The Gentlemen “It’s a Cry’n Shame”

January 7, 2008 Chris Bishop 21 Comments

The Gentlemen, l-r: Tommy Turner on keyboards, Tim Justice (kneeling) on drums, Mike Kelley on guitar and vocals on "Cry'n Shame", Bruce Bland on bass, and Seab Meador on lead guitar and vocals. — l-r: Tommy Turner on keyboards, Tim Justice (kneeling) on drums, Mike Kelley on guitar and vocals on “Cry’n Shame”, Bruce Bland on bass, and Seab Meador on lead guitar and vocals.

Tim Justice, drummer for the Gentlemen, gives the history of the band behind one of the most essential 45s of the 1960s, “It’s a Cry’n Shame”:”The Gentlemen played in and around Dallas, Texas from 1964 until 1968, always enjoying a booked in advance schedule and putting on energy packed shows. Originally started by guitarist Seab Meador and drummer Tim Justice, they were joined by bassist Lonnie Taylor and guitarist and singer Mike Kelley in early 1965. The band’s early musical direction was crafted by Meador whose guitar genius was recognized by all who came in contact with the group. Seab loved early Rolling Stones, Animals, Kinks and Yardbirds, concentrating heavily on the stylings of Jeff Beck.

“The band took on more of the rhythm and blues swagger of the Stones and Animals than the pop ballads of the Beatles and Dave Clark Five. Our original bass player was Lonnie Taylor, who lived in South Dallas and had a hard time making all the gigs. We found Jimmie Randall, or he found us, and slowly the transition took place. I do remember a few nights when he AND Lonnie showed up and we played with 2 bass players. Heavy.

“Jimmie also remembers something that I didn’t, that he played bass on our first and earliest recordings, ‘Beg Borrow and Steal’, and ‘Here I Cannot Stay’, both written by Seab Meador. Boy, were we young. Must have been 15 at the time. In the session, Seab was on guitar and singing, I was drumming, Jimmie Randall was on bass and Mike Kelly was on guitar. The later three sang backup. Seab penned both songs and as far as I know, there are only 2 copies of the acetate, one owned by me and the other by Jimmie Randall. Jimmie reminds me that these AND the later ‘It’s a Cry’n Shame’ sessions were recorded at Summit [Sumet] Studio, and the master acetates where made upstairs at Boyd Recording Service. [This first session] cost $150 that we split 4 ways. We just wanted to see what we sounded like and never tried to find a label.

“This unit played through 1965 with the addition of fellow Oak Cliff musician Jimmy Vaughan, later of the ‘Fabulous Thunderbirds’, creating a powerful duet with Meador during a several month stint. Meador and Vaughan forged a solid friendship during this time.

Tim: "A business card with no phone number on it….Doesn’t make a great deal to sense, but I’m thinking we thought it was cool at the time!" — Tim: “A business card with no phone number on it….Doesn’t make a great deal to sense, but I’m thinking we thought it was cool at the time!”

“In early 1966, the nucleus that would come to represent the band formed, including Meador, Kelley, Justice and new members Bruce Bland on bass and Tommy Turner on keyboards. This incarnation solidified into a driving rock band that always brought down the house. They played venues such as Louann’s Club and the Studio Club in Dallas and Panther A’ Go-Go and The Box in Ft. Worth. During ’66, The Gentlemen opened for James Brown at the Dallas Convention Center, Mitch Ryder and the Detroit Wheels, and The Beau Brummels at Louann’s. They played along side Jerry Lee Lewis and Roy Orbison at Panther A’ Go-Go.

“Tom Brown, president of Vandan Records heard us play at LouAnn’s Club in Dallas, and wondered if we would do some writing with him and Gene Garretson, his arranger. After several weeks, we came up with a song called ‘You Can’t Be True’ and what was considered the B side, ‘It’s a Cry’n Shame’. We liked ‘Cry’n Shame’ better, but Gene spent a lot of time arranging violins and multiple tracks for ‘You Can’t Be True’ so that was the track they pushed. It took us nearly two weeks to record ‘You Can’t Be True’, and as a complete after-thought, 2 takes and probably 1 hour to slam down ‘It’s a Cry’n Shame’. Therein lies the genuine spontaneity that makes it pure straight ahead punk rock, I suppose.

“The result was what has now become a garage rock classic. ‘It’s a Cry’n Shame’ has been referred to by the G45 LEGENDS listings as: ‘One of the top 10 tracks to play to anyone you need to convert to 60s garageism. Absolute perfection in every respect, including barnstorming drumming, scorching fuzz guitar complete with ripping break, bass alternately swooping and thumping. Add to this the distinctive vocals which combine the best pop sensibilities with the classic Texas punk sneer, and simple yet effective backing vocals. Everything’s just perfect.’

“Bruce Bland, our bass player, was playing a no brand bass guitar that he picked up at a thrift shop for $50. He had a Fender for gigs but this thing was so funky-butt ugly and had a fuzzy thumping sound, perfect for Cry’n Shame.

“Seab Meador had a gaping hole in the center of his Vox Super Beatle so that he could stick his guitar neck inside to get the Fuzz tone that is prevalent on ‘Cry’n Shame’. He was a big Yardbirds follower.”Mike Kelley, our singer and guitarist, stuck his finger in the master tape spool by accident when it was rewinding, causing the strange modulation during the final cord at the end of the record. Since the mix had been finalized, it stayed in….

“Brown then pressed 1 or 2 thousand of the dreadfully flat Vandan copies and sent them to his DJ cronies in Detroit, Philly and Boston for airplay.

