The Paper Fortress, from left: Sam Chirico, Evan Zang, Joey Campo, and Jim Whittle
The Paper Fortress started out as the Royal Teens, making one single for the Rev Records label, “Tears in My Eyes” (Chirico) / “Chicanery” (Chirico, Whittle) in 1967.
Members were:
Sam Chirico – rhythm guitar, lead vocals Jim Whittle – lead guitar, vocals Joey Campo – bass, vocals Evan Zang – drums, vocals
The following year, they went into the studio with Tandyn Almer and Eddie Hodges to make “Butterfly High” / “Sleepy Hollow People”, released on VMC V719 at the Paper Fortress. Although the single used studio musicians, Sam Chirico sang lead vocals, with Evan Zang harmonizing, and Jim Whittle and Joey Campo adding backing vocals.
Evan Zang sent in the photos seen here and wrote to me about the group:
We were all from Redondo Beach. For various reasons the band went through three name changes in four years. We were initially The Royal Teens [but] learned there was another vocal group called the Royal Teens. Then the Candy Company, and finally the Paper Fortress.
From 1967 and on, and with many thanks to a local DJ, Casey Kasem, who managed us, we were one of the very rare South Bay pop bands that graduated from playing high school dances to the more lucrative and prestigious Hollywood scene. The other South Bay local band that cracked the Hollywood market were the Indescribably Delicious (who were also friends of ours. The Indescribably Delicious were like The Rolling Stones, while we were more like the Beatles).
We always played our originals in our live performances. We had an actual show, with routines and dialogue built into our sets. We also had revolving costume changes depending on the gig.
The venues where we were booked were the typically the hottest clubs in Hollywood, like the Whiskey A Go-Go, Pandora’s Box, the Hullabaloo (the club and the TV show), Arthur, the Roxy, Blue Law, and the Pendulum Club.
We also were fortunate enough to play at the Ice House and the Pasadena Civic Auditorium, both located in Pasadena. At the Pasadena Civic, we were the opening act for The Strawberry Alarm Clock, Electric Flag, Iron Butterfly, Standells, and The Merry-Go-Round.
Our center of the universe was Hollywood, and we felt we’d made it when the money started pouring in. In 1968-69 while my friends were working at McDonald’s and driving used VW Bugs, Sam had a new Corvette and I had a new Lotus Europa! We definitely were grateful for the good timing and fortune to have experienced so much, in such a great period of music.
The Candy Company, aka the Paper Fortress
We did appear on Felony Squad as a band called The Candy Company. We were on screen about 4 minutes but it took all day to film. Several years ago Dennis Cole, the star of Felony Squad, sent me a DVD of that episode which also guest starred Roddy McDowall who played the role of our manager. It was called “The Flip Side of Fear.” Cole’s beautiful wife at the time was Jacklyn Smith, and she was on the set that day. Like Roddy, and Dennis, she was very nice and talkative with us.
Again using the name, The Candy Company, we performed 2 songs on the Woody Woodbury Show. Woody was a very gracious host to us. I believe I have the ONLY existing recording of that performance. After we performed our songs we were invited to sit with the other talk show guests. I sat next to the late Red Foxx. He was outrageously funny.
We were recording our own original songs at several Hollywood studios, but nothing really hit. At one point we were then approached by VMC who introduced us to song writer, Tandyn Almer. Tandyn already had a huge hit with “Along Comes Mary” by The Association, and “Sail On Sailor”, which he co-wrote with Brian Wilson for The Beach Boys. Tandyn offered us two wonderful songs, “Butterfly High”, and “Sleepy Hollow People”.
Jim Whittle, vocalist and lead guitar, got married, which swiftly became the demise of the band. We were at our peak with recordings and gigs, but Jim didn’t think it’d make for a good marriage. He was undoubtedly right. Sadly, Jim passed away from a heart attack only five years after leaving the band. Jim taught me how to drive even before I had my license.
Sam Chirico, the lead vocalist and rhythm guitar has never stopped playing professionally. He lives in Las Vegas and gigs when the mood suits him. Sam often performs under the name, Sam Walker.
Joey Campo, Sam’s cousin, vocalist and bass player, stopped playing professionally. He recently retired as a Firefighter Captain.
