Interview with Chris Demetriou

John E. Sharpe & the Squires on the cover of Pop Gear S/A, February 7, 1966. Chris Demetriou is seated at left.
John E. Sharpe & the Squires on the cover of Pop Gear S/A, February 7, 1966. Chris Demetriou is seated at left.

Chris Demetriou is best known for co-writing the UK top 5 hit “He’s Gonna Step On You Again” with fellow South African John Kongos and for producing Cat Stevens and former Manfred Mann singer Mike D’Abo. He talks to Nick Warburton about his South African years, working with UK-based groups Floribunda Rose and Scrugg and becoming a pastor.

Chris Demetriou, October, 1966
Chris Demetriou, October, 1966

Q) Hi Chris, I gather from your surname that your heritage is Greek? I know that you grew up in South Africa so what is the connection?I was born in Cyprus but my parents immigrated to South Africa and I stayed there until John Kongos and I moved to the UK in 1967.

Q) You started out as a keyboard player. Was John E Sharpe & The Squires your first group and how did you come to join them?

In fact I started playing guitar, moved on to bass guitar, and ended up playing a Farfisa organ out of necessity. I’m not sure, but I think Les Goode brought me into The Squires.

John E. Sharp and the Squires CBS 45 Stop Your Sobbing
Q) Besides John E Sharpe and yourself, the other original members were bass player Les Goode, guitarist Barry Saks and drummer Mervyn Harris. The group has a reputation for being one of the best groups on the Johannesburg live scene in the mid-1960s. What do you remember about recording with the band?

We played as more of an R&B band when doing gigs but somehow changed styles in the recording studio. Hence, the cover version of “I am a rock” (by Paul Simon). The band was South Africa’s answer to The Rolling Stones.

Q) You co-wrote a few songs for the band with John E Sharpe. What prompted you to start composing material?

Although I had been writing lyrics since I was twelve and experimenting with different musical styles, it was very natural for me to write with someone else. I chose songwriting partners because that’s what worked for me.

Q) John E Sharpe & The Squires were managed by Clive Calder, who later went on to become one of the richest men in the music industry. What was he like to work with?

I found Clive to be very focused and extremely astute as a musician. You could see that he had a future beyond South Africa.

Q) The band’s lone album “Maybelline” is now almost impossible to find but is regarded as one of the best South African records from that period. What do you remember of the album’s sessions?

Hey I’d love to hear it again! We recorded it at Gallo Studios on a four-track machine. Not many overdubs or clever tweaking. A nearly “live” recording in a true R&B style.

Floribunda Rose in Johannesburg, May 1967 before setting off for England. Left to right: John Kongos, Chris Demetriou, Pete Clifford (foreground), Jack Russell and Nick Dokter. Courtesy of Jack Russell.
Floribunda Rose in Johannesburg, May 1967 before setting off for England. Left to right: John Kongos, Chris Demetriou, Pete Clifford (foreground), Jack Russell and Nick Dokter. Courtesy of Jack Russell.

Q) In mid-1967, you left the group to join fellow countryman, John Kongos in London for his new group Floribunda Rose alongside Dutch-born Nick Doktor, Welshman Jack Russell and English guitarist Pete Clifford. How did you make the connection with John and how did you know the other players?John located me through the Jo’burg Greek club. I was invited to his house and the next thing I knew we were planning to leave the country and seek fame and fortune in London. The other players were already in place.

Q) What were you first impressions of London and where did you all end up living? Also, do you have any memories of playing live on the local scene? I found one date for the band playing at Tiles in London in September 1967 with Simon Dupree & The Big Sound.

Wow! You have sourced some interesting information. The Tiles Club! I remember playing the Tiles Club more than once. However, most of our gigs were up and down the M1 at less prestigious venues. We did play some university events and supported more well known acts, but it’s so long ago, I wouldn’t be able to confirm if we were just in the crowd or on the actual bill. I remember seeing Joe Cocker and Jethro Tull.

Q) The group signed to Piccadilly Records and worked with John Schroeder on the single “One Way Street” c/w “Linda Loves Linda”, both sides of which are great tracks. What do you remember about recording this single? Were there are any other songs recorded that were subsequently scrapped?

John Schroeder was very organised when it came to booking studio time. We were in and out as quickly as was necessary to lay down the backing tracks. No real freedom to create on our own.

Q) What was the decision to change the band’s name from Floribunda Rose to Scrugg? Was it the same line up of musicians? I read that Henry Spinetti played some drums?

