Heaps of thanks to everyone who came out to the benefit last week at the Tainted Lady in Brooklyn.The turnout was fantastic, and we raised nearly $1,000 to benefit two charities: America’s Second Harvest and the American Friends Service Committee.The guest djs Bossy Boots, small¢hange, Ms. K, Kittybeat, Marty Violence, Michael Lynch and Josh Styles came through with excellent sets of soul, psych, garage and funk that didn’t let up til the doors closed at 4 a.m.
Poor quality photo of Howard Dumble of the Epics, Jeff Gustafson of the Addams Family, Karl Haas of the Glanz, and Ron Sackmann of the Amoebas, in the Bakersfield Californian, Nov 20, 1965
The Epics have one of the best Louie Louie takeoffs titled “Louie Come Home”.
It’s a very danceable number as I found out when I played this to a packed house at Pop Gear some months ago.
The band was from California, perhaps Bakersfield. It’s leader was Howard Dumble, according to a clipping I found in the Bakersfield Californian. Howard Drumble who would become a legendary builder of guitar amplifiers?
The flip was “Give Me a Chance”, written by Dumble, Ward, Concelez and Iger for Shindig Music BMI. I assume Ward, Concelez and Iger were the other members of the group.
Produced by Lou Bowden, the single was released on the Zen label in April of 1965.
Anyone have a photo of the group or more info on this band?
The Pazant Brothers’ “Juicy Lucy” / “The Work Song” have a free, New Orleans brass band spirit, though the Pazant Brothers were originally from South Carolina, and as professional musicians were based in New York.
Working with producer Ed Bland, Al and Ed Pazant and their band created a lot of great music for RCA, GWP, Vanguard and other labels. They even played the Museum of Modern Art.
When I returned to New Orleans in April for Ponderosa Stomp, I remarked at the time how little it had changed since 1995, or even 1986 when I first lived there. It’ll never again be the city I knew. All the closely-knit neighborhoods destroyed, people killed or scattered around the country, it’s crushing to think about.
It’s good to hear Irma Thomas, Eddie Bo, Allen Toussaint and many others are safe and accounted for.
Betty Harris, Ponderosa Stomp at the Rock ‘n Bowl, 2005
Betty Harris may not be originally from New Orleans, but she made her best records there with Allen Toussaint. She was also one of the highlights of the Ponderosa Stomp this year, coming out of retirement after 35 years to just floor the audience with her voice and charisma. It was a really stunning performance by a true star who hasn’t lost the least bit of her abilities.
Ernie K-Doe’s gone but his van drives onIrma Thomas at the Lion’s DenLittle Buck at Ponderosa Stomp, tearing through Cat Scream and Monkey in a SackLittle Buck’s horn section at Ponderosa StompDr. Specs Optical Illusion downstairs at Ponderosa Stomp – they reformed for the Stomp, the highlights of their set being both sides of their awesomely rare and great 45.Barbara Lynn with Buckwheat Zydeco at the organPlas Johnson warms upEddie’s recordsJulie diggingEddie back in April – he and his family are alive and well in Alexandria now, but they’ve lost so much
Dennis and the Times of Norfolk, Virginia were three brothers on guitars and vocals, along with a couple friends playing bass and drums. The Burlage brothers’ father helped them record and release two 45s on the Trend label.
Denis Burlage – vocals Guy Burlage – lead guitar Dean Burlage – rhythm guitar Skip Watts – bass Paris Aiken – drums
The first from November of 1967 included their psychedelic masterpiece “Flight Patterns”. The song was certainly inspired by “Eight Miles High”, though I also hear some of “Have You Seen Her Face” in it as well.
The flip, “Just If She’s There” also owes a debt to the Byrds.
They found a harder sound for their second single, “Denis Dupree From Danville”, from 1969, released as Denis & the Times with only one ‘n’ in Denis. The b-side is a good ballad, “Whenever You Want Me”.
