Curt Block

Curt Block & the Vibrations Photo
From left: Ronnie Maxey, Carl Boettger, Mike Duhom, Bill Irion, Curt Block, Billy Robbins, and Dwight Landry

Curt Block Dreamlites Spindletop 45 It's Raining AgainCurt Block has a great garage single in October ’65, “She’s My Kind” that I’ve been trying to find for some time now. I still haven’t found a copy of that one, but recently I picked up one I hadn’t known of before, his 45 on Spindletop with the Dreamlites.

I don’t know much about Curt Block but I did find one mention on the Port Arthur News from December 8, 1974: “the Port Arthur Merry Mixers Club will dance to the music of ‘Curt Block and the Velvets’ from 8-11 p.m on Tuesday in the K C Hall, 315 Hardy, Nederland. The club is open to all single adults 18 years or older, but all married couples who met in the single movement are invited”.Curt Block & the Dreamlites Spindletop 45 Hang Out

By the time of that article Curt had been in the music business over 10 years. His 45 on Spindletop SR-45010 is from about 1963, featuring a vocal ballad “It’s Raining Again” (R. Philen) on the top side, backed with one of the shortest cuts I’ve ever seen on a pre-punk 45, the sax & guitar instrumental “Hang Out”, written by Block but credited to only the Dreamlites. Both songs were published by Neches Music BMI.

I asked Curt about his time in these bands and wrote to me:

In the Dreamlites I was only 16. Ray Fallon, sax, he went on to play for Roy Orbison. The guys in my band were Billy Robbins, Bill Iron, Dwight Landry, Ronnie Maxie, Mike Duhon. I played guitar of course. A TV show called Jive at Five had me and the band on many times.

I sang some with Johnny Preston and Jivin’ Gene, really great guys. I played 4 and 5 nights a week for many many years.

Spindletop had well over a dozen releases beginning about 1961, including a couple in-demand soul discs by Talmadge Armstrong and by Al Trahan. Curt Block’s single came about halfway through Spindle’s releases.

In October of 1965 he had another 45, this time credited to Curt Block & the Vibrations. The Vibrations were:

Curt Block – guitar and lead vocals
Billy Robbins – rhythm guitar and back up vocals
Dwight Landry – bass guitar
Bill Irion – drums
Ronnie Maxey – sax
Carl Boettger – sax
Mike Duhom – trumpet

I haven’t heard the top side yet, “With This Ring”, but the flip is excellent garage as long as you’re not one of the types that prefer their r&r without saxophone.Curt Block & the Vibrations Netra 45 She's My Kind

Curtis Block wrote both songs, published by Neches Music, BMI and recorded at L & F Recording Service in Port Arthur. Both Netra and Spindletop were based in Port Arthur, which was also home to the Basic Things who I’ve covered on this site. Like the Spindletop single, the Netra 45 is a Rite pressing.

Curt had one more single that I know of, “Hey Little Girl” / “You Were Mine” on the Gina label – if anyone has scans of this single please contact me.

Thank you to Tori and to Greg & Linda Haynes for sending in the photo of the band at top. Tori’s uncle Dwight Landry played bass with the group. Dwight passed away on April 20, 2014. Thanks also to Deborah for the caption to the photo, she reports her uncle Bill Irion passed away on August 20, 2015.

If anyone has a copy of the Netra or Gina singles for sale, or a photo of Curt Block with one of his ’60s groups, or knows any of the members of the Dreamlites or the Vibrations, please contact me.


Curt Block Vibrations Netra 45 With This Ring

The Rogues & the Dry Grins

Dry Grins Montel Michelle 45 She's A DragThe Rogues from Lafayette, Louisiana had two excellent 45s, both very rare now, I don’t own either one.

They seem to have had some lineup changes during their existence. Members included Fred Brechtel on lead vocals, Mark MacDiarmid (or McDiarmid) on lead guitar (and lead vocals on “I Don’t Need You”), Mike Schwartz on rhythm guitar,  Tommy Withrow on keyboards, John Bonar on bass, and Glen Hebert on drums.

Cyril Vetter of the Greek Fountains saw the Rogues and produced a release for them on the Montel-Michelle label, though he changed the band’s name temporarily to the Dry Grins. The Dry Grins release has the teen loser lament, “She’s a Drag”, written by Fred Brechtel for Red Stick Music, backing the only slightly more commercial “You’re Through”. It was produced by Cyril Vetter & Sam Montel, and released as the Montel-Michelle M/M-959 (74 M/M 14) circa late 1965.

Well, I’m walking down the street with my left hand in my pocket,
And some chick walks up and says,
“Make a switch man, you’re on the wrong side of the street”

Well, I looked up and turned around to see the people watching,
My left hand still in my pocket,
And then she started to laugh.
I had both hands in my pocket and I said, “Baby, you’re a drag”

Well, she’s a drag, yeah, a big ole drag,
She’s a drag, yeah, a big ole drag,
Like a trip, baby

Well, I used to dig a chick … [?]
Cause I’m a stubborn fellow, you know,
And I got to get her, [?]
But that turned into a great big drag.

