Detroit’s The Free “Decision for Lost Soul Blue” / “What Makes You,” 1968

Free Marquee 45 Decision for Lost Soul BlueAccording to guitarist Joe Memmer, this psych-driven single, which features Dave Gilbert on lead vocals, was recorded in 1968 at Ralph Terrana and Al Sherman’s Tera Shirma Studios. The band paid for the sessions, themselves. Carl Cisco, who managed the career of CKLW DJ Tom Shannon, earned his production credit on the single as result of his bringing in Motown’s horn section for the sessions. Shannon, in partnership with Carl Cisco and Nick Ameno—both of the Antiques, the Buena Vistas, and the LaSalles—operated the Detroit-based Marquee Records.

Free Marquee 45 What Makes YouCarl Cisco’s production assistance resulted in “Decision for Lost Soul Blue” being issued on the Marquee label around December of 1968, with the B-side, “What Makes You.” Making the regional sales charts via airplay on CKLW Toronto and WKNR Detroit, the single went on to have a three-week run as the “Pick of the Week” on CKLW. Impressed with the sales and airplay, Atco/Atlantic picked up the record for national distribution, issuing the single in March 1969. (The label variations of the Atco version are result of different pressing plants manufacturing the record. On those releases, the A-Side title was expanded to “(Day of) Decision for Lost Soul Blue.”)

The Free remained together for about a year, until Dave Gilbert left to become the lead vocalist for Ted Nugent in January 1971. While he doesn’t appear on the album, Gilbert toured Nugent and the Dukes’ fifth release, Survival of the Fittest (1971). According to Memmer, Dave’s hard partying lifestyle conflicted with Nugent’s anti-drug stance (which caused him to dissolve the Amboy Dukes in the first place); that, in addition to Dave’s desire to start a band proper with his brother Marc, resulted in Gilbert’s departure.

Clean Records Billboard October 9, 1971
Shadow signing announced in Billboard, October 9, 1971

Joe Memmer and Dave Gilbert starting writing songs again and, along with Gilbert’s brother, Marc, formed Shadow. The band recorded a pair of singles in 1972 for Clean Records, an Atlantic subsidiary operated by Robert Stigwood and Rolling Stone Records’ Earl McGrath; the label’s other signings were the commercially-successful soft-rockers America and Starbuck. According to Memmer, Gilbert’s drug use, compounded with his reluctance to work with Stigwood’s suggestions for the band (adding string orchestrations; remembering Stigwood managed-produced the Bee Gees at the time), soured the deal.

New Order with Dave Gilbert at the mic

By 1974, Gilbert moved to Los Angeles and joined the Stooges’ guitarist Ron Asheton and MC5’s drummer Dennis Thompson in New Order; the band also included KJ Knight from the Amboy Dukes. Marc Gilbert’s next band, the hard-rocking Adrenalin formed in 1977, recorded two albums issued through MCA Records in the early-to-mid ‘80s.

Joe Memmer became a non-recording member of Detroit’s Pendragon from 1977 to 1981; Pendragon eventually recorded two 7” singles with Rick “The Lion” Stahl, formerly with the Wilson Mower Pursuit and Sincerely Yours.

The late Dave Gilbert achieved national success as the frontman for the Rockets, which he joined in late 1975. Comprised of ex-members of Mitch Ryder and the Detroit Wheels, the Rockets’ biggest hit was their cover of the early Fleetwood Mac tune, “Oh, Well.”

Today, Joe Memmer serves as the lead guitarist for the nationally, critically-acclaimed Doors tribute band, the Detroit Doors.

Cesar’s Club, Bedford

Cesar’s Club in Bedford was a significant rock venue in the 1960s that hosted a number of notable bands, including early Pink Floyd, Family and Ten Years After.

This is the start of an entry on listed artists, advertised in the Ampthill News & Flintwick Record. There are lots of gaps and we would welcome any additions.