The “flower power” thing was on its way out and we thought a name change would help us re-focus and take a slightly different direction. Also, Henry had just joined the band.

Q) Scrugg issued three hopelessly rare singles for Pye, none of which seem to have sold that well. What do you remember about these tracks and why do you think the group never got the success it deserved?

We were managed by The Walker Brothers’ manager and had reasonable exposure on radio and some TV, so I do not really know why we didn’t make more of an impact. I suppose that this is just the way the music business runs.

Q) When Scrugg folded in early 1969, you elected to stay in England and continue to work with John Kongos on his solo material. What happened to the other members? I believe that Pete Clifford returned to South Africa to join The Bats?

John and I had burnt our bridges after leaving South Africa. Going back was not an option. John and I were very close – like brothers. Therefore, continuing to work together was natural.

Q) How did you come to move into production work? Did you still continue to perform?

Before “He’s Gonna Step On You Again” became a hit (and after the group had disbanded), I answered an ad in Melody Maker for a production assistant. It was GEM Productions, which was set up by Laurence Meyers and Tony Defries. Tony took me under his wing and I got to help their artists and producers in the studio and out. Sometimes mixing singles, other times helping with promotion. David Bowie, Gary Glitter, Johnny Johnson and the bandwagon, and Mike d’Abo were all part of the team. Right after the successes with John Kongos’ recordings on the Fly label, I seized the opportunity to get into production. I was introduced to Barry Krost (Cat Stevens’ manager) and he took me on board and immediately introduced me to A&M Records. I then established a strong connection with the label and recorded four albums with different artists (including “Down at Rachel’s Place” with Mike d’Abo).

Q) Tell me about your work with Cat Stevens. How did that come about?

As I was being managed by Barry Krost (BKM) it was only a matter of time before Stevens and I would work together. I first helped out on some live recording and then worked with him on the “Budda and the Chocolate Box” album. But it was not a good combination. Two Greek boys in the studio! I eventually had to back out in order to preserve the relationship. We are still friends.

Q) You also worked with Mike D’ Abo on his album “Down At Rachel’s Place”. What were those sessions like?

This is my finest recording. Even now I listen to it and enjoy every moment. We had the best of everything – musicians, arranger and engineer. Ken Scott was my engineer (he went on to produce David Bowie, Supertramp and Chris de Burgh).

Q) You are probably best known for co-writing “He’s Gonna Step On You Again” with John Kongos which became a huge hit in the UK, South Africa and the States and became a hit for The Happy Mondays years later. Tell me about the inspiration for that song and how you and John came up with it?

I had written the first part of the lyric in South Africa in protest of the political situation and the mistreatment of the black population. I had seen similarities between this and the abuse of the Red Indians. John liked the theme and we started writing a song with the guitar riff as a strong lead. John and I could write five songs a day if necessary but when we started writing this song it was different – we knew something truly unique was taking place.

Q) When did you give up a career in music to become a pastor? What prompted that change in career?

I had already moved away from the music business and into the media industry. The career change never took place, rather, I evolved. However, there was a distinct heart change. My career in the media is still very active, even though I am a pastor. Business is what I do – a pastor is who I am. The difference between “calling” and career. I trust you understand.

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.

Many thanks to Jack Russell for the use of photos from Pop Gear SA and his personal collection.

The as-yet unnamed Floribunda Rose in Jo'burg, May 1967.
The as-yet unnamed Floribunda Rose in Jo’burg, May 1967.

The Missing Links “You’ve Got Your Rosies On” / “They Say You Lie” on Discovery

The Missing Links have this one excellent 45 on Discovery Records, released possibly in October, 1965. The band is unknown. This record was erroneously listed as from Texas, but California is much more likely, as the Discovery label was from the Los Angeles area.

On the top side is “You’ve Got Your Rosies On”, a nicely produced tune where the singer makes it clear his girl shouldn’t expect much of him, while the girl’s voice chimes in asides like “too bad.” It was written by R. Jarrard and James Hilton and arranged by James Hilton, and published by Jarhill Pub. Co., BMI.

I never thought I’d make a record babe, but look at Sonny and Cher,
They had something to say, now I’ve got something to say to you,
Babe, you’re expecting too much, so take off your rose-colored glasses,
See me as I really am.

