The (Rockin’) Eccentrics

The Eccentrics, 1965 photo
The Eccentrics, 1965, back row, from left: John Kerrison, Bruce Watts (sitting) and Mick Liddell (sunglasses) Front row, left to right: Roy Robinson and Peter Maggs

Mick Liddell – vocals
Peter Maggs – lead guitar
Roy Robinson – bass
Bruce Watts – rhythm guitar
John Kerrison – drums

Middlesex County Times and Gazette, May 1965
Middlesex County Times and Gazette, May 1965

Eccentric's Pye 45 What You GotOriginally called The Henchmen, this Ealing group included lead singer Dave Kaye (real name: Dave Tregwin), bass player Roy Robinson, rhythm guitarist Bruce Watts and drummer Clive Buckie, who had played alongside Ritchie Blackmore in The Dominators.

In 1962, Peter Maggs, who’d been a very early member of The Downliners with Don Craine from 1959-1962, took over lead guitar.

Mick Liddell replaced Dave Kaye on lead vocals in mid-1964 and the group changed name to The Rockin’ Eccentrics. In late November/early December, John Kerrison from Frankie Reid & The Casuals took over from Clive Buckie.

Rockin' Eccentrics Pye promo for "What You Got"

Eccentrics Pye promo for “What You Got”Sometime around April-May 1965, they shortened the name to The Eccentrics and recorded a cover of Gerry Goffin and Carole King’s “What You Got” backed by “Fe Fi Fo Fum” for Pye Records. After playing the UK scene, The Eccentrics were allegedly the first British band to pass an audition for the famous Piper Club in Rome.

Travelling to ‘Italy, The Eccentrics played the Rome club in June 1965 and later returned to Italy.

At the Piper Club, Rome, June 1965. Photo may be subject to copyright

During July Kerrison left to return to the UK and was replaced by John “Speedy” Keen from Ealing band, The Second Thoughts. Keen, of course, later went on to found Thunderclap Newman.

Liddell also left at this point and the remaining members brought in singer Romano Morandi (ex-Equipe Ottanta Quattro) and played gigs in northern Italy before returning to the UK in January 1966 and disbanding. Liddell meanwhile put together a new band called Gli Atomi, who recorded a number of singles in 1965-1966.

Back in England, John Kerrison joined Slough-based band The Horizons with singer Rod Evans, lead guitarist Colin Butt and bass player Len Hawkes.

Evans would later become lead singer with Deep Purple after working with The Maze while Hawkes would join The Tremeloes after playing with Davey Sands & The Essex.

The Horizons had work lined up in Berlin during August-September 1965 and played gigs for a few months after which Kerrison returned to the UK. In October 1965, he joined Hounslow favourites The Dae-b-Four.

Kerrison would later reunite with Mick Liddell in Italy for a one-off recording during 1966.

John Kerrison (far left) reunited with Mick Liddell in Italy in 1966

However, in February 1967, he joined The New Pirates alongside lead guitarist Mick Stewart, bass player Nick Simper and keyboard player Johnny Carroll.

By the summer, however, the band had split and Kerrison worked with Episode Six and then The Beachcombers (Keith Moon’s early 1960s band).

Notable gigs (as The Rockin’ Eccentrics unless noted)

30 November 1964 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

 

3 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Harrow Observer & Gazette)

10 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

17 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

19 December 1964 – Witchdoctor, Hastings, East Sussex with Christian’s Crusaders (website: https://dizzytigerstu.proboards.com/thread/880/witch-doctor-1964-1967)

24 December 1964 – Ealing Club, Ealing, Middlesex with South West Five (Thursday) (Middlesex County Times & West Middlesex Gazette)

31 December 1964 – Ealing Club, Ealing, Middlesex with South West Five (Thursday) (Middlesex County Times & West Middlesex Gazette)

 

7 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette) (needs confirmation but likely)

14 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

21 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

23 January 1965 – Royal Hotel, Lowestoft, Suffolk with The Millionaires (Bo Street Runners cancelled) (Eastern Evening News)

28 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

 

4 February 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette) (possibly with Jimmy Royal & The Hawks)

15 February 1965 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

22 February 1965 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

6 March 1965 – Carfax Ballroom, Oxford with The Ravons (Oxford Mail)

26-27 March 1965 – Silver Blades, Streatham, southwest London (Streatham News) (as The Eccentrics)

27 March 1965 – Witham Public Hall, Witham, Essex with The Decadents (Essex County Standard)

 

30 April 1965 – Ealing Club, Ealing, Middlesex (Friday) (Middlesex County Times & West Middlesex Gazette) (as The Eccentrics)

 

21 May 1965 – Ealing Club, Ealing, Middlesex (Friday) (Middlesex County Times & West Middlesex Gazette) (as The Eccentrics)

Many thanks to John Kerrison, Peter Maggs and Mick Liddell for providing information.

