Category Archives: Florida

The Limey’s with the London Sounds “Come Back” on Sherwood

The Limeys profiled in the Miami News March 15, 1966The Limeys were Andrea Gennard and Stephen Gennard, a sister and brother duo who arrived in Miami, Florida from London about 1962. While students at Rockway Junior High, they made this great single “Come Back” / “Green and Blue” with the London Sounds.

Limey's with the London Sounds, Sherwood 45 Come Back

Released on Sherwood 1715, a Miami News notice gave the exact release date, Monday, April 25, 1966. Printed sleeves included a small photo of the duo.

An February 25, 1966 ad for the Palmetto Bandstand featured the Limey’s backed by the Outcasts, on a bill with the Dirt Merchants. (The following night featured the Invaders, the Impacts and the Hares.)

The Miami News profiled the band on March 15, 1966, including:

Here are two down-to-earth teens with an out-of-this-world singing talent. They have no set style, but their music lends itself mostly to folk-rock …

Limeys Miami News May 27, 1966Stephen and Andrea, together with their parents, Mr. and Mrs. Eddie Gennard, of 1715 SW 97th Pl., arrived from London almost four years ago …

Usually they are coupled with a five-member band, the Outcasts.

With the Outcasts, the Limeys have appeared on Florida Bandstand, the Miami-Dade Junior College campus, on Chuck Zinc’s TV program and at the Cloverleaf Center.

The entire Gennard family has become involved: Dad is business manager, Mom a critic and booster.

They also appeared on the Rick Shaw show on May 27.

Limey's with the London Sounds, Sherwood 45 Green and BlueOn the single, the backing band is called the London Sounds, and includes horn players and strings. I’m not sure if the Outcasts were involved, or even who was in the Outcasts – if anyone knows please contact me.

Stephen and Andrea wrote “Come Back”, and co-wrote “Green and Blue” with Pat Tallis, publishing by Chalfont Music Publishing.

Copyright registration from February 1966 shows three other songs: “Take It Easy”, “I Love You”, and “Melonie”, the last two co-written with Pat Tallis.

In June both the Miami News and the Herald mentioned the duo signing to Scepter Records, I wonder if anything came of that.

They must have been unaware of the English group the Limeys, releasing singles on Amcan in the U.S. and Decca and Pye in the UK.

Andrea Gennard Miami News March 8, 1966

Back in England, Record Mirror profiled the duo on May 11, 1968, providing different last names, Andrea Gerome and Steve Gerome.

The article mentions they did work in America “but, as ever, work permits for artistes so young (Anna is 17, Steve 16) proved difficult. Anna used to be apprenticed to hairdresser Vidal Sassoon, abandoning haircutting for disc-cutting.”

Anna and Steve made two singles for Fontana under the artist name Too Much, “Wonderland of Love” / “Mr. Money” (written by Gerome) in 1967, then “It’s a Hip Hip Hippy World” / “Stay in My World” in February 1968.

As Anna Hamilton with Stephen they made another single on Fontana in April 1968, “Everybody Wants to Go to Heaven (But Nobody Wants To Die)” / “You Laughed When I Cried” (b-side writing credited to Gerome). Their version competed with the Karlins, (triplets Linda Wilson, Elaine Wilson and Evelyn Wilson) who released their 45 on Columbia (UK) about the same time.

Thank you to Ansgar for pointing me to the Record Mirror article (which I never would have found considering they had changed their name!).

Andrea and Steve Gerome in Record Mirror, May 11, 1968

The Truths “Pending” / “Why” on Circle Records

Truths Circle 45 PendingThe Truths made this one fine Byrds-influenced 45, “Pending” / “Why” on Circle Records 45-953, in August 1965.

Roy Harris wrote “Pending”, and co-wrote “Why” with James Pettey, with publishing by Chu-Fin Music, Inc.

I can find almost no info on the group online. I’ve read the band came from Riverside, California. However, the Playground Recording Studio site notes:

Playground Studios originally built and completed in 1969 by Finley Duncan is located in the heart of old downtown Valparaiso, Florida.

It was the home of Minaret Records, Turrett Records, Choctaw and Circle Records.

Playground also administers Chu-Fin Music.

“Pending” charted on WNVY in Pensacola, Florida.

The Mystics “Snoopy” and the Many Others “(Tell Me Why) I’m Alone”

The Mystics, from left: Dan Searcy, Ben Willis, Donnie Fields, John Schuessler and Johnny Teague at an “infamous gig” at the Woman’s Club, 1965

The Mystics came from Tallahassee, Florida, and in late 1964 recorded “Snoopy”, a crude version of the Vibrations “My Girl Sloopy”.

Members of the band were:

Johnny Teague – guitar and vocals
John Schuessler – guitar and vocals
Ben Willis – guitar and vocals
Dan Searcy – bass and vocals
Donnie Fields – drums

Mark Hinson wrote a profile of the group’s upcoming reunion in the Tallahassee Democrat on April 3, 1998, featuring the photo at top, and mentioning that the Mystics cut “Snoopy” at a small studio on Adams Street.

Teen Beat Mayhem states “consensus opinion deems the McCoys patterned the arrangement of “Snoopy” for their own remake of ‘Hang On Sloopy.'”

The article quotes John Schuessler about the McCoys version:

It was the same producer and he used our exact same arrangement. But he left town with our contract, which was written on the back of an FSU speeding ticket, and there wasn’t much we could do.

