The Other Half at Chadwick’s Recording Studio in Utica
Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.
Bassist Pete Lipsio wrote this history of the group and gathered the photos seen here.
The Other Half was organized in 1965 at Hartwick College, Oneonta New York; the members being Jeff Lyman (vocals), Steve Harrigan (lead guitar and keyboard), Peter Lipsio (bass), Glenn Schenenga (rhythm guitar) with Ed Welsh, Bob Kirsch and later Bill Pegler (drums). In the beginning there were but two individuals, (Harrigan and Lipsio), living in the same dormitory, who would get together to play their guitars. This duo soon found a local drummer in Ed Welsh with an existing band and a weekly venue at Molinari’s, a local bar and restaurant. While practicing together they attracted the talents of rhythm guitarist Glenn Schenenga and vocalist Jeff Lyman.
The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Other Half at Chadwick’s Recording in Utica
Shortly thereafter, the band recorded their first two hits at Bell Sound (later Bell Records) in New York City. Sales of the record proved to be a local phenomenon and the group acquired an ever increasing and widespread popularity with a television performance on Hank Brown’s “Twist- A-Rama in Utica.A new drummer and fellow college student, Bob Kirsch, soon replaced Ed and the band began an ever increasing spiral of popularity. Their music eventually attracted the attention of Gene Kipper, a well known agent and promoter based in Utica, New York who signed them for various performances throughout New York State.
The band continued to perform together throughout the Southern Tier of the North East; opening for The Rascals during the spring of 1967 while playing at numerous locations such as the Evening Inn and the College Inn at Saratoga New York, where they were booked for that entire summer. The band’s drummer, Bob Kirsch, a pre-med student, transferred to Wake Forest College and a new drummer and fellow Hartwick student, Bill Pegler, was obtained to be the group’s percussionist.
The band continued to play together with numerous performances throughout the school year of 1968, at the end of which, most of the members graduated and went about their individual lives. For the most part, the members of the band are now retired professionals who long ago left their musical roots to pursue different careers. In August of 2008, following a forty year hiatus, the assiduous efforts of Glenn Schenenga, reunited the members of The Other Half in communication with one another. Though now living in different states, the members are planning a reunion for the near future.
While unaware of this at the time, current research has demonstrated that there were two other contemporaneous groups with the same name. One being in Chicago and the other a West Coast band, each of some regional renown.
The years spent together, while in The Other Half and at college, hold a particular significance for each of the members, who consider this time in their lives to be among the most memorable of events wherein were formed the bonds of personal commitment to their music and a lasting friendship.
Pete Lipsio
Other Half vocalist Jeff Lyman at the Evening InnAt the Evening Inn
Rhythm guitarist Glenn SchenengaPete Lipsio at the College Inn
At the Evening InnIn the 60s this became the College Inn at Saratoga Lake
How many groups have a plug from a Filipino dictator on the back cover of their album?
“‘Your theme and vision are identical with mine. The future of Asia is in your hands. Go out and give it to the continent.’ – Fernand [sic] Marcos, President of the Phillipines”.
Up With People’s “Sing-Out 65” tour of Asia inspired the creation of Sing-Out Asia. The Sing-Out Asia group seems to be primarily Japanese with a number of Filipinos.
This album is credited to the United Sound, though only musical director Takao Nanri is named. In 1966 Nanri had a light pop group called the Village Singers. The liner notes say he resigned from the group to direct Sing-Out Asia.
Not surprisingly, this record repeats the Up With People formula of cheery, vacant songs sung in chorus, though the stiff accented English provides a twist. It would be forgettable, even offensive to people with any musical sense, except for one track, “Isn’t There Something”, which throws a good rock backing behind the chipper harmonies.
Sing-Out Asia actually made a lengthy tour of the U.S. in 1968, probably in conjunction with the release of this record, which is almost certainly a U.S. pressing [deadwax: stamped “H”, stamped “1001” etched “(stereo)”]. Some photos and recollections of the tour were at soa1968.multiply.com (website defunct as of 2013).
As an organization it seems to be still active, with recent tours of Indonesia and Japan.
