Last Exit came from western Ohio, perhaps Montgomery County, near Dayton. The only name I have is K.K. Petty, who wrote both sides.
“The Fast One” gives the lead guitarist plenty of time to solo. “The Slow One” is, as the title suggests, a ballad, with lines like “The best foundation for true love is simply a little trust / But the whole thing can be shattered, with a sudden burst of lust”!
The band cut their single at Wildwood Sound Productions in Brookville, where the Centrees, and Captain Crunch and the Crew also recorded.
Gene Turner’s Gene O Music published the songs but I cannot find registration for either. It is a Rite pressing, account # 1850, from 1967.
Best-known lineup of the Downbeats: Marty Ford, Dave Gaston, John Bowman, Don Sailing, Gary Bolen, and Lann Gaston
The Downbeats came from Wichita, Kansas, and released one single “1-2-3” / “Trying to Get Through” on Kanwic HFCS-137 in early 1968
The Downbeats were active from 1964 until 1970, with the horns added in 1966. Members were:
Gary Bolen – lead guitar and lead vocals Marty Ford – bass Don Sailing – organ John Bowman – drums Dave Gaston – sax Lanny Gaston – trumpet
Gary Bolen and Marty Ford composed “Trying to Get Through”. It’s a stomping soul performance, with a steady beat, funky rhythm guitar and bursts of horns. A scratched copy is audible on youtube:
Early lineup of the Downbeats, from left: Marty Ford, Jim Holmes, John Bowman, Gary Bolen, and Barry Sigars
Early members included guitarist Barry Sigars, vocalist Jim Holmes, John Clampitt on organ and Mike Brittain on bass. Later members included Wayne Avery, Mike Musick and Gary Heitz
Rob McKnight managed the band, and co-produced the single with Don Clyne.
The Downbeats with their 1937 Cadillac La Salle hearseThe Downbeats in the Beacon, February 14, 1968
While looking into the Kanwic label, I found the news feature on the band above, Downbeats Pick Up Pace by Cathy Henkel, from the Wichita Beacon of February 14, 1968:
Working at High Fidelity Recording, Inc., the band has done radio jingles, and acted as a studio band for other singers.
For more info on Kanwic, an item from the Wichita Eagle & Beacon Magazine on December 12, 1965:
A Wichita recording firm, High Fidelity Recording, Inc, at 445 N. Oliver, has issued its first album under the Kanwic label…
High Fidelity has been in operation for about a year. It is owned and operated by Raymond Creely and Jim Strattan, both natives of Wichita.
The company, which has issued previous recordings under other labels, makes its own tapes and handles promotion and distribution for its recording artists. The pressing of the albums and jacket production is done by other companies. There are no pressing firms in this part of the country.
First photo of the Downbeats after Don Sailing joined: Marty Ford, Don Sailing, Mike Brittain, John Bowman, and Gary Bolen
In July, 2022, Don Sailing wrote to me with an update, and sent photos of the group:
We weren’t able to make any other recordings, but I remember making several commercial jingles … one really good one for Uhlik Music.
In 1999, after almost thirty years after we disbanded, we had a wonderful reunion at Marty Ford’s place in Lampe, Missouri. To have all six of us “brothers” together again was surreal!
After a great weekend of playing music again, and thinking we were getting “old” at around 50 years of age, we made the decision to get the band back together. After many months of rehearsals and hard work in Missouri and Wichita, we booked a two night debut show at Ahoys in Kimberling City, Missouri in August of 2000. It was an unbelievably awesome gig!
After a few more gigs in Missouri, we all decided we had reached a pinnacle that few old bands are blessed to experience, and we decided to hang it up.
Sadly, only four of us remain today. We lost Marty Ford about nine years ago, and we lost Lanny about five years ago. The four of us remaining have all been married to our first wives, and we all have grown kids and growing grandkids!
Downbeats reunion, from left: Gary Bolen, Lanny Gaston, Dave Gaston, Marty Ford, Don Sailing and John Bowman.
The Rain, from left: Owen Evans, Jim Bond, Ron Hall and Steve Croucher
Rain was a quartet from Osage City, Kansas. The members were:
Steve Croucher – lead guitar and vocals Owen Evans – keyboards and vocals Ron Hall – bass Jim Bond – drums and vocals
In August 1967 they traveled about a half hour southwest to Emporia to cut a record in the basement of 15 year old engineer Tom Webb.
“Love Me and Be Glad” is a great soulful number with lead vocals by Owen Evans and Steve Croucher. “Little Boy Blue” is a gentle song sung by Steve Croucher. Both are originals by the group.
