The Vaqueros, from left: Steve Corona, Tom Corona, Larry Weld and David Heath
The Vaqueros had the first release on the Audition Recording label out of Rochester, New York, “Echo” / “Desert Wind”. It hit local charts in early June, 1964 and received a review in Cash Box on June 13, 1964.
Audition Label Bows with “Echo” by the Vaqueros, Cash Box, June 27, 1964
The group registered copyright for “Echo” on June 15, 1964, music by Larry Weld (Laurence R. Weld), David Heath & Tom Corona (Thomas J. Corona). I haven’t yet found a copyright registration for “Desert Wind”.
Band members were:
Larry Weld – lead guitar Tom Corona – rhythm guitar Steve Corona – bass David Heath – drums
The Vaqueros, from left: Larry Weld, Tom Corona, David Heath kneeling with drum sticks and Steve Corona with bassVaqueros in the Democrat And Chronicle, June 8, 1964
David Heath wrote a history of the band and provided the photos seen here.
In 1963 two 16 year old boys found an old guitar in the house attic in Rochester NY. Larry Weld, the older of the two, decided he would put strings on it and learn how to play. The other boy David Heath said he had a small pair of bongos, round metal tray mounted on a wood stand and a pair of drum sticks. Together they spent many hours trying to play songs they had heard on the radio.
One month later Larry had purchased his first electric guitar and Dave had purchased his first drum set and by this time both had learned several songs and were starting to make new songs of their own. Knowing they needed a rhythm background Dave and Larry asked another Charlotte High school student Tom Corona to join the group and decided on the name “The Vaqueros” for the band. About a month later we composed the song “Echo”. At this point we were starting to play at many parties and events.
Record review in Cash Box, June 13, 1964Vaqueros with Al Cecere at WBBF Studio, June 25, 1964
Around 10 months after we first started playing we were asked to play for a Rochester business event and that was the first time we met Al Cecere who was just starting Audition Records. Al said he liked our band sound and said he would like us to make a record with his new company. We said we would and set up a date to record but we had two major problems to overcome.
1: We had no bass player in the band
2: We had no second side for the record
The first problem was resolved by asking Tom’s older brother Steve Corona to play bass. He agreed and he purchased a bass guitar. Then Tom and Larry showed him what notes to play so we could make the record. The second problem was resolved by rapidly (in one day) composing the song “Desert Wind”.
The Vaqueros (and Al Cecere in back) with the Letterman, NiagaraThe Vaqueros opened for the Lettermen at Niagara Falls Memorial Arena, July 11, 1964
The Vaqueros in Cash Box, July 18, 1964After the song was released and hit #1 on the Rochester and surrounding radio stations we had steady play dates in many venues. We had interviews on radio stations, band picture signing dates, photos and release info in Cashbox, and we were the opening act for The Lettermen in Niagara Falls Canada.Within the next month we wrote and (on acetate demo record) recorded our next two songs to be released “Whiplash” and “Our Lost Love”. Al Cecere was setting up for us to open for The Beach Boys.
Just as things were going very well for the Vaqueros the dark side of this business began to show its face. Al Cecere never informed the band of any record sales and stopped supporting us. He had moved on.
With communication with Al Cecere heading downhill, everything slowed and we were all around 18 years old at this point. Life took over and the band started to split. Larry, Dave and Steve went on to other Rochester bands and Tommy married and started a family. We never played together again but do remain friends. Tommy passed away in 2025.
The Vaqueros and the Tweeds at Teen Town, Kenmore, NY, October 1965
The Vaqueros recorded other songs that went unreleased at the time that now exist on lacquer “acetate” or second-generation tape; a few very effective instrumentals that were ready for release and others that were in progress.
“Whiplash” has an excellent ‘wet’ surf sound I did not find a copyright registration for this one.
“Daybreak” is a spirited vamp with excellent lead guitar from Larry Weld and agile drum fills from David Heath. The group registered it as “Daybreaks” on February 25, 1965, with copyright to the full band including Steve Corona.
“Our Lost Love” is a slower ballad, registered on July 1, 1965 to the four members of the group.
Thank you to Dave Heath for his help with this article and for letting me hear the unreleased songs.
