I'm constantly amazed at the quality of rock 'n roll cut by young teens during the mid-'60s. Billy and the Kids from Washington state is one example, another is Us Kids from Medford, in southern Oregon.

They recorded their single at Rex Recording Service in Portland, both songs written by their vocalist Dennis Chitwood. "Check-Out" is a great A-side, with tough lyrics for a thirteen year old boy:

You're thinking the smiles they gave you were because you're pretty
Well the smiles you got were actually out of pity!

I recently spoke to Bill Pitts, who was known as Bill Leach when he played lead guitar for the group:

We were very young at the time. When we made the record, I was the oldest by a month or two and I was 14. The singer, Dennis Chitwood would have been 12 or 13. 

We met through word of mouth in those days. Somebody told somebody that I played guitar or that Kurt played drums. Just good old fashion networking. Then we would have "try-outs" to fill or change a spot. Dennis played the Fender and I the Rickenbacker.

In actual fact, "I Love The Rain" was the chart song or "A" side. I have two original copies of those "K-Boy Top 25 Pop" charts. August 19, 1966 - #19; August 26, 1966 - #3 (#1 was the Beatles, #2 was Tommy Roe so I guess you could call that "good company").

We saved our money and our parents helped pay for the session. If memory serves, it was around $200.00 each. I'm not sure who searched out Rex, most likely Chitwood's parents. I do remember how excited we all were to travel to the studio (Portland). I remember vividly how nervous I was when the "Recording" light came on over the sound control booth. I remember sitting around the control room with the engineer, listening to the final cut and us giving our approval.

Our biggest gig (in my mind) was opening for Gary Lewis and The Playboys. As I recall, that's the only time we played the Medford Armory (which was the only large auditorium in the day). I have pictures of us playing in (I believe) a battle of the bands at the Medford Shopping Center parking lot. These venues happened once a year to a very large turn-out.

Us Kids on local TV

The pic of us on TV was taken of us on the show Woman's World. It was local interest type programming. We also did a short interview and, I believe, announced some news and the weather on our local rock station
of the day, KBOY AM.

At that point, our parents managed us. We were happy to just play music but our parents got involved (we were very young remember) and agendas won out. Ultimately what broke us up. A shame, as we were starting to draw some interest.

I just found out that Dennis Chitwood has passed, I believe last year. I did hear a great blues band in Jacksonville while visiting once. Entered the bar and saw my old friend Kent Klinkenbeard still playing drums. Damn good too. Not sure where the others ended up. I played rock for a few more years and ended up trading my electric in for a Lyle "Dove" twelve string and went all Simon and Garfunkel.  Now I pluck through Jimmy Buffet and some mild country.

It was a magical time. I wouldn't have missed it for the world!

Bill (Leach) Pitts

from left: Kent Klinkenbeard, Dennis Chitwood, Frank McCaslin and Bill Leach
Location is likely Happy Camp, California

Special thanks to Bill for sending in these great photos and for answering my questions about the band. Thank you to Christian "Mr. Splendid" for the label scans.

1046 - Bob Haydon - Suzanne / Gonna Go (Gonna Leave Ya) (both written by Bob Haydon; July 1, 1964)
1047 - Abby Anderson - (We Were) Sittin' in the Balcony (written by Lewis Lindsey) / My Love
1048 - Lewis Lindsey - ? / The Promise (written and arranged by L. Lindsey)
1049 - Jimmy Rabbit with Ron and Dea - Pushover / Wait and See (both by Lindsey-Kirkland-Rambo)
1050 - The Knights - Stay / I Know It Now (both by B. Kissell)
1051 - ?
1052 - Jimmy Rabbit - Wishy-Washy Woman / My Girl (both by Ron Price, arranged by Bob Rambo)

Bob Sanders ran the Knight and Spectra labels, among others, during the mid-'60s in Dallas, Texas. The two Jimmy Rabbit singles are probably the best, though I haven't heard the Abby Anderson 45, described as doo wop.

See the earlier articles on this site for more on Jimmy Rabbit and the Mystics (on Spectra).

