What do these three songs have in common? They’re all written and sung by Daniel A. Marle, an enterprising teen who jumped from mild vocal pop to tough garage and psych within a span of two or three years.
First up is Dan Marlee singing his original “Candy Lips” (Joni Music BMI) b/w “You Left Me” on Constellation C-125 (C-63-138) from late ’63 or 1964.
In May of ’66 he’s found a new style, convincingly singing “(You Been Givin’ Me) Hard Times” as Danny & the Other Guys on C.P. Records 101. The flip is one I haven’t heard yet, “Five For Fourteen Fifty”, but the BMI credits give some names besides Daniel Marle that may have been the Other Guys: Richard Coker, Vincent Ippolito, Roger Pauly and Edmund Strom.
Finally is C.P. Records 102, with the band name changed to The Real List. They do Marle’s “Pick Up the Marbles”, a good mix of potent fuzz riffing and harmonies, with a poppier bridge. The b-side is a cover of the Beau Brummels’ “Still In Love With You Baby”.
Both the C.P. 45s produced by Chicagoans Productions, and Marle’s originals published by Dan Marle Music BMI. Pressing info is obscure, I read 1425-FT on the Danny & the Others label and 1575-31 / 1600-31 on the Real List labels.
As Daniel Albert Marle he has some other songwriting credits with Robert Nass: “Boy Can Cry”, “Could You Care For Me”, “Cryin’ Over You”, “Gorilla Again” etc, published either by Arc Music or Don-Del Music in Port Washington, Wisconsin. I’m not sure if any of those songs were released.
This is all I can find on any of these bands or Dan Marle.
Bob Holcepl – vocals
Terry Paul – guitar
Joe Rose – bass
Frank Rose – keyboards, and recorder on “Erebian-Borialis”
Greg Paul – drums, and bongos on “Erebian-Borialis”
The Night People formed in 1965 at high school in Parma, Ohio, a suburb about 10 miles south of Cleveland. They recorded their 45 at SIR Recording Studio, released on Del-Nita 1002 in May of 1967.
There’s a lot to like about “We Got It”: the swirling organ over the pounding tom-toms and bass, Bob Holcepl’s snarling vocals, a theramin intro and solo. Joe Rose and Bob Holcepl wrote the song. I’m not sure who was playing the theramin.
The instrumental “Erebian-Borialis” is one of the strangest b-sides by any mid-60s group, featuring a simple melody played by Frank Rose on recorder while Greg Paul handles the bongos and the guitarist goes for psychedelic. It’s credited to Frank Rose and Terry Paul. Both songs were published by Hicks Music, ASCAP.
According to Buckeye Beat, John Hicks, the owner of Del-Nita, persuaded the band he had Motown connections. It’s difficult to imagine Motown would be interested in a band with such an uncommercial single but that’s the story!
Bruce Boehm, guitarist for the Alarm Clocks was also a member for a time. The band made additional recordings that weren’t released of “Signed D.C.”, “One Two Brown Eyes”, and “Hey Joe”. They continued until 1970, changing their name and making some demos for Capitol that never saw light of day.
Anyone have a photo of the group?
The Night People singles on Tuggie and Nite Life are by different groups, from Illinois and California, respectively.
Roger and Lauraine Friskey wrote to me about Roger’s bands the Bondsmen and Nirvana. They sent the photo and card seen here, but if anyone has additional pics, posters, or newspaper articles of these groups please contact me.
The Bondsmen were formed in the early 1960’s and consisted of Roger Friskey (bass/vocals, Robby Adams (guitar/vocals), Richard Lalonde (guitar/vocals) and Vas Haritakis (drums/vocals). They played at various teen dances in the Sudbury area including North Bay, Elliot Lake, and Field.
Richard Lalonde left the group and Doug Simmons, organ/vocals, joined the band. They continued to play at various teen dances and made their debut at The Inferno, which was the place to play. It was a well-known dance club in Sudbury.
Danny Gaudet, an extraordinary guitar player, joined the band shortly after and they became The Nirvana.
They were originally managed by M & R Entertainment from Capreol ON. The band was later approached Bill Burke and he became their manager. Soon after this, Bill purchased a building on Durham St in Sudbury, and converted into a dance club. It was named The Hub and was opened to compete with other clubs, i.e. The Inferno and The Joint. The Nirvana became The Hub’s house band. They played at The Hub for a couple of years. When the Hub closed down, the Nirvana continued to play at teen dances in the Sudbury area.
The Nirvana broke up when Vas started working for the railroad and was out of town most of the time. They never got to make it to the recording stage. Everyone went their own way. Unfortunately Danny died in Dec 2012 and Robby Adams died several years ago.
