The Truths made this one fine Byrds-influenced 45, “Pending” / “Why” on Circle Records 45-953, in August 1965.
Roy Harris wrote “Pending”, and co-wrote “Why” with James Pettey, with publishing by Chu-Fin Music, Inc.
I can find almost no info on the group online. I’ve read the band came from Riverside, California. However, the Playground Recording Studio site notes:
Playground Studios originally built and completed in 1969 by Finley Duncan is located in the heart of old downtown Valparaiso, Florida.
It was the home of Minaret Records, Turrett Records, Choctaw and Circle Records.
George Daly, guitarist and songwriter for the Hangmen tells the story behind “Faces” with previously unpublished photographs.
Allen Ginsberg speaking with Tom Guernsey, George Daly and Bob Berberich
The band had fans and it wouldn’t be too much of a stretch to say the Hangmen, at their zenith had a fan intensity that might have rivaled, in our home town, the early Beatles in Liverpool.
There on the Eastern Seaboard, mainly focused on DC and Maryland and Virginia, we played for the high and mighty such as Robert Kennedy and family, at Hickory Hill, multiple Foreign embassy balls, at many of the private girls schools, and wealthy DC homes, and even the fabled NOW Festival in the Adams Morgan area of DC, where Beat writer and great American poet Allen Ginsberg and I ended up talking music until 2am. The Hangmen played at a record store jammed with fans in Virginia where The Washington Post noted it and Cashbox, the music business trade magazines, wrote of the show as the performance turned into a riot involving over 2500 fans.
The Hangmen moved people.
At one point they told us we young men had by now a 1000+ person fan club. I eventually got in trouble with my landlord (and close to being evicted from my little Spring Street one-bedroom apartment) because of the continual lip sticking of the door and walls outside my place with “I Love George,” (heart) the Hangmen,” “We love You Dave,” and so forth – this went on for over a year till I moved to my anonymous next place.
So, we had fans. Passionate ones.
On stage: Bob Berberich on drums, Paul Dowell, George Daly and Tom Guernsey on guitars, and Dave Ottley at the mic
Faces, the song, first came to me one night, basically, all at once right after a gig in front of some of those screaming fans. Here’s how:
With the gigs’ typical cheers, noise, music and intensity I had noticed a Maryland University junior in the audience, and she me. We talked briefly outside for a few minutes after the show shut down and then she followed my car home. An unexpected feeling came over me as I unlocked the door to my apartment, my new fan just two steps behind. We walked through the door with yet more lipstick graffiti on it, and I was embarrassed. But my new friend seemed almost giddy seeing what was scrawled on the door. As I turned on the lights, I thought, I don’t know my fans, and they don’t even care about that. No, wait! Plus they don’t know me, either. I suddenly got it all. Their excitement isn’t about George or Bob or Tom or Dave or Paul, it’s about the Hangmen. The image of the Hangmen, bad boys, rockers, musicians. And that dazed, glazed look on our fans’ faces that I was seeing around me at the gigs, was all misleading me. My song Faces arrived that night because I needed to express that feeling to the world.
And, yeah, Faces sounds cynical, world-weary, whatever, but it’s real, and there isn’t an artist alive who doesn’t stand on a stage with fans yelling for them, who doesn’t finally realize the world loves the symbol they’ve become, the world loves the outline, and doesn’t know, can’t really know the person making that music or playing that guitar or singing that song just from seeing them on stage. It can be disillusioning. “At 12 you’re young, at 1 you’re old.”
Back at my apartment, I turned to her and said “What’s your last name? You have to start somewhere.
Early photo, from left: Mike Walters, George Daly, Bob Berberich on drums, Tom Guernsey (obscured) and Dave Ottley at the mic. Photo by Michael Klavans
I’m an optimistic person by nature, but that realization stuck. I saw those Faces again, all through three great bands where I was joined at the hip with Bob Berberich in the Hangmen, then the Dolphin with Paul Dowell and sometimes, Roy Buchanan and then Grin, with the incredible Nils Lofgren. And, even later, in the towers, recording studios, label offices, clubs and restaurants of the Hollywood major record label scene where I worked for 25 years after my time in those great born-in-DC bands. (Bob surpassed even our three great bands’ hat trick by singing and drumming, along with the great vocalist Joe Triplett, in Bob’s long-lasting DC band, The Rosslyn Mountain Boys.)
And after these bands, out West I was no longer an artist (mostly), but had an outsized impact on artists with my time running A&R Divisions at Columbia Records, Elektra/Asylum Records and Atlantic Records. One of my artists at Columbia was the late, great Janis Joplin. One afternoon at the Topanga Canyon Corral bar (Southern Comfort on ice for her, me a bourbon sour) we had a long talk about the fickleness and unreality of fans’ perception of artists, Faces again. And about the isolation that comes from living only those shallow exchanges, without the souls talking. She lived that loneliness for a long time. But that afternoon we both laughed about it. Janis was a gem.
But back to that night in my little Silver Spring apartment, the idea of the solitary artist, surrounded only by sycophants, robotic faces, no matter how nice and cheerful and desirous they might be, wouldn’t go away. And when I was alone again in my room with my old Silvertone acoustic guitar my Dad bought me years earlier, alone with my trusty yellow pad, the song, words and music appeared out of nothing but that feeling.
Paul Dowell on bass, Dave Ottley in foreground, and George Daly. Photo by Michael Klavans
The next morning (other people’s mid-afternoon), I polished the song some more by picking up my ‘51 Fender Esquire guitar and plugging it into my amp. I fiddled around and found a grinding riff that was inspired by Mississippian John Lee Hookers, intensely repetitive and growling grooves. He was the famed bluesman whose LP I wore out back when I was learning to play the blues on the guitar, the blues being the God Father of all Rock ‘n Roll. So, I kept working on that guitar lick until the room was ringing and the words flowed effortlessly over the entire song. That’s the Faces you hear today, especially on the Monument 45 version with Dave Ottley’s intense and vivid vocals. It’s not a complicated song, but a deep one, and Dave really liked that and sung it that way, another important part of the magic in that music. It all came together with Faces, my band mates took that song, and once the drumming started, made it come alive. That’s why they call the people working together on music, a Band!