Bob Haydon had the first 45 that I know of on Knight, released in mid-1964. "Suzanne" never made much impression on me, but "Gonna Go (Gonna Leave Ya)" has an easy mix of country and pop sounds.

Bob Haydon - Suzanne
Bob Haydon - Gonna Go (Gonna Leave Ya)

Lewis Lindsey was either co-owner or had some position with the label. Jimmy Rabbit called the Knight label's studio "Sand-Lin", though I haven't seen that name cited by anyone else.

Lindsey co-wrote "Sittin' in the Balcony" for Abby Anderson, and co-wrote both sides of the first Jimmy Rabbit 45, as well as being in Rabbit's band at the time. For his own Knight single Lindsey wrote and arranged "The Promise", a pop number with big production. Lewis Lindsey had another release on Vandan VR-7742, "Wish It Could Be Me" / "Is It Love" that I haven't heard.

The Knights 45 was completely unfamiliar to me until Brian Kirschenbaum wrote to me with the scan and transfers of the record. He was surprised to find a Texas 45 made its way to upstate New York. It's an interesting single, very much influenced by the British sounds of the time in changes and feel, especially on "I Know It Now". Someone named B. Kissell wrote both sides. I don't know if the Knights was an actual band or just assembled in the studio for this record.

The Knights - Stay
The Knights - I Know It Now

All of the above produced by Bob Sanders with publishing by Fieldcrest Music, BMI, often the credits say "An Empire Production".

There's no connection to the Tampa, Florida Knight label that released 45s by the Tropics, Mods and Outsiders.

Many thanks to Brian Kirschenbaum for alerting me to the Knights 45.

Drummer George Samaras sent in these cool photos and clippings and told me about the group:

The band was formed in Winston-Salem, North Carolina at the end of 1964. The original line-up consisted of two brothers, John McGee (lead guitar & lead vocals) and Ken McKee (rhythm guitar & lead vocals). The two other band members were Paul Doby (bass guitar) and me - George Samaras (drums).

By the summer of '65 we had recorded our first record at Auther Smith's studio in Charlotte, NC ("I Guess That's Why You're Mine" / "Not In Love With Me") and released it on our own label, Chain Records. It received considerable local air play and reached #20 on one of the local radio stations top 40 list. Around this time we all dyed our hair bright red (as in Teen "Beets") to attract attention. It worked!

Our second local release ("I Should Wait" / "Oh Baby") was also recorded at Aurther Smith's studio and released on Chain Records. Although it received considerable local air play it did not chart.

The Teen-Beets - I Guess That's Why You're Mine
The Teen-Beets - I Should Wait

Winston-Salem Journal, June 19, 1965, with hair stylist Bobby Todd

We stuck with the bright red hair and high energy stage shows achieving local notoriety. We also had a change in the band membership. Paul, our bass player, was replaced by Stan Ratcliffe.

In early '66 we traveled to Nashville, Tenn. and re-recorded "Not In Love With Me" and "I Should Wait" in Fred Foster's Sound Studio for Tree Publishing Company. It was released on Dial Records under the name the "Beets" but quickly faded into obscurity.

Soon afterwards, management of the group was taken over by Pete Berry - a local DJ and program director better known as the Flying Dutchman. Under Dutch's guidance we got rid of the red hair and changed our name to the "Words of Luv" and returned to the studio to record "I'd Have To Be Outta My Mind" / Tomorrow's A Long Time".

The Words of Luv - I'd Have to Be Outta My Mind

Dutch was able to get us signed with a booking agency in Washington, D.C. and also with Hickory Records for a four record deal. We went on the road playing up and down the east coast. Hickory Records released "I Have To Be Outta My Mind". While the record received good reviews in Cashbox and Billboard magazines, it only received limited air play on the national scene.