The single was released on Webb Records No. 5667A, with dead wax L-270-1/2.
From right to left: Steve Croucher with headphones, Tom Webb “fingering the control panel”, Jim Bond seated next to him, Owen Evans, Bill James and Ron Hall.
Amazingly one of their recording sessions was documented by the Emporia Gazette on Thursday August 31, 1967:
Young Emporians Doing Record Business
Webb Records, named for the senior partner, Tom Webb. Fifteen years old. A student at Roosevelt Junior High School … Tom has been playing around with tape recording as a hobby for about a year…
Headquarters for him and for Webb Records is the basement of his family’s home…
…the truly impressive sight lines fully half of one wall. It is a large handmade electronics control panel, sporting built-in tape recorder, gauges, flashing lights, tone controls and several trays of toggle switches. On one side of the control panel is a work table, buried beneath an avalanche of printed order forms, contracts and information sheets … On either side of the whole squat huge speakers.
Tom’s partner in Webb Records is Bill James … Bill keeps a sharp eye on the company finances while Tom wears the earphones and flips toggles at the control panel…
Here recently a rock-and-roll band from Osage City came to set up its equipment for a recording session.
The band goes by the moniker, “The Rain.” All four members are young, in their teens, not unusual for today’s rock combos. “The Rain,” however, is no ordinary back-yard garage band … Last spring, when they still went under the name, “The Imperials,” they carried off top honors from a marathon “battle of the bands” held in Topeka. Just before their last recording session with Tom Webb, they had completed their first extended tour, a three-week trip that included Garden City, Pratt, Hutchinson, Dighton and a thrust on up into Nebraska.
Although Tom has done recording work with a number of young bands – the “Red Dogs” from Lawrence, the “Ides of March” from Kansas City, the “Coachmen” from Oklahoma City, the “Intruders and the “Esquires” in Emporia, for example, he has spent most of the summer concentrating on “The Rain.”
“Love Me and Be Glad”
The hit record that has been Webb Records’ main claim to fame so far was cut by “The Rain.” The 45-rpm disc features a big beat song called “Love Me and Be Glad,” with “Little Boy Blue” on the flip side. The record has been plugged on several radio stations … in Topeka, Osage City and Emporia. Tom has a list of 16 stations he has been working with.
The manager and lead guitarist for “The Rain” is Steve Croucher, a quiet, reserved chap who even wears his brown hair short. Even more reticent is the bass guitarist, Ron Hall. Owen Evans, the heavy-set, long-locked organist, pounds out chords and beams all over … The fourth band member … is Jim Bond, a short mop-topped extrovert who lays into his drums like they were going out of style. Owen, Steve and Jim handle most of the vocal roles.
The system Tom and Bill have set up is simple and efficient. Occasionally Tom moves his recording equipment to the band, as he did with the “Red Dogs” (their organ was too large to squeeze into the Webb basement)…
When the jam session finally chruns out a good tape, Tom takes it to Audio House in Lawrence. There the tape is used as a master to cut a record on a metal disc covered with acetate. Up to 25 copies are made this way, Tom says, but because acetate records are expensive – $4 each – larger quantities are pressed.
Up to Listeners
After the records are cut, Audio House ships them to Tom, who then makes the rounds of radio stations, leaving a free record at each station…
Once the song goes out on the air, Tom’s fortunes rest with the listeners. If they like the song, they will go downtown to their friendly local record store – where they will be told the disc is not stocked … The retail dealer then contacts the distributor, who in turn contacts Tom. Webb Records then ships the disc directly from Tom’s basement…
“I sure would like to get my own cutting machine,” Tom remarks, adding with a crestfallen expression, “but they cost around $40,000 … But say, if I had my own equipment, I could turn out records for only about two cents each.”
Circa early 1969, the Kanwic label out of Wichita would release a single by Rain, “I’m Free” / “London” on Kanwic HFCS-151. Publishing was by Doree, Johnny & Bill Music.
I believe this may be an entirely different band. The two songwriters, Larry Ulin and Mike Carney, were not in the Rain who recorded on Webb. Also, the sound is much different on “I’m Free”, featuring driving lead guitar without the organ and sweetness of the earlier single.
Wichita is about 100 miles from Emporia, and further from Osage City, though it was not unusual for bands to travel long distances to record.
As for Webb Records, in 1968 Tom Webb would produce a single by Friar Tuck & the Monks on Webb 5668, featuring an original song “Escape” (by Ron Bowell) with a slowed-down cover of “Help”, vocals by Ron Bowell and Rich France. I don’t know if Tom Webb and Bill James continued in music after that.
