Lilis Surjani (aka Suryani) was very popular in Indonesia and neighbouring countries from the early 1960s to the early 1970s. President Soekarno of Indonesia made life difficult for musicians and singers in the early to mid 1960s because he wanted to rid Indonesia of Western influences and wanted rock ’n’ roll to be outlawed. Lilis found herself in trouble in mid 1965 because of her stage attire, presentation and choice of songs.
In a newspaper article in August 1965 Lilis promised that she would no longer sing ‘Beatles-like’ songs and apologised for her previous ‘mistakes’. Lilis made her amends and produced a number of songs with an Indonesian nationalist theme that were more likely to be approved by the ruling regime. One of those songs is Pergi Perjuang (Depart Warrior), where Lilis is backed by guitarist Zaenal Arifin and his Zaenal Combo. This song is as about as close as you can get to rock ’n’ roll and not call it that. The song’s theme though is one that would have appealed to Soekarno with Lilis singing that she hopes the young warriors going to battle perform their duties as ‘defenders of the nation’ and return victorious.
This song reflects the fact that Indonesia and Malaysia were involved in an undeclared war from 1963 to 1966 as Soekarno viewed the newly created state of Malaysia as a British colonial plot and vowed to ‘crush’ it. Soekarno was particularly peeved that the former British colonies in northern Borneo had become part of Malaysia as the rest of the island was Indonesian territory. Indonesian troops carried out covert operations in north Borneo throughout the period, but were repulsed by Malaysian, British and Australian forces. Although Soekarno was sidelined politically in late 1965 the Crush Malaysia policy took a bit longer to wind back, but friendly relations between Indonesia and Malaysia had been fully restored by the late 1960s. What may seem surprising is that Pergi Perjuang was also released in Malaysia and seems to have been quite popular. It is the Malaysian release I feature here.
I also include Lilis’s post-Soekarno era song Perahu Bertolak (Ship Departs), probably from late 1966 or 1967, which has some good guitar work. This Malaysian release has no liner notes, but I have read that Lilis’s backing band here was Band Arulan led by Jarzuk Arifin.
Lilis Surjani went on to record numerous other songs in rock, pop and regional styles. She still performs regularly although she has been battling cancer for the last few years.
Lilis Surjani’s Pergi Perjuang is only one of many songs from Indonesia that relate to the conflict with Malaysia. There must have been songs made in Malaysia with the same theme, but I haven’t come across many.
One that I do have, however, is a good one. The song Bekalan Satria (Warrior Skills) by S. Mona Rita and the Kingstons from late 1965 or 1966 has the singer worrying that her soldier boyfriend (or husband) returns safely from the battlefield, but that he does his duty as ‘defender of the nation’. The nationalist theme is continued cryptically in the song Buat Tatapan (Observation) as the singer complains about a cheating lover and laments that she had ever forgotten her responsibilities to the homeland. What does it mean? I don’t know.
The Kingstons were Ungku Safian – Lead Guitar, Mokhtar – Rhythm Guitar, Rahman – Bass, Ungku Fadzil – Organ, and Kamar Dean – Drums.S. Mona Rita is a good singer and the vocal is mixed very high in the mix. The Kingstons are more than competent and add many flourishes to the sound. Buat Tatapan has an unusual drum and organ interlude towards the end that at first hearing doesn’t seem to belong there, but presumably it is meant to reflect S. Mona Rita’s thoughts that ‘love is false’. The other two songs on the EP are good too, but are slower and much more subdued.
The Wee Four, from left: Bob Salerno, Jack Allocco, Terry Piliterre, and Dennis Drew
Terry Pilittere was the founder of the Rochester, NY group the Dimensions, in 1962. Members were Denny Drew lead guitar, Rob Salerno rhythm guitar, Ken Polizzi bass and vocals, and Terry on drums and vocals. In 1965 Jack Allocco joined and the band changed their name to the Wee Four, because none of the members was over 5′ 8″ tall.
The Wee Four recorded an excellent garage punker, “Weird” in 1966, written by Terry with his friend Jim Obi, b/w Terry’s song “Give Me a Try”. The Wee Four recorded other songs, including “I Could Never”, but these weren’t released.
Members of the band had conflicts with manager Al Cecere, but Terry decided to leave the group and go with Al as his manager for a solo record of two beautiful original songs, “It’s Not That Way” and “You Wouldn’t Believe Me”.
