Bob Hughes and the Galaxies, from left: Ron Barrera, Pete Vanasse, Ricky Philbert, Don Facciano and Bob Hughes
Bobby & the Farrari’s cut this great 45 in 1967. “Farrari’s” is a misspelling for “Ferraris” as in Ferrari, the car.
“In the Morning” has the dense, moody sound New England is known for. It was the b-side to “Pretty” a song in a somewhat older style of pop balladry. Both songs were written by Carl Gastall, Jr., who later joined Phase IV who had their own 45 on Tuff-Nuff, “Plastic World”, written by D. Bourguet and “It’s You”.
Two later 45s on Tuff-Nuff are Ray Gambio & the Darkest Hour “I’ll Be There” / “The Mountain” and Charlie Quintal’s “It’s a Crazy World We Live In”.
When I first covered Bobby & the Farraris a few years ago, I listed the group as from Bangor, Maine, an error I repeated from a guide to New England bands published in the early ’90s. Bob Hughes tells me the group was based in Fall River and played primarily throughout southeastern Massachusetts and around Providence, Rhode Island.
Bob kindly answered many of my questions and provided photos and a detailed history of his career with the Farraris and his earlier group, Bobby & the Galaxies, along with a cool demo they cut at Metcalf Recording, one side a weeper, “I’m Tearing My Heart Out” and the flip a great upbeat novelty “Giggle Wiggle” with lyrics like “she’s got long black hair way down her back, too bad there ain’t none on her head”. As an aside, Metcalf was the studio for Masada’s “A Hundred Days and Nights”, released on Sadbird in 1968 and written by Paul Brissette.
Bob takes the story from here:
The Farraris were originally a four piece group, me on guitar and lead vocals, Rick Philbert (deceased) on bass and back up vocals, Danny ? on keyboards and Vinny ? on drums. We later added Lenny ?, a sax player from New Bedford, MA. He had the unique ability to play two saxophones at once, and in harmony. Very cool.
The name Farraris was a misspelling. The band was only together for two years. I formed the band because of the breakup or my other band, Bobby & The Galaxies.
Bob HughesCarl Gastall was a friend of mine and a fellow local musician, and really good song writer. His [uncle] Tommy was a catcher for the Baltimore Orioles. Carl admired my work and approached me with these songs. He wanted us to record them and he would get the backer to finance everything. “Pretty” / “In the Morning” was recorded at Wye studios in Rhode Island. It was our only record. It achieved some local success in Providence.
It was the first release on the Tuff Nuff label which was created by a local business man Ritchie Martin, to promote our recording. Later Charlie Quintal and some other local musicians recorded on the label. Don Perry (aka Dino and Don DeCarlo) and Larry Santos also had record labels in Fall River: Honey Bee and Little Town Records. We only sold around 500 of them.
We played mostly in the bars in and around Fall River/Providence area. My day job caused me to transfer out of the area in April of ’69 and that ended the band. I don’t have any pictures of the group.
Ricky Philbert the bass player, and I had been together for quite some time. We first met at a talent show at Lincoln Park Amusement Park in Dartmouth MA. It was a big place and the main attraction in all of S.E. New England.
Ricky’s band and my band, Bobby & the Galaxies, were in the talent contest that was held every Sunday in the outdoor pavilion. My band won that week. Ricky approached me after about teaming up. Since I didn’t have a bass player, I agreed. He immediately joined my band and we went on to win the finals at the end of the summer. The park’s manager asked if we’d like to play in the park’s pub every Sunday and we agreed. We were a big hit in there.
After three weeks he approached us about playing in the large ballroom every Saturday night. We jumped at the chance. The place held 3500 people. He had Al Rainone’s 18 piece orchestra playing there, and drawing about 200 people. When they were fired and we were hired, Al, who was the head of the local Musicians union, threatened to close the park down since we weren’t union. Needless to say, we quickly joined the union. We played there every Saturday night to a packed house for at least five years.
Each week a different star artist or band would appear and do a 45 minute show. We played the rest of the time. We backed up most of the stars of the day. Jerry Lee Lewis, Freddy Cannon, Lou Christy, etc. We opened for The Kingsman, The Beau Brummels, The 4 Seasons, and many more. It was a great experience.
As an aside, I will tell you that after every Saturday gig, we would go to Dirty Nick’s hot dogs, in Fall River. A guy was working there who was at least 10 years older than us, and looked like a bum, and had horrible body odor. He seemed slightly retarded. His name was Joe Baker. Every week he used to beg me to let him sing with my band. He swore he sounded just like Elvis. Well after two years, I relented. He asked me if I could pick him up, since he didn’t have a car. I agreed. The next Saturday I picked him up and he had a bundle in his arms. I asked him what it was and he said it was his outfit. He opened it to show me. He had taken a suit and a pair of shoes and spray painted them gold and sprinkled on gold flecks. That night, he appeared with us, with no rehearsal and just a play list of Elvis songs in the original keys. I introduced him as Golden Joe Baker. So I named him. If you know of him, you know what a huge success he turned out to be (see goldenjoebaker.com. He was a big hit that night and not because he could sing like Elvis, but because he thought he could and went through all the motions and gyrations. He sang badly and the audience thought it was a put on and a hilarious one. But Joe was dead serious about being as good as Elvis. After that night I took Joe with us everywhere we went. He was a big hit at all the frat parties, etc. He ended up being a star of the longest running daytime show in Las Vegas history.
Besides Ricky and me, Bobby & the Galaxies also consisted of Pete Vanasse (Berklee School of Music) on sax, Don Facciano (New England Conservatory of Music) on Hammond organ, and Ron Kook Barrera on drums. Jerry Valle was the drummer for Bobby & the Galaxies for a few years. He ended up being the drummer/singer with the very successful Spi-Dells from Taunton.
Jonny Locks, backed by the GalaxiesWe never released any records of our own, but we did back Johnny Locks on his local hit [“I Know You Want Me Baby” / “All I Want From You” from the second half of 1965], on the Locks label. Johnny was a local stock car driver at Seekonk Speedway. Our record would be played there every weekend. It also got some radio play.
Q. Someone on Youtube commented there may be a second 45 by Jonny Locks, “I Really Gotta Go” b/w “My Dead Girl”, and also a demo for “Long Hair and Mini Skirts”.
If Johnny Locks recorded other songs I am not aware of them, and they weren’t with my band.