Denis and the Times
James Mrdutt sent in the photos of drummer Paris Aiken seen here, and other photos of Paris with an earlier group, the Mustangs, that I’ve posted to a separate page here. James reported that Paris passed away on December 24, 2009. He also informed me that Paris Aiken played drums on the recording of Billy Joe Royal’s “Down in the Boondocks”.
from left: Stan Foat, Steve Watts, Bill Hughes, Randy Siegers, Brian Cameron and Mike Elam
The Emperors were a southern California group based in Long Beach and not from San Bernadino as I’ve read elsewhere. Their sound had origins in a pre-Beatles rock and r&b style. They toured throughout southern California, including the Balboa Ball in San Diego.
As Steve and the Emperors they released their first 45, “Great Balls of Fire” / “The Breeze and I” on the Best label.
Then came two records on the related Wickwire label. The first was “A Fool For You I’ve Been” / “Searchin’ Around the World”, both written by Bill Hughes (Wickwire 13003). (See this page for more info on Wickwire and Best.)
The next was a cover of Australian pop singer Tony Barber’s “Blue Day” backed with a good rocker, “Laughin’ Linda”, which was written by Cameron-Watts. This 45 was produced by John Hodge and Larry Wilson, and arranged by William F. Williams. Despite the bleached moptops on the sleeve, at this point their forte was strictly 1963 era pop, as the ‘Wipe Out‘ intro on “Laughin’ Linda” attests.
Stan Foat listed the band’s lineup at this time:
Stan Foat – bass Steve Watts – drums Bill Hughes – guitar, lead vocals on “I Want My Woman” Randall Siegars – lead guitar Brian Cameron – saxophone Mike Elam – saxophone and vocal on “Blue Day”
In the spring of 1965 they released their next 45 on the Sabra label. The A-side is a fine jangly ballad, “And Then”, but for the flip they fashioned an entirely different sound. A pounding bass and drum beat punctuated with staccato guitar notes sets up the leering vocal “Let me tell you a story …” and then the refrain: “He-e-e-y woman … I want my woman”! This is the kind of intense, demented record garage fans live for!
Both sides were written by Bill Hughes who also sang on “I Want My Woman”, arranged by Glen Spreen, and produced by Lelan Rogers before he returned to Texas. For a long time there was confusion over whether this was a Texas group because Rogers included “I Want My Woman” on Epitaph for a Legend, which compiled rare tracks of bands on the International Artists label.
The Emperors have one last 45 on the Two+Two label that I really want to hear, “You Make Me Feel So Good” / “Love Pill”. I wonder if there was a change of band members before recording “I Want My Woman”. If not, I’d have to say the Emperors did an incredible job of adapting to the trends in the music scene at the time. One change that definitely happened was Bobby Cochran replacing Randy Siegers on lead guitar, but I don’t know if this happened before or after the Sabra 45 was recorded.
John “Chris” Christensen of Opus 1 recalled the Emperors:
Steve Watts, (the leader of that group) and I met early in 1963 when he offered to help me set up my drums at a gig at the Poly Hutch, which was The Poly High School Youth Center.
I used to have a copy of “Love Pill,” but it seems to have gone away. It was a novelty song, in a sort-of Coasters style. The lead guitarist, by then, was Bobby Cochran, whom, I believe was Eddie Cochran’s nephew.
Bill Hughes was a member of the band indeed, and is the lead singer on “I Want My Woman.”
They changed their membership many times over the years, with the constant always being drummer/singer Steve Watts.
They also released an album in the late 70’s, when they were know as “Emperor.” The keyboardist from that version of the group who was also a member of early 60’s Long Beach band “The Illusions” was Mike Lobbett. Mike and I had a really hot duo in ’78- ’79 for about 8 months.
Spider Taylor (Emperor, Delaney Bramlett, Hey Taxi, and Red Wedding) was also the guitarist for my group, Midnight Flyer, in ’75.