But back to when I wrote it, I saw Bob Berberich the next day, and played him Faces in all its surreal sneer and grim cynicism. Bob has been somebody close to me, starting within weeks of when I brazenly walked up to his front door of his parent’s house, knocked hard, and asked if somebody there played drums (Thanks Griff!). From there I introduced Bob to Tom and the Hangmen were born. Bob was there from the beginning, and he’s still here, which is stupendous luck for me.
The thing about Bob was that he was kind of quiet and hard to tell what he was thinking, but when he engaged with you, he always went to the heart of the matter. That’s something hard to find in anybody, much less a band mate, so we became tight.
So, he and I came to understand each other. And, that day he liked the song, and pushed me to play it for everybody.
Bob Berberich
Amazingly, Bob found a handwritten draft of the Faces lyrics, probably something left on the band practice room floor. But back then, with those words and music, and with him liking it, I knew I had a truthful and powerful message. It was easy after that. Knowing that somebody besides me, my Hangmen bandmate, our drummer, got the message, and also lived the message himself, it all made me feel good. I wasn’t alone in seeing the difference between A Face and a friend. The difference between hollow acclaim and (in Bob’s case particularly) friendship that lasts a lifetime and isn’t star struck.
When his drumming was finally added to the mix combining with Tom’s always brilliant guitar playing, I was amazed how great it all felt. I still am.
A follow up note: A few years later I still had those anonymous stars & fans Faces thoughts on my mind. That was when I wrote a song with Boz Scaggs, Slow Dancer, that Columbia named Boz’s fifth major album after. My Faces anonymous-fan-meeting-you-after-the-gig line: “I never see your face in sunlight, moon light (night time) brings you straight to me. You never even got my name right. You were so easy to me.” That line in Slow Dancer spelled out the same thing as Faces expressed, so nothing really had changed.
But, ironically, with all the Faces who seemed so distant to me, just because of Bob, one fan at a gig finally did make a breakthrough, and it was straight to my heart.
Dale Kalberg
The Hangmen played a big show at the Annapolis Armory. Between songs Bob yelled out my name and he pointed out a pretty girl near the front of the jammed and raving crowd. I was laughing with him, and he just used his drumstick to show me where to look, there’s even a picture of me looking at him off frame, grinning. I saw her blond hair and shining face, a feminine outline, so California. I leaned over to Bob after the song ended and said, pretty on edge, wow man, I’m going to marry that girl. I was 21.
Was I joking, I didn’t know. She and I talked after the set. And, she was… so normal, clear-eyed and very present and very real. And, I did marry her. That was the first time I saw Dale from San Francisco, who became Dale Daly. And, the best man at the $23 wedding in Las Vegas? Robert Berberich. You can’t make up the great lives Bob and I have lived. But that’s another tale, too. And involves the next two bands we were in, the Dolphin, then Grin with Nils Lofgren, Bob and me.
(My best man and I also spent a half a day in Jail in Virginia a few years earlier, our crime? Having long hair in 1964 and, after a gig, being on the road on a Sunday morning in deep southern Virginia. Bob’s Dad bailed us out!)
Those fans? Apart from the impossibility of getting close to them instantly, these were wonderful people who loved something they saw on a stage, and for whom I’m forever grateful. Most have disappeared into the dark fog of years. But there still are a few fans that turned out to be real, more than faces, ones that I still know and cherish today, probably more than they ever cherished the image of a Hangmen who had other thoughts in his mind. Someone like me, who couldn’t explain his feelings, except by writing a song.
I came across this ticket stub for a “Double-Up” concert produced by Koncepts Cultural Gallery on October 16, 1993 at the James Moore Theater in the Oakland Museum. The concert featured two duos, Roscoe Mitchell & Malachi Favors Maghostut; and Horace Tapscott & Roberto Miranda.
I can still hear Roscoe playing the soprano sax (or was it sopranino) without pause using circular breathing.
I’m posting this in the hope that photos or a recording of the event exists.
The Long Island Sounds came from Branford and East Haven Connecticut. They achieved a fine surf sound on their two singles on Wonder Records 165 and 166.
Their first single was “Tiger” / “Lucky Guy”, followed by “Don’t Cry Linda” / “(Ballad of) Marvin Crump”.
Members were:
Fred O’Brien – lead vocals Tony Pragano – harmony vocals Angelo Frisketti – lead guitar Tom Hanlon – guitar and harmony vocals Bobby Pasternak – keyboards Jack Russell – drums
Fred O’Brien wrote all their songs, published by Checkmark Music, owned by Arthur Czech, which also published the North Atlantic Invasion Force “Blue and Green Gown” / “Fire, Wind and Rain” among others.
“BRS” etched into the runout of the second record indicates it was likely recorded at Broadway Recording Studios in New York.
I’ve seen Tony Pragano’s name spelled Pregano, not sure which is correct.
Gary Steffins & the Fugitives 5 “I’m a Lover” / “Back Track” on RMP is an obscure 45 from one of the suburbs of Chicago, from March, 1966.
The lead guitar is strong on both sides, especially the neat instrumental “Back Track”.
A couple of photos have turned up on youtube videos, but I haven’t seen a list of band members.