To contact the author with further information, please email Warchive@aol.com

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Frankenstein & the Monsters

Frankenstein & the Monsters, article from the Lincolnshire Standard, April 2, 1965
Frankenstein & the Monsters, article from the Lincolnshire Standard, April 2, 1965

Above are rare photos of Frankenstein & the Monsters playing at the Woodhall Spa Hockey Club dance at Coronation Hall on Saturday, March 27, 1965. Woodhall Spa is east of Sheffield & Manchester, and a few hours north of London.Likely the act was capitalizing on the horror-rock show of Screaming Lord Sutch. The article describes what it was like to be at the show:

“…the sound building up to a crescendo of cacophony and din spread over half-an-hour and with increasing tempo, subdued lighting and flashing lights, was designed, and succeeded in stirring the pulse and the imagination.”‘

Frankenstein was vocalist Ray Stuart from Manchester, the rest of the group seems to have changed frequently over the next year. This photo seems to be an early line up of the group, named in the article as:

Paul Jarvis – bass
Budg. P. Curtis – lead guitar
Andy Fearn – drums
Royce Francis – organ

Royce Francis played with the Upsetters, a group of English musicians formed in France in 1964 that toured the continent over the next several years, often with singer Pete Lancaster. The Upsetters backed Pete on two German releases, the single “Stupitidy” (sic – should read “Stupidity”) and “Baby, Baby, Baby” on Polydor International from 1966, and the LP Rhythm and Blues Show on Polydor from 1967. Anyone have good scans of those?

I’m not sure if Royce was with the Upsetters for their entire run, as this gig with Frankenstein and the Monsters would overlap.

The Upsetters included Derek Moore (bass), John C Marshall (guitar), Jim Clapper (tenor sax), Alvino Sykes (drums) and Royce Francis (organ). Also at some point, Ron Howden, who with Derek Moore would later join the Prophets before evolving into Nektar.

Andy Fearn played with the Barry Norton Four along with Pete Brown (lead guitar) and Dave Robinson (bass). I’m not sure who Budg. P. Curtis is.

Sometime after this show Ray Stuart found another backing band, the Sheffields. The Sheffields consisted of Roy Ledger, Dave Fawcett and Richard Smith, and cut legendary 45s on Pye in 1964: “It Must Be Love” / “Say Girl” (Pye 7N 15600), “Got My Mojo Working” / “Hey, Hey Lover Boy” (Pye 7N 15627), and “Bags Groove (Skat Walking)” / “Plenty of Love” (Pye 7N 15767, also Dot 45-16722 in the US).

Dave Robinson commented on the ManchesterBeat.com:

At the end of 1965 however, The Sheffields went their own way before splitting ( lead guitarist Roy Ledger joined Dave Berry’s Cruisers) and Ray Stuart approached Dave Robinson, Phil Galley and Spud West to form a ‘new’ Monsters – eventually acquiring the services of former Monster’s bass player from the 1964/5 line up, Paul Jarvis.

This was the line up for the duration of 1966 with the band proving the most popular in their home city of Sheffield.

Spud West played the part of The Mummy in the horror show and introduced the wonderful new trick of setting himself on fire as he left the coffin, until it got out of hand at Worsley Civic Hall when the fire hose had to be employed!

The band frequently appeared at The Oasis, Jung Frau, Top 20 Club at Droylsden as well as Bolton Palais and similar surrounding venues.

How do I know?  I was lead guitarist in that line up before we became the fourth generation of Dave Berry’s Cruisers.

Additional info from Obscure Bands of the 50s and 60s.

Thank you to Nick Warburton for the scan from the Lincolnshire Standard.

Ovni 87

Ovni 87 Uruguay PS on Vik

Ovni 87 Vik single Sueño Un CaminoThis is the first single by the Uruguay group Ovni 87, released in 1969 on a local RCA subsidiary, Vik Records #31-UZ-1007.It came with an oversize sleeve of about 7 1/2 inches, which guarantees most of them have since been lost, tattered or bent, and mine is no exception, having been stuck to some other record on the reverse.

The back sleeve gives some info on the band:

Gabriel Gomez – lead guitar
Alvaro Rosas – rhythm guitar
Alvaro Galante – bass guitar
Mario Talento – drums
Ruben A. Melogño – vocals

“Algo fugaz” (literally “Something Fleeting”) is a fine dreamy pop song with good harmony vocals. The flip Sueño un camino” (“Dream a Way”) is something else altogether, a unique rhythmic background for what is essentially a ballad.

Ovni 87 Vik single Algo FugazRuben Melogno wrote “Sueño un camino”, while Alvaro Rosas wrote “Algo fugaz”. Production by Carlos Piriz, and illustration by Nebur Oñgolem. Odd notes (mostly obliterated on my sleeve) by Leirbag Zemog (read it backwards) tie in with the group’s name, which translates to UFO 87.

Ovni 87 has at least one other single, with the excellent psychedelic pop song, “Siento”, and a song I haven’t heard yet, “No tengo valor”

The original group was together from 1966-68. In 1969 all the band left except Melogño who formed an entirely new group, including Freddy Anzorena (guitar), Atilio Fonseca (organ), Miguel Dodera (bass) and Hermes Calabria (drums). Later additions included Leonardo Goldberg on bass and Omar Picún on percussion.

The group dissolved in 1971 and Ruben Melogño joined the prog group Psiglo as their lead singer.

Information on the band from Cualquier cosa menos sordo.

