Category Archives: Label

Baby Huey and the Baby Sitters

Baby Huey and the Vets in Chicago, 1963. From left: Pete Foster, Dale Harper, James Ramey (Baby Huey), Melvyn Jones and Butch Whited.

In 2005 I wrote a discussion of the early singles by Baby Huey and the Baby Sitters before Huey signed to Curtom and recorded the songs issued on his great posthumous LP. In subsequent years I added some photos, news clips and gig notices, then in 2026 completely reworked the article, below.

Baby Huey and the Baby Sitters are a famous Chicago band, but their roots are in Richmond, Indiana, where they formed in high school as Baby Huey and the Vets in 1962. The members attended Richmond High School, most of them graduating in 1964.

Earliest gig notice I can find for Baby Huey and the Vets in Richmond, Indiana, November 23, 1962
1962

November 23 – National Guard Armory, Richmond
December 8 – Richmond High School “Mistletoe Mash” at Civic Hall
December 29 – teen holiday dance at the Conservation Park lodge
December 31 – American Legion hall, 400 North Eighth St.

1963

May 17 – Hagerstown, IN prom, followed by “appearances on the Northwestern university campus at Chicago, Ill., immediately after playing for the prom at Hagerstown.”
June 13 – Senior’s all-night party at the YWCA: “Beginning at 4 a.m. Baby Huey and the Vets, a high school instrumental combo, provided music for dancing in the TAC club.”
August 4 – Clear Creek Park
September 1 – Clear Creek park Musician Local 388 union concert
December 27 – Leland Hotel, Richmond. Noon concert for Kiwanis
December 27 – Forest Hills Country Club

First mention of playing in Chicago, Richmond Palladium-Item, May 16, 1963

A notice in the Richmond Palladium-Item & Sun-Telegram for a concert August 4, 1963 lists the first lineup of the group I can find:

Members of the group are Melvyn Jones, electric piano; Dale Harper, drums; Pete Poster [sic – should be Pete Foster], alto saxophone, Butch Whited, guitar, and J.T. Ramey, bongos and vocal.

Melvyn Jones is brother of jazz drummer Harold Jones.

1964

March 12 – YWCA for Women’s Federated club
March 24 – Melody Skateland

Dale Harper, Curtis (Pete) Foster, and Harry Whited left the band to join the military. Curtis Foster left the group for the Marines in February 1964. He died on June 6, 1965, when two helicopters collided off the ship, the Iwo Jima.

Madisons Limelight 45 Bad Baboon
The first record of James Ramey and Melvyn Jones

Richmond Palladium-Item, April 1, 1964
The Palladium-Item ran a very interesting notice on April 1, 1964:

“Bad Baboon,” a record featuring a group of local musicians, is being pressed by Richmond Record Pressings under a label which is an affiliate of Mercury Record corporation in Chicago. In the group are Danny Jarvis, drums; Dick Agee, bass guitar; Butch Whited, lead guitar; Melvin Jones, piano, who also wrote the lyrics, and Jimmy Ramey, vocal. They taped the number in Chicago. Formerly known as the “Sting Rays,” the local group has been renamed the “Madisons.” They have played at local dances and entertainments.

A short notice the next day adds “The “Madisons” … includes members of two earlier combos known as “Baby Huey and the Vets” and the “Sting Rays.”

Released on Limelight Y-3018, “Bad Baboon” / “Because I Got You” apparently is the first recording featuring Baby Huey and Melvyn Jones. Melvin Jones wrote “Bad Baboon”. A takeoff on “The Gorilla” by the Ideals with a new set of lyrics, it would also become the inspiration for Baby Huey and the Babysitters 1965 single “Monkey Man” though again with new lyrics and a more aggressive feel. Cash Box reviewed the single favorably on June 18, and copyright was registered on April 27. It was likely recorded at the Indianapolis studio of producer Jan Hutchins. Jan Hutchens (correct spelling) had co-produced Chicago vocalist Ral Donner’s “You Don’t Know What You’ve Got (Until You Lose It)” for Gone Records in 1961.

Did B.J. stand for Baby Jimmy, or Baby James? There is a notice for B.J. and the Sting Rays at the Springwood Pavilion in Conservation Park on June 15, 1963, but Baby Huey and the Vets were also active at that time. The news described them in February, 1964:

The Catholic Youth center will sponsor a dance at the Knights of Columbus hall Sunday, Feb. 9. Members of B.J. and the Sting Rays combo will provide the music. They are Dick Agee, Melvin Jones, Danny Jarvis, Butch White [sic: Butch Whited] and Jim Ramey.

However, Baby Huey and the Vets did shows through March, 1964. The Madisons name took over for that recording, but I can find no gig listings under that name, nor any listings for Baby Huey between April 1964 and early March 1965.

Certainly by February 1965 if not earlier, Jim Ramey and Melvyn Jones had relocated to Chicago where they added new members, found management in university student James Kargman, and started recording as Baby Huey and the Baby Sitters.

Baby Huey and the Baby Sitters as a five-piece, an early promo photo that ran in the Rockford Register Star, June 19, 1965 for the show that evening

1965

At some point in 1964 or 1965, Johnny Ross, also from Richmond, IN, joined on guitar. They were joined by Chicago musicians Dennis Moore on drums and Larry Sales on bass.

The history of Baby Huey’s 1965 recordings is confusing because they contain four songs released across five singles.

I believe the first two cut were “Just Being Careful” and “Messin’ with the Kid” as John Ross had copyright registered on “Just Being Careful” on February 12, 1965. Both sides feature horns, and a female chorus on “Just Being Careful”. “Messin’ with the Kid” is a great version of the Mel London song done originally by Junior Wells.

Shann 73924 – “Just Being Careful” / “Messin’ With the Kid” (February 1965)
USA 801 – “Just Being Careful” / “Messin’ With the Kid” (April ’65)

The next two recordings are the influential “Monkey Man”, credited to John R. Ross, though it must have evolved from the Madisons “Bad Baboon”. James Kargman took arranging credit on “Monkey Man”. Copyright was registered on April 23, 1965.

Their version of “Beg Me”, originally recorded by Chuck Jackson, may be the weakest number on these early 45s but is a prized soul record today. Starting slow, it picks up steam. John Ross’s guitar work is outstanding on all of these. For some reason the label St. Lawrence substituted the earlier “Messin’ with the Kid” for “Beg Me” on some copies, and again when it was reissued on Satellite in ’66 or ’67.

St. Lawrence 1002 – Monkey Man / Beg Me (1965, issued on both blue and white labels)
St. Lawrence 1002 – Monkey Man / Messin’ With the Kid (1965, white label only)
Satellite 2013 – Monkey Man / Messin’ With the Kid (1967)

Jim Kargman produced all of their singles in 1965, along with those of Dalek/Ingam and the Blackstones. Thumbs Up in Chicago was the group’s base and some of their early bookings such as Rockford College were made through the club. An item in the Chicago Suburbanite Economist on February 23, 1966 noted “Tony Caithamer, one of the owners of the Thumbs Up club at 2848 N. Broadway, is donating the services of [Baby Huey & the Baby Sitters].”

First ad for a Chicago gig. It ran in the Tribune on March 3 and 5, 1965, with the Billy Williams Revue at the Celebrity Lounge, 900 North Rush.

Baby Huey at the College Fieldhouse in Rockford, June 19, 1965. The Morning Star devoted an article on the show to the Beau Brummels, but ran this photo of Baby Huey

South Bend Tribune, June 27 1965

March 3-6: at the Celebrity Lounge, 900 North Rush with the Billy Williams Revue
June 19 – Thumbs Up presents the Beau Brummels, Baby Huey and the Babysitters and the Blackstones at Rockford College Fieldhouse
June 28 – Stepan Center, Notre Dame, South Bend – WJVA show with Dalek-Engam and the Blackstones, the Teen Tones, the Tradewinds and the Phantoms
November – Spain, Italy, Greece, Africa ?!

