Early photo of the Sloths, from left: Hank Daniels, Michael Rummans, Jeff Briskin, Steve Dibner and Sam Kamarass
Hank Daniels – vocals Michael Rummans – rhythm guitar Jeff Briskin – lead guitar Don Silverman – lead guitar Steve Dibner – bass Mick Galper – bass Sam Kamarass – drums
The Sloths cut the great “Makin’ Love” in September 1965. The sliding guitar rhythm doesn’t quite mesh with the other guitar part. The production is so muddled the drummer’s Bo Diddley beat on the toms produces a constant hum that drowns out most of the bass notes. The sound is a turgid, dense r&b, like the Stones’ take on “Not Fade Away” turned inside-out. Hank Daniels shouts his lyrics in a hoarse, slobbering voice: “I wanna be with you all night, makin’ love, good good good lovin’ baby, makin’ love”!
Sloths logo on drumhead hand painted by Hank Daniels
This was not commercial music, but Impression’s owners actually had another group re-record “Makin’ Love” in the hopes of a hit the second time around. Long before I’d heard the Sloths, I knew this song from the version by the Dirty Shames, cut a year later, also for Impression. The Shames’ singer doesn’t have Hank Daniels’ wild incoherence, but the band actually plays together and in tune. Both releases credit Hank with song writing, and publishing listed with Vendo (BMI) on the Sloths and Vendo-Ramhorn (BMI) on the Dirty Shames.
Mick Galper on Gibson EB3 bass
Marty Wons of the Dirty Shames told me there was no connection between his band and the Sloths, and Michael Rummans of the Sloths confirmed this: “I was the rhythm guitarist for the Sloths. Your information is correct – no shared members between Sloths and Dirty Shames.”
The flip, “You Mean Everything to Me” is much tamer but also very good, with twelve string guitar, accomplished playing and clear production. (Thank you to Mike D. and Freddy Fortune for sending clips of this in). It’s another original by Hank Daniels.
This was the first rock release on Al and Sonny Jones’ Impression label, just before they relaunched it with a new design (there had been two or three soul singles before the Sloths). It’s a rare 45 now, with one copy recently selling for over $2,200, and that was without the even rarer picture sleeve!
Sleeve to their Impression single, with original lineup of the Sloths From left: Michael Rummans, Hank Daniels, Steve Dibner, Sam Kamarass and Jeff BriskinMichael Rummans with his first Gibson, Hank Daniels with Electro Voice microphone
Michael Rummans wrote the following account of the band, aided by Steve Dibner’s recollections:
This was my first band and, like many other firsts, has its origins among my high school friends & associates. I attended Beverly Hills High School, ’62 to ’66. During that time, there were many creative individuals including Richard Dreyfuss, Albert Brooks and Michael Lloyd who contributed to an atmosphere of artistic creativity. I first started practicing with Jeff Briskin, a surfer and guitarist. Fun for awhile, but I wanted more – a full band.
Sam Kamarass on drums. Smaller b&w photos originally taken by Julie Olen
I saw my chance when I met Hank Daniels, a transfer student who was attracting a lot of attention. Hair too long, often barefoot with a 12 string Gibson acoustic strapped on his back, he was drawing a lot of attention, both good & bad (there were a lot of preppie types). We started hangin’ out, both of us now hiding from the boy’s Vice Principal and sharing a common interest in music. Soon we decided to start a band, and it wasn’t long before we found Steve Dibner to play bass and Sam Kamarass for drums. We found our name in an American history textbook from a 19th century political cartoon (as did another BHHS band, The Mugwumps).Once the band was formed, the next step was to learn songs and find somewhere to perform them. Even though the Sloths were by all definitions a garage band, we avoided that actual type of structure when one of Dibner’s parents foolishly agreed to let us rehearse in their living room. We also rehearsed in Hank’s pool house, grudgingly tolerated by his parents. Joking aside I must point out that the band was able to gain invaluable early momentum because most of our families supported and contributed to our effort (most, not all).
Early photo of the Sloths, from left: Hank Daniels, Jeff Briskin, Steve Dibner, Michael Rummans and Sam Kamarass
What we needed next was material. Hank had some background in acoustic folk music; me and Jeff with surf music but, just like most of the kids of that time, we were all enamored with the music of the British invasion. One of the things that distinguished our group from many others was a realization that we had to develop originality to have success.