“A few weeks later when we were having the photograph [above] made at the Studio Club in Dallas, a triumphant Brown walked in with a copy, (Jan. 1967) of Record World Magazine. In the 4 Star Rating column of hits to watch were 3 songs, ‘For What It’s Worth’, by the Buffalo Springfield, ‘Somebody to Love’, by the Jefferson Airplane, and ‘It’s a Cry’n Shame’ by the Gentlemen. We wondered how that could be at the time, whether Tom Brown paid someone for that privilege, but now I think maybe that song got there on it’s own merit. After all, it was suppose to be the B side. Ha.

“I remember when that 45 came out, it was sent to KLIF and KNOK radio stations is Dallas and they began to play it. We, of course, were completely beside ourselves. We had accepted a job playing at a large auditorium ‘go-go’ show in south Dallas with several other bands, but our new song established us as the band to beat. The promoters arranged to have 2 off duty Dallas police cars intercept us a few blocks from the gig. Girls were lined up several deep wanting autographs and such, so we had to run through them to get to our room back stage. Once there, a guard was stationed by our door and we could see girls jumping up to look in the little opera window, yelling and screaming.

“Bands were rotating equipment so that there were always 2 setups on stage. A band called Mike and the Midnighters played before us, and then it was our turn. We typically dressed in collarless jackets (Nehru Jackets they were called at the time) with gold ascots, stovepipe black slacks and Beatle boots, of course. What a crowd reaction! Several hundred wild kids whooping it up! When we finished and started off stage, several girls ran through the equipment to get to us, knocking over the Midnighter’s drum kit. The bass drum rolled over and fell off stage. They were very mad, but we were very happy, as this was about as close to ‘That 60’s British Rock Star Magic’ as a bunch of 16 year old kids from Dallas would ever get.

“It was 2 takes for Cry’n Shame because Tom Brown was out of money. Shortly after he showed up with the magazine, we showed up at his home to find a for sale sign and no furniture. We would find our later that he was down to his last cash and skipped town to avoid creditors. We never saw him again, but read that he moved to Los Angeles to start over. He died there not long after.

“In 1967, Seab Meador left the Gentlemen to pursue his quest for guitar immortality, including stints with Dallas bands The Bridge and The Werewolves. Guitarist Danny Sanchez who later played with the Roy Head band took over lead duties, but the magic that surrounded the core group was partially lost with Seab’s departure. The Gentlemen disbanded in early 1968 as other goals became important. Like so many bands of this era, we had an incredible time playing music that we loved during a time when 16 to 18 year old high school kids were able to live lives far more mature than their ages implied. It was a unique time that will never be repeated. Texas is known for braggin’ rights, and I realize that this bio contains some strong bragging, but I was and still am so proud to have played with such a great bunch of guys. You can’t buy that kind of friendship and strong ties. Seab and Mike have passed away, but I am still in touch with Tommy and Bruce and since we all still play our given instruments, a Gentlemen musical reunion is being discussed down in Dallas later this year. We may be a lot older, but at heart, we’re still kids from Oak Cliff and we can still rock.”

Tim Justice
Drummer, The Gentlemen

I asked Tim a few questions regarding the band:

Q. Didn’t the band start in Ft. Worth?

Tim: The Gentlemen were always from Dallas. Yes, we did play gigs in Ft. Worth, which as you know, had a thriving music scene of it’s own in the 60’s, but the guys from Norton Records who put the “Ft. Worth Teen Scene” compilations together either assumed or were told that we lived there. Not so.

Q. A band from Florida, the Invaders also performed at a movie theatre showing the Beatles movie Help! Strange coincidence, or maybe it wasn’t uncommon to have bands at movie theaters then?

Tim: I noticed that the Invaders had a similar newspaper clipping regarding HELP! That is a coincidence. I know that they must have had as much fun as we did. We played in the foyer of the theater and got paid PLUS great seats to watch the show. Big stuff for 16 year old kids.

Q. That set list is incredible, I can’t believe a band could play that many songs in one evening.

Tim: The playlist was pretty normal for a 4 hour gig back in those days. We would start around 7:30 and end up around 11:30 with 15 minute breaks in between sets. Each set was tweaked as we learned new songs. There were always a few requests, too.

Jimmie Randall on the Gentlemen:

“My connection was my friendship with Seab Meador. He introduced me to Tim and the other guitar player was Mike Kelley. They all went to Kimball High School in Dallas, I was at Sunset til we moved to Duncanville. They seemed to like my playing and let me be a sort of honorary member.

“I played with Lonnie on guitar in The Squires maybe that’s how I met Seab who knows? Not me. Everybody was changing bands so often then. I think because we were all learning to play and searching for a style and sound. It was like you sort of ‘outgrew’ one band and went on to the next size up. I do always say that the Gentlemen was the first ‘real’ band I was in. They had a real song list and could actually play.

“My time with the Gentlemen was really never as the ‘official’ bass player. I filled in some and played on a recording and on the Panther Hall TV show on Channel 11 from Ft.Worth. We even played a gig at Oak Cliff Country Club with two bass players …with predictable results. But we were 15 and 16 years old what did we know besides it was fun.

“Anyway as far as the Gentlemen recording I don’t really remember what was up with that. I know we did it at Summit Studios [Sumet Sound Studio]. I have the original acetate. These 2 songs [‘Beg, Borrow and Steal’ & ‘Here I Cannot Stay’] really showed off Seab’s early guitar licks and writing capabilities.

“It was recorded for our appearance on the Ft. Worth TV show that was on Friday nights on channel 11 from Panther Hall … a club on Camp Bowie. My first TV appearance was there with The Gentlemen. Seab and I got my mom to drive us over in her old Ford station wagon. First ‘out of town gig.’ Lots of local bands were on that show. I remember the night we were there a group called the Warlocks played I think Dusty and Rocky Hill were in that band they had a girl singer and all dressed in black. Also Johnny Green and the Green Men a show band with horns. Sort of a Wayne Cochran deal except with Giant green pompadour hair, instead of giant white pompadours.

