Category Archives: Virginia

The Slithy Toves and Childhoods End

The Slithy Toves, from left: Chet Blackstone, Don Smith, Jon Harris, Lou Cordera (standing), and Bruce Brandfon
Founded in 1967, the Slithy Toves did not release any recordings, but were an active live band in Virginia and North Carolina, including a week’s residency at the Other Place, a club in Nags Head, NC that lasted only one summer.

Bruce Brandfon wrote to me about the group:

I was the bass player in the Slithy Toves. We were all students at UVA in Charlottesville.

Members of the band were: Chet Blackstone – lead guitar, Don Smith – drums, Jon Harris – vocals and rhythm guitar, Lou Cordera (standing) – keyboard, and Bruce Brandfon – bass.

The Circle Ltd in Carrboro: a weekend with the Counts IV, Slithy Toves, and August, from the Daily Tar Heel, Feb 13, 1969
We played all over Virginia (and especially at UVA): fraternity parties and clubs as well as opening for the Box Tops, the Spencer Davis Group, Martha and the Vandellas, when they played concerts at University Hall. We played at UNC parties also and quite a few times at a very cool club The Circle Ltd in Carrboro NC that was a sit-down music club. We loved playing there, rapt audiences who came to listen to the music. 

We played at the Electric Circus in NYC and were hired to play a sweet sixteen party in Cleveland by a rich guy whose daughter wanted an Alice in Wonderland themed party, hence The Slithy Toves.

We played at The Other Place in the summer of 1968. Don Smith, who was our drummer and my roommate, was contacted by a booking agent about the gig in Nags Head. We loved that gig and the audiences were totally into the music. We shared one of those iconic posters with The Swinging Machine. I still have copies of the poster.

WUVA Rock Festival, May 1969, with Slithy Toves, Chrysanthemum, and Rock Lustre, May 1969
Don Smith and I (founders of The Toves) graduated in 1969 so a couple of the shows you found were with another incarnation of the band. Don and I, and three of the remaining Toves (Barry Smith, Don’s bother and lead guitarist, Kent Beyer, bass guitarist, and Lou Cordera, keyboards) reunited in 1971 when those three all had graduated and we formed Childhoods End. I played saxophones in that band, and Lou’s friend David Simoni joined us as vocalist and rhythm guitarist. 

Childhoods End moved up to New Jersey where we lived at Rolling Knolls Farm and became the lead house band at Mother’s in Greenwood Lake NY (when the legal drinking age was 18 in NY and NJ kids from just across the state line would come to party).  Childhoods End played with Springsteen at shows on the Long Branch NY pier and the famous Satellite Lounge near Fort Dix (on the same bill as The Ronettes, with whom we shared a dressing room).

Childhood’s End recorded Decca Studios in New York and then at Chordata records in Manhattan. Recordings of both bands can be found on Reverbnation and Soundcloud.

The Slithy Toves in the Daily Progress, October 31, 1969.
The Slithy Toves in 1971 before they became Childhood’s End. From right to left: Don Jay Smith, drums; Kent Beyer, bass; Barry Smith, guitar; Lou Cordera, organ and vocals; and Bruce Brandfon, sax and vocals. Not shown is David Simoni, guitar and lead vocals. Photo courtesy of Don Jay Smith

The Changing Tymes “The Only Girl I Love” on Moss

Changing Tymes Moss Photo 1

The Changing Tymes were based out of their own Club Moss in Gate City, Virginia, located in the far western part of the state just across the state line from Kingsport, Tennessee. Four of the band were from Hiltons, VA, with another from Johnson City, TN.

Members were:

Buzzy Jones – lead vocals, guitar
Jimmy Harris – lead guitar, vocals
Lenny Gillenwater – organ
Allan McMurray – bass
Buddy Babb – drums, vocals

Changing Tymes Moss 45 The Only Girl I Love

The group released two seven-inch records on their own Moss label, featuring good original songs by the band. “The Only Girl I Love” (McMurray – Jones) / “Parody of a Love” (McMurray, Gillenwater) came out on Moss 000-001/002 in August 1967, followed by “Go Your Way” (Gillenwater – Jones) / “She Laughed at Me” (Gillenwater) on Moss 000-003/004 in December.

Chronos Music published all four songs.

Changing Tymes Moss Photo 2

The Clinch Valley College in Wise, Virginia newspaper, the Highland Cavalier, profiled the group on November 1, 1967, for their upcoming show at the Cotillion Club Harvest Dance on November 4:

They were called NUTHIN then … after a while they figured The Changing Tymes fit better’n anything else.

Last New Year’s Eve … the Changing Tymes opened a place of their own and they called it Club Moss …

Every Saturday night since, Moss has been open from 8:30 – 11:30 … Sometimes the crowds have been huge with hardly room to dance, and at other times there wasn’t more than 50, but the music goes on and the quality is good … the best sound around. “Big Daddy Harris” and “General Jones” are always around somewhere in the shadows, but they never give the feeling that they’re watching for you to do something wrong.

