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Them

First UK EP showing lineup after November, 1964. From left: Alan Henderson, Pat McAuley, Van Morrison, Billy Harrison and Jackie McAuley
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)
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, 1965
Gloria reaches #1 on KRLA, April 14, 1965
early mention for band in KRLA's Beat, May 19, 1965
Early 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 Van
Them’s first UK LP, The Angry Young Them, Peter Bardens in pink shirt next to Van
First U.S. issue, featuring "Here Comes the Night"
First U.S. issue, featuring “Here Comes the Night”
Second U.S. cover to capitalize on "Gloria"
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.

(29The 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 November 1965, from left: Billy Harrison, Alan Henderson, Van Morrison, Ray Elliott and Terry Noon
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
From KRLA’s Beat, April 30, 1966. From left to right: Ray Elliott, John Wilson, Jim Armstrong, Van Morrison and Alan Henderson

Them Again US Parrot LP

Them Decca 45 Call My Name

KRLA's Beat, April 23, 1966
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
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
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 Them
The Belfast Gypsies, released as Them
Rare French EP with Belfast Gypsies listed
Rare 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
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, 1967
KRLA’s Beat, May 6, 1967
The McAuley brother's group
The 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.

Them Sully 45 Dirty Old Man
Above and below, first record by the Amarillo, Texas based Them

Them Sully 45 Square Room

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
Poster from Amarillo, 1967, from left: Jim Armstrong, Dave Harvey, Ken McDowell, Ray Elliott and Alan Henderson. Poster from the collection of Tom McCarty

Them Tower LP Now and Them1968

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
Japanese sleeve with Alan Henderson’s Them

Them Tower LP Time Out! Time In for ThemThem Happy Tiger LP

Them In Reality LP

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.

Truth of Them and Other Tales

Deram double LP repackages their first two U.S. LPs minus two tracks each.
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. London LP Backtrackin'
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.

Melody Maker, March 5, 1966, page 13.

News clippings from KRLA Beat.

Gigs from Beat Instrumental and Melody Maker.

Thank you to John Warburg, Simon Gee, Nigel Norman. Tom McCarty and Mike Markesich.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Email: Warchive@aol.com

Japanese sleeve with wrong photo showing the Scottish group, the Poets
Japanese sleeve with photo incorrectly showing the Scottish group, the Poets

Rollie Anderson – The Early Years of a Rock and Roll Dreamer

Rollie Anderson with Dust at the Broadway Skateland, January 1969
Rollie Anderson with Dust at the Broadway Skateland, January 1969
“Gretsch Chet Atkins, Nehru jacket, striped pants, Beatle boots and cossack hat. All I was lacking was talent.”

The Early Years of a Rock and Roll Dreamer

My name is Rollie Anderson. I was born and raised in Dallas, Texas. Oak Cliff, to be exact. For the first thirteen years of my life I was a typical youngster who occupied himself with riding his bike alongside his pseudo-hoodlum neighborhood pals, cursing the fact that he was woefully inept at playing baseball and contemplating the shrouded mystery of pretty girls. I was also wholly addicted to music. All kinds. I used to sneak into my older sister’s bedroom when she was away and listen to her 45s of Elvis, Fats Domino, Fabian, Chuck Berry, Paul Anka and Neil Sedaka; and I would listen religiously to Russ “The Weird Beard” Knight on KLIF on my cigarette pack-sized transistor radio way past my bedtime but that was the extent of my participation in music. I had no innate talent to play an instrument. I was not a gifted prodigy. I was an avid listener, nothing more.

However, once I witnessed the phenomenon that was The Beatles when they performed on The Ed Sullivan Show in February of 1964 I became an “altered” boy. Up till then I had harbored dreams of becoming popular and making a name for myself as a star athlete or at least as an admired member of the prestigious school cheerleading squad. In the case of the former I was too much of a runt and nowhere near being dedicated enough to bulk up by working out. As for the latter I was just not equipped with the necessary charisma or stunning good looks to qualify. Nonetheless, my inner desire to be envied or, at least, accepted continued on unabated.

As mentioned earlier, I’d always enjoyed playing records on the phonograph and would sometimes imitate guitar players by strapping on a tennis racket or acting as if I was conducting an orchestra by standing on a chair in the middle of the living room with Schubert’s “Unfinished Symphony” blaring through the family’s cheap stereo. My mother’s well-intentioned attempt to lure me into becoming a pianist at the young age of eight years old was a failure simply because my overwhelming preference at that stage of development was to be outside playing with my buddies, not practicing scales. However, she was persistent and the lessons she paid good money for lasted about a year before she finally realized that she might as well have flushed her cash down the toilet. In retrospect she did me a huge favor because it gave me a fundamental understanding of music that I would not have gotten otherwise. (Thanks, Mom)

But, like I said, everything changed after the Fab Four shook their mop-tops and sang “She Loves You” on television. Rock & Roll had me hooked like a marlin and wasn’t about to let go. There, in gorgeous black and white, was my salvation. The answer to my prayers. My ticket to fulfillment. The purpose for my being born. It became crystal clear to me that I was conceived in order to be a famous bass guitarist just like Paul McCartney.

What my parents’ immediate reaction to this epiphany was I can’t recall. If anything, I’m sure they thought it was nothing more than another fad that they would live through in much the same way they lived through my sister’s Elvis infatuation. I would most likely become enthralled and obsessed for a while, then return to the path they had carefully laid out for me that would lead to college and a career, most likely in some respected field like architecture or engineering.

They had no way of knowing that my next sixteen years would be spent in relentless pursuit of my dreams of musical fame and fortune not unlike what I observed happening to the four talented lads from Liverpool.

The fact that I couldn’t put together two notes of music on a guitar that made any sense didn’t present a problem in my mind. I was able to pick out a few chords on the upright piano thanks to the aforementioned lessons but nothing that actually sounded like a song. Nonetheless, I soon found out that other teenage boys like the friends I hung out with at Kiestwood Baptist Church had also been instantly afflicted with the same “Mersey Beat” fever that I had contracted. We realized that we had the necessary four members for a combo and, in quick order, assigned each other the various positions we were going to occupy.

This level of naiveté can only be likened to the time when, in the 5th grade, my school pal Ernie and I decided that we’d wow the crowd by building a weather balloon for a science fair project. Easy. I told him all we had to do was construct a sturdy box out of spare plywood, put a battery inside it, attach it to a balloon and let it fly. The same logic was being employed concerning the start-up of my rock and roll outfit.

Gene Fowler was going to be Ringo Starr. Randy Davis would be our George Harrison. Phil Webster would take the spot held by John Lennon and I was to portray Paul, of course. That being settled, we now had to get our hands on the necessary hardware to perform with. All of us agreed to pester our parents without mercy until we had acquired the musical instruments we needed to fulfill our individual obligations to the group.

I’m not sure what reaction the other three got from their respective parental units to their expensive requests but, in my case, I got a very frosty reception from my mother in particular. Perhaps that is stating it too mildly. Martha Anderson had no intention of supplying her only son with the demonic key that unlocked the gates to Hell. If I was going to procure a bass guitar any time in the current millennium it appeared that my own blood, sweat and tears would have to be put into use to raise the money. Having no income beyond a weekly pittance of an allowance presented a genuine problem, so I proposed a deal they couldn’t refuse. My parents reluctantly agreed to finance a bass and an amplifier if I could miraculously manage to stay on the B honor roll throughout my 9th grade school year. Not being the most astute or brilliant student in town, this was a huge undertaking on my part and my folks reasoned that the upside vastly outweighed the negative aspects of the bargain. Plus, they probably thought I had a better chance at discovering the whereabouts of the lost Ark of the Covenant than bringing home decent grades. But, for me, now there was at least a road, however rocky it may have been, to get to the promise land.

Up to that point in my short life I had never wanted anything as much as I yearned for that guitar. I was serious. I was focused. I figured that if the power of positive thinking could any have any effect on improving my odds then I was on board. I began utilizing that subliminal force by including the phrase “I want a bass” in the daily journal I started making notes in as of January 1965. It appeared in every entry. Every day. Without fail. (I have proof.)

Meanwhile, our imaginary combo had yet to come up with the most important ingredient for success. We had to have a cool name. Our moniker was probably more vital than having instruments or talent. “Rollie and the Roundmen,” “The Roundabouts,” “The Rondells,” “The Landells,” “The Shastas,” “The Shastells,” “The Shondells” and “The Hubbubs” were the impressive front-runners early on. So as not to further worry our deeply concerned parents, we even drew up an agreement between us wherein we solemnly swore on the holy word of God that there would be no profanity, no drinking, no smoking or getting into trouble with the law in our band. We promised zero tolerance for any kind of shenanigans. We wanted to assure our elders that the decent Christian upbringing they had been so diligent in providing for us was not going to be carelessly discarded when we became huge stars cruising around in limousines (a fate we had no doubt whatsoever was destined to happen).

Soon Randy and Phil had inexpensive but functional acoustic guitars, courtesy of their nicer and more accommodating parents. Gene and I were running into a lot more resistance on that front and our inner simmering resentment rose accordingly. I started trying to wear my hair combed down over my forehead but my Dad wouldn’t have anything to do with that radical style and made me comb it to the side like normal young men did. But it was like trying to dam up a river. I didn’t want to be clean-cut anymore. My course was charted to sail into rebellious and unconventional waters and nothing my parents said or did could change that fact. It was the beginning of a long and tenuous war of wills.

After almost giving myself an ulcer for nine drama-filled months I proudly presented my final report card to Ollie and Martha, the one confirming that I had fulfilled my end of the bargain by maintaining a B grade average for my entire high school freshman year. Their amazed silence was deafening. My folks were stunned in their shock because it was definitely a good news/bad news outcome and, considering my underachieving nature, one that they really didn’t think possible this side of heaven.

Following a hasty huddle held in private, they solemnly informed me that, due to unforeseen financial difficulties, they wouldn’t be immediately able to buy the bass guitar and amp as promised. However, they could scrape together enough loose change to afford a nice Silvertone electric guitar from Sears & Roebuck.

