1959 – Geneva Florida – Ed Sullivan – The Drumset
At the age of 5, I was inspired by music. I wanted to play the drums…years before [Ringo] made it popular, in 1964. I’d heard music on the radio, watched black and white television in the 50s. Les Paul…Mary Ford…Nate King Cole, Buddy Holly…Hank Williams and Spike Jones.
In 1959 my family moved to Geneva…Florida. The first time I heard a band with a drummer was (1960) real musicians performing on a flat bed truck…in a parking lot. I don’t remember much. It was live music created and played through amplifiers…with a real drummer.
As a Junior High, 7th Grade student…kids like myself started attending music gatherings at local venues. I went to the Sanford Civic Center a few times. Music was “streamed live” from a record player…through speakers in (1962-1963 before the British Invasion)
Following The Beatles performance on The Ed Sullivan Show (February 9, 1964) teenagers were self-motivated to sing…play instruments…be in a band.
Bands started forming. Mom & Pop Teen clubs sprouted up for weekend dances across America.
As a teenager in Central Florida, there were several venues I attended with my Geneva Florida…hoodlum buddies. Because we lived in Seminole County…we were profiled, unaccepted at Winter Park / Orlando municipal teen events. Our Alternatives were public teen clubs.
As I wrote in my book “Notes of a Young Drummer 1966-1969” I experienced the sight and sound of many groups in Central Florida. This was before I turned 16, (1966) acquired my first drumset.
I heard many outstanding groups that didn’t have records or media promotion. My exposure to numerous drummers included hearing different brands of drums. Ringo played Ludwig. Dave Clark played Rogers. Mickey Dolenz played Gretsch, but I never saw a Gretsch kit in a band. The drummer in “We The People” had a set of Premier…they sounded great. Keith Moon was the most popular Premier drummer.
#1
Bobby Caldwell – Fantastic Group – Johnny Winter And – Captain Beyond – Armageddon)
It was remarkable to see and hear live bands, study the drummers.
The drummers customarily copied and played drum parts like the record. I didn’t hear much individual musicianship, till I heard one of my favorite drummers of all time.
(That would be: Bobby Caldwell – Fantastic Group – Johnny Winter And – Captain Beyond – Armageddon)
Prior to hearing Bobby play––in person––he had a legendary reputation, in my teen-age drummer-wannabe world.
The first time I heard Bobby I was 15 (1965) [There was a teen club called… The Brittany Club or Brittany Room] across the street from the now absent Winter Park − Steak and Shake. (A well-known teenage burger milkshake drive-in [hang out]
Bobby was playing in a group with guitarist Dave Miller. I was refused entrance. My older Geneva hoodlum buddies were inside. You had to be 16 to get in. I stood outside---watched and listened. Through the door, I could see Bobby on the bandstand. I could hear the band playing with intermittent waves of sound each time the door opened.
The music I heard was Rhythm and Blues. At the time---I didn’t know band leader-guitarist…Dave Miller. I met him years later…in 1968. His favorite music was Soul and RnB. They played covers of James Brown’s, I Feel Good, Papas Got a Brand New Bag, I Go Crazy. That was my first − from a distance − exposure to Bobby Caldwell.
Bobby’s musicianship was conversation amongst teenage and older/band members/players. They agreed unanimously--he was number one--the best around.
In 1966, I heard and saw him play close-up. It took place at The Tiki Club on Pine Street. The Tiki Club had a tropical island décor. When you paid your $1 admission to get in. Your hand was stamped under a black light-with some Fluorescent Day-Glo ink. I don’t recall---if I knew in advance---Bobby was playing with this particular band. The band’s name was The Fantastic Group, with my future friend−Kenny Cohen)
The layout of the Tiki Club was a viewer friendly environment to study drummers. Depending where they set up. I could stand close to the stage−in front or off to the side−lean against the wall−watch and listen. There wasn’t an elevated drum riser.
Bobby was playing his documented Ludwig (Black Oyster Pearl) drumset. The sound in this room was very good. Bands then (The mid 60s) had basic instrument amplifiers and a 2 speaker PA of some sort. [Nothing was “close” mic’d] The sound circled around the bandstand and floated through the room. It was the greatest natural music experience ever. (Nothing like it) (You could also communicate−human face-to-face−via-verbal-conversation) No phones in hands.
The Fantastic Group was an exciting band. They had a modern, hipster vibe. The group played cover tunes--but sounded original--Not trying to sound exactly [like the record]
Bobby’s sound was articulate…crisp…fat…full…dynamic. Erupting with emotion during each song. He was driving the bus--in charge of the groove. I was witnessing something (I hadn’t seen from other drummers) He played with confidence. Demonstrating technique I had not seen outside of …Buddy Rich on The Tonight Show with Johnny Carson.
It was a drum clinic…more then I anticipated. (Quite Spectacular)
There’s a tune called [I’m A Man] I heard it covered by a few teenage bands. Performed by The Yardbirds. The record is a blues shuffle. It features psychedelic improvised…freak out harmonica by (Keith Relf) guitar solo (Jeff Beck) that transitions into a driving gospel blues---fast backbeat.
The Fantastic Group’s arrangement featured Bobby singing. There’s an instrumental section with a crescendo, triplet transition. That’s what caught my attention.