Ovni 87 photo

Ovni 87 Vik single PS back

The Unit 4

The Unit Four, from left: Ian Gomm, Martin Davis and Frank Kennington
The Unit 4, from left: Ian Gomm, Martin Davis and Frank Kennington

Frank Kennington – lead vocals
Ian Gomm – rhythm guitar/lead guitar and vocals
Martin Davis – bass
Simon Behar – drums


+ Mick Liber – lead guitar

Ian Gomm
Ian Gomm

The band started around 1962/1963 and was formed by Ian Gomm, Martin Davis and Simon Behar, who were all pupils at Ealing County School for Boys (another student was Lee Brilleaux who later formed Dr Feelgood).

Soon after forming, Frank Kennington, who was older than the others, joined as lead singer and they became Unit 4 (not to be confused with the Unit 4 + 2).

One of the bands Unit 4 opened for around 1963 was Del Angelo & The Detours, which included singer Del Angelo, lead guitarist Roger Daltry, rhythm guitarist Pete Townshend and bass player/horn player John Entwistle. The latter three went on to become The High Numbers and more famously, The Who.

Kennington became a close friend of The Who and would work with that band in later years. Mick Liber, who was playing with Frankie Reid & The Casuals and (and previously) Clay Alison & The Searchers (Ed. Liber had been taught feedback by Pete Townshend), guested with Unit 4 from the summer of 1964.

Simon Behar and Frank Kennington
Simon Behar and Frank Kennington
Frank Kennington
Frank Kennington

Around October 1964, Kennington left England and moved to Sydney, Australia, and Unit 4 broke up.

Liber subsequently re-joined Frank Kennington in Sydney on 28 January 1965 after leaving Frankie Reid & The Casuals.

The pair formed a new version of Unit 4 (see pic below), who included (at various times) Australians Lloyd Hardy (bass), Roger Homan (rhythm guitar) and John Webber (drums) plus British expat, Shane Duckham (harmonica). However, the revived band was short-lived.

Photo may be subject to copyright: Unit 4 in Sydney, Australia during early 1965. Frank Kennington (second left) and Mick Liber (far right). Photo also shows John Webber (far left) and Roger Homan (second right).

By mid-1965, Kennington had briefly joined Sydney group, The Missing Links and then reunited with Liber in The Denvermen.

They then left to form the original version of Python Lee Jackson in December 1965, named by Liber’s former band leader from Clay Alison & The Searchers – Andre de Moller, who was living in Sydney at the time.

Kennington was subsequently deported and returned to the UK, where he roadied for The Who and eventually moved into rock management. He was Motorhead’s first road manager and moved out to California in the 1970s. He died in 1998.

Liber kept Python Lee Jackson going with various different line ups and recorded a string of singles for CBS. After working with Australian rock legend, Billy Thorpe, he reformed Python Lee Jackson and returned to the UK around October 1968.

After the London-based Unit 4 broke up in late 1964, Ian Gomm and Martin Davis went on to work with local band, The Unknowns.

Gomm subsequently played with West London bands The Triangle, The Generation and The Daisy Showband before joining Brinsley Schwarz in September 1970.

He co-wrote Nick Lowe’s worldwide hit “Cruel to Be Kind” with Lowe when they were both members of Brinsley Schwarz. He also had his own US top twenty hit “Hold On” in 1979 when the Ian Gomm Band supported Dire Straits on their epic “Sultans of Swing” US tour. “Hold On” was Stiff Records’ only US chart success.

Great thanks to Ian Gomm for supplying the photos (apart from the Australian Unit 4) and background information. Also, thanks to Mick Liber for his contributions and putting me in touch with Ian.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

To contact the author email Warchive@aol.com

The Unit Four photo
Unit 4
Frank Kennington
Frank Kennington

The Dae-b-Four

The Dae-b-Four, spring 1965, from left to right: Iain Pitwell, Rex Brayley, Bobby Dean, Brian Brayley and Roger Sidey
The Dae-b-Four, spring 1965, from left to right: Iain Pitwell, Rex Brayley, Bobby Dean, Brian Brayley and Roger Sidey
The Dae-b-Four, live, early 1966. From left to right: Rex Brayley, Iain Pitwell and Brian Brayley
The Dae-b-Four, live, early 1966. From left to right: Rex Brayley, Iain Pitwell and Brian Brayley

Ad for Dae B-Four, Bluesolegy at Elms Club
Rex Brayley – lead guitar/vocals

Brian Brayley – rhythm guitar

Roger Sidey – bass

Kenny Slade – drums

Jimmy Trimmer – lead vocals

Bob Carpenter – drums

Bobby Dean – drums

Iain Pitwell – lead vocals

Malcolm Randall – drums

John Kerrison – drums

Brothers Rex and Brian Brayley had first come to prominence with Tony Liddle & the Lads, a Hounslow band formed in 1962. The band also comprised singer Tony Liddle, bass player Roger Sidey and drummer Yan Kuttlevasher.

In mid-1964, Sheffield drummer Kenny Slade replaced Kuttlevasher after playing with Dave Berry & The Cruisers. When Tony Liddle left soon after, the group became The Dae-b-Four.

Not long after the name change, the musicians were joined by new lead singer Jimmy Trimmer. Then in early 1965, Bob Carpenter took over from Kenny Slade on drums. Slade joined The Sheffields and later worked with Joe Cocker.

Carpenter didn’t stay very long, however, and Bobby Dean from rival Hounslow band, The Stringbeats took over that spring. Dean introduced his friend, singer Iain Pitwell, who took over from Jimmy Trimmer when he departed.