At first I was highly indignant and outraged. But once I calmed myself down I had to admit that a standard electric guitar and amplifier was better than nothing and I shouldn’t look a gift horse in the mouth. Mom and Dad said that if I continued to be dissatisfied with the six-string perhaps they could swing a deal to get me a bass guitar come Christmas. I accepted their offer.

On June 21, 1965 I got my first electric guitar, a double pickup black and white Silvertone solid body model that cost $54.95 plus tax. A few days later my Dad took me downtown to The Melody Shop and bought me a low-powered Kent amplifier. Words cannot describe the feeling of accomplishment and excitement that washed over me. I was now equipped to take on the rock and roll universe. All I had to do was learn how to play the dern thing.

I had seen various bands at school dances and sock hops like Seab Meador’s The Gentlemen and Jimmie Vaughan’s The Pendulums, but in that Summer of ‘65 I finally saw my first professional group. The Night Caps of “Wine, Wine, Wine” fame played a concert inside the Lancaster-Kiest shopping center and all of my wide-eyed comrades and would-be band members took in the show. I knew from the first song that I wouldn’t be satisfied until it was me performing up there on the stage.

It soon became apparent that Phil and Randy weren’t nearly as anxious as Gene and I were to get the ball rolling on the combo-that-conquered-the-world thing. Gene’s cousin, Glenn Fowler, already owned an electric guitar and was eager to acquire a bass ASAP. But we weren’t ready to give up on the original foursome just yet. We were nothing if not loyal to the cause.

I had started hanging out a lot more with another school and church-mate, Gene Banks, who also had a guitar and amp. Not only was his equipment vastly superior to mine (a red Gibson guitar and a Fender amp), Banks could really play! He taught me more than any professional guitar teacher could have in half the time and for a price that couldn’t be beat. Free. (All the guys I knew who paid for formal lessons were being taught useless old folk songs and campfire sing-along ditties so I never had the desire to go that route. I was only interested in learning the rock and roll tunes I heard on the radio.) I picked up loads of clues and pointers by watching Gene play and by observing guitarists like Ray Davies and Keith Richards on TV shows like “Shindig” and “Hullabaloo.” The Mel Bay chord book I purchased at Watkins’ music store became my bible and I learned how to make bar chords by studying the picture of David Crosby on the back of the first Byrds album.

Before you could say Dave Dee, Dozy, Beaky, Mick and Tish, Gene Banks was a member of our fledgling band, replacing Randy Davis (who had incredibly managed to lose interest in being an adored rock star). Banks’ father had been crippled for some time and he invited his son’s new combo to perform for his Wheelchair Bowler’s Association Convention at the Bronco Bowl. Keep in mind, this was before Gene Fowler even had a set of drums to flail away on. Yet a job was a job and we weren’t about to let the opportunity pass us by just because we weren’t ready for it. I figured the Lord would provide.

When the day of the much-anticipated gig finally arrived on September 19th Fowler still didn’t have his drums yet (so much for a heavenly hand) so Gene Banks and I enlisted the untested services of our friend and classmate Mike Stephens to play his dinky snare and high-hat set behind us. We only performed three songs in the small meeting room but the young girls who crowded their way into the doors and made a noisy fuss over us gave us boatloads of confidence. (In my mind, the whole thing was working as advertised: Play music, meet girls.) We were so ecstatic with the response that we half expected a lucrative record deal to be coming our way any day. It also marked the only time in my life where I was the lead (and only) vocalist.

But you can’t keep a good man down. Gene Banks was so talented on guitar that he was constantly being recruited by several other more promising Oak Cliff bands and couldn’t fully commit to just being in our little makeshift group. Out of sheer earnestness and compassion he continued to show up from time to time and practice with us but we knew he was too much in demand to wait for us to catch up to his level of proficiency. We were astute enough to realize that we shouldn’t count on him being around in the long run.

Our church buddy and fellow dreamer Phil Webster got wise and fell to the wayside, too, and by March of 1966 our struggling combo consisted of Gene and Glenn Fowler and myself. Gene had finally gotten his sparkling red trap set of drums and was taking lessons at McCord’s Music shop by then. He was a quick learner and it didn’t take long for us to see that he had a real flair for laying down a hard, steady beat without losing the tempo. In later years I would discover that many drummers were flashier than Gene but none were any better at keeping time and driving the band forward. And, in the final analysis, that’s more important than anything else. A band is only as good as its drummer.

The 3rd Generation practicing in my living room, April 23, 1966 - me and the Fowler cousins, Glenn and Gene.
The 3rd Generation practicing in my living room, April 23, 1966 – me and the Fowler cousins, Glenn and Gene. Notice that despite barely being able to play guitar myself, I’m busy telling them what to do. Bossy, huh?

We were still searching for a name, considering catchy jewels like “This Little Bunch,” “The Funatics” and “The V.I.P’s.” Each one would have its day in the sun until what we considered to be a better one popped into our heads. We entered and lost the talent show at Glenn’s high school in DeSoto but that setback just made us more determined to do better next time. (It wasn’t our fault that the stuck-up judges were tone deaf and unfairly-biased idiots!) It was at this juncture that we decided “The Third Generation” would be the set-firmly-in-stone name of our band. It didn’t mean anything, it just sounded good to us.

That Spring of ‘66 I got my first real job as a walking trash scooper at the amusement park Six Flags Over Texas, laboring for the steep wage of $1.15 per hour. It was humbling, tiring and hot work but the income allowed me to save up and purchase a Fender Deluxe amplifier, a definite improvement over the puny little Kent that couldn’t be heard in the next room of a cheap motel. At first it was exciting to be employed at an amusement park but the thrill was short-lived and eventually I got weary of dealing with management’s constant nit-picky criticisms and demands for me to work double shifts. I got fired late in July for goofing off on the job (my crime was sitting down for a brief rest on a 100-degree day) but I think my Mom and Dad were much more upset about it than I was. The whole experience left me convinced that working for someone else sucked raw eggs.

The band’s scarce bookings consisted mainly of playing for private living room and garage parties, Jaycee fairs and community-center dances. We were fortunate if we gigged twice a month and luckier still to make $5 per man when we did. We struggled along with me trading singing chores with Glenn until Gene met a guy named Jim Dawson (who said he could sing) and invited him to come to a practice. It was obvious from the first note that he could sing circles around Glenn and me so, on August 5th, Jim joined the group. We were back to a quartet.

My first “real” band, The Com'n Generation, in my living room after playing for my sister's party on August 13, 1966. Gene Fowler, Glenn Fowler, Jim Dawson, Gene Banks and Rollie Anderson
My first “real” band, The Com’n Generation, in my living room after playing for my sister’s party on August 13, 1966. Gene Fowler, Glenn Fowler, Jim Dawson, Gene Banks and me in front

The Com'n Generation, August 13, 1966. From left: Gene & Glenn Fowler, Jim Dawson, Rollie and Gene Banks
The Com’n Generation, August 13, 1966.
From left: Gene & Glenn Fowler, Jim Dawson, Rollie and Gene Banks
Jim had a smooth but powerful voice that was versatile enough to effortlessly handle the three-chord blues and pop songs that we were able to play. He also possessed an adventurous spirit for discovering different kinds of music that fit right in with our somewhat eclectic tastes and preferences. Right off the bat he suggested we make a slight alteration and go under the name of “The Com’n Generation” and I think we flip-flopped on that issue a few times after that. Banks still sat in with the band from time to time but we couldn’t depend on him because he had commitments with another combo that wasn’t a non-profit organization. Yet he offered encouragement, was a fine mentor and we greatly appreciated his patience with us.

A real milestone was reached in October ‘66 when Glenn finally got his bass guitar. Up until then he had been using a standard electric guitar and just playing the “big strings.” Within weeks Glenn had mastered the bass and he soon became amazingly good on the instrument. He was a natural.

The whole confounded naming-the-band thing reared its ugly head once more as dissatisfaction set in and strange moniker suggestions started flying around like a swarm of flies on roadkill. “The Rare Breed,” “The East Side,” “The Assortment,” “The Living IN,” and the ever-controversial “EVOL” (Love spelled backwards) were just a few of the memorable gems considered. Finally one night Gene was perusing his family’s limited library of books while he and I were talking on the phone and he came across one tome entitled “Excuse my Dust.” “Hey, how about Dust?” he mumbled. It was pure genius. In that moment a garage band was finally named at long last. We were “Dust” and we were “everywhere.”

 ROTC Ball at the South Oak Cliff HS gym, from left: Rollie, Jim, Rick Cramer, Gene, Glenn
ROTC Ball at the South Oak Cliff HS gym, from left: Rollie, Jim, Rick Cramer, Gene, Glenn
A permanent replacement for Banks arrived when Jim introduced the group to his friend, Rick Cramer. We had recently competed in an amateur Battle of the Bands contest on the back of a flat-bed truck trailer in the parking lot of Gipson’s department store on Ledbetter and got beaten badly by Kempy and the Guardians. We knew we needed to produce a bigger, better sound pronto if we wanted to compete with guys like that and that meant adding personnel. Rick began working with us as the second guitarist but he was trained on keyboards and planned to buy an electric organ in the very near future. Our first gig with Cramer was performed standing in the freezing cold out in front of the Wynnewood Theater on December 2nd, playing for the chilled customers as they hurriedly purchased their tickets and ran inside the movie house to view “Dr. Goldfoot and the Bikini Machine.”

1967 started off promisingly enough on a personal finance level with my gaining employment at a One Hour Martinizing dry cleaners on Davis Street. My brief stint at Six Flags had taught me that working for a living was a terrible way to spend my time but, on the other hand, having a steady income was a source of power and freedom from having to grovel for favors from my stingy parents.Another grand event and a huge step forward for the group was the occurrence of Rick getting himself an electric organ. And if that wasn’t enough, the real surprise came when we heard Cramer play it. He was not an inexperienced keyboard man at all. He had a very fluid style much like that of his hero Ray Manzarek of The Doors in that he knew how to tastefully fill a lead break and when to lay down a full carpet of sound behind the guitars and drums. And he kept on getting better and better as the months rolled on.

