Category Archives: Label

Categories: Coronado, El Paso, Exeter, Texas

David Hayes and the Pawns

February 12, 2015 Chris Bishop 6 Comments

Mike Kelly of the Renegades, David Hayes of the Pawns, Rod Crosby of the Intruders and Anita Moskal for the Chapparals receiving trophies for the Bassett Center 2nd Annual Battle of the Bands, August 1964

The Pawns had two releases on Bobby Fuller’s Exeter label. First was Exeter 125, featurin, two good surf type instrumentals, “South Bay” / “The Pawn”, released about August, 1964.

Just a month later they released their next 45 on Exeter 127. The top side has David Hayes, the leader and vocalist with the Pawns, listed as the artist, with his original “Meet Me Here (In New Orleans)”. The Pawns are listed on the flip for the sleepy instrumental “Lonely”.

Interestingly, both sides were re-released as the first record on the Coronado label, but given the same release number, 127, as the Exeter 45. Credits are the same, including “A Fuller Production”, Todd Music BMI, and the RCA custom master code RK4M-3630/1. Since 127 was the last of seven 45 releases on Exeter, I assume Fuller gave up the label when he moved to California and let the Pawns take record and/or contract to Coronado.

David Hayes and the Pawns were one of only three 45 rpm artists on Exeter, the others being Bill Taylor & the Sherwoods and Bobby Fuller himself. Exeter also had an LP by Los Paisanos.

David Hayes Exeter 45 Meet Me Here — original release on Exeter

David Hayes Coronado 45 Meet Me Here — re-release on Coronado

The Pawns Exeter 45 Lonely — original release on Exeter

The Pawns Coronado 45 Lonely — re-release on Coronado

Their last 45 came out as David Hayes and the Pawns and featured two vocals, a cover of Charlie Rich’s “Lonely Weekends” backed with a strange original by Hayes, “What Do the Voices Say”. Produced by Calvin Bowls, it saw release sometime in 1965 on Coronado 132.

I know David Hayes was in the group, but the other members are unclear. Songwriting credits on “The Pawn” and “South Bay” are Doize’, Paz and Hayes. Since these are instrumentals and Hayes was definitely part of the group, I assume Doize’ and Paz were the other two members of the group.

However a post by Patrick Lundborg from 2012 on the Acid Archives Updates states “Jack Duncan (bass) and Gary Davis (drums) [I think this should be Barry Davis] learned their chops … in surf-band the Pawns. The leader of this group was one David Hayes, who presumably took on vocal duties on the later 45s, at least he receives separate billing. The two would-be Dragonflies Duncan and Davis did not contribute any songwriting from what I can tell, but were definitely present for the Pawns’ 1964 debut 45 … Duncan and Davis left the Pawns to join a more experienced musician friend in a band called Lords Of London, based in Durango, Colorado. After some time they recruited their old El Paso friend Randy Russ who left the Infants Of Soul to join them, and the band also changed its name to Legend around this time (1967).” Legend had three 45s and two LPs on the Megaphone label, the second and better of the two as Dragonfly.

Info on Legend from Klemen’s interview with Randy Russ. Exeter discography info from the Bobby Fuller – Never to Be Forgotten site.

Thank you to Sam Stephenson for scans of the Coronado 45s and Exeter 127.

Categories: Baton Rouge, Louisiana, Montel-Michelle, Stephanie

Ronnie and the Crowns

February 8, 2015 Chris Bishop 4 Comments

Ronnie and the Crowns formed as early as 1962 at Westdale Junior High in Baton Rouge. Members on the single may include:

Ronnie Sherlock – vocals
Jimmy Rogers – lead guitar
Cal Arnold – bass
A.J. Miceli – drums

Although not audible on the single, the band also included a full horn section at some point:

Charlie Spinoza – trumpet
Ivan Bergeron – trumpet
Tommy Berthelo – tenor saxophone
Richard Sherlock – baritone saxophone

In 1966 they recorded their one excellent single on Stephanie Records of Baton Rouge #MX-957. One side is “Love You So” written by James M. Rogers, lead guitarist in the group and featuring his super-trebley and reverbed guitar. The flip is a cover of Lenny Capello’s New Orleans classic “Cotton Candy” (“I know my Candy is always handy”).