(The songs triplets! Were “usually played” by lesser drummers with both hands on snare drum as single strokes) Bits & Pieces – Dave Clark style. (Actually played by Bobby Graham)
Bobby played them---one stick on his open high hat (with explosive cymbal wash) and the other playing [snare drum--rim shots] He had the chops and technique to pull it off. It was technique I’d in time witness from drummers
Joe Morello…Rufus “Speedy” Jones and Tony Williams
Bobby revealed unlimited chops…playing popular 60s rock n roll. Entering my lifetime of experiencing---seeing---hearing drummers---that was my first documented…in person [drum lesson]
The next time I saw Bobby play…was the Summer−1971. He was now a member of Johnny Winter And. The gig was at Pirates World in Dania, Florida. My view wasn’t as intimate as The Fantastic Group, Tiki Club event in 1966.
(This was Post Woodstock. Live music events had changed)
He was still playing his Ludwig set. Bobby’s playing was again, explosive. You can hear this group on the album “Live” Johnny Winter And. Recorded at Fillmore East and Pirates World.
Singles from the album ”Jumpin Jack Flash” and “Good Morning Little School Girl” were in the Top 100 on Billboard Charts. The album was certified Gold. Selling in excess of 500,000 copies in the U.S. Bobby’s sound on that live record is crisp and full. His [Ludwig Supraphonic 400] and 22” Bass Drum are locked in, driving the band on each tune. You hear his arsenal of chops and technique.
His bass drum---always up front. (Never…a secondary---back seat-bomb drop---extension of the drum set) Bobby’s bass drum foot pedal has always been amazing. He has extraordinary speed, power and control to play whatever he imagines. (Double pedal unnecessary) Bobby’s energy is a major ingredient of Johnny Winter And. There are several Bobby, Johnny and Rick Derringer drum / vocal duets on the record.
As I type this---its been reported about Jerry Lee Lewis. Johnny’s version of [Whole Lotta Shakin] is high energy rock and roll at it’s finest. It features Bobby’s drums and Rick’s voice. The band works the crowd into…frenzy with Bobby supplying the back beat---rhythmic bottom.
Bobby Caldwell’s signature (tune−ending fills) sound like the record has been sped up−Jaw dropping micro solos—clean--and clear.
Closing out this record is Johnny B Goode. Bobby sets up fills like Buddy, Louie, Speedy Jones, Sonny Payne or Don Lamond kicking a big band.
[
Historically] Bobby was also playing drums and percussion with his Florida friend…Duane Allman. The Allman Brothers were the opening act for Johnny Winter And. Bobby’s credited on the 1971---Fillmore East recordings.
In 1972---I was driving for dollars, between gigs in Orlando, St. Petersburg, Clearwater, Sarasota and Tampa. Exploring new progressive music−I discovered records by Dreams and The Flock. I also purchased the eight-track tape of Mahavishnu Orchestra, The Inner Mounting Flame.
I’d heard about Bobby’s new group [Captain Beyond] Then I got the eight-track tape-of their debut record called - Captain Beyond. I wore that eight track out---driving to my gigs. Upon my first listen to the Captain Beyond tape…in 1972, I heard the orchestrated-progressive-arrangements-time signatures and dynamic drumming. I heard the chops and technique he demonstrated in [Johnny Winter And]
It’s an eclectic sound---with elements of rock-fusion-jazz and a lyrical presentation. (A powerful record) (Vocals from Rod Evans of Deep Purple) Larry Reinhardt and Lee Dorman from Iron Butterfly. Bobby’s playing is imaginative with his signature snare drum sound and fills around the kit. Each tune has a distinct tempo-feel and groove. It’s a layered group sound.
Raging River of Fear is a musical novel of time signatures-styles-direction and transitions. Hearing Bobby’s fills in this tune---I still shake my head at what he plays. The groove and feel of this band is unique. [In my opinion] It has a British feel-augmented by Bobby’s explosive bombs.
There are many…arranged variables of different time signatures on this record. I wasn’t expecting this…considering the last time I saw Bobby−he was playing straight 4/4 time with Johnny Winter And. This record is full of Bobby’s [mind-blowing drumming] It takes time to comprehend it all. Hearing it today (50+ years later) its more impressive. It was so far ahead of my time---in 1972.
In 1972---I could barely play a single stroke roll. He reimagines Buddy, Joe Morello and Speedy Jones with his own original-unique ideas-arrangements and music compositions.
Hearing this record in 1972, I immediately noticed Bobby’s playing of percussion and congas. His Tito Puente---timbales chops. Demonstrated in the final 2 minutes of the record. [Captain Beyond] sounds like the Santana rhythm section for a few measures. Then kicks into a tightly arranged finale.
In the world of vinyl record collectors-this is a highly sought after LP. (The cover and the music−decades ahead of its time) [Forward to 1973] Bobby played on the majority of tunes for Rick Derringer’s, All American Boy. Other personnel on the record include: Joe Lala, Joe Walsh, Jean “Toots” Thielemans and Edgar Winter.
All American Boy kicks in with Bobby’s drum intro for Rock and Roll Hoochie-Koo. This recording captures Bobby’s distinguished studio drumming in a controlled session. His time-groove and feel are solid on this production. His fills are in no way hesitant or passive. He goes for it and connects with every note. “All American Boy” is a stretch from Bobby’s playing in 5/4 on Dancing Madly Backwards−but it certainly demonstrates his extraordinary talent. Which is why Bobby Caldwell is one of my favorite musicians.
