The Lamp of Childhood

Lamp of Childhood Dunhill PS, left to right: Fred Olson, Marty Tyron, James Hendricks and Mike Tani
Left to right: Fred Olson, Marty Tyron, James Hendricks and Mike Tani
Lamp of Childhood feature in Teenset
Feature in Teenset

The little known folk-rock group The Lamp of Childhood was the brainchild of singer/songwriter and guitarist James Hendricks (b. 10 February 1940, Atkinson, Nebraska), who organised the original band around June 1966 after working with The Big Three and The Mugwumps. Beside Hendricks, the group also boasted Portland, Oregon, born lead guitarist Fred Olson and singer/songwriter and Hawaiian born rhythm guitarist Mike Tani (aka Michael Takamastu), who were both relative newcomers to the scene. Indeed, it was the group’s drummer, Billy Mundi (b. 25 September 1942, San Francisco), who was by far the most seasoned member, having studied music at UCLA during the late 1950s and performed with a number of noteworthy groups prior to completing the band during the summer. His musical credentials included spells with future Byrd Skip Battin’s group and as a member of another intriguing folk-rock ensemble, Mastin & Brewer.

It was Hendricks’ connections, however, which led to a deal with Dunhill Records and the release of a handful of singles over the next year. Hendricks’ wife was none other that Cass Elliot of The Mamas & The Papas, who were also represented by Dunhill, and the fact that she and singer Denny Doherty had recorded with Hendricks in The Mugwumps probably helped to clinch the deal.

To assist the band with its recordings, Dunhill linked The Lamp of Childhood up with English expatriate Andy Wickham and Israeli immigrant and classical pianist Gabriel Mekler, who oversaw the sessions for the group’s three singles and numerous unreleased recordings. “The story goes that when [Mekler] arrived in Los Angeles he finds his way to Dunhill Records and tells them he can produce a hit record,” says Jim “Harpo” Valley, who got to know the group while he was playing with Paul Revere and The Raiders. “He had never produced before and wasn’t that familiar with rock ‘n’ roll or pop music. They give him the opportunity with a new group called The Lamp of Childhood.”

Mekler’s relationship with the group was somewhat similar to that of Brian Wilson in The Beach Boys, joining The Lamp of Childhood in the studio but not participating in live work. Mekler’s piano playing was employed for several tracks and towards the end of the group’s life he also assisted with the song writing.

Little is known about the sessions that produced the band’s three obscure singles, but what can be gleaned is that Mundi stayed around long enough to appear on The Lamp of Childhood’s debut release, a low-key reading of Donovan’s “Season of The Witch” backed by Tani, Hendricks and Olson’s “You Can’t Blame Me”. It was an impressive start but the single’s failure to register on the charts that September probably played a part in Mundi’s decision to defect the following month to join Frank Zappa’s Mothers of Invention (and later Rhinoceros and numerous sessions).

The group carried on, working largely in the studio, and only picking up a drummer for the odd live performance. As Jim Valley suggests, the trio of Hendricks, Olson and Tani were often assisted in the studio by The Mamas and The Papas session crew, drummer Hal Blaine, pianist Larry Knechtel and bass player Joe Osborn. That at least is his recollections of one session, which he was asked to participate in playing acoustic guitar, alongside a string section.

“At one point during my year with The Raiders, I moved into an old mansion that used to belong to Greta Garbo. In the downstairs apartment lived Fred Olson [and] we became pals,” explains Valley, who was approached to join the band soon afterwards. “Gabriel and James asked me to record on one of the sessions. My time with The Raiders was becoming strained, my tunes weren’t being recorded and the group just wasn’t evolving as I felt they would or could.

“My song writing was changing due in part to my association with musicians like Gabriel and Jackson Browne and Pamela Polland, who was with a group called The Gentle Soul,” continues Valley. “So one night, Gabriel and James came over to the house very excited. They had decided that I should leave The Raiders and join The Lamp of Childhood. It felt like the right thing at the right time.”

As it was not everyone was happy about the decision to approach The Raiders’ lead guitarist. “The rest of the group wasn’t in on the decision and as it turned out Andy Wickham, the publicist from Dunhill didn’t agree with the move. He felt that Harpo from The Raiders was not the right move. So it never happened but it did show me I was ready to leave The Raiders,” says Valley.

Despite his fleeting relationship with the band, the guitarist has fond memories of the Lamp’s songs. “‘Misty Morning Eyes’ and ‘I Look For Your Smile In A Thousand Faces’ were the first recordings I heard from the group. Since 1967, I’ve never heard those songs again. I’d love to hear [them] again. Their voices were like angels and I was knocked out with their arrangements.”

Of the two songs listed, “Thousand Faces”, to give it its correct title, is a co-write between Mike Tani, James Hendricks and Gabriel Mekler. The author of the other title, however, is not known unless of course this is just a working title. The BMI, which represents, songwriters, composers and publishers, lists a number of songs written by the band’s members during this period but whether these were meant for The Lamp of Childhood and were recorded in the studio remains a mystery (and Hendricks cannot remember any titles).

To start with Mike Tani and James Hendricks co-wrote one song called “Low Down Woman” and also collaborated on another entitled “Blues for Django” with guitarist Eric Hord. The BMI lists a number of Mike Tani compositions with interesting titles like “Maybe Again”, “Prayer for Julian” and “Sad Sad Memories” but whether these songs were solo tracks, group recordings or meant for other artists is not clear.

The Lamp of Childhood Dunhill 45 First Time, Last Time

As it was, none of the above tracks turned up on the group’s second Dunhill single, released in March 1967. Gabriel Mekler penned the A-side – “First Time, Last Time” backed by Tani, Hendricks and Olson’s “Two O’Clock In The Morning”. Once again, however, the single failed to make the charts despite both being strong numbers and coming in an attractive picture sleeve. The single, incidentally, featured new member, bass player Marty Tryon from The Purple Gang who added a fourth voice to the mix.

Back in the studio, The Lamp of Childhood recorded one final track, and arguably their finest moment on disc, “No More Running Around”, a co-write by Mekler, Hendricks and Tani, which features some fantastic piano flourishes courtesy of Mekler. Coupled with a re-release of “Two O’Clock In The Morning” on the A-side, the single was issued later that summer by which point the band had undergone a major upheaval, resulting in James Hendricks’ departure for a solo career. Like the other singles, “No More Running Around” fell on deaf ears.