Released on Black Cat 501, “Sloopy” is credited to C. Jim, aka Curley Jim (real name James Morrison), who did not write the song, but was associated with Marve-N-Harve Music Pub. out of Miami. The flip was a version of “Oo Poo Pah Doo”.

Somehow the single also saw release in February 1965 on Future Talent 13893/4, “A Rose-Givens-Mason Production” from tiny Waverly, Virginia, and also with Marve-N-Harve Publishing.

I don’t know who the Mystics producer was, but “My Girl Sloopy” / “Hang On Sloopy” was written by Bert Berns (aka Bert Russell) and Wesley Farrell, and produced by Feldman, Goldstein, Gottehrer (the trio behind the Strangeloves singles), so the connection is unclear.

Many Others Orchid 45 Tell Me Why I'm AloneIn December 1965, the group released another single as the Many Others on Orchid BC-504. “(Tell Me Why) I’m Alone” is a great original by Johnny Teague. The flip is a version of “Can I Get a Witness”, which according to the article was “a fluke No. 1 hit in Japan”. However, I can find no release of this single in Japan.

Orchid and Black Orchid Publishing were based in Miami, like Black Cat and Marve’n’Harve Pub. Orchid singles from two other west Florida bands. From Marianna there was the Bangs “Then I’ll Cry” / “Tab Top” in 1965. In 1966 Orchid released the Pagans “Your Going To Lose That Girl” / “Strawman” (written by Frank Chandler), recorded live at Rutherford High School in Panama City.

Donnie Fields died in a car crash circa 1988, so when the Mystics reunited in 1998, Richard Bevis played drums. Another reunion in 2000 included David Cox on keyboards and vocals, and has been released on CD as “Live and Kickin'”, but I haven’t heard it.

The Jesters from Naples, Florida “I’ll Laugh at You”

Early photo of the Jesters

The Jesters came primarily from Naples, Florida, about 110 miles west of Miami. Their discography comprises a handful of high quality singles, but there is very little info about the band on the ‘net.

The first notice I can find about the Jesters comes from the Miami Herald on March 25, 1965, for a “Hootenanny” at Naples Senior High School on April 1:

“… a six-piece band which has won popularity with local teenagers. Band members are Wally Frederickson [sic], Larry Cope, Johnny Gibbs, Riley Brack, Steve Miller, and Bill Morton.”

The lineup in early 1965 was:

Wally Fredrickson Jr. – lead vocal
Larry Cope – lead guitar
Johnny Gibbs – rhythm guitar
Bill Morton – keyboards
Steve Miller – bass
Riley Brack – drums

At some point David Hopkins, from Fort Myers, replaced Larry Cope.

The Jesters in the News-Press, August 15, 1965, from left: Wally Fredrickson, John Gibbs, Bill Morton, Steve Miller, Riley Brack and David Hopkins

The Fort Myers News-Press had a full page feature on the group on August 15, 1965, including photos of fans and parents:

Teens Flock to Night Spot to Enjoy Jesters

Jester A-Go-Go, News Press, July 10, 1965
If attendance is any gauge, the newest establishment at Fort Myers Beach – Jester A-Go-Go is a smashing success. Every Wednesday and Saturday night an average of 250 enthusiastic teens flock to this teenage night spot at the old Driftwood Lounge to spend an evening dancing to the music of the Jesters, a six man combo from Naples.

A popular feature is the dance contest. The prize to the winner is a record album, recorded by The Jesters at the Qualicon Studios in Naples. One of the cuts on the record is an original Jesters’ composition, “I Ain’t Gonna Cry No More.”

According to Brack, the leader, the group has been playing together a little more than a year… Brack said, “One day I was talking to a man who worked for my father and he asked if I had ever played any instruments. When I told him I played the drums some, he said he was a professional bass player and suggested we get together.

… he said he could teach the guitar, so I got Steve, Bill and John and they started taking lessons. Up until then none of them had ever picked up a guitar. After three months of lessons and practice, we went out on our own and played our first dance a year ago last July 4.

… one day Dave Hopkins drove by and saw the “for rent” sign on the Driftwood.

“We decided we liked it, went in and cleaned it up and painted it. We opened about a month ago.”

…their parents… are kept busy… selling tickets, stamping the teens for identification and acting as chaperones… Parents at the door use their own judgment as to who will be allowed in and the smell of alcohol on the breath is one sure way of being denied entrance…[see full article]

Wally Fredrickson’s father, Walter Fredrickson Sr. owned Qualicon Studio.

The Jesters as a quintet, October 1965

On October 16, 1965, the Miami Herald announced the Jesters performance that night at the Masonic Hall in Naples. The accompanying photo showed the group as a quintet, without Bill Morton. A notice in the News-Press for the same show confirms that lineup and gives some more detail, with DJ Roby Yonge as emcee, and “Two of the combo’s latest recordings, ‘I Laugh At You,’ and ‘You Say You’ll Never Leave Me’ – their own composition – will be featured.”

Wally Fredrickson Jr. – lead vocal
David Hopkins – lead guitar & vocals
Johnny Gibbs – rhythm guitar
Steve Miller – bass
Riley Brack – drums

This group cut an awesome demo, “I’ll Laugh at You” / “You Can Have Her”.

The Jesters recorded a second version of “I’ll Laugh at You” for their first released single, backed with “Just Let Me Love You”. This version has “LIVE From THE CLUB A GO GO” and “Recorded By Qualicon” on the label.

