Either a late version of the Inferno 5 Plus 1 or an early one of East African Fair from left: Dave Powers (front), Rick Panas, John Bell, Domenic Fragomeni and Randy Larocque.
East African Fair included some of the Inferno 5 Plus 1. Members were Randy Larocque (guitar and vocals), Dave Powers (keyboards and vocals), Dominic Fragomini (bass) and Rick Panas (drums and vocals). It seems John Bell was also a member for a time, as I think he appears in the photo above.
Their manager John Loweth sent me the 45 and scans of the neat poster and card of the band. He considers East African Fair to be a continuation of the Inferno 5 Plus 1, though their sound is quite different:
We changed the name to East African Fair and did pretty well with our second record, “Lovin’ Every Little Thing You Do Girl” which was a totally different style (more Hermans Hermits) than the Stones style of the first [Inferno 5 Plus 1] release.
Then we moved to the big city of Toronto. We did lots of auditions and things and played in trendy Yorkville where you just had to be if you wanted to be anywhere in Canada at that time of 1967.
The national CTV show ‘After Four’ was interested in replacing the current group Robbie Lane and Deciples and said they woud use us as the featured band next season, they suggested a name change and the remainder of the group now lead by Randy LaRocque became ‘York Lane’.
RPM Weekly, February 17, 1968A major booking agent booked the group in southern Ontario and upper New York state, but unfortunately several band members became homesick and discouraged due to lack of money, and went home, leaving just Randy and myself. I think we were just inches away from stardom.
As John states, “Lovin’ Every Little Thing You Do” is a pop single like the Herman’s Hermits, though the eerie organ gives it a darker, carnival-like quality. “I Won’t Stare” is a truly original side, slow, with a nice blend of organ and guitars and obsessive lyrics. Randy LaRocque wrote both songs on this record.
After the single was released in 1968, Bill Battersby replaced Dominic Fragomini and an unknown drummer replaced Rick Panas, and the band’s name changed to York Lane. Some recordings by this lineup done at Sound Canada in late 1968 are now lost.
Update: I’m sorry to report that John Loweth passed away on April 4, 2009. John produced the Inferno 5 + 1 and continued managing the group when they changed to East African Fair. He generously shared his recollections and memorabilia to help document the story of this band.
In February 2011 I added the photo at top, the news clips from the Sudbury Star and RPM Weekly and better scans of the promotional card, all courtesy of Ivan Amirault. Thank you to Lauraine Friskey for providing IDs for the top photo.
East African Fair reaches #21 on CHNO’s Top 45 The Sudbury Star, Feb. 16, 1968
Updated May, 2010 with new photos at bottom of page
After leaving the Inferno 5 Plus 1, Lance Whitman joined the Village Steps. They never recorded, but here are a few photos of the group that Lance sent to me. The original members were:
Mike Duhaime (singer) Lloyd Duhaime (bass) Dwight Snell (rhythm guitar) Wayne Carriere (Drums) Lance Whitman (lead guitar)
Below are two later photos of the group and a photo of Slowpoke sent to me by Jenny DuHaime:
The Village Steps, circa 1967, left to right: Dwight Snell, Lloyd Duhaime, Billy Irwin, Ray Servant, Danny Dube, Mike DuhaimeLater promo for the Village Steps, left to right: Dany Dubé, Billy Irwin, Ray Servant, Mike Duhaime, Lloyd Duhaime
The promo photo below is for an early ’70s Sudbury group, Slowpoke, with members from the Squares, Stepping Stones, Associated Press, the Riots and the Village Steps. Besides Dave Mathe and Rick Pitts, other members could have included Rick Tannis (spelling?), Ryan O`Neal (spelling?), and Jim Dunn.
Slowpoke, from left: Dave Mathe (drums), Jim Dunn (gutarist/vocalist), Bryan O’Neil (bass) and Rick Pitts (guitarist/vocalist)
Thanks to Lance Whitman and Dan Dubé for help with identifying the members in these photos.
The vibrating deep baritone of Alfian Harahap (aka Nasution) was one of the most distinguishable voices in Indonesian pop music of the 1960s. His greatest hit was Semalam di Cianjur (A Night in Cianjur) recorded about 1965 for Remaco.