Business card for Psycho, from Chico, with Guy Williamson and Marty Howard’s contact info
Arvey Andrews headed two record labels in 1965 and 1966, Frantic Records and Vardan Records. He was also part of Management By Martin, Inc., with George Martin and Robert Clark. George Martin co-produced some of these singles and handled bookings for the groups.
In 2020 I bought a collection of records and 1/4″ tapes that belonged to a previously unknown investor in Management By Martin. I am not disclosing his name at this time, but he is now in his mid-90s. He was a colonel in the Air Force, and obviously a music enthusiast. One could map his likely military postings from his record collection: Ty & Johnny on Red Wing suggests Eglin Air Force Base near Pensacola, FL, and Wailers & Sonics records obtained while stationed at McChord Field near Tacoma.
At Beale AFB in Yuba County he met Arvey Andrews, who would involve this officer in his Frantic and Vardan operations. It would be a fruitful but one-sided association. This investor would describe his dealings with Andrews in an Air Force Statement of Witness dated March 2, 1970:
… while stationed at Beale AFB, California I became a stockholder in a corporation known as “Management by Martin, Inc.,” a firm which handles bookings and recordings by “rock and roll” groups. Other members of this corporation at its inception were Captain Arvey I. Andrews (hereafter called Subject), George Martin and a Robert Clark. I contracted a law firm known as Athearn, Chandler and Hoffman, 593 Market Street, San Francisco California to represent me and to establish the corporate structure of Management by Martin Inc. I am the Secretary-Treasurer of this corporation …
I noted that shortly after Management by Martin began to move forward that certain high expenses at Ikon Recorders … as well as fees paid to Lance Associates, a “public relations outfit,” might cause the business to fold… I told the other partners of the corporation that I would remain as a corporation officer but would no longer make financial contributions to the corporation’s support. Also, at this time, I told Subject [Andrews] that he must commence paying back the indebtedness. At that time, I believe it was the spring of 1967, Subject repaid me $100.00 a month for three consecutive months and stopped shortly thereafter. I told Subject that if he did not continue with the monthly payments, I would resort to legal action to recoup the loaned monies. Shortly after this, I became knowledgeable of Subject’s filing for bankruptcy.
These unfortunate transactions seem to have ended this investor’s involvement in the music business, though he continued to collect records and radio shows into the ’70s.
This Management By Martin, Inc ad ran in Billboard every week from April 30 – July 30, 1966The bankruptcy probably harmed Arvey Andrews as well. He remained involved with the Lovers as they changed their name to the Pacesetters and signed to Liberty / Minit, but I don’t believe he produced or released music again. Andrews would reach the rank of major by 1970, before retiring from the Air Force. On May 12, 1982 Andrews incorporated the Vardan Recording Institute of America at 1108 Black Knight Drive in Valrico, Florida, but I know of no releases from this company. Arvey Isaacs Andrews died on April 5, 1994, aged 59.
In the collection were at least one copy of every Vardan and Frantic single except Sonny Oliver & the Statics on Vardan, and the Boy Blues “Coming Down to You” / “Living Child” on Frantic. Most of these were promo copies, and there were multiple stock and promo copies of the Boy Blues “Living Child” / “Think About It Baby” on Vardan. There were Emotions singles on Gate and Philips as well as the Vardan issue.
There were also a couple 45s on Ikon. Along with Golden State Recorders in San Francisco and Sountronic Recording Studios in Lodi, Arvey Andrews used the Ikon studio, but I do not believe he was involved in any releases on that label.
Many of the records have warping and/or insect damage from years stored in an attic.
The Lovers “Leave Her” test pressing
Below is a description of the unique items:
The Lovers unreleased test pressing
Most notable among the 7″s was a styrene test pressing of two unreleased songs by the Lovers, “Leave Her” / “The E.T.”, numbered 2125 / 2126. For some reason Andrews did not release that single, and those numbers appear on the Styx single “My Girl” / “Stay Away” on Frantic Records CR-2125/CR-2126.
Test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128
Psycho test pressing
There was also a styrene test pressing for Psycho’s “You Think You’ve Got Me” / “Need Me”, released on vinyl as Frantic Records CR-2127/CR-2128. The dead wax codes are in a different hand than the released version, though the versions sound identical.
Both test pressings are stamped June 13, 1966.
Also included were two test pressings of Custer and the Survivers, “I Saw Her Walking” / “Flapjacks”, which saw release on Golden State and Ascot. Production was by Shower Of Stars, another company of George Martin and Arvey Andrews with a Yuba City address.
