Tag Archives: Standells

The Sideshow

The Sideshow, 1967, standing: Dave Bishop and Freddie Mooney; seated: Chuck Riley and Dennis Wilbur
The Sideshow, 1967, standing: Dave Bishop and Freddie Mooney; seated: Chuck Riley and Dennis Wilbur

Dave Bishop – guitar, vocals
Dennis Wilbur – guitar, piano, vocals
Freddie Mooney – bass, vocals
Chuck Riley – drums

Dennis Wilbur sent in the photo and history of his bands This Generation and Sideshow, out of Bell, California:

I have always been interested in music from the time I was about 3 years old. I was fascinated by the people I saw standing on a stage and performing and the applause from the crowd after each song.

My first band was called This Generation. We formed around 1965 and played dances, parties, etc. The members were Dennis Wilbur (guitar-vocals), Freddie Mooney (bass-vocals), Danny Shoaf (drums), and Tom Jonutis (guitar). Freddie Mooney and I were in the band and orchestra at Bell High School. I knew that he was playing with his step-dad Vern “The Voice” Gosdin, and Vern’s brother Rex, along with Clarence White (Kentucky Colonels, and later The Byrds). The Gosdin Brothers were former bluegrass musicians known as The Hillmen (with Chris Hillman playing mandolin prior to joining The Byrds).

I had gone to a rehearsal of the Gosdin Brothers and started talking with Freddie and said we should form our own group. One thing lead to another and This Generation was formed. We were together a little over a year when our drummer and guitarist were both drafted. Freddie said that he knew another guitarist named Danny Duran from the next town over (Maywood, CA). We auditioned him and added him to the group. I don’t recall who our drummer was at that time.

We played together for about 6 months and for some reason our guitarist left. Again, on the search for someone to replace him we found Dave Bishop (also from Maywood). We knew Dave from high school also. He had been playing with a local surf band and realized that surf music was quickly being replaced by the British Invasion and decided to join us. This was mid 1966. This also called for a name change and The Sideshow was born.

Sometime in late 1966 we landed a gig at The Street Scene in El Monte, CA which was owned by Gary Bookasta who also owned The Hullaballoo in Hollywood and was manager for The Palace Guard and The Yellow Payges. It was during this time that we again needed a drummer and while playing at the Street Scene that we found Bob Phillips from El Monte and he joined the band.

After a couple of more gigs at the Street Scene, Gary Bookasta hired us as the “house band”. We were still doing mostly Top 40 covers at this time but it did provide us with the opportunity to open for many of the big acts of the time (Grass Roots, Music Machine, Freddie Cannon, The Seeds, etc.). This also allowed us to play at The Hullaballoo with many other top acts (Linda Ronstadt with the Stone Poneys, Taj Mahal, Van Morrison, The Doors, John Lee Hooker as his backup band, and many more) and the regular groups that Gary Bookasta handled (Palace Guard, Yellow Payges, East Side Kids).

While playing the Street Scene we were approached by Lou Liuzzi about him becoming our manager. Lou was just out of college with a degree in Business and trying to get into the music biz as a manager. He didn’t really have any experience but he did try hard. I don’t think he ever managed anyone else but The Sideshow.

He initially was able to get us some gigs and financed our first recording session at a small studio somewhere in the San Gabriel Valley. We recorded two covers, one was a song by The Who (“Can You See Me”) that hadn’t been released in the US yet and the other was by The Blues Magoos (“One By One”). During this period we were continually playing various clubs around Southern California (Marina Palace in Seal Beach, and The Galaxy in Hollywood). The Galaxy was less than 100 feet from The Whisky, which provided us with some exposure to some of the big acts of the time that would just stop in and see us.

It was at this time, early 1967 that The Standells came in to see us. A few weeks later they came to see us again when we were playing a car show at the Anaheim Convention Center. They approached our manager about signing with their new production company.

We recorded four tracks at Mama Joe’s recording studio in the San Fernando Valley. We didn’t have any original material at that time so The Standells found the songs that we recorded (“Paper People”, “Black and White”, and two other tracks that I don’t recall the names). The sessions were a lot of fun as The Standells played on the tracks with us. Our drummer felt left out as he didn’t get to play on the tracks. The lineup for the sessions was Dennis Wilbur (guitar-piano-vocals), Dave Bishop (guitar-vocals), Freddie Mooney (bass-vocals), Larry Tamblyn (organ), Dick Dodd (drums), Tony Valentino (guitar), and John Fleck (guitar). Unfortunately all of the recordings that we had done have gotten lost over the years.