Club Moss ad with the Changing Tymes, in the Kingsport Times, February 3, 1967

In August the Changing Tymes went to Nashville for their first recording session. Allan McMurray, Bass player had written some words for which Buzzy Jones and Lenny Gillenwater had written some music … they called the two songs “Parody of a Love” and “The Only Girl I Love”, sung by Buddy Babb, drummer, and Buzzy Jones.

… Last week “Parody of a Love” made the “Top Forty” at WNVA …

… four of them are from Hilton, Virginia: Buzzy (Rhea Wilbur Jones, Jr.), Larry (Larry Wayne Gillenwater), Jimmy (James Oscar Harris, Jr.), and Alan (Alan Rhea McMurray).

Buddy (James Howard Babb, Jr.) lives at Weber City, but during school he lives in Johnson City while studying at East Tennessee State University.

According to the article, Jimmy Harris was the youngest of the group, a junior at Gate City High School. Larry Gillenwater attended Virginia Polytechnic Institute (now Viginia Tech), while Alan McMurray and Buzzy Jones were at Clinch Valley College.

Discussing Club Moss, February 2, 1968

The Kingsport Times ran a feature about Club Moss on February 2, 1968:

… a basement in the old Craft Motor Company Building … could hardly be described as swank …

“It has the best band in the Tri-Cities,” Steve McMurray said, “except maybe the Scat-Cats. They drew the largest crowd we’ve ever had, about 450, but there was still room to dance.”

“If you like to dance,” Lester Spivey said, “it’s a good place to go. They have a good sound system and the band is good.

“The walls have a black background with op art designs on them,” he said, “and they use colored lights. It looks real nice.”

“And you get bored just staying at home,” Chuck Quillen said. “You get tired of your parents, could even start to hate them …”

The last annoucement I can find for the group comes from the Kinsport Times on September 18, 1968, announcing a band competition at the Scott County Tobacco Festival in Weber City.

Club Moss continued for some time. Kingsport Times articles from January 17 and 29, 1969 discuss the re-opening of the club:

Last summer, its previous managers (teenage members of the Changing Thymes [sic] band) decided to close the club because of questionable legality of their license and a growing problem with teenage activity outside the club …

The new managers were Tommy Francisco and Eric Darnell [Eric Darnel in the other article], and Jack Francisco was a chaperone:

Gate City Sheriff Ernest Culbertson said that he hadn’t endorsed the re-opening of the club. “I do not approve of the re-opening of the Club Moss … Whenever teenagers get together, there’s going to be trouble.”

The article mentions a group the Seventh Dawn performing at the club and a bank Christmas party.

Club Moss did not last long, however, because in April 1970 another article mentioned several spots that closed: Club Moss, the Barn in Rogersville and the Purple Penguin in Kingsport; and discussed whether a new teen club could open.

Anyone have a photo of Club Moss, or pics of the Changing Tymes or other local bands?

The Kingsport Times ran this photo on April 24, 1970, but didn’t specify if it was one of the local clubs or a stock photo.

The Panics “No More” / “I Pretend” on Shoestring

Panics Shoestring 45 No MoreThe Panics started in 1963, formed at Huguenot High School in Richmond, Virginia.

The lineup was

Jimmy Sherwood – lead vocals and rhythm guitar
Bill LaRue – lead guitar and vocals
Bill Lyell – bass
John Herbig – drums

Dwyane Givens was their equipment manager.

Panics Shoestring 45 I PretendTheir only single contains two original songs by Bill Lyell and Bill Larue, the mid-tempo “I Pretend” shows some Beatles influence, and the fast-paced “No More” opens with a Lennonesque “Oh!”

It was released on Shoestring Records SHO 107 in 1965, a styrene record from the Columbia Records plant at Terre Haute, Indiana.

Clyde Atkinson of the Wild Ones and Mickey Russell of the Fugitives also went to Huguenot High. The Fugitives had a single on Shoestring.

After the Panics, Bill LaRue would form a three-piece blues band, Blue Alfred. He would have one more record that I know of as Snelson & LaRue “I’m Tired of Getting Put Down” / “Making Your Mind Up it’s Over” with David Snelson and Cynthia LaRue, recorded at Audio Communications in Richmond.

Anyone have a good photo of the group?

A couple of very small photos of the group are in the booklet to Aliens Psychos & Wild Things vol. 2.

December’s Children “Signed D.C.” on Domestic Sound Records

December’s Children at the Alexandria Roller Rink, November 22, 1967, Jerry Burke holding the mic, photo courtesy of Bud Becker

December's Children photo cardDecember’s Children came from Fredericksburg, Virginia, but were part of the same Washington, D.C. music scene as the Telstars. Bud Becker managed both bands, and the photos here come from his collection.

I don’t have the lineups down exactly but I believe members included:

Jerry Burke – lead vocals
Clay Staples (J.C. Staples) – lead guitar
Pete Kahn – rhythm guitar
Steve Gilles
Matt ”Red” Kilmer – organ
Mike Martino – drums
Mick Coiner (Mic Coiner) – lead vocals (replaced Jerry Burke)

Dick Alfers was a roadie for the band.