The song was reportedly written spontaneously by Alfian in the studio and concerns the singer remembering the wonderful night he spent in the East Java town of Cianjur and his promise to return some day. One explanation of the song I have heard is that Cianjur at the time was a transit stop for travellers through Java who would overnight there and continue their journey the next day. So the song could be about a romantic encounter in a travellers’ hotel.
Following the success of Semalam di Cianjur Alfian’s subsequent Remaco recordings were released in Singapore by Philips under license. I feature two songs of Alfian’s from that period, Relakan (Acquiesce), from a Philips EP, and Andaikan (Suppose), on a record with the Pop Sounds label, which appears to have been a Malaysian subsidiary of Philips. On both EPs Alfian is backed by the band Arulan led by Jarzuk Arifin. I would say these recordings were made in 1966. These two songs contain some good guitar work; the other songs on the two EPs are more subdued.
Alfian remained a popular singer until the early 1970s when the Indonesian music scene began to be dominated by bands and solo singers were out of fashion. Alfian chose to retire from the music industry and spent several years working in a warehouse on the Jakarta waterfront. In 1978, however, he was involved in a traffic accident and spent two years recovering.
In 1980 he returned to the music industry working for a record company as a coordinator and supervisor of new singers. He also re-recorded a number of old hits. In 1992 he passed away as a result of diabetes and heart problems. His son Tonny, who is said to have a similar voice, has recorded a number of songs made popular by his father.
Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.Jimi Hendrix and the Soft Machine at the Virginia Beach Dome, April 3, 1968. Photos courtesy of Diane.
Bill Stokley writes:
The Virginia Beach Dome seated about 1000 people. I was 16 and got to drive to the show myself!!! What a show! Jimi blew the doors off the place. You could walk right up to the stage and take pics. Got one of Jimi sliding down the neck during Foxy Lady.
I remember using a little camera that was my moms. The negatives were stolen back in high school.
Update, February 2012
As the ticket stub above clearly shows, the first Hendrix show was on April 3, 1968, not the 4th as I had posted before. The 4th was the day Dr. Martin Luther King was assassinated in Memphis. Thanks to James for bringing this to my attention.
However, some Hendrix references state the concert took place on the 4th (source seems to be Noel Redding’s diary). One commenter below remembers the news about Martin Luther King’s assassination spreading during the concert, which would indicate the 4th. Was the date changed from the 3rd to the 4th?
Jimi Hendrix at the Virginia Beach Dome, August 21, 1968. Bill Stokley: “I remember he wasn’t that good at this show and didn’t play very long.” Photos by Bill Stokley
Eon sent in the following set of photos from the same show. Jimi may not have played very long, but the ending was spectacular:
Here’s a description of the August 21 show from Chuck Taylor, General Manager of WTJU-FM Charlottesville, VA.
I played drums (poorly) in High School at Virginia Beach but still really liked to hear a good drummer. In 1968 I had a picture in my bedroom of Robert Wyatt playing drums for Soft Machine right next to my Peace Poster bought a shop on Eden Alley. Eden Alley hosted a series of hippy paraphernalia stores from an alley just off Virginia Beach Blvd. between Atlantic and Pacific Avenues.
That summer of 1968 I begged my parents to let me go to my first concert…to see the Soft Machine at the Virginia Beach Dome, August 21, 1968. Soft Machine was opening for a guitarist-led trio that was also getting a bit of press at the time. I had just turned 16 in May and so I had only recently gotten my drivers license and they were reluctant to let me go.
There were two shows that night. Because of my age my folks finally capitulated and said I could go to the first show…not the second. I argued with my mother over what to wear to a “concert”. She said you need to dress up (suit & tie!) for a concert. She was unconvinced that this “concert” would be different and refused to let me leave the house without at least loafers, nice pants and a collared shirt. I smuggled some blue jeans, tennis shoes and a t-shirt into the car and changed my clothes on the way. (I went to this concert by myself but cannot remember why)
That summer evening I drove the 6 miles from my house in Kings Grant (subdivision) to the Virginia Beach Dome. When I pulled into the parking lot I had one of those “we’re not in Kansas anymore” reactions as I quickly saw that my attempt at “casual hipness” missed in ways that I could have never imagined. Jeez there were lots of strange looking people in the parking lot! The show was introduced by a local goofy WGH-AM radio host Gene Loving, who couldn’t turn off the “AM radio” approach.
Once I was inside and seated (I actually had an excellent view if I remember correctly) the first band Eire Apparent performed a mildly psychedelic set that was pretty cool but not particularly memorable.