On August 16, 1975, about nine years after the record, the Atlanta Constitution ran a profile of Daphne’s Lounge at the Sheraton near Hartsfield airport, with an interesting paragraph:
The band of the moment is Crystal Ball, a group formed five years ago in Chicago and now relocating to Atlanta. Gary Steffins handles most of the vocals and plays the congas. Other personnel are Steve Farrell, lead guitar, his brother Bill [Farrell] on drums, Joe Grimm on keyboards, and Greg Curbow on bass.
Surely the lineup changed in the intervening years, but I would like to know the names of the original group on the single.
The entry below should be credited to David Jackson, Chris Stanbury, Mike Williams and Richard Goddard who own the copyright on the following.
The story of the Blue Moon Club, Cheltenham began lunchtime on the 25th December 1964 as the then twenty-year-old John Norman and his elder brother Eddie were eating their Christmas Day lunch in the Headstone Hotel in West London. For some time under the guidance of Eddie the pair had been running regular live music events in and around Middlesex, including The Fender Club, Kenton; The Memorial Hall, Harrow Weald; The Railway Hotel, North Harrow; The New Georgian Club, Cowley and the original Blue Moon Club in Hayes. In what would soon turned out to be a stroke of good luck for all concerned like-minded jazz musician and local music promotions rival Bill Reid was also in the restaurant that Christmas Day and overhearing Eddie and John’s conversation he made his way to their table saying to the brothers that he had often had similar thoughts of expansion.
Bill was well known to John and Eddie for his jazz-orientated promotions with fellow jazz enthusiast and business partner Jack Fallon. At the South Harrow Jazz Club, they would book such names as Jerry Lee Lewis, The Beatles and The Rolling Stones. Bill said he would be interested in their new venture suggesting they join forces and follow up the advertisement with a trip out ‘West’ to check out the premises in Cheltenham’s High Street.
The club opened on the 17th July 1965 and closed its doors finally on 17th May 1967 and was probably one of best of a small band of regional Mod clubs outside of London
The Action appeared nine times, followed by Gary Farr & The T-Bones who appeared eight times lead the way for visiting bands from outside the local area; local group The Alan Walker Band, managed by the club owners appeared nine times. The club will be well remembered for appearances of Jimi Hendrix and Cream
The artists and performance dates were sourced via original club members and club management flyers along with advertisements placed in The Gloucestershire Echo and The Citizen newspapers held at the local Archive Offices in Cheltenham and Gloucester, John Norman Stephen Reid, son of the late co-owner Bill Reid and fellow Blue Moon book researchers David Jackson, Chris Stanbury, Mike Williams and myself Richard Goddard.