16 June 1967 (Friday) – Marmalade

17 June 1967 (Saturday) – The Family

23 June 1967 (Friday) – Billy J Kramer & The Dakotas

24 June 1967 (Saturday) – Pink Floyd

30 June 1967 (Friday) – The Chevells and The Peapots

 

1 July 1967 (Saturday) – The Dellroy Good Good Band and The Jamboree Band

There is a gap with no gigs listed for July, August and the first half of September

15 September 1967 (Friday) – The Kool and The 100w Carnation

16 September 1967 (Saturday) – The Lloyd Alexander Blues Band and The Courtelles

17 September 1967 (Sunday) – The Jambourie Band

22 September 1967 (Friday) – Amorous Prawns and The Paper Blitz Tissue

23 September 1967 (Saturday) – Hamilton & The Movement and Scotch of St James

24 September 1967 (Sunday) – The Maze

29 September 1967 (Friday) – The Soul Caravan and The Power

30 September 1967 (Saturday) – Geranium Pond and Roscoe Brown Combo

 

1 October 1967 (Sunday) – Craig King & The Night Train

6 October 1967 (Friday) – The Warren Davis Monday Band and The Locomotion

7 October 1967 (Saturday) – The Trax and The Jamboree Band

8 October 1967 (Sunday) – Tony Rivers & The Castaways and Plastic Dream Boat

13 October 1967 (Friday) – James Royal and The New Breed

14 October 1967 (Saturday) – Pink Floyd and The Tecknique

15 October 1967 (Sunday) – The Human Instinct and Modes Mode

20 October 1967 (Friday) – Cliff Bennett & The Rebel Rousers and The Triads

21 October 1967 (Saturday) – The Lemon Line and The Garden

22 October 1967 (Sunday) – Ten Years After and The Mead

27 October 1967 (Friday) – The Orlons and The Paper Blitz Tissue

28 October 1967 (Saturday) – The Gods and The New Jump Band

29 October 1967 (Sunday) – The Derek Savage Foundation and The Pink Champagne

3 November 1967 (Friday) – The Alan Price Set and The Taylor Upton Big Band

4 November 1967 (Saturday) – The Survivors

5 November 1967 (Sunday) – Pesky Gee

Friday and Sunday gigs appear to be missing from now on

10 November 1967 (Saturday) – The New Breed

17 November 1967 (Saturday) – The Skatelites with The Minor Portion Roll Band

25 November 1967 (Saturday) – Marmalade and The Vivas

2 December 1967 (Saturday) – Milton James and the Harlem Knock Out

9 December 1967 (Saturday) – Catch 22 (aka Katch 22)

16 December 1967 (Saturday) – The Skatelites

23 December 1967 (Saturday) – The Human Instinct

30 December 1967 (Saturday) – The Lloyd Alexander Blues Band

Copyright © Nick Warburton. 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

400 Ballroom, Torquay, Devon

This is the start of an entry on a popular music venue located in Torquay’s harbour that hosted many important visiting bands during the 1960s.

The gigs below and images are all from the Herald Express newspaper

1 January 1966 – The Mike Stuart Span

 

5 February 1966 – The Manchester Playboys

 

5 March 1966 – The Mike Stuart Span

 

1 July 1966 – Steve Brett & The Mavericks

2 July 1966 – John Bull Breed (Bass player John Lodge joined The Moody Blues in October 1966)

4-8 July 1966 – John Bull Breed

9 July 1966 – The Powerhouse Six

11-15 July 1966 – The Powerhouse Six

16 July 1966 – The Nite People

18-22 July 1966 – The Nite People

23 July 1966 – Ray Grant & The Kingpins

25-29 July 1966 – Ray Grant & The Kingpins

30 July 1966 – The Powerhouse Six

 

1-5 August 1966 – The Powerhouse Six

6 August 1966 – Steve Brett & The Mavericks

8-12 August 1966 – Steve Brett & The Mavericks

13 August 1966 – The Noblemen (Guitarist Martin Barre joined Jethro Tull in late 1968)

15-19 August 1966 – The Noblemen

20 August 1966 – Ray Anton & The Proform

21-22 August 1966 – The Symbols

23-24 August 1966 – The Quiet Five

25-26 August 1966 – Trendsetters Limited

27 August 1966 – Steve Brett & The Mavericks

29 August-2 September 1966 – Steve Brett & The Mavericks

 

3 September 1966 – Johnny Carr & The Cadillacs

4 September 1966 – Steve Brett & The Mavericks

5-9 September 1966 – Johnny Carr & The Cadillacs

10 September 1966 – Cops ‘n’ Robbers

12-16 September 1966 – Cops ‘n’ Robbers

17 September 1966 – The ‘N Betweens (this Wolverhampton band later became Slade)

19-23 September 1966 – The ‘N Betweens

24 September 1966 – The Beau Oddlot

26-27 September 1966 – The Mike Stuart Span

28 September 1966 – The ‘N Betweens

29-30 September 1966 – The Mike Stuart Span

 