Ronnie Sherlock produced the Ronnie & the Crowns single. My copy is pretty rough, but it’s inscribed “from Richard & Ronnie” on the “Cotton Candy” label.

I don’t know much about Stephanie Records, other than seeing a list of 10 or so singles released on the label. Sam Montel (S.J. Montalbano) must have owned the label as two early releases have his name as producer. Also, the MX- prefix is present on all releases on the label, and shows up on many releases on the Montel and Michelle labels, as does the Red Stick Music publishing, used for “Love You So”.

Categories: Baytown, Hitt, Texas

The Runaways of Baytown, TX

February 5, 2015 Chris Bishop 5 Comments

The Runaways came from Baytown, across the San Jacinto River and about 25 miles east of Houston. The band formed in June of ’65; most of them were students at Ross Sterling High School. They cut one fine 45, notable for the rockin’ harmony cut “Love”, released in May, 1966.

Robert Campbell – lead vocals and guitar
John Govro – lead and rhythm guitar, vocals
Ray Hayden – lead guitar
Eddie Norris – bass
Glenn Dew – drums

An article in the Baytown Sun from August 14, 1966 mentions their 45 on Hitt, stating that “What’s Happening Baby” (good vocal harmony pop, written by Robert Campbell) reached #21 on KEYS in Corpus Christi and #29 on KOLE in Port Arthur, and “Love” (written by John Govro) made #24 on KLVI in Beaumont.

Jack Sims managed the group and produced the single. Bobby Bon was equipment manager with Jack Conway and Steve Shrier.

There was another Texas group called the Runaways, from San Antonio, with the legendary single on Alamo Audio, “18th Floor Girl” / “Your Foolish Ways”.

Categories: Denton, Texas, Young Generations

The G’s “There’s a Time”

February 2, 2015 Chris Bishop 1 Comment

The G's of Denton, December, 1964 — The G’s of Denton, December, 1964

The G' s Young Generations 45 There's A Time — The G’ s Young Generations 45 There’s A Time

The G’s have a great 45 on Young Generations Records featuring two originals, “There’s a Time” / “Cause She’s My Girl”. I haven’t been able to find a copy unfortunately, but I did find this poor reproduction of a photo of the band posting with Santa Claus, and an additional article on the group. It’s quaint how Texas newspapers often list the names of the parents of the teen combos they cover.

The band came from Denton, Texas, about 40 miles northwest of Dallas, the same town where the Chessmen and the Briks had their start. In a December, 1964 news clip they’re called the 4G’s.

Members were:

Randy Ford, lead guitar
Bobby Keith Jr., guitar and vocals
Mike Green, drums
Don Hansel, bass guitar.

The band made their first appearance in July of ’64 at the Sanger Hootenanny. They were 14 and 15 years old.

G's article in the Denton-record-chronicle-jan-02-1966-p-23 — The G’s open “The Place”, January 1966.

An article in the Denton January 2, 1966 features a photo of Don Hansel and Bobby Keith. Bobby Keith’s father R.V Keith acted as their manager and even opened a teen club called “The Place” on Fort Worth Highway in Denton so the G’s could have a place to play every Saturday.

By this time, Mike Smith had replaced Randy Ford.

The G' s at the North Texas State Fair, Sept. 16, 1966 — The G’ s at the North Texas State Fair, Sept. 16, 1966

In September, 1966 they released their only single, and on September 16, 1966 they played at the North Texas State Fair. Smith and Bobby Keith would write both sides of their 45. The article calls them “the G’s Combo”. It also states that they have made 22 recordings, and that their single would be out that week. I would like to hear the other 20 songs!

Categories: California, Golden State Recorders, Hayward, Studio, Wax Records

The Just VI and Whyte Haven Pillow

February 1, 2015 Chris Bishop 30 Comments

The Just VI formed at Tennyson High School in Hayward, California in late 1964.

