Bob Sanders ran the Knight and Spectra labels, among others, during the mid-’60s in Dallas, Texas.
The Knights 45 was completely unfamiliar to me until Brian Kirschenbaum wrote to me with the scan and transfers of the record. He was surprised to find a Texas 45 had made its way to upstate New York. It’s an interesting single, very much influenced by the British sounds of the time in changes and feel, especially on “I Know It Now”. Bob Kissell wrote both sides.
I had no information on the group until a couple comments were left (see below). As it turns out, this band made an unlikely journey from upstate New York to work in Dallas, Texas. In Watertown they were known as Dick and the Knights.
I’ll repeat most of Dick Kissell’s comment here:
The group consisted of Chuck Martuzas, bass (now deceased); Bob Lawlor, drums; Bob Kissell, lead guitar; and myself on rhythm guitar. The vocals were done by Bob and myself.
On a whim, we went to Dallas in the fall of 1964 because we had a friend down there who said he might be able to help us find some local clubs needing bands. We started out at a place called The Haunted House Club then moved on to the Disc-A Go Go and eventually LouAnns. We became house band at LouAnns.
Lewis Lindsey played the organ part on the “Stay” side. A guy named Bill Petty was friends with Lewis Lindsey and was also part owner in the Haunted House club; that’s how we got the recording deal. Only 300 copies were pressed. Later the following year, we became friends with The 5 Americans and played around Dallas for awhile until returning home.
Dick Kissell added in an email to me:
The single “Only You Hold The Answer” was a regional hit for us around 1967. My brother Bob Kissell wrote the melody while I wrote the lyrics. He plays (blues) around the Daytona Florida area in the winter, and then comes home and plays here (Watertown, NY) summers.
The Knights second single, “Only You Hold the Answer” b/w “Walkin’ The Streets” may have been their own production with no involvement from Bob Sanders of Knight Records in Dallas. The labels credit their last name as Kisslle (sic). The single had publishing by Pinent Music, BMI and the band recorded it at Dayson Studio in East Syracuse, NY.
Many thanks to Brian Kirschenbaum for alerting me to the Knights 45 and to retrogirl86 for the info in her comment.
The Teen-Beets, from left: Ken McGee, John McGee, George Samaras and Paul Doby
The Teen-Beets of Winston-Salem, North Carolina released four fine records, the first three featuring original songs by vocalist and guitarist John McGee along with covers of Barbara Lynn’s “Oh Baby”.
George Samaras sent in these cool photos and clippings and told me about the group:
The band was formed in Winston-Salem, North Carolina at the end of 1964. The original line-up consisted of two brothers, John McGee (lead guitar & lead vocals) and Ken McKee (rhythm guitar & lead vocals). The two other band members were Paul Doby (bass guitar) and me – George Samaras (drums).
By the summer of ’65 we had recorded our first record at Arthur Smith’s studio in Charlotte, NC (“I Guess That’s Why You’re Mine” / “Not In Love With Me”) and released it on our own label, Chain Records. It received considerable local air play and reached #20 on one of the local radio stations top 40 list. Around this time we all dyed our hair bright red (as in Teen “Beets”) to attract attention. It worked!
Our second local release (“I Should Wait” / “Oh Baby”) was also recorded at Arthur Smith’s studio and released on Chain Records. Although it received considerable local air play it did not chart.
Winston-Salem Journal, June 19, 1965, with hair stylist Bobby Todd
We stuck with the bright red hair and high energy stage shows achieving local notoriety. We also had a change in the band membership. Paul, our bass player, was replaced by Stan Ratcliffe.
In early ’66 we traveled to Nashville, Tenn. and re-recorded “Not In Love With Me” and “I Should Wait” in Fred Foster’s Sound Studio for Tree Publishing Company. It was released on Dial Records under the name the “Beets” but quickly faded into obscurity.
Opening for Roger Miller at Memorial ColiseumParamount booking Promo photo
Soon afterwards, management of the group was taken over by Pete Berry – a local DJ and program director better known as the Flying Dutchman. Under Dutch’s guidance we got rid of the red hair and changed our name to the “Words of Luv” and returned to the studio to record “I’d Have To Be Outta My Mind” / Tomorrow’s A Long Time”.
Dutch was able to get us signed with a booking agency in Washington, D.C. and also with Hickory Records for a four record deal. We went on the road playing up and down the east coast. Hickory Records released “I Have To Be Outta My Mind”. While the record received good reviews in Cashbox and Billboard magazines, it only received limited air play on the national scene.
In order to earn a living, Paramount kept us booked steady in real night clubs (usually a week or two at a time) which gave a break from doing one nighters all the time. Also, we would occasionally back up some of Paramount’s fading stars. We worked with Little Eva a few times, she had a national hit called “The Locomotion” about five years prior to that time. Whenever we were with her we were the Locomotives. Also, with Jimmy Jones a couple of times. Jimmy had two national hits a few years before that – “Handyman” was his first and then “Good Timing”. With Jimmy we were the Handymen.
The promotion picture of the “Words of Luv” has the name of the band misspelled – “Love” instead “Luv”. It was the printer’s mistake and Paramount Artists made them redo the entire order. Mistakes seemed to follow us around. When Hickory Records did the initial pressing of promotion copies for “I’d Have To Be Outta My Mind” they accidently put the plug side star on the flip side and starting sending it out to radio stations before they caught their mistake. Because of this, they had to do another promo pressing and start sending it out again.
Promo sheet showing later member “Fab” Foltz
We didn’t get all the way up to Montreal. We only toured on the U.S. side of the border and the closest we played to Canada was upstate New York. As I recall, the very first gig booked through Paramount Artists was in Massena, New York (right on the Canadian border). We traveled extensively up and down the eastern seaboard (north and south), but only as far north as New York. I guess “Montreal to Miami” just sounded good to whoever wrote that promo sheet. However, we did go just about everywhere in-between.
We did a few TV shows: Some local shows in North Carolina, a show called ‘Wing Ding” in Washington, D.C. and a syndicated show (taped in Maryland) called the “Kirby Scott Show”. We also played a lot of teenage night clubs, dances and auditorium shows.
We had a fifth band member for a short period of time on the road. His name was Doug Foltz (nick name: Fab). Fab played electric piano and also sang lead.
By the early Fall of 1967 the road was taking its toll and the band broke-up. Although we had recorded a few more songs, due to the band’s break-up, they were never released. They were independently produced by Flying Dutchman Enterprises and I don’t know whether or not they were ever turned over to Hickory Records. I’m sure those master tapes are long gone by now.
“I’d Have To Be Outta My Mind” was re-mastered and put on Garage Beat ’66 Vol. 1 three or four years ago. It was a CD released by Sundazed Records. Our local releases were put on Tobacco a Go Go (Blue Mold Records) several years back.
Even though I later played in a few other road bands, and still occasionally play locally on weekends, my fondest memories will always be of the Teenbeets.
One more thing – I came across an interview that Ken Friedman of Tobacco A Go Go did a little while back. He was relating the story of the Teenbeets as one of his favorite garage band stories. In the interview Ken said he had met one of the former band members back in the 1980’s and that person was now a Moravian minister after finding religion on the battlefield in Viet Nam. Ken misidentified that person as the drummer. In actuality it was Paul (our original bass player).
