Category Archives: Wenatchee

The Chargers

The Chargers: Ron Kinscherf, Steve Barone, Curt Dorey, Steve Nelsen and Tony Morgan
From left: Ron Kinscherf, Steve Barone, Curt Dorey, Steve Nelsen and Tony Morgan
Photo from

The Chargers came from the central Washington state town of Wenatchee, like Billy and the Kids. Steve Barone was 16 years old when he played lead guitar on the Chargers single on Julian Records, “Taxi” / “I’m So Alone”, released in October 1966. Steve plays some great lead on Steve Nelsen’s original “Taxi” with its super-cool lyrics. The girl’s going to leave so he might as well just call her a taxi and get it over with. “I’m So Alone” is one of the better downer songs of the ’60s, with a neat sliding guitar riff towards the end of the break.

About a year after the single, they recorded three more songs in Spokane that have so far been unreleased. I’ve only heard short excerpts of each. “Need Your Love” sounds a lot like “Taxman” but has its own charms. “You Got a Hold” has a great distorted guitar opening. “In the News” might be my favorite, with it’s heavy tom-tom opening, fine organ playing and interesting rhythm changes. All three of these deserve getting a proper release on CD or vinyl, I hope it happens soon.

Steve Barone wrote to me in detail about the band:

I am the lead guitarist and vocalist for the Chargers. I was born in 1951, and my earliest memories are of watching my dad play with his bands, and by five years old was playing his instrument. In junior high, I had a little group called The Hustlers. One guitar, one drummer, and five singers! We had the chicks screaming when we played Beatles songs at assemblies and dances … how naive they were.

Then I met Ron Kinscherf, Curt Dorey, Tony Morgan and Steve Nelsen. They had a band The Undertakers with Larry Youngblood (passed on) singing, and they were very good; the Hustlers didn’t have a bass man. We did a “battle of the bands” … they even had a coffin to haul equipment in! I was so impressed with them, and they with me, that I quit the Hustlers.

Early lineup of the Chargers, March 1966 L-R, standing: Don Sandstrom, Larry Roller and Curt Dorey; kneeling Tony Morgan and Steve Barone
Early lineup of the Chargers, March 1966
L-R, standing: Don Sandstrom, Larry Roller and Curt Dorey; kneeling Tony Morgan and Steve Barone
Steve and Ron were part of the Undertakers but Tony, Larry, and Curt formed the three-piece Chargers, then I joined. Larry Roller was lead singer in the beginning but he liked ripping off stuff, like other people’s cars, so we axed him. There was also Don Sandstrom, who sang as well.

Don and Larry are both [in the talent show clipping]. That is because Don had just joined the group. He hadn’t been at the talent show but joined before the picture so there he is. Then Ron replaced Larry, then Steve Nelsen joined later on keys.

We actually let Don into the band because he was the only one with a driver’s license and would drive us all around in his mom’s Corvair … and usually with one or two of us in the trunk as that was a very small car! Especially on drive-in nights! One other friend, Phil Dorschak, had a ’58 Chevy with a tri-power 348 and a big trunk. We always gave him a few beers if he would help haul the equipment for us. I don’t know where he is and haven’t seen him since 1968.

Don quit after a couple years, leaving us a five-piece for the duration. Me on my 1963 Tiesco art-deco Japanese guitar and Silvertone twin-twelve amp, playing lead and singing, Ron on his red Lyle guitar and Paul McCartney vocal stylings, Steve Nelsen on the Farfisa keyboard, Curt Dorey on Fender Mustang bass, and Tony Morgan on drums. Toward the end of the band Tony quit, and was replaced by Jerry Riley on drums. He was the absolute best drummer ever.

We played all over, every high and junior high school dance we could handle, plus Yakima, Bridgeport, Spokane, all over except for the Seattle area. We weren’t ready for that yet.

Steve Nelsen and Ron Kinscherf lived on the East side. Me, Tony, Jerry and Curt lived on the West side. When we played at either high school, or junior high, we had fans in either case. The town didn’t matter much to us, but Billy & the Kids were all living with their folks in East Wenatchee so they had a “town loyalty”, as it were. Billy & the Kids didn’t go over that well at Wenatchee High … we ruled there, and played for nearly every dance from 1966-68. Especially after the record came out. But on the East side, Billy & the Kids had the edge. We always enjoyed the competitive nature of it, but were all brothers and respected each other a lot. I do give them credit, they took it a lot further than I ever did, and now Bill and Bob Burns have a group called “The Called”! Christian stuff of course.