Wallach’s Music City
This was largely because of a chance meeting I had had with James Brown backstage at the TAMI show. I was with my dad, and when we met JB, he told him I was getting in to music & wanted to know if he had any advice. James said, “Don’t take any lessons, develop your own style – otherwise you’ll never be more than second rate”. That has stayed with me my whole life. So, instead of learning a set of cover songs, we would go to Wallach’s Music City on Sunset & Vine and spend hours in the listening booths looking for songs to cover that no one else was doing, and arrange them in our own style. One of my favorites was “Messin’ With The Kid” by Junior Wells (just stumbled on to it).
Michael Rummans at Pandora’s Box, 16 years oldBandmaster amp stood on side, Vox style
Hank also wrote originals, as exemplified by the record. Having an artistic background, he designed the logo as well (you can see it on Sam’s bass drum).
The Clubs
Don’t misunderstand me, playing for our friend’s pool parties was fun, but we wanted more. There was the Teenage Fair at the Palladium and all those cool clubs on the Sunset Strip. To this day it amazes me that we got hired – not that we weren’t entertaining, but we were all so obviously underage. The thing is, nobody had told us how impossible it would be, so we were undeterred.
Michael Rummans, Hank Daniels and Don Silverman
One of the first venues we performed at was called Stratford on Sunset (now the House of Blues). The owner was Jerry Lambert and his nephew’s group, The East Side Kids, was the house band. At that time, they had another name, the Sound of the Seventh Son, I think (no wonder they changed it). They were older, very professional and served as mentors to us. Despite our lack of experience, I think Jerry must of liked our youthful enthusiasm and originality. Anyway, Stratford was great while it lasted (I also got picked up for the first time there). And it was Jerry Lambert again who got me the audition for the Yellow Payges a year later – small world.Other Strip clubs we played at: The Sea Witch, Pandora’s Box, Hullabaloo – but more about that later …
Michael will be adding more about the band at a later date. He left the Sloths and joined the Yellow Payges for a time in 1968. In the ’70s he played with the Hollywood Stars and then the King Bees, among other groups.Michael kindly responded to some of my questions about the Sloths and their record:
Hank Daniels with Don Silverman (?) to his left
Q. How did the record on Impression happen? Did the label sign the band?
We were approached by the brothers at one of our shows. At first I thought they were kidding. I don’t remember signing an official recording contract, but I’m pretty sure we signed an agreement. I do remember them bringing in a copyist to write down lyrics and melody.
Q. Do you remember specifics of the recording session?
Regarding the actual session, I remember the studio quite well. It was an old-fashioned large room, similar to the one used in “The Buddy Holly Story”. It was located on E. Sunset Blvd near Western. The brothers let us do pretty much what they heard on stage, with one exception. One of them suggested the repeating high E on the guitar near the end of the song. I asked why, and he referred to it as a “sensation note”. He was right – it works.
Q. I was watching a film on October Country in a studio in ’67, and noticed graffiti: “Sloths” and “Jeff”. The studio may have belonged to CBS Records at Sunset and Gower in Hollywood, California.
I see my name below Jeff’s as well. It may well be the one we recorded the single in.
Q. Did the label do any promotion for the record?
Don Silverman on Gretsch Country Gentleman, Mick Galper on bass
I don’t remember much promotion, other than what we did ourselves. One thing we accomplished was getting it played on KRLA and KFWB, just by having our friends call the station a lot. Some of us even went to KFWB on Argyle & Selma and banged on the door!
As for the record, I only know of three copies; mine, Steve Dibner’s (original bass player) and my sister’s (which she gave to Hank’s son). Jeff Briskin had a box of 100 records in his garage and threw them out a few years ago. However, he’s going to check and see if he can find any other memorabilia-pics, articles, etc. I must have given away most of mine for promotional purposes, which is what they were intended for. We’re going to collaborate and finish the story I started, so I’ll be able to give you more info on Impression and the recording.
Q. Any chance of a Kingbees reunion?
The Kingbees still get together and perform from time to time, but Jamie doesn’t want to hustle gigs any more. Maybe we can find an agent in the future, because the band still sounds great. Unlike the Sloths, I still have a large supply of Kingbees memorabilia.
Friends of the Sloths, the East Side Kids, from left: Joe Madrid, Jimmy Greenspoon, Dennis Lambert, Dave Doud, Mike Doud and Danny Belsky
Below, photos of the Sloths playing Hollywood au Go Go, October 28, 2011 This was their 3rd show since reuniting.