George Samaras Review of Hickory 45 in Cash Box
Paramount booking cardback of Paramount booking card
The Prophets seem to have been a short-lived group with one release on Kerston. At least three of the Prophets were British musicians who were based in Germany:
Billy Tabbert – guitar, vocals Derek Moore – bass, vocals Ron Howden – drums ? – guitar, vocals
In 1964, Derek “Mo” Moore was in two groups, the Upsetters and Beast. While touring France with the Upsetters, he met Ron Howden. I’ve seen conflicting accounts of what happened next, either Ron joined the Upsetters in France, or else Derek jammed with Ron when Beast toured through Hamburg.
In any case, the two of them formed the Prophets with guitarist Billy Tabbert. I’m not positive who the fourth member of the group was. It could have been Tommy McGuigan, a friend of Tabbert’s who had been vocalist and saxophonist in the Scottish rock band, the Waysiders from 1962-1965.
“You Missed by a Mile” and “Hey Mister” are two excellent originals by Moore and Tabbert. One is upbeat, the other more sedate, but each has fine vocals over expressive guitar playing, resounding bass lines and agile drumming.
Sometime between 1965 and 1967 Derek and Ron met keyboardist Allan “Taff” Freeman and guitarist Allan Murdoch from MI5, another English group who had relocated to Germany. Derek and Ron either joined MI5 or else formed a new group with them, Prophecy. By 1968 that group had evolved into Nektar, with LPs on Bacillus and United Artists. Billy Tabbert joined Allan Murdoch and Tommy McGuigan in Message, who also had releases on Bacillius. I’ve been told that Billy Tabbert passed away in 1995.
Fred Kerston ran his Kerston label from Oberkassel, Bonn with an impressive list of releases, including the Beethovens “I Want a Dog” / “She Is My Love”, the Party Brothers “Our Love Is Gone” / “Every Night”, the Magic Herbs “There’ll Come the Day” / “Still Hoping You Might Come Back Home”, the Strings “Don’t Play”, the Strangers “Hurt It”, the Tramps “I Do”, the Vampires “It’s Enough”, the Vanguards “I Know a Girl” / “My Babe” and the cool instrumental “A Life Like a Hound” by Bill Soap & the Dirties.
1965, from left: Mick Tinsley, Alan Laud, John Stewart, Ray Honeyball and Leslie Dash
Mike Tinsley (vocals) John Stewart (lead guitar, vocals) Tony Cockayne (rhythm guitar) Ray Honeyball (bass) Leslie Dash (drums)
1963
November Former Electrons lead singer Mike Tinsley (b. 16 December 1940, Portsmouth, Hants), guitarists John Stewart (b. 18 March 1941, Torphins, Kincardineshire, Scotland) and Tony Cockayne; bass player Ray Honeyball (b. 6 June 1941, Whickham, County Durham) and drummer Leslie Dash (b. 3 April 1943, Hillingdon, Middlesex) are all Royal Air Force ground crew based at RAF Wittering in Cambridgeshire, England. Captivated by the beat scene exploding in the UK, they decide to form a band, The Trendsetters. The quintet performs initially in the officers’ mess at RAF Wittering but then ventures out, debuting at the White Lion pub in Whittlesey, Cambridgeshire. After receiving a positive reception, they play at the Dorothy Ballroom and the Corn Exchange in Cambridge.
1964
The band changes its name to The Hedgehoppers; a nickname for the “V” bombers, which can fly a few hundred feet above the ground, under enemy radar to avoid detection and ground-to-air missiles. A local agent spots The Hedgehoppers playing the local pub scene and arranges live gigs to showcase the band at weekends. By June, The Hedgehoppers have opened for Unit Four Plus Two, The Hollies and The Kinks among others.
November (22) The Hedgehoppers make their first appearance in Cambridge, playing at the Alley.
December (26) The band performs at the Corn Exchange, Cambridge with The Cascades.
1965
February (7) The Hedgehoppers play at the Alley Club in Cambridge.
March (6) The Hedgehoppers appear at the Victoria Ballroom in Cambridge.
(14) The band returns to the Alley Club for another show.
April(1) The group performs at the Victoria Ballroom in Cambridge.
(17) The Hedgehoppers open for The Primitives at the Corn Exchange, Cambridge.
May (8) The group plays at the Victoria Ballroom, Cambridge.
(22) The Hedgehoppers open for Brian Poole & The Tremeloes at the Corn Exchange, Cambridge.
July (3) The band returns for another show at the Victoria Ballroom in Cambridge.
(17) The Hedgehoppers appear at the Dorothy Ballroom in Cambridge with Bob Ludman and His Orchestra, The Seminoles and Ben Elliot and The Klan. Alan Laud (b. 13 March 1946, Whittlesey, Cambridgeshire), who is a civilian living near the RAF base takes over from Cockayne on rhythm guitar after meeting the musicians in a local pub.
August The Hedgehoppers are playing at the Corn Exchange in Cambridge when they are spotted by Trinity College student Kenneth King (aka Jonathan King), who is working as a producer for Decca Records through his own company “Jonathan King Enterprises”. The aspiring producer is about to release the single “Everyone’s Gone To The Moon” under his recording name Jonathan King and approaches The Hedgehoppers to see if they will record another of his songs – “It’s Good News Week”. King, who is keener on becoming a producer than a singer, suggests that they add the Anonymous tag so that they can keep their fan base but protect their anonymity from the RAF, which is unaware of the recording. The band records “It’s Good News Week” under the musical direction of Arthur Greenslade, who adds session players, including guitarist “Big” Jim Sullivan, to back Tinsley on the track.
(14) Still billed as The Hedgehoppers, they play at the Victoria Ballroom in Cambridge.
September King’s tongue-in-cheek protest song, “It’s Good News Week” backed by “Afraid of Love” is released. The single’s success generates a huge amount of publicity but also creates problems with the RAF, which has not given the musicians the proper authority to find employment outside the Armed Forces. Hedgehoppers Anonymous make their debut TV appearance on ITV’s Ready Steady Go! They also appear on BBC TV’s Top of The Pops to plug the single.
(11) Billed as The Hedgehoppers, they play at the Victoria Ballroom in Cambridge.
West End Promotion Ad, New Musical Express, October 1965
October Tinsley successfully submits an application to the RAF for a discharge.
(1) Still billed as The Hedgehoppers, they appear at Bassingbourn Village College, Bassingbourn, Cambridgeshire with The Hornets.
(15)NME reports that Dash, Honeyball and Stewart have applied to the RAF for a discharge but it is not known whether these will be accepted. Behind the scenes, London session musician Glenn Martin (b. 22 January 1946, Wembley Park, Middlesex), who is the resident drummer at the Ad-Lib club and has been playing with Ayshea Brough, takes over from Leslie Dash for live gigs while the drummer tries to gain a discharge.
