The Dynamics recording at Atlanta Sound Studios, 1967. From left: Steve Diehl, Bruce Allen, Stanley Newman, Ronnie Osborne, and Bob Garrett
The Dynamics Unlimited released one 45 on the Rose Records label, the melancholy “The Tide Rises” (lyrics taken from the poem by Longfellow) b/w “Baby Let’s Wait” on Rose 2890. Publishing is through Margie Music, BMI. The RCA custom press # U4KM-4910/1 points to a 1967 date.
The band then backed Jerry Ashley for his single on Rose 2091, “Don’t Tell Me Why” / “Come to Me”, two originals by Ashley also published by Margie Music.
The Dynamics on break at an officers’ club. From left: Bob Garrett, Stanley Newman, Bruce Allen, Steve Diehl, and Ronnie Osborne
I knew nothing about the Dynamics until drummer Bruce Allen contacted me in April, 2024 generously sharing the photos seen here:
Dynamics promotional photo, early 1967
My name is Bruce Allen, and I was the drummer for the Warner Robins, GA band known as The Dynamics Unlimited. I was one of the three founding members, along with Stanley Newman and Bob Garrett. About 1965-6 we added a keyboardist, Steve Diehl, and a bass player. At first Dan Ross (dec.) played bass for us, but by the time of our recording of “The Tide Rises”, bass was being played by Ronnie Osborne.
Beginning in about 1966, Steve Diehl’s father, Mr. Carl Diehl of Warner Robins, managed the band and handled all money matters. The band members were paid proportionally after each performance.It was during 1967 and 1968 that we had the promo photos made, played as a studio band for Jerry Ashley on one record, and recorded our version of “The Tide Rises”, and “Baby, Lets Wait”. Many weekends (we were still in high school) were taken up with rehearsals and local performances. During spring and summer breaks we performed further afield at several Officer’s Clubs, Battles of the Bands, and private clubs. Mr. Diehl was a fine gentleman and took great care of the band when we traveled. No one did drugs or even drank much alcohol. It was a fabulous way to spend our later high school years.
Regarding Jerry Ashley, I only recall The Dynamics Unlimited performing as a studio band for him on two or three recordings. I don’t recall performing with him outside of the studio.
Dynamics promotional photo, 1967Bruce Allen’s Ludwig drums, 1966
I left the band in 1968 after performing a show at Ronnie Barn’s club in Macon GA during late summer, after which I passed out and was diagnosed with mononucleosis. Because the doctor told me that I could not play for at least six months, and because we had bookings, I sold my 1966 Gold Sparkle Ludwig drums with Zildjian cymbals and all of my interest in the band and equipment to Ricky Hughes of Warner Robins, who played drums for the band until the band dissolved in about 1971-72.
I have lost touch with Ronnie and received no reply from what I believe to be his last address in Seneca, SC. All the other band members are deceased. Bob died first in (I believe) Nashville in the 1980s or 90s. Steve Diehl went to serve in Viet Nam about 1971 as a helicopter pilot, was decorated for bravery, and on return to civilian life he drove a heavy rig for (I believe) Hunt Transportation company. He died of a heart attack several years later. I do not know what happened to Steve’s marvelous Hammond B3 organ. Stanley went to work at Robins AFB and died about ten years ago, and Dan Ross was a prominent business man in Warner Robins in the auto industry, and died within the last ten or so years. So, as far as I know, I am the only member of the band that is still living.
Ronnie Osborne on bass, at recording of The Tide Rises 1967
I went off to the University of Georgia in Fall of 1968 and got a degree in Chemistry in 1972. I then went to medical school at the Medical College of Georgia, earned an M.D. honors degree in 1976, did a residency there in dermatology, and taught on the faculty until 1983. I entered private practice in Dermatology in Macon, GA in 1983, where I practiced until 1994. I left medicine in 1994 to run two LLC businesses, and in May of 2007, the Prince and the Government of Liechtenstein appointed me as the first diplomatic consul in history for the Principality of Liechtenstein. I still perform that job as a State Department accredited Honorary Consul.
Bruce Allen of the Dynamics in the studio, 1967Yours Truly, Cathead Dooley CD
I have continued to play drums and today have three sets of drums (Ludwigs, Gretsch, and Roland Pro Vs). In the 1990’s I played drums with the GEDA Allstars for three years (a band formed by the Economic Development Authority for the State of Georgia). I also had a very successful band in the early 2000’s called Cathead Dooley and we performed tours in Wales during 2003 and 2004. We recorded a CD of all original material called, Yours Truly, Cathead Dooley.
All photos courtesy of Bruce Allen.
Bob Garrett and Ricky Hughes would join Coldwater Army, who recorded a good blues-rock album Peace for Agape in 1971.
This is a 2024 update of a basic post from 2014.
Clippings for the Dynamics and Steve Sanders at Macon Auditorium
6 Tickets to Shangri-La and The Ides of Love each had one 45 on Talmu Records. The groups sound alike, and all four songs were written by the team of Ed Malinowski and Tom Flynn.
6 Tickets to Shangri-La released “Lovely People” / “I’ve Got To Find A Way” on Talmu 311 in February, 1968, with Leroy Kirkland arranging and Fred Giachino producing.