In order to earn a living, Paramount kept us booked steady in real night clubs (usually a week or two at a time) which gave a break from doing one nighters all the time. Also, we would occasionally back up some of Paramount's fading stars. We worked with Little Eva a few times, she had a national hit called "The Locomotion" about five years prior to that time. Whenever we were with her we were the Locomotives. Also, with Jimmy Jones a couple of times. Jimmy had two national hits a few years before that - "Handyman" was his first and then "Good Timing". With Jimmy we were the Handymen.

The promotion picture of the "Words of Luv" has the name of the band misspelled - "Love" instead "Luv". It was the printer's mistake and Paramount Artists made them redo the entire order. Mistakes seemed to follow us around. When Hickory Records did the initial pressing of promotion copies for "I'd Have To Be Outta My Mind" they accidently put the plug side star on the flip side and starting sending it out to radio stations before they caught their mistake. Because of this, they had to do another promo pressing and start sending it out again.

Promo sheet showing later member "Fab" Foltz

We didn't get all the way up to Montreal. We only toured on the U.S. side of the border and the closest we played to Canada was upstate New York. As I recall, the very first gig booked through Paramount Artists was in Massena, New York (right on the Canadian border). We traveled extensively up and down the eastern seaboard (north and south), but only as far north as New York. I guess "Montreal to Miami" just sounded good to whoever wrote that promo sheet. However, we did go just about everywhere in-between.

We did a few TV shows: Some local shows in North Carolina, a show called 'Wing Ding" in Washington, D.C. and a syndicated show (taped in Maryland) called the "Kirby Scott Show". We also played a lot of teenage night clubs, dances and auditorium shows.

We had a fifth band member for a short period of time on the road. His name was Doug Foltz (nick name: Fab). Fab played electric piano and also sang lead.

By the early Fall of 1967 the road was taking its toll and the band broke-up. Although we had recorded a few more songs, due to the band's break-up, they were never released. They were independently produced by Flying Dutchman Enterprises and I don't know whether or not they were ever turned over to Hickory Records. I'm sure those master tapes are long gone by now.

"I'd Have To Be Outta My Mind" was re-mastered and put on Garage Beat '66 Vol. 1 three or four years ago. It was a CD released by Sundazed Records. Our local releases were put on Tobacco a Go Go (Blue Mold Records) several years back.

Even though I later played in a few other road bands, and still occasionally play locally on weekends, my fondest memories will always be of the Teenbeets.

One more thing - I came across an interview that Ken Friedman of Tobacco A Go Go did a little while back. He was relating the story of the Teenbeets as one of his favorite garage band stories. In the interview Ken said he had met one of the former band members back in the 1980's and that person was now a Moravian minister after finding religion on the battlefield in Viet Nam. Ken misidentified that person as the drummer. In actuality it was Paul (our original bass player).

George Samaras

Paramount booking card

back of Paramount booking card

Thank you to George Samaras for photos and scans. Song transfers from Tobacco a Go Go, vol. 2 and Gyro1966.

Billy Tabbert - guitar, vocals
Derek Moore - bass, vocals
Ron Howden - drums
? - guitar, vocals

In 1964, Derek "Mo" Moore was in two groups, the Upsetters and Beast. While touring France with the Upsetters, he met Ron Howden. I've seen conflicting accounts of what happened next, either Ron joined the Upsetters in France, or else Derek jammed with Ron when Beast toured through Hamburg.

In any case, the two of them formed the Prophets with guitarist Billy Tabbert. I'm not positive who the fourth member of the group was. It could have been Tommy McGuigan, a friend of Tabbert's who had been vocalist and saxophonist in the Scottish rock band, the Waysiders from 1962-1965.

"You Missed by a Mile" and "Hey Mister" are two excellent originals by Moore and Tabbert. One is upbeat, the other more sedate, but each has fine vocals over expressive guitar playing, resounding bass lines and agile drumming.

Sometime between 1965 and 1967 Derek and Ron met keyboardist Allan "Taff" Freeman and guitarist Allan Murdoch from MI5, another English group who had relocated to Germany. Derek and Ron either joined MI5 or else formed a new group with them, Prophecy. By 1968 that group had evolved into Nektar, with LPs on Bacillus and United Artists. Billy Tabbert joined Allan Murdoch and Tommy McGuigan in Message, who also had releases on Bacillius.