“That was the first time I played with Seab. Later we tried to form a couple of bands, one of which was called the Hurricanes in Houston with Brian Papageorge and Ron Barnett. That became the Werewolves when Ron and I left to rejoin Gary Myrick in his band Slip of the Wrist. Seab was a great friend I was at the hospital the night before he died. He taught me a lot. I miss him still.”

After the Gentlemen, Jimmie Randall went on to play with Dallas groups The Styks and Stonz and The Beefeaters before joining Jo Jo Gunne.

As an interesting sidenote, Seab Meador did a short tour as a member (along with two future members of ZZ Top) of a fake version of the Zombies, a story told with great candor and excellent photos by fellow guitarist Mark Ramsey (Ramseur) at I Was a Teenage Fake Zombie.

The early acetate:

The Gentlemen – Beg Borrow or Steal
The Gentlemen – Here I Cannot Stay

Incredible rehearsal tape of It’s a Cry’n Shame:

The Gentlemen – It’s a Cry’n Shame (rehearsal)

The Vandan 45:
The Gentlemen – It’s a Cry’n Shame
The Gentlemen – You Can’t Be True

I detect a similarity between the riff of “It’s a Cry’n Shame” and Hilton Valentine’s opening to the Animals’ “Baby Let Me Take You Home”. Not to take anything away from Seab Meador, his playing is incredible. The Briks also did a version of this song not long before the Gentlemen cut “It’s a Cry’n Shame”.

The mastering of the Vandan 45 gives it a somewhat distorted, flat sound. Interestingly, a test pressing surfaced with both songs in better sound quality. It was labeled “Crimson Records”, but no one seems to know the definite origin of this copy. The master stampers are different from the Vandan release, and the markings in the dead wax are also unique.

According to Mark Taylor, the Crimson test pressing has in small handwriting “CRIMSON 1006A” and “B”, then “3 ∆ I”. The Vandan has a handwritten “TK4M 8303 1.” Mop Top Mike adds, “Dead wax details allow me to relay that the Crimson pressing is definitely 60s. The triangle and the “I” signify a Capitol custom pressing from the Scranton, Pennsylvania plant. The likely scenario – a better sounding copy was remastered for a subsequent pressing – perhaps the major label, Capitol records showed some interest, and the go ahead was made to upgrade from the original lacquer / stamper done by RCA. A second scenario – I believe the Gentlemen 45 was the last if not the second to last issued by the Caprice / Vandan label. The operators packing in the label might have had something to do with the new pressing.”

The liner notes to Ft Worth Teen Scene vol. 3 state that the band recorded the song for release on their own label (hence the Crimson Records test press), and then gave it to Vandan when they struck a deal. Tim Justice states, “There is no Crimson Record label per se. The now legendary Crimson copy is just that, a single copy which we believe to be the original master to disc recorded after the Vandan studio sessions and before the several thousand Vandan pressings were made.”

Credits: Photo of Seab in 1965 from the BigD60s yahoo group. Transfers of the Gentlemen test press 45 courtesy of Mark Taylor. Some of Tim’s recollections first appeared on the G45 Central site and are reproduced with permission. Quotes from Jimmie Randall from my correspondence with him as well as the BigD60’s group.

Categories: Dollar, Sweden

Jack and the Rippers

January 5, 2008 Chris Bishop Leave a comment

Mikael Nilsson sent in the cover and tracks by Jack and the Rippers. Of the band he says “they started as a instrumental band. In 1965 they came second in a radio competition the prize for that was to make a record.”

“Cathy’s Clown” is not one of my favorite Everly Brothers songs, but the group does a good job of it. I”‘m the Richest” is a solid beat song, with lyrics sung in English, though they’re hard to make out clearly. It was written by Kjell Wadstedt, Jörgen Sjöstedt and Lars E. Carlsson.

Songwriter and producer Lars Carlsson’s website gives the history of the Dollar label, an excerpt is below:

Together with Åke Söhr I started Dollar Records in 1965. At that time I worked as a producer at Cupol Grammofon AB in Stockholm. Åke (dead since 1995) was then a well known singer and musician mostly working in Stockholm. He recorded for Cupol and was a friend of Helge Roundqvist, the owner of the company. This friendship made it possible for us to distribute the Dollar label through Cupol and as I was working there, I could keep an eye on the distribution.
The first Dollar records were cut at Borgarskolan (a secondary school) in Stockholm, where a small studio was located. The owner was an engineer, Erik Lundberg. The control room was situated on the third floor and there was no lift. The artists and the groups stood on a small stage on the first floor. The producer kept in touch with them by a local phone and was actually looking down on the musicians through a small window. In the control room there was a two-track tape recorder, a reverb effect and a mixer. The background music was recorded on one track and the vocals on the other. To listen to the recorded tracks the singer had to go to the control room. When the singer had climbed the stairs three or four times, he/she was so exhausted he/she couldn’t sing any more. That’s one of the reasons cutting a record was so fast at Borgarskolan. Two or three vocal takes on one song were very common.
Among the first Dollar recordings made at this studio were The Madmen, The Teddy Bears and Jack And The Rippers. The first pressing of each record was around two hundred copies. The group bought some records to sell and Cupol distributed the rest. In 1969 the last Dollar record was released. We had made sixty-eight singles, seventeen EP’s and one LP.