Jeff Lemlich wrote to me: “Club A Go Go [aka Jester a Go Go] was an old 1930s speakeasy on Fort Myers Beach that the band ran for about four months. Other places they played included the Flaming Fountain in Naples and the local Moose Club.”

On October 22, 1965, the Fort Lauderdale News ran a display ad for the Pompano Skate Rink “Arena-A-Go-Go, Every Sat. Nite Dance to the Fabulous ‘Jesters'”.

News-Press, September 30, 1966

By the next notice I can find from September 30, 1966, nearly a year later, the lineup had changed considerably. Only Wally Frederickson and David Hopkins remained from the 1965 lineups:

Wally Fredrickson Jr. – lead vocals, tambourine
David Hopkins – lead guitar, harmonica and vocals
Bill Hinman – organ, guitar, mandolin and vocals
Bruce Morford – bass and vocals
James O’Neill – rhythm guitar
Bobby O’Neill – drums

The News-Press announced negotiations between George Pittman, representing the Jesters and Qualicon Studios, and Sidewalk Productions, a division of Capitol Records. That contract would happen, with the Jesters sending two tapes to Capitol in October, 1966, for “Ride, My Son, Ride”, written by George Pittman, and “Leave Me Alone” by Wally Fredrickson. They also signed publishing contracts with Exbrook Publishing and Mirby Music Co.

I am not sure how Walter Fredrickson, Sr. met Mike Curb or some other representative of Sidewalk Productions, but a number of his productions from Qualicon would end up on Manhattan or Sidewalk.

Fort Myers News-Press, Nov 18, 1966

The News-Press ran a feature on the the Fabulous Jesters on November 18, 1966:

The Fabulous Jesters will play for a dance for teenagers Saturday night on the second floor of the former Belk’s Building at First and Hendry Streets …

The six band members … are from Fort Myers, Cape Coral and Naples … Their first record [sic] is scheduled for release around Jan. 1 by Tower Records …

Wally Frederickson Sr. will travel as sound engineer with the Jesters on all personal appearances. He is president of Qualicon Productions, Inc. He also is owner and director of Qualicon Studios which does custom recording.

Tapes by the Jesters will be prepared by Qualicon Studios in Naples and sent to California.

In January, 1967, “Don’t Try to Crawl Back” / “Leave Me Alone” came out on Sidewalk 910, originals by Pittman and Fredrickson.


On February 9, 1967, the New-Press ran an update to note the single had reached the top 40 on WMYR, Fort Myers, and WFUN, Miami:

Twenty-two songs have been recorded for Capitol and will be released at the company’s discretion. All of them were written by the Jesters.

The boys cut a film for the Rick Shaw Miami TV show recently and it was shown on the 7-8 a.m. time spot. It will be repeated from time to time.

In Miami the Jesters have played at the Tiger Den and Shindig and entertained over 3,000 of the “in” group at the world [The World nightclub].

In April of 1967, the Jesters released “Blue Feeling” (which had been done as “Blue, Blue Feeling” by Dr. T. & the Undertakers) b/w “Unchain My Heart” on Qualicon QU-5003.

June 1967 saw the release of their second Sidewalk single, “Hands of Time” / “If You Love Her, Tell Her So” on Sidewalk 916.  Writing credits list Wally Fredrickson, Sr. (I suppose it should be Jr.) and George Pittman. The labels read arranged by Wally Fredrickson, Sr., produced by Qualicon.

The Sidewalk LP Freakout U.S.A. also contains “Don’t Try to Crawl Back”.

Bruce Morford later joined the Painted Faces, another band that frequently recorded at Qualicon.

Walter Fredrickson Sr died in December, 1976 at the age of 52.

John Gibbs passed away on November 15, 2010.

There was also a group called the Jesters from Palmetto High that was playing shows in the area in 1965 and 1966, with a lineup of Richard White (lead guitar), Bob Ammarell (rhythm guitar), Pete Mooy (bass) and Mike Linet (drums).

And of course there was Mark Markham & His Jesters, with an entirely different set of musicians.

Qualicon Studios:

Qualicon seems to have been formed in January, 1963, according to a notice of incorporation on the News-Press:

Qualicon Corp. of Naples was authorized to deal in electronic devices. Incorporators are William B. Vogt, Walter I. Frederickson and Patricia Ann Dozzie, all of Naples.

Though frequently spelled Frederickson in news reports, I believe the correct spelling of his name is Fredrickson.

Qualicon QU 5001 – Bob Bellows – “Goodbye Blue Eyes” (Reg Fulton, Ted Paulson) / “Tout Doux, Tout Doux” (Reg Fulton, Louie Rey)
Qualicon QU 5002 – The Painted Faces – “I Want You” / “Things We See”
Qualicon QU-5003 – The Jesters – “Blue Feeling” / “Unchain My Heart”

Although the Qualicon label only released three singles, Walter Fredrickson Sr produced five singles for the Manhattan label (also affiliated with Mike Curb) by the the Painted Faces and the Mysteries.

———

Some of the info in this article came from Jeff Lemlich’s interview of David Hopkins many years ago. Thank you to Jeff for the news clipping from November 18, 1966.

Thank you to Anthony G. for forwarding a photo from Riley Brack, to Paul Sullivan for another photo, and also to Matthew Baker for his help.

