The Diplomats came from Wilmington, Delaware, where they recorded their only single at Ken-Del Studios. The A-side is the aptly-named “I’m Sad”, a maudlin original written by Chris Myers and Ed Welch with good guitar picking and harmonies. The flip is a good cover of “Route 66”.
Other than this I know nothing about the band.
Copyright registrations from September, 1966 have their names as Richard C. Myers and Edward P. Welch II.
The Shadows came from Hazelwood, North Carolina, a small town about 30 miles west of Asheville. Members included Dennis Robbins and Ken James.
The band traveled 150 miles east to Charlotte to record at Arthur Smith Studios, releasing their single on Switch Records in April, 1966. “Tell Me” is a good original by Robbins and James, a tight performance with an excellent guitar break. The flip is a version of Brubeck’s “Take Five” that gives the guitarist more room to stretch out. Switch seems to have been their own label, I haven’t seen anything else on it.
Two months later the band drove 280 miles in the other direction, west to Nashville, where they recorded another original, “She’s Like That” for release on Zeke Clements’ Gold Standard Records. “Tell Me” was reused for the flip side, though without all the heavy echo on the original Switch version. I believe it is the same take of the song, not a re-recording, and I prefer it without the echo.
Dennis Robbins and Kenneth James copyrighted both songs with Clements’ Blazon Music Co, BMI on June 21, 1966.
Gold Standard released over 200 singles during the ’60s. There are a handful of garage or teen-beat records, which I’ll list below, though some of them I haven’t heard and I’m not positive they fit here. While some artists were local to Nashville, it wasn’t unusual for Gold Standard to feature artists from around the country. The Cavemen came from Birmingham, Alabama and had an earlier single as J.C. & Cavemen.
112 – The Cavemen (vocal by J.C. Raynor) – “Just One You For Me” (Hoyt Johnson) / “Tell Her One More Time For Me”
155 – The Coachmen (vocal by Tommy Burnett) – “I’ll Never Leave You” / “Possibility”
174 – Steve Stephens – “Lonely Me” (Ricky Ryan) / ‘When You Grow Tired Of Him”
Del Paramor – tenor sax (ex-Warren Davis Monday Band)
Jack Drew – trumpet
Roy Peen – drums
This soul R&B outfit was formed in early 1968 and played until early 1971 when Sketto Rich and Roy Peen left. Johnny Wright was succeeded by Dennis Brown during this period as well.
Bobby Morris joined around April 1968 and rehearsed with the band throughout May and June at the Railway Tavern, Plumstead.
Morris’s first gig with the band took place on 3 August 1968 at the Aurora Hotel in Gillingham, opening for Unit 4+2. The musicians also played regularly at the Harrow Inn in Abbey Wood.
Sketto Rich & Sonority also began to play further afield. Morris recalls playing at the Locarno Ballroom in Swindon on two occasions – 9 August 1969 with The Red Squares and 27 December 1969 with Spectrum. He also remembers playing at Queen Mary’s College in Mile End Road with Clarence “Frogman” Henry on 18 October 1969.
Del Coverley joined briefly in 1971 as new lead singer alongside incoming drummer Pete Mole (also ex-Warren Davis Monday Band) and they became Brass Lungs, performing jazz rock similar in style to Chicago and Blood, Sweat & Tears in Soho clubs.
When Coverley departed, the musicians linked with Freddie Mack and played their debut show at the Thomas A Beckett Pub on the Old Kent Road in London.
However, as the band started picking up more regular work, the line-up became increasingly fluid with only Brian Morris and Don Shepherd staying the course.
Musicians that joined throughout 1971-1973 included:
Johnny Orlando – lead vocals
Dave Newman – drums (ex-Sounds Incorporated and The Fenmen)
Ray Lewis – bass (ex-Barbette and Memphis Mail)
Dave Roffey – lead guitar (ex-Barbette and Lee Hawkins)
Mel Day – lead vocals (ex-Orange Rainbow)
Roy ? – trumpet (ex-Johnny Jackson & The Band Wagon, J J Jackson, Del Vikings, Otis Redding, The Temptations)
Mick Eve – tenor sax (ex-Georgie Fame, Alan Price, Zoot Money)
Eddie Thornton – trumpet (ex-Georgie Fame)
Buddy Bownes – trumpet (ex-Roy Orbison)
Carl Douglas – lead vocals
Huge thanks to Brian Morris for providing the band information.