1 October 1966 – Giorgio & Mario’s Men

7 October 1966 – Listen (possibly Robert Plant’s band)

8 October 1966 – Blaises

14 October 1966 – The Voids

15 October 1966 – The Combine

21 October 1966 – The Anzaks

22 October 1966 – Mr Hip Soul Band

28 October 1966 – The Onyx Set

29 October 1966 – The Palmer James Group

 

4 November 1966 – The Rage

5 November 1966 – The Kingpins with Ray Grant

12 November 1966 – The Lonely Ones

19 November 1966 – The Raging Storms

26 November 1966 – The Talismen

 

2 December 1966 – The Reason Why

3 December 1966 – The Palmer James Group

10 December 1966 – Grand Union

16 December 1966 – Guest Group

17 December 1966 – The ‘N Betweens

23 December 1966 – The Onyx Set

24 December 1966 – The Mike Stuart Span

30 December 1966 – Lord Caesar Sutch & The Roman Empire

31 December 1966 – Mr Hip Soul Band

 

7 January 1967 – Trendsetters Limited

14 January 1967 – The Albert Square

20 January 1967 – The Undertakers

21 January 1967 – The Bystanders

27 January 1967 – The Onyx Set

28 January 1967 – The Upliners

 

4 February 1967 – The ‘N Betweens

10 February 1967 – The Jaguars

11 February 1967 – The Ziggy Turner Combo

18 February 1967 – The Lonely Ones

25 February 1967 – The Raging Storms

 

4 March 1967 – Mr Hip Soul Band

11 March 1967 – The Palmer James Group

17 March 1967 – The Last-Tik Band

18 March 1967 – The Shannons

25 March 1967 – Paul Young’s Toggery

27 March 1967 – The Anzaks

31 March 1967 – Johnston McPhilby Five

 

1 April 1967 – The Measles

7 April 1967 – The Last-Tik Band

8 April 1967 – Heart & Souls

14 April 1967 –The Jaguars

15 April 1967 – The Vogues

21 April 1967 – The Jigsaw

22 April 1967 – The Delroy Good Good Band

28 April 1967 – The Last-Tik Band

29 April 1967 – The Sunspots

 

5 May 1967 – The Hoboes

6 May 1967 – The ‘N Betweens

12 May 1967 – The Onyx Set

13 May 1967 – The Outer Limits

19 May 1967 – The Last-Tik Band

20 May 1967 – Johnny Carr & The Cadillacs

26 May 1967 – The Jaguars

27 May 1967 – The Lemon Line

 

2 June 1967 – The Hoboes

3 June 1967 – The Worrying Kynde

9 June 1967 – The Children

10 June 1967 – The Ray King Soul Band

16 June 1967 – The Parchment People

17 June 1967 – The Five Proud Walkers

23 June 1967 – Omega Plus

24 June 1967 – Dual Purpose

30 June 1967 – Pentworth’s People

 

1-7 July 1967 – The Mike Stuart Span

8 July 1967 – The Raging Storms

10-12 July 1967 – The Raging Storms

15-21 July 1967 – The ‘N Betweens

22-28 July 1967 – Mr Hip Soul Band

29 July-4 August 1967 – Wellington Kitch Band

 

5-11 August 1967 – The Heart and Souls

12-18 August 1967 – The Delroy Good Good Band

19-21 August 1967 – The ‘N Betweens

22 August 1967 – The Tremeloes and The ‘N Betweens

23-25 August 1967 – The ‘N Betweens

26 August-1 September 1967 – The Ziggy Turner Combo

 

2-8 September 1967 – The Real McCoy

9 September 1967 – The Colour Supplement

14 September 1967 – Wynder K Frog

15 September 1967 – The Jaguars

16 September 1967 – The Strange Fruit

23 September 1967 – The Shame (Greg Lake was the band’s bass player)

30 September 1967 – The Workshop

 

7 October 1967 – Johnny Carr & The Cadillacs

13 October 1967 – Scots of St James (rebooked for 17 November)

14 October 1967 – The ‘N Betweens

21 October 1967 – The Dreaded Spectres

28 October 1967 – The Omega Plus

 

