Once rumored to be from Wichita, Kansas, Moby Dick and the Whalers were actually based in Midwest City, just outside of Oklahoma City. Members were Tom Rushlow on vocals, Bobby Harris rhythm guitar, Jim Parr on bass, Gary Stevens on organ and Blue Fox on drums. As a quintet they had been playing since August ’67, though Tom Rushlow, Bobby Harris and Jim Parr had been in earlier groups together.
They participated in a nationally-televised band competition, the Paul Revere & Mark Lindsay hosted show, Happening ’68. In the contest, two bands would lip sync one of their recordings (original or cover song) in front of a panel of three judges and studio audience, with the winner going on to the next round. The judges varied from show to show, but at the time of the Moby Dick and the Whalers broadcast, may have been Jackie DeShannon, Tommy Roe and Jay North (Dennis the Menace).
The song Moby Dick and the Whalers did for the show was “I Love Her So”, an excellent organ-driven rocker, written by Tom Rushlow and Bobby Harris. From the few episodes I’ve seen (and I haven’t seen theirs yet), I would say “I Love Her So” must have been one of the better original songs featured on Happening ’68.
The flip side is the mellower “Only the Good Times,” written by Curtis Hays, the former drummer of the group. According to the article, the 45 was released just after the appearance on Happening ’68.
The original lineup, 1966, l-r: Franklin Harris, George Feree, Tom Rushlow, Jim Parr and Bobby Harris.
Bassist Jim Parr sent in the photo and article from the Oklahoma Journal, and provided some history of the band:
The lead singer and manager was Tom Rushlow, who was stationed at Tinker Air Force Base near OK city when the band was first beginning to form. I met Tom through Bobby Harris, who invited me to a jam session. Tom Rushlow, Bobby Harris – and Bobby’s brothers – William Harris and Franklin Harris – were all extremely talented musicians. We all lived in or around the OK City area at the time.
After a few jam sessions and practices, I was very excited and proud to be invited to become the bass player for the group. If I remember correctly, Tom Rushlow came up with the name for the group.
Thus, the original ‘Moby Dick & The Whalers’ band was born and was composed of – Tom Rushlow, lead singer – Bobby Harris, rhythm guitar – Franklin Harris, lead guitar – George Feree, drummer – & Jim Parr, bass guitar. This was sometime around the year ’66, give or take a year.
After the original drummer, there was Curtis Hayes – who is credited with the song ‘Only The Good Times’ on the flip side of the 45. Next came Blue Fox, who played the drums with the group during the time the record was made and was with the group during the invitation to Hollywood. William Harris, drummer, was with the band from time to time, and eventually was with the band full time.
One very popular member of the group that deserves mention was Joe Sawyer, organist, who replaced Gary Stevens.
Notice from the Ardmore Daily Ardmoreite, March 6, 1969, describing an April release for their 45During the time frame of the recording and release of the record, in ’68 and ’69, the group was composed of Tom Rushlow, lead singer – Bobby Harris, guitarist – Gary Stevens, organist – Blue Fox, drummer – and Jim Parr, bass guitar. The master tape for the 45 was recorded by this group at a studio in Tyler, Texas.
The group performed numerous times on local OK City television shows, one of which was a popular show titled ‘The Scene’, hosted by a very popular DJ – Ronnie Kaye. The group was also invited to appear in Hollywood, on a television show titled ‘Happening ‘68’. This show was a Dick Clark production and was hosted by Paul Revere and Mark Lindsay, of ‘Paul Revere & The Raiders’.
Tom Rushlow’s son Tim played with Little Texas and is now a solo country artist. Tim’s online biography mentions a later version of his father’s band:
After getting out of the military, Tom Rushlow moved his family to Arlington, Texas, where he joined his wife Patricia’s three brothers in a band called Moby Dick and the Whalers.
“The Whalers were one of those good regional acts that opened for stars like Mitch Ryder and James Brown,” remembers the proud son. “They put out their own records, and even came close to appearing on ‘American Bandstand.’ They got real close to making it.”
Update:
I’m very sorry to report that Jim Parr passed away on February 10, 2009. His son Robert wrote to me, “He was a very talented artist and a great father – I couldn’t ask for a better life. He loved music and played a lot at home for the family.”
It was an honor for me to correspond with Jim about his music, my deepest condolences to his family.
The Marke 5 were high schoolers from Fayetteville, near Raleigh. Members were Donnie Wofford on vocals, Bill Muffet lead guitar, Pete Sanchez guitar, Steve Kellburg bass and Eddy Truman on drums.
“Pay” has a lot going for it: unusual staccato guitar work, a solo heavy on reverb, sharp drumming and good lead and harmony vocals. Great bass work stands out on “The Leader”, a solid shout-along tune. Both songs are credited to Donnie Wolford and Bill Muffett.
Ed Truman later played with a version of Minnesota band the Castaways (of “Liar Liar” fame) when Castaways’ guitarist Bob Folschow was stationed in Fayetteville while in the military.
Jimmy Capps was a very popular DJ on WPTF in Raleigh and started the JCP label in early 1965. He released records by dozens of groups including the Unknown IV,the Counts IV,the Symbols, the Vigilantes, the Nightwalkers, Davy Butler, and the Vibra-Sonics, recording in his studio behind the McDonald’s on Hillsborough Street. Jimmy Capps died in 1967 at age 47, and the label soon folded, ending a remarkable run at documenting the local Raleigh-Durham scene.
Sources include: Tobacco-A-Go Go vol. 2, and Fuzz, Acid and Flowers.
One more in the series of photos from Bill Stokley of Virginia Beach Dome shows. Excellent shots of Townshend, Daltrey and Moon’s drumkit, from July 20, 1968. I love photos like these – it’s just the band and their gear on stage. Townshend’s amps are shredded! Tickets cost around $4…
After leaving the Beatmen in 1967, Dežo Ursiny formed the Soulmen with Vlado Mally and Fedor Freso. The group didn’t stay together long, but in December they won the first beat festival competition in Prague, and recorded this excellent EP before splitting up in 1968.
“I Wish I Were” is my favorite track from their one EP, an original and exciting song with a great beat, vocals and a fine guitar solo. Their other songs, “Baby Do Not Cry”, “Wake Up!”, and “A Sample of Happiness” show a heavy influence by Cream, but are still well-crafted.
I’m sure there’s more information about them on the back of the EP sleeve, if someone can translate the essentials.
After the Soulmen, Ursiny started again with the New Soulmen, showing a change in his style towards progressive rock and jazz that would continue into the 70’s and 80’s. He died from cancer on May 2, 1995, in Bratislava.
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”.
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
Once rumored to be from Wichita, Kansas, Moby Dick and the Whalers were actually based in Midwest City, just outside of Oklahoma City. Members were Tom Rushlow on vocals, Bobby Harris rhythm guitar, Jim Parr on bass, Gary Stevens on organ and Blue Fox on drums. As a quintet they had been playing since August ’67, though Tom Rushlow, Bobby Harris and Jim Parr had been in earlier groups together.
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.
