Category Archives: US

Skip and the Creations

Justice Records was a vanity label based in Winston-Salem, North Carolina and run by Calvin Newton. For well under $1,000 a band could record an album’s worth of songs in 4 hours at a local studio, have a few hundred copies pressed with a b&w cover, and then maybe try to recoup their investment by selling copies at their gigs.

Skip and the Creations cut their Justice lp in 1967. They had a fan club based in Colonial Heights, Virginia, outside of Petersburg, According to the caption on the blurry photo on the back cover, band members were Skip, Walter, Brute, Jeffrey, Rick and Tommy. Someone has assiduously marked Jeffrey and Skip on all the photos on my copy, too bad they didn’t include the guys’ last names!

One source says MOBAM stands for “Makers Of Bad-Assed Music” which you may or may not agree with, but there are some fine cuts on this lp. Leading the bunch is what appears to be a band original, “I’m Calling You Baby”. Of the cover songs, my favorite is the lead-off track, “Respectable”, and I like their version of “Harlem Shuffle” almost as much. The band manages to get a good groove going on “Ninety Nine and a Half” after the guitarist’s intro nearly goes MIA.

A good overview of the Justice label is available here.

The Chants “Hypnotized”

The Chants at the Pirates Nook

The Chants released one great 45 in late 1966, “Hypnotized” b/w “Elaina”. The B. Ware label was owned by William Ware, who ran the Pirates’ Nook club and his booking agency at the 4420 Elm St. address listed on the label. Bill Ware gave me the phone number of Chants’ vocalist Darrel Howard, which led to a long conversation with Darrel and lead guitarist David Norfleet about their time in music.

The Chants formed at Garland High School. David Norfleet had started out on steel guitar, but after hearing Elvis he knew he wanted to be playing rock n’ roll, and Chuck Berry became his main inspiration on guitar. Ron Vargesko played rhythm guitar, Forest Eubank drums, and Brownie Sherrill played bass.

Darrel Howard’s best friend in high school, Tommy Galbert, was the keyboard player for the group. When their original lead singer left to go to college, Darrel volunteered to sing. When Tommy went into the Navy, the band did without a keyboardist for some time.

The Pirate’s Nook nightclub opened in 1963 on the corner of Elm & Carroll in east Dallas, then a hot area for night life. The club had once been an old hotel, with a glass showcase out front announcing the bands. It had high ceilings, a central stage and platforms on the sides for go-go dancers. I was surprised to hear there was no dance floor, though.

The Chants auditioned for the gig at the Pirates Nook and started there in early 1966, taking over for the Chapparals. The Nook previously hosted extended residencies from Oklahoma’s Five Americans, who were discovered by Abnak there; the Allusions (also from Oklahoma); and the Just Us Five.

vocalist Darrel Howard

The band played six nights a week to packed crowds for about a year and a half. Brownie and Forest were still seniors in high school at the start. The Chants’ live act consisted mostly of Top 40 covers, including James Brown, Beatles, and Sam and Dave hits. They played occasional shows outside the Nook if the money was good, including once at Texas Tech with the Chessmen. Unfortunately their live show was never recorded.

The band rarely played original songs while at the Nook. During practice Bill Ware heard them rehearsing a couple of David’s original songs and decided they should make a record. The band went to the old Sumet Sound Studios (later Sumet-Burnet Recording, I believe) in late ’66. Darrel Howard sang lead on Hypnotized, and David Norfleet sang Elaina.

Rhythm guitarist Ron Vargesko had grown up playing the accordion, and while trying the studio’s organ he came up with keyboard parts the band decided to work into the record. After the session the other members told Ron he should move over to keyboards permanently!

Both sides showed commercial potential, leading the big Dallas top 40 station KBOX to chose it as a pick hit. KBOX wanted the Chants to promote the 45 at station-sponsored shows around town. Bill Ware had the band under contract, though, and wouldn’t let them play to promote the record without payment. KBOX, of course, pulled it from their playlist and the record sank.

The band felt Bill had blown this chance, and that if another opportunity came up in the future he might interfere with that as well. When their contract ran out they wouldn’t resign.

