I’m not sure how a record this good could be this obscure. When I heard “Fast Suzi” by a band called Anthem, I thought it was late ’70s power-pop. I can’t find any definite info on the record, but the release date seems to be much earlier, even as early as 1968.
Both “Fast Suzi” and the ballad flip “Not Sure She’s Mine” were written by R.E. Warner & Brown for AW Music.
The label was La Belle, and reads “A Dave Eppler Production”. Various sites on the ‘net say the band came from Oconomowoc, Wisconsin, about halfway between Madison and Milwaukee. There is a La Belle Lake in Wisconsin, but not close to Oconomowoc.
The Cutaways (often listed as the Cut-a-Ways) came from Bellaire, Ohio, a town on the eastern edge of the state close to Wheeling, West Virginia. One article I found listed them as a Wheeling band, but that may have been for convenience. That show was in Morgantown, Pennsylvania, 300 miles away from Bellaire and Wheeling!
Larry Gorshe seems to have been the leader of the group and main song writer. I’m not sure of all the other members of the band or who played what instrument, but members included Bill Bell, Gary Parrish, Charles Soltes and Walter McElroy. Also someone named Jurovcik may have been a member as he is listed as one of the song writers on their second 45. Helen Mae was a manager of the group.
The Cutaways put out two 45s, the first from circa 1964 was a Buddy Holly type rocker “You’re Driving Me Out of My Mind” backed with a good ballad, “Now That You’re Gone”. Larry Gorshe wrote both songs for Claridge Music Inc ASCAP. The label was Agogo, which also released “Hitch-Hike” / “Sippy Sippy Sop Sop” by the Fantastic Emanons, another Bellaire band.
Their second 45 is a favorite of mine. The top side is “I’ll Never Fall In Love Again” written by Gorshe, Saltes, McElroy and Jurovcik. The flip is “Hold Me” by Larry Gorshe, both sides published by Silver City Music, BMI. It was released on Sur-Speed 205, a record label located in Nashville, TN, over 7 hours drive from Bellaire.
Gorshe also wrote both sides of the Big C on Sur-Speed 202 “(Hey Girl) Come Along With Me” / “Gee Whiz I Love You”
Sur-Speed was located at 1201 Whites Creek Pike, Nashville, Tennessee, and the SO-prefix indicates the 45 was mastered at Southern Plastics
Larry Goshe passed away on February 21, 2008.
Does anyone have a photo of the band?
Larry Gorshe & the Cut-a-Ways playing the Morgantown PA fair, August 6, 1966The Cut-a-ways to play in New Philadelphia, OH on May 15, 1964
The Teen Turbans playing “You Can’t Sit Down” during the final of the KHJ Big Boss Battle at the Hollywood Palladium, 1966. From left: Robert (percussion); Lester Smith (holding trumpet); Luke Flowers; JD Luna (with guitar behind Luke); Olaf Tweetie; Arthur Cooper (playing sax, in center on floor), Ralph Johnson (drums), Dale Thalley (bass)
Lester Smith – trumpet player and band leader Luke Flowers – lead vocals and tambourine Al McKay – guitar (replaced by J.D. Luna) Arthur Cooper – horns Wayne Davis – tenor sax Olaf Tweedy – keyboards Dale Thalley – bass Ralph Johnson – drums Robert – percussion
A few years ago I posted the program to the 1966 KHJ 93 Big Boss Battle of the Bands, which listed the Teen Turbans from Los Angeles High. Guitarist J. D. Luna sent in these photos and wrote about the group:
The Teen Turbans – what TV set or stage is this?
I was the guitarist in the Teen Turbans from L.A. High school at the time of the Hollywood Palladium Final, when The Teen Turbans won the Boss KHJ/Pepsi Battle of the Bands. I have some pictures that the dad of our percussionist took of us.
The Teen Turbans were an all black band, except for me, who snuck in when their funky Telecaster master left and they needed someone quick. I played a Les Paul with P90’s and a Tele through a four-ten Tender Bassman.