On December 1, the Toronto Globe and Mail reported Baby Huey and the Baby Sitters played in Paris for the debut party of Nelly de Rothschiild, along with UK group Band of Angels.

late December – WVON Chicago Christmas Benefit with Little Stevie Wonder, Dee Clark, Jackie Ross, the Madlads, the Impressions, G.L. Crockett and Red Saunders

Baby Huey and the Vets featured in the Richmond Palladium Item, November 10, 1965

An article from the Richmond Palladium on November 10, 1965 listed the lineup that was flying to play in Europe and Africa, but refers to them by their old name, Baby Huey and the Vets:

Melvin Jones – trumpet and organ
Johnny Ross – guitar
Dennis Moore – drums
Jim Ramey (Baby Huey) – vocals
Larry Sales – bass
Charles Lance – sax?

1966

This photo ran in the Rockford Register Star on February 18, 1966

January 29 – Rockford College with the Castaways and the Fabulous Intruders from Rockford, IL
February 25 – Orr High School benefit
February 25 – Harmony Hall, Chicago
March 18 – U. of Illinois Urbana, George Huff Gymnasium
March 19 – Rockford, with the New Colony Six, the Shadows of Knight, the Grim Reapers and the Komons, at Boylan High School gym. Also the Flock, according to some news listings.
May 21 – Rock Island at the Monmouth College Scot Olympics

The Daily News ran this photo of Baby Huey for their September 1966 shows at Trude Hellers
May 29 – Richmond National Guard Armory
July 24 at Palms Shore Club, Emmons Ave, Brooklyn with Satan Four
late July – early August – at Trude Hellers, NYC
September 5 – September 17 (?) – at Trude Hellers
September 10 and 11 – Palisades Amusement Park’s “Heller-Baloo” with Benny Gordon, Bertha Colbert and Abercrombie & the Fitches
October – at Trude Hellers, also an announcement that Capitol Booking has signed the group
October 7 & 8 – Romano’s Steak House, Hartford, CT
October 21 – Richmond High School Homecoming Dance
November 1, 1966 – November 15 – Trude Heller’s (NY Daily News)
November 19 – Bayone, NJ at Venice Tavern

Billboard, October 29, 1966
Billboard, October 29, 1966
In October 1966, the Babysitters went back to Richmond to play their high school’s Homecoming Dance.

Dennis Moore got drafted around 1966. Reno Smith became the drummer at some point.

I’m not sure when Melvyn Jones left the group. As Deacon Jones he wrote a memoir the includes his years with Baby Huey, 40 Years With the Blues Legends: the Life and Times of Melvyn Deacon Jones that I haven’t read yet.

Johnny Ross probably left in 1967, when he recorded two singles as Johnny Ross and the Soul Explosions, “I Can’t Help Myself” / “Sore Loser” on Chirrup 1523, and “Love-I-Tis” / “Chi’-Ca’-Go'” on La-Cindy 509.

The chronology of when later members joined is uncertain. Because James Ramey drew so much attention in the press as the group’s frontman, later articles never mention other members of the band.

Jet, January 19, 1967
Jet, January 19, 1967

1967

January – at Ungano’s club in New York
February 15-28 – the Cheetah, with the Exceptions Feb. 15-18
March 22 – April 12 – the Cheetah with the Chambers Brothers and the Rovin’ Kind through March 26
April 26 – Tempo Dance City 8813 Foster Ave, Canarsie, Brooklyn

The Cheetah was open Wednesdays through Sundays.

Robert Baker wrote about the Cheetah club in the Chicago Tribune on April 16, 1967:

The sound is continuous, provided by two bands that alternate each hour. Current attractions are the Griffith-Harter Union and Baby Huey and the Babysitters … Baby Huey, a kind of Motown Mama Cass, has been the biggest regular draw of the Cheetah since it opened last fall. He takes center stage with him where he moves in his bright red double-breasted suit, usually abandoning his tie after a couple numbers. The group features upbeat rock numbers as well as some slower soul pieces, often blue in both connotations of the word.

Rotund Band Leader Faces Dope Charge

CHICAGO (UPI) – “Baby Huey,” a rotund rock ’n’ roller has been booked for a May 8 date in court.

A tinfoil package of what police believe is marijuana, a warm pipe, overheard talk of “smoking pot” – plus police insistence – helped the bushy-haired, 370-pound band leader get the unwanted engagement.

Possession of narcotics is the charge, police said.

Baby Huey, billed as “the biggest name in the business,” was arrested in his motel room Thursday with two friends. Police said they were tipped, possibly by a disgruntled fan, that there was a party going on.

Baby Huey, who said his real name was James T. Ramey, and Baby Karp and Ronald Wagner, both 21, Chicago, were freed on bond. Karp and Wagner are not members of “Baby Huey and the Baby Sitters.”

Police later ticketed Baby Huey’s brightly painted bus and towed it from the spot reserved for Mayor Richard. J. Daley’s limousine to the auto pound.

On July 6, 1967, the charges were dismissed:

Judge Kenneth R. Wendt ruled arresting officers did not have a warrant to make the raid on Ramey’s hotel room after receiving a tip.

Detectives said they arrested Baby Huey Apr. 13 after they found him lying on a bed with a package of a “crushed green plant” nearby.

Baby Huey & the Baby Sitters, Traverse_City Record Eagle Aug. 8, 1967
This news item was picked up nationally in August, 1967. I can’t find further details.

June 7-11 – Ron’s Back Room, 1311 N. Wells in Old Town
September 1 – the Cheetah with the Exception and the Rovin’ Kind.
September 22-24 (dates uncertain) – the Cheetah: Billboard noted on September 30 that “Manager Buddy Fox reports that 15,000 turned out over the weekend to hear Baby Huey and Tommy James & the Shondells”
October 20-21 – at the Cheetah with H.P. Lovecraft and the Litter
October 22 – Benefit with the Litter at the Cheetah for the new Museum of Contemporary Art
November 10-21 – at the Cheetah in Chicago
December 30 – Bachelors Ball at the Frederick C. Crawford Auto-Aviation Museum, Cleveland. The Plain Dealer ran a large photo of Baby Huey on stage at the event, but the microfilm is too dark.
December 31 – at the Cheetah in Chicago with the Exception

By late ’67 or 1968, Baby Huey and the Babysitters were managed by Marv Stuart’s State and Madison Management (listed as Marv Heiman on wikipedia).

Ad for Baby Huey at Grandmother’s in Lansing August 3, 1968

1968

Baby Huey & the Babysitters at the Jaguar with the Shadows of Knight! March 16, 1968
at the Jaguar with the Shadows of Knight! March 16, 1968

February 1 – Michigan Tech Sno Ball in Houghton
February 25 – American Internatonal College Winter Carnival, Springfield, MA
March 1 – Electricians Hall, 5247 W. Madison with the Disciples of Mayhem
March 16 – at the Jaguar with the Shadows of Knight
March 23 – Marine Room at St. Clair hotel
April 5 – The Deep End, Park Ridge, Illinois

Tantalizing ‘what-if’ from Robb Baker’s May 1, 1968 column. Unfortunately nothing ever materialized.
Robb Baker gave a bizarre report in the May 1 Tribune:

Baby Huey and The Baby Sitters have been signed by George Badonsky of Dunwich Productions … Huey, who’s Mama Cass’ soul brother in several senses, is managed by “Tough” Teddy Allen. His former producer was Earl “Big Daddy” Glicken of Chicago, but he hasn’t recorded for over five years, Badonsky said. Several record companies are being contracted about contracts by the new producer.

They had recorded about three years earlier, not five. And unfortunately nothing ever came of an association with Dunwich, which is a shame. Badonsky and Bill Traut of Dunwich would have been a great choice to produce the band. Unfortunately, there seem to be no recordings of Baby Huey and the Baby Sitters from the time of the four songs recorded in early 1965 until the release of”Mighty Mighty” in April, 1969.