The Ides of Love released “Hey Mister Wise Man” / “Something So Pretty” in November on TAL 314, this time with Joe Cain producing and supervising.
Cash Box reviewed both 45s.
I cannot find copyright registration for any of these songs, but Talmu and Giachino registered two other Flynn/Malinowski songs in January, 1968: “Objection Overruled” and “She’ll Make Me Happy”. I suppose a demo of these should exist somewhere, and it would be good to hear them.
Talmu Records had a New York City address.
I’d appreciate any further info on Tom Flynn and Ed Malinowski’s musical careers.
Today I’m featuring two rockabilly artists, George Quarta Jr. and Bob Cribbie, who both grew up in Hudson, New York.
In 1959 they each released a 45 on the Cool Records label out of Harrison, New Jersey. George Quarta Jr. cut “Get Loose” / “Don’t Move”, and Bob Cribbie made “Vow of Love” / “Rockabilly Yodel”.
Cool Records attracted artists from Florida to Vermont. The Hudson connection might be coincidental. The records do not sound similar and may have been cut at different sessions or studios. What makes me think this could be more than coincidence is the 45s had successive release numbers: Bob Cribbie on Cool Records CJ-117, and George Quarta on Cool CJ-118.
George Quarta was born on December 21, 1931 and died on September 6, 2017. Quarta’s obituary states “He performed in the Hudson area including at the old Community Theatre where billboards of George lined the walls as the girls excitedly gathered to hear him sing and play his guitar.” The Community Theatre still stands, but has been disused for decades.
Bob Cribbie’s vocal on “Vow of Love” is straightforward, but his delivery on “Rockabilly Yodel” is very much “outsider” in nature; he certainly has an odd sense of timing! Bob became known as a idiosyncratic yodeler, appearing on radio and late night TV under his own name and then as Avalanche Bob.
Did George and Bob know each other? I have no idea. Nearly everyone involved in these records has passed away.
What was the connection that brought Hudson NY artists to record at Cool?
It was likely veteran talent scout Jim Small, of nearby Elizaville, NY.
Jim Small and Slim Whitman after WCOP’s Hayloft Jamboree, Cash Box May 16, 1953
Jim Small’s ten years of mentions in trade publications hints at the tough life of a record A&R man.
In 1953 and 1954, Jim received mentions in Cash Box as manager of WCOP, Boston, and business manager of New England’s “Dude Ranch Jamboree” out of WJAR-TV, in Providence, RI.
Billboard, Sept. 29, 1958: Jim Small of Elizaville, N.Y. .. has accepted talent-scout duties with Johnny Dee’s Vitam Distribution Company, Harrison, N.J., and Johnny Ponz’s Ace Records, New York. Jim will cover Dee’s three labels, D, c.&w.; Vitam, pop, and Cool, rock ‘n’ roll. He’ll cover c.&w. and rock ‘n’ roll for the Pony label. Small, who was laid up most of last winter with pneumonia, says he’s good as new again.
Cash Box, October 11, 1958:
Jim Small … has been chosen by two record companies as a national talent scout. One is Vitam Distribs of Harrison, N.J., which has three labels: the strictly country “D” label, the pop Vitam, and the rock ‘n’ roll Cool label. Small will represent all three. The other outfit is Ace Records, New York, which will add country releases to its pop catalog.
(I am not familiar with a Harrison, NJ “D” label. It could be that it was not used because of Pappy Daly’s D label out of Houston which started earlier that year. I know of only one release on Vitam, Ray King and the Joe Derise Orchestra, “Can It Be Love” / “I’ll Always Love You.”)
Billboard, November 24, 1958 reported:
Visitors at the desk last Wednesday en route to the Nashville deejay festival, were promoter-manager Jim Small of Elizaville, N.Y. and a pair of his artists, Dick Sawyer of Stratford, N.Y. and Neil Swanson, who for the last four years has appeared on “Teen-Age Barn” TV show originating in Schenectady, N.Y … Sawyer’s initial release on Cool Records, “Sandy” b.w. “New Kind of Lovin’,” is due for early release.
The Glens Falls, NY Post-Star on August 6, 1959 mentions talent scout Jim Small in connection to Gerald Galusha, who made a record for Cool as Jerry Edwards, “Shedding Tears” / “Easy to Please” on Cool CJ-128.
Billboard August 3, 1959:
Jim Small, A&R man with Joe Flis’ Milo Recording Company, Harrison, NJ, has taken over the personal management of three Cool Records artists – Dave Osborn, Johnny White and Artie Davis. Small recently ushered Osborn to Wheeling, W.Va., for a guest shot on WJVA’s World’s Original Jamboree. White’s newest Cool release couples “Cryin’ Room” and “Rose in the Garden,” while Davis’ new one on that label is “Book of Love” b/w “Hawaiian Boogie.”
Billboard, April 4, 1960:
Jim Small, who has been associated with the c.&w. music field more than 25 years, has been named vice-president of Milo Recording Company, Harrison, N.J., by owner-manager Joe Flis. Jim has long served as talent scout for Milo and organized the firm’s c.&w. department with its Cool label. Small is presently in De Land, Fla., recuperating from an attack of ulcers which laid him low for several months. He is continuing with his scouting and auditioning during his Florida stay. With him is his right-hand man and assistant, Dave Osborn. Small’s home and office is in Elizaville, N.Y. [Dave Osborn came from nearby Hillsdale, NY, and made records on both Milo and Cool.]
