The Endless at John Hull’s Musicol studio, 1966, from left: Jack McAtee, Mike Lyons, Mike O’Brien, Pat McAtee and Chuck Moorman.
The Endless came from Springfield, Ohio, making their only record in December, 1966 at John Hull’s Musicol Recording Studio.
“Prevailing Darkness” really shows attitude in the vocal delivery. Pat McAtee’s strong vocals also balance the delicate composition and performance on the nominal a-side, “Tomorrow’s Song”. Both songs were written by Pat and Jack McAtee.
The group started as the Mods in Springfield, Ohio, with brothers Jack McAtee on lead guitar and Pat McAtee on bass, Mike Lyons on rhythm, Jan Weinbreight on vocals and Bill Dale on drums. Jan left to form the Children of Stone and Mike O’Brien replaced Bill Dale. Chuck Moorman came in on keyboards.
Jack McAtee wrote a detailed history of the band. I will include a section of it below, but the full history, with more information on how the group formed and stories from their touring days is available as a PDF file here.
One day the band signed up for a battle of the bands contest sponsored by WIZE radio in Springfield. The winning prize was a couple of hours of recording time in a studio called Mega Sound in Dayton, Ohio. Paul Carmen was the disc jockey from WIZE who conducted the battle of the bands. Jack and Pat had written some original songs, “World of Sin” and “Endless Wandering” … we thought it would be great to record them. A week or so later we headed to Dayton with Paul Carmen. We recorded a couple of original songs and a couple of covers on a tape.
Around this time, … we met Chuck Moorman, an electric piano player with another group at the time. We were reluctant to add another person to the band, but it was one of the best decisions we made. He was very talented and was just as passionate at playing as the rest of the band. He soon added a Farfisa compact organ/keyboard which not only made us more versatile but added a lot to our original songs, and he was also a great singer.
The band was now complete. The Endless 1966: Jack (Bat Jack) and Pat (Sugar Bear) McAtee, Mike (Screen) Lyons, Mike (Miguel or Wolfman) O’Brien, and Chuck (Pick It) Moorman.
Everyone in the band sang led on at least one song and we had great harmonies.
Jack, Chuck and Mike went to Columbus to see if we could find someone else that might be interested in hearing our tape. We did find one company that was interested called Cardinal Records. We made an appointment with Frank Keefer, the owner, and took our tape to him, but guess what, the tape was not readable. In those days you couldn’t just pop the tape into any player, it was a large reel and took a special recording device to read it. After spending a couple of hours with Frank, trying to convince him our music was good, he asked if we were willing to pay for the first hour of a recording session. Then, if he liked our music we could continue recording and he would cover the additional cost. So, we set up a time to come back.
The Hull Records acetate with earlier versions of the songs on the Cardinal 45. Hull Records became Musicol Recording Studio.A week or so later [October, 1966] we met Frank at his house and headed to Hull Records in Columbus. We met John Hull there and he set us up for our recording. After the first hour Frank liked us a lot and told us to continue with the session a few more hours. Frank and John decided to make an acetate, a small album with 5 originals that we could distribute to radio stations to see if they liked our music. The original songs were called: “World of Sin”, “Endless Wondering”, “Tomorrow’s Song”, “A Cry for Yesterday” and “Prevailing Darkness”.
At that time Frank became our manager/producer with Cardinal Records and started booking places for us to play. At the same time another disc jockey at WIZE in Springfield, Ron Brown, took our album, played the songs on Friday and Saturday nights and asked the listeners to call in and vote for the ones they like the most. The listeners decided on “Tomorrow’s Song” and the band picked “Prevailing Darkness” for the flip side.