Other than that we only recorded songs that were never released. “Tearing My Heart Out” / “Giggle Wiggle” is the only record we ever made. This was a demo recorded at Metcalf studios in New Bedford, MA around 1958.
This is the first iteration of Bobby & the Galaxies. The group consisted of me on vocals and guitar, Rick Philbert on bass and backup vocals, Dave Ray on drums, Boh Kiriutowski on sax, and Johnny Pastel on organ. “Tearing My Heart Out” was written by Carl Gastall, and I wrote “Giggle Wiggle”. This record was never released. [There was] a live taping that was done by the later and better version of Bobby & the Galaxies.
We did have offers for record deals, but could not work out a satisfactory deal. We were approached at our Lincoln Park gig, by some producers who wanted to feature us on a weekly TV show, out of Boston. They were going to call it Jamboree, and film it at Lincoln Park, but on a Tuesday night, not at the Saturday gig. It was to be a half hour show with one or two featured guest stars, and my band would be the house band, We would open and close the show with the theme song, Bill Dogget’s “Hold It”, do one featured song a week, and back up the acts that needed back up. It was filmed live with the kids dancing. We signed the contract and filmed four episodes that aired on WBZ, if I remember right. Unfortunately we couldn’t draw a large enough crowd on Tuesdays to finance the producers expenses so they stopped.
I was also involved with Jimmy Crane who owned Ribbon Records, and was a great song writer. He had hits with Elvis, Eddie Fisher, Timi Yuro and Joe Stafford. I was recording demos for him at Wye Records. We also represented WPRO in Providence at the Annual March of Dimes telethon and concert. We appeared on TV and also on the same bill with the Elegants, The Scott Brothers, Anita Bryant, Ritchie Adams and the Fire flies, and other stars of the day.
The Galaxies had an offer to go on the USO tour, for a year, which I rejected, and that caused a lot of dissension in the band. It was the start of the band unraveling. I had finished college, met my wife to be, and had planned on leaving town to get my Masters degree at U. Mass, in Amherst. I had already decided I was not going to pursue a career in music. Of course that meant leaving the Lincoln Park gig too. BTW, at U Mass I hooked up with a bunch of guys from Boston who had a band called the Esquires. I joined them while I was at U Mass. We were a Beatles tribute groups and we worked lots of frat parties. We were one of the two top bands there. The other was Taj Mahal.
After graduation I went home and reformed the Galaxies. I was able to get all of the original members back together. This was ’64. We worked at local clubs and bars, and started to do some society work in Boston. We worked with the Herb Zane Orchestra, as the “rock band” who would play during the orchestra’s breaks, at Debutante parties and such. In ’67 we had a disagreement about the musical direction of the band. The drummer Ronny was pushing to get Ricky out of the group and bring in his friend Manny, who was very good and sang well too, but the reason was to play more soul type music. Ronny didn’t think Ricky had the chops for that. He was wrong. However Ricky got so mad, he quit. Manny joined the group, and the arguments over the material we would play worsened. Three months later I left the group and joined Ricky again, and we formed the Farraris.
When I left the area in ’69, I was transferred to northern New Jersey. There I worked with many fine musicians playing parties and weddings, etc. I got to play at Sardis and the Empire room at the Waldorf Astoria in New York.
The music scene in Providence and So. E. Mass. was very rich with lots of talented people and groups. The Cowsills came out of Newport R.I. – I actually repossessed their Silvertone Amps when I worked for Sears. To my ears, The Fabulous Raiders were the best band in the area. A few that were outstanding that I remember were Cal Raye, The Spidells, Talk of The Town, Johnny & The Blue Jays, The Royal Coachman, Frankie James, Benny King & the Royal Jesters, Charlie Quintal, Paul Chaplin & Emeralds (Ct.), The Fabulous Raiders, The Blends, The Videls, Jim Scott & The Crusaders, Golden Joe Baker, and more. The only other Tuff Nuff artist I know was Charlie Quintal. Charlie was really good and played with Dicky Doo & the Don’t for a while. I was a member of Johnny & Blue Jays for about a year.
My old sax player Pete and keyboard player Don are still plying music today. Pete is with an oldies group at Foxwood Casino. Kings Row contains original members from several local groups and is also still active in the area.
The Esquires – The Singles… Plus (2011, Pacemaker PACE 085) Review by Rebecca Jansen
It’s been two dozen years now since a short b&w film clip of a well-groomed skinny-tied early ’60s instrumental combo began showing up on the Canadian music video channel. They played an original Shadowsesque toe-tapper on Fenders and a Gibson whilst a not too serious drummer paradiddled at a kit with a bass drum that read “The Esquires”. It was too perfect to be a hoax, and the song burrowed into my mind even more than the drum lettering.
About a dozen years ago a CD series was launched by EMI Music Canada called the “Northern Heritage Connoisseur Series,” and part of this series was the 1963 album Introducing The Esquires. Remembering the Shadowsesque group in the film clip and seeing the cover made up to look like the Shadows own famous first LP (right down to the guys’ sweaters) I knew this must be that Esquires. It was, and I would hit replay after the track “Man From Adano” so many times I risked wearing out that button! I don’t know if it’s the memory of the almost Devo-like vintage film clip appearing anachronistically among a lot of modern videos, or the interweaving of guitar and background aaaah-aaaah-aaah-aaahs, but I’d almost swear The Esquires were more the Shadows than the Shadows ever were for this sligthly under two minutes. Like Les Paul’s “Nola” or Link Wray’s “Rumble” before it, it’s one of those tunes that branded itself right onto my brain and will never go, and yet somehow with each relistening making the mark deeper it feels good there.
Now Pacemaker has collected up seemingly everything else by the Esquires of Ottawa and with a photo-festooned and informative book I can scratch this itch all over again. In the manner of England’s Fluer De Lys or Germany’s Rattles, the Esquires of the earliest demos included here are a totally different group of people than the ones who play on their final Columbia single some years further along. In between still other members came and went, like singer Don Norman who dominated vocally and lyrically for the third through fifth Capitol singles only and then went on to lead Don Norman & The Other Four. Norman’s style was very smooth mid-60s Cliff Richard, and his original songs are as satisfyingly hook-laden as anything by bigger names of the era, particularly “So Many Other Boys”.