Jim Small’s A-B-S Records label in March 1963: the artist pays $300 for 300 records … future royalties uncertain. George Quarta and Bob Cribbie probably made a similar deal with Cool Records
Billboard, July 25, 1960:
Jim Small, Veepee of Milo Recording Company and Cool Records, Harrison, N.J. is currently on a talent-scouting expedition thru Pennsylvania. Touring with him are his assistants Bud Bailey and Bob Weiss. Dave Osborn, who worked with Small out of the Cool branch in DeLand, Fla. the past winter, is spending the summer with his band in his native New York State. He will return to Florida with Small in the late fall. Jim reports that he is amazed at the amount of solid c.&w. talent that has been overlooked in Pennsylvania.
Billboard April 13, 1963:
Jim Small, president of A-B-S Records, Inc., Elizaville, N.Y., is back in action after spending most of the last 10 months in the hospital. Small has named Bud Bailey as general manger of A-B-S. Firm last week released a new one by Mickey Barnett and His Wranglers, “Just a Memory” b.w. “I’m Sorry I Cheated on You,” both penned by Mickey himself. A new A-B-S religious release spots “I’ve Been With Jesus” and “When I Move” as done by the Missionaires Quartet of Miami.
The Wilmington, Delaware News-Journal March 10, 1964:
Howard Rash, a songwriter and singer of country and western ballads, has purchased ABS Records from Jim Small of Elizaville, N.Y., and DeLand, Fla.
Photo card included with some copies of the Sunday Funnies 45 on Skoop. From left: John Rice, Luke Pride, Gary MacShara and Tom Sheffer.
The Sunday Funnies 45 on Skoop 1070 has two excellent original songs, “Sunny Covington Avenue” an uptempo rocker, and “It Won’t Happen to You”. The labels list Gary McShara (actually Gary MacShara) as the song writer on the labels, with publishing by Buna Music. I don’t own a copy of the 45, unfortunately.
A photo card included with some copies of the record has a photo that predates Pat Berry joining the group, and has the name of manager Wayne Watters crossed out.
Sunday Funnies profiled in the Evansville Press, March 30, 1967
I came across this profile of the group from March, 30, 1967, which would date the single to about April, 1967:
The group … has become known through various appearances at such Evansville places as the Community Center at the Coliseum and on local television.
The Messenger of Madisonville KY, Friday, Oct. 14, 1966The Sunday Funnies combo also has performed throughout the Tri-State area, but is hoping to become still better known through its recording of ” soon to be released
The group’s drummer, Gary MacShara, an 18-year-old employee of Our Lady of Mercy Hospital at Morganfield, Ky., wrote both of the tunes. The recording, which will be the Sunday Funnies’ first, is expected to be released soon on the Skoop label from the Santa Claus, Ind. studios.
Also in the combo are John Rice, 17-year-old Union County High School senior from Morganfield, on lead guitar; Luke Pride, 14-year-old Pride, Ky., resident who is a freshman at Sturgis Junior High, the organist; and Tom Shaeffler [Tom Sheffer], 16-year-old junior at St. Vincent Academy near Waverly, Ky., on bass guitar.
Newest member of the group is the singer, Pat Berry, 21, of Morganfield. Richard Young, a disc jockey for a Morganfield radio station, is the group’s business manager.
The group has been together since last September performing “mostly as a hobby and something to do,” Rice explained.
None of the group’s members are now planning to make music a career, he said.
In their appearances, the group strives for a different sound. “We don’t try to get real loud because we don’t especially care for that, but at the same time we try to move away from the old surfing sound,” Rice said.
“Our’s is a straight, no beat, but melodious sound lacking the tangy guitar sound. We’re trying to develop the Utah sound Gary played with a musical group before moving from the western state to the Tri-State,” Rice explained.
The instrumentalists each previously played with other combos, he noted.
The Cannons came from Madison, Wisconsin, releasing singles in 1966 and 1967. Members were:
Lee Larsen – lead vocals Mike Keilhofer – lead guitar Peter Loeb – sax and rhythm guitar Jim Perkins – bass Mike Turk – drums
Gary E. Myers’ book Do You Hear That Beat has Jerry Cratzenberg on bass.
Their first single was “Sweet Georgia Brown” / “Lonesome” on Fan Jr. 5504, produced by Skip Nelson.
In January 1967 they made their masterpiece, “Day to Day”, backed with “‘Love,’ Little Girl”.
No writing credits are listed for either song on the Night Owl 45, or for “Lonesome” on the earlier Fan, Jr 45, but a Capital Times profile stated “‘Day to Day'” and “‘Love Girl'” … both songs were written by ‘The Cannons.'”
“Day to Day” was reissued on Highs in the Mid Sixties Vol. 15 retitled “Days Go By”, and wrongly listing the band’s origin as Milwaukee.
The Capital Times ran a profile of the group by Gary Rettgen on February 6, 1967:
‘The Cannons,’ Local Rock ‘n’ Roll Group, Discovered by Chicago Agency
A musical group of young Madison men has been “discovered” by Chicago’s Williard Alexander booking agency … but the “discoveries” already are well known to Madison rock ‘n’ roll fans.