The early lineup included:

Tony Rhodes – lead vocals
Mike Cantrell – guitar, vocals
Ken Houston – guitar, replaced by Kenny Simms in 1965
Don Cantrell Jr. – organ, vocals
Dennis Brock – bass
Sal Saccardo – drums

The band played out frequently, helped by their Cantrell’s father, Don Sr., who was a promoter and booking agent. Sometimes listed as the Just Six, they played at venues including the Coconut Grove in Santa Cruz, the Newark Pavilion, Frenchy’s, the Rollarena in San Leandro, Carpenters Hall, Maple Hall in San Pablo, at the Carousel Ballroom and Longshoreman’s Hall in San Francisco and the Avalon Ballroom on Catalina Island (with the Yardbirds), IDES Hall in Hayward, and at Battle of the Bands including at the Santa Clara Fair Grounds. They also appeared on Dick Clark’s Happening ’68 and toured with the Animals.

In November ’65 the Just VI cut two original songs, “Bo-Said” (written by Tony Rhodes and Mike Cantrell) b/w “You” (written by Kenny Simms and Tony Rhodes) at Golden State Recorders. Both sides published by Merrie Making Music, BMI.

The songs were issued on Wax W-211 and the single sold well, including a supposed sold 14,000 copies in Winchester, Missouri!

Just VI Harbinger Complex Yardbirds Carousel Ballroom Rollarena — Just VI with the Harbinger Complex and Peter Wheat & the Breadmen opening for the Yardbirds at the Carousel Ballroom and the Rollarena

Over the next few years the band recorded additional songs that were not released at the time, including auditions for Capitol and Columbia.

On October 13, 1966, the Fremont News-Register reported on the upcoming Spotlight ’66 concert at Logan High School with Mel Carter, the Powers of Darkness and the New Chessmen:

“The Just VI have a record called “Bo Said.” Another record to be released soon is “Sumway” on the Capitol label. The New Chessmen’s latest release is “No Place for Love.”
This is the first time a concert like this has been presented to the student body and their guests. Logan has high hopes for its success.

I’m not sure what happened to “Sumway”. Big Beat included “I’m Gonna Be Gone” on the excellent compilation CD You Got Yours! East Bay Garage 1965-67. A photo in the liners shows the band in patriot dress like Paul Revere & the Raiders.

In 1968 Tony Rhodes left the group and Roger Corboy joined, along with his brother Dave Corboy from a Fremont group called the Differentiated Concepts. Dennis Brock left and Steve Lind took over on bass.

The band had a 45 as the White Haven Pillow “Wreck It” (K. Simms Jr., D. Corboy) / “Muisc Man” (D.E. Cantrell Jr.) on the MTA label in 1969.

After Sal Saccardo left the group hired Terry Rissman of Peter Wheat & the Breadmen to play drums. When Terry left, Mike Cantrell played drums until the group split in late ’69.

Most of the group had some involvement in music after the Just VI. Roger Corboy joined Helix, Sal Saccardo went into the Powers of Darkness and played with Little John, the Cantrell brothers had Crossfire in the ’70s, and Kenny Sims had a group called Truckin’ later on.

The best source of info for this article was Bruce G. Tahsler’s The San Francisco East Bay Scene: Garage Bands from the 60’s Then and Now, including the scan of the Yardbirds show poster.

Poster for Whyte Haven Pillow formerly Just VI with the Little Princess light show at Moreau High School in Hayward, Oct 18, 1968. Courtesy of Jeff Hawley.

Wax Records

Wax Records of Oakland started out with at least two soul singles in 1964, Tiny Powell’s “My Time After Awhile” / “Take Me With You”; and Sugar Pie DeSanto’s “Strange Feeling” / “Little Taste of Soul”.

In 1965, Wax released two 45s by the Cheaters of San Leandro, “Take It Easy” / “Girl – I Want” (Wax 210) and “My Favorite Girl” / “Suzanne” (Wax 213).

Certain later pressings had a yellow and orange design, large logo and featured the tagline “If It’s a Hit, It’s on Wax”.