The only mention I could find of Takao’s later career is production work with Kitaro on his LP “Ten Kai / Astral Trip” and the Manhunter soundtrack, though that name is sometimes listed as Taka Nanri – so is it the same person?
I haven’t been able to afford an original Decca pressing of the soundtrack LP to Gonk’s Go Beat, so I’m making do with this weird Taiwan (I think) issue instead. Condition isn’t the best, so you’ll have to put up with one couple skip and some surface noise. It’s worth any trouble to hear the Graham Bond Organisation’s “Harmonica”. If you watch the film you’ll see Jack Bruce, Ginger Baker and even John McLaughlin in that scene besides Bond.
The album is only half good. The first side is almost solid, but the second side is weak, and I’m not going to put all the tracks up here, they’re just not worth your time. There are too many light pop songs by Alan David, Barbara Brown, Perry Ford and Dougie Robinson. The ‘Titan Studio Orchestra’ under Robert Richards transcends ordinary big-band material only on the excellent “Burn Up”.
Lulu and the Luvers have a couple good songs, especially “Choc Ice”.
The Long and the Short’s “Take This Train” is also excellent – that was a band I wanted to know more about and Michael Lynch filled me in:
Bob McKinlay: vocals, guitar Bob Taylor: bass Les Saint Stuart: guitar Gerry Watt: piano Alan Grindley: drums…and one of the drummers in the big drumming scene.
They were from Ashton and had two minor UK hits (like the 30s or 40s) in 1964: “The Letter” (obviously not the Box Tops song) and “Choc Ice” (the song Lulu does in the film). But they’re probably best know for having Bob McKinlay who later made a name for himself as a British country singer.
The “Drum Battle” is crucial. In the movie there are nine players, (eight of which shown on the cover here), but for some reason this studio recording only seems to credit Alan Grinley, Ronnie Verrell (later drummed as Animal in the Muppets), Andy White (session drummer on “Love Me Do”), and Ronnie Stephenson (pop and jazz drummer). The others were Ginger Baker, Bobby Graham (top UK session drummer), John Kearns (“drummer of the Vaqueros of Lancaster – they had an instrumental single called ‘Echo’ in I think 1964” – Michael Lynch), and Bobby Richards plus one other I don’t have a name for yet. Besides the two groups of four drummers that are facing each other, there’s a ninth in the background in some of the shots in the clip from the film.
I mistakenly thought Arthur Mullard was the ninth drummer, but reader Geoff S. pointed out to me that “he was a comic actor renowned for playing dumb heavies and he is the guy wearing the uniform and white headphones who is giving the orders in this scene”.
Drum Battle Musical Director for the soundtrack is Mike Leander. I kind of like the country-folk song “Broken Pieces” by Elaine and Derek (written by the film’s director, Robert Hartford-Davis). This duo were twins, Elaine and Derek Thompson.
Overall I liked the movie despite the inane plot. The musical finale at the end was visually cool but sonically disappointing except for the Nashville Teens doing “Poor Boy”.
Photo from Greek Garage Bands of the 60sIlias Asvestopoulos – vocals Yannis (John) Spathas – lead guitar Antonis Tourkogiortis – rhythm guitar (and bass after 1966) Antonis Pitsolantis – bass (only for the first single?) Ilias Boukouvalas – drums
The Persons formed in Piraeus, a port city by Athens in 1966. They released three singles, but I’ve only ever heard this, their first, from 1966.
“Drive My Mustang” is a kind of incoherent take on Wilson Pickett. Some listeners consider “Drive My Mustang” to be the best or among the best of all Greek garage singles. I don’t disagree with that assessment, but I prefer the flip side even more.
“All the World Is Mine” would make my top ten of all garage songs from any country, any year. From the moment the chiming distorted guitar begins this song is perfect to me. The jumping bass line and fleet drum work, falsetto background vocals and nasal lead vocal are all great, but most of all I love the dissonance of the slightly out of tune lead guitar against the bass and rhythm guitars. The high mark comes during the excellent guitar break after singer Ilias Asvestopoulos shouts “all the world is mine” a couple times when the band really hits a groove.