Don Norman has become somewhat familar to me before this release, so the real revelation here are the final two Columbia singles from 1966. With new members Ted Gerow on keyboard (a future Staccato, see Pacemaker’s great two disc First Sparks collection), and John Cassidy on guitar the Esquires took a moddish r&b turn for the interesting. Still with second drummer Richard Patterson (destined for 3’s A Crowd), and lead vocals from Brian Lewicki, “It’s a Dirty Shame” is a solid garage-rocker that escaped my ears until now, and the follow-up “Love Hides A Multitude Of Sins” is a totally infectious dancable raver (reportedly Zombies inspired). My poor replay button! The flipsides of both are almost equally deserving of attention as well, and yet what with the lack of support in Canada for homegrown rock & roll this was to be the last heard from the Esquires until much later reunions.
This CD is however loaded with bonus tracks from unissued demos and TV appearances to quality live recordings. And now finally, wonder of wonders, that film clip that haunted me all this time itself is explained; “shot in 1963… (two clips, one I’ve yet to see) are considered the first-ever Canadian pop videos and were made when a local vending machine entrepreneur brought back some early video machines [Scopitones] from France. Having nothing but French pop stars on them, he decided to feature Canadian acts.” That 16mm film of “Man From Adano” stands as a peek into a different time and sound as iconically as the celebrated 1906 Market Street in San Francisco film, as only a few weeks later the Beatles began their invasion! In the footsteps of Lonnie Donegan, Cliff and the Shadows, the Beatles hit first in Canada (many later-famous U.S. musicians have noted how they first heard that group while in Canada), but for me ‘Man From Adano’ will always be the coolest piece of Canadian rock.
See the Pacemaker site for more information on this release.
Clockwise from bottom left: Martel Day, Reese Gwynn, Art Travis, Jeff Cooper, Dan Toomey, Jay Jacobson and Collis Alford
The Geatormen featured in the movie “Where Angels Go, Trouble Follows”, a fun and innocent comedy about a group of Catholic schoolgirls accompanied by nuns crossing the country to a youth rally. The screen shots (below) are from a scene where the band is lip-synching to the title song by Boyce and Hart.
The Geatormen included:
Collis Alford (trumpet Ray Jacobson (trumpet) Art Travis (trombone) Jeff Cooper (saxophone and rhythm) Rees Gwynn (guitar) Dan Toomey (bass guitar) Martel Day (drums)
They were students at Brandywine High School in the suburbs of Wilmington, Delaware, where they played with the Brandywine Blazers. Somehow they met up with Jerry Blavat, “the Geator” and became the Geatormen, performing on Blavat’s TV show Discophonic Scene and appearing with him in live shows.
An article in the Delaware County Daily Times from April, 1968 also mentions them appearing on WFIL-TV’s The World Around Us, a daily morning show in Philadelphia hosted by Anita Klever.
They weren’t credited for their appearance in “Where Angels Go, Trouble Follows”, so it doesn’t seemed to have helped their career much. I believe only five of them are featured in the movie. After the filming, Martel Day was replaced by Bob Howe and Max Rarigh. A later lineup of the band included Nino Puglisi from the Stairways. I don’t know of any records released by the band.
Jeff Cooper posted a few additional photos of the band at the bottom of this page.
The Motivation, 1967, left to right: Bryan Stevens, Malcolm Tomlinson, Jimmy Marsh, Mick Ketley, Chris Rodger and Martin Barre All photos of the band courtesy of Bryan Stevens
Jimmy Marsh (lead vocals) Martin Barre (lead guitar, saxophone) Mick Ketley (keyboards, backing vocals) Bryan Stevens (bass) Chris Rodger (saxophone, trumpet) Malcolm Tomlinson (drums, backing vocals)
1966
October The group evolves out of Bognor Regis group, The Noblemen, which was formed in late 1964 to back South African singer Beau Brummell (aka Mike Bush). Bass player Bryan Stevens (b. 14 November 1943, Laha Datu, North Borneo) and keyboard player Mick Ketley (b. 1 October 1947, Balham, London) have been with the band from the outset. After splitting from Brummell in April 1966, the Noblemen undergo a significant change in personnel when most of the members leave in June. The following month, Stevens and Ketley reorganise The Noblemen bringing in a new singer, Jimmy Marsh (b. 9 April 1941, Carmarthen, Wales). Marsh first met Stevens and Ketley in mid-1964 at the Top Hat in Littlehampton when they were playing with The Detours and he was fronting The Del Mar Trio.
When The Noblemen’s drummer Bernie Smith opts to take up a more regular job, Marsh suggests his former colleague Malcolm Tomlinson (b. 16 June 1946, Isleworth, Middlesex) as his replacement. Tomlinson has worked with Marsh in The Del Mar Trio and James Deane and The London Cats. Before that, he was a member of Jeff Curtis and The Flames. Stevens advertises for a new sax player in the 23 July issue of Melody Maker, which hits the newsstands on 16 July. Former Moonrakers members, Chris Rodger (b. 16 October 1946, Solihull, Warwickshire) and Martin Barre (b. 17 November 1946, Kings Heath, Birmingham) respond to the advert after missing out on a job with Screaming Lord Sutch. On 22 July, Barre buys a saxophone at Sound City in London’s Shaftsbury Avenue for the audition three days later. Both Rodger and Barre are hired for the new line up as sax players, with Rodger doubling up on trumpet and Barre doubling up on lead guitar. In September, the new Noblemen line up moves up to London and shares a flat in Chelsea (and later Gloucester Road). They sign to the Roy Tempest Agency and start backing up visiting US soul acts.
Motivation on Bognor Regis station, late 1966 – left to right: Bryan Stevens, Martin Barre, Mick Ketley, Malcolm Tomlinson, Chris Rodger and Jimmy MarshBognor Regis station, late 1966, left to right: Jimmy Marsh (white top), Martin Barre, Bryan Stevens, Mick Ketley, Chris Rodger and Malcolm Tomlinson
November (1-2) Having supported The Vibrations, The Drifters, Lee Dorsey, Edwin Starr and Alvin Robinson as The Noblemen during September-October, the group adopts the more ‘Mod’ sounding name Motivation (although they are sometimes still billed as The Noblemen, at least until early December). As The Motivations, the band plays with Alvin Robinson at the Club Cedar in Birmingham for two nights. Soon after, The Motivations back Robinson at Newcastle University (quite possibly 3 November).
