Category Archives: Studio

Categories: Edgewood Recording Studio (DC), Garrett Park, Maryland, Monument, Ru-Jac

The Reekers

May 2, 2007 Chris Bishop 8 Comments

Tom Guernsey formed the Reekers in late 1963 with his brother John Guernsey and friends from Garrett Park, MD, a small town outside of Bethesda and a short distance from Washington D.C. Bass players and drummers would change over time, but the core of the band was always Tom Guernsey on guitar, Joe Triplett on vocals and Mike Henley on piano.

While playing the beach resorts at Ocean City in the summer of ’64, rich friend Toby Mason became interested in the band and offered to pay for studio session time. The Reekers first session didn’t go well, but then they went into Edgewood Recording Studio on K Street in downtown D.C. Engineer and owner Ed Green asked Tom whether they wanted to record in one track or two. When Tom asked what was the difference, Green said one track is $10 an hour, two would be $20 an hour! The Reekers went with one track, no overdubs, to record two original instrumentals that would make Link Wray proud.

Tom’s lead guitar and Joe Triplett’s screams combine with Jim Daniels’ ferocious take on surf drumming for “Don’t Call Me Fly Face” (named for the Dick Tracy villian). On “Grindin'”, Richard Solo makes incredible bass runs behind a bluesy guitar workout from Tom, accompanied by Henley’s keyboards and Triplett’s interjections (‘keep grindin’, ‘look good to me now’, ‘keep walkin’ boy’!)

Tom brought an acetate of the session to Lillian Claiborne, a legendary D.C. record producer. Claiborne had been Patsy Cline’s manager early on in her career, and was responsible for recording and supporting many local acts, especially soul and r&b artists. She released some records on her own DC label and leased other masters to labels around the country.

Claiborne signed Tom to a production contract and sent the Reekers to Rufus Mitchell, owner of Baltimore’s Ru-Jac Records, a label usually known for soul music. With Claiborne’s assurance of airplay on WWDC, Mitchell released the Reekers 45. The small first pressing lists Tom as sole writer of both songs. When that sold out, Ru-Jac ran a second press, this time correcting the songwriting credits on “Grindin'” to give John Guernsey co-credit.

Reekers Ru-Jac 45 Don't Call Me Flyface The Reekers never saw any money from this record, but it garnered them some attention. Local teen maven Ronnie Oberman profiled the band in the Washington Evening Star on April 17, 1965. About this time they went back to Edgewood to record a beautiful ballad, “The Girl Who Faded Away”. For this session Mike Griffin played bass and Bob Berberich replaced Daniels on the drums. This song shows some considerable development in the band, from Tom Guernsey’s songwriting to the harmony vocals and the band’s delicate handling of the arrangement. The band took a demo to the WWDC program director who had pushed “Flyface”. Not only did he pass on it, but his remark that they should stay an instrumental band disappointed vocalist Joe Triplett.

For his next song, Tom worked out a riff on piano loosely based on an instrumental he heard on the radio. The song he wrote around that riff, “What a Girl Can’t Do”, would change the fortunes of him and the rest of the Reekers.

The band went to Rodel Studio in Georgetown, a larger studio than Edgewood, but with a less competent staff. By sheer accident the engineer captured an echo-laden drum sound that gave the song an instant hook. Tom took all but two strings off his guitar so he could play the riff cleanly. Joe Triplett delivered the lyrics with sneering satisfaction, his voice perfectly suited to the lyrics. Though the words were a Stones-like put-down, musically the song shows little influence of the British Invasion. This was the first time the band had tried overdubs, including Joe on the harmonica solo and Tom’s repeating high guitar notes that take the song out.

Guernsey received some instant feedback on whether this song had a chance at a hit: Mike Griffin, hired as bass player for the session, had been offered either $20 or a percentage of the record. Initially he wanted the $20, but on hearing the playback in the studio he changed his mind and asked for the percentage!

Just as the Reekers were getting attention around DC with “Don’t Call Me Flyface”, the band dispersed, with Mike Henley and Joe Triplett going away to college. Tom and Bob Berberich joined another band, the Hangmen, with bassist Mike West and rhythm guitarist George Daly, fellow students at Montgomery Junior College.