The Traits, 1967, from left: Bob Creaturo, Bobby Williams (on drums), Mike Carroll, Phil Daddona, Jim Klieforth (on keyboard, obscured) and Artie Williams. Photo from Mike Carroll, courtesy of his family.
I corresponded with Jim Klieforth of the Traits in 2009, about a year after writing about them in some detail in regard to the Ren-Vell Records Battle of the Bands LP. Below is our conversation from that time.
Jime Klieforth: My late brother [Charles Klieforth] was a bit of a wheeler-dealer who wasn’t musical but wanted to be in the rock business in some capacity, nurturing a fantasy of being an impresario. I’d been playing guitar and keyboards for a couple of years and our family home had an empty basement that was suitable for a group to rehearse in, so he sweet-talked me and the best musician-singers he knew into forming a group with him as manager. I’d never met any of these guys but was very impressed with the line-up’s talent and professionalism.
Back then, a group needed to have a couple of hours of material well rehearsed for public performances and we had enough musical common ground to pull that together within two weeks. My brother Chuck and his assistant, Don Reid, started aggressively pursuing work for the band and getting us publicity. Almost overnight, we were playing every local venue and from then on out, our rehearsals were jammed with our local contemporaries (mostly schoolgirls) eager to monitor our development. It was an odd and unexpected social change for all of us.
I wish I could say that we were friendly with other bands at that time but the truth is that we saw all of them as competition that needed to be vanquished. The Orphans, for example, who didn’t shine on the Renvell record, turned into a force to be reckoned with when Bobby Mayo (later of Peter Frampton fame) joined up.
We’d had a real advantage by starting out with a good rhythm section and an extraordinary guitarist (Dom Chicerchia, who left the band just before the Ted Mack show we did) but our competitors began acquiring skills at a pace that caused us to get very serious about playing well and refining all aspects of our performance. In an unfortunate reversal of what usually happens, the only recordings of the band were from very early on, before we really developed musically.
I was born in White Plains. Jimmy Carpenito of the Mystics told me Renvell’s studio was next to Gun Town on Central Ave, a store I vaguely remember from my childhood. Hard to believe there was a recording studio on Central Ave! I’m in Brooklyn, now, but my family’s still in White Plains and Yonkers.
As I recall it, Renvell was a second floor walkup, a big room that struck me, even then, as being quite low budget, a shoestring operation with cheap and/or antique equipment. Given how few records carry the Renvell label, I have to assume that most of their business was geared to commercial jingles for local businesses and radio play. I ran into the guy who ran it (I believe his name was Joe Renda) years later, when he owned Northlake Studios in White Plains.
I reminded him of the album and told him I’d been on it and he replied with a story that I thought at the time was an overblown fabrication. According to him, a couple of big DJ’s in England had fallen in love with the Battle of The Bands album and by repeatedly featuring it, had cultivated the development of the garage band sound there, setting the stage for punk. As he told it, the album was selling for $200.00 a pop there (in 1980 dollars) and “High On a Cloud” had received extensive airplay. It turned out that he’d been telling the truth, and the song became known well enough to end up being covered by the Pandoras. Since then it has been put on more compilations than I’ve been able to keep track of. In what is a common story about recordings of that era, no request for usage in these compilations has ever been requested from the band and no compensation has ever been forthcoming. Some of my former band mates are unhappy about this, but personally, I’m delighted that the recording has been archived and perpetuated as a minor archetype of the true garage band sound.
Traits to appear on Ted Mack’s Amateur Hour on Sunday, September 17, 1967
Q. When Dom left the band, who replaced him for the Ted Mack show, playing guitar behind his neck on the film?
That was Phil Daddona, who had to attempt to learn Dom’s “behind the neck” trick very quickly. As you can see from the film, he wasn’t particularly adept at it, whereas Dom had been the pre-Hendrix master of it.
Jim Klieforth (2009)
The Traits on “High on a Cloud”:
Mike Carroll – lead vocals Dom Chicherchia – lead guitar Jim Klieforth – keyboard Bob “Creature” Creaturo – guitar Bobby Williams – drums Unidentified bass player
The Traits on Ted Mack (July 31, 1967, aired Sept. 17, 1967):
Mike Carroll – lead vocals Phil Daddona – lead guitar Jim Klieforth – keyboard Bob “Creature” Creaturo – guitar Bobby Williams – drums Artie Williams – bass
The band seems to have slowly split up, as Mike Carroll was drafted in ’68, but must have come back at some point to be the lead vocalist on the Nobody Loves the Hulk release, from 1969.