However, Dean left in August 1965 to work with another local group, The Valkeries. Malcolm Randall from Rey Anton & The Peppermint Men took his place briefly. The line-up remained steady until November 1965 when John Kerrison came in on drums after playing in Germany with The Horizons. Kerrison had previously been a member of Frankie Reid & The Casuals and The Rocking Eccentrics.

Malcolm Randall later reunited with Pitwell in The All Night Workers in October 1967 after working as a freelance drummer and The Missing Links in the interim.

The new line up lasted until about August 1966 when Kerrison departed and subsequently joined Mick Liddell & Gli Atomi in Rome, Italy. The band recorded the track “La Mia Inghilterra”, after which Kerrison returned to the UK. By February 1967, Kerrison had linked up with Johnny Kidd’s former band, The Pirates. He then played with Episode Six and The Beachcombers. The Dae-b-Four carried on with another drummer.

In March 1967, Rex Brayley struck gold when he joined The Love Affair.

Iain Pitwell meanwhile reunited with Malcolm Randall in The All Night Workers in October 1967.

Notable gigs:

30 March 1965 – Elms Club, South Harrow, Middlesex with Distortion

20 April 1965 – Elms Club, South Harrow, Middlesex with Bluesology (featuring future Elton John on piano)

 

2 July 1965 – London Cavern, Holland Park, west London with The Initial Four (Kensington Post)

6 July 1965 1965 – London Cavern, Holland Park, west London with The Tribe (Kensington Post)

24 August 1965 – Jolly Gardeners, Isleworth, west London

Many thanks to Rex Brayley for the photos and input. Thanks also to Iain Pitwell, John Kerrison and Malcolm Randall. Thanks to Don Hughes too for his help in piecing the story together.

Dae-B-four articleCopyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Don Hughes is selling a three-track picture sleeve single, with three previously unreleased tracks. For more information, email: donhughes345@btinternet.com

Kenny Slade lineup, 1964. From left to right: Rex Brayley, Roger Sidey, Kenny Slade and Brian Brayley
Kenny Slade lineup, 1964. From left to right: Rex Brayley, Roger Sidey, Kenny Slade and Brian Brayley
Newspaper clipping, 1 October 1965
Gig, 25 September 1965

The Earthquakes

The Earthquakes of Virginia Beach
The Earthquakes of Virginia Beach

Kevin Longendyke found this excellent band photo in Richmond, Virginia and was trying to determine who the band is. Chandler Edmunds wrote in with information about the group:

The band’s name is The Earthquakes from Virginia Beach. Drummer is Chuck Martak. Middle guitar player is Doug Christdon. Right guitar player named Ric (that’s all I have), and the other guitar player remains unnamed.

I understand these guys were in a bad car accident in 1966 and one may have died. Doug got seriously hurt in the accident but survived. I don’t think they were together long enough to get a record out.

Stamped on the back is “Clifton Guthrie”, who was a fine photojournalist in the South Norfolk, Virginia area (see this link for a few of his images).

Thanks to Chandler for finding out about the Earthquakes.

The Wanted

 The Wanted on A&M, full page ad in Billboard, April 1, 1967
Full page ad in Billboard, April 1, 1967

The Wanted Detroit Sound 45 Teen WorldThe Wanted released eight songs on six different singles, four on The Detroit Sound and two national releases on A&M.

The names of the band are well-known: they put them on the labels of their 45s. Other information is not easy to come by and I don’t find them mentioned in any detail in my usual sources.

Arnie DeClark – rhythm guitar
Dave Fermstrum – organ
Bill Montgomery – bass
Tim Shea – lead
Chip Steiner – drums

The Wanted Detroit Sound 45 Lots More Where You Came FromAll their releases have excellent songs. “Here to Stay” is an amazingly mature ballad, with a great nasal lead vocal, written by Tim Shea and Chip Steiner. The flip “Teen World” is their most basic song, sounding much like “California Sun” with new lyrics, but it’s a fine party song of the mid-60s and probably their rarest release. It was written by C. Shermetaro.

The Detroit Sound Recording Co. was located at 12730 E. Warren. I’ve read that Chip Steiner’s father Irv Steiner owned the Detroit Sound label, which usually featured soul acts.

The label changed the graphics and re-released “Here to Stay”, backed with a good version of “In the Midnight Hour” that reached #1 on WKNR in Detroit & Dearborn in March of ’67, and #3 on CKLW in Windsor, Ontario. They appeared on Robin Seymour’s TV show Swingin’ Time, probably several times. I don’t know which song was originally featured in the clip below as the audio is dubbed in.

The Wanted in Billboard's Bubbling Under, April 29, 1967
Billboard, April 29, 1967

A&M picked this up for national release in April, 1967 and bought a full page ad in Billboard for it with a neat watch graphic. As far as I can tell, the furthest it reached in the national charts was “bubbling under” at #128, with Michael & the Messengers’ version of the song on the U.S.A. label at #121. Too many competing versions kept these from breaking out nationally, although each has a distinct style.

They had one further release on A&M, a fine pop number with horns called “Big Town Girl” backed with “Don’t Worry Baby”. Despite being a Detroit Sound production I believe this single was only released on A&M.

