The American Band 1969

The American Band: Beware of Falling Dreams

The American Band 1969
The Commercial Appeal, Danville news clip photo, 1969, from left: Larry Abbott, Truxton Fulton and Walter Dalton

The American Band was an original music group formed in 1968. It had a short and sweet life with only one memorable gig and one demo album. This was the first original material by Truxton Fulton, the composer/musician who currently works under the pseudonym Karl Mahlmann. The focus of this article is the composer’s juvenilia, the band and the music they created while in high school almost 50 years ago.

In 1969, three teenagers who attended school together in Danville, Virginia came together to create an unusual album of original material that isn’t easy to categorize. It isn’t hard rock and is not quite psychedelic, but it was certainly different from anything playing on the radio that summer.

But The American Band’s story begins earlier, with two friends teaming up in 1968 to perform and produce original music. The band was an informal regrouping of friends who had played together on and off in different bands. The group started as a duo with Fulton on keyboards and vocals and Larry Abbott on drums. After a while they coalesced into a band with the addition of Walter Dalton on guitar. Before it was over, the American Band had become a quartet with the addition of vocalist Jeff Fiske.

The American Band GWHS Larry Abbott, Truxton Fulton and Walter Dalton
1969 George Washington High School yearbook photos, from left: Larry Abbott, Truxton Fulton and Walter Dalton

The George Washington High School variety show was a yearly tradition and helped launch several groups, including the as yet unnamed American Band, which first performed at the 1968-69 assembly. Fulton and Abbott played three original songs: “The Milkman’s Wife,” “Beware of Falling Dreams” and “Look for Your Utopia in Your Backyard.” The first two would be recorded the following summer in Greensboro, after the band added a guitarist and decided upon a name.

Bassist Alan Rowe says the show was in March of 1969. He remembers the date distinctly because his band had been scheduled to perform but had to withdraw at the last minute after several members were involved in a serious car accident. Rowe recalls that the event was held in the school’s gymnasium and was a “true variety show,” including comedy routines, skits and an assortment of musical styles including a jazz set with saxophonist Allen Rippe; a soul band fronted by Rickie Fox; Pete Viccellio on piano; a drum solo performed by Lynn Finch; and a power rock trio that included guitarist Mark Aldridge, Rick Crane on bass, and future American Band guitarist Walter Dalton on drums.

But Rowe says he was most impressed by Fulton and Abbott. Not only did they play original material, but Rowe says the music and performance were exceptional and “really good.” Rowe recalls that “their music was so different from anything else that was being done. They were very accomplished and had a built-in uniqueness… just two people and they were doing their own thing and doing it well.”

The band, as a duo, also played a talent show sponsored by the Danville Rotary Club. Fulton recalls that “We had a fun time backstage while everyone was prepping. Larry and I pretended we were doing a dance routine and we just couldn’t get our steps right. We didn’t win. I think we went over the time limit. On the other hand, we may have just weirded everyone out; we were very counterculture.”

Truxton Fulton of The American Band
Truxton Fulton of The American Band at the Hammond

Fulton was already a veteran of the local band scene in Southside Virginia, having played in several groups, including the Stones Unturned, Radio Super Ice Cream Parlor and the Satisfactions Band and Show, a Farmville-based horn group that performed extensively and recorded two 45s for the Stag label in Greensboro, N.C. By his senior year in High School, Fulton was ready to concentrate on his own material. He explains that “from the beginning it was a little different in that it was a band for original music. We were never a cover band.” While the group performed “a couple of cover songs” live, Fulton says their purpose was to record his songs.

After graduating in 1969, Fulton took a summer job at wallboard maker U.S. Gypsum, saving $500 to finance a session in Greensboro. The group — now a trio with the addition of guitarist Walter Dalton — began rehearsing original material that would be recorded during a marathon session in mid-July.

Walter Dalton photo
Walter Dalton and his Rickenbacker guitar, ca. 1969.

Two years earlier, Dalton had worked with Fulton and Abbott in Radio Super Ice Cream Parlor, a cover band that featured a light show and included guitarist Bob Tamson and bassist Rick Crane. The short-lived group performed in the GW High School cafeteria, either for graduation or a homecoming dance. And while the band specialized in lesser known numbers like “Happenings Ten Years Time Ago,” Tamson and Dalton both concede that this may not have been a wise choice for the football crowd.

Dalton remained a fan of Fulton’s “amazing” talent on the organ, and says “he could really whip it out on a (Hammond) B3.” So, “when Trucky asked me if I’d be interested in working with him (on) this original material he wanted to record… I was more than willing to do it.” The band rehearsed over the summer “to the point where it went pretty smoothly” by the time the three traveled to Greensboro.

The American Band Crescent-City Sound Studios Demo
Crescent-City Sound Studios demo, recorded in Greensboro, N.C. on 7/15/69

Fulton, Abbott and Dalton made the trek to Crescent City Sound Studios on July 15, 1969. Crescent City was founded by Walt Copeland, who managed the studio and doubled as chief engineer. Fulton says it seemed like a logical choice. He was familiar with the studio, having recorded there earlier with the Satisfactions.