“Drive My Mustang” was written by Ilias Asvestopoulous and rhythm guitarist Antonis Tourkogiortis (rendered on the label as E. Asvestopoulos and A. Tourkogeorgis). “All the World Is Mine” was written by bassist Antonis Pitsolantis and lead guitarist John Spathas.
Last 45, a cover of “Time of the Season”Their second release, in 1968, has “John’s Flight” / “Young Girl” (Olympic OE74 004), while their last record covered two Zombies’ songs: “Time of the Season” (titled “Eisai to koritsi p’agapo”) and “Friends of Mine” titled (“Mono mia fora”) (PAN VOX 6146), released in 1969. Anyone have good scans of these 45s?
After their third single, the Persons evolved into Socrates Drank the Conium, one of the major Greek progressive bands of the ’70s.
Sources include: Greek listing of members from Music Heaven.
Was there an original pressing with a center piece, or is this a reissue?
Optikler announced as winners of the 1967 Milliyet pop music contest, March 12, 1967 From left: Gökhan Cansen, Jan Kurban, Kemal Ebcioğlu, Rüçhan Çamay (one of the judges), Bülent Terem, and Osman Kermen Click to see full article
Optikler with Selcuk Alagoz and Vasfi Ucaroglu Milliyet, April 5, 1967Kemal Ebcioğlu – lead guitar Jan Kurban – rhythm guitar Osman Kermen – organ Bülent Terem – bass guitar Gökhan Cansen – drums
The band is Optikler. Although the 45 labels list the artist as Robert Kolej, that was their school, not the band name. “Robert Kolej” refers to the Robert Academy in Istanbul, more of a high school than a college. Lead guitarist Kemal Ebcioğlu was 16 while the rest of the group was 19 years old. Optikler translates as The Optics, a reference to the glasses all the band wore.
Optikler won the Milliyet newspaper’s second annual contest of high school pop bands in March, 1967, an event that was televised to an audience of over 20,000. and announced in the paper under the headline “future stars are born”. Their set list at the finals consisted of “I’m a Believer” and two originals, “Köylü Kizi” and “Show Me A Way”.
Picture sleeve for their only single From left: Jan Kurban, Osman Kermen, Bülent Terem, Gökhan Cansen and Kemal Ebcioğlu
One of the prizes for winning was this recording, released on the Sayan label. The A-side was Kemal’s composition “Köylü Kizi” (translates to “Country Girl” or “Farmer’s Daughter”), a great instrumental with baroque influences to the hypnotic introduction.The flip is a cover of Peter Paul & Mary’s “Very Last Day” (though possibly known through the Hollies version), and for the most part it’s instrumental and also pretty good.
Hafta Sonu Ilavesi, April 16, 1967
October 20, 1967After the contest the band played occasional live shows and did some radio and TV work, with the last mention I can find announcing their performance during the 1968 contest festivities. After Optikler, Kemal Ebcioğlu started composing classical music, then worked in computer science in the U.S.
Mr. Ebcioğlu wrote to me about his career in Turkish pop music:
Thanks for noticing the fugal introduction to “Köylü Kizi”. I had just started studying counterpoint and harmony books at the time. The instrumental version of “Very Last Day” on the B side was adapted from the Peter-Paul-Mary version, if I remember correctly.
Speaking of Turkish popular music in the 60’s and 70’s, FYI, in 1974, I composed the song “Seninle Bir Dakika” (“A Minute With You”) that represented Turkey in the 1975 Eurovision Contest.
My late father Hikmet Munir Ebcioglu wrote the lyrics. Turkey came last in that contest! It was a difficult year for Turkey politically, right after the Cyprus events in 1974; and in hindsight, our song was slow and not sufficiently catchy for Eurovision (the Netherlands song won the Eurovision competition that year). However, “Seninle Bir Dakika” has remained popular in Turkey and is considered a classic nostalgic song now.