Evan Zang of the Paper Fortress
I went off to UC Berkeley after the band broke up. While in college, I continued to play drums for several well established country singers in Northern California, and began writing songs on my own having taught myself to play piano and guitar. I’ve actually sold a handful of original tunes to be used for commercials.
In the 80’s I found myself on the ground floor of a start up Arizona based company called PET FOOD WAREHOUSE. Prior to taking our rapidly growing chain of stores public, we changed our name to PETsMART.
One of the Founders, Tye Smith, and I had previously worked together at another company. We became tight friends, especially since both of us had also been drummers in different California bands when we were teenagers. Playing music again was inevitable, and he and I, plus a local doctor, Tom Moss, formed a 3-piece combo band, humorously calling ourselves “The Barking Geezers.” Tye played drums, Tom manned the rhythm guitar, and I played bass guitar and piano.
“The Barking Geezers” unique (and then untested) niche was “live Karaoke,” and audience members could join us onstage to sing with a “real rock and roll band.” Initially I didn’t think the concept would get very far. I was dead wrong!
Apparently EVERYONE (especially after a few beers) wanted to experience their own 5 minutes of “rock and roll fame!” The concept was very well received and The Barking Geezers continued to gig in Arizona, California and Oregon for the next 14 years.
I still write and record in my home studio.
Our road manager, Al Taylor, passed away a few weeks ago. Al was a wonderful friend and asset to our band. He lived in Hermosa Beach.
Sam and I have remained in close touch, like brothers. I felt very fortunate to be a teenager in a band that had records playing on the radio, and very loyal fans.
Unreleased songs by the Royal Teens include “Run”, “The Beginning, and “Everybody Knows”. Evan added:
“Run” was the most popular song we played, and teenagers asked for it repeatedly. Jim Whittle, the lead guitarist, does some very nice riffs on “Run.”
Thank you to Evan Zang for contributing the photos and information for this article.
The Paper Fortress, from left: Joe Campo, Evan Zang, Sam Chirico, Jim Whittle
Paper Fortress’s 2nd appearance at the Alphabet Fairs at Devonshire Downs. March, 1968 Paper Fortress appearing with Hunger, Giant Crab and Wedge in Santa Maria, May 1968
The Tommy Love and Lonnie & the Legends are the only picture sleeves I know of for Rev.
The label’s location is usually noted at 12044 Chandler Blvd, N. Hollywood, CA, but the Tommy Gardner 45 gives an address of 12055 Burbank Boulevard. No relation to the Rev label from Arizona in the late ’50s that had releases by Doug Hardin, Skip & Flip, etc.
I’ve put these in possible order of release – but it’s only a guess.
This discography is probably incomplete – any help with dates, info and scans would be appreciated!
Rev 45-D-100/45-D-101 – “Wish You Were Still Mine” (Don R. McGinnis, Loucan Music BMI) / “Devil in Me” (J. Bryant for Mosic Publ., BMI) both sides arranged by Don McGinnis
Rev A1001 – Tommy Love – “Love Bug Is Buggin’ Me” / “Your Heart Is Like a Swingin’ Gate” (W.V. Thrasher, arranged by Bruce Locke)
Rev A-1003 – Gil Shelton – “I Was Wrong from the Start” (Joe Fiorito, Laucan Music BMI) / “A Penny in the Wishing Well” (with picture sleeve)
Rev 45-1005 / 45-1006 – Lonnie & the Legends – “Penguin Walk” / “Crazy Penguin” (George Grah, Laucan Music BMI, with picture sleeve)
Lonnie & the Legends had at least three 45s on various labels, I cover that band in more depth here.