Fred Kerston ran his Kerston label from Oberkassel, Bonn with an impressive list of releases, including the Beethovens "I Want a Dog" / "She Is My Love", the Party Brothers "Our Love Is Gone" / "Every Night", the Magic Herbs "There'll Come the Day" / "Still Hoping You Might Come Back Home", the Strings "Don't Play", the Strangers "Hurt It", the Tramps "I Do", the Vampires "It's Enough", the Vanguards "I Know a Girl" / "My Babe" and the cool instrumental "A Life Like a Hound" by Bill Soap & the Dirties.

The Prophets - You Missed by a Mile
The Prophets - Hey Mister

Sources include: The Crack in the Cosmic Egg website.

Thank you to Andy Paraskos for the scans of the sleeve and 45.

1963

November Former Electrons lead singer Mike Tinsley (b. 16 December 1940, Portsmouth, Hants), guitarists John Stewart (b. 18 March 1941, Torphins, Kincardineshire, Scotland) and Tony Cockayne; bass player Ray Honeyball (b. 6 June 1941, Whickham, County Durham) and drummer Leslie Dash (b. 3 April 1943, Hillingdon, Middlesex) are all Royal Air Force ground crew based at RAF Wittering in Cambridgeshire, England. Captivated by the beat scene exploding in the UK, they decide to form a band, The Trendsetters. The quintet performs initially in the officers’ mess at RAF Wittering but then ventures out, debuting at the White Lion pub in Whittlesey, Cambridgeshire. After receiving a positive reception, they play at the Dorothy Ballroom and the Corn Exchange in Cambridge.

1964

The band changes its name to The Hedgehoppers; a nickname for the “V” bombers, which can fly a few hundred feet above the ground, under enemy radar to avoid detection and ground-to-air missiles. A local agent spots The Hedgehoppers playing the local pub scene and arranges live gigs to showcase the band at weekends. By June, The Hedgehoppers have opened for Unit Four Plus Two, The Hollies and The Kinks among others.