Photo of the Jesters

The Cave Men of “It’s Trash” – interview with Bob Jabour

Bob Jabour of the Cavemen at Mallory Square Key West
Bob Jabour of the Cave Men at Mallory Square, Key West

The Cave Men cut one of the wildest singles of the 1960s, “It’s Trash”, released on the B-side of ‘Chelle PH 148 in August, 1966.

Claus Rosenblad interviewed bass guitarist Bob Jabour of the Cavemen, who also sang the lead vocal on “It’s Trash”

What was your musical background?

I played trumpet, tuba and my parents were dancers.

How did the group get together and where did the practice take place?

The band I was in before the Cavemen was named the Coachmen. Paulie Walterson was the drummer for the Coachmen. He quit the Coachmen to form the Cavemen. Tony Rey was brought in to replace Paulie in the Coachmen. When the Coachmen broke up because of the draft, I went to California. I got a phone call from Paulie to come join the Cavemen when they changed bass players and I came back to Key West.

The Coachmen personnel:

Singer: Chuckie Ward
Lead guitar: Ross Kilgore
Rhythm guitar: Bobby White
Bass guitar: Bob Jabour
Sax: Leonard Rojas
Sax: Austin Roberts
Drums: Paulie Walterson
Drums: Tony Rey

The Cavemen:

Drums: Paulie Walterson
Drums and vocals: Tony Rey
Lead guitar and vocals: Andy Johnson (deceased)
Rhythm guitar and vocals: Sergio Roche
Bass guitar: Robert Tiff (deceased)
Bass guitar and vocals: Bob Jabour

How long time did the Cavemen exist before they split?

Maybe 3+ years.

Where did the Cavemen play live, and what was your best gig?

Lived and played mostly in Key West; played road gigs in the Keys and Miami; recorded in Miami.

Best gig… probably the Miami shows and recording for an appearance on the Rick Shaw show in Miami which did not happen because the band broke up.

What is the story behind “It’s Trash”?

I wrote the lyrics about a relationship that I was in which went bad. I am the lead singer on “Trash”.

The flip called “The Pillow Bit” is a ballad. Mostly Andy’s (guitar player, solo on “It’s Trash”). I contributed some of the lyrics.

What other big acts were your musical inspiration, (or genres)? Please name some of it.

I came up through R&B: Otis Redding, Solomon Burke, James Brown, Sun Records, Chess Records, Motown, funk…

The Cavemen were very much a show band… so were the Coachmen. The Coachmen did the entire James Brown at the Apollo album. The Coachmen were very much a rhythm and blues group. The Cavemen were more of what we would call “punk” today.

How did the record come to be made?

Rhythm guitar player’s father sponsored the 500 copy pressing of “It’s Trash” and “The Pillow Bit” on the label ‘Chelle which was our manager/engineer’s label, Steve Kimball.

Which studio did you record the songs in?

Our band manager Steve Kimball built and was the engineer for the studio. I forgot the name of the studio. Criteria was in business at the same time as the studio we recorded in. They were big competitors at the time and both studios had 4 track capabilities. If the Novas recorded at Criteria, it was because the other studio went out of business.

Any fun facts and stories from the making of the record?

We would pile in the VW van and drive to Miami and spend the weekend in the studio and playing gigs that Steve had set up for us. We recorded about a dozen cover tunes, and a few originals for appearances on the Rick Shaw dance show which never happened because the band broke up.

What other groups in that area did the Cavemen compete with?

Miami: The Kollektion, top Miami group featuring a guitarist that went on to play for Iron Butterfly.

Or make friends with?

The Hustlers, another group managed by Steve. We split recording time with them. [The Hustlers cut a great single on ‘Chelle 145, “My Mind’s Made Up” / “If You Try” – ed.]

Did you ever do any battle of the bands?

Yes. Every weekend in Miami. Once did a two band gig with Wayne Cochran & the CC Riders featuring Jaco Pastorius on bass in Key West.

Do any other recordings exist?

There were at least two acetates: a 12 tune one of cover material; and a five tune one. The 12 tune one was destroyed by overplaying before it was lost. The five tune one survived and was copied to the internet. There are tape copies of it around. “Mustang Sally”, “Talk Talk” (best cover), “That’s How Strong My Love Is”, two more I forgot right now.

What happened to you and the other band members after the band split up?

Went four different ways:

Serge, rhythm guitar, formed another group.

Tony, drummer, went back to playing guitar, his primary instrument. Resettled in Fort Lauderdale. Played the Miami / Ft. Lauderdale nightclub scene with various latin and rock bands. Tony was from Cuba.

AJ (Andy, lead guitar) was hired out of a Key West bar by Eric Andersen and went on to record and tour with Eric for about two years. Then he got hired by Sister Kate Taylor (James Taylor’s sister) and recorded and toured with her.

I went on to play Key West bars. First putting together house bands, then eventually doing pick up gigs on bass. In my house band days, I worked with Vinny [Vince Martell] for a few months before he returned to New York to become part of the Vanilla Fudge (guitar player).

Thank you to Claus Rosenblad and Bob Jabour.

‘Chelle discography (any help with this would be appreciated including scans of all but the Cavemen, or audio of A Pace of Change’s single).

PH-145 – The Hustlers – “My Mind’s Made Up” (McNicol) / “If You Try” (1966)
PH 148 – The Cavemen – “The Pillow Bit” / “It’s Trash” (both by A. Johnson, B. Jabour, T. Rey)
PH-162 – The Novas – “Please Ask Her” / “Whenever You’re Ready” (Bob Calaboro) January 1967
CK-301 – A Pace of Change – “Sync Higher” / “Death Comes Sweetly”

The Hustlers were: Bob Leavitt guitar, Johnny McNicol guitar, Joe Romeo bass and Nick Fresca drums.