The drummer was Ralph Johnson, who later went on to Earth, Wind and Fire fame. In fact, the guitar player I replaced was Al McKay, who of course also went on to Earth, Wind and Fire. Lester, the band leader, is a nephew of Louis Armstrong, and was a master at directing and cuing the band (and not surprisingly, was a great trumpet soloist!). All the players came from families with musical backgrounds, and all had tremendous performing ability. I was very lucky to be there.
At the Palladium final we played on Limey & the Yanks equipment and I plugged into what I think was a Super Reverb that must have been set on eleven. I was so nervous I didn’t think to check the dials. So when I struck the first chord of “You Can’t Sit Down” my turban almost came off and the Paul seemed to be playing itself. When my solo came up I felt I had control of the stick and was ready to channel Freddie King … so I did!
Sonny Bono presenting Lester Smith with the first place trophy. L-R: Dale, Arthur, Tweetie, Luke, Ralph (behind Lester), JD (me, behind Sonny), and Robert. The two guys in suits are two of the KHJ DJs.
We got a complete set of instruments and amps at the Fender factory and they took pictures. I’m not sure what the deal was with the drums and the brass instruments, but something was worked out with our manager, who was the father of two of the singers. I noticed somewhere on your site that no recording time had been promised, yet somehow we ended up at a studio. I have no idea when “We Need to Be Loved” was done, but probably after I had left the band.
Teen Turbans at Knights of Columbus Hall on Vermont Ave
This photo [above] was taken at a Knights of Columbus Hall on Vermont Ave. just south of Sunset Blvd, in Los Angeles, circa 1965. This was a showcase set up by our manager to help us get some local exposure. The manager is the fellow sitting in the audience with a turban just like the ones we wore. Everybody called him Pops; he was the dad of one of the girl singers and the guy singer in the band. I’m the guitar player standing on the far left, just to the right of the keyboard player. I’m playing my gold top Les Paul.
We got to play at Ciro’s on the strip, The Hullabaloo, which was also a Hollywood club, and a teen club in north Hollywood known as The Cinnamon Cinder that Bob Eubanks ran.
My experience with the Teen Turbans was the launching point for a lifelong career and love affair with music that continues to this day. I learned a tremendous amount not only about music, but also about how bands should and could work together, and that experience served me extremely well as I went on to work as a a professional musician, songwriter, teacher, band director and studio engineer.
Backstreet, from left: Chip Catrow, Bob Norsoff, Boomer (drums), and J.D. Luna.
After the Turbans, I performed with various groups through the Musicians Union Local 47 and on my own and worked the club circuit on the West Coast. Two of the bands I worked with were booked by the Gail McConkey booking agency out of Hollywood. Backstreet was Chip Catrow on bass, Boomer on drums, Bob Norsoff on lead and rhythm guitar and me on lead, rhythm guitar and vocals. We added Jeff Davis on Hammond organ later. This would have been around 1968-69.
Another band was booked by the Howard King agency; that band included Dick Dodd of the Standells as our front singer. I also later managed a music store in Lawndale (south of Los Angeles) called Hogan’s Music, which became locally famous for its clientele, which included the Beach Boys.
A recent photo of me performing at the Carlsbad Sculpture Garden.
I began working as a recording engineer at various studios in the South Bay and eventually became a post-production recording engineer for film and television. I produced a female vocalist, Kim Gile, in the Santa Monica area, and we wrote and performed original R&B, rock and soul. I also built a band around this artist and we worked the Southern California club circuit for 10 years in the 90s and early 2000s.
For the past 12 years, I’ve been focused on playing solo acoustic guitar instrumentals, in the style of people like Chet Atkins, Tommy Emmanuel and other fingerstyle players. I perform locally (in north San Diego County) and also teach guitar.
J.D. Luna
Al McKay and the Turbans cut a single “Rubber Legs” / “Bear Meetin'” on Cenco 108 in early 1966, which likely predated J.D. Luna’s time with the band.
I do not know if there is any connection to two other Cenco singles: Fred and the Turbins “Till There Was You” / “Bernadine” on Cenco 111, and the Turbines “What More Can I Say” / “We Got to Start Over” on Cenco 116.
