Claud Stuard [sic] – Claude Stewart, or Claude Steward?Bands and musicians from Schenectady, Albany, Poughkeepsie, and other areas traveled to Kinderhook to record at Earl Kennett’s studio.
A number of lacquer demos (commonly called acetates) of various sizes remained when Kennett Sound Studio closed and the property sold. Many of these demos are of the Cleaners (later known as the East Coast Clique), the group Kennett worked with the most. Others duplicate the recordings that would be released on 45 rpm records.
Below is a list of demos by unknown artists, in approximate chronological order. Because Earl was blind, many were unlabeled, though Earl’s young daughters sometimes added names or titles. Many song titles below are my guesses based on the lyrics.
Please take a listen to the audio excerpts and contact me if you know any of these artists.
8″ acetate by James Morse, not the same song as the Claude Steward, above. Another 8″ acetate has his name as Jimmy Morse8″ lacquer acetates
Folk singer Greg (surname?), associated with Hudson River Clearwater Sloop, circa 1969. Five songs, may not have been recorded at Kennett as it sounds like a radio broadcast. Hear “My Dirty Stream” with discussion of Sloop restoration
Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound 0017, 1969.
Alex Rotter and Dawn Mickle performed as simply “Those Two” in a couple news reports. The Oneonta Star noted on August 10, 1968 that the duo took second place in the Folk Music Contest at the Otsego County Fair.
The Schenectady Gazette ran a photo of the duo on September 17, 1968:
Those Two, folksingers Dawn Mickle of Warnerville and Alex Rotter of Schenectady, who won top honors at the Cobleskill Fair and first in the semi-finals of the State Fair, entertained patients at the Eden Park Nursing home …
I have a 12″ acetate from the Kennett Sound Studio that includes both songs from the single. Another 12″ acetate contains five songs performed by Alex and Dawn which were not released.
From listening, I believe four of these to be original songs: “If I Were Free”, “Take Me to the Land of Lovin'”, “I Can Tell”, and “I Know What You Mean to Say” (titles are based on the lyrics), along with a version of Fred Neil’s “The Other Side of this Life”:
The Kennett Studio labels are blank.
Thank you to Peter Aaron for loan of the Those Two Plus single, and for finding the Gazette article on the duo.
Morning After released one record in 1970, “I Don’t Need You Today” / “Dream” on Third Wave 0027.
Members were:
Joe Kearney – lead guitar and vocals Bruce Talbott – bass guitar and vocals Jim Tate – drums and vocals
Although all three have song writing credit on the labels, copyright registration from March, 1970 shows Bruce E. Talbott wrote words and music to “I Don’t Need You Today”, and Talbott and Joseph Kearney co-wrote “Dream”. Dyad Music published the songs, but I don’t see them in BMI’s database.
According to an article in the Kingston Daily Freeman from March 7, 1970, the group met in New Paltz but were based in Kingston, NY. The group were in their early 20s, so they may have had previous band experience.
For Them, Rock’s the Mother Tongue
Morning After is not much interested in talking up a revolution. Its three clean-cut, suede-jacketed-and-vested members prefer to sing songs that are rhythmic with vocal harmony rather than rife with social movement … forsaking screaming lyrics and fire-eating antics for music with a straight-ahead sound.
Relying on the powerful, bluesy, lean sounds of Wallkill drummer Jim Tate, Kingston lead guitarist Joe Kearney, and bass guitarist Bruce Talbott of Walden … Their impeccable instrumental style and express-track delivery has brought them bookings at The Creamery in West Park, the Thunderbird in Saugerties, the Blue Eagle in New Paltz, and the Trade Wind and Coral Reef in Newburgh …
Talbott … tied in with the other two members of the group during a jam session while he was a student at New Paltz State University College.
The new disc, produced by Lance Naylor for Third Wave Records, was recorded at Kennett Sound Studios in Kinderhook: is currently available at Caldor’s Abrams and Britts.
(T.G.)
I don’t know if Talbott, Kearney or Tate continued in music after Morning After. Their record is one of the few singles from Kennett Sound studio that I don’t have in my collection.