I’m not sure how a record this good could be this obscure. When I heard “Fast Suzi” by a band called Anthem, I thought it was late ’70s power-pop. I can’t find any definite info on the record, but the release date seems to be much earlier, even as early as 1968.
Both “Fast Suzi” and the ballad flip “Not Sure She’s Mine” were written by R.E. Warner & Brown for AW Music.
The label was La Belle, and reads “A Dave Eppler Production”. Various sites on the ‘net say the band came from Oconomowoc, Wisconsin, about halfway between Madison and Milwaukee. There is a La Belle Lake in Wisconsin, but not close to Oconomowoc.
The Cutaways (often listed as the Cut-a-Ways) came from Bellaire, Ohio, a town on the eastern edge of the state close to Wheeling, Pennsylvania. One article I found listed them as a Wheeling band, but that may have been for convenience. That show was in Morgantown PA, 300 miles away from Bellaire and Wheeling!
Larry Gorshe seems to have been the leader of the group and main song writer. I’m not sure of all the other members of the band or who played what instrument, but members included Bill Bell, Gary Parrish, Charles Soltes and Walter McElroy. Also someone named Jurovcik may have been a member as he is listed as one of the song writers on their second 45. Helen Mae was a manager of the group.
The Cutaways put out two 45s, the first from circa 1964 was a Buddy Holly type rocker “You’re Driving Me Out of My Mind” backed with a good ballad, “Now That You’re Gone”. Larry Gorshe wrote both songs for Claridge Music Inc ASCAP. The label was Agogo, which also released “Hitch-Hike” / “Sippy Sippy Sop Sop” by the Fantastic Emanons, another Bellaire band.
Their second 45 is a favorite of mine. The top side is “I’ll Never Fall In Love Again” written by Gorshe, Saltes, McElroy and Jurovcik. The flip is “Hold Me” by Larry Gorshe, both sides published by Silver City Music, BMI. It was released on Sur-Speed 205, a record label located in Nashville, TN, over 7 hours drive from Bellaire.
Gorshe also wrote both sides of the Big C on Sur-Speed 202 “(Hey Girl) Come Along With Me” / “Gee Whiz I Love You”
Sur-Speed was located at 1201 Whites Creek Pike, Nashville, Tennessee, and the SO-prefix indicates the 45 was mastered at Southern Plastics
Lester Smith – trumpet player and band leader
Luke Flowers – lead vocals and tambourine
Al McKay – guitar (replaced by J.D. Luna)
Arthur Cooper – horns
Wayne Davis – tenor sax
Olaf Tweedy – keyboards
Dale Thalley – bass
Ralph Johnson – drums
Robert – percussion
A few years ago I posted the program to the KHJ 93 Big Boss Battle of the Bands, which listed the Teen Turbans from Los Angeles High. Guitarist J. D. Luna sent in these photos and wrote about the group:
I was the guitarist in the Teen Turbans from L.A. High school at the time of the Hollywood Palladium Final, when The Teen Turbans won the Boss KHJ/Pepsi Battle of the Bands. I have some pictures that the dad of our percussionist took of us.
The Teen Turbans were an all black band, except for me, who snuck in when their funky Telecaster master left and they needed someone quick. I played a Les Paul with P90’s and a Tele through a four-ten Tender Bassman.
The drummer was Ralph Johnson, who later went on to Earth, Wind and Fire fame. In fact, the guitar player I replaced was Al McKay, who of course also went on to Earth, Wind and Fire. Lester, the band leader, is a nephew of Louis Armstrong, and was a master at directing and cuing the band (and not surprisingly, was a great trumpet soloist!). All the players came from families with musical backgrounds, and all had tremendous performing ability. I was very lucky to be there.
At the Palladium final we played on Limey & the Yanks equipment and I plugged into what I think was a Super Reverb that must have been set on eleven. I was so nervous I didn’t think to check the dials. So when I struck the first chord of “You Can’t Sit Down” my turban almost came off and the Paul seemed to be playing itself. When my solo came up I felt I had control of the stick and was ready to channel Freddy King … so I did!
We got a complete set of instruments and amps at the Fender factory and they took pictures. I’m not sure what the deal was with the drums and the brass instruments, but something was worked out with our manager, who was the father of two of the singers. I noticed somewhere on your site that no recording time had been promised, yet somehow we ended up at a studio. I have no idea when “We Need to Be Loved” was done, but probably after I had left the band.