Well, she’s a drag, yeah, a big ol’ drag,
She’s a drag, yeah, a big ol’ drag,
Well, she’s a drag,
Like an albatross

Well, she said get back, come back and don’t you cry,
I turned around and said to her, “Baby, you’re a drag”

Well she’s a drag, yeah, a big ol’ drag,
She’s a drag, yeah, a big ol’ drag,
Well she’s a drag,
She’s gone, baby

Rogues La Louisianne 45 I Don't Need you

Rogues La Louisianne 45 TonightThe Rogues second 45 has “Tonight” which Teen Beat Mayhem describes as “swamp-pop ballad with crooner vocals.” on the A-side. On the flip is “I Dont Need You”, one of their best songs, the opening drum roll leading into a blast of sound that keeps up throughout the song.

Both sides written and sung by Mark McDiarmid for La Lou Music, and released on the La Louisianne label, LL-8094-B, in April of ’67.

Andrew Brown wrote that Tommy Withrow joined a group called the Swingin’ Machine, obviously unrelated to the now-legendary Swinging Machine from South Norfolk, VA.

I used to believe the band had a third single, “Put You Down” b/w a version of “Stormy Monday Blues”, but that turns out to be a group from Alabama, which makes sense as MBM was a Birmingham label and “Put You Down” does not have keyboards unlike the other songs by the Rogues from Louisiana.

Anyone have a photo of the group?

The Waters

The Waters: clockwise from left: John Burgard, Ray Barrickman and John Mackey
The Waters: clockwise from left: John Burgard, Ray Barrickman and John Mackey

The WatersWaters Delcrest 45 Mother Samwell was a Louisville, Kentucky group with John Burgard guitar and vocals, Ray Barrickman bass guitar and vocals, and John Mackey on drums.

Their first 45 on the Soul Blvd. label was “Lady in the Field” (Barrickman and Burgard) / “American Cheese” (Barrickman, Burgard and Mackay) – I haven’t heard it yet.

Their second 45 features two excellent originals by Burgard and Barrickman, the upbeat pop song “Day In and Out” and the stupendous freakbeat of “Mother Samwell”.

Released on the one-off Delcrest label in January of ’69, all copies I’ve seen have white labels with black print. Promo copies exist on the Hip label, a Stax subsidiary from March of ’69, but that issue seems to be much rarer. Production was by Paine-Baker. Paine was Stuart Paine, who owned the Soul Blvd label.

John Burgard had an earlier group called Jonah and the Wailers with Chris and Courtney Johns that opened for the Rolling Stones at Memorial Auditorium. BurgardWaters Delcrest 45 Day In And Out visited San Francisco in ’67 then returned to Louisville to form the Waters.

The Waters broke up in 1972 and Burgard went on to form CoCo Morgan and other groups.

Ray Barrickman previously played bass and sang in the Oxfords. He later played bass in Hank Williams Jr.’s band for a couple decades, and more recently was in a reformed version of another legendary Louisville group, Soul, Inc..

Thank you to Brian Talley for sending in the photo of the band – if anyone has other photos of the group please contact me.

Background on John Burgard from “I’ve Got A Mind To Ramble” by Keith S. Clements.

The Spectrums “I’ll Never Fear” on Knight

Spectrums Knight 45 I'll Never Fear

The Spectrums cut this one excellent single. “I’ll Never Fear” is a beautiful, soulful original song, written by Douglas Stewart. The flip is a good cover of “Wine, Wine, Wine”.

Douglas Stewart registered copyright for “I’ll Never Fear” in May, 1966. The band recorded at Ken-Del Studios in Wilmington, which is still in existence. The Spectrums released the single on Knight 4969. Knight was a label from Wilmington, Delaware, not the Knights Records label from Texas that I’ve featured before.

This is a group I’d like to know more about.

The Myddle Class – clippings, business cards, newsletters

Danny Mansolino sent these newsletters, business cards and other clippings to me. Enjoy!

Myddle Class - 4 Classics Business Card
4 Classics card featuring Rick, Dan and Mike (all later of Myddle Class) with Kurt on guitar
Myddle Class - Classics Business Card 3
early business card featuring Rick, Dan & “Myke”, plus Doug on sax and Kurt on bass
Myddle Class - Classics Business Card 2
early business card featuring Rick, Dan & Mike, plus Doug on sax and Kurt on bass
King Bees Myddle Class Photo w. signatures
The King Bees
Myddle Class Summit High December 11, 1965
Summit High December 11, 1965
The first public performance of the Velvet Underground
Myddle Class Newsletter Issue 2
Myddle Class newsletter #2
Myddle Class Newsletter Issue 2 - back
reverse of newsletter #2
Myddle Class Pitchfork Photo
the infamous pitchfork photo – scanned from a photocopy
Myddle Class Newsletter Issue 4, front cover
Myddle Class Newsletter Issue 4, January 1966

Myddle Class Newsletter Issue 4, Page 2 Myddle Class Newsletter Issue 4, Page 3Myddle Class Newsletter Issue 4, Page 4

Myddle Class Newsletter Issue 4, Page 5Myddle Class Newsletter Issue 4, Page 6 Myddle Class Newsletter Issue 4, Page 7 Myddle Class Newsletter Issue 4, Page 8Myddle Class Newsletter Issue 4, Page 9

Myddle Class Newsletter Issue 4, Page 10

Myddle Class Newsletter Issue 4, Page 11
Great photos by John E. Lynch – maybe he has some of the other bands that night?

