I didn’t expect this 45 by J.P. Company to be almost unknown, but it appears that way. “Gozar Asi” has many of the elements you might expect from early ’70s funky psych, including organ, wah wah rhythm, harmony vocals, a good guitar break and more. It’s a fine song, written by Jaymenoll Hernandez.
The flip is a more conventional ballad, “Fue” by Alfonso Ortiz.
Released on Orfeon 45-15056 in 1971, I thought this could have been a group from Mexico. I had a Los Locos del Ritmo single on the same Orfeon label with a Los Angeles address which turned out to be a reissue of two different sides originally issued in Mexico years before.
As it turns out, this J.P. Company release is an original Billy Cardenas Production out of Los Angeles. Cardenas was famous for his involvement with the ’60s Eastside Sound, including the Romancers, the Premiers, the Blendells, Cannibal & The Headhunters, Ronnie & The Pomona Casuals, Mark & The Escorts and many more. For Orfeon he would produce Jr. & the Preludes, La Tribu and others.
Billy Cardenas producing for Orfeon, Record World, November 20, 1971
A December 23, 1972 notice in Billboard notes Orfeon General Manager Oswaldo Benzor would be recording J.P. Company bilingually. If it happened, I haven’t heard or seen it. From the quality of “Gozar Asi”, this is a group that deserves more attention.
Orfeon promoting J.P. Company as a bilingual act in Billboard, Dec. 23, 19721972
The Oncomers came from the Mon Valley (Monongahela River) region south and east of Pittsburgh. Turtle Creek and McKeesport seem to be the main locations for the band members or where they played live.
The group members were:
Wayne Schillinger – guitar Billy Capranica – bass Jack O’Neill – drums
The Oncomers started in the early ’60s and often played live with a slightly younger act, the Arondies. This is their only release, on the Gateway Custom label. Wayne Schillinger wrote both songs, published by Telldell Music. Teen Beat Mayhem dates the 45 to 1967 but I’ve read the group had broken up in 1965.
“Every Day Now” is something of a throwback to early styles. “You Let Me Down” is a classic moody song, with a fine lead vocal and guitar work.
I’ve read there are more studio recordings and even a live tape from the Cove nightclub in the town of Large, PA, but I haven’t heard these yet.
The Oncomers later became Grant Street Exit with some lineup changes. Wayne Schillinger wrote both sides of the Grant Street Exit’s 1968 single on Del-la single (and re-released on Millage) “I Got Soul” b/w “That’s Why I Love You”, which I haven’t heard yet. Telldell Music is the publisher and distributor for that release.
Jack O’Neill joined Jim Pavlack and Gary Pittman of the Arondies to form the Soul Congress.
Source: the Tube City Almanac has some remembrances of the band & the local scene at that time.
The typically murky Band Box production enhances the strange outsider effect of this 1969 single from Florence S. Espinoza, credited on the label as Sab Florence E.
“Why Must It Be” has a gloomy guitar riff and a female chorus cooing the title. “I Need Your Love” adds harmonies over another leaden rhythm from the guitar, drums and very distant bass. Both songs are originals by Florence Espinoza, with copyright registration in October 1968.
Released on Band Box 389 during that label’s last year or two of production. This is a Rite pressing, 22737/8. Florence S. Espinoza’s patent diagram, from the Official Gazette of the US Patent Office, volume 855
A quick search turns up Espinoza was awarded a patent in March, 1967 for an “Acoustical Baffling Cove System: A method and apparatus for soundproofing the head space in drop ceiling construction … barricades space above the room dividing walls with a V-shaped sound baffling cove for deflecting sounds…” The patent gives his address as 1021 S. Patton Court, Denver, internet records suggest he or his family may still be living there.
An obviously creative person, I wonder if he did more in music besides this solitary release.
The Blue Mountain Playboys – aunts and uncles of Buck played in this group
Jeffrey Harvey provides the story of Buck and the Hunters, who cut original songs for singles on Westland Records 15829/30 and Panorama 1004. “Without Your Love I’m A Nobody” has a wild desperate sound to it, unfortunately the youtube video is made from an off-center copy.