Their next single was the tough “Lots More Where You Came From”, with the lyric “girl I’m picking up on your bad vibrations”! It was written and produced by Dugg Brown (aka Doug Brown of the Omens and producer of Bob Seger, Del Shannon, Southwind, etc), backed with a version of “Knock on Wood”. Their last on the Detroit Sound label was a good take on Bob Seger’s “East Side Story” backed “Sad Situation”, which is simply “Lots More Where You Came From” with a different title.

An email from a friend of the band was the inspiration for this post:

My name is Michael Surarez Thompson. In the 60’s I was a close friend of the Detroit garage band The Wanted. The guys all came from the Grosse Point area. Chip Steiner’s dad Irvin bought an old Detroit city bus and had it converted to a motor home if you will. The bus took us to gigs in and around Detroit and came with a chauffeur I believe his name was Walker.

I was a bit older then the boys and I left to serve in the Marine Corps. Through the years we lost contact. I have been searching for my former friends but they seem to have vanished from face of earth. I am from Port Huron, Michigan, retired Marriott executive chef living in Eugene, Oregon.

45 releases:

The Detroit Sound 222 (plain red label) – Here to Stay (Shea – Steiner) / Teen World (C. Shermetaro)
The Detroit Sound 222A/223A (red and blue label with instrument graphics) – Here to Stay / In the Midnight Hour (February, 1967)
The Detroit Sound 230 – Lots More Where You Came From (Dugg Brown) / Knock On Wood
The Detroit Sound 232 – East Side Story / Sad Situation
A&M 844 – Here to Stay / Midnight Hour (March, 1967)
A&M 856 – Big Town Girl (Dugg Brown) / Don’t Worry Baby (produced by Doug Brown) (May, 1967)

Source: WKNR chart info from ARSA. Thank you to Jim Heddle for the clean scan of the chart.

The Wanted, #1 on WKNR, March 13, 1967
#1 on WKNR, March 13, 1967
The Wanted, Breakout Singles, Billboard, April 8, 1967
Billboard, April 8, 1967

Al’s Untouchables and the Orphans

The Untouchables, 1966
The Untouchables, 1966 from left: Bruce Nunamaker, Ron Bressler, Tom Hankins and Dick Douglas

Al's Untouchables Hunt 45 Come On BabyAl’s Untouchables’ “Come On Baby” / “Stick Around” is one of long-time classics of 60s garage rock. Original copies are rare and when they do sell, go for well over $1,000. The G45 Central site described “Come On Baby” as “raw energy that may never be equaled”, all within two minutes of playing time. After the band establishes the pounding rhythm, lead guitarist Dick Douglas solos for nearly half a minute, and continues whenever there’s a break in the lead vocals.

Though overshadowed by “Come On Baby”, the flip “Stick Around” is excellent bluesy r&b. The label for “Stick Around” has “Douglas” in parentheses, referring to Dick Douglas on lead vocals.There were actually two different groups on Hunt Records called the Untouchables. The first group consisted of Al Huntziner (drums), Larry Fountain (guitar), Ernie Dvorak (saxophone), Ron Hamad (guitar), Bob Keith (keyboards), Bill Alley (bass), Mel Winder (guitar), Frank Glaser (guitar) and Bob Gaston. This Al & the Untouchables released one 45 on Hunt, “Church Key” / “Danny Boy”.

Al's Untouchables Hunt 45 Stick AroundThen came an all-new Untouchables – but that story is best told by bassist and vocalist Tom Hankins. Tom also sent in the photos seen here.

In 1962, 14 year old Tom Hankins (bass and vocals) started a rock band with Scott Bascom (guitar and vocals), Mike Sexton (guitar and vocals) and Mike Curley (drums). The band was formed in Cedar Rapids, IA and named themselves The Belvederes.

Personnel changes were made at various points and the final version was Hankins on bass, keyboards, guitar and vocals, Dick Douglas on lead guitar and vocals, Bruce Nunamaker on rhythm guitar, Eddy Hood on 12 string guitar, bass and rhythm guitars and vocals and Ron Bressler on drums.

The Untouchables with Sam the Sham and the Everly Brothers
The Untouchables billed with Sam the Sham and the Everly Brothers, among others

They were having moderate success when area manager Al Huntzinger called Tom and asked him if his band would become Al’s Untouchables, as Al’s band of that name had all quit over money issues with Al. Hankins accepted and The Untouchables were born. Al still insisted on putting his name on the band, but they were just known to their fans as The Untouchables and Al no longer performed with them, as Hankins made that part of the deal [which is why “Hankin’s” is included in parentheses underneath the band’s name on the second Hunt single – ed.].They quickly became Iowa’s top group with the backing of Darlowe Olsen, owner of Danceland Ballroom in Cedar Rapids, where The Untouchables became the house band and backing band for touring acts like Sam The Sham, Ike & Tina Turner, The Hullaballoos and dozens more top national and British Invasion acts. They also toured on Olsen’s circuit of venues in the Midwest with Chuck Berry, The Dave Clark Five, The Animals, Johnny Tillotson and others.

In 1965 The Untouchables recorded what turned out to be a double-sided hit in the upper Midwest in 1966 with the songs “Come On Baby” and “Stick Around”, both penned by Hankins and Douglas writing under the name of Thomas Richards.