Myddle Class Newsletter Issue 4, Page 12 Myddle Class Newsletter Issue 4, Page 13

Myddle Class Newsletter Issue 4, Page 14

Myddle Class Newsletter Issue 4, Page 15

Myddle Class Newsletter Issue 4, Page 16

Blues Project Myddle Class Richie Havens Cafe Au Go Go March April
The Blues Project, The Myddle Class and Richie Havens at the Cafe Au Go Go, March and April, probably 1966
Myddle Class Plainfield Courier News May 19, 1966
Plainfield Courier News May 19, 1966
Myddle Class, Shadows & Forty Fingers, May 20, 1966 Summit Junior High
The Myddle Class, The Shadows & The Forty Fingers, May 20, 1966 Summit Junior High
Myddle Class Newark Sunday News, June 19, 1966
Newark Sunday News, June 19, 1966
Myddle Class Dougboys Renaissance Fair Springfield, July 15, 1967
The Myddle Class, the Dougboys and Renaissance Fair Springfield, July 15, 1967
Myddle Class Unganos
Undated flyer for the Myddle Class at Unganos
Danny Mansolino Cartoon
cartoon of Danny Mansolino
Myddle Class - Jazzmasters Card
hand drawn card for Dennis Mansolino’s band the Jazzmasters with Steve and Mick. Dennis was Dan’s younger brother

Thank you to Dan Mansolino for his help.

If anyone has photos, flyers, the other newsletters or any other material on the Myddle Class please contact me.

Alear Discography

Below is anTeenie Chenault Alear 45 I'm So Alone incomplete discography of Jean Alford’s Alear Records label from Winchester, Virginia.

Most of the disks are country, except the Don Dupree is supposed to be doo wop backed by a girl group. Only the Smacks are garage rock as far as I know.

Publishing is usually either Alear Music or Pamper Music.

incomplete – any help would be appreciated

45s:
Alear no #: Don Dupree & Palisades “Phyllis” (Petty & Greer) / “Power of Love” (R4KM-2381, 665A-2381, early 1964)
Alear A-103: Teenie Chenault “I’m So Alone” (Chenault & Tipton) / “It’s a Big Old Heartache” (Chenault & Overman) (R4KM-8016/7, early ’64)
Alear A-105: Carroll Bridgeforth “Next Fool in Line” (Jean Alford) / “The Magician” (RK4M-7356, second half of 1964)
Alear A-106: Teenie Chenault “Make Me Laugh” / “Forgetting”
Alear A-108: Jean Alford “First Man on the Moon” (Harvey Price, Jean Alford) / “The Great Society) (SoN-24015)
Alear A-109: Smacks “I’ve Been Fooling Around” / “Say You’ll Be Mine” (SK4M-0953, Oct. 1965)
Alear A-111: Dean Greer “I Can’t Throw the Ashes Away” (Curley Putnam, Don Wayne) / “I’ve Got a Hold on You” (Jean Alford, Harvey Price) (T4KM-5063/4, March 1966)
Alear A-112: Teenie Chenault “She Tried Hard To Love Me” (Lee Emerson) / “Pushed In The Corner” (Jean Alford) (T4KM-5066, April 1966)
Alear A-113: Vicki Day “Another Hurt” / “Don’t Wake Me”
Alear A-114: J. D. Dawson – “I’ve Got A Hold On You” / “I’m Number One (With My Mary)”
Alear A-116: Smacks “Reckless Ways” / “There’ll Come a Day”
Alear A-117: Tommy Lake “Out of the Dark” / “(If You Want Some Lovin’) Get It From Me” (Jean Alford) (T4KM-2355/6, 655A-7355)
Alear 665A-117: Teenie Chenault “Where Happiness Ends and Heartbreak Begins (Fred Carter) / “(You’re No Inspiration Gracie for) A Hit Song” (Jean Alford) (U5KM-4601/2, first half of 1967)
Alear A-118: Tommy Lake “The Magician” / “Don’t Wake Me”
Alear AL-121: Lone Star “Assumed Love” / “I Write This Letter” (820748) (need confirmation of this one)
Alear A-202: Al Hogan “The Key That Fits Her Door” / “He Didn’t Become Famous For His Song”
Alear A-221: Frank Darlington “You’re My Girl” / “Have a Little Patience” (July, 1969)
Alear A-222: Jim Miller “If You Can Eat The Cake” / “The Other Lover”
Alear A-350: Dave Elliott “You’re Gonna Miss Me When I’m Gone” / “Other Lover”

Alear 665-??: Ned Davis “Organtar” / “Jungle Fog” (piano & pedal steel instrumentals)