Our drummer Bob Phillips left the group and became the drummer for The Rooney Brothers (Mickey Rooney’s sons, Tim, Ted, and Mickey Jr.). We found another drummer right away from Downey CA. His name was Chuck Riley. Things were looking good and we were about to sign a deal with Reprise Records when our manager fell victim to the dreaded “Greedy Manager Syndrome” and presented us with a ridiculous contract that was to be 10 years long with a 25% commission. Needless to say, we said “NO”. That’s when everything fell apart and the deal with Reprise disappeared. Shortly after things fell apart with The Standells. We continued to play for about another six months and then broke up. This was early 1968.

After a few months of not doing much of anything I received a call from Freddie Mooney. He had met Diana Di Rose from The Rose Garden and said that she was auditioning players for a replacement band as several members of the original group had been drafted and the remaining members had quit. Freddie and I auditioned and landed the gig but the group was still incomplete needing another guitarist/vocalist and a drummer. We immediately called Dave Bishop and added him to the group. After auditioning numerous drummers we found Ken Dalton recently arriving in California from New York. We started learning material and for the first time writing some of our own. At this time I was the only writer with some help coming from Freddie Mooney.

Diana Di Rose introduced us to Charlie Green and Brian Stone who had produced the original Rose Garden (also Buffalo Springfield, Iron Butterfly, Sonny & Cher, and Jackie De Shannon). They were interested in recording us but as things turned out Diana was more interested in promoting herself and our other guitarist as the new Sonny & Cher, and another potential deal bit the dust. This version of The Rose Garden lasted only about eight months.

After this I stopped playing for a while and went back to school for a couple of years.

After college I reformed The Sideshow with Wayne Boyles (vocals) (another high school friend), Mike Herrmann (guitar-vocals), David Ando (bass), and David “Frenchy” O’Brien (drums also a founding member of the group Animotion). After about a year we replaced Mike Herrmann with Michael White and continued playing the club scene for a few more years.

Overall my experiences with The Sideshow were fantastic. At that time everything was about the music. What a great time to be playing rock. I did get to meet a lot of interesting and talented people and I wouldn’t have changed anything.

Dennis L. Wilbur, October 2010

The Standells

Standells photo early 1963
Early 1963, clockwise from left: Tony Valentino, Gary Lane, Larry Tamblyn and Gary Leeds

Larry Tamblyn (keyboards, vocals)
Tony Valentino (lead guitar)
Gary Lane (bass)
Gary Leeds (drums)

1962

The group is formed in Los Angeles by Larry Tamblyn (b. February 5, 1943, Inglewood, California, US), (brother of actor Russ Tamblyn), and guitarist Tony Valentino (b. Emilio Tony Belilissimo, May 24, 1941, Longi, Italy), who arrived in the US in 1958. Tamblyn has previously recorded three singles for local label, Faro.

Tamblyn and Valentino form the original Standells with Jody Rich (bass) and Benny King (drums) and work in Hawaii at the Oasis club in Honolulu for several months. The group takes its name from the long hours spent hanging around record company offices awaiting an audition.

1963

January The Standells work at the Club Esquire in Eureka, California. Soon afterwards, former New York Aerospace Technology school student, Gary Leeds (b. September 3, 1944, Glendale, California, US) and bass player Gary Lane (b. Gary McMillan, September 18, 1940, St Paul, Minnesota, US) take over from King and Rich. The group’s first recording is the single, “The Shake”, which receives airplay on KFWB radio station.
May The group plays at the Royal Room in West Los Angeles.
August The Standells appear at Tykes in Pasadena, California.
September The band performs at the Trophy Room in Sacramento, California and then becomes the house band at the Peppermint West in Hollywood.
December The Standells’ debut single, “You’ll Be Mine Some Day” is released as Larry Tamblyn and The Standells on Faro’s subsidiary label, Linda Records.

