The Blue Beats made one single with two fine sides on Shane Records 100 out of Philadelphia, Pennsylvania. The top side is “Bad Girl” with a snarling female vocal accompanied by a band and male chorus. The flip “Am I the One” is also good.

Paul Cappell wrote both songs, published by San-Dee Music ASCAP. The only other listing for San-De Music I can find is probably an unrelated company with a registration, “Lucky Baby” by Alan Lee & Mildred Phillips from 1964.

Shane Records had an address of 511 North Broad Street in Philadelphia. The release date may be as late as 1969. I’m not familiar with the TBB-1 / TBB-2 code on the labels.

“Bad Girl” seems to be a cover of a 1968 single by Connie Little with B.G. Ramblers “Bad Girl” / “Don’t Mess with Cupid” on Rambo IV Records of Secor Road in Toledo, Ohio. According to Buckeye Beat, the B.G. Ramblers members included Billy Price, Bob Koons, John Ahlfors, Jerry Ahlfors and Peter Mousoulias.

Although that release is firmly in a soul style, Connie Little (real name Connie Mierzwiak) had recorded earlier singles as Connie Little and the Cashmeres and Connie and the Cytations with a gruff child voice that could match this Blue Beats single.

Buckeye Beat has an entry for her, noting that she had a group called “Connie and the Blu-Beats who sprayed their hair blue and who may have had a member named Paul Cappelletty”.

Could this be Connie Little singing on the Blue Beats single? It’s definitely the same song, though the song writing credits have been changed from Mierzwiak-Mousoulias on the Connie Little single to Paul Cappell on the Blue Beats. Connie Little and several of the B.G. Ramblers have passed away, so we’ll probably never know.

The Cave Men cut one of the wildest singles of the 1960s, “It’s Trash”, released on the B-side of ‘Chelle PH 148 in August, 1966.

Claus Rosenblad interviewed bass guitarist Bob Jabour of the Cavemen, who also sang the lead vocal on “It’s Trash”

What was your musical background?

I played trumpet, tuba and my parents were dancers.

How did the group get together and where did the practice take place?

The band I was in before the Cavemen was named the Coachmen. Paulie Walterson was the drummer for the Coachmen. He quit the Coachmen to form the Cavemen. Tony Rey was brought in to replace Paulie in the Coachmen. When the Coachmen broke up because of the draft, I went to California. I got a phone call from Paulie to come join the Cavemen when they changed bass players and I came back to Key West.

The Coachmen personnel:

Singer: Chuckie Ward
Lead guitar: Ross Kilgore
Rhythm guitar: Bobby White
Bass guitar: Bob Jabour
Sax: Leonard Rojas
Sax: Austin Roberts
Drums: Paulie Walterson
Drums: Tony Rey

The Cavemen:

Drums: Paulie Walterson
Drums and vocals: Tony Rey
Lead guitar and vocals: Andy Johnson (deceased)
Rhythm guitar and vocals: Sergio Roche
Bass guitar: Robert Tiff (deceased)
Bass guitar and vocals: Bob Jabour

How long time did the Cavemen exist before they split?

Maybe 3+ years.

Where did the Cavemen play live, and what was your best gig?

Lived and played mostly in Key West; played road gigs in the Keys and Miami; recorded in Miami.

Best gig… probably the Miami shows and recording for an appearance on the Rick Shaw show in Miami which did not happen because the band broke up.

What is the story behind “It’s Trash”?

I wrote the lyrics about a relationship that I was in which went bad. I am the lead singer on “Trash”.

The flip called “The Pillow Bit” is a ballad. Mostly Andy’s (guitar player, solo on “It’s Trash”). I contributed some of the lyrics.

What other big acts were your musical inspiration, (or genres)? Please name some of it.

I came up through R&B: Otis Redding, Solomon Burke, James Brown, Sun Records, Chess Records, Motown, funk…

The Cavemen were very much a show band… so were the Coachmen. The Coachmen did the entire James Brown at the Apollo album. The Coachmen were very much a rhythm and blues group. The Cavemen were more of what we would call “punk” today.

How did the record come to be made?

Rhythm guitar player’s father sponsored the 500 copy pressing of “It’s Trash” and “The Pillow Bit” on the label ‘Chelle which was our manager/engineer’s label, Steve Kimball.

Which studio did you record the songs in?

Our band manager Steve Kimball built and was the engineer for the studio. I forgot the name of the studio. Criteria was in business at the same time as the studio we recorded in. They were big competitors at the time and both studios had 4 track capabilities. If the Novas recorded at Criteria, it was because the other studio went out of business.

Any fun facts and stories from the making of the record?

We would pile in the VW van and drive to Miami and spend the weekend in the studio and playing gigs that Steve had set up for us. We recorded about a dozen cover tunes, and a few originals for appearances on the Rick Shaw dance show which never happened because the band broke up.

What other groups in that area did the Cavemen compete with?

Miami: The Kollektion, top Miami group featuring a guitarist that went on to play for Iron Butterfly.

Or make friends with?

The Hustlers, another group managed by Steve. We split recording time with them. [The Hustlers cut a great single on ‘Chelle 145, “My Mind’s Made Up” / “If You Try” – ed.]

Did you ever do any battle of the bands?

Yes. Every weekend in Miami. Once did a two band gig with Wayne Cochran & the CC Riders featuring Jaco Pastorius on bass in Key West.