Tour dates announced, New Musical Express, October 15, 1965
(29) With Martin onboard, the new line up plays at the YOR Club, Parr Hall, Warrington, Cheshire with The Boys in support . On the same day, NME reports that the future of Hedgehoppers Anonymous is still in the balance as it is uncertain whether Dash, Honeyball and Stewart’s applications will be accepted. Soon after, Stewart successfully gains a release from the RAF. Meanwhile, the group is forced to turn down an offer to join the Gene Pitney tour because of the travelling involved.
Opportunity to open for Gene Pitney lost New Musical Express, October 29, 1965
(30) Hedgehoppers Anonymous perform at Altrincham Stamford Hall in Altrincham, Greater Manchester.
(31) The group makes an appearance at Peter Stringfellow’s Sheffield Mojo club, Yorkshire.
November(2) The band performs on Rediffusion’s Five O’Clock Funfair.
(3) Hedgehoppers Anonymous play at the Kingston Cellar in Kingston-upon-Thames, Surrey.
(4) They perform at the Swindon Locarno Ballroom in Swindon, Wiltshire.
(5) Hedgehoppers Anonymous play at Leighton Baths, Leighton Buzzard, Bedfordshire.
(6) “It’s Good News Week” peaks at UK #5 and also reaches #48 in the US Billboard chart. On the same day, the band are billed to appear at Rawtenstall Astoria, Rawtenstall, Lancashire.
(7) Hedgehoppers Anonymous perform at the Carlton in Slough, Berkshire.
(8) The following day, the band plays at the Atalanta Ballroom in Woking, Surrey.
(10) Following a show at High Wycombe Town Hall the previous day, the group performs at the Stevenage Locarno in Stevenage, Hertfordshire.
(11) They perform at Wisbech Rose and Crown, Wisbech, Cambridgeshire.
(13) The Grantham Journal lists the band appearing at Drill Hall, Grantham, Lincolnshire with Them Dogs and The Scene.
(16) Hedgehoppers Anonymous appear at an All-nighter session at the Cavern in Liverpool with The Baskerville Hounds, The Verbs, The Drifting Sands, The Richmond Group, The Dresdens, The Almost Blues, The Harpos, The Masterminds and The Fourmost.
(18) The band plays at the 100 Club in Oxford Street, London.
Leslie and Ray go “part-time”New Musical Express, November 26, 1965
(26)NME reports that Dash and Honeyball are likely to be temporarily replaced because their applications to buy themselves out of the RAF have been turned down a second time. The magazine goes on to say that Dash and Honeyball will return to RAF Wittering today and their availability for appearances – as close as next week – is still uncertain. The band’s agent Chris Peers tells NME that the two musicians will work on as many dates as possible, but for some bookings replacements will have to be brought in. Behind the scenes, however, Dash decides not to continue with the band and will later move out to South Africa where he currently resides. Glenn Martin takes over but will not be officially announced as Dash’s replacement until December. On the same day, the band appears Hillside Ballroom, Hereford with The Alan Walker Group .
1965, from left: Ray Honeyball, Alan Laud, Mick Tinsley, and John Stewart
December Decca rush releases a second single to capitalise on the success of “It’s Good News Week” but the Kenneth King written “Don’t Push Me” c/w “Please Don’t Hurt Your Heart for Me” sells poorly. Like Dash, Ray Honeyball cannot get a release from the RAF. Former Von Dykes bass player Lee Jackson is brought in and put on a retainer. The idea is that he will fill in for Honeyball whenever the bass player cannot honour an engagement. While on a retainer, Jackson plays some shows with John Mayall’s Bluesbreakers.
Lineup after late ’65, from left: Tom Fox, Glenn Martin, Mike Tinsley, Alan Laud and John Stewart
(1) The band plays at Stourbridge Town Hall, Stourbridge, West Midlands.
(2) Hedgehoppers Anonymous perform at the Blue Moon club in Cheltenham, Gloucestershire with The Alan Walker Group.
(3) They appear at Trowbridge Town Hall in Trowbridge, Wiltshire.
(4) The group plays Redhill Market Hall in Redhill, Surrey.
Photo: Boyfriend, 4 December 1965
(6) Hedgehoppers Anonymous appear at Bridgewater Town Hall, Bridgewater, Somerset.
(8) They play at Kidderminster Town Hall, Kidderminster, Worcestershire.
(11) Hedgehoppers Anonymous appear at Nelson Imperial in Nelson, Lancashire.
(12) The group plays a show at Manchester Oasis club.
(16) The band appears at the Pier Pavilion in Worthing, West Sussex.
Keith Jackson and Glen Martin replace Ray Honeyball and Leslie Dash, New Musical Express, December 17, 1965
(17)NME announces that Keith Jackson and Glenn Martin have formally replaced Ray Honeyball and Leslie Dash who have been unable to obtain discharges from the RAF.
(22)Record Mirror announces the new line up, introducing Lee Jackson. However, Jackson only appears in a few publicity photos before finding work elsewhere. He subsequently joins Gary Farr & The T-Bones and then The Nice. Londoner Tom Fox takes over on bass from The Beat Boys and Barry Edwards and The Semi-Tones.
(27) The group plays at Bath Pavilion, according to Western Scene.
1966
January Having signed up to Chris Peers Promotions the previous year, the new line up starts to pick up steady work around the country.
(15) Boyfriend magazine lists the group appearing at the George Ballroom, Hinckley, Leicestershire.
(21-26) Boyfriend magazine reports that the band is touring Scotland.
(29)Boyfriend magazine has the group playing at the Town Hall in Bishop’s Stortford, Herts.
April Martin suggests that Hedgehoppers Anonymous cut a version of Chip Taylor’s “Wild Thing”, which is recorded and prepared for release. However, according to Martin, Kenneth King is not convinced about the song’s merit and persuades the musicians to record “Baby (You’re My Everything)” (a Little Jerry Williams ballad that Jonathan King had the rights to) instead. Shortly afterwards, The Troggs top the charts with their own version of “Wild Thing”, allegedly after hearing Hedgehoppers Anonymous’ unreleased version. However, Jonathan King relates “the demo of Wild Thing was first played to me by the publishers; I loved the song and allowed the guys to play on it but their version wasn’t even as good as the demo so I passed and the song was given to Larry Page who produced it with the Troggs.”
(22) The Southend Standard lists the band playing at the Cricketers Inn, Westcliff, Southend, Essex with Bubbles & Co.
Photo: Mirabelle, 23 April 1966 issue
May Having appeared on ITV’s Ready Steady Go! Hedgehoppers Anonymous return with a third single, “Baby (You’re My Everything)” c/w “Remember”. The band’s poppy sound, however, increasingly sounds dated, and the single does not chart.
June(10) Hedgehoppers Anonymous play at the California Ballroom, Dunstable with The Felders.
(11)Melody Maker reports that Mick Tinsley has been ordered to rest for a week after being injured by fans at the Star Rink Ballroom, West Hartlepool last weekend. The band appears on BBC Radio’s Saturday Club this weekend.
July(23) They appear at St Mary’s Hall in Bognor Regis, West Sussex with Listen.
