|Frank Stallone sent in these photos of his first band, the American Tragedy. Frank’s playing the ’58 Gibson Explorer. The band never recorded.
Frank wrote, “I had a band the American Tragedy out of Philadelphia from 1965 to ’68. We played all the hops and were in the Battle of the Bands and came in 2nd. I went on from there to form a group called Valentine with John Oates.
“Also the Hangmen are from Maryland, I’m from there as well. I saw them open for the Lovin’ Spoonful at the Shady Grove Music Fair, Rockville MD in 1965.”
For more on Frank and his music and film career check out FrankStallone.com
The American Tragedy, 1965
The Mixed Emotions were from the town of Coden, on the Gulf in Alabama. Members were:
Ronnie Ghetti – lead vocals
Jerry Simmons – lead guitar
Wendell Herrington – keyboards
Tim Hayes – bass
Rodney Linder – drums
The highlight is the great “Can’t You Stop It Now”, featuring a bass player who hits all the right notes, a singer who’s halfway between being hurt and not caring a bit (I like how he tosses off the line “I need a little peace!”), and a guitarist with an ill-sounding fuzz tone. “Go Jerry, do it,” says the singer right before the solo.
The flip is a mellow, bluesy original, “I’ll Fade Away”. This was released in the summer of ’68 on the Kustom Kut label out of nearby Grand Bay, and as it turns out, was recorded at Sun Studios in Memphis.
Jerry Simmons wrote both songs with the bands manager, James Bowers.
Jerry Simmons wrote to me about the group:
Making the record was my idea. We met a fellow that had connections with Sun Records in Memphis so naturally I wanted to go there and record some original material.
The bass player, Timmy Hayes and the drummer Rodney Linder and I played together in a couple of more bands in the 60s. I also cut a record in about 1973. As of late I wrote and produced a Christmas album for singer Malcolm Slater.
Our lead singer, Ronnie Ghetti moved to Georgia shortly after we made our record. Our keyboard player, Wendell Herrington didn’t play much anymore.
Anyone have a photo of the band?
The Yes It Is
|From Duluth, Minnesota on Lake Superior, the Yes It Is do a good cover of Rufus Thomas’ “Walkin’ the Dog”, backed with a melancholy folk number, “Little Boy”, written by Mike Settle.
They have a second 45 on Studio City “Lovely Love” / “That Summer” which I haven’t heard yet.
That’s as much as I know about them. Studio City was the in-house label of Minneapolis’ Kaybank Studios.
The photo at top was on DuluthRocked.com, which now seems to be off the web. Thanks to Parkeo for finding that.
The Rain Kings, December 1966
Gretta Spoone Band, 1968 lineup
Two good instrumentals, recorded in Tyler, Texas, and produced by Eula Anton.
“Hang It Up” is an upbeat rocker while “Down on My Knees” is a very good blues, with churchy organ playing. Both songs by Robert Leslie Allen.
As you can tell from listening, my copy is beat.
These One Eyed Jacks are not connected to the Illinois group of the same name who had a 45 ‘Die Today’ on Lakeside, or another group with ‘Love’ on White Cliffs.
|String & the Beans have this one fine record from 1966. The reverb-laden ballad “Come Back To Me” reaches its peak with the guitar solo that takes the song out. On the flip is the upbeat “When I Get That Feeling”.
Both songs were written by Craig Fulford and Robert Robinson (a mistake – it should have been Robert Robertson) according to the label credits.
For some time there was confusion as to whether the band was from Alabama, or Georgia (the base for Lyresong publishing) or even Minnesota, as this 45 was pressed at Minneapolis’ Kaybank studios (indicated by the number 6-6130, a type of indexing which was used on other 45s recorded there, notably records released on Kaybank’s Studio City label).