The sessions were done in a single afternoon. The original master tapes are lost, but Dalton kept his copy of the mono acetate, which includes eight original songs written and sung by Fulton. The album is an eclectic mix of styles, incorporating rock, jazz, soul and classical music, with heavy fuzz guitar and Fulton’s Hammond organ.

The threesome provided the instrumental backing, save for a session violinist who contributed to one track. While the band provided sheet music, Fulton remembers that the violinist “never did get his part right.” At one point, Dalton stood in front of him, waving his arm on each beat. In retrospect, Fulton wishes he had erased the part because the violinist was playing out of tune.

Most of the songs were performed live-to-tape in a single take, with very little overdubbing. Fulton did overdub piano parts and his vocals. In addition to organ, he also played a Fender Rhodes bass piano, ala the Doors. The band had rehearsed the arrangements and Dalton remembers that “there were some songs that Trucky planned to do some overdubs for vocals as well as maybe other parts; I think there was one that he played a recorder on.”

Dalton was excited because it was his “first and only real experience in a full fledged recording studio.” He recalls that the sessions were “pretty much straight in” and that he was only required to do overdubs on a couple of songs “and then it reached the point where we were done, meaning me and Larry, and we just left. I remember we left Trucky down there with the recording engineer.”

Walter Dalton of The American Band
Walter Dalton of The American Band

His only hesitation came when Fulton brought a Vox wah-wah pedal to the studio and asked that Dalton use it on some of the songs, most notably on the coda of “Beware of Falling Dreams.” While the band may have rehearsed with it once or twice, Dalton admits it was “kind of a new toy, so I had to fool around with it a little bit, but it went pretty well.”

There were no studio jitters. The band was well rehearsed and Dalton says he was comfortable with the arrangements. He knew what he “needed to do (and) just tried to go in and concentrate and do it.” And with the studio charging “a fairly hefty rate per hour,” there was an incentive to do it right the first time.

While the album holds up well, Fulton insists the sessions were “ill-conceived, in the sense that we tried to do too much in too short a time.” While the recordings are raw and include mistakes, he remembers the sessions as fun and “a good learning experience.” The three entered the studio with a plan to use the recordings to promote the band, “either to record companies or to get some good gigs, which we did with the Steel Mill job up in Richmond.”

The trip to Greensboro was highlighted in a story — “Band to Make Album” — that appeared in the Commercial Appeal, a weekly Danville newspaper known for its liberal stance on politics.

Describing their music at the time, Fulton said their style was unique, adding: “It’s partly classical rock, but mostly rock. Kids won’t be able to dance to some of it. But I don’t think that means it isn’t good. I mean you couldn’t dance to Beethoven, and he was good.”

For the newspaper photo shoot, the band posed in Truxton’s bedroom in front of a borrowed American flag. Fulton asked the photographer whether he thought his beard would show up in the picture. Not missing a beat, the photog replied: “Oh, in about two years.” Fulton also remembers that his father was none too pleased when the band picture appeared and his son had a cigarette dangling from his lips.

A few seconds of video of the band was also filmed around this time by Gary Gaddy, a friend from high school. The silent film is in color and was shot on a Super 8 camera. It provides a glimpse of the band rehearsing “Beware of Falling Dreams” in Fulton’s home. The camera pans from Fulton’s hands at the keyboards to a shot of a sweaty Abbott pounding the drums. There are a few frames of Dalton in sunglasses playing his Rickenbacker guitar before the film runs out.

The American Band only performed once, but it was a memorable gig. Fulton was a freshman at Virginia Commonwealth University in the fall of 1969 when he approached concert organizers about playing at the Free U, which Fulton describes as “a short-lived hippie thing,” offering classes with no tuition. The venue was later known as the String Factory. The American Band opened for Bruce Springsteen and his group Steel Mill, which had just changed its name from Child so as not to be confused with another group by the same name that recorded for Roulette Records.

Fulton secured the band a supporting spot on the bill, largely on the strength of the acetate. He played their demo for the manager of the Free U, Russ Clem, who listened to several songs without saying a word. After taking it all in, he looked up and remarked: “It’s so refreshing to hear some really good original music”. Clem agreed to add the American Band to the show. While Fulton had never heard of Steel Mill or Springsteen, the group played regularly in Richmond and Fulton says they “were regional stars and had a good following there.”

The Richmond psyche group Morning Disaster may have also performed that day, but Fulton says the American Band was a last-minute addition and did not make the concert poster. The bands performed in an upstairs room and the attendees sat on the floor.

Kondors Photo 1966
The Kondors, ca. 1966. L-R: Bobby Lewis, Burt Sparks, Darryl Hawkins, Jeff Fiske, Wayne Womble.

Jeff Fiske, whose family lived behind the Fultons on Confederate Avenue, had joined the American Band by this point and handled some of the lead vocals. Fiske was older than the other band members and fronted several local groups, including the Kondors, Manchesters and City Council when lead singer Charles Hairston was unavailable.