The Sloths playing Hollywood au Go Go, October 28, 2011,
Photos taken by Angel Jason Peralta. Thanks to Elva for sending the photos in.
October Country with Sloths graffiti in the background – is this CBS studios at Columbia Square?
The Ingoes – Before We Were Blossom Toes (2010 Sunbeam Records, SBRCD5077) Review by Rebecca Jansen
Among the also-rans of manager/producer Giorgio Gomelskiy’s stable of groups, The Ingoes proved to be tenacious as much as talented. After paying dues in German clubs The Ingoes, made up of former Gravediggers and Cheynes lead guitarist and songwriter Eddie Lynch, were found worthy of bookings at both the Marquee and the Crawdaddy clubs. From this period comes CD opener “Fast Eddie” a solid original instumental.
Lynch and Brain Godding sparked each other as songwriters and as vocalists, evidenced here by a further four originals, three of which would go unreleased entirely. The recordings from this period would rate as excellent album cuts from any group in Englabnd if not quite hit single candidates (one would turn up as a b side to French and Italian versions of the Beatles’ “Help” however).
In early 1965 The Ingoes headed to Paris and a residency at The Bus Palladium. It was while here that Gomelsky engineered Lynch’s replacement with Jim Cregan and the group’s lone EP was issued for the French market. Unfortunately for lovers of variety all four tracks on the record have the same beat for the listeners to dance something dubbed the “Monkiss” with photo dinstructions on the back sleeve. Remaining unissued however were better cuts of “Watcha Gonna Do About It” and “Jump Back”, plus an original by Godding “Ready Packed People Of Today” which attempted to be meaningful but would not have been out of place on an early Bee Gees album. The Monkiss dance EP failed to set the Continent alight for the Ingoes never mind getting any airplay back home in England. The next Gomelsky plan for the group would involve a name change.
So, what of The Ingoes? Going by this collection they’d have to rate as a promising Mod leaning group, but mainly a footnote to the Blossom Toes story following the departure of Eddie Lynch. While Godding and Lynch were collaborators though they showed a lot of potential, and had that group been given a chance in their homeland might’ve been spoken of alongside The Creation or even The Small Faces. Sunbeam as usual provides a great looking and sounding package with enlightening liner notes by Brian Godding himself (dated April 2010). There are many rare photos, scans of the rare picture sleeves, and fifteen tracks total including every vintage released Ingoes recording.
Both CD and LP are available from Sunbeam Records in the UK and various retailers elsewhere.
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Starting in February, 1966, KHJ radio (930 AM) in Los Angeles hosted a battle-of-the-bands called the Big Boss Battle, sponsored by Pepsi. According to their program, over 100 bands competed, with semi-finals at the club It’s Boss, and the finals at the Hollywood Palladium on May 10. After I saw the front cover to the program on Ray Randolph’s excellent blog 93/KHJ Boss Radio: a Look Back, Ray sent me the inside of the program at my request.
Judges included Charlie Green and Brian Stone of York-Pala just before they began managing the Buffalo Springfield, Len Waronker and Russ Regan from Warner-Reprise, Fred Rice and Jack Schnyder from Capitol, along with Danny Hutton and Dick and Dee Dee. The DJs included Gary Mack, Johnny Mitchell, the Real Don Steele and Johnny Williams.
Prizes were substantial and included cash, plus Fender guitars and amplifiers and St. George drums. Sonny & Cher, Bob Lind or the Blossoms did the trophy presentations. Unfortunately, recording time was not included, so I’m not sure how many of these groups cut records.
Are any of these bands familiar?
The competing bands were:
Randy Pitzer – St. Monica’s High The Young Men – Lathrop Junior High Ron and and the Jumping Beans – Loyola High Bobby and the SenSaShuns – El Monte High Los Reyes del Ritmo – Bishop Montgomery High The What – Stevenson Junior High Sheilagh and the Trio – Mater Dei High The Spydres – Eagle Rock High The Donnybrooks – Bakersfield High The Teen Turbans – Los Angeles High
plus the Generations, who won the San Diego Pepsi Boss Battle.
Check out this page on Ray’s site to see the front cover of the program and a ticket to the show. Does anyone have flyers or posters for the semi-finals at It’s Boss, or photos from any of the shows?