“Come on Baby” is now being called “The Holy Grail of Garage Punk”. This was recorded in Chicago at Sound Studios, the same studio used by The Stones and also with their engineer Stu Black. Hankins and Douglas produced the songs, but manager Huntzinger listed himself as producer when the record was pressed.

The Untouchables of Jefferson High School

The Untouchables aka the Orphans
The Untouchables at the Spider Web, a youth club managed by Mom Uffelman

They began drawing packed venues. In 1966 the entire band was kicked out of high school because the school board deemed their hair as “unfit”, as it covered the top of their ears and almost went over their collars.It turned out that Jefferson Senior High School principal William Paxton found out that the boys in the band were making more money than he was and he developed a grudge against them, doing his best to make sure the boys wouldn’t get their diplomas, but he failed. This put The Untouchable’s name in the headlines nationwide and they drew record crowds at all of the big ballrooms in the Midwest.

Once they were out of school they immediately headed to Hollywood. They had been there during Spring Break when Liberty Records asked them to come out and sign a contract. Liberty, however, wanted The Untouchables to clean up their image and cut their hair, to which the band refused, ripped up the contract and walked out the door.

The Orphans, 1967
The Orphans, 1967 from left: Ron Bressler, Dick Douglas, Jimmy Carroll, Tom Hankins and Eddy Hood

The Orphans Herbst 45 Without You

They dumped their manager Huntzinger and changed the band name to The Orphans at this point after finding out he had been pocketing up to 80% of the band’s pay before dividing the rest up with the musicians. Famed producer Phil Spector listened to “Come On Baby” and “Stick Around” and helped them get a production deal with producer Marshall Leib. Herb Alpert was just starting A&M records with Jerry Moss and he wanted to sign The Orphans, but they lacked enough original material and Alpert needed someone immediately.They met The Doors and toured California with them. This was before The Doors were known outside California and were not even signed yet. Dissension broke The Orphans up.

Orphans with the Left BankeThe band returned to Iowa where Hankins and Douglas took over the operation of Danceland Ballroom from Olsen and ran it until it was closed for good, to be ripped down to make room for a parking garage and events center. They also put The Orphans back together. The duo also promoted concerts in The Midwest with The Orphans generally headlining, but other groups like The Byrds and Beau Brummels headlined some of these shows.

Douglas and Hankins returned to Hollywood and formed a new group with vocalist Aaron Brownstone and world-famous drummer Sandy Konikoff, who also played with Taj Mahal and George Harrison, among others. They record a 12 song album of original material for ABC Records, but upon completion of the LP, Brownstone was killed in a motorcycle accident, thus negating the contract.

Douglas and Hankins returned to Iowa where Douglas formed Enoch Smokey and they became one of the top Eastern Iowa groups. Hankins former a power blues trio with Dan Daniels and became the house band at the all-African American club called The Cougar Lounge in Cedar Rapids. In 1969 both Hankins and Daniels started training to become professional wrestlers and became known nationwide as “The World’s Most Dangerous Wrestlers”.

 CAC 2004, from left: Verne Gagne, Jack Brisco and Tom Hankins
CAC 2004, from left: Verne Gagne, Jack Brisco and Tom Hankins

During this period they were both offered a berth playing with Charlie Daniels after participating in a jam session in Nashville, where they happened to be wrestling, but they had to turn him down as their wrestling career was just taking off.Dick Douglas still plays in Iowa and is recording a new CD as this is being written. Coincidentally, Hankins is currently recording and producing a new CD with The Powerhouse Blues Band in Los Angeles. Nunamaker lives in Colorado and continues to be one of the state’s top guitarists. Bressler left the music business completely and Eddy Hood is currently an artist living in Northern California, and still plays with his own group around the San Francisco area.

The band was inducted into the Iowa Rock & Roll Hall of Fame in 2007, with Douglas and Nunamaker accepting the awards for the band, while Hood and Hankins went to San Francisco for a musical reunion of their own and jammed for two days.

 Tom Hankins, Eric Burdon and Dick Douglas, April 1966
Tom Hankins, Eric Burdon and Dick Douglas, April 1966

Tom kindly answered some of my questions about the Untouchables and also about the unreleased recordings of the Orphans:

Q. What was the connection with the Legends?

The Legends were the top drawing band in Cedar Rapids until The Untouchables hired Douglas out from under them. They did release a song that Eddy Hood and I wrote called “Sunshine Daydream” and the flip side was a cover of “Back in the USSR”. It received airplay in Cedar Rapids only however and their popularity was mainly around Cedar Rapids itself.

The Orphans Herbst 45 Hey GypQ. Is that you playing organ on “Come On Baby”?

Yes, I’m playing organ on both sides of the single and Eddy Hood played bass.

Q. Do you remember where the show with the Left Banke took place?

The Left Banke show was at Danceland Ballroom when Dick Douglas & I were running it and was the last major act to play there in 1967. They no-showed twice and this third time when they finally did show, the fans didn’t and they drew less than 200 people.

Q. The Orphans was at least pressed to vinyl – what happened to all the copies of the 45?

“Without You”, written by Dick Douglas and me and recorded as The Orphans in 1966 in Hollywood at Gold Star Studios. It was never released as the, engineering, production, mixing and mastering was so terrible and the quality of the recording is so bad that we refused to let them release it. This is what broke up The Orphans.

