The Wanted & Co. released one single in 1968, a dark, fuzzed take on “Smokestack Lightning” titled “Why”.
M. Gertin and B. Marksberry wrote the song, but there’s no publishing info on the labels and no one seems to have info on the band.
Shows at One Step Beyond in July, 1967: Blackwatch, For Sale, Wolf Pack, and the WantedThe A-side is an average cover of the Gants’ “My Baby Don’t Care”. The band recorded the single at King and pressed the records at Queen City Album.
This is likely the same group called the Wanted who played some shows in Cincinnati in 1967, including at the teen club One Step Beyond on Beechmont Ave. in Mt. Washington.
The Enquirer ran a feature on the club with a photo that was captioned the Wanted, but a letter pointed out the band was actually the Blackwatch.
Since the great Detroit area ban called The Wanted was having a modest national hit with “In the Midnight Hour” on A&M, the band likely added “& Co.” on the labels to distinguish them.
Thanks to Scott Lucas for inquiring about the Wanted & Co. to get this post going.
Atwell Records of Lafayette, Tennessee released a number of interesting rock record in the late 1960s. Lafayette is about 60 miles northeast of Nashville, and a similar distance southeast of Bowling Green, Kentucky. I haven’t heard all of these, but my favorite so far is the Children single: two very well-crafted original songs featuring strong vocals with lead guitar bubbling in the background.
The A-side was “I Long to See Her” (by Mike Gibson), backed with “Lost Soul Seeker in the Rain” (by Mike Gibson and L.S. Goodman). It came out as Atwell 45-109 in the second half of 1968
Loryn Atwell produced the single, with both sides published by Lonesome Ern & Atwell Publishers, BMI. Publishing credits give full names, Michael Freeman Gibson and Louis Samuel Goodman.
One source stated the band was from Georgia, but this is incorrect. One member and a friend of the band commented below, stating the band was from Munfordville, Kentucky and members were Mike Gibson on vocals and guitar, Sam Goodman on lead guitar, Mike Rife on drums and vocals and Clint Nichols on bass. Joe Terry Crenshaw joined a later version of the band before it finally broke up.
Atwell had a couple fine rural country releases by the Pedigo Brothers & the Tennessee Rhythm Boys and some later teen releases:
Atwell 100 – “She’s Gone” (Earl Pedigo, Hillard Cliburn) / “You Never Looked Sweeter” Atwell 101 – “A Love Affair Gone Wrong” / “It’s Hard To Smile” (with picture sleeve) Atwell 102 – Randy & The Rockets – “Once Upon A Time” (Randy Dillahey) / “Rattlesnakin’ Daddy” 8/1965 “kids” Atwell 109 – The Children – “I Long to See Her” / “Lost Soul Seeker in the Rain” Atwell 111 – New Musical Express – “Child Of The Midnight Sun” (Gary Agers, Tommy Ramsey) / “Wrong Side Of Love” (Jerry Ford) 1969 Atwell 115 – Midnite Strobe – “Beyond Reason” / “The Future” Atwell 45053 – Sweet Revenge – “Love Machine” / “Sweet Revenge” (released with picture sleeve of the band around one member in a coffin, mid 1970s) Atwell 45057 – Bad LT – “Rock & Roll”/ “God Taketh”
Atwell also released EPs by the Tennessee Harmoneers, spiritual LPs by the Singing Youth, the Singing Gospeltones, and the Tomes Four (actually a quintet), a bluegrass album by Ron Knuth, among other religious and country 45s and LPs.
Atwell Studios is credited on some releases on the Re-Echo Records label of Livingston, TN, including The Madhatters “Unchain My Heart” / “That Kind Of Girl”, as well as on releases on the Breeze Records label, also from Livingston.
Thanks to Max Waller for a couple additions to the Atwell 45 discography.
Jerry Rivera and the Generations released this single on the Kim Records label, probably in the early 1970s.
“Baby Be Mine” was supposed to be the A-side, it starts with a recitation and moves into an easy-listening ballad.
I’m more taken with the flip, “Lovin’ Man” which starts quietly and gets a good psychedelic groove going, but refrains from cutting loose. In nearly four and a half minutes, we get several repetitions of the chorus, a long undistorted guitar solo and some overdubbed trumpet, and I did like how the lyric “let me ease your mind” sounds like “let me eat your mind”!