Do any other recordings exist?

There were at least two acetates: a 12 tune one of cover material; and a five tune one. The 12 tune one was destroyed by overplaying before it was lost. The five tune one survived and was copied to the internet. There are tape copies of it around. “Mustang Sally”, “Talk Talk” (best cover), “That’s How Strong My Love Is”, two more I forgot right now.

What happened to you and the other band members after the band split up?

Went four different ways:

Serge, rhythm guitar, formed another group.

Tony, drummer, went back to playing guitar, his primary instrument. Resettled in Fort Lauderdale. Played the Miami / Ft. Lauderdale nightclub scene with various latin and rock bands. Tony was from Cuba.

AJ (Andy, lead guitar) was hired out of a Key West bar by Eric Andersen and went on to record and tour with Eric for about two years. Then he got hired by Sister Kate Taylor (James Taylor’s sister) and recorded and toured with her.

I went on to play Key West bars. First putting together house bands, then eventually doing pick up gigs on bass. In my house band days, I worked with Vinny [Vince Martell] for a few months before he returned to New York to become part of the Vanilla Fudge (guitar player).

Thank you to Claus Rosenblad and Bob Jabour.

‘Chelle discography (any help with this would be appreciated including scans of all but the Cavemen, or audio of A Pace of Change’s single).

PH-145 – The Hustlers – “My Mind’s Made Up” (McNicol) / “If You Try” (1966)
PH 148 – The Cavemen – “The Pillow Bit” / “It’s Trash” (both by A. Johnson, B. Jabour, T. Rey)
PH-162 – The Novas – “Please Ask Her” / “Whenever You’re Ready” (Bob Calaboro) January 1967
CK-301 – A Pace of Change – “Sync Higher” / “Death Comes Sweetly”

The Hustlers were: Bob Leavitt guitar, Johnny McNicol guitar, Joe Romeo bass and Nick Fresca drums.

The Novas were: Bill Campbell vocals, Kenny Wynn lead guitar, Rick Calaboro guitar, Jim LeFevre bass, and John Bernard drums.

You and Me seems to be a studio production from two song writers, Ken Phillips and Gordon Goodman. The songs on this single are innocent pop with some definite English influences: “She’s One of a Kind” is uptempo and catchy; “I’ll Find a Way” slower and moody.

The labels list arrangement by Ken Phillips and Gordon Goodman, and produced by Ken Phillips.

I found six songs registered with the Library of Congress: “You’re Gone”, “She’s Over There” and “I’d Feel Better With You Around” in 1965, “I’ll Find a Way” in February, 1966 and “Keep On With Me” in June of ’66, and “Anywhere” in 1967. All their compositions list Kenneth Phillips as writing words and music, and arrangement by Gordon Goodman.

I don’t have specific info on Phillips and Goodman, but this was released on the Detroit, Michigan label Malibu Records. The catalog number M-6801 suggests a 1968 release. This is on the same Malibu Records label as the crunching “Times Passed” by the Beaubiens from February, 1967. That record was a Joe Doll production with different arrangers, and likely no personnel in common with this single by You and Me. See my article on Tortoise Records for information on Joe Doll’s early production work.

I asked Joe Doll about this record and he responded:

I remember Ken Phllips. I engineered the recording of these two tunes in the same WCBN studio (at University of Michigan) where I recorded “Times Passed” by the Beaubiens and “Messin’ with the Kid” by the aftermath (they liked their name with no capitals.)

I believe Ken was a U of M student. He was hoping to find traction for “an old-fashioned love song” and thought this record might help. Ken lined up the musicians. I had the impression they were all U of M students within his circle of friends.

Malibu was my label. I considered it an upgrade from the earlier Tortoise label.

Charles E. Parry documented over a dozen local bands and some national acts in a series of 3.5″ x 3.5″ photos in 1965. I am trying to locate him to find out more about his career.

He labeled many of the bands and photos, but some were not identified. I am posting them here, hoping people who knew these bands and fans can comment and identify them.

Any help would be appreciated!

Jeffrey Harvey provides the story of Buck and the Hunters, who cut original songs for singles on Westland Records 15829/30 and Panorama 1004. “Without Your Love I’m A Nobody” has a wild desperate sound to it, unfortunately the youtube video is made from an off-center copy.

Buck Hunter was born into a musical family in Beaverton, Oregon in 1946. His aunts and uncles on his mother’s side played in a western swing group called The Blue Mountain Playboys, who at one time toured with The Sons Of The Pioneers.

Buck started playing music at age 13 and after a stint in the U.S. Navy, he formed Buck & The Hunters in Cove, Oregon in 1965 at the age of 19.

After winning a local battle of the bands competition, Buck & The Hunters were signed to cut a spec record for the local Westland label.

“The Train Is Leaving Me Behind” b/w “Without Your Love I’m A Nobody” was recorded in a basement studio in the Kennewick, Washington area and achieved significant airplay in the Washington, Wyoming, Oregon, and Idaho radio markets.

Buck Hunter – lead vocals / guitar / songwriter
Dan Aguilar – lead guitar
John McClay – bass
Dan Ross – drums

After the release of “Train” on Christmas Day 1965, the band spent 18 months touring the Pacific Northwest, playing armory dances, state fairs, high schools, and clubs, and opening for such Northwest luminaries as Paul Revere & The Raiders, The Wailers, The Kingsmen, and more.