Terry passed away in December, 2000.
Photo caption updated 2022.
Sources: Mike Dugo’s interview with Ken Polizzi of the Wee Four. Photos from Fuzz Acid and Flowers.
Once in a while I come across something that doesn’t fit into the garage category but deserves some wider exposure – the Lumpen 45 is one of these records.
“Free Bobby Now” is an anthem for Bobby Seale. The Lumpen were a group of Black Panthers based in Oakland but peforming throughout the Bay Area to get the Panther’s message across through music.
A full history of the group by member Michael Torrance is on the Black Panther history site, It’s About Time. I’ll quote some of it here for background:
The original members were Bill Calhoun, Clark (Santa Rita) Bailey, James Mott and myself, Michael Torrance. We had all sung in groups in the past, Calhoun having performed professionally in Las Vegas, and it just came naturally.
Calhoun wrote “No More” in a spiritual/traditional style, and then “Bobby Must Be Set Free”, a more upbeat R&B song. We recorded these two songs and soon we were singing at community centers and rallies. Emory Douglas, Minister of Culture, named the group the Lumpen for the “brothers on the block,” the disenfranchised, angry underclass in the ghetto.
Thanks to Calhoun’s expertise, we were able to put together a high-energy hour-long “act” complete with uniforms and choreography. By the time the Lumpen were about to go on an East Coast tour, the auditorium at Merritt College was packed for the kick-off concert which was recorded live. The whole audience sang along with “Bobby Must Be Set Free.”
The first copy I found was in New Orleans shortly before Katrina hit. I was listening to a batch of records and this one caught my attention, though I realized right away it was mislabeled – it has labels from a hit on the White Whale label that must have been at the press at the same time. Which would date this to December, 1970. Recently I found another copy with the correct labels on it.
The Deepest Blue formed in Pomona, a town about halfway between Los Angeles and San Bernadino further inland. Members were:
Earl Shackelford – vocals Russell Johnson – lead guitar and vocals Ken Zabel – organ Rick Edwards – rhythm guitar Bruce Lavoie – bass Russ ‘Soupy’ Morrow – drums
The band was actually known as the Doves, they only changed their name when releasing their 45, because they thought it sounded more commercial.
They played teen clubs in the area like the Oasis and Discoteen, and a couple shows on the Hollywood strip with the Leaves and the Seeds. Their repertoire was all covers, mostly influenced by the Stones and other English groups.
Russ Johnson and Earl Shackelford wrote two songs just for the recording session, the first originals the band had ever played. They recorded at 9th Street studio in LA in August of 1966, with Richard Delvy, drummer for the Challengers engineering. Vic Gargano financed the record – he also produced the Tomorrows’ La Do Da Da / Need Only You on Condor. Without the band’s knowledge Gargano had a studio musician add guitar parts to enliven the sound. Although this upset the group, the resulting single is fantastic.
“Pretty Little Thing” features Bruce’s sliding bass line, precise drumming from Soupy, and a raging organ solo by Ken Zabel. Earl’s vocal has elements of Jagger’s inflections but his voice is stronger. “Somebody’s Girl” is more subdued but also powerful. Despite the quality of the record, it received little airplay.
The band returned to the studio to record more tracks for an album which was never finished. Soupy Morrow had an acetate of the sessions, but it has not surfaced since.
However, two songs “I Found Out” and “Living My Love Game” were released on a Blue-Fin 45 under the name the Egyptian Candy. Earl for one had completely forgotten about this record, but he did confirm that this was recorded by the Deepest Blue for their album sessions. Earl speculated that this may have been released under the name Egyptian Candy to test the waters for how the band’s new direction would be received.
Both songs demonstrate the influence of Earl’s friend Chris Darrow on his songwriting. Earl had met Chris at the Forum Club in Montclair when Chris was with the Floggs. Chris would record both songs with his next band, Kaleidoscope in similar arrangements (“Living My Love Game” retitled “Love Games” in the Kaleidoscope version and not released at the time). Another song by Earl, “I Found Out” became one of Kaleidoscope’s signature songs. It’s unfortunate the Deepest Blue were unable to stay together to pursue this new style, as they were obviously onto something.