According to the liner notes of her first album, Fenty Effendie (also spelt Effendy or Effendi) was spotted by a TV producer singing in Bandung, West Java, at the age of 13. He took her to Jakarta where she appeared on TV for the first time in March 1965 and soon after recorded her first LP with the band Medenasz.
Regular performers on the TV program that Fenty appeared on were the children’s group Noor Bersaudara. When Noor Bersaudara performed in Bandung they invited Fenty to be a guest vocalist. Fenty appeared in a number of films in the 1960s and 1970s, but continued to sing as well. A report from the magazine Tempo states that she had taken up singing Kasidah songs, which are of Arabic origin with an Islamic theme. Fenty said that this style of music demanded a modest presentation, but that she always got captured by the rhythm and couldn’t resist swaying her hips and dancing in a sexy style. Perhaps this was why she got the loudest applause when, along with other singers, she performed at a Koran recitation contest in Surabaya in September 1974.
The three songs presented here are from a late 1960s album where Fenty is backed by the band Rhapsodia from Bandung. In the early 1970s they became Freedom of Rhapsodia and specialised in heavy rock, but at this stage they still had a soft-psych/pop-rock sort of sound. The band was to experience many changes of personnel, but the line-up when this LP was recorded was probably Utte M. Thahir (bass), Alfred (guitar), Ibung (drums), Sondang (keyboards) and Alam (vocals). None of the songs on the album are written by members of the band and it is most likely that the whole project was put together by the record company.
“Ditepi Pantai” (“On the Beach”) is written by Memed. In this song Fenty is on the beach alone, watching the fishing boats. She misses her friend who is far away and asks the wind to deliver her greetings to him.
“Menanti” (“Waiting”) is written by Djohari. Here Fenty sings how she has been waiting, always waiting day and night for her loved one to return.
“Kebon-Binatang” (“Zoo”) is another song written by Djohari. In this last song Fenty is at the zoo and describes all the animals; the Indian elephant, the African lion, the Arabian camel, and Cheetah, Tarzan’s monkey, who eats here lipstick.
Other songs on the album are credited to May S., Fenty/Anda, S. Effendie and two more by Djohari, and many of these are in the Sundanese language and traditional song style of Fenty’s native Bandung.
Information about Freedom of Rhapsodia has been taken from an article by Gatot Widayanto on the Music for Life blogsite.
The Fenmen – Sunstroke (2010 UT Records, UTCD-2208)
Review by Rebecca Jansen
Essentially the story of The Fenmen after the departure of frontman Bern Elliot, this collection could be a real odds n’ sods assortment appealing to the beat group fanatic, but this isn’t the case at all. Oh, there are all the trainspotter details of BBC recording dates, the unissued acetates and great liner notes on each track by members Wally Waller and Jon Povey, but there’s also some simply outstanding music here, old and new with a lot of replay appeal!
You haven’t really heard The Fenmen until you’ve heard these recordings. Taking on a California harmony sound late in 1964, the quartet impress in their ability to match the Beach Boys and Mamas & Papas on covers of those groups’ hits of the day. This alone would be accomplishment enough for an English act, but with originals in the same league composed by Waller it becomes a story of what might have been. As great as the Pretty Things with Waller and Povey were to be, with recordings as tight as b side “Is This Your Way” on the last Fenmen single, you have to regret that these four guys would never record together again. In a vocal harmony hall-of-fame The Fenmen would be right up there with The Hollies and The Tremeloes. Which isn’t to ignore the playing, as Alan Judge’s lead is totally sharp while in service to the whole, and the rhythm section as solid as any in the land.
Interwoven with the cuts from 1965-66 are new recordings by Waller and Povey (as The Bexley Brothers), and in returning to themes of sun and seasons make a great counterpoint to and conversation with the vintage tracks. Fittingly the title track blurs the lines as being the completion of a 1966 instrumental by Waller. “California Will” is a modern day jewel to stand alongside the previously mentioned “Is This Your Way”. With lead guitar by Dick Taylor and harmony vocals by the two Fenmen this could’ve been the best recording of 2009. Sounding a little like a sunbaked Chris Rhea, Waller is magnificent. To round out the package of seventeen tracks, both sides of the very first but unreleased Bern & Fenmen recording are included. Showing that among beat groups they had no better, “Mashed Potatoes” b/w “Do You Love Me” were recorded March 15, 1963! Again, what might have been … “Do You Love Me” would launch The Tremeloes later in the year.