Fiske was drafted right out of high school and served in Vietnam in 1967-68, so he was anxious to get back into the band business. He said he was impressed by the musicianship of the American Band, noting the trio was “amazingly tight considering they hadn’t played together very long.”

His audition involved singing “A Whiter Shade of Pale” to Fulton’s accompaniment on organ. Fiske doesn’t recall how it came about and says he could have heard the band jamming or he may have been recommended by Mrs. Poindexter, another neighbor who was a big fan of the Kondors.

The band’s one-off performance at the Free U caught Dalton by surprise. He was still in high school and recalls finding out “with fairly short notice that Trucky had gotten us this gig in Richmond where he was going to school.”

Steel Mill American Band Poster
Nov. 20, 1969 poster promoting a Steel Mill concert in Richmond, VA. The American Band was a late addition and was not on the poster.

Dalton, Abbott and Fiske drove up to Richmond and were unloading their equipment for the sound check when Dalton was informed that he didn’t need to bring his amp, just his guitar. “So I show up with just my guitar wondering what kind of amp am I going to be playing through, but there was this nice guy who was telling me, ‘Here’s my amp, you can use it,’ and showing me a couple of tips on how we set up and everything. I only found out recently that the guy was Bruce Springsteen, which is really a big surprise for me because nobody ever gave me a clue that’s who we were playing with.”

The band opened the Richmond concert with “Beware of Falling Dreams.” Before the next number, Fulton turned to the audience and asked them to be kind because it was the group’s first performance. To his surprise, the comment was greeted with a round of applause. According to Fulton, their set was “very well received in spite of the fact that Steel Mill was much more of a mature act than we were.”

Jeff Fiske of the American Band
Jeff Fiske of the American Band

Fiske recalls that the place “was packed with all the audience sitting on the floor.” The crowd was “laid back, but appreciative of the band’s music.” The stage had a short walkway that extended into the audience and Fiske’s mike stand was placed on the extension. He said it “was very cool (to be) surrounded by those folks singing for them, and I thought the band sounded great that night.” While most of the attendees were waiting for the main attraction, he recalls that the American Band still “received a great response from most of them.”

Fiske was wearing his Vietnam boonie on stage that night, in the midst of demonstrations against the war. At some point he realized his apparent faux pas, but if anyone objected there were no complaints.

Fulton played Steel Mill’s Hammond B3 at the concert and was impressed with the keyboard player and Springsteen, who watched the American Band in the wings and cheered them on. Steel Mill already had quite a following in the Richmond area and Fulton remembers them performing “The War is Over” and “Sweet Melinda,” along with a cover of the Stones’ “You Can’t Always Get What You Want.”

While Steel Mill played September 19 and 20, 1969 in The Center at Richmond’s Free University, Fulton says the American Band only performed one night. Photographs were made of the concert but have been lost to time.

Alice Cooper Matrix Titfield String Factory Richmond 1970
Poster for Alice Cooper, the Matrix and Titfield at the String Factory in Richmond on Sept. 27, 1970.

This was to be the American Band’s first — and last — performance. The group parted ways shortly thereafter. Fulton insists there was no animosity about the break-up and says the logistics of keeping a Danville-based group together were just too difficult with the leader a full-time student at VCU and the other members attending high school three hours away. Dalton concurs and says the distance separating the band made it impossible to continue, adding that “we just kind of understood that this probably was gonna be it.”

Larry Abbott of the American Band
Larry Abbott of the American Band

1969-70 was a year of musical growth for Fulton, who became well-integrated with the Richmond music scene.  His band Matrix opened for Jethro Tull that November, playing a set of Fulton’s compositions, including the 20-minute suite, “Miscarriage.” Reviewers described Matrix as “a strangely original group” whose music was as good “as any band heard on record or off.”  Some of Fulton’s cohorts from that year are still involved in projects with him today under the band name Play Innocent.

As for the other American Band members, Walter Dalton moved to the Norfolk area, where he lives today. Larry Abbott remained in Danville. Sadly, he died in 2010. Jeff Fiske continues to live and work in Danville.

Article by Jack Garrett

The Loose Ends

The Loose Ends photo
The Loose Ends, scan courtesy of Alan Whitehead

Alan Marshall – lead vocals
Ron Bryer – lead guitar
Rick Marshall – bass
Roy Davies – keyboards
Alan Whitehead – drums

Formed in Lewisham, southeast London in late 1963, The Loose Ends were fronted by Indian-born singer Alan Marshall and his bass playing cousin Rick Marshall, both residents in nearby Brockley.

Original lead guitarist Ron Bryer and keyboard player Roy Davies appear to have been there from the outset while Orpington-based drummer Alan “Noddy” Whitehead completed the formation after playing with singer Crispian St. Peters.