A fun story Buck shared with me about the Hunters’ touring days goes like this: The band was booked to play a high school dance in John Day, Oregon on a Friday night. Buck and the boys were traveling to the gig in two separate vehicles, when they came upon an active blasting zone on the interstate.

The state was using dynamite in the area for construction purposes, and after the first car carrying half the band made it through the blast zone “We all hear this big boom! Sure enough, we look back and saw a landslide had cut off all the traffic – including the second car with the rest of the band in it!”

Buck and two other band mates continued on to John Day High School to find that the dance they were booked to play was the school’s prom. “We ended up playing with three guys that night, and were asked to come back the next night with the full band. They held two proms so our entire band could play!” recalls Hunter.

Buck & The Hunters disbanded in 1967 when a few members went off to college and Buck moved to Everett, Washington. It was there he met his wife in the same year, and the two were married within months.

Buck took a nightclub residency gig as a solo folk act, doing a supper club show at a local restaurant/lounge called Kay’s Rice n’ Bowl. Here he opened for such artists as Pat Suzuki and The Four Freshman.

After putting in his time at the club, Buck and his new bride formed The Tragedy with four other players. The group went on to win a “contemporary folk music battle of the bands” put on by The Pat O’Day Show, broadcast on KJR radio in Seattle at the time.

An A&R man from the Pacific Northwest stalwart label Panorama signed the group to a one-disc deal and “The Entertainer” b/w “Unfaithful Love” was recorded. The Tragedy then toured, opening for such acts as Merrilee Rush & the Turnabouts and The Turtles.

In 1992 Buck began hosting a nightly radio show that was broadcast from the floor of The Gold Coast Casino in Las Vegas. The program lasted until 2002, and in that time Buck met and interviewed thousands of artists including James Brown, Little Richard, Willie Nelson, Martha Reeves, and more. He also told me that the actress Betty White was an avid listener to his program and would call in on numerous occasions to co-host the show with him!

To say that Buck has lived an interesting and full life would be an understatement. He is still active in the business space and currently resides in Kuna, Idaho with his wife of 50+ years.

I asked him about the psychedelic sound of his two 45rpm releases, and if that was an intentional artistic choice or not. His response? “I was always looking for my own original sound.”

Article by Jeffrey Harvey.

I often find records that are not garage rock, but are interesting enough to warrant research. The Pot label, the Texas location, & the title “The Exorcism” might raise one’s expectations, but this 45 by Isaac Sweat, David Kealy and Tom Lunar is conventional ’70s rock with a little horror in the lyrics. There is a cool backwards track version on the flip side.

Still, it’s obscure as can be: this is the only copy I know of, and have found no mention of it elsewhere. Some of members had their roots in the Houston garage band scene, though exactly how is murky at this point.

I found a copyright entry for “The Exorcism” from February, 1974, along with one for “A Love That Will Never Die” by David Kealey, Tom Lunar and Harold Fulton.

The address of 9717 Jensen Drive in Houston points to the Nashville Sound Studio (soon to be renamed Sound Masters) and the release number fits into other singles from that studio.

I thought Pot was the band name, because I.P. Sweat, David Kealy, Tom Lunar seems awkward for a group. But there are releases on the International Mod label that looks very much like this one, by Just Us, the Walkers, and Rocky Rhoades, all cut at Nashville Sound Studios.

I’ve read Isaac Payton Sweat played bass with Johnny Winter, I assume in the early days in Beaumont before Tommy Shannon joined in ’68 or ’69. Isaac died in 1990 after achieving some success with a rocking version of square dance and country music.

David Kealy has a credit as engineer on Kenny Cordray’s version of “Francene” from 1987. As David Kealey, he appears as a bassist on a Bill Nash LP and has many more engineering credits.

Tony Braunagel joined Paul Kossoff of Free in Back Street Crawler, and later became a studio drummer. Braunagel and David Kealey were both members of Bloontz who had an LP on Evolution in 1973.

Tom Lunar I have no additional info on.

Cure of Ares came from St. Cloud, Minnesota and cut two excellent singles in 1969, but I’m surprised to find very little information on the group, and had to draw on many sources to assemble this post.

Members included:

Duane Korte – lead vocals
Reynold Philipsek – lead guitar

and possibly:

Doug Nelson – bass
Michael McGlynn – organ (?)

Their first 45 from May included “Oval Portrait” an original by Reynold Philipsek and Michael McGlynn according to a Library of Congress copyright registration in March, 1969, although not credited on the label. On the flip is “Stepping Stone”, not the hit song but a cut from Steve Miller Band album Children of the Future.

No song writing credits appear on the label for “Sunshine”, but I found a July 1969 registration for “Sunshine Road” with words and music by Reynold Philipsek and music by Michael McGlynn. Registered at the same time was another song, “What About the People?” which may have not been recorded.

On the flip was a version of “Twenty Years Ago (in Speedy’s Kitchen)”, a song recently done by T.C. Atlantic and written by Steinberg with Barry Goldberg, Gary Paulak and Dale Menten. All of those writers were active in the Minneapolis music scene: Dale Menten had been in the Gestures and wrote “Run, Run, Run”, and produced the C.A. Quintet’s single on Falcon, “Mickey’s Monkey” / “I Want You to Love Me Girl”. Peter Steinberg had engineered at Dove Recording Studios in Minneapolis.