The Teen Turbans received other press notices including one for a benefit at P.J.s with Aaron McNeil and the Ike Isaacs Trio on August 27, 1967. The last notice I can find for the Turbans was on December 19, 1968 when the Southwest Topics-Wave – Southwestern Sun reported: “Music for dancing was furnished by the Teen Turbans and Turbanettes, and guest stars were Richard and Willie, and singer Diane Johnson.”
The Cholos put out their classic “Last Laugh” on the Farad label in May, 1966. The band was from Fort Leonard Wood, Missouri, a rural area along I-44 between Springfield and St. Louis, MO.
Don Longfellow and D.J. Bohn wrote “Last Laugh” for Briebert Music, BMI, while Pete Starr and D.J. Bohn wrote the instrumental, “Whistling Surfer”.
I haven’t been able to find any other info about the band or a photo of the group. Their band name is a strange one, even for the ’60s. Their label name is also unusual and I can’t connect it to any other release.
This was considered a very rare 45 until at least 20 unplayed copies turned up in late 2014.
Based in Bermuda, the Gents may have included Andy Newmark, Glen Mello (I’m not sure if there’s any relation to Eddy DeMello) and drummer Frank Chiappa, and possibly Winston Cabral. I’ve seen a poor photo of a signed copy of the 45 that seems to include five names: Roddy, Mick, Winston and two I can’t make out.
I haven’t found any new information on the Gents, but I have finally bought a copy of their rare 45, “If You Don’t Come Back” / “I’ll Cry”, released on Duane Records 1048 in the first half of 1966.
Winston Cabral wrote “If You Don’t Come Back”, recognized as a classic of garage punk since its first compilation appearance on The Chosen Few vol. 1 in 1983. R. Marshall wrote the excellent heavy-echo ballad, “I’ll Cry”. Both sides published by Maredken Music, BMI and produced by Eddy De Mello, owner of the Duane label.
T5KM 2847/2848 indicates the lacquer was cut at one studio and supplied to RCA to be pressed in the first half of 1965.
In a comment on the page for the Savages, John McGill recalled being in a group with Winston Cabral called the Castaways, which also included Corky Fishbeck and ‘Mutt’ Mutzke.
Andy Newmark, Glen Mello joined Paul Muggleton and Jimmy O’Connor of the Savages to make the Bermuda Jam album for Dynovoice.
The Gents is one band I’d love to know more about, if anyone has more information or a band photo, please contact me.
Tim Warren turned me on to “I Need Your Lovin” by Ronnie D. & the Casuals. The band is better known as Ronnie & the Pomona Casuals for their hit on Donna “I Wanna Do the Jerk”.
“I Need Your Lovin'” has a different sound, even though the chunky guitar, swinging bass lines and solid drumming are typical of the Eastside style.
The similarity to John English III’s “I Need You Near” is striking and begs the question, which came first? The Sabra label released John English III’s single in May of 1965. The release date for Ronnie D. & the Casuals 45 is much less certain. The very small stamped “H” in the deadwax only indicates an RCA Custom press.
I’ve read that this is the first release by Ronnie D. & the Casuals, but that would date it to before the release of their Donna 45s which began around November of 1964. More likely it comes after their contract with Bob Keane ran out following three singles and one LP on Donna, and a 45 on Mustang in May of 1965. This would make it a cover, or adaption, of the John English III song.
Song writing credits aren’t much help – John English is credited as writer on “I Need You Near”, published by Rattan Music BMI, while Ronnie D. & the Casuals’ “I Need Your Lovin” lists Derrek A. as writer, published by Branch Pub. Co. BMI.
The flip is “When a Clown Settles Down” a long ballad with some good moments, but poorly-produced. I can’t imagine the band was happy with the sound of this side of the single. This side also written by Derrek A., a name I can not trace to any other release from this era.