Shortly after coming together, the musicians started landing regular gigs at notable local venues like the Bromel Club in Bromley, the Tiger’s Head in Catford and the Glenlyn Ballroom in Forest Hill. Crucially, their manager Bryan Mason secured the group a residency at Lewisham’s El Partido, a club that he owned, which helped build their local fanbase.

However, around June/July 1965, Ron Bryer departed to join Carl Douglas & The Charmers and remained with the Jamaican singer for a year before hooking up with Bexley, Kent R&B outfit, The Big Wheel, which featured future Clark-Hutchinson member, Andy Clark. The group toured extensively in Switzerland and recorded a rare Swiss-only single in late 1966 for the Eurex label.

When The Big Wheel split, Ron Bryer joined Dee Dee Barry & The Movements in July 1967 and appeared on a string of singles. During 1968, however, he formed Brainticket, who recorded the Krautrock classic Cottonwoodhill album in 1971. Tragically, he died from a drug overdose in 1973.

Guitarist Peter Kirtley from Newcastle upon Tyne took Ron Bryer’s place. A former member of The Chevrolets and Shorty & Them, Kirtley had appeared on the latter’s lone single, “Pills or Love’s Labour Lost” c/w “Live Laugh Love”, released on Fontana in 1964, and a German-only album, shared with Liverpool group, The Roadrunners, before decamping to London in early 1965.

According to the South East London Mercury newspaper’s 19 February 1965 edition, Kirtley and fellow Newcastle musician, bass player, the late Brian Rowan formed the short-lived Take Six with southeast London musicians, organist Roger Read (ex-Wranglers/Showtimers) and drummer Graham Willard in early 1965.

In February 1966, The Loose Ends landed a semi-residency at swinging Mayfair club, the Scotch of St James.

Having inked a deal with Decca Records in late 1965, The Loose Ends cut their debut single, an impressive take on “Send The People Away”, a rare Moody Blues’ track, backed by a cover of “I Ain’t Gonna Eat Out My Heart Anymore”, which was shipped in July 1966.

That same month, South East London Mercury reported that bass player Dave Collman had taken over from Rick Marshall.

Barely a month after the band’s debut release, Decca issued a second single on 5 August 1966, once again produced by Noel Walker. Coupling a superb freakbeat version of George Harrison’s “Taxman” with the more R&B flavoured “That’s It”, the second outing should have been a hit but for some reason failed to chart.

More encouraging in the immediate term was the fact that Otis Redding had spotted the group when it played at the Scotch of St James on his debut UK tour in September 1966.

Impressed by Alan Marshall’s gritty, soulful voice, he took the singer to Muscle Shoals, albeit following his second UK tour in 1967, and recorded some material. It’s unclear, however, what has happened to these tracks.

However, despite the clutch of great singles and Otis Redding’s interest in recording Alan Marshall, The Loose Ends were unravelling quickly.

The Attack and Marmalade

In late September, Alan Whitehead departed, initially to join Cops ‘N’ Robbers. He then spent a month or so playing with The Epitaph Soul Band before joining The Attack alongside singer Richard Shirman and guitarist David O’List, and cut enough material in the run up to Christmas for a debut single.

Issued on 27 January 1967, the drummer can be heard on The Attack’s debut single, a great cover of The Standells’ “Try It” c/w the band original, “We Don’t Know”. By the time the single had reached the shops, he had decamped to join The Marmalade and remained with the band throughout its most successful years. In an interesting side note, he also auditioned for the band that became Procol Harum.

Alan Whitehead’s departure appears to have prompted a wider split. In October 1966, Peter Kirtley accepted an offer to join The Alan Price Set, working alongside bass player Boots Slade; trumpeter John Walters; sax players Steve Gregory and Clive Burrows (replaced by Terry Childs) and drummer Roy Mills.

With two of the band’s most integral members gone, The Loose Ends splintered in December 1966 and singer Alan Marshall joined Croydon, Surrey outfit, The Subjects.

Happy Magazine

Renamed The New Loose Ends, the musicians gigged until September 1967 when Marshall reunited with Peter Kirtley in Happy Magazine, a soul/R&B outfit that was managed and produced by Alan Price.

Joined by Kirtley’s old friends from Newcastle, the late Kenny Craddock on organ from Tyneside bands The Elcorts and New Religion, and Brian Rowan on bass from Shorty & Them plus West Londoner Malcolm Wolffe on drums from The Tribe, the band cut material that was split over three singles for Polydor.

Kicking off with Alan Price’s excellent “Satisfied Street”, backed with “Beautiful Land” in December 1967, featuring a horn section that may well be Amboy Dukes members Buddy Beadle and Steve Gregory (also ex-Alan Price Set), the label re-issued the track three months later coupled with the Dan Penn/Spooner Oldham soul classic “Do Right Woman – Do Right Man”.

However, it was possibly the band’s third and final outing, a brilliant reading of the Dee/Potter collaboration, “Who Belongs To You”, coupled with the previously available “Beautiful Land”, issued on 14 February 1969, that should have catapulted the band into the charts.