Both songs are originals published by Help Me Music BMI, and recorded at Triple “A” Studios, on Walnut Street in South Amboy, New Jersey with Marty Ruszala as the engineer.
The release on Kim Records 20605 included the cool picture sleeve with notes on the back (“LOVIN’ MAN also projects a meaning but of a different nature”). The runout on this single is etched ARP-2097/8, I’m not sure the plant, but it would not be American Record Pressing Co. in Owosso, Michigan.
Max Waller informs me of another single by Jerry Rivera, “Fortunata” / “This World” on Kim ULT 70011 from about 1970, which indicates “written by Gerald D. Rivera” on the label. Neither of us has heard this single.
This is not the same Kim Records who released an excellent Night Crawlers sounding single by Ron Starr (aka Ron & the Starfires) with the Chuck Conlon penned “Crawl Into My Shoulder” in 1967.
Fabulous Shantels, from left: Mike Dektas, Terry Williams, Mike Mays and Jay Cee Ectcon, November 12, 1966
The Fabulous Shantels came out of the Cincinnati and northern Kentucky music scene.
I can find notices of the Shantels playing live as early as September 5, 1964 at the Mabley & Carew fashion show with Bob Keith and Jim Martin of WCPO. In late November 1964 they appeared at screenings of Roustabout and other films at the Oakley drive-in on Madison Rd.
By November, 1965, they were playing at WSAI-sponsored dances, usually at the Withamsville-Tobasco Community Park Hall, with groups like with Gary & the Hornets, the Topics and the 2 of Clubs. On February 26, 1966, WSAI broadcast live a ‘Swing Thing’ from Shillito’s featuring DJ Dusty Rhodes and the Shantels.
The Shantels fan club letter, September 24, 1966
A September 1966 letter to the Enquirer mentions a fan club for the Shantels headed by Darleen Nieporte of Cincinnati and Camille Canfield of South Ft. Mitchell, Kentucky. It also gives the band’s names and instruments:
Mike Dektas – organ Mike Mays – lead guitar Jay Cee Ecton – bass Terry Williams – drums
On November 12, 1966, the Enquirer profiled the band in its “Teen-Ager” section (see photo at top).
In late December 1966 the Enquirer published a letter from Sandye Utley and Peg Rouse that they were running their own fan club for the band and that the group had recorded “Remain Unknown”.
Dusty Rhodes letter to “Teen-Ager”, January 21, 1967
In January, 1967, Dusty Rhodes wrote a letter from Detroit, Michigan where he was working at CKLW:
I have had several letters about the Fabulous Shantels band, a group who I worked very closely with while I was in Cincinnati. The fellows were here in Detroit just after Thanksgiving to visit, play a dance and have a recording session.
The band recorded four numbers at the Sound, Incorporated Studios in New Haven, Michigan. We were all satisfied with the session and the “rough” tapes. However, the rush of the holidays and the opening of additional studios by the company has delayed the “mastering” of the Shantels recordings.
This is the story for all the Shantel fans and I hope we have a hit.
Keep up the good work with “Teen-Age,” Ruth. I wish the teens of Detroit had something like it.
Despite the difficulties in mastering, the record did come out, probably in early 1967, on Sound Inc. SI-160.
“Remain Unknown Girl” was a group original (Dektas, Mays, Ecron, Williams on the credits), published by Sidrian Music BMI. The song features a long biting lead guitar solo and a sneering lead vocal as well as a melody that sounds something like “Louie Go Home” (tip of the hat to Peter Aaron for reminding me).
The lyrics were a bit obscure but Mike Dektas provided corrections:
You want little girl that we go on datin’, ’cause complications are so very frustratin’, If you need to be here right by my side, You gotta stay close to be in my right
Remain unknown girl, alright
If you want to be content both day and night, When decisions are made be right by my side Well you’re goin’ to have to play a very special game, To be satisfied to be known only by your name,
Remain unknown girl – alright – work it out
Take it down low,
Knock em dead,
Alright day and night,
You’re outtasight,
Knock em dead, knock em dead,
Unknown, unknown.
The flip is a cover of “For Your Love” (the Ed Townsend ballad, not the Yardbirds).
It’s a rare disc, one that has eluded many collectors, so I don’t think it received any distribution to speak of, whether in Detroit or the Cincinnati area.