Earl Glicken only has a couple record credits, as supervisor on the Ideals 1966 remake of their own song, “Go-Go-Gorilla” on Satellite 2011, and producer of their classic “Go Get a Wig” on St. Lawrence 1001 in 1965. He may have had something to do with the re-release of Baby Huey’s “Monkey Man” on Satellite 2013.

Baby Huey & the Babysitters at Mother Duck with the Box Tops November 23, 1968
at Mother Duck with the Box Tops November 23, 1968
May 31 – The Deep End
June 14 – Cleveland, reported by the Plain Dealer: “The 400-pund favorite of the younger set and his rock ‘n’ rollers came in from New York from a deb party which lasted until 5 a.m. yesterday morning to play for a dance given last night by four Hathaway Brown graduates for their friends at the Chagrin Valley Hunt Club. Hostesses were Robin Coakley, Paula Frohring, Suzy Sayle and Jane Wierdsma.”
June 28 – The Deep End
June 24-29 – Hollyoke Club, 3901 E. Wash. St., Indianapolis
July 9 – Hullabaloo Club, Genoa Road, Belvidere, Illinois
July 10 – The Deep End
July 12 – The New Place with Christopher Robin & Friends
July 19 – The Green Gorilla
July 20 – The Cellar, with the Byzantine Empire
July 26 – The Deep End
August 2 – The Aragon on 1106 W. Lawrence
August 3 – Grandmothers in Lansing
August 7 – The New Place with Fire and Ice
August 9 – The Cellar with the One Eyed Jacks
August 9 & 10 – The Aragon with the Fenders and the Weaker Sex
August 17 – The Deep End
August 27 – at the Jaguar with Boston Tea Party
October 25 – Wild Goose in Waukegan at 8:30, The New Place at 10:30
November 23 – at Mother Duck with the Box Tops
November 27 – The Deep End with the Lights of Darkness
November 29 – The Green Gorilla, Des Plaines American Legion Hall with the Commonwealth
December 30 – Bachelor’s Ball at the Auto-Aviation Museum, Cleveland (follow-up item noted the band canceled due to auto accident so the Imperial Wonders subbed)

Later members of the Babysitters included:

Plato Jones – percussion
Rick Marcotte – trumpet
Byron Watkins – tenor sax
Danny O’Neil – guitar
Charley Clark – tenor sax
Bobby Baker – alto sax and flute
Turk Littles [Alton Little] – trumpet
Othello Anderson – ?

These are the ones I’ve found in a smattering of news clips and in the comments below. The album credits five others: David Cook, Dan Alfano, dJack Renee, Phillip Henry, and Moose that I have not seen listed in the comments or news clips. Some of them could have been brought in to overdub the unfinished tracks for the album.

1969

Baby Huey & the Babysitters on Soul!, Bridgeport Post March 6, 1969
Baby Huey & the Babysitters appear on the Soul! TV show, with Dee Dee Warwick, Lord Superior, Shirley Chisholm and Jacob Lawrence – anyone have a clip of this?

Jet, March 6, 1969
Jet, March 6, 1969

January 10 – The Aragon with the Illusions and the North Syde
January 17 – The Aragon with Operation Soul (formerly the Fenders)
January 18 – The Aragon with the Buckinghams and Operation Soul
February 7 – The Aragon with the Motown Sound, the West Side Story and the Rush Hour
February 14 – Valentines party at the Cheetah
March 1 – The Wild Goose, Rt 120 & Lewis Ave, Waukegan with the Illusions
March 15 – The Aragon with Sam the Sham and United Nations
March 16 – Gordon Technical High School, 3633 N. California Ave with the Mauds and the Soul Machine, 6-9 PM
March 21 – The Chances ‘R’, Champaign, IL
March 22 – The Wild Goose in Waukegan with Ben Franklin’s Almanac
April 1 – University of Illinois, Chicago Circle Campus, 750 S. Halsted, benefit for Biafran Relief, 1-4 PM
April 1 – first mention of their Buddah signing in Billboard
April 3 – The Basement, 310 Pearl, Grand Rapids
Baby Huey and the Babysitters and the Impressions at the Aragon, Chicago Tribune, 1969 May 30April 4 & 5 – The Aragon with Doug Clark & the Hot Nuts and the Green Men
April 12 – “Fernando’s Musical Enterprises recently hosted a party for Baby Huey and the Babysitters at Barnaby’s Balcony. The group’s latest single on the Curtdom label is ‘Mighty Mighty Children'” – Billboard
April 21 – new run starts at the Cheetah

On April 24, 1969, the Herald Tribune reported:

A part time Evanston Township High school English teacher and a former rock ’n’ roll musician were arrested yesterday on charges of possession of $2,000 worth of heroin and marijuana … Jeffrey Sowers, 22 … who played with Baby Huey and the Babysitters, a Chicago rock band, also was arrested in the raid on [Noreen Tasley’s] apartment.

I haven’t seen Jeff Sowers cited as a part of the Babysitters beyond this news item.

Lake Geneva, Wisconsin
April 26 – “Baby Huey and the Baby Sitters are scheduled to be in New York next month to cut their first album for Curtom.” – Billboard
April 30 and May 1 – at the Scotch Mist in Chicago
May 1 – Billboard reports the group scheduled to record their first LP for Curtom in New York.
May 2 – Chicago Tribune mentions Inner-National Booking “best known for its management of Baby Huey and the Babysitters.
May 6 – Soul! TV show, with Dee Dee Warwick, Lord Superior, Shirley Chisholm and Jacob Lawrence – anyone have a clip of this?
May 21 – Merv Griffin Show in New York (announced in Billboard May 17)
May 22 – The Chances ‘R’, Champaign, Illinois
May 29 – The Pier (formerly the Riviera Ballroom) in Lake Geneva
May 30 – The Aragon with the Impressions
Baby Huey & the Babysitters on Merv Griffin, Independent Press-Telegram, June 8, 1969
Broadcast of the Merv Griffin Show on June 11, 1969
June (2nd week) – Merv Griffin Show broadcast on various dates depending on city
June 14 – The New Place with Mead
June 21 – The Aragon with the Buckinghams and Von Ryan Express
June 27 – The Aragon with Five Stairsteps & Cubie, and Spot & the Blotters
July 26 – benefit for Reese hospital
Everly Brothers, Sons Of Champlin, Baby Huey and the Babysitters Filmore West, August 1969
The Chronicle reported that Baby Huey cancelled
August 1-3 – The Fillmore West with the Everly Brothers and Sons of Champlin Cancelled, Frumious Bandersnatch took their place
August 4-5 – Basin Street West Most likely cancelled

In August, a syndicated column The Living Arts by Charles Hobson & Shelia Smith mentioned the group as being one of many to appear on the Chicago TV show Our People.

August 14 – Jet announces that Baby Huey was “ailing a bit” in Chicago.
September 5 – The Rectry, 4850 Menaul NE, Albequerque, NM
September 15-21 – the Whisky a-Go-Go with Eric Burdon of War
October 24 & 25 – Lally’s at State & Chestnut with Aorta

On November 2, the Chicago Tribune ran a profile by Clarence Page of a new group tentatively called Funky Skull including Jim Armstrong and Ken McDowell from Them, Curtis Bachman from the Buckinghams, and Reno Smith from the Babysitters. Reno is quoted: “I have played with a small instrumentation before. You are much more free this way, liberated from the limits of a single role in a large group.”

December 5 – The Aragon with Wayne Cochran & the C.C. Riders

The Tribune reported on December 11 “Wayne Cochran brought his blond bouffant hair-do to the Rush Over, where he did an impromptu bit with Baby Huey & the Baby Sitters.”