The local Upstairs at the Gun Club, Cottage Grove Rd., bills them as “Madison’s Number One Band.” Recently the group were first place winners in the March of Dime benefit band contest at the Capitol Theatre.
Familiar, too, is the face of its long-haired, bearded leader, Peter Loeb, 21, who wields a “wicked” sax and wild second guitar … Peter will enter graduate school in social work after June graduation.
Mike Keilhofer, 20, on lead guitar is a student at the Wisconsin School of Electronics.
The bass player is 20-year-old Jim Perkins, who by day attends Madison Business College.
Mike Turk, 20, the drummer, is a U. of Wisconsin sophomore.
Singing with “The Cannons” is Lee Larsen, 19, a printer’s apprentice by day at Webcrafts. The only married man in the group, he has a daughter…
A young brother, Greg Loeb, 18, a U. of Wisconsin freshman, has formed a group of his own. Their name: “The Grapes of Wrath.”
The Tikis and the Talismen had bassist and song writer Bill Schereck in common. Both bands formed at the University of Wisconsin in Madison, first the Tikis in the spring of 1965, then the Talismen in the fall of 1966.
The Tikis included Hugh Pearl on lead guitar, Bill Schereck on bass, Dale Dechstein (or is it Dale Chiusano?) on rhythm guitar and Bob Brethorst on drums.
They cut their great “We’re on the Move” / “Rick-O-Shay” at Cuca in Sauk City in April, 1966, released on Sara J-6641.
Bill Schereck wrote “We’re on the Move” (misspelled Scherek on the label), and Hugh Pearl wrote the deft instrumental “Rick-O-Shay”. The Tikis toured in the summer of ’66 then broke up. Supposedly there’s an unreleased recording engineered by the Legends Sam McCue.
The Talismen (formerly the Tikis) at the Westside Business Man’s Association, Friday September 23, 1966
Bill Schereck formed the Talismen with Paul Beneke on guitar, John Javorsky on bass and Russ Loniello on drums. They released their only record, “Glitter and Gold” / “She Belongs to Me” on Rampro Records R-115 in October 1966.
I believe this may be the first release on Ken Adamany’s Rampro label out of Janesville (and is possibly an extension of the numbering on his Feature Records). Dick Campbell produced the session and also played guitar. Russ joined group only a few days before making the record.
Schereck went on to booking, managing Axis (with members Ann Probert, Steve Paris, Gary Huebing, Don Davis and John Beth), writing the B-side of their single on Earth “I Can’t Wait”. Schereck would make a record as the Roadcrew on Mercury 73631 in 1975.
Sources: Gary E. Myers’ invaluable books Do You Hear That Beat and On That Wisconsin Beat.
Karen Verros made three singles for Dot Records in 1965 and 1966, her best known being “You Just Gotta Know My Mind” and “Little Boy”. She came from Somerset, Massachusetts, near Rhode Island, graduating with honors from Somerset High School in 1964.
The year after graduation she was in Los Angeles, recording for Dot Records with Jack Nitzsche arranging, and David Hassinger and Mike Minor producing. How she came to the attention of Dot Records I do not know.
For her first record, Nitzsche arranged a Donovan composition, “You Just Gotta Know My Mind”. The prominent bass and solid drumming, the tambourine, vocal chorus and twangy guitar lines, provide an exciting backing for Karen’s lead vocal.
Donovan didn’t release his own recording of the song. It appears he made a demo version that publisher Southern Music distributed on lacquer acetate, as that was a common way for publishers to sell songs. An Emidisc acetate cut for Southern Music sold in 2010, with Donovan’s song on one side, and an obscure Carter-Lewis song “How Can I Turn Away” on the other. Audio of “How Can I Turn Away” has surfaced, but the Donovan demo has not. I would very much like to hear it!
It’s possible one of Karen’s producers found the song because Southern Music Publishing in New York issued it as sheet music in 1965, with a piano arrangement by George N. Terry. Nitzsche’s arrangement closely follows the sheet music.
Steampacket II cut a version of “You Just Gotta Know My Mind” in 1966 on a Sweden-only 45 release, and in 1968 Dana Gillespie recorded another good version of the song for a UK single and her first album Foolish Seasons. However, Karen’s version is the first and definitive recording.
Released in October 1965 on Dot 45-16815, the labels read 1:57 on the A-side, but play a version fifteen seconds longer that repeats the first verse after the guitar solo. The B-side is the vocal-less backing track of “You Just Gotta Know My Mind” with an overdubbed lead guitar, titled “Karen’s Theme”.
There are both vinyl and styrene versions of the single. I’ve read that the first pressing of the 45 features an edited 1:57 version of “You Just Gotta Know My Mind”. However, I’ve had two vinyl copies and one styrene, and all three played the 2:12 version of the A-side despite the 1:57 time listed, and had “Re” on labels & in the dead wax.
Ace used a Sunset Sound Recorders acetate (or possibly an edited tape) for the 2006 CD release Hard Workin’ Man – The Jack Nitzsche Story, Volume 2. I believe this is the source for the 1:57 version. If someone has a Dot 45 that actually plays a 1:57 version of the A-side, please contact me!
Unfortunately this single does not seem to have had any push from Dot Records, as I cannot find any promotion or reviews in the trades.