Buck Hunter was born into a musical family in Beaverton, Oregon in 1946. His aunts and uncles on his mother’s side played in a western swing group called The Blue Mountain Playboys, who at one time toured with The Sons Of The Pioneers.
Buck started playing music at age 13 and after a stint in the U.S. Navy, he formed Buck & The Hunters in Cove, Oregon in 1965 at the age of 19.
After winning a local battle of the bands competition, Buck & The Hunters were signed to cut a spec record for the local Westland label.
“The Train Is Leaving Me Behind” b/w “Without Your Love I’m A Nobody” was recorded in a basement studio in the Kennewick, Washington area and achieved significant airplay in the Washington, Wyoming, Oregon, and Idaho radio markets.
The band members at the time of recording were:
Buck Hunter – lead vocals / guitar / songwriter Dan Aguilar – lead guitar John McClay – bass Dan Ross – drums
After the release of “Train” on Christmas Day 1965, the band spent 18 months touring the Pacific Northwest, playing armory dances, state fairs, high schools, and clubs, and opening for such Northwest luminaries as Paul Revere & The Raiders, The Wailers, The Kingsmen, and more.
A fun story Buck shared with me about the Hunters’ touring days goes like this: The band was booked to play a high school dance in John Day, Oregon on a Friday night. Buck and the boys were traveling to the gig in two separate vehicles, when they came upon an active blasting zone on the interstate.
The state was using dynamite in the area for construction purposes, and after the first car carrying half the band made it through the blast zone “We all hear this big boom! Sure enough, we look back and saw a landslide had cut off all the traffic – including the second car with the rest of the band in it!”
Buck and two other band mates continued on to John Day High School to find that the dance they were booked to play was the school’s prom. “We ended up playing with three guys that night, and were asked to come back the next night with the full band. They held two proms so our entire band could play!” recalls Hunter.
Buck & The Hunters disbanded in 1967 when a few members went off to college and Buck moved to Everett, Washington. It was there he met his wife in the same year, and the two were married within months.
Buck took a nightclub residency gig as a solo folk act, doing a supper club show at a local restaurant/lounge called Kay’s Rice n’ Bowl. Here he opened for such artists as Pat Suzuki and The Four Freshman.
Buck Hunter and Mary
After putting in his time at the club, Buck and his new bride formed The Tragedy with four other players. The group went on to win a “contemporary folk music battle of the bands” put on by The Pat O’Day Show, broadcast on KJR radio in Seattle at the time.
An A&R man from the Pacific Northwest stalwart label Panorama signed the group to a one-disc deal and “The Entertainer” b/w “Unfaithful Love” was recorded. The Tragedy then toured, opening for such acts as Merrilee Rush & the Turnabouts and The Turtles.
After Buck’s father was diagnosed with cancer in 1969, he and his wife became born again Christians. They went on to write, record, and tour as a duo, preaching the gospel in churches around the country until 1985.
In 1992 Buck began hosting a nightly radio show that was broadcast from the floor of The Gold Coast Casino in Las Vegas. The program lasted until 2002, and in that time Buck met and interviewed thousands of artists including James Brown, Little Richard, Willie Nelson, Martha Reeves, and more. He also told me that the actress Betty White was an avid listener to his program and would call in on numerous occasions to co-host the show with him!
To say that Buck has lived an interesting and full life would be an understatement. He is still active in the business space and currently resides in Kuna, Idaho with his wife of 50+ years.
I asked him about the psychedelic sound of his two 45rpm releases, and if that was an intentional artistic choice or not. His response? “I was always looking for my own original sound.”
You and Me seems to be a studio production from two song writers, Ken Phillips and Gordon Goodman. The songs on this single are innocent pop with some definite English influences: “She’s One of a Kind” is uptempo and catchy; “I’ll Find a Way” slower and moody.
The labels list arrangement by Ken Phillips and Gordon Goodman, and produced by Ken Phillips.
I found six songs registered with the Library of Congress: “You’re Gone”, “She’s Over There” and “I’d Feel Better With You Around” in 1965, “I’ll Find a Way” in February, 1966 and “Keep On With Me” in June of ’66, and “Anywhere” in 1967. All their compositions list Kenneth Phillips as writing words and music, and arrangement by Gordon Goodman.