The CD of Sunstroke is available for only $10 plus shipping through Ugly Things.
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The Heathens, circa 1966. From left: Dirk Acree, unidentified bassist, Don Adey and unidentified drummer Photo courtesy Don Adey Any help in identifying people in this and the other photos would be much appreciated!
The John English III & the Heathens 45 on Sabra, “I Need You Near” is one of the rarest and most highly rated of any mid-60s rock releases. I’ve covered John English in some detail on my site, but now I’d like to give the Heathens their own page, as most of their history comes after English left the group.
Original members of the band seem to be Dirk Acree (aka Vern Acree, Jr., former guitarist for the Blazers of “Beaver Patrol” and “Bangalore” fame) and drummer Johnny Rogers. Vocalist John English joined them while he as a student at San Fernando Valley State College (now California State University, Northridge). Dirk’s sister Char Acree (Sharon Acree), who had her own group, the Lady Birds, would join on bass sometime in 1966.
John English told me the Heathens performed at Pandora’s Box, around Orange County and at the legendary Retail Clerks Union Auditorium (8550 Stanton at Crescent in Buena Park) with the Crossfires.
English wasn’t with the band for long, as he doesn’t seem to appear in any photos of the group, at least not that I can tell.
The Retail Clerks Auditorium, Buena Park Can anyone provide a better photo?The Heathens at the Pussy-Kat a Go Go, circa 1966. From left: Johnny Rogers (drummer), Don Adey, Colin Adey (with tambourine), unidentified girl in front, Dirk Acree, Char Acree.
The first mention they receive in the press is from the May 13, 1965 edition of the Valley News of Van Nuys, California:
Dance, Show Event at College
NORTHRIDGE — Zeta Beta Tau Fraternity will hold a dance and show, “A Go Go Continental,” on Saturday, May 22, from 8 p.m. to midnight in the college gymnasium at San Fernando Valley State College, 18111 Nordhoff St.
The entertainment will highlight nationally famous recording artists, including The Parlays, formerly with Round Robin who made the Slauson popular. Their records include “Dance to the Slauson” and “Kick Your Little Foot, Sally Ann.”
Also on the program will be Bobby Day who made “Little Bitty, Pretty One” and “Rockin’ Robin” which was once No. 1 all over the world.
Direct from England and the first time in Los Angeles, John English and the Heathens will perform and sing a number of songs soon to be released. Finally, a surprise group will be featured doing many of its million sellers, it was stated.
The dress is school dress and tennis shoes …
From left: Dirk Acree (?), Don Adey, unidentified keyboardist and unidentified bassist
As John related the story, someone named Brian who had done PR work for the Beatles brought Lelan Rogers to see the Heathens show at Pandora’s Box. According to John, Lelan had them record three or four sides, but only two were ever issued.
“I Need You Near” has a slashing rhythm from Acree, who takes an excellent solo early in the song. John’s singing is gravelly and cutting, and he has a great shouted bit, something like “alright Vern now step for me, c’mon give me that stroke (?) now!” “Some People” is much different, with a ringing acoustic guitar and an almost whispered vocal.
John’s singing on this record and his later ones shows not a trace of an English accent. I don’t believe the Heathens recorded anything besides this 45 and Don Adey does not recollect them doing any recording while he was with the group.
Both songs are English originals with “Some People” co-written with Vern Acree, publishing by Rattan Music, BMI. The record was produced by Lelan Rogers and arranged by Glen Spreen. Sabra released it in May, 1965, just after another disc produced by Rogers: “I Want My Woman” / “And Then” by the Emperors.
It’s hard to say why the single of “I Need You Near” is so rare now (literally only 4 or 5 copies are known!). Other 45s on the Sabra label, like the Emperors are not as difficult to find. The Heathens single (master numbers S-5009 and S-5010) was actually ready to release before the Emperor’s (S-5011 and S-5012) but was given the next catalog number (5556 compared to the Emperors 5555). I would guess Sabra thought the Emperors disc was stronger, and once it started making an impact, Lelan and Sabra put all their promotional efforts into that record and let the John English & the Heathens record wither on the vine. Another reason could be Lelan soon left Sabra and then returned to Texas.
John English told me the Sabra record received some good reviews, and the band was offered a deal to tour, but some of the Heathens were still in high school. John went out on a 1965 Shindig summer tour as a solo artist.