At Lou's Quarry, Appleton, Wisconsin, August 1, 1970
At Lou’s Quarry, Appleton, Wisconsin, August 1, 1970

1970

Baby Huey & the Babysitters at Lou's Quarry, Appleton Post-Crescent July 31 1970
Lou’s Quarry, Appleton, Wisconsin, August 1, 1970
April 24 – Sound Storm Festival, Poynette, Wisconsin (There are a number of excellent photos at (Wisconsin Historical Society – search for Baby Huey or Sound Storm under photos and images.)
February 4-8 – Whisky a-Go-Go, Los Angeles
April 29 – Marian Central Catholic High School (winners of the Pine Brothers Cough Drops contest), Woodstock, IL with Tommy James & the Shondells, the Litter and the Saints & Sinners
May 1-4 – The Dells at Lake Lansing
May 22 – Streator, Ottawa, IL, with the Second Coming (formerly Buddy & the Citations)
May 28 – The Tribune reports: “Baby Huey … reportedly has split up with the Baby Sitters and is rumored to be joining a Madison group, the Brotherhood.”
June 17-21 – The Dells at Lake Lansing
August 1 – Lou’s Quarry, Appleton, WI
October 25 – Val-Air Ballroom, Des Moines, IA
October 31 – Drake University Homecoming Dance, Val-Air Ballroom (scheduled but cancelled due to Jim Ramey’s passing on the 28th, replaced by Just Us and the Batch)

Baby Huey died in the Roberts Motel, 6635 S. King Drive, Chicago on October 28, 1970, after a show in Madison, Wisconsin.

Baby Huey death notice
Jet, November 12, 1970
Billboard, December 5, 1970
Billboard, December 5, 1970
Jet, October 7, 1971
Jet, October 7, 1971

The Babysitters continued on for some time after James Ramey’s death, apparently with members such as Chaka Khan and her husband Hassan Khan, Charlie Clark (“Chup”), Jon French, Gail, Tommy Thompson, Kenny [surname?] … (see comments below).

Billboard mentioned that after Huey’s death, the Babysitters changed their name to Boink for at least one live show. However Robert Baker, in a comment below states “The Babysitters never changed their name to Boink. This was another concurrent group that had at least two ex-Babysitters in the group.” A listing for a December 4-6, 1970 appearance at the Factree in Calumet City specifies “formerly the Baby Huey Baby Sitters”.

Thanks to Dean Milano for Capitol Booking Corp photo of Baby Huey and the Baby Sitters. Check out Dean’s book The Chicago Music Scene: 1960s and 1970s.

Live dates from publications including The Daily Herald, the Tribune, the Des Moines Register, the Belvidere Daily Republican and others. Certainly this is a far from complete list of their gigs, and also a number of those listed were probably cancelled or postponed.

In 2005 an acetate came up on auction that was supposed to be an unreleased instrumental by Baby Huey and the Baby Sitters. I had a sound clip up here for over a year before Mark Namath identified it as “Zoobie” by the Noisemakers. The acetate was probably a DJ or collector’s cut misidentified as Baby Huey – there’s no connection between the groups.

Baby Huey & the Babysitters, Daily Journal March 20, 1969
Baby Huey profiled in the The Daily Journal (Fergus Falls, Minnesota), March 20, 1969

The Vaqueros from Rochester “Echo” / “Desert Wind” on Audition

The Vaqueros, from left: Steve Corona, Tom Corona, Larry Weld and David Heath

The Vaqueros had the first release on the Audition Recording label out of Rochester, New York, “Echo” / “Desert Wind”. It hit local charts in early June, 1964 and received a review in Cash Box on June 13, 1964.

Audition Label Bows with “Echo” by the Vaqueros, Cash Box, June 27, 1964

The group registered copyright for “Echo” on June 15, 1964, music by Larry Weld (Laurence R. Weld), David Heath & Tom Corona (Thomas J. Corona). I haven’t yet found a copyright registration for “Desert Wind”.

Band members were:

Larry Weld – lead guitar
Tom Corona – rhythm guitar
Steve Corona – bass
David Heath – drums

The Vaqueros, from left: Larry Weld, Tom Corona, David Heath kneeling with drum sticks and Steve Corona with bass
Vaqueros in the Democrat And Chronicle, June 8, 1964

David Heath wrote a history of the band and provided the photos seen here.

In 1963 two 16 year old boys found an old guitar in the house attic in Rochester NY. Larry Weld, the older of the two, decided he would put strings on it and learn how to play. The other boy David Heath said he had a small pair of bongos, round metal tray mounted on a wood stand and a pair of drum sticks. Together they spent many hours trying to play songs they had heard on the radio.

One month later Larry had purchased his first electric guitar and Dave had purchased his first drum set and by this time both had learned several songs and were starting to make new songs of their own. Knowing they needed a rhythm background Dave and Larry asked another Charlotte High school student Tom Corona to join the group and decided on the name “The Vaqueros” for the band. About a month later we composed the song “Echo”. At this point we were starting to play at many parties and events.

Record review in Cash Box, June 13, 1964
Vaqueros with Al Cecere at WBBF Studio, June 25, 1964

Around 10 months after we first started playing we were asked to play for a Rochester business event and that was the first time we met Al Cecere who was just starting Audition Records. Al said he liked our band sound and said he would like us to make a record with his new company. We said we would and set up a date to record but we had two major problems to overcome.

1: We had no bass player in the band

2: We had no second side for the record

The first problem was resolved by asking Tom’s older brother Steve Corona to play bass. He agreed and he purchased a bass guitar. Then Tom and Larry showed him what notes to play so we could make the record. The second problem was resolved by rapidly (in one day) composing the song “Desert Wind”.

The Vaqueros (and Al Cecere in back) with the Letterman, Niagara
The Vaqueros opened for the Lettermen at Niagara Falls Memorial Arena, July 11, 1964

The Vaqueros in Cash Box, July 18, 1964
After the song was released and hit #1 on the Rochester and surrounding radio stations we had steady play dates in many venues. We had interviews on radio stations, band picture signing dates, photos and release info in Cashbox, and we were the opening act for The Lettermen in Niagara Falls Canada.Within the next month we wrote and (on acetate demo record) recorded our next two songs to be released “Whiplash” and “Our Lost Love”. Al Cecere was setting up for us to open for The Beach Boys.

Just as things were going very well for the Vaqueros the dark side of this business began to show its face. Al Cecere never informed the band of any record sales and stopped supporting us. He had moved on.

With communication with Al Cecere heading downhill, everything slowed and we were all around 18 years old at this point. Life took over and the band started to split. Larry, Dave and Steve went on to other Rochester bands and Tommy married and started a family. We never played together again but do remain friends. Tommy passed away in 2025.

The Vaqueros and the Tweeds at Teen Town, Kenmore, NY, October 1965

The Vaqueros recorded other songs that went unreleased at the time that now exist on lacquer “acetate” or second-generation tape; a few very effective instrumentals that were ready for release and others that were in progress.

“Whiplash” has an excellent ‘wet’ surf sound I did not find a copyright registration for this one.

“Daybreak” is a spirited vamp with excellent lead guitar from Larry Weld and agile drum fills from David Heath. The group registered it as “Daybreaks” on February 25, 1965, with copyright to the full band including Steve Corona.

“Our Lost Love” is a slower ballad, registered on July 1, 1965 to the four members of the group.

Thank you to Dave Heath for his help with this article and for letting me hear the unreleased songs.

Interview with Jim Klieforth of the Traits

The Traits, 1967, from left: Bob Creaturo, Bobby Williams (on drums), Mike Carroll, Phil Daddona, Jim Klieforth (on keyboard, obscured) and Artie Williams. Photo from Mike Carroll, courtesy of his family.

I corresponded with Jim Klieforth of the Traits in 2009, about a year after writing about them in some detail in regard to the Ren-Vell Records Battle of the Bands LP. Below is our conversation from that time.

Jime Klieforth: My late brother [Charles Klieforth] was a bit of a wheeler-dealer who wasn’t musical but wanted to be in the rock business in some capacity, nurturing a fantasy of being an impresario. I’d been playing guitar and keyboards for a couple of years and our family home had an empty basement that was suitable for a group to rehearse in, so he sweet-talked me and the best musician-singers he knew into forming a group with him as manager. I’d never met any of these guys but was very impressed with the line-up’s talent and professionalism.

