Tag Archives: Hangmen

Categories: Briarcliff Manor, Bronx, Eastchester, New York, New York City, Ossining, Pelham, Pleasantville, Portchester, Ren-Vell, Valhalla, Westchester, White Plains, Yonkers

Ren-Vell Records Battle of the Bands

February 12, 2008 Chris Bishop 27 Comments

This is a classic garage LP, even though it’s a real mixed-bag of styles and quality. All the bands culled from Westchester County and the northern Bronx. Judging from the songs the bands cover it probably dates to sometime in 1967. A note on the back cover says the label auditioned over 100 groups. Jimmy Carpenito of the Mystics tells me Renvell’s studio was next to Gun Town on Central Ave in White Plains.

I thought it was likely Ren-Vell advertised for bands then asked them to put up some dollars to get their cut on the album. However, since first posting about this record, a sibling of one of the members of “The” wrote to me: “there definitely was a Battle of the Bands in Westchester County to compete for participation in the album. The guys didn’t pay to have their song on the album.”

The best original song on the record is undoubtedly the Traits’ “High on a Cloud”, an antisocial ode to chemical escape written by their singer, Mike Carroll.

I got a nickel bag, my eyes are drooping, they’re starting to sag
Since you left me girl, well I think that life is a drag
I’ll show you girl that you can’t keep on running around
Because I’m high on a cloud and I ain’t never coming down

Well you left me girl, with two feet down on the ground
I’ll show you girl that you can’t keep on running around
I’ll get me a bag and I’ll show you just what I can do
I’ll get so high I’ll wave goodbye to you

Cause I’m high on a cloud, high on a cloud,
High on a cloud, and I ain’t comin’ down no more

With lyrics like those, it would be no wonder that Ren Vell buried it at the end of the second side, but the band said they chose to be last on the album. I wonder how many listeners made it all the way through the LP! About the time this album was cut, the Traits appeared on Ted Mack’s Original Amateur Hour (taped at CBS studios on Broadway – sponsored by Geritol!) doing Paul Revere & the Raiders’ “Just Like Me”. Mack introduces them as “high school students and a machinist from Pelham, NY!” In 1969, they recorded “Nobody Loves the Hulk”, an interesting attempt to capitalize on the Marvel Comics hero that I’ll feature soon.

The other great original is the Henchmen’s “Say,” written by their guitarist and vocalist John Wallin. The drummer bashes away behind a leaden fuzz riff, segueing to a relatively complex bridge. Andy Porter lays down a good, crude solo, with nice tremolo at the end.

The Henchmen also cut a number of demos at Bruno-Dean Recording Studios in New Rochelle and at United Recording including “Strangers”, “Jack of All Trades”, “Walk With Me Baby”, “Sad Clown” and “Stepping Stone”. Hear some of these on the new comp “I’ve Had Enough!” on Norton.

Of the cover songs, my favorite is “Respect” by “The”, followed by the Gyration’s take on “Stepping Stone” and the Night Rider’s version of “Jenny Take a Ride”.

Raunch’s version of “Hungry” is good, but my copy has a skip in it. Their bassist Frank Taxiera told me, “Joe Renda asked us to submit a song from about fifteen that we recorded at his studio between ’66 and ’67.” I’ve since posted more on Raunch here.

As for the rest, there are a couple light pop numbers, like “Lolly Pop Train” by the Mystics and “The Glass Toy” by the Reptiles, but they’re not bad. The most out of touch with the times is “Angel Baby” by the Vectors of the Bronx, where Carol Pecchio’s fine vocal performance is buried in echo behind the drums and bass. Some of the covers are unremarkable, but the Orphans out-of-tune vocals on the Byrds’ “Feel a Whole Lot Better” dooms that cut despite good instrumental playing.

I spent far too much time typing out the credits in the interests of ah, history. What follows is a complete list of songs and band members on the album, and links to a few of the better songs.