Bobby Williams reportedly died some years ago, details are unknown. Three other Traits members have passed: Bob Creaturo on September 12, 2014, Mike Carroll on March 15, 2018, and Dom Chicherchia on August 24, 2021.
The Traits at the entrance to the Pelham Parkway IRT station (the 5 train)
More info can be found in the accompanying booklet to the Mojo-Bone release and Ugly Things #66.
The Psychedelic Sound, January 1968, front left: Linda Lizzi and Tina Bauer, back from left: Jim Schelley, Ronnie Amato and Tom Berger. Not pictured: bassist Kevin Kerr.
The Psychedelic Sound were one of the bands who recorded at Earl Kennett’s studio in Kinderhook, New York.
Lacquer with both songs of the Psychedelic Sound 45The band released two original songs, “Sorry Baby – Goodbye” / “Stars Cease to Shine” on Sunny-Side Records 0014, Sunnyside being the name of the Kennett family’s horse farm where the studio was located.
Members included:
Linda Rizzi – vocals Tina Bauer – drums Jim Schelley – guitar Ronnie Amato – vocals and keyboards(?) Tom Berger – guitar Kevin Kerr – bass
plans include making another recordThe Kingston Daily Freeman reported on January 22, 1968 that: “the Psychedelic Sound would take part in the annual March of Dimes benefit show Jan. 28 at municipal auditorium. They recently cut two successful platters, Sorry Baby – Goodbye and Stars Cease to Shine.”
A Daily Freeman notice from July, 1968 remarks:
The Psychedelic Sound, a five-piece musical group consisting of teenagers from Kingston and Lake Katrine, won the Battle of the Bands, sponsored by the Saugerties JayCees, which was held July 3 at Cantine Field.
The group has played for many benefits including the American Legion, Band Battles and Cerebral Palsy, and are under the direction of Mary Rizzi, Lake Katrine.
Mary Rizzi, presumably Linda’s mother, is also credited as producer of the 45, as M. Lizzi. The band probably broke up as Linda Rizzi and presumably others were attending college in the fall.
After the Psychedelic Sound, Kevin Kerr is mentioned as the bassist for the Contemporary Souls, in a photo that ran in the Daily Freeman showing guitarists Jim Kluepfel and Guy Walker with drummer Ted Blankschan for a YMCA/YWCA/Kingston Recreation dance on Dedrick Street in August, 1968.
Ronnie Amato played organ at the Cedar Grove Inn in Saugerties and Liguori’s Restaurant in Rosendale.
Tina Bauer had previously been in another local group called 3 Hits and a Miss with a photo that ran in the Daily Freeman in September, 1966 for a dance at Ulster Park Grange Hall.
3 Hits And A Miss, from left: Sal Greco, lead guitar; Tony Greco, vocalist, Tina Bauer, drummer and Al Pace, rhythm guitar
Thank you to Achille Brunet for tracking down the news clips seen here. Achille has his own site, Strange Lights to cover other bands of this period.
There used to be a dozen such blogs and sites going to cover ’60s ‘garage’ music, but the number of active ones has dwindled in recent years. I hope more start up, because there are too many bands from this era whose history is still undocumented.
The Wild Kingdom: John Etheridge (drums), Glen (Robbie) Robertson (bass), Bruce West (vocals), and Mike Johnstone (guitar) Many is the time I’ve had a lead on a band that is obscure to me, which then gets forgotten in the avalanche of emails and comments I received from this site over time. I apologize for not following up in a timely manner.
Steven S. wrote to me a long time ago, 2008, about the Wild Kingdom, and though I corresponded with him, I neglected to post about the band, probably because they didn’t have any records to their name. Only recently have I noticed the connections to other bands such as the Mustangs and the Back Door, so I’ll add the photo and info he sent to me so long ago.
The Wild Kingdom were from the Peninsula (Hampton, Newport News) and used to play on the Southside at all the usual teen clubs.