Lance Naylor had a previous mention in the Daily Freeman, from March 25, 1969:
Theft of musical instruments valued at $1,000 from the Pleasure Yacht Tavern here, was under investigation …
Lance Naylor … manager of The Spurs, a musical group, reported the theft on Monday to authorities. He said the missing articles included three amplifiers and other musical equipment.
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.
Earl Kennett, left with members of Love Minus Zero inside the Sunnyside studio, January 8, 1967. Photo courtesy of the Kennett family.Kennett Sound Studio acetate of three songs by the East Coast Clique (previously known as the Cleaners), photo courtesy of Mike Dugo
Earl Kennett was born in 1912 in Augusta, Kansas. He attended the Kansas State Institute for the Blind and the Horner-Kansas City Conservatory of Music.
He established some reputation as a touring pianist in the 1940s, including at the Blue Note at 56 West Madison in Chicago, the Rainbow Room in Oklahoma City, and the Casablanca Supper Club at 101 May Avenue in, I believe, Oklahoma City.
On March 1, 1945 Down Beat published a review:
Jazz Concert Given in Minneapolis
From 3 to 5 Sunday afternoon, February 11, Doc Evans conducted the first in a series of jazz concerts held in station WCCO’s auditorium studio.
… on piano was Earl Kennett, a solo fixture at the Casablanca …
… Song Of The Wanderer, the final tune, developed into an all-out jam-session … Pianist Kennett drew a tremendous, spontaneous ovation from the audience with his three sensational choruses on this closing number.
In the 1960s he sometimes played with the Original Berkshireland Jazz Band in Williamstown, MA. I have not yet found any recordings with Earl prior to his own album Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music from circa 1967.
Though blind, he received training in audio recording. A 1957 LP on ABC-Paramount, Vinnie Burke’s String Jazz Quartet credits Earl Kennett as recording engineer.
Earl Kennett in the Carnegie Hall studio, May 1959
I believe his first studio was located at 115 West 49th Street, New York City. In January 1958, he moved the studio to rented space in Carnegie Hall. The May 1959 issue of Broadcast Engineering had a three page feature on Earl with detailed information about the studio construction materials made by the Johns-Manville company, with a console built by Fred C. Roberts.
Facing Earl are saw-tooth-shaped Imperial Transitone movable walls for accurate sound reflection. Next to the piano not in use is an even-finish movable wall, also for sound reflection, and a sound-absorbing perforated Transite acoustical panel. The floor is covered with quiet-under-foot Terraflex vinyl asbestos tile and the ceiling with Permacoustic, a sound-absorbing fissured acoustical tile.
In early 1964 Earl moved his studio for a brief time to Mountain View Road in Nevis, a small town near Bard College in Tivoli.
In 1965, Earl and his wife bought Sunnyside farm in Kinderhook, New York, about 20 miles southeast of Albany. Earl converted an old dairy barn on the property into a recording studio, substituting egg cartons for the pricey asbestos baffles.
The first recording from his studio I can find is the Kynds single “So If Someone Sends You Flowers Babe” / “Find Me Gone”. Pressed through RCA in September, 1966, there is no indication of where it was recorded on the labels, but drummer Jerry Porreca recalled making the single at Kennett’s studio.
Back of Love Minus Zero photo at top. What are these names in the middle? Freely, Freddy, Eby, Franky ??
On January 8, 1967, a group called Love Minus Zero did a session at the studio and sent a photo to Earl. The group came from Albany, and I may have their recordings on an unlabeled lacquer acetate. It’s difficult to make out the names of the group – but luckily I found a lineup in Al Quaglieri’s The Old Band Chronicle #4, a list of Capital District bands compiled in 1990.
Love Minus Zero were:
Gary Siegel – vocals Eberhard Kobryn – guitar Fred Everhart – bass Frank Herec – drums
I believe Everhard Kobryn passed away in 2012. Later lineups added Jack Reilly on organ, replaced by Mark Rabinow. Eventually Fred Everhart was the only original member of the group, with Steve Fuld on guitar, Gary Gardner on vocals, and Stanley ? on drums.