Lacking success and headed in different musical directions, the band split up. Soupy died in a motorcycle accident in 1967 [actually in 1968 according to Oscar Bee], and Rick Edwards was killed in a car crash the following year while on tour. Earl stayed in music, notably forming Wheels with Chris Darrow and Walter Egan, and arranging vocal harmonies on Iggy Pop’s New Values album.
Update: Russ Johnson passed away in Australia in 2007. He had a long career in music there, most notably with a group called Mississippi.
For more information on the Deepest Blue there are two interviews with Earl Shackelford, one by Mike Dugo, and one at Pulsating Dream.
Blue-Fin discography (incomplete?):
101 – Ascots: The Wonder Of It All (R. Borden, M. Borden) / I Won’t Cry (Al Politano) (engineer Doc Siegel at Gold Star Studios, Onned Music BMI) 101 – Ascots: Summer Days / The Wonder of It All (matrix #s BL-FI-1004 and, I assume, BL-FI-1000) 102 – Deepest Blue: Pretty Little Thing / Somebody’s Girl 103 – Egyptian Candy: I Found Out / Living My Love Game
Thanks to Max Waller for bringing the two separate releases of the Ascots Blue-Fin 101 to my attention. Max writes:
The Wonder Of It All” (BL-FI-1000) has Monarch 62241 in the dead wax. “I Won’t Cry” (BL-FI-1001) has 62241-X in the dead wax so this was supposedly the “B” side, although it appears from the “*” scrawls on the label that someone was pushing this track. This monarch number pairing seems to confirm that this was the original/first pressing, from June 1966.
For the “Summer Days” 45, I’d expect to see a different monarch # in the dead wax for that track, (BL-FI-1004).
Due to the “(BL-FI-1001)” ref, it appears they used the same recording of “I Won’t Cry”, so I’d expect to find Monarch #62241 in the dead wax.
The Omegas, spring 1966, from left: Mike Sarigumba, Art Brueggeman, A.T. Ryder, Mike McKeller and Steve Callahan
The Omegas were a Montgomery County group who had gone through considerable personnel changes by the time they recorded their record on United Artists.
The original group cut two songs at Edgewood Recording Studio, a good slow number with dirge-like organ called “Mean Old Man Day”, and “Mud” (aka “Mississippi Mud”), a catchy pop number with acoustic guitar, harmonies and underwater sound effects. These never saw release and I’ve only heard clips from a 2008 auction, which I didn’t win.
Art Brueggeman wrote to me about the group in 2012:
I was the original bass player and joint founding member along with Mike McKeller (drummer) and Steve Callahan (rhythm guitarist). We were high school buddies. We quickly brought in a lead guitarist and a keyboard player.
Here’s a band picture taken in the spring of 1966. That’s me with the Jazz Bass, Steve with the Gibson ES335, and Mike on drums. The other two are A.T. Ryder on Strat and Mike “Pineapple” Sarigumba on keyboard.
We were playing fraternity parties, debutante events, and dances. In early summer we ended up going to Ocean City and landing a gig at The Paddock on 17th street. It was really the only bonafide night club in OC at the time. We played 6 nights a week, and a jam session Saturday afternoon. As I recall, we were there until mid-August or so.
It was a time of the Vietnam war and the draft. Mike and Steve left the band in the Spring of 1967 to join the Air Force Reserves. I ended up joining after the end of the summer. We had a replacement drummer and rhythm guitarist for that summer. Then we returned in the summer of 1967 with the two replacements. I ended up getting married in April 1968 when I got back from active duty, and never returned to the band.
Mike returned to the band and the personnel changed. Don’t remember what Steve did exactly, but he was married by that time as well. It was the original five Omegas though who recorded the three cuts at Edgewood. As I recall, that was done in the fall of 1966, but I may be off there.
Mike and I sang “Mean Old Man Day”, and Steve and Pineapple sang “Mississippi Mud”. We did not write those songs. We did no original writing. I really do not remember who wrote them. I just remember it was two guys who we were put in touch with.
Steve Callahan wrote:
I have the original master from Edgewood studio’s which I found just recently….metal center coated with acetate. I also have the original United Artists release of the other 2 songs.
The UA record is largely the work of Tom Guernsey of the Reekers and the Hangmen. Tom wrote and arranged both sides of the record, played guitar and piano, and co-produced it with Larry Sealfon.