Motivation, Hyde Park, late 1966
(4) Billed as The Noblemen, they begin backing The Coasters with a show at the King Mojo Club in Sheffield with Sonny Childe & The TNT. The Coasters will perform at the Starlite Ballroom in Greenford, west London on 11 November with The Mode but no support group is listed (unless it was The Mode).
(12) Having changed their name to (The) Motivation, they perform at the Oasis club in Manchester with The Coasters and Hari Kari.
(13) The Coasters are billed playing at Tiles on Oxford Street in central London (most likely with Motivation in support). Two days later, The Coasters appear at the Whisky A Go Go. It is around this time that Mike Ketley and Malcolm Tomlinson take up The Coasters’ offer to attend a party where Jimi Hendrix (who had previously played with The Coasters’ support band) is in attendance. The Jimi Hendrix Experience are launched to the British press on 25 November.
(20) After playing at the Cavern in Liverpool with The Coasters the previous day (where they are billed as The Noblemen), Motivation join the soul singers for two shows in Greater Manchester, starting with the Domino Club in Openshaw and culminating with a second gig at the Princess Theatre in Chorlton. A riot takes place at the second venue after disturbances between The Coasters and the rowdy crowd.
(25) Billed as The Noblemen, they support The Coasters at the New Yorker Discotheque in Swindon, Wiltshire. The previous day The Coasters performed at the Whisky A Go Go in Wardour Street, Soho, central London but no support band is listed.
(26) Motivation appear at the Starlight Room at the Boston Gliderdrome, Lincolnshire with The Coasters. Also on the bill are Ronnie Jones & The Blue Jays and Heart & Souls. On the same day, the group supports The Coasters at the Burlesque in Leicester.
(27) The Coasters perform at Kirklevington Country Club in Kirklevington, North Yorkshire. The advert doesn’t list Motivation but presumably they were the backing band.
Syon Park, early 1967
December (4) Having finished supporting soul acts for the Roy Tempest Agency, Motivation begin to work under their own name. On this day, they perform at the Hotel Leofric in Coventry. Motivation are also billed to play at the Stoke Hotel in Guildford on this day with Whisker Davies. It’s not clear if this is the same group; it might have been the Norbury version, which split up in late 1966.
(9) The band appears at the New Yorker Discotheque in Swindon, Wiltshire.
(10) Billed as The Motivations, they play at the Gala Ballroom in Norwich.
Thanks to Peter Ellis for the scan and date
(16) Billed as Lee Dorsey’s backing band, the group appears at the Koo-Koo Byrd Discotheque, Cardiff, Wales.
(17) Motivation perform at the Britannia Rowing Club in Nottingham.
(20) The group appears at the Concorde at the Basset Hotel in Southampton, Hampshire.
(22) A band called The Motivation plays at the Co-Operative Hall in Nuneaton, Warwickshire with The Orange Pips. This may have been the same group as Warwickshire was Martin Barre’s home turf.
(24) The Motivation appear at the Lion Hotel in Warrington, Cheshire with The Fix and The Undertones.
(31) The group heads to Ashford, Kent to see how the year at the ‘2 ‘B’s’ Club with The Suspects.
1967
January (1) The Motivation start the new year with an appearance at the Tavern Club in Dereham, Norfolk.
(6) After playing a gig in Acton, west London on 2 January, The Motivation travel to the southwest and appear at the Winter Gardens Ballroom in Penzance, Cornwall with The Modesty Blues.
(7) Billed as Brian Stevens and The Motivation they appear at the Blue Lagoon in Newquay, Cornwall with The Accoustics.
(8) The band performs at the Bure Country Club in Mudeford in Dorset with The Tension and Lavina Lavells. Rodger says that the club closed after this evening’s show.
(9) The Motivation make an appearance at the New Spot in Thorngate Halls, Gosport, Hampshire. The next day, they play a venue in Portsmouth, most likely a naval base.
(14) They were listed as playing in Bradford, West Yorkshire the previous day, after which The Motivation move south to appear at the New Yorker Discotheque in Swindon, Wiltshire with supporting acts.
(20) The group appears at the Bromel Club in Bromley, Kent.
(21) Motivation travel to Norfolk and play a show at the Royal Links Pavilion in Cromer with Soul Concern.
(24) Having played a gig in the Bournemouth area on 22 January, the band performs a show at the Concorde at the Basset Hotel, Southampton, Hampshire. Before the end of the month, they appear at a club in Ashford, Kent.
February (3) Not listed in Bryan Stevens gig diary, The Motivation play at the Kingfisher Hall in Redditch, Worcestershire. This might have been another version of The Motivation but it’s close to Martin Barre’s home town.
(4) Another gig that is not listed in Stevens’ gig diary is a show at Maidstone Corn Exchange in Maidstone, Kent with The Blues System. However, on the same day the band does return to the ‘2 ‘B’s’ Club in Ashford, Kent so perhaps they played both on the same day as the towns are close together.
(5) The group travels back to Norfolk to play the Tavern Club in Dereham on a bill that also features The Barry Lee Show.
(6) The Motivation play their first show at the famous Marquee club, opening for The Herd.
(7) The band appears at Kodak Hall, Harrow, west London with The Beachcombers.
(9) The Motivation play at the New Central Ballroom, Aldershot, Hampshire with Ziggy Turner Combo.
(10) The group travels to the Birmingham area and performs at the Carlton Ballroom in Erdington, billed as The Fantastic Motivations. The next day, they head to the Southwest and play a venue (possibly the town hall) in Exeter, Devon.
(13) The band appears at the Steering Wheel in Weymouth, Dorset. The next day, The Motivation travel to Portsmouth and make an appearance at a venue in the city (possibly another naval gig).
(16) The Motivation head to Oxfordshire and perform for the Royal Air Force at RAF Benson.
(17) The day after, the band returns to London and appears at the Cooks Ferry Inn in Edmonton with John Evan Smash (who will morph in to Jethro Tull, a band that Barre will join in December 1968). There is a gap in the bookings until 25 February when The Motivation play an Oxford University college. The day after, they perform in Tunbridge Wells, Kent.
March (1) Not listed in Bryan Stevens’ gig diary, the group appears at the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset, which is a venue they will return to a lot over the next year.
(4) The musicians return to London and perform at Tiles on Oxford Street with C Jam Blues and Malcolm Magaron.
