The Electric Tomorrow single is one of only two record credits I can find on musician Clem Floyd. The Electric Tomorrow was likely a studio concoction from early 1966. At the time Clem was a member of the Sound Machine, a group in the middle of the mid-’60s Los Angeles music scene.
Clem Floyd and Jack Millman co-wrote “Sugar Cube” and “The Electric Tomorrow”. Both are captivating instrumentals, despite an odd warble that could be considered a defective tape transfer. Dan Daniels did “sound coordination”, perhaps manipulating the tape to give these songs their strange sound.
Jack Millman and B. Elder “of Music Industries” produced the single for Banyan Productions, released on World Pacific Records 77860.
I can find no listing of musicians on the single, nor do I know if Clem Floyd played on it.
B. Elder and Dan Daniels also have credit for sound coordination on the Mira LP New Directions of the Afro Blues Quintet Plus One, also recorded in 1966. Jack Millman produced three cuts on that album, which has special effects credited to David Diller. Some of the cuts on the album have a passing resemblance to the Electric Tomorrow single, such as “Incantations” and portions of “3/4-5/4-7/2 (Liquid Landscape)” and “Freaks”.
The Afro Blues Quintet Plus One included Joe DeAguero, Jack Fulks, William Henderson, Jim Keltner, Michael Davis, Norman Johnson and Moises Obligacion. It’s possible some of these musicians play on the Electric Tomorrow single.
BMI’s database also lists “Everything’s Gonna Be Alright” published by Irving Music, and another collaboration with Jack Millman, “Minute Freakout”.
The Sound Machine had one single: “Gotta Ease My Mind” / “Spanish Flash” on Canterbury C-511 from March, 1967. Clem wrote both songs and Gerald Curland (who has no other credits I know of) produced.
In Hollywood Eve, published 2019, Lili Anolik describes Clem Floyd as band mate to David Crosby in an unnamed group, and also as part of the Sound Machine with John Densmore. The book has more detail about Clem’s relationship with Mirandi Babitz (sister of Eve Babitz) and their leather clothes business, but nothing further about Clem’s music.
In the July 29, 1966 Los Angeles Free Press, Jerry Hopkins mentioned “Clem Floyd’s newly reorganized Sound Machine” opening for the Factory and the Mothers of Invention, in a review of the Great Underground Arts Masked Ball and Orgy (GUAMBO).
In late 1966, Mojo Navigator #11 mentioned the reorganized Sound Machine with “Gary Marker, formerly of the Rising Sons on bass”.
Grant Johnson played keyboards with the Sound Machine around the same time he was part of the Psychedelic Rangers with John Densmore, Robby Krieger, and Billy Wolff.
On his website, Bruno Ceriotti mentions the Sound Machine playing an after-hours show at Dave Hull’s Hullabaloo on January 14, 1967.
That is all the info I can find on Clem Floyd and the Sound Machine to this point.
“The Train” / “You Put Me Down” on San Mateo’s Action Records is a different Sound Machine altogether, with Wayne Ceballos (later of Aum) on guitar, Ty Tolomei playing organ, and Lee Better on drums.
Special thank you to Mike Dugo for pointing out the Sound Machine single I had missed. Info on Wayne Ceballos from Hooterollin’ Around.
The Grand Jury made one single, “Lovely Lady” / “Rollin” on Musicor Records’s New Talent Series NTS 417. The New Talent Series is an interesting set of records, including some experimental singles that I haven’t covered before, like the Lemon and Lime.
The Grand Jury single is not as adventurous, but both are original songs by Moore and Spitrini. Of the two, I prefer the B-side, “Rollin'”. Like others in the series, it is a styrene 45 that is easily worn.
I can’t find any information on where the group is from or who the members were. I am guessing Rhode Island only because Spitrini is an unusual surname, but is found in Rhode Island.
Joe Saia owned AAA Recording Studio and Parsay Pub. Co. Parsay appears on many New Talent Series 45s like the Lemon and Lime, the Lost Souls, and LSD, as well as other AAA productions like the Collage’s “Best Friend” / “Girl Don’t Tell Me”.
However, most of these songs do not appear in BMI’s database, or in the Library of Congress list of registrations.
I’d appreciate any further info on the Grand Jury or other acts that recorded at AAA.
Parliament Hill, Ottawa, 1967. Photo: Stan Endersby. Left to right: Bob Ablack, Dennis Pendrith, Stan Endersby and Jimmy Livingston
Jimmy Livingston (Vocals)
Stan Endersby (Guitar, vocals)
Ed Roth (Keyboards)
Dennis Pendrith (Bass, vocals)
Bob Ablack (Drums)
Ted Sherrill (Drums)
Bobby Kris (Vocals)
This short-lived, albeit important, Toronto rock band evolved out of The Tripp in late May 1967 and was briefly known as Livingstone’s Tripp. In July the musicians modified the name to Livingstone’s Journey.
Jimmy Livingston, Stan Endersby, Ed Roth and Bob Ablack had all earlier been in The Just Us. Livingston had also briefly co-fronted The Mynah Birds in 1965 with Ricky James Matthews (aka Rick James).
The Livingston-led line up entertained fans at Toronto’s Esplanade (a plaza on the ground floor of the Richmond-Adelaide Centre) during mid-August 1967 and played at Ottawa’s Mall and Parliament Hill (the latter at a ‘smoke-in’ in support of pot legislation).
Sometime in October, Ted Sherrill came in on drums from The Vendettas (Keith McKie of Kensington Market fame’s old band) and former The Imperials frontman Bobby Kris (real name Bob Burrows) was drafted in to replace Livingston.
The new line-up lasted only a few months and in the spring of 1968 the group played its final date at Toronto’s Night Owl (which was recorded live but never released).
Photo: Bob Burrows. Left to right: Dennis Pendrith, Stan Endersby, Ted Sherrill, Ed Roth and Bobby Kris (aka Bob Burrows)
These recordings included group originals ‘Inner City’ (written by Bobby Kris) and ‘Bull Feathers’ (written by Ted Sherrill), and a heavy version of The Beatles ‘You Can’t Do That’.
Endersby left for England soon after, where he met The Kinks’ Peter Quaife at Hatchettes Playground in Piccadilly, London (together they later formed Mapleoak), while Roth travelled to Los Angeles and worked with former Tripp members Neil Lillie (aka Neil Merryweather) and Livingston, who later died of cancer on 1 June 2002. Kris reformed The Imperials, who gigged into 1969.
Burrows and Pendrith continue to perform and record with Burrows & Company, who have a number of tracks on Spotify.
Selected gigs
2-4 June 1967 – Boris’ Red Gas Room, Toronto (billed as Livingstone’s Tripp)
9 June 1967 – Boris’, Toronto (billed as Livingstone’s Tripp)
11 June 1967 – Boris’, Toronto (billed as Livingstone’s Tripp)
30 June 1967 – North York Centennial Centre, Toronto with Mandala, The Spirit and The Power Project
1 July 1967 – Broom and Stone, Scarborough (billed as Livingstone’s Tripp) with The Reelers and The Deep End
5 July 1967 – Hawk’s Nest, Toronto (billed as Livingstone’s Tripp).
9 July 1967 – Broom and Stone, Scarborough with Mandala (billed as Livingstone’s Tripp)
28 July 1967 – Kin-Oak Arena, Oakville, Ontario (billed as Livingstone’s Tripp)
4 August 1967 – Hawk’s Nest, Toronto
5 August 1967 – Broom & Stone, Toronto with A Passing Fancy and The Dana
14-19 August 1967 – Esplanade, Toronto
19 August 1967 – Danceiro, near Sauble Falls, Ontario (Sun Times, Owen Sound)
22-27 August 1967 – Le Hibou, Ottawa (Ottawa Journal)
26 August 1967 – The Mall, Ottawa (Ottawa Journal)
August 1967 – Parliament Hill, Ottawa
29 August-3 September 1967 – Le Hibou, Ottawa
22 September 1967 – Purple Peanut Teen Club, Toronto
3 November 1967 – Hawk’s Nest, Toronto (billed as featuring Bobby Kris), with the Tiffanies
8 December 1967 – Purple Peanut, Toronto (billed as Bobby Kris with Livingstone’s Journey)
6 January 1968 – Purple Peanut, Toronto
26-27 January 1968 – Club 888, Toronto
10 February 1968 – El Patio, Toronto
15 February 1968 – The Flick, Toronto
8 March 1968 – BCI, Brantford, Ontario (cancelled when truck broke down) (billed as Bobby Kris & The Livingstone Journey) (The Expositor)
Toronto gigs from the Toronto Telegram and Ottawa gigs from the Ottawa Citizen. This article is based on research originally undertaken in the early 2000s. Many thanks to Bob Burrows, Stan Endersby, Ed Roth and others for their help.
The Polaras released a good instrumental 45 “Cricket” / “Breaker” on Pharos PR 100. Harry Baldwin wrote both songs, published by Bevlynn. Cashbox reviewed the single on July 11, 1964.
My copy is inscribed by Harry Baldwin and Don “Pickle” Nadow. Copyright registration from September 21, 1964 shows the band’s names for an unreleased pair of songs, “Polara 500” and “Pickled Drums”, with music by Les Peterson, Harry Baldwin, Arden Fennell, and Don Nadow. Bevlynn Music Corp. also published these songs. I hope they exist on a demo.
Assuming these are the members of the group, the lineup might be:
Harry Baldwin – guitar Arden Fennell – guitar Les Peterson – bass Don Nadow – drums
Cash Box review, July 11, 1964
Arden Fennell is the only member I can find further info on. Arden had a 1969 single on Evolution, “Baby” b/w his original song “Smile A Little Smile”.
Arden was also guitarist and vocalist in other groups: The Daniel Paul Revelation with Sam Haughland, John Kerns, Rich Tiley, and Randy Tiley; and The Tryb with Ralph Gonzalez, Jerry Lawson, Tim Rock, Leroy Shuster, Bill Shuster, both of which recorded unreleased songs at Norman Petty’s studio.
Pharos was based in Hollywood, mainly releasing records by TV actress Rosemary Prinz, and a jug-band type single by the Nomads, produced by Jackie DeShannon.
Riccardo and the 4 Most made one single, the great ballad “There’s a Reason” backed with a good version of “Barefootin'”, released in 1967 on Foremost Records.
The band is listed on the label: Riccardo Wright (guitar), Ralph Marotta (bass), George Leary (drums), and Douglas Jacobs (organ). Bill White wrote and sung lead on “There’s a Reason”.
“Bare Footin'” features Ricardo Wright on lead vocals. Someone is playing trumpet on both songs, uncredited.
Later members included Joe Lattanzio (trumpet) and Tommy Watson (bass). In 1969, with an expanded horn section including Ron Rucker on trombone and Gene Hilstro on sax, the group became a nonet called the Blues Busters.
If any of the members of the band are out there, I’d like to hear from them.
The single was recorded at Kennett Sound Studio in Kinderhook. I found an acetate lacquer of both sides among a stack of Kennett demos. The Foremost Records release code U4KM-0937 indicates a 1967 RCA pressing.
ad from February 11, 1967It’s a little difficult to search for the band, as listings for the group in newspapers include variations such as Riccardo & the Fourmost, Ricardo and the 4 Most, Ricardo and the Foremosts, etc. The sign behind the band on stage in two photos reads “The Fabulous 4 Most”.
The earliest ad I can find for the group is from the Troy Record on February 11, 1967, noting that Ricardo and the 4 Most would be playing the Excelsior House on Snyders Lake in North Greenbush “every Friday, Saturday and Sunday”. Another ad on August 19, 1967 noted the group would play the Excelsior “every Thurs. thru Sun.
The Times Record of Troy mentioned the group playing Shaker High School in Latham twice, once on January 15, 1968, then again on May 29, 1968 in a benefit for a Shaker school in Vadawal, India. The group also played the University Twist Palace in Albany.
Another ad lists Ricardo and the Foremosts at Corkey’s on 18 Clifton St. in Waterford, April 5-7, 1968.
The Troy Record noted a Youth On Unity dance on May 29 at St. Joseph’s Church Hall in Rensselaer with the Blues Busters (“formerly known as ‘Riccardo and the foremost’ from Albany” with the Souls from Pittsfield and the Multi-colored Projections.
Riccardo and the Fabulous 4-MostA clipping from January 25, 1969 (I don’t know the paper) describes their transformation into Ricardo and his Blues Busters:
Riccardo and The Fourmosts, as you younger people know, has enlarged from four to nine. The new nonet is called the Blues Busters and features rhythm & blues and soul music, much of it original words and music by Riccardo, the leader, and some arrangements by Al Friedman.
The Blues Busters are a living example of interracial harmony, personally and musically. They play to an enthusiastic gathering at The Royal Mousetrap from 9:30 to 3 Friday, Saturday and Sunday. The Mousetrap is on New Karner Road (Route 155) just off Central Avenue [in Colonie].
The two photos and some of the info came from the Albany Group Archive. Thank you to Al Quaglieri and Joe Lattanzio for their help with this article.
I know nothing about Venus Plus X, other than the first names Ken & Greg given writer credits on the A-side. I’d like to know who was in the group and how they came to make this record. The group took their name from the 1960 Theodore Sturgeon novel.
The flip is a cover of the John Phillips song, but a pleasant version.
Andre Tanker and Herman Hadeed owned the Atman Records label, and published “Victim of Circumstances” through Tanker Music.
Berry Window & The Movements, Seiler’s Atlantis, August 1967. Photo: Barry Window
Switzerland-based soul sensation Berry Window & The Movements recorded three soul-infused LPs during 1967-1968 and a clutch of superb 45s before finally breaking up in spring 1969. Despite also gaining a degree of popularity in southern Germany and northern Italy, the band were complete unknowns in Britain.
Formed by singer Barry Window aka Berry Window (b. 25 November 1946, Basel, Switzerland), the original formation comprised bass player Peter Rietmann (b. 14 June 1945, Switzerland; d. 2009); sax player Ferdinand Keller; drummer Dietmar Carl; keyboard player Fritz Trippel (b. 10 December 1937, Chur, Switzerland, d. 2010); and – last to join – lead guitarist Ronald William Bryer (b. 23 April 1947, London, England; d. 25 June 1973).
Window (whose real name is Urs Fenster; Fenster being German for window) started his career as the drummer for R&B/soul band The Sam Wee Five, a popular Basel outfit that never recorded, in 1964.
Window’s grandfather was born in Brazil while his father Kurt had arrived in Basel via Düsseldorf with the American Ringling Brothers and Barnum & Bailey Circus. Like his father, Berry mastered the drums but at heart had aspirations to be a singer. He certainly had the voice and stage presence to suggest he could be a dynamic front man and, by June 1967, was ready to step out from behind the drum kit and make his mark.
One of the first musicians he lined up for The Movements was Peter Rietmann, who had first come to prominence with The Dynamites in spring of 1964.
The bass player worked with this band until April 1966, leaving to join The Blue Sounds for two months. This fascinating outfit, featured two English musicians – singer/harp player Robert Muir and guitarist Mike Whitlock, who’d come to Basel with Merseyside band The Marksmen.
Rietmann, however, didn’t hang around long and soon joined top Austrian outfit, The Slaves, working with them until around March/April 1967 before he briefly gigged with The Countdowns. By early summer, he was ready to join Window in putting The Movements together.
While Dietmar Carl (aka Karl) was formerly a member of Basel group The Kettles, the much older Fritz Trippel was a seasoned musician steeped in jazz and well connected in music circles, notably in Stuttgart (more of which shortly).
According to the singer, Berry Window & The Movements secured an important engagement at Seiler’s Atlantis, a former coffeehouse that had specialised in jazz when it opened in the late 1940s, within a month of forming. By the mid-1960s, Seiler’s Atlantis had remodeled itself as a rock venue and had hosted a number of visiting British bands to the city.
At the time The Movements were still without a guitar player but the club booking necessitated a photo session and so a “stand-in” was brought in to pose with the other musicians sitting in a boat in the middle of the River Rhine.
Left to right: Fritz Trippel, Peter Rietmann, Berry Window, Dietmar Carl, stand in guitarist, Ferdinand Keller. Photo: Barry Window
Window, however, already knew who he wanted as the guitarist – British musician Ron Bryer who until recently had been working with expatriates The Big Wheel, a popular R&B outfit that had played at the Hotel Hirschen in Zurich and the Tanzrad in Basel among others.
Bryer had started his career with Bexley, Kent group, The Loose Ends but had departed in mid-1965 before they signed with Decca Records and cut two great Mod 45s, including a cover of George Harrison’s “Taxman”.
Briefly adopting the stage name Ron Spence, the guitarist next worked with The Revellos for six months or so before joining The Carl Douglas Set with future “Kung Fu Fighter” Carl Douglas, and recording some unreleased tracks that were later issued by the Acid Jazz label.
In June 1966, however, he replaced Del Grace (ironically on his way to replace him in Carl Douglas’ band) in The Big Wheel. Keyboard player Andy Clark, later of Clark-Hutchinson and Upp fame, was instrumental in bringing Bryer into the group.
After releasing a lone 45 in Switzerland in February 1967– Clark’s “Don’t Give Up That Easy” c/w “You’re Only Hurting Yourself” on the Eurex label, Bryer was ready for a fresh challenge.
Debuting at Seiler’s Atlantis, Berry Window & The Movements proved so popular with local fans that the club’s owner extended their residency (a photo shows them performing on stage that August). By then, Trippel had used his contacts to secure a recording deal with the Bertelsmann Group Intercord label, based near Stuttgart in West Germany.
Seiler’s Atlantis, August 1967. Photo: Barry Window
Rushed into the studios, the band kicked off with two German-language recordings, penned by Trippel: “Abschiedslied” and “Ich Bin Allein”, which were coupled for the band’s debut 45 on the German label.
Soon afterwards, the group recorded its debut English-language single for Intercord, a cover of Bobby Robinson and Irral Berger’s “Warm and Tender Love” backed by Steve Cropper, Eddie Floyd and Alverts Isbell’s “I’ve Got Everything I Need”, issued in late 1967.
The same line-up was responsible for the follow-up release: an impressive reading of Isaac Hayes and Dave Porter’s “Hold On, I’m Coming” backed with Eddie Floyd and Steve Cropper’s “Knock On Wood”. Both English-language singles proved popular locally.
During this period the musicians were still heavily reliant on cover material and recorded their debut LP Soul & Loveat Bauer Studios in Ludwigsburg, north of Stuttgart over two days.
Drawing largely on the material they played live, this included impressive takes of Otis Redding and Arthur Conley’s “Sweet Soul Music”; Mack Rice’s “Mustang Sally”; James Brown’s “Papa’s Got a Brand New Bag”; and Smokey Robinson and Ronald White’s “My Girl”.
Wolfgang Paap and Ron Bryer, 1968. Photo: Barry Window
On 25 November 1967 (Berry’s 21st birthday), the band made a rare TV appearance, guesting on the “Hits A Go-Go” programme, aired in West Germany and Switzerland before resuming their busy live schedule, taking in the Chemilhütte in Basel and the Hazyland in Zurich among others.
Soon afterwards, Fritz Trippel departed and Belgian multi-instrumentalist, composer and keyboard extraordinaire Joel Vandroogenbroeck (b. 24 August 1938, Brussels, Belgium; d. 23 December 2019) took over, raising the standard of musicianship in the process.
Having made his first appearance on classical piano when he was only six years old, Vandroogenbroeck had toured Europe with The Quincy Jones Orchestra in the late 1950s but had a long and distinguished career. When he met Barry Window & The Movements he was playing with American singer Dee Dee McNeil (more of which shortly).
Around the same time Peter Rietmann followed Trippel out of the door and briefly reunited with the Chur-born keyboardist in the popular Swiss band Les Sauterelles.
Bass player Peter Giske (b. 1947, Basel, Switzerland) took over from Rietmann, who later progressed to work with Swiss band Crusade in 1969. Giske had Polish ancestry, adding to the diverse mix of nationalities that comprised The Movements.
During early 1968, the group returned to the studio with new drummer Hans-Peter Schweizer to record material for a Swiss-only EP entitled I Like Soul, which featured reworked (and superior) versions of “Knock On Wood”; “Hold On, I’m Coming”; and “Papa’s Got a Brand New Bag”. By this point Ferdinand Keller had departed.
Thanks to Joel Vandroogenbroeck’s connections with Dee Dee McNeil, the musicians next got the opportunity to record an LP with the American singer for the German MPS Records label in spring 1968. Entitled Soul Hour, the record was credited to Dee Dee, Barry & The Movements.
With new drummer Wolfgang Paap (b. 1944, Danzig, Germany) behind the kit, the sessions for the LP took place in Basel on 16 and 17 April 1968 and included powerful covers of Allen Touissaint’s “Get Out of My Life Woman”, Wilson Pickett and Steve Cropper’s “In the Midnight Hour”, plus yet another re-recording of “Hold On, I’m Coming”.
Soul Hour also came with some interesting sleeve notes about the individual musicians’ backgrounds. In addition to new member Wolfgang Paap on drums, the album also featured French sax player Barney Wilen (b. 1937, Nice, France), who’d previously worked with Miles Davis among many others.
Around this time Berry Window & The Movements appeared on West German TV show “We Like Soul” playing “Hold On, I’m Coming”. On several tracks Dee Dee McNeil joined Window for a duet and the recording also shows a second sax player.
Peter Giske, Wolfgang Paap, Dee Dee McNeil, Berry Window, Joel Vandroogenbroeck and Ron Bryer, 1968. Photo: Barry Window
Not long after, Berry Window & The Movements started work on their second studio LP Soul In Action, which remains arguably one of the best continental LPs recorded during the 1960s. Gone was the reliance on cover material, replaced by superb band originals, mainly co-penned by Vandroogenbroeck and Bryer, such as “I Gave You My Heart”, “Go Away” and the horn- driven soul-rocker “Give Me the Time”.
Berry Window had a hand in a few songs too, collaborating with Vandroogenbroeck and Bryer on “Rock Locomotion”, which was paired with Vandroogenbroeck and Bryer’s “I Wanna Get Moving out of Here” for a single, and the sublime, jazzy number “Stay as You Are”.
Vandroogenbroeck also came up with two gems on his own: the Hammond drenched soul outing, “Funky for Now” and the majestic “Solitude Street”, which saw the Belgian step away from the keys and demonstrate his mastery of the sitar.
In fact, his use of the Indian stringed instrument on several tracks created a unique psych-soul blend to the LP. The front cover shows him sitting on the floor with sitar in hand and Window standing over him.
Two non-LP tracks further demonstrate Vandroogenbroeck’s skills on the instrument, the hypnotic “I’ll Wait for You” and the driving, infectious “Hear Me, Help Me” again penned by Vandroogenbroeck and Bryer. Coupled as a single in the latter half of 1968, they are, as far as this writer is concerned, the band’s creative peak.
Like the group’s previous Intercord single release which paired two more non-LP Vandroogenbroeck and Bryer collaborations – “Remember The Rain” and “It Happened Once Before”, the recordings failed to achieve the commercial success the band deserved.
Undeterred by the public’s reaction to their excellent LP and cache of superb singles, Berry Window & The Movements continued to gig across southern Germany, Switzerland and also northern Italy. The highlight of this period was perhaps a 40-minute TV show that West German station ARD recorded in Baden-Baden in September 1968.
As 1968 turned to 1969, Wolfgang Paap bowed out (subsequently to reunite with Vandroogenbroeck and Bryer) and new drummer Marc Hellman stepped behind the kit. Barney Wilen also departed to record the brilliant Dear Prof. Leary LP.
Berry Window, Joel Vandroogenbroeck, Ron Bryer, Marc Hellman, unknown player, unknown player and Peter Giske, late 1968. Photo: Barry Window
At this point, Window expanded the horn section bringing in two Caribbean musicians – Roy Edwards (trumpet) and Rudy Jones (sax) for some fresh recordings at SAAR Studios in Milan, Italy.
According to Window, a friend of his was on holiday in Spain at the time and had seen the two horn players at a club in Playa de Aro called the Maddox backing singer Eddie Lee Mattison and had alerted Window, who was on the look-out for a brass section.
Four tracks were recorded in early 1969 – English and Italian versions of Doug Sahm’s “Mendocino” and Alan Bergman, Marilyn Keith and Norman Luboff’s “Yellow Bird”, which were released in quick succession on the Italian Joker Dischi label.
Clockwise from top left: Pete Giske, Rudy Jones, Ron Bryer, Berry Window, Roy Edwards, Joel Vandroogenbroeck and Marc Hellman. Photo: Barry Window
By then, The Movements were on their last legs. With the end in sight, Bryer and Vandroogenbroeck pieced together a new, far more experimental band, The Third Eclipse, which soon became better known as Brainticket. The pair was reunited with Wolfgang Paap who joined the group’s most famous line-up and appears alongside the duo on the classic Cottonwoodhill LP.
The Belgian would continue to lead Brainticket for decades but Bryer soon returned to England where he subsequently reunited with former Loose Ends singer Alan Marshall in his band One. Sadly he died prematurely of an accidental drug overdose on 25 June 1973.
With a restructured band featuring Roy Edwards and Rudy Jones, Berry Window changed his name to Barry and took the revamped line-up to London where, as The London Cats, they recorded two tracks for Baf Records – David Porter and Isaac Hayes “I Thank You” and Roger Penzabene, Norman Whitefield and Barrett Strong’s “End of Our Road”, which were coupled for a British-only single.
The London Cats, 1969. Photo: Barry Window
That might have been the end of Berry Window & The Movements but that same year, RCA Records combined a recent recording that the singer had cut with Italian studio musicians, a cover of Herbert Pagani and Adriano De Grandis’ “Preistoria, Preistoria” with a second (and arguably superior) version of the classic “I’ll Wait For You”, cut in 1968 when Vandroogenbroeck and Bryer were still members.
With Edwards and Jones remaining in the UK to join JJ Jackson’s band, Window returned to Switzerland and embarked on an illustrious solo career which he continues to this day.
Fortunately, anyone who wants to check out the band’s excellent legacy can hear the group’s entire work (minus Soul Hour) on the Early Yearsdouble CD.
Thanks to Rolf ‘Ray’ Rieben of Feathered Apple Records and Barry Window for their help
The Apogees were a drum and organ duo. The drummer was Bud Lee and the organist Izzy Navarrete. Izzy’s name is spelled differently each time I find it in print – Izzy Navarette and Izzy Navarrette for example.
Together they made one of the strangest EPs I’ve ever heard, echo-laden versions of Guantanamera, Sweet Caroline (“Sweet Adeline” on the label), Quiet Village (“Quite Village” on the label) and an almost-unrecognizable version of La Bamba. The Apogees release is on Stripe 99 Hollywood 10001A/B. It’s hard to date this, but I guess about 1970.
At one point Izzy was a member of the Spirals, a long-running group from Tulare, California, led by Ralph Alvarez and Manny Alvarez, whose members included Mary Murillo and Ed Torres and probably many others. At this time I don’t know if the Spirals ever recorded.
Photos of Tulare groups the Spirals and the Charades, along with some history the area’s music, can be found in the Tulare Advance-Register, July 5-6, 2003.
Izzy Navarette had a duo with Terry Wall that played often at the El Dorado restaurant on East Tulare Ave in the mid-1970s. The advertisements call it “Izzy Listening” music. There are notices for him appearing in lounges in Palm Springs into the 2000s.
Bud Lee’s name is too common to trace, so I can’t tell you anthing about “El Tomborro” (tamborro?).
Stripe 99 had one further release by the Sand Trackers, “Track of the Scarab” / “Big Bird Blues”, both by F. Stuart Wilson (Ford Stuart Wilson aka Fred Lile), and released as Stripe 99 SNN45-10002.
Drum and organ duos were an efficient combination, and more common than you might think, as I’ve profiled three others on this site.
The Male Men performing on WPTA Channel 21’s 1965 Christmas show
Wallace Geller sent in the photos and story of a Fort Wayne, Indiana band called the Male Men. The group didn’t release any records, but did make a demo at WGL Radio in 1967. Malemen guitarist Rick Johnston with drummer Jim Brickley.
I was the lead singer of the Fort Wayne Malemen. Members of the band were: Rick Thomas, lead guitar; Rick Johnston, rhythm guitar; Dave Armstrong, bass guitar; and on drums was Jim Brickley. Rick Thomas and Dave Armstrong also did back up vocals.
I became the lead singer April 1965. June of 1965 we participated in a battle of the bands at Northcrest Shopping Center. There were about 10 bands involved. We came in second place but I received the Best Male Singer Award. I still have the plaque.