The band moved to the Cajun Club at the Quarter Apartments on Maple Ave. This was the nicer of the two Cajun Clubs. The one on the east side, where Dusty Hill played with the Warlocks, was a dive in comparison.

At the Cajun Club the band became friends with the Five Americans who lived at the apartments and were often at the club. The Five Americans worked with the Chants on some songs, but according to David, everything came out sounding like the Five Americans!

David also worked with two bartenders at the Cajun Club, John Broberg and Randy Shelton. Broberg and Shelton had written a song called Help Me Find a Way with Neal St. John. David went into the studio with them a few times, and a 45 of the song was released as by The Upper Class on Charay. It later was picked up for national release by the United Artists Smash label, but never became a hit.

While at Cajun club Ron quit and Forest was drafted. Finding new members, the Chants took to the road, ending up in Lawton, Oklahoma with a residency at the Tradewinds club. One by one band members left; by the time the Chants finished up in California, only the bass player was left. While at the Tradewinds. David quit music for three years to take care of his wife and new baby.

Darrel Howard left the Chants and joined Quest from 1969-1975, singing and playing keyboards, and recording a privately-pressed album with them. He retired from playing music professionally, and started building race cars.

David Norfleet went into the Hyde Park Circus, played at the Fog Club and Soul City. The Fog was an afterhours place, and touring acts like Jimi Hendrix, Bobby Hatfield of the Righteous Brothers, and John Fogerty sat in while he was there. David went to Europe in ’77-’80 with the Bandits, sharing bills with Dire Straits, Golden Earring, and the Boomtown Rats at the Paradiso Club in Amsterdam. He returned to Dallas and continued working in music professionally until just a few years ago.

Updates

David Norfleet passed on July 4, 2008.

Bill Ware, proprietor of the Pirate’s Nook and owner of the William Ware Agency passed away on May 9, 2012. When I corresponded with Bill a few years ago he had fond memories of the Nook and the bands that played there. He kindly allowed me to use photos from his site for this article.

Ron Vargesko passed away on June 6, 2013, according to a comment below.

The Only Ones

The Only Ones have one good harmony pop 45 on the Panik label, “You’re the Reason” and “Find a Way”. Larry Calder wrote both songs, registered with the Library of Congress in September, 1966 along with another original “The Only One” that seems to have been unreleased.

The band was from East Detroit, Michigan (now known as Eastpointe). I didn’t know anything about the group until family and friends posted comments below.

Members included:

Larry Calder – guitar and lead vocals
Jim Bohr
Gary Daniels
Mitch Aiken – drums

Anyone have a photo of the group?

The Second Half “Forever in Your World” on IGL

The Second Half were long rumored to have come from southwestern Minnesota, Jasper to be exact – if a rumor could be exact. Actually they were from Des Moines, Iowa, as I learned from Steve Acheson, who put me in touch with his brother David, the bassist for the group.

The IGL label was based out of Milford, Iowa, about two hundred miles from Des Moines. “Forever In Your World” is a really fine uptempo song, written by the band’s vocalist Deni Bell, published by Okoboji Music – Okoboji being a lakeside town in Iowa near Milford.

The flip, “Knight in Armour” is a contrived kind of pop, but the band gives a good performance. It was written by Wes McGlothlen, who turns out to be the group’s friend and manager.

Steve Acheson first gave me some info on the band:

The band was based out of Des Moines, Iowa, not Minnesota. My brother played bass in the band, and they often used to practice in our living room. I’m not sure exactly how long they were together, but it was long enough to get pretty good, and play some local venues. I am several years younger than my brother, and was extremely interested in playing drums at the time, and used to watch them practice for hours.

Their drummer had a set of Ludwig drums, with that classic “60s” color, sort of like the drums Ringo used during the Beatles’ early years. Occasionally, he’d let me play them. (Thanks Bob.) I recently talked with my brother, and between the two of us we remembered some of the details below:

The lineup at the time the record was made was:

Bob Spooner – Drums
David Acheson – Bass Guitar
Deni Bell – Lead Vocals
Dean Arnold – Rhythm Guitar
Fred Shaffer – Lead Guitar
Wes McGlothlen – Manager

When they made the record, I remember there was a lot of “buzz” around our house. They loaded all their equipment into a trailer, and hitched it behind our Mom’s ’63 Ford Falcon, and towed it off to somewhere, which I now find was IGL studios in Milford.