(6) The Motivation head back to the Marquee for a second show supporting The Herd. On 8 March, the band leaves for Rome, Italy to hold down a four-week residency at the Piper Club. After driving for 60 hours, they arrive on 11 March and start that night. Gigs at the Imperial Club, Redditch, Worcestershire (as The Motivations) on 26 March and 9 April would have been cancelled.
(11) – April (13) The band plays at the Piper Club for four weeks. While playing at the club, Ray Charles’s dancers come in one evening and dance to the band’s set. Some of The Rolling Stones’ entourage visit the club while The Motivation are playing. The Rolling Stones are playing in Rome on 6 April and there is talk about getting the band on the Stones’ tour as a warm up act. No commitment comes from the discussions. Jimmy Marsh punctures his vocal chords and returns home. Marsh drops out of the music business, only resurfacing briefly in the early 1980s with the short-lived west London band, A Touch of Gold. Marsh died on 13 April 2020.
By the river near Syon Park, spring 1967, left to right: Chris Rodger, Martin Barre, Mick Ketley, Jimmy Marsh, Malcolm Tomlinson and Bryan Stevens
(14) With Ketley assuming lead vocals, they head for Livorno to play at the Piper Club there for three consecutive weekends. Various gigs advertised in England this month are cancelled, including the New Yorker Discotheque in Swindon.
(15-16) The Motivation play at the Piper Club in Livorno this weekend.
(22-23) The band performs at the Piper Club in Livorno this weekend.
(29-30) The Motivation play at the Piper Club in Livorno this weekend.
May (1) The musicians return to Rome for further gigs. Numerous English gigs billed to The Motivation are subsequently cancelled while the group remains in Italy.
(2-14) The Motivation appears at the Cabala Club in Rome. While there Lord Snowdon comes up to the stage one night and requests the band plays Sandie Shaw’s “Puppet on a String”.
(27) Having arrived back in England the previous week and taking a week off, The Motivation appear at the Playboy Club on Park Lane, central London. It is Rodger’s final gig and he leaves the band.
June Stevens and Ketley remember a talented singer from Liverpool band, The Clayton Squares, who had shared the stage with Beau Brummell & The Noblemen in West Germany in March 1966 – Denny Alexander (b. 10 March 1946, Liverpool). The Clayton Squares have recorded two brilliant singles for Decca before splitting in late 1966. Alexander, who has gone on to sing with The Thoughts, is invited to join The Motivation and fulfil outstanding dates. The group rehearses new material at the Shoreline Club in Bognor Regis.
(27) The new line-up appears at the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset.
July(1) In what is one of their most high-profile shows, The Motivation support Cream at the Upper Cut in Forest Gate, east London.
(3) The group returns to the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset.
(7) The Motivation plays at the Warwick Arms, Redditch, Worcestershire with Hedgehoppers Anonymous.
August (4) The group plays at Caesar’s Place, the Mulberry Tree in Stratford-upon-Avon, Warwickshire with The Agency.
(5) The Motivation travel to the Birmingham area and appear at the Carlton Ballroom in Erdington, which is followed by a second show on the same night at the Elbow Room in Aston.
(6) The group appears at the Casablanca Club in the Sportsman’s Arms, Allesley, Coventry.
(11) The band plays at the Beeches Barn Theatre in Cirencester, Gloucestershire.
(19) They return to the Royal Ballrooms, Boscombe Royal Arcade, Boscombe, Dorset.
(20) The next day, the band plays at the Indigo Vat in Southsea, Hampshire.
(25) The Motivation play at Chateau Ipney in Droitwich, Worcestershire. The band’s stax/soul sound is becoming increasingly outdated as the psychedelic scene blossoms. The Motivation return to Bognor Regis and rehearse a new act, introducing Alexander’s strong original material into the set and changing name to The Penny Peep Show.
Sources:
Flying Colours by Greg Russo, Crossfire Publications, 2009. The South Coast Beat Scene of the 1960s by Mike Read, Woodfield Publishing, 2001.
Many thanks to Bryan Stevens, Mick Ketley, Chris Rodger, Jimmy Marsh, Malcolm Tomlinson, Martin Barre, Denny Alexander, Dave Allen, Nigel Norman, Mick Capewell, Chris Bishop and Sylvia Stephen.
Thank you Bryan for The Motivation gig listing for January/February 1967 and Ian Green for some additional dates.
Disclaimer: Concert adverts have been sourced from a number of music magazines and regional newspapers listed below. They have been reproduced fairly for research purposes and are not to be copied for any other use.
Additional concert listings sourced from Melody Maker, Nottingham Evening Post, the Liverpool Echo, the Manchester Evening News, Birmingham Evening Mail, Bournemouth Evening Echo, Southern Evening Echo, Portsmouth Evening Argus, Portsmouth News, Sheffield Star, Coventry Evening Telegraph, Harrow Observer, Cornish Guardian, The Cornishman, the Lincolnshire Standard and Eastern Evening News. The comments section below also lists some additional gigs.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
Thank you to all the folks who responded to my appeal for support and made a donation to Garage Hangover:
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There’s no denying the power of the Mondells 45 on Gaye, “I Got a Feeling” / “You’ll Never Come Back to Stay”. Both songs have thick distortion on the guitar, nice organ swirls, pounding drums, and good lead and backing vocals.
The code U4KM-5024 denotes an RCA custom pressing from the first half of 1967. The scan I originally posted showed no song writing credits on the label, but as Mike Markesich pointed out in his comment below, that scan was doctored to keep the writer’s name secret until the band could be found. From the scans I now have, Roy Farmer Jr. wrote “I Got a Feeling” and Benny Thomas wrote “You’ll Never Come Back to Stay”. Both sides are published by Margie Music, BMI, and listed as A Gaye Talent Production.
The group itself is still something of a mystery to me. I did find out that the Mondels, like Red Beard & the Pirates, came from the rural hills between Blue Ridge, Georgia (Morganton, Mineral Bluff, Epworth) and Copperhill, Tennessee / McCaysville, GA, about two hours drive north of the studio in Decatur, GA, just east of Atlanta. From the same area came The Blazers, who had a self-produced LP On Fire.
An old auction listing gives a couple names for Red Beard & the Pirates: Randy Queen and “Sea Dog”. The seller also mentioned two members of the Mondels: “Billy Suites (died from auto accident) and Lamar Harper (died a couple of years ago from cancer). Actually the name ‘Tootie’ written on the record is my sister-in-law and she dated Lamar.” I contacted the seller for more info, but I can’t confirm if these names are accurate.