Cure of Ares recorded both records at Audiotek Studios in Minneapolis. Audiotek Systems Inc went out of business in 1979, but in 2016 the contents of the studio were offered for sale, including hundreds of records and master tapes. I do not know what became of the tapes, or if they included any Cure of Ares material.

Neither single had a label name, but “Oval Portrait” shows release number 69-99 while “Sunshine” has CPO-106.

Reynold Philipsek’s Wikipedia page continues,

Oval Portrait received enough mid-west regional radio airplay to garner an invitation to perform on the ABC Television show THE HAPPENING ’69, produced by Dick Clark Productions … Cure of Ares taped on Sunday, April 20, 1969, for the Season 2, Episode 24 installment, which aired on May 17, 1969. The telecast included performances by Three Dog Night, and The Peppermint Rainbow.

In 1970, Cure of Ares was chosen from over 15,000 entries as one of 50 semi-finalists in a national music competition, “Iced Tea’s Big Search for the New Sound”[5] presented by the Tea Council of the U.S.A., Billboard Magazine and over 200 radio stations.

The Wiki page has a link to a letter from Dick Clark to Tom Roman, who may have been the Cure of Ares’ manager.

After the Cure of Ares broke up, Philipsek made a 1973 single I haven’t heard under the name “reynold”: “Change (Not the Same)” / “Wordless Wonder” both original songs, produced by S. Gasner and Philipsek. His solo career continues to this day. Reynold Philipsek’s website is https://reynold.com/.

The typically murky Band Box production enhances the strange outsider effect of this 1969 single from Florence S. Espinoza, credited on the label as Sab Florence E.

“Why Must It Be” has a gloomy guitar riff and a female chorus cooing the title. “I Need Your Love” has some harmony on the lead vocals and another leaden rhythm from the guitar, drums and very distant bass. Both songs are originals by Florence Espinoza, with copyright registration in October 1968.

Released on Band Box 389 during that label’s last year or two of production. This is a Rite pressing, 22737/8.

A quick search turns up Espinoza was awarded a patent in March, 1967 for an “Acoustical Baffling Cove System: A method and apparatus for soundproofing the head space in drop ceiling construction … barricades space above the room dividing walls with a V-shaped sound baffling cove for deflecting sounds…” The patent gives his address as 1021 S. Patton Court, Denver, internet records suggest he or his family may still be living there.

An obviously creative person. I wonder if he did more in music besides this solitary release.

The Oncomers came from the Mon Valley (Monongahela River) region south and east of Pittsburgh. Turtle Creek and McKeesport seem to be the main locations for the band members or where they played live.

The group members were:

Wayne Schillinger – guitar
Billy Capranica – bass
Jack O’Neill – drums

The Oncomers started in the early ’60s and often played live with a slightly younger act, the Arondies. This is their only release, on the Gateway Custom label. Wayne Schillinger wrote both songs, published by Telldell Music. Teen Beat Mayhem dates the 45 to 1967 but I’ve read the group had broken up in 1965.

“Every Day Now” is something of a throwback to early styles. “You Let Me Down” is a classic moody song, with a fine lead vocal and guitar work.

I’ve read there are more studio recordings and even a live tape from the Cove nightclub in the town of Large, PA, but I haven’t heard these yet.

The Oncomers later became Grant Street Exit with some lineup changes. Wayne Schillinger wrote both sides of the Grant Street Exit’s 1968 single on Del-la single (and re-released on Millage) “I Got Soul” b/w “That’s Why I Love You”, which I haven’t heard yet. Telldell Music is the publisher and distributor for that release.

Jack O’Neill joined Jim Pavlack and Gary Pittman of the Arondies to form the Soul Congress.

Source: the Tube City Almanac has some remembrances of the band & the local scene at that time.

I didn’t expect this 45 by J.P. Company to be almost unknown, but it appears that way. “Gozar Asi” has many of the elements you might expect from early ’70s funky psych, including organ, wah wah rhythm, harmony vocals, a good guitar break and more. It’s a fine song, written by Jaymenoll Hernandez.

The flip is a more conventional ballad, “Fue” by Alfonso Ortiz.

Released on Orfeon 45-15056 in 1971, I thought this could have been a group from Mexico. I had a Los Locos del Ritmo single on the same Orfeon label with a Los Angeles address which turned out to be a reissue of two different sides originally issued in Mexico years before.

As it turns out, this J.P. Company release is an original Billy Cardenas Production out of Los Angeles. Cardenas was famous for his involvement with the ’60s Eastside Sound, including the Romancers, the Premiers, the Blendells, Cannibal & The Headhunters, Ronnie & The Pomona Casuals, Mark & The Escorts and many more. For Orfeon he would produce Jr. & the Preludes, La Tribu and others.

A December 23, 1972 notice in Billboard notes Orfeon General Manager Oswaldo Benzor would be recording J.P. Company bilingually. If it happened, I haven’t heard or seen it. From the quality of “Gozar Asi”, this is a group that deserves more attention.

From La Crosse, Wisconsin, the Ladds had three singles on Transaction, Universal Audio and Teen Town between 1967 and 1969. In 1970, they changed their name to Today’s Tomorrow and had a minor hit with “Bring Back The Days” / “Witchi Tai To ” on Bang Records.

As the Silver Bullets they made an instrumental single for Teen Town, “The Lone Ranger” / “No Name Boogie”.