Rev 45-R-1102 – Tacey Robbins and the Vendells – “My L.A.” / “Ordinary Boy” (both by Billy Storm, “Sound Track Motion Picture ‘Psycho a GoGo'”, arranged by Don McGinnis, Produced by Al Adamson, Laucan Music, BMI
Rev 45-1-66 – The Frontiers Men and Joanie – “Roaring Angels Game” (Major W.V. Thrasher, Laucan Music” / “Anaheim U.S.A.” (Lee Brian, Val-Dare Music BMI)
Rev 45-D-166/45-D-266 – Group Therapy – “Seventh Heaven” (Tom Jones, Bill Doran) / “Cheated Again” (Bob Pecel) (both sides arranged by Bill Doran, March 1966)
Rev 45-D-104-66 / 105-66 – Jack Bedient & the Chessmen – “Glimmer Sunshine” / “Where Did She Go” (October 1966)
Rev 45-N-105 – Nocturnals – “Stag Line” (Don Freeze) / Eugene Hillard (vocalist) and the Nocturnals “I Want To Know”
Rev 45-R-107 – Jay Jay Cameron with King David & the Parables – “Short Dresses” (Jay Jay Cameron – Barry Hansen) / “Miss Missile”
Rev 45-G-112 – Doug McGinnis – “Moon Over Texas” / “Everything But Me”
Rev 45-115-67/116-67 – The Royal Teens – “Chicaney” (Chirico-Whittle, Laucan Pub, BMI) / “Tears in My Eyes” (Monarch #66743, May ’67, Royal Teens became The Paper Fortress)
Rev 45-117-67/118-67 – Nona Nikova – “Dreams Are Not Enough” (Sam Carrino) / “Let The Sun Shine” (Nona Nikova), both pub. by Laucan BMI, arr. by Sam Carrino
Rev 45-117-68/118-68 – Leo & Marv – “Mrs Heartbreaker ” / “House of Lonely Hearts”
Rev 45-119-68/120-68 – Real People – “Sea Of Reality” / “The Man” (both by Parks, Alan, 1968)
Rev 200-69 – Art Wight – “Pickin’ Fights for Christmas” (Art Wight, Laucan Music BMI) / “Three Cigarettes” Rev 200-69 – Cousin Frank – “Pickin’ Fights for Christmas” (Art Wight, Wight Barn ASCAP) / “Three Cigarettes” The above two seem to be identical releases except for the artist name and publishing info. Not sure why there were two releases under different names. Country music.
Rev-3028/9 King George and the Timps – “I’m Thru Losin’ You” (Howard Huntsberry, Launcan BMI) / “I Cried” (George Renfro) Also released on Midtown M-002, “I’m Through Losin’ You” (credit changed to E.B. Robertson) / “I Cried”. Rev issue seems to be rarer.
Rev-3528 King George and Mischief Lads – “Shing-a-Ling Baby part 1” / “Shing a Ling Baby part 2” (both by George Renfro) “part 2 is particularly insane” – Mr. Robinson
Rev 4003 – Los Chicanos – “Love Is Blue” / “La Bamba”
Rev 500 – Darvy Traylor (arr. LaBerta Ellis) – “Won’t You Come Home Bill Bailey” / “That’s All That Matters To Me” (1974)
Rev-5001 – L.A. County C.O.P.E. – “Sacramento Playhouse” (Cheep Music, ASCAP, 4:00) / “Stand Up You Children”
COPE = Commitee on Political Education? Seems to be some riff on Nixon – anyone have clips of this or a good scan of the b-side?
Rev 7001 – Al Hanner “Beyond the Reef” / “Who’s Sorry Now” (need confirmation of this one – label scans please)
Rev-8107 – Tommy Gardner & His Versatiles – “Why” / “That Kind of Love” (both by Tommy Gardner, Mayon Pub ASCAP) This label gives Rev Records address as 12055 Burbank Blvd.
Rev 1722 – The Seaweeds “You Swam Away With My Heart” (Vocal)/”You Swam Away With My Heart” (instrumental) Red label with Rev in plain typeface
Rev-1941 – Danny Ghaffouri “X-Rated Baby” / “The Lady” both sides by Danny Ghaffouri, prod. and arr. by Bruce Graham, green label with Rev logo
Rev 1951 – Tony De Bruno “Io Canto Cosi Perche Sono Italiano” / “Ah! Cie Bella La Barese”
Rev 1952 – Danny Curtis “Windbag” (D. Curtis & Tom Jenkins for Charted Course Music – Dag Music, BMI) b/w Greg Biela “Flyaway” (Tom Jenkins) Produced by Tom Jenkins for Breakaway Productions, Stereo, tan label with Rev logo. 6430 Sunset Blvd. address.