You’ve got your rosies on …

Spend all day writing songs, changing worlds, righting wrongs,
Everyday it’s ‘get a job’, but I can’t see this working hard,
Ain’t me babe, that ain’t me babe..

Wear those funny way-out clothes, my girl says ‘what are those?’
What I am, no I explain, cause your ideas can’t make me change
It’s me babe, ah it’s me babe.

Expecting things from a guy like me, causes problems can’t you see,
Wear my hair mighty long, need that hair to sing this song to you babe,
Just to you babe, oh yeah,

What I’m saying in this song, is maybe I’m right, maybe you’re wrong
And just because my pockets are bare, that don’t mean I ain’t going nowhere.
I’m going somewhere, oh yeah, I’m goin’ somewhere …

If you don’t want me you don’t have to come at all,
But if you want me, you better take off your glasses babe,
See me as I really am…

“They Say You Lie” is the opposite of the light-hearted top side. It’s a brooding song, with slashing guitar chords, pounding toms and self-pitying vocals that rise for the chorus “but they say … you lie, you lie”. The guitar solo has a matching intensity. It was written by D. Abrahamsen and N. Nissenson. Both sides were produced by James Becht.

The Fellowship

Here’s an obscure 45 by the Fellowship, one side a version of Dylan’s “Just Like a Woman” with a full band, the other a more fanciful number with only acoustic instruments backing the vocals. “Palace of the King” was written by J. Treese, possibly Jack Treese, an american musician who had a long career in France.

One notable thing about this release is it’s on the Miramar label, most famous for releases by the Dovers. See the separate article on Miramar for more info.

Tony Cary produced all the Dovers 45s as well as the Road Runners, Nick Hoffman and Fellowship records on Miramar. He went on to produce the Alexander’s Timeless Bloozband Lp on UNI, released 1968 and Charles Lamont’s solo LP from 1969, A Legend In His Own Time.

This 45 came from a collection of 45s owned by Bob Buchanan, who co-authored “Hickory Wind” with Gram Parsons and played in the New Christy Minstrels for some time, as well as the International Submarine Band. Perhaps he played on this session? The other 45s in the collection were by the New Christy Minstrels, Brewer and Brewer, and Mike McGinnis.

Max Waller suggests there may be a connection to another Fellowship 45, “You Laughed At Me” / ? on Film Town 6169 from July 1969.

Thank you to Jason Sweitzer for help with information about Tony Cary.

Sanz, Incorporated on Skoop

Sanz, Incorporated
Left to right: Dave Adams (16), Larry Adams (14) (brothers), Steve Ficklin (16), Ron Hale (17) and Bob Ficklin (14). Not pictured; Steve and Bob Ficklin’s younger brother, Brent (13) who joined the group shortly after.

Sanz, Inc released two 45s on the Skoop label, “My Baby’s Eyes” / “I’m Gonna Leave You” in December of 1966 and “I Just Want You” / “I’ll Never Forget” in May of 1967.

“I’m Gonna Leave You” starts with a catchy bass and drum rhythm, then the vocals and organ combine for a haunting effect. A fast organ sequence and a howling guitar riff open “I Just Want You”, which features a busy, popping rhythm. “I’ll Never Forget” is a slow ballad, very much an early ’60s doo wop vocal style.

Members were:

Steve Ficklin, vocals
Bob Ficklin, keyboards
Brent Ficklin, vocals
Dave Adams, guitar
Larry Adams, bass guitar
Ron Hale, drums

Keyboard player Bob Ficklin wrote to me about the band and sent in the great photos you see here:

I was part of a band called Sanz, Inc. from Petersburg, Indiana. Sanz, Inc. was a popular group that performed in the tri-state area (IN, KY & IL).

We all attended the same high school (Petersburg High). The name Sanz was derived as a word play on the Sands Hotel in Vegas. The “Inc.” was added later.

We played many local street dances and teen centers in the area. Some other venues were a prom at the Sheraton Hotel in French Lick, IN; area county fairs; a political rally in Princeton, IN; Chieftain Restaurant, Lawrenceville, IL; several gigs at Lake Lawrence, also in Lawrenceville, IL; Teen Center in Morganfield, KY; among others. We usually played top 40 hits of the day and original material. Although there were a few other area groups, we were not acquainted with them and were never in competition.

“My Baby’s Eyes”/”I’m Gonna Leave You” was recorded in Santa Claus, IN, home of the first theme park in the U.S. (Santa Claus Land, now known as “Holiday World”) in 1966. Santa Claus, being about one hour away was the best opportunity for recording. “I Just Want You”/”I’ll Never Forget” was recorded on the same label in 1967.