The long practices in living rooms and garages were starting to pay off. We now had an ever-growing roster of songs we could perform with some degree of proficiency and our equipment quality had risen to semi-professional standards. Now it was a matter of finding higher quality gigs to play.

In February we played for the Valentine’s Dance at Browne Jr. High and for the ROTC Military Ball at South Oak Cliff. Both were great boosts to our confidence. The constant need (and insatiable desire) for more power and volume possessed all of us and, with the paychecks rolling in from putting in my hours at the dry cleaners, I traded up once again to get a Fender Bassman amplifier at Arnold & Morgan Music in far away Garland. In those days it wasn’t unusual for two or three of us to spend an entire day at that famous music store, looking at and sampling all the guitars and new gadgets and talking shop with the other musicians who were doing the very same thing.Our first experience in a professional recording studio took place on April 26, 1967 when we responded to a newspaper ad and traveled west to Ft. Worth to audition for Delta Studios. The deal was that the owners got to hear lots of bands, looking for that diamond in the rough that would make them rich, and the groups got a free demo tape of the two songs they recorded. We had no idea what we would record when we arrived but we came away with passable demos of “Signed D.C.” with Jim Dawson singing and “Doctor Robert”.

Dust – Signed D.C.

“Signed D.C.” was such a starkly honest song by Arthur Lee that I’m not sure we even performed it live. We just thought that first Love LP was amazing.

Dust in the summer of '67 - a very rare group photo of the original lineup, from left: Glenn, Rollie, Gene, Rick and Jim
Dust in the summer of ’67 – a very rare group photo of the original lineup, from left: Glenn, Rollie, Gene, Rick and Jim
Needless to say, we failed to get an offer to cut an album from the fat cats at Delta but we had our tape, by golly. A week later we broke into our piggy banks and paid to have the songs pressed on a handful of 45 rpm records. Say what you will but we had ourselves a bonafide single that we could play on any phono and that was nothing to scoff at! Neither tune sounded very good but it was the beginning of a personal love affair with the studio that would stay with me for decades to come. The very idea of working on a song until it sounded right seemed like an excellent way to create unique art.

A Presbyterian Church located near South Oak Cliff would become a very important factor in the maturing process of Dust. It was one of many churches throughout the DFW Metroplex that started sponsoring weekend dances so underage kids in the area would have a safe place to hang out and socialize with their peers. For bands like ours it was literally a God-sent blessing. Theirs was called The Flare because on Friday and Saturday nights the church activity organizers would post a blazing red flare out by the street to mark the “happening.”

Every group that performed in that converted meeting hall tried to out-dazzle their competition and we were not immune to the lure of one-upsmanship. We would construct homemade strobe lights by cutting a circle in a round wheel that spun on a fan motor in front of a floodlight. We would mount black lights around the stage and draw designs on our army surplus jackets and pants with florescent paint so we would glow. We would harvest huge sunflowers that grew in the wild behind the church and place them strategically among the equipment and drums. It was truly a psychedelic experience to go hear Dust.

By the summer of ‘67 all our parents had grown quite weary of hosting boisterous band practices so we began to rehearse at Mr. Fowler’s warehouse on Industrial where he stored and showcased his commercial washers and dryers. It was great for us because we could now make as much racket as we wanted without inviting complaints.

About that time I upgraded my axe by financing a bright orange Gretsch Chet Atkins model (after securing a loan co-signed grudgingly by my still-reluctant folks) that I had been eyeing for weeks. The slick salesman at Arnold & Morgan, Dan Haubrick, told me that it used to belong to the singer for Kit and the Outlaws. That group had scored a regional hit with their cover of “In the Midnight Hour” so I hoped that it possessed some special mojo that might bring me some luck in the music business. That made my Silvertone guitar expendable and I followed in the footsteps of one of my idols, Pete Townsend of The Who, when I bashed it to pieces one night on stage at The Flare for the radical theatrical effect and overall shock value it would surely arouse in the audience. During the scripted-in-my-imagination process that led up to this wanton destructive act I unwisely placed my left ear directly against the speaker cloth of my amplifier during a feedback frenzy and caused ear damage that I live with to this day. My hearing on that side has never been the same. I also regret purposely tearing up that innocent musical instrument. I would love to have it back.

Speaking of The Who, I attended a concert that July that featured them and The Blues Magoos opening for Herman’s Hermits at Dallas Memorial Auditorium. The Blues Magoos were certainly cool enough with their psychedelic outfits that glowed in the dark and made them look like skeletons but life as I knew it changed forever when Pete, Roger, Keith and John took over the arena. I was familiar with their music to an extent but I had never experienced anything like the explosive set they performed that night before my bedazzled, awestruck eyes. They were so amazing, so relentless, so confident in themselves that many in the stunned audience left during Peter Noone & Company’s lightweight show that followed, including my date and myself. No act in the world could have followed The Who. Not on that evening, at least.

A problem with Glenn was that sometimes when he would meet someone who played guitar he would invite that person to join the band in order to impress them. Unfortunately, he would do this without consulting anyone in the group, especially me. Before Jim and Rick came along there was a guy named Chuck Pangburn that showed up for a while before drifting away. Then in August of ‘67 a lead guitarist named Mike Stroud appeared at our practices for a week. At some point we set Glenn straight by informing him that I was, indeed, the only lead guitarist that Dust needed and he curbed his habit of inducting new members on the spot immediately.

All of the members of the band were obsessed with two things in particular. Rock & Roll and girls. Every chance I got I’d escort a young lady to The Studio Club in Preston Center to dance to and hear the best of the local Dallas combo scene. I heard bands like Kenny and the Kasuals (a band I would later be a 12 year member of two decades down the road), The Novas, The Sensations, The Jackals, The Blues Bag and The Orphans just to name a few.

Speaking of the opposite sex, most of us were content to just have a steady girlfriend but Gene took it a big step further when he married a girl named Cindy in September and moved into an apartment of their own in North Oak Cliff. We were surprised and more than a little worried because of their young age but we adjusted to her constant presence after a while. She was no Yoko Ono.

An opportunity to gain wider exposure came along for the group in October when we got to perform twice at “The Action Spot” at the State Fair of Texas. We even got our name listed in the newspaper along with about 200 other combos but it still felt special to see our name in print.

Dallas Times Herald, Oct. '67 list of bands at the Action Spot at the State Fair: Shows the amount of competition all garage bands of that day had to deal with. And these are just the lucky ones who got to perform!
Dallas Times Herald, Oct. ’67 list of bands at the Action Spot at the State Fair: Shows the amount of competition all garage bands of that day had to deal with. And these are just the lucky ones who got to perform!

Dust at the DeSoto Community Center, December 14, 1967 from left: Gene, Jim, Rollie and Glenn
Dust at the DeSoto Community Center, December 14, 1967
from left: Gene, Jim, Rollie and Glenn
By the end of 1967 Dust was finally starting to earn a reputation for being a dependable dance band that could competently play the hits of the day without causing embarrassing or offensive incidents. Rock music was exploding into totally new areas with songs from Sgt. Pepper, The Doors, Fresh Cream and Are You Experienced?reverberating all around us. It was all we could do to try to keep up with the changing social climates but we were having the time of our lives doing it.

With the new year came further upgrades in the band’s equipment. Glenn, Rick and I all bought big black Kustom rolled-and-pleated amplifiers in February, making us look better and a whole lot louder. Gigs were still hard to come by but at least we had a much more impressive stage presence when we did perform.

That same month I went to see Jimi Hendrix, Soft Machine and Clouds perform in concert at the State Fair Music Hall and came away a very humbled guitarist. It was a show I’ll never forget. Local boys The Chessmen opened.

 From left: Jim, Rick, Gene and Rollie
From left: Jim, Rick, Gene and Rollie
In March ‘68 we all realized why Gene and Cindy had gotten married in such a rush when Sarah Hope Fowler was born. It was hard to think of our drummer and running buddy as actually being a Daddy.

Meanwhile, Candy’s Flare had become so popular that it was forced to move into a cavernous National Guard Armory near Red Bird Airport to accommodate the large crowds of kids that had discovered it. They now had two bands booked each Friday and Saturday night to trade one-hour sets from opposite ends of the echo-prone building. Glen Oaks Presbyterian Church off of Polk Street also started holding teen dances and that provided yet another outlet for Dust to gig at.

At some point in that March some kind of problem arose between the band and Jim Dawson. Unfortunately, a lack of detailed notes and my declining memory have erased any recollections about what brought about Jim’s sudden departure from Dust. Obviously something was amiss and causing the majority of the group to doubt his commitment to the cause. I don’t recall any kind of blow up or confrontation. For whatever reason, the band jettisoned a very talented and charismatic singer/frontman and I lost touch with a good friend. (Decades later I would happily reconnect with Jim and he informed me that he found out about his dismissal when he called my house and my mother told him I was at practice, which was news to him. He drove to where we rehearsed and watched from his car as we auditioned a new singer. He said he just drove away in disgust and never looked back. That was a cowardly, callous way for us to treat Jim and for my part in that I’m forever sorry. He deserved better.)

Frank Lee, a classmate of mine at Kimball High and a vocalist/guitarist that had been performing with various Oak Cliff combos was brought into the band as a replacement on April 3rd. He was nothing like Jim. Frank had a growling, husky singing voice and a very energetic, sometimes frantic stage persona that took some getting used to. But his easy-going and friendly mannerisms made the transition a smooth one.

Dust in the Fowler warehouse where we rehearsed circa summer of '68. Frank Lee, Gene, Rick, Rollie and Glenn
Dust in the Fowler warehouse where we rehearsed circa summer of ’68. Frank Lee, Gene, Rick, Rollie and Glenn
One of the first positive things that occurred after Frank joined the band was Dust landing a successful audition at the legendary and popular LouAnn’s nightclub located at Lover’s Lane and Greenville. In 1968 it was still the only building of note near that corner and was considered to be on the outskirts of town. It later went up in flames and had to be rebuilt on a much smaller scale. But at that time it was nothing less than holy Mecca for young rock bands trying to make a name for themselves in Dallas. Dust performed there on April 20th and the following Monday I was besieged by classmates that couldn’t believe they saw skinny little Rollie playing in the band at LouAnn’s last Saturday night. I had purposely maintained a very low profile in school in order to keep my hair as long as I could and very few of my classmates even knew I was a musician. They just thought I was a scrawny nerd. Needless to say, the cat was out of the bag after that weekend and suddenly I had rebel status at Kimball.