This photo [above] was taken at a Knights of Columbus Hall on Vermont Ave. just south of Sunset Blvd, in Los Angeles, circa 1965. This was a showcase set up by our manager to help us get some local exposure. The manager is the fellow sitting in the audience with a turban just like the ones we wore. Everybody called him Pops; he was the dad of one of the girl singers and the guy singer in the band. I’m the guitar player standing on the far left, just to the right of the keyboard player. I’m playing my gold top Les Paul.
We got to play at Ciro’s on the strip, The Hullabaloo, which was also a Hollywood club, and a teen club in north Hollywood known as The Cinnamon Cinder that Bob Eubanks ran.
My experience with the Teen Turbans was the launching point for a lifelong career and love affair with music that continues to this day. I learned a tremendous amount not only about music, but also about how bands should and could work together, and that experience served me extremely well as I went on to work as a a professional musician, songwriter, teacher, band director and studio engineer.
After the Turbans, I performed with various groups through the Musicians Union Local 47 and on my own and worked the club circuit on the West Coast. Two of the bands I worked with were booked by the Gail McConkey booking agency out of Hollywood. Another band was booked by the Howard King agency; that band included Dick Dodd of the Standells as our front singer. I also later managed a music store in Lawndale (south of Los Angeles) called Hogan’s Music, which became locally famous for its clientele, which included the Beach Boys.
I began working as a recording engineer at various studios in the South Bay and eventually became a post-production recording engineer for film and television. I produced a female vocalist, Kim Gile, in the Santa Monica area, and we wrote and performed original R&B, rock and soul. I also built a band around this artist and we worked the Southern California club circuit for 10 years in the 90s and early 2000s.
For the past 12 years, I’ve been focused on playing solo acoustic guitar instrumentals, in the style of people like Chet Atkins, Tommy Emmanuel and other fingerstyle players. I perform locally (in north San Diego County) and also teach guitar.
The Cholos put out their classic “Last Laugh” on the Farad label in May, 1966. The band was from Fort Leonard Wood, Missouri, a rural area along I-44 between Springfield and St. Louis, MO.
Don Longfellow and D.J. Bohn wrote “Last Laugh” for Briebert Music, BMI, while Pete Starr and D.J. Bohn wrote the instrumental, “Whistling Surfer”.
I haven’t been able to find any other info about the band or a photo of the group. Their band name is a strange one, even for the ’60s. Their label name is also unusual and I can’t connect it to any other release.
This was considered a very rare 45 until at least 20 unplayed copies turned up in late 2014.
Based in Bermuda, the Gents may have included Andy Newmark, Glen Mello (I’m not sure if there’s any relation to Eddy DeMello) and drummer Frank Chiappa, and possibly Winston Cabral. I’ve seen a poor photo of a signed copy of the 45 that seems to include five names: Roddy, Mick, Winston and two I can’t make out.
I haven’t found any new information on the Gents, but I have finally bought a copy of their rare 45, “If You Don’t Come Back” / “I’ll Cry”, released on Duane Records 1048 in the first half of 1966.
Winston Cabral wrote “If You Don’t Come Back”, recognized as a classic of garage punk since its first compilation appearance on The Chosen Few vol. 1 in 1983. R. Marshall wrote the excellent heavy-echo ballad, “I’ll Cry”. Both sides published by Maredken Music, BMI and produced by Eddy De Mello, owner of the Duane label.
T5KM 2847/2848 indicates the lacquer was cut at one studio and supplied to RCA to be pressed in the first half of 1965.
In a comment on the page for the Savages, John McGill recalled being in a group with Winston Cabral called the Castaways, which also included Corky Fishbeck and ‘Mutt’ Mutzke.
Andy Newmark, Glen Mello joined Paul Muggleton and Jimmy O’Connor of the Savages to make the Bermuda Jam album for Dynovoice.
The Gents is one band I’d love to know more about, if anyone has more information or a band photo, please contact me.
Tim Warren turned me on to “I Need Your Lovin” by Ronnie D. & the Casuals. The band is better known as Ronnie & the Pomona Casuals for their hit on Donna “I Wanna Do the Jerk”.
“I Need Your Lovin'” has a different sound, even though the chunky guitar, swinging bass lines and solid drumming are typical of the Eastside style.
The similarity to John English III’s “I Need You Near” is striking and begs the question, which came first? The Sabra label released John English III’s single in May of 1965. The release date for Ronnie D. & the Casuals 45 is much less certain. The very small stamped “H” in the deadwax only indicates an RCA Custom press.