The Lamp of Childhood Dunhill 45 Two O'Clock MorningIn his place, Tani, Olson and Tryon recruited guitarist and singer John York (b. 3 August 1946, White Plains, New York), who had previously worked with The Bees, The Sir Douglas Quintet and The Gene Clark Group and would subsequently tour with The Mamas & The Papas and record with Johnny Rivers before joining The Byrds in late 1968 for two albums. “I joined The Lamp of Childhood after James Hendricks left,” explains York. “His girlfriend [sic] Cass Elliot wanted the band destroyed because she was mad at James and possibly because it might have been a threat to The Mamas & The Papas.”

The new line up did only one gig with a borrowed drummer at the Mount Tamalpais Festival in San Francisco in mid-June 1967. “I do remember vividly our gig at the 1967 Mount Tamalpais Music Festival,” recalled Tryon in an interview in Misty Lane issue 19. “We had to follow The Doors our first afternoon. The last song of their set was ‘Light My Fire’. We played as the people walked out. Our second afternoon, we followed The Fifth Dimension. Their last song was ‘Up Up and Away’ as skydivers with purple trails parachuted into the venue. We played as the people walked out. Talk about feeling invisible. We knew that feeling.”

According to John York, the plan was that the group would erase James Hendricks’ vocal parts on the unreleased songs and he would sing them. Apparently that was not enough for Cass and “Dunhill ‘froze’ the band for seven years.” James Hendricks, however, denies that there was any friction with Elliot and the group.

Whatever the case, the individual members went their separate ways, although Mike Tani and John York did reunite years later to work as a duo act for several years. Marty Tryon meanwhile hooked up with the remnants of John York’s former band, The Bees, now going by the name The WC Fields Electric String Band. After missing out on a chance to join Steppenwolf, he later did sessions for Simon Stokes. He currently works with the Smothers Brothers.

Olson, who moved into session work, appearing on Brewer & Shipley’s Weeds and Mike Bloomfield’s It’s Not Killing Me albums in 1969 and Southern Comfort’s eponymous debut in 1971, sadly died years later from a heroin overdose. Gabriel Mekler sadly is also no longer with us. After the band’s premature demise, he landed on his feet and found the success that he had missed with The Lamp of Childhood in his next project, the multi-million selling Steppenwolf.

As for James Hendricks – he attracted the patronage of singer Johnny Rivers, who expressed an interest in covering the singer/songwriter’s “Summer Rain”. Released as a single, it became a top 20 US smash in January 1968, and Rivers also recorded a number of Hendricks’ compositions for his new album, Rewind. Hendricks later recorded a solo album, produced by Johnny Rivers, with whom he maintained a close working relationship and he continues to record to this day.

In the months that followed The Lamp of Childhood’s demise, one final piece of work emerged on The Nitty Gritty Dirt Band’s album, Pure Dirt – the previously unreleased Tani, Hendricks and Olson collaboration, “You’re Gonna Get It In The End”. And apart from the inclusion of “No More Running Around” on the Dunhill Records’ sampler, The Penny Arcade, that’s all that’s been heard from a group that promised so much but never achieved its full potential.

Many thanks to James Hendricks, Jim Valley, Brian Hogg, Mike Paxman, John York, Marty Tryon.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

To contact the author, email: Warchive@aol.com

 

The Tills on Cody

The Tills under their new band name, the Yankee Clipper. Clockwise from left: Paul Strasser, Bob Kruse, Bob Fawcett, Ray Jacobs, and Nick Nizich in front center.

The Tills Cody 45 One Sided LoveTom Cleary, one of the owners of the Cody label in Chicago sent me these scans of the Tills 45. Tom writes about the Tills:

“A southwest side Chicago group Cody recorded in 1967 at Sound Studios. I met them at a performance and turned the recording element over to my partners. Stu Black, Chicago’s preeminent sound engineer of the day ran the session. They had limited play on radio station WCFL in Chicago. It exists as a DJ copy only.”

Both sides are fantastic upbeat pop. ”One Sided Love” has a siren-like guitar riff, good harmonies, and sharp drumming. “I Remember” is similar with fine vocal arrangements and a very Byrds-like guitar solo.

Either side could have been a hit with a little luck.

I knew nothing else about the group until Bob Kruse commented below. Then in 2021 Ray Jacobs sent in the promotional photo and holiday card seen here, with the band’s new name, the Yankee Clipper.

Members were:
Paul Strasser – vocals
Ray Jacobs – lead guitar
Bob Kruse – rhythm guitar
Bob Fawcett – bass
Nick Nizich – drums

Ray Jacobs wrote to me:

Started playing along with Bob Kruse in High School rehearsing in his basement 1963/64. A few months later added Bob Fawcett [and] a few drummers that didn’t work out. Paul Strasser then joined the band followed by Nick Nizich.

Bob Fawcett linked us to a manager to book the band and later named the band the Tills, which no-one really liked. We were previously known as The Chosen Few, and the Ragged Edge.

The Tills Cody 45 I RememberI wrote the songs (copyrighted) as we needed to start moving away from being a cover band. The manager linked us to the people in Cody. We met at a home in Riverside and eventually booked a session at sound studios and got some play on WCFL.

Tills played at various teen clubs i.e. InnMotion, Green Gorilla, The Deep End (Papa Joes) and various school dances, battle-of-the-bands and night clubs in the Chicagoland area and Michigan. [The] band changed its name to Yankee Clipper as advised by manager Michael Degaetano.

Holiday card sent out by Yankee Clipper

Later, personnel left and changed things to the point of breaking up.

I went on to playing Rush Street (thanks to Nick) and various clubs with bands known as Chicago Choir and Rooster. We played throughout Chicago, Wisconsin, Indiana and Michigan ending in 1987.

Paul went to Colorado. I heard Nick went to Arizona. I know Bob Fawcett was into flying planes as he attended Butler aviation.

Last time I saw Bob Kruse and Nick was in a club called Let It Be on 83rd and Wood, 1970, where they came to see us as the Chicago Choir.

Thanks to Tom for sharing his memories of the Tills and scans of their 45. Special thank you to Bob Kruse for his comments, and to Ray Jacobs for contacting me.