Gloria Jean Megee Alear 45 This Woman
Alear AL-108 – Gloria Jean Megee – “This Woman” (Megee) / “Slightly Used” (1978, Alford/McCoy production credit)

LPs:
Alear ERS-517: Teenie Chenault & the Country Rockers
Alear SLP 198: Leroy Eyler & the Carroll County Ramblers – Mr. Bluegrass Here’s to You
Alear SLP 200: Leroy Eyler & the Carroll County Ramblers – Sing Gospel

Gloria Jean Megee songbird photo
Gloria Jean Megee songbird photo, 1977

Gloria Megee wrote to me about her Alear single from 1978, “This Woman”, “Jim McCoy Studios, Buddy Charlton, steel; Roy Justis, fiddle; and John Kaparakis, guitar. It was well received on Big K [WKCW] when the old Tom Cat played it.”

Gloria Jean Megee live in Wheeling, 1978
Gloria Jean Megee live in Wheeling, 1978

Thanks to Max Waller, Graham, Dale from 45cat, Bob Perry, and Gloria Jean Megee for their help with the Alear discography.

Showcase Discographies

A partial discography for Showcase shows the styles and production credits to be all over the map, with soul, folk, and even show tunes. Mop Top Mike wrote to me “The S400 series was the 1965 release numbering for Showcase. They switched it to 98xx in 1966; 99xx in 1967.”

S-401 – Gary Burghoff – As I Am / Rainbow
S-402 – Little Freddie & the Gents – Betty / Push, Kick & Shout (group from Ft. Lee, New Jersey)
S-403 – The Wouldsmen – What’s The Use Of Crying (Adler-Ross, pub. by George Paxton, Inc., ASCAP) / Summer’s Over
S-404 – Shan Dels – Please Stay / Treat Me Like a Man

9800 – Mat Matthews – Milk and Honey / Shalom
9801 – ?
9802 – Sonny Stevenson – Night Stroll (parts 1 and 2)
9803 – ?
9804 – ?
9805 – Beverly Ann – Great Pretender / We Got Trouble
9806 – Adam & Eve – The Game of War / Hang Me From The Highest Tree
9807 – Johnnie Shepherd – Coming Home / Mr Weather Man
9808 – ?
9809 – The Parris Mitchell Voices featuring Chips Murphie – We Need a Little Christmas / Mame
9810 – Henry the IX – Don’t Take Me Back, Oh Nooo! / Don’t Take Me Back (part 2) (Beducci)
9811 – Lost In Sound – You Can Destroy My Mind / Stubborn Kind Of Fellow (August 1966)
9812 – Yesterday’s Children – Feelings / Wanna Be With You (September 1966)
9813 – Larry Benson – I Do, I Do / Together Forever
9814 – Don Goldie – Popcorn / Summertime

9901 – Maurice Bower – What’s More American / America The Beautiful
9902 – Beechnuts – Nature’s Company / My Iconoclastic Life

The Beech-Nuts (not the Lou Reed group the BeachnutsBeachnuts Showcase 45 Nature's Company – even though he did plenty of work for Pickwick) cut their Showcase 45 at Majestic Studios in Manhattan, a studio also used by the Lovin’ Spoonful. I’ve read the Beechnuts record was bootlegged years ago.

There were at least two other Showcase labels, unrelated to the Pickwick one. Davie Gordon writes, “The 2500 series was from Nashville … the label changed its name to Sound Stage 7 and became Monument’s R&B subsidiary. There was another Showcase label using a 10xx series but it has no connection to the others. It’s from the early sixties.”

2500 – Barbara Grindstaff – Have Mercy (Mr. Lonely) / Where the Red Roses Grow
2501 – Delcos – Arabia / Those Three Little Words (Distributed by Monument Records, Nashville)

Sources include: Beech-Nuts info from Beyond the Beat Generation. Special thanks to Mop Top Mike and Davie Gordon for help making sense of the Showcase release numbering, and to Rich, Max Waller and Ad Z. for their help.Wouldsman Showcase 45 What's the Use of Crying

The Minimum Daily Requirements

I’ve had this 45 for yearsMinimum Daily Requirements Tower 45 I'm Grounded but am only now getting around to covering it. I don’t recall ever reading about the band in any detail.

“I’m Grounded” is a well-known psychedelic classic written by Timmy Phelan (Jitters Music, BMI), but originally it was the b-side to “If You Can Put That In a Bottle” written by Billy Meshel for Meager Music, BMI.

The record was released on Tower 372 in October of 1967. The band came from Wantaugh, Long Island but other than that I don’t know anything about the group, nor have I seen a photo of them.

I don’t believe there’s a connection to a release by the Minimum Daily Requirement (singular) on Mercury, “Free the People” / “I Do Believe the Sun Will Shine”.