Please email me at Warchive@aol.com if you can add or correct any information.
West London six-piece horn band Simon K & The Meantimers recorded a Hammond-drenched dance-floor classic called “Bring Your Love Back (To Me)”, which was coupled with “You Know I Do” for a UK single on the B&C label in November 1969.
Fronted by current Hot Chocolate lead singer Kenny Simon, The Meantimers had originally formed around late 1964/early 1965 in West Hampstead before linking with Simon (most likely around March 1967).
Managed by Arthur Armes, father of the band’s drummer Michael, the original Meantimers also comprised lead guitarist Rick Thomas, classically trained organist Bill Pitt, bass player Warwick Rose and a rhythm guitarist called Tony, who also handled lead vocals.
According to Michael Armes, his father turned the basement of his shop on Belsize Road in Kilburn into a rehearsal and recording room. It may well have been here that Simon cut some demos with West London band, The Tribe, including future Sweet guitarist Frank Torpey, that were picked up by Arthur Armes.
Notable gigs (prior to Kenny Simon):
7 August 1966 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
21 August 1966 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
9 October 1966 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
13 November 1966 – Tofts, Folkestone, Kent (billed as Meantimers)
14 January 1967 – Tofts, Folkestone, Kent (billed as Meantimers)
19 January 1967 – Tiles, London (billed as Meantimers)
22 January 1967 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
11 February 1967 – Witchdoctor, Hastings, East Sussex (billed as Meantimers)
26 February 1967 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
12 March 1967 – Upper Cut, Forest Gate, Essex with Pussyfoot (billed as Meantimers)
When Kenny Simon replaced the original singer, prompting a name change to Simon K & The Meantimers, former Overlanders’ bass player Paul Hewson had already taken over from Warwick Rose, who’d moved on to join The Soul Survivors, an early incarnation of The Love Affair.
The new line up lasted until about July 1967 when former Quiet Five drummer Ray Hailey succeeded Michael Armes.
12 April 1967 – Flamingo, London
28 April 1967 – Witchdoctor, Catford, Kent with The Groove (billed as The Meantimers)
17 May 1967 – Industrial Club, Norwich, Norfolk
21 May 1967 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
6-7 June 1967 – Industrial Club, Norwich, Norfolk
24 June 1967 – Witchdoctor, Catford, Kent (billed as The Meantimers)
2 July 1967 – Adelphi Ballroom, Slough, Berkshire (billed as Meantimers)
22 July 1967 – Witchdoctor, Hastings, East Sussex
However, the changes did not end there and in the summer of 1967 an entirely new line up came together, starting with lead guitarist George Teo.
Originally, from Singapore, Teo had migrated to the UK in the early 1960s with friends Sam Young on bass and brothers Andrew and John Gwee on guitar and drums respectively and formed The Etceteras. After two singles on the Oriole label in 1964, Teo next joined the Ying Tongs before hooking up with The Meantimers.
Also on board were siblings, bass player Mick Glyde and drummer Tony Glyde (brothers of Major Glyde, the lead sax player from Sounds Incorporated) and sax players Brent Carter, Alan Wherry and Ken Hendy, who was later replaced by former Cliff Bennett Rebel Rousers’ baritone sax player Sid Phillips in late 1967/early 1968.
Tony Glyde had previously worked with Southeast London bands, Bob ‘N’ All, The Loose Ends and Bern Elliott’s former group, The Fenmen while Alan Wherry had come from The Richard Henry Sensation (with David O’List) and Harlem Shuffle.
Wherry remembers that the group also had a keyboard player but it wasn’t Bill Pitt. He also recalls that he had left before Sid Phillips joined. Wherry later moved in to publishing, as director of Corgi, Penguin and then as co-founder of Bloomsbury in London in 1986.
The new formation was active until about spring 1968, during which time former Quiet Five drummer Roger “Tex” Marsh took over the drum stool from Tony Glyde.