Yankee Clipper holiday card with Ted Augustyn listed as member

Sonny Page and the Triangles

Jim McDaniels, Mike McCloud, unknown drummer, Sonny Page, Cleo Riley, unknown bassist
Left-right: Jim McDaniels, Mike McCloud, unknown drummer, Sonny Page, Cleo Riley, unknown bassist

Sonny Page and the Triangles REM Records demo The Golden BookAl Collinsworth of the Outcasts wrote this history of the band of his friend Sonny Page, and sent in the fantastic photo above.

Sonny Page and the Triangles represented Lemco Records’ entry into the country music scene. Sonny’s recording of “Big Wheels”, which began with the sound of an 18-wheeler shifting gears as it sped by, received air-play on country radio stations such as WAXU in Lexington, KY and was promoted by Grand Ole Opry and Columbia Records recording star Esco Hankins. The recording included the Triangles and studio musicians Kenny Whalen on guitar and Bill Wasson on bass.

Sonny Page and the Triangles REM Records demo Lost CityThe original Triangles included Sonny page on vocals and guitar, Charles Burgess on steel guitar, Raymond ‘Timber’ Lowery on bass, William Hanshaw on guitar and David Miller on drums. Later, the Triangles added Jim Mcdaniels and Cleo Riley on guitars. Sonny also recorded on the Rem Records label (“The Golden Book” / “Lost City”).

During the 1960s, Sonny and the Triangles played country music shows with such stars as Webb Pierce, Pee Wee King, the Collins sisters and George Morgan. Always a very popular singer in the Lexington area, Sonny worked with the famous 50s star Little Enis and was a regular performer at Lexington’s Zebra Lounge. Sonny also worked at Martins where JD Crowe first started in Lexington.

Sonny retired from professional music and had a very respectable career as a peace officer. He was a lieutenant with the Fayette County Police, a Fayette County Deputy sheriff, a Fayette County deputy jailer and a bailiff for several high profile Fayette County judges.

Sonny is now happily married and living peacefully in Lexington, KY. Sonny told me that like many of us 60s era musicians, he too had lots of fun and has always had a genuine love of music.

Al Collinsworth

The Chevron’s V

The Chevrons photo, Jerry Vanderwal Wal at front left
The Chevrons, Jerry Vanderwal Wal at front left
Chevrons V Nook 45 I Lost You TodayThe Chevrons V came from Grand Rapids, Michigan.

Their first 45 from January 1966 has a sharp bluesy lament, “I Lost You Today” on one side and the nonsensical chant “Niat Pac Lavram” (read it backwards) on the flip. Total time for both songs clocks in at a succinct 3:40! Bands today should consider that approach to recording.

It was considered a rare 45 until 2008 when fourteen or more copies turned up. No song writing or production credits on the label, but the same band released a later 45 as simply ‘The Chevrons’ on Fenton, “Hey Little Teaser” / “What Everyone Wants”.

There’s also another single as the Chevrons on the Dawn label, “Seeing You” (B. Goote, pub. by Nigel Music) / “My Mind’s Made Up”, produced by Goote and J. Williams, product of Midwestern Sound Productions, engineer Denny Cuson, “label by John Stevens”.

Patrick Strong wrote to me that he played guitar on “What Everyone Wants”. I’m not sure if he was in the group for the first 45.

I knew almost nothing about the band until Bob Goote commented below that I’ll repeat here:

Chevrons V Nook 45 Niat Pac Lavram

I was a founding member of the Chevrons. The members of the band were:

Bob Goote (keyboards/lead vocals), Pat Strong (lead guitar), Bob Vandenberg (guitar/vocals), Steve Vanderark (bass/vocals), and the great Jerry Vanderwal on drums.

I wrote “I Lost You Today”. “Niat Pac Lvram” (Captain Marvel spelled in reverse) was a collaboration with the whole band, I wrote the music. I also wrote the songs “What Everyone Wants”, “Hey Little Teaser”, “Seeing You”, and “My Mind’s Made Up”.

Our record “Hey Little Teaser” / “What Everyone Wants” made it to #5 on the radio music charts in Grand Rapids.

We had a great time playing gigs while in High school at East Christian High in Grand Grand Rapids (65-68). After high school in 1968 we all sort of went are own ways and the band broke up. After the group retired I wrote and recorded a song called “Somewhere (Someone Is Waiting)” on the Coventry label. It also got some air play in the Grand Rapids market.

Bob Goote

Thank you to Chip for sending in the photo of his uncle’s band and correcting the name to Jerry Vanderwal Wal. If anyone has more photos of the band please contact me

Jerry Vander Wal Bell Sound Demo 45 Seeing YouUpdate, January 2020:

I found this demo lacquer 45 of “Seeing You” / “My Mind’s Made Up” credited to Jerry Vander Wal instead of the entire band, and dated 2/28/68. Interestingly the labels read Bell Sound Studios in New York City, though I don’t believe it was recorded there!

I wonder what the story is behind this demo?

Jerry Vander Wal Bell Sound Demo 45 My Mind's Made Up

Vanda and Young post-Easybeats: Paintbox, Moondance and Tramp

Tramp Young Blood PS Vietnam Rose, German release
German release

Paint Box Young Blood 45 Can I Get to Know You

Paintbox, top one from Melody Maker, June 20, 1970.
Top one from Melody Maker, June 20, 1970.

Moondance A&M 45 Lazy River

Tramp Egg 45 Vietnam Rose, French label
French label version
German 45 label
German 45 label

Harry Vanda, guitar and vocals
George Young, guitar and vocals
George Alexander, guitar
Ian Campbell, bass and vocals
Freddie Smith, drumsWhen The Easybeats broke up in late 1969, following a final Australian tour, songwriters Harry Vanda and George Young returned to the UK to join forces with Young’s older brother Alex (who had changed his name to George Alexander as leader of Grapefruit) and they recorded under various aliases, including Paintbox, Moondance and Tramp.

While it cannot be said with any certainty who else was involved in the recordings issued under the names Paintbox, Moondance and Tramp, it is likely that Scottish bass player and singer Ian Campbell and Scottish drummer Freddie Smith, both of whom had worked with George Alexander in Tony Sheridan & The Big Six in the mid-1960s, were the remaining musicians involved. Both definitely played on later recordings, released under other aliases, including Grapefruit, Haffy’s Whisky Sour and Marcus Hook Roll Band. Freddie Smith also recorded on some post-Shel Talmy Easybeats recordings in 1967.