A1. Hungry – Raunch, from Ossining and Briarcliff Manor

Sandy Katz – rhythm guitar & vocal
Jay Manning – lead guitar
Frank Taxiera – bass
Tom Walker – drums

A2. Jenny Take a Ride – The Night Riders, Portchester

Henry Lopez – lead guitar
Cheno Lopez – guitar
Dominick Gabrieli – rhythm guitar
Tony Ojeda – bass
Mike Lopez – drums

A3. Angel Baby – The Vectors, Bronx

Louie Glattino – drums
Ronnie Salotto – organ
Doug LoPresti guitar
Charlie Pecchio – guitar
Carol Pecchio – vocal

A4. Out of Sight – The Night Crawlers, White Plains

Geof. Greenburg – drums
Bob Bloomfield – guitar & vocal
Gary Kemp – guitar
Rodge Altman – bass
Otis Moore – vocals

A5. The Glass Toy – The Reptiles, Ossining

Mark Worthy – guitar & vocal
Ron Macera – drums
Paul Slavin – bass
Steve Worthy – guitar & vocal

A6. Say – The Henchmen, Pleasantville

Ray Greene – organ
Jimmy Porter – drums
Mark Zvonkovic – bass
Andy Porter – guitar
John Wallin – guitar, vocal

B1. (I’m Not Your) Stepping Stone – The Gyrations, Yonkers

John Soares, 3rd. – guitar, vocal
Ronnie Christmann – bass
John Karlsson – guitar
Nick Vitulli – organ
Robert Karlsson – drums

B2. Lolly Pop Train – Tne Mystics, Valhalla or White Plains

Jimmy Carpenito – vocal & guitar
Charlie Sinerate – guitar
Dan Liberati – bass
Mike Mruz – drums
Bob Fresta – organ

B3. Didn’t Want to Have to Do It – The Hangmen, Eastchester

Joe Montclare – vocals
Art Sammartino – Cordavox
Jim Miranti – drums, John Bruno – bass
Joe Manganiello – guitar

B4. Respect – “The”, Yonkers

Richard Kudelka – bass
Sal Del Bene – drums
Bill Connors – guitar
Bob Kolachik – vocal & guitar
Frank Longo – organ

B5. Feel a Whole Lot Better – The Orphans, White Plains

Vinny Leonardis – guitar & vocals
Joe Gangemi – bass & vocal
Mike Saland – guitar and vocal
Ricky Pelpzman – drums

B6. High On A Cloud – The Traits, Pelham

Don Chicherchia – guitar (I believe Dom Chicerchia is correct)
Bob Creaturo – guitar
Mike Carrol – vocal
Bobby Williams – drums
Jim Klieforth – organ

Recording engineer: Ernie Rivellino
A&R: Joe Renda
Supervision: Pete Iarussi
Renda-Rivell Studios 317 Central Ave, White Plains

There are also at least two singles on Ren-Vell, best of which may be the Mystics (covered here):

RV-318 The Sherwoods – Third Summer (That I Loved You) (by Joe Lanza) / Lonely for You, supervised by Ken Luttman.

RV-320 The Mystics – This Is What I Was Made For / Ride My Pony (Come) – not the Lee Dorsey song but an original by James Carpenito and B. Fresta

Updates:

Since writing this I’ve heard from Vinnie Leonardis of the Orphans:

I was the founder of the Orphans out of White Plains High School. We played school dances around 1965 tru 1967.
How did we get on the album? Joe Renda belonged to the same church. He had a band that played for one of the church dinner dances. They played for the older crowd. They let the Orphans get up a play a few songs for the teenagers. As I remember it about three seconds into the first song, the priest ran up to the stage waving his arms frantically to TURN THAT NOISE DOWN! Well, we got tru it. At the end of the night Joe told us about the album he was making and were we interested in being on it. Of course we gladly accepted. Thanks to father Julius for letting us finish the set.
Not sure how that song got picked for the album. We surely had better songs than that. And YES the vocals on our cut of the album were humorous.
There actually was a battle of the bands around the time that album was cut. I still have the third place plaque. I think Jimmie Carps Mystics took first place.
Unfortunately the other three members of the band have all passed on. I still have my 1964 Rickenbacker guitar that I use on gigs once in a while but nothing can replace the excitement of that era.