Golden State acetate 45 of Psycho “Need Me”
Psycho acetate, and “What’s in the Bag, Goose” demo
Also in the collection were two acetates. One is a Golden State Recorders acetate 45 of Psycho “You Think You’ve Got Me” / “Need Me”; same versions as the released single. The Psycho business card at top was found in a tape box.
Audiodisc acetate 45 of “What’s in the Bag Goose”
The other was an unlabeled Audiodisc acetate with one song, “What’s in the Bag, Goose”. This cut also appears on two other 1/4″ tapes, one dated January 22, 1966. Apparently Drusalee and the Dead cut “What’s in the Bag, Goose”, however, there is no organ on the cut, and it doesn’t sound much like their Vardan single. Hear an excerpt.
The song is a novelty take on a Granny Goose potato chip commercial, with song writing credits to Nick DeCaro, Dave Pell, and Joe Saraceno. I like this performance more than the only released version I know of, from the T-Bones LP, No Matter What Shape (Your Stomach’s In).
Sountronic Recording Studios sheet in tape box compiling Frantic masters by the Lovers, Mystic, Boy Blues and D. Witherspoon
Sountronic Recording Studio tape
One of the tapes had ten songs compiled from the master recordings in either mono or 2 track stereo, according to an info sheet from Sountronic Recording Studios at 880 East Pine St., Lodi, CA. Dated September 22, 1966. Included are the A and B sides of four singles from the Frantic label: The Mystic’s “Weekend People” / “I Get So Disgusted”, the Boy Blues “Coming Down to You” / “Living Child”, and D. Witherspoon and the Future, and the Lovers “Without a Doubt” / “One Way to Love”. Also included are two songs by the Lovers with the Harlem Brass that never saw release: “She’s Supreme” / “Truly Truly”.
“She’s Supreme” has only been known on acetate. “Truly Truly” is a backing track without vocals. Alec Palao tells me it is the same backing track used on a rare single by the Kashos on Work Records 45-827, which I haven’t heard. Stanley and Archie Casher wrote that song, and possibly the backing track was reused from the Lovers session.
Joey D. told me that this is the first documentation from the Sountronic Studio that he has ever seen. This tape may be the only tape source for these songs in existence.
Tape box with unreleased cuts by Boy Blues, Psycho, and Drusalee & the Dead
Tape of unreleased songs
Another interesting tape was faintly labeled in pencil with only band names, but contains unreleased songs by the Boy Blues, Psycho and Drusalee & the Dead.
The Boy Blues cuts are both originals. The best, titled possibly “Baby Doll”, has a fuzz riff, tasteful use of horns, an extended guitar break and double-time ending. “Little Red Rooster” is not the Howlin’ Wolf standard but a light original with a more prominent horn arrangement.
The Psycho cut is “That Girl”, a good jangly original song with excellent harmonies.
The last two cuts are “What’s in the Bag, Goose”, as discussed on the Audiodisc acetate above, and a ballad. Although the tape box suggests Drusalee and the Dead, neither song sounds like the Vardan single.
Audio quality and occasional drop-outs suggest this tape is a later generation copy.
Stereo rehearsal tape by PsychoMono rehearsal tape by Psycho, the two original songs are early versions of “That Girl” and “You Think You’ve Got Me”
Psycho rehearsal tapes
There are two rehearsal tapes by Psycho. The first contains all cover songs, and is recorded in stereo. Two songs featured on the Up From the Grave CD were taken from a cassette in mono, so this tape is an upgrade.
The second tape is in mono, but includes a couple of originals as well as more cover songs. There are two takes of “You Think You’ve Got Me” titled “Why Can’t You Say” on the tape box. The vocals are upfront; the band’s harmonies are very good at times. I appreciate hearing these early versions, even with some rushed tempo changes.
The other original is “My Girl” perhaps more appropriately titled “Without That Girl”, which did not appear on their Frantic single.
They do a good job on many of the cover songs, and it’s cool to hear them try “It’s No Use.” The singers forget a line in the last verse of “Turn Turn Turn”.
Lastly, there’s a tape of a folk group with vocalist Sandy Knox, recorded at Ikon.