Fate would strike in the early summer of ’65, when Hangmen manager Larry Sealfon played “What a Girl Can’t Do” for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him – only Tom as he was the songwriter and leader of the Reekers. Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers’ recording of “What a Girl Can’t Do” under the Hangmen’s name, even though the only Hangmen that had played on it were Tom and Bob Berberich.

Some sources report that the Hangmen rerecorded the “The Girl Who Faded Away” for the Monument 45. A close listen shows that the Hangmen’s Monument 45 version uses the same instrumental backing as the Reekers’ original Edgewood acetate. The vocal track does not match the demo, with different lyrics, but the lead vocalist is the same (Triplett I think). The acetate also runs about 24 seconds longer than the Monument 45.

Confusion also exists about “What A Girl Can’t Do”, but there should be no doubt, the Monument 45 version released under the Hangmen’s name is actually the Reekers. In 1966 the Hangmen recorded their own version of the song for their LP, which sounds very different.

The Hangmen’s story continues here.

Though the Hangmen spelled the end of the Reekers, Tom now considers a number of his later projects with Joe Triplet (and often with Mike Henley, Sam Goodall and Bob Berberich) to be extensions of the Reekers, including a 45 released as the Omegas, and later recordings like 1972’s “Night Time of My Lifetime” and “Streakin’ U.S.A.”.Bob Berberich stayed with the Hangmen after Guernsey left the group, and would go on to join Dolphin with George Daly and Paul Dowell of the Hangmen and Nils Lofgrin, and then join Lofgrin’s own group, Grin.

Joe Triplett and Mike Henley joined a group called Claude Jones, John Guernsey joined the group soon after and became one of their primary songwriters. Joe Triplett later formed the Rosslyn Mountain Boys.

Meet The Reekers, a 20-track CD including the originals of Don’t Call Me Flyface and Grindin’, the Omegas’ I Can’t Believe and five ccver versions of What a Girl Can’t Do, is available at CD Baby, which also has Tom’s instrumental album, Same Place, Different Time.

Tom is working on a film inspired by the Reekers story called “The Girl From California”. He asked me to include this clip from the film:

Categories: Jewel, Louisiana, Robin Hood Studios (Tyler), Ronn, Shreveport

The In-Crowd

April 11, 2007 Chris Bishop 11 Comments

This is actually the very first record released on the Ronn label, a subsidiary of Jewel, based in Shreveport, Louisiana. “Nothing You Do” is fine garage-soul, and though there are horns, the vocals, keyboards and driving rhythm remind me of the Music Machine more than anything else. It was written by Roger Barnes and produced by Gene Kent and Don Logan.

Barnes usually wrote soul or funk music, and in fact, the In-Crowd may be the only white artists in the whole Ronn catalog. A good version of “Midnight Hour” is on the flip.

I’m pleased to say I’ve been in touch with Steve Tuminello, the drummer for the In Crowd, so I’ll let him tell the In-Crowd story in his own words:

I was 17 years old when we cut that record at Robin “Hood” Brians studios in Tyler, Texas. Band members on the record were:
James Gordon – Vocalist
Roger Barnes – Keyboard and Vocals
Steve Tuminello – Drums
Drake Lee – Guitar and Bass
Richard Meeks – Guitar and Bass (He is on the fuzz tone lead guitar solo)
Jimmy Lloyd – Tenor Saxophone
Wallace Dingee – Trumpet
Pat Anders – Lead Trumpet
Don Logan and Gene Kent were our managers and promoters of the shows we played. They called them dances, but the kids back then would stand in front of the band and “sweat” the band as they called it. It was kind of like playing a small concert because the halls we played would hold around a 1000 people.
Gene Kent and Don Logan were the top DJ’s in Shreveport, Louisiana at AM 710 KEEL Radio in the 1960’s. Don Logan also was a record executive with Jewel/Paula/Ronn Records. Stan Lewis founder of Jewel/Paula/Ronn records.
I remember Don Logan telling us we had to change the name of the band because we broke the Billboard top 100 (This was late 1966 and the first year Billboard had this designation) and we were being sued by a band named the In Crowd in California. I suggested we change the name to the Inn Crowd. I had the name painted on my bass drum and this was an easy fix. I believe the song hovered around the 10 or 11 mark on the regional charts, as I recall. I didn’t even know we were played outside of Ark-La-Tex.