Next up, The Soft Machine (Cuneiform Records is doing an excellent job releasing many Soft Machine rarities). This version of the band was three musicians: Robert Wyatt, Kevin Ayers, & Michael Ratledge. The bass player left the tour about one month before they arrived at Virginia Beach. His name was Andy Summers (yep, the very same bassist later to be in the Police).
As for the set: an extremely intense and loud set ensued featuring music from the first and second Soft Machine records. At the end of the set, Ratledge pushed his organ off the stage causing such severe feedback that my ears are still suffering! Gene Loving attempted his AM stage patter over the raging feedback but quickly gave up. Finally, they shut down the power in the entire building to quiet the feedback but of course, plunging the whole place into darkness. About 20 minutes later the Jimi Hendrix Experience took the floor…
Though Hendrix performed and did various acrobatic stunts he left his guitar intact by the end of the first show. I cannot remember ANY details of the performance other than I came out the other side with a new religion! The general thought was that the destruction of Ratledge’s organ was a “gift” to those expecting destruction from Hendrix. According to friends who attended the second set, Hendrix burned his guitar. As result of that action Hendrix became the first of two hard rock bands in the 60s to be banned forever from the state of Virginia. The second band was the MC5 who played at a small club in Hampton and incited attendees to riot during their show.
This is my ticket stub with tape marks: In the late 60s I kept a scrapbook of the developing music and political scene.
Chuck’s ticket stub to Hendrix, Soft Machine, & Eire Apparent
Sound on Sound at the Time Tunnel, circa 1967, from left: Stony Ratliff on keyboards (tie and jacket – barely visible), Chris Shortridge, singer (white pants and jacket), Dan Rose on guitar (dark pants and shirt), Larry Lester on bass, and Terry Long on drums. Eddy Dixon usually stood between Larry and Terry, but was taking this pic.Sound On Sound were from Grundy in the western part of Virginia, close to a three hour drive to any large city like Roanoke or Johnson City, Tennessee.
The original group consisted of Ed Dixon lead guitar, Curtis Shortridge guitar, Stoney Ratliff organ, Larry Lester bass and Terry Long on drums. Looking for a singer they found Oakwood’s Danny Rose of the Kool Kuzzins, who had cut an excellent 45 on Spot in 1967, “Love Can Be True” / “Hey Little Girl”.
Sound On Sound played back country gigs until they opened their own club, the Time Tunnel, in Garden Creek, about 10 miles from Grundy.
From the Virginia Mountaineer:
These young men performed at a nice, wholesome hangout in 1967 at Young’s Branch for the young people in our community. The teens danced and had lots of fun!
In 1968, at a radio station in Big Stone Gap they recorded their only 45, produced by Joe Deaton. The A-side was the sleepy “My Little Girl”, but on the flip is the much more electric “Girl, You’ve Got to Turn Me On”. Dominated by Stoney Ratliff’s organ style, Ed Dixon’s guitar buzzes in around the vocals while Terry Long smacks the kit and Larry Lester plays runs on the bass, making a great single all in all!
In the 1970s, Curtis Shortridge played bass and sang backup with a group called Phoenix, with Danny Perkins, Lonnie Perkins, Kenny Hale, Randy Long, Ken Jordan and others. Phoenix lasted into the 1980s, and released a single “Loving You” on Transworld Records, recorded at Tandem Recording Studio in Bristol, VA, engineered by Joe Deaton.
Thank you to Selena Long for sending in the photo at top.
Sources include: The Virginia Mountaineer, and liner notes to Aliens, Psychos and Wild Things vol. 2.
Billy John and the Continentals are most famous for a couple 45s on Floyd Soileau’s Jin label in Ville Platte, “The Alligator”/”All Over Again” (Jin 203) and “Slap It To Me”/”Shooting Squirrels” (Jin 214). (Thanks to Boursin for this info – see his comment below correcting my original post regarding “Po Boy”.)
Billy John was Billy John Babineaux, and I believe he passed away in 2002. I’m not sure who was in the Continentals, but Kirby Boudreaux is a possibility.
They also released two 45s on Roland “Rocky” Robin’s N-Joy label in a more conventional r&b style. The first is this fine cover of Jessie Hill’s “Ooh Pooh Pah Doo” with the ballad “Does Someone Care (for Me)” on the flip.