The Chargers won a talent show in 1966, first prize being recording time at Julian records. We were excited, to say the least. We packed up the trailer and headed for Spokane one Friday afternoon. We went to some restaurant for dinner and cruised around town for a while, trailer proudly in tow. Nobody knew who we were then … but that was about to change. After settling in at a motel; the band in one room and the manager and his wife in another, we commenced to “hootenanny” and light farts all night long. After they shut the power off, we continued to sing and light farts in the dark!

In the morning, all fucked up from not sleeping, we headed to the other side of town, and pulled in to an unassuming, plain-looking building. Inside were many rooms and corridors, all full of amps, wires, speakers, etc. I was in heaven. We proceeded to lay down all the instruments at once, and got the songs down fast, albeit with a couple small mistakes that we left in just because. Then we went into a booth and did the vocals. All this recorded on reel-to-reel, very primitive even then.

When that hit the street, and went to #3 on the local survey the first week, we were gods. How overwhelming it is to hear your songs on the radio! We played at virtually all the big dances after the record came out.

The Chargers: Curt Dorey, Steve Nelsen and Tony Morgan; seated: Steve Barone and Ron Kinscherf
Standing, from left: Curt Dorey, Steve Nelsen and Tony Morgan; seated: Steve Barone and Ron Kinscherf
Photo courtesy Steve Barone

I have one old picture of the band in our suits, in a frame. We took many poses, in the house, in a tree, on another part of the roof, and gathered around our trailer that had the logo and a crazy horse on the sides. I don’t know where these photos ended up. It must have cost a lot; it was a professional photographer, and we took a LOT of shots.

Chargers Julian 45 TaxiQ. I notice Ron looks to be left handed and playing with a right-handed guitar turned upside down. Is he really left handed, or was this just for the photo?

Ron was intrigued with Hendrix but only for the photo was the guitar reversed unfortunately. That would have been something though! Sorta like I painted the “Vox” logo on my Silvertone/Tiesco guitar. Nobody ever knew but the band.

The story of “I’m So Alone” is a book in itself. I met Carl Hunt in 1963, at Pioneer Junior High. My neighbor, Jerry Highfill and I played guitars together a lot, and thus entered our first talent show playing a couple Ventures songs, and a tune called “Bulldog”. We caused pandemonium; nobody suspected I could really play and was actually “cool”. I looked like Fearless Fly; skinny, horn-rimmed glasses and clothes my mom picked out. But when Jerry and I won that first show, I suddenly had a lot more friends. Carl was way cool, smoking on the corner in his leather jacket, just being next to Carl made you cool.

He had one of those Silvertone guitars with the amp in the case. I never would have dreamed it, but Carl wanted to learn how to play, and all through junior high he was my body guard more or less, in exchange for guitar lessons. I spent the weekend at Carl’s often; his mom always fed us and let us smoke in his room, and occasionally we would smuggle in a few beers too. We had a few tunes down, and were joined by a drummer, Jerry Riley, in 1964. One night at Carl’s house, he said he had a new song, kind of a ballad. Then he started playing the two opening chords to “I’m So Alone” and started the plaintive vocal. I knew he was on to something, and before too long we sounded like the Everly Brothers on the chorus. But then I got asked to join the Chargers, formerly the Undertakers, and I spent a lot less time with Carl. Jerry joined the Chargers as well.

Chargers Julian 45 I'm So AloneWhen the Chargers decided to record our first single, we already had “Taxi” on our playlist. But we needed a “B” side. So I remembered Carl’s song. I played it, and everybody liked it right away … and we ended up recording it. I never gave Carl credit for it though, and always felt a little bad. I didn’t see him much so I never knew if he was upset about me claiming his song. I did refine the lyrics but the music is all Carl.

Around 1976 I spoke with a man who was a former detective, and he said Carl had committed suicide that summer. I had not seen him since 1968.