2 September 1967 – Industrial Club, Norwich, Norfolk
16 September 1967 – Adelphi Ballroom, Slough, Berkshire with Jeanette and Abee
7 October 1967 – Industrial Club, Norwich, Norfolk
4 November 1967 – Industrial Club, Norwich, Norfolk
2 December 1967 – Industrial Club, Norwich, Norfolk
17 February 1968 – Chelmsford Corn Exchange, Chelmsford, Essex with Geno Washington & The Ram Jam Band
20 April 1968 – Locarno Ballroom, Swindon, Wiltshire
11 May 1968 – Locarno Ballroom, Swindon, Wiltshire
2 August 1968 – Samantha’s, London (billed as Meantimers)
3 August 1968 – Town Hall, Clacton, Essex (billed as Meantimers)
4 August 1968 – Surrey Rooms, Oval, London (billed as Meantimers)
6-7 August 1968 – Hatchetts Playground, London (billed as Meantimers)
24 August 1968 – Savoy Rooms, Catford, Kent
14 September 1968 – Burton’s, Uxbridge, Middlesex
By the autumn of 1968, Kenny Simon had reshuffled the pack, bringing in Marsh’s former band mate from The Quiet Five, Roger McKew on lead guitar. Sid Phillips had already left by this point to go on to Redwind and his place was taken by Tony Hall, whose CV including Peter’s Faces, Wainwright’s Gentlemen and Rupert’s Spoon.
The new formation then comprised:
Kenny Simon – lead vocals
Roger McKew – lead guitar
Tony Hall – saxophone
Brent Carter – saxophone
Mick Glyde – bass
Roger ‘Tex’ Marsh – drums
The new-look formation resumed gigging. Bringing former keyboard player Bill Pitt back, Simon also added Irish trumpet player Ron Carthy, who’d previously worked with The Blue Aces and Wynder K Frog to the six-piece line up that came together in time to cut the group’s lone ‘45 in November 1969.
In March 1970, however, Brent Carter and Tony Hall also departed at this point and joined Geno Washington & The Ram Jam Band.
When the band finally splintered in the early 1970s, Pitt ended up working with Espirit de Corps, while Carthy joined Gonzales and also did a multitude of sessions for artists like Freddie King, Slade and Suzi Quatro.
26 October 1968 – Locarno Ballroom, Swindon, Wiltshire
23 November 1968 – Fellowship Inn, Eltham, Kent
30 November 1968 – Burton’s, Uxbridge, Middlesex
10 December 1968 – Black Prince Hotel, Bexley, Kent with Olaf Groups Kneed
28 December 1968 – Burton’s, Uxbridge, Middlesex
22 February 1969 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with Jon James & The Swamp and The Western Kind
4 April 1969 – Walton Hop, Walton-on-Thames, Surrey
19 April 1969 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with Sir Percy Quintet
17 May 1969 – Alex’s Disco, Salisbury, Wiltshire
22 May 1969 – Klook’s Kleek, London
26 July 1969 – Walton Hop, Walton-on-Thames, Surrey
2 August 1969 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with Sir Percy Quintet
9 August 1969 – Savoy, Catford, Kent
6 September 1969 – Walton Hop, Walton-on-Thames, Surrey
4 October 1969 – Savoy, Catford, Kent
25 or 29 October 1969 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with The Lovin’ Spoonful
8 November 1969 – Alex’s Disco, Salisbury, Wiltshire
25 November 1969 – Walton Hop, Walton-on-Thames, Surrey
29 November 1969 – Walton Hop, Walton-on-Thames, Surrey
31 December 1969 – Walton Hop, Walton-on-Thames, Surrey
7 February 1970 – Cloud 9, Peterborough, Cambridgeshire
Many thanks to Kenny Simon, Michael Armes, Tony Hall, Alan Wherry, Ken Hendy, Sid Phillips and Bruce Welsh for their help. Thank you Michael Armes and Alan Wherry for the photos.
Very little is known about the personnel in Simon K & The Meantimers. The author would be interested to hear from anyone that can provide more detail on the group for a future, updated version. Please email the author, Nick Warburton at Warchive@aol.com
Much has been written about Euphoria’s legendary album A Gift from Euphoria. This article focuses instead on the various releases the band members did prior to the LP and the connections to other bands I’ve covered on this site.