3 November 1967 – The Last-Tik Band

4 November 1967 – Mr Hip Soul Band

11 November 1967 – The Vogues

17 November 1967 – The Scots of St James

18 November 1967 – The Shiralee

24 November 1967 – The Cat Soul Packet

25 November 1967 – The Shame

1 December 1967 – The Shell Shock Show

2 December 1967 – The ‘N Betweens

8 December 1967 – The Foundations

9 December 1967 – Robert Plant & The Band of Joy

15 December 1967 – The Lamb Bros & Co

16 December 1967 – Dual Purpose

22 December 1967 – Sounds Incorporated

23-24 December 1967 – The Mike Stuart Span

26 December 1967 – Pinkerton’s Colours

29 December 1967 – Simon Dupree & The Big Sound

30-31 December 1967 – Mr Hip Soul Band

26 April 1968 – The Shy Limbs (Greg Lake on bass)

27 April 1968 – Delroy Williams & The Sugar Band

 

3 May 1968 – My Dear Watson

4 May 1968 – The Mike Stuart Span

Copyright © Nick Warburton. 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

The Kwintels 1963 to 1968

The Kwintels with Paul Revere and the Raiders; Jerry Zubal, standing left

Kwintels Photo 1According to guitarist Jerry Zubal, the Kwintels started out as the Quintels, eventually dropping the “Qu” for a “Kw” for the sound-the-same-but-spelled-differently, more “rocking” handle. Jim Baranowsky, who also managed Tom Carson’s the Lazy Eggs, served as their manager.

Ad for the Kwintels, We Who Are, the Thyme and Harmon Street Blues at the Silver Bell Hideout, April 8, 1967

 

 

 

 

 

 

 

 

 

The Kwintels were regulars at the Punch Andrews-managed the Silver Bell Hideout, the Clawson Hideout, and the Birmingham Palladium. Their major gigs were the Southfield Pop Festival in July 1967 alongside SRC, Bob Seger and the Last Heard, the Rationals, and the Mushrooms featuring Glenn Frey. The Kwintels also opened for, and loaned out equipment to, according to Jerry Zubal, Paul Revere and the Raiders during their Detroit stop in 1965. Around that same time, the Kwintels, when Jerry Zubal was only 15, served as Freddie Cannon’s backing band during a Detroit stop in Lake Orion. Impressed with the teens, Cannon offered the Kwintels the slot as his permanent band; they turned him down to concentrate on original tunes. As was the course of bands in those days, they recorded covers of popular songs as singles, but those acetates were never pressed for release.

Later, Zubal joined the harder-rocking Tea, which was known for a time as Poetic Justice when Joe Aramini (Bob Seger’s later road manager) managed the band. Signed to Punch Andrews’s Palladium Records, which issued Seger’s early albums, Andrews felt “Tea” carried a detrimental “drug image,” so the band became 1776. Those 1971 sessions, overseen by Pampa Studios’ Jim Bruzzese and Greg Miller, who also engineered Bob Seger’s early catalog, resulted in the band’s lone, self-titled album. Featuring the Andrews-chosen singles: covers of Dave Mason’s “Only You Know and I Know” and the Bryds’s rearrangement of the Art Reynolds’ Singers’ “Jesus Is Just Alright,” only the latter charted on Detroit radio: the limited success of 1776 was usurped by the Doobie Brothers’ version, released a year later.

After the Kwintels, and prior to Tea, Jerry Zubal and Glenn Frey, he of the recently disbanded the Mushrooms and a co-writer on Bob Seger’s early songs, formed a creatively unsuccessful band. Frey, of course, relocated to the west coast and joined the Eagles. Jerry Zubal also relocated to Los Angeles.

Upon meeting guitarist Brian Naughton, formerly of Rock Candy (who issued one, Montrose-inspired, heavy-metal progenitor on MCA Records in 1970), the Peanut Butter Conspiracy, and the Grass Roots, the duo formed the hard-rock concern Rockits. Renamed by their new management, The Toby Organization (also handled Quiet Riot and Angel), in 1974, Rockicks issued the album, Inside, on RSO Records in 1977. That album, along with later demos and unreleased RSO and MCA-era recordings, were compiled in the 2018 release: Keep on Rockin’: A Retrospective Anthology.

The Kwintel’s core members (who later became Tea):
Jerry Zubal
Mike Roush
Bryan Barnes

Other members:
Greg Ballard
Bob Hinshaw

The Sprites “Jim’s Ballad” with Jim Wenstrup

Sprites 45 Jim's Ballad, guitar by Jim WenstrupThe Sprites were students at the Charles Springmyer school in Mack, Ohio, a suburb west of Cincinnati.