December’s Children at the Alexandria Roller Rink, Jerry Burke with tambourine, November 22, 1967

Ad for the December’s Children supporting the Turtles at the Alexandria Roller Rink, November 22, 1967
December’s Children biggest show may have been supporting the Turtles on November 22, 1967 at the Alexandria Roller Rink with Bobby Howard and the Sweet, the Plum Beach Incident, the Hounds of Baskerville, the Fantastic Plastic, the Seeds of Life, the Rokz, the Kings Row, the Gnu Generation, and the Yorkshires. WPGC “Good Guy” DJ Jack Alix presented the show.

December's Children, Ltd. Domestic Sound 45 So Long Ago

December's Children, Ltd. Domestic Sound 45 Signed D.C.

Also in 1967, the group made their only single, featuring a cover of Love’s “Signed D.C.” backed with an original “So Long Ago” by Burke, Gilles, and Staples.

On the record the group is listed as December’s Children, Ltd., released on Domestic Sound Records DS-123, with an address at 133 South Washington Street, Falls Church, VA. M.A. Becker and December’s Children and DSP Music published “So Long Ago”.

After Jerry Burke left for Vietnam in 1968, Mic Coiner took over on lead vocals.

I don’t know if the band’s members continued in music. Jerry Burke passed away in 2007.


Bud Becker’s silent footage of December’s Children at a VFW hall with Jerry Burke on lead vocals, followed by Jerry Burke’s haircut shortly before going into the Marines, ending with a short clip at a Hullabaloo with Mic Coiner on vocals.

Thank you to Bud Becker and Paul Burke for their help with this article.

December’s Children at the Alexandria Roller Rink, November 22, 1967

The Monic Depression “Wondering Why”

Monic Depression HRS 45 Wondering Why

The Monic Depression released one single, “Wondering Why” / “Midnight Hour”. I wish I could tell you more about the band but nothing is known at this point.

“Wondering Why” is an excellent original by K. Ellmer. The organ, guitar, bass and drums blend into a near-perfect garage sound, even if the record was made in 1969, as someone wrote on my copy.

Kevin Ellmer, Keith Ellmer, Ken Ellmer, Knox Ellmer?!

The flip is a good version of “Midnight Hour”

Teen Beat Mayhem lists the band’s location as possibly Virginia, while I’ve seen Pennsylvania on the internet, possibly Scranton.

Released on HRS 45-218, possibly HRS stands for a recording studio. Harrisburg?

I love the band name, was the spelling of Monic intentional or was it supposed to be Manic Depression?

Monic Depression HRS 45 Midnight Hour

The Telstars “Hold Tight” on Columbia

Tel Stars Washington DC photo and business card
The Tel Stars, from left: Jimmy Carter, Ronnie Wilson, unidentified – can anyone ID? and Terry Gorka

Telstars Columbia 45 Keep on RunningThe Telstars were a big draw in the Washington DC area, playing at the Bayou among other venues.

The band was based in Falls Church; members included:

Jimmy Maddox – guitar
Gary Johnson – guitar
Jimmy Carter – guitar
Terry Gorka – bass
Ronnie Wilson – drums

Bud Becker sent in the photo seen here, and remembers two vocalists with the band, Jerry Burke, who went into the Army, and a second named Mick. He also remembers Terry’s wife Cherrie Gorka was a seamstress who made costumes for December’s Children, and that Barry Siedel managed the band.

The Telstars put a lot of fuzz behind “Keep on Running”, a song written and originally performed by Jackie Edwards, and made famous through the Spencer Davis Group. It’s a good version, but I like their take on “Hold Tight” even more. Sylvia Fricker of Ian & Sylvia wrote “Hold Tight”, registering copyright in September, 1966.

“Hold Tight” appeared on Ian & Sylvia’s 1967 album So Much for Dreaming, which I don’t have a release date for, but I believe it shortly precedes the Telstars single on Columbia 4-44141 in May, 1967. I’d be curious if the Telstars heard “Hold Tight” on the album or from a songwriting demo.

The production credit is interesting. Bob Wyld and Art Polhemus of Longhair Productions created many great singles with the Blues Magoos, including “Tobacco Road” and “(We Ain’t Got) Nothin’ Yet”; the Magicians (“An Invitation to Cry”, “About My Love” and more), the Blue Beats and others, usually on Columbia Records.

Barry Seidel (with Tom Traynor) produced records by the Mad Hatters and the Fallen Angels. The Telstars record is the only time Seidel worked with both Wyld and Polhemus, but Bob Wyld would later produce albums for acts that Seidel managed, Steel Image and Exuma.

Bud Becker thought the Telstars recorded at either Rhondell Rodel Studios in Georgetown or Edgewood Recording Studios. Bud managed various groups, such as the Winds of Change and the Yorkshires.

Terry Gorka would go into the Reason with Tommy Dildy, Bill Manning, and Billy Windsor, releasing an album Age of Reason on Georgetowne Records.

Thank you to Linda Shekan for correcting some errors in this article with her comment below.

The Beau Havens “Elizabeth” / “Feel So Good” on Gama

Back from the Grave stars the Beau Havens

The Beau Havens had one record, the fantastic “Elizabeth” / “Feel So Good” on Gama Records 45-705 from September, 1966. The photos seen here were taken about a year earlier, in 1965.