Minimum Daily Requirements Tower 45 If You Can Put That In A Bottle

The Army

The Army at the Grange Club February 1968
The Army, mid-February 1968 at The Grange Club in Hayes, left to right: Richard Herring, Steve Priest, Alan Bennett, Anita (surname? – our go-go dancer), Richard Bennett, George Russell, Ron Lewingdon, John Barter and Dennis White. Photo: Richard Bennett

 

Richard Bennett – lead vocals

Tony Tacon – lead guitar

Ian Orton – keyboards 

John Barter – tenor sax

George Russell – tenor sax

Ron Lewingdon – trumpet 

Steve Priest – bass/vocals 

Alan Bennett – drums

West London R&B/soul connoisseurs The Army have the distinction of being the group that spawned future Sweet bass player/singer Steve Priest.

The Army’s roots can be traced as far back as 1962 when cousins Richard Bennett (lead vocals) and Alan Bennett (drums) decided to form their first band, The Satellites in Hayes, west London.

The Satellites in Hillingdon Mirror, 16 November 1965

Joined by Dave Harris (bass) and siblings Ian Orton (lead guitar) and Mick Orton (rhythm guitar), The Satellites had an early brush with fame when they appeared on the set of the James Bond movie Goldfinger in 1964.

The Satellites 1960
The Army was formed from this band, The Satellites, formed in 1960. Left to right: Richard Bennett, Dave Harris, Alan Bennett, Ian Orton and Mick Orton. This photo was taken at the opening scene of Goldfinger, The James Bond movie with Sean Connery. Photo: Richard Bennett

Around mid-July 1966, however, The Satellites underwent a significant reshuffle, starting with the addition of lead guitarist Tony Tacon, whose main claim to fame is that he had been a member of local rivals, The Javelins with future Deep Purple singer Ian Gillan during 1962-1964.

Gillan left to join Wainwright’s Gentlemen in November 1964 (Ed: future Sweet drummer Mick Tucker joined during late 1965) and Tacon joined Ealing band, Four Jacks and a Joker before hooking up with West Drayton outfit, The Ways & Means for a few months.

“I got a knock on my door from Clem [Clemson] who had been a part-time manager of The Javelins,” remembers Tacon. “He said that The Satellites were looking for a new lead guitarist if I was interested. I went down to Uxbridge for an audition and joined.”

With Tacon’s arrival, Ian Orton moved on to keyboards. At the same time Mick Orton dropped out. The following month, the band decided to remodel itself on Cliff Bennett & The Rebel Rousers by bringing in some horn players.

For the proposed horn section, Tacon recommended his friend, sax player John Barter, who had played alongside the guitarist in Four Jacks and a Joker. Barter in turn introduced his friend, fellow sax player George Russell, a former member of Twickenham-based R&B outfit, Jeff Curtis & The Flames.

Not long after Dave Harris departed and future Sweet bass player Steve Priest took his place.

“Steve Priest joined as our new bass player,” continues Tacon. “I remember us going around to see him at his parents’ house in Hayes. I was familiar with him from his Countdowns days but someone else in the band had made contact with him.”

According to Steve Priest’s book Are you Ready, Steve?  it was Richard and Alan Bennett who approached him to join. Priest would later recruit future Army members, guitarist Richard Herring and organist Dennis White from his former group The Countdowns.

Tacon remembers one of his first gigs with the group (still billed as The Satellites) was in south Wales.

“I remember playing Afan Lido (Port Talbot) probably in their gym. It was early on after I joined The Satellites. Straight down the M4 and back the same day. Beautiful sunny day (so not winter) and I remember us relaxing on the nearby beach until the gig started. I reckon it was a regular dance venue as girls told us that they came down each week.” (Ed. The Port Talbot Guardian lists this as 23 July 1966 with Something Else in support)

Photo: Tony Tacon

Renamed The Army, in view of the increased number of personnel in the band, Richard Bennett, who worked as a sign writer, painted the new moniker, surrounded by instruments, on the sextet’s new purchase, an old 30cwt van.

“The van was so big that we used to have to take it in turns to have it for a week and park it outside our homes,” says Tacon.

From the outset, The Army’s repertoire was entirely comprised of cover material, mixing popular US R&B/soul numbers like Lee Dorsey’s “Ride Your Pony”, The Four Tops’ “Reach Out, I’ll Be There”, Larry Williams’s “Slow Down” and Wilson Pickett and Steve Cropper’s “In the Midnight Hour” (which Steve Priest sang) with British classics, such as Zoot Money’s “Big Time Operator”.

At first, the revamped and renamed outfit found gigs at its local haunt – the Grange Club in Hayes. Interestingly, they were also invited to perform at several garden parties for the Tory party.

“I was impressed by the sort of gigs that we did,” recalls Tacon. “The band was well in with the Young Conservative Association, how I don’t know, and played at many of the functions in London and the Home Counties.”

Tacon remembers the band playing at the Bell House Hotel in Gerrards Cross, a venue in Harpenden with a Liverpool band that might have been The Undertakers and also at an RAF base at Dawes Hill near High Wycombe.

During this time, the guitarist also remembers the band landing a gig at the Queen’s Building in the centre of London (Heathrow) Airport and sharing the dressing room with Kenny Ball & His Jazzmen.

In late October, The Army played at a Halloween Party at a hotel opposite the airport, which was put on by a film producer.