———-
Members of the bands mentioned in this post (sources include notes to Up From the Grave and 60sgaragebands.com):
The Emotions & Lovers (Beale AFB): James Gregory (Greg), Daniel Saunders, Melvin Williams, McHenry Otis (Mike), and Bob Coleman
Psycho (Chico): Bob Williamson, Marty Howard, Jim Conley, Ron Murphy and Randy Reaves
Boy Blues (Chico): Jim Conley, Randy Reaves, Rick Wagner, Bob Brien, Mark Cipolla, Chris Howard, John Palmer, and Jeff Gadbois
Drusalee & the Dead (Marysville): Drew Sallee, Ernie Apodaca, Bob Covic, Bob Rathbun, Gordon McCollum, and John Piper
Statics (Marysville): Sonny Oliver, Freddie Bidasha, Johnny Rollins, Frank Lester
Custer & the Survivors (Oroville): Gary Gibson, Jodell Bruce Payseno (Jody Payseno), Mike McLoughlin, Bob Blade, Martin Blade, Richard Daugherty, and Claire Hinton
Mystics (Boise, Idaho): Tim Woodward, Vance Shirley, John Hynes, Rich Smith, and Dennis Schaffner
Thank you to Gary Gibson Jr. for sending in the photos of his father’s band, Custer and the Survivors. The group cut two unreleased songs at the same Los Angeles session as “I Saw Her Walking” and “Flapjacks”, including “With Love in Her Eyes”.
Custer and the Survivors, Custer with the goatee, second from left. Other personnel unknown.
The Velours cut this one single, “She’s My Girl” / “Woman For Me” on Rona R-010. Both sides sound like they were recorded with a studio audience. “She’s My Girl” is uptempo r&b that only lacks a guitar break. I’d like to know who was the vocal group doing the background vocals, which really help the sound. I’ve seen December 1964 as the release date. The group was based in either Dallas or Fort Worth, Texas.
St. Romain wrote the songs, with Rona Pub. Co. handling the publishing. I believe this is Mike St. Romain, who was related to Kirby St. Romain, possibly his brother?
I can tie Michael St. Romain to the Velours from Jerry Zenick’s Disc ‘n’ Data column on November 23, 1972 in the Fort Worth Star-Telegram, which profiled the band Saint Romain:
Romain’s Club Style Is Conducive to Success
Formerly known as Quest, the group [Saint Romain] recently completed a stint at Dallas’ Club Climax, where the name switch was announced.
The new handle is very apropos because the driving force of the quintet is Mike St. Romain. A dynamic singer, forceful guitarist and consummate impersonator, the Dallas native has been a professional for over a decade. After touring with the Dick Caravan of Stars at 14, Romain formed his own group, The Velours. Long stints in the Virgin Islands and on the West Coast greatly widened and polished his style. After the unit disbanded in 1968, Romain put together Quest.
Present band members are bassist Phil James … drummer Gary Talbert, who played with the Human Beings when they released “Nobody Can”; pianist George Christopher, and side [sic] guitarist Michael Marchman, who handles the arranging tasks.
An early version of Quest included Darrel Howard of the Chants, and John Broberg and Neal St. John of the Upper Class.
This is not the same Velours as the group who cut singles on Onyx and Cub, among other labels.
The Vibrasonics came from Meadville in northwest Pennsylvania, east of Cleveland and north of Pittsburgh. They recorded two good original songs, “Don’t Go” / “Send Her to Me”, on Marjon Records MJ-511, in July 1965.
Bud Pendolino wrote both songs. He registered copyright under Leonard James Pendolino in May and July 1966.
Pete Simonetta produced the single, I am not sure of his connection with the Vibrasonics.
Five years later, Buddy Pendolino’s name shows up on the writer’s credit for “Way Out West”, the A-side of a single by Fairchild (also known as Stonewall) on Marjon Records. The B-side was “I’d Like to Make You Mine”, written by B. Kurt, D. Miller, J. Crecraft and N. Dasovich.
Johnny and Martha Krizancic owned Marjon Records in Sharon PA, recording mainly polka and country music.
This is not the same band as the Vibra-Sonics from Johnstown, Pennsylvania, that made one 45, “Thunder Storm” / “Drag Race” on the Ideal label in 1964. That band included George Tweedy on lead guitar, Bob Tweedy rhythm guitar, Bill Sabo on 2nd lead and rhythm guitar, Joe Colner bass, and Joey Michno (later known as Joey Covington) on drums. These Vibra-Sonics often played Conneaut Lake, very close to the Vibrasonics hometown of Meadville.
Fox and the Huntah’s “Funny Kinda Day” is an obscure single, a full production with piano and backup singers, and a 12-string guitar break with a couple minor flubs. It was an original song by Tom Fox and Mike Davis, who seem to have been members of the band. Other possible members include Joe Ardovino and Hal McDonald.