Doug LoPresti wrote to me with some info about the Vectors:

Although we were billed as being from the Bronx, I and three others were from Yonkers! And White Plains was part of the community of interest. I was guitar with Ron Salotto on keyboard for many years. We hooked up with Carol and Charlie and Louie later. We were a classic garage band … Louie’s basement! We called it the “Cellarino” Geez! I’m sorry we got such bad reviews for that recording! That version of “Angel Baby” was a huge hit wherever we played. It was Carol in person that made it so … without seeing her, it loses impact!
We continued through the 70’s as an active group, switched to the wedding scene as everyone did. By the 80s we all had kids and not enough time to continue. I reconnected with Carol about ten years ago, she’s in North Carolina now. I’m still friends with Ron (keyboard) but can’t find Louie. Actually there were many times when we couldn’t find him then either!

Thanks to Rockin’ Rex for info on the Ren-Vell 45s and Raunch single.

Joe Renda of Ren-Vell correction: Ernie Rivellino tells me this is not Joe Renda or Ren-Vell Studio

Categories: Maryland, Monument, Rockville, Washington DC

The Hangmen “What a Girl Can’t Do”

May 2, 2007 Chris Bishop 61 Comments

Early photo of the Hangmen — Earliest known pic of the original Hangmen with (from left) first bass player Mike (Walters) West, George Daly, Dave Ottley, Tom Guernsey and Bob Berberich

The Hangmen formed at Montgomery Junior College, and included bassist Mike West and rhythm guitarist George Daly. They were joined by fellow students Tom Guernsey and Bob Berberich, whose previous group the Reekers, dispersed when other members went away to college.

Looking for a vocalist, George Daly called the British Embassy asking for someone who was British and could sing! The person he talked to referred him to a girl who could sing, who in turn recommended Dave Ottley, a hairdresser for Vincent Hair Stylists who had been in the U.S. for two years at that time. Variously reported in articles about the Hangmen as being from Liverpool or London, Ottley was actually from Glasgow, Scotland.

First press on the group, from the Washington Evening Star of April 3, 1965. The Hangmen lose a battle of the bands at the Shirlington Shopping Center to the Shadows.

In early summer of ’65, the band’s managers Larry Sealfon and Mike Klavens played “What a Girl Can’t Do” for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him – only Tom as he was the songwriter and leader of the Reekers.

Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers’ recordings of “What a Girl Can’t Do” and “The Girl Who Faded Away” under the Hangmen’s name, even though only Tom and Bob Berberich had played on them.

Some sources report that the Hangmen rerecorded the “The Girl Who Faded Away” for the Monument 45. A close listen shows that the Hangmen’s Monument 45 version uses the same instrumental backing as the Reekers’ original Edgewood acetate. The vocal track does not match the demo, with different lyrics, but the lead vocalist is the same (Triplett I think). The acetate also runs about 24 seconds longer than the Monument 45.

Confusion also exists about “What A Girl Can’t Do”, but there should be no doubt, the Monument 45 version released under the Hangmen’s name is actually the Reekers. In 1966 the Hangmen recorded their own version of the song for their LP, which sounds very different.

Arnold Stahl, a lawyer, and Mike Klavans of WTTG formed 427 Enterprises to promote the band. Their connections landed gigs for the Hangmen in embassies and a mention in Newsweek. One memorable event was playing a party for Robert Kennedy’s family and getting drunk in their kitchen!

Despite these connections, the Hangmen were still primarily a suburban band, playing for kids at parties and shopping malls but not getting into the clubs like the big DC acts like the British Walkers and the Chartbusters. This would change as the Monument 45 of “What a Girl Can’t Do” started gaining momentum locally.

Algerian Ambassador and Cherif Guellal (in tux) and former Miss America Yolande Fox to his left, with Dave Ottley on the far right and Tom Guernsey behind Yolande, 1966. Photo by Frank Hoy.