My recollection of the “B” side of the record is that it wasn’t that good a song. Certainly not on a par with Forever In Your World.

When I played this for my brother, he, at first, didn’t recognize it, having not heard it for 40 years. But then, the memories all started coming back.

After the band broke up, and after my brother graduated high school, he joined the Army, and ultimately ended up in Denver, CO. He doesn’t play an instrument any more. The funny thing is, I remember more about the band, and the song than my brother. Even before I found the song again, I knew the opening bass line, the basic melody and the first verse and chorus. For some reason, that stuck with me for all these years. We have no idea of the whereabouts of any of the other members.

David Acheson added:

I don’t remember many specifics about the band. Don’t even remember how I got involved with it. I do remember that I played a red Guliettin bass guitar.

Bob Spooner (drummer) and Dean Arnold (rhythm and keyboards) were out of school. Bob was married. Deni and Fred went to North High School, Fred Scheafer (lead) was a junior, Deni Bell (lead vocals) was a senior, I believe. I went to Roosevelt HS, I was a senior. Wes McGlothlen (manager) was out of school.

Our name came about because Wes and Deni wanted us to be “the second half” of the music revolution that The Beatles began. My mother was very involved … we practiced a lot in the living room of our home, and she drove us to some of our gigs. Two that I remember the best were at Fort Des Moines Roller Rink for a battle of the bands, and at a frat house on the University of Iowa campus for their homecoming. I remember many students at U of I telling us they thought we were the best band on campus that weekend. We also received a very enthusiastic reception at the battle of the bands.

Wes, and especially Deni and Dean, wrote a lot of songs, many of which were incorporated into our playlists. For the most part, the original music was very well received.

I don’t remember much about the studio work, except that the day was very long. The weeks prior to the recording date were spent in constant rehearsal on “Forever in Your World”.

I am not inclined toward music. It was hard work for me to play any instrument, so I didn’t continue my “career” after I graduated (1967). Shortly after I graduated I joined the Army and left everything with my mother. While I was in Germany I learned that she traded or sold it for a sewing machine. I was glad she did as she got much more use out of that than I ever would have with the guitar. It was quite an experience for me at the time. I wish my mother were alive …. she remembered everything, and I am sure she could have provided us with details that have been long forgotten by everyone else. I remembered a few things just talking with my brother the other night … things that I hadn’t thought of in years. When I left Des Moines I didn’t stay in touch with anyone.

The Front Line “I Don’t Care” and “Got Love” on York Records

The Front Line were based in San Rafael, in Marin County, California. Members included Gary Philippet on keyboards, Bill Bowen on drums, Rex Larsen, Jim Brewer and Dennis Lanigan. Philippet had been in a few earlier bands, including the Mystics and the Pullice. Bowen and Philippet were both part of Electric Train, who recorded two songs found on an acetate but not released at the time.

Front Line Cash Box, October 23, 1965
Front Line receive notice in Cash Box, October 23, 1965
The Front Line’s first record was “I Don’t Care” backed with the explosive “Got Love”, with strong psychedelic guitar work. Both sides were written by Philippet and Lanigan. Cash Box and Billboard reviewed the single favorably on October 30, 1965.

The York label was part of Charles Greene and Brian Stone’s York/Pala production company. Greene and Stone produced Sonny and Cher, and also worked with the Daily Flash and with the Buffalo Springfield on their early sessions at Gold Star. With a distribution deal with Atco, it’s no surprise that the Front Line 45 was released in the UK on Atlantic. Green and Stone’s connections also landed the Front Line opening slots on a Sonny and Cher tour.

Front Line reviewed in Billboard Oct. 30, 1965
Front Line reviewed in Billboard Oct. 30, 1965
Front Line reviewed in Cash Box Oct. 30, 1965
Front Line reviewed in Cash Box Oct. 30, 1965

Their second 45 was “Saigon Girl” / “Three Day Pass” on the Titan label, which I haven’t heard yet.