If John English III had the first release, one question is how did it come to the attention of Ronnie D. & the Casuals? The John English III single is especially rare, only a handful of copies now exist. It had almost no distribution or airplay at the time. Though based in San Fernando, John English III did perform with his group the Heathens at the Retail Clerks Auditorium in Buena Park, and at Pandora’s Box on the Sunset Strip, so some exposure was possible. By coincidence the Casuals single on Ron-Ee seems to be very rare as well.
Another question would be who is singing on this record? Chas Lett was the usual lead vocalist for Ronnie & the Pomona Casuals, but to my ears this sounds like someone else.
Ronnie & the Pomona Casuals were:
Charles Lett (vocals) Ronnie Duran (lead guitar) Robert Arroyo (organ) replaced by Les Kalil (Wurlitzer electric piano) Jimmie Duran (tenor sax) Robert Foley (baritone sax) Ryan O’Brien Jr. (bass) Phillip Duran (drums)
Ronnie Duran and his brother Jimmie attended Damien High School in San Dimas, California, where they formed the Casuals. Their first recording may have been “20.75”, which appeared on the second volume of the Salesian High School Rock ‘n Roll Show, recorded October 18, 1964. Billy Cardenas, manager and producer of Cannibal & the Headhunters, The Premiers, The Blendells, Mark & the Escorts and many other great acts, took them on and brought them to Bob Keane’s Donna Records.
In November, 1964 they put out the first of three singles and an LP on Donna. An interesting side note is that Arthur Lee of Love wrote “Everybody Jerk” and “Slow Jerk”, and sang backing vocals on the album. The Pomona Casuals had one further single on Mustang (the replacement label for Donna, which Keane retired), and also backed the Sisters on their Del-Fi single, “Ooh Poo Pa Do” and “Happy New Year Baby” (Del-Fi 4302).
The Casuals recorded their Donna and Mustang singles at Stereo Masters in Hollywood with Bruce Morgan engineering and Billy Cardenas producing. This single on Ron-Ee was cut at Audio Craft Recorders (aka Audio Craft Recording Studios) at 283 North Garey Avenue in Pomona.
Ronnie & the Casuals continued performing into the 1970s (I can find ads for their appearances through January 1970). Charlie Lett was killed many years ago and Les Kalil has passed away.
Donna 1400 – “Swimming at the Rainbow” / “Casual Blues” Donna 1402 – “I Wanna Do the Jerk” / “Sloopy” Donna 1405 – “Out of the Blue” (Cherry-Wright) / “Slow Jerk” (Arthur Lee, Maravilla Mus, Inc. BMI) Donna DO-2112 – Everybody Jerk (LP) Mustang 3005 – “Please, Please, Please” / “We’re Gonna Do the Freddie” Ron-Ee 1001 – “I Need Your Lovin” / “When a Clown Settles Down”
Ronnie and the Casuals, clockwise from bottom left: Phillip Duran, Ryan O’Brien, Ronnie Duran, Robert Foley, Jimmie Duran (tenor sax), Robert Arroyo (with arm on keyboard), and Charles Lee. Head of Willie G. at bottom center from photo collage. Photo from the Salesian High School Rock ‘n Roll Show LP vol. 2
The Golden Cabaleers are one of the more obscure bands on the IGL label. They released their 45 “Come Back to Me” / “All Alone” on IGL 123 in August of 1966. Teen Beat Mayhem lists the band’s location as Holstein, Iowa, 50 miles east of Sioux City, and about an hour and a half drive south of the IGL studio in Milford.
James Goettsch wrote and sang both songs on the single. He attended high school first in nearby Cushing, IA, then graduated from Eastwood Community School in Correctionville, IA in 1967. His first band was the Roadrunners with his brother Gerald Goettsch, T.J. McGuire and Lane Volkert. According to James’ obituary, the band changed their name to The Golden Cavaliers, which makes more sense than Cabaleers. James Goettsch became a physician. He passed away on June 30, 2005.
“All Alone” is very underrated – it received only a 2 in TBM. Check it out below and judge for yourself. It’s a low-key ballad with steady picking and fine vocals. “Come Back to Me” is more upbeat. No indication on the label as to which is the top side. I realize now my copy of the 45 is signed by both brothers on the labels.