Billboard, 2/19/66: Hangmen Cause ‘Swingalong’
FALLS CHURCH, Va. — Jack Shaver, owner of Giant Record Shop, said last week a mob of teen-agers turned out to hear The Hangmen (4) and when police cleared the store because the crowd created a fire hazard a near-riot ensued.
Shaver said browser bins and display cases were smashed and two girls and a boy fainted during the chaos. He said damage was estimated at $500.
Shaver said The Hangmen are from the nearby Washington area and are local favorites. He said he had sold about 2,500 copies of their single, ‘”What a Girl Can’t Do”‘, on Monument, and it was No. 1 on local charts.
He said school was out that day because of snow and the store began filling up at noon for the 4 p.m. show. He estimated 400 ‘were jammed and packed’ inside and some 1,500 were outside.
Shaver said traffic was snarled, police came, declared the gathering a fire hazard and began clearing the store. He said The Hangmen had been playing 15 minutes at the time and it took half an hour to disperse the crowd.
Shaver said he had had record stars perform at his store before, including Johnny Rivers, Johnny Tillotson, Peter and Gordon, and Ramsey Lewis, ‘but they never created anything like this.’
He said he did not have insurance to cover the loss.

“What a Girl Can’t Do” knocked the Beatles’ We Can Work It Out/Day Tripper out of the top spot of the charts for Arlington radio station WEAM on Feb. 7, 1966. On a national level, though, Monument wasn’t doing enough to promote the 45. “What a Girl Can’t Do” remained only a local hit. Their best opportunity had been wasted, but from their perspective as the top band in the D.C. area, success seemed certain.

Tom chose to quit college when an offer to play the Jerry Blavat TV show coincided with his final exams in late 1966. On the show, the Hangmen played “What a Girl Can’t Do” then backed the Impressions on a version of “Money”. (If anyone has a copy of this, please get in touch!) The Hangmen played all along the east coast from New York down to Florida, doing shows with the Animals, Martha Reeves, the Yardbirds, the Count Five, the Dave Clark Five and the Shangri-Las among others. Tom remembers Link Wray coming up on stage during a Hangmen show, borrowing a guitar and launching into a long version of Jack the Ripper. Link played solo after solo while Tom’s arm nearly fell off trying to keep up the rhythm!

Profile of the Hangmen in the May 8, 1966 Sunday magazine of the Washington Evening Star:

Cover
Introduction
First page
Second and third pages

The Hangmen recorded a fine follow up, “Faces”, and this time Monument put some money into promotion, taking out a full page ad in the trade magazines. Propelled by fuzz guitar and a heavy bass line, “Faces” is a tough garage number with a fine vocal by Ottley. Tom points out that the song finishes quite a bit faster than it starts, making it difficult for those on the dance floor to keep up! The flip is another Guernsey/Daly original, “Bad Goodbye”, which features studio musician Charlie McCoy on harmonica.

By this time Mike West had left the band and Paul Dowell plays bass on “Faces”. After its release, Ottley moved to London and was replaced by Tony Taylor. The Hangmen went into Monument Studios in Nashville to record their album Bittersweet. Remakes of “What a Girl Can’t Do” and “Faces” on the album fall flat compared to the 45 versions. Monument pushed the band into recording a version of “Dream Baby”, produced by Buzz Cason and released as the A-side of their last 45. The band does a good job with a slamming beat and catchy guitar and sitar sounds, but I can’t help but feel it’s not the right song for the band.

I prefer some of the other album tracks, like their extended psychedelic version of “Gloria”, the tough sounds of “Isn’t That Liz” and “Terrible Tonight”, the delicate “Everytime I Fall in Love”, and “I Want to Get to Know You”, which sounds something like the Lovin’ Spoonful.