The vocalist on “I Can’t Believe” is Joe Triplett, who was in the Reekers with Tom and was also the vocalist on the first Hangmen 45, “What a Girl Can’t Do”. Leroy Otis played drums on the track and backing vocals were by the Jewels.
A catchy and danceable record, it was released in early 1968 and had some local chart success. With its crossover appeal I’m surprised it’s not better known these days. The flip was a ballad by Tom Guernsey, “Mr. Yates”. He told me it was one of the songs he was proudest of writing.
The Juveniles, l-r: Jimmy Clark, Doug Sprouse, Kenny Hayes, Danny Keller and Karl Dersch
There were a number of groups in the U.S. going by the name The Juveniles. This particular group was originally from southeast Washington, D.C., with members later living in nearby Hillcrest Heights, Oxon Hill and Fort Foote, Maryland. They aren’t related to the Juveniles I featured on an acetate a few weeks back.
“I Wish I Could” is first rate garage with a pounding drums, lots of sustain on the guitar solo, and good harmony vocals, all drenched in echo. The flip is a ballad, “What Can I Do”. Both songs were written by Keller and Clark, though publishing info shows Danny Keller only.
Karl Dersch’s father managed the group, and sometime after this photo Dean Dersch also joined the band. Jimmy Clark’s sister Joyce Williams told me Jimmy has since passed away. She also mentioned that the beautiful double-necked Mosrite was the first sold on the East Coast.
The Zap label was from the Mt. Rainier neighborhood just outside Washington, D.C. No connection to the Tennessee label of the same name which released the Starlites’ “Wait For Me”.
Special thanks to Joyce for sending the photo of the group.
Boystown is a collaboration between Michael Lloyd and his childhood friend Jimmy Greenspoon. Lloyd and Greenspoon had been playing music together and recording as far back as 1963, with the New Dimensions. Greenspoon also may have played with Lloyd in an early version of the West Coast Pop Art Experimental Band.
When the Boystown 45 was released in June of 1967, Lloyd had recently left the WCPAEB, but was busy with with many projects, including helping produce Kim Fowley’s first lp, Love Is Alive and Well.
Greenspoon wrote the very poppy “Hello Mr. Sun”, and co-wrote with Lloyd the hypnotic “End of the Line”, which would have sounded right at home on an early West Coast Pop Art album.
Soon after this release Jimmy Greenspoon moved to Denver briefly, before returning to LA and forming Three Dog Night. Lloyd stayed busy with productions for Mike Curb and his own group, Smoke.
I’d like to know more about the strangely named Lind and the Linders. Buis’ comment below has given me some info. I’ll repeat most of it here:
The Lind & Linders are strictly based in Osaka, far from Tokyo’s major conglomerate-dominated music scene. Sadly no albums materialized. Most all of their original materials are written by leader Hiroshi Kato, but strangely both sides of this 45 is not (staffer Tsuneaki Tone did, including the mindblowing strings arrangement).
They broke up in 1969 and after which Kato involved with more experimental projects, and in the 70s went to England and worked as a studio guitarist. Vocalist Tetsuya Kaga also started solo career, but sadly passed away last December [2007]. Until his death, several attempts at reforming have been occurred, mainly performing at Osaka clubs.
Kurosawa Susumu’s Nihon Rock ki GS-hen (Japan Rock Chronicles: Group Sounds Compendium) gives the lineup and has more info in Japanese I’ll try to scan and post here soon:
Fujimaru Hamada – drums Koji Hori – guitar Aki Mori – bass
Their first and third 45s from 1967 simply show a man with a guitar on the cover. The second has a photo of a seven piece group: three vocalists upfront with some bizarre mod-style hairdos and the band behind them. It features the songs “Moero Circuit” and “Do the Crap”. Why hasn’t “Do the Crap” been compiled somewhere? I’m sure there’s a reason.
They settled into a six piece group and released four more 45s in 1968 definitely in a pop vein, but often with inventive arrangements. The first of these, and their fourth 45 overall has a great b-side, “Koi ni Shibirete”. Strings double the guitar line and the song has the usual whistles and shouts to denote ‘excitement’ in GS records.
The A-side, “Gin no Kusari (Golden Chain)” is more traditional pop, but as a fan of this kind of song I think the vocal works well.