The band’s name was wrongly rendered as the Chantels when the song appeared on the compilation Michigan Mayhem vol. 2.
The Turkey Combo (formerly the Topics and the Shantels) with the Dingos, Sunday November 26, 1967The Blackberry Time Tables (formerly the Turkey Combo) with Salvation and the Army, the Offsets, at Montgomery Hall on Sunday, February 11, 1968
The band continued to play Withamsville dances in early ’67, then drop out of sight for a time. On November 26, 1967, the Shantells and the Topics seem to have combined to become a new group called the Turkey Combo! The name stuck for more shows in December ’67 with the Outcasts and in January 1968 with the Jerms. The Turkey Combo changed to the Blackberry Time Tables for a Montgomery Hall show in February ’68 but by this time the Turkey Combo may not have had any of the Shantels in it.
The Shantels, 1966, from left: Terry Williams, Mike Mays, Mike Dektas and JC Ecton. Photo courtesy of Mike Dektas.
Update: The Fabulous Shantels were inducted into the Northern Kentucky Music Hall of Fame on June 9, 2016, and played a live set at the induction.
Mike Dektas answered some of my questions about the group:
The band was originally created by Terry Williams, our drummer, and Mike Mays our lead guitarist. Terry, Mike, and JC Ecton are all from northern Kentucky – they were looking for a keyboard player and singer, and they found me. At that time, I played a Farfisa organ. Later I switched to Hammond B-3.
We played all over the NKy and Cincinnati area. We were heavily promoted on the radio. Back in those days, they had dances, called “hops”. We played many of those. Typically the hops were from 8-11 pm, or afternoon sessions.
For these, we played at the Shillito’s (#1 department store in Cincinnati) “Swing Thing”. This was great fun – it was broadcast live on 700 WLW radio. We played on elevated decorative stages, live TV Hullaballoo stages.
Other places we played that were promoted included: VFW Hall (NKY, always sold out – 600-800 kids), Glenway Swim Club in Covington, KY (summer), Castle Farms (with headliners like Lou Cristie, Gary US Bonds – we backed these guys up. We also played at Knights of Columbus hall in Cincinnati, and yes, the Withamsville Tobasco Hall that you mentioned in your article – this is on the east side of Cincinnati. We also opened at Music Hall for Roy Orbison.
The Fabulous Shantels, ticket for the Middletown Armory Teen DanceWe also produced shows at that time with Shantel Productions. One event that I remember that was great fun was a giant “Battle of the Bands” at Hotel Alms in Cincinnati. We had 30 bands in that event – it started early and went into the night. Special guest appearance by the Fabulous Shantels.
We also played at the University of Kentucky, big crowd, played in Rupp Arena.
On the club scene, we played on Univ. of Cincinnati campus, regularly at a club called “The Pickle Barrel”. Other clubs included Rio Rita (NKY), clubs at Miami University (OH), and regularly at a club called “The Lagoon” in NKy.
Our band was known for fast music you can dance to, and all hits. So it was easy to get the crowd going. We really did play one summer 8 times a week – every night and twice on Sunday.
JC the bass player, who has passed on now, used to stand up on his amp and move back and forth – we followed a lot of the moves of Paul Revere and the Raiders. In fact, we were offered to tour with them moving around city to city opening for them, but it didn’t work out – we were young and in school and couldn’t travel that much.
The photo in the Enquirer standing around a tree was taken in Devou Park in NKy by a publicist for our booking agent, AJaye Entertainment. AJaye was headed up by Stan Hertzman and Ray Lemkuhl – Stan is still playing guitar out in clubs and coffee shops, I see him sometimes.
That’s me singing on “Remain Unknown Girl”. The other two songs the Shantels recorded were “Georgia on My Mind” and “Poison Ivy”, we never had those two pressed into a record. We recorded in Detroit – Dusty helped set up the session – we travelled there for the session, and we played a live concert in Chatham, Canada, which is across from Detroit. We also played live with Jan and Dean.
That Turkey Combo was a gag idea from DJ Steve Kirk from Dayton OH. Steve was always a jokester – he knew that us and the Topics were great friends, so he made that up and put our names on it – all just fun. We played a number of hops for Steve and he helped promote the band. But the main promoting came from Dusty Rhodes when he was Cincinnati’s #1 DJ on WSAI, a top 40 station.