Since writing this post, I heard from the band’s drummer, Louis Gigis. Louis wrote this history of the group:
Robbie Robertson added:
I was co author of “Come Back to Me” with Craig Fulford. The misspelled record label was not redone and corrected because typically teenage thinking was to hurry up and get this out! The label name of Fat City was chosen because we were booking through Ted Hall at Hit Attractions out of Charlotte, NC. Charlotte was called the Fat City at the time.
|Updated August 7, 2008
The Banshees were students at Mills High School in Millbrae, just south of San Francisco. They had started in 1962 as an instrumental group the Black Knights, changing their name to the Banshees when they added a vocalist in ’64. Members were Jack Walters, Chris Guiver and Paul and Dennis Studebaker, and for a short time Bob Morelli.
They released two records on the Solo label including the crude and energetic “They Prefer Blondes” / “Take a Ride with Me”. “They Prefer Blondes” was written by Jack Walters, while “Take a Ride with Me” was by Paul Studebaker, and both songs were arranged by Paul Studebaker. Lou Dorren, a high-school friend of the band produced both of their Solo 45s, and also recorded them in a later incarnation as the Kensington Forest.
With the help of his brother, George Guiver, I’ve heard from founding member of the band Chris Guiver, who kindly gave a detailed history of the band. Jason Sweitzer spoke to the Banshees’ friend and producer Lou Dorren about his early years as a sound engineer. Fascinating in itself, Lou’s story sheds light on the Banshees progression from garage act to professional musicians.
|Jason Sweitzer notes Lou’s perspective on the first Banshees record:
The SOLO imprint was Lou’s conception. He was 15 when he recorded and produced “They Prefer Blondes” in the Millbrae Presbyterian Church recreation room, with full permission of the priest! Prior to this he hadn’t made any garage recordings of them.
Originally, the song was going to be titled “Gentlemen Prefer Blondes” but Marilyn Monroe had recorded a song with that title for a movie of the same name.
Using a Roberts Crossfield 770 reel-to-reel recorder and two cardioid dynamic microphones, which Lou and his friend Don purchased for the occasion from Lafayette Electronics in San Francisco, they recorded five or six takes each of “They Prefer Blondes” and “Take a Ride with Me” until the band got the one they liked.
Lou had the tracks mastered and sent to Monarch Record Mfg Co., Los Angeles. Two thousand copies were pressed circa July 1965 and the majority of them were sold for 99¢ at LeCor Camera & Hi-Fi in Millbrae, where Lou worked a part time after-school job, and at White Front Department Store in Sunnyvale, where Lou’s uncle was manager.
Despite being a local success, Lou was unhappy with the sound of SOLO 1 and decided to book time at Coast Recorders at 960 Bush St. in San Francisco to record a follow-up.
At Coast they recorded “Never Said I Loved You” and “So Hard to Bear” on a ½” 3-track vacuum tube recorder. This was Lou’s first shot at mixing, and SOLO 2 was pressed mid-September 1965.
These songs show the band developing their melodic side which they would improve upon in their next incarnation. Both songs were written by Jack Walters and arranged by Paul Studebaker.
With this brief stint at Coast under his belt, Lou begged manager Mel Tanner for a job and began helping out in the studio under the supervision of chief engineer Don Geis. It wasn’t long before Lou made his first master cut of the Beau Brummels “Don’t Talk to Strangers.”
Meanwhile the Banshees continued performing, soon landing their first recording contract.
The Banshees playing in front of the Hyatt Theater, before a Chad & Jeremy and Sonny & Cher concert.
from the 1966 San Francisco yellow pages
In the fall of 1966 the Banshees received a deal with Bob Shad’s Mainstream label, and traveled down to L.A. to record one single, the very beautiful “It Feels Like I’m Crying” b/w “I Love You.”
This 45 was released as “The Ariel” on the Brent label (another company owned by Shad). In sound these songs are a world away from They Prefer Blondes, with excellent harmonies, introspective lyrics and a delicate melodic sense.
The words of “It Feels Like I’m Crying” are agonizing:
Many times I feel like screaming,
In early 1967 Jack Walters brought Lou a demo of his new song “Bells.” Lou suggested Jack assemble a band and invited them over to Coast Recorders to record it. The newly named Kensington Forest included Jack Walters, Chris Guiver, Dennis Studebaker and Jack’s sister. As the flip to “Bells,” they recorded another Jack Walters original, “Movin’ On.”