Buckeye Beat covered the Sprites first single, listing the people involved:

the schools ‘vocal director’ Donna Buel … Linda Tyra, Nancy Schunk, Janet Miller, Norma Sumner, Shirley Mangold, all 8th graders, Diane Rodenburg, Diane Schwander, Jill Lampe, Mary Schleue, Diane Spencer, all 7th graders, and Jane Labanz, a first grader … An eleventh member was added … in time for the studio ‘take’ … Melody Stinson now a ninth-grader at Oak Hills High School.

The Percussions backed the Sprites for their recording of “Little Latin Lupe Lu” / “On a Slow Boat to China”. The tape was sent to Wakefield Manufacturing in Phoenix, Arizona to be pressed, and the Wakefield code 7234 dates it to 1965.

Even more obscure is their second record, which probably features a different group of children, as the Wakefield number 14360 dates it to 1969 or 1970. “Consider Yourself” (from Oliver!) is about what you’d expect, and features backing by the Percussions (definitely not a rock group). The flip is the gentle and affecting “Jim’s Ballad” featuring guitar by Jim Wenstrup.

The Electros, Cincinnati Enquirer, April 8, 1967
The Electros, April 1967, from left: Jim Wenstrup, Frank Luckey, Gene Yuellig, Rick Clark, and Ed Holloway

This must be the same Jim Wenstrup who played lead guitar with the Electros, a group from nearby Elder High School and Oak Hills High School. The Electros included Frank Luckey on rhythm guitar, Gene Yuellig on drums, Rick Clark on bass and Ed Holloway on vocals. The Cincinnati Enquirer ran a photo of the group on April 8, 1967, and mentioned that the Electros planned to cut a record “Chase Around the World” – but if they did I haven’t seen it.

I would like to know more about how the Sprites came to record what seems to be an original song by Jim Wenstrup.

Ill Bred Mind “How Can You Be Happy Today?”

Ill Bred Mind PSL 45 How Can You Be Happy Today?

The Ill Bred Mind were high school students from Sayreville, New Jersey, making their only single in 1969. There are no credits on the label, but I believe “How Can You Be Happy Today?” is an original song. The flip is a fine version of “Walk on By”.

My copy is autographed by another member, possibly Gary Jensen. Another copy (see below) has other names & spellings: including Greg Evigan (who became a well-known actor), Garry Jenssen, George B (?), Jimmy Smokey (?). I would appreciate help with deciphering the names. Youtube comments lead me to the name of another possible member: Bruce Elacqua.

The Ill Bred Mind recorded at Photo Sonics Laboratories at 236 Walnut St. in nearby South Amboy, releasing it on P.S.L. 20171.

Ill Bred Mind Central New Jersey Home News, Thu, Aug. 14, 1969Marty Ruszala owned or operated PhotoSonics Laboratories, also known as Triple A studio, where he engineered the Jerry Rivera “Lovin’ Man” single on Kim, and Brian O’Connor “How Was I To Know” / “Missing You” on Sayne Records 20168.

I can find two notices for live shows from the Home News, on August 1, 1969 at the Emma L. Arleth School, and at the Sayreville VFW Post 4699 on August 20.

Anyone have a photo of the Ill Bred Mind?

Ill Bred Mind PSL 45 How Can You Be Happy Today?
can you help decipher George and Jimmy’s surnames on this single?

The Panics “No More” / “I Pretend” on Shoestring

Panics Shoestring 45 No MoreThe Panics started in 1963, formed at Huguenot High School in Richmond, Virginia.

The lineup was

Jimmy Sherwood – lead vocals and rhythm guitar
Bill LaRue – lead guitar and vocals
Bill Lyell – bass
John Herbig – drums

Dwyane Givens was their equipment manager.

Panics Shoestring 45 I PretendTheir only single contains two original songs by Bill Lyell and Bill Larue, the mid-tempo “I Pretend” shows some Beatles influence, and the fast-paced “No More” opens with a Lennonesque “Oh!”

It was released on Shoestring Records SHO 107 in 1965, a styrene record from the Columbia Records plant at Terre Haute, Indiana.

Clyde Atkinson of the Wild Ones and Mickey Russell of the Fugitives also went to Huguenot High. The Fugitives had a single on Shoestring.

After the Panics, Bill LaRue would form a three-piece blues band, Blue Alfred. He would have one more record that I know of as Snelson & LaRue “I’m Tired of Getting Put Down” / “Making Your Mind Up it’s Over” with David Snelson and Cynthia LaRue, recorded at Audio Communications in Richmond.

Anyone have a good photo of the group?

A couple of very small photos of the group are in the booklet to Aliens Psychos & Wild Things vol. 2.