It was around this time that Rick discovered a stage image that he liked. He somehow acquired a WWI-era leather pilot’s helmet and a pair of large amber goggles that he wore at every gig thereafter. He also began to come out from behind the organ during our extended rendition of “Break on Through” by The Doors and deliver a long, abrasive soliloquy to the audience that no one could understand. We once played at a Catholic school dance and he did a stellar job of scaring the nuns with his maniacal shouting. To my knowledge not one of us ever questioned him about why he chose to do this and he never volunteered an explanation. We just let him do it.

A milkman who was an acquaintance of Frank’s named Terry Willis heard us, liked us and offered to be our manager/booking agent. His route took him to various schools in the area and he promised us work through his contacts. I think he envisioned himself as a young Brian Epstein but Dust had a few miles to go before we would even be good enough to shine John Lennon’s shoes. However, thanks to the gigs Terry procured for us I was able to quit my demeaning job at the dry cleaners before summer began.

Our first real road trip came in May when Terry booked us for a dance in Childress, Texas. An Explorer troop had offered to let us stay at their meeting house overnight but when we saw the less-than-hospitable condition it was in (it reminded us of the Our Gang clubhouse) we opted to make the long drive back to Dallas that night. My lasting impression of that trip is of us stopping at a diner on the outskirts of Wichita Falls around dawn. None of us had slept a wink and we were worn out. I had never liked coffee before but on that morning it tasted amazing to me. At that moment I finally understood why God had placed it on this earth for us humans to imbibe and I was a confirmed java drinker from that day on.

 Dust at Shamrock Roller Rink, Lancaster circa late 1968 - Gene, Rollie and Rick
Dust at Shamrock Roller Rink, Lancaster circa late 1968 – Gene, Rollie and Rick

On the scholastic front, after I maintained a B average in my freshman year and got my guitar as the reward, my grades dropped steadily into the C and sometimes D range for the rest of my high school years. With that in mind, when I was asked to stand at the Senior Luncheon held at Riverlake Country Club to be recognized for graduating with honors no one was as surprised as me. I wasn’t particularly proud of the distinction as I felt it diminished my image as the smug, egregious rock and roll musician that I fancied myself to be. I’m still not sure they crunched those numbers correctly but it made my Mom and Dad proud, at least.

Due to the fact that the selective service was drafting every able-bodied eighteen-year-old male who could count to five for duty in scenic Vietnam at the time, I started attending classes at nearby Dallas Baptist College less than a week after graduation. This allowed me to claim II-S status as being student-deferred and, therefore, ineligible for the terrifying draft. My career plans didn’t have the Armed Services in them at all. Guitars beat guns every time.

No band of merit in Oak Cliff was without their very own funeral hearse and this is the one Frank Lee bought for Dust to cruise Kiest Park and haul the equipment around in. Had a nifty 4-track inside, too.
No band of merit in Oak Cliff was without their very own funeral hearse and this is the one Frank Lee bought for Dust to cruise Kiest Park and haul the equipment around in. Had a nifty 4-track inside, too.
The summer of ‘68 was one of liberation for most of the band members. Now that we had escaped the drudgery of high school we thought of ourselves as adults, ready to explore and conquer the world. Concerts were still relatively cheap so I was able to see touring bands like Cream, The Doors, Vanilla Fudge and Canned Heat for about $6 a ticket. Our gigs were numerous now with repeated appearances at Candy’s Flare in Oak Cliff and the new one in Decatur, various private parties and several performances at the Shamrock Roller Rink in Lancaster.

Many groups like The Chessmen and Kempy and the Guardians had second-hand Cadillac hearses to transport their equipment around in. In late August Frank purchased a black ‘58 hearse so we could be as cool. In old English lettering we stenciled our “DUST… is everywhere” logo on the back door. Once we installed a four-track cassette player in it we were ready to join the parade every Sunday afternoon at Kiest Park with Cream’s Disraeli Gears and the Beatles’ White Album blaring for the duly impressed masses and would-be groupies.

By the fall Terry had us booked solid on most weekends and we were sailing right along. Rick had started taking classes at Baylor University in Waco so rehearsals were much more infrequent. But he would drive back home every weekend so it never interfered with our gig scheduling.

In November Dust successfully auditioned for a new talent agency called “Studio VII” that was located in a recording studio complex just west of downtown Dallas. Being pretty much full of ourselves at this juncture, we felt that Terry Willis had taken us about as far as he could and it was time to try and get better representation. It fell upon Frank and me to inform Terry that we no longer needed his services. Terry had done wonders for us and it was not an easy task to fire him.

One of the perks of being under the wing of Studio VII was the fact that they offered free studio time to their bands. To me, that was akin to getting a lifetime pass to Disneyland. It did involve signing a contract with the agency so in December we all had to get our fathers to meet at Frank’s house to sign on the dotted line for us since we were all under 21. It seemed like a really big deal. We felt we were now definitely on our way to riches and fame.

Recorded at Studio VII in late 1968 with Frank Lee on vocals, “Vicious Delusion” is a hybrid of two different tunes that I had written but the lyrics were penned by Ron, the staff engineer at Studio VII.

Dust – Vicious Delusion

Dust, Studio VII Prod. business cardRon took a liking to me and would often invite me to come sit in the control room while he produced a demo session for one of the other groups. On one memorable occasion the band in the studio was Felicity, a fine combo from East Texas that featured a talented singing drummer named Don Henley. Don went on to be in a little group called the Eagles. I remember being very impressed by their professionalism and their workman-like approach to recording. They knew what they were doing. Dust didn’t.

We ended 1968 with a New Year’s Eve gig at the brand new “Candy’s Flare – Pleasant Grove” in the National Guard Armory located there. It had been an eventful year for all of us and we felt that we had taken enormous steps toward becoming the rock stars we had always envisioned ourselves as being destined to be.

Dust with hair a flyin' at Broadway Skateland, Mesquite, January 4, 1969 - Frank, Gene and Rick We're playing Hendrix's “Manic Depression” because Rick would come out front and play cymbal on it. Not sure why.
Dust with hair a flyin’ at Broadway Skateland, Mesquite, January 4, 1969 – Frank, Gene and Rick
We’re playing Hendrix’s “Manic Depression” because Rick would come out front and play cymbal on it. Not sure why.

 Broadway Skateland, January 4, 1969, Glenn and Frank
Broadway Skateland, January 4, 1969, Glenn and Frank

1969 started right where the previous year had left off with Dust continuing to play gigs at the area roller rinks and Candy’s Flare. We had managed to add Club Menagerie in Commerce, the Broadway Skateland and the Twilight Skating Palace to our list of venues. I traded in my orange Gretsch for a used Fender Telecaster. I think the real reason was that it just looked better on stage and was easier to play. I was still a terrible lead guitarist that should have spent a lot more time practicing his instrument. The studio and live tapes that exist from those days prove it.

In February we started having all-night recording sessions with Ron (his last name escapes me) in an attempt to compose and cut that million-dollar hit single. I contributed several amateurish songs with titles like “Eating Petunias,” “Brown-haired Woman,” and “When you were down I loved you more.” We also bravely attempted a few of Ron’s songs like “All Strung Out” and “Vicious Delusion.” We never recorded anything resembling great rock and roll but the experience of being in a professional studio again was invaluable. I found that I absolutely loved the process of recording. For me there was no place I’d rather have been than inside a studio and I spent every spare hour I had there soaking up all the protocol I could.

Dust at Candy's Flare, 1969 from left: Glenn, Rollie, Gene and Rick
Dust at Candy’s Flare, 1969
from left: Glenn, Rollie, Gene and Rick
One of the drawbacks of having an old hearse for an equipment truck was the fact that it was constantly in need of repair. One incident could have ended my rock and roll future (and earthly existence in general) permanently. At some point the band started holding our practices at a warehouse in southeast Dallas that was owned by Gene’s father. One afternoon Frank and I were tooling along on our way to rehearsal, driving east on Ledbetter approaching the intersection with Lancaster Avenue. When Frank went to apply the brakes he realized that nothing was happening to slow the heavy hearse as we sped toward the red light. Fortunately there was an unoccupied lane ahead. Frank quickly changed lanes and we barreled right through the intersection at about fifty miles per hour, barely missing a Lincoln Continental that was coming north on Lancaster. When we rolled to a stop about a quarter of a mile later the irate driver of the car (that had to slam on his brakes to avoid a collision) pulled up behind, got out and yelled at us for several minutes. Both Frank and I stayed in the hearse as we both noticed that the furious and rather large African-American man had a pistol tucked into the waist of his pants. Evidently Frank’s explanation of brake failure satisfied the steaming mad driver and we managed to escape without being shot. Had we hit anything at all as we flew through the busy intersection we probably would have been killed on the spot or maimed for life. As I recall we still drove the hearse to practice. Slowly.

Early in March the band experienced our first drug bust. Well, sorta. We played a dance at the DeSoto Community Center and throughout the night we noticed that we were being closely watched by several uniformed police officers. After the gig Rick was changing clothes in the tiny restroom when detectives literally burst in the door and confiscated a bottle of what they were sure was some kind of illicit contraband that Rick had on him. They actually drove him over to the station and made him wait while they rousted the town pharmacist out of bed to come and identify the pills in question. They were sure that a musician wearing a leather skullcap and goggles had to be tripping on some kind of weird hallucinogenic substance and was, therefore, a menace to the citizenry. When the expert declared that the capsules held nothing more psychedelic than ordinary cold medicine Rick was released and told to never come back to the metropolis of DeSoto. No formal apology was forthcoming, either.