Karen’s earliest television appearance may have been on Let’s Go Go in November, 1965, with Tommy Roe, the Plymouth Rockers and John Astin (Gomez Addams from the Addams Family, who had a 1965 single on United Artists, “Querida Mia” / “Wallflower Pete”). I’m not familiar with this TV show. The episode was announced in the Journal of Jersey City, NJ.
Karen’s next 45 came in December, 1965, “I Can’t Remember Ever Loving You” backed with a remake of the Crystals “Little Boy”, also arranged by Nitzsche and produced by Hassinger and Minor.McKeever & the Colonel, Hollywood a Go Go, Outer Limits rerun, or Nabokov interview?
This one received a good push from her management, as Karen appeared on what seems to have been the final episode of Hollywood a Go Go in February 1966, lip-synching to both sides of the record. Other performers were Freddy Cannon, the Byrds, the Bantems, the Everly Brothers, Bob Lind, David Watson and James Darren.
Cash Box reviewed the single positively on January 29, 1966, while Billboard mentioned “I Can’t Remember Ever Loving You” but not “Little Boy”. The next week Dot listed the single in an ad in Cash Box and Billboard featuring Bonnie Guitar and many other new releases.
On January 30, 1966, Karen appeared on the Danny Thomas Teen-agers’ Shindig at the Riverside Municipal Auditorium on a long lineup that included the Spats, the Sunrays, Barry Richards, the Paris Sisters, Dick and Dee Dee, Donna Loren, the Grads, and the Beauchemins, along with some who are unknown to me: Bobby Perris, Tony Dow, Paul Peterson, Tony Thomas, and the Germs (!).
She appeared on Where The Action Is at least twice, in April 1966 with Otis Redding, Steve Alaimo and Paul Revere & the Raiders, and in May, 1966 with Susan Rafey, Tina Mason and Cindy Malone.
Her third and last record on Dot was “Wish Me A Rainbow” / “So Warm My Love”, arranged by Pete King, and released in the summer of 1966. The A-side was the theme from the Natalie Wood & Robert Redford movie This Property Is Condemned, however the film & soundtrack versions were sung by actress Mary Badham.
Karen Verros at right in the Young Americans, August 1966. Also in photo: Lisa Binney, Steve Wilson, choreographer Diane Turnquist, Mary Arnold, and Ernie Becerril.
Around the time of her last Dot release, Karen joined the Young Americans song-and-dance group. The Ottawa Journal ran two profiles of the group: first on August 25, 1966, and another on September 3 that quoted Karen and described her as “a newcomer to the Young Americans.” The group appeared at the Central Canada Exhibition grandstand show.
The Young Americans originally formed in 1963 at Birmingham High School in Los Angeles. According to the Journal, M.A. Turnquist was business manager and Phil Azelton music director.
The Boston Globe ran a short item about the Young Americans on November 18, 1966:
The Young Americans, who were such a smash hit on the Andy Williams Show and the Allen Sherman special the past fortnight, will help Perry Como pry open his new season next Monday. One of its members, Karen Verros, will be watching from the home of her parents in Somerset.
On September 28, 1968, Cash Box reported:
Newest indie production firm on the coast is Raydan Prod., with Ray Katz and Danielle Mauroy partnered. Initial deal with MGM Records calls for four artists – two already released (Judd and Lisa’s “Some Other Place” and Mayf Nutter’s “Daddy Love You Boy”) with Karen Verros set to cut this week. Katz also manages a fistful of talents including Fran Jeffries and Eva Gabor. Mauroy was formerly with Barclay Records in France. Raydan is located at 9000 Sunset in L.A.
If Karen recorded for Raydan or MGM, there were no releases to my knowledge. Danielle Mauroy had produced the Lollipop Shoppe’s Just Colour album on Uni earlier that year.
On January 8, 1971 the Concord Transcript ran this notice:
Leather and Lace has top billing in the Topaz Room of Nevada Lodge … Leather and Lace has four men and one woman. All members are good enough to be considered lead singers. But Karen Verros – who is the lace of the group – is a stand-out as they perform a fast, exciting act.
An evening of Leather and Lace almost always includes the full assortment of entertainment hor d’eourves [sic]: rock ‘n’ roll, folk songs, pop numbers, spiritual songs, show tunes, comedy material and flashy dance routines.
Two members of Leather and Lace were formerly on the Doodletown Pipers television series, another was a member of the Kids of the Kingdom at Disneyland, and two were performing with a well-known rock group.
Leather and Lace record for Mercury records. The male contingents are Craig Ward, Chet Cook, Larry Walker, and J.C. Ferris.
I can’t find any recordings on Mercury Records for Leather and Lace, and I wonder what was the “well-known rock group” that the clipping mentions. The Reno Gazette also reported on Leather and Lace on June 11, 1971. That is the last notice I can find of Karen’s musical career.
Karen Verros was one of ten child performers including Chris Barnes (Turner Doyle in The Bad News Bears) who had money in savings bonds held by the Los Angeles Family Court, according to an article in the Los Angeles Times on April 26, 1998.
Karen Verros at left with members of the Young Americans, 1966.