August(26) The band moves towards a more harder-edge rock sound, which culminates in the mod/freakbeat classic “Daytime” which is backed by “That’s The Time”. Unfortunately, the single is not a chart success. “Daytime” is an adaption of Les 5 Gentlemen’s “Dis-Nous Dylan” (originally co-written by Jean Fredenucci of Les 5 Gentlemen and T. Saunders) with English lyrics by John Stewart. Les 5 Gentlemen also record “Daytime” with Stewart’s lyrics for a release on the Major Minor label as Darwin’s Theory.
September(10) Hedgehoppers Anonymous record for BBC Radio’s Saturday Club with Dave Dee, Dozy, Beaky, Mick and Tich, The Fortunes and Glen Dale.
Photo: Mirabelle, 15 October 1966 issue
October The band plays at the Lyceum Ballroom in London on a bill that includes Tom Jones.
(12) Hedgehoppers Anonymous appear at Tiles nightclub on Oxford Street in central London with The Excels.
(15) The band plays at Leyton Baths Hall, Leyton, east London with The Plague.
(22) Hedgehoppers Anonymous play at Bedford Corn Exchange, Bedford with The Day-Stroms and The Tone Benders.
November(26) The band appears at Leas Cliff Hall, Folkestone, Kent with The Kingpins.
December(9) Final single Alan Laud’s “Stop Press” c/w “Little Memories” is another chart failure.
(17) Hedgehoppers Anoymous perform at Wilton Hall, Bletchley, Bucks with The Addix.
(23) The band appears Lewes Town Hall, Lewes, East Sussex with The Zombies and The Teen Team.
1967
January(6) The band plays at the Winter Gardens, Droitwich, Worcestershire.
(7) Hedgehoppers Anonymous appear at the Marine Ballroom, Morecambe Pier, Lancashire.
New Musical Express, January 14, 1967
(14)NME reports that the current Hedgehoppers Anonymous will split up on 11 February but that Martin and Fox are planning to form a new group, which will probably use the same name. On the same day, Mike Tinsley releases his debut solo single, “Let It Be Me”, produced by Kenneth King, on Decca. The publication also announces that Alan Laud and John Stewart will be forming a trio with ex-Overlanders’ member Terry Widlake but the collaboration never happens. Alan Laud later moves to Spain where he runs a bar in Torremolinos while John Stewart, who is intent on pursuing a career as a songwriter, subsequently relocates to the United States. He currently works in a recording studio in Tennessee. Rather than keep the Hedgehoppers Anonymous name going, Glenn Martin and Tom Fox get a job with blues singer Kenny Barnard, who is opening at the Bag O’Nails club after resident band The Peddlers have moved on.
(22) Martin (on his 21st birthday) and Fox back Kenny Barnard at the Bag O’Nails club. Soon after The Peddlers return to the Bag O’Nails and Barnard’s band finds itself without any work. The musicians go their separate ways. Tom Fox disappears from the music scene but allegedly commits suicide years later.
February (2) The band is advertised to play at the Embassy Suite, Thursday Club, Colchester, Essex with Hap and Unit 4.
(11) Hedgehoppers Anonymous officially disbands.
March Having moved to Halifax, West Yorkshire in February, Martin revives The Hedgehoppers Anonymous name and brings in lead guitarist Ian Atkinson from The Morton Fraser Harmonica Gang. Atkinson recommends his friend from Leeds, bass player Howard Livett. Keyboard player Vincent Crane joins for a few gigs but soon leaves to form The Crazy World of Arthur Brown. Atkinson contacts his friend organist/singer Chris Lazenby, who has previously worked with the guitarist in Bradford band, The Del Rio 4. They also recruit a second lead guitar player from Oldham. The new version mixes band originals – “It’s Good News Week”, “Don’t Push Me” and “Daytime” with covers material.
Hedgehoppers, summer 67 photo with Pete, Ian Atkinson, Glenn Martin, Chris Lazenby and Howard Livett
April The new line up embarks on a busy schedule of nation-wide gigs that takes in venues as far flung as Glasgow and Leicester.
August Lazenby and the second lead guitarist depart when Martin convinces original singer Mick Tinsley to return to front the band. Lazenby joins the house band at Butlins in Minehead and reunites with Glenn Martin in 1970 when their band works the summer and winter seasons at the Butlins Hotels in Cliftonville near Margate, Kent.
(25) With Tinsley back onboard, the band performs at the Boogaloo, Castleford, West Yorkshire with The Move.
September (16) Hedgehoppers Anonymous appear the Top Spot Ballroom, Ross-on-Wye, Herefordshire with The Knack .
Sweden, 1967, from left: Ian Atkinson, Mick Tinsley, Glenn Martin and Howard Livett
October Hedgehoppers Anonymous featuring Mick Tinsley, Glenn Martin, Howard Livett and Ian Atkinson embark on a short tour of Sweden and Lapland.
(6) While playing at the Cue Club in Gothenburg, Stoke-on-Trent band The Colour Supplement open the show. The band’s singer Phil Tunstall will join a new, completely unrelated, version of Hedgehoppers Anonymous in December 1968.
Swedish tour, 1967, from left: Mick Tinsley, Howard Livett, Glenn Martin and Ian Atkinson
(18) Liseberg Pop In Club in Gothenburg.
November On their return to the UK, Tinsley resumes a solo career. He later becomes a co-writer for songs covered by Joe Dolan and Kelly Marie. In the late 1960s/early 1970s, Livett works on the Mecca scene with the band Huckleberry and spends over 10 years playing the Leeds City Varieties but passes away in August 2005. Martin joins Sandie Shaw’s backing group, The Streamliners, featuring Stoke-on-Trent musicians Tony Kaye (guitar), Dave Birkenhead (organ) and John Askey (bass). While with Sandie Shaw & The Streamliners, Martin will appear at the MIDEM Festival in Cannes in January 1968. When Martin leaves The Streamliners in February, Tony Kaye decides to use the Hedgehoppers Anonymous name for a new, completely unrelated, band, which with a modified line up will continue into the early 1970s, recording in South Africa as Hedgehoppers. Mick Tinsley sings “Wrap Me in Love” co-written with Peter Hawkins of Pickettywitch as a soloist for the UK at the Yamaha World Song Festival in Tokyo 1976. He co-writes songs with Peter Yellowstone for Joe Dolan and Kelly Marie.
2009
October Tinsley’s solo album My Surival is released on the British Academy Songwriters Composers Authors’ label. The album is produced by Tony Swain, who has previously worked with Spandau Ballet, Alison Moyet and Bananarma among others.
Mick Tinsley, May 2010
2010
June Prism Leisure Records re-release two CDs featuring Tinsley singing on the songs “Songs That Won The War” and “English Street Party” recorded in the 1990s. Glenn Martin, who has worked as a session drummer over the last 40 years is drum chair at the Surrey Jazz Orchestra.
December(4) Tinsley will be appearing at the Amersham Rock and Roll Club with Chris Farlowe, Vanity Fair, The Searchers and Honeybus.