”He also plays the drums very well”
In 1972 - my interest to become a better musician was triggered with my introduction to Tommy Thomas (1901-1995). My drummer…Junior High School friend, Louie Simmons told me about Tommy Thomas. Louie was taking lessons from him. He said Bobby Caldwell had a lesson with Tommy. (That was good enough for me - I immediately arranged to meet Tommy for my first lesson) Tommy was very inspirational. He gave me my first envelope of lessons from The Tommy Thomas Percussion Library.
#2
(Dino Danelli (b 1944-2022) / The Rascals)
My long term-memory is still pretty good at the age of 73+
Short term - Memory−may be questionable.
Fact is…I saw Dino Danelli play in (1965) I didn’t drive myself there. I went with my good friend Louie Simmons. Louie’s Mom Olivia drove us to the event.
I speak about our friendship in my book, Notes of a Young Drummer 1966-1969. We became friends at Sanford Junior High School in 1964. Louie owned and played drums. Louie’s blue sparkle Ludwig Super Classic set was my first experience on a kit. I sat down and played the beats I’d been imagining in my head since 1956.
Those beats included Buddy Holly’s / Peggy Sue−played by Jerry Allison, Bobby Darin’s / Splish-Splash with drummer Panama Francis. Louie Simmons was a great friend. He was positive, complimentary and motivated me in my music journey. Louie’s Mom, Olivia−spiritually adopted me−gave me helpful advise for life.
The Orlando venue The Rascals played was named…Kemps Coliseum 1640 North Orange Avenue. It opened in 1926. It was large enough for basketball games and political rallies. Big bands played there including: Louis Armstrong, Tommy Dorsey, Sammy Kaye, Guy Lombardo, Count Basie and Benny Goodman. A long list of popular groups played there. It burned down in 1972. The Rascals event was my only visit to…Kemps Coliseum.
I was excited to hear a live band in a concert situation like this. The inside was big with a high large stage…the width of the room. It was all wood. Hence it burned down in−1972. There was an opening band named, Plant Life. They had a record called−Flower Girl. (John Bridges was playing drums) You can hear it on Youtube. It’s a good record. Representative of the time−well produced. Bobby Caldwell had been their drummer in the early version of Plant Life. My friend, Louie Simmons and myself−noticed Bobby at this show listening and hanging out−like us.
The Rascals came on stage, played most of the tunes from their first album. They had abandoned the schoolboy attire−matching shirts and mini tie.
They played their big number one hit “Good Lovin” which was covered by every teenage band in America. When I became a lounge lizard musician in 1967…it was still a popular tune for bands to play. I didn’t have Dino’s chops when I started playing Good Lovin−still don’t.
The drumbeat to “Good Lovin” resembles a Jazz-Mambo that Art Blakey−Elvin Jones−Philly Joe Jones and classic Jazz drummers were playing in the 50s and 60s. (Ray Charles - What’d I Say–– Dino demonstrates two handed sixteenth note chops with his fills and breaks.
Reviewing the Ed Sullivan Show Video. Dino’s playing is powerful. His bass drum driving the bass-guitar-less band. [Solid quarter notes on his ride cymbal] Big drumsticks playing traditional grip unlike Ringo−more like Buddy Rich. Dino’s left stick dancing and cracking rim shots. He occasionally crashes his cymbal from underneath. Most rock drummers played Good Lovin−minus the Jazz Mambo style. They played straight quarter notes with the added eighth notes on the tom.
___Dino had great showmanship−in the tradition of Gene Krupa___
That groove––Jazz Mambo is well documented on records, similar to a traditional jazz conga pattern. “Good Lovin” also has “The Break” sometimes−it’s a two bar break. Bands would occasionally freeze on stage. Turn the silence into a dramatic pause then count it back in. “That’s what I remember, I’m stickin to it” They played “Groovin” as part of their Kemp Coliseum show. Dino played conga drum-up front. Gene Cornish played harmonica. It was ‘The Rascals” {unplugged}
Hearing a famous recording band−in a non teen-club like this was a new experience. This type of event would transition to become the norm. Teenage “dances” at teen-clubs would disappear−in exchange for name act concerts like this.
There are many famous drummers that publically mention the influence Dino Danelli had on their playing. The way he sat, the position of his cymbals, sizes of his drums, tuning, stick twirling and showmanship. The grooves, fills and beats he played, all a signature of his unique musicianship.
The first LP records in my collection in 1965 were British groups. “Help” by The Beatles−The Kinks and Them. The “Young Rascals” record exposed me to a new sound and style. It wasn’t a sound dominated by guitar. There are several tunes on that record I heard teenage bands play in the 60s. “Just A Little’ was covered by The Beau Brummel’s, “Slow Down” by The Beatles.
Dino Danelli gets solo time spaced around that record. “Do You Feel It” has some nice breaks. The studio drum sound on this record is similar to what you see and hear from their live television shows. The drum sound is open, without dampening.
“Mustang Sally” what can I say about this tune. I’ve played it 100s of times. It’s been a requested crowd pleaser−lounge lizard favorite for decades.