We became local celebrities and the attendance to our shows increased dramatically. We were just a bunch of high school kids but we were booking for a large amount of money for those times. We used to make a $100 per night each and in today’s dollars that would be around $500 per night.
Roger Barnes and Drake Lee are still in Shreveport and I’m not sure about the rest of the band members. I have often thought a reunion would be a lot of fun. As you mentioned we were a blue eyed soul 8 piece horn band playing R & B covers. “Nothing You Do” was not really our style but was fitting for the AM radio waves in late 1966.
My Uncle, A.J. Tuminello, who taught me to play the drums at age 5, was the original drummer on Dale Hawkins’ Suzie Q, and was involved in the origination of the tune. He was not available on the date of recording so Stan Lewis had his younger brother Ron Lewis fill in for my Uncle in the studio. Ron Lewis is the namesake for Ronn Records.

“Nothing You Do” reached #19 on KEEL in Shreveport in January of ’67.This In-Crowd has nothing to do with the many other In/Inn Crowds around in the ’60s, including the Inn Crowd that featured Hal Ellis (of John Fred’s band), that had three 45s for the Montel – Michelle label.

Despite having recorded at Robin Hood Brians studio, they were also not the In Crowd with Jim Glaves and Bobby Rambo on guitar that released a 45 on Abnak and became the backing band for Jon and Robin.

Wally Dingee and some other members continued the band with Bill Wray on vocals, eventually renaming it to Bill Wray and the Showband Royale. They had a 45 called “For Our Friends” on the Readie label that I haven’t heard.

Thanks to Steve Tuminello for his history of the band and the news articles, and to Wally Dingee for the poster and stills from the Super 8 film of the band.

Categories: Arthur Smith Studios, Sonic, South Carolina, Spartanburg

The New Generation

March 20, 2007 Chris Bishop 9 Comments

“That’s the Sun” is a fine garage song with a touch of psych. All copies of the record suffer from a warble in the tape created in recording or mastering. New Generation Sonic 45 That's The Sun

From Spartanburg, South Carolina, the New Generation had Tommy Caldwell on bass and Doug Gray on vocals – these two would soon become part of the Marshall Tucker Band. Other members were Randy Foster on rhythm guitar, Ross Hannah on drums, Dan Powell on organ, and Keith Wood on lead guitar.

Anyone have a photo of the group?

“That’s The Sun” was written by Tommy Caldwell and Randy Foster. The flip side is a conventional pop song called “Because of Love (It’s All Over)”. Released April of 1968 on the Sonic label.

I’ve read they had one other 45, but I think that may be a mistake. They were not the same New Generation with a 45 on Kapp, “If You’re Lookin’ for Love” / “Never Let the Right Hand Know (What the Left Hand’s Doin'”.

Categories: Dallas, HBR, Josie, Knight (Dallas), Robin Hood Studios (Tyler), Southern Sound, Texas

Jimmy Rabbit and Positively 13 O’Clock

March 2, 2007 Chris Bishop 31 Comments

Jimmy Rabbit cuts Chuck Dunaway's call letters off his shirt — Jimmy Rabbit cuts Chuck Dunaway’s call letters off his shirt after winning a boat race between the stations. Photo from The History of KLIF Radio (http://1650oldiesradio.com/pgone.html – now defunct).

Jimmy Rabbit Knight 45 Pushover Jimmy Rabbit was a prominent DJ at Dallas station KLIF AM 1190 with a show that mixed British Invasion sounds with Texas acts like Mouse and the Traps, Sir Douglas Quintet and the Five Americans. Having tried his hand at singing as a young rockabilly under his real name, Eddy Payne (Dale Payne), he decided to make another attempt in 1965. With help from friends, Rabbit released three good garage 45s from ’65 to ’67.

“Pushover” is distinguished by a popping rhythm and sharp guitar. It was released with three variations in the name. First as Jimmy Rabbit with Ron and Dea on the yellow Knight label, on a blue Knight label as simply Jimmy Rabbit, and then picked up for national release on Southern Sound as Jimmy Rabbit and the Karats (ha ha).