From left at top: Brian Wilson (?), unidentified woman, Dirk Acree, unidentified woman and Don Adey at bottom: Johnny Rogers, Char Acree and Colin AdeyFrom left: Don Adey, unidentified bassist, unidentified drummer, Dirk Acree and unidentified keyboardistThe Heathens, circa 1967, from left: Don Adey, Johnny Rogers, Dirk Acree and Char Acree Photo courtesy Don Adey
KRLA Beat, September 18, 1965The September 18, 1965 issue of KRLA’s Beat paper has an interesting “personals” letter from one Chris Jones asking: “To John H. English of the used-to-be Heathen’s: What happened to the group? Will we never heard your beautiful London accent again?”Well, they would hear John again, and the Heathens too. John English joined the Preachers in the fall of 1965: see this page where I’ve written about his career in more detail. The Heathens would continue, adding guitarist Donald Adey, who Dirk knew from Buena Park High School. In addition, the band featured other members I don’t have the names of. Though Colin Adey is in some of their photos, Don told me Colin wasn’t in the group: “my brother was fresh over from the UK just hanging with me.”
There are photos of this group playing live at Pandora’s Box and the Pussy Kat a Go Go, sometimes sharing the stage with the Lady Birds, which also featured Char Acree.
Don’s myspace page lists some of the venues they played:
The Pasadena Civic Auditorium and the Hollywood Palladium opening up for The Dave Clark 5 and Donovan, up and down the coast of California and Count Down 65 (battle of the bands), at the Sea Witch, the Galaxy, the Olympic Auditorium, the Ascot Raceway and the Johnson Theater in Palm Springs.
Don Adey left the Heathens to join a group called Posse. In 1967, Adey and Dirk Acree formed the Churchill Downs with Gary Dalton Stovall, Mick Newton and first Al Stigler, then Fred Darling on drums. The Churchill Downs recorded an album’s worth of fine material produced by Gary Paxton that was finally released on Shadoks in 2011.
Adey was also in Jamme who had an LP on Dunhill in 1970.
All photos from hollywoodagogo.com except those labeled as courtesy Don Adey.
Special thanks to Mark Taylor for scans and transfers of the Sabra 45.
The Heathens, circa 1967. Clockwise from bottom left: Dirk Acree, Char Acree, Don Adey, unidentified person, and Johnny Rogers Photo courtesy Don AdeyThe Heathens, circa 1968. From left: unidentified musician, Don Adey, Dirk Acree, Char Acree, unidentified musician with drum sticksThe Heathens ad for Pussy Kat a Go Go performances
The Ground Floor People cut two fine singles, first “Walking on Eggs” / “It’s All Right Now”, produced by Ronnie Eden and Joe Simmons on Parfait 101, from September, 1966, then “Treat Me Better” and “Workaday World”, produced by Morty Croft and Ronnie Eden, and released on Mercury 72719 in mid-late 1967.
Tom Ciulla wrote to me and answered my questions about the group:
The Ground Floor People was my group and I played drums and wrote songs. My brother Don Ciulla originally put the group together. He played rhythm guitar and lead vocals. Lead guitar, Tommy Morrow and Freddie Davidson on bass and background vocals. I played drums and sang lead, background vocals and did the screaming (“Treat Me Better”). I came up with the name “Ground Floor People”. We usually rehearsed in a ground floor apartment or basement. Everyone was from Brooklyn.
We were playing in a club called Freddie’s. The owners were trying to sell the place. The group became very popular and after a few months there was a line down the block. The owners decided not to sell and we played there for over nine months. I am pretty sure that was where we met Ronnie Eden (Edelstein).
Joe Simmons was a real sweetheart. I wrote “It’s All Right Now” with Joe and collaborated on another song that I wrote and he did the arrangement on. It was called “My Man’s a PHD”. Ronnie Eden produced the session and discovered a young “Aretha type” singer to record the song. I remember Ronnie saying that he got a drummer, Perdie Persaval [Bernard Purdie?], who he said played for James Brown, and Perdie got the other musicians to sit in on the session.
Q. I haven’t heard of a Perdie Persaval, but Bernard Purdie played on tons of NY sessions, including one with James Brown.
That was probably the guy. How many drummers named Purdie could there be?