One

With the single failing to grace the charts, Alan Marshall departed to form the experimental jazz/funk/blues band, One, who cut a brilliant lone album for Fontana later that year.

Joined by lead guitarist Kevin Fogarty (originally a member of Southport R&B group, Timebox); keyboardist Bobby Sass (some sources suggest Bobby Tench using an alias); bass player Brent Forbes; sax and flutist Norman Leppard; and drummer Conrad Isidore, One should have been a huge success but the album sank without a trace.

Griffin

Peter Kirtley and Kenny Craddock meanwhile brought in three friends from Newcastle – ex-Skip Bifferty members, singer Graham Bell and bass player Colin Gibson, and future Yes drummer Alan White, who’d replaced Malcolm Wolffe in time for Happy Magazine’s final single (after the latter had left to join Geno Washington), and signed to Bell Records for a one-off single as Griffin.

Produced by Alan Price and issued on 25 September 1969, the Kirtley-Gibson-Craddock collaboration, “I am The Noise in Your Head”, coupled with Kirtley’s “Don’t You Know” was an impressive outing but failed to trouble the charts.

Griffin soon splintered and Kirtley went on to record with several notable bands, including Riff Raff, Radiator and Pentangle. Later he appeared on albums by Liane Carroll and Bert Jansch.

Kirtley has also issued two solo albums, Peter Kirtley and Bush Telegraph as well as the charity single, “Little Children”, for Jubilee Action, to raise money for street children in Brazil and featuring Paul McCartney.

Alan Marshall, meanwhile, had surfaced as a solo artist on Fontana in 1970. In France, the label issued a rare single that coupled One’s excellent cover of Richie Havens’s “Don’t Listen To Me” with a solo outing – “How Much Do You Know”, adapted from “Adagio Royal” by F de Boivallee.

Gonzalez

When that single failed to chart, Marshall ended up joining Strabismus, which subsequently changed its name to Riff Raff when the singer’s former band mate from The Loose Ends/Happy Magazine, Peter Kirtley joined. However, Marshall quit before Riff Raff’s debut album was recorded and pursued a solo career before recording with Zzebra. He then joined Gonzalez in the late Seventies in time for their 1979 release, Move It To The Music.

Interestingly, Gonzalez’s keyboard player was Roy Davies, Marshall’s former band mate from The Loose Ends. In the intervening years between the end of The Loose Ends and joining Gonzalez in 1974, Davies had worked initially with The Freddy Mack Sound and later The Butts Band with members of The Doors. He later became a prolific session player before passing away in 1986.

The Loose Ends recordings meanwhile have surfaced on numerous Sixties CD compilations, including Deram’s Mod Scene and Freakbeat Scene.

I would like to thank Alan Whitehead and Peter Kirtley for helping with the story. Thanks also to Vernon Joynson and Bruce Welsh. Thank you Alan for the use of The Loose Ends photo.

The following selected gigs are taken largely from Melody Maker and the South East London Mercury.

Selected gigs:

19 December 1964 – Cromer Links Pavilion, Cromer, Norfolk with Maniax (may be another Loose Ends)

25 January 1965 – Bromel Club, Bromley Court Hotel, Bromley, Kent
13 February 1965 – Cromer Links Pavilion, Cromer, Norfolk with The Trends (may be another Loose Ends)
25 February 1965 – Bromel Club, Bromley Court Hotel, Bromley, Kent
10 April 1965 – Ricky Rick Club, Basingstoke, Hants
16 May 1965 – Bromel Club, Bromley Court Hotel, Bromley, Kent
16 May 1965 – Studio ’61, Leicester Square, London
23 May 1965 – Studio ’61, Leicester Square, London
14 August 1965 – Ticky Rick Club, Basingstoke, Hants
10-11 September 1965 – El Partido, Lewisham with Duke Lee
11 September 1965 – El Partido, Lewisham with Duke Lee, Sonny Childe and Lou Johnson
18 September 1965 – El Partido, Lewisham with The Artwoods
25 September 1965 – El Partido, Lewisham with Guy Darrell

February-April 1966 – Scotch of St James (three times a week)
26 February 1966 – Glenyn Ballroom, Forest Hill, London
16 July 1966 – Savoy, Catford, London
17 July 1966 – Eltham Baths, Eltham, Kent
26 July 1966 – Scotch of St James
27 July 1966 – Bromel Club, Bromley Court Hotel, Bromley, Kent
29 July 1966 – Glenyn Ballroom, Forest Hill, London
15 September 1966 – Ram Jam, Brixton, London
17 September 1966 – Witchdoctor, Catford, London (last gig with Alan Whitehead)
23 October 1966- Bromel Club, Bromley Court Hotel, Bromley, Kent
28 October 1966 – Tiger’s Head, Catford, London
3 November 1966 – Raven’s Club, Lewisham
20 November 1966 – Bromel Club, Bromley Court Hotel, Bromley, Kent
26 December 1966 – Bromel Club, Bromley Court Hotel, Bromley, Kent (billed as New Loose Ends)

15 January 1967 – Bromel Club, Bromley Court Hotel, Bromley, Kent (billed as New Loose Ends)
8 March 1967 – Bromel Club, Downham, Kent (billed as Loose Ends)
15 April 1967 – The Polytechnic, Central London with Savoy Brown Blues Band (billed as Loose Ends)

The Dantes Jamie 45 Can't Get Enough Of Your Love

The Dantes

The Dantes Jamie 45 Can't Get Enough Of Your LoveThe Dantes Jamie 45 80-96I found mint copies of the first two 45s by the Dantes in company sleeves, and they were so cool I had to put scans of them up on the site with something about this quintessential mid-60s band.