I’m trying to decipher the hand-writing on this card, so members’ names may not be spelled correctly. Any help would be appreciated:

Beau Havens lineup card

John Colgan – drums, vocals on “Feel So Good”
Kerry Miller – lead guitar
Jim Whelan – lead vocal on “Elizabeth”
Allan Hurdle (or is it Allen Hurdle?) – guitar
Tom Whelan – piano

Kevin Miller – manager

The group were all young teenagers in ’65.

Belle Haven, VA has been listed as their town of origin, though that is nearly four hours drive from the Springfield, VA American Legion Hall where these photos were taken. Belle Haven may be confirmed from a neighborhood newsletter that featured the group, the Belle Haven Tribune, from May 7, 1965. The newsletter spells the brothers names as Tom Whealen and Jim Whealen.

A Pi Alpha Gamma banner appears behind the group, and it’s likely the Beau Havens shared the bill with the Londoners and the Roaches.

Beau Havens photo 1 American Legion, Johnny Colgan on drums
This should be Johnny Colgan on drums
Beau Havens photo 3 American Legion
Photo of the Beau Havens – the drummer lacks his cravat

Beau Havens Gama 45 Elizabeth

Jim Whelan wrote and, I think, sang lead on “Elizabeth”.

Rick Fulton wrote “Feel So Good”. I’m not sure if Rick was a later member of the band or simply a friend. Johnny Colgan appears to have sang lead on this side.

Both songs likely were cut at Edgewood Recording Studio at 1627 K Street, N.W. in Washington D.C. A couple of Edgewood acetates of the single exist. On one the song has the title “She Makes Me Feel So Good”, corrected in pen to “She Makes Me Feel Right”.

Beau Havens Gama 45 Feel So GoodDoesn’t sound like the Beau Havens had a keyboard player on the record. Claiborne Music published both songs.

Beau Havens photo 2 American Legion
I believe this is Kerry Miller of the Beau Havens

More info on the Beau Havens would be appreciated.

Update May, 2022:

Danny G purchased a guitar in the D.C. area and the name on the case helped him trace it to this post, where it is clearly the guitar in the last photo above. Below are some interesting photos of this custom-made guitar provided by Danny along with his description:

Kerry Miller’s custom-made guitar

Likely a neck taken from an unbranded Kay guitar and put onto a solid chunk of mahogany (?). The white paint was to emulate the pickguard on a Höfner bass.

The guitar uses two Lafayette pickups, a 99-4536 in the neck which is a screw on pickup made for jazz arch top guitars and a PA-297 acoustic soundhole pickup in the bridge. The guitar has a really unique sound because of the odd choice of pickups, and that’s part of the reason I bought it.

The bridge pickup came with an RCA input and he simply repurposed it as the main input.

Beau Havens, Kerry Miller's guitar - back

Beau Havens, Kerry Miller's guitar - back
Kerry’s guitar – one hook to keep the pickup selector in place, and an eye for the guitar strap
Beau Havens Kerry Miller Guitar 4 Gretsch Tone Twister
Gretsch Tone-Twister palm vibrato
Beau Havens Kerry Miller Guitar 3 Lafayette pickups
Lafayette pickups

The East Coastmen of Hampton, VA

The East Coastmen, from left: Don Newsome, Mike (surname unknown), Alan Partin, Spiller Anderson, Charlie Harbrook, Thom Clement, Dave Herndon, and Bob Kerwin. Photo submitted by the estate of Joanne Tluchak, Virginia Beach

The East Coastmen were not a garage band, but a revue or pop group with horns, listed in Billboard’s Campus Attractions issue of 1971.

Don Newsome commented with the names of the members, so I’ll add them here:

Don Newsome – Bass
Mike (surname unknown) – Sax
Alan Partin – Drums
Spiller Anderson – Trumpet
Charlie Harbrook – Trombone
Thom Clement – Keyboards
Dave Herndon – Frontman, lead singer
Bob Kerwin – Lead guitar
Gary Ricks – Trumpet, trombone

Personal Manager was D.C. Auman. They were booked by Attractions Ltd in Hampton.

Bob Kerwin sent in songs cut on a two track machine at D’Arcy Studios on 21st St in Norfolk, version of Ollie & The Nightingales “Girl You Make My Heart Sing” and Robert Parker’s “Barefootin’.

The East Coastmen – Girl You Make My Heart Sing

Below are two photos contributed by Don Newsome.

The East Coastmen, from left: Charlie Harbrook, Dave Herdon (wearing hat), Bob Kerwin, Thom Clement, Alan Partin, Mike (unknown last name), Spiller Anderson, and Don Newsome. Missing is Gary Ricks, trumpet
The East Coastmen, from left: Bob Kerwin, Spiller Anderson, Alan Partin, Charlie Harbrook, Dave Herdon, Thom Clement, Mike (unknown last name), and Don Newsome. Missing is Gary Ricks, trumpet

The Warlords and Hunger from Newport News, VA

Warlords Newport News original band photo
The Warlords, original band, from left: Sam Harrell, Terry Stead, Randy Hill, Roger Smith and Jack Ellis

Keyboard player Jack Ellis wrote to me about his three bands: the Warlords, who didn’t record; Hunger, who cut a rare 45 “Freedom Today” / “Buy Me” and an unreleased album; and the Spores who released an EP and have the lead-off track “Don’t You Worry” on Varulven’s 1983 compilation, Boston Rock-N-Roll Anthology.