Rex Larsen wrote to me with information from the beginnings of the group:

The Front Line formally The Mystics were formed in 1961 in my freshman year of high school. We, the group were all serious about making a great band. Aside from a drummer change we played all through high school every weekend all over the san Francisco bay area. We were from San Anselmo in Marin County.

I was, at that time also working at Sherman Clay Music store in San Francisco during the summers. The store decided to open one in San Rafael right near where I lived. I managed the musical instrument department. Then the store decided to start a music school in a house they leased nearby. I was in charge of the school also giving guitar lessons. One of my students was the son of the manager of Coast Recorders in San Francisco. His father asked me if I wanted to exchange studio time for guitar lessons and of course I said yes. The Mystics recorded 3 or 4 songs there.

Then Gary Phillips and I went to Los Angeles to see if we could get a record deal. Very brave at the ripe age of 16. We decided on two places to go. Phil Specter and Green and Stone Productions. To make a long story short both wanted to sign us but we went with G&S. Several weeks after, I think, the 2nd trip down to L.A they called us and asked us if we wanted to back up Sonny and Cher and do our own set. His name was The rest is history.

I never knew about the single being a hit in England until many years later. Jim Brewer quit the group during the Sonny and Cher tour. There is more to the story for me but maybe for another time.

Late in ’66, Bowen went into an early lineup of the Sons of Champlin. Philippet, later known as Gary Phillips, joined Freedom Highway, Copperhead and Earthquake. He passed away on January 17, 2007.

Sources include the Gary Phillips tribute site www.garyphilippet.com/ – now defunct. Thank you to Rex Larsen for info on the early days of the group.

Quadrangle

The Quadrangle were a New York group, and this is their only 45, released in October of 1966.

“She’s Too Familiar” now is a classic garage song. Every element is striking: the keyboard intro, the bass line and drums, the sharp guitar parts and the fantastic vocal, with a tambourine-led chorus that brings it all together.

The b-side, “No More Time” combines a New Orleans type beat with a bit of Donovan’s Mellow Yellow vocal delivery.

I had thought they were only a studio group until I found a mention in the April 30, 1966 issue of Billboard that states “Ray West’s group the Quadrangle closed at Arthur last week and will now record under the supervision of Artie Kornfeld.” Artie Kornfeld did produce them, using the songwriting team of Michael Konstan and Jay Fishman.

Kornfeld had a lot of experience writing classic songs as half of the Changin’ Times with Steve Duboff. Their original versions of “Pied Piper” and “How Is the Air Up There” were covered with more success by other bands. Kornfeld went on to work with many other acts as producer. Michael Konstan released a solo lp on RCA in ’73. I’d like to know more about the other members of Quadrangle, though.

The Distortions

The Distortions: Ned Bibb, Bobby Marlin, Zac Zachery and Robert Alexander
From left: Ned Bibb, Bobby Marlin, Zac Zachery and Robert Alexander
(thanks to Dale Aston for the correction)

Distortions Sea 45 Can You TellFrom the Ensley Highlands section of Birmingham, Robert Alexander (bass), Ned Bibb (vocals and guitar), and Bobby Marlin (drums) started playing in high school in 1962, rehearsing in Robert Alexander’s basement.

In 1965-66 they backed Travis Wammack, then took the name The Distortions from his record “Distortion pt. 1”. They added Zack Zackery on keyboards, and recorded their first three 45s on Sea Records. These included an interesting Ned Bibb original, “Can You Tell”, which was backed by a slow, loopy take on “Hound Dog”; and a raging version of Howlin’ Wolf’s “Smokestack Lightning”.

Distortions Malcolm Z. Dirge 45 Thank You JohnThe band added Eddie Rice on guitar in 1966 and switched to the Malcolm Z. Dirge label for their next release, “Thank You John”, which reached the charts on WSGN in town. On the flip they recorded a fine version of the Rascals’ oft-covered “I Ain’t Gonna Eat Out My Heart Anymore”.