An announcement in the May 17, 1967 edition of the Star Ledger said that the Hangmen had changed their name to The Button to pursue further psychedelic stylings. Paul Dowell and George Daly were already out of the group and replaced by Alan Flower, who had been bassist for the Mad Hatters, and George Strunz. By June Tom Guernsey had left the band to be replaced by John Sears, and the group were being billed as “The Button, formerly The Hangmen.”

Relocating to New York, the Button cut an unreleased session for RCA and played at Steve Paul’s The Scene on West 46th St. and at the Cafe Au Go Go on Bleeker. Berberich left the band leaving Tony Taylor as the only one of the Hangmen still in the group. They band changed its name to Graffiti, recording for ABC.

Meanwhile, Tom Guernsey produced a legendary 45 for the D.C. band the Piece Kor, “All I Want Is My Baby” / “Words of the Raven”. He also wrote, produced and played on a great 45 by another Montgomery County band, the Omegas, “I Can’t Believe”. For the Omegas’ session, Tom played guitar and piano, Leroy Otis drums, and Joe Triplett sang, with backing vocals by the Jewels.

Bob Berberich briefly drummed with The Puzzle then joined George Daly and Paul Dowell in Dolphin a group that featured the young Nils Lofgrin. Berberich stayed with Lofgrin through Grin, while Paul Dowell of Hangmen became equipment manager for the Jefferson Airplane, and George Daly went on to A&R with Elektra Records.

Tom Guernsey deserves a special word of thanks for giving his time to answer my many questions, and also for loaning me the Evening Star magazine.

List of original releases by the Hangmen:

45s:
What a Girl Can’t Do / The Girl Who Faded Away – Monument 910, released Nov. 1965
Faces / Bad Goodbye – Monument 951, released June 1966
Dream Baby / Let It Be Me – Monument 983, released 1966

LP: Bittersweet – Monument SLP 18077, released 1966

Update

Tom Guernsey passed away on October 3, 2012 in Portland, Oregon, followed less than two months later by David Ottley, on November 27, 2012.

from left: Tom Guernsey, George Daly, Dave Ottley (center with white shirt), and Paul Dowell

What a Girl Can't Do at #1 on WEAM Top 40 hits February 7, 1966 — What a Girl Can’t Do at #1 on WEAM Top 40 hits February 7, 1966

Categories: Edgewood Recording Studio (DC), Garrett Park, Maryland, Monument, Ru-Jac

The Reekers

May 2, 2007 Chris Bishop 8 Comments

Tom Guernsey formed the Reekers in late 1963 with his brother John Guernsey and friends from Garrett Park, MD, a small town outside of Bethesda and a short distance from Washington D.C. Bass players and drummers would change over time, but the core of the band was always Tom Guernsey on guitar, Joe Triplett on vocals and Mike Henley on piano.

While playing the beach resorts at Ocean City in the summer of ’64, rich friend Toby Mason became interested in the band and offered to pay for studio session time. The Reekers first session didn’t go well, but then they went into Edgewood Recording Studio on K Street in downtown D.C. Engineer and owner Ed Green asked Tom whether they wanted to record in one track or two. When Tom asked what was the difference, Green said one track is $10 an hour, two would be $20 an hour! The Reekers went with one track, no overdubs, to record two original instrumentals that would make Link Wray proud.

Tom’s lead guitar and Joe Triplett’s screams combine with Jim Daniels’ ferocious take on surf drumming for “Don’t Call Me Fly Face” (named for the Dick Tracy villian). On “Grindin'”, Richard Solo makes incredible bass runs behind a bluesy guitar workout from Tom, accompanied by Henley’s keyboards and Triplett’s interjections (‘keep grindin’, ‘look good to me now’, ‘keep walkin’ boy’!)

Tom brought an acetate of the session to Lillian Claiborne, a legendary D.C. record producer. Claiborne had been Patsy Cline’s manager early on in her career, and was responsible for recording and supporting many local acts, especially soul and r&b artists. She released some records on her own DC label and leased other masters to labels around the country.