On the way to record “I Just Want You”, we didn’t have “I’ll Never Forget” completed. So, we finished it in the car and recorded it on the flip side. All four songs were written by Bob and Steve Ficklin.

When recording “I Just Want You” and “I’ll Never Forget”, after the music and vocals (Bob and Steve Ficklin) were completed on the first track, Bob and Steve also added background vocal parts. We paid for the session times and the records that were pressed. Both projects were completed in a very short period of time (a matter of a few hours).

The records were played on several area stations in surrounding counties. “My Baby’s Eyes” received air play on WLS/Chicago. We did sell records at performances, at school and at a local retailer.

As older members of the band graduated the band dissolved. Larry Adams played bass with another area group for a time. Steve Ficklin sang with various gospel groups through the years and continues today. While in the Air Force, I sang with a couple of bands. In recent years I have sung with a local group and continue singing with a duet partner. Thanks for keeping the memories alive; it was a great era.

Bob Ficklin

Thank you to Bob Ficklin for sharing his photos and history of Sanz, Inc.

Dave Adams (left, playing guitar), brother Larry Adams (center, playing bass guitar), Ron Hale on drums
Left-right: Steve Ficklin and Bob Ficklin
Left-right: Dave Adams, Larry Adams, Ron Hale
Ron Hale (drummer in background), Brent Ficklin singing, Bob Ficklin playing keyboard
Left-right: Dave Adams and Larry Adams
Steve Ficklin

The Gonks

The Gonks, Pop Gear, December 1966
The Gonks, Pop Gear, December 1966

South African R&B/pop band, The Gonks were one of Durban’s leading groups in the mid-1960s. Formed in the summer of 1965, the original line up was put together by former Clansmen drummer, turned lead singer Craig Ross (b. 27 January 1946, Durban) and rhythm guitarist and singer Howard Schachat (b. 7 November 1949, Durban). The pair completed the line up with lead guitarist Noel McDermott (b. 31 March 1946, Durban), bass player Brian McFall (b. 26 December 1945) and drummer Rob Clancy (b. 2 May 1948).

Taking their name from a 12-inch high stuffed doll that was popular at the time, The Gonks’s first gig was at the Lido Resort (playing around the pool) in Umkomass, on the South Coast.

The Gonks’s first big break, however, took place in October 1965 when they played a show at the Journey’s End Moth Hall in Durban North. They then followed this up with a number of appearances at Durban City Hall, at the Al Fresco Terrace on Durban’s Bayside and at various South Coast resorts.

Signed to the Fontana label in late 1966, the band recorded its debut single, a cover of Mike Curb’s “You Can’t Stop Me Loving You” backed by the Edden-Cline-Schachat-Ross collaboration, “Crying My Heart Out”, which was produced by Graeme Beggs for Trutone and featured studio guests, Johnny Kongos, Pete Clifford and Peter Lotis. Issued on Fontana single TF 772 in November 1966, the band’s debut release climbed the South African Springbok charts and peaked at number 7 in January 1967.

The Gonks featured in Pop Gear, June of 1966
The Gonks featured in Pop Gear, June of 1966

Interestingly, within weeks of the single’s release that November, the band had returned to the studio to record a follow up, a cover of the Isley Brothers’ “Nobody But Me”, backed by the Ross-McDermott co-write, “Woman, Yeah”, which was again produced by Beggs at Gallo’s studio in Johannesburg.

For reasons that remain unknown, Noel McDermott left the band immediately after this recording (and prior to the debut single’s success) to work briefly with his own group. In his place, the group recruited lead guitarist, Mervin Gershanov from The Mods, another local band, which featured several musicians that would join The Gonks throughout 1967. At the same time, bass player Brian McFall also departed (years later playing with Third Eye) and Barrie Cline from The Deans took his place. (Incidentally, Barrie’s brother Dave was a member of The Mods.)

The reconstituted Gonks line up made a notable appearance at Durban City Hall for a Christmas Eve show with The Difference, Bobby James & The Plainsmen, Jody Wayne, 004, The Dream Merchants and Dunny & The Showmen before further changes ensued.

During early January Peter Gilder, ex-Deans and The Section, took over the drum stool from Rob Clancy, although The Gonks’s original drummer would return later in the year. According to the Natal Mercury newspaper, this line up played at the Arena Club in Durban on 28 January.