 Rollie Anderson with Dust at Candy's Flare, early 1969
Rollie Anderson with Dust at Candy’s Flare, early 1969
I met many musicians at Dallas Baptist College who were doing the same thing I was in that they were taking full advantage of the student deferment loophole to avoid military conscription. One of them was Alfred Brown from Plano. I would end up in two different bands with him in the 70s and he and I started a friendship that spring that would last for decades to come. By meeting him and others like Bob Lincoln of “The Poppy Box” I started to expand my circle of musician friends to include those from other parts of North Texas. Both Alfred and Bob graciously showed me new guitar techniques that made me a much better player. They most likely took pity on me due to my lack of talent on the instrument.

Frank and I saw Jimi Hendrix perform at Dallas Memorial Auditorium that April (with Chicago Transit Authority as the opening act) and he was fantastic once again. Little did we know that he would be dead about a year and a half later.

Late in May the hearse was broken into and most of the equipment inside it stolen. It had been parked in front of Frank’s apartment and the thieves took the P.A. system and the amplifier for my speakers. It was a devastating financial blow but I somehow scraped up enough to buy another Kustom amplifier and tall column from a friend. I now had a humongous setup of five 15” speakers and a brassy horn in two cabinets. I could barely stand to be in front of it at times because of the volume.

In June of ‘69 I found myself on a break from school for the first time in a long while. I took a job with the city park department as a playground activity leader and swim teacher at Pecan Grove near Kiest and Westmoreland. It was my first 8 to 5 Monday-Friday job and it left even less time for band practice and other activities. The group was still playing the same old gigs and the momentum we had carried into the new year with Studio VII had tapered off considerably when our recordings failed to impress anyone at the agency. They had moved on to other, more promising bands.

Broadway Skateland, January 4, 1969, from left: Glenn, Rick, Gene and Frank Rick would step out from behind his organ once every show to give his 'Lizard King' soliloquy
Broadway Skateland, January 4, 1969, from left: Glenn, Rick, Gene and Frank
Rick would step out from behind his organ once every show to give his ‘Lizard King’ soliloquy

On June 29th Rick Cramer announced that he was quitting Dust and getting married in August. That pretty much brought the band to a screeching halt. There was no actual day to designate when it happened. Dust just ended with a whimper rather than a bang.

For the rest of the summer Glenn and I tried to find other musicians who wanted to start up a new combo with us but several noisy jam sessions produced nothing promising. Gene was trying to provide for his wife and young daughter and Frank had started working full time, as well. The loss of his P.A. system in May was something that he couldn’t replace easily and we couldn’t rely on him to be able to carry on.

On my 20th birthday in early September I got a call from Richard Theisen of the Pleasant Grove-based “Love Street Journal” band inviting me to audition for their group. I became their guitarist on September 14th and the next six years of my life were spent with various versions of the band that became “Daniel.”

Unfortunately I eventually fell out of contact with most of those musicians I spent my teen years with. I’d visit Gene and Cindy from time to time in the early 70s but before long I lost track of them, as well. When I met up with Gene again in the late 90s he sadly informed me that Glenn had passed away about a year earlier. It made me reminisce all the good times I spent with the Fowler cousins as we would fantasize about how famous and wealthy we were going to be as rock stars. Glenn especially was a true friend to me throughout those years and I regret that I never got to see him again after that summer of ‘69.

Love Street Journal at the Flare, Pleasant Grove from left: Billy King, Tommy Jones, Robert "Noah" Hazlewood and Rollie Anderson
Love Street Journal at the Flare, Pleasant Grove
from left: Billy King, Tommy Jones, Robert “Noah” Hazlewood and Rollie Anderson
When I look back on those youthful, formative years I treasure the wonderful moments that will stay with me forever. As we made our way through our teenage years we doggedly pursued our rock & roll dreams while other boys who picked up instruments following the British Invasion of the mid 60s put them aside after a few months of lessons or finding out that steel guitar strings really hurt the fingertips. For us it was a way to release our energy and passion and to express ourselves in ways that others could relate to. We were all doing the best we could during the topsy-turvy events of that revolutionary decade, looking for our own individual path that would lead us into adulthood. Rock & Roll was our pressure valve and our muse. We constantly turned one another on to new music and different ways of thinking. We helped each other to expand our horizons of what was possible. And the fraternity that was the band became the glue that held us together. The band was what we could depend on to be there when the rest of the world let us down or presented us with problems that seemed insurmountable.

It was, indeed, a golden age and I’m so thankful that Gene, Glenn, Jim, Rick and Frank were there to go through it with me. We made some beautiful music and joyful noises together and they helped to make my teen years very special to me.

Rollie Anderson, May 2010

Performances

1965

September 19 – Wheelchair Bowler’s Association meeting, Bronco Bowl
October 17 – Wheelchair Bowler’s Association meeting, Bronco Bowl
October 24 – Church social, Gail Watkin’s house
December 31 – New Year’s Eve Party, Glen Fowler’s house

1966

March 1 – Audition for DeSoto High School talent show
March 4 – DeSoto talent show, DeSoto Elementary
April 9 – Hobby Shop, DeSoto
May 20 – Private Party, DeSoto
June 3 – Private Party, DeSoto
June 25 – Private Party, DeSoto
July 8 – JayCee dance, DeSoto
July 15 – Lion’s Club Carnival, DeSoto
August 13 – My sister Marlene’s Park Party, Anderson house
November 4 – South Oak Cliff High School Spanish Club, Cedar Canyon Club
November 5 – Battle of the Bands, Gipson’s Department Store, Oak Cliff
December 2 – Wynnewood Movie Theatre lobby

1967

January 14 – JayCee Dance, DeSoto
February 10 – T. W. Browne Jr. High School dance
February 18 – South Oak Cliff High School ROTC Military Ball
March 4 – Private Party, Kiest Park, Oak Cliff
March 25 – Audition, Presbyterian Church, Oak Cliff
April 14 – Private Party, Riverlake Country Club, Oak Cliff
April 26 – Audition and session at Delta Studios, Fort Worth
April 29 – Audition for “The Flare” club
May 13 – Junior High School party, Weiss Park gym, Oak Cliff
May 20 – The Flare
May 27 – South Oak Cliff High School Senior Pizza Party
June 1 – Audition for “LouAnn’s” club
June 24 – The Flare
July 2 – Audition for “The Pirate’s Nook” club
August 5 – The Flare
August 9 – Audition for booking agency
September 23 – The Flare
October 7 – “The Action Spot” at State Fair of Texas
October 8 – Audition for the “Club Texas”
October 15 – “The Action Spot” at State Fair of Texas
October 21 – The Flare
October 28 – The Flare
November 26 – Audition at the “Three Thieves” club
December 15 – Community Center Dance, DeSoto
December 29 – JayCee Dance, DeSoto

1968

January 12 & 26, February 9 – Glen Oaks Methodist Church, Oak Cliff
February 10 – Oak Cliff YMCA
February 17 – Candy’s Flare
March 15 – Glen Oaks Methodist Church
March 30 – Candy’s Flare (Last performance with Jim Dawson)
April 20 – LouAnn’s
April 27 – The Lyon’s Den
April 28 – Irving CYO Dance
May 4 – Decatur, Texas Roller Rink
May 11 – North Texas State University fraternity party, Lewisville
May 18 – Bonehead Explorer’s Post, Childress
May 24 – Atwell Junior High School dance
June 1 – Candy’s Flare
June 2 – Irving CYO Dance
June 14 & 15 – Shamrock Roller Rink, Lancaster
June 21 – Audition at “Phantasmagoria” Club
June 29 – Jolly Time Skating Rink, Fort Worth
July 27 – Candy’s Flare, Decatur
July 28 – Candy’s Flare
August 2 & 3 – Shamrock Roller Rink, Lancaster
August 16 – Candy’s Flare, Decatur
August 17 – Private Party, Fort Worth
August 18 – Irving CYO Party
September 7 – Candy’s Flare
September 14 – Candy’s Flare, Nacogdoches
September 20 & 21 – Shamrock Roller Rink
September 29 – Bishop Dunne High School dance
October 5 – Irving YMCA dance
October 11 & 12 – Shamrock Roller Rink
October 13 – St. Elizabeth CYO dance
October 26 – Private Party, Knights of Columbus, Grand Prairie
November 1, 2, 22, 23 – Shamrock Roller Rink
November 24 – Audition at Studio VII agency
December 7 – Candy’s Flare
December 14 – Broadway Roller Rink, Mesquite
December 27 – Texas A&M Hometown Club, Forest Hollow
December 31 – Candy’s Flare, Pleasant Grove

1969

January 4 – Broadway Roller Rink
January 11 & 12 – Club Menagerie, Commerce
January 17 – Twilight Roller Rink, Pleasant Grove
January 18 – Candy’s Flare
January 24 – Club Menagerie, Commerce
January 25 – Broadway Roller Rink
February 7 – American Legion “Teen-a-go-go” in Mesquite
February 8 – Club Menagerie
February 14 – Apartment Private Party
February 15 – NTSU fraternity party, Arlington
February 21 & 22 – Twilight Roller Rink
March 7 – Community Center dance, DeSoto
March 14 – Shamrock Roller Rink
March 15 – East Texas State University fraternity party, Honeygrove
March 22 – Broadway Roller Rink
March 30 – Club Menagerie
April 12 – Broadway Roller Rink
April 19 – Candy’s Flare
April 25 – Irving “Teen Scene” at armory
May 2 – Shamrock Roller Rink
May 3 – ETSU sorority party, Wylie’s Dude Ranch, Lewisville
May 9 – Commerce High School Dance
May 17 – Broadway Roller Rink
May 28 – Adamson High School senior pizza party
May 30 – Irving “Teen Scene”
May 31 – Rocket Roller Rink, Cockrell Hill
June 3 – ETSU summer school dance
June 14 – Broadway Roller Rink
June 28 – Candy’s Flare (final performance of DUST)

The Other Half of Greenville, Texas

The Other Half at the Greenville Country Club, from left: David Heath, Alex Bauknight, T A Tredway and Carroll Grant.
The Other Half at the Greenville Country Club, from left: David Heath, Alex Bauknight, T A Tredway and Carroll Grant.
Not pictured: Phil Sudderth.