Claiborne signed Tom to a production contract and sent the Reekers to Rufus Mitchell, owner of Baltimore’s Ru-Jac Records, a label usually known for soul music. With Claiborne’s assurance of airplay on WWDC, Mitchell released the Reekers 45. The small first pressing lists Tom as sole writer of both songs. When that sold out, Ru-Jac ran a second press, this time correcting the songwriting credits on “Grindin'” to give John Guernsey co-credit.

Reekers Ru-Jac 45 Don't Call Me Flyface The Reekers never saw any money from this record, but it garnered them some attention. Local teen maven Ronnie Oberman profiled the band in the Washington Evening Star on April 17, 1965. About this time they went back to Edgewood to record a beautiful ballad, “The Girl Who Faded Away”. For this session Mike Griffin played bass and Bob Berberich replaced Daniels on the drums. This song shows some considerable development in the band, from Tom Guernsey’s songwriting to the harmony vocals and the band’s delicate handling of the arrangement. The band took a demo to the WWDC program director who had pushed “Flyface”. Not only did he pass on it, but his remark that they should stay an instrumental band disappointed vocalist Joe Triplett.

For his next song, Tom worked out a riff on piano loosely based on an instrumental he heard on the radio. The song he wrote around that riff, “What a Girl Can’t Do”, would change the fortunes of him and the rest of the Reekers.

The band went to Rodel Studio in Georgetown, a larger studio than Edgewood, but with a less competent staff. By sheer accident the engineer captured an echo-laden drum sound that gave the song an instant hook. Tom took all but two strings off his guitar so he could play the riff cleanly. Joe Triplett delivered the lyrics with sneering satisfaction, his voice perfectly suited to the lyrics. Though the words were a Stones-like put-down, musically the song shows little influence of the British Invasion. This was the first time the band had tried overdubs, including Joe on the harmonica solo and Tom’s repeating high guitar notes that take the song out.

Guernsey received some instant feedback on whether this song had a chance at a hit: Mike Griffin, hired as bass player for the session, had been offered either $20 or a percentage of the record. Initially he wanted the $20, but on hearing the playback in the studio he changed his mind and asked for the percentage!

Just as the Reekers were getting attention around DC with “Don’t Call Me Flyface”, the band dispersed, with Mike Henley and Joe Triplett going away to college. Tom and Bob Berberich joined another band, the Hangmen, with bassist Mike West and rhythm guitarist George Daly, fellow students at Montgomery Junior College.

Fate would strike in the early summer of ’65, when Hangmen manager Larry Sealfon played “What a Girl Can’t Do” for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him – only Tom as he was the songwriter and leader of the Reekers. Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers’ recording of “What a Girl Can’t Do” under the Hangmen’s name, even though the only Hangmen that had played on it were Tom and Bob Berberich.

The Hangmen’s story continues here.

Though the Hangmen spelled the end of the Reekers, Tom now considers a number of his later projects with Joe Triplet (and often with Mike Henley, Sam Goodall and Bob Berberich) to be extensions of the Reekers, including a 45 released as the Omegas, and later recordings like 1972’s “Night Time of My Lifetime” and “Streakin’ U.S.A.”.Bob Berberich stayed with the Hangmen after Guernsey left the group, and would go on to join Dolphin with George Daly and Paul Dowell of the Hangmen and Nils Lofgrin, and then join Lofgrin’s own group, Grin.

Joe Triplett and Mike Henley joined a group called Claude Jones, John Guernsey joined the group soon after and became one of their primary songwriters. Joe Triplett later formed the Rosslyn Mountain Boys.

Meet The Reekers, a 20-track CD including the originals of Don’t Call Me Flyface and Grindin’, the Omegas’ I Can’t Believe and five ccver versions of What a Girl Can’t Do, is available at CD Baby, which also has Tom’s instrumental album, Same Place, Different Time.

Tom is working on a film inspired by the Reekers story called “The Girl From California”. He asked me to include this clip from the film:

Garage Hangover

Tag Archives: Hangmen

Ren-Vell Records Battle of the Bands

The Hangmen “What a Girl Can’t Do”

The Reekers

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