Categories: Malaysia

Ahmadi Hassan

January 3, 2008 Steven Farram 5 Comments

Ahmadi Hassan is the stage name of Ahmad bin Hassan of Malaysia. The song “Kemana Nona” (Where Are You Going Young Girl) has a sixties feel to the opening [the riff to the Animals’ “I’m Crying”] and closing segments, but was probably recorded about 1974. The rest of the song has some strange bits in it, such as a sort of fairground version of Jingle Bells. The song has an Indian feel and I believe this could be a Malaysian version of a song made popular from a Bollywood movie.

Ahmadi Hassan made numerous albums during the 1970s and 1980s, but then disappeared from the music scene and concentrated on business. He was sentenced to a years gaol in the early 2000s for illegal money transactions. In the meantime he released his first album for many years. Unlike his earlier pop albums his latest release is Nasyid music; music inspired by Islamic teachings set to Arabic rhythms. The album won the best Nasyid album award at the 2007 Malaysian Music Awards.

Categories: Greensburg, Irwin, Pennsylvania, Recap

The Noblemen 4

December 31, 2007 Chris Bishop 11 Comments

Noblemen 4 photo and business card — The Noblemen 4, from left: Dave Henry, Lou Penzera, Roy Albert and Rich Yusko

Pennsylvania’s Noblemen 4 came from the towns of Greensburg and Irwin, southeast of Pittsburgh.

Members were:

Dave Henry – lead guitar, vocals
Rich Yusko – organ
Lou Penzera – bass
Roy Albert – drums

Andy Anderson, a friend of the band, wrote to me about their early days:

I’m originally from Greensburg, and know three of the members of the Noblemen 4. Actually I should say “knew” as I’ve been gone for about 38 years. The three guys that I know/knew are Dave Henry (lead guitar/vocals), Roy Albert (drums), and Joe Smartnik (bass guitar).
There was a mail-in contest to vote for your favorite band, and they had a form letter to vote. I recall Dave ripping the phone book into sections so everyone had their own part of the book to copy names from. I was one of the guys who was signing any name I could think up, and stuffing the letter into the envelope. Dave’s wife, Carol, and her sister Barbara were sealing the envelopes and putting on the stamps.
Needless to say, they won the contest and “Get Outta My Life Woman” / “What’s Your Name” was the record they cut for winning the contest. Both of the songs are covers.
My involvement with the band ended right around the release of the first record, and I moved out of state and lost touch with them. Sure would have liked to see them hit the big time.

“What’s Your Name” was a cover of the Don and Juan doo-wop hit from 1962. I prefer the flip, an uptempo version of Lee Dorsey’s “Get Out of My Life Woman”.

Though the band may have won the contest by rigging the vote, they must have done a good enough job on the first record, as Recap had them cut a second. The Recap label was owned by Norman and Tony Candelore. Tony would also be manager of the Noblemen 4.

Their second 45, the bittersweet ballad “I Can Hear Raindrops” was written by Ty Lemley and Philip Rowe, and the rowdy and non-sensical “Hang It In Your Ear” by keyboardist Richard Yusko. Both songs were produced by Tyler-Perell for Georden Productions, and published by Triver Music BMI.

Noblemen 4 News-Dispatch January 15, 1968 — The Noblemen 4 reach the finals of the WIIC Channel 11 Battle of the Bands, January 15, 1968

In 1968, the band won Come Alive’s Battle of the Bands on WIIC-TV, beating out the Pilgryms of Follansbee, West Virginia. The prize was a recording contract with Mercury Records, which led to a single I haven’t heard yet, “Beach Umbrella World” / “Lady Flora” on Mercury 72828.

One article also mentions Mad Mike presenting local group Light with a record contract from Cleo Records in Cleveland.

Thanks to Andy for the label scans and mp3s of their first record. Special thanks to Rich Yusko for the photo and news clippings seen here.

Noblemen 4 Aces Acetate I Can Hear Raindrops — A fraudulent 1980s “acetate” of “I Can Hear Raindrops” made by a Michigan dealer. Credited to the Aces, this is actually the Noblemen 4’s version lifted off their record.

As an interesting side note, in the 1980s, the Noblemen 4’s record of “I Can Hear Raindrops” was used by a Michigan dealer to make a fraudulent acetate credited to the Aces, with “Punch Record Company” listed to give the false impression this was one of Punch Andrews’ productions. The dealer sold this at an expensive price to a collector who hadn’t known the Noblemen 4’s record, and it was also used in a compilation called Thee Unheard Of which had other misattributed songs, some of which have not been identified to this day. For more info see the Ugly Things compilation site. If anyone has more info on these acetates, please let me know. Thank you to Gregor Kessler for the scan of the “Aces” acetate.

Categories: California, Impression, Los Angeles, Unknown

The Dillons

December 28, 2007 Chris Bishop 2 Comments

Here’s a 45 on the Impression label that I didn’t know about until finding it last week. It also happens to be the label’s first release on their revamped, yellow Impression label. I’m not sure who the Dillons were, but this 45 was written and produced by Dorsey Burnette.

Along with his younger brother Johnny Burnette and Paul Burlison, Dorsey was one of the Rock and Roll Trio, whose songs include the fuzzed-up version of “Train Kept a Rollin'” that the Yardbirds would cover.

“Simple Way of Living” is a truly fantastic garage tune, contemporary to the times musically, if not lyrically. The flip, “Night Winds”, is out of an earlier era, and was written by Burnette and Joe Osborn, bass player for Ricky Nelson.

I’d love to know the story behind this single! Freddy pointed out the clip from Shivaree, which shows the band as a duo backed by (according to a comment on the video) the Challengers:

The Symbols

December 27, 2007 Chris Bishop 32 Comments

From left: David Moore, Don Willin, Carl Erwin and Joe Boyland

Here’s a record I don’t own myself, but after writing about the Marke 5, I heard from a member of another band from Fayetteville, the Symbols.