Photo: Tony Tacon

More significant, the sextet started performing on London’s busy club scene, including shows at the Starlite Ballroom in Greenford and the 100 Club (Ed: this might have been Tiles) on Oxford Street.

“One night we played a dance hall in the Amersham area… then went straight off to the centre of London where we played [at Tiles] in the early hours of the morning. The Birds may have been on before us,” recalls Tacon.

“I remember that Steve [Priest] had some friends with him at that gig and one of them was robbed on the dance floor. My fiancée (now my wife) saw it happen and says that the gang turned Steve’s friend upside down to empty his pockets.”

Priest’s book doesn’t mention this incident but does note that the venue the group played after the Amersham area gig was Tiles on Oxford Street. Interestingly, The Army did play the Legion Hall in Amersham on 25 February 1967 and later that evening appeared at Tiles on Oxford Street (see selected gig list below).

As the band’s popularity grew, The Army ventured further afield, including shows in Cardiff (3 February 1967), Dunstable, Birmingham and Nottingham among others.

Cardiff gig, 3 February 1967

Tacon remembers the sextet playing a converted warehouse in Birmingham and John Mayall’s Bluesbreakers were in the dressing room when they arrived [Ed: this was Midnight City on 19 November 1966, although the group is not advertised in Birmingham Evening Mail].

“I remember John Mayall sitting there smoking a spliff. The window at the end of the room looked out on to a large intersection and bang opposite was Digbeth police station,” continues the guitarist.

“We left our gear and all went off to the Bullring for something to eat, missing the Bluesbreakers’ set. I have often wondered if Eric Clapton was in the room that night, but after comparing notes with Steve Priest; he assures me that it was the first gig [sic] for Peter Green, who he saw frantically practising in readiness having just taken over from Clapton.”

Tacon adds that The Army played at the Dungeon Club in Nottingham the next evening, a venue that he recalls playing at least twice during his time with the band. [Ed: this would have been 20 November 1966. Again, the local paper, The Nottingham Evening Post does not list them, but rather The Amboy Dukes]

Another notable gig took place on Christmas Eve when The Army opened for their idols, Cliff Bennett & The Rebel Rousers at Burton’s in Uxbridge.

“I must have left in my own van earlier than the others after the gig because the next morning (Christmas Day), two of the band, probably Richard and Alan turned up with my share of the money,” recalls the guitarist.

“They were good lads in that band. I went all over the place with them and do not remember any upsets at all.”

The Army, Dungeon, Nottingham, 5 March 1967
The Army, Dungeon, Nottingham, 5 March 1967

During January 1967, Tacon introduced trumpet player Ron Lewingdon and The Army became a seven-piece act.

“He approached me about joining when he saw me driving the band’s van one day in the company car park,” explains the guitarist. “I was working in the tool room at the same company at the time. I put it to the others and he was in.”

With Lewingdon on-board, The Army played at the Adelphi Ballroom in Slough (18 March 1967) and Tacon’s old mate from The Javelins, Ian Gillan turned up and ended up taking photos of the group performing from the side of the stage.

“Ian came with me in my car to see the band for the first time,” continues the guitarist. “I had been going to see him in Episode Six, so he repaid the compliment. He was best man at my wedding later that year.”

The Army at the Adelphi Club
At The Adelphi Ballroom in Slough, above the cinema. Left to right: Steve Priest, Tony Tacon, Richard Bennett on lead vocals,  Ron Lewingdon and George Russell. Photo: Richard Bennett

On this particular night Richard Bennett’s PA played up and the singer remembers borrowing one from Ian Gillan. Tacon adds that the future Deep Purple singer also took the photo.

However, not long after, Tony Tacon handed his notice. The guitarist was indeed engaged and got married soon after; it was time to hang up his rock ‘n’ roll boots. In fact, Tacon didn’t play in a band again until The Javelins reformed in the early 1990s to record a CD. He currently plays with Lincoln band, Something Else.

The guitarist remembers that his last gig with The Army took place at the California Ballroom in Dunstable on 25 March 1967.

“There were three bands on that night,” he says looking back. “The Troggs were top of the bill and we shared the dressing room with them. I remember being impressed that they arrived in an Austin Princess and brought a portable black and white TV with them that was set up in the dressing room.”

The Army at the Adelphi Ballroom, 18 March 1967. Photo: Tony Tacon

With former Countdowns guitarist Richard Herring taking over on lead guitar and ex-Countdown Dennis White subsequently replacing Ian Orton on electric organ, The Army cut two tracks in late 1967 that were shelved until 2014 when this author helped secure the release of the band’s cover of the Joe Tex hit, “Sugar” on Acid Jazz’s Rare Mod Volume 5. The band’s cover of the Sam & Dave hit “You Don’t Know Like I Know” remains unreleased.

On 14 October, The Army returned to the California Ballroom to support Georgie Fame. Two months later, they played two shows at Burton’s in Uxbridge, the latter on New Year’s Eve, opening for Cliff Bennett & The Rebel Rousers.

Sometime around this period, the group turned up at Chelsea Barracks to audition for Opportunity Knocks.