We went back to the studio and re-recorded the two songs again [in December, 1966]. We had to shorten them because the radio stations in those days would only play songs that were two and a half minutes long. Then we released the two songs on a 45 single. Frank had 1000 records made up and distributed them to various radio stations and record stores…
Once we played at a huge Battle of the Bands at a National Guard Armory. It was put on by WIZE radio station in Springfield. There were at least a thousand kids there. It came down to us and a group call “The Children of Stone”, Jan Weinbreights’ band. Guess what, at the end of the show they called it a tie. It was a lot of work for nothing. We should have put the party on ourselves, with The Children of Stone, and split the profits…
What happened to The Endless? A couple of the guys went off to college, and Uncle Sam came to visit some of us. During this time, Chuck Moorman was replaced by Jeff Dunmire on keyboards, and a singer named Bobby Saint, along with a sax player named Art Moppit, were brought in.
Jack, Mike Lyons and Mike O’Brien were drafted in late 1968. Jack went to the Air Force, Mike Lyons into the Army and Mike O’Brien into the Marine Corps. After Jack left for the military, Pat continued with another band, Chuck and Mike Lyons formed a band called “The Blue Light” which were a very good.
Later in life, Pat, Chuck, Jeff and Mike Lyons played in several bands, “The Legacy Band” and “The Pleasant Street Blues Band”. Jack started another band in the late ’80s, while living in Phoenix, called “The Steppin’ Back Band” and played a lot of clubs and parties for about 10 years.
The band decided to get together again in 1996 and 1998 for 30th and 32nd class reunion parties. We rented a hall, and thanks to all of our old fans, it was standing room only.
Jack McAtee
The five earlier Musicol recordings were supposed to be released on a compilation of Mus-i-col recordings over two years ago, but for some reason it never appeared. Hopefully whatever issues are holding it up will be resolved so we can hear the extended work of this band. The three unreleased titles are “Cry For Yesterday”, “Endless Wandering” and “World of Sin” – heavy stuff!
Thank you to Jack McAtee for the photos in this article.
The Endless on the Disco 2 TV show, Dayton, Ohio, 1966: Jack McAtee on guitar behind Chuck Moorman, keyboards, on the left, Mike O’Brien on the drums, Pat McAtee on the bass and Mike Lyons on the guitar on the right.
From the left: Vernon Colon (bass), Russell Colon (rhythm guitar), Val Richards, Randall Yuen (drummer) and Colin Ogawa (lead guitar)
The Val Richards V have three songs on the Live at the Funny Farm lp, one of the few garage releases from Hawaii. The lp wasn’t actually recorded live, however, but in a studio with crowd noises added later, common practice for the time.
Several of the tracks from the lp were released on 45. In the case of “Dancing With My Girl”, the 45 has the original studio version without the crowd noise, and it sounds much better than the lp cut. The label on the flip, “My Oh My!” states ‘Live at the Funny Farm’, though it’s not on the lp.
These two songs show the Val Richards V to be a professional band with fine lead guitar, harmony vocals and a good rhythm section. Both of these songs were written by Russell Colon. Their other two cuts on the lp are covers, “Ain’t Too Proud to Beg” and “I’ve Got My Mojo Workin'”.
I recently spoke to Jeff Gusman, one of three drummers for the group:
Here we were a bunch of high school kids getting paid to do what we liked to do the best. We were all from the projects which made it that much more awesome.
There was a club in Waikiki right where Kuhio and Kalakaua is; if my memory serves me right it was the old Lau Yee Chai restaurant, called the Happening where we were like the house band. It was awesome playing there. We would sometimes alternate with the Casuals with Steven Lucas.
Part of the band was from the Sonics who played at the Peppermint Mist which was by Channel 2 down by Ala Moana. Randall Yuen was the original drummer when they first started. I later replaced Randall when he went into the service.
This [the photo] was the lineup that played at the Peppermint Mist under the name the Sonics, pre-Val Richards 5. If I remember correctly, the only persons in the pic that were on the cuts were Randall Yuen and Russell Colon. Vernon and Colin were not on any of the recordings. Randall was on if I remember correctly on only one of the cuts. The lead guitar was Mike Calub or something like that and the bass was Andy (forgot his last name). I did not cut the record, the drummer on it was Donald Marianthal; don’t know if the spelling is correct.