The Other Half Sellers Company demo 45 Lost Everything

It’s not often I hear unreleased songs that catch my attention as these two by the Other Half, a quintet from Greenville, Texas, about fifty miles NE of Dallas. “Severance Call” has excellent harmonies over a solid rhythm, fast bass runs, and a good guitar break without effects. “Lost Everything” is even better, as Phil Sudderth sings in as rough and gravely a voice as I’ve ever heard over staccato guitar chords.

Bassist and vocalist T A Tredway sent in the photos, music and story of the band:

We started The Other Half in Greenville, TX in 1965. T A Tredway (bass guitar, vocals), David Heath (lead guitar, vocals), Carroll Grant (rhythm guitar, vocals), Phil Sudderth (lead vocals, tambourine) and Alex Bauknight on drums.

I had been to a band practice and really didn’t know anyone in the band (don’t think they ever played a gig). Started talking to some people in the band and was asked to come back to listen to the next practice session so I agreed. I was not a musician, just fooled around with a six string with a little folk music. Come to find out at the next practice the band decided to break up. I started talking with David and Phil and said why don’t we just start our own band, half kidding … but we started thinking seriously about it. I was 24 at the time.

David (age 17) was the drummer and Phil (age 18) sang but there was a young kid, Alex (age 14), who wanted to play drums so David decided he would play guitar and we would look for a lead guitar player. After a short time not being able to find a lead suited to what we wanted to do, David decided to play lead and we decided on Carroll (age 21) who had been to a couple of practices would fit right in.

David is the tall lanky kid playing the Gibson hollow body and Carroll is playing the Fender to the right in the pics. I was playing a metalic blue Mossrite Ventures bass all the time in the band. David and Carroll changed to a sunburst Gibson 335 and a Gibson cherry red 330E, respectfully, with Super Beatles and I had a Vox Bassman amp with two speaker cabinets. We had four Vox line speakers run through a 50 watt Bogen amp for our speaker system.

The Other Half: Phil Sudderth, David Heath, T A Tredway and Carroll Grant; hidden is drummer Alex Bauknight
Phil Sudderth, David Heath, T A Tredway and Carroll Grant; hidden is drummer Alex Bauknight

We were really in to The Rolling Stones because Phil sounded just like Jagger. We all loved and performed almost every song on their first 3 albums, “Round and Round,” “Little Red Rooster,” “You Can’t Catch Me,” “Route 66” etc.

We started getting jobs playing sorority and fraternity parties from ETSU in Commerce, renting our own halls in Greenville, and playing any benefits when we could. Through word of mouth, sororities at SMU heard about us and we started getting offers to play for them.

The Other Half Greenville Texas business card

I think while playing one of those parties some one recommended we check on this club at Lovers and Greenville called Louann’s. So we went there, auditioned and got to play there shortly after. Louann’s had been a big band venue and decided to change to rock and roll. Then she asked us if we would consider being the house band during the summer of ’66 and later asked if we would continue to be the house band in ’67 which we also agreed to do. It was a great experience. We played Buffalo Springfield, Yardbirds, Beatles, The Who, Mamas and Papas, The Byrds, Sam and Dave, just about anything during those years but the Stones music was our mainstay. More than one person told us that we sounded better in person than The Stones sounded in person.

In ’66 I think it was we recorded two sides at Robin Hood Brian’s in Tyler, TX. I wrote the songs along with Phil and David. They always got great response when we played them live. We had some acetates done at Seller’s studio in Dallas and I still have one of the 45s. They got a lot of play on KGVl in Greenvile and quite a bit of play by Ron Chapman at KLIF in Dallas.

In ’67 Phil joined the army under suspicious circumstances and we were left without a lead singer. We found another guy from Greenville, Matt Tapp who sang with us for a while but it never was the same. We broke up late in ’67 and I haven’t seen or heard from anyone since then until a few weeks ago I got an email from Carroll who now lives in Sandy, Utah. It sure has been great talking about the fun we had in the 60’s with The Other Half.

T A Tredway

Update, December 2010

The Other Half Sellers Company demo 45 Severance Call
T A sent in a live set by the Other Half, recorded on reel to reel during a dance at the Greenville Country Club during the mid-60s. The set leans heavily on the Rolling Stones: four originals plus “Around and Around” and “Cry to Me”, and the rest are by the Beatles, Kinks, Animals and Them, along with some US hits like “Little Latin Lupe Lu” and “Mustang Sally”. I’m including a few here:

The Other Half – My Little Red Book
The Other Half – Satisfaction
The Other Half – If I Needed Someone

Sadly, T A reports that Phil Sudderth and Alex Bauknight have passed away.

The Other Half promo photo, from left: Phil Sudderth, T A Tredway, David Heath, Carroll Grant and Alex Bauknight.
Promo photo, from left: Phil Sudderth, T A Tredway, David Heath, Carroll Grant and Alex Bauknight.

The Basic Things

Basic Things photo
Basic Things from left: Herman Bennett, Gerald Pierce, Charles Jayroe, Larry Quinn, Ronnie Cooper and David Neel. Taken by the Holiday Inn, Beaumont, April 1967, for a KA fraternity Old South Dance

Basic Things Purple Can 45 You're Still Dreaming

Basic Things Purple Can 45 Ninety-Nine and a HalfPort Arthur, Texas group the Basic Things made their only 45 at Jones Recording in Houston. The A-side is a good version of “Ninety-Nine and a Half”, but the original on the flip, “You’re Still Dreaming”, gets more attention nowadays. The group puts in a great performance with a marching rhythm, sharp guitar solo, organ flourishes and strong bass runs towards the end of the song.

Vocalist Herman Bennett describes his role as “screaming in public”! Herman sent me his CD Pay Attention, which included both Basic Things songs transferred from the original master tape!

My band, The Basic Things, was locally popular in the late ’60s in Port Arthur and the Golden Triangle. The Basic Things were: Tom Arrington on rhythm guitar (later David Neel would replace Tom), Charles Jayroe on lead guitar, Larry Quinn on Farfisa organ, Gerald Pierce on Hofner bass, Ronnie Cooper on drums, and me trying to sound as British as a Jewish Texan can.

We cut a 45 in 1967 at Jones Recording Studio in Houston, a cover of Wilson Pickett’s “99 ½” b/w an original “You’re Still Dreaming”. Recording at Jones was funny, more than remarkable in any way — we showed up late, not realizing that (duh) they charge by the hour and had a schedule for a reason, we weren’t even prepared to do both sides. The guy was forgiving and precise — I remember he buzzed in on the first take and said, “Guitar player, your fourth string is out of tune” and, because I was screaming a lot in those days, positioned Gerald (our bass player) to keep me away from the mic with an extended hand in front of me. He made a move as if to karate chop me in the Adam’s apple, made me sort of laugh, and we decided to keep that take because it was an inside joke.

“99 ½ (Won’t Do)” was The Basic Things piece ‘de resistance. We were pretty sure that this song would put us on the map because of the reaction it got at gigs. I guess we ignored the fact that you can’t do the song too badly because it’s so wonderful and every band of that era had it on their playlist.

Tom and Larry wrote “You’re Still Dreaming” on the spot in the recording studio because it hadn’t occurred to us that we’d do more than one song that day. But, the engineer pointed out, “If you are going to release a record, you’ll probably want something on the other side.” It’s a pretty good snapshot of what we were doing. I was screaming in public and they were playing excellent garage band rock and roll.

The whole thing cost us less than $200 bucks, I think, including pressing 100 copies, maybe more. Purple Can, if memory serves, was sort of a play on the notion that red might, but purple can … following the Moby Grape and Strawberry Alarm Clock model … thought provoking, but ultimately meaningless.

I think we sold all of ten records but somehow the rest of them disappeared over the years. Fortunately, Tom Arrington had the 1/4 inch master tape and thirty five years later a friend of mine discovered that there was actually a tape recorder in town that was the same model as the one the song was originally recorded on. I had it dubbed into a digital format for posterity. Neither song is exactly remastered but the sound is enhanced by virtue of the fact that the original 45 release version of “99 ½” was ramped down to shorten the song for radio play – too bad we didn’t get any – and “Wish That You Were Here” [“You’re Still Dreaming”] had some sort of tape anomaly on it at the very beginning that, for some reason, now sounds like it not only belongs there but leads you back, back, back in time.

I’d like to thank Ruth Hall, my friend gone but not forgotten, for ponying up the entire $180 to record and press those records.

Herman Bennett

Herman’s site has much more information on the Basic Things and his music career, check it out at hermanbennett.com. Gerald Pierce has two other photos of the band and more at www.unclestick.com/music (site defunct).

Basic Things photo at the Holiday Inn

Jimmy C. & the Chelsea Five, and Zero Records discography

Jimmy C. & the Chelsea Five Zero Records promotional photo
left to right, top row: Scotty Celsur and Mike Farr bottom row: Johnny Holbert (standing in for Randy Ridell), Jimmy Holbert and Sammy Simmons

Jimmy C. & the Chelsea Five Zero Records 45 Leave Me AloneScotty Celsur, lead guitarist and vocalist with the Chesea Five gives the story behind this Dallas group that recorded for Zero Records, the legendary label originally based in Austin that released the Spades 45s:

My first band, the Exclusives, was made up of my brother and my two best friends who liked to play for fun and entertainment of others on occasion. Sure was not the money at that point. However, after a couple of years of that I got down to business and started to put together a band that would go somewhere. I was in it for the big go.

My best friend, Mike Farr, was my guitar backup rhythm player starting out but finding a bass player was a challenge so after finding a good guitar player of rhythm Mike said he would change to bass to get this thing going. He wanted this bad like myself.

After a couple of months of searching out talent we started to put a show together and we put ourselves out there. After a few months of playing local gigs we just happened to be at the right place at the right time. Oddly enough we were at McCords Music Co. in downtown Dallas one Friday afternoon picking up a new PA system when a guy [Gary McCaskill of Zero Records] asked me if we were a working band and if so he wanted to talk. So we did and told him of a sock hop we were playing that night at a local school.