Paintbox’s lone single, released in June 1970, was a Miki Dallon production and was a typical British commercial soul number. The ‘A’ side was written by George Alexander while Harry Vanda and George Young composed the ‘B’ side. Interestingly, some copies came in a picture sleeve depicting five black musicians.

The same week the Paintbox 45 came out on Young Blood, A&M Records released a second single by the group under the name Moondance. “Lazy River” is a catchy Vanda and Young song while “Anna St Claire” is by George Alexander. In Germany, the single came in a picture sleeve, depicting two men, who bare no resemblance to the band members! In 1971 ”Lazy River” was released in Australia under the name Vanda and Young for Albert Productions with a different ‘B’ side titled ”Free And Easy”, also written by Vanda and Young.

In July, a second Young Blood single came out under the name Tramp. “Vietnam Rose” is a Vanda and Young composition while “Each Day” is by George Alexander. The single was also released in Germany and France. After this release, the group left Young Blood and signed to Deram, releasing two singles under the Haffy’s Whisky Sour and Grapefruit aliases. The Paintbox single was re-released in 1971 with “Get Ready For Love” having a slightly longer intro.

Paintbox
45s:
Get Ready For Love/Can I Get To Know You (Young Blood YB 1015) 1970
Get Ready For Love/Can I Get To Know You (Young Blood YB 1029) 1971

Moondance
45: Lazy River/Anna St Claire (A&M AMS 792) 1970

Tramp
45: Vietnam Rose/Each Day (Young Blood 1014) 1970

Article by Mike Griffiths and Nick Warburton

Copyright © Mike Griffiths and Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Tramp Vietnam Rose reviews
Top review from Disc & Music Echo, July 25, 1970; bottom review from Music Business Weekly, July 25, 1970

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Tulsa to Memphis: Lonnie Lee & the Big Beats, The Shadow Lake 8, and the Jades

Lonnie Lee and the Big Beats, circa late 1960, from left: Dale Roark (bass), Lonnie Lee Edens (guitar), Jerry Woods (drums), and Archie Barnes (guitar). "I had just turned 17 when this picture was taken. I believe Archie was 14! It was taken at the Starlite club in Bartlesville, Oklahoma." - Dale Roark
Lonnie Lee and the Big Beats, circa late 1960, from left: Dale Roark (bass), Lonnie Lee Edens (guitar), Jerry Woods (drums), and Archie Barnes (guitar). “I had just turned 17 when this picture was taken. I believe Archie was 14! It was taken at the Starlite club in Bartlesville, Oklahoma.” – Dale Roark

Dale Roark of the Escapades sent these songs and recollections of his start in music in the town of Bartlesville, forty miles north of Tulsa:

These recordings chronicle three musicians from Bartlesville, Oklahoma from 1961 until 1966.

The area around Tulsa in the late 50’s and early 60’s was a hotbed of musicians. David Gates (later ‘Bread’), Johnny Cale (later J.J. Cale), Tommy Crook (local guitar legend that stayed put), Leon Russell plus traveling Arkansas bands such a Ronnie Hawkins and the Hawks (later ‘The Band’), Charlie Daniels and the Jaguars (yes, that Charlie Daniels), and the McClellan brothers (The Five Emcees) out of Okmulgee, Oklahoma, all put their mark on the local music community. The Paradise Club in particular was a venue where musicians would casually approach the bandstand with “hey man, can I sit in?”. It was always fun but occasionally Tommy Crook, Roy Clark, or some of the other professionals would just blow you away. Any musician could request and it was understood that you would let them. It was competitive but also an inspiration.

Dale Roark (bass), Archie Barnes (guitar), and Denny “Zoot” Freeman (drums) formed a group called The Ravens in late 1959 and played local YMCA and high-school gigs for about a year. I was a high school junior. Archie and Denny were both in the 8th grade. A year later we joined up with Lonnie Lee Edens and formed Lonnie Lee and the Big Beats. We played the local night-clubs and did pretty well for a bunch of high schoolers.

Dale Smith’s pick-up band – Bartlesville, OK, April, 1961. L-R: Doug Cade, Dale Roark, unidentified, Archie Barnes (with his brand-new Rickenbacker), and Doug Lorenz. Photo courtesy of Doug Lorenz.

Dale Smith GilBil 45 Let's Fall in Love AgainDale Smith GilBil 45 Canadian Sunset - TwistDuring my senior year Dale Smith, my high school choir director, approached the group about backing him up on an original song he had written. As you will see, he had a beautiful Perry Como-type voice. He rented time a Tulsa TV station studio and me, Archie, and Denny plus Richie Dickerson (9th grade – piano) backed him up. When you listen to Archie’s solos, keep in mind that he was in the 9th grade! Let’s Fall In Love (Mr. Smith’s original) and Canadian Sunset Twist were the result.

I went off to Oklahoma State University and wasn’t active in music my freshman year but right before the end of the winter semester I was approached by Kent Washburn to join the “Shadow Lake 8” for the summer gig in Noel, Missouri. The band had been a staple at OSU for years with graduating members being replaced by new, younger talent. They also needed a guitarist so I introduced him to Archie and his mother agreed to let the young sixteen year old join the band. The drummer quit the first week there and Denny was contacted and drove out the next day.

The band at that point consisted of:

Kent Washburn – Tenor Sax and Band Leader
Amos Ming – Alto and Baritone Sax plus flute
Terry Mead – Trumpet and Valve Trombone
Bing Vasser – Trumpet
Bill Schooler – Piano
Archie Barnes – Guitar
Denny Freeman – Drums
Dale Roark – Electric bass

During the winter of 1963, Kent’s younger brother, Gary, replaced the piano player with his brand new Hammond B-3 organ and the dynamics of the group started to change. A demo tape was made at the Tulsa University ballroom. Single mike, no mixing, direct to tape and later cut as a demo. It is 45 years old and has a lot of pops and scratches so I only included a couple of snippets to help contrast with later recordings.The last 30 seconds of “Splankie” show Denny’s mastery of big band jazz. The last two minutes of “From the Heart” (a Ray Charles number from his “Genius Plus Soul = Jazz” album) show off Archie and Denny’s 10th grade musician skills. Denny was a huge jazz fan and his talents are present in his kicks and comping abilities. Archie shows a sophistication that few rock and roll musicians could conceive at such a young age. It also allows comparison between Gary’s “All Skate” tone to the later recordings as he finally mastered the tone controls of his B-3. He was also in high-school at the time.