Ed Boutwell engineered the session. “Scotty” produced the B-side, a cover of “Love Minus Zero/No Limit”. Released as Malcolm Z. Dirge 45004 in November, 1966. The oddly-named Birmingham, Alabama label also put out three singles by the Distortions, and one by the Daze of the Week.
More info on Fox and the Huntah’s would be appreciated.
The S.O.S. Unlimited seem to have been a short-lived group. They made only one single but it’s a good one, “Come On, Come On” / “Girl, You Don’t Know” on Whittier W-510, released in December, 1967 according to Teen Beat Mayhem.
Eddie Torres produced, and published the songs through Tormid Music, which also published many of Thee Midniters’ originals. Eddie Torres owned the Whittier label, and also managed and produced Thee Midniters. Eddie passed away on October 17, 2019.
Almost all Whittier releases were by Thee Midnighters, the only exceptions being Thee Impalas, the S.O.S. Unlimited, and a single with Godfrey backed by Thee Midniters, making it interesting that this single is so obscure.
B. Velasquez and S. Herrera wrote both sides.
Benjamin “Spider” Velasquez had been in the Desires who had a great 45 as Ricky René & the Fabulous Desires “Dance with Me” / “Ouch” on ERA Records 3138, from 1964. Ben Velasquez and Ricky Sanchez wrote both songs. The Blendells and Mark & the Escorts would record versions of “Dance with Me”.
I asked Mark Guerrero, formerly of Mark & the Escorts about Ben “Spider” Velasquez. Mark kindly called Albert Martinez, rhythm guitarist with the Desires, who confirmed with Spider Velasquez’s son that Spider was a member of S.O.S. Unlimited. I do not know the full name of S. Herrera, or any other members of the band.
Perhaps that is Spider playing the catchy guitar riff that opens “Come On, Come On” and the piercing guitar break later on in the song. “Girl, You Don’t Know” is slower and has a touch of psychedelic style to it.
SOS Unlimited and Thee Midniters mentioned in the Citizen News, March 1, 1968The first mention of S.O.S. Unlimited I can find is an item in a Hollywood newspaper, the Citizen News on March 1, 1968.
Three young men … are in trouble with the law today over a house on Rexford Dr. they allegedly rented to hold public dances.
Police got wind of the “social” when a crowd between 1500 and 2000 gathered at the house at 714 N. Rexford Dr. where two pop bands “The Midnighters,” and “SOS Unlimited” played for dancing.
Two weeks later on Friday, March 15, S.O.S Unlimited played a Vietnam benefit dance at Carpenters Union Hall, 7500 Van Nuys Blvd., sharing the bill with the Casuals, the Elegants, the Excessions, the Young Ideas, the Lights, the Classics, the Jems, and Leather Syrup.
The Saturnians Girls Club of the San Fernando CYO sponsored the show. “The president of the club is Irene Gomez. Jim Montoya will direct the show.”
The last mention of the group I can find comes from a flyer from Mark Guerrero’s essential website. “The Magnificent S.O.S. Unlimited” appeared at an Easter dance at Kennedy Hall, 451 South Atlantic Blvd on April 14, 1968, with Evergreen Blues, the Righteous Rhythms, The Exciting Men from Sound, and the American Fuzz Society. The show was produced “in cooperation with the Pace Setter & Foxetts Club”.
The Men From S.O.U.N.D. were a later version of Mark and the Escorts, and in 1968 changed their name to 1984, with two singles for Kapp Records as Nineteen Eighty-Four.
More info on S.O.S. Unlimited or a photo of the group would be appreciated.
Handbag had one single of organ-based jazz-rock, “Kids on the Coast” / “Heartache” on Markus DM 3848 from 1972. I could not find any detailed info on the band on the net or my reference books, so I thought I’d post about this record here, even though it’s not ‘garage’ rock.
M. Larschied wrote “Kids on the Coast”, arranged by L. Byrne. I like the bluesy flip, “Heartache”, written by J. Krueger.
Mark McCaul owned the Markus label and McCaul Music publishing, based in or near Green Bay, Wisconsin.
Markus is best known now for releasing “Sorcerer” / “Four Sticks” by Junction, as well as singles by Bishop, Jaramago, Koke and Mike Tilden & Friends. Several of these labels list “Trademark DM Recording”.
Interestingly, the “tulip” symbol in the dead wax, and the 1/4″ indent by the center hole indicate the single was mastered and pressed by Wakefield Manufacturing in Phoenix, Arizona, as were other singles on the label, such as Bishop and Mike Tilden & Friends.