Back then, a group needed to have a couple of hours of material well rehearsed for public performances and we had enough musical common ground to pull that together within two weeks. My brother Chuck and his assistant, Don Reid, started aggressively pursuing work for the band and getting us publicity. Almost overnight, we were playing every local venue and from then on out, our rehearsals were jammed with our local contemporaries (mostly schoolgirls) eager to monitor our development. It was an odd and unexpected social change for all of us.

I wish I could say that we were friendly with other bands at that time but the truth is that we saw all of them as competition that needed to be vanquished. The Orphans, for example, who didn’t shine on the Renvell record, turned into a force to be reckoned with when Bobby Mayo (later of Peter Frampton fame) joined up.

We’d had a real advantage by starting out with a good rhythm section and an extraordinary guitarist (Dom Chicerchia, who left the band just before the Ted Mack show we did) but our competitors began acquiring skills at a pace that caused us to get very serious about playing well and refining all aspects of our performance. In an unfortunate reversal of what usually happens, the only recordings of the band were from very early on, before we really developed musically.

I was born in White Plains. Jimmy Carpenito of the Mystics told me Renvell’s studio was next to Gun Town on Central Ave, a store I vaguely remember from my childhood. Hard to believe there was a recording studio on Central Ave! I’m in Brooklyn, now, but my family’s still in White Plains and Yonkers.

As I recall it, Renvell was a second floor walkup, a big room that struck me, even then, as being quite low budget, a shoestring operation with cheap and/or antique equipment. Given how few records carry the Renvell label, I have to assume that most of their business was geared to commercial jingles for local businesses and radio play. I ran into the guy who ran it (I believe his name was Joe Renda) years later, when he owned Northlake Studios in White Plains.

I reminded him of the album and told him I’d been on it and he replied with a story that I thought at the time was an overblown fabrication. According to him, a couple of big DJ’s in England had fallen in love with the Battle of The Bands album and by repeatedly featuring it, had cultivated the development of the garage band sound there, setting the stage for punk. As he told it, the album was selling for $200.00 a pop there (in 1980 dollars) and “High On a Cloud” had received extensive airplay. It turned out that he’d been telling the truth, and the song became known well enough to end up being covered by the Pandoras. Since then it has been put on more compilations than I’ve been able to keep track of. In what is a common story about recordings of that era, no request for usage in these compilations has ever been requested from the band and no compensation has ever been forthcoming. Some of my former band mates are unhappy about this, but personally, I’m delighted that the recording has been archived and perpetuated as a minor archetype of the true garage band sound.

Traits to appear on Ted Mack’s Amateur Hour on Sunday, September 17, 1967

Q. When Dom left the band, who replaced him for the Ted Mack show, playing guitar behind his neck on the film?

That was Phil Daddona, who had to attempt to learn Dom’s “behind the neck” trick very quickly.  As you can see from the film, he wasn’t particularly adept at it, whereas Dom had been the pre-Hendrix master of it.

Jim Klieforth (2009)

The Traits on “High on a Cloud”:

Mike Carroll – lead vocals
Dom Chicherchia – lead guitar
Jim Klieforth – keyboard
Bob “Creature” Creaturo – guitar
Bobby Williams – drums
Unidentified bass player

The Traits on Ted Mack (July 31, 1967, aired Sept. 17, 1967):

Mike Carroll – lead vocals
Phil Daddona – lead guitar
Jim Klieforth – keyboard
Bob “Creature” Creaturo – guitar
Bobby Williams – drums
Artie Williams – bass

The band seems to have slowly split up, as Mike Carroll was drafted in ’68, but must have come back at some point to be the lead vocalist on the Nobody Loves the Hulk release, from 1969.

Bobby Williams reportedly died some years ago, details are unknown. Three other Traits members have passed: Bob Creaturo on September 12, 2014, Mike Carroll on March 15, 2018, and Dom Chicherchia on August 24, 2021.

The Traits at the entrance to the Pelham Parkway IRT station (the 5 train)

More info can be found in the accompanying booklet to the Mojo-Bone release and Ugly Things #66.

The Psychedelic Sound “Sorry Baby – Goodbye” / “Stars Cease to Shine” on Sunny-Side

The Psychedelic Sound, January 1968, front left: Linda Lizzi and Tina Bauer, back from left: Jim Schelley, Ronnie Amato and Tom Berger. Not pictured: bassist Kevin Kerr.

The Psychedelic Sound were one of the bands who recorded at Earl Kennett’s studio in Kinderhook, New York.

Psychedelic Sound Kennett Sound Studio Acetate 45 Sorry Baby Goodbye
Lacquer with both songs of the Psychedelic Sound 45
The band released two original songs, “Sorry Baby – Goodbye” / “Stars Cease to Shine” on Sunny-Side Records 0014, Sunnyside being the name of the Kennett family’s horse farm where the studio was located.

Members included:

Linda Rizzi – vocals
Tina Bauer – drums
Jim Schelley – guitar
Ronnie Amato – vocals and keyboards(?)
Tom Berger – guitar
Kevin Kerr – bass

Psychedelic Sound Daily Freeman 1968 Feb 22
plans include making another record
The Kingston Daily Freeman reported on January 22, 1968 that: “the Psychedelic Sound would take part in the annual March of Dimes benefit show Jan. 28 at municipal auditorium. They recently cut two successful platters, Sorry Baby – Goodbye and Stars Cease to Shine.”

A Daily Freeman notice from July, 1968 remarks:

The Psychedelic Sound, a five-piece musical group consisting of teenagers from Kingston and Lake Katrine, won the Battle of the Bands, sponsored by the Saugerties JayCees, which was held July 3 at Cantine Field.

The group has played for many benefits including the American Legion, Band Battles and Cerebral Palsy, and are under the direction of Mary Rizzi, Lake Katrine.

Mary Rizzi, presumably Linda’s mother, is also credited as producer of the 45, as M. Lizzi. The band probably broke up as Linda Rizzi and presumably others were attending college in the fall.

After the Psychedelic Sound, Kevin Kerr is mentioned as the bassist for the Contemporary Souls, in a photo that ran in the Daily Freeman showing guitarists Jim Kluepfel and Guy Walker with drummer Ted Blankschan for a YMCA/YWCA/Kingston Recreation dance on Dedrick Street in August, 1968.

Ronnie Amato played organ at the Cedar Grove Inn in Saugerties and Liguori’s Restaurant in Rosendale.

Tina Bauer had previously been in another local group called 3 Hits and a Miss with a photo that ran in the Daily Freeman in September, 1966 for a dance at Ulster Park Grange Hall.

3 Hits And A Miss, from left: Sal Greco, lead guitar; Tony Greco, vocalist, Tina Bauer, drummer and Al Pace, rhythm guitar

Thank you to Achille Brunet for tracking down the news clips seen here. Achille has his own site, Strange Lights to cover other bands of this period.

There used to be a dozen such blogs and sites going to cover ’60s ‘garage’ music, but the number of active ones has dwindled in recent years. I hope more start up, because there are too many bands from this era whose history is still undocumented.

The Rebellers “The New Generation” on Orbit Records

The Rebellers in the 1968 Milby High Valentines Varieties show, from that year’s yearbook. From left (please correct if these IDs are wrong): John Manlove, David Rodriguez, James Manlove and Jeff Gray

The Rebellers came from the Houston, Texas metro area, recording James Manlove’s original song “The New Generation” for Orbit Records 1114 in the summer of 1967.

Members included:

James Manlove – lead vocals, rhythm guitar
John Manlove – keyboards and vocals
Jeff Gray – bass guitar and vocals
David Rodriguez – drums

The flip, “The Common People” was written as “Love of the Common People” by the prolific songwriting team, John Hurley and Ronnie Wilkins.