Members were:

Chuck Holzer – vocals
Ralph Russell – guitar
Alex Campbell – keyboards
Eric Melby – bass, also Randy Taylor, and Clare Troyanek (of the Unchained Mynds)
Mark Melby – drums

This is their next single, “Wanton Forest” / “You’ve Gone Away” as Today’s Tomorrow, on Teen Town TT-118, from about mid-1970. “Wanton Forest” is fine light psychedelia, and “You’ve Gone Away” is well-crafted and commercial. Alex Campbell wrote both songs, published by Jab Music BMI.

John Hall produced. Hall later started the Blue Ribbon label and released a great punk single, the Ones “Short Dress / Tight Rope ”

The July 11, 1970, La Crosse Tribune had a note about the recording of this single. I like how they call them “old hands” when most of the group were still teenagers:

“Today’s Tomorrow,” who are old hands at making records and working in recording studios, seemed a little shook up as they entered the RCA Victor Studios in Chicago a couple of weeks ago to put their vocal tracks on their latest 45 single. Looking at the big-star albums hanging on the walls, one of the members of the group asked the recording engineer who had recorded in just the past couple of days. He replied in a very mild mood, The “Guess Who” were in the other day and cut their new single, “Hand Me Down World.” That was enough to give any young band the winks. The session pulled off great. It’s the best job of composing thus far for Alex Campbell. The two new sides are entitled, “You’ve Gone Away” and “Wanton Forest.” The tapes have already been sent in to the Bang record office in New York.

It didn’t get a release on Bang, but Cash Box listed “Wanton Forest” on the playlist of WOKY in Milwaukee on October 24, 1970.

Today’s Tomorrow would have one final single, a version of Paul McCartney’s “Smile Away” that I haven’t heard yet, backed with another Alex Campbell original, “Lifeless”, which has a ’70s funky hard-rock sound.

Alex Campbell had an early single with the Fax in August, 1966 when he was just 14, “Just Walking In The Rain” / “Not Too Long Ago” on Transaction 702, produced by Lindy Shannon.

If anyone has the picture sleeves for the Ladds first two singles, “Keep On Running” / “‘Wild Angels’ Theme” on Transaction or “I Found The Girl” / “Survival” on Universal Audio, please contact me. Also if anyone has photos of the band other than those on the Ladds picture sleeves, please write in.

Source: Do You Hear That Beat: Wisconsin Pop/Rock in the 50’s & 60’s by Gary E. Myers has extensive information that was vital to this post.

The Victoria Advocate featured a photo of the Gay Lords on September 18, 1966. The Gay Lords won second in a battle of the bands in Corpus Christi, losing to local legends the Zakary Thaks.

Members were:

Don Halk
Glen Christian
Jerry Cockerham – drums
Mike Rippamonti
Kenny Lange

The microfilm quality makes it impossible for me to be sure who is playing guitar and who is on bass. I don’t believe the Gay Lords recorded.

This is part of a series of articles on local bands throughout Texas. See the map of Texas on this site for other groups and locations.

If you have any photos or info on these or other local Texas bands of the ’60s, please comment below or contact me.

The Olney Enterprise of July 28, 1968 announced a battle of the bands at the Gray-Barr post of the American Legion featuring Fox and the Hounds of Graham and the Ragmen of Olney. These towns are about 20 miles apart; Graham is about 90 miles northwest of Fort Worth.

Neither band recorded to my knowledge.

This is part of a series of articles on local bands throughout Texas. See the map of Texas bands for other groups and locations.

If you have any photos or info on these or other local Texas bands of the ’60s, please comment below or contact me.

The Crystal City Sentinel published this piece on a battle of the bands at the Carrizo Springs armory on April 14, 1967. These towns are southwest of San Antonio.

The article notes that the Sound Tracks and Four Jays from Crystal City and lists their members:

The Sound Tracks:

Joe Peralez – lead vocals and rhythm guitar
Cesar Perales – bass, vocals and harmonica
Kenneth Hale – lead guitar
Calvin Reily – drums
Ben Martinez – rhythm guitar and vocals

The Four Jays

Jesse Garcia – bass and lead vocals
Johnny Rodriguez – lead and rhythm guitar
Joe Lopez – drums
Emilio Fiscal – organ

I couldn’t find a follow-up on the results of the battle. I don’t believe either of these bands recorded, but I could be wrong.

Thank you to Matthew B. for help accessing the news clipping.

On September 4, 1969, the Fort Stockton Pioneer announced a battle of the bands at the Large Community Hall.

Odyssey members were Blane Wilson, Steve Ham, Chris Strong, Stanley Woodard and Larry Pittman.

The Havoc (formerly the Sine) included Tim Castle, Mike Duerksen, Steve Hawkins and Paul Duerksen.

The Pioneer followed up a week later with a photo of “flashing psychedelic lights reflecting the movements of several dancers”, and announcing the Odyssey was voted the top band of the night. I don’t believe either band ever recorded.

If you have any photos or info on these or other local Texas bands of the ’60s, please comment below or contact me.

This is part of a series of articles on local bands throughout Texas. See the map of Texas on this site for other groups and locations.

Librarian, musician and record collector Claus Rosenblad, who interviewed Bob Jabour of the Cavemen last month, returns with a detailed interview with Robert Specht, lead guitarist of the Remaining Few.