The Novas were: Bill Campbell vocals, Kenny Wynn lead guitar, Rick Calaboro guitar, Jim LeFevre bass, and John Bernard drums.

The Burgundy Blues on Argee

Burgundy Blues Argee 45 I'll Get You Back AgainThe Burgundy Blues were the recording name of a Miami, Florida group called the Amen. Members included:

Tim Yero – lead guitar, lead vocals
Bob Lewis – bass
Bill Sabella – organ
Keith Van Schaick – drums, replaced by Burt Compton

Tim Yero wrote “I’ll Get You Back Again” and “Nothing Without You”, published by Artrec BMI with copyright registrations on September 27, 1966.

Ron Deeb produced the band’s sessions at Dukoff Recording Studios in North Miami. They were well known locally as the Amen, but Deeb changed their name to the Burgundy Blues as more commercial; the band only played two or three shows with that name. Yero estimated a pressing run of 500 copies, on Deeb’s Argee Records 100. From what I’ve read, many demo recordings of the Amen performing Tim’s original songs exist, including a very different early arrangement of “I’ll Get You Back Again” recorded at Voice Incorporated studio, but I haven’t heard any of them.

The band broke up when Tim Yero was drafted.

Eric Sabella would join Jerald Cohn, Ronald Chassner, Ken Thomas, Rick Thomas and Alberto DeAlmar in the Leaves of Grass who cut two singles on Platinum in 1968. From that group came the Metaphysical Animation with Sabella, Alberto DeAlmar, Steve Margolis and Robbie Hansen. In 1973, Metaphysical Animation recorded about 60 minutes of music at Ben Scott Studios, which was pressed up on two LPs in a plain sleeve, now very rare.

Anyone have photos of the group?

Source: much information is available through searching in the Limestone Lounge.

Burgundy Blues Argee 45 Nothing Without You

The Alan Franklin Explosion – The Blues Climax

Alan Franklin Explosion Blues Climax Horne 45 Piece of Your LoveThe Alan Franklin Explosion have received some attention from collectors of private underground albums, but this 45 is worth discussing. Both “Piece of My Heart” and “Bye Bye Baby” were taken from Alan Franklin’s second LP, the one that has his b&w photo and both “The Alan Franklin Explosion” and “The Blues Climax” on the front cover, on the Horne label, J.C. 888-L.

Franklin was from Tampa, Florida, but recorded at Bee Jay Recording Studio in Orlando. The musicians were:

Alan Franklin – lead vocals, rhythm guitar
Chris Russel – lead guitar
Buzzy Meekins – bass
Dave Dix – drums

Apparently this was not an actual band but consisted of some teenage musicians invited to play with Alan in the studio. David Dix would go on to join the Outlaws.

“Piece of My Heart” is a wild, weird come-on. “Bye Bye Baby” more conventional blues-based rock. The label was Horne, with a release # J.C. 888-4. These two songs were included on the first side of the album, Alan Franklin Explosion – The Blues Climax cut in 1969 and 1970. Alan Franklin produced and Bill Vermillion engineered. Alan Franklin wrote all the songs, published by Penetraion Sound Publishing Company.

The notes on the back cover of the LP are worth quoting in full for their hype:

This is a wild savage approach to hard rock blues combining vicious jungle rock rhythm with very tight and lightening fast rhythm and lead progressions with a base that goes right inside of you. The vocals are wild and insane yet loving and caressing. The sound that these four cats put out is so fantastic that you won’t be able to turn it off. This is a new sound, a sound as wild and free as the Climax itself. For the Climax is made up of four rebellious wild fanatical musicians who literally go insane on stage, causing riots at every performance. People are going all the way with the Blues Climax. If you like hard rock music then you will love the Blues Climax.

– Albert Freeman ~ Penetration Publishing Company

Alan Franklin Explosion Billboard 1971, July 24The LP was chosen as Album of the Week in a small ad featuring “Brite Star’s Pick Hits”, run by a Nashville promotion company that was probably paid for the endorsement.

Alan Franklin’s first LP was called simply Blues Climax, recorded about 1968. The musicians are only Alan Franklin on guitar and vocals and Ray Vaughn on drums. It was released with red Horne labels, J.C. 333-7. Three of songs on this first would appear on the second LP in somewhat more polished versions. This earlier version of “Piece of My Heart” is so amazingly raw and crude, with great Bo Diddley type rhythm guitar playing:

His next LP seems to be titled Alan Roy Franklin released sometime in the 1970s. I haven’t heard any of it, nor his 1980 LP, Come Home Baby, credited to The Alan Franklin Explosion. This last one has a cover that has to be seen to be believed: Alan reclines on a bed, long-haired and shirtless, a jug of wine, copy of High Times, some cash and what looks to be a bong next to him on the red velour sheet.

Unfortunately I cannot recommend a google search for “Alan Roy Franklin”. I can only hope this is not the same Alan Franklin as turns up in the results.

Alan Franklin Explosion Blues Climax Horne 45 Bye Bye Baby

Don & the Holidays on Kam Records

Don & the Holidays Kam 45 It Won't Be Long

Don & the Holidays came from Orlando, Florida, cutting a single on Kam Records and backing other artists on the label. “Grasshopper Pizza” is fratty r&b with lyrics almost impossible to decipher, something about a “Beatle drive” and “grasshopper pizza is really alive”.