The flip side of “Without You” was “Hey Gyp”. written by Donovan and obtained from him for The Orphans to record before anyone else did. The Animals did a much better version.

Our “manager” and all-around thief Al Huntzinger stole the 45’s when we quit, even though we’d paid for them and for the recording session ourselves, and he must have destroyed them. I only have two myself.

I run into Eric Burdon at times as he lives here in Los Angeles too. He remembered Cedar Rapids and being hungover badly while playing there. We had just come off the road and were really hung over too.

Tom Hankins
May 2012

Despite the muddy sound, the Orphans’ “Without You” is an excellent cut and deserves to be heard. As far as I can tell it’s never been comped or featured before now. Norman Goodman engineered it and Larry Herbst and Dick Michaels are listed as producers. I can’t find much further info about Herbst or Michaels as far as the music biz goes.

Hunt Records discography:
Any additional info would be appreciated

Hunt 450 – Al and the Untouchables – Church Key / Danny Boy
Hunt 1401 – Al’s Untouchables – Come On Baby / Stick Around
Hunt 1201 – Corruption, Inc – She’s Gone (Logel – McCleary) / Somewhere (produced by Jim Logel)
Hunt 270 – Uncle ‘na Anteaters – Kathy Ran Around / I Can’t Go On (formerly the Countdowns)

 The Untouchables
The Untouchables

Pharaoh Records Discography, McAllen, TX

Jimmy Nichols ran a recording studio in McAllen, Texas and owned the Pharaoh label. The Zakary Thaks and Bad Seeds used Nichol’s studio for their early singles. I’ve read that the studio burned down years ago with whatever stock and master tapes was left in it.

Pharaoh discography:

Any help with this would be appreciated

LP:
1001 – Ray Wray Quartet – Yes Indeed!

45s:

101 – Ray Wray Quartet – “A Song Is Born” / “When Your Love Has Gone” (with picture sleeve – see above)
102 – Robert Burnie – “My Twistin’ Mexicali Baby” / “Come Just a Little Bit Closer to Me” (J. Nicholls) Division of Alki Alki Music Pub. BMI
103 – Johnny Jay & the Pompadors – “You Drive Me Crazy (You Drive Me Wild)” (Johnny Mendez) / “I Feel So Lonely” (Benny Mendez)
104 – Billy Myers Combo – “Oso” / “Ten Little Indians” (some copies on red vinyl)
105 – Johnny Jay & The Pompadors – “She’s Gone And I’m All Alone” / “I Want You So I Need You So”
106 ?
107 ?
108 ?
109 – Don Blakey – “Mona Lisa” / “Danny Boy”
110 – Marvin Nash and the “K” Sisters – “I’ll Cry” / “Happiness”
111 ?
112 ?
113 – Davis Brothers – “I Don’t Hear You” / ?
114 – Noe Pro & The Blue Valiants – “Hit Me With The Stroll” / “My Love Is Real”
115 – Marvin Nash and the Chevelles – “Darling” / “Dina” (1961)
116 – Don Bennett And His Orchestra – “That’s All” / The Balladiers with Don Bennett And His Orchestra ‎- “Texas A & M Waltz”
117 – Don Bennett & Orchestra – “Jersey Bounce” / “Only A Dream”
118 – Noe Pro and the Blue Valiants – “I Know” / “Reina de mi Vida”
119 – Little Joe Parker and the Vikings – “Straight Jacket” / “Feed the Chickens” (both by Joe Gonzales)
120 ?
121 – Noe Pro & the Blue Valiants – “Come Along My Baby” / ?? (1964)
122 – Little Joe Parker and the Tigers – “Is That A Tiger In My Tank” / “Movin’ On”
123 – Ronnie Dale – “You’ve Learned How To Cry”
124 – Noe Pro and the Semitones – “I Know What’s Been Going On” / “I Love You My Darling”
125 – The Cruisers – “An Angel Like You” / “The Lonely”
126 – Jeanne Hatfield – “My Babe” / “Summertime” (March 1965)
127 ?
128 – The Cruisers – “Another Lonely Night” / “Please Let Me Be (The One For You)” (with picture sleeve)
129 – Simon Reyes & the Outerlimits – “My Baby Hurts Me” / “Mistake Number Three”
130 ?
131 – Billy D. Nash – “This Little Light Of Mine” / “There Is A Balm In Gilead” (with picture sleeve)
132 ?
133 – George and the Lion’s Den Trio Here’s George – “The Swinger” / “Crazy Ideas” (with picture sleeve)
134 – Arturo & Pat with the Invaders – “Oh Yes Tonight” / “So Tenderly & Faithfully”
135 – Jim Roberts – “Jukebox for Company” / “Hay for My Donkey”
136 – George and the Lion’s Den Trio – “Tequila Sour” / “Como Prima”
137 – The Cavaliers – “Pride” (Billy Rowe) / “Sea Weed”
138 – Danny Mata & the Pathfinders – “Looking Around” / “Iolavay”
139 – The Cruisers – “My Place” (E.J. Ledesma) / “Walkin’ and a Ridin'”
140 – Eddie & the Emeralds – “Preparation X” / “If You Only Knew”
141 – The Playboys of Edinburg – “Wish You Had A Heart” (James Williams) / “Understand Me”
142 – The Playboys of Edinburg – “Look at Me Girl” / “News Sure Travels Fast” (James Williams)
143 – Simon Reyes – “Broken Hearted Fool” / “What Now My Love”
144 – Jeanne Hatfield – “Wowie, Pretty Scary” / “If You Want Me”
145 – Don Pierce – “Take Another Drink” / “One Man Band”
146 – Thee Kavaliers – “That Hurts” / “Symbols of Sin” ( both by Javier Rios)
147 – The Headstones – “24 Hours (Everyday)” / “Wish She Were Mine” (both composed by Dave Williams)
148 – The Cruisers – “The Fire’s Gone” / “Oh! Sweetness”
149 – George Garza & the Lion’s Den Trio – “Watermelon Man” / “Blue Moon Of Kentucky” (1966)
150 – Thee Kavaliers – “The Last Four Words” / “Ballad Of Thee Kavaliers”
151 – Christopher & the Souls – “Diamonds, Rats and Gum” / “Broken Hearted Lady” (both composed by Chris Voss)
152 – The Headstones – “Bad Day Blues” (Williams-Palmer) / “My Kind of Girl” (Dave Williams)
153 – Brother & Sister – “See What Tomorrow Brings” (Arturo Longoria) / “The Answer Is Love” [flower-power folk!]
154 – Thee Kavaliers (Cavaliers) – “Congregation for Anti-Flirts, Inc” / “Back to You”
155 – The Cruisers – “Celina” / “Baby Doll”

