morrison. Santa Rosa, California-based newspaper, the Press Democrat notes in its 1 January 1968 issue that the LP is recorded in studios in Texas, Oklahoma and Hollywood, California.
November Henderson’s Them release a second 45, the band composition “Walking In The Queens Garden” b/w “I Happen to Love You” on Ruff Records.
December Tower issues two singles, one includes newly recorded versions of “Dirty Old Man (At The Age Of Sixteen)” and “Square Room” and the second reissues the Ruff 45.
(8-10) The band appears at the Whisky-A-Go-Go, West Hollywood, California with Love and Blue Cheer. Santa Rosa paper the Press Democrat, says they play at the Vets Building in Santa Rosa, California over the Christmas weekend.
Poster from Amarillo, 1967, from left: Jim Armstrong, Dave Harvey, Ken McDowell, Ray Elliott and Alan Henderson. Poster from the collection of Tom McCarty
1968
January A new album, Now And Them is released featuring Them’s reply to the Doors’ “The End”, the extended raga piece “Square Room”.
February Tower reissues the Ruff 45 of “Walking In The Queens Gardens” but its success is limited to the West Coast.
March (24) The Hamilton Spectator’s 22 March issue, page 30, notes Them are playing in Toronto and will appear at Carl’s in Hamilton, Ontario on this date with David Clayton-Thomas and Combine. The group’s incessant touring prompts Elliott to quit the band while Them are in New York. He returns to Belfast briefly before working with an Irish showband in Leeds alongside guitarist Eric Bell from “Them Again”. Bell soon returns to Belfast to replace guitarist Gary Moore in The Shades of Blue before working with the Dublin-based The Dream showband.
April “But It’s Alright”, an out-take from the album is released as a single but doesn’t sell.
(11) According to the Odessa American newspaper, Them plays at Ector County Coliseum, Odessa, Texas.
May(24-25) Henderson’s Them appear alongside The Incredible String Band at the Kaleidoscope, Hollywood, California.
July The title track from their forthcoming album Time Out For Time In is released but is not a success.
August(14-15) The band plays with Frank Zappa & The Mothers of Invention at the Electric Theatre, Chicago. Them also performs at the Baton Rouge Festival on a bill that features Freddie King.
November Them’s second album Time Out Time In For Them is released. It has been recorded at Los Angeles’ Gold Star studios in the wake of Elliott’s departure and features session drummer John Guerin on a number of tracks. A single “Waltz Of The Flies” is extracted but fails to chart.
1969
March Them’s final single, a cover of the traditional Corinna is released but fails to chart. Unhappy with Ruff’s management and production, Armstrong and McDowell leave and return to Belfast where they put together Sk’Boo with Ricky McCutcheon and Colm Connolly. Henderson, meanwhile, remains with Ruff in L.A. and continues with the Them name; using guitarist Jim Parker and drummer John Stark from Amarillo band, The Kitchen Cinq, he produces two further albums: Them (1969) and In Reality (1970) for the Chicago label Happy Tiger. David Harvey also stays behind in California but will leave the music business.
June After working briskly throughout Ireland and the British mainland, Armstrong and McDowell shelve Sk’Boo (after a farewell gig in Wolverhampton) and return to the US later that year. Based in Chicago, the duo recruit an American rhythm section comprising bassist Curt Bachman (ex-The Buckinghams) and drummer Reno Smith formerly of Baby Huey and The Babysitters in a new group called Truth, which becomes house band at Beavers. The Chicago Tribune‘s 2 November 1969 issue runs a spread on the newly formed group. The band tours extensively around the Chicago area for the next 18 months, and also contributes several songs to the soundtrack for Pat Mulcahy’s film Cum Laude Fraud (later released as College For Fun And Profit), before being offered a recording deal with Epic Records. Ex-Them member Ray Elliott rejoins the band during its lifespan but subsequently leaves after contributing to some recordings and returns to England.
July(26) Them and Truth* both appear at the Eugene Pop Festival, Hayward Field, University of Oregon, Eugene alongside Alice Cooper, The Doors and others.