The Symbols released this one 45. The A-side is the Beatlesesque “Can I See You Tonight?” with an unusual guitar solo. Less restrained is the excellent flip “Give Me Time,” full of energy and originality, and written by David Moore and Joe Boyland.

Jerry Miller put me in touch with his brother George, who was the second lead singer of the group, joining right after the 45 was recorded. Prior to the Symbols, George was in the Taxmen, a rival band to the Marke 5 at Seventy First High School in Fayetteville.

George Miller wrote to me about the Symbols:

David Moore played lead, Don Willin bass, Joe Boyland (he was a preacher) rhythm, Carl Erwin drums.
Don Willin was a McCartney freak at the time and copied his style. Willin played a big red Gibson hollow body Bass, like Peter Tork of the Monkees. Moore and Boyland wrote their songs.
Johnny Betz did the original vocals of “Can I See You Tonight.” I have no idea why, but after the record was cut and got dist. going, Betts and the drummer quit. Carl Irwin, from Pine Forest H.S. and myself from 71st, moved into those to places and the Symbols really clicked. I sounded exactly like him doing that song so we did it all the time and I got the credit for making it a hit.
We did “Words” by the Bee Gees then; and the crowd always went crazy. We played all over N.C. The Symbols were the first to use strobe and stage lighting. Very limited at the time, but effective. We had that stage magic. I won’t ever forget the fun and work it took to be on the road in H.S.
Jimmy Capps Productions was in Raleigh, N.C. Capps produced “Can I See You Tonight” 600 copies (at total $625.00). We had a recording offer from ‘Colgems’ (Columbia/Gem) in California, four songs all original, and I was too young to go on tour without an adult chaperone. So I got in trouble and headed off to Viet Nam with Mike and Jim, who were the other getter-in-troubles …..and we got to be War Heroes n’stuff and be cool around Fayyette-Nam….
By the way it is Bradley Moffet, lead guitar – Marke 5, that was working at Edwards Music not Donnie Wofford. Wofford is retired from the Army as an E-7, and runs some convenience stores in Hope Mills.
The Taxmen: Bobby Williams – Lead, Jay Shepherd – Rhythm, Bob Holmes – Bass, George Miller – Vocals, Bill Palmer – Drummer # 1, ? – Drummer #2. Anyone know where Bob Holmes and John Holmes might be? Old Jr. High School band “The Barons” the best song we did was “Shapes” by ‘The Yardbirds’… Barons was ahead of their time.

Categories: Lavender, Longview, NWI, Washington

The Impacts

December 26, 2007 Chris Bishop 33 Comments

The Impacts of Longview, Washington

One of several bands called the Impacts in Washington state, this group was from Longview, a small city along the Columbia River, a half-hour’s drive north of Portland. Original members were Ron Baldwin and LaDonna Lockman on vocals, Bruce Farquhar on guitar, Dick Sayles keyboards, Bill Uhlig bass and Spook Brusco on drums.

By the time of their first 45, Dan “Spyder” White and Steve Green had replaced Sayles and Brusco, respectively, and LaDonna Lockman had either left the band or was only appearing at their live gigs, as she isn’t on any of their recordings.

They recorded their first 45 at Northwestern Inc., the legendary Portland studio where the Kingsmen cut Louie Louie, and paid the studio to press it on its NWI label. “A Little Bit More” is a fine original, and may have helped get them signed with Pat Mason, a major booking agent in the Pacific Northwest.

“Leavin’ Here” is an Eddie Holland song on Motown that became a staple of live acts like the Who and the Birds in the UK, but in the states was less often covered. The Impacts probably learned it from Jimmy Hanna & the Dynamics’ version on Bolo.

Compared to the frantic pace of the UK groups who recorded “Leaving Here”, the Dynamics and the Impacts versions take a much more languid approach. The Dynamics make it work with swirling organ fills and horns responding to the vocal lines. The Impacts start off well, with a sharper sound than the Dynamics, but the band somehow fails to generate the energy to make this work, especially on the chorus.

Impacts Lavender 45 Green Green Field Once signed with Pat Mason, the Impacts started releasing records on his Lavender label, and recording at Bob Gibson’s Ripcord Studio in Vancouver, WA.

“Green Green Field” and “Don’t You Dare” show a much more confident and accomplished band. Like “A Little Bit More,” these two songs are originals by Dan White (Robert Douglas White on the BMI registration).

After this record they changed their name to the Impact Express and released three additional 45s on Lavender in progressively pop stylings. I’d feature “I’m Gonna Change the World” if I had a copy, but by “Sunshine Day” they sounds like a completely different band.

45 releases:

The Impacts:

A Little Bit More / Leavin’ Here (NWI 2006)
Don’t You Dare/Green Green Field (Lavender 2005)

The Impact Express:

I’m Gonna Change The World/ You Get Your Kicks (Lavender 2006)
Sunshine Day / Don’t You Dare (Lavender 2007)
A Little Love/Fly With Me (Lavender 2008)

Photo from PNW Bands

Categories: Florida, Miami, Suncrest

The Invaders

December 23, 2007 Jeff Lemlich 5 Comments

“One of the gassiest groups in Miami, man. Got a smash-a-demus going for ’em. The Invaders — it’s rated number two on the survey tonight. It’s called ‘She’s A Tiger’!”

listen to DJ Rick Shaw on WQAM

Rick Shaw’s words in ’65 let teens in sixteen counties know that a band from South Florida — for that night, at least — had the second most-requested song in the area. On that night, the Invaders had outperformed the Beatles, the Supremes, the Byrds, and Herman’s Hermits, as their fans all flocked to their phones to give support to the guys who’d just won the Burdines Combo Castle Battle Of The Bands.