Gonks Fontana 45 You Can't Stop Me Loving YouAmid all of these changes, The Gonks enjoyed some notable chart success with their debut single –“You Can’t Stop Me Loving You”, which was subsequently included on the 162/3rpm long-playing Fontana compilation album, It’s All Happening.

On 11 March 1967, The Gonks returned to Durban City Hall for a show alongside singer Billy Forrest and R&B group, The Etonians. That same month, the band’s long awaited second release, “Nobody But Me”, backed by “Woman, Yeah” was released on Fontana single TF 784 and became a modest hit.

The single helped raise the band’s local standing and on 29 April, the band played another show at Durban City Hall with It’s a Secret and singer Beau Brummell, who’d returned to South Africa after several years working in UK and Europe with British band, The Noblemen. On 26 May, they also made an appearance at the Scene club in Durban. Soon afterwards, the band recorded two tracks, which were never released: “Ain’t I Met You Somewhere Before, Little Girl” and “Dreams”.

Quentin E. Klopjaeger Troubadour 45 Lazy Life sleeve

Also around this time, The Gonks recorded a cover of Gordon Haskell’s “Lazy Life” backed by Neil Diamond’s “The Long Way Home” for the Troubadour label, with singer Billy Forrest producing. Forrest had discovered the song while in England and given it to the band. However, after laying down the backing track, Ross told Forrest that the song didn’t fit the band’s image and so Forrest decided to issue the tracks under the name Quentin E Klopjaeger and The Gonks.Later copies omitted The Gonks and the single (released on Troubadour TRS-E-9093) eventually became a big hit, peaking at number 1 on the Springbok charts on 21 June 1968.

But we are jumping ahead of ourselves. With the recording done, Craig Ross jumped ship to hook up with South Africa’s premier psychedelic group, Freedom’s Children. In his place, the band recruited guitarist and singer Alan Reid from Gershanov’s former band, The Mods.

Further changes ensued. By the time the group released its third single, “Hard Lovin’”, backed by “You Don’t Know Me”, (issued on Renown N 1416) in January 1968, Rob Clancy had returned to the band to displace Peter Gilder and Rodney Aitchison had taken over from Mervyn Gershanov.

Gershanov would subsequently team up with singer/bass player Clive Calder and others, including English guitarist Pete Clifford from The Bats, for a one-off live album, Live At The Electric Circus, released by The First Electric Jamming Band for Parlophone in 1969. Gilder meanwhile, would later work with Spectrum alongside fellow Gonks member, Barrie Cline.

Soon after the release of their third single, The Gonks underwent further changes with another former Mods member, Trevor Turner taking over bass from Barrie Cline. Rob Clancy also left and was replaced by Roger Johnson. Clancy sadly later committed suicide in England during the 1980s.

With all of these changes, it was perhaps not surprising that the band soon ran its course. By mid-1968, the final line up had imploded and Schachat reunited with former members Craig Ross (fresh from Freedom’s Children) and Barrie Cline in Parish News. The project was relatively short-lived and sometime in 1969-1970, Ross and and Schachat formed The Pack with Clive Goodwill (keyboards), Ian Bell (flute) and Dave Evans (drums) among others.

In 1971, however, Aitchison, Ross, Cline and Dave Evans briefly reformed The Gonks and backed singer Alan Garrity. The band never recorded and soon broke up. Evans then joined forces with Schachat alongside other former Gonks members Alan Reid and Mervin Gershanov in Sweet Grass alongside Ian Bell from The Pack.

When the latter unravelled, Evans then formed Jigsaw with Craig Ross and Barrie Cline. A horn band, Jigsaw also comprised Glen Turrel, Mike Slavin, Dave Ridgeway, Tony Hynde and Kiwi.

Schachat and Gershanov meanwhile formed the group Haggis and played original hard rock music in Durban. They had three different drummers – Richard Pickett, Robbie Pavid (ex-Third Eye) and Bokkie De Beer (later with Johnny Clegg) but the band split when Schachat left Durban in 1974 and moved to the US. The guitarist became a lawyer and currently lives in San Diego, California where he plays in a six-piece classic rock band called 9th Floor Band.

Little is known about the other members of the group, who have all kept a low profile. Craig Ross, however, who still lives in Durban and designs kitchens, occasionally sings live and has enjoyed some recent exposure with growing interest in Freedom’s Children.