Shadow Lake 8 Em-Kay 45 South Parkway
Both songs by M. Kent Washburn. Rite Pressing #12877/12878 which dates it to 1964.

Shadow Lake 8 Em-Kay 45 PowerThat next summer we played at Rockaway Beach, Missouri. It is a resort town of about a hundred people just a few miles from Branson. It predated the Branson we know now and was the “in” place for college kids from Kansas City, Springfield, Memphis, Saint Louis etc. to go. The club was huge by that day’s standard and probably held a couple of thousand people. The group tightened up quite a bit but I quit the following fall for personal reasons. I was replaced by Bill Hieronymus and the following summer they toured the Florida night club circuit as “The Jades”.

“South Parkway” / “Power” on Em-Kay – [this repeats Dale’s comment, below]:

I believe it is the only released record the Shadow Lake 8 / Jades ever cut. These two sides were made after I left the band. “South Parkway” was a major street in Tulsa at the time so that’s what they called the first cut. I am pretty sure that was Amos speaking “g’wan to South Parkway” at the start and Archie counting then Kent speaking on “Power”.

Kent gave me a copy and I took it into Stax records and played it for Steve Cropper the very week I moved to Memphis but Steve wasn’t interested in either the record or the group because of their own in-house musicians. I lost my copy somewhere between Memphis and a half dozen other places over the past 45 years.

I don’t hear any trumpets so I guess it is:

Kent – Tenor Sax
Amos – up front and center on Baritone Sax
Gary – Organ and Piano
Archie – Guitar
Bill – Bass
Zoot (Denny) – Drums

Maybe one of the guys can acknowledge or correct me. Archie’s solos are typical of Tulsa area guitarists at that time . . . speed, speed, speed . . . It wasn’t the most melodic but the dancers loved it!

The band pretty much stayed together for several more years. I had moved to Memphis and was the leader of a group called The Escapades. We were under contract with Sun records and Kent contacted me during the summer of 1966 about cutting a record at Sun. The following four Jades tunes were the result:

Rainbow Riot – A Bill Doggett tune the band used as their theme song
High Heel Sneakers – Kent and Archie doing the vocals
I Got a Woman – Gary Washburn rockin’ on his B-3 including the bass pedals
Come and Take Me Baby – An original with Archie Barnes vocal and local Memphis back up singers

Bing Vasser had left the band prior to this but the rest of the musicians were together. I substituted on bass for Bill who couldn’t make the session. The group stayed together a little while longer but then went their separate ways. To the best of my recollection, with some help from Bing Vasser:

Amos Ming– became an accountant in Nashville with Brenda Lee as one of his clientsKent Washburn – moved to the West Coast and became a Christian Record Producer

Gary Washburn – became a music professor at the University of Hawaii

Bing Vasser – obtained a Masters degree in music from Tulsa University and taught music in Idaho Falls, Idaho. He then returned to Tulsa University to graduate with a Masters degree in mathematics and music computation. His computer music programs were used to produce synthesized music in one of the early computer music conferences held in Tulsa featuring Aaron Copeland.

Dale Roark – formed The Escapades in Memphis, was drafted into the Army, then earned a degree in Computer Science and had a 30 year high-tech career. He now lives in Eagle Mountain, Utah within 1 mile of his 4 children and 6 grandchildren.

Terry Mead – joined Brenda Lee’s back-up band then moved to Nashville for a successful music career. He played on the live TV show “Nashville Now” for several years until ill health caused his retirement. Terry died May 13, 2007.

Archie Barnes – joined Brenda Lee’s back-up band then moved to Toronto

Denny (Zoot) Freeman – joined Brenda Lee’s back-up band then moved to California. He passed away in 2000.

Bill Hieronymus – went back to school and earned a degree in geophysics from the University of Houston. He became a consultant with several major oil companies and was well respected for his analytical expertise. He was also cited by Downbeat Magazine as one of the premier jazz bass players in America. He died on Thanksgiving day, 2008.

Dale Roark, April 2009 (Original Text)
Bing Vasser, (Update and corrections)

Dale and Ken Washburn have created their own website for the Shadow Lake 8 at ShadowLake8.com with more information and photographs.

The Monarks

Here’s an obscure 45 by a band out of North Carolina.

“Gonna Miss Me Girl” has a cool, dense garage sound and a crude guitar solo. The original a-side, “I’m Gonna Be Glad” is kind of a blue-eyed soul number. Chuck Eatmon wrote both songs, though his name is spelled Chuck Eatman on the labels. I believe Chuck is still active in music with his own band in Greenville.

A lyric sheet for copyright registration has a handwritten note, “Tripp Walls, pianist and back up singer”.

The Monarks recorded at Sound City Studios in Bailey, North Carolina, about 10 miles west of Wilson. This is the same studio that the Challengers would record “Moon Send My Baby” a few years later, and also where the Kallabash Corp recorded their LP.

Randy Fuller

Randy Fuller Show Town PS It's Love Come What May

Randy Fuller Show Town 45 1,000 Miles Into Space

Randy Fuller Show Town 45 Revelation

Randy Fuller with New Buffalo Springfield, Spring 1969. Clockwise from top: Dewey Martin, Bob Jones, David Price and Randy Fuller
Randy Fuller with New Buffalo Springfield, Spring 1969. Clockwise from top: Dewey Martin, Bob Jones, David Price and Randy Fuller
When Texan rock legend Bobby Fuller was found dead in his car on 18 July 1966 in suspicious circumstances, those nearest and dearest were devastated, not least his younger brother Randy, who had also been bass player in the aptly named, Bobby Fuller Four. From the early 1960s up until his brother’s untimely, and yet to be solved, death, Randy Fuller was Bobby’s closest collaborator and during those frenetic years of recording and touring witness to his brother’s extensive talents as a singer/songwriter, guitarist and skilled engineer and producer.

In the first few months following his brother’s death, Randy Fuller came close to jacking in the music career he had so cherished when Bobby was alive. “I came home to El Paso with no idea what I was going to do with my life,” says Fuller. “I felt like I was going to go insane because my mother was having such a hard time over Bobby.”