I discovered a terrific Youtube video interview by Liberty DeVitto. Dino Danelli speaks of his early days hanging out at The Metropole Café in New York. The Metropole was a venue open from the mid-1950s through 1965. Resident drummers included Zutty Singleton−Mongo Santamaria−Cozy Cole and Gene Krupa.
In 1967, I become a professional musician and began my journey on the road. I’ve written about that in my book, Notes of a Young Drummer 1966-1969. I have memories of covering several Rascals tunes. Not Just, “Good Lovin”
Moving forward in time−winter 1967. I joined a professional nightclub group (The Blenders) Traveling “On The Road” playing clubs in South Carolina, Georgia, Alabama and Florida. Early 1968, the band “worked up” “A Beautiful Morning” which became another big Rascals hit. The drum part is a shuffle with optional Tom-Tom “conga” eighth notes.
April 4, 1968, The Blenders had just started our first week playing at a club in Jacksonville, North Carolina. (Camp Lejeune) Martin Luther King was assassinated in Memphis. The band went to Atlanta−then home to Orlando.
During that hiatus−I was hired into a very good group. (The HeadLyters) Jimmy Head, the leader–singer–keyboard player was from Kalamazoo, Michigan. He was a “Blue Eye’d Soul Brother” who sang like Smokey Robinson and Felix Cavaliere.
The HeadLyters drove to––played–––and rehearsed for 2-weeks at a club in Albany, New York. We then departed for a house gig in Biloxi, Mississippi.
In Albany, we learned to play “People Got To Be Free” by: The Young Rascals. That summer of 1968−it became another hit for The Young Rascals. The groove and drum pattern has precise syncopated “and of” accents. I can still visualize my band-mate Jimmy Head singing this tune. Jimmy Head could really belt it out [Fantastic] It’s one of Felix Cavaliere’s best vocals of all time. This tune is all things summer of (1968)
“I remember it well”
Dino Danelli really nails “People Got To Be Free” It’s super soulful and funky.
All the world over−so easy to see
People everywhere−just wanna be free
Listen−please listen that’s the way it should be
Peace in the valley−people got to be free
In my book “Notes of a Young Drummer 1966-1969” I write about the many bands I heard−especially that very special−British Invasion mid 60s period. I never saw the (1966) Daytona Beach – Club Martinique/ Allman Joys (aka) Allman Brothers or−Gainesville’s / Tom Petty. I “may have seen” The Royal Guardsmen at The Tiki Club. There were many national acts that performed there. I saw and heard−Sam The Sham−Q Mark & The Mysterians−Sir Douglas Quintet−Detroit Wheels with drummer Johnny “Bee” Badanjek−Dee Clark and more−at The Tiki Club. The Tiki Club was located on Pine Street− downtown Orlando.
Central Florida and Florida (in general) produced many popular 60s bands. There were countless others−great sounding groups−that didn’t have records or media promotion.
I’m glad I had the experience to see and hear Dino Danelli in 1965. It was a memorable hang and event. It was much different than any “school dance” or “teenage record party” I’d attended. RIP Dino (1944-2022)
#3
Clay Gatton – Red White and Blue – Gatton Gang – Pandemonium
My first gig was at Mar…Lou’s Lounge in Sanford Florida. (1966) That was my first gig…first paid gig. There wasn’t a real rehearsal or warm-up. I never played in a garage band or with my teenage buddy band. My mom bought me a ZimGar drumset for my sixteenth birthday from Jimmy Head’s Discount Music, in Sanford.
I became a 9th Grade Drop Out. I got a call from Jimmy Head to play at Mar Lou’s. I made $12 a night for the Friday and Saturday. My mom drove (me and my drumset) to the gig. I was scared crap-less to be there in front of people. I got multiple request to play Wipe. My mom and others would tell me to SMILE when I played. I played that gig several times.
The first drummer I ever saw Play live in person…that close at a club was Clay Gatton. How I ended up at Mar Lou’s with my Mom is a mystery. She also loved music. Somehow we migrated there on a weekend. This may have been after my first gig. I can’t remember everything at 73+. I think…I’m doing a pretty good job just typing.
We may have been checking in to see what was happening there. Just scouting the joint out…so to speak. She wasn’t my agent. I had a Restricted Drivers License but could only drive in daylight hours. That’s what I remember. I may have been 15. Now I’m old…it’s been decades.
(Back to Clay Gatton) I sat with my Mom in the Lounge…in front of the drumset. There was a slightly elevated bandstand. It was about 10 inches above the floor, large enough for a 60s 4 piece drumset and 3 musicians. Clay sat behind the drums and a microphone. I’m imagining a classic Shure 55SH of some type.
I remember Clay singing…You’ve Lost That Lovin Feeling, Poor Side of Town, Good Lovin, Louie Louie. Most of those tunes were recorded in 1964 and 1965. Nightclub musicians were behind in playing popular Top-40 songs. Kids bands played the latest hit. That’s the first time I saw and heard Clay Gatton. I enjoyed the experience. We never spoke.
In 1967, I became a professional musician and started my journey. After traveling on the road and house gigs in Mississippi, Arkansas and South Florida…I returned in 1971. A couple of musicians I started playing with had been in various groups with Clay.