The Warlords

Terry Stead – lead vocals
Roger Smith – guitar
Jack Ellis – keyboards
Sam Harrell – bass
Randy Hill – drums

Manager – Wilson Harrell

When I was 14 years old I got a Acetone organ for Christmas. It was a suitcase organ that you store the legs in the back and screw them in and set it up. When I told my friends at school (Denbigh High School in Newport News, Virginia), that was the beginning of the band. We all used Sears Silvertone amps (they were cheap and you could get them at the Sears store). We practiced at bass player Sam Harrell’s house.

His father Wilson Harrell heard the band and wanted to be the manager. He quit his paint salesman job and became our manager and booking agent full time. Wilson soon became the biggest talent booking agency in the area (Check Productions), covering the VA. Beach, Norfolk, Newport News, Williamsburg, Richmond area and was booking hundreds of bands every week. Having a built in booking agency gave us an advantage over all the competition and the Warlords were booked solid.

Wilson brought in a singer named Pete to sing the soul and Motown songs for the fraternity parties, and Terry would sing the rock songs. Our first gigs were frat parties at Fraternity Row at William and Mary College.

There was a road with 10 to 20 frat houses where bands like Bill Deal and the Rondells and Danny & the Delnotes would be playing next door to us. During our breaks we would go down the Row and check out the bands who came from different cities and places and there would be all new bands the next week. All the other bands’ trailers, trucks and buses would be parked on that street. The Warlords had a white trailer painted like our business card so we would get gigs from people walking by and hearing the band. Soon we were playing college gigs from Norfolk to Richmond.

One night after a fraternity party gig someone crashed into our white trailer that was parked in front of Wilson’s house with all the equipment in it and destroyed the trailer and everything in it. The insurance company paid to fix the trailer and equipment. The band went to Chuck Levin’s Music outside of Washington D.C. and we bought 3 Vox Buckingham amps as a package deal. The drummer had Ludwig drums. My organ survived the crash so I still had that. We started with some kind of horn type p.a. and then upgraded to Vocal Master p.a. columns.

Warlords at the Hullabaloo in Newport News

Wilson became one of the biggest talent booking agency (Check Productions) in the area, covering from Nags Head, Va. Beach, Hampton, Newport News, Williamsburg to Richmond. The Warlords played all the clubs including the military base clubs in Norfolk and Ft. Eustis. Wilson Harrell taught me the music business, without Wilson I wouldn’t be who I am. Wilson is the man who fueled the Tidewater Music scene and promoted hundreds of bands and gave them jobs in the music industry. Wilson and Sam are no longer with us.

The Hullabaloo picture is with a guest guitarist from The Wild Kingdom who played the gig with us.

Unfortunately the drummer Randy’s father pulled him out of the band. He was replaced by Bobby Pinner.

Warlords Newport News promo photo, Jan. 28 ,1968
The Warlords with statue of Lief Erickson at The Mariners Museum, taken January 28, 1968, from left: Bobby Pinner – drummer, Sam Harrell – bass, Jack Ellis – keyboards, Roger Smith – guitar, Terry Stead – singer

Hunger

Terry Stead – lead vocals
Robbie Robertson – guitar
Mike Hanson – guitar
Jack Ellis – keyboards
Scott Tribue – bass
Stan Eury – drums

After the Warlords I started a new band called Hunger (1970) based out of Newport News. Our biggest competitors The Swinging Machines and The Wild Kingdom were gone and I ended up with Robbie Robertson from The Wild Kingdom as one of Hunger’s guitar players.

Hunger Richmond Sound Stages 45 Freedom Today
Hunger’s rare 45 “Freedom Today”, recorded at Richmond Sound Stages for winning the WTVR Radio 1970 Battle of the Bands

We were playing in Washington D.C. when we got a record deal with Paul Simon’s studio in Nashville. After Nashville, Hunger went back to Newport News where we did the Va. Beach, Nags Head club circuit, plus outdoor concerts with Grand Funk, Poco, and any festival that needed a band. The 45 is rare. There were only 200 pressed that went to the band family members and friends (gone instantly).

We were still booking gigs with Wilson Harrell. Wilson got us a deal with the USO Show circuit for the military to fly to Cuba and Puerto Rico to do clubs and concerts at Gitmo and Roosevelt Rds. These gigs would be for a week at a time (a vacation in paradise). Playing gigs was my job and paid very well. I also played with the Norfolk Aliens for a short while.

Hunger Newport News promo photo
Hunger, from left: Scott Tribue, Mike Hansen, Terry Stead, Robbie Robertson, Stan Eury and Jack Ellis

The Hunger band equipment was massive. Wilson taught me if you look big you are big.