When their next 45, “Behind My Wall” was picked up for national distribution by Smash, they had their biggest hit, selling 10-15,000 copies according to their producer Ed Boutwell. Their penultimate 45 was a good Bill Haney original, “I Found a Girl”, with a version of “I Don’t Really Like You”, originally done by Baton-Rouge’s Canebreak Singers on Montel and written by Mike Crespo. It was produced by Haney and Richie Becker and released on Casino, a subsidiary of the Dover Records company of New Orleans.

In ’67 the Distortions added Roy Alexander on saxophone.

Distortions Rally with Torquays, Hard Times, the Vikings, the Rockin' Rebellions, This Side Up at Birmingham City Auditorium

Distortions, Capitol promo shot, 1968: Roy Alexander, Roy Zachary, Bobby Marlin, Steve Salord, Dale Aston and George Landman
Capitol promo shot, 1968, from left: Roy Alexander, Roy Zachary, Bobby Marlin, Steve Salord, Dale Aston and George Landman

Dale Aston of the Torquays sent in the photo above and writes about his time with the band:
Distortions Casino 45 I Found a Girl

I played guitar with the band. Steve Salord and I had just left The Torquays and joined with The Distortions for a brief period. We recorded “Let’s Spend Some Time Together” at Boutwell Studios in Mountain Brook, AL.

As I recall Ed Boutwell had a hand in getting Capital Records to pick up “Let’s Spend Some Time Together”. The other labels were homegrown and produced by the band for local distribution only.

Their last release was a cleaned-up version of the Stone’s “Let’s Spend the Night Together”, retitled “Let’s Spend Some Time Together”. This was picked up by Capitol but didn’t sell particularly well.

Henry Lavoy took over on drums during the late 1960’s.

The band split up in 1969, but Zack Zachery and Roy Alexander played college and club shows as the Distortions into the ’70s, with Clif Payne on drums and Ed Finn.

Clif Payne sent in the photo of the group from the 1970’s as well as four unreleased songs from 1975 in a polished, commercial sound the band developed later on, something akin to the Average White Band. See Clif’s comment below for more information about that band at this time.

Roy Alexander and Bobby Marlin are now deceased.

Distortions Magna Club Booking photo

45 releases:

Hound Dog / Can You Tell – Sea 100
Take This Ring / You Know I’m On My Way – Sea 101
Smokestack Lightning / Hot Cha – Sea 102
I Ain’t Gonna Eat Out My Heart Anymore / Thank You John – Malcolm Z. Dirge 45000
Smokestack Lightning / Behind My Wall – Malcolm Z. Dirge 45002
A Love That Loves You / Behind My Wall – Smash S-2068
I Don’t Really Like You / I Found A Girl – Casino 501
Let’s Spend Some Time Together / Gimme Some Lovin’ – Malcolm Z. Dirge 45008 and Capitol 2223

Sources: Reunion of the Sons and Daughters of the Sixties program, May 8th, 1987; Birmingham News. April 30, 1987, Birmingham Weekly, vol. 10.

Thank you to Mike Pair for loaning me the Birmingham News article, “Hair” Rally notice and Reunion program.

The Esquires (Arkansas)

 

The Esquires formed in 1964 in Jonesboro, Arkansas, a town closer to Memphis than Little Rock. Members were Jim Grimes vocals, Rick Metzler rhythm guitar, Stanley Knight lead guitar, Rick Murray sax, Scott Snellgrove bass and Roger Barnhill drums.

As a live act they were popular at local clubs like the Cave, the Place Next Door, and the Hotel Noble as well as in Memphis, where they appeared on the Talent Party television show. They competed at battles of the bands with acts like Knowbody Else, Tommy Jay and The Escorts, the Gentrys, the Devilles, and the Guilloteens.

They recorded “Sadie’s Ways” at Alley Records’ studios in Jonesboro. It’s possible that four additional songs were cut to acetate. Alley Records also released a great 45 that I’ll feature very soon, the Newcastle Blues’s “Cotton’s Mama”/ “Walkin’ the Dog”.

The Esquires broke up in 1966. when Grimes and Rick Metzler went into the Marines.

Sources include: Mike Dugo’s interview with Scott Snellgrove. Great photo there too.