Fan club president Renee Bagley wrote to me about the group:
I am not sure who the members were of Emperor. I knew them more intimately when they first started and had the white hair (The Emperors). I saw them later but I was there at their beginnings.
Steve sang then but was not the lead singer, Mike was the lead singer (the one on the far right of the picture). He left because he didn’t like having his hair bleached white. People made nasty remarks. Most of them at the time were going to Long Beach City College. He was engaged at the time so he just wasn’t into their image.
Then Steve started singing more lead parts. Bill did a lot of the singing too but he left and I think he got drafted … don’t remember now. Then Randy, the guy who is Javanese went I believe it was into the Navy (Vietnam War). I wrote to him a couple of times but don’t know what happened to him. He was a very nice guy.
Then there was Stan on the far left who was my favorite at the time who had a g/f who was always there when they played. He was the bass player.
I think Randy was the lead guitarist. Then they got Bobby who was youngest of them all at that time. They weren’t wearing their hair white when he came into the group.
The Beckett Quintet, featured in KRLA Beat, October 16, 1965. L-R: Steve Nagle, Tommy Muncrief, Norm Reccius, Tim Taylor and Barry Dunkeson
A great 45 by the Beckett Quintet; the producers must have had high expectations, as hundreds of copies exist on the original Gemcor label and this was also picked up by A&M for wider release.
“No Correspondence” has been featured on plenty of compilations since its original release, but there was very little information out there on the Beckett Quintet.
Freddy Fortune sent me these clips from the amazing KRLA Beat newspaper site – a full page article on the guys! Now we know, the band consisted of:
Tommy Muncrief, vocals Tim Taylor, guitar Barry Dunkeson, guitar Norm Reccius, bass guitar Steve Nagle, drums
They were actually students at Eastern New Mexico University in Portales, by the Texas border. Over a hundred miles northwest of Lubbock, it’s even further from Amarillo, Albuquerque or Santa Fe, but only fifteen minutes away from Clovis, where Norman Petty ran his studio. I wonder if they ever stepped foot in there.
Most of the article is about how the band saved to move to Hollywood, but, having been ripped off by a manager, they made the journey on a shoestring and half-starved while looking for a break. The subtitle is Cinderella Story, but the band disappeared soon after. What happened to them? What about the stacks of original material that the article talks about – any demos out there?
“No Correspondence” was written by Tim Taylor. The flip is a decent version of “It’s All Over Now, Baby Blue”. Production was supervised by Nick Venet, a veteran producer with Capitol and Mira who worked with the Leaves, Lothar and the Hand People, and Mad River among others. This was the third and last release on Gemcor.
As a footnote, the article gives the band’s name spelled Becket 5 or Becket Quintet, but the record lists them as Beckett Quintet. It also spells the singer name as Tommy Munirief (I also had it as Tom Munifief) but I believe it should be Tommy Muncrief.
Steve Nagle wrote to me in November 2009:
I am Steve Nagle and played drums for the Becketts (formerly the Epics out of New Mexico).
The band originally came together as the Epics when we were all students at Eastern New Mexico University starting out playing fraternity and homecoming dances. Tim was a fantastic guitar player and we decided to start a band so I asked my Mom to send out my drums from Missouri – she sent the drum cases on the Santa Fe railroad and they arrived in Clovis, New Mexico at the start of my sophomore year. I had played professionally since I was 12 years old in my hometown of St. Joe with a rock and roll band called the Teen Kings and also worked in little jazz combos and Bill Geha’s Big Swing Band.
I read your remarks about Clovis and yes we got to be friends with the one and only Norman Petty and were in awe of his connections with Buddy Holly, the Fireballs and others. He took our band to lunch once after he had just returned from London and meeting the Beatles. We recorded in his studio and he helped us prepare some demos to take to California. Our other musical mentors were Jimmy Gilmer and the Fireballs. They told us we were the next big group out of the Southwest. That’s when we began to lag in our college work and took the band seriously and began getting calls to play all over New Mexico and the Texas Panhandle.