Robert Specht and Mike Jones wrote the incredible “Painted Air,” released on Askel Records AK-112 in October 1968. Sprecht also wrote the flip side, the lesser-known but still very worthy “In the Morning.” Askel Records released other legendary garage singles, most notably the Chevelle V “Come Back Bird” and the Outcasts “I’m in Pittsburgh (and it’s Raining).”

Where did you grow up?

My father’s work required us to move several times while I was growing up: I was born in Illinois in 1950 then moved to: Minnesota,  Oklahoma, Houston Texas, El Paso Texas, Dallas Texas then San Angelo Texas.

What was your musical background and did you play any kind of instruments as a child?

I began taking guitar lessons at the age of 13 or 14 while I lived in Dallas, but nothing before that.

How and why did you get involved in the music scene, and what was your first band?

I took guitar lessons in Dallas at the Fred McCord School of music in the 60’s when rock was really getting big. After a few months of lessons, my teacher told my father I was a “potential flamenco genius” and so I was largely schooled in that type of music, but I was always trying to pick up on rock. We moved to San Angelo in 1965 and I began taking classical guitar from a truly amazing musician named Frank Trevino. After taking from Frank for a while, I met a guy in school, Robert Glodt – a drummer, who convinced me to come by his house and hear the band he was in practice. That was my first “band” experience.

How and when did the Remaining Few get together?

When I went to listen to them (Glodt and his friends) they suggested that I go get my guitar and join in. It was a rag-tag event: the drummer had a bass, a tom-tom, a snare and one cymbal, the bass player (Chuck Brooks) played a regular guitar that had the speaker built in to the guitar, and the other guitar player (Mike Jones) had a dirt cheap guitar and a tiny, tiny amp. I had a Sears Silvertone guitar that had the amp and speaker built right in to the guitar case.Since I was the only one to have had any training, after about 5 minutes of playing they asked me to join them as the lead guitar player. We needed a name for the group and chose the name we had been given by parents and neighbors as they’d always yell at us “You boys turn that noise down!” – we became The Boys.

The bass player departed the group, the victim of a conspiracy by two unnamed members and was replaced by a really good bassist, J. Frost (Frosty) McKee, and we added a singer, Joel Mulkey, an acquaintance from school. At this point we became The Remaining Few.

Our drummer (Glodt) left for college and J. Frost suggested that we have Jim Yankovich sit in. He was awesome and became part of the group until he left for college and then Charles Usery became our drummer and Larry Logan became our organist.

Later things fell apart due to the draft, the war in Vietnam (Joel and Larry served in Vietnam and I ended up in ROTC), wives, and well, just life. At the end, Mike left to play for the Cavaliers, and with Larry in the Army, Joel, Frosty, Charlie and I played as a three piece with a singer for a while and then we disbanded. It has been reported at various websites that we moved to San Francisco, but that never happened.

What other big acts were your musical inspiration, (or genres) please name some of it?

Beatles, Stones, Yardbirds, Byrds, Paul Revere and the Raiders, Motown, Vanilla Fudge, and Cream were strong influences on us, later we became more heavy acid rock influenced with some blues thrown in.

What year did the Boys evolve into the Remaining Few? When are you born?

It was around late 1966 when we changed to the Remaining Few.

Who were the members and what they play?

The Remaining Few, V1:

Robert Glodt – drums
Mike Jones – rhythm guitar
Joel Mulkey – vocals
J. Frost McKee – bass
Robert Specht – lead guitar

The Remaining Few V2:

Jim Yankovich – drums
Mike Jones – rhythm guitar
Joel Mulkey – vocals
J. Frost McKee – bass
Robert Specht – lead guitar

The Remaining Few V3:

Charles Usery – drums
Mike Jones – rhythm guitar
Joel Mulkey – vocals
J. Frost McKee – bass
Larry Logan – organ
Robert Specht – lead guitar

The final version is the one that recorded “Painted Air” and “In the Morning”.

Where did the band practice take place?

Until Larry Logan joined as organist, we practiced in someone’s garage. But Larry’s dad owned a lumberyard and we practiced in the warehouse there.

Where did you play live, and what was your best gig (and your worse)?

We played at rental venues, where we rented a hall, advertised on local radio and hoped what people would come and pay to listen and dance to our music. We became the sort of “house band” at a local bar/night club called “The Thirteenth Hour” – where we played many Wednesday, Friday and Saturday nights. We also played at high school dances for many of the surrounding towns in west Texas (places like Big Lake, Sterling City and Iraan Texas). We didn’t play much in San Angelo schools as the record we produced got us banned from playing in San Angelo schools. Most of the time, when we played in the surrounding towns, the local rednecks would threaten to kick our butts because we were “long haired hippy freaks”. We had to load up fast after the gigs and get out of town to prevent getting beaten up.

Did you do any battle of the bands?

We participated in the Tri-State Battle of the Bands (bands from Texas, New Mexico and Oklahoma) and placed second (see the trophy in the photo I sent) and I seem to remember playing at the local coliseum that showcased many of our local bands, but I don’t remember any declared “winner”.

How did the record on Askel come to be made?

We wanted to record and Mike knew a guy who had turned his garage into a recording studio. We came up with several songs and recorded them. The two we chose to have put on 45’s were “Painted Air” and “In The Morning”. We took the tape to Ron Newdoll at Accurate Sound here in San Angelo (he produced the Cavaliers’ “Last Kiss”) and he produced the songs on his label.