Keyboards:

Hammond C5 (CV) with 122 leslie speaker cabinet
Baldwin Electric Harpsichord
Hohner D6 Clavinet
Wurlitzer Electric Piano
Mini Moog Model D

Keys amp system: 4-Fender Showman cabinets which I bought used and replaced the speakers with Electrolux SRO (4-15”s) and JBL (4-15”s). I would stack 2 each on their sides making a wall behind me.

On top of that were two Marshall amps (1-100 watt and 1-50 watt). Yamaha board to mix instruments and send them to the amps, 2 mics on the leslie.

Mike Hanson – two Fender twin reverb amps with 2 Fender Bandmaster extension cabinets (8-12” speakers all together), cherry sunburst Gibson Les Paul guitar.

Robbie Robertson – two Fender Band Master amps (4-12”speakers), brown Gibson Les Paul with Fender neck he built himself (not sure if strat or telecaster neck, had a small headstock).

Scott Tribue: Ampeg bass amp with extension cab.

Band PA: Two Voice of The theatre bass cabinets with JBL 15” speakers, JBL horn with 2440 compression driver on top on each side/, 2-Crown power amps on each side. Don’t remember the board (some kind of English board had a British flag emblem on it).

We had a bread truck with the sliding front doors that could carry all the equipment and two roadies to drive it and set up the equipment. All equipment was paid for from gig money since none of us worked. We later bought a school bus that we painted dark green and gutted, turning it into a camper. We left two bus seats up front on each side, built a wall to block off the sleeping section (3 bunks on one side and 2 on the other) another wall to section off the equipment in the rear.

Every time we went through the Norfolk tunnel we had to pay for a bus toll which was very expensive. The toll guy told us if we put in a stove and propane tank we would classify as a camper, so we went to the junk yard and bought a gas stove and an empty propane tank and hooked it up. It was all for looks and didn’t work. Our tolls were now $1.75 and the toll guy would get on the bus with his flashlight every time and check it out.

We would take turns driving from Washington D.C. to Georgia so you could sleep if you wanted or if we were playing more than one night we could crash for the night or party in the bus. When the equipment was in the club the back of the bus was huge. While on the road we would run into the Allman Brothers, Cactus and other bands doing the same circuit. All the bands would stop at The Jolly Roger right before the Norfolk tunnel for a beer and we would always stop to see who was in. Someone always had to stay with the bus so it wouldn’t be stolen with all the gear in it. It was usually someone who was sleeping.

The Spores, from left: Mike Debellis, Paul Mudarri, Jack Ellis, Donny Prevost, Ken MacDonald, and John Cristoferi

The Spores

Donny Prevost – lead vocals
Paul Mudarri – lead guitar
Ken MacDonald – rhythm guitar
Jack Ellis – keyboards
Mike Debellis – bass, replaced by Joe Evans
John Cristoferi – drums, replaced by Dennis DuBre

The whole time I was playing I was still training as a classical pianist (since age of 6). While in Hunger I came in 2nd place at the Va. State Classical Competitions and in 1978 decided to move to Boston to further my studies at Berkeley College of Music where I got my diploma after four years.

While I was in school I joined the Spores, a rock band in Boston and I’ve been busy ever since. When I joined they were already playing steady so I just walked in ready to go. Their business organization was top notch. They had a red moving truck and an unbelievable rehearsal situation. One of the guys lived in the studio, it was huge. It use to be a gym that went out of business that the band picked up the rent. It was two stories with office rooms, showers, a huge changing room with lockers, a lounge and a full kitchen.

The manager was Jim Higgins who was in charge of a concert sound system company and the PA system was twice the size of Hunger’s. The PA was so massive the road crew would build a ramp system from the truck to the stage and wheel everything in. The sound man Jeff Karlson knew his stuff and worked concerts for the rock star bands.

One thing the Spores did that my old bands didn’t was record every show from the house mix. We would listen to each show the next day after the gig in the office of the studio as a band and improve on the show. I have two big bins full of cassette tapes. Also whatever big bands were using our PA we would record them too. I have tapes of Robin Lane and the Chart Busters, Orchestra Luna (great band, very novel), The Dead End Kids, The Verdict, maybe The Stompers and The Fools. These bands don’t know these tapes exist, we just threw them in the bins and moved on.

We were getting recording deals and working for Don Law Productions. We would get the albums recorded but couldn’t close the deal with the record company. We had a deal with Hirsh Gardner from the band New England who produced our album. They toured with Kiss and the deal was with their management company in New York. Alda Nova got the deal and I don’t blame them, that was a great song for the radio. I got the album done for free and pressed it myself in New York. Same thing with the Hunger album. I signed the deal but it never got off the shelf, so I got the album for free and pressed it myself.

The Spores only lasted til 1983 with over 100 originals recorded and thousands of hours of live tape, the quality is excellent.

After that I played in other bands, some really big, some not, sometimes three bands at a time. Lots of studio gigs (worked with Stones producer Jimmy Miller on an album project). In 2000 I did another album with the Spores in my home studio which came out pretty good and another in 2005 which was never finished. The singer and songwriter Donny got cancer and died and we never finished it.

I’ve had two more recording deals while in Boston and during Covid I’m working on another album in the studio.