Early versions of the Cicadelic compilation Three O’Clock Merrian Webster Time included “The New Generation” mistakenly attributed to the Nomads but with the correct writing credit. This has led some website to include James Manlove as a member of the Nomads, which I believe is incorrect.

The Rebellers featured in the Houston Post nowsounds calendar, November 19, 1967

The November 19, 1967 Houston Post nowsounds calendar ran a photo of the Rebellers.

From a photo in the 1968 Milby High School Yearbook, the Rebellers played Milby High School’s Valentines Varieties show that year.

According to his Discogs profile, David Rodriguez was a member of the group, but a commentator on youtube listed the drummer as “Pete”.

Gig list compiled from the Houston Post nowsounds calendar and other news items:

September 20, 1966: there’s a notice of the Rebellers at a benefit with Jack Jones, Garry Mann, the Bachelors and Tommy Graham at the Gulfgate Cellar Club, but that may be a little early for this band, whose frequent gig listings start in May, 1967.

Friday, May 19, 1967: at Insight Au Go Go, 12826 Beaumont Highway 90
Friday, May 26 and Saturday May 27, 1967: at Lions Club Hall, Friendswood, Highway 518
Saturday, June 3, 1967: at Grand Prix, Bay City
Tuesday, June 13, 1967: at Conroe Ballroom, Gladstell West off 45
Friday, June 16, 1967: at the Dungeon in Spring
Saturday, June 17, 1967: at Sea Isle Teen Dance in Galveston
Tuesday, June 20, 1967: at Love Street Light Circus
Wednesday, June 21, 1967: at Hullabaloo
Tuesday, June 27, 1967: at Conroe Ball Room
Saturday, July 1, 1967: at Insight Au Go Go
Saturday, July 15, 1967: at Sea Isle Teen Club, Galveston
Saturday, July 22, 1967: at Buddy McGregor Saturday Show, Foley’s Town Hall
Wednesday, July 26, 1967: at Fun Corral, 9801 Airline
Saturday, July 29, 1967: with the Entire Thing at Sea Isle, Galveston
Friday, August 18, 1967: at the Vault, Pasadena
Saturday, August 19, 1967: at Deer Park Civic Center
Wednesday, August 23, 1967: at Carousel Skating Rink, 9190 Old Katy Road
Thursday, August 24, 1967: at KNUZ back-to-school festival at Sharpstown Center
Friday, August 25, 1967: at Teen Hall, Bryan TX
Saturday, August 26, 1967: at Ken Grant Show, Sharpstown Shopping Center 2 PM, and Insight Au Go Go, Beaumont Highway
Friday, October 6, 1967: at Teen Hall, Bryan
Friday, October 20, 1967: at Lodge Pokrok, 15th and Beall
Saturday, November 4, 1967: at Lions Club, Pearland
Saturday, November 11, 1967: at Kerwin High School, Galveston
Friday, November 17, 1967: with Lemon Fog, Soul Searchers, Duke & the Kingsmen, and the Inquisitions at San Jacinto High School Soul Spectacular
Saturday, November 18, 1967: with Audio Manifesto at Mount Carmel High
Wednesday, November 22, 1967: at Brenham Hanger Club
Friday, December 15, 1967: at the Vault, Pasadena
Saturday, December 2, 1967: at Taylor Hall, Pasadena
Saturday, December 23, 1967: at Nottingham Forest Country Club
Friday, January 12, 1968: at Lodge Pokrok
Saturday, January 27, 1968: at Milby High School
Saturday, February 10, 1968: at Love Street Light Circus
February ?, 1968: Milby High School’s Valentines Varieties show
Friday, March 22, 1968: at the Vault, Pasadena
Friday, April 19, 1968: at Teen Hall, Dickinson
Saturday, May 4, 1968: with Ninth Street Bridge, Lemon Fog, Apollos at Taylor Hall, Pasadena
Saturday, June 8, 1968: Jamaica Beach, Galveston
Friday, June 21, 1968: at Lodge Pokrok
Saturday, June 29, 1968: at Sea Isle, Galveston
Saturday, July 20, 1968: at DERA Hall, Orange
Friday, August 2, 1968: at the New Vault, Pasadena

The Grapes of Wrath “Cause It Was Her” on Vita Records

Members of the Grapes of Wrath group play music worthy of putting on a record. The SPHS students are (left to right) Brian Magnan, Bill Lichty, Ralph Sias, Danny Morrow and William Doheny., San Pedro News-Pilot, May 17, 1967.

The Grapes of Wrath cut one 45, “For Every Year” / “Cause it Was Her”, both written by Ralph Sias.

The group came from San Pedro, California, in the South Bay of Los Angeles.

Members were:

Brian Magnan – lead vocals
Bill Lichty – drums
Ralph Sias – guitar
Danny Morrow – bass
William Doheny – keyboards

H. Eugene MacDonald produced their record, released on Vita Records V-005/V-006 with an address of 301 S. Western Ave, San Pedro, CA.

The San Pedro News-Pilot profiled the group twice, first on May 17, 1967 with an article written by the group’s bassist!

Grapes of Wrath band makes recording noise

By Danny Morrow

“This is it, boys. What’s it going to be next year.- trucks or Cadillacs?” With these words of encouragement from producer, Mr. Roth, and “unknown” teenage band called, hauntedly … “The Grapes of Wrath,” began its first recording session at American Recording Studios in Studio City.

The band is made up of five “crazy” individuals named Ralph Sias, Brian Magnan, Bill Lichty, William Doheney and myself, Danny Morrow.

Ralph writes the songs, plays lead guitar and gets nervous. Brian sings lead vocal and smiles at girls. Bill plays organ and wears leather boots. Williams plays drums and loves drums. I play bass and get in and out of trouble.

At the session, two songs written and arranged by Ralph, were taped in a stretch of nervous sweaty work that lasted five hours. The two songs, “For Every Year,” and “Cause It Was Here,” can presently be heard on the local rock station with a little patience and luck.

With the number of teenage bands easily numbering in the tens of hundreds in California alone, how did this group … manage to talk the Sunburst Record Company into backing a recording session?

First, a few months before the session a rough “demo” (45 RPM recording on a six-inch disk) was recorded at a small recording studio, and the manager, U.L. McDonald took the demo to different recording stations.

The vice-president of Sunburst, Mr. Roth [sic – Adam Ross], was impressed both with the band and the recording …

The next step is up to the “hippies” who buy the records.

The record did not come out on Sunburst, the label that released the E-Types “She Moves Me” and the Zoo’s LP The Zoo Presents Chocolate Moose, as well as a number of pop singles produced by Ed Cobb, but instead saw a release financed by the band under the auspices of H. Eugene MacDonald (the U.L McDonald cited in the article, presumably).

The second article came on September 4, 1967:

Folk-rock group wins popularity

By Rita Pedersen

A San Pedro rock ’n’ roll band has proved long hair and unconventional clothing are not necessary to become popular.

The band, the Grapes of Wrath, is a “short hair” outfit, and wears burgundy-cherry dinner jackets.

Despite their neat appearance, the group leaves Saturday for a week-long tour of Northern California.

The five-member band will appear on a Fresno television show and play in Redding, Red Bluff and North Sacramento Valley.

Members of the band are Ralph Sias, Bill Doheney, Danny Morrow, Brian Mangan and William Lichty, all of San Pedro. They are all San Pedro High School graduates, except for Lichty who will graduate next year.

The tour was arranged when a recording by the band, “Cause It Was Her,” became popular in the Redding area.

Doheney, an amateur radio operator, began talking to a Redding disc jockey Ian Evans, and he offered to play the group’s recording for a trial period.

Listener reaction was good, according to Doheney, and the band was signed for personal appearances.

The group was organized last summer when the youths were on the high school gymnastics team. Only Lichty was not on the team.

Doheney described their style as folk-rock and said Sias and Mangan write many of their songs, including “Cause It Was Her.”