The Mondels is one of the rarest and best 45s on the Gaye label.
Mike Dugo interviewed a member of the Penetrations who have a record on Gaye, “A Different Kind of Man” / “I Got A Girl” but they were from Belton, South Carolina, to the north east of Atlanta.
Thank you to Mike Markesich for the scans and info on the band. Transfers from Teenage Shutdown vol. 13.
The Remains – ‘Let Me Through’ b/w ‘Why Do I Cry’ (2011 Sundazed S-231)
Review by Rebecca Jansen
“The new single by The Remains,” now doesn’t that alone sound good? Fortunately this vinyl debut of an original Barry Tashian and Vern Miller composition does sound very good indeed! Performed live on Ed Sullivan’s CBS television studio stage, Sunday December 26th, 1965, Barry’s snarling Guild lead guitar is in good form as the group soars (and sometimes stumbles, true) through some Psychotic Reactions style tempo changes. Very fearless on a national show with a song only cooked up a couple weeks before! Topo Gigio was probably forced into hiding while this punky racket was flowering, not that the sound quality is at all lacking with the minor exception of some audience applause at the start and again at the conclusion.
Sundazed’s sleeve is based on a vintage picture sleeve used by Epic, same design but different shot from the same photo shoot, and it’s that attention to detail that keeps Sundazed high in afficianados’ regard. The flip is a version of “Why Do I Cry” from the essential Session With the Remains LP also available through Sundazed. This single is more fun than Senior Wences’ plate-spinner eating goats; I predict it’ll be really beeg with all the kiddies in the garage!
Johnny Brooks owned the Gaye label, based in Atlanta, Georgia, and named it after his wife. The label started with pop releases, then added soul 45s and consistently strong garage singles by Little Phil & the Night Shadows, the Mondels, the Blades, the Penetrations and Red Beard & the Pirates. Some numbers have a prefix, usually ASR, which refers to Atlanta Sound Recording Studios, also owned by Brooks.
Troy Shondell recorded the Chips Moman song “This Time” for Goldcrest in 1961, released nationally by Liberty. I don’t know who Troy Shundell is, but his version on Gaye (#2010 from circa 1965) is a different recording than the Goldcrest/Liberty issue, and is likely a different singer altogether.
Any help with this discography would be appreciated
114 – Ken Springer – “You’re Faithful Anna” / “Lovely Love” (with picture sleeve) 210 – J.T. Ratcliffe With Shirley & The Swamp Bugs – “The Beatle Bug” / “Bill’s Friend” 212 – George Hughley – “Do The Beatle” / “My Love Is True” 2002 – Bobby & The Belmonts – “Drum Dog” / “He’s Home From College” (1964) 2004 – Beverly Taylor – “Sweeter Than Sugar” / “I Need Someone Like You” 2009 – Ken Springer – “Like A Child” / “Maybe” 2010 – Troy Shundell – “This Time” / “I Catch Myself Crying” 2018 – Frankie And The Play Boys featuring Arnold Sanford – “Two To One” / “Crying Towel” 3019 – The Blades – “I’ll Shead No Tear” (sic) / “Again” 3020 – Joe Dickey – “April In Atlanta” / “Walk With Me (Into Paradise)” 3027 – The Penetrations – “A Different Kind of Man” / “I Got A Girl” 3031 – Little Phil & the Night Shadows – “Sixty Second Swinger” / “In the Air” 3031 – Milford Fagg with the Penetrations – “Do You Still Remember Me” / “Mr. Ivory” 3032 – The Mondels – “You’ll Never Come Back To Stay” / “I Got A Feeling” 3033 – Joe Brown – “It’s All Over” / “Promise Me” 3034 – Ted Ford – “You Don’t Love Me” / “Hold On To the Key” 3041 – C. J. DeLong – “Goodbye Dreams” / “I Don’t See Me In Your Eyes Anymore” 3043 – Red Beard & the Pirates – “Go On Leave” / “Don’t Be A Loser” 3044 – Jerry Ashley – “Come On” / “Come On” (instrumental backing track) 3045 – The Blades – “Moving Out” / “I Need You” 3047 – Sheppard Brothers – “Hold Me Closer” / “Mess Up My Mind” 5001 – Johnny Jenkins – “Soul Boo-Ga-Loo” / “Ring-O-Ling” 5002 – Lee Mays & the Zonics – “Writing This Letter” / “Nothing Means Nothing To You” 5005 – Ernie Wheelwright – Begging You Back / “In Your Arms” 5006 – Automations – “World of Make Believe” / “Going Out of My Mind” 6001 – Betty Logan – “A Lot To Learn” / The Logan Sisters – “Flop Mop”
Gaye discography compiled from Georgia Soul with additions and corrections from Mike Markesich, Bob of Dead Wax, Drunken Hobo, George, and Chas Kit.
368 – Paula Grimes – “Zing Went The Strings Of My Heart” / “Fancy Love Words” (George pointed out this is an unrelated NY label)
One reader sent in this neat promotional photo of the Rice Paper Window, a quintet from Green Bay, Wisconsin. I don’t know anything about the group, who was in it or if they recorded. Anyone have more info?Thanks to Bob Degutis for sending in this and other Wisconsin band photos.
Oglethorp and Othellow (sic), from left: Greg Carlock, Don Bearup and Dick Dean“A photo of my first band, The Fade-Aways, taken in 1965. From left: Greg Carlock (Othelow), lead singer David Brownback, Donnie Bearup (Oglethorp), and me. Drummer Jim Lowe was not present. That Stratocaster was my first real guitar, cherry red. Greg’s was a Guild.”
Last week I wrote about Van Recording of south Texas. For some odd reason, at least five singles on Van released between 1965-1967 were produced in Taylorville, Illinois, close to 1,000 miles northeast of Angleton TX, the base for the Van label.