“She’s A Tiger”‘s brief success was certainly a highlight for the group, which had started out way back in 1962 as the Playboys. After adding Don Goodson on drums and Kenny Ahern on guitar, keyboard player Robert Haas renamed the group The Invaders.

Their electronics expert manager Richard Sano leased a rehearsal studio for the guys on Northwest 27th Avenue, near the Palmetto Expressway. Inspired by the Canadian Legends, the guys decided to buy all new Fender equipment. Ahern exited, and Dave Davis came in as the band’s new lead guitarist.

It was about that time that Goodson purchased a new Chevy van to transport the group’s new gear. Haas designed a logo that was then painted on the van. Everyone knew when the Invaders were coming!

By ’64 the band was booked solidly all over Dade County, and into Hollywood and Ft. Lauderdale as well. They played at spots such as PAL, Code One, the Diplomat, the Fontainebleau, the Bath Club, the Hollywood Armory, and the Surfside Community Center.

Surfside Community Center Tene Dance with the Road Runners, the Shaggs, the Blue Beatles, the Modds and the Invaders — Notice both the Shaggs and the Blue Beatles had their names misspelled on this flyer.

Burdine's Combo Castle Ballot — Burdine’s Combo Castle Ballot

The band members traded in their Fender equipment, after agreeing to an endorsement deal with Vox. Haas became one of the first keyboard players in America to own a Vox Continental organ. The Invaders appeared in a series of ads for Vox, including the one above that promoted the House Of Pianos and Organs, on Northwest 7th Avenue and 34th Street. The band also played at the South Florida premier of the movie “Help!”

The Invaders caught the attention of several WQAM Tiger d.j.s, including Rick Shaw and Jim Dunlap. It was only natural that their record would get airplay on the station. (Having the word “Tiger” in the title didn’t hurt matters, either). The single, by the way, was engineered by Mac Emmerman at Criteria.

The B-side title was changed from “She’ll Come Back” to please one of their sponsors, Honda… even though the word “Honda” is never mentioned in the tune.

Rick Shaw introduced two Capitol Records A&R men to the boys in the band, who were then offered a record deal — with one catch. The boys were told they’d have to devote all their time to their career, which would mean dropping out of school. That offer was turned down.

The Invaders' Steve Seitz and Dave Davis at the "She's A Tiger" session — Steve Seitz and Dave Davis at the “She’s A Tiger” session

Some additional information on the Invaders, from Robert Haas:

The Honda Corporation, a sponsor of Burdine’s Combo Castle Battle of the Bands, insisted that the Invaders use the brand name, “Honda,” in one of the songs the group recorded. The recording, which took place at Criteria Studios on W. Dixie Highway in N. Miami, was as part of the grand prize for winning the contest. The requirement to use “Honda” in one of the two songs recorded was made known to the band AFTER I had written the lyrics to the original tune, “She’ll Come Back.” It was an absurd request since the song had nothing to do with a Honda motorbike and the only solution I could come up with on the spur of the moment was to use “Honda” as a nickname for the girl referenced in the song. Silly, but those were the rules!
The Invaders, the Calientes and the Stops appearing with WQAM DJs at screenings for Help!
“She’s A Tiger” was never used intentionally for promotional purposes. I wrote the lyrics prior to winning the battle-of-the-bands-contest. WQAM, purely by coincidence, was called “Tiger Radio” and the DJs there did not miss the opportunity to capitalize on the coincidence. It was good for the Invaders, who had already caught the ear of DJs Rick Shaw and Jim Dunlap. Rick was instrumental in getting Capitol Records to offer the group a recording contract (which we turned down). He nevertheless continued to play the song nightly and used it to promote not only the Invaders but also WQAM.
There was another DJ on FM radio who came to prominence two or three years after the Invaders had disbanded. Her name was Trish. I don’t recall the station’s call letters. I would tune Trish’s show in at night and listen to her talk about the Invaders. She apparently had been a big fan of the group. To my knowledge, I never met Trish. She would regularly play “She’s A Tiger,” for her audience.
I think that’s about as much exposure as the song got. It was the very first song I had ever written, so I guess that’s not too bad for a first effort. Little did I realize that it would not be until I was 40 years old that I would become a major label recording artist and pen a few Billboard-charting songs! From 16 to 40 is quite a wait!
Peter Pan Productions was the name of the Invaders’ publishing/recording company. I cannot recall why we chose that name but I am fairly certain it was the result of a standing band joke. Humor ruled the day whenever the Invaders got together.

Don Goodson on the drums, at the "She's A Tiger" session — Don Goodson on the drums, at the “She’s A Tiger” session

Not long after, Dave Davis left town, and the members of the Invaders drifted into different directions. Don Goodson would join former Invader Kenny Ahern in The Echoes. Haas would replace Richie Borkan in Sounds Unlimited. (Borkan would soon join the Kollektion.)

Steve Seitz opened an artist management firm on Miami Beach in the 1980s.

Don Goodson worked at Ace Music in North Miami for many years, and made appearances recently at both Geezerpalooza and the “While We Still Can” reunions. Don passed away in late 2007.

Ahern can still play surf guitar with the best of them, and a few years ago was in a duo called The Stratospheres with Bill Kerti, another Echoes/Echo veteran.

Robert Haas went on to write the best-selling health and fitness book, Eat To Win, and collaborated with Cher on another best-selling book. He landed a major label recording contract with Mercury/Polygram with the group Siren (aka Red Siren), and has been told one of his songs is on hold for recent American Idol winner Taylor Hicks.

Unfortunately, Dave Davis killed himself in the 1970s, before he could see his music appreciated by a new generation of fans. I do not know what happened to Jeff Glass.