Standells, early 1964: Gary Lane, Larry Tamblyn, Gary Leeds and Tony Valentino
Standells, early 1964: Gary Lane, Larry Tamblyn, Gary Leeds and Tony Valentino

Standells Liberty 45 Peppermint Beatle1964

February (6) Tamblyn, Valentino, Lane and Leeds sign a record contract with Liberty Records.
March The group plays at the Thunderbird Lounge in Las Vegas billed as America’s answer to The Beatles.
May Gary Leeds leaves to join first Johnny Rivers and then P.J. Proby, before co-founding The Walker Brothers, and is replaced by Dick Dodd (b. October 27, 1943, Hermosa Beach, California, US) from surf band, Eddie & The Showmen. (Dodd has also been an original mouseketeer on the popular TV show, The Mickey Mouse Club).
June The Standells land a residency at Hollywood’s illustrious nightclub, PJ’s (where they record an album) and also play at the Haunted House on Hollywood Boulevard. Liberty releases the single, “Peppermint Beatle”, in an attempt to cash-in on The Beatles’ recent US success, but the single flops.
July A cover of James Brown’s “I’ll Go Crazy” is lifted from the forthcoming album and issued as a single but fails to chart. In The UK, b-side, “Help Yourself” is released as the single.

French EP taken from the Liberty album In Person at PJ's
French EP taken from the Liberty album In Person at PJ’s

Standells Liberty 45 So FineSeptember Liberty releases debut album, The Standells In Person At PJ’s, a blatant cash-in on The Kingsmen’s recent live album, Louie Louie: The Kingsmen In Person. The record is released in the UK the following year; the only Standells album to be issued there. The Standells travel to Nicaragua for 12 days.
October (17) A final Liberty single, a version of Johnny Otis’ “So Fine” is taken from the album but does not chart. The band signs a new deal with VJ Records.
December (5) The Standells perform at Sammy Lee’s Westlake in Chatworth, California.
(22) The band makes its third return to P J’s in Hollywood.

Get Yourself a College Girl lobby card with Standells
Larry Tamblyn, Tony Valentino, Dick Dodd and Gary Lane

Standells VJ 45 The Boy Next Door(26) Having signed a new recording deal with Vee-Jay Records, the band’s debut single for the label, “The Boy Next Door”, produced by Sonny Bono and featuring Cher on backing vocals, is released and eventually peaks at US #102. The single’s release comes on the heels of MGM film, “Get Yourself A College Girl”, where the band performs covers of “Bony Moronie” and “The Swim”.
(31) The Standells appear on That Regis Philbin Show and perform a cover of The Beatles’ “I Want To Hold Your Hand” and one other song.

Standells, late 1964: Tony Valentino, Gary Leeds, Larry Tamblyn and Gary Lane
Standells, late 1964: Tony Valentino, Gary Leeds, Larry Tamblyn and Gary Lane

Standells MGM 45 Someday You'll Cry

1965

January (7) The Standells open New Tiger A-Go-Go Room in the Hilton Hotel, San Francisco.
(18) “Zebra In The Kitchen” is released as a single by MGM but is not a success.

March (18) The Standells appear in episode “Far Out Munsters” for the popular TV programme, The Munsters. After the initial success of “Help Yourself” as a single in Los Angeles, Dodd become the group’s principal lead singer.
(20) The band appears on American Bandstand with Brenda Holloway.
(25) The group appears on Shindig with Dick and Dee Dee, Shirley Ellis, Bobby Goldsboro, The Trade Winds and Glen Campbell.

The Standells on the Munsters, from left: Larry, Tony, Dick and Gary
On the Munsters, from left: Larry, Tony, Dick and Gary
Later Japanese release of "Dirty Water"
Later Japanese release of “Dirty Water”

April The Standells return to the Tiger-A-Go-Go at San Francisco Hilton Hotel where they are advertised as the “return of the Wild Standells”.
May (28) The band plays at the Gardon Grove’s Alamitos Intermediate School assembly.
July (12) The Standells appear on Hollywood Discotechque TV show.
August Final Vee-Jay single, “Don’t Say Goodbye”, backed by “Big Boss Man” is released but fails to chart.
October The band is introduced to Ed Cobb, a former member of fifties vocal group, The Four Preps, who is currently working as a freelance producer and songwriter. Cobb is looking for a group to record one of his recent compositions, “Dirty Water”; a song written about a recent experience he had fighting off muggers, while walking with his girlfriend along the River Charles in Boston. He is suitably impressed with The Standells to use them on the track and offers his services to the group as a manager/producer. Shortly after, Cobb is approached by Tower Records (a subsidiary of Capitol), who are eager to obtain a record he has produced for Ketty Lester. Cobb proposes a deal, whereby Tower agree to sign The Standells in return for the Lester single.
November “Dirty Water” is released as a single but is slow to sell. Dodd, who apparently hates the song, leaves the group and is replaced by former Sir Raleigh & The Cupons, drummer/vocalist, Dewey Martin (b. Dewayne Midkiff, September 30, 1940, Chesterville, Ontario, Canada; d. 31 January 2009). The group records a version of “Why Did You Hurt Me” with Martin on lead vocal but it is re-recorded when Dodd rejoins the band a few months later.
December (5) The Standells perform at the Tiger-A-Go-Go in San Mateo, California.