Later that autumn, however, Randy received a phone call from Bobby Fuller Four member DeWayne Bryant (aka Quirico) and Bob Keane, who ran Del-Fi studios, to return to Hollywood and form a new group with some musicians that Quirico had been playing gigs with in the intervening months. “Keane said that if I came back he could get us back in PJ’s nightclub,” remembers Fuller.

To stimulate some local interest in the new group, prior to it playing live, Keane financed some studio time to record a handful of tracks in late 1966. For these recordings, the studio band consisted of Randy Fuller on bass, rhythm guitar and lead vocals; DeWayne Quirico on drums; Howard Steele on bass; and Mike Ciccarelli on lead guitar and vocals.

“The musicians on all the songs were from El Paso, Texas but [they] never stayed together long enough to promote them [the singles],” explains Fuller, who points out the recordings were all laid down in the final days of the studio’s existence.

The first single to be released (under Randy’s name only on the obscure Mustang label) was the catchy “It’s Love, Come What May”. “[That] is the original track from Bobby Fuller Four recorded at Del-Fi,” says Fuller. “Bob Keane and I recorded my voice on a separate track and remixed it a little louder than Bobby’s in the final mix.”

An infectious folk-rocker, “It’s Love, Come What May” should have been a smash hit but mysteriously did not attract many sales. Unperturbed, Keane prepared a second single coupling Randy Fuller and Johnny Daniel’s “The Things You Do” with another collaboration “Now She’s Gone” but it appears the Mustang release never hit the shops.

Interestingly, Randy Fuller reveals that two of soul music’s heavy weights had a hand in the creative process. “[On] ‘The Things You Do’, Barry White and Dionne Warwick threw in a line or two.”

Events meanwhile were about to take a dark turn. When Del-Fi was forced to close in early 1967, Keane, unbeknown to Fuller, began to issue the recordings through the Show Town and President labels. “Del-Fi went under and Bob kept the masters in a vault,” explains Fuller. “I [later] found out he had been selling these [singles] over in the UK for years!”

Perhaps the most fascinating of these releases are the trippy, Buffalo Springfield-influenced, “1,000 Miles Into Space”, which features some tasty lead guitar work and superb lead vocal by Randy, and “Revelation”.

While Keane was busy releasing the tracks on the sly, Fuller and Quirico began working back at PJ’s joined by guitarists Jim Fonseca and Jimmy Smith. The line up played at the club for nearly two years and according to Fuller, “We probably would have had a hit or two, but as usual ego destroyed the band.”

Left without a band, Randy hooked up with Dewey Martin’s New Buffalo Springfield in February 1969 and toured with this group for the best part of the year, before it morphed into Blue Mountain Eagle. Fuller’s new band recorded an excellent album for Atco Records in 1970 with the bass player’s “Sweet Mama” providing one of the highlights.

Unlike Blue Mountain Eagle’s album, which has been released on CD, very few of The Randy Fuller Four recordings have reached a wider audience via compilation CDs. Perhaps now is the time to rediscover the magic of this material, especially “It’s Love, Come What May” and “1,000 Miles In Space”.

Blue Mountain Eagle, December 1969, Randy Fuller second from left.
Blue Mountain Eagle, December 1969, Randy Fuller second from left.

Solo releases:

It’s Love, Come What May (actually Bobby Fuller Four with Randy’s overdubbed vocals) c/w Wolfman (Mustang 3020) 1966 US (credited to Randy Fuller)
The Things You Do c/w Now She’s Gone (Mustang 3023) 1966 US (credited to Randy Fuller Four but not released)
It’s Love, Come What May c/w Revelation (Show Town 466) 1967 US (credited to Randy Fuller)
It’s Love, Come What May c/w The Things You Do (President PT 111) 1967 UK (credited to Randy Fuller)
1,000 Miles In Space c/w 1,000 Miles In Space (Show Town 482) 1967 US (credited to Randy Fuller)

Many thanks to Randy Fuller for his invaluable input into this story.

Transfer and scan of “1,000 Miles in Space” courtesy of Colin (Expo67), transfer of “Revelation” courtesy of Bård H., scan courtesy of Freddy Fortune. “Wolfman” scan and transfer courtesy of JP Coumans.

© Copyright, Nick Warburton, April 2009, All Rights Reserved

Visit: www.nickwarburton.com

The great b-side "Wolfman", a Bobby Fuller Four recording originally released as by the Shindigs on the flip of "Thunder Reef", Mustang 3003 and used again on Randy Fuller's first 45.
The great b-side “Wolfman”, a Bobby Fuller Four recording originally released as by the Shindigs on the flip of “Thunder Reef”, Mustang 3003 and used again on Randy Fuller’s first 45.

The Souls (aka: Christopher and The Souls)

The Souls, 1966 photo
The Souls, 1966 l-r: David Smith, David C. Lott, Jay Hausman, Jerry Ebensberger. Not pictured: lead vocalist Allen Kirsh
Souls business card
Souls business card with first lineup and manager Sonny Sparks listed

David C. Lott wrote this history of his band the Souls, known for their 45 on the Pharaoh label as Christopher & the Souls. David also contributed all the photos and newspaper scans included in this article.

Music has a strange way sometimes of transcending time and boundaries. It can seemingly take on a life of its own.

Such is the case of a young garage band from McAllen, Texas during the swingin’ mid-sixties. Nestled about as far down in south Texas as one can get — down in the Rio Grande Valley, right above the Mexican border – was a teen scene that produced some great rockin’ groups like The Headstones, The Cavaliers, The Playboys of Edinburgh and Arturo & Pat and The Invaders.

 Souls and the Headstones at the Moose Lodge
Souls and the Headstones at the Moose Lodge

In Andrew Brown’s “Brown Paper Sack – Music & Commentary No.1”, from the mid-90’s, he states “but not one of ’em can match the intense dementia of Christopher and the Souls’ “Diamonds, Rats, and Gum”, which is not only the wildest records ever made in the Texas Valley, but also very likely the ultimate antithesis of every sorry-ass love ballad that’s ever dribbled down the proverbial pike.”

A single copy of the 45 recently sold on e-bay for a whopping $1225.

