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.
Tony Taylor would go on to join the final lineup of the Hangmen for their LP Bitter Sweet, and then Graffiti, who had one self-titled LP on ABC.
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. Originally I had Leon Norton and Tony Taylor reversed on the photo captions, but I’ve corrected that now.
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 Tony Taylor with Tom Kelly on bassTom Kelly on bass with vocalist Leon NortonPerry Hoisington Holiday of the RoachesThe Roaches: Johnny Holiday, Craig Mossman, Tony Taylor, Tom Kelly and Leon NortonTony Taylor at the American Legion
Tony Taylor and Leon Norton, Jr.Perry Hoisington Holiday with Sigma Tau Delta bannerTony Taylor with tambourine at the American LegionLeon Norton (left) and Tony Taylor (foreground)Craig Mossman (center) and Johnny HolidayRhythm guitarist Johnny HolidayTony Taylor with tambourine and Tom Kelly on bassTom Kelly of the Roaches
Tony Taylor 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.
The Aggregation cut two fine originals, “Candlestickstomp” and “You Lied to Me” for the Dynamic Sound label of Long Island, NY.
Members were:
Russell Javors – lead guitar Bob Wenmouth – rhythm guitar Ken Rosenberg – lead vocals and bass Jim Carey – drums
As you can see, my copy did not arrive in very good condition.
The Aggregation playing at a school dance
There was very little information about them until I heard from Ken Rosenberg, who sent in the photos seen here and wrote to me about the band:
This is Kenny Rosenberg, better known now as Kenny Owens since 1981, ’82. The group came out of Plainview, NY right next to Hicksville. I was the lead singer & bassist, Russell Javors played lead guitar, Bob Wenmouth played rhythm and Jim Carey played drums. We were pretty young, Jim was I think 13 the rest of us a little older. Russell a year younger than Bob and me. Jim and Bob are no longer present on earth.
The band used to play high school dances and parties and town pool events. Entered the battle of the bands, came in 2nd the first time, next year came in 1st.
We used to practice at 30 Eldorado Blvd in the Carey’s converted garage. We were big fans of the Mersey Sound.
The studio was in a modest house in Hicksville, recorded in the basement and the owner had his own pressing machine. That’s how I remember it.
We also recorded a 5 song acetate. Bob’s wife has a copy. Jim’s family has a copy. I let mine go years ago, in some landfill in Oyster Bay. One of the songs exists with “Candlestick Stomp” in a ten minute indie film … called American Sugar. “In This Placing” was the tune. The Careys tracked me down so they could use it in the film. I do remember we did a version of the stones “The Last Time”.
In answer about other 60’s bands I was in, I was the lead singer for a band called The Clique, we opened for The Young Rascals at Plainview High School, fun show.
Currently I’m an Americana singer-songwriter living in Hendersonville, TN. I record and make records and CD’s when I can. My site is kennyowensthewheatpennies.com .
Ken Rosenberg wrote “Candlestickstomp”. Russ Javors, Ken Rosenberg and Wenmouth collaborated on “You Lied to Me”.
Russ Javors later played guitar in Billy Joel’s band for many years.
The Aggregation at a battle-of-the-bands
The Dynamic Sound label
The “WElls 8-7108” phone number on the labels indicates Dynamic Sound was based in Plainview, Jericho or Hicksville, NY.
I know of two released 45s:
Dynamic Sound DY-105 – Aggregation – “You Lied to Me” / “Candlestick Stomp” Dynamic Sound DY-106 – Born Mean – “Don’t Let the Sun Catch You Crying” / “Shapes of Things” (a Rite vinyl pressing)
I’ve heard four acetate demos from Dynamic Sound, these three have the Wells exchange on the Dynamic Sound label:
The 5 of Us – “One of a Kind” / “But He Promised” Satan & the Body Snatchers – “Little Young Girl” / “In the Summertime” The Un-Called Four – “Since You’ve Been Gone” / “Masters of War”
This acetate I’ve heard (and both cuts are excellent) but haven’t seen the label:
The Gothics – “Mover” (instrumental) / “Watch Me Now”
—–
There was a Dynamic Sound label that released singles such as James Ray’s “I’ve Got My Mind Set On You”. Those usually have a “Hutch Davie” production logo and date to a few years earlier.
I doubt there’s any connection with the Dynamic Sound label of Milwaukee, WI.
There are at least two releases from Ohio that feature a Dynamic Sound label. The Born Mean cut “Shape Of Things” / “Don’t Let the Sun Catch You Crying” in 1966. The band may have been from New York but the release on Dynamic Sound 1068 was a Rite pressing from Cincinnati. Then in 1969 comes the Crystal Rain with “You & Me” / “World On Fire” on Dynamic Sound 91101.
My broken copy of the Aggregation was shipped from Ohio so I wonder if there could be some connection?
This 45 by Debbie Williams & the Unwritten Law is the best thing I’ve come across in a long while. Both sides feature Debbie’s gravely, country-inflected voice with excellent backing by the Unwritten Law.