The Grass on Goldust Records

Stanley and the Grass at Las Cruces High School 1965, Lynn McIntyre, Dennis Finn, Stanley Stenner, James (Timmy) Schaefer, and JT Archer
Stanley and the Grass at Las Cruces High School cafeteria dance, Fall, 1965.
Left to right: Lynn McIntyre, Dennis Finn, Stanley Stenner, James (Timmy) Schaefer, and JT Archer.

The Grass came out of the Las Cruces, New Mexico scene that included bands like the Keymen, the Four Dimensions, the Morfomen and the Outer Limits.

In August 1966 they released their only 45. recorded at Emmit Brooks’ Goldust Recording Studio, “I’m Getting Tired” (written by Dennis Finn and Lynn McIntyre) backed with “Y’Love”.

In the lyrics of “I’m Getting Tired” the singer is having trouble finding a girl worthy of his continued attention:

There’s just one reason why the girls never hit me with a put down,
I’m cool enough to know just when to put my foot down.
They offer me their love – what can I do then but take it?
Offer me their heart – what can I do then but break it?

JT (Tim) Archer sent in the photo at top, adding “here is a pic of Stanley and the Grass before the Goldust recordings with The Grass w/ Larry Lucero. Notice two of the guys are wearing ‘belt-straps’ instead of regular guitar straps. Except me, I left mine at home.”

JT wrote more about the band in comments below:

I was the lead guitar player for The Grass. The band included myself and Lynn McIntyre (formerly of the Checkmates and The Hustlers), Dennis Finn, and Tim (James) Schaefer. We first formed with Stanley Stenner as our lead singer and thus Stanley and The Grass was born circa 1965-1966. When Stanley left, we added Larry Lucero and he was the lead singer on our Gold Dust sessions.

I played a Fender Jazzmaster; Tim Schaefer played a Strat; Lynn played a Precision Bass. We refinished them all white and used belt straps instead of regular guitar straps… How cool is that?

I grew up on the Ventures and even during The Grass days we played a few instrumentals including “Slaughter on Tenth Avenue”. The band broke up and I went to Hollywood and tried to make it with Stanley, Lynn, Dennis and other friends from LC. Great experience -tough business! After Hollywood, I still pursued music and toured in lounge bands and even worked with Link Wray in Tucson.

I recorded two solo albums: Canyon (Gold Dust 1974) and Who’s Watching (my label – see CD Baby). I am now into Jazz and R&B. I hope to someday release another album under my jazz persona – Joey Primo. I have quite a guitar collection including a Mosrite which Semi Mosely custom made for me. It’s a keeper!

I have a picture of Stanley and The Grass at a Las Cruces High Dance. I also have a few pictures of me in the Shandels at Skylanes Bowing alley in El Paso when I filled in for Bob Allinder when he was on vacation one summer. I also have a picture of The Hustlers that pre-dates the Grass.

Stanley Stenner had a 45 on the Dynasty label from the early ’60s, “Teri” b/w “Angel of Mine”, written by Stenner, Charles and Richards for Borgelin-Melissa Music, BMI, orchestra conducted by Gene Garf. It’s a pop vocal style record.

Dennis Finn added:

Stan was one of the elves [Curly, one of the Lost Boys] in Peter Pan. He was from Hollywood. His dad was the great grampa on the Munsters. He also performed in Vegas with Sammy Davis, Jr., a great singer. He went back to Hollywood, and we got Larry Lucero to be the lead singer. I wrote “Y’Love”, and Lynn and I wrote “I’m Getting Tired”. We recorded them at Emmit Smith’s Gold Dust records.

Later, Pete Hecker and John Leduc (from the Outer Limits) and Dennis Lucero (from the Shandells) and Tim Archer and me (Dennis) went to Hollywood, and played at Ciro’s for 16 weeks in the summer of ’69. It was wild and crazy, and we had long hair, but were mainly hicks from New Mexico. In 1970 we came back to New Mexico, either to go back to college, or whatever.

Goldust is still in business: for more information see their website www.goldustudios.com

If anyone has photos of other Las Cruces groups of the time, please contact me.