1965
17 July 1965 – The Bo Street Runners (Grand opening night)
18 July 1965 – DJ Dave Bennett/discotheque
21 July 1965 – Chris Farlowe & The Thunderbirds
22 July 1965 – DJ Dave Bennett/discotheque
23 July 1965 – Ups ‘N’ Downs
24 July 1965 – Ray Martin Combo (aka Ray Martin Group)
25 July 1965 – DJ Dave Bennett/discotheque
28 July 1965 – The Chessmen featuring Tony Knight
29 July 1965 – DJ Dave Bennett/discotheque
30 July 1965 – Alan Walker’s Roadhogs (says first appearance at the Blue Moon)
31 July 1965 – The London Crowd (says from the West’s End’s Marquee and Flamingo)
1 August 1965 – Dave Whittling (top London folk singer) plus discotheque
4 August 1965 – Zoot Money’s Big Roll Band
5 August 1965 – DJ Dave Bennett/discotheque
6 August 1965 – Sons of Fred
7 August 1965 – The Artwoods (says that sensational recording group from RSG)
8 August 1965 – DJ Dave Bennett/discotheque
11 August 1965 – The Who (says Anyway, Anyhow, Anywhere!!!)
13 August 1965 – Mickey Finn & The Blue Men
14 August 1965 – John Lee & The Groundhogs
15 August 1965 – DJ Dave Bennett/discotheque
18 August 1965 – The Ram Jam Band featuring Geno Washington
19 August 1965 – DJ Dave Bennett/discotheque
20 August 1965 – The Strats (says the newest sound to follow “Them” from Ireland
21 August 1965 – The Bo Street Runners (says by fantastic demand –the return of)
22 August 1965 – Discotheque
25 August 1965 – Steam Packet featuring Long John Baldry, Brian Auger, Rod Stewart & Julie Driscoll
26 August 1965 – DJ Dave Bennett/discotheque
27 August 1965 – The Tyrants (says top group from the West)
28 August 1965 – The Shevelles
29 August 1965 – Discotheque
30 August 1965 – Discotheque
31 August 1965 – DJ Dave Bennett/discotheque & dance auditions
1 September 1965 –T-Bones (says great London sound of the)
2 September 1965 – Discotheque
3 September 1965 – John Lee & The Groundhogs (says fantastic demand, the return of)
4 September 1965 – Davy Jones & The Lower Third (says by request)
5 September 1965 – Discotheque
8 September 1965 – The Graham Bond Organisation
9 September 1965 – DJ Dave Bennett /discotheque
10 September 1965 – The London Crowd (says from the West End those sensational)
11 September 1965 – The “0-0” Soul Show featuring Alex Harvey & Jimmy Cliff
12 September 1965 – Discotheque
15 September 1965 – Chris Farlowe & The Thunderbirds (says by fantastic demand)
16 September 1965 – Discotheque
17 September 1965 – Ram Jam Band featuring Geno Washington (says by fantastic demand the return of)
Photo from Richard Goddard
18 September 1965 – Boz & The Boz People (says sensational new sound)
19 September 1965 – Discotheque (says best record selection anywhere!)
22 September 1965 – Lou Johnson plus Sonny & The Cool School (says direct from the States)
23 September 1965 – Discotheque
24 September 1965 – Ronnie Jones & The Nightimers (says from London’s West End)
25 September 1965 – Chris Farlowe & The Thunderbirds (says by fantastic demand the return of)
26 September 1965 – DJ Dave Bennett /discotheque
27 September 1965 – Jimmy James & The Vagabonds (says reckoned the absolute tops. Don’t dare miss this!)
30 September 1965 – Discotheque
1 October 1965 – Discotheque
2 October 1965 – John Mayall’s Bluesbreakers (says sensational London group)
3 October 1965 – Discotheque
6 October 1965 – The Shevelles (says the fabulous and unique sound of)
7 October 1965 – Discotheque
8 October 1965 – DJ Dave Bennett /discotheque
9 October 1965 – John Lee & The Groundhogs (says fantastic demand, the return of)
10 October 1965 – Discotheque
13 October 1965 – The Mike Cotton Sound (says sensational must be heard)
14 October 1965 – Discotheque
15 October 1965 – Discotheque
16 October 1965 – The Chessmen (says fantastic demand, the return of London’s top group)
17 October 1965 – Discotheque
20 October 1965 – Steam Packet featuring Long John Baldry, Brian Auger, Rod Stewart & Julie Driscoll
21 October 1965 – DJ Dave Bennett /discotheque
22 October 1965 – Discotheque
23 October 1965 – The Silence (says from London’s Flamingo & West End)
24 October 1965 – Discotheque
27 October 1965 – The Small Faces (says “Whatcha Gonna Do About It”) plus The Advocates
28 October 1965 – DJ Dave Bennett /discotheque
29 October 1965 – Discotheque
30 October 1965 – The Hellions (says west country’s top recording stars the sensational)
31 October 1965 – Discotheque
3 November 1965 – Zoot Money (says by fantastic demand the return of)
4 November 1965 – Discotheque
5 November 1965 – Discotheque
6 November 1965 – Blues Hounds (says Spencer Davis is raving about the sensational)
7 November 1965 – The Alan Walker Group
10 November 1965 – The Graham Bond Organisation (says by fantastic demand)
11 November 1965 – Discotheque
12 November 1965 – Discotheque
13 November 1965 – John Mayall’s Bluesbreakers (says by fantastic demand the return of)
14 November 1965 – The Alan Walker Group
17 November 1965 – The Alan Walker Group (Alan Price advertised but did not play)
20 November 1965 – The Alan Bown Set (says Gent’s please note, Ties to be worn (Saturdays only)
21 November 1965 – The Alan Walker Group
24 November 1965 – Advertised -From USA – ‘In the Midnight Hour” Wilson Pickett, did not appear.
26 November 1965 – The Alan Walker Group
27 November 1965 – The Action (says TV’s Disc-A-Go-Go tonight choosing 100 dancers for next Wednesday’s show.
28 November 1965 – Discotheque
2 December 1965 – Hedgehoppers Anonymous + The Alan Walker Group
3 December 1965 – Discotheque (Featuring Dave Bennett as your DJ)
4 December 1965 – Steam Packet: – Long John Baldry, Brian Auger, Julie Driscoll and Rod ‘The Mod’ Stewart
5 December 1965 – The Alan Walker Group