There was a great profile of the band and interview with Bill Doheney, that didn’t include these news clippings, at www.westcoastfog.com/the-grapes-of-wrath/index.html, but unfortunately that site is now defunct. A version of that article was also in print in Ugly Things issue #39.

I see that Achille Brunet has just added a profile of the band at his site, Strange Lights, with more info than I have here. I’m sorry for the duplication, Achille, but glad to see someone else working the ’60s garage beat! It’s been quiet for a long time.

The Beefeaters “Don’t Hurt Me”

Rocky and the Flying Squirrels, published November 1965. The caption is incorrect. Should read from left to right: Mark Johnson (“Rocky”), Dan O’Banion, Paul Oakley, Bill McCollough (on drums), and Whit Snell.
Rocky and the Flying Squirrels or earlier group. Top from left (I think): Paul Oakley with bass, Whit Snell, and Dan O’Banion; bottom from left: Bill McCullough and Mark Johnson. I would appreciate any help to confirm these IDs.

The Beefeaters were part of the North Texas State University (NTSU) scene which included the Chessmen, but their story starts out 300 miles away, in San Antonio. Five students at Alamo Heights High School formed Rocky and the Flying Squirrels, wearing World War I aviator helmets and goggles, scarves, and turtle-neck sweaters in honor of their animated namesake.

Members included: Mark Johnson on lead vocals, Whit Snell lead guitar, Dan O’Banion rhythm guitar, Paul Oakley on bass, and Bill McCullough playing drums.

Rocky and the Flying Squirrels, in white from left (I think): Dan O’Banion with the Rickenbacker guitar, Bill McCullough drums, Paul Oakley with bass and Whit Snell. At left, I think that is Mark Johnson with the microphone. I would appreciate any help to confirm these IDs.

They played live at Alamo Heights High School auditorium and the student-run Mule Barn teen club by the football stadium, but the band made plans for a bigger future.

Rocky and the Flying Squirrels, front left: Dan O’Banion with hand-drawn raccoon tail), Whit Snell, Mark Johnson with tambourine, Paul Oakley (or Cary surname?) on bass with added sideburns, and Bill McCullough. Photo courtesy of Bill McCullough, like many of the ones seen here.
The Beefeaters 1966 promotional photo

From the Flying Squirrels to the Beefeaters

Graduating in May, 1966, all except Paul Oakley agreed to attend NTSU (now the University of North Texas) in Denton, northwest of Dallas. Bill McCullough’s older brother David, Jr. took over on bass to replace Paul. David had been guitarist in his own group in San Antonio, Spider and the Flies.

They cultivated the sound and “mod” looks of the English groups of the period, and took a new band moniker to fit the image: the Beefeaters.

The Beefeaters on stage 1966: Rocky and the Flying Squirrels, front left: Dan O’Banion, Mark Johnson, David McCullough, Bill McCullough on drums and Whit Snell

The Beefeaters’ first gig, on a flatbed truck on the commons by the NTSU student union, was a success and they started landing regular bookings at the Spinning Wheels skating rink and local frat parties. They bought a used ’56 Cadillac hearse, like other Denton groups, and adorned it with their band name and bumper stickers (“Eat More Beef” for one).

Who’s that pushing the hearse?!
The Chessmen, Felicity, the Jackals, the Beefeaters and the Briks at Club Saracen on San Jacinto in Austin, Sunday, April 16, 1967

Within a short time, the manager of the Campus Theatre, George Rickrich, brought the Beefeaters into his Bismark Agency, which also represented the Briks, the Chessmen, Felicity, and the Jackals. Rickrich booked the bands for college parties throughout Texas and into Oklahoma, and clubs: including Louann’s, the Three Thieves, and the Cellar in Dallas; the Box in Ft. Worth; Club Saracen, the New Orleans Club, and the Jade Room in Austin where they also shopped for clothes at the Electric Rocking Horse.

Whit Snell remembers all the Bismark bands used to “caravan down to Austin in the hearses. Felicity had a Ford van, however … seven or eight weekends in a row. We had to cut class on Friday to make it to Friday’s gig.”

The Beefeaters provided entertainment on a day-long chartered train, the Santa Fe Big Chief, for a football game at Wichita State U. in Kansas. The Campus Chat covered the journey:

… North Texas won the game … the dance bands played well despite their precarious perch in a bucking, 9- by 70-foot baggage car, and the legal age for buying beer in Kansas is 18 …

The New Sound plugged in to one of the three baggage cars around 9 and, after 30 minutes of blow switches, was in full swing … Dancers, about 50 at a time, battled flailing elbows and a lurching floor in the cramped car …

… the Beefeaters struck up, and the dancers were once again making the most of their promised 20 hours of fun …

A promo sheet for the group lists Whitfield Snell, David McCullough as contact in Denton, and David Black in San Antonio.

The Beefeaters, possibly at the Alpha Delta Pi sorority house, from left: Whit Snell, Mark Johnson (with jug), Bill McCullough (drums), Dan O’Banion, and David McCullough (bass)
On stage at Club Saracen, Austin!

Towards the end of 1966, the Beefeaters entered a studio in Dallas to cut two originals by Whit Snell, “Don’t Hurt Me” / “Change My Mind”. The lineup that recorded these was: Mark Johnson, Whit Snell, Dan O’Banion, David McCullough, Jr., and Bill McCullough. Whit remembers Lee Hardesty of the Briks accompanying the band to the studio, and lending Whit his Vox fuzz pedal for “Don’t Hurt Me” and 12-string guitar for the “Change My Mind”.

Though satisfied with the recording, Whit thought the songs were not good enough, which may have been one reason why they didn’t see release on the Bismark label at the time. Tapes of the songs have circulated since, and they’re widely regarded as classics of the ’60s Texas teen sound.

Whit Snell of the Beefeaters at the Pusi-Kat Club, San Antonio, 1967
The Jackals, the Beefeaters, the Felicity with the Sweetarts, the Chevells and Chain Gang at Club Saracen on San Jacinto in Austin, Sunday, June 25, 1967. I’d like to know more about the Lebanon School Fund

During the Christmas holiday in 1966, the Beefeaters returned to San Antonio to play the Pusi-Kat club from December 26-30 with Lord August. When the band went back to Denton in January 1967, Mark Johnson had left the band and school to travel abroad.

That same January, the Denton Record-Chronicle reported the Beefeaters hearse was stolen from the NTSU campus, and they lost $4,000 worth of amplifiers, drums and guitars. Funny enough, the first report said it was the Chessmen’s hearse, but the paper corrected the story a few days later, and a later follow-up said the instruments were recovered in Gainesville.

The 1967 and ’68 school years saw the Beefeaters expand the scope of their gig territory: as far north as Amarillo, Wichita  Falls, and Oklahoma City, east to Houston, Galveston and Fort Smith, Arkansas, and south to Corpus Christi, and Matamoros, Mexico.

By the summer of ’68, Dan O’Banion and Whit Snell were living at the Eagle Apartments in Dallas near Don Henley and other former Denton musicians, a musically rewarding time.

The military draft pulled any band members who left college, including David McCullough, who joined the Navy, became a Corpsman, and was assigned to the Marines. During the war he was stationed in the Philippines and served on a hospital ship. Members of other groups, such as Cecil Cotton and Steve Martin of the Briks, and Mike Neal of the Jackals had already joined the reserves and returned to the scene.

The Beefeaters on stage at Gibson’s Discount Center in Kerrville: from left: Jimmie Randall, Whit Snell, Roger Brooks or Doyle Bramhall on drums, and Dan O’Banion.
The Beefeaters on stage at Gibson’s Discount Center, Whit Snell in foreground

Because of the draft taking David, and Bill McCullough leaving at about the same time, the Beefeaters went through a rotating cast of Dallas and Denton musicians filling in for short periods, including Jimmie Randall (of the Gentlemen) on bass; Roger Brooks, then Doyle Bramhall (of the Chessmen) on drums; John Talley (of the Jackals) on keyboards; and Lee Hardesty on guitar.