Rare Tower promotional photo from 1966, featuring second bassist Dave Burke
Rare Tower promotional photo from 1966, featuring second bassist Dave Burke

Standells Tower LP Dirty Water

Standells Tower 45 Sometimes Good Guys Don't Wear White

Standells Tower LP Why Pick on Me

1966

February Dodd rejoins the band while they are working San Jose (and after Cobb arranges a summer tour supporting The Rolling Stones). Martin, meanwhile, leaves to join The Dillards, before gaining greater acclaim with The Buffalo Springfield.
May Bass player Gary Lane leaves the band during its first concert tour and is replaced in Florida by former member of the Tropics, Choir and Rush, Dave Burke.
(20) The Standells appear at Birmingham High School, Van Nuys with The Jefferson Airplane, The Doors, The Sunshine Company and The Nitty Gritty Dirt Band.
(20) The Standells perform “Dirty Water”, “There’s a Storm Comin'” and “Hey Joe” on the Mike Douglas Show.
June (11) After a long climb “Dirty Water” breaks into the US charts at #31, the group’s biggest hit to date. Liberty Records, exploiting the success of “Dirty Water”, reissues The Standells’ debut album as Live And Out Of Sight, adding the “Peppermint Beatles” single to the track listing. A single, “Ooh Poo Pah Doo” is also issued, to tie in with the album’s release. Second Tower single, Cobb’s “Sometimes Good Guys Don’t Wear White”, reaches US #43, while debut Tower album, Dirty Water hits #52.
(24) The Standells supports The Rolling Stones at the Manning Bowl, Lynn, Massachusetts on the opening date of The Stones’ US tour. Also on the bill is The McCoys and The Tradewinds. The crowd is subdued with tear gas, and the concert (even though it goes ahead) will be the last to be held at the venue until 1985.
July “Dirty Water” is The Standells’ second and final single to be released in the UK, but doesn’t chart.
(9) “Dirty Water” peaks at US #11, the band’s biggest hit.
(22) The Standells open with The McCoys and other acts for The Rolling Stones at the Memorial Auditorium, Sacramento, California.
(25) The group supports The Rolling Stones at The Hollywood Bowl alongside The Buffalo Springfield, The McCoys and The Trade Winds.
August “Ooh Poo Pah Doo” is lifted from the earlier live album and released on Sunset but is not a chart success.
September Second album, Why Pick On Me – Sometimes Good Guys Don’t Wear White is released but doesn’t chart.
November Third album in six months, Hot Ones which is entirely comprised of covers of recent hits like The Lovin’ Spoonful’s “Summer In The City” and The Beatles’ “Eleanor Rigby” is released but is not a success. Burke leaves, later to join San Francisco band Indian Puddin’ and Pipe [note: it may have been a different Dave Burke who joined Indian Puddin’ & Pipe and West Coast Natural Gas] and is replaced by John Fleck (b. Johnny Fleckenstein, US), who had been an original member of Love, co-writing “Can’t Explain” on that band’s debut album.

(26) Cobb’s “Why Pick On Me?” stalls at US #54.

The Standells in 1967, from left: Larry Tamblyn, Dick Dodd, Tony Valentino and John Fleck
The Standells in 1967, from left: Larry Tamblyn, Dick Dodd, Tony Valentino and John Fleck

Standells Tower PS Poor Shell of a Man, Try It

1967

February The first single to feature Fleck on bass is “Try It”, arguably The Standells’ finest record. However, despite becoming an immediate hit in L.A., the record is soon banned by radio stations at the direction of rightwing moral majority radio mogul Gordon McLendon who argues that “Try It” is a blatant request for teenage girls to lose their virginity.
(7-12) The band plays at the Ice House in Glendale, California.
March The group releases the novelty tune, “Don’t Tell Me What To Do” under the name The Sllednats (The Standells backwards), but the single flops.
(25) Valentino and Fleck’s “Riot On Sunset Strip” hits US #133.
April Cobb is commissioned by Tower to come up with a soundtrack for a teenage protest film revolving around the disturbances on Sunset Strip 1966/67. The band is featured in the film, alongside label mates, The Chocolate Watchband.