9 December 1965 – The Spencer Davis Group plus The Hellions
10 December 1965 – The Alan Walker Group (says only 14 more days)
11 December 1965 – The Downliners Sect (says, Sensational Recording and R & B Group …The Exciting)
12 December 1965 – Discotheque (Extra shilling charged on admission to go towards Children’s Party)
16 December 1965 – The Action (says, By overwhelming demand, the return of the…)
17 December 1965 – The Alan Walker Group (says, Only 7 more days)
18 December 1965 – The Hellions plus The Advocates
19 December 1965 – The Alan Walker Group (says, Getting Warmer)
23 December 1965 – Discotheque (says, Pre warm up for tomorrow)
24 December 1965 – John Mayall’s Bluesbreakers (Christmas Party)
26 December 1965 – The Alan Walker Group plus The Advocates (says Boxing Day Bonanza)
27 December 1965 – Discotheque
30 December 1965 – Discotheque
31 December 1965 – John Lee and The Groundhogs (New Years Eve Party)
1966
1 January 1965 – Gary Farr and The T-Bones (says, Start the New Year at the Moon)
2 January 1965 – Discotheque (says, Back to normal!! Whew, what a week!!!)
6 January 1965 – The Birds (says, Sensational London Group)
7 January 1965 – Discotheque (DJ Dave Bennett, in the cage)
8 January 1965 – The Shakedown Sounds (says, Birmingham and London top group, by demand the)
9 January 1965 – Discotheque
12 January 1966 – Fontella Bass plus Quiet Five (says, one sensational night only! “Rescue Me” From the USA)
13 January 1966 – The Alan Walker Group
14 January 1966 – Discotheque (DJ Dave Bennett)
15 January 1966 – The Fairies (says, sensational London Group – R S G -Thank Your Lucky Stars)
16 January 1966 – The Advocates
20 January 1966 – The Pretty Things (says, You may hate them, you may love them)
21 January 1966 – Discotheque
22 January 1966 – The Action (says, the group you’ve all been waiting for)
23 January 1966 – Discotheque
27 January 1966 – Lee Dorsey plus The Advocates (says, The Sensational ” Ride Your Pony” Man)
28 January 1966 – Discotheque
29 January 1966 – James Royal and The Hawks (says, the up and coming London group)
30 January 1966 – Discotheque
3 February 1966 – Chris Farlowe and The Thunderbirds (says, the one and only)
4 February 1966 – Discotheque
5 February 1966 – The Carnaby (says, the street and band the whole country is talking about)
6 February 1966 – Discotheque
10 February 1966 – Doris Troy (says, “What Gonna Do About It” “Heartaches”)
11 February 1966 – Discotheque
12 February 1966 – Jimmy Brown Sound (says, the only Band that could back Ben. E. King on his last tour)
13 February 1966 – Discotheque
17 February 1966 – Zoot Money and his Big Roll Band (says, The Showman himself)
18 February 1966 – Discotheque
19 February 1966 – The Alan Bown Set
20 February 1966 – Discotheque
24 February 1966 – John Lee’s Groundhogs (says, Moon’s most favourite group)
25 February 1966 – Discotheque
26 February 1966 – The Advocates
27 February 1966 – Discotheque
3 March 1966 – Jimmy Cliffs Dynamic All Soul Show, Pete Hodges New Generation featuring Ayesha.
4 March 1966 – Discotheque
5 March 1966 – The Statesides (says, top London group with a big line-up)
6 March 1966 – Discotheque
7 March 1966 – The Advocates (Yardbirds advertised, did not play)
10 March 1966 – Steam Packet: – Long John Baldry, Rod Stewart, Julie Driscoll, and Brian Auger Trinity.
11 March 1966 – Discotheque
12 March 1966 – Mickey Finn (says, by overwhelming demand – the sensational)
13 March 1966 – Discotheque
16 March 1966 – Discotheque
17 March 1966 – The Birds (says, by request, the return of the dynamic)
18 March 1966 – Discotheque
19 March 1966 – John Lee’s Groundhogs
20 March 1966 – Discotheque
23 March 1966 – Discotheque
25 March 1966 – Discotheque
26 March 1966 – The Rosco Brown Combo (says, big London line-up… from London’s Marquee)
27 March 1966 – Discotheque
30 March 1966 – Discotheque (says, your first drink on the house)
1 April 1966 – Discotheque
2 April 1966 – Steam Packet: – Long John Baldry, Rod Stewart, Julie Driscoll, and Brian Auger Trinity
3 April 1966 – DJ Dave Bennett – in the Cage.
6 April 1966 – Discotheque
8 April 1966 – Discotheque
9 April 1966 – The Action (says, Sensational London Group)
10 April 1966 – Discotheque
11 April 1966 – The Alan Walker Group (says, After a long absence — from London’s Marquee & Flamingo)
13 April 1966 – Discotheque
15 April 1966 – Discotheque
16 April 1966 – The Crowd
17 April 1966 – Discotheque
20 April 1966 – Discotheque
22 April 1966 – Discotheque (the weekend starts here)
23 April 1966 – The Alan Bown Set (says, by demand, the sensational.)
24 April 1966 – DJ Dave Bennett – in the Cage
27 April 1966 – Discotheque
29 April 1966 – Discotheque
30 April 1966 – Gary Farr and the T-Bones (says, sensational London Group)
1 May 1966 – DJ Dave Bennett – in the Cage.
4 May 1966 – Discotheque
6 May 1966 – Discotheque
7 May 1966 – The Action (says, by overwhelming demand)
8 May 1966 – DJ Dave Bennett – in the Cage.
11 May 1966 – Discotheque
13 May 1966 – Discotheque
14 May 1 966 – The Good Goods (formerly known as The Advocates)
15 May 1966 – Discotheque
18 May 1966 – Discotheque
20 May 1966 – DJ Dave Bennett
21 May 1966 – The Shotgun Express: – Rod Stewart, Beryl Marsden, Peter B’s Looners, (great new steam packet)
22 May 1966 – Discotheque
25 May 1966 – Discotheque
27 May 1966 – Discotheque (the weekend starts here)
28 May 1966 – The Deep Feeling (formerly The Hellions)
30 May 1966 – The Buzz
1 June 1966 – Discotheque
2 June 1966 – John Mayall’s Bluesbreakers (says, back by popular demand)
3 June 1966 – DJ Dave Bennett
4 June 1966 – The Jimmy Brown Sound
5 June 1966 – DJ Dave Bennett
8 June 1966 – Discotheque
10 June 1966 – Discotheque