You can sure tell in “I’m So Alone” that there is a Farfisa screeching away (man I hated that sound). We did an outdoor gig and it got so hot it just freaked out. The notes would go up and down and it finally pooped clear out. We got it fixed and jammed on. Later with Double Image, Steve got a B-3.

Ron Kinscherf, Steve Nelsen and I were always coming up with ideas for songs. Some were ok, most sucked, a lot of them were rip-offs of the Beatles or the Wailers songs, and all were eventually forgotten but for the five recordings. I spent a lot of time at Ron’s house in those days, and we would jam for hours on end.

We released the record, and in early 1968 went back, older and wiser, doing “You Gotta Hold”, “News in General” and “I Need Your Love”. With the three tunes in the can, the band split up before it was pressed. Only the masters and copies remain. By some miracle, of course, as Ron ended up with the masters at first. His stepdad was the manager. He ended up with at least 300 copies of unsold records, and used them for skeet. The rest of us were quite pissed when we found out where all the records went, but it was too late. I do have a copy, one I gave to my mom, and she gave it back to me just before she died. So it is priceless to me now and never sees daylight.

The Chargers, Eagles Hall, 1967 poster
Eagles Hall, 1967 poster
One summer day, Ron and I went to a department store with a friend named Dale. He was, unbeknownst to us, a compulsive kleptomaniac. He would fill his trenchcoat with stuff and go unload it in the car while we were looking around the store. When we discovered how easy it was to rip stuff off, I tried to hork Jimi Hendrix’s first album and got caught by store security. After the cops came, and my folks came to get me from them, my guitar and amp were locked in a closet and I was forbidden to play music until I graduated the following year. This put an end to my membership in the band. They tried to carry on with replacements but it just didn’t work.

After I actually showed some remorse, worked hard at school and for the first time ever, made the honor roll, I got my guitar back. Then I hooked up with Dick and Jerry Riley, Bob Herron and Rick Troppman and formed “Subtle Difference”. We were cutting-edge, with a keyboard (Hammond B-3 and Leslie), two hot guitars and Jerry was one hell of a drummer. Rick was, and is, one of the best bassists I ever knew. We did Vanilla Fudge and all the hot psychedelic stuff.

Too bad it was the time of drugs, partying, Viet Nam and thoughts of marriage … all this combined to send all five of us in different directions. By 1969, the smoldering remains of the Chargers was officially put to rest.

Ron moved to Tacoma to play new wave, Tony and I joined the Army, Steve Nelsen joined “Double Image” with the Burns Brothers in Seattle, Curt Dorey went to work at Alcoa on the night shift. Jerry Riley overdosed on 96% pure heroin (from VietNam) in 1971. RIP old pal.

I moved to Tacoma in 1979, and played with Ron in “Kicker”, a three-guitar and keyboard band that specialized in AC/DC, Molly Hatchet, Led Zeppelin and Lynyrd Skynyrd. I also did time with Wakefield Manor and No Cheese Please … check them out on I left Tacoma in 1982 and never looked back.

Ron and I are the only ones still performing. I am in “Trio Deluxe + 1”, an oldies band ( the +1 is a sax player), “the Steamers” (check ’em out at and the church worship team. So I am heavily involved but in Wenatchee, also heavily poor. This town does not have a very supportive music scene, I have to spread it thin to stay working. But I will keep playin’ that rock and roll … until I die.

If there’s one thing I pray to never lose, it is my memory of those crazy times with that first “successful” band. This past October, on the occasion of Curt’s 60th birthday, we all got together, even some of our old “groupies” were there. I brought my Strat and Ron brought his bass and another guitar. We howled at the moon from 3pm until after midnight, and would not have stopped then except the neighbors complained. I still can’t believe we remembered all those old songs. But we are NOT going to get the band back together!

Steve T. Barone aka Bonehead

Thanks to Doug Shirk for his help in making this article possible.