Sources:
The Best of The Cellars – The Story of the Cavern Club by Phil Thompson, Tempus Publishing Limited, 2007. New Musical Express, 1 October 1965 (page 9), 15 October 1965 (pages 9 and 13), 29 October 1965 (pages 6, 9 and 10), 26 November 1965 (page 9), 17 December 1965 (page 6), 14 January 1967 (page 8).
Many thanks to Mick Tinsley, Glenn Martin, Jonathan King, Chris Lazenby, Mick Cockayne, Lee Jackson, Jenni Livett, Christopher Hjort, Tertius Louw, Paul Green and Tony Walter for providing further details. Thank you to Paul Tinsley for the photo of Mick Tinsley in May 2010. Thanks also to Samuel Coomans for one of the sleeve scans and to Hans Olof Gottfridsson.
Mike Tinsley’s “My Survival” is available on the BASCA Academy Recording Digital label and can be purchased on Amazon.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
Keith Kessler’s “Don’t Crowd Me” is an anthem to garage-punk fans, with a sound to match the intensity of the lyrics: “Inside looking out, got no place to shout … I’m locked inside this place, problems I can’t face, I’m getting out breaking free … don’t crowd me! / My soul is cramped and bare, there’s freedom I can’t share … my independence crushed, don’t crowd me, give me air, give me time …”
Keith Kessler recorded “Don’t Crowd Me” at Kearney Barton’s Audio Recording Studio at 2227 5th Avenue in Seattle in 1966, using musicians from Keith’s group, the Impulses.
The Impulses formed in Bellevue (just across Lake Washington from Seattle) in 1964 and included Michael Elliot on lead guitar, Jack Joseph on rhythm, Keith on keyboards and vocals, Jim Simmons on bass and Lew McCall on drums. After the session for “Don’t Crowd Me”, Doug Holloway replaced Lew on drums. The Impulses split around 1967 and Keith joined Calliope for a time but left before they signed to Buddah.
“Don’t Crowd Me” wouldn’t be released for two years, and it was only with some luck that it was issued at all.
During the summer of 1968, Mike Wing, a Bellevue musician and aspiring record producer, liked one of Keith’s original songs “Sunshine Morning” enough to set up a publishing company and finance the recording, pressing and promotion of the record. Keith’s 1966 recording “Don’t Crowd Me” filled in for the b-side, and they released the record and sleeve in August. “Sunshine Morning” didn’t hit, but “Don’t Crowd Me” deserves to be ranked among the top examples of the tough Pacific Northwest sound.
My friend and fellow record collector Gregor Kessler (no relation to Keith) asked Keith about this record and his career in music:
I wrote “Don’t Crowd Me” back in 1966 during a period of general turmoil. Vietnam War. Seemingly mindless, rigid authority by government. Suffocation. A need for freedom of thought and action. Dissatisfaction. Frustration.
That was the backdrop.
Although I was with the Impulses at the time, this was never an Impulses song. We did play it at some of our gigs, but the late 60s and early 70s dance styles made it difficult to dance to.
Guitar on “Don’t Crowd Me” was Mike Elliott (also in the Impulses). I let him go wild on his solo in the middle of the song. My last contact with him was many years ago when he was a studio musician in Los Angeles.
Jim Simmons was on bass (also in the Impulses). He was respected for a creative, rapid walking movement. Although he wasn’t James Jamerson, he was very likely the best in Seattle.
My brother Kent sang back-up. We’d sung together throughout our youth. He wrote a number of songs that I always felt would be hits if he pushed them.
Both Kent and I recorded at the MTW studio (Mike Wing), along with Ann and Nancy Wilson of Heart. They obviously made the most of their talent.
The sleeve: “Sunshine Morning” was intended as the “A” side – sort of a Young Rascals light-weight, mellow 60s song. So the photo was taken at Golden Gardens State Park in Seattle to suggest waking up and enjoying a new morning. Although it was covered by two bands on separate recordings, it was basically not that exciting and lacked traction.
The “B” side – “Don’t Crowd Me” – got the airplay and, oddly, was popular with late Boomers and early GenXers. It was included (without permission) on a number of punk rock albums. Only one group – The Flying Saucers – asked for permission to record it. When I said “Of course”, they told me that there were at least 15 versions recorded by different bands across the country, and they sent me a tape with several versions. I have kept that very interesting tape, as wells as the Flying Saucers’ vinyl 45 version.
What caused the break-up of the Impulses? It’s incredibly difficult to keep musicians together. I was offered an opportunity to work with a newly forming band of the top musicians in the Pacific Northwest. Each of them had been with a band that had successful records. They were all extremely talented, and it was an amazing experience. The band – Calliope – worked day and night while I was trying to also attend college and raise a family. Ultimately, I left and was replaced by Danny O’Keefe who later had a popular hit – “Good-time Charlie’s Got the Blues”.
For what it’s worth, I chose law school over rock-n-roll, and am a trial attorney today. But in the process, I became addicted once again to playing rock music, and ended up doing a lot of writing, working with exceptional musicians from Alaska. We made no recordings, but, given their incredible talent, I thoroughly enjoyed the year that we spent together. Ultimately, as expected of musicians, we exploded, and most of them returned to Alaska.
Keith Kessler, September 2010
Mike Wing added this history in consultation with the Kessler brothers:
“Sunshine Morning” was recorded in June 1968 at Audio Recording’s 5th Avenue studio in Seattle, with engineer Kearney Barton at the controls and me in the producer’s chair. The musicians on the session were:
Keith Kessler – vocal, keyboards, songwriter, named artist Kent Kessler – backing vocal, keyboards, chimes Jack Joseph – bass, trumpet, arranger Doug Holloway – drums Leonard Olive – violin
We pressed up copies of the record with a photo sleeve and sent them to every music-oriented radio station in Washington, Oregon and Idaho. We got airplay on a number of the smaller stations, but unfortunately not in the larger markets like Seattle, Portland or Spokane.
The promo guy at a Seattle record wholesaler liked the record and pitched it to his contacts at RCA Records. I followed up with them a number of times hoping to work out a master licensing deal, but they eventually backed out citing the lack of major market airplay.
Meanwhile, a contact in London pitched the record to the Beatles’ newly formed Apple label. I was hoping for a master licensing deal for the UK or Europe. But to my surprise they asked about a publishing deal for the record’s flip side, “Don’t Crowd Me,” for possible use by their new group known as Badfinger. [Cool!!] Unfortunately, the deal never came together.
“Don’t Crowd Me,” was recorded at Audio Recording by Keith and his band at the time, the Impulses, in 1966. I was not involved with that session. Years later it was discovered as a punk/garage classic, but by that time neither Keith nor I were involved in the music business. I’ve always felt honored by the underground popularity of the track even though my involvement was limited to picking it as a flip side.
While there have been a number of cover recordings of “Don’t Crowd Me,” there is only one cover of “Sunshine Morning” that I am aware of. That was by New Era on their Observation album (the track can be found on YouTube).
Notes by Mike “MTW” Wing, January 2015.
Thanks to Keith Kessler and his brother Kent, and to Gregor for bringing this article together.