The most fun and spiritual times were playing the Indian proms and homecoming dances at various pueblos and little towns in New Mexico. We would drive around to band gigs in Barry’s Chevy Nova with a rickety trailer in tow. One night after playing the Zuni Indian Homecoming we stopped and got out of the Nova to admire the clear starry night and were enchanted by a very bright shooting star flashing a long trail cross the western sky. That moment was when we made a vow to go to California right after Spring semester and make our way in the music scene which as you know was at its zenith in those days.
Promotional card sent with some copies of their Gemcor single, very rare now
We were working on a major album with A&M Records with Herb Alpert and Tommy LiPuma (following our Gemcor contract with Nick Venet) when I got my draft notice. I have some old masters.
We worked all around Southern CA but mainly the Sunset Strip and even fronted once for Dylan at a place called The Trip. We did see Bobby Fuller in California, shortly before he was murdered. We were invited to a Halloween party and Frank Zappa’s house. We saw the Lovin’ Spoonful, we played for Dick Clark, saw Big Brother and the Holding Company, Sonny and Cher, the Grassroots, et. al.
We even had a groupie who we were proud of, he had just spent time in New Mexico and returned wearing knee high moccasins, silver and turquoise jewelry, he wore a concho belt and sported long grey hair – his name was John Barrymore Jr. and he would come to our manager’s house often to listen and a few of our gigs then one day just disappeared.
After my draft notice from the Army in the Spring of ’65 the band got nervous and basically began to disperse and ended up traveling down separate roads.
After several years in government after my discharge from the Army, I went back to Hollywood and worked in a few films and TV shows and ran into Norm who was a practicing clinical psychologist, but we lost contact.
I have an occasional day dream about rounding up Tim, Barry, Norm and Tommy for a reunion and recording but they have all left only faint trails and I have not been able to make contact. I now play a lot of folk music with my Martin guitars and trying to learn the fiddle. I produced an album just last year featuring some of my original tunes, River Voices and Songs – it was a fund raiser for a local conservation organization. My drums are being used by a PhD student from Ghana at a Methodist church here in St. Louis.
The reason I’ll never forget our good year in Southern California is because we were such a close brotherhood and with that mix of Texas and New Mexican guitar work and vocals – we were unique and when we played we got goose bumps and felt deeply we had something special – if only for a brief shining moment.
Oh yes, by the way we were truly a garage band – our manager’s two car garage in Encino was where we rehearsed almost everyday.
Thanks to Steve for the information.
After the Beckett Quintet split, Tommy Muncrief wrote and sang the title song for the feature movie “Didn’t You Hear”.
Unreleased songs
I have a CD with a number of unreleased songs by the group, some taken from acetates. I believe this CD was sent to me by Steve Nagle.
1. “Tomorrow Is Going to Be Another Day” – good punky garage with harmonies 2. “Little Flower” – gentle ballad 3. “(It’s All Over Now) Baby Blue” – dub from the 45 4. “No Correspondence” – dub from the 45 5. “For You” – medium tempo pop ballad 6. “Meant to Be” – excellent garage-folk 7. “Clovis 1” – early instrumental, presumably recorded at Petty’s studio 8. “Clovis 2” – surf instrumental, again probably cut at Petty’s studio 9. “Dancing Stream” – slack key guitar solo by Shiloh Orion (later recording)
Update: I’m very sorry to report that Steve Nagle passed away on March 23rd 2022, according to a comment from his daughter, below. Steve was very helpful in filling out the story of the Beckett Quintet, I’ll miss corresponding with him.
The Galaxies IV formed at Catholic school in Trenton in 1962. Members were T.J. Tindall on guitar, Chris Holmes on guitar and vocals, Charles Brodowicz keyboards, Len Demski bass, and Alan Fowler on drums. T.J. Tindall left the band early on when his family moved to Pennington; he eventually joined the Edison Electric Band.