The Chargers: Tony Morgan, Ron Kinscherf, Steve Nelsen, Steve Barone, and Curt Dorey
clockwise from left: Tony Morgan, Ron Kinscherf, Steve Nelsen, Steve Barone, and Curt Dorey (holding Ron’s guitar)
“My guitar is still sunburst … sort of. When I bought this ugly guitar, it had long cutaways which I took off with a hacksaw and made it a teardrop. The edges of the cuts still show raw wood in the pic. Then I painted it Krylon sea blue and hand-painted psychedelic stuff, along with boobs and snatches, all over it. I still have this guitar!”
Photo from the cover of Teenage Shutdown “I’m Down Today”

Jack Bedient and the Chessmen

Jack Bedient was born in Mason City, Washington, by the Coulee Dam. Kevin Woods tells me “Jack was voice trained and was a member of an acappella quartet at Gonzaga University in Spokane, Washington.”

In 1961 he had a small hit with a pop ballad “The Mystic One” on the Los Angeles label Era, while he was living in Wenatchee, WA.

By 1964 he and his band, the Chessmen had a series of standing engagements in the Lake Tahoe and Reno, Nevada region, and they lived in Carson City, Nevada for some of that time. Long-time members were Jack Bedient vocalist and rhythm guitar, Kevin Woods lead guitar, Bill Britt on 6-string bass, and drummer Jewell Hendricks. Jewell would leave the group in the later half of 1965.

Jack Bedient and the Chessmen’s live show catered to the pop sound of the times, featuring covers of current hits, lounge songs and comedy bits, and the band wore tuxedos for some upscale engagements. They released twelve 45s and five LPs during the ’60s, much of which is a reflection of their lounge act or too pop for my taste. Within all this product are some very fine cuts.

That year they cut their second 45, “Pretty One” / “Silver Haired Daddy” for the Trophy label, along with an LP, Two Sides of Jack Bedient, which I haven’t heard.

In 1965 the band recorded five songs at Fantasy Studios in Berkeley. The first single, “See the Little Girl”, is a British-influenced number. Interestingly Fantasy released it twice with the same catalog number, once as by ‘Jack Bedient and the Chessmen’ backed with “Here I Am” and once as simply ‘The Chessmen’ backed with “Looking for a Good Love”.

Kevin Woods wrote to me that this 45 was “intended to be released under the name ‘Jack Bedient and the Chessmen,’ [but] the first copies were printed as ‘The Chessmen.’ A corrected label soon followed. When the performing name was corrected, the B- side song title was also corrected. ‘Here I Am’ and ‘Looking for a Good Love’ are the same song. The correct title is ‘Here I Am’ written by Glen Campbell and Marc Douglas. The lyrics are, ‘If you’re looking for a good love, here I am….’ Easy to see where the confusion exists.”

Their next Fantasy single is the fantastic hard-edged rocker “Double Whammy”, backed by “I Want You to Know” (the Fats Domino song, “Don’t you Know”). The guitar riff for “Double Whammy” comes from Dorsey Burnette’s “Bertha Lou” as done by Johnny Faire on the Surf label. “Double Whammy” reached #19 on KCBN 1230 AM Reno in early July, 1965.

Seeking to update their sound they hired Walter Hanna as keyboardist in time to record their Fantasy LP, Live at Harvey’s. I’ve only heard parts of the album, but there are good takes on “Louie Louie”, “Mary Had a Little Lamb” (aka the Searchers “Ain’t That Just Like Me”), “See the Little Girl” and “Double Whammy”, though for this last one I prefer the single version.

October 1965 saw the band’s next 45, “Drummer Boy (Play Us a Song)” / “Dream Boy (Count Your Dreams)” on Tutti Camarata’s Palomar label, then being distributed by London Records. Walt Hanna co-wrote “Drummer Boy” with Jack and Bill.

In 1966 they cut their great single, “Glimmer Sunshine” for the obscure Rev Records label. It’s not like anything else the band ever recorded and is now their most sought-after release.

Their 1967 album, Where Did She Go? seems to have been drawn from various recording sessions and shows both sides of the band with one side each of schmaltzy pop and tougher rock material. From the first side I’ve included “Candy Roses and Love” as maybe the best example of the group’s commercial pop. The second side is quite solid, with highlights being “Glimmer Sunshine” (the same version as on the 45) and “I Used to Feel Bad”. The opening guitar on “Subterranean Homesick Blues” is so crude it’s practically hardcore, and “Repunzel” and “Love Work Shop” are also good.