In 1967, Kennett engineered Nick Brignola’s first LP, This Is It! on Priam P-101M. Musicians were Nick Brignola, Reese Markewich, Glen Moore and Dick Berk, A&R by William Rezey, photography by Bob Mitchell.
Another single I can confirm was recorded at Kennett is Riccardo and the 4 Most “There’s a Reason” (written and sung by Bill White) / “Bare Footin'” (featuring Ricardo Wright) Foremost Records U4KM-0937.
The Jelly Bean Bandits at Kennett Sound Studios in Kinderhook, from left: Mike Raab, Jack Dougherty, Joe Scalfari and Billy Donald on the floor – photo taken by bass player Fred Buck.
The Jelly Bean Bandits made their first demo at Kennett Sound Studio, never released to my knowledge. Mike Raab wrote:
The Goodtimes had done some recording there and when we decided to lay down tracks Dave Kennedy suggested Earl’s place … We really didn’t know what we wanted to do or could do. We cut two demo songs: “Poor Precious Dreams” an original song that ushered us into the psychedelic music era; and “Hard, Hard Year” a beautiful b-side from The Hollies that we managed to brutalize.
I have found an acetate of this early version of “Poor Precious Dreams”. The duration is about thirty seconds longer than the version on their Mainstream album.
In 1967 Earl Kennett began offering pressing services through Decca’s plant in Gloversville. Some releases have “Kennett” at the bottom of the labels, but all have a distinctive four-digit release number, beginning with “00”.
There were at least twenty-three 45 rpm singles and one LP released through Kennett’s studio with this numbering system. The last release I can find dates to 1973.
In addition, I know of a number of unreleased lacquer acetates by the Cleaners, the Chain Reactions, and others:
If you or someone you know recorded at Kennett, please contact me.
Discography of Kennett Sound Studio (possibly incomplete):
Kleener Style Records 0011 – The Cleaners – “Dust” / “Hold Me, Thrill Me, Kiss Me”
Sunnyside Records 0012 – Musical Themes of Composure: Earl Kennett’s Original Piano Improvisations of Restful Music (12″ album)
0013 – ?
Sunny-Side Records 0014 – Psychedelic Sound – “Sorry Baby = Goodbye” / “Stars Cease To Shine” produced by M. Rizzi. Tina was the drummer for the band, and (I believe) one of the vocalists.
0015 – ?
Charter Records 0016 – The East Coast Clique – “Dust” / “Last Stop (Everybody’s Getting Off)”
0017 – Those Two Plus – “I’ll Be There” / “It’s Rainin’ (Where I’m Bound)” (both by Alex Rotter, arranged by “Those Two”) Kennett Sound, 1969
0018 – The Villagers – “Wishes and Memories” / “Cry On” (Chuck Petit)
Jim De Sorbo photo found with his recordScan courtesy of Brian Kirschenbaum
J.D.S. 0019 – Jim DeSorbo and the Country Casuals – “For Crying Out Loud” (Music, lyrics, vocal – Rusty Howard) / “I’ve Had All I Can Take from You” copyright ’69 BMI
The Gallery 0020 – The Gallery / Peter Dean – “Forever Sunshine” (Sal Costanzo) / “Our Man Jack” (Edward Duggan), Kennett Sound, Mlester Pub. BMI. The Gallery – label name or group?
0021 – ?
S Bar S Records 0022 – Slim Skellett & the Slim Skellett Trio – “Ghost Riders in the Sky” / “Wanderers of the Wasteland” (Brad Husson guitar, banjo; Bob Skellett bass)
S Bar S Records 0023 – Slim Skellett & the Slim Skellett Trio – “Strawberry Roan” / “Billy Richardson’s Last Ride” (Brad Husson guitar, banjo; Bob Skellett bass)
King Town 0024 – Coming Generation – “Tell Me Now” (Jim Du Bois) / “This Troubled Life” (Ed Barnhart) copyright ’69
0025 – ? 0026 – ?