Categories: McAllen, Pharaoh, Rio Grande Valley, Texas

Thee Kavaliers

January 31, 2015 Chris Bishop 7 Comments

Thee Kavaliers had four singles on the Pharaoh label, the most releases of any artist on that label.

Their first was under the plainer moniker The Cavaliers and features a good garage vocal composed by Billy Rowe backed with the surf instrumental “Sea Weed”, composed by Frank Barrera. My copy has an inscription by Billy Rowe on the A-side that unfortunately got smeared to near-illegibility before I came to own it.

I’m not sure who played what instrument or exactly who was in the band. Billy Rowe must have been in the group, at least early on, and Javier Rios became their leader and wrote or co-wrote most of their original songs on their records as Thee Kavaliers. A clipping (see below) includes Mike Dunn, Gary Vandiver, Jeanne Hatfield, Richard Mancilla and an unidentified person as the Cavaliers. Frank Barrera’s name isn’t included but shows up on at least two of their songs as composer. The photo at top shows six members, and doesn’t include Jeanne Hatfield.

I don’t think Thee Kavaliers backed Jeanne Hatfield on her single on Pharaoh, which features a keyboard prominently.

In any case, they were a strong group with a wide repertoire. “Congregation for Anti-Flirts, Inc” is considered their best work, but all of it is strong. “Symbols of Sin” is a take on “Land of 1,000 Dances” but really gets moving once the guitar break starts.

Pharaoh 137 – The Cavaliers – “Pride” (Billy Rowe) / “Sea Weed” (Frank Barrera) (Oct. ’65)
Pharaoh 146 – Thee Kavaliers – “That Hurts” / “Symbols of Sin” (both by Javier Rios, July ’66)
Pharaoh 150 – Thee Kavaliers – “The Last Four Words” / “Ballad Of Thee Kavaliers” (Sept. ’66)
Pharaoh 154 – Thee Kavaliers – “Congregation for Anti-Flirts, Inc” / “Back to You” (Jan. ’67)

Their entire output of eight songs, along with songs by other bands from Pharaoh, can be found on the Cicadelic CD Congregation for Anti-Flirts: The McAllen, Texas Teen Scene 1965-67.

David Lott of the Souls sent in the clipping below, featuring the Souls with the Marauders and the Cavaliers:

Three legendary Texas bands! The United Fund benefit dance in McAllen, 1965
Top row – The Cavaliers, l-r: Mike Dunn, Gary Vandiver, Javier Rios, Jeanne Hatfield, [unidentified], Richard Mancilla
Middle row – l-r: The Marauders, with Mitch Watkins on lead guitar at left, Phil Veale, Eric Mancilla, Jimmy Parker, Lloyd Allen.
Bottom row – The Souls, l-r: Murray Schlesinger, Jerry Ebensberger, David Smith, David Lott and Allen Kirsh.

Kavaliers and Jeannie Hatfield at the Carousel Friday, September 9, 1966

Thee Kavaliers and Rebels, at Granny's Go Go — Good Deeds and Invaders on Friday, Sept. 16; The Kavaliers and the Rebels on Saturday Sept. 17, 1966 at Granny’s Go Go

Categories: Arlington Heights, Chicago, Illinois, Rock n' Jazz Records

The Huns “Destination Lonely” / “Winning Ticket”

January 31, 2015 Chris Bishop Leave a comment

David and the Huns as part of the Ray Smithers Revue with the Night Watch, Perpetual Motion and other bands

The Huns came from Arlington Heights, Illinois, a suburb NW of Chicago, most of them students at St. Viator High School, class of 1969. They cut one of the best double-sided 45s of the ’60s, the incredible, blasting “Destination Lonely” with the more tuneful “Winning Ticket.”