Jimmy Rabbit Knight 45 Wishy-Washy Woman The b-side “Wait and See” is dark and less catchy, but pretty good too. Both of these were written by Lindsey-Kirkland-Rambo, arranged by Bob Rambo and produced by Bob Sanders.

Next came the bluesy “Wishy Washy Woman” from July of 1965, written by Ron Price. “Wishy-Washy Woman” reached #31 on the KLIF charts thanks to Jimmy’s connection with the station. It’s a formulaic blues, but gains momentum a little over halfway through as Jimmy sings just over the drums, with the other instruments coming in at the end of each measure.

The flip side is “My Girl”, credited as a Price original but really more a version of Willie Dixon’s “My Babe” with some different lyrics.

Jimmy Rabbit Southern Sound 45 Pushover Jimmy Rabbit Josie 45 Wishy-Washy Woman

Positively 13 O'Clock photo — Positively 13 O’Clock lineup, from left: Dave Stanley, Bugs Henderson, Jimmy Rabbit and Jerry Howell Jimmy Rabbit: “The picture of Positively 13 O’Clock was taken while we were playing at the world famous Lou Ann’s Teen Club.”

Positively Thirteen O'Clock HBR 45 Psychotic Reaction His biggest hit came in 1966, with a buzzy cover of “Psychotic Reaction” under the name Positively Thirteen O’Clock, recorded at Robin Hood Brians studio in Tyler, Texas with members of Mouse and the Traps: “Bugs” Henderson and Ronnie “Mouse” Weiss on guitars, Ken “Nardo” Murray drums, David Stanley bass, and Jerry Howell organ.

The solo has a frantic, trebly quality that’s a trademark Texas sound. The band ends the song with a final burst of fuzz rather than coming back into the verse as in the Count Five’s original, itself an imitation of the Yardbirds’ raveups. This abbreviated version clocks at a tidy 1:59!

High Yellow film still photo

Mr. Rabbit wrote to me:

The Dallas records [“Pushover” & “Wishy Washy Woman”] were a totally different thing than the Tyler recordings [“Psychotic Reaction”]. When Bobby Rambo and I teamed up in late ’64 we were a part of a new kind of music “thing” in Dallas-Ft. Worth.
We all came out of rockabilly music and we all used to hang out at the Sand-Lin Recording Studio (Bob Sanders and Lewis Lindsey) and played at, among other places: LouAnn’s and The Cellar in Dallas. This was right when the change from American to English music was taking place. We really tried to become/sound English! (like my friends in The Sir Douglas Quintet).
I was a teenager with a Beatle haircut who was the number-one d.j. on KLIF Radio. I had brought the Beatles on stage when they played Dallas [fascinating write up was at http://www.radiodailynews.com/rabbittchapter12.htm but can now be found at https://web.archive.org/web/20120329141938/http://www.radiodailynews.com/rabbittchapter12.htm] and played in several bands, so we all got record deals at different times. There were several bands that hung out and listened to and recorded music. At any given time, there could be a band called ‘Jimmy Rabbit and the Karats’, ‘Jimmy Rabbitt with Ron (Boston) and Dea’ (Kirkland), ‘The Rowdies’, ‘The Bobby Rambo Rock-Kings’ and on and on.
The songs “Pushover” and “Wait and See” were recorded in 1965 and were featured in the movie, High Yellow. The band included Bobby Rambo, Lewis Lindsey, Dea Kirkland, Rex Ludwick, Ron Boston, and others who have been long forgotten!
Bobby Rambo, Rex Ludwick and I (and others) became Jimmy Rabbitt and Texas (on Atco Records) and later Jimmy Rabbitt and Renegade who recorded an album for Capitol with Waylon Jennings producing in 1977. Of all the records that I have made over the years, the only song that Bobby Rambo didn’t play on was “Psychotic Reaction”.

Check out Jimmy Rabbit’s website at www.jimmyrabbitt.com.(defunct)

Categories: Capitol, Cleveland Recording, Findlay, Ohio, Xenia

The Turfits

December 28, 2006 Chris Bishop 9 Comments

Robert “Whitey” Gwinup was guitarist in a group from Fremont, Ohio called the Vandaliers whose members included Wayne Van Doren on drums and Harry Kerr. The Vandaliers had been playing together since 1962, and recorded a demo, If “It’s Love You Want” on September 2, 1965 at Cleveland Recording.