“We kicked out the horn players and went psychedelic” – The Omen and Their Luv, 1967 Front: Don McGlamery and Jeff Neighbors, back: Bill McClain, Bruce Hopper and Tommy Stuart
Omen and Their Luv released one of the best singles from Alabama during the ’60s. “Maybe Later” sounds fantastic – Tippy Armstrong’s buzzing guitar is all over the song while Tommy Stuart sings his too-cool-for-you lyrics. I especially dig the way he wails the end of each chorus:
Ain’t gonna get me in church You try all you like, but it ain’t gonna work. Not gonna go downtown I’m staying out here where no pictures around
Gotta know you better baby, And if I like you, well, maybe later!
Won’t thread the needle baby Don’t wear your shoes and I think you’re crazy Gonna be a cold day in June Leave me alone I’m going to finish my tune
Need to know you better baby, And if I like you, well, maybe later!
Need some time to think about it baby And if I think real hard, well, maybe later!
Won’t pick flowers in the rain Leave me alone and I’ll go back where I came, I see a lot of things I need And I need your love, but just as long as it’s free
Need some time to think about it baby And if I think real hard, well, maybe later!
If “Need Some Sunshine” doesn’t catch you at first, wait until 1:22 into the song, when it shifts into a different time signature and, thanks to some eerie backing vocals, a whole other realm.
Bruce Hopper wrote to me about the group, and also sent some unreleased songs, including the fantastic “Another Girl” from the same sessions that produced “Maybe Later”. I’m including an excerpt of the songs here, in the hope that they can receive a proper release at some time in the near future.
I am the founder and former bass player for the Omen and Their Luv. I formed the O-men in 1966 with Fred Deloach. We were originally a 60’s white soul group with horns. The original lineup was myself on bass, Fred Deloach vocals and sax, Mike Hatchett on drums, David Popp on trumpet, Billy McClain on guitar and John Purdue on keyboards.
Labels spell Tommy’s name “Tommy Stewart”
We went into the studio in the fall of ’66 and cut a six song demo tape: “Hold on I’m Coming”, “Hungry”, “Steppin’ Stone”, “Wooly Bully” (we were the opening act for Sam the Sham when he played Tuscaloosa), also two originals, “You” and “Hurry on Back” written by me and Fred Deloach. This tape was done at Boutwell’s “church” studio with Ed Boutwell doing the engineering. Boutwell Studios located in Birmingham was the only decent studio in central Alabama that recorded rock’n’roll. This tape I presented to Duane Allman (who liked it) and to Steve Caldwell of the Swinging Medallions / Pieces of Eight, whose dad, Earl Caldwell owned several clubs in Panama City Beach, Fl. This demo landed us a gig in Panama City working for Earl.The O-men would play a jam session at the Beach Party every day from 2-4. We would then open for the “Pieces of Eight ” at 8pm and do a set. They did a set and we would come back on at 10 for a set. Then we had one hour off to get down beach to the Cork & Bottle Club (later renamed the Red Rooster) for our regular gig of playing from midnight to 5am! This was our work schedule seven days a week for two months straight.
We added Tommy Stuart right before we started this gig. He had just left the Rubber Band after they had a hit with “Let Love Come Between Us” that Johnny Wyker wrote (later with Sail Cat). Tommy played sax, sang and played keyboards. Due to band stress, Fred left the band half way through the summer.
When we got back to Tuscaloosa, Mike brought Jimi Hendrix’s first album to practice and that changed everything. We switched from white soul to psychedelic rock. David Popp left on trumpet.
Because of the change to harder rock, we changed the name to The Omen and Their Luv. Hatchet moved to Atlanta and we brought in Jeff Neighbors on drums. We also added Don McGlamery on rhythm guitar and sax. This was the lineup in the pic by the gas pump.
We went into the studio in the fall of 1967 to record four of Tommy’s songs. Again we recorded at Boutwell’s Studio. Tommy Stuart wrote “Maybe Later” and sang lead vocals. We snuck some young girls in to sing backup, but their parents would never let them tour with us.
We brought in Tippy Armstong (later a studio musician in Muscle Shoals) to play lead guitar on all four songs. Since Tippy came to the session, Eddie Hinton (Muscle Shoals session man) showed up to visit and started telling Ed Boutwell how to mix. Boutwell got pissed and told Eddie to mix it. So “Maybe Later” ended up with some top notch studio guys helping us out.
I met David Keller when he was playing with The Preachers in 1967. After the Preachers, David had a booking agency that he ran out of Montevallo where he had attended college. He was wanting to expand into booking and producing and club ownership. He liked our tape and we were the first band he booked onto his Daisy label. “Maybe Later” was the A side and “Need Some Sunshine” was the B side. The record sales had minimal success, but the airplay led to great crowds at gigs promoted by Keller.
“Good Man” which was to be our next single, but it never happened under David Keller. “Another Girl” was to be the “B” side of our next release.
He had a group of bands that included the Omen, The Outer Mongolian Herd and W.C. Doan and Co. that he booked. For a short while he opened a recording studio on 15th St. in Tuscaloosa where some of his bands recorded. He also started a club in Panama City in June of 1968 called the Head Shop. We were the opening act. For two weeks we played as The Omen and Their Luv, then we would play for two weeks as the Preachers doing their hit song “Inspiration”. Fun times.
David countined to book us across the South for at least a year. He also had the Shingaling Club in Selma, AL. We played there every Saturday night for at least six months until one night we let some black musicians sit in with us. The next Saturday we showed up and the Sheriff had put a pad lock on the door with a sign reading “Closed until further notice by order of the Sheriff of Dallas County”. Selma 1968!
Omen and Their Luv, 1968, from left: Tommy Stuart, Mike Thornton, Jeff Neighbors and Bruce HopperThe Rubber Band 45 from 1970 featuring the last Omen lineup of Tommy Stuart, Mike Thornton, Bruce Hopper and Asa Gaston
Billy left and was replaced by Mike Thornton from the Shadows. By 1969 we were down to a 4 piece as shown in the other photo. Bill Stewart (Allman Brothers Band) replaced Jeff for about six months and then Asa Gaston (Locust Fork Band) came in on drums.
The four piece of Stuart, Hopper, Thornton, and Gaston went on to re-aquire the name Rubber Band which Stuart owned the copyright on (Tommy later sued and won a copy right infringement case against Bootsy’s Rubberband). We recorded on 1 2 3 Records [“Your Man Done Gone” / “Peeking Through Your Window”] with Tommy playing keyboards, flute, sax and doing the lead vocals. Unfortunately our song had the exact same rhythm and chord changes as “Spirit in the Sky” which was released one week before our song.
We did an east coast tour the summer of 1970. Things were falling apart by that time. Mike Thorton left and was replaced by Tommy Joe White. Asa didn’t want to do the tour because he just got married, so we added a session drummer from Colorado for the tour. I left the group after the tour.
Asa and I later formed another local band with Jim Coleman (check out his website) and Jimmy Butts. We were known as Mr. Wizard and recorded a one hour special for Alabama PBS. More bands in the 70’s. Owned the Chukker in Tuscaloosa in the 80’s and promoted music for years. Now I back up Carroline Shines, the daughter of blues legend Johnny Shines.