Members were:

David Grundhoefer – vocals
Bob Dempsey – lead guitar
Mark Abate – rhythm guitar
Bill McCaffrey – bass (also spelled Bill McCaffery in one source)
Herb Klein – drums

The Huns Rock n' Jazz 45 Destination Lonely (blue Sheldon version) — blue Sheldon version of “Destination Lonely”

An article in the Roselle Register from May 24, 1967 states that they made their first appearance at the Plum Grove Club in October 1965. It also goes on to say “they have cut one record and made the arrangements for the release of another.”

The article states that the members “recall the Oasis Drive-In Battle of the Bands last August [1966] as its first big step. WNWC sponsored the contest and the Huns were among the top five finalists from 67 entries. They went on to take top billing … and won the record contract.”

“‘Destination Lonely,’ written by Dave and Mark, was cut at Sheldon Recording Studios in Old Town. Distributed under the ROCK N’ JAZZ label, the record gained popularity here and in Milwaukee but could not be played on either WCFL or WLS due to lack of a copyright.”

The Huns Rock n' Jazz 45 Destination Lonely (red Stereo Sound version) — red Stereo Sound version with added reverb to lead guitar and vocal on “Destination Lonely”

“In the words of Dave [Grundhoefer], ‘We started after Saturday’s Children but changed to more abstract folk in the lyrics, an obscure tough of Dylan.’ As examples he cites three new Huns songs: ‘Look My Way,’ ‘My Life’ and ‘Did You Believe Me?'”

“Their equipment, built up over the last 18 months, now totals over $5,000. … ‘Most of our earnings have gone into equipment’ said bass guitarist Bill McCaffrey.'”

Another article in the Daily Herald states that the band had played the Hut, the Cellar, and “are schedule to play with the Cryan’ Shames at the New Place in Cary.”

Dave Grundhoefer and Mark Abate wrote “Destination Lonely” and Grundhoefer wrote “Winning Ticket,” both published by RNJ Pub, BMI.

The Huns Rock n' Jazz 45 Winning Ticket — The Stereo Sound version of “Winning Ticket” with jet sounds

The Huns released their single in November, 1966 in two different versions: first with blue labels with a dry sound (no reverb), and then with red labels with added reverb on the vocals and jet noise overdubbed on “Winning Ticket.”

The blue label has a slightly different intro to “Destination Lonely”: the opening chord is struck twice, while the red version has a leading chord before striking the next chord two times.

Other than that, and the reverb added to the lead guitar and vocals, I can’t detect a significant difference in these versions of “Destination Lonely.”

The blue labels include “S-4923” and “S-4924” which indicates it was pressed at Sheldon in Chicago.

The red labels include “SS-8668-01A/B” which is supposed to indicate this single was recorded and pressed by Stereo Sound in Chicago.

However the versions are so close, that I do not think the entire song was rerecorded at Stereo Sound. I believe it’s possible that the lead guitar and lead vocal were both re-recorded over the original backing track done at Sheldon. That would explain the difference in the striking of the opening chords.

I haven’t heard the blue label version of Winning Ticket – any difference besides the overdubs?

The blue label version is considered much rarer than the already-scarce red label copies.

Rock n’ Jazz Records released 45s by the Night Watch – “The Goods Gone” (by Forbes – Loesch – Hanson) / “Shake”; the Perpetual Motion – “You Hurt Me” / “Sally Brown”; and one by Ray Smithers and the Perpetual Motion – “I Remember” / “We Will Share”.

“We Will Share and “Sally Brown” are original songs by Mertes and Saranpos, “You Hurt Me” by Saranpos alone. Publishing on all Rock n’ Jazz singles except the Huns was by Freemont Music.

I believe Ray Smithers owned the Rock n’ Jazz label, as the photo at top notes the Ray Smithers Revue. I haven’t seen any records by the Marie Antoinettes though!

The Huns Roselle Register Friday, March 24, 1967 — “Fast-Rising Huns Take Next Big Step” Friday, March 24, 1967

I read some stories in Fuzz, Acid and Flowers about the group that I’m a little skeptical of: that they wore “animal skins with bleached white hair,” that “Robert Dempsey took guitar lessons from Ted Nugent … he apparently helped his student by writing some of the guitar solos for the 45.”