I remember one time when we opened for Paul Revere & The Raiders at the HIC. You have to remember in those days there was no monitors. We had to use their instruments and I was on such a high pedestal I could hardly hear the guys cos there were like 10,000 people there. After the set we went down to the Happening where we tore the place up. Man we were tight that night. I guess I was with the band for about a year. And yes, the live set was just like the record all top 40 soul along with some of the songs Russell Colon wrote.
We were managed by Harvey Ragsdale who was based out of the old KPOI building on the Ala Wai Canal. If fact we used to rehearse in the building.
Q. Are there any unreleased or live recordings, or photos of the band?
Unfortunately, I had the misfortune to run into an irate girlfriend who destroyed all reel-to-reel tapes & pics; some cuts were from Da Swamp (now McDonalds in Waikiki). Dick Jensen used to be house band there back in da day.
Don’t know where the rest of the guys are but, I occasionally run into Val Richards.
With a name like Chaos Incorporated, you’d expect sinister psychedelic sounds, but instead what we have here are two exploitative r&b tracks.
“Daktari Ooo-Ah” is in the tradition of Kip Tyler’s “Jungle Hop” and other jungle and monkey records. On the flip is “Spanish Cooking”, a take off on another genre: soul food records.
“Spanish Cooking” was writen by Frank Guida and Gary Anderson aka Gary “U.S.” Bonds. The way the band plays, it sounds like it could be a throwaway from one of Bonds’ sessions.
Guida was the man behind the S.P.Q.R. and LeGrand labels. He recorded some fantastic music by the Swinging Machine and Lenis Guess around this time that I recommend over this one. Frank Guida passed away on May 19 of 2007, just a week shy of his 85th birthday.Thank you to Marty for the 45.
The Penetraters were from Traverse City, Michigan, about a two hour drive north of Grand Rapids, where they cut this 45 at the Great Lakes Recording Studio. This is one of the earliest garage releases on the Fenton label, which catered to bands looking to finance their own records.
“What Went Wrong” was comped on the Fenton box, Scream Loud, but the ballad flip “Cross the River of Love” was left off. I like its mellow Ricky Nelson “Lonesome Town” kind of style. Both songs were written by William Soapman.
Supposedly the Penetraters members also worked as a polka band called the Jaguars.
The Sound System, circa 1969-1970. Standing left to right: Barry McNeill, Ray Barnes, Teddy Ray and Jimmy Harris. Seated from left: Ralph Melvin, Faye Williams and Lynn JenkinsSound System Romat 45 Take a Look at Yourself
The Sound System had the first 45 on the Romat label. The label credits this as a Carl Lineberger Pitt Sound Studio Production, from Greenville, North Carolina. Band members on the 45 were Barry McNeill on keyboards, Alan Knight drums, Alan Wright bass, Faye Williams guitar and Lynn Jenkins lead singer.
The haunting organ sound, solid drumming and buzzing psychedelic guitar work give the b-side, “Take a Look At Yourself” great tension to match Lynn Jenkins’ excellent vocals. I think it’s safe to say the top side, “Serenade”, will never be resurrected.
In 2009, Lynn Jenkins gave me some background to the band:
The first band that I was a member of was called the Intruders (not to be confused with the band who recorded “Cowboys to Girls”). Later I joined the Sound System. There were four members; Barry McNeil on keyboards, Alan Knight on drums, Alan Wright on bass guitar, Faye Williams playing lead guitar.
They were searching for a lead singer and I was approached for the position. As rehearsals continued for many weeks, we began to receive numerous bookings. Our band played at many locations including Duke University, Williams Lake, YMCA, local clubs, Fort Bragg’s Dragon Club, Pope Air Force Bases’ Officers’ Club, E-4– E-9 Drop Zone Club, the local skating rink and recreation centers. We felt we were gaining when we made several appearances on The Homer Briar Hopper Show hosted by Clyde Moody. Great times!
The Sound System won several Battle of the Bands, the most memorable was at the Hope Mills High School in Fayetteville, NC. Competition included Chico Carter and The Playthings, Digger Odell and The Undertakers, and numerous other groups.