The Creations on Top Hat “Crash” and “Don’t Be Mean”

Picture sleeve for first single, with original drummer Skip Borden
The Creations came from Milford, Connecticut, releasing two singles “Crash” / “Chickie Darlin” in July 1964, and “Don’t Be Mean” / “Forty One Willis” in April 1965. Members were:

Chuck Delaney – lead guitar and vocals
Howie Plant – rhythm guitar and vocals
Danny Gomes – bass and vocals
Skip Borden – drums, replaced in late 1964 by
Jim Burnham – drums

Danny’s surname is spelled Gomes on the records, but Gomez in some news articles and on copyright registrations.

The first notice I can find for the group comes from the Bridgeport Post on July 28, 1964:

Four local boys, members of a combo billed as “The Creations” in its first recording for Top Hat records, will make a personal appearance at Fladd’s music center in Milford on Friday from 7 to 8 p.m.

The members of the combo are Howie Plant, Skip Borden, Dan Gomez and Chuck Delaney.

The group has appeared locally to play for numerous dances and are currently appearing at the Black Cat in Shelton on Wednesday evenings.

Creations Top Hat 45 Crash“Crash” is a frantic surf instrumental written by Chuck Delaney without a trace of British Invasion influence. Danny Gomes wrote the ballad flip, “Chickie Darlin”.

The band released it through New York label Top Hat Records, TH 1003. Top Hat had Rite Record Productions of Cincinnati press the records, pressing # 12699/12700.

Publishers Palais Royale Music and Marks Tey Music both seem connected to Top Hat Records, as earlier releases on Top Hat included those publishers.

A notice for a show at the Connecticut Post center for the United Fund from October 21, 1964 also includes Skip Borden in the lineup. By December 5, 1964, Jim Burnham had replaced Skip, as the Bridgeport Post ran a photo of the group with new drummer Jim Burnham after a benefit for the Muscular Dystrophy fund.

Creations in the Bridgeport Post, December 5, 1964, Jim Burnham joins the group

Creations Top Hat 45 Don't Be MeanFor their second record, Danny Gomes and Howie Plant co-wrote the pounding pounding Beatles-inspired “Don’t Be Mean”, while Delaney and Gomes collaborated on “Forty One Willis”, which could refer to an address in nearby New Haven.

Released as Top Hat Records 1004, this was again a Rite pressing, using account number 1151 and Rite pressing code 13891/13892.

Like the first single, this came with a picture sleeve, very rare now. The photo on the front can be seen in the video below.

The Bridgeport Post ran a feature on the group on April 11, 1965, written by Barbara Verespey:

Members of the four-man group include Chuck Delaney, 20, who plays lead guitar and organized the original Creations and the present band, Danny Gomes, 18, bass guitarist and his father, Joseph Gomes, the group’s manager. Both boys are graduates of Milford high. Also, Howie Plant, rhythm guitarist, and Jim Burnham, drummer, are seniors at MHS, and aged 17 and 18 respectively. Jim joined the group in October when Skip Borden of Jonathan Law [High School] moved to Indiana, and feels it was his “biggest break.”

All of them sing except for Jim who “occasionally yells.”

Richard Coderre, their personal agent … “the most colorful agent in show business,” said “we’re shooting for the moon” …

Yesterday, The Creations made a return appearance on the Brad Davis show, Hartford. Their first telecast on the show was Feb. 13. Next stop, if plans work out, is a two-week engagement in Bermuda.

Creations Top Hat 45 Don't Be Mean“41 Willys” [sic] and “Don’t Be Mean,” which Chuck and Danny collaborated on, were released March 12. The following week, the group cut “And She Lied,” “Wait For Me.” and “Someone New.” Danny and Howie wrote all three.

The four boys, whose hair is styled in the “fad,” released “Crash” and “Chickie Darlin'” last July. The former was written by Chuck, and the latter by Danny, who, incidentally, hasn’t seen a barber in six months.

Since last January, the group has appeared at Milford high dances and records hops at Enfield, Holyoke, Mass., and New Britain. They have played at the University of Bridgeport, University of Connecticut, Yale, Holy Cross, Bay Path and Central Connecticut colleges. The group has also … appeared at the Actors Colony in Derby, the Ambassador in Hamden, the Statler Hilton hotel, Hartford, the Roadside Inn, Fairfield, and the Etcetera Lounge and Golden Slipper in Long Island.