The fans go wild… Milliyet, February 22, 1967Optikler on Radyolar at 11:55 Milliyet, June 6, 1967Cem Karaca, Apaslar and Optikler in Milliyet, October 23, 1967Article in Milliyet, November 3, 1967Flip of the record sleeve
Love’s Alchemy, clockwise from lower left: Damon Hyde, Rick Dannely, Nelson Bogart, Myron Grant, Ray Love and Rob Martens
Love’s Alchemy had this one release on Ultra-City out of Saginaw, Michigan in 1970. The band named themselves after the poem by John Donne – the label spelling “Love’s Alchmey” is a simple typo.
“I Never Said Forever” is a Doors-influenced song written by Ray Love and Damon Hyde. The lyrics include “Jesus” at least twice.
I’m not as much a fan of “Ophelia” written by Nelson Bogart, though the guitar solo has a fine, sludgy distortion to it. My copy is very scratchy. Both were published through Luzar Publications, BMI. Song writing credits list Ray Love, Damon Hyde, and Nelson Bogart.
I couldn’t find much specific on the band until Charlie, a friend of the band wrote to me:
I went to high school with a couple of the guys in the band. They went to the University of Michigan and ended up as fraternity brothers and formed the band in the late ’60s in Ann Arbor. The members were Nelson Bogart on guitar and occasional trumpet, Myron Grant doing lead vocals, Damon Hyde on keyboards, mostly Hammond B3, Rob Martens on bass and Ray Love on drums.
I was at the recording sessions in Saginaw for the record. When we met Choker Chapbell, he had to tell us that he was the guy on Stevie Wonder’s “Fingertips Part 2” that shouts out “What key, what key?” about 3/4 of the way through the tune when Stevie starts ad-libbing and changes the key!
They are all still playing music, to the best of my knowledge.
Damon Hyde’s wife Pamela sent in the photos seen here and wrote:
Damon passed away in 1999 from a high fever after 9 days in the hospital. He graduated from the University of Michigan in 1971 with a B.A. in Literature.
Damon was a honey-voiced singr who travelled extensively before settling down with his wife Pamela in 1978. He turned his musical talent into a lifelong career as a pop/rock singer and published songwriter. His band backed up Lou Rawls, The Drifters in Puerto Rico, Tiny Tim in Miami, Chief James Billie of the Seminole tribe of Florida and many others.
Damon’s unique ability to sing and play a wide spectrum of music made him a sought after musician for many of South Florida’s most popular bands. A double CD was released in his honor by his wife, Pamela called Unfinished Business.
Pamela added these notes from Myron:
The studio that did that recording was Tri City Recording, which I think was in Saginaw, although it might have been Midland. The marketing guy was “Bill McCune, Man from the Moon,” and one of the owners was a previous member of the Motown horn section.
Actually, all three of us [Damon, Nelson & Myron] played trumpet (I played coronet), depending on the tune and arrangement. Nelson and Damon played solos, I played as part of the horn section in tunes such as “Hold on I’m Comin'”. I don’t recall ever having all three horns on the same tune.
[The photos] were taken shortly after Rick joined the group. We later changed the name to Ramblecrow. There was another band in A2 at the same time who’s name came from literature, Leaves of Grass.
Walter “Choker” Campbell owned or worked with a number of labels in Saginaw including Tri-City, Moonville USA, Gospel Train and Ultra-City, with releases around 1970-’71. Almost all of these were soul sides, making this 45 by Love’s Alchmey a big exception. Choker was a tenor saxophonist who started recording in 1950 for the Lucky-7, Fortune and Atlantic labels, among others. He hired on at Motown in 1960 to form the live band for their revue shows and had a 1964 album on Motown with his band playing the label’s hits. He produced records by Carla Whitney and Albert Jones in Toronto, Canada during the 1970s, and passed away in 1993.
Background on Choker Campbell from the Soulful Detroit forum. Thank you to Pamela Hyde for the photos and quote from Myron Grant.
from left: Myron Grant, Damon Hyde, Rick Dannely, Nelson Bogart, Ray Love and Rob Martens
The Kynds, from the Schenectady Gazette, September 16, 1966
The Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.
Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.
Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”
A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:
The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”
In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.
The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).