Article by Nick Warburton

Many thanks to the following for their help: Tertius Louw, Howard Schachat, Peter Gilder, Craig Ross, Rodney Aitchison, Garth Chilvers, Mervin Gershanov, Tom Jasiukowicz, Dave Evans, Brian Colborne and Rob David.

Nick Warburton is a UK based freelance writer. His website is www.nickwarburton.com.

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.

The Fourgathering “You’re Mean to Me”

The Fourgathering Thor Records 45 You're Mean to MeThe Fourgathering were from the Chicago area, maybe from Wilmette, a suburb just north of Evanston.

“You’re Mean to Me” flies by in just over two minutes. From the opening chords the pace never lets up, with unrelenting drumming and a twangy rhythm on the guitar. The singer moves from one chorus and verse to the next, pausing only for a very brief solo from the guitarist. The fine background vocals are a nice touch. It was written by A. Gilmore and J. Mayfield.

On the flip, the band gives an energetic performance on the more ordinary blues standard, “Betty and Dupree”. It’s credited as public domain, and arranged by Dan Brown.

The RCA pressing code TK3M-6240 indicates this was most likely a mid-late 1966 release, recorded at RCA’s studios in Chicago.

Thor Records also released the War Lords’ stomping “Real Fine Lady”/ “I’ve Got It Bad” (written by T. Jacobs, J. Papelka).

Thank you to Chris Gilbert for the scans of the white-label promo copy of this 45, seen below.

The Fourgathering Thor Records 45 You're Mean to Me white label promo

The Fourgathering Thor Records 45 Betty and Dupree white label promo

Live webcast on East Village Radio Tuesday 8:00 PM

This time it’s definitely on! I will be deejaying live on East Village Radio with Marty Key – garage, soul, gospel and brazilian and whatever else we feel like spinning.

Tuesday, September 23
8:00 – 10:00 PM Eastern time here in NY.

Tune in through your computer. It’s very easy to do from the East Village Radio site:

www.eastvillageradio.com – click on Listen Live or Tune In in the upper right hand corner of the site.

Songs about Vietnam and the Draft

Following the Beatles appearance on Ed Sullivan in February of ’64 there was an explosion of bands across the U.S. The next few years would see thousands of singles released by individual bands, professional and amateur, which we now consider to have the ‘garage’ sound.

These prime years for teen bands closely coincide with the beginning of America’s war in Vietnam. In August of ’64, Congress passed the Gulf of Tonkin Resolution, which gave President Johnson authority to use military force in Vietnam. The Resolution responded to attacks on U.S. ships stationed near North Vietnam, but these supposed attacks are now known to be bogus. (Check the Gulf of Tonkin Incident entry in Wikipedia to read how the truth was distorted to justify military action.)

In March of 1965 Operation Rolling Thunder began the bombing campaigns on North Vietnam. Initially only a few thousand troops were stationed in Vietnam to support the bombers, but this number grew to 200,000 by the end of ‘65. Troop levels increased to 500,000 in 1967. The Tet Offensive occurred in January of 1968, marking a turning point in the war and U.S. public opinion.

As teenaged boys started bands in the wake of the Beatles, they were facing the possibility of being drafted within the next few years. Most had more immediate concerns – girls, school, cars, and the number of songs about Vietnam or the draft are a tiny minority of all teen beat songs from the period. It was easier to write lyrics that imitated the relationship-oriented pop songs of the era than to sing about political opinions and personal fears.

For those that did, their lyrics display their ethical dilemmas – feeling a duty to serve but ambivalent about whether the war is right; being afraid of dying; not wanting to be told what to do either by the government, society or the anti-war front. These lyrics range from idealistic to cynical. Early on there were very dogmatic patriot songs, but as the draft widened and sentiment turned against the war the imagery became more violent and the jingoism subsided.

Stylistically they had few models to draw from in 1965, as most major U.S. and British Invasion acts weren’t writing political lyrics yet. Some groups would draw from the folk styles of Bob Dylan and Barry McGuire. Others could look to a long tradition in country and pop of making novelty adaptions of hit songs. An example of this would be the Beach Bums’ “The Ballad of the Yellow Beret”, or the Midnight Sons rewrite of “Summertime Blues” to show chagrin at the draft.

At least as far back as the Civil War there had been an industry of professional songwriting and production teams to craft songs about war for the public. (See the Civil War Preservation Trust’s article Patriotic Songs of the War to read about the professional origins of the most-well known songs of the era.)