Released on Highland 1184 in November 1967, Debbie was a young teen when she recorded this single. An article from the Long Beach Independent on September 19, 1967 gives her age as 13, and that she had been making demos since she was six. She had skated in Ice Follies and Holiday on Ice with her parents and brother Robbie since she was two.
Another news feature on Debbie from the Santa Cruz Sentinel from February 29, 1968 mentioned her current base in Napa County, and her previous skating in Chicago.
The A-side is “Love Seems So Hard to Find”, with the wild lyric “Today, today he shut me down, because I was trippin’ hard”!
The country feeling is even stronger on “Ask Me”. Highland Records released Debbie’s single as release # 1184. A rare picture sleeve with photos by Fred Endo is viewable on 45cat. Milt Rogers produced, with distribution by by Malynn Enterprises, Inc.
Publishing by Tiltal Music – J. Williams BMI. Tiltal has a number of other noteworthy copyrights, including the Phonetics “What Good (Am I Without You)” by Willie Hutchison on Trudel, and a few on Kerwood Records such as Jessie Hill’s “I’m Tellin’ You People” / “If I Am Lucky”, the Tormentors “Didn’t It Rain”, and Lonnie Russ “Say Girl” by Gerald Russ and Harold Williams.
The Unwritten Law
Jim Farrelly and Ken McCutcheon wrote both songs on the Debbie Williams single. Both were members of the Unwritten Law, a group from Burlingame whose lineup included at times:
Jerry Ellsworth Jim Farrelly Marty Eyestone (or Marty Gyestone according to one mention online) Ken McCutcheon Pat Patterson Greg Raneri Dan Ransford – drums
The Unwritten Law had their own single in 1967, “Actions Speak Louder” by Marty Eyestone b/w “This Whole World Is Blind” by Ken McCutcheon. This saw release on Strata Records, which I had thought was an East Coast label based on singles by the Deadbeats, the First Four and the Persianettes. Jerry Katz also produced the Deadbeats “No Second Chance” / “Why Did You”. How the Unwritten Law single came to be on Strata is a mystery to me.
Rob Farrelly helpfully clipped both of the articles on Debbie from online news sources, which helped me find them.
The Collage are a mystery to me. They cut two singles, the first (as Mike pointed out in his comment below) was “Best Friend”, an original by band member John Phillips, published by Parsay Pub BMI. The flip is a charming cover of Brian Wilson’s “Girl Don’t Tell Me”.
The Collage recorded at AAA at 835 Dorchester Ave. in Dorchester, MA. Released in 1967 as Coliseum Record Productions 201,468/9, the 201 prefix to the release number indicates this was a Decca custom pressing.
Their second single on Subtown may be the best on the label.
John Doran wrote “Mystery Woman”, a good song with an arrangement that blends the groups’ harmonies with tasteful instrumentation.
John Phillps wrote the flip, “Closing In On Me”, with its opening line “As I look around and all I can see, my own shadow overshadowing me”. The band turns in an exciting performance, with some frenetic drumming. I love the song but the bright blasts of trumpet bother me after repeated listens and wish they’d left the horns off.
Neither song writer name appears on other Subtown releases.
Released on Subtown ST-101/2, with publishing by Echo, BMI but I can find no trace in BMI’s repertoire.
The label was part of Subtown Record Sales located at 169 Bank St. in New London, Connecticut. Subtown had other good releases by the Apple Corps and Davey And The Dolphins, among others.
The Aquamen’s second single “Line and Track” has become a top retro DJ spin, especially in the UK’s northern soul scene. The enthusiasm of garage collectors for the single led to its inclusion in Teen Beat Mayhem with a good rating. Some consider it more of a novelty, but the beat is solid, the repetitive bass line catchy, and the rhythm guitar has a James Brown-like quality.
Although it’s been more than 50 years since its release, I was surprised to find almost no published information on the group. Last month I bought a collection of photos & promotional materials (thank you Mike D.) which are the main sources for this article.
The Aquamen as a trio. If the instruments match the bio, from left: Frank Church, Dave Walker and Tom Karnes.
A promotional biography of the group from about mid-1966 has this info:
Heading THE AQUAMEN roster is Frank Church, lead guitarist and tenor singer, who does most of the musical arrangements for the group. Frank’s guitar solos always generate a hum of excitement.”
Lead singer Dave Walker, who shares the emcee spot, plays rhythm guitar and usually spices each show with a rousing banjo number…
Funnyman Tom Karnes, who consistently breaks up crows with his zany characterizations, doubles on bass, piano, and sings baritone harmony.
Mike Walch, the young “old pro” of twelve “Dennis the Menace” movies, plays piano, trumpet, guitar and other assorted noisemakers. Mike’s lyric tenor voice adds a unique quality to the group sound.
Al Breaux, the little dynamo on drums, formerly appeared with Louis Prima and Jerry Lee Lewis.