He said he would attend and about halfway thru the second set he and his wife showed up. He loved our version of “Play With Fire”, why I don’t know and he liked the “Leave Me Alone” song that I had written two years prior to that date. In two days he had us playing dates for a month on weekends. I liked this and then he wanted to start a recording company and he did, with us being his main band. He was a booking agent at the time for a couple of groups in Austin and did some with Kenny and the Kasuals. His mainstream focus was on us.

First he wanted to change the name to an English sort to go along with the fad of the times and that’s when The Chelsea Five brand came to be.

Jimmy Holbert – lead singer except on “Leave Me Alone”
Scotty Celsur – lead guitar, vocals and lead singer on “Leave Me Alone”
Randy Ridell – rhythm guitar
Mike Farr – bass
Sammy Simmons – drums

Funny thing, when we went to the Sherwood Forest complex over by Love Field airport to have pictures taken, Randy Ridell didn’t get there in time so with the evening darkness coming we opted to use Jimmy’s younger brother Bobby [sic – should be John Holbert] as the fifth person stand-in. By the way that is the only picture I have of our band. I have some slides somewhere or I think I do but I not sure where they have been stored at the present.

We were practicing four nights a week then playing on the weekends, mostly in Austin, he had contacts there and at the time bands from Dallas were a good draw for attendance. Pay was good and we were happy. Never considered us to be anything but a rock & roll band with a little edge.

Back then it seemed that everybody and their brother had a band of some kind so that in itself set up competition. Getting a gig could be a hard thing to do if you were looking in your own backyard. Many gigs would get canceled at the last minute just because someone knew someone that was a friend or whatever. That was the trick bag for us. Each one of us had a different group of friends. Strange in a way, but it worked and after we took on an out of town manager who was really in the loop of clubs around it made the whole world bigger.

Two weeks after we signed with Gary the Beach Boys were coming to town for a concert along with the Buckinghams and he asked if we would like to be the warm up band. Being in our home town I said no way. We had never played a venue of that size so the setup it self would be a guess and I didn’t want to take a chance and kill our sound and business by doing something stupid. As things happened Kenny and the Kasuals took the spot and in my opinion it was not good. Best decision I ever made because they suffered from what I feared for us. Poor sound quality but even the headliner bands didn’t sound good in that building [the Memorial Auditorium]. I went to a lot of concerts there and the building was perfectly round so the sound would bounce everywhere. I saw the Beatles there in ’64 and it was the worst concert ever, could not hear anything.

We were friends with a couple of other bands and in fact the Vaughan brothers dropped by for a couple of afternoon jams. Stevie Ray was very young, around 14 I think, but the kid was amazing and could play as good as his brother Jimmie.

One day in early May of ’67 Gary called me and said he had booked studio time at Sellers Recording in downtown Dallas for Saturday to cut a record. When we got there and after we set up he said he wanted to cut the “Play With Fire” song on the A side and my song, “Leave Me Alone” on the B side. I argued to cut the Otis Redding song “Respect”. We had a killer version of it and had request to play it a number of times a night at our gigs but he was paying and I lost the battle with him. This was two weeks before Aretha Franklin cut her song “Respect”, the rest is history and so are we.

Jimmy C. & the Chelsea Five Zero Records 45 Play With Fire5,000 copies were pressed but during the that time we added an organ player thus changing the name to the end result of Jimmy C and The Chelsea Five. There was no Jimmy C. it was actually Jimmy H. but that sounded bad so we used my last name letter C to fix that. We didn’t care we just wanted to play music, cut records and get paid. My manager gave me 500 and I don’t know what happened to the rest, now I only have around 25 left.

Didn’t work out to my way of thinking. I was the only one, other than Gary, who had a car that would go down the road every time. I was killing my car and not getting much in the money end of things for it. Sure, everyone would buy gas but tires and repairs, did those myself, were an expense for me and the others didn’t see it that way. I told them we need to rent a truck for all this, after all the organ was a Hammond with a Leslie speaker so it was no small item.

Other things started get in the way like girlfriends and some members smoking grass, I said no to that from the start. That was a sure way to ruin all we had worked for. I bid farewell to the band I put together and quit. Didn’t play for almost two years. They disbanded two months after I left and so goes the death of a rock and roll band. Gary asked me to form up an R&B group a few months after I had left and the band had vanished. I considered it just because Gary was such an up right guy and I had trust in him. I really liked to play blues more anyway but it just didn’t work in our area of play. Mike, my best friend and bass player soon surfaced and we set up a small band to play local and not very often at that.

I got married and started my family so I still think I did the right thing at the time. After all I did embark upon a career of auto racing for twenty five years and I traveled all over the USA, Canada, and a couple of trips to Mexico seeing things I would have never seen on my own so I don’t have any regrets.

I started the band when I was 14 and I was 17 when I recorded. I’m 60 now and have written over 200 songs of all kinds but they are in a box in my house along with the guitar and amp I bought new and used on the record, 1964 Fender Jaguar and Fender Bandmaster amp. I still play for my self satisfaction and friends on a rare occasion. I have not been in contact with any of the guys since 1973. Don’t have a clue where they are. I still miss them though.

Scotty Celsur

Zero discography:

10001 – The Spades – “I Need a Girl” / “Do You Want to Dance”
10002 – The Spades – “You’re Gonna Miss Me” / “We Sell Soul”
1003 – Jimmy C. & the Chelsea Five – “Play With Fire” / “Leave Me Alone”
1004 – Sammy Julian – “Lead Guitar Man” / “Is It True” (both by S. Julian and C. Kirk)
1005 – Curtis D. Hall and Cactus Café – “Diggin’ On Country Music”/ “I’ll Be Here Awhile” (1975)

Thanks to Gregor Kessler for sending the scan of the “Leave Me Alone” label, and for suggesting I contact Scotty.

The Past Tymes

Past Tymes photo and band card
“Sitting on the drums is lead singer Bubba Busceme; Brian, lead guitar is kneeling to his right (left in the picture) in front of me holding the bass. Holding the other end of the bass is rhythm guitarist Joe Priddy; his hand in resting on the shoulder of keyboardist Tom Laughlin and in the center is drummer Dale Bond.”

Glen Moyer provides details about his time with three Beaumont, TX groups, the Past Tymes, S. J. & the Crossroads and the Kidds:

I was the last and probably most insignificant addition to SJ & the Crossroads’ lineup. I played bass guitar and replaced Phil Battaglia after he was drafted/joined the armed forces (I don’t recall which). As such I was the youngest member of the group – I recall Sal Serio (SJ and Johnny’s Dad) telling my parents that he and Mar (Mary Serio – his wife) would look after me if they would let me join the band.

Sometime earlier one of my school buddies Gerry Mouton had joined the band partly upon my recommendation. I knew Sal (Mr. Serio) as he owned a Beaumont drive-in grocery and trailer park (Circle Grocery on 11th St) where he later opened SalMar record shop next door. When the band was looking for a lead singer I knew Gerry was pretty good and suggested the band talk to him. I told Gerry to go see Sal and the rest is history.

The SalMar label the Crossroads recorded on was also named for he and his wife. They were great people and I’ve got many fond memories of playing gigs throughout southeast Texas. By the time I joined the band it had moved away from its earlier rock roots and we played a lot of pop and soul tunes – Sam and Dave, Archie Bell and the Drells, etc. Sadly, for me anyway, I’m seldom noted as a member of the band because I came along after they did all of their records.

At the time I joined the group we were practicing in the Serio’s garage of their home on Major Drive in west Beaumont. I vividly recall the song we were learning at my first practice with the guys was “You’ve Made Me So Very Happy” by BS&T.

After the Crossroads broke up – thanks to the Vietnam war and fears of being drafted, etc. I joined another Beaumont group in their last throes – the Kidds – where I replaced a friend of mine, John Schmidt, on bass. Johnny Serio also joined the band with me for a short time but we too soon broke up. Both groups were originally all from Kelly HS (the Catholic HS) as I recall. Gerry Mouton and I were in the South Park school system – having gone to Fehl elementary, MacArthur Jr. Hi, and later South Park HS.

Prior to the Crossroads I was with a less well known band called The Past Tymes. Myself and Bubba Busceme – both from South Park – and later Joe Priddy combined with Tommy Laughlin, Dale Bond and Brian Kalinec from French HS. We played gigs in Vidor, Beaumont, Silsbee, and elsewhere in southeast Texas. This band is never mentioned in 60’s reviews I guess because we never recorded nor did we ever reach the level of playing gigs like the Rose Room, Crown Room, etc. Brian continues to play and has won a few recent texas Songwriters awards and has a debut CD out, Last Man Standing.

Over the years I’ve lost my entire collection of SJ and the Crossroads vinyl 45s and a lot of personal photos of the band. I didn’t appear in any of their “press photos”. If anyone ever comes across any photos of the band performing, I’d love to see them in case I might be there.

Glen Moyer

The Page Boys “All I Want” on Ruff Records

The Page Boys: Ronnie Hill, Tom McCarty, Richard Van Vliet, Mark Kay
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 for All I Want and Silver and Gold
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.

Page Boys - Ruff 45 All I Want 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.

Page Boys - Ruff 45 Sweet LoveRay 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
Page Boys poster, courtesy of Tom McCarty
 "To the Paige Boys - Best Wishes from the Turtles"
“To the Paige Boys” (courtesy of Tom McCarty of the Page Boys)

Ruff and Sully Records discographies

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.

Ruff was also part of the Checkmates.

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.

Five of a Kind

Five of a Kind photo: Jay Vestal, Mike Magruder, Jimmy Reese, Phil Patterson and Wayne Taylor
Five of a Kind, from left: Jay Vestal, Mike Magruder, Jimmy Reese, Phil Patterson and Wayne Taylor

The Five of a Kind released one great double-sided 45: “Never Again” / “I Don’t Want to Find Another Girl”. For years collectors have listed the band as a Fort Worth group, but like their Vandan label-mates the Gentlemen, they were actually from Dallas, as their bassist Phil Patterson confirmed to me:

I was in Five of a Kind (1964-1967) in Dallas, Texas, I was the bass player.