Third Wave 0027 – Morning After – “I Don’t Need You Today” / “Dream” (Tate, Talbott, Kearney) Copyright 70 Dyad Music BMI, Prod. by Lance Naylor, group from Lake Latrine area
0028 – ? 0029 – ? 0030 – ? 0031 – ? 0032 – ?
Casino 0033 – The Coachmen – “Green Green Grass of Home” / “Hang Up Your Rock and Roll Shoes” Produced by Kennett AND QUINN
from the collection of Brian Kirschenbaum
Ranch Bar Records 0034 – Billy D. Hunter with the Santa Fe Riders – “I Still Belong to You” (Grace Hamilton, Billy D. Hunter) / “Will You Remember Me” (Gorden Bainbridge, Billy D. Hunter) – Waterford, NY
Drift 0035 – Denny and the Drifters – “Mountain of Love” (Harold Dorman) / “It’s Only Make Believe” (Twitty – Nance)
Ranch Bar Records OO36 – April Starr the Bluebirds and Chorus – “Lonely Heart” / “At the End of the Bar” (Del Monday) – arranged by M. Leddick’ produced by T. Carbonare, R. Hastings, B. Herold, D. Smith, and D. Oliver, from Crescent, NY.
Drift 0037 – Denny and the Drifters – “Broken Hearted Dreamer” (Ted Craver and Denny Haughney) / “Why Do I Love You” (Kenny White, Paul Desroches) produced by Kennett
Reeb 0038 – The Fownds – “Rosalin” (Sal Gambino) / “Comin On Strong” (Donald Moore) (1971)
0039 – ? 0040 – ?
Mojo 0041 – Exit 19 – “Angel of the Morning” / “To Be Alone” (written by Joe Cashara who also did lead vocal) produced by Lanse Dowdell, 1972
Quellthom 0042 – Bob Thomas – “It’s Just Not Fair” / “I’m Walkin’” / “Hello Mary Lou” (1973)
Parker 0043 – Country Express – “Trying to Quit” / “Ode to a $164 Plane Ticket” (both songs by D.B. Boucher, vocal by Frenchie La Shay) 1970
Reeb 0044 – The Founds – “Wheels” / “Remember” – vocal by Roy Jackson, both songs by Donald Moore, 1973
Ranch Bar 0045 – Jimmy DeSorbo and the Country Casual’s – “Listen to the Mocking Bird” / “Let the Rest of the World Go By” (Dolly McIntyre – producer)
King Records 0046 – Tommy Gene with the Kings of Country – “Somewhere U.S.A.” (words by Carol Curtis, music by Tommy Gene) / Tommy Gene and Don Horne – “Me Too” (accompanied by Alice Horn, words by Don Horne). A-side has 1968 copyright while B-side has 1973 copyright.
——————
Any help with additional releases, photos or memories of the Kennett Sound Studio would be appreciated.
The Gallery (formerly the Gayblades) included Sal Costanzo (organ), Peter Dean (drums, vocals), Holly Gregg, John Dean, Bob Dean, and Robbie Howard, though I am not sure exactly who played on their single “Forever Sunshine”.
Note: there was a Kennett Sound Studios operating out of Kennett, Missouri recording mostly country music, 1,100 miles away and unrelated to this studio.
The Cleaners came from Schenectady, New York, releasing two singles in 1966 and 1967.
Members included Larry Parks (listed in songwriting credits as Larry Podrazik), Bob Ives (Robert Iovinella), Bob Sands and Jay Camp.
The Cleaners’ first single was the super-soulful “How I Feel” b/w “If You Want Me” (described on the label as Rock-Jazz), both originals by Podrazik and Iovinella. A comment below mentions booking manager George DeVito recording the songs in his home studio. However, I have a 8″ laquer acetate of both songs from Earl Kennett’s studio. The sound of the bass, and the echo of the hand claps on “If You Want Me” suggests Earl’s studio rather than a home recording.
It was issued on Knight Records KN 3, of Bellevue Station, Schenectady, with a State Music Productions credit; the ZTSP 122826/7 codes indicate a Columbia custom issue, a styrene 45.