I don’t have specific info on Phillips and Goodman, but this was released on the Detroit, Michigan label Malibu Records. The catalog number M-6801 suggests a 1968 release. This is on the same Malibu Records label as the crunching “Times Passed” by the Beaubiens from February, 1967. That record was a Joe Doll production with different arrangers, and likely no personnel in common with this single by You and Me. See my article on Tortoise Records for information on Joe Doll’s early production work.
I asked Joe Doll about this record and he responded:
I remember Ken Phllips. I engineered the recording of these two tunes in the same WCBN studio (at University of Michigan) where I recorded “Times Passed” by the Beaubiens and “Messin’ with the Kid” by the aftermath (they liked their name with no capitals.)
I believe Ken was a U of M student. He was hoping to find traction for “an old-fashioned love song” and thought this record might help. Ken lined up the musicians. I had the impression they were all U of M students within his circle of friends.
Malibu was my label. I considered it an upgrade from the earlier Tortoise label.
Bob Jabour of the Cave Men at Mallory Square, Key West
The Cave Men cut one of the wildest singles of the 1960s, “It’s Trash”, released on the B-side of ‘Chelle PH 148 in August, 1966.
Claus Rosenblad interviewed bass guitarist Bob Jabour of the Cavemen, who also sang the lead vocal on “It’s Trash”
What was your musical background?
I played trumpet, tuba and my parents were dancers.
How did the group get together and where did the practice take place?
The band I was in before the Cavemen was named the Coachmen. Paulie Walterson was the drummer for the Coachmen. He quit the Coachmen to form the Cavemen. Tony Rey was brought in to replace Paulie in the Coachmen. When the Coachmen broke up because of the draft, I went to California. I got a phone call from Paulie to come join the Cavemen when they changed bass players and I came back to Key West.
The Coachmen personnel:
Singer: Chuckie Ward Lead guitar: Ross Kilgore Rhythm guitar: Bobby White Bass guitar: Bob Jabour Sax: Leonard Rojas Sax: Austin Roberts Drums: Paulie Walterson Drums: Tony Rey
The Cavemen:
Drums: Paulie Walterson Drums and vocals: Tony Rey Lead guitar and vocals: Andy Johnson (deceased) Rhythm guitar and vocals: Sergio Roche Bass guitar: Robert Tiff (deceased) Bass guitar and vocals: Bob Jabour
How long time did the Cavemen exist before they split?
Maybe 3+ years.
Where did the Cavemen play live, and what was your best gig?
Lived and played mostly in Key West; played road gigs in the Keys and Miami; recorded in Miami.
Best gig… probably the Miami shows and recording for an appearance on the Rick Shaw show in Miami which did not happen because the band broke up.
What is the story behind “It’s Trash”?
I wrote the lyrics about a relationship that I was in which went bad. I am the lead singer on “Trash”.
The flip called “The Pillow Bit” is a ballad. Mostly Andy’s (guitar player, solo on “It’s Trash”). I contributed some of the lyrics.
What other big acts were your musical inspiration, (or genres)? Please name some of it.
I came up through R&B: Otis Redding, Solomon Burke, James Brown, Sun Records, Chess Records, Motown, funk…
The Cavemen were very much a show band… so were the Coachmen. The Coachmen did the entire James Brown at the Apollo album. The Coachmen were very much a rhythm and blues group. The Cavemen were more of what we would call “punk” today.
How did the record come to be made?
Rhythm guitar player’s father sponsored the 500 copy pressing of “It’s Trash” and “The Pillow Bit” on the label ‘Chelle which was our manager/engineer’s label, Steve Kimball.
Which studio did you record the songs in?
Our band manager Steve Kimball built and was the engineer for the studio. I forgot the name of the studio. Criteria was in business at the same time as the studio we recorded in. They were big competitors at the time and both studios had 4 track capabilities. If the Novas recorded at Criteria, it was because the other studio went out of business.
Any fun facts and stories from the making of the record?