The first Galaxies IV 45 was “Let Me Hear You Say Yeah” / “Till Then You’ll Cry” recorded at Regent Sound studios in New York City and released on the Veep label in June of 1965.
That summer of 1965 the Galaxies IV played forty shows during at the second session of the World’s Fair in Flushing Meadows, including eight shows at the New Jersey Pavilion.
The band received a notice in Billboard for winning the First Annual Rock ‘n Roll Olympics on Labor Day 1965 at St. John Terrell’s Music Circus in Lambertville, NJ. It was a huge battle-of-the-bands, judged by Phil Spector and Cousin Brucie Morrow. The notice lists Charles Brody instead of Brodowicz, and says Billboard had mistakenly reported the Rubytones were the winners in a previous issue.
The Galaxies IV at the 1965 Rock ‘n Roll Olympics l to r: Chris Holmes, Alan Fowler, Charles Brodowicz and Len Demski
The Billboard notice also mentions a 45 already released on the Mohawk label, “Don’t Let Love Look Back” but I haven’t been able to confirm this exists.
The win led to features in the NY Times and Reader’s Digest (anyone have scans of those notices?).
In August of ’66 they did release a 45 on the Mohawk label, “Piccadilly Circus” / “I’m Goin’ For Myself” in August of 1966.
“Piccadilly Circus” is a version of the Rolling Stones’ “2120 South Michigan Blvd”, often covered by 60’s bands and usually retitled (other versions include Sly Stone’s “Buttermilk” and Thee Midniters “Whittier Blvd”).
“Piccadilly Circus” was picked up by RCA for national release with the Chris Holmes’ wild original “Don’t Lose Your Mind” on the flip in June of 1967.
Adding a lead vocalist, Steve Shier they changed their name to Galaxie V and then Alexander Rabbit, releasing an lp on Mercury. Afterwards, Chris Holmes took the stage name Duke Williams and led his own band throughout the ’70s.
Alan Fowler of the Galaxies IV
Photo from the Cathedral High School 1969 YearbookInformation and photo sources included Trenton Makes Music (site now defunct) and Randy Now’s Sept. 5, 2007 show which features Duke Williams and T.J. Tindall. Thank you to Alan Fowler and Esther for additional photos for this article.
The Galaxies IV in 1969, from left: Charlie Brodowicz, Steve Shier, Alan Fowler and Chris Holmes (Len Demski out of frame)The Galaxies IV, from left: Charles Brody, Len Demski, Alan Fowler, & Chris Holmes aka Duke WilliamsL-R Alan Fowler, Len Demski, Charles Brody & Chris HolmesGalaxieIs IV at the Allentown Fairgrounds with Gene Kaye of WAEB L-R Chris Holmes, Len Demski, Gene Kaye, Alan Fowler & Charles Brody
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
Dennis and the Times of Norfolk, Virginia were three brothers on guitars and vocals, along with a couple friends playing bass and drums. The Burlage brothers’ father helped them record and release two 45s on the Trend label.
The Emperors were a southern California group based in Long Beach and not from San Bernadino as I’ve read elsewhere. Their sound had origins in a pre-Beatles rock and r&b style. They toured throughout southern California, including the Balboa Ball in San Diego.
The next was a cover of Australian pop singer Tony Barber’s “Blue Day” backed with a good rocker, “Laughin’ Linda”, which was written by Cameron-Watts. This 45 was produced by John Hodge and Larry Wilson, and arranged by William F. Williams. Despite the bleached moptops on the sleeve, at this point their forte was strictly 1963 era pop, as the ‘Wipe Out‘ intro on “Laughin’ Linda” attests.
Freddy Fortune sent me these clips from the amazing KRLA Beat newspaper site – a full page article on the guys! Now we know, the band consisted of:
Steve Nagle wrote to me in November 2009:
