The Sleepers were from Mansfield, Ohio, located in the northern part of the state about halfway between Columbus and Cleveland.
Tom Zinser lead the band so they were usually referred to as Tommy Z and the Sleepers, though not on the record label which simply says The Sleepers. The label lists the members by last name, but misspells more than half of them: Murry [sic], Crause [sic], Davis, and First. Tommy Zinser’s name is spelled Zinzer on the labels.
Tom Zinser wrote to me in 2016 with more info about the band:
Tommy Z and The Sleepers was the first band I was in that played out. We played some at a club in Ashland, Ohio called the Dugout. We also played fraternity parties at Miami University in Oxford, Ohio. In the picture, that’s me on the top right. Next to me is Kim Murray, our lead singer, who went on to become an attorney in Mansfield. To the right of Kim on the first row is Bob First, our drummer from Mansfield who at the time was recently out of the Navy. In the center is Jim Krause, misspelled on the record label, played guitar and did some backup vocals. He went on to become a recording engineer in Cincinnati. Next to Jim and below me is Chris Davis, who played bass. Chris, Jim and I went to Mansfield Senior High together and graduated in 1963.
“I Want a Love” combines a fuzz riff with a jangly guitar sound and unison vocals. There’s a short drum break and the fuzz repeats its riffs without trying for anything ambitious. “Time Will Tell” features hypnotic picked guitar and fine harmonies in backup and on the chorus.
Zinser and Davis wrote both songs. The single was recorded at Audio Recording in Cleveland, produced by E.R. Thomas and E.R. Garnes, and released on the Marvy label in 1966.
After the Sleepers broke up in 1967, Zinser went into the Wildlife with guitarist and vocalist Terry Van Auker. The Wildlife released one 45 on Columbia, 4-44369, “Time Will Tell” / “Hard, Hard, Year”.
Tom Zinser adds:
“Time Will Tell” and “I Want A Love” B-side, were my first efforts in songwriting and later on “Time Will Tell” was rerecorded in the Wildlife.
About 2011 we gave an interview to a guy in the United Kingdom who publishes a magazine called Fantastic Expedition. If you go to fantasticexpedition.com, we are in issue 5. That is the most complete story of the Wildlife and the subsequent band, Owen B.
Zinser and Van Auker went into Owen-B which had a self-produced LP recorded at Mus-i-col Studios in Columbus. Another member of Owen-B was Jim Krause on vocals and harmonica.
Confusingly there was another group with two earlier 45s on Columbia who are listed as the Wild Life (two words instead of Wildlife) which have similar credits, arranged by Chuck Sagle and produced by John Walsh:
“This Is What I Was Made For” / “Somes Times I’m Up (Sometimes I’m Down”) (Columbia 4-44213) “New Games to Play” / “Where Do You Go” (Columbia 4-44285)
Don and the Wanderers were from Belding, Michigan, about 30 miles east northeast of Grand Rapids. Brothers Don Thompson and Robert Thompson founded the Flying Mustangs in 1963, with Don on guitar and his brother Robert on bass. They changed their name to Don and the Wanderers in 1964.For the next seven years the band would practice in the Thompson house. Their father Russ Thompson became their manager once they started taking paying jobs.
The band’s first drummers were Steve Whitford then Tom Devers. In 1965 the band added Jayne Traynor on vocals, and a rhythm guitar player. The following year Janet Sinclair became the drummer. In 1967, Jayne left the band and Dave O’Brien joined on keyboards. At this time Robert Thompson moved to rhythm guitar and Michael Bresnahan joined on bass. Bresnahan had been taking lessons from Robert, and his first group was Davy James and the In Men from Grattan.
Their only 45 was recorded at Audio Studios downstairs from the WKYC station in Cleveland in Spring 1968, and released with an orange Kustom label.
Producer Dick Wagner had them cut his original song “On the Road” for the A-side, a song he had done with the Bossmen the year previously with little chart success. This version has a progressive style for early 1968, with elements of the heavier sounds that were coming over the next few years.
For the flip they cut a mid-tempo pop number, “Sleepin’ in the Sun”. If it’s a Dick Wagner song, it’s not included in his BMI listing. The transfer featured here has better sound than the 45, and is also about twelve seconds longer, as the 45 fades earlier. They pressed 500 copies, selling more than 400 of them.
The band continued until 1972, playing many of the same clubs as Ted Nugent, Bob Segar, and The Frost.
Don Thompson told me more about the Wanderers:
I started playing guitar in August of ’63 at age 10. Been doing it ever since. The band started out with my brother on bass and me on lead guitar and we just added members as we went along. Starting with the Ventures and grew into top 40 and then to heavy metal if you could call it back then. Led Zeppelin, Hendrix, The Doors, SRC, Amboy Dukes towards the end.
My father managed the band, built our band trailers, drove us to gigs, handled everything about the band. He had a gift of listening to a song on the radio, and could predict what song was going to be a hit. He’d buy the 45 record, and made sure we had our parts down and ready for each practice, and by the time the song hit #1 we already had it in our song list. I remember dad as one who took a chance on a 10 year old kid wanting to play guitar. He didn’t know if I had any talent or if I would stick with it, but he bought the best guitar to make sure I had a chance to learn on.
He made sure we worked, got paid for what we did, and we used that money to invest in better equipment. He taught us to do our best. Dad was not just our manager, but wore many hats, driving sometimes for hours in snow storms to get us to gigs and then hours to get us home. All the old band members I keep in contact with, say he was their friend. Not many teenagers would say that about most adults.
In West Michigan in the ’66 to ’69 era there were The Quests, Lynn & the Invaders, and the Soul Benders that recorded 45’s. Another great band was the Rainmakers out of Traverse City. It was very competitive back then.
We were a working band, most years we would have at least 45 to 50 weeks booked somewhere. Back then, every high school sponsored after-game dances. There were teen clubs all over Michigan to play. We played all over Michigan, from the west shores, South Haven to Traverse City, Rose City, West Branch, Bad Axe, Lansing, Detroit, just about any town that had a teen center, we’ve played it.
In 1966 there was a huge teen center in Grand Rapids called “The Place”. We won some of their Battle Of The Bands and we opened for the Music Explosion at The Place. I think that was sometime in ’67.
In August 1969 we were the opening act for Alice Cooper, in Hastings, MI. The name of the club was The Cobra. We had a wall of Kustom 3×15 cabinets and PA. Alice and the band got there, and realized the club didn’t provide a PA for them to use. The club was set up with a stage at each end of the main room. We did our first set, and wheeled our PA to their stage for their first show. The management had sold tickets for two shows, so they cleared the building and we did our second show for the late crowd, and wheeled our PA back for their second show.
I remember was Alice was in a really good mood and started swinging his (our) mic and the connector came loose and Alice launched our mic across the room and it hit the wall. Needless to say it didn’t work after that.
We met Dick Wagner through our booking agent. It was really important at that time to do a record for local radio play, so we met Dick, and he sold us the two songs we did, and he produced them. “On the Road” was side one and “Sleeping in the Sun” was the flip side. I was 15 at the time, it was huge to actually be making a record.
We recorded the songs in Cleveland and at the time of the recording Janet Sinclair was our drummer. The lead guitar intro on “On the Road” was done using a Fender Telecaster, a Mosrite Fuzzrite and recorded at half speed and played back full speed to get that octave up. I guess it was not cutting edge for the time but was effective.
We recorded on half inch tape and then transferred to 1/4 inch tape. The studio didn’t transfer just the masters but transferred all the takes so when the record company got the tape, they had no idea which was the master and didn’t bother to call us to see which take was the master, so we ended up with 500 45 RPM records with volume drops and gains. The MP3’s I sent were the masters and my brother had them done just last year from the original tape.
The record did get some local airplay, as did most of the local bands, [though] not as much as the Grand Rapids bands. At least we had the experience of recording and being part of that era. That was our only recording, we never did try it again.
As the photos show there have been lots of members over the years, I guess you have to make changes when they want something different. Some stayed for a few years, some made it less than a year. I’ve have the pleasure of working with lots of talented people through the years, yet marked with a lot of tragedy. The keyboard player and his brother were killed in a car accident in 1971, our main bass player’s brother joined the band on guitar in 1970 and was killed years later in a crane accident. Jayne was killed in a car accident in 84, so I guess I’m the lucky one.
Janet left the band a month after the recording and we replaced her with Jack Petersen. Jack and I are still working together playing music 40 years later. The Wanderers photo and 45 record are displayed in our Belding Museum. Never thought I’d be displayed in a museum while I was still alive!
One of my last bands was called exit 69 and I had a female singer onboard on that project. We worked for seven years and she and her family just moved to Texas. There are six tunes on the site that we recorded in the bass player’s spare bedroom, one person at a time is all that would fit, but I think it turned out a good demo.
My newest project is called LoRyder, we concentrate on all the one hit wonders of the 60’s and some Beatles. It’s funny how we can play songs 40+ years old and people in their mid 20’s will be singing right along with the band.
As far as what we are doing today, Bob now works for Negri Bossi Injection Molding Machines in Michigan and surrounding states. Don is an Independent agent for Aflac and holds a patent and manufactures the Tremorbender B String Bender for electric guitars – www.tremorbender.com. Janet is married, lives in Florida and still drums, and has several grandchildren who are musicians. Mike is in Everett, Washington and is an electrician. Jack is now semi retired.
Don Thompson, November 2009
In 2007 Don and the Wanderers featured in a local Daily News article.Thanks to Mike Markesich for the 45 scans, and special thanks to Don Thompson for sharing his photos and band history.
Caeser & His Romans were from Buffalo, recording two 45s on the GJM label in late ’67 and 1968 before signing to Scepter for two more singles. I hadn’t been able to find much about the group but some emails and comments have helped.
Vocalist Chuck Vicario stayed with the group throughout its career. Bassist John Sia co-founded the band with Chuck in 1964, and left for college in ’67. Joe Hesse replaced John and then Vinny Parker replaced Hesse. Joe DeSantis was the original drummer with the group. Other members of the group included Joe Hesse’s brother Jim Hesse on keyboards, Bill Burt and David Burt, and Dan Cook on lead guitar.
Both songs on their first 45 were written by Charles Vicario and J. Hesse, recording supervised by Jerry Meyers and Rich Sargent.
Rich Sargent wrote to me about his work with the band:
Jerry owned GJM Records, I worked for him, we used a few different studios. I produced “Leavin’ My Past Behind” at Audio Recording in Cleveland, the same studio wher Jerry produced the Joe Jeffries gold single “My Pledge Of Love” … great studio in downtown Cleveland. I am a long time friend of Chuck (Caesar/Big Wheelie) and his late manager Fred Caserta. We met in ’64 … my band and Chucks finished 1 & 2 in a number of “battle of the bands” back then.
I haven’t heard “When Will I Get Over You” in about 15 years… my favorite may have been “Leavin’ My Past Behind” (sure wish I could remix it) and “Baby Let’s Wait”. That one came close to breaking, but the Royal Guardsmen put out a version and we were done.
There was a core of players that was consistent but also a number who left, came back, left again. Dan Cook was the guitar player through all of the incarnations of Caesar and Big Wheelie. The keyboard player on “Green Grass…” was Jimmy Hesse who left to join The Road and was part of that band when they had a mid chart dingle on Kama Sutra with a cover of the Zombies “She’s Not There” which was produced by Joey Reynolds (now doing late night talk radio on WOR 710 NYC and also carried on over 200 stations).
Caesar & His Romans became Caesar & THE Romans, [then] evolved into Friendship Train which was a successful club & lounge act. During one set each night as part of the act they became Big Wheelie & The Hubcaps. This became so successful that Friendship Train was dropped in favor of a full night of Big Wheelie. Their final album was released on Amherst Records in 1976. Chuck stlll performs as Big Wheelie about 10-12 times per year. He was brilliantly managed by the late Fred Caserta who went on to found Kingdom Bound which is one of the largest concert events in the Christian Music field.
“Green Grass Makes It Better” is one of their catchiest numbers, and sure seems like a drug reference to me: the world is “going psycho” but “good green grass makes it better.” “Why Make a Fool of Me” on the flip is denser but excellent as well.
Their second record is one I haven’t yet heard, “Baby, Let’s Wait”, backed by the great “Black Lantern”, a bass-driven lament written by Vicario and Hesse. The A-side has the credit “Arr. by Beaver”, while the flip says “Arr. by Breezy” and “(from the movie ‘The Atomic Grandmother’)” – a real production or another joke?
Instead of publishing through GJM Music like the first single, Darshen Music published “Black Lantern”.
Moving towards a much more commercial direction, they signed to Scepter Records as Caesar and the Romans, releasing two 45s in 1969, both minor hits in the Buffalo area. “Baby Love” uses some fuzz guitar and heavy beats on the Supremes song, but I prefer the upbeat flip, “When Will I Get Over You”, written by C. Vicario, Jr.
The A-side of their next Scepter 45, “Leavin’ My Past Behind” / “Jailhouse Rock” continues their pop sound. Mike Dugo sent me photos of two more Scepter recordings by the band, “Come Little Girl” and “Come Live With Me” that were never released to my knowledge. Both are funky soul numbers.
Thank you to Diane Burt for the photo of the group at top and additional info, to Mike Dugo for the Scepter acetate photos, the promotional flyers and ads, and to Ryan Lalande for the scan of “Black Lantern”. Thank you to Mary Durant for help with identifying Karl in the photo; Karl Durant played drums with the group.
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