The Army continued to gig during early 1968, playing venues like Walton Hop. However, behind the scenes, Steve Priest began rehearsing with The Sweetshop (aka Sweet) on the side.

“I was a fan of smaller bands like Cream,” says Priest on his decision to explore new avenues. “The Army and Wainwright’s Gentlemen played at Ealing Town Hall on the same night. Mick [Tucker] was fired that night and Brian [Connolly] resigned.”

Left to right: Ron Lewingdon, George Russell, John Barter, Richard Bennett and Steve Priest. Opening for Marmalade (circa late 1967/early 1968). Photo: George Russell

Not long after playing a show at the Grange Club in Hayes in mid-February (see date stamped top picture), Priest announced his decision to leave The Army, playing his debut gig with The Sweetshop (subsequently shortened to The Sweet) on 9 March at Hemel Hempstead Pavilion.

Taking on a new bass player called Chris from Ealing, The Army continued to gig, including a clutch of shows at the New Pink Flamingo in Soho, Cooks Ferry Inn in Edmonton, north London and also opened for The Easybeats at St Albans City Hall.

By this point, Richard Herring had also departed and former Casuals’ lead guitarist Geoff Foster had joined. Not long after Dennis White left to join Merlin Q.

The group continued to pick up gigs, playing venues like Samanthas in New Burlington Street in London

Then, around September 1968, Pete Burt took over the drum stool from Alan Bennett. Burt had worked with George Russell in Jeff Curtis & The Flames during 1965 and had stuck with the group when it became The Kool. Bennett’s departure prompted Ron Lewingdon to also drop out.

Alan Bennett and Ron Lewingdon stuck together. Reunited with former member, the late Ian Orton on rhythm guitar and lead vocals and siblings Ray Spiteri (lead guitar) and Bob Spiteri (bass), they formed The Occasions and landed a prestigious gig at the Hilton Hotel on Park Lane the early 1970s.

The remaining members continued into early 1969 before splintering. Pete Burt briefly gigged with Bob Brittain and then formed Hogsnort Rupert, the house band at the Clay Pigeon in Eastcote.

Geoff Foster joined soul band, The Orange Rainbow (John Barter and George Russell both guested). Russell (and later Richard Bennett) emigrated to Australia but Russell subsequently returned to the UK.

Notable gigs:

3 September 1966 – New Central Ballroom, Aldershot, Hampshire with The Simon Dupree Sound (billed as The Satellites)

9 September 1966 – Starlite Ballroom, Greenford, west London with The Jimmy Brown Sound (billed as The Satellites)

27 October 1966 – Royal Ballrooms, Boscombe, Dorset (billed as The Satellites)

 

19 November 1966 – Midnight City, Digbeth, Birmingham with John Mayall’s Bluesbreakers (Tony Tacon’s memories: they must have replaced either Wynder K Frog or The Times who were also advertised)

20 November 1966 – The Dungeon, Nottingham (Tony Tacon’s memories: they must have replaced The Amboy Dukes who were advertised in Nottingham Evening Post)

24 November 1966 – Stereo Club, Wycombe, Bucks (billed as The Satellites)

25 November 1966 – Wy-Key Club, Burnham Lane, Slough, Berkshire (billed as The Satellites)

26 November 1966 – New Central Ballroom, Aldershot, Hampshire with The Blackout (billed as The Satellites)

 

24 December 1966 – Burton’s, Uxbridge, northwest London with Cliff Bennett & The Rebel Rousers

 

11 February 1967 – Kookoo-Byrd Discotheque, Cardiff, Wales

25 February 1967 – Legion Hall, Amersham, Bucks

25 February 1967 – Tiles, Oxford Street, central London with The Gamblers and The Essex Five

 

5 March 1967 – Dungeon, Nottingham

18 March 1967 – At the Union, Manchester with St Louis Union and Sound Venture (Tony Tacon doesn’t recall this gig at all, even though it was advertised)

18 March 1967 – Adelphi Ballroom, Slough, Berkshire

25 March 1967 – California Ballroom, Dunstable, Bedfordshire with The Troggs

1 April 1967 – Walton Hop, Walton-on-Thames, Surrey

23 April – Adelphi Ballroom, Slough, Berkshire

29 April 1967 – Legion Hall, Amersham, Bucks

29 April 1967 – Tiles, Oxford Street, central London with Lemon Line and The Penny Blacks

11 May 1967 – Upper Cut, Forest Gate, east London with The Jokers and The Afex

28 May 1967 – Adelphi Ballroom, Slough, Berkshire

 

2 July 1967 – Starlite Ballroom, Greenford, west London with The Toys

15 July 1967 – Adelphi Ballroom, Slough, Berkshire

16 July 1967 – Carlton Ballroom, Slough, Berkshire

29 July 1967 – Tiles, Oxford Street, central London with The Gass and The Fraternity

 