From left: Gordon McLendon, Art Linkletter, Larry Tamblyn, John Fleck, Dick Dodd and Tony Valentino
From left: Gordon McLendon, Art Linkletter, Larry Tamblyn, John Fleck, Dick Dodd and Tony Valentino

McLendon stations complaintMay (27) The Standellls appear on Art Linkletter’s TV show, Let’s Talk, debating radio mogul Gordon McLendon, who has been leading the campaign to ban music with “objectionable” lyrics. The Standells handily defeat him. However, after creative editing, it appears the debate was more evenly matched.
July (5) The Standells support The Doors and The Coasters at Lowell High School Auditorium, La Habra, California.
(23) The group appears on the Shebang TV show with Brenton Wood.
August (26) – September (4) The band performs at the ‘Fort Worth Teen Fair & Mardi Gras Festival’, the Will Rogers Exhibit Building, Fort Worth, Texas.
(5-12) The Standells play at the Ice House in Glendale.
October The Standells’ next release, the R&B/soul single, “Can’t Help But Love You” is a minor hit, peaking at US #78. Tower releases The Standells’ fourth and final album Try It, which doesn’t sell.
November (7) The group appears on the TV show Groovy with The Sunshine Company.
(9) The Standells make a TV appearance on Pat Boone in Hollywood.
December The group appears on the Joey Bishop Show.
(8-9) The Standells perform at the Cheetah, Venice, California with The Hour Glass.

Larry Tamblyn, American Recording Studios, 1967
Larry Tamblyn, American Recording Studios, 1967

Standells color photo

Live, 1967: Larry Tamblyn, Tony Valentino, Dick Dodd and John Fleck
Live, 1967: Larry Tamblyn, Tony Valentino, Dick Dodd and John Fleck
Late 1967, just before Dick Dodd left the band for a solo career
Late 1967, just before Dick Dodd left the band for a solo career

First Evolution of Dick Dodd Tower LP
1968

January (9-14) The Standells are billed to appear at the Ice House in Glendale, California but the shows are postponed until after playing at the Guitar Center in February.
February (10) The group plays at the Guitar Center in Hollywood, California.
April The band is eager to write and perform its own material and decides to split from Cobb, who continues to work with The Chocolate Watchband. Cobb is offered another film commission and decides to record Dodd as a solo artist without the rest of the group. Dodd records “Guilty” for the film, Square Root but problems arise over its distribution and the single flops.
(9-14) The Standells return to the Ice House in Glendale for further shows.
(19) The group plays at Bakersfield College, Bakersfield, California with The Illinois Speed Press.
May Dodd joins Green Grass Productions as a solo artist. His place is taken by drummer Bill Daffern.
June A final single, “Animal Girl” is released but is poorly received, despite being one of the group’s finest records. Featuring Tower producer Richie Podolor on sitar, and recorded before Dodd’s departure, the record is a radical departure in sound for the band and is lost in the media rush which follows.
July A Larry Tamblyn’s solo single, the instrumental “Summer Clothes (Parts 1 &2)”, is released on the small Sunburst label. The one-year old track was recorded around the same time as “Can’t Help But Love You”. Dodd’s first solo single “Little Sister’ is released but fails to chart.
August Fleck also drops out and moves into film work. He later becomes a top cinematographer with Jaws among his credits. The Standells recruit ex-Factory lead vocalist and guitarist Lowell George (b. April 13, 1945, Hollywood, California, US), but no recordings are made.
September (3-15) The new line-up begins a series of dates at the Ice House, Glendale, California with Pipe Dream but they are never completed due to differences between Tamblyn and George.
October Tower releases Dodd’s solo album, The First Evolution Of Dick Dodd but it doesn’t chart.
(27) The Standells appear at the Artists and Models Ball at the Century Plaza with Taj Mahal and others.
November George leaves to join Frank Zappa’s Mothers Of Invention (and later Little Feat).
December Dodd’s final single “Fanny” is another chart failure and he quits the music business for the next few years.
(7) A new version of The Standells supports Johnny Rivers at the College of Sante Fe with Blue Marble Faun in Sante Fe. Daffern and Tamblyn contribute material to The Electric Prunes’ final album, Just Good Old Rock and Roll.