The Loved Ones profiled in the Knoxville News-Sentinel, January 22, 1967The Loved Ones formed at the University of Tennessee at Knoxville. Members were:
Terry Johnson – guitar Barry “Byrd” Burton – guitar Doug Graham – bass Mike Coyner – drums
Alan Copeland – drums (replaced Mike Coyner in fall of 1966) Ranse Whitworth – guitar (replaced Terry Johnson in late 1967) Dorian Rush – drums (replaced Alan Copeland in February, 1968)
In June of 1966 released a great 45 of two original songs, “Surprise, Surprise (For You)” (written by Terry Johnson and Barry Burton, Tuba Music) b/w “Another Time or Place” (by Terry Johnson, Kasen Music) on Ambassador Records TIF 212. The Loved Ones recorded the songs at Bradley’s Barn studio in Nashville.
The band’s manager went to New York to shop the single, and secured a deal Ambassador, a label from Newark, New Jersey.
An early version of the group, under perhaps a different name, had started a year or two earlier, playing a VFW hall in August 1964. Terry Johnson played guitar; Doug Graham was playing a Fender Rhodes Piano Bass. Other early members included Bill McMakin on acoustic guitar, and an unknown drummer, perhaps Jim Bible or Ed Hagood. At some point they were replaced by Barry Burton and Mike Coyner.
The Loved Ones made a demo in January 1966, “I Love Her More”, cut at Startime Studios, owned by Jim Clayton, in January 1966. WKGN broadcast the song in February, but it has since become lost.
On August 28, 1966, the News-Sentinel reported on their summer residency in Greenwich Village, a time I would like to know more about:
The Loved Ones’ Returning to Knox
A local long-haired singing group, which has been playing in New York’s Greenwich Village all summer, will return to Knoxville Saturday at the Civic Coliseum.
“The Loved Ones,” all U-T students when they organized last January, will sing before about 5000 at the Knoxville invitation Teen Board Dance.
The group, Terry Johnson, Barry Burton, Doug Graham and Mike Coyner, will be based in Knoxville this fall when Terry returns to school at U-T…
Three – Terry, Doug, and Barry – are from Rogersville, and Mike from Chattanooga.
I looked for notices of the Loved Ones playing in Greenwich Village, but so far have not found them.
After this article appeared, Alan Copeland, originally from Memphis, replaced Mike Coyner on drums.
The Loved Ones and their manager Bill Baillie helped open a Knoxville nightclub called The Place.
The Knoxville News-Sentinel reported on January 22, 1967:
The Place, 1915 Cumberland Ave., which opened Friday night … has an unique atmosphere all its own. The L-shaped room, large enough for 450 people, features black walls and white flourescent designs. Several large revolving rainbow-colored lights set the walls and floors to dancing. About 75 small tables dot the two ends of the room. Benches with narrow tables jutting out from them line the walls, creating seats for about 270 …
The Loved Ones are providing the opening week entertainment. Other combos scheduled include the Group from Memphis, the Playboys from Chattanooga, and Knoxville’s Jay, Jami, and the Soul Survivors.
Their recent recording, “Surprise, Surprise” was a regional hit … the group will release a new record in early spring.
On July 2, 1967, the News-Sentinel ran an item “Two Knox Groups Cut Pop Discs”:
Jay Henderson, a Rule Hugh School graduate, and Sandy Richards, a Central High graduate, have a record out on Spot Label of Johnson City, which began air play last week. They call themselves “Jami and Jay” and are backed by a Knoxville combo, “The Soul Survivors.” The number one side of the record is “I’m So Lonely” and the flip side is “I Know I’m Not Much.” Another Knoxville group, “The Loved Ones,” has recorded 12 original songs for Roulette Records, a national company in New York. Terry Johnson, leader of the group which met at U-T, wrote the songs, two of which are planned for release within two weeks. Others in the group are Doug Graham, Barry Burton, and Alan Copeland.
I’m not sure if the band actually did cut “12 original songs for Roulette Records”, or what happened to those recordings.
On Friday, September 1, 1967, the Loved Ones opened for the Young Rascals at the Knoxville Civic Coliseum.
Ranse Whitworth replaced Terry Johnson in late ’67, and Dorian Rush replaced Alan Copeland in February 1968.
The band released their second 45 on Brookmont Records 556, “Country Club Life” (by B. Russell, B. Cason), “Together, Together” (W. Rabideau, D.J. Chalmers), produced by Redell Productions. CashBox reviewed it on September 14, 1968: “social commentary about the country club-commuter set is delivered in blues style … FM play could alert Top 40’s to its sales potential.”
[Walter Rabideau and David-John Chalmers wrote both sides of the only other release on Brookmont Records, by Tomorrow’s Children “Take a Good Look” / “Rainy Corner”, and both would go into the Farm Band in Summertown, Tennessee.]
The Loved Ones had at least one reunion, with Byrd Burton, Terry Johnson, Ranse Whitworth and Mike Coyner.
Several of the members have passed away: Dorian Rush at the age of 20, Doug Graham in 2004, and Barry “Byrd” Burton in March of 2008.
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Steve Hostak
One 1967 photo shows the Loved Ones in Nashville’s Bradley’s Barn studio with Steve Hostak. Hostak wrote “Summer Boys” which Judy Eggers cut at Metro Recording in Knoxville, released with “Life of a Fool” (by E.J. Roberts) on Metromaster M-166.