In the early 70s…I frequented a club in Winter Park. Clay and the band had a house gig. (Gatton Gang) (1972) Clay played drums, Doug Farwig…bass, Rick Warsing…guitar, Kibbee Gary…Keyboards. Louie Gold may have been on that gig. Clay had a beautiful Red White and Blue set of Rogers drums. Everyone sang, they were a very popular Top-40 group.
Continuing in the 70s, there was a club called Sportsmen Den. That group featured Clay and Lloyd Hanson on drums, Louie Gold on Keyboards. Both had Red White and Blue Rogers, Kapp Pierce played bass.
The next time I saw and heard Clay Gatton was in Atlanta. I was playing a gig “On The Road” passing through. Clay was leading a band that included a trumpet player I had worked with, Terry Stubblefield. The bands name was Pandemonium.
In the 80s, Clay Gatton had a house band at a club called Cheek to Cheek. It was very popular. He was the front man…vocalist at that time. Clay was well known in Central Florida. I saw him occasionally on TV commercials. This flash back has really brought back memories.
#4
Steve Grier – The Rockin Roadrunners
I attended Sanford Junior High School with drummer−Steve Grier. He was gifted, in the style of Keith Moon−Dino Danelli and Sandy Nelson. Steve played a double bass drum Ludwig drumset. I heard The Rockin Roadrunners perform several times. Steve Grier has been the owner of Discount Music Center−in Orlando−since the early 70s.
The Rockin Roadrunners rhythm guitarist, vocalist was Charlie Lytle. Charlie had an abundance of charisma on stage. He was a charismatic, people person.
As a grown up, Charlie became one of the most successful music industry sales representatives in history. Charlie worked for the Korg-Marshall Company. He was legendary in the music manufacturing business.
The Rockin Roadrunners became a very polished Central Florida group. The band played Sandy Nelson’s tune, Let There Be drums. It was a real crowd-pleaser. (Go Man Go) That period of time as a musician, fan of music, was unequalled.
#5
Tommy Ruger - The Nightcrawlers formed in Daytona Beach. They were the first Central Florida band to produce a 45 record with major radio airplay. I saw them at, The Tiki Club−downtown Orlando. Their 1965 tune, Little Black Egg, was a local hit on the radio. When I saw them, because of their record, it was like seeing a national act. They were more than a teenage dance band− because of their record. It was an interesting time. Though I didn’t play guitar− I was inspired to play the hook intro to Little Black Egg. I don’t recall much about their set list or repertoire except for−Little Black Egg. They were very polished and professional. Their sound has been described as sparse folk rock, popularized by The Byrd’s−The Beau Brummel’s and other post−British Invasion mid-1960s bands. I would agree.
#6
Tom Wynn - We The People was formed in Orlando. Today – these groups are referred to as Garage Bands. I heard We The People−one time. Where else? The Tiki Club−downtown Orlando. I stood at my usual spot. Off to the side of the stage−leaning against the wall−where I could hear the band−watch the drummer. Most of these Tiki Club performances took place in the period of a few months. I was 16-years old−at the time. We The People−had a record called, My Brother, The Man−which I really liked. It was played frequently on WLOF−Channel 95.
WLOF was Central Florida’s most famed AM Radio Station in the 60s. My memory of seeing and hearing, “We The People” is very complimentary. They had an original sound.
Like, The Nightcrawlers, I don’t recall any cover songs−beside their records. A band having a record, getting radio airplay was unequal. Guitarist, Tommy Talton and drummer, Tom Wynn, would ultimately form the group...Cowboy. They released four albums on the Capricorn Records label in the 1970s.
#7
Bobby Shea - The Tropics
The Tropics were from Tampa−played periodically in Central Florida. As usual, I saw The Tropics at The Tiki Club. I remember them more “because” of their “cover songs”- and live performance.
In 1966, The Tropics won The International Battle of The Bands in Chicago. They outperformed more than 1000 groups. Acquiring a recording contract with Columbia Records, they released a record called “Take The Time.”
The elusive capture of a “hit record” was the prize for most 60s groups. As a “live in person” performing band−The Tropics were the best.
When I saw and heard them, they duplicated The Beatles−Paperback Writer and Rain. I never heard another band replicate The Beatles as well as, The Tropics. They were very similar to The Beatles as a band, each member playing their instrument and singing for the best performance possible.
When music became a popular thing for teenagers to do−play an instrument−sing−join a band−Florida was a great place to live. All 4 of the bands I re-visited here, could have had major industry success. That’s another topic.
#8
John (Johny) Barbata (b-1945) The Turtles – CSN&Y
In the spring of 1967, I finally had a drumset. I was ready to become a professional musician. I quit attending school, officially dropped out. With a driver’s license, I had a few gigs under my belt. They were weekend Juke Joints and Honky-tonk bars. Always playing with adults−some professionals−others weekend warriors. I never played with a teenage group.
It wasn’t fashionable to be a dropout. I’d given up on school years earlier…by the age of 13. Music would have to be my opportunity in life. There wasn’t a (distant learning) alternative education program. I had no other options.
I was motivated to hear and see as many bands that I could. My path never led me to be in a kids group with players my age. I [never fit in and never would] Even today, it hasn’t changed. My journey would always be unorthodox.
Out of the ordinary, but always interesting. I have zero regrets.