Mike Mays, Terry and myself have practiced, trying to put together a new act of the Shantels. Terry put together a live venue called “Geezerfest” ha! The amazing thing is we will see a lot of the same people we’ve seen in the late sixties. What fun!
I’ll post more info about the upcoming Shantels show in the future.
Thank you to Barry Wickham for the scan of the Fabulous Shantels 45 labels. Special thanks to Mike Dektas for the scans of the promotional photo and ticket.
The Jerks, from left: Steve Fletcher, Dennis Wilkey, Larry Gardner, David Duke and Mike Ellis
Rhythm guitarist David Duke of the Jerks wrote to me about the group and sent in the photos seen here:
The Jerks were a Birmingham, Alabama band formed in the mid 60’s. The band members were:
Larry Gardner – drums Mike Ellis – lead guitar & vocals David Duke – rhythm guitar Dennis Wilkey – bass guitar Steve Fletcher – keyboards
The members came from three high schools in the East Birmingham area: Woodlawn – Steve & Larry; Banks – David & Dennis; and Mike from Erwin.
In early 1966 the Jerks recorded a record on the Vaughn-Ltd label at Ed Boutwell’s early recording studio located in a vacated church at 1st Ave North and 35th Street. The main side was “I’m Leavin’ You” with the back side a slower song “Don’t Make Me Sorry” both written by Mike Ellis. “I’m Leavin’ You” was later published in the #5 spot on Psychedelic States – Alabama in the ’60s Vol.1 (Gear Fab) and is still available on CD.
“An early picture taken in my Birmingham garage basement practicing in April 1965. This was before we added the keyboards.” – David Duke
The last addition to the band was Steve Fletcher on keyboards. The band gained popularity playing at Calico Corner, where many top chart artists performed, along with numerous Armories and high school dances throughout central Alabama. The Jerks were also winners of the Phipps Piano Co., VOX Battle of the Bands contest. The Jerks were popularly seen in their black leather outfits influenced by the British groups. The Jerks opened up for The McCoys concert in Birmingham.
Signatures of the McCoys
The Jerks gained early popularity in the summer of ‘65 as a big part of the Pizitz Department Store Fashion Shows in downtown Birmingham. The Jerks also performed for a publicity party with Beach Party movie stars Debby Walley and John Ashley at the premiere showing of their new movie.
During this time the band was offered to go on tour throughout the US by Warren “Billy” Wilson, promoter and agent, but declined due to the young age of the members. (Our parents had the upper hand on this decision!)
The band broke up in ’67. Dennis and Mike continued on professionally in the music industry with several other successful bands. We believe Steve continued in his family-owned business. Larry after graduating from Jacksonville State University became a successful business owner of a large nationwide window blind manufacturing and sales company based in the Birmingham area.
David Duke, 2015
David joined the Alabama Air Guard for six years, pursued college and after 45 years as a Sr. Acct Sales Mgr in the industrial gases industry retired in 2015.
Over those years I played with several new bands in the 80’s and 90’s doing a 50’s-60’s-70’s music review. I still keep my collection of guitars close by to play those classic old songs of great days.
David Duke
I asked David some follow-up questions about the group:
Q. How did the band choose The Jerks for a name?
Not absolutely sure, but the song “The Cool Jerk” performed by the Capitals was released about that time along with a dance by that name and I believe that is where we heard it. I’ve been asked many times and that was all I could come up with. But we did find it to be well received and well remembered for many years after, even today.
The Jerks, from left: Steve Fletcher, Dennis Wilkey, David Duke, Larry Gardner and Mike Ellis
I’m playing a Fender Jaguar that my father brought home and surprised me with. It was a Daphne Blue and never saw another one like it anywhere. I was very popular just from that. I think if I had kept I might have been able to retire earlier. Around the time I either went or came back from boot camp I sold it. Mike Ellis played the Fender Mustang.
Q. Did the single get local radio play?
We did get local radio play. WSGN was the most and several of the DJ really got close to us and helped us a lot.
Q. Was the east Birmingham scene distinct from other parts of town or did bands play all over?
Most all the bands in the Birmingham area played all over including cities outside of Birmingham. Birmingham being a large city was a hub for popular bands. I was very close with many other groups during this time. I was influenced by some friends in elementary school that had a band and my friend played the drums. I would listen to them around ’62 or ’63 playing many of the Ventures guitar songs. That’s when I really decided that was what I wanted to do and play. In later years that group became the Rockin’ Rebellions which became popular throughout the south.