A later LP has typical covers of the day, but a version of “Purple Haze” is supposed to be good. Other members of the Chessmen include Steve Eggleston, and drummer Jerry Bledsoe. Drummer Sam Wisner worked with Jack after the group disbanded in August, 1970. In 1972 bookings became scarce and the band broke up for good. Jack Bedient passed away in 1998.

Walter wrote about his time with the band:

I was the 1st and I think only organist for Jack Bedient and the Chessmen, added just before their first venture into the world of Nevada casino lounge and then headliner room bookings. They had some earlier 45’s out and one album when I joined. I recorded on the later 45’s and wrote a couple of songs that went on ‘B’ sides. We also had an album recorded “Live At Harvey’s” casino at Lake Tahoe. This was in their new “go-go” room, all dance stuff, done by a on-site Sunset Sound recording crew from Los Angeles, released with Fantasy Records pre-Creedence, not to mention Sunset Sound pre-Electra records in Hollywood.

I was “discovered” by the Chessmen playing in a pizza parlor in Redwood City, California on their night off – they had a gig down the road at a classy night club. I played organ and an early Wurlitzer electric piano with friends from 1st year of college. We were the house band for a couple of pitchers of free beer and pizzas plus $15 per man a night playing surf music and whatever else was on the Top-40 radio, Beach Boys, Buffalo Springfield, Ray Charles etc. This was around “spring break” 64-65 when I dropped out of Belmont Community College and split from friends and pizza gig to grab a lucrative job offer and regular gigs with Jack and the Chessmen, $300 a week to start – big money in those days and the end of my former every-day life.

As it turned out, this was the beginning of Jack Bedient and The Chessmen’s first real big-money success, mainly in Nevada, changing gradually from a dance-club band into more of a ‘Vegas show group’ act. As I joined and went to Nevada with them, ‘instant local stardom’ continued for nearly two years.

[Manager] Bob Dee had the Chessmen lined up with good Nevada bookings: the Golden Hotel in Reno, the Silver Nugget nearby in Carson City, and Harvey’s Hotel and Casino just up the hill at Lake Tahoe. We soon were headlining at the Golden Hotel (later to become Harrah’s Club. We started getting airplay on recently recorded 45’s and over about a year had 4 # 1 Top-40 hits. The line at the casino hotel was so long to get in for our shows, the tail of the line was near the start, going around the whole city block. It really was a mind-blower for hicks like us.

In between some Nevada bookings we went to Sacramento to play a couple of weeks at one of the popular local nightclubs, following Question Mark and the Mysterians, with one of our 45’s at # 16 on [Sacramento] radio… [but] the Chessmen’s popularity was not able to break out of the local area.

The drug scene in Nevada consisted of the casino pit bosses making easily available a steady supply of Dexamil Spansules, a great, ‘tiny-time-pill’ combination of the ‘upper’ Dexadrine and ‘downer’ Miltown (Mother’s Little Helper) which kept you wide awake without being ‘wired’ for 12-24 hours. If you weren’t near a ‘cool’ casino, the constant stream of truckers through everywhere always had something ‘speedy’ on hand. A user could stay up for days, gambling, drinking, making out, etc.

Time passed quickly and popularity faded. Following a dreary dinner plus music/entertainment booking at a dead Bakersfield eatery, Bob Dee actually booked us into the Playboy Club (the “Tiger-A-Go-Go” disco?) at the S.F. airport. Part of the show was Jack Bedient backed by the house orchestra – his dream come true.

Jack, with Bob Dee’s urging, was trying to ‘secretly’ slip away and become a single big-name artist, like Roy Orbison, Jimmy Rogers, Andy Williams, etc. Jack’s attitude towards ‘his’ musicians reflected this – we got ‘no respect’, especially drummer Jewell and I, and later Jewell’s replacement. The Chessmen were cut to a trio of Jack with Bill and Kevin – drummer and keyboard as sidemen with a cut in pay!

So, Jewell, the original drummer was relegated to sideman status with a cut in pay, and so was I, just before we did the Live At Harvey’s album. Jewel quit soon after, moved to L.A. Jewell was replaced by Art – can’t recall the last name – and I stayed as a sideman for a while, needing the money, which was still pretty good, and enjoying the life-style. It’s an old story in music ‘show-biz’ – one person in a successful group is willing to dump the others, despite their hard work on the way up. That’s a different situation than being in a dead-end band moving from one subsistence gig to another. And, it’s a different situation from a long-term success combination deciding to call it quits and go their own ways – some then on to personal star status. Jack had the voice, absolutely beautiful – but, lacking strong musicianship, he needed musicians with him that knew his weaknesses and could compensate.