Meanwhile in Findlay, Ohio was the American Way, with members Roger Hilty drums, Gary Reddick organ, Kenny Turner bass and Bob Peeler lead guitar. Whitey Gwinup left the Vandaliers on July 9, 1966 and took Bob Peeler’s place on lead guitar. This new lineup changed their name to the Other Ones, and later changed it again to the Turfits.

They based themselves in Xenia, at a nightclub the band half-owned called The Castaways. They also played often at a club called the Capitol in nearby Dayton.

Gwinup brought “If It’s Love You Want” with him when he joined the Turfits, who recorded their own version at Cleveland Recording in 1967. Although the original version was written by Gwinup and Harry Kerr of the Vandaliers, writing credits on the label list all the members of the Turfits.

Gwinup also wrote “Losin’ One”, but as with “If It’s Love You Want”, all the Turfits’ names were listed on the songwriting credits (with Gwinup’s name misspelled as Gwinep).

Capitol Records had done very well with the Cleveland band the Outsiders and Youngstown’s the Human Beinz, so Capitol were willing to take a chance on other local Ohio acts. The Turfits didn’t reach the charts like those other groups, but “Losin’ One” has a classic garage sound – mumbled self-pitying lyrics and a high-pitched organ behind a restrained garage solo.

Production was by Don King – not, as I originally thought, the future boxing promoter (though that Don King was producing soul and gospel records in Cleveland at the same time as an investor in Way Out Records), but the brother of Tom King, singer for the Ohio group the Outsiders, who hit big with “Time Won’t Let Me” and cut the garage classic “I’m Not Trying to Hurt You”.

Thanks to BuckeyeBeat for some of the background information about the Turfits. Be sure to check out BuckeyeBeat’s site dedicated to Ohio garage. Additions and corrections were made from contact with Jaremy Hilty, son of Turfits drummer Roger Hilty, and by Wayne Van Doren and Whitey Gwinup.

Categories: Dove Recording Studios, Minnesota, Peak, Stillwater

The More-Tishans “(I’ve Got) Nowhere To Run” on Peak

May 11, 2006 Chris Bishop 23 Comments

The More-Tishans, from left: Chris Nelson, Roy ‘Pinky’ Herschleb, Hugh Kraemer and Tom Cafferty. Scan courtesy of Dan Shearen

The More-Tishans were a major live act in eastern Minnesota. Today they’re known mainly for the only song they ever released, “(I’ve Got) Nowhere to Run”. What a tune, penned by a friend of the band, Mark LeBoutillier.

The band recorded “Nowhere to Run” at Dove Studios in the Bloomington section of Minneapolis. It was produced by Timothy D. Kehr and released on Peak, a subsidiary of Minneapolis’ Metrobeat label. The B-side is the instrumental backing track of “Nowhere to Run”. Many copies have reversed labels.

This is very accomplished garage with fine harmonies. Scott Schell explained to me that after two early lead singers, Steve Peulen and Jim Bancroft left the group, the group needed to rely on their harmony singing to carry the songs. It’s hard to believe they would never cut another record.

Scott Schell has been researching bands from Stillwater, Minnesota and will publish a history of these groups next year. I’ll turn the rest of this article over to him. Scott also sent in the great photos, articles and promotional materials.