Podrazik and Iovinella copyrighted the songs in April and May of 1966, along with another original, “Just Until the End of Time” that was not released but would remain part of their live set.
In July of 1967 Podrazik and Iovinella registered another original song, “Dust”. The Cleaners cut it at Kennett Sound Studio in Kinderhook, NY, along with a cover of “Hold Me, Thrill Me, Kiss Me”, released on their own Kleener Style Records 0011.
These were among the earliest singles issued out of Earl Kennett’s studio, which would go on to record and release over twenty 45s into the 1970s.
From the 1967 index of copyright registration
Not long after, the East Coast Clique recorded “Dust” backed with another Podrazik/Iovinella original, “Last Stop (Everybody’s Getting Off)”, both with NemSong publishing. Released as Charter Records 0016, the Kennett Sound credit at the bottom indicates the studio, as does the 00 prefix on the release number 0016. The production on this version is fuller, with the drums more prominent and danceable.
The East Coast Clique, including at least two members of the Cleaners
A Schenectady news clipping about the East Coast Clique mentions a single on the “Cleaner Style” label, so the Clique were a continuation of the Cleaners with a new band name, and some different members. Larry Parks and Bob Ives had been in the Cleaners, and the East Coast Clique’s other members included Sal Cannavo, Kent Brust and John Malik.
The article states:
One of the group’s songs, “Just Until the End of Time,” arranged by Bob Ives, leader, and Larry Parks, will be dedicated to the memory of Dr. Martin Luther King Jr. during the performance.
Now appearing at the Bavarian Lodge in Hudson, the East Coast Clique … record on the Cleaner Style label and have appeared on Hank Brown’s Twistorama over WKTV, channel 2.
There is an 12″ acetate from Kennett Sound Studio of three songs by the East Coast Clique: a later version of “How I Feel”, “Last Stop (Everybody’s Getting Off)” and “Just Until the End of Time”. The second song was issued as the B-side to their single on Charter Records, “Dust” but I am not sure if this is the same version.
Podrazik and Iovinella registered two additional songs in 1968: “Captain Miller’s Flying Circus”, and “Sleepy Boy” (this last one shows Earl Kennett contributing to the music arrangement).
Kennett Sound Studio acetate for the Cleaners “Baby I Won’t Be Lonely”, from 1969. Scan courtesy of Brian Kirschenbaum
In January 1969, they registered “Baby, I Won’t Be Lonely”, which exists on a Kennett demo acetate as by the Cleaners, so it may have been considered for release.
Later copyrights include “I’m So Happy” (October 1969, with words by Brummer).
Al Quaglieri wrote a profile of Bob Iovinella for the March 8-14, 1990 issue of Metroland. He describes how Iovinella and Larry Parks had a five-year publishing contract by Nat Weiss, but only two songs saw publication in that time.
In 1970, Larry Parks had a solo composition “Pay Day” (using the name Adam Parks) recorded by Sha Na Na.
Starting in 1980, Iovinella and Parks would work together again as partners in Hendi-Parksives Productions.
Thank you to Brian Kirschenbaum for scans of the East Coast Clique 45 and the Cleaners acetate. Thank you to Bobby Iovinella for the photo at top and to Mikael for the news clipping.
The Villagers included Phil Haskins, Rick Haskins and Charles Petit.
They cut their only single in very early 1969 at Kennett Sound Studio, located in a renovated barn just south of the village of Kinderhook, NY.
Phil Haskins wrote the words to the slow, lovely “Wishes and Memories” and co-wrote the music with Rick Haskins (Richard J. Haskins).
Charles R. Petit wrote the more soul-styled “Cry On”, copyright registered February, 1969.
There is no label name, but Kennett Sound appears on other singles by the Cleaners and East Coast Clique, and the 0018 release number is similar to others from that studio, usually four digits starting with 00.
I don’t have much info on the Coming Generation who released one single in 1969 on the King Town label. Jim Du Bois wrote “Tell Me Now”, and Ed Barnhart wrote “This Troubled Life”.
