The Velvet Haze came from Alexandria, Virginia. The band started out as the Arratics in 1965. Members were Jim Jost vocals, Mike Mullins guitar, Ron Collins guitar, Dave Padgett bass and Steve Larrick drums. In 1966 they changed their name to the Velvet Haze.
The next year they had a major lineup change. Rhythm guitarist Roger Bullock told me that “Mike Mullins started the Velvet Haze and I joined in what could be termed phase II, i.e., Mike Mullins and Jim Jost remained from the original band, and Art Meushaw, Tom Futch and I joined the band — and a short time later we added Butch Martinez as a second vocalist.”
The Haze were known for playing some rough venues and it shows up in the heavy, scuzzy sound of their only 45, from 1968. The gem is the insane psychedelia of “Last Day on Earth”, an original by Mullins & Marty “Butch” Martinez. A drill-to-the-skull fuzz riff, garbled vocals, sharp solo and a cool drum break by Tom Futch, who is thrashing away throughout the song. The other side is a straight blues, “Bad Women”, written by Bullock and Martinez.
Members on the recording were:
Marty “Butch” Martinez – vocals
Jim Jost – vocals
Mike Mullins – lead guitar
Roger Bullock – guitar
Art Meushaw – bass
Tom Futch – drums
Roger Bullock commented below in detail about “Last Day on Earth”, so I’ll repeat some of his comments here:
Mike Mullins wrote and played the lead guitar riff. “Last Day on Earth” was literally composed in Tom Futch’s garage.
Mike Mullins was playing a Gibson ES-335 through a Fender Super Reverb and standard, off-the-shelf, Maestro “Fuzz-Tone”. I played rhythm also using a Gibson ES-335, but played through a Fender Band-Master amp. Art Meushaw played a Gibson EB-0 Bass through a Fender Bassman amp.
The label has producer James Wilson’s Lorton, VA address. I’ve read that this was recorded at Wilson’s home studio in Mount Rainier, MD, however Roger Bullock remembers it differently:
The recording was done at the Roy D. Homer studios in Clinton, Maryland. Roy was a superb engineer in all respects with top end gear. James Wilson, our producer arranged the recording sessions. James was a disc jockey on WPIK/WXRA country radio station from Alexandria, Virginia. We provided the music for his cover release [as James Wilson & the Lorton Boys] of Joe South’s “The Games People Play” b/w the traditional “Worried Man Blues”.
Sometime after the single, Rick Stone took over as drummer until the band broke up in 1971. They reunited around 1975 for a show with Rick Stone on drums, at a local Alexandria, VA community center. Recordings of “Grizzly Bear” and “Let It Be Me” come from that show.
Several members continued in music in various combos right up to today. They had a website at velvethaze.com, but that is now defunct.
Thank you to Mike Mullins for sending in the photo at the top of the page.
Does anyone have photos of the group or one of their posters?
Thanks for this one – new to me, and I’m always on the lookout for D.C. area bands!
Thanks!
I wonder what kinda fuzzbox they use, it doesn’t even sound like an guitar. Sounds just amazing.
..it was released 1968, though i don’t know what month. Hopes that it helps. I read it somewhere, i will try to check it out.
The fuzz box used by Mike Mullins was a Maestro “Fuzz Tone” — pretty much standard for the day – only other prominent device of the time was the Vox Distortion Booster. The recording was done at the Roy D. Homer studios in Clinton, Maryland. Roy was a superb engineer in all respects with top end gear. He is credited for some the finest recordings in bluegrass — he did virtually all of the early Rebel Records releases for the Country Gentlemen, some Ralph and Carter Stanley, and Canadian folk artist Gordon Lightfoot.
James Wilson, our (Velvet Haze) producer arranged the recording sessions. James was a disc jockey on WPIK/WXRA country radio station from Alexandria, Virginia. We provided the music for his cover release of Joe South’s “The Games People Play” b/w the traditional “Worried Man Blues”.
Art Meushaw, bass player from the Velvet Haze was a professional bluegrass bassist for The Rainbow Special. Three years ago I invited Art to join and play keys with our nine year old band “The Sock Monkeys”. We are still rockin’ along with other musician friends from the 60’s.
–Roger Bullock
I got this song on cd, Am I able to get the cd pamphlet autographed?
Really? Just a plain ‘ol Fuzz Tone. I was sure that it was a vintage fuzz you build in the garage, cause i’ve never heard any fuzz that gives that much, and clean, fuzz. Was he playing on a Fender? Would it be too much to ask for the lyrics, since i can’t make out any single word on “Last Day On Earth”.
Mike Mullins was playing a Gibson ES-335 through a Fender Super Reverb as I best recall – and yes – standard, off-the-shelf, Maestro “Fuzz-Tone”. He always amazed me at his ability to provide the needed sound on any song we played, and was somehow able to switch settings virtually on auto pilot as we moved through a set list. For example, Mike could float from “Purple Haze” by Hendrix to “Let It Be Me” by Boxtops to “Good Times, Bad Times” by Zepplin to “Hold On I’m Comin'” by Sam and Dave to “Spooky” by Classics IV to “Grizzly Bear” by Youngbloods to “Something” by Beatles to “I Got A Line On You Babe” by Spirit — with no absolutely no downtime between tunes — he rarely looked at the guitar while playing. And when he played you’d think you’d be listening to the lead track from the original recording. He was also a master banjo player – played a Gibson Mastertone. Regarding the lyrics – I leave it to my imagination. By the way – “Last Day on Earth” was literally composed in Tom Futch’s garage.