I like the flip, “It Won’t Be Long” with its gloomy sound and spare guitar breaks instead of sax. Both songs are originals credited to Don Adams. Kam Record Co. released it in July, 1966.

Bill Clifford posted the video of “Grasshopper Pizza”, above (under his actual name Bill Schwentner), with the names of the other Holidays members and some info:

Don Adams (vocal), Mark Farrel (Farfisa organ), Bill Stancliff (guitar), Bill Clifford (bass). [“Grasshopper Pizza”] was the only song of 13 recorded that day that was released on Kam Records.

From the business card included with the video, the band seemed to go by the simple name, The Holidays, and also there was another member named Denny.

It appears from the RCA custom pressing codes that Kam Records issued the Don & the Holidays single at the same time as Kam 102 (Buddy Killen’s “I Oughta Be Home With Nell” / “Mister Blue”) and Kam 103, which featured Holidays’ keyboardist Mark Ferrell on his originals, “Go Go Girl” / “I’ll Never Forget You”.

Both songs from the Don & the Holidays single were rerecorded for Kam 111 with the artist name changed to Big Don Adams. These versions are supposed to be slicker than the original release.

Guitarist Bill Stancliff cut his own composition “Redline” with his Holidays band mates Mark Ferrell and Bill Clifford, along with Billy J. Killen, on November 1, 1965 at Wurtle Film Studios, Orlando. Unfortunately this fine instrumental went unreleased.

Some of the photos in the video above have the name Mark IV behind the band. From the credits, this seems to have been a different lineup featuring Bill Clifford and Bill Stancliff of the Holidays with John Oyler on tenor sax, C.E. Stubblefield on Wurlitzer piano, Roy Halpin on bass, and Clark Wormer on drums.

Update: Don Edward Adams Sr. passed away on November 20, 2017 at the age of 84. He was born in Kingsport, Tennessee.

Kam Record Co. discography

possibly incomplete, any help with this would be appreciated

Kam 101 – Billy J. Killen – “Truly Love You” / “Walkin’ Talkin’ (In My Sleep For You)” (both by Angel, Killen, Martin) S4KM-8406/7

Kam 102 – Billy J. Killen ‎- “I Oughta Be Home With Nell” (Otto P. Martin) / “Mister Blue” (Martin-Killen-Angel) T4KM-9776/7

Kam 103 – Mark Ferrell – “Go Go Girl” (Mark Ferrell) / “I’ll Never Forget You” (Mark Ferrell, Jerry Adams) T4KM-9778/9

Kam 104 – Don & the Holidays – “It Won’t Be Long” / “Grasshopper Pizza” (both by Don Adams) T4KM-9780/1

Kam 105 – Curt Fields – “Man, Woman And Love” / “Five Lonely Rooms” (both by Angel, Killen, Martin)

Kam 106 – Johnny Selph ‎– “My Gal’s Outta Her Tree Again” (Don Gore) / “Working On Your Future” (John Harris Selph)

Kam 111 – Big Don Adams – “It Won’t Be Long” / “Grasshopper Pizza” (different versions of Kam 104)

Many of these songs are copyrighted to Villard J. Killen, Otto Martin and Robert Paul Angel, whose name appears in producer role as Bob Angel in later singles on the Bion label of Orlando, including ones by Mark Ferrell and Johnny Selph. All Kam Records songs published by Ankilmar, BMI.

Don & the Holidays Kam 45 Grasshopper Pizza

Billy Sandlin and the Interns

Billy Sandlin came from Ocala, Florida, starting his recording career in 1959 with the tough-sounding “She’s Mean” b/w “Don’t Let Me Down”, released first on Vim Records then on Gala. From the start he showed an ability to sing a wide range of styles, from uptempo rock to melancholy ballads.

In 1961, Sandlin had a second single on Gala, “Teenager’s Dream” in a slow doo-wop style b/w the latin-ish “Cha Cha Bop”. Around 1962 he left for Germany, presumably for military service.

Overseas he cut a neat rocker called “My Little Twisting Baby” with a local group known as the King-Tones, but it wasn’t issued until he returned to the U.S. in 1963, as Billy Sandlin with the Strangers and the Bluetones on Strike Records.

Billy Sandlin and the Interns Royale 45 Poor Rich GirlNext came a single on Viking Records, “You’ll Always Have Someone”, produced by Larry Montague and still very much in a teen style, released circa 1964, though I could use confirmation of that date.

In 1966 he found a tougher accompaniment by the Interns for the fine “Poor Rich Girl”, especially in the repetitive guitar line, and Sandlin’s voice really suits this hard r&b style. The b-side “Here Comes That Feeling” is very good downer garage. My copy is on Royale 1966.326, but others exist with the label name changed to Royala, which would match his next single.

Later that year came Royala 1966.329, “I Kept On Walking” written and sung by Billy Sandlin with ‘the Interns Orchestra’, b/w “Sweet Loving”, sung by Ace Perryman and written by Stewart and Perryman. I haven’t heard either song yet. “I Kept On Walking” was also the b-side of Sandlin’s single on Viking. This single and “Poor Rich Girl” both credit Jack McGowan for management.