Which studio did you record the songs in?

George Talley’s studio converted garage.

Any fun facts and stories from the making of the record?

There has been conjecture and argument at various websites about how I made the tones in “Painted Air”; what kind of guitar, what kind of amp – I guess so they could be duplicated. Many were convinced that I used a Fender Stratocaster and Fender something amp, but they are all wrong. I used, and still own, a 1967 Guild T-100D hollow body electric guitar,  and I used a Kustom amp.

I used no effects pedals; the only effects available on the amp were reverb and vibrato. The only effects pedals I ever owned were a Fuzz Face fuzz tone and  Maestro Wah Wah pedal. Today there is an amazing range of effects pedals and manipulations that can be done in recording studios, I can only imagine what we could have done with that technology.

How were the records received? Did they get any airplay, did you get any good/bad reviews?

We sent records all over. The local radio station said  “It looks like the Remaining Few have a national hit on their hands” and then, nothing. Not for years, until in the early 1980’s people started calling me and asking about the song, the record and if we’d sell an original 45 or authorize re-release. People from Great Britain, Germany, various parts of Europe even from Austin, Texas contacted me; I was kind of shocked.

I saw that original 45’s were being purchased for almost $6,000 by collectors. The songs had been picked up and published on a couple 33 1/3 LPs, one called High in the Mid Sixties, which I have a copy of. Requests and interest keep coming to this day. I even heard that “Painted Air” was played along with a video in Los Angeles at some rock hall of fame type museum. Over time the records have been duplicated and digitized without our permission and sold with no royalties ever being paid to us. You can even go to Amazon and buy the recordings for like 90 cents (American), but I do not receive royalties from those sales. The recording also appears with added videos on YouTube and, again, not a dime has ever been paid in royalties.

What is the story behind the legendary tormented song “Painted Air”?

It was originally just a part of a longer song called “Death Angel” – pretty dark stuff. When we were considering songs to record, I proposed it. But it was way too long so I chose the part that was made in to “Painted Air” and Mike Jones worked with me to create the arrangement.

What other groups in that area did you compete with? Or make friends with?

Bands like The Prophets, The Centrics, The Mystics, The Cavaliers, The Inmates and The Pagans. At that time here in San Angelo, EVERYONE was in a band and they were ALL better than everyone else. There were more bands in this little town than you could count. And you couldn’t swing a dead cat without hitting someone who played the guitar – all better than everyone else in the entire universe and very arrogant about it. It was dog-eat-dog and cut throat competition. None of the bands were friends with each other.

Do any other unreleased recordings exist, besides the 45s? Live recordings, demos or acetates?

There are tapes of all the songs we recorded in the process of making the record. No one knows the location of those tapes.

When and why did the band split up?

You grow up and realize you’re not going to hit it big. We had the draft, Vietnam, wives and kids; lives to prepare for. I guess our final split was in 1972.

What happened to you and the other band members after the band split up?

Our first bass player, Chuck Brooks was never heard from again after he left.

Robert Glodt attended Texas A&M University, served in the Army and became and entomologist in the Pan Handle of Texas.

Jim Yankovich attended technical school and went to on to work for various companies. We are still friends and keep in touch on a daily basis.

Larry Logan succumbed to cancer some years ago. It is my understanding that he longed for a band reunion up until the last.

Charlie Usery pursued various jobs and, as I was told, collapsed at his place of work and died of heart failure.

Mike Jones, who had been my close friend, who shared the loves of photography, hunting, fishing, camping, and music with me for more than 43 years, was also lost to cancer.

Frosty McKee did some amazing things like getting in the Guinness Book of Records for feats of memory, even appeared on national TV (Leeza Gibbons Show, I think) to demonstrate his amazing skills. He is still with us.

Joel Mulkey still lives here in San Angelo and we keep in touch and have even jammed together a few times. He pursued a career in the telecommunications industry working at the same company I piloted for.

As for me, I graduated from college and earned a commission as an officer in the United States Air Force and then flew professionally as a pilot for almost 30 years. I changed lanes and became an IT manager for some 15 years and retired from that industry in 2015. I currently write songs and perform in a local band called The Rivertown Blues and for the praise band at a local church.

Do you have any kind of band pictures, scrap book clips, or concert annoncements?

Attached are the only three pictures I have. These and other information can also be viewed at our website, theremainingfew.com. There may be other photos out there, but I don’t know where.

Interview by Claus Rosenblad.

Askel 45 release date from Teen Beat Mayhem.

The Sensations were 12 and 13 year-olds from Middlesboro, Kentucky, a rural town in Ball County, close to the Tennessee border and about 60 miles northeast of Knoxville. Members were: Mark Steele, Lee Cochran, Stephen Moody, Joe Willis and Brown Carr.

They did not record as far as I know, but the article in the Middlesboro Daily News from January, 1965 notes that “Mark has written two of the groups songs: ‘Stay Away from Me’ and ‘I’m in Love.'”

If the group did record or if the members went on to other bands, I would be interested in hearing about it.

Once again, thank you to Matthew B. for helping me access this news clipping.

The Reasons Why cut one of the top Texas records in the ’60s, “Don’t Be That Way” on Sound Track ST-2000. I don’t own a copy, but I found this article on the group from the Waco, and since I don’t remember seeing a photo of the group before, I’m posting it in the hope of getting a better quality picture later on.