The Swinging Machine and the Wild Wild Kingdom, at Hullabaloo, Newport News Daily Press, June 1968The band personnel were: John Etheridge (drums), Glen (Robbie) Robertson (bass), Bruce West (vocals), and Mike Johnstone (guitar). Johnstone was an extremely gifted player who enjoyed considerable acclaim among area musicians. Etheridge and Robertson wove a tightly solid sound, more like an R&B rhythm section than one might have expected from a hippie band in those days. West was a versatile singer and quite the showman.
At one point, they hooked up with Keith (of “98.6” fame) and toured as his backup band for awhile. They later morphed into “The Back Door” and continued playing at local clubs until they scattered to join various other local groups. They were the great unknowns in those days, being somewhat eclipsed by Swingin’ Machine. However, they were outstanding players and didn’t pay lip service at all to the “blue-eyed soul” genre that ruled the area back then. Their manager, Jim Tatum, also handled Bill Deal & the Rhondells – go figure!
Wild Kingdom and Back Door were a huge influence on many of us Southside garage punks. We ranked them above Swingin’ Machine, partly because they didn’t cover any radio hits, but mostly because they were the better band.
I don’t remember Wild Kingdom/Back Door surviving beyond 1969. At that time, Bruce West injured his leg in a motorcycle mishap and “retired” from the music scene. Robbie Robertson likewise dropped off the radar about then. Mike Johnstone & John Etheridge continued performing with various other area groups until at least the mid 1970’s. Some of the bands I recall were “Headstone Circus”, “Rooth”, “The Dubonettes”, and “Hot Cakes”.
To my knowledge, there are no recordings of the Wild Kingdom.
Jerry Harden published a brief memoir about Barnie’s in Buckroe Beach, VA that mentioned some of the bands I’ve covered, including Adrian & the Sinsations and Danny and the Delnotes. About the Wild Kingdom, he lists an additional member, Ray Witham, and writes that Robby Robinson [sic]: “was arrested on stage for wearing a sword as part of his costume”!
Steve Monaco and Bob Schlagel of the Back Door, 1967
Tina Monaco sent in these photos of the Rogues and the Back Door, two Hampton Virginia bands that didn’t make records but would have at least two members who would go on to Headstone Circus: Mike Johnstone on guitar and Bob Schlagal on bass.
The Rogues 1965-66, Hampton VA, from left: Tommy Clark, Bob Schlagal, Jimmy ?, Jerry ?, and Steve Monaco.
The Rogues ran during 1965 and 1966, and included:
Jerry ? – lead vocals Tommy Clark – lead guitar Jimmy ? – rhythm guitar Bob Schlagal – bass Steve Monaco – drums
The Back Door existed circa 1967 and included:
Bruce West Mike Johnstone – guitar Robbie Robertson Bob Schlagal – bass Steve Monaco – drums
Bruce West, Mike Johnstone and Robbie Robertson were also in the Wild Kingdom in 1968.
Tina wrote to me in 2025:
I am Tina Monaco, sister of Steve Monaco. He was a drummer for an incarnation of several bands from the 60s. The bands would practice in our garage at our residence on Big Bethel Road.
We were kids of a career Air Force father and our family retired in 1968 in Miami, Florida. Steve went on from there to marry his Lakenheath American High School sweetheart from our earlier days 1963-1965 in England. He became a commercial airline pilot for major airlines. He and Nancy are retired living in Arizona. I am retired as well, living in Lake Worth Beach Fl.
The Back Door, 1967 from left: Bruce West, Bob Schlagal (at top), Mike Johnstone, unidentified in white shirt, and Robbie Robertson at far right. Steve Monaco drummer not pictured.
The Powers of Darkness from left: unidentified, Dave Moreno, Anthony Anchundo, Dave Perry and unidentified. Photo taken at Southland Mall in HaywardEric Burdon of the Animals with Dave Moreno of Powers of Darkness
The Powers of Darkness came from Union City, CA though in at least one contemporary news notice they’re listed as from Hayward.
Members included:
Dave Moreno – bass and vocals Dave Perry – drums Tony Anchundo – rhythm guitar and vocals
It’s possible Sal Saccardo from the Just VI replaced Dave Perry on drums at some point. Candelario ‘Candy’ Moreno managed the group.