Jack McGowan owned the Teen Time Club in Ocala, according to a short article in the Ocala Star-Banner from 1967, and I think Royala/Royale was his label. I believe he is the same Jack McGowan who produced the The Great Masquerade, also known as The AC/DC Caper, filmed in Miami in 1973.

The Sounds of Sandlin photo: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin
The Sounds of Sandlin, from left: Henry Rawls, John Tabor, Andy Facundus, J.W. Howell, and Billy Sandlin

Sounds Of Sandlin National Guild Recording Studios Acetate 45 Come On Up To My WorldCirca 1969, Billy Sandlin was the singer on two demo acetates recorded at National Guild Recording Studios as Sounds of Sandlin.

John Tabor sent in the photo seen here and gave the lineup of the group:

Henry Rawls – vocals & trumpet
John Tabor – vocals & lead guitar
Andy Facundus – bass guitar
J.W. Howell – drums
Billy Sandlin – vocals & rhythm guitar

“Come on Up to My World” and “Dream Train Ride” are solid psychedelic numbers, while “Sunshine” is a quiet ballad in a folk or country-rock style, and “I Need You” has fuzz guitar but is more of a pop song. All four songs feature two vocalists singing each line of verse.

National Guild Studios were located in Orange City about an hour and a half east-southeast of Ocala. I’ve heard clips of both thanks to Jameson Sweiger, who took the photos of the acetates seen here and gave me some background on them.

Sounds Of Sandlin National Guild Recording Studios Acetate 45 Dream Train RideThe acetates came from Larry Montague, who produced Billy’s single on Viking.

Jameson wrote: “Larry had a full album from the sessions of these 45s that was to be released but shelved after his death and never released. Larry had the original reel to reels when I met him. Sandlin apparently was in movies or working on movies at the time of these 45s.”

Sandlin next joined with Barry Winslow of the Royal Guardsmen for a single on Mega, “Have You Seen a Rainbow Lately” / “Peace Time” that got a good mention in Billboard in November, 1971.

Billy Sandlin also recorded two songs I haven’t heard, “Turn Me On” / “Country In The City” that exist on a Capitol custom 8″ demo, I’m not sure of the year.

Tragically, Billy and his wife Melinda were killed when their car was hit by a drunk driver fleeing the police in Ocala in February, 1973.

Billy Sandlin discography:

Vim Records 1006 – Billy Sandlin – “She’s Mean” (Sandlin, pub. by ThreeWay BMI) / “Don’t Let Me Down” (1959)

Gala Records 45-110 – Billy Sandlin – “She’s Mean” / “Don’t Let Me Down” (1959)

Gala Records 45-115 – Billy Sandlin – “Teenager’s Dream”/ “Cha Cha Bop” (Sandlin) (1960)

Strike Records S-103/4 – Billy Sandlin with the Strangers and the Bluetones – “My Little Twisting Baby” (Sandlin) / Billy Sandlin and the Strangers – “My Little Star” (P4KM-5346), recorded in Germany with a group also known as the King-Beats, but issued in the U.S. circa 1963.

Viking Records 1001/2 – Billy Sandlin and the Embers – “You’ll Always Have Someone” / “I Kept on Walking” (Sandlin, pub. by Montague Music), produced by Larry E. Montague

Royale 1966.326 – Billy Sandlin with the Interns – “Poor Rich Girl” / “Here Comes That Feeling” (1966) prod. by Jack McGowan

Royala 1966.329 – Billy Sandlin with the Interns Orchestra – “I Kept On Walking” / “Sweet Loving” (sung by Ace Perryman), 1966

Mega 615-0044 – Winslow & Sandlin – “Have You Seen a Rainbow Lately” (Barry Winslow-Barry Sandlin) / same (1971)

Unreleased demos:

Sounds of Sandlin – “Come on Up to My World” / “Sunshine” (National Guild Recording Studios demo, late ’60s)
Sounds of Sandlin – “Dream Train Ride” / “I Need You Girl” (National Guild Recording Studios demo, late ’60s)
Billy Sandlin – “Turn Me On” / “Country In The City” (Capitol Custom 8″ acetate disc, date unknown)

Sources include That’s All Rite Mama

Billy Sandlin and the Interns Royale 45 Here Comes That Feeling

The Dickens

The Dickens photo at The Place club, Pensacola, FL
The Dickens at The Place, Pensacola, FL. From left: Jimmy Smith, Louie Boyleston, Skip (Seldon) Higgins, Ron Bowman and Rick Pierce

The Dickens came from Pensacola, Florida. The members of the band were:

Rick Pierce – keyboards & vocals
Louie Boyleston – guitar
Ron Bowman – rhythm guitar & lead vocals
Jimmy Smith – bass, harmonica & lead vocals
Skip Higgins – drums

A news clipping shows the band as a four piece formed at Pensacola High School before Rick Pierce joined. The article notes the band played dances at Pensacola teen clubs the Place and the Beacon Club, and that they won the St. Ann’s Annual Talent Context.

Dickens Format 45 I Haven't Got The NerveIn September, 1967 they cut two good, quirky versions of Left Banke songs on Format Records F45-5004/5, “I’ve Got Something On My Mind” / “I Haven’t Got The Nerve”. The single was produced by Jerry Ray for Daddy Rabbit Prod.

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“I Haven’t Got the Nerve” is taken at an incredibly fast pace.

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Dickens Format 45 One of a Kind WomanSix months later they kept their Left Banke inspiration but Rick Pierce wrote two excellent original son
gs, “One of a Kind Woman” and “Inside – Outside”.