Their next 45 “Yuhi Yo Isoge” is pretty good, and was followed by Huey Smith and the Clowns’ “Ha Ha Ha (Don’t You Just Know It)” with horns.
“I Dig Rock and Roll Music” is their mildly psychedelic tribute to Donovan, the Mamas and Papas and the Beatles. I thought it was one of the few original songs from a 1968 compilation called Group Sounds World Top Hits, but Milton corrects me in a comment below that it’s a Peter, Paul and Mary song. The transcribed lyrics are, as always, a hoot.
That’s all of their work that I’ve heard – their last 45 “Yoake no Jujika” features a Christian cross on the cover I wonder what that was about?
The Us Four, clockwise from left: Duke Freeman, Donnie Keeling, Mike Winebrenner and Jack Richardson
From Louisville, Kentucky, the Us Four were Donnie Keeling guitar, Mike Winebrenner keyboards, Duke Freeman bass and Jack Richardson drums.
They released two 45s, the first being the very catchy “The Alligator”, featuring funky drumming and percussion and a nice keyboard and fuzz combination. “The Alligator” was produced by Buzz Cason and released on the Rising Sons label in March of 1967, and reached #6 on Louisville station WAKY 790 AM in April. It’s played at 60’s DJ nights to this day.
Rising Sons was run by Cason and Bobby Russell. Both “The Alligator” and the flip side, the more conventional “By My Side” are credited to Keeling and Richard Williams, Cason’s longtime associate from when they were in the early Nashville rock ‘n roll group the Casuals in the ’50s.
The Us Four released one other 45 in January 1968, “She Loves It” pts. 1 and 2, written by Don Keeling; a more commercial production full of harmony singing. Around this time they changed their rhythm section, bringing in Jim Bower on bass and Paul Hoerni on drums. When the Us Four broke up, Hoerni went to the Oxfords.
The Us Four, from left: Mike Winebrenner, Donnie Keeling, Duke Freeman & Jack Richardson
Duke Freeman, bassist and vocalist wrote about how he became involved in music and his bands, including the Us Four:
I was always singing around the house. My Dad and I would sing nearly every day, He’d sing the lead and I’d sing the harmony. I’d have to say that started when I was about 7 years old and lasted until I went into the USAF in 1969. Dad couldn’t play a thing but that man sure could sing.
At age 8 it was the accordion. Yes that’s right! It wasn’t exactly a direct path to rock & roll. That lasted about eight months, then it was the guitar which lasted equally as long. In the 8th grade I started playing trumpet and it lasted for about a year.
In my sophomore year I met four guys who had a “garage band”. They were all underclassmen. I went to one of their practices, sang a few songs and they were impressed. They needed a bass player so I convinced my Dad to loan me the money to buy a bass and amp with the agreement that if I didn’t stick with it I’d pay him back.
I worked with those guys for about a year then moved on to another group with a bit more talent. It was while I was with that group that I met Don Keeling at a teen local club. He’d been playing with the Cavaliers and was a very good lead guitarist. The Cavaliers had broken up and Don was looking for something new. He’d already located a keyboard player, Mike Winebrenner and was still looking for bass player and drummer. We hit it off pretty well and so we got together shortly after that with Jack Richardson on drums.
We rehearsed for a few months getting tight and doing a lot of current material. Other than trios which played small bars and clubs (playing nightclub music) all other groups in the area were at least 5 pieces. We were the first four piece group that I know of. Donnie and I handled most of the lead vocals, with Mike singing a few. Harmonies were excellent and we were able to reproduce most anything that was being played.
If I remember correctly our group didn’t want a flashy name. We wanted to keep it simple and easy to remember. Also there wasn’t anything flashy about us so our music spoke for us, “US FOUR” that is.
At that time the Oxfords were working for the Joni Agency (Gene & Vi Snyder). Our guitar player had worked for them before so were were going to audition for the agency during the Oxfords breaks at a local teen club. We’d been rehearsing for several months to get everything tight. I remembered that we had no extra money for clothing so we all wore jeans and yellow short sleeved sweatshirts with the name of the ban written in black magic marker on the front (real classy).