Barry Hayden – lead vocals
Dave Workman – lead guitar
Lynn Wehr – rhythm guitar
Carter Holliday – bass
Joe Hinton – drums

The Dantes formed about 1964 in Columbus, Ohio suburb of Worthington. Though they drew inspiration from the Rolling Stones and covered Stones songs live and on their records, their first single displays an original and catchy style. “Can’t Get Enough of Your Love” begins with quick finger picking more like something from the Byrds until the opening vocals come blasting out at the listener. The rhythm section chugs along with a sound peculiar to styrene discs.

Although it made #1 on Columbia station WCOL, the single didn’t break out nationally. Song writing credits are to Harvey-Wehr for Doraflo Music BMI, arranged by lead guitarist Dave Workman.

The flip “80-96″ starts out like the Yardbirds’ “I Ain’t Done Wrong” then settles into a bluesy instrumental. According to Buckeye Beat the band wanted to call this song “8-69″ but Jamie insisted it was too suggestive a title. Writing credits are to Dantes-Weber. Released in March 1966 on Jamie 1314, both sides are listed as “A Sire Production for B.J.R. Productions”.

According to an article in the Mansfield News-Journal, their manager was DJ Johnny Garber, while a later article from January 1968 discusses Garber and Chuck Swisher co-managing the group.

The Dantes Cameo 45 Can I Get a WitnessIn late September, 1966 the Dantes released their second 45, this time on the Cameo label, a cover of the Stones “Under My Thumb” with a good version of “Can I Get a Witness” (which the Stones also did) on Cameo 431, the labels reading “a Richards Production”.

An article in the Newark Advocate from May 9, 1968 mentions Dave Workman had left the band and formed Dave Workman’s Blues Group with other Columbus musicians. Dave’s leaving may have led to a softening of the band’s sound, evident on their last 45 in October 1968. Featuring horns and a pop sound, the A-side was a cover of another Stones song, “Connection” backed with the band original “Satisfied”. Walt Masky produced the record, coordinated by Jerry Sharell; it was released on the Main Line label.

The band lasted until about January 1969, at which point they changed their name to Moonstone. The Circleville Herald has an ad for one Moonstone gig in January with the Fifth Order and the Young Generation, and another in April ’69 with the Tree and the Fifth Order. After this Moonstone and the Dantes seem to disappear.

Any photos or info on the band would be appreciated.

The Dantes Cameo 45 Under My Thumb

Black Prince Hotel, Bexley, Kent

The Black Prince Hotel in Bexley, Kent was a popular live music venue during the 1960s. I’ve started to compile a list of artists that performed there and would welcome any additions as well as any memories of the pub.

12 April 1964 – Graham Bond Organisation

17 May 1964 – Graham Bond Organisation

21 June 1964 – Graham Bond Organisation

12 September 1964 – Graham Bond Organisation

18 October 1964 – Graham Bond Organisation
29 October 1964 – Graham Bond Organisation

28 February 1965 – Rod Stewart & The Soul Agents with Buddy Guy

29 August 1965 – John Mayall’s Bluesbreakers

30 January 1966 – Spencer Davis Group

6 February 1966 – Alex Harvey
13 February 1966 – Graham Bond Organisation (with Big Wheel Soul Band?)
27 February 1966 – Zoot Money & The Big Roll Band

6 March 1966 – The Action
27 March 1966 – Steampacket

5 June 1966 – Downliners Sect

3 July 1966 – Geno Washington & The Ram Jam Band

21 August 1966 – Shotgun Express

4 September 1966 – The Moody Blues
11 September 1966 – Cliff Bennett & The Rebel Rousers
18 September 1966 – Zoot Money & The Big Roll Band

20 November 1966 – Downliner’s Sect

14 March 1967 – Carl Douglas & The Big Stampede

9 April 1967 – Julie Driscoll and Brian Auger & The Trinity
25 April 1967 – Jimmy Cliff (with The Shakedown Sound)

30 May 1967 – The Nite People

2 July 1967 – The Coloured Raisins

3 September 1967 – The Amboy Dukes
10 September 1967 – John Mayall’s Bluesbreakers

8 October 1967 – The Amboy Dukes

7 November 1967 – Carl Douglas & The Big Stampede
12 November 1967 – Dantalion’s Chariot

5 May 1968 – Spooky Tooth

9 June 1968 – Julie Driscoll, Brian Auger & The Trinity
23 June 1968 – Spooky Tooth

4 August 1968 – Spooky Tooth

15 September 1968 – Ten Years After
22 September 1968 – Timebox

10 December 1968 – Simon K & The Meantimers

27 June 1969 – The Symbols

10 August 1969 – Trapeze

19 October 1969 – The Greatest Show on Earth

9 November 1969 – Timebox

Sources:

South East London Mercury, Marmalade Skies website, Melody Maker, Fabulous 208 and Bruno Ceriotti (Graham Bond Organisation)

The Scotch of St James

The Scotch of St James, situated at 13A Masons Yard, Westminster was a notable music venue in the 1960s and a popular hang out for rock musicians, notably The Beatles and The Rolling Stones.

Jimi Hendrix also made his first UK appearance at the club on 24 September 1966 when he joined the house band for a few numbers.

I have started to compile a list of artists that performed at the venue and would welcome any additions as well as memories of the club.

7 May 1965 – The Stormville Shakers
14-15 May 1965 – The Stormville Shakers

22 October 1965 – The Riot Squad

26 July 1966 – The Loose Ends

11 September 1966 – The Iveys
28 September 1966 – Brian Auger & The Trinity
30 September 1966 – VIPs

19 October 1966 – Paul Butterfield Blues Band jams with Cream (either here or Cromwellian)
25 October 1966 – Jimi Hendrix Experience

23 April 1967 – The Wages of Sin

1-3 November 1967 – The Anglians
4 November 1967 – Mud
6-8 November 1967 – The Web
10-11 November 1967 – West Coast Consortium
13-16 November 1967 – Timebox
28-30 November 1967 – Bystanders

30 December 1967 – Kaleidoscope

2 May 1968 – Ray King Soul Band
16 May 1968 – Edwin Starr

17 June 1968 – Ray King Soul Band

3 August 1968 – Scrugg
5 August 1968 – Dave Davani Five
6 August 1968 – Tim Rose
13 August 1968 – Elmer Gantry
21 August 1968 – Dave Davani Five
22 August 1968 – Timebox
26 August 1968 – Timebox

7 September 1968 – Scrugg
14 September 1968 – Scrugg
27-28 September 1968 – Scrugg

16 October 1968 – The New Formula

12 November 1968 – The New Formula
18 November 1968 – The New Formula

12 December 1968 – The New Formula
18 December 1968 – The Barrier

31 January 1969 – The N’ Betweens

Sources:

Melody Maker, Marmalade Skies website and the Stormville Shakers website. Thanks also to Jack Russell for the Scrugg gigs.

Mustache Wax Inner 45 I'm Gonna Get You

Mustache Wax

Mustache Wax Inner 45 I'm Gonna Get YouDaniel Lane (Danny Lutzky) – guitar
Richie Winston – 6 and 12 string guitar
David Knopf – bass
Lloyd Goldberg – drums and lead vocals
Eddie DiBiase – harmonica

I was very excited to track down a copy of this 45 only find it to be in nearly unplayable condition – if anyone has a nice spare please contact me!

Mustache Wax came from the Bronx, in Riverdale. This was the last of several lineups and band names they used before breaking up after high school. They recorded the 45 in a studio on 42nd St.

Eddie DiBiase came from Queens and was the connection to Inner Records, though I can’t find any other releases on that label. Eddie wrote the top site, “I’m Gonna Get You” published by Luv Music ASCAP.

Mustache Wax Inner 45 On My MindI also like the flip, “On My Mind” alternately somber and quick, written by guitarist Danny Lane for Philonic Music, BMI.

The 45 was produced by Epstein-Schwartzberg, yet it’s also “A Vitale-Eden Production”.

Anyone have a photo of the group?

Info from David Knopf via Flower Bomb Songs.

El Partido, Lewisham

The El Partido in Lewisham, southeast London was located at 8-10 Lee High Road and was a popular spot for young Jamaicans and local mods.

The excellent Transpontine website notes that King Ossie Sound played at the club regularly. Other guests included Jamaicans Jimmy Cliff and The Duke Reid Sound.

Local R&B outfit, The Loose Ends, who cut two singles for Decca, were also house band at some point in late 1965.

I have started a gig list and would welcome any additions plus any memories of the venue, which was closed down in April 1967.