Some of the guys I played with in early years ended up in the Daze of the Week another popular group with records. I was close and went to high school with one from the Distortions, also I was close friends with the Vikings.
I haven’t talked to any of the other Jerks band members in a while. Larry Gardner I talked to about two years ago.
It took me a few years, then I got the bug from a friend I grew up with that had his band called the Esquires. We started a band together in the early ’90s and played several gigs but had a hard time keeping or finding good members. I always said I wanted to get with him again and see if we could start another band since we were both getting close to retiring. He died of a heart attack two years ago (Terry Mathews – bottom left). I guess that is why I’m really pushing myself to have some fun while I can.
The Jerks supporting Deborah Walley and John Ashley on tour to promote their new movie Sergeant Deadhead.
The Checkmates, January 1968, from left: Bruce Axmacher, Chuck Koth, Phil Wing, Bruce Willett and Rick Schnell
The Checkmates came from Delhi Hills, in Hamilton County west of Cincinnati. Members were all students at either the University of Cincinnati or Xavier:
Chuck Koth (Chuck Coth) – lead guitar Rick Schnell – rhythm guitar Bruce Axmacher – organ Bruce Willett – bass Phil Wing – drums
The Checkmates cut one single on Injoy Life Records in August, 1967, featuring two songs by singer and song writer Kenny Smith, “Get It While You Can” / “Take Away”. It’s now a rare and sought-after 45. “Get It While You Can” is very memorable and has become well-known since it was compiled on Teenage Shutdown vol. 7.
The Checkmates’ record seems to have come in the middle of the band’s existence. The first mention of the band I can find comes from a short notice on October 1, 1966 of a show with the Randolls at the Mod Room at 3126 Dixie Highway in Erlanger, Kentucky, hosted by “Big” Jim Schworer, DJ with WKKY-FM.
The Dee Blues and the Checkmates at the Mod Room, November 6, 1966A longer feature on the Mod Room ran in December, 1966, naming the Checkmates as a sort of house band and Jim Schworer as an elementary school teacher in his day job. Schworer was 22 at the time, and had already produced the Shōguns “Well All Right” / “In My Time” on his own Schworer label in May of ’66.
The article says that Schworer and co-owner Seibert Mohr were looking for a larger venue, and that the club was running Sunday afternoon Battles of the Bands, since football games made for too much competition with Friday and Saturday evening shows. Admission was 75¢.
This feature is the last mention of the Mod Room that I can find, perhaps it closed by the New Year. The Enquirer ran ads for Mod Room shows in October and November 1966:
October 2: The Checkmates and the Randolls (Randells?) October 30: The Nomads, the Unknowns and the Day Blues November 6: The Dee Blues (winners on Oct 30) and the Checkmates November 13: The De Blus and the Checkmates November 20: The Nomads, the Roots of Evil, the Mark IV, the De Blus, the Timid Souls, the Coachmen, and the Cykiks November 27: The Cykiks, Why-Do’s and the Roots of Evil
Jim Schworer went into acting and other pursuits, and died on July 7, 1988 at age 44.
I haven’t found any other notices about the Checkmates after the January 1968 profile at the top.
The band listed as the Randolls may have been the Randells who had two singles on the Claudette label out of Dayton, KY, “Viet Nam ’66′” / “Traces Of Tears In Your Eyes” (as Gene Hatton and the Randells) and “Dummy” / “Mister Pleasure”, all four songs by Jim Fish.
The Mod Room in Erlanger, KY where the Checkmates played. At left Vicki Brunton and Karen Robinson. Jim Schworer and Vanetta Jones on the right side.
The Shōguns came from Latonia, Kentucky, now part of Covington, a town right across the Ohio River from Cincinnati. Members were:
Dan Herzog – lead vocals Gary Arnsparger – lead guitar Pat Mayerchak – rhythm guitar Fred Dishon – bass Larry Ackerson – drums
The Shōguns had two 45 releases, first a funky, tambourine-laden version of “Well All Right” that ends with dual guitar leads, shouts and breaking glass! The flip is one I haven’t heard, “In My Time”. It came out on the Schworer label in May of ’66.
Their second single was “The Look in Her Eyes” on Lemco, which again features interesting percussion as well as fine keyboard sounds, harmonies and even horns.
