The Prisoner’s Dream came from Canonsburg, Pennsylvania, just southwest of Pittsburgh, on the way to Wheeling, WV. I don’t know who was in the band. Canonsburg is notable as the hometown of Bobby Vinton and Perry Como.
The Prisoner’s Dream had one single, the melancholy “Autumn Days” / “You’re the One I Really Love” on Rene R 1008 in November, 1967. John Bruno produced the session. The band’s name seems to be misspelled as the Prisners Dream on the labels, which also give an incorrect spelling of the song writer’s name.
The A-side has the melancholy sound some garage fans may like:
The Rene labels list both songs as written by Zaranoff and published by Ride On Music BMI, but copyright notices give his name as Peter Zaharoff. One listing from July of 1967 says Zaharoff also wrote under the pseudonym of Bryan Garret.
BMI’s database lists another song of his, “Get Away” published by Sheri Glen Publications. Library of Congress copyright notices give several more, “Curtain of Green”, “One Night”, “Place Where Lovers Go”, “Woman Who’s Never There” and “Look What You’ve Done to Me”, published in November and December 1966.
Chuck Edwards founded the Rene label, its related label Punch and Ride On Music. He had his own releases on the labels, including “Downtown Soulville” which Mr. Finewine has made into his theme song, and produced a handful of others. Most of the pressing were done by Rite.
Chuck Edwards went on to form a family musical group called the The Edwards Generation. Chuck passed away in 2001. There’s an article I can recommend on Chuck and his labels on That’s All Rite Mama.
This is not the same Rene Records as the one from Tennessee that released the Creepers’ “Jammin’ Granny”.
The Detroit Riots are an obscure group with one of my favorite singles on the Dearborn Records label. The A-side “Pebble Stone” has a commercial music track but buries the lead vocal. I prefer the flip, “A Fast Way to Die” for the contrast between the rhythm and lead guitar and a set of lyrics that fits the vocalist’s style.
Harry Wallace wrote both songs, copyrighted May, 1969 and published by ChetKay Music BMI.
Tome Webber arranged “Pebble Stone” and Elmer Wallace produced “A Fast Way to Die”.
According to a comment on a youtube video, the bass player was Paul Strothers. I don’t know the names of any other members.
Like the Chomps single I posted yesterday, Dearborn Records was a product of M.S.K Productions, and both singles share publishing by ChetKay. It’s also a Columbia custom press, ZTSC-142387/8.
The Chomps, from left: Ray Shingledecker, Mike Shingledecker, Darrell Wilkins, and Vincent Heatlie The Chomps were a group from Ypsilanti, Michigan, near Ann Arbor. The Chomps released one single with a pop side, “Kiss My Lips (One More Time)” backed with a nifty, tongue-in-cheek biker tribute, “Lookout World” on Kool Kat KK-1002 in 1968.
Members were:
Ray Shingledecker – guitar Mike Shingledecker – drums Darrell Wilkins – guitar Vincent Heatlie – bass
Credits show “Kiss My Lips (One More Time)” by Kaplan, Rabinowitz for Chetkay, BMI and Floss, BMI, and “Lookout World” by Wilkins, Kaplan for Chetkay, BMI.
Copyright records show the names as Steve Rabinowitz and Eddy Marvin Kaplan, a songwriting team who sometimes used the aliases Steve Robins and Eddy Kay. Eddy Kaplan produced and arranged the Chomps single, and produced other area singles, like the Trademarks “If I Was Gone”.
Kool Kat is otherwise a soul label, run by M.S.K. Productions, Detroit, Michigan. The Chomps was a Columbia custom pressing, ZTSC 127041/2
Kool Kat 1001 – Joe Matthews – “(You Better) Check Yourself)” (C. McMurray, W. Hampton) / “Ain’t Nothin’ You Can Do” Kool Kat 1003 – Hindal Butts – “Giggin” (Butts, Hicks, Block, instrumental, ZTSC 107007) / “Happiness (Is So Far Away)” Kool Kat 1004 – Virgil Murray’s Tomorrow’s Yesterday – “I Still Care” (Huff, Murray, McGuire) / “Summer Dreamin'” (also released on Airtown A-015)
Thank you to Trudy Kinard for providing the photo and names of the members of the Chomps.
MSK stands for Martin, Schneider and Kajeski, who owned M-S records, Detroit. Chester J Kajeski owned the music publisher Chetkay, that published the Silky Hargraves tracks (DBA CHETKAY Music Pub, 15401 Tirman, DEARBORN, MI) Kool Kat records were a division of MSK productions, Detroit. Martin & Schneider also owned Marquee records, distributed by MSK productions. Marquee & Dearborn were run out of the same building in Dearborn.