The summer of 1965 was very busy for us. We performed at the water ski club every Saturday through the summer at Lake George, Michigan. Fall 1965 we were seniors at Northside High School Fort Wayne.
October 1965 we were picked to be the house band of a TV show called 21 A Go Go on the ABC affiliate WPTA Channel 21. We were on every week and we had other local bands and singers on the show. We video taped the half hour show on Tuesday nights and finished on Wednesday nights. The show was on Saturday afternoons at 4 PM. The show ended February 1966 because of union complaints. We were all non union on the show. The station couldn’t get a sponsor. The show was then terminated. The station told us there was about 40,000 people watching the show. That was very considering Fort Wayne was about 180,000 at that time.
The station would let us come in and their sound people recorded us. We had a good recording of “Stand By Me”, made after the band broke up.
The Malemen broke up when the lead guitar player, Rick Thomas was drafted. It was a fantastic time while in the band. Unfortunately, all good things come to an end.
Wallace Geller of the Male Men
Rick Johnston joined the Marines with me in March 1967. Rick Johnston later became a medical doctor. Rick Johnston and Dave Armstrong are both retired and still live in the Fort Wayne area.I lost touch with the drummer Jim Brickley and the lead guitar player, Rick Thomas.
After I got out of the Marines I became a Phoenix Arizona Police Officer for 28 years. I retired May 1999. After I retired my wife Ann got me a karaoke machine for Christmas. I then started performing with my Karaoke machine.
Wallace Geller
Thank you also to Rick Johnston for sending in two of the wphotos seen in this article.
Malemen guitarists Rick Thomas and Rick Johnston. Photo courtesy of Rick Johnston
This post is dedicated to the memory of Max Waller, my fellow music researcher who helped me with many articles over the years, for which I am grateful.
Tamara’s New Generation is an obscure Chicago-area group with just one single to their name, released on IRC 6943. The A-side “Just Flowers” is a Gabor Szabo style number with flute, a two-note keyboard line, and some fine raga guitar work.
I prefer the flip, “Traffic” with it’s pulsating bass line, beatnik vibe, and crashing end. Interestingly, the dead wax codes reverse the A & B sides, which makes more sense to me.
Members included:
Tamara – lead vocals Pete Ianni – ? Tom Miller – bass Ollie – ? Denny – ? Brian – ? Paul – ?
Although this may be the only International Recording Company credit for Perry Johnson, he did writing and arrangement for related labels like Royal Blue (the Paniks “Look Twice”, the Wild “Monkees”, Lou Capri “Love and Kisses”) and Redd Robb (Edges of Wisdom “Past”, Holocaust “Savage Affection”).
This is the first time I’ve covered a band from the IRC (International Recording Co.) label, which released a number of great 45s by the Little Boy Blues, Danny’s Reasons and others; and was the studio for the Crees 4 acetate “Misunderstanding” / “Looking at Your Picture”, released in 2021 by Mojo-Bone.
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The Electric Tomorrow single is one of only two record credits I can find on musician Clem Floyd. The Electric Tomorrow was likely a studio concoction from early 1966. At the time Clem was a member of the Sound Machine, a group in the middle of the mid-’60s Los Angeles music scene.
The Sound Machine had one single: “Gotta Ease My Mind” / “Spanish Flash” on Canterbury C-511 from March, 1967. Clem wrote both songs and Gerald Curland (who has no other credits I know of) produced.
Briefly adopting the stage name Ron Spence, the guitarist next worked with The Revellos for six months or so before joining 
Drawing largely on the material they played live, this included impressive takes of Otis Redding and Arthur Conley’s “Sweet Soul Music”; Mack Rice’s “Mustang Sally”; James Brown’s “Papa’s Got a Brand New Bag”; and Smokey Robinson and Ronald White’s “My Girl”.
With new drummer Wolfgang Paap (b. 1944, Danzig, Germany) behind the kit, the sessions for the LP took place in Basel on 16 and 17 April 1968 and included powerful covers of Allen Touissaint’s “Get Out of My Life Woman”, Wilson Pickett and Steve Cropper’s “In the Midnight Hour”, plus yet another re-recording of “Hold On, I’m Coming”.