The Turtles were a popular radio band. By 1967, they already had hits with “It Ain’t Me Babe” and “You Baby” There was an opportunity to see them play in Central Florida. The venue was the Winter Park Youth Center. I’ve alluded to living in a different county [Seminole not Orange County] [Winter Park and Orlando] Us out of town kids – (Geneva Hoodlums) were not allowed to attend those “free” teen dance events. You had to have an ID Card. The Winter Park and Orlando Youth Center’s were both−off limits−for me. My main source to hear groups was The Tiki Club, downtown Orlando.
Now age 16, I occasionally attended events at the Daytona Beach or The Cocoa Beach Piers. This event at The Winter Park Youth Center was a paid, open to the public performance.
“Buy your ticket – take the ride” (HST)
I heard about The Turtles performance as a regular listener to WLOF-Channel 95. My first memorable WLOF-Channel 95 radio experience was hearing Louie Louie−by The Kingsmen. (1963) WLOF had zero competition when it came to music, promotion, events and marketing. They had a variety of on air DJ personalities. My favorite was Weird Beard / Bill Vermillion.
Where I lived in Geneva, Florida, their station was approximately 40 airwave miles away. I could get decent reception in our house−on our mono radio.
When The Beatles and the British Invasion kicked in [1964] everything in music exploded. WLOF “live streamed” their popular on-air DJ’s, broadcasting remote events. This wasn’t happening only in Orlando, it was a National Phenomenon.
“Happy Together” by The Turtles was released as a single in January 1967. Peaked at number one on the U.S. Billboard Hot 100. With the success of this tune, The Turtles performed on The Ed Sullivan Show.
The “Happy Together” session was recorded in LA at Sunset Sound, engineered by Bruce Botnick. {Bruce Botnick (b 1945) is known for his work with The Doors, Love and Beach Boys.
Happy Together is well produced with lead and backing vocals, rhythm section plus horns−woodwinds and strings. It was recorded with overdubs on an eight-track tape machine. It’s been mentioned this recording is a “Wall of Sound” referring to the recording method of producer Phil Spector.
Playing drums on the record is: John (Johny) Barbata
My first memory of this 45RPM Record on the radio is the 120BPM march tempo groove. It wasn’t a typical 4/4 back beat song. After the 4-measure intro––8 measures into the tune–––Johny plays a unique stutter snare drum–––rim shot–––bass drum accent…(Buddy Rich---West Side Story)
Hearing this for the first time on the radio−it got my attention. OK, there’s something different. It was simple, but effective. Just the accented dynamics jumping out from the steady groove was musical. I also liked the tuning and sound of his drums.
Into the bridge−he plays a triplet fill similar to Dino Danelli and others. John Barbata’s dynamic control is very good. It’s a great track. The rhythm section sounds like it could have been Hal Blaine and The Wrecking Crew. The woodwinds and voices are fantastic. I love the oboe. Credit goes to Chip Douglas for his arrangement. Douglas would leave The Turtles to produce The Monkees.
Coming out of the 3RD bridge, Johny plays a nice snare fill. This particular fill reminds me of what I would hear Billy Cobham play several years in the future with Dreams (1970) then Mahavishnu Orchestra. (1972)
This groove as a March−building without becoming a shuffle−brings to mind the Art Blakey & The Jazz Messengers tune - Blues March. Johny Barbata captures and plays a unique feel that could have been a cliché shuffle−but he doesn’t. {Reminiscent of Art Blakey and Blues March}
Watching various television versions of this on Youtube, I discovered The Ed Sullivan lip-sync audio track is edited. Shortened for television.
You can also see the progression of teenage attire transitioning into the Hippie−1967 Summer of Love. _Matching band uniforms were discarded for Tie-Dye or Psychedelic Paisley_
(Spring 1967) I drove myself to The Winter Park Youth Center in my mom’s 1965 Ford Galaxie 500 convertible. It was white with an automatic transmission. Powered by a 352ci V8 engine. I parked the car on the street and found the entrance. There wasn’t a line to get in−or a large crowd. The shape of the room was weird. The acoustics were non-musical with all of the surrounding glass windows. It has a nice view. I returned to this venue in 2013 for an Orlando “60s Garage Band” reunion.
___My mind wanders, thinking back to this event. It wasn’t like−I was there to socialize or hang out with friends. It was official business. I was on a mission.
“I Need A Gig”
I stood on the floor, watched and listened. The Turtles played one set from the oddly arranged elevated bandstand. They sounded like their records without the overdubs. They played Happy Together. John Barbata played the tune like he does on the record.
Reviewing Youtube videos jogs my memory with several details. Flashing back to what I saw and heard that afternoon. Johny Barbata played Rogers drums. He was also quite good with drumstick theatrics. I appreciate being able to twirl and execute visual drumstick tricks. In 2023+ you can see him in several Youtube videos. He’s having fun doing those stick tricks while The Turtles lip-sync the song. His stick showmanship reminds me of−Sonny Payne.
“She’d Rather Be With Me’ was the tune I anticipated hearing. It had just started getting airplay on WLOF. It’s another well - produced track with rhythm section, background vocals and horns. When I heard this tune on the radio, I was immediately impressed with the snare drum rolls and fills.