Rev 1960 – Dave Duncan And Hardtimes – “Sweet Country Lovin'” / “My Hearts In Country” (need confirmation of this one)
Rev 1957 – Adrenalin – “Dogtown” (Tim Palmatier) / “By Myself” – rock from 1979, members may have included Tim Palmatier, Kevan Hill and Greg Berryman.
Thanks to Ed Nadorozny for the scan of the Gil Shelton 45, to Max Waller for info and the scans of the Royal Teens and to Mr. Robinson, beccabear, Laurent and the rest of G45 Central for their help. Thank you to Barry Wickham for the scan of the Lonnie & the Legends sleeve and Group Therapy 45.
Jack Bedient was born in Mason City, Washington, by the Coulee Dam. Kevin Woods tells me “Jack was voice trained and was a member of an acappella quartet at Gonzaga University in Spokane, Washington.”
In 1961 he had a small hit with a pop ballad “The Mystic One” on the Los Angeles label Era, while he was living in Wenatchee, WA.
By 1964 he and his band, the Chessmen had a series of standing engagements in the Lake Tahoe and Reno, Nevada region, and they lived in Carson City, Nevada for some of that time. Long-time members were Jack Bedient vocalist and rhythm guitar, Kevin Woods lead guitar, Bill Britt on 6-string bass, and drummer Jewell Hendricks. Jewell would leave the group in the later half of 1965.
Jack Bedient and the Chessmen’s live show catered to the pop sound of the times, featuring covers of current hits, lounge songs and comedy bits, and the band wore tuxedos for some upscale engagements. They released twelve 45s and five LPs during the ’60s, much of which is a reflection of their lounge act or too pop for my taste. Within all this product are some very fine cuts.
That year they cut their second 45, “Pretty One” / “Silver Haired Daddy” for the Trophy label, along with an LP, Two Sides of Jack Bedient, which I haven’t heard.
In 1965 the band recorded five songs at Fantasy Studios in Berkeley. The first single, “See the Little Girl”, is a British-influenced number. Interestingly Fantasy released it twice with the same catalog number, once as by ‘Jack Bedient and the Chessmen’ backed with “Here I Am” and once as simply ‘The Chessmen’ backed with “Looking for a Good Love”.
Kevin Woods wrote to me that this 45 was “intended to be released under the name ‘Jack Bedient and the Chessmen,’ [but] the first copies were printed as ‘The Chessmen.’ A corrected label soon followed. When the performing name was corrected, the B- side song title was also corrected. ‘Here I Am’ and ‘Looking for a Good Love’ are the same song. The correct title is ‘Here I Am’ written by Glen Campbell and Marc Douglas. The lyrics are, ‘If you’re looking for a good love, here I am….’ Easy to see where the confusion exists.”
Their next Fantasy single is the fantastic hard-edged rocker “Double Whammy”, backed by “I Want You to Know” (the Fats Domino song, “Don’t you Know”). The guitar riff for “Double Whammy” comes from Dorsey Burnette’s “Bertha Lou” as done by Johnny Faire on the Surf label (or perhaps Clint Miller’s version). “Double Whammy” reached #19 on KCBN 1230 AM Reno in early July, 1965.
Seeking to update their sound they hired Walter Hanna as keyboardist in time to record their Fantasy LP, Live at Harvey’s. I’ve only heard parts of the album, but there are good takes on “Louie Louie”, “Mary Had a Little Lamb” (aka the Searchers “Ain’t That Just Like Me”), “See the Little Girl” and “Double Whammy”, though for this last one I prefer the single version.
October 1965 saw the band’s next 45, “Drummer Boy (Play Us a Song)” / “Dream Boy (Count Your Dreams)” on Tutti Camarata’s Palomar label, then being distributed by London Records. Walt Hanna co-wrote “Drummer Boy” with Jack and Bill.
In 1966 they cut their great single, “Glimmer Sunshine” for the obscure Rev Records label. It’s not like anything else the band ever recorded and is now their most sought-after release.