The Powers of Darkness played shows in Newark, Fremont and Hayward at the roller rink on Mission Blvd, and a senior prom at Gonzales Union High School in the Salinas Valley.
Their most well-publicized show was the Spotlight ’66 concert on November 25, 1966 at Logan High School in Union City with Mel Carter, the Just VI and the New Chessmen, M.C.’d by Johnny Holliday of KYA.
The group took part in a televised event in Modesto, but that seems to be lost. Unfortunately, the band did not make it into a recording studio.
Dave Moreno’s son Aaron recalls his father meeting Eric Burdon and the Animals when they were touring in the Bay Area and Eric accepting an invitation for dinner at my grandparents home in Union City.
Most famous for writing and recording the original version of “Harlem Shuffle”, Los Angeles soul duo Bob & Earl toured Britain in the spring of 1969.
Guitarist Ged Peck, who previously played with Freddie Mack & The Mack Sound among many others, says his group Storm backed the duo on this British tour, although they are not listed on the dates below.
Formed around November 1968, Storm comprised Ged Peck (lead guitar); Tony Dangerfield (bass); Peter Jennings (keyboards); and Pete Phillips (drums).
Photo: Ged Peck. Left to right: Pete Phillips, Ged Peck, Tony Dangerfield and Peter Jennings
This is not a complete gig list
Bob and Earl tour dates Record Retailer, 21 May 1969, page 11
The Rebellers in the 1968 Milby High Valentines Varieties show, from that year’s yearbook. From left (please correct if these IDs are wrong): John Manlove, David Rodriguez, James Manlove and Jeff Gray
The Rebellers came from the Houston, Texas metro area, recording James Manlove’s original song “The New Generation” for Orbit Records 1114 in the summer of 1967.
Members included:
James Manlove – lead vocals, rhythm guitar John Manlove – keyboards and vocals Jeff Gray – bass guitar and vocals David Rodriguez – drums
The flip, “The Common People” was written as “Love of the Common People” by the prolific songwriting team, John Hurley and Ronnie Wilkins.
Early versions of the Cicadelic compilation Three O’Clock Merrian Webster Time included “The New Generation” mistakenly attributed to the Nomads but with the correct writing credit. This has led some website to include James Manlove as a member of the Nomads, which I believe is incorrect.
The Rebellers featured in the Houston Post nowsounds calendar, November 19, 1967
The November 19, 1967 Houston Post nowsounds calendar ran a photo of the Rebellers.
From a photo in the 1968 Milby High School Yearbook, the Rebellers played Milby High School’s Valentines Varieties show that year.
According to his Discogs profile, David Rodriguez was a member of the group, but a commentator on youtube listed the drummer as “Pete”.
Gig list compiled from the Houston Post nowsounds calendar and other news items:
September 20, 1966: there’s a notice of the Rebellers at a benefit with Jack Jones, Garry Mann, the Bachelors and Tommy Graham at the Gulfgate Cellar Club, but that may be a little early for this band, whose frequent gig listings start in May, 1967.