Really? Then i have to go on and buy myself an Fuzz Tone to complete the sound! The B-side is a totally different song, it’s mellow and so blues-sounding, nothing like the a-side. I can just imagine how your shows would look according to you playlist, quiet a variety. Hard to imagine though, how one can play something as psychedelic-fuzz-garage-rock as “Last Day on Earth” and then switch to “Something” by Beatles. Was it you who came up with the riff or? The rhytm guitar playing has one of the dullest sounds i’ve ever heard, it’s like a bas, amazing addition to the track.
If you can find an old Fuzz Tone (Gibson Maestro Model FZ-1)that should do it for you – don’t forget to turn it off after each use or you’ll deplete the batteries overnight. It only had two control – Volume and Attack. Also, keep the insulation padding around the electronics for heat control and shock absorbancy. Go easy when stomping/depressing the on-off switch — over time it has a tendancy to collapse the rubber spacing collar and disturb the electronics. I added a metal washer on top of the rubber collar for added strength.
Mike Mullins wrote and played the lead guitar riff. I played rhythm also using a Gibson ES-335, but played through a Fender Band-Master amp. Art Meushaw played a Gibson EB-0 Bass through a Fender Bassman amp. Art and I still play today in The Sock Monkeys http://www.thesockmonkeys.com) and we still shift from tunes like the Door’s “Roadhouse Blues” to Percy Sledge’s “Dark End of the Street” to to the Beatles “Back in the USSR” and to Springsteen’s “Thunder Road” to Elvis’ “Can’t Help Falling In Love” – and the listerners and dancers are very receptive to the shift-mix. It’s the variety that has kept he fans coming out for over twelve years now. I guess we should include “Last Day on Earth” in the line-up — never really thought about but, we’ll probably target it for this year now that you’ve got me swapping notes about it. Thanks for your interest. — Roger
They do sell them, i can only afford a reissue, and even they are pretty expensive! Thanks for the tips! I will be sure to take care of it, if i eever find one!
Whoa! A regular Gibson/Fender band, nice! I can understand that, it was like The Velvet Haze, shift-mix. I have to check out The Sock Monkeys. Yes, it would be nice to hear like a “new” version of that song. I tried to tackle it when i bought my guitar (like three months ago?), a pretty hard song to learn actually. But that’s one of the few songs that i actually DO want to learn, so that thought keeps me trying, haha.
Art Meushaw is now playing keyboard for a band called The Sock Monkies. Dont know where the others went to. http://www.thesockmonkies.com
I am pretty sure that these recordings are by the NEW Velvet Haze. The Original Velvet Haze was Mike Mullins (lead), Ron Collins (rhythm), Dave Padget (base) and I don’t remember who was on Drums. And remember Jimmy Jost well. Mike was absolutely amazing and could play any instrument that he pick up or was put in front of him which earned him the nick-name “Magic Fingers”. They were a fantastic local band … in the day. GREAT MEMORIES!!!!!
You are correct Velvet Haze Fan. The band on the recording was called “The New Velvet Haze”, but for some reason, the 45 was labeled simply “Velvet Haze”. The original “Velvet Haze” included Steve Larrick on drums. Also, the original “Velvet Haze” was previously named “The Arratics” with the same members: Jimmy Jost – Vocals, Dave Padgett – Bass, Ron Collins – Rhythm Guitar, Steve Larrick – Drums, & me on Lead Guitar. If memory can be trusted, the final permutation of “The New Velvet Haze” included the awesome Rick Stone on drums.
This is Jennifer Collins, Ronnie and Gwen’s daughter. I remember you from when I was a little girl. Not so sure if you remember me or not
I remember you a little bit. It was all in a “haze” of course. Haven’t seen Ron and Gwen for a long, long time. Nice to hear from the next generation!
So who played on this recording?
The list at the top of the page is accurate for this recording:
Butch Martinez – vocals
Jim Jost – vocals
Mike Mullins – lead guitar
Roger Bullock – guitar
Art Meushaw – bass
Tom Futch – drums
Thanks haha, now I feel a little bit stupid, should’ve seen it.
amazing. Around the same time, there was another Velvet Haze in Southwest Virginia, on the other side of the commonwealth. My older brother Mike Lester was playing guitar in 1966 in a Washington County-based band named the Lost Colony. In 1967, they discovered Jimi Hendrix, along with drugs, and the Lost Colony became Velvet Haze, complete with Nehru jackets.
Velvet Haze’s drummer Tom Futch came to Madison College in 1969 in Harrisonburg, where he met guitarist Dave Mercier and I (Mike Holmes). Dave and I had gone to Annandale High School and Tom to Lee. Dave and I thought the world of Tom’s playing. Dave played an ES335 and I started with a Farfisa, went to a Yamaha YC-30 (the most beautiful compact organ ever made imo) and I ended up with a Hammond M3. We added two other guys after about a year. Dave was excellent (really) on guitar, Tom was a terrific drummer, and I played the Hammond with my right hand and a Fender Rhodes piano bass (same thing Ray Manzarek played in the Doors, a rare instrument). Tom and I stay in touch today but Dave and I broke our friendship three years ago; funny, we’d played together in the King’s Row from Fairfax since 1967 (with drummer Jeff Lodsun who is well-known in the jazz community in Washington) and could read each other’s minds musically; it was near-magic. Funny old world, isn’t it.