Mike Hatchett later went on to play with the Brick Wall out of Atlanta and worked as a roadie for Little Feat and George Jones and many others including Kiss, Ronnie Milsap, Blue Oyster Cult, etc. Billy McClain died of cancer after a succesful photography career. Don McGlamery later moved to Norway and was a succesful street muscian there. [ChasKit: Don passed away in January, 2006].
I have been listening to our body of work with the Omen, Omen & Their Luv and the Rubber Band and am going to talk with Tommy about doing a retrospective CD of all the material from the ’60’s and 1970.
Bruce Hopper
In a comment on the post about the Preachers, Tommy Stuart added:
We’d recorded it on our own but a disc jockey from Northport knew David & that’s how all of that happened. He had a big teen dance place in Panama City in about 1968 & we played there as The Preachers, & also a one nighter or two that way. It was a little weird but we learned their record “Hallowed Ground” & got up there & I sang it like it was mine. Later, I bought Dave’s screaming white Hammond M2 organ he’d used in the Preachers.
Tommy Stuart has a new group called O-Men and Their Luv, with a CD No Twin.
Thank you to Bruce Hopper for sending in the photos and song transfers and for patiently answering my questions.
On the Quad at the University of Alabama. From left: Tommy Stuart, Mike Thornton, Asa Gaston and Bruce Hopper.
Mustangs EMI PS “Love Is Blue”, ‘Lies”, “Nina’s Theme” and “Summer Wine”
Joseph C. Pereira, author of Legends of the Golden Venus, will be contributing rare oddities to Garage Hangover from time to time.
I have attached a picture of a band from Madras called Mustangs. Must have been a Mustangs from every country in the world.
I spent time in Chennai visiting second hand book stores and a few shops selling old vinyl, which is where I got this Mustangs single.
The record was released in 1968 I guess because “Love Is Blue” is present. The line up is Derek Norris (sax), Kittu Rufus (lead), Darryl Cordeiro (rhythm), Haroon Mohamed (bass), S. P. Ananth (drums).
The songs are “Love Is Blue”, ‘Lies”, “Nina’s Theme” and “Summer Wine”. The style though is restrained supper club music. Maybe they were told to record in that manner by the record company executives.
Derek Norris looks like a Anglo Indian given his Caucasian features. The rest of the band are Indians and includes a Muslim, a Hindu and two Christians.
Joseph C. Pereira
The Mustangs 1967 single, “Escape”, a cover of the Ventures, written by Danny Hamilton of the T-Bones
The Humans, 1966, standing l-r: Marty Busch, Dick Doolan, Bill Kuhns, Danny Long, Gar Trusselle sitting: Jack Dumrese
Dick Doolan – vocals Danny Long – vocals and harmonica Bill Kuhns – lead guitar Gar Trusselle – keyboards Marty Busch – bass Jack Dumrese – drums
The Humans were from Albion, New York, 20 miles north of Batavia. According to the liner notes for Back From the Grave vol. 5, all six members were in high school marching band when they decided to form a band in the summer of 1964. Their band’s moniker was a dig at all the groups naming themselves after insects and animals.
They toured throughout the northeast, opening for some big acts, including playing the Rheingold Festival in Central Park, Manhattan in 1966.
Their only 45 has a fine folk-rock original on the A-side, “Take a Taxi”. The instrumental passage is a neat combination of twelve-string guitar and organ.
For years now, it’s been overshadowed by the B-side, “Warning”, which has become almost an anthem in garage-rock circles, and rightly so. It’s a well-arranged combination of ringing guitar chords, thudding drum beat and bass line, simple organ melody, a great rough lead vocal answered by a second singer and a harmonica solo.
Lead guitarist Bill Kuhns (listed as William R. Kuhns, Jr. on the label) wrote both songs. It was recorded at Riposo Studios in 1966 and released on the Audition label, which had a number of classic mid-60s singles. I don’t know what happened to the band after its release, or if the record sold at all. It’s pretty hard to find these days.
Gar Trusselle answered some of my questions about the band:
Q. How did the band sign get to tour around the Northeast?
We were managed locally by Al Cecere in Rochester. As far as we knew, Al Cecere was the sole owner of Audition. He had some connections so he got us signed up with Premier Talent Associates (PTA) in NYC. Our agent with them was Rich Nader who went on to promote R&R revivals across the country. We also opened for the Hollies, Mitch Ryder and the Detroit Wheels (several times) and played a two week gig in Miami with the Standells.
We were friends with “The Heard” as they were also managed by Al Cecere. We alternated at Oak Orchard Lanes in Albion [with] Caesar and His Romans from Buffalo. By the way, Oak Orchard Lanes was quite a hot spot. In the summer, the owners would cover all 12 lanes with plywood and have dances on the lanes with some pretty big names. A couple that come to mind are the Rivieras and the Shadows of Knight.
Q. Do you remember any details about the Riposo Studio and making the record?
All I can remember is that the studio was in Syracuse. Someone said Wooly Bully was recorded there but I cannot verify that.
Q. Did it get any airplay at the time?
We did get good local airplay and some national as well. Billboard reported us in the top twenty in a Michigan and Texas market but it did not last.
Q. Did the band perform “Warning” and “Take a Taxi” during your live shows?
We did perform the two songs live at every performance.
Q. The band had long hair for 1966, did that cause any trouble?
Nothing but. However, we had a lot of local support even from the adult side.
Q. How did the band break up, and did you stay in music after?
It began when Dan died in a car accident in September of 1966. We went on from there but the draft started to whittle at the group. I think our last job was in November of 1966 at our own venue in Albion. We had rented the local (out of business) movie theater, remodeled it, and named it “Happiness Is…”.
Gar D. Trusselle
The photo at top originally provided to RambleMusic.com (link dead as of 2013) by Bill Vosteen. The site includes photos and clippings of other Batavia-area groups like Beethoven’s Dream Group, The Majestics, the Plague, Salt of the Earth, The Revengence, the Squires.
Al Cecere owned the record labels Audition and Nu Sound Ltd., of Rochester, New York. It seems Cecere changed the label’s name to Nu Sound Ltd. with release #6111 by the Wee Four. Any help completing this discography, or info on Al Cecere’s productions or Riposo Studios would be appreciated.
Discography:
Audition
6102 – The Vaqueros – Desert Wind / Echo (both by Weld-Heath-Corona) 6103 – Dick Jans Duo – I Am (Edwards, Shuman) / Venus (the Frankie Avalon hit) – June 64 6104 – The Vitrones – Linda (Cheshire, Couto, Downing) / London Fog (licensed to Barry, #3326X in Canada) 6105 – America’s Children – Do-Maka / No Need For Blame (1965) 6106 – America’s Children – Star / Swinging Christmas (1965) 6107 – The Heard – Laugh with the Wind (Jeff Wheat and Brad Wheat) / Stop It Baby (Karim Copli) (mentioned in Billboard, May 7, 1966) 6108 6109 – The Humans – Take a Taxi / Warning (both by Bill Kuhns, Jr.) 6110 – The Rogues – Train Kept a-Rollin’ / You Better Look Now (Jim Perotti*, Bob Radell*, Mike Spriggs)
Nu Sound Ltd.