The Shōguns have a new CD and a website about the band at www.theshoguns.com
Lord Byron & the Poets with Vox equipment, from left: Ed Balog, John Wheatley, Chip Woody, Danny Saxon and Jim Lacefield. Photo courtesy of John Wheatley
Lord Byron & the Poets did not release any records but did record a session at Ed Boutwell Studios like many other Birmingham area bands. Members were:
Chip Woody – lead singer Ed Balog – lead guitar Eddie Robinson – rhythm guitar Jim Lacefield – bass and vocals Danny Saxon – drums and vocals John Wheatley III – drums
Drummer John Wheatley sent photos of the band and answered my questions about the band:
We had a great band and were well received wherever we played gigs. Our band was very unique in that we had two drummers. Our singer, Chip Woody, looked a lot like Mick Jagger and was very talented at singing Rolling Stones songs, so we did plenty of them along with the usual list of current favorite rock songs.
Several of the band members were very creative and wrote quite a few songs during my time with them in the 65/66 school year.
Lord Byron & the Poets at Canterbury Methodist Church, 1966, from left: Jim Lacefield, Danny Saxon, Chip Woody, Eddie Robinson, John Wheatley, and Ed Balog
I have a few pictures from a “freebie” we did at Canterbury Methodist Church in Mountain Brook, AL for a benefit event. My family were members at the church for many, many years.
The one other picture I have is a promotional picture made at Phipps Piano Company in Birmingham that is connected with our band’s purchase of a large amount of Vox sound equipment to amplify all of the guitars and all of the singers.
We had a really nice Vox PA system with two “sound columns” and amplifier. The lead guitar player (Ed Balog) played a Gretsch Country Gentleman gold plated guitar through a Vox Royal Guardsman amplifier accompanied by a Vox reverb unit, that actually recorded the initial sound on an audio tape and then replayed it in diminishing volume levels as the tape passed through a successive series of tape heads that progressively erased more and more of the original sound as the tape completed it’s circuit while continuously recording and playing each new audio sound on the same tape … absolutely amazing to watch it operate with the cover off of the tape component area.
The bass player also had a brand new deluxe model of a bass amplifier that had its own hand truck type of chrome rack on wheels and sounded amazing for sure. I’m not sure what amplifier Eddie used, but he probably plugged into Ed’s equipment sometimes and I think he had a classic Fender amp that he used some of the time.
We were “recruited” at one point during that tenure by a man representing himself to be a talent scout from RCA in Nashville and he had us to meet him on a weekend at the new Mountain Brook High School where we set up in a sunken carpeted area and he used an reel to reel tape recorder to tape all of the original songs that our group had to offer at that time. He kept in touch with the Balogs for some while, promising this and that. That’s about all that ever came of it, except that one of our songs came out as a hit record titled “Hey Little Girl” with only very minor changes to our original version and it did quite well on the charts and got loads of airplay. The band members that wrote the song felt ripped off but there was little they could do about it.
Boutwell Studios control room with John Wheatley at right. Photo courtesy of Jim LacefieldAt another point, we did a recording session at Boutwell Studios in Birmingham and recorded several songs, including one entitled “Mister You’re A Better Man Than I” performed by Danny Saxon for our group. During my efforts to re-connect with our original band members recently, I learned that the bass player, Jim Lacefield, still had the original reel to reel tapes from that Boutwell recording session, but had never done anything with them since 1966. One thing led to another and he was kind enough to ship them to me and I am in the process of getting them transferred so that all of our band members can enjoy and share them as they see fit when the project is finished. It will be interesting to hear the music on the tapes and re-experience those magical moments from 50 years ago surrounded by our current families.
We never actually made any records during my tenure with the band and the group essentially dissolved at the end of the school year as all members were heading off to college, etc … similar to the Ramblers and many other groups of that era.
Our lead guitar player, Ed Balog, was only 14 at the time while most of the rest of us were seniors in high school, but Ed was an extremely talented musician who had been playing the guitar daily since age 8 and was a child prodigy for sure. We practiced every day at the Balog house. When I tried to re-connect in recent years I was saddened to learn he had passed away after a legendary career as a musician in the greater Birmingham area.
I finally located the other drummer / singer, Danny Saxon, who lives out west in a beautiful part of the Great Rocky Mountains and is very happy doing wood work along with pursuing his current hobby of singing and playing music on a frequent basis.