17 October 1965 – Bo Diddley

28 January 1966 – Lee Dorsey
30 January 1966 – The Drifters

11 February 1966 – Doris Troy
12 February 1966 – Inez and Charlie Foxx

8 April 1966 – Jimmy Cliff (backed by New Generation?) with The Raisons, King Ossie Sound and Duke Reid
9 April 1966 – New Jump Band with King Ossie Sound
10 April 1966 – Don Covey with King Ossie Sound
11 April 1966 – Owen Gray and Jackie Edwards with The Raisons and King Ossie Sound

22 May 1966 – The Charmers (with Carl Douglas)

11 June 1966 – Carl Douglas & The Charmers

4 August 1966 – Jimmy Cliff

2 September 1966 – James Royal Set
24 September 1966 – Carl Douglas & The Big Stampede

1 October 1966 – Timebox

15 November 1966 – The Iveys

6 January 1967 – Duke Lee
7 January 1967 – The Soul Trinity
13 January 1967 – Duke Lee
14 January 1967 – The Mellow Notes
20 January 1967 – Duke Lee
21 January 1967 – Ossie Layne & The Red Hot Band

Sources: 

Southeast London Mercury, Marmalade Skies website and Melody Maker

Glenlyn Ballroom, Forest Hill

Located at 15 Perry Vale, the Glenlyn Ballroom in Forest Hill, Southeast London was a popular venue for Mods in the early-to-mid 1960s.

The Who were regulars in the 1963-1964 period when they were known as The Detours and The High Numbers.

I’ve started a list of bands that were advertised and would welcome any additions as well as any memories of the venue.

 

13 September 1963 – The Detours (became The Who)

4 October 1963 – The Detours (became The Who)
11 October 1963 – The Detours (became The Who)

7 November 1963 – The Detours (became The Who)

6 December 1963 – The Detours (became The Who)
20 December 1963 – The Detours (became The Who)

3 January 1964 – The Detours (became The Who)
24 January 1964 – The Detours (became The Who)
31 January 1964 – The Detours (became The Who)

14 February 1964 – The Detours (or now called The Who)

16 March 1964 – The Who
23 March 1964 – The Who

3 April 1964 – The Who (this month they change name to High Numbers)
6 April 1964 – The High Numbers
10 April 1964 – The High Numbers
20 April 1964 – The High Numbers
24 April 1964 – The High Numbers

4 May 1964 – The High Numbers
11 May 1964 – The High Numbers
15 May 1964 – The High Numbers
18 May 1964 – The High Numbers
25 May 1964 – The High Numbers

1 June 1964 – The High Numbers
8 June 1964 – The High Numbers
15 June 1964 – The High Numbers
22 June 1964 – The High Numbers
29 June 1964 – The High Numbers (revert back to The Who in November)

6 November 1964 – The Graham Bond Organisation

15 January 1966 – The Birds
21 January 1966 – The Who

26 February 1966 – The Loose Ends

19 June 1966 – The Carl Douglas Set

8 July 1966 – Dave Antony’s Moods
29 July 1966 – The Loose Ends

August 1966 – The Fenmen
August 1966 – The Creed with Graham Bell & The Trend

September 1966 – Dave Antony’s Moods
23 September 1966 – The Creation

10 March 1967 – Carl Douglas & The Big Stampede
17 March 1967 – Tony Rivers & The Castaways
18 March 1967 – The Escorts
24 March 1967 – The Summer Set
25 March 1967 – The Cossacks
31 March 1967 – Jimmy Frog & The Bean Machine

Sources: 

South East London Mercury, Marmalade Skies, Melody Maker and Andy Neill (The Who)

Chislehurst Caves, Chislehurst

Chislehurst Caves in the south eastern suburbs of London is a 22 miles long series of tunnels. During the 1960s, the caves were used as a music venue and many notable artists played there, including David Bowie, Jimi Hendrix and Pink Floyd, to name a few.

I have started to compile a list of artists that played and would welcome any additions. Also, I would welcome any memories of the caves from that period.

11 February 1966 – Downliner’s Sect (opened the caves as a music venue)
25 February 1966 – Zoot Money & The Big Roll Band

11 March 1966 – The Loose Ends

1 July 1966 – The Yardbirds

16 December 1966 – The Jimi Hendrix Experience

6 January 1967 – Carl Douglas & The Big Stampede
27 January 1967 – Jimi Hendrix Experience

17 February 1967 – Carl Douglas & The Big Stampede

14 April 1967 – Carl Douglas & The Big Stampede

7 July 1967 – Carl Douglas & The Big Stampede

6 October 1967 – Eric Burdon & The New Animals

9 February 1968 – The Herd

Sources:

South East London Mercury, Marmalade Skies, Melody Maker and Fabulous 208

The In Mates Palladium 45 The Same

The In Mates

The In Mates Palladium 45 The SameI have no info on the In Mates other than their origin of Holladay, Utah, a suburb east of Salt Lake City and the names on this 45. Randy Teal wrote “London Town” and Sam Parsons wrote “The Same”. Both songs are steady ’60s pop with harmony vocals and a good balance between the clean guitar work, organ and the rhythm section. Both songs have a touch of melancholy; “London Town” has a richer arrangement and harmonies, while “The Same” is more upbeat.

This 45 was released in January, 1967 on Palladium P-5011. I don’t know of any other releases on this Palladium label (there were others). Publishing by Le Mon Music, BMI.

Below is a stream of “London Town”. I can’t find “The Same” on the ‘net.

The In Mates Palladium 45 London Town

The site for '60s garage bands since 2004