6111 – The Wee Four – Weird (James Obi, T. Pilittere) / Give Me a Try 6112 – Terry Pilittere – It’s Not That Way / You Wouldn’t Believe Me 6113 – Pete Morticelli – Lost / If You See Me
* correct spellings of these two Rogues names are Jim Pierotti and Bob Radel.
Most originals on Audition and “Weird” by the Wee Four 45 published by Cecere Music, BMI.
The Heard have an unreleased song, “Leave Well Alone” on a Capitol Custom acetate.
The Montereys “Bye Bye” / “Sheryl-ane” also recorded at Riposo Studios.
Thank you to Davie Gordon for his help with this discography.
Laurie Wade’s Cavaliers on CBS Records, from left: Warren Isaacs, Laurie Wade, Chris Rees and Ivan Norman. Photo courtesy of Warren Isaacs.
Laurie Wade’s Cavaliers started as a surf group, cutting one instrumental single for the Linda Lee label, “Cloudburst” / “The Phantom Guitarist” (written by Laurie Mudge). Hear this first singel on Big Beat’s excellent compilation: Board Boogie: Surf ‘n’ Twang from Down Under).
The Cavaliers included:
Laurie Wade – guitar, vocals Ivan Norman – guitar, vocals Robert Campbell – bass, replaced by Warren Isaacs Chris Rees – drums
Laurie Wade signed to CBS and cut four excellent singles in 1965 and 1966. The style of music changed to beat, but his roots in surf served him well as all the records feature sharp original guitar work. I don’t know the membership of the group, but I assume Laurie played lead guitar, and sang lead on the CBS recordings.
First came the minimal “Say Hey”, backed by a song I haven’t heard, “The Adventurer”. Laurie Wade wrote both.
Warren Isaacs sent in the photo seen here and told me, “Robert Campbell was the bass player on ‘Phantom Guitarist’. I replaced him after that and was on all the CBS records. I was in the group right up to the very end which I think was about 1968.”
The second was an excellent Laurie Wade original, “To Win Your Love”. It’s probably my favorite of their recordings that I’ve heard, with two good guitar breaks, rollicking piano and solid rhythm backing over Laurie’s great vocal. The flip is another Wade original, “Don’t Quit Now”. It’s not a bad song, though I’m mystified by the engineering, as the rhythm guitar starts off too loudly, only to be dimmed along with the rest of the band just six seconds into the song.
In 1966 they cut their most adventurous song, Wade’s “The Colour of Her Eyes”, beginning with a riff like something out of a Sonics song. The rhythm guitarist takes a page out of the surf guitar book, strumming over deadened strings with heavy reverb for a cool background sound. Laurie’s vocals alternate between gloomy and wailing!
I guess CBS didn’t know what to make of this song, as they threw it on the b-side of a cover of “Greensleeves”. The band does an interesting version, with some eerie guitar in the background, but it’s an awkward song and hardly a good choice for them.
I knew Marty Rhone’s raving version of “Every Minute of You”, but I hadn’t heard Laurie Wade’s original recording of it when I first wrote this article. It surprised to hear the band going in a more soulful direction, though it suits Laurie’s voice. Marty Rhone’s release came shortly after.
Although the label credits read just N. Kipner, the notes to Big Beat’s CD Hot Generation! say that “Every Minute of You” was a collaboration between Carl Keats, guitarist for Steve and the Board and Nat Kipner, father of that band’s singer Steve Kipner. For once neither song was a Laurie Wade original. The flip, “Let Me Down Easy” was written by Glasser and Glasser.
Their producer at CBS was Sven Libaek, a staff producer from 1963-1968 whose credits include the Atlantics (including “Bombora”), Lynne Randall, the Jet Set, the Jackson Kings, the D-Men, Kenny Shane and the Pilgrims Five. As far as I know CBS hasn’t bothered to reissue Laurie Wade’s work, which is a shame, I’m sure a remastering from original tapes, if they exist, would sound excellent, and there’s probably some good unreleased songs.
If anyone has more info on the group, please let me know.
45 releases:
Linda Lee LL-008 – Cloudburst / The Phantom Guitarist CBS BA-221215 – Say Hey / The Adventurer (1965) CBS BA-221235 – To Win Your Love (Wade) / Don’t Quit Now CBS BA-221273 – Greensleeves / The Colour of Her Eyes (1966) CBS BA-221357 – Every Minute of You (N. Kipner) / Let Me Down Easy (Glasser – Glasser) (1966)
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
Bob Sanders ran the Knight and Spectra labels, among others, during the mid-’60s in Dallas, Texas.
The Teen-Beets of Winston-Salem, North Carolina released four fine records, the first three featuring original songs by vocalist and guitarist John McGee along with covers of Barbara Lynn’s “Oh Baby”.
By the summer of ’65 we had recorded our first record at Arthur Smith’s studio in Charlotte, NC (“I Guess That’s Why You’re Mine” / “Not In Love With Me”) and released it on our own label, Chain Records. It received considerable local air play and reached #20 on one of the local radio stations top 40 list. Around this time we all dyed our hair bright red (as in Teen “Beets”) to attract attention. It worked!
“You Missed by a Mile” and “Hey Mister” are two excellent originals by Moore and Tabbert. One is upbeat, the other more sedate, but each has fine vocals over expressive guitar playing, resounding bass lines and agile drumming.
Keith Kessler’s “Don’t Crowd Me” is an anthem to garage-punk fans, with a sound to match the intensity of the lyrics: “Inside looking out, got no place to shout … I’m locked inside this place, problems I can’t face, I’m getting out breaking free … don’t crowd me! / My soul is cramped and bare, there’s freedom I can’t share … my independence crushed, don’t crowd me, give me air, give me time …”
Dick Doolan – vocals
Laurie Wade’s Cavaliers started as a surf group, cutting one instrumental single for the Linda Lee label, “Cloudburst” / “The Phantom Guitarist” (written by Laurie Mudge). Hear this first singel on Big Beat’s excellent compilation: Board Boogie: Surf ‘n’ Twang from Down Under).
The second was an excellent Laurie Wade original, “To Win Your Love”. It’s probably my favorite of their recordings that I’ve heard, with two good guitar breaks, rollicking piano and solid rhythm backing over Laurie’s great vocal. The flip is another Wade original, “Don’t Quit Now”. It’s not a bad song, though I’m mystified by the engineering, as the rhythm guitar starts off too loudly, only to be dimmed along with the rest of the band just six seconds into the song.
In 1966 they cut their most adventurous song, Wade’s “The Colour of Her Eyes”, beginning with a riff like something out of a Sonics song. The rhythm guitarist takes a page out of the surf guitar book, strumming over deadened strings with heavy reverb for a cool background sound. Laurie’s vocals alternate between gloomy and wailing!
I knew Marty Rhone’s raving version of “Every Minute of You”, but I hadn’t heard Laurie Wade’s original recording of it when I first wrote this article. It surprised to hear the band going in a more soulful direction, though it suits Laurie’s voice. Marty Rhone’s release came shortly after.