1965

February (7) The Hedgehoppers play at the Alley Club in Cambridge.
March (14) The band returns to the Alley Club for another show.
July (17) The Hedgehoppers appear at the Dorothy Ballroom in Cambridge with Bob Ludman and His Orchestra, The Seminoles and Ben Elliot and The Klan. Alan Laud (b. 13 March 1946, Whittlesey, Cambridgeshire), who is a civilian living near the RAF base takes over from Cockayne on rhythm guitar after meeting the musicians in a local pub.
August The Hedgehoppers are playing at the Corn Exchange in Cambridge when they are spotted by Trinity College student Kenneth King (aka Jonathan King), who is working as a producer for Decca Records through his own company “Jonathan King Enterprises”. The aspiring producer is about to release the single “Everyone’s Gone To The Moon” under his recording name Jonathan King and approaches The Hedgehoppers to see if they will record another of his songs – “It’s Good News Week”. King, who is keener on becoming a producer than a singer, suggests that they add the Anonymous tag so that they can keep their fan base but protect their anonymity from the RAF, which is unaware of the recording. The band records “It’s Good News Week” under the musical direction of Arthur Greenslade, who adds session players, including guitarist “Big” Jim Sullivan, to back Tinsley on the track.
September King’s tongue-in-cheek protest song, “It’s Good News Week” backed by “Afraid of Love” is released. The single’s success generates a huge amount of publicity but also creates problems with the RAF, which has not given the musicians the proper authority to find employment outside the Armed Forces. Hedgehoppers Anonymous make their debut TV appearance on ITV’s Ready Steady Go! They also appear on BBC TV’s Top of The Pops to plug the single.
October Tinsley successfully submits an application to the RAF for a discharge.
(15) NME reports that Dash, Honeyball and Stewart have applied to the RAF for a discharge but it is not known whether these will be accepted. Behind the scenes, London session musician Glenn Martin (b. 22 January 1946, Wembley Park, Middlesex), who is the resident drummer at the Ad-Lib club and has been playing with Ayshea Brough, takes over from Leslie Dash for live gigs while the drummer tries to gain a discharge.
(29) With Martin onboard, the new line up plays at Parr Hall, Warrington, Cheshire. On the same day, NME reports that the future of Hedgehoppers Anonymous is still in the balance as it is uncertain whether Dash, Honeyball and Stewart’s applications will be accepted. Soon after, Stewart successfully gains a release from the RAF. Meanwhile, the group is forced to turn down an offer to join the Gene Pitney tour because of the travelling involved.
(30) Hedgehoppers Anonymous perform at Altrincham Stamford Hall in Altrincham, Greater Manchester.
(31) The group makes an appearance at Peter Stringfellow’s Sheffield Mojo club, Yorkshire.
November (2) The band performs on Rediffusion’s Five O’Clock Funfair.
(3) Hedgehoppers Anonymous play at the Kingston Cellar in Kingston-upon-Thames, Surrey.
(4) They perform at the Swindon Locarno Ballroom in Swindon, Wiltshire.
(5) Hedgehoppers Anonymous play at Leighton Baths, Leighton Buzzard, Bedfordshire.
(6) “It’s Good News Week” peaks at UK #5 and also reaches #48 in the US Billboard chart. On the same day, the band are billed to appear at Rawtenstall Astoria, Rawtenstall, Lancashire.
(7) Hedgehoppers Anonymous perform at the Carlton in Slough, Berkshire.
(8) The following day, the band plays at the Atalanta Ballroom in Woking, Surrey.
(10) Following a show at High Wycombe Town Hall the previous day, the group performs at the Stevenage Locarno in Stevenage, Hertfordshire.
(11) They perform at Wisbech Rose and Crown, Wisbech, Cambridgeshire.
(16) Hedgehoppers Anonymous appear at an All-nighter session at the Cavern in Liverpool with The Baskerville Hounds, The Verbs, The Drifting Sands, The Richmond Group, The Dresdens, The Almost Blues, The Harpos, The Masterminds and The Fourmost.
(18) The band plays at the 100 Club in Oxford Street, London.

Leslie and Ray go "part-time"New Musical Express, November 26, 1965

January Having signed up to Chris Peers Promotions the previous year, the new line up starts to pick up steady work around the country.
April Martin suggests that Hedgehoppers Anonymous cut a version of Chip Taylor’s “Wild Thing”, which is recorded and prepared for release. However, according to Martin, Kenneth King and Tony Hatch are not convinced about the song’s merit and convince the musicians to record “Baby (You’re My Everything)” (a Little Jerry Williams ballad that Jonathan King had the rights to) instead. Shortly afterwards, The Troggs top the charts with their own version of “Wild Thing”, allegedly after hearing Hedgehoppers Anonymous’ unreleased version. However, Jonathan King relates "the demo of Wild Thing was first played to me by the publishers; I loved the song and allowed the guys to play on it but their version wasn't even as good as the demo so I passed and the song was given to Larry Page who produced it with the Troggs."
May Having appeared on ITV’s Ready Steady Go! Hedgehoppers Anonymous return with a third single, “Baby (You’re My Everything)” c/w “Remember”. The band’s poppy sound, however, increasingly sounds dated, and the single does not chart.
June (10) Hedgehoppers Anonymous play at the California Ballroom, Dunstable with The Felders.
(11) Melody Maker reports that Mick Tinsley has been ordered to rest for a week after being injured by fans at the Star Rink Ballroom, West Hartlepool last weekend. The band appears on BBC Radio’s Saturday Club this weekend.
July (23) They appear at St Mary’s Hall in Bognor Regis, West Sussex with Listen.