The Creations have just completed a booking at the Villa Rosa in Milford …

Chuck likes … sleeping, and dislikes snobby girls and liver. Danny also is against snobs, and his favorite interest is dating. Howie has no pet peeves and has expressed an interest in medical science. Jim enjoys playing billiards and dislikes liquor.

Head of the group’s fan club at MHS is Mary Gannett, but the Creations have a bigger following at Jonathan Law. Their officers are Barbara Emmons, president; Donna Skinner, vice president; and Gale Anderson, official correspondent.

Announcing the Creations appearance on the Brad Davis TV show, from left: Howie Plant, Chuck Delaney, Jim Burnham and Danny Gomes, Bridgeport Post, April 11, 1965

Three days later the Post ran a notice that the Creations would appear on The Brad Davis Show on Saturday, April 17, 1965, with Gene Pitney. I have seen a photo of the group with Brad Davis, but only have a poor-quality xerox of it.

That’s the last notice I can find for the Creations.

On April 16, 1965, Danny and Howie registered “Don’t Be Mean” and “Wait For Me” with the Library of Congress’s Copyright Office, and Chuck Delaney belatedly registered “Crash”.

On May 27, 1965, Daniel Gomez and Howard Plant registered two of the songs mentioned in the Bridgeport Post feature, “And You Lied” and “Wait for Me”. I have to think the Creations recorded these songs, but if so, no trace of them has turned up so far. Perhaps “Someone New” also exists on a demo acetate.

The Ascots “So Good” / “Who Will It Be” April 1966 on Frat Records

Pierce Jr. High School Halloween dance, Oct. 29, 1965, left to right: Bob Pelmear, Dale Kath, John Neff, Chris Chappell, and Frank Giglio. Photo courtesy of John Neff

Ascots Frat 45 So GoodAccording to guitarist Dale Kath, the Ascots hailed from the northern Detroit suburb of Pontiac and lasted from 1964 to 1967. The members were between 14 to 16 years old at the time of recording their only single. Frat Records/Watkins Music is the band’s own label-publishing arm. The 45-rpm/7” has no catalog number; the numbers noted on the label are the matrix codes noted in the run-outs and pressed at Columbia’s Detroit plant. Columbia pressed records for smaller labels, such as fellow Detroit imprint, Hideout. The single was recorded in August 1965, but released in April of 1966.

Chris Chappell — vocals
John Neff — lead guitar
Dale Kath — rhythm guitars
Bob Pelmear — bass
Frank Giglio —drums
Jim Steil — bass (replaced Pelmear; doesn’t appear on the single)

Ascots Frat 45 Who Will It BeCourtesy of airplay on Detroit’s WXYZ-FM and Ontario’s CKLW-AM, the band appeared on Robin Seymour’s Swingin’ Time on CKLW-TV “Channel 9” in 1965. After opening for the Turtles during their “Happy Together” tour stop at Detroit’s Cobo Hall in the spring of 1966,  the Ascots opened the Who’s “Happy Jack” tour stop in Detroit.

1966: left to right: John Neff, Dale Kath, Frank Giglio, Chris Chappell, and Bob Pelmear, photo courtesy of John Neff

John Neff and Bob Pelmear later regrouped, along with the brothers Joe and Paul Felice, to form the Tribe. Signed to Punch Andrews’s Hideout Productions (who oversaw Bob Seger’s career, as well as the early Detroit bands of the Eagles’ Glenn Frey), the Tribe issued Neff’s second-composed single, “Maple Street Park,” recorded at Ralph Terrana and Al Sherman’s Tera Shirma Studios. The Tribe soon changed their name to Pavement, prior to their 1968 break up.

Dale Kath formed the harder-edged Electric Blues Band while John Neff formed the Toad and the Mushroom; the latter recorded but never released an album with Elektra Records; acetates of those sessions aired on local Detroit radio. While EBB opened shows for the MC5 and Bob Seger, T & M opened the Detroit stops of Fleetwood Mac and the Spencer Davis Group.

John Neff’s later career featured award-winning partnerships with Walter Becker of Steely Dan and filmmaker David Lynch, as well as producing the Arnel Pineda-era catalog of Journey. In addition to appearing on 200-plus R&B and soul singles cut at Detroit’s United Sound in the early ’70s, he toured as a guitarist for country artist Hoyt Axton and Steppenwolf.

White Heat 1972: left to right, back row: Ron Course, Charlie Verno, Dave Anderson. Front row: Johnny Heaton, Mike Sneed, and Dale Kath. Photo courtesy of Ron Course

Dale Kath worked steadily on the Detroit scene into the early ’70s with the house bands Danny and the Zeltones and White Heat.