The band members were:

Lead guitar and singer: Wayne Taylor (Rickenbacker 12 string and Vox 6 string)
Rhythm guitar and singer: Jimmy Reese (Vox)
Drums: Mike Magruder (Ludwig)
Sax: Jay Vestal
Bass: Phil Patterson (Fender Precision)

Rhythm Kings, from left: Jimmy Reese, Phil Patterson, James Parrish, and Wayne Taylor
Rhythm Kings, from left: Jimmy Reese, Phil Patterson, James Parrish, and Wayne Taylor
We went to Bryan Adams High School in Dallas along with Kenny and the Kasuals and others you have listed. Our first band, ‘the Rhythm Kings’ with Wayne Taylor, Jim Reese, and Phil Patterson along with our first drummer, James Parrish, before Mike Magruder joined us. The Rhythm Kings never recorded, but became ‘5 of a Kind’ with the addition of Jay on sax and Mike on drums. James Parrish died in 1966 racing his Corvette at a local quarter mile track. He had left the band about two years before I believe.

 Rhythm Kings, from left: Jimmy Reese, Phil Patterson, James Parrish, and Wayne Taylor
Rhythm Kings, from left: Jimmy Reese, Phil Patterson, James Parrish, and Wayne Taylor
The music we played was probably typical of the period. We played mainly the popular British Invasion music – Beatles, Stones, Yardbirds, Animals, Dave Clark 5, etc. as well as Young Rascals, Beach Boys, and we did a great version of Sonny and Chers’ “I’ve Got You Babe” (sorta campy version really). Also some of the soul standards and rhythm and blues we needed to play depending on the crowd that night.

The Mystics beat us out for the record contract they received and I believe that would have been at Broadway Skateland in Mesquite, Texas. There were sixteen bands in that battle-of-the-bands. Ronnie Blocker was also a bass player for Ricky and the Royals who was the house band there, and his dad owned the place.

We also played at Louanns, the Sumpin’ Else television dance show (with Ron Chapman as host) and Panther a Go Go television show in Ft. Worth where also on the bill that night were the Bill Black Combo, Peter and Gordon from England, and Johnny Green and the Green Men. We also played at La Maison in Houston and Gilley’s as well, when they added rock type music. We also played at Dewey Groom’s Long Horn Ballroom in Dallas when they added rock music to their usual country schedule.

We played at all the usual skating rinks in the area (Twilighters in Oak Cliff and Broadway in Mesquite come to mind); the Vaughan brothers would have played at Twilighters. Also high school sock hops and graduation dances. Small clubs and private parties all over the metroplex. Bill Ware’s Pirates Nook, the Amber Room where Lady Wilde and the Warlocks also played (Frank Beard and Dusty Hill’s older brother Rocky Hill); we played with the Marksmen (Boz Skaggs and Steve Miller at my uncle’s airport in Garland with sponser KBOX and Scotty McKay I believe. Hate to call those guys a garage band but they probably were at one time. We played many times at White Rock Lakes’ Winfrey Point for private parties, etc.

 Early photo of Five of a Kind
Early photo of Five of a Kind
I remember the night we played La Maison in Houston and were playing the Rascals song “Good Lovin'” when we were surprised by the actual Rascals coming on stage and finishing the song and announcing they would be playing there the next night. That was a thrill for us.

Some nights were not so great such as the time we were booked into the NCO club at Ft. Hood. We were double booked with a soul band. The club manager said we could battle it out to see who played and would be paid for the gig and let the audience decide. We played to luke warm response and the soul band clinched it with some James Brown and the two sax players they had doing a front somersault off the stage. The crowd went wild and we packed up to head back to Dallas that night.

We played all the time and had a good local following. All the band members were good musicians but Wayne wrote the original songs. Wayne was a typical lead singer/guitarist with lots of ego going on, but I think you have to be that way. The girls all loved Jay’s blonde surfer locks. I, as the bass player had a good music following because I played my Precision bass by finger picking and could play fast Yardbirds riffs. Then there were the groupies (thanks Sandy and Sherri and all the others), they were probably the real reason we all became musicians in the first place.

Five of a Kind Vandan 45 Never AgainWe released one 45 on the Vandan label (Tom Brown manager, and recorded at Summit Studios [Sumet Sound]). The ‘A’ side was called “Never Again” and the ‘B’ side was “I Don’t Want to Find Another Girl” [both] written by Wayne Taylor.

We sold almost a thousand records at 10 cents per record going to the band. I remember one check for $16.00 for each of us. Wow…

At one time we had a booking manager who said his name was Andy Presley and was a cousin of Elvis. The guy had the pompadour and the look. We later found out he was a Mexican guy and may not have been Elvis’ relative after all. We dropped him as he was also not booking many gigs for us.

I have not heard from Wayne, Mike or Jay since not long after the band broke up in ’67. I do know that Mike Magruder became a successful local DJ in Denton, Texas. Jimmy Reese worked all his life at the JC Penney company and lives in San Antonio, now retired I believe.

I’m now practicing commercial real estate sales in Plano, and was formerly an owner of the San Francisco Rose restaurant (still open after 32 years) with Scott Fickling and Larry Smith.

Phil Patterson, December 2009

Thanks to Phil for sending me the history of his group, and for the photos and scan of the 45. Thanks to Jay Vestal for the two flyers and the photo at the bottom of the page.

 Yearbook photo for a show with the Rafters, with band business card
Yearbook photo for a show with the Rafters, with band business card
Five of a Kind on stage photo: Wayne Taylor lead guitar, Jay Vestal on sax and Phil Patterson on the bass guitar he wishes he still had, and Mike Magruder drums.
from left: Wayne Taylor lead guitar, Jay Vestal on sax and Phil Patterson on the bass guitar he wishes he still had, and Mike Magruder drums.
(caption by Jay Vestal)

July 4, 1965 gig at a barbecue place in Dallas
July 4, 1965 gig at a barbecue place in Dallas

“I don’t remember, but I think we won. Anybody that was willing to play at 9:30 a.m. deserved to win!” – Jay Vestal

Oedipus and the Mothers

The only photo I’ve seen of Oedipus and the Mothers, taken by Steve Delk for the Daily Texan, May 13, 1967

Oedipus and the Mothers made one fine record, “(I Remember) How It Used to Be”, with a great combination of distorted lead guitar and tremolo rhythm.

Andrew Brown did a long interview with rhythm guitarist Joe Blinderman in “Brown Paper Sack” back in ’97. The interview is a great read, and I recommend it if you can find a copy. The facts about the group are as follows:

The band formed at the University of Texas, Austin in 1965. Don Passman was lead guitarist, Joseph Blinderman rhythm guitarist, Scott Davis played sax, Bob Hunt bass and Stuart Glass was the drummer.

Oedipus and the Mothers featured two African-American vocalists: first Alvin Easter, then Reuben Halton who sings on the record.

An early mention of the band in Jim Langdon’s Nightbeat column from February 25, 1966 lists Robi Bendorf on drums and Alvin Easter on vocals. The band played for 200 people at the opening of Ray Vines’ Orange Bull Club and continued to play there into March, alternating with the Baby Cakes.

Bob Burns was their equipment manager.

Oedipus and the Mother-Lovers, San Antonio Light, March 1967

Oedipus and the Mothers traveled to Dallas to record the 45, probably at Sumet Sound Studio. Joe Blinderman wrote “(I Remember) How It Used to Be”. Don Passman wrote “Lonesome”, which is a very mellow song and nothing like the flip. There may be a few unreleased tracks still in existence.

Don chose the shocking band name. An announcement in the San Antonio Light lists them as the even more scandalous name, “Oedipus and the Mother-Lovers”! Joe recalled to Andrew Brown that it didn’t hurt their getting gigs, and their 45 even received some local airplay.

The band broke up in May of ’67 when Don Passman graduated and left for Harvard Law School.

An article in the Daily Texas for one of their last shows on May 13 at the Union Main Ballroom has some interesting information, but I don’t think they ever released a record named “I’m Gone”: that may be an error by the writer. I haven’t seen the Time article mentioned, but a national UPI item listed Oedipus and His Mothers along with other odd band names, like the Peanut Butter Conspiracy, Iron Butterfly, etc..

Oedipus and the Mothers appear very briefly at a frat party in the CBS special “If You’re Appalled at My Texas, I’m Bewildered by Your England” hosted by Dan Rather and David Dimbleby (called “Texas vs. England” in the news item at top). The English part of the special does have good footage of the Who, plus short interviews with Mary Quant, Margaret Forster, Jean Shrimpton and publisher Gareth Powell.

Bob Hunt wrote to me:

Alvin was our first singer; Ruben was the second. They both sounded a lot alike and had that high range. Needless to say, our set lists included a lot of James Brown, Sam & Dave, etc. material. We also covered the Stones, Beatles, Jefferson Airplane, etc. We were a rock & roll band with five UT students including a black vocalist and a Seminary student … me.

Baby Cakes and Oedipus and the Mothers at the Orange Bull, Austin Daily Texan, March 3, 1966

One more note on the recording of the Beacon material. I direct inputed to the board and I think now in retrospect that I may have overdriven the desk, but the engineer didn’t know that. He was impressed that I had a real Fender ’58 P-Bass with the sunburst and the gold anodized pick guard! Live, I played through a 60 watt Fender head into two Bassman cabs, each loaded with two 15″ JBL 140s. I could fill up a room and make your pant legs flap!

Bob Burns, the equipment guy actually built the sound system for us since there weren’t too many options out there at the time. We had a Bogen 100 watt, four channel amp and four mics which all plugged into two huge homebuilt speaker cabs containing four 12″s apiece. No monitors in that era! I don’t know what kept us from setting venues on fire with that set-up. Don occasionally played a Farfisa keyboard too.

If anyone has a photo of the group, please contact me

Scan courtesy of Mark Taylor. Thank you to Jonas Carlsson for pointing out the Austin Daily Texan article with the band photo.

Either Oedipus & the Mothers were known as far away as Hollywood, or there was a California group with that name, ’cause it’s the first example given of weird group names. Lubbock Avalanche Journal, January 10, 1967