The More-Tishans – a history by Scott Schell
From the beginning the More-Tishans were a unique group with almost flawless harmonies, wit, and the ability to work up a crowd. This foursome were all somewhat shy, but on stage a transformation would take place and they would become the impeccable More-Tishans.
In 1963 when the idea of starting a group came about the only one with any musical background was Roy (Pinky) Herschleb. Pinky had been playing drums in the school band for some time, but as for the other three, Hugh Kraemer, Tom Cafferty and Chris Nelson, it would be bloodied fingers, hours of practice and determination.
With the help of their parents the More-Tishans set up a four-way partnership that would include being responsible for bank transactions, deciding on payment, and of course IRS tax and writing off equipment as needed; not bad for high school kids not yet old enough to drive!
Peppermint Club promo from 1964 with Tremadons, More-Tishans, Keith Zeller & the Starliners, Gregory Dee and the Avantis, and the Stomping Underbeats
The very first job that they would play would be a turkey trot at a local church, at this point they only knew about six songs, but would indeed entertain the crowd for several hours nonetheless. One member of the group went the whole night with his amp on standby, because he wasn’t quite there yet on guitar. As time went on and after hours of grueling practice after practice things began to take shape.As the musicianship grew so did the image as well. The More-Tishans would not only work their songs to perfection, but also the way they looked: wearing matching suits of which I think there was four or five different ones, and the posters, the pictures, the top of line equipment and last but not lest the hearses; of which over time there would be three.
Time would prove that the hearses wouldn’t be all that practical. The weight of the equipment added to the weight of the hearse itself was very hard on tires and universal joints; as a result the group would have to carry along with them a number of spare parts and two jacks. The two jacks was the only way the hearse could be lifted with all that extra weight.The next vehicle the group would own was a brand new Ford wagon the boys would lay down cold hard cash for. In the begining these guys weren’t old enough to drive, their first manager Doc Lee would bring the group to gigs in his station wagon touting trailer behind.
Management? Back in the early sixties the venue for live music was big business with over more than likely three hundred clubs, school dances, ballrooms etc. The competition was intense and Doc Lee would prove to be a fierce competitor in the field of entertainment. The More-Tishans would soon find themselves traveling the entire state of Minnesota and all surrounding states, logging thousands of miles a year.
Roy “Pinky” Herschleb promo photo, scan courtesy of Dan Shearen
In the spring of 1965 the group was graduating high school. My first job was stocking shelves in a corner store and here these guys are traveling all over the place playing music and learning life lessons from the road, doing what most of the rest of the world could only dream of. Well, so the summer of 65 is upon the More-Tishans and there’s plenty of work to go around before college starts and it’s time to buckle down. As the summer comes to a close and the new school year is upon us, all four of the group have enrolled in college but the More-Tishans are now playing the college circuit. And by now their skills as musicians are honed to a tee. Over the next year it would be school work during the week and rock & roll on the weekends. A tough schedule for most, yes, but this bunch is driven, not just by rock & roll but by life and all it has to offer.
1966 would prove to be a major break through with the writing of, by high school class mate Marc LeBoutillier and recording of “(I’ve Got) Nowhere To Run” on a local record label.
The first blow the More-Tishans would take came in 1967 when Tommy, lead guitar and vocalist, would be drafted into the military; [yet] this was nothing more than a minor setback. A group out of Marshall, Minnesota had a more than qualified lead guitarist / vocalist who would be ready to fill the shoes of Tommy. Dick Schreier came on board and the group continued playing the Midwest, and the college circuit with Dick at the helm.
The More-Tishans, from left: Chris Nelson, Roy ‘Pinky’ Herschleb, Dick Schreier and Hugh Kraemer
In late ’67 the More-Tishans would suffer yet another blow when drummer Pinky Herschleb would be stricken with a condition that would cause him so much pain in his arms he could no longer play drums for an extended period of time. Once again it seemed as though this might be the end for the More-Tishans, but a young and eager Dan Monson was ready for the chance.
Now considered one of the top ten of Twin Cities bands, the More-Tishans seem to be unstoppable, yet on Aug. 23, 1968 it would end. In front of a hometown crowd at the National Guard Armory in Stillwater, Minnesota with all six present and past members of the More-Tishans in attendance the band would give their final performance.
Click to see full article
I am sorry to say with deep regret that four of the six More-Tishans are no longer with us. Dick was first to leave us in the 90’s followed by Dan, then Tom in 2003 and then in 2004 Pinky would join them. Only two are alive: Chris Nelson and Hugh Kraemer.
As a footnote I would like to add that the success these six individuals showed in the business of a rock & roll would also come shining through in their personal lives, all achieving and excelling in the business community.
The persona of the More-Tishans paid for their college educations and paved the way for what it takes to be successful, so; what many see as youthful fling with sex, drugs, and rock & roll is on the contrary; a lesson in business savvy, learning to be responsible, making the right choices etc.
Talk to any musician in the Valley and they will agree the More-Tishans set the bar for everyone to follow. The More-Tishans gave us much more than their own unique talent and showmanship, they also forced the rest of us to go that extra mile.