Friday, May 19, 1967: at Insight Au Go Go, 12826 Beaumont Highway 90 Friday, May 26 and Saturday May 27, 1967: at Lions Club Hall, Friendswood, Highway 518 Saturday, June 3, 1967: at Grand Prix, Bay City Tuesday, June 13, 1967: at Conroe Ballroom, Gladstell West off 45 Friday, June 16, 1967: at the Dungeon in Spring Saturday, June 17, 1967: at Sea Isle Teen Dance in Galveston Tuesday, June 20, 1967: at Love Street Light Circus Wednesday, June 21, 1967: at Hullabaloo Tuesday, June 27, 1967: at Conroe Ball Room Saturday, July 1, 1967: at Insight Au Go Go Saturday, July 15, 1967: at Sea Isle Teen Club, Galveston Saturday, July 22, 1967: at Buddy McGregor Saturday Show, Foley’s Town Hall Wednesday, July 26, 1967: at Fun Corral, 9801 Airline Saturday, July 29, 1967: with the Entire Thing at Sea Isle, Galveston Friday, August 18, 1967: at the Vault, Pasadena Saturday, August 19, 1967: at Deer Park Civic Center Wednesday, August 23, 1967: at Carousel Skating Rink, 9190 Old Katy Road Thursday, August 24, 1967: at KNUZ back-to-school festival at Sharpstown Center Friday, August 25, 1967: at Teen Hall, Bryan TX Saturday, August 26, 1967: at Ken Grant Show, Sharpstown Shopping Center 2 PM, and Insight Au Go Go, Beaumont Highway Friday, October 6, 1967: at Teen Hall, Bryan Friday, October 20, 1967: at Lodge Pokrok, 15th and Beall Saturday, November 4, 1967: at Lions Club, Pearland Saturday, November 11, 1967: at Kerwin High School, Galveston Friday, November 17, 1967: with Lemon Fog, Soul Searchers, Duke & the Kingsmen, and the Inquisitions at San Jacinto High School Soul Spectacular Saturday, November 18, 1967: with Audio Manifesto at Mount Carmel High Wednesday, November 22, 1967: at Brenham Hanger Club Friday, December 15, 1967: at the Vault, Pasadena Saturday, December 2, 1967: at Taylor Hall, Pasadena Saturday, December 23, 1967: at Nottingham Forest Country Club Friday, January 12, 1968: at Lodge Pokrok Saturday, January 27, 1968: at Milby High School Saturday, February 10, 1968: at Love Street Light Circus February ?, 1968: Milby High School’s Valentines Varieties show Friday, March 22, 1968: at the Vault, Pasadena Friday, April 19, 1968: at Teen Hall, Dickinson Saturday, May 4, 1968: with Ninth Street Bridge, Lemon Fog, Apollos at Taylor Hall, Pasadena Saturday, June 8, 1968: Jamaica Beach, Galveston Friday, June 21, 1968: at Lodge Pokrok Saturday, June 29, 1968: at Sea Isle, Galveston Saturday, July 20, 1968: at DERA Hall, Orange Friday, August 2, 1968: at the New Vault, Pasadena
This group of Misfits came out of Dallas and North Texas State University in nearby Denton. They cut a fine original folk-rock song, “No One Else” backed with a good version of “Route 66” on Repent 520 in August, 1966.
This was not the same Misfits who became the Lost and Found. The Misfits who became Lost & Found were from Houston, and, according to an old interview with Jim Frost, never played in Dallas, and never recorded as the Misfits.
This news clipping shows all the members’ names are different than any in the Lost & Found.
The Dallas News ran a photo of Joe Daughtery, the writer of “No One Else” performing with the Misfits and a short article on the group:
If you drive around the shore of White Rock Lake on almost any Sunday afternoon, you’ll come to a brown-rock picnic building where a controlled riot seems to be getting out of control.
But ask any of the mob of teen-agers standing and jumping around and you’ll be assured it’s really just a Sunday concert in the park.
The picnic building has grown in the last few years into a kind of proving ground for the detonations of ambitious and un-shy teen-age combos.
Sunday a sign in front of the band said: “The Misfits. Open for engagements. Call FL2-4046.”
But when the Misfits began blasting something called “Dirty Water,” the sign disappeared in a flood of weaving and bobbing couples.
…
“We get a lot of engagements this way,” said Joe Daugherty, the 21-year-old guitarists and singer who runs the Misfits. “A fellow from a fraternity just asked us to play a party.”
Daugherty and two other Misfits – drummer Rick Price, 22, and bass guitarist Mark McLane, 20 – are North Texas State University business students. Lead guitarist Jim Adkins, 23, works in a Dallas bank.
“We cut a record of a couple of my songs but nothing much happened,” said Daugherty.
Hundreds of kids sometimes mob the picnic building. Nobody seems to be in charge or worried about the noisy blowout. Policemen stop and watch a bit then move on …
Like any musician, Daugherty observed, “The acoustics are pretty bad in that building. Sometimes it gets kind of deafening.”
The Bitter Ende. Joe Daugherty holding guitar at left. Other members unknown – can anyone help with IDs?
The Bitter Ende to play at TCU Tech Stop, November 1967. Same group?Joe Daugherty formed another group called the Bitter Ende, but I don’t have any info on the membership of that group.
Thank you to Patrick Daugherty for contacting me about his father’s band, and sending in the news clipping and photo of the Bitter Ende.