1966 Danish release

January (6) The band plays at the Winter Gardens, Droitwich, Worcestershire.
(7) Hedgehoppers Anonymous appear at the Marine Ballroom, Morecambe Pier, Lancashire.
(14) NME reports that the current Hedgehoppers Anonymous will split up on 11 February but that Martin and Fox are planning to form a new group, which will probably use the same name. On the same day, Mike Tinsley releases his debut solo single, “Let It Be Me”, produced by Kenneth King, on Decca. The publication also announces that Alan Laud and John Stewart will be forming a trio with ex-Overlanders’ member Terry Widlake but the collaboration never happens. Alan Laud later moves to Spain where he runs a bar in Torremolinos while John Stewart, who is intent on pursuing a career as a songwriter, subsequently relocates to the United States. He currently works in a recording studio in Tennessee. Rather than keep the Hedgehoppers Anonymous name going, Glenn Martin and Tom Fox get a job with blues singer Kenny Barnard, who is opening at the Bag O’Nails club after resident band The Peddlers have moved on.
(22) Martin (on his 21st birthday) and Fox back Kenny Barnard at the Bag O’Nails club. Soon after The Peddlers return to the Bag O’Nails and Barnard’s band finds itself without any work. The musicians go their separate ways. Tom Fox disappears from the music scene but allegedly commits suicide years later.
February (11) Hedgehoppers Anonymous officially disbands.
March Having moved to Halifax, West Yorkshire in February, Martin revives The Hedgehoppers Anonymous name and brings in lead guitarist Ian Atkinson from The Morton Fraser Harmonica Gang. Atkinson recommends his friend from Leeds, bass player Howard Livett. Keyboard player Vincent Crane joins for a few gigs but soon leaves to form The Crazy World of Arthur Brown. Atkinson contacts his friend organist/singer Chris Lazenby, who has previously worked with the guitarist in Bradford band, The Del Rio 4. They also recruit a second lead guitar player from Oldham. The new version mixes band originals – “It’s Good News Week”, “Don’t Push Me” and “Daytime” with covers material.
April The new line up embarks on a busy schedule of nation-wide gigs that takes in venues as far flung as Glasgow and Leicester.
September Lazenby and the second lead guitarist depart when Martin convinces original singer Mick Tinsley to return to front the band. Lazenby joins the house band at Butlins in Minehead and reunites with Glenn Martin in 1970 when their band works the summer and winter seasons at the Butlins Hotels in Cliftonville near Margate, Kent.

Mick Tinsley sings "Wrap Me in Love" co-written with Peter Hawkins of Pickettywitch as a soloist for the UK at the Yamaha World Song Festival in Tokyo 1976. He co-writes songs with Peter Yellowstone for Joe Dolan and Kelly Marie.

October Tinsley’s solo album My Surival is released on the British Academy Songwriters Composers Authors’ label. The album is produced by Tony Swain, who has previously worked with Spandau Ballet, Alison Moyet and Bananarma among others.

2010

June Prism Leisure Records re-release two CDs featuring Tinsley singing on the songs “Songs That Won The War” and “English Street Party” recorded in the 1990s. Glenn Martin, who has worked as a session drummer over the last 40 years is drum chair at the Surrey Jazz Orchestra.
December (4) Tinsley will be appearing at the Amersham Rock and Roll Club with Chris Farlowe, Vanity Fair, The Searchers and Honeybus.

The Best of The Cellars – The Story of the Cavern Club by Phil Thompson, Tempus Publishing Limited, 2007.
New Musical Express, 1 October 1965 (page 9), 15 October 1965 (pages 9 and 13), 29 October 1965 (pages 6, 9 and 10), 26 November 1965 (page 9), 17 December 1965 (page 6), 14 January 1967 (page 8).

Many thanks to Mick Tinsley, Glenn Martin, Jonathan King, Chris Lazenby, Mick Cockayne, Lee Jackson, Jenni Livett, Christopher Hjort, Tertius Louw, Paul Green and Tony Walter for providing further details. Thank you to Paul Tinsley for the photo of Mick Tinsley in May 2010. Thanks also to Samuel Coomans for one of the sleeve scans and to Hans Olof Gottfridsson.

Mike Tinsley’s "My Survival" is available on the BASCA Academy Recording Digital label and can be purchased on Amazon.