Big Wheel, Switzerland, late 1966, left to right: Paul Stroud, Del Coverley (front), Andy Clark (wearing glasses), Mick Holland and Ron Bryer (aka Ron Spence)
Paul Stroud – lead vocals
Del Grace – lead guitar (replaced by Ron Bryer)
Mike Manners – organ (replaced by Andy Clark)
Barry Nicholls – bass (replaced by Mick Holland)
Del Coverley – drums
Formed in southeast London in late 1965, the original line-up included former Epitaphs Soul Band guitarist Del Grace, who joined forces with longstanding lead singer Paul Stroud, bass player Barry Nicholls and organist Mike Manners after meeting at Music Land in Bexley Heath, a shop owned by Tom Jennings, founder of Jennings Musical Instruments Ltd.
Before the turn of the year, former Scimitars sticks man Del Coverley replaced the original drummer, Rick Dyett.
Photo: Del Grace. Left to right: Del Coverley, Barry Nicholls, Paul Stroud, Del Grace and Mike Manners, 1966
Big Wheel gigged incessantly around the London area and played regularly at the Black Prince Hotel in Bexley, working with notable acts like John Mayall’s Bluesbreakers and The Graham Bond Organisation. In February 1966, the musicians played at Berlin Jazz Festival (see below).
Around April 1966, Mike Manners dropped out and Andy Clark from The Epitaph Soul Band took his place.
Photo: Del Grace. Left to right: Del Coverley, Andy Clark, Del Grace, Barry Nicholls and Paul Stroud, circa April 1966.
On 6 June, the new formation left England to tour Germany and Switzerland. On the band’s return, both Del Grace and Barry Nicholls both departed.
Photo: Del Grace. Left to right: Mike Manners, Mick Holland, Barry Nicholls, Del Coverley (car roof), Paul Stroud and Del Grace, spring 1966
Del Grace joined The Carl Douglas Set in July 1966, which morphed into Carl Douglas & The Big Stampede. Barry ‘Baz’ Nicholls, years later, joined heavy metal band, More, with whom he continues to gig.
With further gigs lined up in Switzerland, Andy Clark recommended former Carl Douglas Set guitarist Ron Bryer (aka Ron Spence), who’d previously worked with The Loose Ends and bass player Mick Holland from The Epitaph Soul Band.
The new configuration developed quite a following in Switzerland, playing at the Tanzrad in Basel before moving on to Zurich. Big Wheel even issued a hopelessly rare (Swiss-only) mod single, Andy Clark’s “Don’t Give Up That Easy” c/w “You’re Only Hurting Yourself”, released on the Eurex label in February 1967.
However, in early November 1966, Del Coverley left to join Del Grace and original Big Wheel organist Mike Manners in Carl Douglas & The Big Stampede.
It’s likely that the remaining Big Wheel members stayed in Switzerland until at least spring 1967 whereupon all of the musicians except Ron Bryer returned to the UK.
Bryer joined Berry Window & The Movements before forming Brainticket in 1968. The band cut a lone album “Cottonwoodhill” in 1971. Bryer later returned to the UK and briefly worked with One (led by his old Loose Ends singer Alan Marshall) but died of a drug overdose around 1973.
Back in the UK, Andy Clark reunited with Del Coverley in The Fenmen (aka Kindness). This proved to be short-lived and after working with Sam Gopal’s Dream and Vamp, he formed Dogs Blues (with Coverley) and then Clark-Hutchinson, which brought Coverley in for its 1970 and 1971 albums, “Retribution” and “Gestalt”. In the interim, Coverley had played with Fat Daughter during 1969.
Original member, Mike Manners would record two singles with Johnny Young in 1967 after leaving Carl Douglas in July 1967. Del Grace, meanwhile, would record solo material for United Artists and Liberty before moving to Spain and cutting solo CDs.