11 June 1966 – The Shevelles (says, from London’s Flamingo, the exciting)
12 June 1966 – DJ Dave Bennett
15 June 1966 – Earl Richmond (says, Radio London’s DJ)
17 June 1966 – Discotheque
18 June 1966 – The Falling Leaves (says, Oxfords top group)
19 June 1966 – DJ Dave Bennett
22 June 1966 – Discotheque
24 June 1966 – Discotheque (the weekend starts here)
25 June 1966 – Jimmy James and The Vagabonds (says, by absolutely overwhelming demand)
26 June 1966 – DJ Dave Bennett
29 June 1966 – Discotheque
1 July 1966 – Discotheque
2 July 1966 – John Mayall’s Bluesbreakers (says, don’t miss this)
3 July 1966 – DJ Dave Bennett – in the Cage
6 July 1966 – Discotheque
8 July 1966 – Discotheque
9 July 1966 – David Bowie and The Buzz
10 July 1966 – DJ Dave Bennett – in the Cage
13 July 1966 – Discotheque
15 July 1966 – Discotheque
16 July 1966 – The Alan Bown Set plus The Bo Street Runners (says, first birthday party night)
17 July 1966 – DJ Dave Bennett – in the Cage
20 July 1966 – Discotheque
22 July 1966 – Discotheque
23 July 1966 – The Good Goods
24 July 1966 – DJ Dave Bennett – in the Cage
27 July 1966 – Discotheque
29 July 1966 – Discotheque
30 July 1966 – James Royal and The Hawks (afternoon opening for staff and members to watch World Cup)
3 August 1966 – Discotheque
5 August 1966 – DJ Dave Bennett – in the Cage
6 August 1966 – The Action
7 August 1966 – Discotheque
10 August 1966 – Discotheque
12 August 1966 – Discotheque
Photo from Richard Goddard
13 August 1966 – Cream (says, don’t dare miss this)
14 August 1966 – Discotheque
15 August 1966 – Gary Farr and The T-Bones (says, back again by demand)
17 August 1966 – Discotheque
19 August 1966 – Discotheque
20 August 1966 – Keith Powell and Billie Davis plus top band.
21 August 1966 – DJ Dave Bennett – in the Cage
24 August 1966 – Discotheque
26 August 1966 – Discotheque
27 August 1966 – Gary Farr and The T- Bones (says, back again by demand, the fantastic sound of)
28 August 1966 – DJ’s Frankie & Rocky
31 August 1966 – Discotheque
2 September 1966 – DJ’s Frankie & Rocky
3 September 1966 – The Koobas (say’s, Latest Recording “Sweet Music)
4 September 1966 – DJ’s Frankie & Rocky
7 September 1966 – Discotheque
9 September 1966 – DJ’s Frankie & Rocky
10 September 1966 – The Graham Bond Organisation
11 September 1966 – Discotheque
14 September 1966 – DJ’s Frankie & Rocky
16 September 1966 – DJ’s Frankie & Rocky
17 September 1966 –The Shevelles
18 September 1966 – Discotheque
21 September 1966 – DJ’s Frankie & Rocky
23 September 1966 – DJ Frankie & Rocky
24 September 1966 – The Action (says, don’t be late for this one, free admission with advert)
25 September 1966 – Discotheque
28 September 1966 – Discotheque
30 September 1966 – DJ Frankie & Rocky
1 October 1966 – Gary Farr and The T-Bones
2 October 1966 – Discotheque
5 October 1966 – DJ’s Frankie & Rocky
7 October 1966 – Discotheque
8 October 1966 – Dace Anthony’s Mood (says, from London’s Marquee. the big sound of) This is Dave Anthony’s Moods
9 October 1966 – Discotheque
12 October 1966 – DJ’s Frankie & Rocky
13 October 1966 – Discotheque
15 October 1966 – The Falling Leaves (says, knockout group, currently playing at Tiles
16 October 1966 – Discotheque
19 October 1966 – DJ’s Frankie & Rocky
21 October 1966 – Discotheque
22 October 1966 – Alvin Robinson (‘Something You Got” “Searching “ and Down Home Girl”)
23 October 1966 – DJ’s Frankie & Rocky
26 October 1966 – DJ’s Frankie & Rocky
28 October 1966 – Discotheque
29 October 1966 – Ray King Soul Band featuring James Royal (says, from Tiles the big sound of)
30 October 1966 – DJ’s Frankie & Rocky
2 November 1966 – Discotheque
4 November 1966 – Discotheque
5 November 1966 – The Artwoods (says, the awaited return of London’s)
6 November 1966 – Discotheque
9 November 1966 – DJ’s Frankie & Rocky
11 November 1966 – Discotheque
12 November 1966 – Nepenthe and the Subterraneans (says, from America, the way-out sounds of)
13 November 1966 – Discotheque
Photo from Richard Goddard
18 November 1966 – Lee Dorsey plus supporting show (support band the Good Goods)
19 November 1966 – Cream (says, England’s top group)
20 November 1966 – DJ’s Frankie & Rocky
26 November 1966 – Discotheque
27 November 1966 – DJ’s Frankie & Rocky
29 November 1966 – The Alan Bown Set (says, the sensational)
1 December 1966 – DJ’s Frankie & Rocky
2 December 1966 – Discotheque
3 December 1966 – The Koobas
4 December 1966 – Discotheque
7 December 1966 – DJ’s Frankie & Rocky
9 December 1966 – Discotheque
10 December 1966 – Zoot Money and his Big Roll (says, that Raving Looner)
11 December 1966 – Discotheque
14 December 1966 – DJ’s Frankie & Rocky
16 December 1966 – Discotheque
17 December 1966 – The Move (says, the Psychedelic Phenomena)
18 December 1966 – Surprise band
21 December 1966 – DJ’s Frankie & Rocky
23 December 1966 –Surprise Band
24 December 1966 – Gary Farr and the T-Bones (Christmas Eve Party)
26 December 1966 – DJ’s Frankie & Rocky
28 December 1966 – Discotheque
30 December 1966 – Discotheque (says, warm up for tomorrows rave)
31 December 1966 – Long John Baldry Show Ft Alan Walker & Stuart Brown & Bluesology
1967
1 January 1967 – Discotheque (says, phew its all over, back to normal, back to work tomorrow)
5 January 1967 – DJ’s Frankie & Rocky
6 January 1967 – Discotheque (says, the weekend starts here)
7 January 1967 – Brian Auger Trinity Ft Julie Discoll
8 January 1967 – DJ’s Frankie & Rocky
11 January 1967 – DJ’s Frankie & Rocky
13 January 1967 – Discotheque
14 January 1967 – The Alan Bown (says, the awaited return of London’s)
15 January 1967 – The Good Goods
18 January 1967 – DJ’s Frankie & Rocky
20 January 1967 – Discotheque