Any further info on Handbag or other groups from the Markus label would be appreciated.
The Jesters came primarily from Naples, Florida, about 110 miles west of Miami. Their discography comprises a handful of high quality singles, but there is very little info about the band on the ‘net.
The first notice I can find about the Jesters comes from the Miami Herald on March 25, 1965, for a “Hootenanny” at Naples Senior High School on April 1:
“… a six-piece band which has won popularity with local teenagers. Band members are Wally Frederickson [sic], Larry Cope, Johnny Gibbs, Riley Brack, Steve Miller, and Bill Morton.”
The lineup in early 1965 was:
Wally Fredrickson Jr. – lead vocal Larry Cope – lead guitar Johnny Gibbs – rhythm guitar Bill Morton – keyboards Steve Miller – bass Riley Brack – drums
At some point David Hopkins, from Fort Myers, replaced Larry Cope.
The Jesters in the News-Press, August 15, 1965, from left: Wally Fredrickson, John Gibbs, Bill Morton, Steve Miller, Riley Brack and David Hopkins
The Fort Myers News-Press had a full page feature on the group on August 15, 1965, including photos of fans and parents:
Teens Flock to Night Spot to Enjoy Jesters
Jester A-Go-Go, News Press, July 10, 1965If attendance is any gauge, the newest establishment at Fort Myers Beach – Jester A-Go-Go is a smashing success. Every Wednesday and Saturday night an average of 250 enthusiastic teens flock to this teenage night spot at the old Driftwood Lounge to spend an evening dancing to the music of the Jesters, a six man combo from Naples.
A popular feature is the dance contest. The prize to the winner is a record album, recorded by The Jesters at the Qualicon Studios in Naples. One of the cuts on the record is an original Jesters’ composition, “I Ain’t Gonna Cry No More.”
According to Brack, the leader, the group has been playing together a little more than a year… Brack said, “One day I was talking to a man who worked for my father and he asked if I had ever played any instruments. When I told him I played the drums some, he said he was a professional bass player and suggested we get together.
… he said he could teach the guitar, so I got Steve, Bill and John and they started taking lessons. Up until then none of them had ever picked up a guitar. After three months of lessons and practice, we went out on our own and played our first dance a year ago last July 4.
… one day Dave Hopkins drove by and saw the “for rent” sign on the Driftwood.
“We decided we liked it, went in and cleaned it up and painted it. We opened about a month ago.”
…their parents… are kept busy… selling tickets, stamping the teens for identification and acting as chaperones… Parents at the door use their own judgment as to who will be allowed in and the smell of alcohol on the breath is one sure way of being denied entrance…[see full article]
Wally Fredrickson’s father, Walter Fredrickson Sr. owned Qualicon Studio.
The Jesters as a quintet, October 1965
On October 16, 1965, the Miami Herald announced the Jesters performance that night at the Masonic Hall in Naples. The accompanying photo showed the group as a quintet, without Bill Morton. A notice in the News-Press for the same show confirms that lineup and gives some more detail, with DJ Roby Yonge as emcee, and “Two of the combo’s latest recordings, ‘I Laugh At You,’ and ‘You Say You’ll Never Leave Me’ – their own composition – will be featured.”
Wally Fredrickson Jr. – lead vocal David Hopkins – lead guitar & vocals Johnny Gibbs – rhythm guitar Steve Miller – bass Riley Brack – drums
This group cut an awesome demo, “I’ll Laugh at You” / “You Can Have Her”.
The Jesters recorded a second version of “I’ll Laugh at You” for their first released single, backed with “Just Let Me Love You”. This version has “LIVE From THE CLUB A GO GO” and “Recorded By Qualicon” on the label.
Jeff Lemlich wrote to me: “Club A Go Go [aka Jester a Go Go] was an old 1930s speakeasy on Fort Myers Beach that the band ran for about four months. Other places they played included the Flaming Fountain in Naples and the local Moose Club.”
On October 22, 1965, the Fort Lauderdale News ran a display ad for the Pompano Skate Rink “Arena-A-Go-Go, Every Sat. Nite Dance to the Fabulous ‘Jesters'”.