The story of The Souls really begins back in late 1964 when Jay Hausman, a young student at McAllen High School, and classmate David Smith began a collaborative effort. Jay was teaching David new bar chords and David showing him some of the well-known guitar licks of the day (ie: surf music & early Beatles and Stones). David was only a year older than Jay, but had been playing the guitar for several years and was acknowledged as one of the more talented guitar players in town. Jay eventually began feeling confident enough as a guitarist to start making his way onto the local music scene. Jay met Allen Kirsh, who didn’t play an instrument but could sing a pretty good tune and perhaps maybe a little better most. After hearing Allen a couple of times, Jay began visualizing a rock ‘n’ roll band.

The Souls with Tommy McLain, Foamy Brine, the Marauders and Our Generation
The Souls with Tommy McLain, Foamy Brine (featuring W. R. “Dub” Lynch), the Marauders and Our Generation at the Mission Community Center in Lion’s Park, 1966

Brian Voss, another one of Jay’s high school chums and his neighbor could play the bass and had a great voice, and Dee Edwards, a senior at McAllen High had a decent set of drums. Jay enlisted David Smith, his mentor, to join the band as lead guitarist. After a couple of months of practice during the early spring of 1965, the quintet had it down well enough to be thought of as a band. Somebody, nobody remembers quite who, christened the band as The Souls. The name “Souls” was probably a take-off on “Rubber Soul” by the Beatles.

The line-up lasted about six months. Brian Voss left the band for personal reasons. Dee Edwards graduated from high school that year and moved on. Jay, Allen, and David Smith stuck together and in late 1965 added two more classmates at McAllen High – Jerry Ebensberger on bass and David Lott on drums.

 David Lott of the Souls
David Lott of the Souls

Lott and Ebensberger had been playing for a few months in a little trio along with a young eight grade guitar “prodigy-to-be” Mitch Watkins in a band they called “The Madhatters.” David Lott recalls Mitch having a $35 Silvertone guitar that had its amplifier in the guitar case – but that the guy was amazing. He could pick up most any musical instrument from piano to saxophone and within minutes have it almost mastered. (note: Mitch Watkins, now based in Austin, is still one the finest guitar players in the country www.mitchwatkins.com). The revamped Souls by the spring of ’66 were gigging frequently at church dances, private parties, the Hide-A-Way Club in Harlingen, the National Guard Armory in McAllen, the Moose Lodge and Valley Bowl & Skating Rink in Mission.

Three legendary Texas bands! The United Fund benefit dance in McAllen, 1965
Top row – The Cavaliers, l-r: Mike Dunn, Gary Vandiver, Javier Rios, Jenny Hatfield [Jeanne Hatfield?], (can’t remember), Richard Mancilla
Middle row – l-r: The Marauders, with Mitch Watkins on lead guitar at left, Phil Veale, Eric Mancilla, Jimmy Parker, Lloyd Allen.
Bottom row – The Souls, l-r: Murray Schlesinger, Jerry Ebensberger, David Smith, David Lott and Allen Kirsh.
The Zakary Thaks, Headstones, Souls and Cavaliers
Surely one of the greatest show lineups of 1966 – The Zakary Thaks, Headstones, Souls and Cavaliers all for $1!

There were several “ages” of bands in the McAllen area music scene hierarchy. At the top end of the spectrum were the Playboys of Edinburg, who recorded several quality tunes, and a great little group who never recorded called The Invaders. Then the next level would’ve been The Headstones, and The Cavaliers – guys in their late teens or early twenties. And then the next age group down would’ve been The Souls, and a band called the Marauders. All ages 14, 15 and 16 years old.

Even though The Souls were like most of the other garage bands of the day – doin’ cover tunes – they felt like they were on the cutting edge of something. They just didn’t know exactly what – but they knew there was something special in the air with the music of ’65 and ’66. One has to remember, this was less than two years after the Beatles had hit America and the British Invasion lit a fire storm of musical creativity with the youth. Everything they did and tried was new and hadn’t been done before. The music of the mid-60’s was taking on a life of its own.

Christopher & the Souls Pharaoh 45 Diamonds, Rats, and GumAbout the time the band was starting to take off – Jay Hausman’s family moved to Nashville, and unfortunately Jay had to go with them. It was hard for the fellas in the band to say “adios” to the guy who’d been the band’s main motivator. However, they soon found a good substitute for Jay in a very talented young kid named Murray Schlesinger, who had been playing rhythm guitar for the Marauders.

About the same time Murray came into the fold, a guy named Chris Voss felt the sudden inspiration to have a couple of song-poems he’d written set to music and committed to vinyl. His younger brother Brian had been the band’s first bass player.

The two song-poems Chris had penned were titled “Diamonds, Rats, and Gum” and “Broken Hearted Lady”. He took them to David Smith and played the basic songs for him on acoustic guitar. David added the fuzztone riffs to “Diamonds, Rats, and Gum”, in the style of George Harrison’s “Think For Yourself” (from Rubber Soul). You can hear some similarities in the downward fuzz-bass progression playing between the verse & chorus. A few days later, David and Chris brought the songs to the band’s practice session at Allen’s house. Chris proposed that the band learn the songs and that they cut a record.

Christopher & the Souls Pharaoh 45 Broken Hearted LadySo, the band listened intently as Voss read his lyrics and David tried to get a handle on a melody. After a few hours, the basis of the song started to come together. Each young musician developing their role. A few weeks went by with the band honing and refining the songs in practice sessions until they felt they had it down and was as they all envisioned it.

The Souls showed up at the now legendary Jimmy Nicholls’ Pharaoh Studio one night in September of 1966. Nicholls’ studio had a quarter-inch tape, Ampex machine straight to two-track — mind you — live to two track, no overdubbing.

The band cut the two songs in less than two hours. Allen, the Souls’ regular lead singer, was not singing on the record, but was present for the session and moral support. He later said “If it hadn’t of been for Chris Voss, the Souls would’ve never recorded.”

David Lott: “KRIO Radio, McAllen’s ‘Swingin’ 50′ of December 3 – 9, 1966. The Souls ‘B’ side song ‘Broken Hearted Lady’ was #37 on the chart – rising from #48 the week before. Our song hovered in the low 30’s for 5 weeks on the charts.” Note the Headstones at #16.