While “Movin’ On” was mixed to mono only, Lou made both stereo and mono mixes of “Bells,” and cut separate master plates for each version himself. One thousand copies were pressed with both sides in mono and another thousand made with the stereo version of “Bells” and the mono version of “Movin’ On.” According to Lou, “Bells” was the first stereo 45 engineered to be fully compatible with a mono cartridge.
Pressed at Monarch in mid-to-late May, 1967, and distributed by Melody Sales of San Francisco, “Bells” was a popular regional hit during the summer.
Lou recalls he was driving down El Camino Real listening to “The Emperor” Gene Nelson on KYA when suddenly “Bells” was introduced. It was the first time he heard the 45 played over the radio and he describes it as a peak experience, having stopped his car mid-road to jump up and down ecstatic. Not far away the rest of the band, driving around together in Jack’s car, were doing the same on California Drive!
“Bells” has a rougher sound than the polish of the Ariel 45, but the harmonies and melodic talent are still there, along with some fine guitar work. “Movin’ On” shows the influence of the early San Francisco ballroom groups like the Charlatans and the Dead. If anyone has a better quality transfer of Bells in stereo, please get in touch.
Paul Rose of Fantasy Records took an interest in “Bells” and introduced Lou to Max Weiss and Saul Zaentz. After hearing “Bells”, Max offered to distribute Lou’s fledgling Bay Sound Productions and gave Lou a job as sound engineer with Fantasy.
In late 1967 Lou placed audition ads in the San Francisco Chronicle and Examiner looking for new bands to record for Bay Sound Productions. By the end of the year he began releasing records on his new Onyx label, one 45 each by the Styx (Onyx 2200); the Tears (Onyx 2201); Weird Herald (Onyx 2202); and Gypsum Heaps (Onyx 2203); with Mark Darnell an unconfirmed 5th artist.
Thank you to Dan for the clips of “Never Said I Loved You” and “So Hard to Bear”. Special thanks to George Guiver for the photo of the band playing outside the Hyatt Theater, and for putting us in contact with his brother Chris.
This article written by Chris Bishop and Jason Sweitzer.
The Light Brigade were the three Cole brothers and their friends from Little Rock, Arkansas. They released their first 45 on the My label in 1967, which included James Williams on lead guitar.
“Baby You Don’t Care” rides a great fuzz tone while “Won’t You Tell Me” is much gentler. Both these songs were written by Dean Cole and bassist Lonnie Cole. Ray Cole was the other brother in the group.
“Lonnie’s Song” is from 1969, released on the E&M label. The band stopped playing around 1971.
Thank you to Angela for correcting the name of her father – James Williams, not Williamson as I had read from a comment.
I’m very sad to report that Cecil Cotten passed away on Friday, April 4, in Winnsboro, TX, at the age of 62.
Cecil was lead singer of the Briks, one of the great bands to come out of Dallas in the 1960s. He composed the lyrics for many of their songs, including “Foolish Baby”, “It’s Your Choice”, and “Can You See Me”. His singing on “It’s Your Choice” shows a maturity that no other vocal from the era matches, and he was only about 20 years old at the time.
When the Briks broke up, Cecil played for a short time in Texas with three members of the Chessmen: Jimmie Vaughan, Tommy Carter and Billy Etheridge, plus Sammy Piazza on drums. They were managed by Jimmy Rabbit and recorded some songs at Robin Hood Brians studio in Tyler which have never been released.
In 1969 he moved to San Francisco and started Benny, Cecil & the Snakes with Benny Roe, Keith Ferguson, Steve Karnavas and Steve Davis. The Snakes played house parties for the publishers of Zap Comix, the Rip Off Press.
In recent years Cecil and former Briks bandmate Mike Neal recorded a CD of blues-inspired songs as The Pickin’ Cotten Band.
It’s one of my great regrets that I never met Cecil, and his music will always mean a great deal to me.