Their 1967 album, Where Did She Go? seems to have been drawn from various recording sessions and shows both sides of the band with one side each of schmaltzy pop and tougher rock material. From the first side I’ve included “Candy Roses and Love” as maybe the best example of the group’s commercial pop. The second side is quite solid, with highlights being “Glimmer Sunshine” (the same version as on the 45) and “I Used to Feel Bad”. The opening guitar on “Subterranean Homesick Blues” is so crude it’s practically hardcore, and “Repunzel” and “Love Work Shop” are also good.
A later LP has typical covers of the day, but a version of “Purple Haze” is supposed to be good. Other members of the Chessmen include Steve Eggleston, and drummer Jerry Bledsoe. Drummer Sam Wisner worked with Jack after the group disbanded in August, 1970. In 1972 bookings became scarce and the band broke up for good. Jack Bedient passed away in 1998.
Walter wrote about his time with the band:
I was the 1st and I think only organist for Jack Bedient and the Chessmen, added just before their first venture into the world of Nevada casino lounge and then headliner room bookings. They had some earlier 45’s out and one album when I joined. I recorded on the later 45’s and wrote a couple of songs that went on ‘B’ sides. We also had an album recorded “Live At Harvey’s” casino at Lake Tahoe. This was in their new “go-go” room, all dance stuff, done by a on-site Sunset Sound recording crew from Los Angeles, released with Fantasy Records pre-Creedence, not to mention Sunset Sound pre-Electra records in Hollywood.
I was “discovered” by the Chessmen playing in a pizza parlor in Redwood City, California on their night off – they had a gig down the road at a classy night club. I played organ and an early Wurlitzer electric piano with friends from 1st year of college. We were the house band for a couple of pitchers of free beer and pizzas plus $15 per man a night playing surf music and whatever else was on the Top-40 radio, Beach Boys, Buffalo Springfield, Ray Charles etc. This was around “spring break” 64-65 when I dropped out of Belmont Community College and split from friends and pizza gig to grab a lucrative job offer and regular gigs with Jack and the Chessmen, $300 a week to start – big money in those days and the end of my former every-day life.
As it turned out, this was the beginning of Jack Bedient and The Chessmen’s first real big-money success, mainly in Nevada, changing gradually from a dance-club band into more of a ‘Vegas show group’ act. As I joined and went to Nevada with them, ‘instant local stardom’ continued for nearly two years.
[Manager] Bob Dee had the Chessmen lined up with good Nevada bookings: the Golden Hotel in Reno, the Silver Nugget nearby in Carson City, and Harvey’s Hotel and Casino just up the hill at Lake Tahoe. We soon were headlining at the Golden Hotel (later to become Harrah’s Club. We started getting airplay on recently recorded 45’s and over about a year had 4 # 1 Top-40 hits. The line at the casino hotel was so long to get in for our shows, the tail of the line was near the start, going around the whole city block. It really was a mind-blower for hicks like us.
In between some Nevada bookings we went to Sacramento to play a couple of weeks at one of the popular local nightclubs, following Question Mark and the Mysterians, with one of our 45’s at # 16 on [Sacramento] radio… [but] the Chessmen’s popularity was not able to break out of the local area.
The drug scene in Nevada consisted of the casino pit bosses making easily available a steady supply of Dexamil Spansules, a great, ‘tiny-time-pill’ combination of the ‘upper’ Dexadrine and ‘downer’ Miltown (Mother’s Little Helper) which kept you wide awake without being ‘wired’ for 12-24 hours. If you weren’t near a ‘cool’ casino, the constant stream of truckers through everywhere always had something ‘speedy’ on hand. A user could stay up for days, gambling, drinking, making out, etc.
Time passed quickly and popularity faded. Following a dreary dinner plus music/entertainment booking at a dead Bakersfield eatery, Bob Dee actually booked us into the Playboy Club (the “Tiger-A-Go-Go” disco?) at the S.F. airport. Part of the show was Jack Bedient backed by the house orchestra – his dream come true.
Jack, with Bob Dee’s urging, was trying to ‘secretly’ slip away and become a single big-name artist, like Roy Orbison, Jimmy Rogers, Andy Williams, etc. Jack’s attitude towards ‘his’ musicians reflected this – we got ‘no respect’, especially drummer Jewell and I, and later Jewell’s replacement. The Chessmen were cut to a trio of Jack with Bill and Kevin – drummer and keyboard as sidemen with a cut in pay!