Euphoria had its start as a Cleveland band with David Potter and Wesley Watt called the Bushmen. Although it was thought that the Bushmen was a separate group from Wesley Watt’s projects prior to Euphoria, David Potter’s bio states:
After playing drums at the club [the Clinton Bar in Cleveland, OH] for three months, Wesley Watt, a guitar player came in looking for a drummer for a group he wanted to put together, The Bushman [sic]. When he heard David he knew he was the one. David turned sixteen in January and in May, David, Wesley, Paul Armstrong, and Carl Johnson left for Los Angeles to make their mark. On arriving in L.A. they immediately became the house band for the club, Guys and Dolls.
After only eight weeks they signed a contract with Colpix records, also signing with Buck Ram, the manager of the Platters. Their first single was “Baby” with “What I Have I’ll Give to You” on the flip side.
The Bushmen had one release “Baby” / “What I Have I’ll Give to You” on Dimension 1049 in June of ’65. Dimension Records was part of the Columbia Pictures / Colpix company at this time.
Bill Lincoln had relocated from Seattle to Los Angeles. He must have been in the group at this point as he is the composer of “What I Have I’ll Give to You”.
Potter’s bio continues:
The Bushman [sic] were getting a lot of notoriety and attention from all over, including film producer David L. Wolper. He was looking for bands for a documentary about to start filming, Teenage Revolution. They approached Buck Ram about The Bushman being the premiere band for the documentary. Wolper wanted to show what bands went through while traveling around the country from gig to gig. (Along with The Bushman being were about four other bands, one being The Lovin’ Spoonful.) About a month later Buck set up a live gig in Lancaster CA where they filmed their part of Teenage Revolution.
A portion of Mondo Teeno aka The Teenage Revolution is online. I hear music that may be the Bushmen, but haven’t seen any footage of the band.
In addition to the Bushmen single, Watt and Lincoln recorded their original songs as the War-Babies “Jeanie’s Pub” / “Love Is Love” (Highland 4000, August 1965).
The War-Babies recorded another two songs, “Now It’s Over” / “So Little Time” but these came out under the name The Word on Brent 704.
Although I’ve read that the Bushmen came after the War-Babies and Word singles, release dates suggest the Bushmen single came first.
Potter’s bio continues:
After filming the documentary, David, Wesley, and Bill Lincoln wanted to do their own thing. Now seasoned professionals and highly respected musicians they wanted to play and record their own music. With the chance so did their name, to Euphoria. The newly named group spent all their time playing, touring, and recording material that would lead to two of the groups albums. During a successful tour in Texas, their single. “Baby”, released when they were The Bushman [sic], went to #7 on the charts, staying there for seven weeks.
The newly-named Euphoria added Pat Connolly of the Surfaris on bass by the time they toured Texas in 1966. Bill Lincoln left the group when he married and moved to England, though he would rejoin Wesley Watt within a year or two for Euphoria’s 1969 album on Capitol. Connolly also left so Watts brought in James Harrell on guitar and Peter Black on bass, both of the legendary Houston group the Misfits. I believe David Potter was still playing drums with the group at this point, but it may have been Steve Webb of the Misfits.
This group recorded some tracks at Andrus Productions in Houston, including “Pick It Up”, “In Time”, “Walking The Dog” and “Oh Dear, You Look Like a Dog”, none of which surfaced until Texas Archive Recordings released the LP Houston Hallucinations in 1982. The band had other unreleased Texas recordings which await reissue, including “People You and Me” which has some similarity to Da Capo era Love.
Back in L.A., Bob Shad of Brent & Mainstream Records brought the group into United Studios in Hollywood to record four songs in one session. Shad issued two of these (with vocals re-recorded at additional sessions), “Hungry Women” and “No Me Tomorrow” on Mainstream 655, but two originals by James Harrell, “I Realize” and “It Could Do Us No Wrong” were left unreleased and eventually lost. The single would reappear on the Mainstream compilation LP With Love – A Pot of Flowers in 1967.
Despite a good push from Bob Shad, the single didn’t make much of an impact and the group broke up. James Harrell and Pete Black went back to Texas and rejoined the Misfits, changing the name to the Lost and Found.