Andrew Brown in his “Brown Paper Sack – Music & Commentary No.1” said “Written, sung, and played in a style aggressively defiant to easily digestible pop music clichés, ‘Diamonds, Rats, and Gum’ is one of the most savage parodies of Top 40 idealism ever made, and while it certainly wasn’t intended to be that, just what the song was intended to be remains a mystery to all involved!” By contrast, the “Broken Hearted Lady” flip side is a serious take done as slow sappy ballad.

“Diamonds, Rats, and Gum” is bizarre and fantastic with lines like “I’ll give you rats and five pieces of gum and then you’ll know I’m not a bum”, whimpered over a grinding slurry of fiercely demented fuzz guitar, bass and drums.

Brown goes on to say “Chris Voss’ neurotic nursery rhyme about giving the object of his affections disease-ridden rodents and a prescribed amount of chewing gum as proof of his undying love, is sung in a slurred whine above the staggeringly PRIMAL accompaniment of four teenage punks only slightly taller than their guitars. It is the loudest, greatest insult to the stomach-churning moanings of ‘lite rock’ pigs like Elton and Phil (and their countless bastard offspring choking up the airwaves) ever recorded.”

He continues with “And for this, my friends, we owe the Souls nothing less than our eternal, everlasting gratitude.”

The record was released in a limited custom pressing the following month as a 45 under the Pharaoh label. “Diamonds, Rats, and Gum” as it turns out some 40+ years later is one of the rarest of the rare on a very rare label.

Oddly enough “Diamonds, Rats, and Gum” had been the song the band had intended to promote. However, local KIRO deejay Rusty Bell wanted to push the ballad “Broken Hearted Lady”, and it got a lot of local airplay due to Bell’s friendship with the band.

Sales allowed the record to enter on KRIO’s “Swingin’ 50” at #48 the first week it was out in late November ’66. It then climbed to #37, #35 then #32 by December 16th, 1966. The song ended up at #23 sometime in January 1967. Nobody in the band remembers now-a-days if the song climbed the charts a bit more or if it fell. None-the-less, the song had made the charts.

A few examples of other hits on the charts during those weeks were “Winchester Cathedral” by New Vaudeville Band at #1, “Devil With A Blue Dress” by Mitch Ryder, “96 Tears” by Question Mark and The Mysterians, ” Come on Up” by The Young Rascals, “Steppin’ Stone” by The Monkees, “Mellow Yellow” by Donovan, and “Have You Seen Your Mother Baby” by the Rolling Stones.

Chris Voss made an appearance with the Souls at an Edinburg High School pep rally shortly afterward … and wasn’t heard on stage again. Chris ended up going to college and becoming a successful businessman in McAllen.

KIRO deejay Rusty Bell continued to promote the band through his Teen Dances at the Mission Community Center in Mission, Texas. The Souls appeared frequently on the billing with The Headstones, The Cavaliers, The Playboys of Edinburgh, The Zachary Thaks from Corpus Christi and others and often served as “opening act” for notable groups routed through the area. Such groups were The Classics IV from Florida (with their hit “Spooky), The Five Americans from Dallas (with their hit “Western Union”), Tommy McClain from Louisiana (with his hit “Sweet Dreams of You”) and others.

Early in 1967, Jay Hausman moved back to McAllen and back to The Souls. Murray obliged by leaving and rejoining the Marauders. Unfortunately, Jay’s presence wasn’t enough to keep the band as enthused as they were the year before. The “psychedelic” music trend was in full bloom and the band just couldn’t get enthused. After one last show, opening for the Five Americans and the Cavaliers at the Mission Community Center, the Souls came to a quiet halt. There would be no revivals, no reunions.

Andrew Brown states: “yet the music they’d managed to preserve on vinyl will echo on far longer than they’d ever expected it to, or even wanted it to.”

In September of 2008, a single copy of Christopher and The Souls 45 that featured “Diamonds, Rats, and Gum” and “Broken Hearted Lady” (Pharaoh P-151) listed on the site as “a Texas Garage Band killer” sold on e-bay for a whopping $1225. Only a few copies of the record are known to exist. However, David Lott states that he still has a copy in excellent condition and so does David Smith.

As stated earlier – music “can sometimes seemingly take on a life of its own.”

The line-up and where are they now: (2009)

• David Smith – lead guitarist 1965 – 1967, is a software programmer living in Austin, Texas. He frequently plays guitar in a band called “33 1/3”.

• Murray Schlesinger – guitarist 1966 has an insurance agency in McAllen, Texas and frequently plays guitar in a band called “The Retrorockers” (www.retrorockers.com )

• Allen Kirsch – singer 1965 – 1967 owns Music Makers in Austin, Texas serving Texas musicians since 1988 (www.musicmakersaustin.com)

• David Lott – drummer 1965 – 1967 resides in Medicine Park, Oklahoma and is a freelance graphic designer, website developer, publisher, entrepreneur and concert promoter (www.lawtonka.com) and occasionally sits in during local jam sessions.

• Jerry Ebensberger – bass 1965 – 1967. Jerry owned/managed a newspaper in Mansfield, Texas for many years, and then a restaurant in Victoria, Texas. He and his wife (high school sweetheart) Beverly reside again McAllen, Texas

• Jay Hausman resides somewhere in Los Angeles, CA

• Chris Voss resides in Mission, Texas and is a pastor of Central Christian Church, in McAllen, Texas.

• Slaiman “Chunky” Showery, (equipment and road manager for Souls) resides in McAllen and was a successful car/home stereo entrepreneur in 70’s, 80’s 90’s. Now takes life easy. Works at Rio Radio, a historical audio and radio store in South Texas, the first to sell car stereos in the Valley.

– 2009, David C. Lott – dlott@lawtonka.com

with excerpts from Andrew Brown’s “Brown Paper Sack – Music & Commentary No.1”

Souls set list
Set list from The Souls performance at Padre Island Pavilion for Easter Weekend

The Rogues

One of the most common band names of the ’60s was the Rogues. This particular group attended prep school at Mercersburg Academy, located southwest of Harrisburg, close to the Maryland state line.

I’d be interested in knowing how a band in Pennsylvania came to release their 45 on a label in Roanoke, Virginia, 240 miles away down Interstate 81. Maybe one of the band’s members came from that area.

The only name I can associate with the group is David Anthony, who wrote both songs here, the thumping put-down “Don’t Follow Me” and the sedate “Mr Sandman” on the flip. “Don’t Follow Me” lacks a guitar solo during the break, but the drummer provides excellent fills throughout the song.

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