Richard Dean played bass on one of those records, “Please Don’t Go Away” and “I’ll Still Love You” by Oglethorp and Othelow. We may never know how these recordings ended up on Van, but Richard provides a detailed account of the music scene in the area just south and east of Springfield, Illinois during the mid-60s:
Oglethorp was Donnie Bearup, age 17, on lead vocals and rhythm acoustic guitar. Othelow was Greg Carlock, age 17, on harmony vocals and lead acoustic guitar. I, Richard Dean, age 16, played stand-up bass. Mick Presnell, age 16, and not a member of the group, played percussion (two Coke bottles on “Please Don’t Go Away”, a salt shaker filled with gravel on “I’ll Still Love You”). I’ve always remembered it [the spelling of the group’s name] as Oglethorpe and Othello. I think Donnie was a distant relative of James Oglethorpe, who founded Georgia, and I have no idea where the Othelow came from, other than Shakespeare.
Donnie Bearup and Deb Lynch during the Fade-Aways era, 1966
Oglethorp and Othelow were supposed to be folk singers, but most of our songs were Everly Brothers, Beatles, oldies, and some current hits. We were an acoustic group and couldn’t play for dances, but we made three TV appearances (two in Decatur and one in Champaign) and we were on Oscar Wells Sunday morning radio show on WTIM many times. Donnie and Greg had that incredibly close harmony like the Everlys and John and Paul.I was told to show up at the American Legion Hall one summer evening of 1966, and that was where I met Oscar Wells. I think Oglethorp and Othelow’s connection to him probably came through Donnie Bearup’s mother, who did a lot to promote the group. Sometimes local country artists performed on his radio show and that is probably where Donnie’s mother heard of him. I had never heard of him before we recorded. I assumed he owned Van Records and that it was a local Taylorville label. If there was a contract it was only for that record. He paid for the record. We performed for free, I never made a single penny playing with Oglethorp and Othelow, though we were very successful as far as performing went.
with the second place trophy at the State Fair from left: Don Bearup, Richard Dean and Greg Carlock
I remember Oscar Wells as a tall, thin, pale, almost cadaverous-looking, man who seemed ancient to me at the time, but was probably in his 50s. He had a very flat nasal voice and mumbled and said “uh” a lot on his radio show, not a radio voice or a radio personality. He had a very nice Ampex tape recorder, too big to be lugging around in his car, but it was portable.We did take after take of “I’ll Still Love You” and it was almost always a failure of the recorder or the tape itself that meant we had to re-do it. I would estimate we did as many as 30 takes, and even the one that was used had a flub in it. Oscar Wells was very patient, didn’t contribute anything to the music, just let us do what we did. I think he was most interested in recording my friend Mick on the Coke bottles on “Please Don’t Go Away”, there was a lot of natural echo on it and it took awhile to get the sound right. I think we may have done three takes on “Please Don’t Go Away”, it was intended to be a quick B-side, but it was the side that got airplay and that everyone loved. Donnie Bearup wrote both songs. Greg’s guitar was so out-of-tune on “Please Don’t Go Away”, but such a great punkish guitar solo, and acoustic! By the time we recorded that we had spent 2 or 3 hours on “I’ll Still Love You”, and we were just getting to a B-side. If we had known “Please Don’t Go Away” would become the A-side I’m sure we would have tuned-up!
If I remember correctly, Oscar Wells had 300 or 500 copies of “Please Don’t Go Away” / “I’ll Still Love You” pressed. We were getting daily airplay on the Taylorville and Decatur radio stations and he sold all of the copies very quickly, I’m sure he thought he was on his way to the big time. Then he had another 300 or 500 copies made and I don’t think he sold any of them. That first batch was the limit of Oglethorp and Othelow fans. I remember going to his studio on Sundays and there were boxes and boxes of our record sitting there. I think the major reason why the second batch of records didn’t sell was also because two or three weeks went by before they were delivered and by then we were no longer receiving airplay in Taylorville and Decatur. I seem to recall Oscar complaining about not having any records to sell. Then when they arrived it was too late.
Oscar Wells’ Sunday morning radio show on WTIM, Taylorville, was called “The Entertainers Bulletin Board”. I think it started at 6:00 or 6:30. Donnie and I played with the Reactions on Saturday nights, often didn’t get home until 1:00 or 2:00 AM, then had to get up about 5:00 to drive the 17 miles from Pana to Taylorville. Oscar had a great rockabilly version of “Swannee River Rock” as his theme song. Then he would introduce us as “these, uh, boys from Pana are, uh,” and so on. Then Greg Carlock would introduce the songs. Oscar would record the show on his Ampex and afterward we would go to his “studio”, probably where he did most of his recording, a storefront near downtown Taylorville. He had a record-cutting machine. like something that would cut onto wax but these were very heavy brittle plastic, and he would make one copy of the show for us. That was our pay. I received each third one. I kept one of them for many years, it eventually shattered during a move, but I did get it on a cassette tape, with so much static it is almost unlistenable. At the end of the show he played a song he had recently produced by a woman country singer, [Pauletta Leeman – “Little Bit” which was backed with “You’re Make A Fool Out Of Me”, released on Sims 309 in 1966], a very nice song. I found, on-line, that Oscar J. Wells died in 1984, at 71.
Oglethorp & Othelow on Oscar Wells’ show The Entertainers Bulletin Board on WTIM, November 13, 1966:
“English Moon” would have been the second single, with, maybe, “And She Went Away” as the B-side. I’m not sure. I know we had big hopes for “English Moon”.
A story I love to tell about Oglethorp and Othelow: one Saturday, in the spring of 1967, we performed for the Future Homemakers of America convention in Pana High School auditorium. There were several hundred girls there and they Beatled us, screaming and throwing things onstage. It was amazing. We signed autographs for awhile afterward, then had to leave to play a strip mall opening in Decatur. We performed on the back of a flatbed truck and our entire audience consisted of three about-12-year-old very bored boys. That’s showbiz!
Another story: one morning in the summer of 1967 I was hanging out in downtown Pana and Donnie and Greg drove by, saw me, and stopped and said they were going to the Illinois State Fair, in Springfield, to perform in the battle of the bands (acoustic or vocal group, not electric). They were just doing it because they could get into the fair for free. We went to my house and grabbed my stand-up bass and took off. We were wearing jeans and t-shirts, I had on a pair of brown jeans. We did ten minutes or so, mostly Everly Brothers and Beatles, then enjoyed the fair. When we went back to find out who won, we discovered we had finished second. The winners were a vocal quartet of frat boys from Eastern Illinois University, dressed in blazers and ties, singing like the Lettermen or the Four Freshmen. They got to open for Paul Revere and the Raiders that evening, in front of about 12,000 people. If only we had dressed better, been a little more professional, but we hadn’t taken it seriously. After the concert, we spent an hour or so having burgers with Freddy Weller, Raiders’ lead guitarist. When I got home, about 2:00 AM, and tried to explain to my mother what my day had been like, she wouldn’t believe me!