In the 1970s, Stephan Hostak played guitar on albums by James Talley, Tracy Nelson and others, and did some writing and arranging work. I’d like to know more about Hostak’s connection with the Loved Ones, and his other early studio work.
The Coronoados, left to right: Bob Stayton on guitar, Bill Goddard on drums, Jerry Schemmel on saxophone, and Rick Stockwell on bass.
This tale of forgotten Detroit rockers begins in the Stockwell family basement in the early 1960s as Rick Stockwell formed the Coronados and his brother Joe formed the Nomads. Learning about rock ‘n’ roll through his older half-brothers was Michael Marsac. His first group, Old Friends, was an all-acoustic group with Dave Anderson, Ken Crawford and Johnny Heaton, later of the West End.
Managed by Cecil, the father of the band’s Jerry Schemmel, the Coronados appeared on WKHM disc jockey Robin Seymour’s CKLW-TV Channel 9’s television show, Swingin’ Time. Featuring Rick Stockwell on electric bass, the Coronados were rounded out with Bob Stayton on guitar, Bill Goddard on drums, Jerry Schemmel on saxophone, and Gene Gustafson on keyboards.
The Coronados soon had the support of a country music song-smith known for writing songs for Johnny Cash, Waylon Jennings, George Jones, and Jerry Lee Lewis. Mick Vickery produced and arranged four sides for the band across two singles. The first, “The Nomad” b/w “Center of Attraction,” was issued in 1965 on Paramount Pictures Productions’ musical division, Dot Records. Issued that same year—and with the “e” added—the Coronadoes recorded Vickery’s “Zig Zag” backed with an original, “What Would I Do,” for Dino Productions on Nashville’s Lamar Records.
The Vickery deal was the culmination of the band winning the Michigan State Fair’s annual “Battle of the Bands” talent show, along with winning the Starlit Stairway’s Talent Show hosted by Rita Bell (the station’s meteorologist) on WXYZ-TV Channel 7 in 1963, in addition to a well-received opening slot for a Walled Lake, Michigan, appearance by Frankie Valli and the Four Seasons. As the Vietnam War arrived, the Coronados splintered as result of Rick Stockwell and Jerry Schemmel’s service. Schemmell wouldn’t return home.
Above: Ron Course’s photo montage video featuring all four sides: Dot 45 first, followed by the Lamar single.
Once back in the states, Rick Stockwell, along with his brother Joe, joined fellow Vietnam veterans-friends Larry Merryman and Gary Markley in the Detroit-based jam-band collective, Stonefront: a band known for overseeing the Gar Wood Mansion commune located at 450 Keelson Drive, Detroit, on Greyhaven Island located on the Lower Eastside of the Detroit River. During the years of 1969 to 1972, with an ever-changing roster (featuring ex-Coronados’ guitarist Bob Stayton, along with drummer Jeep Capone and guitarist Rod Shivers of Seeds of Doubt), Stonefront hosted rent parties attended by—with the bands sometimes performing a second, free show after their gigs at the Cobo Arena, Eastown Theatre, and The Grande Ballroom—Cream, Joe Cocker, Iron Butterfly, the Rolling Stones, and Leon Russell.
The Gar Wood Gang, courtesy of Adrian Wright.Stonefront practice at Gar Wood, courtesy of Colleen Donovan.Newsprint photo of Stonefront at home in the Gar Wood: Left to right: Larry Merryman, Joe Ford, Jeep Capone, Bob Stayton, and Rick Stockwell. Courtesy of Jeep Capone.Stonefront inside Detroit’s Terra Sherma Studios: Left to Right: Jeep Capone, Bob Stayton, Rick Stockwell, Rod Shives, and Larry Merryman. Courtesy of Jeep Capone.After the Corondoes and before Stonefront: Leadville Feed, Seed & Bag Company, 1968-ish: Left to Right: Rick Stockwell, guitar, organ and lead vocals; Mark Lungdren bass and vocals; Bob Stayton, guitar; Dick Ayers, drums.Coloradus: Right to Left: Joe Stockwell, Elde Stewqrt, Ron Course, Rick Stockwell, and Mike Marsac.
By 1971 the Stockwell brothers—along with their then 16-year-old half brother, Michael Marsac—formed the country-rock driven Coloradus. By the mid-‘70s Coloradus consolidated their regional, Great Lakes-area success to the point of opening shows for Detroit-touring national acts, such as the like-minded .38 Special. Guided by producer Calvin Simon, formerly of Parliament/Funkadelic, Coloradus cut an album at Chess Records in Chicago. As is the case with new bands hoping to generate a hit single, Coloradus recorded two cover tunes by the Allman Brothers to complement their southern-rock styled originals. Unfortunately, the planned release stagnated for a variety of reason lost to the times, but mainly due to Rick Stockwell suffering an “accident-sustaining injury.” The band eventually rebounded with a 45-rpm single issued on the band’s vanity-press Saloon Records in 1979, fronted by Rick Stockwell’s “What Was I Do To” and Michael Marsac’s “Good Lovin’” on the B-side.
The Excels of Pontiac, Michigan, the first band (and drum set: a Slingerland Buddy Rich White Marine Pearl purchased from Pontiac Music) of Ron Course, center. From left to right: John Gains of Texas on bass, Nick Nickerson of Maine on guitar, and Leo “Rio” Carter of California on guitar.