Our manager Bernie McNeil (Barry’s dad) approached me and Barry on a Sunday afternoon and asked how quick we could write a song. Thirty minutes later “Take A Look At Yourself ” was complete, including the music. The following Monday it was recorded in Greenville, N.C. at Pitt Sound Studio. Our producer was Roy Matthews. It was a pleasant experience to work with Mr. Matthews. Several members of the band; “The O’Kaysions” who recorded “I’m a Girl Watcher” were present at the time of our recording.
Our record was sold at live gigs, at all of our schools, and distributed throughout the state of N.C. One copy was even sent to Viet Nam and was played over the air in DaNang. Radio play was unbelievable! The DJ’s were overwhelmed with requests, that the record was broken over the air waves … literally (WFLB radio station in Fayetteville).
The band broke up upon my entrance to the U.S. Army in which I have retired Sgt. first class after 22 years in 1993 (82nd Airborne Paratrooper). I have no information about Alan Wright, Barry McNeil is the NC Assistant State Attorney General, Faye Williams has been teaching music in Iraq for several years and Alan Knight owns and operates a recording studio in Lenoir, N.C.
The Romat label lists the song writers’ names incorrectly: “Take a Look at Yourself” is listed as by J. Jinkins and B. McNeal, which is also rendered as Barry McNeil on the credits to “Serenade”.
After a few years together they evolved into a larger soul/top 45 revue with horns. Barry McNeill sent me some examples of this later sound including a version of the Tams “Untie Me” and “Love Is a Beautiful Thing”.
Barry wrote:
These recordings were made in a small sound studio on Haymount Hill in Fayetteville NC, probably circa 1969 or 1970. Lynn Jenkins is the lead vocalist; Faye Williams is on guitar; Ray Barnes is on bass guitar; Alan Knight is on drums; Barry McNeill is on organ; Jimmy Harris is on trumpet; and Teddy Ray is on tenor saxophone. Ralph Melvin replaced Alan Knight for a period of time as the drummer.
The Sound System eventually changed their name to the Expressions, which included Warren McDonald as a member.
A real obscurity from Irving, Texas on the Dunwright label that I can’t find a shred of info about.
“Population Zero” starts out well, with a great opening wave of reverbed distortion, then turns into a dirge with horns about wandering around a post-apocalyptic landscape. The song is psychedelic in some ways, but defies easy categorization.
“Pollution” begins as a funky instrumental. For the bridge there’s a slow horn break, then a jarring blast of guitar before going back into the rhythm. Both songs were written by V. Murphy, which turns out to be Vince Murphy.
A version of “Population Zero” turns up on a 45 on the Madella label by the Chaps b/w “Water Hole on Madella”, so there may be some connection between the two groups. The Chaps had many other releases including singles on the Paula and Soft labels.
Thanks very much to Don for introducing this one to me.
The Lost Ones were from Sarver, Pennsylvania, a small town about 30 miles outside of Pittsburgh. They were originally called the Kruisers and afterwards became Lite Rain. “I Can’t Believe You” is a wild, overdriven raver, too crude for some people.
“I Can’t Believe You” was written by James T. Robeson and produced by Marian Dietrich. The flip, “I Wanna Know”, which moves along at a snail’s pace, was written by James Robeson, Don Dietrich and Bill Farrington. This 45 was released in January of 1967 on the Mersey label.
One of the leading bands in the Rochester, NY area, the Young Tyrants were Carl Lundquist lead guitar and vocals, Lou Grillo lead vocals, Julio Lora rhythm guitar, Mike Zazzaro bass and Mike Montoya drums. They were heavily influenced by the Young Rascals, even adding “Young” to their band name in imitation, but came up with a sound all their own by the time they recorded their only 45.
Fine Records Studio owner Vince Jans signed the band after hearing their live show over the phone. In September 1967, they recorded an album’s worth of songs at one session, mostly typical cover versions off the day along with two original songs and a couple instrumentals.