I headed for Los Angeles into a long career of fun garage and original bands, a few ‘almost-made-it’ big rock ‘n’ roll bands, and many better-to-forget traveling club bands, always with Hollywood as home base. Reliable gossip I heard years later said Jack was working as a solo act with his guitar at Harold’s club in Reno hotel in one of their in-house bars.

Jack Bedient and the Chessmen releases:

This is the most complete list of releases for the group out there, and corrects several errors from other sources. Any additional info would be appreciated, especially on his “Executive Productions” releases.


The Mystic One / Question – Era 3050, July 1961
Pretty One / Silver Haired Daddy – Trophy 1001, 1964
See the Little Girl / Here I Am – Fantasy 595, 1965
See the Little Girl / Looking for a Good Love – Fantasy 595, 1965 (released as by “The Chessmen”)
Double Whammy / I Want You To Know – Fantasy 598, 1965
Drummer Boy (Play Us a Song) / Dream Boy (Count Your Dreams) – Palomar 2212, October 1965
Glimmer Sunshine / Where Did She Go – Rev 104/5, 1966
Love Workshop / I Could Have Loved You So Well – Columbia 4-44302 1967
Pretty One / See That Girl – Columbia 4-44481, 1968
The Pleasure of You / It’s Over – Columbia 4-44565, 1968
My Prayer / Independence Day – Columbia 4-44671, 1968
I’ve Been Loving You / I Could Never Lose My Love for You – Executive Productions 21, 1969, with picture sleeve
Beautiful (Takes a Trip) / Release Me – Executive Productions 21


Two Sides of Jack Bedient – Trophy 101, 1964
Live at Harvey’s – Fantasy 3365, 1965
Where Did She Go – Satori 1001, 1967
Songs You Requested – Chessmen no #, 196?
In Concert (Harolds) – Chessmen no #, 1969
Jack Bedient – Executive Productions, 196? (rumored, but apparently this does NOT exist – if so please send confirmation)

Thank you to Jeffrey Lee for the scan and transfer of “I’ve Been Loving You” and to Fred Hoyt for the scan of the Executive 45 sleeve. Special thanks to Kevin Wood for his help in correcting some of the information in this article.

Sources for this article include: Inland Empire Rock: The Sound of Eastern Washington, and The PNW Bands site.
Jack Bedient & the Chessmen, Executive PS "I Could Never Lose My Love for You"

Billy and the Kids

 An early photo of Billy and the Kids, with Mike Rice at top center.
An early photo of Billy and the Kids, with Mike Rice at top center.

Billy & the Kids Julian 45 Say You Love Me

Bob Gourlie – lead guitar
Ken Laymance – rhythm guitar
Mike Rice – keyboards and vocals
Russ Wagner – bass
Bill Burns – bass and vocals
Bob Burns – drums and vocals

In the mid-60’s, twelve and thirteen year-old kids regularly recorded better music than most of what has been done since by groups of any age. “Say You Love Me” is such a song, featuring a tough rhythm, vocals tossed off without a care, and some wild high-pitched screams. It even has a good guitar solo! The a-side of their first 45, “It’s Not the Same” is definitely lighter pop, but will interest some listeners.

Billy & the Kids Julian 45 When I See YouThey recorded “When I See You” a year or two later, and the band is even sharper, with a fast bass line and frantic drum playing.

I’ve seen Loren Bolinger, who played guitar and keyboards for the Talismen also listed as a member, but I’m not sure if this is correct.

A local article wrote about the group:

‘Billy and the Kids’, five talented junior high school youngsters from East Wenatchee, Wash., make their professional debut on records with ‘It’s Not the Same,’ b/w ‘Say You Love Me.” Uniquely, this group is comprised entirely of 12- and 13-year-old boys who write all their own material. This group consists of twins Bill and Bob Burns on the drums and guitar, lead singer Mike Rice, lead guitar man Bob Gourley [Gourlie], and Ken Laymance on the rhythm guitar. An attractive and vibrant ‘go-go’ girl, Pam Cartwright, joins the group for public appearances. ‘Billy and the Kids’ demonstrated exceptional poise on their first professional recording endeavor. ‘They play the good hard rock as well as any group I’ve ever heard,’ was the appraisal made by veteran Wenatchee disc jockey Don Bernier, who helped launch the professional careers of these teenagers by recording ‘It’s Not the Same’ on the Julian label, a Bernier enterprise.