Marquee put out the Free’s “Decision For Lost Soul Blue”. Dearborn is a cool label that had some in-demand soul singles, as well as rock stuff by Tino & the Revlons, the Undecided, H.T. & the Green Flames, the Jammers, Me & Dem Guys, and the Detroit Riots.
The Beech Resorts give us two sides of teen anguish, pining for a girlfriend left behind in the maudlin “Springtime” while wondering why he’s in a relationship in the crude rocker “Distortion Don’t Know”. Why is “Distortion” part of the title? I don’t know.
According to Teen Beat Mayhem, the Beech Resorts came from Jackson, Michigan, a town 36 miles west of Ann Arbor and 66 miles east of Kalamazoo.
I can’t find any publishing info, but D. Williams wrote “Distortion Don’t Know” while “Springtime” is credited to T. Resor (anagram of Resort – a band composition)?
1609 Miles Ave, Kalamazoo was the home of Key Records. Key Records had at least 15 releases during the ’60s, mainly religious or country in nature, but with one other rock single, the Counts “All Night” / “Sittin Here Wonderin'” released in 1965 with a picture sleeve.
This is a Rite pressing from March 1967, 18829/30. Like other Key releases it lists “Raebet’s Productions” on the label.
Can anyone confirm this is Mike Ogilvie and the Blues Uv Purple?
Mike Ogilvie and the Blues of Purple released this one single “Miss Dove” / “Story Book Plays” on the Sandal Wood label in 1969. Tippy Smith was the vocalist and wrote both songs.
“Miss Dove” has buzzing guitar over a very English sounding track and vocal. The flip is gentler with the piano more prominent than the guitars.
Although the label has an address at 100 Ardmore Ave, on Staten Island, NY, I’ve also read the band was from Jacksonville, Florida. Some copies have a sticker changing the artist name to Blues Uv Purple, vocal Tippy Smith. Confusingly, a CD compilation listed the band as the Powers Uv Purple, I’m not sure where they got that name.
The only other member of the group I know of besides Mike Ogilvie and Tippy Smith is Patrick Ogilvie who played organ. The photo at top is supposed to be the band but I need confirmation of that. Thank you to Ken Friedman for sending it in.
This seems to be the only release on the Sandal Wood Records label. Sandalwood Music BMI published the songs and the pressing was done by Sound of Nashville, SoN 63051.
The Myst came from Philadelphia PA and cut this one single for release on Open Records 1252 in September, 1969. The A-side was a Gary Usher- Roger Val Christian song, “Coney Island Wild Child” which had been cut by Billy Harner for Lawn back in 1964. It could sound dated but the singer has a rushed, off-hand attitude that suits the song.
I don’t know much about the Myst other than that Frank Leonetti played lead guitar and sang lead vocals on these two songs.
“I’m Crying” is a heavy guitar and Hammond rocker, with a good lead vocal and sustained guitar running continuously throughout the song. The song was written by Joe Siderio, who may have been a member of the group, published by Caldwell Music, BMI.
Following the Myst single, Open Records released three singles and an LP by Billy Harner, and I believe the Myst was backing Harner in live appearances at this time.
Open Records, later shortened to OR, was located at 3126 N. Broad St., Philadelphia, most of their records have “A Call-Bill Production” on the label.
Romuald i Roman’s only EP Pete Kowalski, a new contributor, is beginning a series on some very rare ’60s rock records from Poland, starting with Romuald i Roman:
Romuald & Roman, one of the most interesting Polish bands active in the 1960s was founded in Wrocław, Poland in the spring of 1968 with the following lineup:
Romuald Piasecki – guitar, vocals Roman Runowicz – guitar, vocals Jacek Baron – bass, vocals Andrzej Tylec – drums, vocals
After a few months of concert activity, Jacek Baron was replaced by Leszek Muth. Core members of the band were Romuald Piasecki and Roman Runowicz, hence the band’s name.
Romuald & Roman were one of the first Polish groups whose music could be easily called “psychedelic” (a notable mention goes to ELAR-5, their 1967 recording “Moloch” is vastly reminiscent of Syd Barrett-era Pink Floyd, with intense guitar feedback and fuzz) and they were the first avant-garde rock band in communist Poland to release a record which was only possible through state-owned and state-controlled record company Polskie Nagrania. Their shows often incorporated innovative, psychedelic light shows, at the time unheard of on the wrong side of the Iron Curtain.