Ronnie claimed he operated on a tight budget. We never had a chance to correct anything in the studio. Like Don Krantz [of Yesterday’s Children, also produced by Eden] said about the bad note on his recording. We all thought the songs “Wanna Be With You” and “Feelings” were really hit tunes. I never met anyone from Yesterdays Children.
I realized later on Ronnie was more interested in having the publishing and recordings of the artists than the quality and promotion of the production. He told me on several occasions he had publishing on several hit songs and recordings that he produced before they were successful. Unfortunately, I made several recordings but was unable to hold on to any of the demos.
My brother was drafted and the group broke up. I played with a few different bands for a while and eventually put together the second Ground Floor People. Sammy Sicalo, lead guitar, George Mandel on keyboard, and Tony Radicello on bass and lead vocals. I played drums and sang lead, background vocals as well. I wrote “Treat Me Better” and “Work A Day World” with Tony. When Ronnie got a recording contract form Mercury records, Tony and I wrote two more songs, “Wanted To Be With You” and “Make A Little Room”. All four songs were recorded at the Mercury session. I always felt “PHD” and the last two tunes at Mercury were my best efforts.
Tom Ciulla
“I Wanted to Be With You Girl” / “Make a Little Room” would show up on a 45 by the One Way Street on the Boutique label, both songs credited to Anthony Radicello, Jr., Tom Ciulla and Ronnie Eden for Impeccable Music, BMI, with production by Ronnie Eden.
Ronnie Eden’s name only comes up in Billboard in conjunction with Ted Black. Together they sold masters by John Gary to Cameo/Parkway and were sued for it by RCA (Billboard, November 13, 1965).
Tom also tipped me to this article about Ronnie becoming New Orleans record shop legend, Record Ron, who passed away in 1996. I used to go to Record Ron’s shop during the two times I lived in New Orleans in the ’80s and ’90s, but I had no idea of his previous career as a producer.
The Cavaliers in 1982 rehearsing for their 15th class reunion from left: Leslie Landrum, Tim Poole, John Burk, Elmo Peeler, Charlie Davis and Spencer Sanders
Tim Poole, Les Landrum, Gary Barnett and John BurkThe Cavaliers from Mississippi released only one 45 under their own name, “Looking for Love” / “You Better Move On” on the Spot Light label in May 1966. “You Better Move On” is the Arthur Alexander song that the Rolling Stones covered. I particularly like their performance on “Looking for Love,” an original credited to simply ‘Freeman’.
Their version of “You Better Move On” was picked up for release by Shelby Singleton’s SSS International label with a new group name, as the Moving Violations (catchy, right?). The flip was a different song for this release, “In the Deep Blue Sea”, written by Thomas, Mcree and Thomas. Production is by Huey Meaux, who passed away last month.
The Cavaliers also had an unreleased song from these sessions, “Girl Why Can’t You Understand”, that is excellent.
Some of the Cavaliers on the Gulf Coast with first manager Avon Frost from bottom left: Avon Frost with Les Landrum on his shoulders, Elmo Peeler, center, Charlie Davis with Tim Poole on his shoulders.Charlie Davis, Elmo Peeler and Tim Poole
I have to thank the Cavaliers’ drummer Charlie Davis for sending these songs to me and giving me the info about the group below:
I was in a band called “The Cavaliers” from Kosciusko, MS:
John Burk – vocals Les Landrum – lead guitar Tim Poole – rhythm guitar and bass Elmo Peeler – keyboards Gary Barnett – bass guitar Spencer Sanders – rhythm guitar and vocals Charlie Davis – drums
Les Landrum formed the group in ’63. We started out as a four-piece band playing instrumentals like “You Can’t Sit Down” and mainly influenced by The Ventures, “Walk Don’t Run”, etc. We broke up in 1967 when we graduated from high school and all went to different colleges. Of course we had added a main singer and keyboards during that time. In 1966 Spencer Sanders joined the group replacing Gary Barnett. Tim Poole then switched to bass guitar and Spencer played rhythm guitar and added vocals and harmony.
We mainly played in and around Mississippi during that time, alot on our Gulf Coast (Biloxi & Gulfport). The only out of state gig I can remember was for a LSU fraternity party in Baton Rouge, LA.
The record came about after we recorded a couple of songs written by our singer, John Burk as demos. We were then asked to record “Looking for Love” written by one of the owners of the studio in Jackson, MS. We played a lot of Animal tunes and Rolling Stones so the flip side was our version of the one put out on an album by The Rolling Stones, “You Better Move On”.