We would pile in the VW van and drive to Miami and spend the weekend in the studio and playing gigs that Steve had set up for us. We recorded about a dozen cover tunes, and a few originals for appearances on the Rick Shaw dance show which never happened because the band broke up.
What other groups in that area did the Cavemen compete with?
Miami: The Kollektion, top Miami group featuring a guitarist that went on to play for Iron Butterfly.
Or make friends with?
The Hustlers, another group managed by Steve. We split recording time with them. [The Hustlers cut a great single on ‘Chelle 145, “My Mind’s Made Up” / “If You Try” – ed.]
Did you ever do any battle of the bands?
Yes. Every weekend in Miami. Once did a two band gig with Wayne Cochran & the CC Riders featuring Jaco Pastorius on bass in Key West.
Do any other recordings exist?
There were at least two acetates: a 12 tune one of cover material; and a five tune one. The 12 tune one was destroyed by overplaying before it was lost. The five tune one survived and was copied to the internet. There are tape copies of it around. “Mustang Sally”, “Talk Talk” (best cover), “That’s How Strong My Love Is”, two more I forgot right now.
What happened to you and the other band members after the band split up?
Went four different ways:
Serge, rhythm guitar, formed another group.
Tony, drummer, went back to playing guitar, his primary instrument. Resettled in Fort Lauderdale. Played the Miami / Ft. Lauderdale nightclub scene with various latin and rock bands. Tony was from Cuba.
AJ (Andy, lead guitar) was hired out of a Key West bar by Eric Andersen and went on to record and tour with Eric for about two years. Then he got hired by Sister Kate Taylor (James Taylor’s sister) and recorded and toured with her.
I went on to play Key West bars. First putting together house bands, then eventually doing pick up gigs on bass. In my house band days, I worked with Vinny [Vince Martell] for a few months before he returned to New York to become part of the Vanilla Fudge (guitar player).
Thank you to Claus Rosenblad and Bob Jabour.
‘Chelle discography (any help with this would be appreciated including scans of all but the Cavemen, or audio of A Pace of Change’s single).
PH-145 – The Hustlers – “My Mind’s Made Up” (McNicol) / “If You Try” (1966) PH 148 – The Cavemen – “The Pillow Bit” / “It’s Trash” (both by A. Johnson, B. Jabour, T. Rey) PH-162 – The Novas – “Please Ask Her” / “Whenever You’re Ready” (Bob Calaboro) January 1967 CK-301 – A Pace of Change – “Sync Higher” / “Death Comes Sweetly”
The Hustlers were: Bob Leavitt guitar, Johnny McNicol guitar, Joe Romeo bass and Nick Fresca drums.
The Novas were: Bill Campbell vocals, Kenny Wynn lead guitar, Rick Calaboro guitar, Jim LeFevre bass, and John Bernard drums.
The Blue Beats made one single with two fine sides on Shane Records 100 out of Philadelphia, Pennsylvania. The top side is “Bad Girl” with a snarling female vocal accompanied by a band and male chorus. The flip “Am I the One” is also good.
Paul Cappell wrote both songs, published by San-Dee Music ASCAP. The only other listing for San-De Music I can find is probably an unrelated company with a registration, “Lucky Baby” by Alan Lee & Mildred Phillips from 1964.
Shane Records had an address of 511 North Broad Street in Philadelphia. The release date may be as late as 1969. I’m not familiar with the TBB-1 / TBB-2 code on the labels.
“Bad Girl” seems to be a cover of a 1968 single by Connie Little with B.G. Ramblers “Bad Girl” / “Don’t Mess with Cupid” on Rambo IV Records of Secor Road in Toledo, Ohio. According to Buckeye Beat, the B.G. Ramblers members included Billy Price, Bob Koons, John Ahlfors, Jerry Ahlfors and Peter Mousoulias.
Although that release is firmly in a soul style, Connie Little (real name Connie Mierzwiak) had recorded earlier singles as Connie Little and the Cashmeres and Connie and the Cytations with a gruff child voice that could match this Blue Beats single.
Buckeye Beat has an entry for her, noting that she had a group called “Connie and the Blu-Beats who sprayed their hair blue and who may have had a member named Paul Cappelletty”.