The band seems to have been a quintet or sextet, with organ and smooth harmony vocals. They were indeed from Kingston, New York, as noted on several ads for shows in the Kingston Daily Freeman beginning in 1967 and ending in 1970. A sample of their shows include:
1967 – Sportsmen’s Park, Rosendale and the Viking Lounge on Glasco Turnpike, High Woods
The Coming Generation opening for Fire & Ice, March 27, 19701968 – The Tropical Inn, Port Ewen
1969 – 1970 – the Pleasure Yacht, Eddyville
December 31, 1969 – the Creamery at Wiltwyck Village, Esopus with Jay and the Techniques
1970 – Thunderbird Inn, Route 9W, Saugerties
March, 1970 – Thunderbird Inn with Fire and Ice (could this be Auggie Bucci’s group, with singles on Capitol and Crazy Horse?)
Runout vinyl has no markings other than 0024-A/B, but this numbering and the label design indicates it was recorded at Kennett Sound Studio in Kinderhook, NY.
Despite the labels saying copyright ’69, I haven’t found any registration for these songs.
The Fownds came from Hudson, New York. They had two singles, first the thumping rocker “Comin On Strong” b/w the doo-wop influenced “Rosalin” in 1971, and then the moody “Remember” b/w a hot rod parody “Wheels” (the band name changed to the Founds on this release).
Both singles have a sound like something from the early-mid ’60s despite the release dates.
Donald Moore wrote most of the songs and did some lead vocals. Sal Gambino wrote “Rosalin”, and Roy Jackson sang lead on the moody “Remember”.
The Fownds released both singles on their own Reeb label (“beer” spelled backwards), a custom label through Earl Kennett’s studio in Kinderhook.
Don Moore had a later band called Confusion, I believe he passed away in 2013.
The Kynds, from the Schenectady Gazette, September 16, 1966
The Kynds were a Capital region trio with members from Hudson, Troy and Schenectady, New York, and bookings throughout the area. They recorded their only single “So If Someone Sends You Flowers Babe” / “Find Me Gone” at Kennett Sound Studio in Kinderhook, NY.
Members included Joseph Cirincione, Jerry Porreca and Dan Wood. They were a trio of organ, bass and drums, which may explain why the organ is loud in the mix on both of these songs.
Jerry Porreca wrote to me “the band actually formed in Hudson. It evolved from the Del Tones to the Kynds and then Bits & Pieces.”
A short article in the September 16, 1966 Schenectady Gazette promoted one of their engagements. It gave a different bass player’s name, along with a different spelling of Joe Cirincione’s name:
The Kynds, featuring (from left) Jerry Porreca on drums, Denny Connolly, bass and Joe Cerincione, organ, are appearing nightly at Loreno’s Restaurant, 2235 Broadway. The group has worked at the College Inn, Saratoga Srpings, Excelsior House, West Sand Lake, and the Rose Garden, Amsterdam. They will be appearing with a second band, “The Four Most.”
In a comment below, Rick Piester states that he “was the original bass player in The Kynds. Had worked with Jerry Porreca earlier in the Del-Tones”.
The Kynds released this great 45 on what must be their own Mo-Foag label in the second half of 1966 (RCA custom pressing number TK4M-5296).
“So, If Someone Sends You Flowers, Babe” has become a favorite of mine, with its repetitive organ lick and quiet vocals. As far as I can make out, some of the lyrics are:
The Kynds at the Excelsior House, ad from the Troy Record, April 9, 1966
It really makes no difference if you like what you see in me Not a chance babe, ‘Cause I’m happy, That we are free (?) What you say girl, It don’t have no effect on me So, if someone sends you flowers, babe, You know it wasn’t me.
It was written by Dan Wood and Joe Cirincione, Jr.
The b-side is the fast “Find Me Gone”, with its famous shout near the end of the song, written by Joseph Cirincione, published by Upstate Music BMI.
Thanks to Brian Kirschenbaum, and to Jonas Carlsson for help finding the clipping from the Gazette.
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