* Neal Skok and I have been trying to find out for some time now what “Them” this was — there is a slim chance it was the Tower Records ensemble. But the “Truth” that is listed for this gig is most definitely not the Chicago-based Truth comprised of the ex-Them gents (whose CD Neal and I put out on his “Epilogue” label in ’94). This “Truth” was a NW teen rock band – and of course there were several Christian bands that used that name in the ’60s and later. – John Berg
October Having returned from Germany and joined The Trixons showband, original Them member Eric Wrixon joins guitarist Eric Bell from the short-lived “Them Again” in the original Thin Lizzy. He leaves in early 1970 and returns to Germany to play with Junior Walker, Junior Wells and Buddy Guy among others.
1970
January (21) Truth play at the New Cellar, Chicago alongside The Mauds.
March Having moved to Beirut in Lebanon with The League of Gentlemen the previous year, former Them member Jackie McAuley returns to England and forms Trader Horne with Judy Dyble, who has previously worked with the original Fairport Convention. The duo release the album, Morning Way, which features contributions from former Them member Ray Elliott. When Trader Horne split later in the year, McAuley forms the short-lived One with Rosko Gee and Adam Marsh before starting on a solo album.
Japanese sleeve with Alan Henderson’s Them
1971
February Truth return to Belfast for a working holiday before sessions in London begin later that month. Unfortunately, Epic Records undergoes a change in management and following a communication problem, Truth’s band members fall apart before they have a chance to enter the studio. Elliott subsequently moves to Canada (where he dies in June 1993 in Toronto), while Bachman and Smith return to the US. Armstrong and McDowell move back to Belfast where Armstrong joins the Civil Service and McDowell becomes a member of The College Boys. (Truth’s private recordings and studio sessions from Chicago are later released by Epilogue Records as The Truth Of Them And Other Tales in 1995.)
March Jackie McAuley releases his eponymous debut solo album on the small Dawn label, before later working with bands Wand and Mackeral Sky. He also spends four years working with Lonnie Donegan. Jackie’s brother Pat (who turns down an offer to play with Marc Bolan), sadly dies in a drowning accident in Donegal on 11 August 1984.
1972
August Compilation album Them Featuring Van Morrison hits US #154.
1973
After working with cabaret singer Roly Stewart, Jim Armstrong has rejoined Ken McDowell in The College Boys in the early 1970s. The pair then join Reunion before working with another former Them member John Wilson in Bronco. The pair also form the band Spike, which works at the Pound club in Belfast. Wilson subsequently becomes Northern Ireland’s top session drummer.
Deram double LP repackages their first two U.S. LPs minus two tracks each.
1974 Backtrackin’ released only in the U.S., featured obscure b-sides and songs not previously available in the U.S.: “Richard Cory”, “I Put a Spell on You”, “Just a Little Bit”, “I Gave My Love a Diamond”, “Half as Much”, “Baby Please Don’t Go”, “Hey Girl”, “Don’t Start Crying Now”, “All for Myself” and “Mighty Like a Rose”. All the tracks except the last, however, were in simulated stereo.
1978
Armstrong leaves Spike and forms his own band Light, who record an eponymous album on the small Mint label in Ireland only.
1979
Billy Harrison reforms Them with original keyboard player Eric Wrixon. Initially, Harrison intended to complete the group with John Wilson, who’d played drums on Them Again album, together with bass player Jackie Flavelle and singer Mel Austin but Wilson and Flavelle drop out prompting him to bring in drummer Billy Bell. He also brings back Henderson, who has spent several years working on his Connecticut farm. Them move to Germany where they hold down a residency in Hamburg. While there the group records the album Shut Your Mouth for Teldec/Decca before Jim Armstrong and Brian Scott from Light replace Harrison and Wrixon. However, after a brief tour of Germany the group splinters. Armstrong reunites with Ken McDowell in a new version of Sk’Boo, who release one single “It’s A Hard Road” for the small Cuecomber label.
From left: Joe Baldi, Terry Noon, Peter Bardens, Van Morrison and Alan Henderson from summer of 1965
1980
Harrison emerges with the solo album Billy Who? on the German Vagabond label. He then abandons a music career and become a marine electrician. Jackie McAuley spends most of the 1980s and 1990s working with Poor Mouth, who release a number of albums, including Gael Force. In 1982, he co-writes “Dear John”, which is a hit for Status Quo.
1989
Original member Eric Wrixon forms The Belfast Blues Band with another former Them member, John Wilson.