There are no images or online audio available for the releases by the Tribe and the Toad and the Mushroom. The Pontiac Ascots are not be confused with the 29 other Ascots that released local and national singles in U.S. during the mid-to-late 1960s.

Article by R.D. Francis

Detroit’s Sincerely Yours “Shady Lane b/w Little Girl” on Impact

Sincerely Yours Impacts 45 Shady LaneThe Sincerely Yours was a short-lived studio band hailing from Detroit comprised of Rick Stahl and Erik Dahlgren. The duo never played out live, as the project was intended to establish each as songwriters. As typical of the time—and with all of the artists on the Impact label—studio musicians and arrangers cut the tracks, with the writer-singers themselves regulated to only performing the vocals. By the time of the single’s release, Rick Stahl co-founded his next band, a harder-edged concern known as Wilson Mower Pursuit.

According to singer-guitarist Rick Stahl, the writer of the A-Side/”Plug Side,” the single reached #18 on the Detroit radio charts. The B-Side, “Little Girl,” features the lead vocals of Erik Dahlgren, with Rick Stahl on background vocals.

Issued in January 1967, the single was recorded on October 18, 1966, at Tera Shirma Studios founded by Ralph Terrana and Al Sherman; their chief engineer was Milan Bogdan. The studio is best known for its work with Issac Hayes. The label of issue, Impact Records, was founded by Harry Balk, known for his work with Edwin Starr, as well as co-producing the million-selling single “Runaway” by Del Shannon. (Web repositories place the release of Impact #1020 at either December 1966 and April 1967; we defer to Rick Stahl’s date-of-issue of January 1967. You’ll note the single was issued in both white and red labels; the white-labels were the promotional copies; consumer copies were issued in red.)

Sincerely Yours Impacts 45 Little GirlJohn Rhys, who produced both sides, went on to work as an engineer at the world famous Hollywood Sound Studios, which hosted the likes of Earth, Wind and Fire, Jackson Browne, and many others. His own band, John Rhys and the Lively Set, also record a single at Tera Shirma issued by Impact. The singles by Sincerely Yours and the Lively Set appear on The Best of Impact Records compilation issued on compact disc in 1997.

The Sincerely Yours featured:

Vocals — Rick Stahl
Vocals — Erik Dahlgren
Whistling — John Rhys (on “Shady Lane”)
Bob Babbitt — bass
Uriel Jones — drums
Joe Hunter — piano
Ron Koss — lead guitar
Dennis Coffey — guitars

Babbitt, Jones and Hunter were known for their work with Motown’s the Funk Brothers. Ron Koss—known for his Motown session work—recorded two albums for Reprise with Savage Grace. He was a one-time member of Detroit’s the Lazy Eggs.

Dennis Coffey culminated his Funk Brothers-era session work on numerous Motown-cut R&B and soul recordings with the instrumental “Scorpio” by Dennis Coffey and the Detroit Guitar Band. Featuring ex-Funk Brother Bob Babbitt on bass, the Gold-selling single landed in the U.S. Top 10 in 1971.

Wilson Mower Pursuit, with Rick Stahl at left

Rick Stahl’s next band, Wilson Mower Pursuit, is remembered in Detroit for its many live appearances at the Grande Ballroom, as well as for their opening shows for the MC5, the Stooges, and Ted Nugent’s Amboy Dukes. After failed offers from Capitol and Kit Lambert’s Track Records, Wilson Mower Pursuit independently recorded their lone album, Last Night Out: Live at the Silverbell. The band’s final live show in the fall of 1968; it was captured-on-tape by Bill Julius, one of the band’s roadies (the album has since been reissued on compact disc). WMP’s Shawn Murphy joined the cast of Hair alongside Meatloaf, formerly with Detroit’s Popcorn Blizzard. Together, they formed the duo Stoney and Mealoaf in 1971.

Wilson Mower Pursuit, with Rick Stahl, center

Concentrating on a songwriting career and retiring from live performances, Rick Stahl returned to Detroit stages in 1981 with Pendragon. After releasing two, private-press 45s in 1983, Pendragon disbanded. A live version of one of their songs, “Queen of Air,” appears on the radio promotional album Live at Hart Plaza issued by WRIF radio. Rick Stahl then retired to Colorado Springs, where he produced music and designed album art for local indie artists.

Article written by R.D. Francis

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