21 January 1967 – The Frame (from Birmingham, recorded “Doctor” “ I can’t go on” RCA Records)
22 January 1967 – DJ’s Frankie & Rocky
23 January 1967 – DJ’s Frankie & Rocky
27 January 1967 – Discotheque & Go Go Competition
28 January 1967 – Gary Farr and The T-Bones (says, after Christmas Eves fantastic rave)
29 January 1967 – Discotheque
1 February 1967 – Discotheque
3 February 1967 – Discotheque (says, phew its all over, back to normal, back to work tomorrow)
4 February 1967 – Long John Baldry Show Ft Alan Walker & Stuart Brown & Bluesology
5 February 1967 – DJ’s Frankie & Rocky and the Moon Go Go Girls
8 February 1967 – DJ’s Frankie & Rocky
10 February 1967 – DJ’s Frankie & Rocky
11 February 1967 – The Jimi Hendrix Experience
12 February 1967 – DJ’s Frankie & Rocky
15 February 1967 – DJ’s Frankie & Rocky
17 February 1967 – DJ’s Frankie & Rocky (Says, the weekend starts here)
18 February 1967 – The Action (says, back again by demand. The fantastic sound of)
19 February 1967 – Discotheque
22 February 1967 – DJ’s Frankie & Rocky
24 February 1967 – DJ’s Frankie & Rocky (says, the weekend starts here)
25 February 1967 – Alan Bown (says, by demand, the return)
26 February 1967 – Discotheque
1 March 1967 – Geno Washington (says, one night only, on stage in person)
3 March 1967 – DJ’s Frankie & Rocky
4 March 1967 – Sack’O’Woe
5 March 1967 – Discotheque and Go Go competition)
Photo from Richard Goddard
8 March 1967 – Lee Dorsey (says, by fantastic demand, the return of)
10 March 1967 – DJ’s Frankie & Rocky
11 March 1967 – The Chessmen (says, London’s sensational)
12 March 1967 – Miss Go Go final discotheque.
15 March 1967 – DJ’s Frankie & Rocky
17 March 1967 – DJ’s Frankie & Rocky (Says, the weekend starts here)
18 March 1967 – Brian Auger Trinity Ft Julie Discoll
19 March 1967 – Discotheque
22 March 1967 – DJ’s Frankie & Rocky
24 March 1967 – DJ’s Frankie & Rocky
25 March 1967 – The Action (says, by fantastic demand)
26 March 1967 – Discotheque
27 March 1967 – Easter Egg Rave Discotheque
29 March 1967 – DJ’s Frankie & Rocky
31 March 1967 – DJ’s Frankie & Rocky (says, the weekend starts here)
1 April 1967 – P.P.Arnold and The Mike Cotton Sound Ft Lucas (says, April fools rave)
2 April 1967 – DJ’s Frankie & Rocky
5 April 1967 – Discotheque
7 April 1967 – Discotheque
8 April 1967 – John L Watson and The Webb (says, Americas….)
9 April 1967 – DJ’s Frankie & Rocky
12 April 1967 – DJ’s Frankie & Rocky
14 April 1967 – DJ’s Frankie & Rocky
15 April 1967 – The Chessmen Ft Owen Gray (says, by fantastic demand – return of)
16 April 1967 – Top DJ’s (DJ’s from other clubs owned the Moon owners)
19 April 1967 – Jimmy James & The Vagabonds
21 April 1967 – DJ’s Frankie & Mad Jim (Jim Donovan, from the1600 club in Hereford)
22 April 1967 – Long John Baldry Show Ft Alan Walker & Stuart Brown & Bluesology
23 April 1967 – Top DJ’s
26 April 1967 – The Drifters (believed to be The Invitations)
28 April 1967 –Top DJ’s
29 April 1967 – The Soul Sisters (says, from America … The Dynamic Exciting.)
30 April 1967 – Discotheque
3 May 1967 – Discotheque
5 May 1967 – Discotheque
6 May 1967 – Cliff Bennett (an unannounced appearance)
7 May 1967 – Top DJ’s (Mad Jim, Tony Lott & Frankie used over the final club dates)
10 May 1967 – Discotheque
12 May 1967 – Discotheque
10 May 1967 – Discotheque
13 May 1967 – The Dual (the last band to play at the club)
14 May 1967 – The last Sunday discotheque at the Moon
Claud Stuard [sic] – Claude Stewart, or Claude Steward?Bands and musicians from Schenectady, Albany, Poughkeepsie, and other areas traveled to Kinderhook to record at Earl Kennett’s studio.
A number of lacquer demos (commonly called acetates) of various sizes remained when Kennett Sound Studio closed and the property sold. Many of these demos are of the Cleaners (later known as the East Coast Clique), the group Kennett worked with the most. Others duplicate the recordings that would be released on 45 rpm records.
Below is a list of demos by unknown artists, in approximate chronological order. Because Earl was blind, many were unlabeled, though Earl’s young daughters sometimes added names or titles. Many song titles below are my guesses based on the lyrics.
Please take a listen to the audio excerpts and contact me if you know any of these artists.
8″ acetate by James Morse, not the same song as the Claude Steward, above. Another 8″ acetate has his name as Jimmy Morse8″ lacquer acetates
Folk singer Greg (surname?), associated with Hudson River Clearwater Sloop, circa 1969. Five songs, may not have been recorded at Kennett as it sounds like a radio broadcast. Hear “My Dirty Stream” with discussion of Sloop restoration
Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound 0017, 1969.
Alex Rotter and Dawn Mickle performed as simply “Those Two” in a couple news reports. The Oneonta Star noted on August 10, 1968 that the duo took second place in the Folk Music Contest at the Otsego County Fair.
The Schenectady Gazette ran a photo of the duo on September 17, 1968:
Those Two, folksingers Dawn Mickle of Warnerville and Alex Rotter of Schenectady, who won top honors at the Cobleskill Fair and first in the semi-finals of the State Fair, entertained patients at the Eden Park Nursing home …
I have a 12″ acetate from the Kennett Sound Studio that includes both songs from the single. Another 12″ acetate contains five songs performed by Alex and Dawn which were not released.
From listening, I believe four of these to be original songs: “If I Were Free”, “Take Me to the Land of Lovin'”, “I Can Tell”, and “I Know What You Mean to Say” (titles are based on the lyrics), along with a version of Fred Neil’s “The Other Side of this Life”:
The Kennett Studio labels are blank.