1994
Jackie McAuley emerges with a new solo album, Headspin. Guitarist Jim Armstrong meanwhile has formed The Belfast Blues Band with original Them member Eric Wrixon. His former band mate, Ken McDowell has continued to work with Sk’Boo and then plays with Hens Teeth before forming The Kenny McDowell/Ronnie Greer Band in the early 2000s.
1998
Jackie McAuley releases another solo release, Shadowboxing.
2000
Jackie McAuley puts out another solo release, Bad Day At Black Rock. McAuley subsequently joins The Harbour Band, who release the album Live In The Spirit Tour in 2003.
2003
The Ken McDowell/Ronnie Greer Band release the album, Live At The Island. Jim Armstrong leaves The Belfast Blues Band and reforms The Jim Armstrong Band.
Sources:
Clayson, Alan. Call Up The Groups – The Golden Age Of British Beat,
Blandford Press, 1985, pages 168-170.
Doggett, Peter. “Them”, Record Collector # 149, January 1992, pages 112-116
Du Noyer, Paul. “Heart & Soul Of Van Morrison”, Mojo Magazine, November 1993, page 84.
Gray, Michael. Mother – The Frank Zappa Story, Plexus, 1993.
Grushkin, Paul D. Art Of Rock – Posters From Presley To Punk, Artabras, Cross River Press Ltd, 1987.
Harper, Colin. Sleeve notes to CD Belfast Beat, 1998.
Harper, Colin and Hodgett, Trevor. Irish Folk, Trad & Blues – A Secret History, Cherry Red Books, 2004.
Hodgett, Trevor. “Them After Van Morrison”, Record Collector #89, pages 52-57.
Hogg, Brian. “Van Morrison & Them”, Strange Things Are Happening, Vol 1, #4, Sep/Oct 1988, Bam-Caruso Books, pages 6-14 and 20.
Housden, David Peter. The Castle, Love #9, December 1995, page 28 and 57.
Housden, David Peter. The Castle, Love #10, 1996, pages 6-7.
Rees, Dafydd and Crampton, Luke. Guinness Book Of Rock Stars, 2nd Edition, Guinness Publishing, 1991, page 528.
Rogan, Johnny. CSN&Y – The Visual Documentary, Omnibus Press, 1996, page 10.
Shaw, Greg. The Doors On The Road, Omnibus Press, 1997, pages 14 and 172.
Turner, Steve. Van Morrison – Too Late To Stop Now, Bloomsbury, 1993, pages 49 and 60.
Unterberger, Richie. “Belfast Gypsies” article in Ugly Things issue 23.
Whitburn, Joel. Bubbling Under Hot 100 1959-1985, Billboard Researchers Inc, 1985.
Sleeve notes to the Deram Anthology The Story Of Them – Featuring Van Morrison, 1997.
Sleeve notes to Epilogue CD, The Truth Of Them And Other Tales, 1995.
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)
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.
“Left to right are Mark Hinton, Ronnie House, Ken Hutchinson and Mike Pugh. The picture was taken just before the group went to New York to record for United Artists. We were 17, 17, 17 and 18.” – Ken Hutchinson
A double-sided winner from Amarillo, Texas. Both sides were written by M. Hinton (Markus Lee Hinton according to the song publishing info).
The producer Eddie Reeves was working for United Artists publishing at the time; he’d had a prior career as a vocalist with the Nighthawks and a solo 45 on Warwick, “Cry Baby” / “Talk Talk”. He was from Amarillo, and may have provided these songs for a home-town group.
There is a likely connection to a group who recorded a 45 as the Hysterical Society Boys, “Funny Face” / “I Got Shot Out Of The Saddle” on the EBR (Eddie B. Reeves) label in the early ’60s, but I haven’t heard that one yet. (Thanks Davie G for this info.)
Despite good songwriting, production and performance on both sides, the 45 didn’t make a dent in the charts.
The band had one more release, “I Put A Spell On You” b/w “Summertime (Variations)” on an Amarillo label, Tipton, in 1968.
Update May, 2018:
Michael Thom acquired a 10″ acetate of one song recorded at Associated Recording Studios in New York. Michael wrote, “the acetate is very badly damaged, with a lot of lacquer separation that goes through the entire disc”. Michael spent hours restoring the sound so we can hear what this unreleased song sounded like. Perhaps someone associated with the band has another copy of the demo, or the master tape from this session.