In between the career development of the Coronados and Coloradus, the Stockwell brothers—as well as other Coloradus members, such as long-time Stockwell associate, drummer Ronald Course—strolled through the turnstiles of Detroit’s iconic Danny Zella. Zella—with the ampersand moniker The Zell Rocks—graced Detroit stages since the late 1950s with national and regional hit singles, such as “Black Sax,” “Wicked Ruby,” “Steel Guitar Rag,” a cover of Leiber and Stoller’s “Kansas City,” and “Sapphire.” Later opting for the Zeltones suffix by the early ‘70s, Zella became a fixture on Michigan and Great Lakes-area stages as he provided a “rock ‘n’ roll boot camp” for those musicians who invaded the Gar Wood during its progressive rock years. It was through Danny Zella, and his band’s eventual transition into Kottage, then his retirement from the stage, in which Coloradus, birthed.
Prior to the mid-70s arrival of the Stockwells’ Coloradus, the brotherly duo performed alongside Johnny Heaton in White Heat. That band’s rotating roster featured ex-Zeltones and Coloradus drummer Ronald Course, Dale Kath of the Ascots, as well as Dave Anderson and Ken Crawford of Mike Marsac’s Old Friends.
While the Stockwell brothers are no longer with us, Michael Marsac continues to record and perform in the Big Rapids area of western Michigan as part of the musical concern, Michigan Soul Tribe. Dale Kath and Ronald Course currently record on the Detroit scene as the Blue Room Band.
All band photos (banner and You Tube video) provided by Mike Marsac via Ron Course. Coronadoes Lamar 45 scans by Chris Bishop, Coloradus scan courtesy of Discogs.
Other stills of the Corondoes, dated between 1963 to 1965, were provided by Richard Bernard via Christine Evans.
Nightflier, in the early ’80s: Ron Course, left, Joe Stockwell, center.
Ron Course appears on the lost, early-1976/1977 home studio demos of Ted “The Phantom” Pearson’s next concern, Pendragon. The below audio montage features Ron with the following Detroit bands:
Bliss — Country Girl (featuring Ron Course on lead vocals) Coloradus — Love Shock Nightflier — We’re an American Band Shotgun Willie Band — Lonely Tears
The Limeys were Andrea Gennard and Stephen Gennard, a sister and brother duo who arrived in Miami, Florida from London about 1962. While students at Rockway Junior High, they made this great single “Come Back” / “Green and Blue” with the London Sounds.
Released on Sherwood 1715, a Miami News notice gave the exact release date, Monday, April 25, 1966. Printed sleeves included a small photo of the duo.
An February 25, 1966 ad for the Palmetto Bandstand featured the Limey’s backed by the Outcasts, on a bill with the Dirt Merchants. (The following night featured the Invaders, the Impacts and the Hares.)
The Miami News profiled the band on March 15, 1966, including:
Here are two down-to-earth teens with an out-of-this-world singing talent. They have no set style, but their music lends itself mostly to folk-rock …
Stephen and Andrea, together with their parents, Mr. and Mrs. Eddie Gennard, of 1715 SW 97th Pl., arrived from London almost four years ago …
Usually they are coupled with a five-member band, the Outcasts.
With the Outcasts, the Limeys have appeared on Florida Bandstand, the Miami-Dade Junior College campus, on Chuck Zinc’s TV program and at the Cloverleaf Center.
The entire Gennard family has become involved: Dad is business manager, Mom a critic and booster.
They also appeared on the Rick Shaw show on May 27.
On the single, the backing band is called the London Sounds, and includes horn players and strings. I’m not sure if the Outcasts were involved, or even who was in the Outcasts – if anyone knows please contact me.
Stephen and Andrea wrote “Come Back”, and co-wrote “Green and Blue” with Pat Tallis, publishing by Chalfont Music Publishing.
Copyright registration from February 1966 shows three other songs: “Take It Easy”, “I Love You”, and “Melonie”, the last two co-written with Pat Tallis.
In June both the Miami News and the Herald mentioned the duo signing to Scepter Records, I wonder if anything came of that.
They must have been unaware of the English group the Limeys, releasing singles on Amcan in the U.S. and Decca and Pye in the UK.
Back in England, Record Mirror profiled the duo on May 11, 1968, providing different last names, Andrea Gerome and Steve Gerome.
The article mentions they did work in America “but, as ever, work permits for artistes so young (Anna is 17, Steve 16) proved difficult. Anna used to be apprenticed to hairdresser Vidal Sassoon, abandoning haircutting for disc-cutting.”
Anna and Steve made two singles for Fontana under the artist name Too Much, “Wonderland of Love” / “Mr. Money” (written by Gerome) in 1967, then “It’s a Hip Hip Hippy World” / “Stay in My World” in February 1968.
As Anna Hamilton with Stephen they made another single on Fontana in April 1968, “Everybody Wants to Go to Heaven (But Nobody Wants To Die)” / “You Laughed When I Cried” (b-side writing credited to Gerome). Their version competed with the Karlins, (triplets Linda Wilson, Elaine Wilson and Evelyn Wilson) who released their 45 on Columbia (UK) about the same time.
Thank you to Ansgar for pointing me to the Record Mirror article (which I never would have found considering they had changed their name!).
Andrea and Steve Gerome in Record Mirror, May 11, 1968
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