The record was first distributed on the Spot Light label and later on SSS International label (Shelby Singleton) where they changed our name to The Moving Violations. It never made the charts but I think got play on the Chicago AM station WLS.
In 1982 we got back together, practiced for a week, and played for our 15 year class reunion.
Elmo Peeler who played the Hammond organ went on to play with such notable artist as The Beach Boys, Rod Stewart, Ricky Nelson and The Sweet Inspirations. Although he never toured with them, he also played on CD’s by The Flying Burrito Brothers.
I also played drums on the session with The Ravin’ Blue … “Love” and “It’s Not Real”.
Charlie Davis
Charlie Davis at the Neshoba County FairLes Landrum and Tim PooleLes Landrum, lead guitarJohn Burk, Gary Barnett and Charlie Davis
Charlie Davis also created this video below, featuring “Girl Why Can’t You Understand” accompanied by some of the photos seen here:
Charlie Davis at the Neshoba County FairTim Poole and Les LandrumCharlie DavisTim Poole, Les Landrum, John Burk and Gary Barnett
The Monotones’ first rhythm guitarist Ian Middlemiss sent these photos and clippings of his time in the band from 1958-1962.
The photo captions are by Ian:
Earliest photo of the Monotones at St Cedds Church gig early in 1960 From left: Pete Stanley, Brian Alexander, Ian Middlemiss, Nigel Basham, and Barry DavisIan Middlemiss with a Hofner Club 50 (?), never stayed in tune for more than 10 mins. June 1960, venue cannot rememberA clip from the local paper, gig at St Cedds in May 1961St Cedds May ’61. Clearly this is in open E. Middlemiss has got a Strat copy, Alexander exploring the possibilities of the Mixolydian mode in position 1? This I doubt. Alexander’s thrashing about trying to find notes that roughly match the melody.April 1962, from left: Jim Eaton, Barry Davis, Paul Dunning, Brian Alexander and Ian Middlemiss. Stanley got fed up and had a six month sabbatical. He did come back eventually.From left: Nigel Basham, Barry Davis, Paul Dunning, Brian Alexander and Ian Middlemiss. A half decent shot of Stanley’s bass made by his Dad. Basham and Eaton shared the vocals or should I say Mark Lloyd and Thurston Crane (tee-hee). In 1962 to sing vocals you had to wear a suit and tie and pretend that you were a gentleman.200 people at 2/6 a pop = £50 divided by 5 = £10 per member which is more than a 1960s weekly wage. Remember most of us were at WHSB and you get a 5 gallons of petrol for £1, pie and chips for 1/6d and get trousered for £2. No small wonder that Brian A. hired the White Hall for our debut performance. The downside of the White Hall was that they had no alcohol license. Brian hired the dance hall at the Elms which was much bigger (300). An immediate success but the manager saw the potential and in the end got the beer money and the gate. We were not too bothered, the ladies were more important.Who were the Strangers, Ebonies and O B Swing 5?
Can anyone identify this band from the 1967 Estancia High School yearbook? They certainly look sharp. The Wooly Ones came from Costa Mesa, California, but their record “Put Her Down” / “Slings and Arrows” was cut a year or two prior to these photos.
Thank you to Barry Kazmer for sending in these photos. I’ll be posting more of Barry’s scans in the future.
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
The Sloths cut the great “Makin’ Love” in September 1965. The sliding guitar rhythm doesn’t quite mesh with the other guitar part. The production is so muddled the drummer’s Bo Diddley beat on the toms produces a constant hum that drowns out most of the bass notes. The sound is a turgid, dense r&b, like the Stones’ take on “Not Fade Away” turned inside-out. Hank Daniels shouts his lyrics in a hoarse, slobbering voice: “I wanna be with you all night, makin’ love, good good good lovin’ baby, makin’ love”!
The John English III & the Heathens 45 on Sabra, “I Need You Near” is one of the rarest and most highly rated of any mid-60s rock releases. I’ve covered John English in some detail on my site, but now I’d like to give the Heathens their own page, as most of their history comes after English left the group.
As John related the story, someone named Brian who had done PR work for the Beatles brought Lelan Rogers to see the Heathens show at Pandora’s Box. According to John, Lelan had them record three or four sides, but only two were ever issued.