I also read that some years later they released a 45 for Ampex as Greenwood County Farm, but Roy Vombrack wrote to me to clarify: “that was a separate group that had former Huns singer Dave Grundhofer as lead vocalist. Greenwood County Farm released a Bill Traut-produced single “The Man”/”I Wish I Knew You” with Dave on lead. I was the tenor sax player. The band later became Greenwood & then morphed into Jamestown Massacre which later became Mariah.”

Thank you to Paul Sullivan for sending in the photo at top of what appears to be the Huns, listed on the sign behind the band as David and the Huns. Bob Dempsey has commented on youtube that this is his group of Huns from Arlington Heights, not the Ithaca, NY group.

Pressing info from the very informative Anoraks Corner.

The Huns Daily Herald Friday, August 25, 1967 — Friday, August 25, 1967

Categories: C.P. (Chicagoan Productions), Chicago, Illinois, Unknown

Dan Marlee, Danny & the Other Guys and the Real List

January 21, 2015 Chris Bishop 20 Comments

Dan Marlee “Candy Lips” on Constellation

Danny & the Other Guys “(You Been Givin’ Me) Hard Times”

The Real List “Pick Up the Marbles” on C.P. Records

What do these three songs have in common? They’re all written and sung by Daniel A. Marle, an enterprising teen who jumped from mild vocal pop to tough garage and psych within a span of two or three years.

First up is Dan Marlee singing his original “Candy Lips” (Joni Music BMI) b/w “You Left Me” on Constellation C-125 (C-63-138) from late ’63 or 1964.

In May of ’66 he’s found a new style, convincingly singing “(You Been Givin’ Me) Hard Times” as Danny & the Other Guys on C.P. Records 101. The flip is one I haven’t heard yet, “Five For Fourteen Fifty”, but the BMI credits give some names besides Daniel Marle that may have been the Other Guys: Richard Coker, Vincent Ippolito, Roger Pauly and Edmund Strom.

Finally is C.P. Records 102, with the band name changed to The Real List. They do Marle’s “Pick Up the Marbles”, a good mix of potent fuzz riffing and harmonies, with a poppier bridge. The b-side is a cover of the Beau Brummels’ “Still In Love With You Baby”.

Both the C.P. 45s produced by Chicagoans Productions, and Marle’s originals published by Dan Marle Music BMI. Pressing info is obscure, I read 1425-FT on the Danny & the Others label and 1575-31 / 1600-31 on the Real List labels.

As Daniel Albert Marle he has some other songwriting credits with Robert Nass: “Boy Can Cry”, “Could You Care For Me”, “Cryin’ Over You”, “Gorilla Again” etc, published either by Arc Music or Don-Del Music in Port Washington, Wisconsin. I’m not sure if any of those songs were released.

Dan Marle started his own company, Mid Eagle Productions with occasional releases on Mid Eagle Records and Chicago Fire, mainly with Ral Donner:

Ral Donner with the Wednesday World – “(If I Had My) Life To Live Over” (written by Dan Marle, for Eighth of May Music & Emprise Music BMI) / “Lost” (Donner) on ME 101 in 1968,

Ral Donner – “Godfather Per Me” / “The Wedding Song” Chicago Fire Records CF-7402, released 1974.

Ral Donner – “The Wedding Song” (Brooks) / “So Much Lovin'” (Paxton), on Mid Eagle IRDA-275, arranged by James L. Mack

Ral Donner – 1935-1977: I’ve Been Away For Awhile Now on Mid-Eagle ME2M7902 from 1979, where Ral sings parts of 50 Elvis songs and narrates a history of Elvis!

The Platters Recorded Live in Chicago, on Chicago Fire Records CFS 7401, 1974.

This is all I can find on any of these bands or Dan Marle.

Categories: Cleveland, Del-Nita, Ohio

The Night People on Del-Nita

January 21, 2015 Chris Bishop 2 Comments

Bob Holcepl – vocals
Terry Paul – guitar
Joe Rose – bass
Frank Rose – keyboards, and recorder on “Erebian-Borialis”
Greg Paul – drums, and bongos on “Erebian-Borialis”

The Night People formed in 1965 at St. Edwards High School in Lakewood, Ohio, just west of Cleveland, where all the original members lived.