News-Press, September 30, 1966
By the next notice I can find from September 30, 1966, nearly a year later, the lineup had changed considerably. Only Wally Frederickson and David Hopkins remained from the 1965 lineups:
Wally Fredrickson Jr. – lead vocals, tambourine David Hopkins – lead guitar, harmonica and vocals Bill Hinman – organ, guitar, mandolin and vocals Bruce Morford – bass and vocals James O’Neill – rhythm guitar Bobby O’Neill – drums
The News-Press announced negotiations between George Pittman, representing the Jesters and Qualicon Studios, and Sidewalk Productions, a division of Capitol Records. That contract would happen, with the Jesters sending two tapes to Capitol in October, 1966, for “Ride, My Son, Ride”, written by George Pittman, and “Leave Me Alone” by Wally Fredrickson. They also signed publishing contracts with Exbrook Publishing and Mirby Music Co.
I am not sure how Walter Fredrickson, Sr. met Mike Curb or some other representative of Sidewalk Productions, but a number of his productions from Qualicon would end up on Manhattan or Sidewalk.
Fort Myers News-Press, Nov 18, 1966
The News-Press ran a feature on the the Fabulous Jesters on November 18, 1966:
The Fabulous Jesters will play for a dance for teenagers Saturday night on the second floor of the former Belk’s Building at First and Hendry Streets …
The six band members … are from Fort Myers, Cape Coral and Naples … Their first record [sic] is scheduled for release around Jan. 1 by Tower Records …
Wally Frederickson Sr. will travel as sound engineer with the Jesters on all personal appearances. He is president of Qualicon Productions, Inc. He also is owner and director of Qualicon Studios which does custom recording.
Tapes by the Jesters will be prepared by Qualicon Studios in Naples and sent to California.
In January, 1967, “Don’t Try to Crawl Back” / “Leave Me Alone” came out on Sidewalk 910, originals by Pittman and Fredrickson.
On February 9, 1967, the New-Press ran an update to note the single had reached the top 40 on WMYR, Fort Myers, and WFUN, Miami:
Twenty-two songs have been recorded for Capitol and will be released at the company’s discretion. All of them were written by the Jesters.
The boys cut a film for the Rick Shaw Miami TV show recently and it was shown on the 7-8 a.m. time spot. It will be repeated from time to time.
In Miami the Jesters have played at the Tiger Den and Shindig and entertained over 3,000 of the “in” group at the world [The World nightclub].
In April of 1967, the Jesters released “Blue Feeling” (which had been done as “Blue, Blue Feeling” by Dr. T. & the Undertakers) b/w “Unchain My Heart” on Qualicon QU-5003.
June 1967 saw the release of their second Sidewalk single, “Hands of Time” / “If You Love Her, Tell Her So” on Sidewalk 916. Writing credits list Wally Fredrickson, Sr. (I suppose it should be Jr.) and George Pittman. The labels read arranged by Wally Fredrickson, Sr., produced by Qualicon.
The Sidewalk LP Freakout U.S.A. also contains “Don’t Try to Crawl Back”.
Bruce Morford later joined the Painted Faces, another band that frequently recorded at Qualicon.
Walter Fredrickson Sr died in December, 1976 at the age of 52.
John Gibbs passed away on November 15, 2010.
There was also a group called the Jesters from Palmetto High that was playing shows in the area in 1965 and 1966, with a lineup of Richard White (lead guitar), Bob Ammarell (rhythm guitar), Pete Mooy (bass) and Mike Linet (drums).
And of course there was Mark Markham & His Jesters, with an entirely different set of musicians.
Qualicon Studios:
Qualicon seems to have been formed in January, 1963, according to a notice of incorporation on the News-Press:
Qualicon Corp. of Naples was authorized to deal in electronic devices. Incorporators are William B. Vogt, Walter I. Frederickson and Patricia Ann Dozzie, all of Naples.
Though frequently spelled Frederickson in news reports, I believe the correct spelling of his name is Fredrickson.
Qualicon QU 5001 – Bob Bellows – “Goodbye Blue Eyes” (Reg Fulton, Ted Paulson) / “Tout Doux, Tout Doux” (Reg Fulton, Louie Rey) Qualicon QU 5002 – The Painted Faces – “I Want You” / “Things We See” Qualicon QU-5003 – The Jesters – “Blue Feeling” / “Unchain My Heart”
Although the Qualicon label only released three singles, Walter Fredrickson Sr produced five singles for the Manhattan label (also affiliated with Mike Curb) by the the Painted Faces and the Mysteries.
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Some of the info in this article came from Jeff Lemlich’s interview of David Hopkins many years ago. Thank you to Jeff for the news clipping from November 18, 1966.
Thank you to Anthony G. for forwarding a photo from Riley Brack, to Paul Sullivan for another photo, and also to Matthew Baker for his help.
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
Last Exit came from western Ohio, perhaps Montgomery County, near Dayton. The only name I have is K.K. Petty, who wrote both sides.