Thank you to Peter Aaron for loan of the Those Two Plus single, and for finding the Gazette article on the duo.
The Venus Flytrap came from Redwood City, CA. Info on the group is a scattershot, so I’ve decided to compile what I’ve found in the hope of getting more information.
They made one great single, “The Note” / “Have You Ever”, released on two different labels.
The original release came on Jaguar Records J-103, owned by Barry Wineroth. It was a hit in the Santa Barbara area, but the band also had a following in the South Bay, which may be why Mijji repressed it on Mijji M-3005, adding a production credit to Gilbert Day, drummer with the Bundles.
The Redwood City Tribune announced the release of the single on August 3, 1967, but copyright registration came later. Both songs have words by Don Danielli (not sure of the spelling – Donald Danelli ?), and music by Dan Sanchez, copyrighted on April 15, 1968 with publisher by Wren Music BMI, and again a week later with new publisher Guard Music BMI, part of Golden State Recorders.
At the time of the single, the Venus Flytrap members were:
Nancy Morgan – lead singer Peter Sessions – lead guitar Dan Sanchez – rhythm guitar Ken Czapkay – bass Debbie Binetti – drums
Bard Dupont of the Outfit replaced Ken Czapkay when he was drafted, and Michele Sevryn replaced Nancy Morgan shortly before the band split.
The Venus Flytrap after the single: from left: Bard Dupont, Debbie Binetti, Pete Sessions, Nancy Morgan and Dan Sanchez
The Venus Flytrap recorded two other songs, “California” and “Gentle Breaker” at Pacific Recording Studios in San Mateo, with Karen Jenson on backup vocals.
Venus Flytrap Redwood City Tribune, August 22, 1969
There is also a live recording from Redwood City (which I have not heard) with a different lineup: Nancy Morgan and Dan Sanchez joined by Jacque Aknin on drums, Charles J. Ashton on bass and Ralph Pena on organ. Songs include “Whiskey Train”, “Paraphenalia” and “Brand New Dress”.
The group played many venues in the area, including the Mt. Carmel Teen Club on December 1, 1967 with the Mourning Reign, and Light show by the Brothers Grimley. I can find notices for the band’s shows as late as May, 1970.
Darline Elswick, Bonnie Borelli and Marge Boutwell headed fan clubs for the group.
Members would join other groups such as the Great Society, Phoenix, New Generation, and Howl & the Raven.
Nancy Morgan (now Nancy Coggins) sent a pdf with b&w collages of photos, business cards etc. Hopefully the originals will be located for better quality images. There’s also a somewhat blurry photo around of Peter Sessions and Nancy Morgan standing in front of the hieroglyphics wall of the Matrix.
The Bay Area Bands site reprints Alec Palao’s article on Bard Dupont from Cream Puff War No. 2, February 1993.
Nancy Morgan was no longer in the Venus Flytrap by the time of this May 29, 1970 article in the Tribune for the People Helping People festival in San Mateo, with Smoke, Clover, and Cousin Roberts and Friends, plus the Illegitimate Theatre.
Good Tuesday, from left: Dave Duncan, drums, Ron Connolly, bass, Paul Cervenak, keys, Keith McCurdy, guitar, and Kevin Ohl, lead vocals
The band’s keyboardist, Paul Cervanek, provided the rare photo and biography:
My first band was Echoes from a Broken Mirror, which quickly changed to Good Tuesday, due to the name’s length. [The band photo] was taken in my basement, around 1966 to 1968, with the band Good Tuesday. I am the blond guy slouching against the wall, third from left.
We played the various Detroit teen nightclubs that prevailed at that time, primarily those operated by Ed “Punch” Andrews, in partnership with Suzi Quatro’s brother, Mike, such as the Crows Nest—both east and west—and the Silverbell, which was a former ski lodge near Oakland University, and the Birmingham Palladium. We also appeared twice at the infamous Grande Ballroom, along with Something Different located on Northwestern Highway, Wamplers Pavilion, and a few H.S. dances.
I left Good Tuesday in 1968 when I started my first year at Oakland University, but fell into a small music clique that included Tom Weschler and we became friends. I had a short stint with Bob Seger’s band—in between Tom Schultz and Dan Watson—before joining Madrigal.
When Madrigal’s music moved more toward the theatrical rather than rock ’n’ roll—and became more non-danceable, concert-type songs—I left. In retrospect, it seemed odd that a band with that type of product would have been hired to play at the Roostertail, a popular Detroit nightclub, on one of its “Sunday Night at the Roostertail” events, which were non-alcoholic, 18 to 21 years old only. Madrigal performed at all of the same clubs that my previous band, Good Tuesday, played.
Ironically, that was on a warm, late-summer-like evening in September during that Madrigal gig at the Roostertail when I met my future wife [and still married 50 years later]. For that, I am grateful. I recall that may have been one of my last gigs with Madrigal, as my “priorities” changed shortly afterward. At the very end, Ted Pearson, who fronted Madrigal, out of the blue decided the band’s new name was now Walpurgis, this on the eve of our first Grande Ballroom show. They, of course, eventually recorded what became the Phantom’s Divine Comedy project. As for me: my last professional band was Fancy Colors, in the early ’70s.
As it turns out, I gave keyboard lessons to Russ Klatt, a saxophone player. He got a gig in a band called Downtown Clergy as result—and eventually played the Hammond on Phantom’s Divine Comedy.
Paul Cervanek on keyboards with Madrigal, 1968 to 1969.
Good Tuesday, Madrigal and Fancy Colors recorded no singles (though Madrigal, at some point and not during Cervanek’s tenure, it’s rumored, did; but they were never released).
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
The Truths made this one fine Byrds-influenced 45, “Pending” / “Why” on Circle Records 45-953, in August 1965.