Their officially released discography is rather modest but as with many Polish groups, the amount of what was released on records is notwithstanding the number of actual recordings, often committed in local radio station studios. Romuald & Roman recorded about 2LPs worth of material, but only one EP and one song on a pop music compilation album was released:
Muza N0560 – “Pytanie czy hasło” / “Człowiek” (7” 45rpm extended play; 1969) Muza XL0623 – Przeboje Non-Stop – side B, track 2: “Bobas” (12” LP compilation album, 1970)
The aforementioned 45 is among the rarest and the most wanted Polish beat records. Both sides are deeply psychedelic, with hypnotic, hallucinatory “Pytanie czy hasło” (“Question or Password”) being especially recommended to any collector interested in 1960s rock music from behind the Iron Curtain. “Człowiek” (“Man”) is more upbeat yet full of broken rhythmic patterns, strange sound effects and assorted psychedelia.
“Bobas” (“Tot”) is probably their best-known song, starting with a loud fuzzed-out feedback and bizarre screams. The lyrics are witty, showing a tot’s point of view mixed with philosophical reflections: “No, I don’t want to grow so old to have to swear all the time”.
Other songs by Romuald & Roman include: “Stał ten dom” (“There Used to Be a House”; an anti-war protest song), “Towarowy Rusza do Indii” (their most psychedelic recording, with a running time of nearly 10 minutes, the abbreviation of the title: TRI is the name of a solvent frequently used by Polish hippies to get high – the title is a Polish counterpart to “Lucy in the Sky with Diamonds)”, “A ja nigdy i basta” (“I Will Never Get Married, Period”).
The band didn’t get much promotion in the media, which was more interested in less subversive music (psych pop renditions of soldier songs, for instance). After 1971, the band would often go through line-up changes, repeatedly suspending activity. No further recordings were released in the 1970s. Most of Romuald & Roman’s recorded material is available on 2CD compilation released by Polskie Radio.
The Pathfinders from Ft. Worth, Texas From left: Larry Funchess, Freddy McDonald, Joe Reddinger and Parker Cook
I didn’t know the identity of this group until Nate Lamb wrote in to confirm it was the Pathfinders from Forth Worth, Texas, and named the members.
Larry Funchess – guitar Freddy McDonald – guitar Joe Reddinger – drums Parker Cook – bass
As far as I know the band didn’t make any recordings.
The back is stamped Brewer Photography Class, possibly the Brewer High School on the west side of Fort Worth. This photo came with one of Buddy and the Beaumen, who were also a Fort Worth group.
Buddy and the Beaumen had one single on Gretchem 101, “Blue Feelin'” / “Hold On I’m Comin'” released in 1967.
Although the label for “Blue Feelin'” lists J. Henslee as songwriter, “Blue Feeling” was written by James Henshaw and made famous by the Animals in 1964.
Buddy Smith produced the single but I didn’t know any other names for group members until comments below: Steve Hill played keyboards and Danny Hukill played drums. The band photo lists Fort Worth for their location.
The Beaumen are listed as playing on the opening night of the 19th Annual Optimist Carnival in Waxahachie in August, 1966, followed by a group I haven’t heard of, the Unexpecteds on the next night. Waxahachie is about 30 miles south of the center of Dallas.
In early 1967 Buddy & the Beaumen shared billing with the Mystics as the top attractions at the Irving Teen A-Go-Go in early 1967.
When I bought this photo, it came with a photo of the Pathfinders, from the Brewer Photography Class, probably the Brewer High School on the west side of Fort Worth.
Steve Hill played keyboards with Bloodrock, he passed away in 2013.
Earliest photo of the Feebeez, and the only time Diane Herrera is mentioned with them, July 8, 1966
The Feebeez of Albuquerque, New Mexico were active in 1966 and into 1967. The group cut a single with two original songs by guitarist Sharon Westcott. “Walk Away” has a quick, unusual beat with vocals in unison. The flip is maybe even better, the moody “Season Comes”.
Sharon Westcott copyrighted both songs in October, 1966 with Scovel Music publishing.
The band released the single on Stange R-2216 There’s supposed to be a rare promotional insert with a photo of the group – if anyone has a copy please send me a scan of it!
The first photo I can find of the band comes from the Albuquerque Tribune on July 8, 1966, where the group is a quintet:
“For the feminine touch …” the business card reads. The Feebeez are an all-girl local rock and roll band schedule to play before the Dodger ball game at Tingley Field Aug. 12
All were 17 or 18 years old. Diane Herrera does not feature in any other notices on the band.
Getting ready to play the Albuquerque Dodgers’ teen night, August 1966. I hope there’s a better quality version of this photo in existence!
On August 9, 1966, the Albuquerque Journal ran a great photo of the group that I’d love to see a better quality version of.