The band recorded their 45 at SIR Recording Studio, released on Del-Nita 1002 in May of 1967.

There’s a lot to like about “We Got It”: the swirling organ over the pounding tom-toms and bass, Bob Holcepl’s snarling vocals, a theramin intro and solo. Joe Rose and Bob Holcepl wrote the song. I’m not sure who was playing the theramin.

The instrumental “Erebian-Borialis” is one of the strangest b-sides by any mid-60s group, featuring a simple melody played by Frank Rose on recorder while Greg Paul handles the bongos and the guitarist goes for psychedelic. It’s credited to Frank Rose and Terry Paul. Both songs were published by Hicks Music, ASCAP.

Bob Holcepl answered my questions about the band:

Greg Paul (drummer) and I were grade school friends. His younger brother, Terry was a guitar player. The Paul brothers had a father who was very into music (jazz and big band mostly) and they were soaked in it their whole lives. Both were very talented musicians. I on the other hand was more of an ‘idea, big plan, big dream’ kind of a guy. – With (obvious) limited musical talent.
We all were very influenced by blues, jazz and the entire British Invasion sound, a bit more Rolling Stones and Van Morrison than the Beatles tho. Later we also embraced a lot of the west coast (San Francisco) influences (everything from the Seeds to Zappa).
We recruited classmates Joe and Frank Rose into the band early on. Frank and Joe were natural musicians. Joe could play any instrument well within hours of picking it up the first time.
Where did we play? Well not very often but the usual places: school dances, battle of the bands, Wherever anyone would let us to be honest. We played on a local TV show once or twice I believe. We weren’t very polished and we were out of step with most of the music scene in Cleveland. We were ‘explorers’ more than entertainers.
We (in)famously once used the very irritating ‘phone off the hook-cat screeching‘ tone they used to use when you left a phone off the hook as a background ‘drone’ on a song.
I don’t recall exactly how we met Mr Hicks. It may have been thru the recording studio (SIR recording in Cleveland). Mr Hicks was one of several people at the time providing what were essentially vanity records. It was a pretty straight forward deal. He did the ‘paperwork’ did the pressing and delivered the 45s to us. I don’t recall any sort of promises made by him. But we were kids (16 year old kids mostly).
I actually do have a track from the demo acetate we cut, a cover of “One Two Brown Eyes” by Van Morrison with Them.
I normally played the theremin. In fact I bought it (as a kit) from Robert Moog, actually spoke to him when I called him because he didn’t send it quickly (he was very nice, he was waiting on parts). But I think Joe or Frank Rose may have played it on the record. I think I sold that thing to someone from Pere Ubu years later.
Bruce joined after I left the group. I knew him tho. He tended to use the Bruce Parsons name far more often than Boehm. I always thought of him as Bruce Parsons. I remember he lived in Parma … so that may have been the Parma connection. The name was changed to Parsons Wild West Show long after I left. I believe they also went by the Uglies or the Harpies. But all that was post me. I became a photographer for 20 years (1970-1990), then I moved on to the coffee business.

The Night People’s version of “One Two Brown Eyes” has a very basic sound. The band made additional recordings that weren’t released of “Signed D.C.” and “Hey Joe”.

According to Buckeye Beat, John Hicks, the owner of Del-Nita, persuaded the band he had Motown connections. It’s difficult to imagine Motown would be interested in a band with such an uncommercial single but that’s the story!

Bruce Boehm, guitarist for the Alarm Clocks was also a member for a time. The group continued until 1970, changing their name and making some demos for Capitol that never saw light of day. Parma may have been a base for the group later on.

Anyone have a photo of the group?

The Night People singles on Tuggie and Nite Life are by different groups, from Illinois and California, respectively.

Categories: La Belle, Unknown, Wisconsin

Anthem – Fast Suzi

January 21, 2015 Chris Bishop 18 Comments

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.

Garage Hangover