19 August 1967 – Tiles, Oxford Street, central London with Coloured Raisins and Tiles Big Band

20 August 1967 – Upper Cut, Forest Gate, east London with The Maze and The Art Movement

23 August 1967 – Drayton Hall, West Drayton, west London

23 August 1967 – Town Hall Park, Hayes, west London

3 September 1967 – Adelphi Ballroom, Slough, Berkshire

 

14 October 1967 – California Ballroom, Dunstable, Bedfordshire with Georgie Fame & Four Point Five

 

24 November 1967 – Private engagement (according to Melody Maker)

25 November 1967 – Clay Pigeon, Eastcote, northwest London

26 November 1967 – Starlight Ballroom, Crawley, West Sussex with Ronnie Jones & The Q-Set

27 November 1967 – Private engagement (according to Melody Maker)

Photo: Melody Maker

30 November 1967 – RAF Northwood, Hertfordshire

 

1 December 1967 – Private engagement (according to Melody Maker)

2 December 1967 – Burton’s, Uxbridge, northwest London

3 December 1967 – Starlight Ballroom, Crawley, West Sussex with The Temptations (this was The Fantastics not the Motown group)

31 December 1967 – Burton’s, Uxbridge, northwest London with Cliff Bennett & The Rebel Rousers (this requires confirmation)

 

5 January 1968 – The Hub, Marlow, Bucks

13 January 1968 – Walton Hop, Walton-on-Thames, Surrey

20 January 1968 – Starlight Ballroom, Crawley, West Sussex with Radio Disc Show with Stuart Henry

According to Frank Torpey’s diary, Steve Priest was rehearsing with The Sweetshop (aka The Sweet) by 5 February and would have left a few weeks later. 

Frank Torpey’s final gig with Wainwright’s Gentlemen was 20 January and Mick Tucker was fired shortly afterwards so the Ealing Town Hall gig where Wainwright’s Gentlemen and The Army both appeared was probably in the last week of January 1968.

10 February 1968 – The Ritz, Bournemouth, Dorset

Mid (13?) February 1968 – The Grange, Hayes, west London (picture has Steve Priest in it, so one of his final gigs with the band)

 

3 March 1968 – Slough Adelphi, Slough, Berkshire (Priest may have played this but very unlikely)

10 May 1968 – Dunstable Civic Hall, Dunstable, Beds with Spectrum

25 May 1968 – Nags Head, Motown Club, Wollaston, Northamptonshire with Alfred The Great

26 May 1968 – New Pink Flamingo, Wardour Street, central London

Photo credit: Geoff Foster

30 May 1968 – St Andrew’s Hall, Uxbridge, northwest London

 

2 June 1968 – New Pink Flamingo, Wardour Street, central London with The All-Nite Workers (billed as Army Soul Show)

14 June 1968 – Ritz, Bournemouth, Dorset

21 June 1968 – St Albans City Hall, St Albans, Hertfordshire with The Easybeats and The Hello

6 July 1968 – Flamenco Club, Folkestone, Kent

Photo credit: Geoff Foster

10 August 1968 – Styx Discotheque, Luton, Bedfordshire

23 September 1968 – Penny Farthing Club, Southend-on-Sea, Essex with Kingsize Keen and His Rockin’ Machine

I would like to thank Tony Tacon, Richard Bennett, Alan Bennett, Ron Lewingdon, Steve Priest, John Kerrison, Geoff Foster, George Russell, John Barter and Keith Kendall for providing some information about this band. Thanks to Richard Bennett, George Russell and Tony Tacon for providing images.

Gigs were sourced from various national newspapers and Melody Maker (some sources are noted in the comments below).

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

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

 

The Smacks

The SmacksThe Smacks hSmacks Alear 45 Say You'll Be Minead two primary members, Lloyd Semler from Hagerstown, Maryland, and Bill McCauley from Winchester, Virginia. Both towns are along the I-81 corridor, about 45 minutes drive apart. Other members include John Glosser on bass and David Hall on drums.

They had two singles, “I’ve Been Fooling Around” / “Say You’ll Be Mine” on Alear 109 from October ’65, and “Reckless Ways” / “There’ll Come a Day”, released in May of ’66 on Alear 116. All songs written by Lloyd Semler and William McCauley, with publishing by Alear Music and Sand-Wayne Music BMI.

Smacks Promo Sheet

The first release is somewhat basic, but the second single really shines for both songwriting and production.

According to thSmacks Alear 45 Reckless Wayse liner notes to the excellent CD Aliens, Psychos & Wild Things, vol. 2, “Their first 45 was recorded at Accent Sound in Baltimore. The second was done in Harrisonburg at Weaver Sound in Spring ’66. The organist on ‘Nobody Else Is Gonna Do’ may be Front Royal’s soon-to-be-semi-famous, Roger Powell. The unreleased ‘There’ll Come a Day’ is the Smacks backing up two sisters from Winchester whose names are not recalled. Both Smacks discs came out on Alear, a Winchester label run by Jean Alford.” Front Royal is just south of Winchester.

Photo of the band from Aliens, Psychos & Wild Things, vol. 2. Sorry but I don’t remember where I found the promo sheet for their first single – please write to me if it was yours!

Smacks Alear 45 Nobody Else Is Gonna Do

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