I had erroneously listed 141 and 142 as by the Playboys of Edinburgh, but they were not named after the Scottish city, but rather after Edinburg, TX, a small town northeast of McAllen.

See individual entries on The Cruisers, Christopher & the Souls, Simon Reyes and Noe Pro & the Semi-tones, and Thee Kavaliers for more info on those bands.

There were other Pharaoh labels:

Chicago:
Pharaoh Records 7707 – Hot Coke – “Make This Love Last” / “All By My Self”

Massachusetts: (pressed either in NY or Hollywood):
Pharaoh SA-327 – Roy Victor – “Hot Dog” / “You Are My Wish” (ZTSP-94713, arranged and cond. by Fran Devino, Harvest Hill publishing, ASCAP)
Pharaoh 339 – Scavengers – “You Do It Too” / “Speed Trap”

Tulsa, OK:
Pharaoh 1006 – Paragons – “Who Am I” / “Will You Still Love Me Tomorrow”   (also released on BTR 1006)
Pharaoh 1235 – Dynamics – ” Lucy Part I” / “Lucy Part II”
Pharaoh 1236 – Roger Wayne & the Clic – “Ballad Of Sara Lee” / “I Gotta Lotta Time”
Pharaoh 1239 – Mike Catron & the Avanties – “Donna” / “Bass Beat”

Thank you to Gilbert Rodriguez for his help with this discography and to Ed Nadorozny for the Ron Wray sleeve scan. Thank’s also to Bob, Drunken Hobo, Jason Chronis, Max Waller and Tommy for the additional entries. Thanks also to Fred Hoyt for the Jeanne Hatfield sleeve scan.

JeanneHatfieldPharaohPSMyBabe

The Solid State

I haven’t seen any concrete info on the Solid State. I’ve read the band was from Bandera, Texas, but the Elpa label was located at 5214 Beautonne in El Paso. El Paso is close to eight hours’ drive from Bandera, while San Antonio is within an hour, Austin two hours drive, and even Dallas is closer.

The A-side is the very moody “Wait and See”, written by Jerry Walker and Sam Lott.

The flip is “The Lynching”, a fascinating original by Jerry Walker with an upbeat rhythm and a catchy six-note guitar line, plus good soloing on the outro. The harmonies are cheery, but the words are most definitely not!

What is the matter in the street,
I hear the clattering of feet,
Here comes an angry bunch,
They’ve had a little too much,
You’d better not get in their way.

I hear a bandit’s on the loose,
They meant to fit him with a noose,
They are looking for a man,
He has gotten out of hand,
And they are going to string him up.

Looks like it’s lynching time again,
And there’s no mercy to be shown,
You’d better hide your head from the electric wind, (?)
Destruction marks where where it has blown,

Sundown has set the scene for hate,
Come ’round let’s all participate,
Don’t be late for a party tonight,
Celebrate for a triumph of right,
The lynching mob knows where it’s at.

Look out, here they come your way,
Watch out, you may hear them say,
We are looking for a man,
He has gotten out of hand,
This man we’re looking for is you!

Looks like it’s lynching time again,
And there’s no mercy to be shown,
You’d better hide your head from the electric wind, (?)
Destruction marks where where it has blown.

I have to wonder what inspired this song – perhaps the photos of lynchings that took place in the 40s and 50s where the crowd looks ebullient.

Both songs were published by Linjo Music. BMI’s database lists the song as one of Jerry Jeff Walker’s compositions, but it’s unlikely, as his usual publisher is Grouper Music, and by the time the Solid State released their 45 in October, 1968 Jerry Jeff was part of Circus Maximus and hadn’t made a name for himself as a songwriter yet. Though from upstate New York, Jerry Jeff busked through Texas in the mid-60s, so it is possible he was a member of this group or gave some songs to them.

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