The Vietnam War would be a different case, as by 1965 young bands were the lifeblood of the music industry. For the first time in modern history, the generation actually serving in the war became the primary voice of the conflict.

I: Shutup the Folksingers

In 1965 Bob Dylan was just starting to make inroads on pop radio with “Like a Rolling Stone”. Earlier protest songs like “Masters of War” were rarely heard on commercial radio but their influence was an intellectual force behind the anti-war movement: a voice that had to be answered by those in favor of the war.

Teenagers in bands may have been unaware of the anti-war songs of Bob Dylan or Phil Ochs in 1965, but they certainly couldn’t miss Barry McGuire’s #1 single “Eve of Destruction” on the radio during that summer and fall. This anti-war, pro-civil rights, anti-nuclear song provoked answer songs and parodies, most not sympathetic to McGuire’s sentiments.

There was plenty in “Eve of Destruction” to upset the mainstream: comparing America’s failure on civil rights to a communist totalitarian state (“Think of all the hate there is in Red China / Then take a look around to Selma, Alabama”) and equating anti-Christian values to hypocritical religiousness (“Hate your next-door neighbor, but don’t forget to say grace”) are but two examples!

There’s a sting of truth to lines like these which would put people on the defensive. Most grating of all was the singer’s repeated dissatisfaction with the state of affairs in the country. Love it or leave it pal!

An early rebuke to McGuire is “The Prophet” from 1965. One thing that’s striking is the sheer belligerence of the singer as he rants!

There’s a prophet of doom, spreading his gloom
Shouting misery and hate.
Saying this world is a tomb, yeah and there ain’t no room
For dreams ’cause it’s too late.
He calls you his friend, says it’s the end
Destruction is near, but wait …

Hey Prophet, take a look around,
Yeah Prophet, there’s still hope around / … /

Hey Prophet
It’s awful easy for you to talk about it …
Tell me something what are you doin’ about it?
Yeah Prophet, WHAT ARE YOU DOING ABOUT IT?! / … /

There’s guys just like me who like what they see,
And they want to be free because they like it that way
They don’t care what you say
They’ll fight to keep it that way too!

Fight for their right to be free … of conscience!

Sure there’s things to be found in this land that’s free that don’t seem right to me
But there’s hope in the air because there’s people who care,
There not filled with despair like you!

This is the classic turnaround – the one exposing the problems is accused of doing nothing positive to help the situation, of being cynical and emphasizing the negative. The patriotic citizen has ‘hope’ and faith that things are getting better.

A straightfoward inversion of Barry McGuire’s song is the Jayhawkers’ “Dawn of Instruction”. The attitude of the lyrics is similar to The Prophet, with lines like “Step aside, Mister Doom Peddler” and “[we’re] not old enough to vote, but ain’t young enough for runnin'”.

“Eve of Destruction” was an easy target for some of its over-the-top lyrics (“even the Jordan River has bodies floatin’” or “my blood’s so mad feels like coagulatin’”), and the Jayhawkers made the most of these exaggerations.

Billy Carr’s “What’s Come Over This World” saw release on Colpix, and is obviously a professional songwriting and studio effort. Lyrically it is a flag-waving message, with plenty of disdain for the dissenting elements of the younger generation. The production co-opts more than a little of Dylan’s style, and not in parody either, a sure sign that the old guard was desperate to keep relevant. Dylan-esque harmonica shows up on so many of these answer songs, whether mocking him or in sincere imitation, that his influence must have been inescapable.

What’s become of this nation and the songs that they sing?
Everybody’s protesting, what’s it all gonna bring?
We sang the Star Spangled Banner, forever in peace may it wave,
And now some rock ‘n roll singer is knocking the Home of the Brave

What’s come over this world?
I’ve thought it over and I can’t get over
What’s come over this world?

There’s an army of cowards, see them marching in line
While the country’s in danger, they just carry a sign
Look at them burning their draft cards and refusing to fight
While they talk about freedom, they’re dimming liberty’s light

My brother fought in Korea, my daddy in World War II
Now there’s a war in Viet-nam and there’s a job we must do
What can you do for your country, his words were written in blood
Those who forgot what he died for, are dragging the flag through the mud.