We were on TV three times. Twice on Davy Jones’ Locker, an afternoon kids’ cartoon show on WAND, Decatur, that sometimes had live local talent. It was embarrassing to be on a kids show, the host dressed as a pirate, but it was TV! We were also on The Hop, a Saturday afternoon American Bandstand-style show on WCIA, Champaign, that in 1967 was still using Danny and the Juniors’ “At the Hop” as its theme song. We had recorded what was going to be our second single, probably not on Van Records, in a garage studio in Sullivan, Illinois, but the tape wasn’t playable on standard tape recorders, so we had re-recorded the two songs at Greg’s aunt’s house on a tape recorder that allowed over-dubbing. Donnie sang lead and played electric bass and rhythm, Greg sang harmony twice and played lead, and I played organ and piano. As we were getting ready to lip-sync Donnie told me I should fake the extra harmony and I realized I didn’t know the words, nor did I know his bass part. And there had been a big thunderstorm just as we had arrived at the studio, we had to walk through a foot of water in the parkinglot, and I had taken off my wet Beatle boots and socks and performed barefoot. I was told the camera kept showing close-ups of my feet! The second record was never released.
‘The Re-Actions’, from left: Dick Dean (bass), Steve Westoff (rhythm guitar), Butch Hartel (drums), Monte McDermith (lead guitar) and kneeling, Vince Slagel (organ). Not pictured, lead singer Donnie Bearup
A little about the music scene in Central Illinois in the 60s:
After the Beatles arrived, in February, 1964, it seemed that every teenage boy wanted to play in a band and I was one of them. Pana had a teen center and dances with live bands every Saturday night. Even smaller towns, like Nokomis and Assumption, had regular dances, and tiny towns, like Witt (pop. about 300) had dances at least once a month. The Fade-Aways, in 1965-66, didn’t work every weekend but we played frequently, and made money doing it. Pana, pop. 6000 or so, supported two rock bands, us and Comyk Book. Assumption had The Bluetones. Morrisonville, Dave and the Detomics. Nokomis, later, the Reactions. The summer of 1967, the Reactions worked three or four nights a week, putting on our own dances in the Morrisonville park on Thursdays, when there was nothing else going on, and splitting all of the money.
My favorite band, right after the Beatles arrived and the Pana Teen Center began having weekly dances, was the Classics, a six-piece band from Decatur, four white guys with two black singers, lots of great rock and roll and r&b. Then the Sting Rays, from Springfield.
Dave and the Detomics were several years older than me. As I remember them, they were a rockabilly crew that got on the British Invasion bandwagon, and they were pretty good when it came to rockers, not so good on melodies. When they played at the Pana Teen Center, many times in about 1965-66, they didn’t get much of a crowd. But I do remember they could rock, they had that garage band sound. My first band, The Fade-Aways, of which Donnie and Greg were members, also had that sound, just bashing it out, lots of energy.
I didn’t know Dave and the Detomics recorded for Van. When they broke up, in the fall of 1966, they became the Reactions. Donnie was the lead singer, I played electric bass. Monte McDermitt, former bass player for the Detomics, became the band leader and sang and played lead. Vince Slagel, also a Detomic, was on keyboards (Farfisa organ). Butch Hartel played drums. Steve Westoff was on rhythm guitar. The band was based in Nokomis, Illinois, though Donnie and I were from Pana and Butch and Steve from Litchfield. We never recorded, but we were very popular throughout 1967.
I don’t recall the Embalmers, but the Sting Rays were a favorite of mine. I’m pretty sure they were based in Springfield, Illinois. They were absolute pros, tight and solid, with a great drummer. When I was old enough to drive, in 1966, I would go anywhere around the area to see them. I remember when they washed the grease out of their Elvis pompadours and had Beatle haircuts. I remember seeing them at the Illinois State Fair, at the Teen Fair tent, probably in 1966, and they did a killer version of “Tossin’ and Turnin'”. Very much a guitar group, lots of rockabilly influence.
When I was 17 and could drive, and had a weekend night off when I wasn’t playing, I would drive anywhere to see my favorite group, a five-piece guitar band from Litchfield that did nothing but Stones covers and blues/r&b songs the Stones could have done. They were REO Speedwagon. If you look at their wikipedia page, this version of the group isn’t acknowledged. One Saturday in Taylorville, they were walking off-stage for a break and one of them pointed at me and said, “Reactions’ bassplayer.” I was surprised he knew who I was.
My biggest claim to rock and roll fame was that I was the original bassplayer in Head East, a heavy pop band that formed at Eastern Illinois University in 1969. I was a charter member, when the group was put together by Steve Huston (the drummer) and horn-player Steve Derry. When I showed up for the first rehearsal, it was about a 10 or 12 piece horn band, like Chicago or Blood Sweat and Tears, and I was given a music stand and sheet music. I quit at the end of the first rehearsal, that just wasn’t my idea of rock and roll. Their website doesn’t mention that version of the band.
I continued in music for several years. My last band was a country band, in 1973. I was always more of a lead guitar player, but I had my greatest success on bass.
I tried to track down the Reactions on the Internet. The only one I found was Vince Slagel, who was in the last version of Dave and the Detomics. I live in Denver.
Richard Dean, July 2011
Update: Greg Carlock passed away on December 29, 2019. Mike Choatie sent me the link to his obituary. RIP Othelow.
Thank you to Richard and his sister for the photos and clippings used in this article with the exception of the color photo provided by Donnie Bearup. Thanks also to Tom Fallon and Matt Baker for information on the Kenny Biggs 45.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
Bobby & the Farrari’s cut this great 45 in 1967. “Farrari’s” is a misspelling for “Ferraris” as in Ferrari, the car.This is the first iteration of Bobby & the Galaxies. The group consisted of me on vocals and guitar, Rick Philbert on bass and backup vocals, Dave Ray on drums, Boh Kiriutowski on sax, and Johnny Pastel on organ. “Tearing My Heart Out” was written by Carl Gastall, and I wrote “Giggle Wiggle”. This record was never released. [There was] a live taping that was done by the later and better version of Bobby & the Galaxies.