Copyright © Nick Warburton, 2010. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com

Visit: www.nickwarburton.com

Keith Kessler recorded "Don't Crowd Me" at Kearney Barton's Audio Recording Studio at 2227 5th Avenue in Seattle in 1966, using musicians from Keith's group, the Impulses.

The Impulses formed in Bellevue (just across Lake Washington from Seattle) in 1964 and included Michael Elliot on lead guitar, Jack Joseph on rhythm, Keith on keyboards and vocals, Jim Simmons on bass and Lew McCall on drums. After the session for "Don't Crowd Me", Doug Holloway replaced Lew on drums. The Impulses split around 1967 and Keith joined Calliope for a time but left before they signed to Buddah.

"Don't Crowd Me" wouldn't be released for two years, and it was only with some luck that it was issued at all.

During the summer of 1968, Mike Wing, a Bellevue musician and intern at Audio Recording, liked one of Keith's original songs "Sunshine Morning" enough to set up a publishing company and finance the recording, pressing and promotion of the record. Keith's 1966 recording "Don't Crowd Me" filled in for the b-side, and they released the record and sleeve in August. "Sunshine Morning" didn't hit, but "Don't Crowd Me" deserves to be ranked among the top examples of the tough Pacific Northwest sound.

My friend and fellow record collector Gregor Kessler (no relation to Keith) asked Keith about this record and his career in music:

I wrote “Don’t Crowd Me” back in 1966 during a period of general turmoil. Vietnam War. Seemingly mindless, rigid authority by government. Suffocation. A need for freedom of thought and action. Dissatisfaction. Frustration.

That was the backdrop.

Although I was with the Impulses at the time, this was never an Impulses song. We did play it at some of our gigs, but the late 60s and early 70s dance styles made it difficult to dance to.

Guitar on “Don’t Crowd Me” was Mike Elliott (also in the Impulses). I let him go wild on his solo in the middle of the song. My last contact with him was many years ago when he was a studio musician in Los Angeles.

Jim Simmons was on bass (also in the Impulses). He was respected for a creative, rapid walking movement. Although he wasn’t James Jamerson, he was very likely the best in Seattle.

My brother Kent sang back-up. We’d sung together throughout our youth. He wrote a number of songs that I always felt would be hits if he pushed them.

Both Kent and I recorded at the MTW studio (Mike Wing), along with Ann and Nancy Wilson of Heart. They obviously made the most of their talent.

The sleeve: “Sunshine Morning” was intended as the “A” side – sort of a Young Rascals light-weight, mellow 60s song. So the photo was taken at Golden Gardens State Park in Seattle to suggest waking up and enjoying a new morning. Although it was covered by two bands on separate recordings, it was basically not that exciting and lacked traction.

The “B” side – “Don’t Crowd Me” – got the airplay and, oddly, was popular with late Boomers and early GenXers. It was included (without permission) on a number of punk rock albums. Only one group – The Flying Saucers – asked for permission to record it. When I said “Of course”, they told me that there were at least 15 versions recorded by different bands across the country, and they sent me a tape with several versions. I have kept that very interesting tape, as wells as the Flying Saucers’ vinyl 45 version.

What caused the break-up of the Impulses? It’s incredibly difficult to keep musicians together. I was offered an opportunity to work with a newly forming band of the top musicians in the Pacific Northwest. Each of them had been with a band that had successful records. They were all extremely talented, and it was an amazing experience. The band – Calliope – worked day and night while I was trying to also attend college and raise a family. Ultimately, I left and was replaced by Danny O’Keefe who later had a popular hit – “Good-time Charlie’s Got the Blues”.

For what it’s worth, I chose law school over rock-n-roll, and am a trial attorney today. But in the process, I became addicted once again to playing rock music, and ended up doing a lot of writing, working with exceptional musicians from Alaska. We made no recordings, but, given their incredible talent, I thoroughly enjoyed the year that we spent together. Ultimately, as expected of musicians, we exploded, and most of them returned to Alaska.

Keith Kessler, September 2010

Thanks to Keith Kessler and his brother Kent, and to Gregor for bringing this article together.