Jans let them release the two originals for their only 45. “I Try” starts off with Carl’s trilling guitar riff taken from the intro to the Buster’s surf classic, “Bust Out”, then turns into a fantastic rocker as the band kicks in. “She Don’t Got The Right” simmers with resentment: “She’s got the right to say/ she don’t want my kind/but she don’t got the right/ to take away my pride.”
Lou Grillo wrote “I Try”, although there are no credits on the label, while Carl Lundquist wrote “She Don’t Got the Right”. 500 copies were pressed on the In label and sold at their shows, at venues like the New Patriot Club in Hornell. The only radio play it received was on local Rochester station WSAY.
The band broke up in 1968, as Carl and Lou were heading to college. The masters from the Young Tyrant’s recording sessions have been saved, and supposedly include other takes of both sides of the 45 as well as a cover of “I Can Only Give You Everything”. Hopefully someday we’ll hear the whole session.
After the Flys: the Third Row. From left: Gary (surname? – original drummer), Tom Smith, Steve Widmeyer, Bill Lyons, Dave Reemsnyder, and Don Ransom
The Flys:
Steve Widmeyer – lead vocals, rhythm & lead guitar Dave Reemsnyder – bass Bill Lyons – keyboard, vocals Randy Dunham – guitar, vocals Jim (surname ?) – drums
The Flys were students at West Virginia Wesleyan College in Buckhannon, close to the Ohio border. I had no information about the band until Steve Widmeyer left a comment (see below).
In 1966 they traveled over 200 miles to McLean, VA, near Washington DC, where they settled for the summer and cut their two 45s for Myskatonic, perhaps their own label.
Their first 45 is “Reality Composition #1”, written by John Elvin and Stephen Widmeyer, backed by a fine version of the Stones’ “Got to Get Away” and released with a green label.
Then came the fantastic “Be What You Is”, one of Mort Shuman’s more obscure songwriting efforts. Shuman co-wrote it with occasional collaborator Leslie MacFarland (J. Leslie McFarland, who also co-wrote “Stuck On You” for Elvis with Aaron Schroeder). An anonymous commenter below (“The Fly”) says the band outbid the Rascals for the right to record the song.
On the flip is “The Way Things Are”, an original by Steve Widmeyer. I’ve seen both white and orange labels for this one. The records are credited as F.G.I. (Four Guys) Productions.
The band evolved into the Third Row – that band’s drummer Thomas Smith has sent the photo of that band seen above. Steve Widmeyer, Bill Lyons and Dave Reemsnyder remained from the Flys, the others were new members.
Jerry Scotti, Freddie DeRubeis, Joe Liotta and George Napolitano in Freddie’s backyard, 1964
Inspired by the Beatles’ performances on Ed Sullivan in 1964, four friends in Bensonhurst, Brooklyn decided to form a band they would call the Creations. George Napolitano, Jerry Scotti, Dominic Coppola and Fred DeRubeis began lessons with Pete Frias, guitarist for the Peppermint Lounge act Jimmy & the Jesters. Two other friends, Joey Sirico and Joe Liotta soon joined. Pete not only taught them music, but assigned each of them the instrument they should play for the band.
The Creations performed at local churches and halls including the Teenage Cabaret and the “No Name” club on 60th St and 14th Ave in Brooklyn. They attracted notice with their spot-on renditions of songs by the Animals and the Dave Clark 5. Joe Liotta’s increasing ability on the Vox Continental organ gave them a professional sound that other bands lacked.
First Creations promo photo: Dom, George, Freddie, Joe L. and Jerry
Their two big breaks, though, came one Saturday in March 1965, when their new manager Bob Herin booked the band on Murray the K matinee show at the Brooklyn Fox Theatre with the Chambers Brothers. The Creations played a longer set than usual to fill in for the Rascals, who couldn’t get their equipment off of the Barge in Long Island. The audience response was tremendous, reaching Beatlemania type proportions. Charged by this reaction, they then went and auditioned for Jack Spector, AM radio WMCA’s star DJ who was looking for a house band for the stations “Good Guys” shows.