Jack Ellis

The Artistics and the Symphonics: Thank You for Choosing Me

Artistics GWHS 1970 (1) photo
Artistics at the GWHS Spring Fling Concert, May 11, 1971, L-R: Joe Moore, Norman Brooks, Clyde McCoy, John Clark, Barry Price, Steve Eckles, Keith Wiley.

Think of the Artistics and you’ll probably recall the R&B vocal group who struck gold with “I’m Gonna Miss You” in 1966. But a lesser known group by the same name became the definitive soul band in Southside Virginia in the early 70s. Formed by neighbors and school friends, the Artistics got together in 1970 around the nucleus of guitarist Joe “Guitar Man” Moore, bassist Jonathan “J.D.” Oliver and vocalist, John Clark.

Artistics Joe & John
Joe Moore & John Clark of the Artistics on stage (undated)

Kathy Moore Cobbs, Joe’s sister, recalls Joe, John and J.D. rehearsing in her mother’s basement on several occasions and says they already sounded as good as the songs on the radio. Clark recalls that the trio “used to play a little bit, just jammin’ around” at Westmoreland School in their neighborhood. All attended George Washington High School in Danville and knew brothers Keith and Dale Wiley, who played drums and keyboards, respectively. The three had heard that the brothers wanted to form a band, so the five got together and moved the practice sessions to the Wiley’s garage. Shortly thereafter, the teens caught the attention of Langston Band Director Robert Hickson, who agreed to manage the as yet unnamed group.
Classmate Sharon Miller-Ranson remembers those early days well and standing on the corner of Cabell and Monument streets where “John Clark would start singing and we would have a concert in front of Cassidy’s Store.” Lula Dickerson said Joe Moore’s musical prowess was obvious from an early age and remembers his performance of “If I Had a Hammer” during the talent show at I.W. Taylor Elementary School.

The 17-year-old Clark was in 10th grade and recalls that they recruited three trumpet players: Clyde McCoy, Norman Brooks and Barry Price, all of whom played together in the high school band. Clark had just started playing drums but quickly became proficient on the instrument, allowing Keith Wiley to switch from percussion to organ. The move was necessitated by Dale Wiley’s departure to attend college.

Now with a complete rhythm and brass section, all they needed was a name. Rehearsals were moved to “a little place Hickson had” as they prepared for their first gig. They were to perform at the Top of the Stairs Club when a major snowstorm blanketed the city. The group members were riding around downtown trying to come up with a name just a few hours before they were due on stage. They rode down Union Street and passed Danville’s only licensed cosmetology school, Artistic Beauty College. Clark noticed the sign out front and said: “What about the Artistics?” Not knowing that there was already a professional band with the same moniker on Brunswick Records, the other band members agreed and the Artistics were born.

Artistics GWHS 1970 (1) photo
Artistics at the GWHS Spring Fling Concert, May 11, 1971, L-R: Joe Moore, Norman Brooks, Clyde McCoy, John Clark, Barry Price, Steve Eckles, Keith Wiley.
Artistics GWHS 1970 Concert Review
George Washington High School concert review

An early, memorable performance was in 1971 before hundreds of enthusiastic fans on the football field at their alma mater, George Washington High School. The seven-piece outfit included a trumpet section and Brooks, Price and McCoy choreographed their synchronized dance steps for the show. The trio also wore matching shirts and slacks. The brass section made a grand entrance, riding up to the stage in a convertible.

The Artistics were the only soul act on the bill and shared the stage with four rock bands. Clark recalls that their PA system was “lackluster” so all of the groups pooled their equipment and shared a set of drums.

A review of the performance noted that drummer-singer John Clark “placed heavy accents on such soulful hits as (the Jackson 5’s) ‘Never Can Say Goodbye’ and the Temptations’ ‘Just My Imagination.’” Their final number, Kool and the Gang’s “Who’s Gonna Take the Weight,” brought the crowd to their feet and had some dancing in the stadium.

J.D. was unavailable for the spring concert and guitarist Steve Eckles was recruited to fill-in on bass. Eckles was the only white member in the aggregation and the group would often rehearse at his parents Broad Street home. He was an excellent lead guitarist in his own right and was already a veteran of the local music scene, having played with many of the Artistics’ members in various bands at the El Dorado, a Black nightclub on the outskirts of town. Eckles also did arrangements for the band, allowing the brass to play string parts, adding depth to their live performances.

Artistics & James Brown ad (December 27, 1971)

The band continued to perform frequently at country clubs and on college campuses in Virginia and North Carolina and managed to secure a spot as the opening act for James Brown during his tour of small cities on the Chitlin’ Circuit in late 1971. Brown was booked to play the Danville City Auditorium on Monday, Dec. 27, 1971. Clark remembers that the Artistics were practicing one night when their manager stopped by and asked if they’d like to open for the Godfather of Soul. The band viewed it as a great opportunity for exposure and as a chance to make a little money. They were right on at least one count: The concert was well advertised but no cash changed hands. Clark said their manager informed the band members that this was their lucky break and that the show “was just gonna be for some publicity.”