WAAAAAY OUT! Drummer Sherry Stange didn’t touch the base pedal in time and is signaled out by bass guitarist umpire Chris Wehre in this unprecedented combo-nation of baseball and music. Organist Sherry Hagler makes the putout at the keystone corner, while lead guitar Sharon Westcott bats out a merry tune. The four gals are members of the Feebeez, a musical quartet which will play at the Albuquerque Dodgers’ teen night, Friday at Tingley Field.
The Tribune, September 26, 1966
The Tribune announces their record on September 26, 1966:
Girls’ Combo Has Record
The “FEEBEEZ,” an all girl band, has recorded two songs which were composed by the lead guitarist, Sharon Westcott of 727 Morningside NE.
The record is under the “Stange” label and was produced by Edward W. Stange Jr., 2405 Gretta NE. The numbers are “Walk Away” and “Season Comes.”
A student at Highland High School, Miss Westcott has been a member of the band since May. Formerly a student of classical guitar, she switched to rock and roll in May. Her compositions embody both classic folk music and modern boop [sic] music.
Other members of the band are Sherry Hagler, Sherry Strange [sic], both Sandia High graduates, and Chris Wehrle, Highland High student.
The Tribune followed up on November 25, with a photo of Sharon Westcott:
All-Girl Band Has Two Hits
A phongraph [sic] record with two hit sides is an oddity in the music industry but it has happened in Albuquerque.
Figuring in the musical accomplishment is an all-girl band, Ed Stange Jr., local record producer, said.
Sharon Westcott, the lead guitarist of the group wrote two songs which were recorded by the Feebeez in August.
“Walk Away,” a rock and roll number, was accepted as a hit and played on nearly all the radio stations in new Mexico and surrounding states.
The public discovered the ‘flip’ side of the record was also excellent and began requesting that it be played on the air, so “Season Comes” became a hit, too, Stange said.
“Season Comes” is a ballad which features Miss Westcott as the vocalist. The record is now in its fourth month of popularity.
It was recorded locally at Count Music Studios and produced by Stange.
Other members of the “Feebeez” band are Sherry Hagler, Sherry Stange, Debi Kay, all of Albuquerque … Miss Kay is at Del Norte High.
I have seen another photo (I don’t know the source) that shows the group in matching blouses and skirts with belts, with Debi Caye [note different spelling] instead of Chris Wehrle, and mentions the band will play at the Mecca Club, that they had toured California, and had also played in Portales, Silver City and Socorro, New Mexico.
On January 14, 1967, the Journal ran a notice that the Feebeez “will entertain at Los Lunas State Hospital tonight for the fifth time.”
The Racine, Wisconsin Journal Times ran a tantalizing notice on May 12, 1967:
Two bands and dancing under the stars will be the featured highlights at the New Sound dance program Tuesday at the YMCA, 8:30 p.m. to midnight.
Dancing will be both inside the Y gymnasium and outside. Inside, music will be provided by Tommy James and the Shondells, and music for outside dancing will be by the all-girl Feebeez” from Albuquerque, N.M.
Also playing will be the Marksmen.
Two days later, the Racine Journal Times reported:
Despite the fact both headline bands canceled out at “the last minute,” Donald Rowe, YMCA youth director, called Tuesday night’s first dance of the New Sound summer program a “complete success.”
… an estimated 2,300 Racine teenagers turned out for the program …
The Shondells canceled their appearance by telegram about 4 p.m. with the “Feebeez” canceling out at approximately 6 p.m.
Rowe said there were no incidents of trouble throughout the entire evening.
Two local groups, the “Marksmen,” … and the “Goodtimes,” recruited at the last moment, provided the entertainment.
Because of the changes, Rowe said, tickets at the door were reduced from $2 a person to 50 cents.
For the 1,200 advance sale ticket holders, Rowe said, the $1.50 tickets were honored Tuesday and will be honored for any one additional dance during the summer.
The last notice I can find comes from the Albuquerque Journal on July 20, 1967, which seems odd as the group seems to have formed in the spring of 1966:
HAPPY BRITHDAY: [sic] It’s the happy birthday time for the Feebeez, an Albuquerque rock and roll band that should add zest to any bandstand – a bevy of beauties is making the music.
In March, 2005, the Tribune ran a feature on King Richard and the Knights, with quotes from band guitarist Dick Stewart, and great photos of the Kreeg and the Feebeez, but very little info on the two latter bands.
The Tribune ran this undated photo in March, 2005 in a feature on the local ’60s band scene. From left: Sherry Hagler on organ, Sharon Westcott on guitar, Sherry Stange on drums and Chris Wehrle – bass.
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