The band was managed by the twins’ father, Oliver ‘Ollie’ Burns, who was also a promoter of shows in the area.

In an interview by Oktay Gurbuz, Bill Burns wrote:

My father Ollie Burns (Jollie Ollie) booked and managed us at that time. My father was the Chief Juvenile Probation Officer of Douglas, County Washington. He also was a promoter. Every weekend he would rent halls, hire bands (Paul Revere and the Raiders, The Shindig Show, etc) and have dances.

I was able to hear live music and ask the musicians questions. There was a local band The Talismen. They were older guys and Bob Burns (my brother the drummer) and I would go watch them practice. They took us under their wing. I was the bass player. I played guitar but, we needed a bassist.

The first single was released between 7 and 8 grade so [it was] juvenile. The second record [“When I See You”] only a year later was a better recording, for 8th graders. The owner of the local radio station was in on the Julian Label. It was certainly exciting.

We played in Washington, Oregon, Idaho…for kids we had a following. Opening for the Wailers, Don and the Goodtimes, Billy, Dino and Desi, etc. The two records helped.

I have a tape (somewhere) of later incarnation of Billy and The Kids that was never released.

Bob and I formed Double Image, then News, recorded with Meredith Brooks, that album was released internationally. We have a project The Called. Bob Gourley I have not talked to since.

Don Julian Bernier owned the Julian label, issuing records by Wenatchee and Chelan acts the Aztecs (actually from Waterville I’ve since learned), the Talismen’s great “She Was Good” (Julian 105) and “I Know a Girl” b/w “I’ll Take a Walk” (Julian 108), the Chargers, Blane and the Julians, Linda Jo and the Nomads, and Judd Hamilton and the Furies. Don Bernier passed away on August 30, 2010.

Mike Rice and Bill and Bob Burns formed Double Image, a group that lasted until 1972 and had some lineup changes with members including Loren Bolenger, Steve Burdette (vocals), Don Gilbert, Doug Johnston (keyboards), Steve Nelson, Dave McKibbin (guitar) and Eric Peterson. For later photos of Double Image see

Russ Wagner went into Brand X, Inc from Portland, OR, with Jimmy Holt, Greg Johnson, Cliff Leisure and Scott Medler. Ken Laymance became a DJ in the Ukraine. Ken passed away in November, 2006. Mike Rice passed away of complications from lung disease due to smoking on February 25th, 2008.

Thank you to Paul Wentink for sending the top photo of the band on the slide and the poster, and for notifying me of Mike Rice’s passing. Bottom photo from the Pacific Northwest Bands site.

Billy & the Kids promotional photo A Happening

Very early photo of Billy & the Kids, courtesy of Bob Gourlie
Very early photo of Billy & the Kids, courtesy of Bob Gourlie
Billy & the Kids, circa 1967
Billy & the Kids, circa 1967

Billy & the Kids playing live, March 1967
Billy & the Kids playing live, March 1967
Billy & the Kids playing live, March 1967
Billy & the Kids playing live, March 1967

Billy and the Kids in the studio, September 1967Billy and the Kids in the studio, September 1967

The two photos above and four below, Billy and the Kids in the studio, September 1967

Billy and the Kids in the studio, September 1967Billy and the Kids in the studio, September 1967

Billy and the Kids in the studio, September 1967Billy and the Kids in the studio, September 1967

Billy & the Kids

 Bob Burns on drums
Bob Burns on drums

Billy & the Kids with the Fabulous Wailers in Walla Walla
with the Fabulous Wailers in Walla Walla
Early photo of the Double Image, which featured Bill and Bob Burns and Mike Rice.
Early photo of the Double Image, which featured Bill and Bob Burns and Mike Rice.
Early photo of the Double Image
Early photo of the Double Image

Early photo of the Double Image

Early photo of the Double Image