This was the first time the Artistics had shared the stage with a professional act and Clark admits all were a little nervous, especially about their equipment. The roadies had refused their request to share his sound system; however, Brown overheard the discussion and told his crew to “let the guys use it.” They held their own and even got the attention of Brown’s backing band, the J.B.’s. The members rushed from backstage when they heard the Artistics covering Dennis Coffey’s instrumental hit “Scorpio,” note-for-note. While theirs was a small group with just three pieces of brass, Clark insists they “sounded just as good as Brown’s band.”

The show was on a Monday night and attendance didn’t meet expectations. Apparently sometime during the concert the top to Brown’s convertible was cut and he vowed never perform in Danville again. Clark doesn’t recall that incident but said Brown was disappointed with the turnout and announced from the stage that he would not be returning. Mr. Dynamite kept his promise.

The band entered the studio on at least one occasion, cutting a 45 at Triangle Recording Studios in North Carolina. The soul-tinged gospel tune, “The Handwriting is on the Wall,” was written by Keith Wiley. The Artistics traveled to Winston-Salem for the sessions. Clark plays on the track but doesn’t sing. The vocal chores were handled by Wiley, who would later enter the ministry. The single had a limited pressing on Triad Records, an independent label that specialized in gospel, bluegrass and country releases by local artists.


Equally rare is a 45 organist Keith Wiley wrote and recorded with the Symphonics in 1973 at Crescent City Sound Studios, Inc. in Greensboro, N.C. Crescent City was founded by Walt Copeland, who managed the studio and doubled as chief engineer. “Ooh Wee, Thank You for Choosing Me” (Crescent City Sound Studios – CCCSS 1223) is a soulful ballad featuring Ronald James and two male vocalists on a double lead falsetto reminiscent of the Delfonics and the Stylistics. The instrumental flip side, “Symphonic Strut,” includes some funky organ work from Wiley and James solid drumming.

The Symphonics were based in Yanceyville, N.C. and leader Ronald James played drums. Clark describes them as “a rival band,” that included a female bass player whose brother was also in the group. According to Clark, James later transferred to G.W. High School and went on to attend the Boston Conservatory of Music before returning to the area.

The record went nowhere but garnered local airplay on WILA, Danville’s R&B radio station. It was also a favorite on the cafeteria juke box at John M. Langston Junior High School, where Artistics’ manager Robert Hickson worked his day job as band director.

Most members of the Artistics were in the Class of 1973 and pursued other interests after high school. Wiley, Brooks, Price and McCoy all went on to college, while Oliver joined the Marines. Not ready to throw in the towel, Clark regrouped and enlisted brothers James and Grayling Covington on keyboards and bass. Grayling already knew the book, having followed the band to concerts and rehearsals. He also had a reputation as one of the finest bass players on the local scene. Joe Moore continued on guitar with Clark on drums and vocals.

The reformed band continued on the road but some of the members felt that a more “dynamic” name was needed. They decided on “Treachery.” Clark doesn’t recall the year Treachery called it quits but remembers the incident that led to their split. Treachery had landed a regular gig at a VFW Post in South Boston, Va., earning $900 a night. That was unheard of amount at the time and allowed the members to keep a little money and upgrade their equipment. All was well until the night a coat belonging to the wife of a prominent guest went missing. A girlfriend of a band member was accused of the theft. While she didn’t take the fur, the incident ended their residency and the band.

All of the members went on to successful careers, albeit not in the field of music.

Joe Moore, 2008

Joseph “Joe” Moore served for 20 years in the U.S. Navy. He lived in Norfolk and Hampton, Va., where he worked for the Navy Material Transportation Office until retirement in 1995. While living in the Tidewater area, Joe continued his musical indulgence. He organized gospel music groups, played guitar for Queen Street Baptist Church in Hampton and New Beech Grove Baptist Church in Newport News, Va. Moore returned to Danville and became a music instructor, giving lessons to young aspiring guitarists. He would sometimes play guitar during morning services at Pleasant Chapel Baptist Church in Sutherlin, Va. Moore died on Jan. 30, 2011.

Artistics reunion at Langston School, L-R: Carl Fitzgerald, unknown, Marvin Warner, Joe Moore.

Brothers Keith and Dale M. Wiley both enjoyed successful careers in separate fields. Dr. Keith B. Wiley became a minister and served as pastor of several churches before his death in November 2003 in Wilmington, Va. His brother, Dale, finished law school and returned to his hometown, where he worked as a defense attorney before being named Juvenile and Domestic Relations Court judge for the city of Danville. He is currently the presiding judge over the 22nd Judicial Circuit of Virginia.

Jonathan “J.D.” Oliver joined the Marines and attended Coastal Carolina Community College in Jacksonville. He now lives in Lexington Park, Maryland, where he works for Wyle Laboratories. John Clark is retired but continues to work driving a Yellow Cab. He and his wife have a home in Danville. Grayling Covington still lives in Danville, while his brother, James, moved to Burlington, N.C. At last report, Norman Brooks was living in Richmond, Va.

A high school reunion at Langston in 2015 brought some of the surviving members together again, 45 years after their first practice. Classmates still remembered the group and the music they created. That doesn’t surprise Clark, who says the members “were all perfectionists” and played for an audience who expected their music to sound “just like the record.” They succeeded.