The Hysterical Society with friends including Mark Kirk
I knew next to nothing about the band until Woody Key contacted me about the band. I’ll reproduce the comment he left below here, because it contains so much info about the group:
The Hysterical Society lineup on this record (and most of their career) was Mark Hinton – guitar, organ, vocals; Ronnie House – guitar, vocals; Ken Hutchinson – bass, vocals; and Mike Pugh – drums, vocals. There was indeed a link between Eddie Reeves and the Hinton family; Mark Hinton’s uncle Mike was one of the members of the Hysterical Society Boys, which I think were a band that was formed in Austin when Mike went to University of Texas. I don’t think that Eddie Reeves was in the Hysterical Society Boys, but he and Mike Hinton were in the Nighthawks.
The record (and I think 4 more sides, which weren’t released) was done in New York City. The boys were excited to be in the Big Apple, and had the opportunity to meet Bob Dylan and Napoleon XIV of “They’re Coming to Take Me Away” fame.
The Hysterical Society were a popular TX Panhandle and regional band from 1966 – 1969. They recorded “Summertime” / “I Put a Spell On You” in 1968 at Norman Petty’s studio in Clovis, NM, with Norman producing. By this time, they had replaced Ken Hutchinson with David Fine on bass and keyboards. They eventually replaced Ronnie House with Mark Kay on guitar, and kept this lineup until they broke up in late 1969.
Mark Hinton and Eddie Reeves kept crossing paths musically, with Eddie producing demos by Mark’s band Piper in Los Angeles, and also Mark’s solo demo projects in the early ’70s.
Update January 2012
Ken Hutchinson sent in the photo at top, and answered some of my questions about the band:
The photo was one of my favorites and I’m happy that I found it. True that Eddie had some promo shots of us done while we were in New York but as the single never made a dent in the charts we saw proofs but I do not believe finished copies were ever made. My sister remembered some studio shots done in Amarillo by our mother who was a photographer with a local studio. My mother also took the shot that I sent you.
The formation of the band came about by a chance connection of me and Ronnie House, the lead guitar player. He also knew Mark Hinton from school and as he and I worked together he suggested that we get together with Mark who knew a drummer (Mike Pugh). At the first get together the chemistry was good and we decided to become a group. Mark and Mike were the real talent of the group and Ronnie and I were good enough to compliment them.
After a while we kind of took the Texas panhandle by storm as we were all high school students and were very good at copies. We practiced enough to keep our material current, were very energetic on stage and popular enough around school that the buzz got going pretty quick. What probably kicked us off the most was the opportunity to open for Buffalo Springfield and Jay and the Americans at The Amarillo Civic Center [Tri-State Exposition on June 23, 1967 with additional acts the Dearly Beloved and the Stumps – anyone have a poster of this?]. The crowd was packed and I believe we represented the local talent well as we were the only local band. There were a lot of people in the audience who had never heard of us and could not believe we were local. Members of both of the lead bands complimented us back stage on our performance.
The Hysterical Society February 1968
The connection with Eddie Reeves did indeed come through Mark’s uncle Mike Hinton who was pursuing a law degree at The University of Texas at Austin. He had booked us at some frat parties and such in Austin as he was still active in music and had a lot of connections down there. We had to be careful about booking Austin as it was a 500 mile drive one way from Amarillo but the pay was so good that it seems we were playing down there a lot. I’m not sure yet what those college kids saw in a high school band from Amarillo but we continued to be asked back.
Mike asked Eddie to come listen to us in Amarillo. I believe Eddie had some family ties in the area. He came, listened and asked us if we would be interested in coming to New York to record for the label – he would produce us and take care of us while there. How could four 17 year old kids refuse?
We did indeed cut six sides while there however the promo copy of the two that you acquired was all that was released. We received copies of the other four, but I have lost track of mine after being passed around to family members for 45 years. There were five rock and roll songs written by Mark and one ballad written by me recorded. Eddie picked the two for release.
“Come With Me” was very current for the time – it must have been as the Beatles used the same riff for “Tax Man” a short time later with a lot better result. The flip side, “I Know”, was, I think, a little ahead of it’s time but what is my opinion worth.
We did have the opportunity while in New York to meet Bob Dylan and Napoleon XIV but I doubt that it made any sort of impression on either of them as we were just some high school kids from Texas who happened to draw the attention of UA momentarily and they were stars. Probably just bored.