Landing the job, they began playing Good Guy shows regularly on Fridays, playing their own sets and backing touring acts. Bob Herin turned management of the Creations over to Billy and Steve Jerome, who managed the Left Banke among others. The band would soon change their name to the Ox-Bow Incident and record two fine 45s for Smash and a third, with a somewhat different lineup, for Avco.
George and Joe Sirico at the Worlds Fair, 1964
Before the name change and these releases, they recorded a handful of demos that were never released, including “Get on My Train” and “I’ve Paid My Dues”. I asked guitarist George Napolitano about the band’s early days as the Creations:
Q: What were the circumstances behind the demo recordings?
George Napolitano: The demo “I’ve Paid My Dues” was recorded at the request of Billy and Steve Jerome. They asked us to put something down so that they could give a listen. We had recorded “I’ve Paid My Dues” about 6 months earlier and this version was our second recording of that song. We also did “Get on My Train” at the same session.
Q: Who wrote “Get On My Train” and “I’ve Paid My Dues”?
George Napolitano: I don’t remember who wrote “I’ve Paid My Dues”. It was given to us on sheet music and we were “told” to work on it. “Get on My Train” was written by a friend named Denver Ruggins. He gave us the song and we changed it a bit. The demo was recorded on a 4 track Ampeg Machine at Rossi Sound Studio in Brooklyn and transferred to acetate. I have the original acetate and from the acetate we made the CD copy.
Q: Where was Rossi Sound Studios?
George Napolitano: 2005 West 8th Street Brooklyn, 23 NY is the address on the record label. If I remember correctly that was between Avenues T and U on West 8th Street.
George Napolitano
Q: Was the band still called the Creations at that point?
George Napolitano: We were still the Creations when we recorded the demos but changed the name shortly afterwards to the Ox-Bow Incident. The lineup for the original session was myself on guitar, Joe Sirico bass, Fred DeRubeis drums, Joe Liotta Vox organ and vocals, Dominic Coppola guitar. When we re-recorded the song Jerry replaced Dominic Coppola on guitar. After we recorded “I’ve Paid My Dues” and “Get On My Train” we were signed to a production contract with Billy and Steve Jerome. At the time they also managed the Fifth Estate and were part of the team behind the Left Banke who had a hit with “Walk Away Rene”. They gave us the song “Beg, Borrow or Steal” to record and we had it mastered and ready to be released. However the Ohio Express version was released before ours and it never came out. In fact that was 2 years before Reach Out was released.
Jerry, Joe, George, Freddie, Joe onstage at a WMCA “Good Guy” show
Q: Were these songs part of your live set?
George Napolitano: Whenever we performed on a WMCA ”Good Guy” show we would play the songs as part of the “show” and then we would back up all of the other acts that needed musical accompaniment. Remember this was way before the days of singers singing over pre-recorded tracks. We provided the music for groups such as the Chiffons, Peaches and Herb, Chubby Checker, the Shangra-Las, Jimmy Jones, the Jive 5, Neil Sedaka and countless others. In fact just this past week I saw Neil Sedaka and I mentioned to him that my band use to back him up on the “Good Guy” shows. He smiled and said, “I remember those days fondly”. We never rehearsed with him. Whenever he arrived Jack Spector would immediately put him on stage and Sedaka would turn to us, snap his fingers and say “C- Am- F-G” and proceed to sing “Calendar Girl”, “Breaking Up Is Hard to Do”, “Oh Carol” and all the rest of his songs.
Q: How was the NY music ‘scene’ at the time? Did you get much chance to see other bands or only when you shared bills with other bands?
George Napolitano: We played a lot, practically every weekend so we really didn’t get much of a chance to see the other groups that were around at the time. When we weren’t playing our respective girlfriends expected us to spend time with them and not go listening to the other groups. We did go to see some of our friends groups such as Lurch & the Brats, The Intruders and others from time to time but when we were “off” we tried to stay away from the clubs and catch up on those things which we couldn’t do whenever we were playing. That being said whenever we could we did try to get to the Electric Circus or go to the Fillmore East to see The Jefferson Airplane, The Doors and whoever else was playing, but with our schedule that didn’t happen often.