More nuanced (and much better music) is “So the Prophets Say”, released in April 1965 by a group in their late teens the Centurys of Lebanon, Pennsylvania. The echo engulfing the tom-tom drums, dense guitars and eerie organ creates a doom-laden atmosphere, but lyrically the song repeats anti-communist propaganda. More than anything, though, it stresses individual choice against conformity. “So the Prophets Say” was written by lead guitarist Billy Beard, who passed away this past July 31, 2008.

They’ll tell you that they’re wise, and that they’ll analyze your situation.
They can tell you what’s gonna come and how certain things will be done,
They’re your salvation.

Will the world end today, like it did yesterday, or will we have to wait till tomorrow?
will tell you when it comes, you’ll hear those rocking drums,
you’ll just repent, you know your sorrow

These men of wealth? and men so poor?
These prophets of peace and prophets of war – are they getting you?

Then they tell you to make a big sound about getting out of Vietnam,
You know you’ve got a right to your convictions!
But will they warn you of a coming day, when your placards might be thrown away, and they’ll say “now you’ve got a few restrictions.”

You may not like it if they hand you a gun, before you turn 21 and say “now you’ve got to be a man!”
But when your freedom’s bells stop ringing, and a Red slave song you’re singing,
You’ll wish you had a gun in your hand!

These men so good and men so bad
These prophets so sane and prophets so mad – they get you!

Why don’t you let it be known, you’ve got a mind of your own,
And you can tell right from wrong from day to day,
And that you l… because they know you care,
And so you’ll beware of what the prophets say!

In early 1966 Sgt. Barry Sadler had a #1 hit with that paen to the american soldier, “Ballad of the Green Beret.” The Beach Bums (actually Bob Seger singing when he was with Doug Brown and the Omens) adapted it for their “protest against protesters”, “The Ballad of the Yellow Beret.” It’s not really a parody of the Sadler song as a straight up mocking of draft-dodgers.

This is a protest against protesters:

Fearless cowards of the U.S.A.
Bravely here at home they stay
They watch their friends get shipped away
The draft dodgers of the Yellow Beret

Yellow streaks up and down their spines
Men who gladly stay behind
They won’t fight for the U.S.A.
They fought hard for the yellow beret

Men who faint at the sight of blood
Their high heeled boots weren’t meant for mud
The draft board will hear their sob stories today
Only the best the yellow beret

Back at home a young wife waits
Her yellow beret has met his fate
He’s been drafted for marching in a protest
Leaving her his last request

Put a yellow streak down my sons back
Make sure that he never ever fights back
At his physical have him say he’s gay
Have him win the yellow beret.

Next installment: Democracy and the Draft

Thank you to Bernard Watts (Scratuglia) and to Pete Sofinski for the label scan. Thanks also to portofranco and Justin for the Billy Carr scan.

Clear Blue Sky “Morning of Creation” on Romat Records

Even years after first posting about the Clear Blue Sky, I haven’t been able to find much info about the band.

“Morning of Creation” is a mystical psychedelic number by John Kessler, with dense harmonies and a finely-wrought guitar solo.

The never-before-comped flip “Ugly Girl” is cruder, with the interesting refrain “There’s a place / behind that face / for a girl.” It was written by Douglas Hardie (D.E. Hardie on the 45 label).

Like other Romat 45s this was recorded at Pitt Sound Studios, located northwest of Greenville, on the way to Falkland.

Thanks to Carroll Jenkins for the label photo of “Morning of Creation”.

The Kenetics

The Kenetics 45 is one of my very favorites in all garageland. The band may have been from Martin, Tennesee, three hours drive west of Nashville near the Kentucky and Missouri borders.

Buddy Deason wrote both the songs featured here, but I don’t know any other members’ names.

“Put Your Loving on Me” starts out with a simple riff then moves to barre chords over sustained organ notes and drum rolls, then launches into a catchy progression for the chorus where the band chants “Baby, baby put your loving on me.” When the verse starts the band lays off every other repetition while the lead singer hiccups his pleas to this chick. Otherwise the verse and chorus are identical. No bridge, just a simple solo break and it’s back to the chorus and verse pattern again. The instruments are finely balanced and there’s a nice echo applied to the vocals that blends with the organ.

“Jo Ann” is a throwback to an earlier era. The band tries hard to make the song work, but it falls flat compared to the top side.

Nashville was a custom label of Starday, based out of Madison, just outside Music City. The 45 was pressed at the nearby Columbia Records plant indicated by the dead wax “ZTSB-128084/5” in 1967.

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