Thanks to Robert Haas for most of the photos. Invaders van picture by Linda Neary. Thanks also to Billy DeMoya. 45 transfers from Jeff’s Florida Flashbacks.

The Invaders story by Jeff Lemlich. Originally published on the Limestone Lounge and reproduced with permission.

Categories: Amarillo, Texas, Tipton, United Artists

The Hysterical Society

December 23, 2007 Chris Bishop 23 Comments

Hysterical Society UA 45 Come With Me A double-sided winner from Amarillo, Texas. Both sides were written by M. Hinton (Markus Lee Hinton according to the song publishing info).

The producer Eddie Reeves was working for United Artists publishing at the time; he’d had a prior career as a vocalist with the Nighthawks and a solo 45 on Warwick, “Cry Baby” / “Talk Talk”. He was from Amarillo, and may have provided these songs for a home-town group.

There is a likely connection to a group who recorded a 45 as the Hysterical Society Boys, “Funny Face” / “I Got Shot Out Of The Saddle” on the EBR (Eddie B. Reeves) label in the early ’60s, but I haven’t heard that one yet. (Thanks Davie G for this info.)

Despite good songwriting, production and performance on both sides, the 45 didn’t make a dent in the charts.

The band had one more release, “I Put A Spell On You” b/w “Summertime (Variations)” on an Amarillo label, Tipton, in 1968.

Update May, 2018:

Michael Thom acquired a 10″ acetate of one song recorded at Associated Recording Studios in New York. Michael wrote, “the acetate is very badly damaged, with a lot of lacquer separation that goes through the entire disc”. Michael spent hours restoring the sound so we can hear what this unreleased song sounded like. Perhaps someone associated with the band has another copy of the demo, or the master tape from this session.

Click to hear an excerpt from “Ain’t Comin’ Back”

The Hysterical Society with friends including Mark Kirk

I knew next to nothing about the band until Woody Key contacted me about the band. I’ll reproduce the comment he left below here, because it contains so much info about the group:

The Hysterical Society lineup on this record (and most of their career) was Mark Hinton – guitar, organ, vocals; Ronnie House – guitar, vocals; Ken Hutchinson – bass, vocals; and Mike Pugh – drums, vocals. There was indeed a link between Eddie Reeves and the Hinton family; Mark Hinton’s uncle Mike was one of the members of the Hysterical Society Boys, which I think were a band that was formed in Austin when Mike went to University of Texas. I don’t think that Eddie Reeves was in the Hysterical Society Boys, but he and Mike Hinton were in the Nighthawks.
The record (and I think 4 more sides, which weren’t released) was done in New York City. The boys were excited to be in the Big Apple, and had the opportunity to meet Bob Dylan and Napoleon XIV of “They’re Coming to Take Me Away” fame.
The Hysterical Society were a popular TX Panhandle and regional band from 1966 – 1969. They recorded “Summertime” / “I Put a Spell On You” in 1968 at Norman Petty’s studio in Clovis, NM, with Norman producing. By this time, they had replaced Ken Hutchinson with David Fine on bass and keyboards. They eventually replaced Ronnie House with Mark Kay on guitar, and kept this lineup until they broke up in late 1969.
Mark Hinton and Eddie Reeves kept crossing paths musically, with Eddie producing demos by Mark’s band Piper in Los Angeles, and also Mark’s solo demo projects in the early ’70s.

Update January 2012

Ken Hutchinson sent in the photo at top, and answered some of my questions about the band:

The photo was one of my favorites and I’m happy that I found it. True that Eddie had some promo shots of us done while we were in New York but as the single never made a dent in the charts we saw proofs but I do not believe finished copies were ever made. My sister remembered some studio shots done in Amarillo by our mother who was a photographer with a local studio. My mother also took the shot that I sent you.
The formation of the band came about by a chance connection of me and Ronnie House, the lead guitar player. He also knew Mark Hinton from school and as he and I worked together he suggested that we get together with Mark who knew a drummer (Mike Pugh). At the first get together the chemistry was good and we decided to become a group. Mark and Mike were the real talent of the group and Ronnie and I were good enough to compliment them.
After a while we kind of took the Texas panhandle by storm as we were all high school students and were very good at copies. We practiced enough to keep our material current, were very energetic on stage and popular enough around school that the buzz got going pretty quick. What probably kicked us off the most was the opportunity to open for Buffalo Springfield and Jay and the Americans at The Amarillo Civic Center [Tri-State Exposition on June 23, 1967 with additional acts the Dearly Beloved and the Stumps – anyone have a poster of this?]. The crowd was packed and I believe we represented the local talent well as we were the only local band. There were a lot of people in the audience who had never heard of us and could not believe we were local. Members of both of the lead bands complimented us back stage on our performance.
The Hysterical Society February 1968
The connection with Eddie Reeves did indeed come through Mark’s uncle Mike Hinton who was pursuing a law degree at The University of Texas at Austin. He had booked us at some frat parties and such in Austin as he was still active in music and had a lot of connections down there. We had to be careful about booking Austin as it was a 500 mile drive one way from Amarillo but the pay was so good that it seems we were playing down there a lot. I’m not sure yet what those college kids saw in a high school band from Amarillo but we continued to be asked back.
Mike asked Eddie to come listen to us in Amarillo. I believe Eddie had some family ties in the area. He came, listened and asked us if we would be interested in coming to New York to record for the label – he would produce us and take care of us while there. How could four 17 year old kids refuse?
We did indeed cut six sides while there however the promo copy of the two that you acquired was all that was released. We received copies of the other four, but I have lost track of mine after being passed around to family members for 45 years. There were five rock and roll songs written by Mark and one ballad written by me recorded. Eddie picked the two for release.
“Come With Me” was very current for the time – it must have been as the Beatles used the same riff for “Tax Man” a short time later with a lot better result. The flip side, “I Know”, was, I think, a little ahead of it’s time but what is my opinion worth.
We did have the opportunity while in New York to meet Bob Dylan and Napoleon XIV but I doubt that it made any sort of impression on either of them as we were just some high school kids from Texas who happened to draw the attention of UA momentarily and they were stars. Probably just bored.
Drummer Mike Pugh
When I left the band I had an opportunity to tour with The Shirelles who later connected up with The Drifters and The Coasters. So I had a chance to appear on stage with all three for quite a while. This was late 1969 and the early ’70s and all three of the groups had seen the shining days of their careers go by but were still active on tour and still drew reasonably good crowds. I’m sure the groups I played with did not still retain all of the original members but the music was good, the crowds were large and the tour was fun so I stuck around for a while.
I also played with some opening bands around Los Angeles while we were there and got to meet quite a few more “stars” and perform for huge crowds. When I finally decided that what I was doing was really to big for me I returned to Amarillo. I was after all married with children and needed to settle down.
I took a break from music that turned out to be extended to almost 20 years before the itch was too much trouble to scratch and started playing again about 1992.
A couple of really good local bands and about 15 years later I took another break and do not at 62 have much desire to do it any more. That’s why I respect Woody Key so much. He is not that much younger than me and is still out there doing it every day and succeeding. The difference between an artist and a practitioner I guess but I would not give one minute of it back for anything.
Ken (Hutchinson) Warren