Jim Lacefield was our excellent bass player / singer and I reached him in recent times to learn that he had continued his musical endeavors, shifting over to a really interesting and successful string of performances for many years singing and playing acoustic guitar in a variety of venues throughout the southeast. Jim lives near Tuscumbia now.
Eddie Robinson, Johnny Robinson’s younger brother, played rhythm guitar with our group and I understand that he is alive and well in the Birmingham area these days, but I haven’t actually spoken with him since 1966.
Chip Woody (lead singer) and Danny Saxon (drummer / vocals) both went to the University of Montevallo and seem to still be active in music now, although Danny lives out west in the Rocky Mountains and has switched from drums to guitar a long time ago. Chip Woody was last known to be living in Palm Springs, California about 15 years ago.
John Wheatley III with Lord Byron & the PoetsJim Lacefield was very active in music for several years after Lord Byron and the Poets, often working with well known music acts and also doing his own one man shows in small clubs in the southeast. He later got heavy into geology and became a leading professor on the subject and has written several highly acclaimed books on geology in Alabama. He and his wife now own and operate a “preserve” park near Tuscumbia where they conduct tours and he does public speaking on such matters all over the state.
I have continued to be pretty active as a drummer in a variety of bands in the greater Montgomery area since moving here in 1972 and really enjoy pursuing those opportunities now during retirement from my “day job”.
It would be really great to reunite the band, but would be very difficult due to the geographical locations of the surviving members after nearly 50 years of being apart but I would love to see it happen.
John Wheatley, 2015
Jim Lacefield and Ed Balog showing off their Vox amplifiers, photo courtesy of Jim Lacefield
Jim Lacefield added:
I remembered that gig we played one cold Friday night in January or February of 1966 at the National Guard armory in Decatur. Our gig was cut short by a snowstorm that night, and we had to make the harrowing drive back to Birmingham in the snow. What an adventure!
After the band dis-banded in the summer of 1966 I went on to school at the University that fall. During the time I played bass with the Poets I had started getting interested in playing 12-string guitar and folk rock style music. I was just picking up the 12-string while in the Poets (you might remember I had a blue-green Vox 12-string that Ed used on some songs we played like “Gloria” and “Time Won’t Let Me”). I never got great on the 12-string, but was quite passable, and I enjoyed playing in some small bands at the University. Down there at the time everyone wanted to play “soul music” because that’s where the money was, playing for fraternity and sorority parties. I didn’t care that much for that type music played for drunks, so I shifted over to playing regular 6-string acoustic folk music with a harmonica in a holder (like Dylan and Donovan). During the summer of 1967 I went down to New Orleans and had a chance meeting with some other musicians, poets, and artists who I got in close with. I played some little coffee house style clubs down in the French Quarter that summer and liked the town a lot. New Orleans became my home during the part of the year I wasn’t in Tuscaloosa going to school.
Back in Tuscaloosa I played a little coffee house on campus called the “Down Under” several times, and met my future wife Faye there one night at a folk/blues gig I was playing with a friend. I also played a gig with the great blues man Johnny Shines right as he was making a career comeback playing before young, white audiences.
There was a 60 second or so film of me playing at an anti-war rally in front of a huge crowd at Denny Chimes on the University campus that had originally aired on national TV in October, 1969 on the old Huntley-Brinkley NBC Nightly News program. They were doing a feature on the NBC evening news on how opposition to the war was affecting college campuses, even in the South. The film was taken on October 15th, 1969 and in front of the crowd of students surrounded by FBI agents and policemen. I mention this because a tape of that anti-war mini-concert at Denny Chimes appears on Alabama Public Television whenever they have a show about the 1960s in Alabama.
I got married in the summer of 1970 and did two years of civilian service as a conscientious objector in the waning days of the Viet Nam war. I went on to be a science teacher, and later a college biology and earth science teacher, but never played music professionally after college.
from left: Chip Woody, Ed Balog, and Danny Saxon of Lord Byron and the Poets, photo courtesy of Jim LacefieldI have had almost no contact with any other member of the Poets since 1966. I did run into Ed at a Jimi Hendrix concert at the University in 1969, but got to talk with him just briefly. I saw Danny Saxon once during the mid-1980s and did get to talk to him for a few minutes. I still have some reel-to-reel tapes of our Poets recording sessions, but have never had the right type machine to play them. I remember we did “Route 66” in Stones fashion and “Mister You’re a Better Man Than I” by the Yardbirds (which Danny sang the lead on) during the session.