“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:
The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966
It really makes no difference if you like what you see in me Not a chance babe, ‘Cause I’m happy, That we are free (?) What you say girl, It don’t have no effect on me So, if someone sends you flowers, babe, You know it wasn’t me.
It was written by Dan Wood and Joe Cirincione, Jr.
The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.
Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.
The Stereo Shoestring, from left: John Coco, James Noe, Richard Lalor, Steve Schultz and Jim Howard Photo from Not Fade Away #3
John Coco (vocals) Jim Howard (lead guitar) Richard Lalor (guitar) James Noe (bass) Steve Schultz (drums)
with the Buckle at the Coral Room, January 12, 1968The Stereo Shoestring were a Corpus Christi band, apparently only together for a short time during 1968. They cut one of the monster singles out of Texas in April of that year, a total reworking of the Pretty Things’ “Defecting Grey” titled “On the Road South”. On the other side was a version of the Zombies “Tell Her No”. The “English Records” labels give the band credit for writing both songs. They recorded in Houston, possibly at Doyle Jones’ studio.
The Clockwork Orange, Richard Lalor at far left, Ashley Johnson on bass. Photo from Not Fade Away #3[/caption]
Rich Lalor had played in the Clockwork Orange with Ashley Johnson, a hip record collector who owned the original of “Defecting Grey”. The fact that this song was covered by a Texas band is all the more remarkable, as it was one of the more obscure Pretty Things records of the ’60s.
Management by Vicki Jones Scanned from Not Fade Away #3They are mentioned in an article from the Corpus Christi Times in July, 1968:
“Sensitivity sessions” are scheduled with a general airing of problems and exchange of ideas. After today’s discussion groups and an “in” at 4:30 p.m. in the Hemisphere Room, a dance featuring “The Stereo Shoestring,” a local rock band, is scheduled.
For some reason, Lalor left the band, followed by Schultz and Howard. Coco and Noe found new musicians and reformed the Shoestring in 1969, but soon changed the name to the Hendrix-inspired The Red House.
Thank you to bosshoss and Gyro1966 for the 45 transfers.
Two songs by the reformed Shoestring, 1969 These would be released as by The Red House Scan from the collection of Andrew Brown
Update: I’ve changed references to James Coco to John Coco, as more than one person who knew him has commented that is his correct name.
Harban Singh & the Swallows, credited as Harban Singn on the cover.
I have three versions of this tune. Malaysia’s Geevi Lee recorded it in English as ‘Confession’; Indonesia’s Rifa Hadija recorded it as ‘Pentjuri Hati’ (Heart Stealer) and there is this version sung in Chinese by a Malaysian Sikh as ‘The Person Who Steals My Heart’. I have no idea what the original was, but it must have been popular.
There’s an earlier release on Golden Horse, credited to Harban Singh and Friends.
Backed by prolific rockers The Melodians, Patrina is another young, young singer.The classic ‘Shakin’ All Over’ is given here as ‘Shakes All Over’. The quirky guitar in this version is what appeals most to me. She had about nine releases on the interestingly-named Cortersions label.
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
Brian Kirschenbaum submitted this article on the Other Half a band from Oneonta, New York. The band cut one folk-inspired 45 at Bell Sound, “It’s Been a Good Day” written by Glenn Schenenga and the excellent “I Won’t Be Back” by Glenn and Jeff Lyman.The group thus formed soon replaced that which was performing at Molinari’s and began to attract large crowds of college students from both Hartwick College and the nearby Oneonta State University. As their litany and variety of songs increased and matured, Steve further improved the groups sound with the addition of a Farfisa organ; alternating between same and lead guitar as a particular song required. While Steve played the keyboard, Glenn would assume the role of lead guitar and Peter that of Rhythm while Jeff carried on with vocals and an occasional guitar performance. It soon became obvious that their music needed more depth and thus Peter began playing a Fender Jazz Bass through a Fender Dual Showman amp. Jeff added a new Bogen sound system and Binson Echorec reverb while both Steve and Glenn increased their respective sound with a succession of larger and more powerful amplifiers and additional instruments.
The Clockwork Orange, Richard Lalor at far left, Ashley Johnson on bass. Photo from Not Fade Away #3[/caption]