I’ve read that this is the first release by Ronnie D. & the Casuals, but that would date it to before the release of their Donna 45s which began around November of 1964. More likely it comes after their contract with Bob Keane ran out following three singles and LP on Donna, and a 45 on Mustang in May of 1965. This would make it a cover, or adaption, of the John English III song.
Song writing credits aren’t much help – John English is credited as writer on “I Need You Near”, published by Rattan Music BMI, while Ronnie D. & the Casuals’ “I Need Your Lovin” lists Derrek A. as writer, published by Branch Pub. Co. BMI.
The flip is “When a Clown Settles Down” a long ballad with some good moments, but poorly-produced. I can’t imagine the band was happy with the sound of this side of the single. This side also written by Derrek A., a name I can not trace to any other release from this era.
If John English III had the first release, one question is how did it come to the attention of Ronnie D. & the Casuals? The John English III single is especially rare, only a handful of copies now exist. It had almost no distribution or airplay at the time. Though based in San Fernando, John English III did perform with his group the Heathens at the Retail Clerks Auditorium in Buena Park, and at Pandora’s Box on the Sunset Strip, so some exposure was possible. By coincidence the Casuals single on Ron-Ee seems to be very rare as well.
Another question would be who is singing on this record? Chas Lett was the usual lead vocalist for Ronnie & the Pomona Casuals, but to my ears this sounds like someone else.
Ronnie & the Pomona Casuals were:
Charles Lett (vocals)
Ronnie Duran (lead guitar)
Robert Arroyo (organ) replaced by Les Kalil (Wurlitzer electric piano)
Jimmie Duran (tenor sax)
Robert Foley (baritone sax)
Ryan O’Brien Jr. (bass)
Phillip Duran (drums)
Ronnie Duran and his brother Jimmie attended Damien High School in San Dimas, California, where they formed the Casuals. Their first recording may have been “20.75”, which appeared on the second volume of the Salesian High School Rock ‘n Roll Show, recorded October 18, 1964. Billy Cardenas, manager and producer of Cannibal & the Headhunters, The Premiers, The Blendells, Mark & the Escorts and many other great acts, took them on and brought them to Bob Keane’s Donna Records.
In November, 1964 they put out the first of three singles and an LP on Donna. An interesting side note is that Arthur Lee of Love wrote “Everybody Jerk” and “Slow Jerk”, and sang backing vocals on the album. The Pomona Casuals had one further single on Mustang (the replacement label for Donna, which Keane retired), and also backed the Sisters on their Del-Fi single, “Ooh Poo Pa Do” and “Happy New Year Baby” (Del-Fi 4302).
The Casuals recorded their Donna and Mustang singles at Stereo Masters in Hollywood with Bruce Morgan engineering and Billy Cardenas producing. This single on Ron-Ee was cut at Audio Craft Recorders (aka Audio Craft Recording Studios) at 283 North Garey Avenue in Pomona.
Ronnie & the Casuals continued performing into the 1970s (I can find ads for their appearances through January 1970). Charlie Lett was killed many years ago and Les Kalil has passed away.
Donna 1400 – “Swimming at the Rainbow” / “Casual Blues”
Donna 1402 – “I Wanna Do the Jerk” / “Sloopy”
Donna 1405 – “Out of the Blue” (Cherry-Wright) / “Slow Jerk” (Arthur Lee, Maravilla Mus, Inc. BMI)
Donna DO-2112 – Everybody Jerk (LP)
Mustang 3005 – “Please, Please, Please” / “We’re Gonna Do the Freddie”
Ron-Ee 1001 – “I Need Your Lovin” / “When a Clown Settles Down”
The Golden Cabaleers are one of the more obscure bands on the IGL label. They released their 45 “Come Back to Me” / “All Alone” on IGL 123 in August of 1966. Teen Beat Mayhem lists the band’s location as Holstein, Iowa, 50 miles east of Sioux City, and about an hour and a half drive south of the IGL studio in Milford.
James Goettsch wrote and sang both songs on the single. He attended high school first in nearby Cushing, IA, then graduated from Eastwood Community School in Correctionville, IA in 1967. His first band was the Roadrunners with his brother Gerald Goettsch, T.J. McGuire and Lane Volkert. According to James’ obituary, the band changed their name to The Golden Cavaliers, which makes more sense than Cabaleers. James Goettsch became a physician. He passed away on June 30, 2005.
“All Alone” is very underrated – it received only a 2 in TBM. Check it out below and judge for yourself. It’s a low-key ballad with steady picking and fine vocals. “Come Back to Me” is more upbeat. No indication on the label as to which is the top side. I realize now my copy of the 45 is signed by both brothers on the labels.