I remember when we stepped up on stage for that first 15 minute set. I was so nervous and we could hear some of the crowd laughing at the way we dressed. Anyway we played about 5 numbers and the crowd went wild. The Oxfords were great at what they did, but this crowd wanted to dance and they didn’t play a lot of top 40 dance music. Needless to say we signed with the agency and wound up on the circuit. We thanked the Oxfords for allowing us to share the stage with them and apologized for all the commotion. They were great guys and understood because they had all been there before.
We played the Kentuckiana area regularly with occasional trips to Lexington. One of our regular stops was the Golden Horseshoe which was located around Lebanon, Kentucky. I’d say our main competition were the Oxfords before their split and reorganization. If you would have asked me back then who was the best group, I would have said the old Oxfords [with Steve McNicol] / the Rugbys and I still believe that to this very day.
[We met Buzz Cason] through Gene Snyder (Joni Agency). He was friends with Richard Williams who was Brenda Lee’s piano player. Richard and Buzz were great friends. Richard was looking for a group to record for him. He’d noticed the the dance “The Alligator” was sweeping the colleges across the US and he thought it would be a great idea to have some relatively unknown midwestern group record it.
He called Gene with the idea and asked if he knew of a group that would fit the idea. We were asked to show up at the agency to meet someone who had something we may be interested in. that’s when we meet Richard for the first time and he shared his idea with us. He wanted us to come up with the song and he’d fly us to Nashville for a session and we’d record 4 sides. That meant we needed 4 songs.
You’ll notice that Richard Williams and Donnie Keeling are credited with writing the song, but actually Donnie and I wrote the lyrics, the band as a whole penned the music, and Richard merely came up with the idea. Since Richard was paying the bill, who could argue? Donnie also wrote “By My Side” and “She Loves It”. I wrote “Opposite Ends of the World” in a Nashville hotel room the night before our recording session.
Time became a constraint and we ended up only having enough time to record the two sides. As you know “She Loves It” was eventually recorded in Louisville, and “Opposite Ends of the World” never made it to the studio.
It was in 1968 that Donnie and I had a disagreement and I thought it would be best for me to leave. I was immediately picked up by the Keyes, Jim and Tom Owen had been playing for quite a while and when Jim gave up playing I was recruited. Tom had worked with his brother for so long that it was difficult for me to really fit in.
With the Keyes I was more of a sideman and didn’t have that influence that I had in Us Four, even though I carried a lot of the vocal duties. I’d been with them less than a year when Tom announced that Jim was coming back and I wouldn’t be needed any longer.
It wasn’t long after that their drummer Charlie Jones, keyboardist Bob Ernspiker, contacted me about wanting to leave the Keyes and form a new group, We ended up hiring Denny Enzer (Inzer?) to play lead and “Justice” was formed. If this group would have survived it may have topped everything that every came out of Louisville. The musicianship, vocals, and rich harmonies were unbelievable. We played for only about 6 months and booked ourselves, but we made strides that it took most groups years to make.
Uncle Sam was wanting me badly and the group was short lived. It was just after that group’s demise that the Rugbys were looking for a bass player and I was asked if I’d be interested in the job. I had to turn it down due to the draft. A year or so later I saw them on TV and thought that could have been me.
Duke Freeman, December 2008
Thanks to Duke for sharing the history of his band and photos of the group.Clockwise from left: Duke Freeman, Jack Richardson, Donnie Keeling and Mike Winebrenner, with Mike’s Doric organ (with painted keys)
Mike Winebrenner played a Doric organ, a fairly obscure brand of keyboard for the time. It is even more unusual to see a Doric with reverse colors for the keys (black instead of white for the C major scale, and white instead of black for the sharps and flats). I asked Duke Freeman about this and he replied:
We actually removed the covers, masked off the areas around the keys and painted them in reverse. If I recall, VOX keyboards were reversed and so it was done to resemble the VOX. The Doric was either traded or sold when he purchased a Hammond.
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
Terry Pilittere was the founder of the Rochester, NY group the Dimensions, in 1962. Members were Denny Drew lead guitar, Rob Salerno rhythm guitar, Ken Polizzi bass and vocals, and Terry on drums and vocals. In 1965 Jack Allocco joined and the band changed their name to the Wee Four, because none of the members was over 5′ 8″ tall.
Members of the band had conflicts with manager Al Cecere, but Terry decided to leave the group and go with Al as his manager for a solo record of two beautiful original songs, “It’s Not That Way” and “You Wouldn’t Believe Me”.