Potter and Watt joined Lee Michaels band where they played on Michaels’ album Carnival of Life with Gary Davis and John Keski.
Potter joined the East Side Kids in time to play on their album The Tiger and the Lamb, which featured one of his original songs as well as two by Wesley Watt, “Heavy Love” and “Can’t Feel Love”.
Bill Lincoln had returned by this time. He and Watt worked for almost two years on what would become their album A Gift from Euphoria on Capitol in 1969, produced by Nick Venet. According to his bio, Potter also played on the album. Guitarist Doug Delain is also listed in credits for the LP.
After recording the East Side KidsThe Tiger and the Lamb album, Potter moved to Houston and joined with Endle St. Cloud (Alan Mellinger) for his album on International Artists, which also included Pete Black and James Harrell of the Lost & Found. They moved back to LA to for the Potter St. Cloud LP on Mediarts in 1971.
David Potter passed away in 2011, but there was a detailed biography about him at his website, davidpottermusician.com (now defunct but viewable on the Internet Archive).
Watt and Lincoln co-produced and played on Bernie Schwartz’s solo album The Wheel, released on MGM in late 1969, which features a version of their song “Sunshine Woman” that had been on Euphoria’s Capitol LP.
Potter, Watt and Lincoln all continued in music into the early ’70s. For example, Potter and Watt played on Daniel Moore’s 1971 ABC album, and Watt played guitar on Dory Previn’s 1971 Mediarts album Mythical Kings and Iguanas.
Hamilton Wesley Watt, Jr. passed away on February 20, 2015 in Sheboygan, Wisconsin.
The Coachmen Five have this one obscure release from May of 1966 on the Kiski label. The band was from Oakdale, Pennsylvania, a small town about 20 minutes west of Pittsburgh. The Kiski label was located in North Apollo, PA, an even smaller town about 45 minutes drive northeast of Pittsburgh.
The singing is somewhat eccentric, but the band ably rocks out on both songs, originals written by Horpenska.
I can find almost no info about the band, but this seems to be one of the later releases on the Kiski label, at least of the 20xx series. Kiski had over a dozen 45 releases in the early ’60s ranging from country to religious to soul to garage. Kiski started with Vandergrift, PA listed on the labels, then Freeport, PA, then New Apollo, PA.
Any help with this discography would be appreciated.
Kiski 2051 – Men From Mars – “I’ve Been With Jesus”, “Lord Build Me a Cabin” / “Previous Memories”, “The Fourth Man” Kiski 2052 – Faulkner Bros., Gary & Dick – “In The Chapel In The Moonlight” / Gary & Dick Faulkner – “Guitar Boogie” 1961 Kiski 2053 – Jack Cartwright & the String Kings – “I’ve Lost You Forever” / “Actions Speak Louder Than Words” Kiski 2054 – ? Kiski 2055 – Barnes Brothers – “All Mixed Up Inside” / “Don’t Blame Me” Kiski 2056 – The Alma-Keys (vocals) with the Citations – “Please Come Back To Me” (Roland Hayden) / “Jumpin’ Twist” Kiski 2057 – Tawni Simms – “Will You Please Be Mine” / “Goodbye My Love”
Kiski 2063 – Ed “Tex” Belin & the Bel-Marts – “I Can’t Help It (If I’m Still In Love With You)” / “I Overlooked An Orchid” 1963 Kiski 2064 – The Renditions – “That’s When I Cried” (David M. Wells) / “Time Goes By” (Thomas B. Kennie & David M. Wells) 1964 Kiski 2065 – The Chevrons – “Who Does He Cry To” / “Jones Girl” Kiski 2066 – The Thundermen – “Thunderbeat” / “Conjagua” Kiski 2067 – The Marauders – “Slidin’ In” (Ronald Misejka) / “Kosta Rica” Kiski 2067 – The Royal Rebels – “Drive In” / “Mojo Workout” Kiski 2068 – The Kruisers – “C’mon Sweet Baby” (James Robeson) / “Karen” Kiski 2069 – The Four Dimensions – “Moe’s Cast” / “I’m In Heaven”
Kiski 2072 – The Coachmen Five – “I Will Cry Today” / “I’m Comin’ Home”
Possibly DJ Bob Livorio of WKPA in New Kensington had something to do with the label.