Standells 1969, from left: Larry Tamblyn, Tony Valentino (in front), Bill Daffern (Willie Dee), Tim Smyser, Paul Downing
Standells 1969, from left: Larry Tamblyn, Tony Valentino (in front), Bill Daffern (Willie Dee), Tim Smyser, Paul Downing
Standells Thai EP
Rare EP from Thailand that seems to include a version of “La Bamba” not heard anywhere else – anyone ever heard this version?

Standells Rhino LP Rarities

Standells Tower PS Riot on the Sunset Strip

1969

Tamblyn and Daffern form Chakras with former Knack members Michael Kaplan and Larry Gould with Valentino acting as manager. Reprise releases the Charkras single, “City Buy” c/w “Agnes Vandalism”, both sides of which are written by Michael Kaplan. Daffern leaves and subsequently records with Hunger! and later records with Truk. Tamblyn and Valentino then reform The Standells with English guitarist Paul Downing.
November (14-16) Billed as The Standells, the group appears at Pier 7 in Van Nuys, California. A photo circa this time includes new members Bill Daffern (Willie Dee) and Tim Smyser.

1970

July (7-12) The Standells play at the Beach House, California.
September Dodd releases the single “Requim: 820 Latham”.

1975

Dodd emerges with Los Angeles group, Joshua, who release an album Willy And The Hand Jive (produced by Ed Cobb) for the independent AVI label.

1982

American indie label Rhino Records releases compilation album The Best Of The Standells. Around the same time Valentino cuts a number of solo demos (but is unable to attract a record deal), before joining Tamblyn and Dodd in a full-scale Standells reunion.

1983

August The Standells perform at the Club Lingerie in Hollywood, the Golden Bear in Huntington Beach, a weeklong engagement at Harrah’s in Reno, Nevada, supported by The Fleshtones.

1984

Rhino Records issues second album, Rarities, a collection of rare Standells tracks, including Dodd’s solo releases and the band’s pre-Tower Vee-Jay singles.

1986

Third Rhino release The Best Of The Standells is issued.
July (19-20) The Standells appear at the Summerfest/Return to the Sixties at Glen Helen Regional Park, San Bernandino, California. Tamblyn, Valentino and Dodd reunite in 1999 for the Cavestomp Festival in New York. The group records a live CD, Ban THIS, a slam at Gordon McLendon.

2000

Gary Lane rejoins The Standells as they perform at the Las Vegas Grind, Las Vegas, Nevada.

2004

The Tamblyn/Valentino/Dodd/Lane line up play before the Game Two of the World Series.

2005

April (11) The Standells appear at Fenway Park. The band will return the following year for a show on September 8.

Many thanks to Larry Tamblyn for his personal contributions.

Sources:

Bronson, Harold. Sleeve notes to Rhino album, The Best Of The Standells.
Burgess, Chuck and Nowlin, Bill. Love That Dirty Water! The Standells and The Improbable Red Sox Victory Anthem, Rounder Books, 2007.
Doggett, Peter. ‘The Standells’. Record Collector, May 1991, #141.
Grushkin, Paul D. Art Of Rock – Posters From Presley To Punk, Artabras, Cross River Press, Ltd, 1987.
Hogg, Brian. ‘Little Feat’. Strange Things Are Happening, Vol 1, #3, July/August 1988.
Joynson, Vernon. Fuzz, Acid And Flowers, Borderline Productions, 1993.
Maclean, Hugh and Joynson, Vernon. An American Rock History – California The Golden State, Borderline Productions, 1985.
Rees, Dafydd and Crampton, Luke. Book Of Rock Stars, 2nd Edition, Guinness Publications, 1994
Robertson, John. Neil Young – The Visual Documentary, Omnibus Press, 1994.
Shaw, Greg. The Doors On The Road, Omnibus Press, 1997, pages 46 and 57.
Whitburn, Joel. Billboard – USA Top 40 Hits, 3rd Edition, Guinness Publications, 1987.
Whitburn, Joel. Joel Whitburn’s Pop Annual 1955-1994, Billboard Record Research Inc, 1995.
Billboard, May 11, 1968, page 50.
Billboard, September 7, 1968, page 3.
Variety, September 2, 1970, page 60.

Another great resource is: www.newspaperarchive.com/

Some of the scans and photos seen here are on the Standells Facebook page. from the collections of Larry Tamblyn, Thomas Haaland and others.

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.

Email: Warchive@aol.com