Watching the Youtube video, it appears he’s playing a Rogers Sparkling Blue Pearl drumset. Hearing his recorded sound−I recognize the Rogers snare drum crack resonance and tone. I’ve owned a few Rogers snare drums in my life. (Powertone−Dynasonic−even a rare collectable Pancake Snare)
What I noticed in 1967, hearing “She’d Rather Be With Me” on the radio was the eighth note−doubled to sixteenth note snare drum roll−coming out of the transitional bridge solo. It was always a mystery to me how he played that. I hadn’t heard anything resembling that on popular, Top 40 records. In the spring of 1967, I couldn’t play a double stroke roll. What was he doing−how did he do it?
Since 1967, whenever I hear that tune−maybe in a public shop or restaurant−I always [Flash Back] with admiration. None of The Turtles videos demonstrate him playing it live. They’re all played and lip-sync’d to a pre-recorded track. In 2023+ I believe he plays them as single strokes.
Another part of “She’d Rather Be With Me” I didn’t comprehend and discover until 2022−is the cowbell mambo section. I heard it on the record−but it didn’t register that the drummer played it. Johny Barbata plays it like an Art Blakey or Tito Puente break. I didn’t discover this until I revisited the classic videos.
At this point, I’ll comment on the tone and pitch of the cowbell. I’ve owned several cowbells that looked and sounded like that. It was a 60s thing. Until recently, I had a 60s Rogers cowbell. I’ve heard that particular tone and pitch on many records−from the 50s and 60s.
Bands usually played live on the early Ed Sullivan shows. The Turtles appeared on the show−May 14, 1967. Howard Kaylan sings live with the track. This became the - thing to do - on most television shows by 1967.
In 1967, I completely missed the brilliant idea by John Barbata to create his remote high hat. I don’t remember seeing this at the 1967 Winter Park Youth Center gig. I saw and discovered this for the first time watching a Youtube video. (Color –The Turtles – Happy Together) He utilizes it effectively in his playing style.
I’ve owned Rogers drums since 1970. I’m familiar with the Swivomatic hardware. You can see how he utilizes a shell mounted Swivomatic cymbal stand for his high hat cymbals. It’s a brilliant idea in 1967. (He’s decades ahead of his time) I purchased a Drum Workshop remote cable high hat contraption in the mid 80s. I’ve seen recent videos of Ringo using a similar remote high hat−like John Barbata. It makes sense−not crossing over−having dual high hat choices.
I enjoyed hearing John Barbata and The Turtles that 1967−spring afternoon. He’s an excellent drummer as his discography documents. After leaving The Turtles he joined Crosby, Stills, Nash & Young (1970-1972) In 1972 he joined Jefferson Airplane and Jefferson Starship (1972-1978) His recording discography includes a long list of notable projects.
He demonstrates different styles on the 1970, CSN&Y, “Another 4 Way Street” record. His journey playing drums from 1966 through 1978 is a journey of success. Playing music in the 60s was great time to be a musician.
In a few months after this 1967 event−I would get my first full time professional gig. It wouldn’t be like Johny Barbata playing for teenage audiences on The Ed Sullivan Show. I would never have a hit record or be in a band as successful as The Turtles.
I admire Johny Barbata and the many drummers that experienced his kind of success. As a 16 year old, starting my music journey−it was something I dreamed to accomplish. It was a validation of success. I’m extremely blessed−I’ve been able to play music−play the drums−see and hear other drummers. I’ve had beautiful moments on bandstands, collaborating with gifted musicians. Very few of my friends, musicians experienced music business success like Johny Barbata.
I value each opportunity I’ve had, to see and hear this list of 100 Plus drummers in my journey. They’re all unique and special. I’ve learned something from all of them. I’m always a student.
America has produced an enormous amount of music. As a musician in the 60s and beyond, there were music periods that my focus and listening was shallow and opinionated. It was immature. It’s a joy to revisit different groups and their drummers. The Turtles with Johny Barbata created great American popular music.
Playing the drumset continues to provide moments of pleasure.
1967 - The Summer of Love - Moe’s Missile – The Cork Room – Berklee – Space Coast – ZimGar – The Right Stuff
It was the: [“Summer of Love”] I got my first full time professional gig. I write about it with detail in my book “Notes of a Young Drummer 1966-1969”
There I am…on a bandstand with topless go-go girls dancing 3 feet from me-and-my drumset. [1967 on The Space Coast was an exciting period. Astronauts––Rocket Launches––Cape Canaveral, everything was booming. It was the 60’s with The Right Stuff.
My gig was ironically a club called−The Missile Lounge. Also known as, “Moe’s” Missile Lounge. Moe was usually there] counting the money and keeping the staff in line.
I was hanging out at Jimmy Heads music store––Discount Music Center––in Sanford, Florida {Summer-1967} when 2 older musicians came in. They needed a drummer. I played the drums, and got the gig. I was only 17 but nobody ever questioned my legality to play, in a club as a musician / drummer.
I enjoyed my week on this gig. I loved the music. The whole scene was out-a-site. My casual romantic affair with a 21-year old beat chick was a [17-year old boys] dream. BaDaBoom
During my gig at Moe’s Missile, I got an offer to be in a house show band. [I accepted] The club was on the historic−520 Merritt Island Causeway. It was called The Cork Room. There was cork all over the interior, on the walls. The gig paid $125 a-week for 6 nights.