Members of the Grapes of Wrath group play music worthy of putting on a record. The SPHS students are (left to right) Brian Magnan, Bill Lichty, Ralph Sias, Danny Morrow and William Doheny., San Pedro News-Pilot, May 17, 1967.
The Grapes of Wrath cut one 45, “For Every Year” / “Cause it Was Her”, both written by Ralph Sias.
The group came from San Pedro, California, in the South Bay of Los Angeles.
Members were:
Brian Magnan – lead vocals Bill Lichty – drums Ralph Sias – guitar Danny Morrow – bass William Doheny – keyboards
H. Eugene MacDonald produced their record, released on Vita Records V-005/V-006 with an address of 301 S. Western Ave, San Pedro, CA.
The San Pedro News-Pilot profiled the group twice, first on May 17, 1967 with an article written by the group’s bassist!
Grapes of Wrath band makes recording noise
By Danny Morrow
“This is it, boys. What’s it going to be next year.- trucks or Cadillacs?” With these words of encouragement from producer, Mr. Roth, and “unknown” teenage band called, hauntedly … “The Grapes of Wrath,” began its first recording session at American Recording Studios in Studio City.
The band is made up of five “crazy” individuals named Ralph Sias, Brian Magnan, Bill Lichty, William Doheney and myself, Danny Morrow.
Ralph writes the songs, plays lead guitar and gets nervous. Brian sings lead vocal and smiles at girls. Bill plays organ and wears leather boots. Williams plays drums and loves drums. I play bass and get in and out of trouble.
At the session, two songs written and arranged by Ralph, were taped in a stretch of nervous sweaty work that lasted five hours. The two songs, “For Every Year,” and “Cause It Was Here,” can presently be heard on the local rock station with a little patience and luck.
With the number of teenage bands easily numbering in the tens of hundreds in California alone, how did this group … manage to talk the Sunburst Record Company into backing a recording session?
First, a few months before the session a rough “demo” (45 RPM recording on a six-inch disk) was recorded at a small recording studio, and the manager, U.L. McDonald took the demo to different recording stations.
The vice-president of Sunburst, Mr. Roth [sic – Adam Ross], was impressed both with the band and the recording …
The next step is up to the “hippies” who buy the records.
The record did not come out on Sunburst, the label that released the E-Types “She Moves Me” and the Zoo’s LP The Zoo Presents Chocolate Moose, as well as a number of pop singles produced by Ed Cobb, but instead saw a release financed by the band under the auspices of H. Eugene MacDonald (the U.L McDonald cited in the article, presumably).
The second article came on September 4, 1967:
Folk-rock group wins popularity
By Rita Pedersen
A San Pedro rock ’n’ roll band has proved long hair and unconventional clothing are not necessary to become popular.
The band, the Grapes of Wrath, is a “short hair” outfit, and wears burgundy-cherry dinner jackets.
Despite their neat appearance, the group leaves Saturday for a week-long tour of Northern California.
The five-member band will appear on a Fresno television show and play in Redding, Red Bluff and North Sacramento Valley.
Members of the band are Ralph Sias, Bill Doheney, Danny Morrow, Brian Mangan and William Lichty, all of San Pedro. They are all San Pedro High School graduates, except for Lichty who will graduate next year.
The tour was arranged when a recording by the band, “Cause It Was Her,” became popular in the Redding area.
Doheney, an amateur radio operator, began talking to a Redding disc jockey Ian Evans, and he offered to play the group’s recording for a trial period.
Listener reaction was good, according to Doheney, and the band was signed for personal appearances.
The group was organized last summer when the youths were on the high school gymnastics team. Only Lichty was not on the team.
Doheney described their style as folk-rock and said Sias and Mangan write many of their songs, including “Cause It Was Her.”
There was a great profile of the band and interview with Bill Doheney, that didn’t include these news clippings, at www.westcoastfog.com/the-grapes-of-wrath/index.html, but unfortunately that site is now defunct. A version of that article was also in print in Ugly Things issue #39.
I see that Achille Brunet has just added a profile of the band at his site, Strange Lights, with more info than I have here. I’m sorry for the duplication, Achille, but glad to see someone else working the ’60s garage beat! It’s been quiet for a long time.
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