Thank you to Woody for info on the band, and to Ken Warren for the photo at top and history of the band.

Special thank you to Mike Pugh’s niece Deborah for providing scans of all the photos except the top one. These were added to this article in November, 2014.

The Hysterical Society Early Promo Photo 1 — From left: Ken Hutchinson, Mark Hinton, Mike Pugh and Ronnie House

Categories: A&M, California, Carmel, Los Angeles

Tommy and the True Blue Facts

December 23, 2007 Chris Bishop 7 Comments

Tommy & the True Blue Facts A&M 45 I'm Back Tommy Faia is the force behind Tommy & the True Blue Facts, writing his own songs, singing and playing the acoustic guitar. I didn’t know anything else about him until he contacted me in January 0f 2009.

“I’m Back” is an anti-drug song, more convincing than most with great lines like “I’m not trying to bring you down, but how long ago was your mind really sound?” The arrangement of guitar, congas and an out of tune electric piano perfectly matches the mood of the song; Tommy sounds like he was way out there indeed.

“Who’s Got the Right” is a bit of a rant sticking up for cops (“he must refrain from protecting his life because if he does, he’ll get the blame”) and denigrating looters, law breakers and welfare bums. It’s just an example of reactionary attitudes in the late ’60s.

I’ve heard one other 45 by Tommy, an original called “You’ve Got My Soul”, which sounds like Neil Diamond, backed with “An Exception to the Rule”. Gone are the politics, instead you get love songs, with fuller production, girl group backing singers and a generally unconvincing result.

Tommy recently got in touch with me and told me the story about his records on A&M:

Around 1966 I jumped in my friend David Rosenkranz’s pick up truck loaded with his drums and my guitar and amp etc and headed down to LA from Carmel. I was about 19-20 years old. We rented a little dump in Hollywood where we could practice..we’d only been playing together for 1-2 months. I had been writing songs for about a year.
David got a gig playing drums for a little recording studio on Santa Monica Blvd. He told the owner about me and the guy recorded Who’s Got The Right … just David and I played. I played an amplified acoustic classical guitar with a flat pick … like Willie Nelson (unfortunately I didn’t sound like Willie but it was a big driving rhythm sound). The guy said he’d take it around town.
About 2-3 days later we get a call at night from a guy that says to me “do you want to be a star?” I said sure but wasn’t convinced by the big talk. His name was Ed Forsyth and he had a nice plush office on Sunset Strip right across from the Whiskey. We loaded up David’s truck and drove over there the same night and played for him in his office.
About a week later we walked into a huge recording studio with lots of musicians. Jim Economides was the producer (he was a producer at Capitol Records and worked with Dick Dale, Johnny Burnette, Bobby Vee, Bobby Darin and others). What really impressed me on that session was that the guitar player was James Burton. He’s doing that Eastern sounding guitar on “I’m Back”. They spared no expense. Funny because David and I were disappointed that we didn’t have much say in the process. All the records are large productions. On the later ones we had three male back up singers and three female (the Blossoms!)
Just a note on “Who’s Got The Right”. I wrote that song during the Watt’s riots. Later my friends told me it was a “right wing song”. I was not yet political. But I think that my manager Ed Forsyth really liked the message of that song and that’s what got us the deal. I later wrote many anti-war songs during Vietnam. Anyway didn’t want you to think I had a shaved head.
The True Blue Facts was really just David and I. Our management came up with the name. We were horrified at the time. We were a duo. Now I kind of like the name. I also played harmonica (Jimmy Reed was my mentor). We had a big sound for two guys.
I’m 63 now and just starting up another band with original music that I’ve written over the years. After Tommy and the True Blue Facts I continued writing music hoping to get another record deal with a hit song….never happened….came close a few times….even spent 3-4 years in Nashville. Finally gave up in 1983 and moved back to my home town on the Monterey Peninsula in California. Today my songs are much better and I’m playing with some guys and eventually will record our stuff. It’s fun to be back and so cool to find your site.
Tommy Faia

Update June 2012

Tommy has a new website and is performing around Monterey. See www.tommyfaia.com for his current shows.

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