Could this be Connie Little singing on the Blue Beats single? It’s definitely the same song, though the song writing credits have been changed from Mierzwiak-Mousoulias on the Connie Little single to Paul Cappell on the Blue Beats. Connie Little and several of the B.G. Ramblers have passed away, so we’ll probably never know.
The original song was “I’m Not a Bad Guy”, written by Jerry Allison and recorded by the Crickets in 1962, Bobby and Laurie in 1965 and Heinz in 1966.
Picture sleeve for the Roaches 1964 single on Springfield. Scan courtesy of Beat Behind the Dykes.
The Roaches came from Springfield, Virginia in Fairfax County. The band’s members were:
Leon Norton, Jr. – vocals Tony Taylor – vocals Craig Mossman – lead guitar Johnny Holiday – rhythm guitar Tom Kelly – bass guitar Perry Hoisington – drums
The Roaches made one single in 1964 with the fine vocal “Someone With a Heart” backed with an instrumental, “Night Life”.
Bassist Tom Kelly wrote “Night Life”.
Oru Braymer is on the label as writing “Someone With a Heart”, but he was not a band member. The picture sleeve for the single has the credit “Produced by Braymer Music”. The Library of Congress shows an April, 1964 copyright registration for “Someone With a Heart” by Orville S. Braymer. From what I could find, he lived in Alexandria and was a piano technician, born 1928 and died 1993.
Released on Springfield Records RI 1664, the RI indicates this was pressed by Recordings Incoporated in Baltimore. George Graves took the photo on the picture sleeve.
In 1965, photographer Charles Parry documented the Roaches and other groups at an American Legion hall in Springfield, VA. From the notations on the 3.5″ x 3.5″ color prints, there were 28 photos of the Roaches in his files, but I am missing six of them.
American Legion and Pi Alpha Gamma banners appear behind the group. Photos of the Londoners and Beau Havens also have the Pi Alpha Gamma banner, so those bands may have shared the billing that night.
One photo from possibly a different show has a Sigma Tau Delta honor society banner behind drummer Perry Hoisington Holiday, along with the American Legion banner.
The order of the photos suggests WPGC DJ “Tiger” Bob Raleigh (real name Paul Carmen) was at this show. Two other photos show WEAM DJ Terry Knight at the American Legion, possibly at this show. However, I don’t believe this is the Michigan DJ and singer Terry Knight. For one thing, it doesn’t look like him. For another, WROV DJ Jack Fisher wrote about how he was asked to call himself Terry Knight when he was at WEAM. Like WPGC, WEAM seems to have had house DJ names that could be impersonated by any jockey.
Several other DJs from WPGC and Arlington’s WEAM appear in photos with bands from other evenings.
I would like to post other group photos from this collection of Charles Parry but have not yet been able to locate him or his family.
Thank you to Craig Mossman for noting the location of the American Legion hall in his comment below.
Johnny Holiday and Craig MossmanVocalist Leon Norton with Tom Kelly on bassTom Kelly on bass with vocalist Tony TaylorPerry Hoisington Holiday of the RoachesThe Roaches: Johnny Holiday, Craig Mossman, Leon Norton, Tom Kelly and Tony TaylorLeon Norton at the American Legion
Leon Norton, Jr. and Tony TaylorPerry Hoisington Holiday with Sigma Tau Delta bannerLeon Norton with tambourine at the American LegionTony Taylor (left) and Leon Norton (foreground)Craig Mossman (center) and Johnny HolidayRhythm guitarist Johnny HolidayLeon Norton with tambourine and Tom Kelly on bassTom Kelly of the Roaches
Leon Norton and Tom Kelly of the Roaches
WEAM DJ Terry Knight at the American LegionWEAM DJ Terry Knight at the American LegionWPGC DJ Tiger Bob Raleigh aka Paul Carmen at the American LegionBob Parkinson of WEAM at the American Legion
“Why” / “Baby Get Your Head Screwed On” was the first single by the Harrisburg, Pennsylvania group the Legends, who are best known for their devastating 1969 psych single “High Towers” / “Fever Games”.