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Jerry Ray is again listed as producer, but Rick Pierce arranged them and the production is much better than the first single. The band sounds more mature, with better keyboard work and stronger vocals than the first release, and the horns fit in fine on “Inside-Outside”.

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This single had release as Format F-45-5006/7 in March of ’68, with publishing by Tamrof Pub BMI.

The Dickens photo

I contacted Ron Bowman, the lead vocalist on these songs, who provided this info on the band, plus the photos and sound clips:

The Dickens began forming circa ’62-63. Pensacola, Florida, Gulf Breeze to be precise. Ron Bowman & Louie Boyleston swapped their baseball gloves for acoustic guitars & began playing folk music, until they heard the Beatles. With electric guitars in hand, Winston for Ron & Silvertone for Louie they began scratching up Beatles, Stones, & Hollie records to learn the chords & lyrics. Time for a bass player. We knew a guy who looked the part, but he was too much into surfing, but he auditioned singing “Mrs Brown You’ve Got a Lovely Daughter”. We figured he could learn to play a 4 string instrument. Next a drummer. In West Pensacola we learned of Skip Higgens. He had a drum set. So voila, we had a band.

We’d play the run of the mill soul music all the other Pcola bands were playing, especially because people could dance to them, but our tastes were deep into the British Invasion, especially the vocals. I did most of it, but Jimmy & I were both the lead singers. We managed to get known, won a couple Battle of the Bands, then we heard about an amazing keyboardist (actually he played everything – from drums to pedal guitar) also from West Pensacola, Rick Pierce.

Once he joined the band, we really took off locally. Our early manager was a local disc Jockey, Daddy Rabbit Ray. We recorded our first session in Memphis where we recorded our first single “I’ve Got Something on My Mind” & “I Haven’t Got the Nerve” both Left Bank songs. We sold 90 copies in Albany, NY. We also recorded the first of Rick’s original songs “No One Seems to Know”, but that didn’t make vinyl. I think this was in ’66, I know we attended a Monkeys concert while in Memphis.

Q. What was the connection with Memphis?

Our manager knew of a studio. Why Memphis, beats me.

Q. Were you all fans of the Left Banke or was that mostly Rick’s influence?

Oh yes. They came to Pcola. We were deep into baroque music. Or ‘broke music’. All of us, not just Rick, but because of Rick’s fine piano/harpsichord musicianship, we were able to pull it off. Our main influence, besides the Beatles & Stones, were The Hollies. Damn those boys could sing harmony.

Dickens Format 45 Inside-OutsideBecause of this mild success, we rented out places in small southern towns like the Natl Guard Armory to make a decent wage for high school kids. In ’68 we recorded in New Orleans. All 3 songs were Pierce originals with Ron singing lead. A-Side “One of a Kind Woman”, B-Side “Inside Outside”, & the unreleased “I’ve Been Gone”. We sold far more of these singles & were listed on Billboard’s Hot 100 Charts with a bullet. Later we found out our manager had sent our tapes to MGM. They offered to fly us to LA to record an album & I guess groom us for a national audience. They offered Daddy Ray $40,000 as a finder’s fee. He thought “Gee if they’re that good, I’ll keep them on my label, FORMAT RECORDS. Just as well we didn’t know this at the time…

Q. Are the unreleased songs, “No One Seems to Know” and “I’ve Been Gone” still around?

I have two versions of the New Orleans session of “I’ve Been Gone”, one with & one without the lead. Jimmy Smith remixed this when he worked at Capitol Records. Another Rick Pierce original. Don’t think “No One Seems to Know” from Memphis survived.

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About early ’69 we splintered off & Jimmy, Rick, & I formed a newer ‘Stoned Dickens’ foursome, John Russel played lead guitar, Rick moved to drums. Lots of Cream, Buffalo Springfield, Hendrix.

I did a short stint in the Phaetons as a bass player/ backup singer. Made a ton of money as Charlie Capri, our manager, kept us on the road. But that lasted less than the Stone Dickens, maybe 4 months.

With the narco cops following us around, Jimmy & Ron hightailed it to California. We formed a group called The Alleycats (several versions of members, one including Louie again).

Louie went on to open a mod clothing store, Oz Boutique. He was probably the best rhythm guitarist I’ve ever heard, although I do have one recording of my song “Real Fine Love” where he tears up the lead. He knew the chords to every rock & country song. Unfortunately he died of a heart attack about 2005 in his 50s.

Skip went to New Orleans & kicked around before winding up in Vienna, Austria, where he still lives. We are in touch.

Rick went to Atlanta, got very in with the Atlanta sound. I saw him last playing a solo gig in Marietta, Ga. We are not in touch now, but I’m working on this.

Jimmy’s still in Sherman Oaks. He’s worked a lot in the movie industry & was working at Capitol Records where he had access to their mixing room. This is where our remastered New Orleans session came from.

I stayed based in LA for a total of 17 years. In ’79 I joined the first American band ever to play for Club Med, The Hollywood Party Boys. Mexico, Switzerland, Greece, & always Paris, per diem. When I returned to LA, instead of resuming my music career while working for every record company mail room, including Billboard, I went to LACC & became an Elec tech. Moved back to Pensacola area, where I still live. I’ve always continued to write & record music.

You can hear Ron’s songs since The Dickens era on his Youtube channel.

Thank you to Ron Bowman for answering my questions and his help with this article.