Faye and I have lived for the past 30 years out in the country near Tuscumbia where we have gathered together some 500 acres of land through the years. We have established a nature preserve that consists of some nice canyon land, waterfalls, boulder fields, etc. that we have open to the public for hiking and recreation. I have no trouble staying busy, even though I have been retired from teaching for several years. Several years ago I wrote a book on the geologic history of Alabama called “Lost Worlds in Alabama Rocks; A Guide to the State’s Ancient Life and Landscapes.” The book has done well, and is in its 5th printing. It has been used in geology classes at nine universities, but is getting a little out-of-date. Right now I’m working on the second edition of the book, which I hope will be to print some time in the next year.
Jim Lacefield
Lord Byron & the Poets at Canterbury Methodist Church, from left: Danny Saxon (drums, obscured), Jim Lacefield, Chip Woody, Eddie Robinson, John Wheatley (not in photo: Ed Balog). Photo courtesy of John Wheatley
The Mal Contents, February 18, 1967. From left: Larry Groves, David White, Jan Elstun and Bob Mathis
The Malcontents (or Mal-Contents) cut an excellent single in early 1967, “(I’m a) Roustabout” b/w “Motivated Action”.
Members were all Norwood High School students:
Larry Groves – lead vocals, rhythm guitar Bob Mathis – lead guitar, harmony vocals David White – bass guitar Jan Elstun – drums
Bob Mathis wrote “(I’m a) Roustabout”, and lead singer Larry Groves wrote the great guitar instrumental, “Motivated Action”. With one side appealing to garage rock fans and the other a winner with the surf and rockin’ instrumental set, this record is in high demand these days.
Issued on the band’s own GEMS Records label and pressed by Rite Record Productions, which was based in Cincinnati. The release number 18347/18348 would date it to late 1966, but early 1967 seems more likely – fellow Norwood High student Joe Morgenroth wrote a letter to the Enquirer published March 4, 1967 about the Malcontents upcoming record.
Ivan & the Sabres, the Mal-Contents and the Missing Links at the Lakeridge, Sunday, April 2, 1967
Notices show bookings at Granny’s on Lytle Ave in Elsmere, Kentucky for a show on Friday, October 28, 1966 opening for the Denems, and a show on Sunday April 2, 1967 at the Lakeridge with Ivan & the Sabres and the Missing Links.
The Enquirer’s Teen-Ager supplement featured Jan Elstun on its August 20, 1966 cover, with a short article inside noting the band played regularly at the Millstone in the basement of the Zion United Church of Christ and the Footprint, a teen club on Montgomery Road.
March 4, 1967 letter regarding The Malcontents upcoming record
Jan Elstun of The Mal Contents, profiled in the Enquirer on August 20, 1966The Mal Contents, August 20, 1966
The Clue of Midland, Texas cut one of the classic garage numbers “Bad Times”, featuring swinging drumming, screams and a sputtering lead vocal, pumping organ and a good guitar break. Despite the single’s fame in recent years, I found very little info about the Clue until Steve Thomas commented below. Members were:
Steve Thomas – lead singer and bass Larry Grubb – vocals and lead guitar John Kasson – keyboards Billy Morris – drums
Steve Thomas wrote “Bad Times”, and Steve Thomas and Larry Grubb wrote the flip side, “She’s the Reason”, an eerie ballad that borrows some of the melody from the Beatles “I’ll Be Back”. Recorded and released circa 1967 on Byron BR 101. I can’t think of any other releases on the Byron label.
Byron Barber (“Bo”) was drummer for the Sensations who cut “Sweet Little Rock and Roller” / “Big Boss Man” in 1965 as the Sensations Sound on Kingco Records. In 1966 Barber produced the Clue 45 for his own Byron label, engineered by Ken Hall.
The Sensations members included Bill Thomas on bass and Dennis Grubb on guitar and vocals. According to Steve Thomas, Bill Thomas was not related, but Larry Grubb was the younger brother of Dennis Grubb of the Sensations.
Anyone have a photo of the band?
Info on the Sensations and Bo Barber from LoneStarStomp.
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 Wanted & Co. released one single in 1968, a dark, fuzzed take on “Smokestack Lightning” titled “Why”.