Members of the Reasons Why were:

Frank Kalenda – rhythm guitar and vocals
John Inmon – lead guitar and vocals
Johnny Schwertner – organ and vocals
Ronnie Miller – bass, vocals
Donny Dolon – drums

The article is very informative, noting “The group has just completed a session at the Delta recording studios in Fort Worth.” Johnny Patterson owned Delta Recordings.

“W.F. Temple, president of Sound Track Records, was in Waco recently to audition this popular group and was so impressed that he immediately offered The Reasons Why, a recording contract.

The group is from Temple, and has been playing together for seven months. Their name comes from the first three words of “I’ll Feel a Whole Lot Better”, a recording by the Byrds.”

Most of the group attended Temple Junior College, except John Inmon: “Before joining the group John had played with bands on the west coast. He is a student at Temple High School.”

Carl Sachs managed the band.

I’ve seen a signed copy of the label for Melinda that has the group’s first names, except “Tommy” appears instead of Ronnie Miller, so possibly there was a lineup change after the 45 release.

Bill Temple and Mickey Moody produced the single, released on Sound Track in late 1966 with a SoN 39531/2 mastering code. “Melinda” was the A-side, written by Denis Jones who does not appear to have been a band member. Bassist and vocalist Ronald Miller wrote “Don’t Be That Way”. Sound/Age Music published both songs.

Dennis Jones seems to have been a song-writer published through Sound-Age or Soundage, Bigtop and Le Bill Music. I suppose Bill Temple had publishing on “Melinda” and had the Reasons Why do the song.

The only other single I know of with Dennis Jones’ credit is the Industrial Image “Living in the Middle Ages” by D.A. Jones on Epic 5-10096, published by Bigtop Records & Soundage Music. The Industrial Age were from the Glen Rose, Texas area, and had been known as the Heartbeats. One member may have been Larry Witt.

Thank you to Matthew B. for helping me access the news clipping.

The microfilm photo quality is terrible, but the Gatesville Messenger and Star Forum ran this profile of four groups who competed at a battle of the bands at the Gatesville National Guard armory on January, 26,1968.

The Slow Motions won the event. Members were Ronnie Bond, Marshall Brown, Johnny Moore, Larry Bruton and Larry Hughes.

The Rebellions won second place, they were Bob West, Tom Easley, Ernest Ochoa and Bobby Thrasher.

The Wanderers won third, members included Glen Henderson, Richard Schcrimsure, Bruce Arnold and Paul Street.

There was a group from Waco called the Wanderers who recorded “Higher Education” / “I Feel So Blue” on T.R.C. Texas Record Company 2067 in 1966. That group had Ronnie Cole as vocalist and song writer. Gatesville is 35 miles west of Waco (a short distance in Texas), but I’m not sure if this is the same group.

Fourth place went to the Creatives: Jerry Ochoa, Monte Bush, Abel Ochoa, Randal Haferkamp and Nicky Ochoa.

An article annoucing the event doesn’t mention the Wanderers, but lists another group, the Relations (Ernest Ochoa, Nicky Ochoa and Jerry Ochoa – no wonder the band name), and notes that the groups are all local.

I don’t believe any of the Creatives, the Rebellions or the Slow Motions recorded.

If anyone has a better photo or info on any of these groups, please contact me.

The Fredericksburg Standard of July 7, 1965 published a photo and profile of the Crossfires, a band that would go on to become the Fountain of Youth.

The Crossfires won seventh place among 78 groups at a battle of the bands at the Surfers A Go Go club in Dallas. They were all students at St. Mary’s School in Fredericksburg.

Gary Itri – bass guitar
Gary Jenschke – lead guitar
Jimmy Panza – drummer and vocalist
Kenneth Molberg – rhythm guitar

Two bands from Dallas won the top prizes: the Green Men, (I believe that would be Johnny and the Green Men) won first place and the Soul Rockers second. The Briks from Denton came in third.

The article notes that the Crossfires were the youngest group in the contest, and placed ahead of the LaVelles. The Crossfires started in March 1964 as the Fugitives, and had guidance from KNAF DJ Johnny Almon.

Although the article states that the Soul Rockers “have cut several best selling records”, I am unaware of any by that group name.

The Crossfires cut a version of Robb London and the Rogue‘s “Who’ll Be the One” / “Making Love Is Fun” on Tower 278 in 1966. I’ve seen a copy with a stamp from the Itri Record Shop in Fredericksburg!

The band relocated to California and with a name change to the Fountain of Youth, had four singles on Colgems. Billboard ran a full-page ad titled “Fountain of Youth has been discovered in Texas” to promote their first Colgems single, “Livin’ Too Fast”.

I’m a big fan of the B-side of their second Colgems single, “Don’t Blame Me (for Trying)” from June of 1968, by a somewhat obscure song writer, Ken Walker. “Day Don’t Come”, the B-side of “Sunshine on a Cold Morning” is also a standout.

Ken Molberg had left the group by the time of their last single. “Witness People” is the only recorded song that the band wrote themselves, by Itri, Panza and Jenschke. It’s one of their best, with a heavier sound than the earlier singles.

The group had a Kickstarter campaign to remaster & reissue their singles on CDR and vinyl, which has some additional info about the group.

Gary Itri passed away in January, 2014.

If anyone has photos or info on any of these groups please contact me. This photo from the Fredericksburg Standard is not bad by microfilm standards, but better quality photos must be out there.