THE AQUAMEN have been together for three years and have performed in clubs throughout the country including the Holiday in Reno, Beachboy in San Diego, Carriage House in Burbank, Bahama Inn in Pasadena, Sunset Lanes in Kalamazoo, Maison Jaussaud in Bakersfield, and others. The group has appeared on ABC-TV’s “Territory Underwater” and currently can be seen in Paramount’s “Beach Ball” and “The Girl in Daddy’s Bikini.” They have recorded “RIDE A PALE HORSE” and “LITTLE GRANNY WILSON”, soon to be followed by an LP.
Personal Management: Joseph H. Friedman
The movie credits in the biography seem to be an exaggeration or outright invention.
Beach Ball features the Supremes, the Four Seasons, the Righteous Brothers, the Hondells, the Walker Brothers and the Nashville Teens. The Girl in Daddy’s Bikini was the original title for It’s a Bikini World, which has the Animals, the Gentrys, the Castaways, the Toys, and Pat and Lolly Vegas.
I haven’t seen either movie in its entirety but I can’t find any credit for the Aquamen or their members in the full cast lists for either film. Perhaps the Aquamen’s performances didn’t make it to the final cuts. Also, I don’t see Mike Walch’s name appear in the credits of the Dennis the Menace TV series.
Aquamen as a quintet, Todd Miller agency photoThe “R.F.” on 2116 Westwood Blvd presents the Aquamen “just back from tour … New York … Palm Beach, Jamaica and Hawaii”
In March of 1965, Frank Church and David Walker registered a number of songs with the Library of Congress. These include “Aquaman (Aquamen)”, “Big Rock Codley”, “Blue Coral”, “Godzilla”, “Skindiving Man”, “Superman” and “Younger Younger” (with Frank Karnes). Frank Church has a solo composition “The Beachcomber” registered in January 1965, with publishing by Milamco Music. I suppose the group cut demos on some of these songs, I have to wonder if any recordings still exist.
I was pleasantly surprised by “Ride a Pale Horse”, the A-side of the Aquamen’s first single. “Ride a Pale Horse” is a melancholy song with baroque harmonies over a mild folk-rock backing. Record World reported “Ride a Pale Horse” reaching the top 10 in Columbus, Ohio on August 13, 1966. Rod McKuen wrote the lyrics.
Cash Box May 29, 1966
The flip is a novelty number about hot-rodding “Grannie Wilson”, writing credited to the Aquamen with publishing by Water, BMI.
Released on Spring Records 333 with distribution by Atlantic. Jack Hayes Productions was based in San Francisco. Notices in all the trades date this single to May of 1966.
“Line and Track” followed in October 1966. The label notes “Line and Track” adapted and arranged by Church, Walker, Karnes and Walch, published by Hinrich Music Company, and “A Corby Production”.
The Aquamen’s version appropriates Fred Neil’s arrangement titled “Linin’ Track”, as it appears on a Les Baxter’s Balladeers single on Link Records from 1963 (with David Crosby contributing vocals). The Balladeers version also appears on the album Jack Linkletter Presents A Folk Festival that includes the Yachtsmen who would become the What’s Four (covered on this site). Fred Neil recorded his own versions of “Linin’ Track”, first on Hootenanny – Live At The Bitter End, and then with Vince Martin on Tear Down The Walls. The song seems to come from Leadbelly, but with very different lyrics. If there are other sources for Fred Neil’s version of the song, I’d like to know about them.
The B-side is a version of “Tomorrow Is a Long Time”. “Line and Track” received a B+ in the October 29, 1966 issue of Cashbox. Release was on Hiback HB-109 and again in December on Hinrich Music Company H-33/H-34.
The Library of Congress shows another Aquamen registration in October 1966: “Acid Test” by Walker, Karnes, Walch and Church. I’d like to hear that song!
The group continued at least into the summer of 1967. The Reno Gazette-Journal from Reno, Nevada published two entertainment notices on the group. The first from December 24, 1966 repeated much of the info in the promotional bio. The second notice comes from July 8, 1967.
I don’t know when the group disbanded. Mike Walch is credited with percussion, vocals and piano on an ABC album by The Phoenix in 1969, I’m not sure if this is the same person. The other members seem to have disappeared from the entertainment industry.
Aquamen and Lee Elliot at the Duke of York, 200-206 Marine Ave, Manhattan BeachAl Breaux, McConkey Agency promo photo
Postcard for the Warehouse IX at 2214 Stoner Avenue in West Los Angeles
The Warehouse IX was located at 2214 Stoner Avenue in West Los Angeles.
According to Bruno Ceriotti’s site on the Sons of Adam, the Fender IV played at the Warehouse IX regularly just before changing their name to the Sons of Adam. At least one ad for the club appeared in KRLA Beat.
The building appears to still be standing today, from the street view image below.
2214 Stoner Avenue, Los Angeles, formerly the Warehouse IX
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