The Ox-Bow Incident at Coney Island (l-r): Joe Liotta, Jerry Scotti, Fred DeRubeis, George Napolitano, Joe Sirico
Signed to the Smash label, the Ox-Bow Incident didn’t release a record until 1968. By this time were heading in a more soulful direction, using a leslie speaker on the organ and adding lead singer Billy Sheehan from another local band, the Intruders. Unfortunately, Sheehan was drafted immediately after the band recorded a fine, somewhat psychedelicized version of the Four Top’s “Reach Out”. They recruited Al Tessitore to sing on the b-side, the garage song “Harmonica Man”. “Reach Out” made local radio charts as far away as Kentucky (WKLO) and Wisconsin (the first Instant Pick on WSPT), but missed the national charts despite good commercial potential.
They followed up with the catchy “You Can’t Make Love By Yourself”, sung by Al and “Lurch” Luis Pagan and featuring session player Vinny Bell on electric sitar. The flipside is “She’s Gone”, a heavy soul number written by Fred DeRubeis and George. Neither side caught on with radio or the public and the band disbanded in 1969. George and Joe Sirico found other musicians to record a final 45 for Avco, then reunited with most of the original members for live shows into 1973.
The Ox-Bow Incident is still performing and recording music to this day. Those who want to hear more of their music should check out their myspace page, which has a history of the band and many more photos than I could reproduce here. There’s also a long interview with George Napolitano and Joe Sirico from Mike Dugo’s 60sgaragebands.com site, archived here. Both of these were sources for this story, along with my own interview with George Napolitano. Special thanks to George and the other members of the Ox-Bow Incident for sharing these rarely heard songs.
Jerry, Joe S, Freddie, Joe L in studio during “Reach Out” session.
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.
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The Endless came from Springfield, Ohio, making their only record in December, 1966 at John Hull’s Musicol Recording Studio.
The five earlier Musicol recordings were supposed to be released on a compilation of Mus-i-col recordings over two years ago, but for some reason it never appeared. Hopefully whatever issues are holding it up will be resolved so we can hear the extended work of this band. The three unreleased titles are “Cry For Yesterday”, “Endless Wandering” and “World of Sin” – heavy stuff!
One of the leading bands in the Rochester, NY area, the Young Tyrants were Carl Lundquist lead guitar and vocals, Lou Grillo lead vocals, Julio Lora rhythm guitar, Mike Zazzaro bass and Mike Montoya drums. They were heavily influenced by the Young Rascals, even adding “Young” to their band name in imitation, but came up with a sound all their own by the time they recorded their only 45.
The Flys:
Their first 45 is “Reality Composition #1”, written by John Elvin and Stephen Widmeyer, backed by a fine version of the Stones’ “Got to Get Away” and released with a green label.
George Napolitano: We were still the Creations when we recorded the demos but changed the name shortly afterwards to the Ox-Bow Incident. The lineup for the original session was myself on guitar, Joe Sirico bass, Fred DeRubeis drums, Joe Liotta Vox organ and vocals, Dominic Coppola guitar. When we re-recorded the song Jerry replaced Dominic Coppola on guitar. After we recorded “I’ve Paid My Dues” and “Get On My Train” we were signed to a production contract with Billy and Steve Jerome. At the time they also managed the Fifth Estate and were part of the team behind the Left Banke who had a hit with “Walk Away Rene”. They gave us the song “Beg, Borrow or Steal” to record and we had it mastered and ready to be released. However the Ohio Express version was released before ours and it never came out. In fact that was 2 years before Reach Out was released.
Signed to the Smash label, the Ox-Bow Incident didn’t release a record until 1968. By this time were heading in a more soulful direction, using a leslie speaker on the organ and adding lead singer Billy Sheehan from another local band, the Intruders. Unfortunately, Sheehan was drafted immediately after the band recorded a fine, somewhat psychedelicized version of the Four Top’s “Reach Out”. They recruited Al Tessitore to sing on the b-side, the garage song “Harmonica Man”. “Reach Out” made local radio charts as far away as Kentucky 