This lineup of the Legends was:
Larry Swartzwelder – lead guitar Dan Hartman – keyboards Derek Parsons – bass Ralph Schwartz – drums
Earlier members of the band included Dave Hartman guitar and vocals and Denny Woolridge bass; later members included Gene Brenner guitar, Joe Caloiero bass and vocals, Dave Cope on bass, and Larry Sadler on drums.
The Legends story is told elsewhere in some detail, but there is little about this release on the internet.
The A-side is an original by Dan Hartman, “Why”, featuring a soulful vocal over a backing dominated by the organ.
The Legends probably found “Baby Get Your Head Screwed On” from the version by the Double Feature, a British duo from Birmingham, Bill Hall and Brian Lake. Double Feature had two singles on Deram, both of which saw release in the US. It’s also possible the Legends heard the song on its composer Cat Stevens’ first album, Matthew and Son which also had a US release in 1967.
John Ulrich produced the single, and published “Why” through John Ulrich Music. Gene Eichelberger engineered the single, released on Up Records 2202-7-13. The single is styrene, with X-5291/2 etched in the deadwax.
Dan Hartman designed a picture sleeve with a crude b&w drawing very similar to the sleeve for the Blues Magoos “Pipe Dream”. It was not used for the single until many years later, when Billy S. reproduced the drawing with a discography on the back to sell a small amount of copies of the original single. Thank you to Thomas Grosh for sending in the scan.
PS made years after the original release.
Up Records was part of Bridge Society Records which had some other fine releases including:
The Shan-Dells ”Chimes” / “Little Girl” and their soul classic ” I’ve Got To Love Her” / “Idle Excursion” The Evil “I” – “Love Conquers All” / “Can’t Live Without You” The Legends second single, “Keep On Running” / “Cheating”
Info on band lineups from the Arf! Arf! compilation High Towers [1965-1973].
Dexter and the Derbies, January 1968, from left: Dexter Greenhaw, Dennis Brooks, Danny Ausley and Mark Gamble
Dexter and the Derbies came from Athens, Alabama, a small city about 95 miles north of Birmingham, and 99 miles south of Nashville, TN.
The Limestone Democrat newspaper featured this photo of Dexter and the Derbies on the front page of the January 23, 1968 issue. The band was part of the International Rodeo Association convention in Nashville. The members were:
Dexter Greenhaw – lead guitar Dennis Brooks – drums David (Danny) Ausley – rhythm guitar Mark Gamble – bass guitar
Dexter and the Derbies cut only one single, released in August 1967 according to Teen Beat Mayhem. The band members would have been about 12 years old when recording the songs.
The top side is the intense “Time”, written by J. Greenhaw who seems to be Dexter’s brother Johnny Greenhaw. I can’t make out all the lyrics but one verse goes “Everybody wants to be loved and romanced, but nobody, I mean nobody will give a second chance”.
Rochelle Frazier and Buck Peddy wrote “They Wouldn’t Dare”, registering the song on December 9, 1965, almost two years before Dexter & the Derbies recorded it. The lyrics tred similar ground to the Barbarians’ “Are You a Boy or Are You a Girl” from earlier that year.
The girls wear pants now and also shirts, Pretty soon the boys will be wearing skirts. Now don’t tell me that they wouldn’t dare, If you don’t think they would take a look at their hair.
Now you don’t touch when you dance these days, In fact your partner moves far away. How can you hold anybody tight, When they twist and turn right out of your sight.
You ask your neighbor if that’s his girl, She looks so pretty with her long blonde curls. That’s when you feel when like you ought to run, When he says “that’s not my daughter, it’s my teenage son!”
Now don’t tell me that they wouldn’t dare, If you don’t think they would take a look at their hair.
Buck Peddy wrote songs with Mel Tillis among others. He seems to have produced this single, and his Peddy Music published both songs. Released on Derby Records 1313 out of Nashville, Tennessee, the labels show Sound of Nashville master numbers SoN 48941/2.
Dexter Greenhaw graduated high school in 1973, then studied music at the University of North Alabama. He directed the band at Clements High School, and also had a band called Denim. Dexter passed away in March, 2007 of ALS at the young age of 52.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