The Royal Rebels came all the way from Cortland, Ohio, and had another recording as the Rhythm Rebels on Sunburst, “The Things You Do” / “Littlest Hobo”.
The Kruisers came from the towns of Sarver and Butler, PA, about 40 miles to the northwest of North Apollo. The Kruiser had another single on the Process label “It’s the Way She …” / “Panther Walk” in December of 1965, and another as the Lost Ones “I Can’t Believe You” / “I Wanna Know” on Mersey 002 in 1966.
In addition there are at least two LPs on Kiski, the Kiski Area High School Second Annual Choral Spring Concert and the Men From Mars Music From Out Of This World. Kiski also released at least one LP and single of polka and Slovakian music by Eddie Mack & His Orchestra, but with a different numbering system than the singles above.
James Shott wrote to me about a group he was in during the late ’60s, Adrian’s Sensations, or Sinsations. James wrote:
I played in a band called either Adrian’s SInsations, or Adrian and the SINsations (it was called both by audiences) in the Hampton/Newport News/Norfolk/Virginia Beach area. People knew me as “Smokey.”
The SINsations was a very good band, and played a good bit at the Peppermint Beach Club, filling in for Bill Deal and the Rhondells when they were gone.
Adrian Brandt played keyboards., Joe Smith played drums, Jean Lynch sang, Jim Williamson and I played trumpet, Mike Minguez played tenor, Dickie Dawes and David Champagne played trombone (at different times), Curly (can’t remember last name) played bass for a while and then another bass player, too. Guitar’s name is Wayne (last name lost in time) and then another guy.
The band was quite good. We played soul, but also the top tunes of the day. Somewhat like Blood, Sweat & Tears, Chicago and Tower of Power, the Sinsations employed elements of jazz into the arrangements.
We spent a good bit of time in Virginia Beach at the Peppermint Beach Club, and played in clubs in Virginia Beach, Hampton, Newport News and Norfolk, and also played military bases. The horn players were music majors in college, and the rhythm section was mostly self taught, but quite good. Jean Lynch was a very thin girl with a big voice; sounded like Aretha Franklin.
I was in the band from either late 67 or early 68 until I was separated from the USAF (Jim Williamson, David Champagne also in AF, Mike Minguez in Army). I believe the group continued to work for a while after that, but lost contact with the guys.
I’d like to get some feedback from other members and anyone who heard/saw the group.
Lead guitarist Eric Zacher sent in these two photos of the Royal Knights, one of the many bands who played the Retail Clerks Auditorium and were listed on a flyer I had posted in 2014.
Phil Whitson – lead vocals Eric “Ric” Zacher – lead guitar, 2nd vocal Mark Drawbolt – 2nd lead guitar and rhythm Steve Werner – rhythm guitar Jim Wilson – bass Terry Buckman – drums
We started in Terry’s garage as a lot of bands did in 1965. We all went to Millikan high in Long Beach, CA. My dad was our band manager and represented us very professionally unlike other bands. We got lots of gigs (most weeks after we got going were 2 per week!).
We played Retail a Go Go as the flyer said (did about 3 gigs there), Cinnamon Cinder in Long Beach, the Elks club and many “joints” (off campus clubs having Friday and Saturday parties).The songs we did included Stones, Zombies, Beatles, Yardbirds, Byrds and others from the mid 60s.
We broke up in 1967, all went our separate ways. I was in a college band called the Woods – very professional and made lots of money! I still play weddings and am jamming with several local bands. I really got into blues after the 70s. I have cut several CDS of 60s and 70s folk rock.
The Gibson 335 that you see me holding in the pics was purchased used for 250.00 in 1965. It is an original limited edition dot neck 1961 cherry – I still play it as my blues guitar!
Can anyone identify this unknown sextet from Los Angeles, circa 1966?
The photo was taken by Green Pig Studio, a name for John A. Kurtz and Walt Walston, photographers in the Navy, stationed at at Miramar Naval Air in San Diego. I’ll post more photos John sent to me in the near future.