So, Jewell, the original drummer was relegated to sideman status with a cut in pay, and so was I, just before we did the Live At Harvey’s album. Jewel quit soon after, moved to L.A. Jewell was replaced by Art – can’t recall the last name – and I stayed as a sideman for a while, needing the money, which was still pretty good, and enjoying the life-style. It’s an old story in music ‘show-biz’ – one person in a successful group is willing to dump the others, despite their hard work on the way up. That’s a different situation than being in a dead-end band moving from one subsistence gig to another. And, it’s a different situation from a long-term success combination deciding to call it quits and go their own ways – some then on to personal star status. Jack had the voice, absolutely beautiful – but, lacking strong musicianship, he needed musicians with him that knew his weaknesses and could compensate.
I headed for Los Angeles into a long career of fun garage and original bands, a few ‘almost-made-it’ big rock ‘n’ roll bands, and many better-to-forget traveling club bands, always with Hollywood as home base. Reliable gossip I heard years later said Jack was working as a solo act with his guitar at Harold’s club in Reno hotel in one of their in-house bars.
Jack Bedient and the Chessmen releases:
This is the most complete list of releases for the group out there, and corrects several errors from other sources. Any additional info would be appreciated, especially on his “Executive Productions” releases.
45s
The Mystic One / Question – Era 3050, July 1961 Pretty One / Silver Haired Daddy – Trophy 1001, 1964 See the Little Girl / Here I Am – Fantasy 595, 1965 See the Little Girl / Looking for a Good Love – Fantasy 595, 1965 (released as by “The Chessmen”) Double Whammy / I Want You To Know – Fantasy 598, 1965 Drummer Boy (Play Us a Song) / Dream Boy (Count Your Dreams) – Palomar 2212, October 1965 Glimmer Sunshine / Where Did She Go – Rev 104/5, 1966 Love Workshop / I Could Have Loved You So Well – Columbia 4-44302 1967 Pretty One / See That Girl – Columbia 4-44481, 1968 The Pleasure of You / It’s Over – Columbia 4-44565, 1968 My Prayer / Independence Day – Columbia 4-44671, 1968 I’ve Been Loving You / I Could Never Lose My Love for You – Executive Productions 21, 1969, with picture sleeve Beautiful (Takes a Trip) / Release Me – Executive Productions 21
LPs
Two Sides of Jack Bedient – Trophy 101, 1964 Live at Harvey’s – Fantasy 3365, 1965 Where Did She Go – Satori 1001, 1967 Songs You Requested – Chessmen no #, 196? In Concert (Harolds) – Chessmen no #, 1969 Jack Bedient – Executive Productions, 196? (rumored, but apparently this does NOT exist – if so please send confirmation)
Thank you to Jeffrey Lee for the scan and transfer of “I’ve Been Loving You” and to Fred Hoyt for the scan of the Executive 45 sleeve. Special thanks to Kevin Wood for his help in correcting some of the information in this article.
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
The Paper Fortress started out as the Royal Teens, making one single for the Rev Records label, “Tears in My Eyes” (Chirico) / “Chicanery” (Chirico, Whittle) in 1967.From 1967 and on, and with many thanks to a local DJ, Casey Kasem, who managed us, we were one of the very rare South Bay pop bands that graduated from playing high school dances to the more lucrative and prestigious Hollywood scene. The other South Bay local band that cracked the Hollywood market were the Indescribably Delicious (who were also friends of ours. The Indescribably Delicious were like The Rolling Stones, while we were more like the Beatles).
We were recording our own original songs at several Hollywood studios, but nothing really hit. At one point we were then approached by VMC who introduced us to song writer, Tandyn Almer. Tandyn already had a huge hit with “Along Comes Mary” by The Association, and “Sail On Sailor”, which he co-wrote with Brian Wilson for The Beach Boys. Tandyn offered us two wonderful songs, “Butterfly High”, and “Sleepy Hollow People”.
“Glimmer Sunshine” by 