The second N-Joy release has two more Billy Babineaux originals, the rockin’ “Lover Boy Blue” and the horn-driven r&b “Put the Hurt on You”.
The furious opening chords and drum rolls, the casual vocal delivery. Sharp guitar and Yardbirds style rave up – “Lovin’ Just My Style” is one of the signature songs from the garage era.
The Caravelles established themselves as a live act in Phoenix and somehow got the attention of Hadley Murrell, a DJ at the AM soul station KCAC. Murrell produced many of Phoenix’s soul acts in the mid-60’s, including Eddie and Ernie (45s “Time Waits for No One”, “I’m Goin’ for Myself”, etc), the New Bloods, and the Soul Setters, whose 45 “Out of Sight” was also released on Onacrest.
When the Caravelles recorded their single in 1966, the lineup included John Fitzgerald on vocals and harmonica, Mike Lipman lead guitar, Jerry Breci rhythm guitar, Danny Reed keyboards and Doug Steiner on drums.
“Lovin’ Just My Style” is an original by Fitzgerald, Lipman and Breci. For the flip, they covered a song by the New Bloods, “Self-Service”, with the memorable lines: “I don’t have no one to love me, I don’t have no one to kiss me … so I’ll have to serve myself … Self-service!”
Rick Anderson may have been bassist at the time of the record; he later joined the Superfine Dandelion. The band’s first keyboardist was Brooks Keenan, and Neal Smith was their last drummer, before he joined Alice Cooper.
Michael Lloyd formed the Rogues while he was at Hollywood Professional School. It was his third band after the surf instrumental group the New Dimensions and the vocal version of the Dimensions, the Alley Kats.
Shaun Harris met Lloyd while playing bass in another band at Hollywood Professional, the Snowmen, who had recorded “Ski Storm” with Kim Fowley producing. Shaun joined the Rogues in time to help produce their only 45, “Wanted: Dead or Alive”/”One Day.”
Original US issue on Living Legend“Wanted: Dead or Alive” is basically Hey Joe with altered lyrics, despite the songwriting credit to Harris and Lloyd. It’s an unusual version though, with ethereal harmonies and a guitar solo accompanied by a change in rhythm that just manages to stay on track. On the flip is Michael Lloyd’s excellent “One Day”, which demonstrates the direction his songwriting was heading in.
Lloyd and Harris produced the 45, which was released on Kim Fowley’s Living Legend label. This record marks the start of Shaun Harris’ work with Lloyd; they would soon start the West Coast Pop Art Experimental Band with Shaun’s brother Danny. It may also mark the beginning of Lloyd’s frequent collaborations with Kim Fowley.
On the Living Legend label are also a couple solo 45s by Kim Fowley “Mr. Responsibility”/”My Foolish Heart” and “Underground Lady”/”Pop Art ’66”; a Fowley duet with Gail Zappa as Bunny and Bear titled “America’s Sweethearts”; and one by Vito and the Hands, “Where It’s At,” featuring the Mothers of Invention.
The sleeve above shows the German release, probably a result of Fowley’s connections in Europe.
For another example of Michael Lloyd’s early work, see the entry on Boystown.
The Prime Mover were led by two brothers from New York, John Pastor and Tony Pastor, Jr., who wrote both sides of this mystical opus.
Released in late 1967 on the Socko label, “When You Made Love To Me” contrasts droning chords with ringing chimes and quirky lead guitar work. The dense production prevents this song from having as strong an impact as it could have.
The less ambitious flip, “Shadow of a Day Gone By”, falls flat by comparison. The Pastors were sons of jazz bandleader Tony Pastor, and also had a vocal group the Pastor Brothers with their other sibling, Guy.
The Marquees were a high school group out of Sherman, TX, northeast of Dallas. They never recorded, but shared a small local live scene with Bill Galleon’s the Passions (“Lively One” / “You’ve Got Me Hurtin'” on Pic 1 records), the Jack Rafters and the Coachmen with Steve Chase.
Members were Mark Higgins and Mark Kennedy on vocals, Dan Witt and Elon Reynolds on guitars, Eddie Moughon bass and George Tocquigny on drums. They had a great website (http://thefabulousmarquees.com/history_01.htm – defunct as of 2022) with lots of photos and history of the band, and even some silent Super 8 footage.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
Sound On Sound were from Grundy in the western part of Virginia, close to a three hour drive to any large city like Roanoke or Johnson City, Tennessee.