Roger Brooks or Doyle Bramhall, performing with the Beefeaters at Gibson’s in Kerrville

A series of photos taken onstage at Gibson’s Discount Center in Kerrville, TX show Jimmie Randall on bass and I believe either Roger Brooks or Doyle Brahmall on drums. Other later members include Ray Holland on bass and his brother Carl Holland on keyboards. Whit Snell told me Doyle only joined after Whit left Dallas in ’69.

The Beefeaters played the Pusi-Kat in San Antonio frequently during the summer of ’68, as well as Love Street, and a show at the Teen Canteen in October, but their most notable gig was opening for the Jeff Beck Group at Southern Methodist University’s McFarlin Auditorium on Saturday, November 9, 1968. Whit recalls the Beefeaters also opened for the Jeff Beck Group in Oklahoma City on Sunday, November 10.

The Jeff Beck Group, Brige, and the Beefeaters at McFarlin Auditorium at SMU, November 9, 1968. I haven’t heard of Brige before.
Flyer for one of their later shows at Family Circle, 1901 Canton at Marilla in Dallas

Whit Snell left the band and school in 1969, but various lineups continued gigging as the Beefeaters for another year or so.

Thank you to Whit Snell, Dan O’Banion, Bill McCullough, and Mark Johnson of the Beefeaters (RIP David McCullough); William Williams (Wm Wms) of the Jackals, Birdman Cantillo, Don Julio, Wm Wms and other contributors to the now defunct Big D ’60s yahoo group and Trinity River Music flickr group, and anyone else I’ve missed. Photos courtesy of Bill McCullough, Whit Snell and Wm Wms.

Bill McCullough and Dan O’Banion

A shorter version of these notes accompany the new remastered 7″ release of “Don’t Hurt Me” / “Change My Mind” now available on Mojo-Bone Rekkids.

Bill McCullough

As always, I’d appreciate more info on the group, and help correcting any errors.

The Mad Lads “Come Back to Me” on Prestige Productions

Mad Lads Prestige 45 Come Back To MeThe Mad Lads came from Birmingham and seem to have been active no later than late summer 1966.

They cut one excellent original song “Come Back to Me” written by Butch Romana and Larry Rosser, backed with a good version of “Tossin’ and Turnin'”. It was released on Prestige Productions Records PP66-152 in August 1966.

The Mad Lads did get some fine gigs, including Stage Center for the April 19-20, 1966 Festival of Arts at Third Avenue and 20th Street North. Other rock performers those days included the Shades and Carol the Go-go Girl, the Discotheques, and the Blackouts.

They also played at Holiday Beach on the Tuscaloosa Highway in June, 1966.

Most notably they performed at a Battle of the Bands on TV Channel 42 vs. the Impacts on Saturday, March 26, 1966!

I would appreciate more info on the group. Does a photo of the band exist?

Channel 42 Battle of the Bands – The Impacts vs. Mad Ladson March 26, 1966

Richie’s Renegades “Don’t Cry” / “Baby It’s Me” on Polaris

Richie's Renegades Daily Item 1966 May 13

Richie’s Renegades in the Daily Item, April 17, 1966

Richie’s Renegades came from Lynn, Massachusetts. After winning a state-wide battle of the bands in May, 1966, the group cut a fine single on the Polaris Records label, “Don’t Cry” / “Baby It’s Me” released in August.

Members included:

Richie Reynolds – lead vocals
William Dunn – guitar
Robert Leger – guitar
Robert Peck – organ
Brian Michaels – bass
Kevin Robichaud – drums

Erik Lindgren’s notes to The Polaris Story CD note that they cut the single at Fleetwood, while alternate versions of the single and a Pepsi commercial “Come Alive” featured on the CD were done at Ace.

The Lynn Daily Item ran photos of the group on April 26 and May 13, 1966:

Richie’s Renegades, a Lynn band, will be one of 18 competing for sate-wide honors tomorrow at Boston Gardens. They are on of a group of winners selected from more than 600 band taking part in local and regional contests, sponsored by the Jaycees.

The accompanying article noted that “Plans are now underway for a national competition next year, the Jaycees said.”

May 16, 1966 notice of their win

The May 16 Daily Item noted that the band won the final competition “which brings with it a $500 cash award, new musical instruments, recording contracts and other awards.

Inscribed to Edlita Adams (Miss Essex County and a Jaycee finals judge) by Billy Dunn, Bob Leger, Bob Reader (?) and Kevin Robichaud.

I found a copy of their record inscribed to Edlita, with four signatures: Bob Leger, Bob Reader [surname correct?], Ken Robichaud, and Billy Duran. Bob Reader isn’t in the lineups I’ve found online, and I read Robichaud’s as Kevin instead of Kenneth.

Kevin Robichaud is the correct spelling, as Lou Ames Music Store ran ads in September and October, 1968 with Kevin’s photo as a drum instructor, “featured with ‘The Playn Jane” and formerly with ‘Richie’s Renegades.'”

I found a notice in the Daily Item on August 25, 1966:

Richie and the Renegades of Lynn … will give two performances at the Pepsi booth as a highlight of the Family Day program at Topsfield Fair on Tuesday, Sept. 6.

The group will autograph their just released recordings “Baby, It’s Me” and “Don’t Cry” and, in addition, will offer autographed photographs.

One of the judges of [the Boston Garden battle] was Miss Edlita Adams, 19, of Lynn, reigning “Miss Essex County.”

That notice, and a couple others I found, list Robert Teck instead of Robert Peck.

The Boston Globe ran a brief item in April, 1967 about the group going to Worcester for the national competition with the same lineup listed as in 1966.

November 24, 1967 notice in Greenville, New Hampshire with William the Wild One, Tall Paul Floyd, and the Young Adults.

A December 20, 1966 notice in the Daily Item ran:

The Lynn Young Democrats held a Christmas party for needy children, highlighted by the appearance of a local band, Richie’s Renegades …

Members of the Renegades, donating their services for the occasion, were Brian Michaels, Bob Leger, Bill Dunn, Bob Peck, Kevin Robichaud, Dick Tarnborini, Bill Barry and Richie Reynolds.

The inclusion of Bill Barry is interesting, as he is also known as William the Wild One, who cut a great 45 on Festival in 1966, supposedly with Richie’s Renegades providing backing. A Fitchburg Sentinal notice mentions the Renegades playing a show with William the Wild One at Appleton Academy in December, 1966, noting that William “toured the country with the Dave Clark Five. He and Reynolds are cousins of Dave Barry, a student at the academy.”

By 1968, Richie’s Renegades became Playn Jane, mentioned in the February 29, 1968 Daily Item:

The third annual Battle of the Bands sponsored by the Lynn Jaycees will be held Saturday night at Classical High.

The competing teenage bands are Danny and the Dreamers, Passing Times, Playn Jane, Psychedelic Innovation, Satisfaction and the Sinders …

Dancing will be allowed during the competition.

Robert Leger passed away on January 7, 2020.

Kevin Robichaud of Richie's Renegades, Lou Ames Music, Daily Item 1968 Sept 10
September, 1968 ad for Kevin Robichaud of Lou Ames Music Studio

The Road Runners from Gadsden, Alabama on MBM

Road Runners MBM 45 Do You Love Me Sixty Six StyleThe Road Runners have a Gadsden, Alabama address on their only 45, but a notice in the Alexander City Outlook on December 15, 1966, mentioned a performance at the Goodwater, AL home of Mr. & Mrs. Steve Gilliland, Jr. Both towns were east of Birmingham, but at some distance from each other. The other names on the notice are Dr. & Mrs. Joe T. Roberts, likely parents of another band member.

The A-side is a good, jaunty version of the Contours hit, with the full title “Do You Love Me Sixty Six Style”. The flip is a light instrumental credited to Gilliland, “To Be With You”.

Anyone have a photo of the group?

Road Runners Alexander City Outlook 1966 Dec 15