Categories: Bronx, Bruno-Dean Recording Studios, Dawn, New York, New York City, Studio

The 3rd Evolution, and Dawn Records discography

February 23, 2006 Chris Bishop 7 Comments

The 3rd Evolution were from the Bronx, NY, beginning as a doo-wop group the Hi-Dells.

Argot Meyer founded the group, singing and managing it. He first found Mike Saglimberi (Mike Henderson) to sing and play rhythm guitar. Mike brought in his good friend from Junior High (PS 98), Manny Colon on drums. Louis Bonilla (bass) and Ron Lupi (lead guitar) joined last.

They began rehearsing in Argot’s basement, then met Phil Rosano, owner of Dawn Records at Music Makers Record shop on Fordham Road, who released two of their records.

The first has both “Gone Gone Gone” with its ripping guitar solo and their most original work, “Don’t Play with Me”. Mike Henderson is given song writing credit on both of these, and R. Miller is credited with A&R. This was one of the first garage 45s I ever bought, for $10.

“Don’t Play With Me” made the local radio charts of WLOF 950.0 AM in Orlando, Florida in 1966. The Third Evolution played at the World’s Fair, and there’s talk of these guys opening for Jay and the Americans.

The second 45 has the weird slow version of “Everybody Needs Somebody to Love” which I still find pretty cool, backed with a ballad, “You’re Gonna Lose the Only Love You Ever Had”.

They also have a good demo acetate recorded at Bruno-Dean Recording Studios in New Rochelle, NY, “Help Me” / “Turn Around” that has not yet been released.

Anyone have a photo of the group?

Dawn discography (garage-type 45s only):
Any help with this would be appreciated

Dawn 303 – Derbys ” People Say (She’s No Good” b/w The Bondsmen “Wipeout ’66”
Dawn 306 – 3rd Evolution – Don’t Play With Me / Gone Gone Gone (June 1966)
Dawn 309 – Creation’s Disciple “Psychedelic Retraction” / “I’ll Remember”
Dawn 312 – 3rd Evolution – Everybody Needs Somebody (to Love) / You’re Gonna Lose the Only Love You Ever Had (December ’66)

The Creation’s Disciple had their own unreleased Bruno-Dean acetate, “Strings of Rhyme”

Source: Mike Henderson’s notes in Psychedelic States: New York vol. 1

Categories: Boston, Continental Recordings, Framingham MA, Cori, Massachusetts

C.C. & the Chasers

January 5, 2006 Chris Bishop 30 Comments

CC and the Chasers Photo — C.C. and the Chasers, from left: Charles Currie Wicker, Ted Demos, Joe Castagno, Jack Bruno and Richard Barnaby

C.C. & the Chasers have just this one 45 on the Cori label from 1967, “Hey, Put the Clock Back on the Wall” / “Two and Twenty”

C.C. was Charles Currie Wicker, lead vocalist for this group from Boston. Both songs are by Gary Bonner. “Put the Clock Back on the Wall” is more famously done by the E-Types. The flip, “Two and Twenty” is well-turned twee pop.

It was recorded at Continental Studios in Framingham, MA, the same studio used by the Rising Storm. Dan Flynn ran both the studios and the Cori label.

Richard Barnaby wrote to me about the band, and Jack Bruno sent me scans of the two photos seen here. I will have a fuller story soon but for now here is a little info from Richard:

Members:
Charles Currie (CC) Wicker – lead vocals
Ted Demos – lead guitar, vocals
Richard Barnaby – bass guitar, vocals
Joe Castagno – rhythm guitar, vocals
Jack Bruno – drums, vocals
We switched from Bonner and Gordon, done largely with George Papadopolous’s (Unicorn) input to a more psychedelic format called “The Sacred Mushroom”, and then went to New York. After that we changed to Applepie Motherhood Band without Currie, and taking on Ann Tansey. After Applepie, the group went in many directions. Jack and I went to Florida and played with The Second Coming, and shared a house in Jacksonville with the Allman Brothers. Then Jack went with Shakey Legs Blues Band with Ted, and then Jack went with Tina Turner, and was her drummer for 15 or more years, and then he went with Elton John for about 2 years.

Thank you to Jack Bruno and Richard Barnaby for the photos and info about the band.

Garage Hangover