Many thanks to Del Coverley, Del Grace and Mike Manners for helping to piece this story together. Thanks also to Rolf at Feathered Apple Records in Switzerland for the use of the Eurex single scans
The Vynes, from left: Randy Schum, Gary Baldwin, Mark Groenke, John Guill, and Dave Dieter (holding Mark’s Rickenbacker) Since I posted about the Dynamics on Athon, I will add the Vynes, who have an excellent harmony 45 on the label. The Vynes came from Naperville, Illinois, the same Chicago suburb where Conrad Haidu owned Athon Records.
The top side was “I Might Be Free” written by John Guill. My favorite of the two is the B-side, “More Each Day”, written by Gary Baldwin. The single was released as Athon Records 103 in February 1967.
The band consisted of:
Randy Schum – vocals John Guill – Telecaster guitar Mark Groenke – Rickenbacker 12-string guitar Gary Baldwin – bass, lead vocals Dave Dieter – drums
Victor Wells joined on lead vocals after Gary Baldwin left the band.
Gary Baldwin recalled the band recorded the single at Balkan Studios in Berwyn, Illinois.
Larry Schum managed the band.
Beyond the Beat Generation had a photo and full interview with two members of the band.
As of 2023, Mark Groenke and Dave Dieter have passed away.
The Dynamics came up with a catchy dance B-side in “Clap Your Hands”. I can find very little info on the band.
The 45 was released as Athon 106 and has a RCA-Victor custom code A4KM-3283/4 indicating an early 1971 pressing, later than I expected from the sound of “Clap Your Hands”.
The original A-side, the ballad “Roses and Thunder” was written by Conrad Haidu and Emme Mulis and published by Athon in 1961. Haidu was Athon’s owner, according to Gary Baldwin of the Vynes.
Donald H. Reese wrote “Clap Your Hands”, also for Athon Music Co. BMI (I believe the spelling of Anthon on the label is a typo). Don & The Dynamics, led by Donald Reese were from Lansford, Pennsylvania.
Carl J. Wychulis produced this single. There was a Pennsylvania polka musician by that name, otherwise I can’t find any info on this producer.
Athon was located in Naperville, Illinois, a suburb west of Chicago, but the publishing seems to have relocated to the small town of Carney, Michigan, north of Green Bay.
The December 15, 1962 issue of Billboard wrote “Athon Music Company, Naperville, Ill., publishers have started Athon Records. Conrad Haidu heads the operation. The Stardust Green Trio made the first single.”
incomplete Athon discography: (help with this would be appreciated)
Athon 100: Stardust Green Trio – “The Game Of Hearts” / “I’m Lonesome” (December 1962) Athon 101: ? Athon 102: ? Athon 103: The Vynes – “I Might Be Free” (John Guill) / “More Each Day” (Gary Baldwin) (U4KM-2848) February 1967 Athon 104: ? Athon 105: The Dynamics – “I’m Lonesome, So Lonesome” / “Run Away Little Girl” (A4KM-2800/1) 1971 Athon 106: The Dynamics – “Roses and Thunder” / “Clap Your Hands” (1971) Athon 107: Beowulf – “Please Don’t Tell a Lie” (Alice Messerschmidt) / “River, Run Away” (Mulis, Haidu) (1971) Athon 108: Beowulf – “I’ll Walk Down the Aisle (at the Wedding)” (Haidu and Mulis) / “Loves’ Beggar” Athon 109: Monte DeGrave – “She Still Cares” / “Kiss In The Park” Athon 110: Pink Panthers – “Livin’ Is Lovin'” / “Annie Had a Baby” (Rich Klitz – James Kerley – Floyd Kerley)
Athon # unkn – Jesse L.Cody – “Who’s That Girl” / “I Need Your Loving” – acetate recorded at Sound Studios Inc in Chicago and may have been issued on Athon – I need confirmation of this.
Thank you to Philip Powell and Max Waller for help with this discography.
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
I’m not sure how a record this good could be this obscure. When I heard “Fast Suzi” by a band called Anthem, I thought it was late ’70s power-pop. I can’t find any definite info on the record, but the release date seems to be much earlier, even as early as 1968.
Around April 1966, Mike Manners dropped out and Andy Clark from The Epitaph Soul Band took his place.