Drummer Mike Pugh
When I left the band I had an opportunity to tour with The Shirelles who later connected up with The Drifters and The Coasters. So I had a chance to appear on stage with all three for quite a while. This was late 1969 and the early ’70s and all three of the groups had seen the shining days of their careers go by but were still active on tour and still drew reasonably good crowds. I’m sure the groups I played with did not still retain all of the original members but the music was good, the crowds were large and the tour was fun so I stuck around for a while.
I also played with some opening bands around Los Angeles while we were there and got to meet quite a few more “stars” and perform for huge crowds. When I finally decided that what I was doing was really to big for me I returned to Amarillo. I was after all married with children and needed to settle down.
I took a break from music that turned out to be extended to almost 20 years before the itch was too much trouble to scratch and started playing again about 1992.
A couple of really good local bands and about 15 years later I took another break and do not at 62 have much desire to do it any more. That’s why I respect Woody Key so much. He is not that much younger than me and is still out there doing it every day and succeeding. The difference between an artist and a practitioner I guess but I would not give one minute of it back for anything.
Ken (Hutchinson) Warren
Thank you to Woody for info on the band, and to Ken Warren for the photo at top and history of the band.
Special thank you to Mike Pugh’s niece Deborah for providing scans of all the photos except the top one. These were added to this article in November, 2014.
From left: Ken Hutchinson, Mark Hinton, Mike Pugh and Ronnie House
For every fuzz-driven garage screamer, there are a dozen records like this one by the Checkmates: competent and upbeat but uncompromised pop music. I didn’t know much about the group until people commented and wrote to me, so I’m adding some of the comments into this article.
Ray Ruff was an Amarillo impresario, owning the Checkmate night club, a recording studio and Ruff Records. He was also a partner in Sully Records, eventually taking it over from Gene Sullivan, who had started it in Oklahoma City in 1959.
A paragraph from Ruff’s obituary gives some background on his early music career:
Ray Ruff befriended Buddy Holly’s record producer Norman Petty and, after Holly’s death, he made several soundalike recordings, deliberately wearing spectacles like Holly’s when he recorded. Ruff often worked with his group the Checkmates, but they became the Executioners and wore hooded masks on stage.
There are at least eight different 45s by Ruff with the Checkmates, mostly on Norman Records, from between 1959 to the early ’60s.
Bobby Hacker commented below:
I was his first drummer and I recorded several records with the Checkmates under the Norman label. Ray was the vocalist along with Chuck Tharp. Tharp was the original vocalist for the Fireballs. Charles McClure was the lead guitarist, Tharp was rhythm guitarist and Tom Beck was bass guitarist. We toured the mid-west U.S., along with two provinces in western Canada. Most of our recordings were done in Clovis, N.M. at Norman Petty studios. While on the road, we. the Checkmates, recorded in St. Louis, Mo. backing a singer, trumpet player named Gabriel.
The year was 1961 and I am the only living survivor of the original Checkmates mentioned here. Ray Ruff went through several musicians during the 1960’s and he passed away a couple of years ago in L.A. He was very sucessful as a record producer but not that good a singer when I worked with him. He supposedly along with Norman Petty, formed the Checkmates.
Tom McCarty of the Page Boys wrote to me:
Ray Ruff 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 from Scotts Bluff, Nebraska – Minot, Minnesota, etc. 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.
Jerry Hodges commented:
I played with Bob and Larry Marcum with the Checkmates. I remember a tour to North Dakota with with Ray Ruff. I think we traveled in a Nash Rambler. I can also remember going into the Norman Petty studio and Larry wanted to play bass, so we switched as I was the bass player.
The band’s lineup had changed considerably since Ruff fronted the group, and by the time of the 45 I’m featuring here the band included Galen Ray (Galen Ray Englebrick) on bass. Galen Ray wrote both sides of this 45. There’s another 45 on Ruff by the Charming Checkmates – Just to Make Me Cry, that I haven’t heard.
Also see the Ruff and Sully discographies I’ve posted here.
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
On May 28, 1967, the Amarillo Sunday News-Globe ran a feature on the band by Gloria Denko:
A double-sided winner from Amarillo, Texas. Both sides were written by M. Hinton (Markus Lee Hinton according to the song publishing info).