The photo on my books cover “Notes of a Young Drummer 1966-1969” was taken there…on that bandstand. That’s a 17-year old me in a pinstripe coat–bowtie–suede Beatle boots−standing in front of my Zimgar Drumset.
My mom paid $250 for that drumset from Jimmy Head at Discount Music Center. I loved those ZimGar {though I concealed their Japanese heritage and put a Ludwig head on the bass drum. My cymbals were Krut (Turk spelled backwards) Zildjian were financially out of the question. That photo brings back memories. I see my Marlboro cigarette pack on the towel––on my bass drum. Those screw on cymbal sizzles are classic 60s.
I look back and find it amazing. I had only been playing−less than a year. I was now a professional, making a decent salary for my craft…$125 a week, playing the drums at the age of 17. I was playing music---playing the drums---living in the adult world−instead of High School. I failed 7th and 9th grades. At that rate, I could have been in High School−till I was 21. BaDaBoom
I’ve heard stories from several American and British musicians. They spoke about similar circumstances, social environments. –Juvenile delinquency, single parent homes and financial hardship–
_Music gave “us” a chance in life, to survive_
I wish−I had tapes or recordings of myself from the 60s. That 17- year old kid in the photo had some God-Given natural talent. Enough skills to cut a professional gig with a band of experienced musicians.
What, and how I played was simple solid time. I didn’t have any rudimental chops or technique, but I had good ears and feel. I’d been rehearsing everything in my mind, since the age of 5. Mentally executing the physical technique−with 2 drumsticks and feet−it wasn’t that difficult.
My time practicing (in the shed) on our open-air back porch (neighbors complaining−paid off. (That Gene Krupa kid is beating the skins again!) A Seminole County Sherriff−repeatedly drove 12 miles−from Sanford to Geneva. “Can you tone it down? ___
Yeah, that’s the 17-year old me on that bandstand. I look confident, proud and ready to go. There I was playing in a professional “show band” with experienced musicians 20 and 30 years old. [Oh-Yeah] there was a covey of topless go-go girls on stage. My experiences, playing so many varieties of music in different stage…club and social environments was the best music education I could ever have.
At the age of 16, I’d heard of Berklee School of Music. Bars lounges go-go rooms honkytonks−that was my early formal education. Not - Berklee School of Music. (I guarantee, there wasn’t a Berklee 101 [class in 1967] that taught you how to back up a stripper---comedian---top-less dancer) BaDaBoom
My memories of those few months, I experienced in Cocoa Beach and Melbourne, Florida, were transformative. Migrating through The Summer of Love−September 1967−I celebrated my eighteenth birthday. I felt like an adult.
The 1967 {music and entertainment scene} on the Space Coast was dominated by show clubs, lounges and topless bars. It was a tourist location with the main employer being “The Cape” (aka) Cape Canaveral. With the Space Race full go−the rocket business was open 24/7 for those employees.
My gig at The Cork Room was a reputable position. The leader, LarryD had a name with a local following. Clubs employing musicians and paying a decent living wage in 1967 was not unusual.
(Marquee Signs−up and down US1 and A1A along the Atlantic coast advertised−Live Entertainment. Various clubs and motels were theme based like Moe’s Missile−Starlite Motel−Astro Court−Satellite Motel−Polaris Motel.
#9
Joe Davis (b 1945-2008) The Guilloteens
The hippest nightclub for the 21 and up crowd was, The Vanguard Lounge. It was connected to the Vanguard Hotel. Located right on A1A beach. I went with my Cork Room band-mates for the Sunday afternoon jam session. The drinking age was 21 but−at age 18−they let me in. − I Was A Musician! ___The doormen, bouncers were strict about under age, fake ID users. It took some wheeling and dealing to convince the gatekeeper to let me in.
The house band at The Vanguard was The Guilloteens. (Spelled Guilloteens) The drummer’s name was Joe Davis. I’d heard about them and their local folklore, rock n roll stardom past.
The Vanguard was the most high profile club on the beach. This is where all of the beautiful people went. It wasn’t a show room…piano bar lounge-lizard club with an accordion trio. (I love accordion) The Vanguard was a place to hook up and connect---drink---see---be seen and have a good time.
That Sunday jam session was interesting. I heard and watched The Guilloteens play a set. They were a guitar−bass and drums trio. This was unusual [nightclub] instrumentation. (Before Cream and Jimi Hendrix Experience)
The Guilloteens covered Neil Diamond’s, Solitary Man. They sounded good. They were professional−but still had a Garage Band persona. Before my visit to this event, I’d heard tales about how fast Joe Davis could play the drums. I’d only been playing a year, but I had seen several−impressive drummers.
The Vanguard---Club was attached to the Vanguard Motel. There are old vintage photos available to view, if you do a Google / Internet search. In 1967 the place seemed old from daily hammering by the ocean, wind and sea.
There was a good crowd that afternoon for a jam session. The bandstand was strangely elevated−about 6 feet above the floor. There was a tall vertical ladder to climb−to get on the bandstand. {Crazy}___Maybe there were go-go girls, with the day off.
Watching Joe Davis play the drums was a unique experience. He was very animated−bobbed his head−shook his mop top haircut, to the rhythm and beat. It was showmanship. The audience liked it. His posture behind the kit was similar to Ringo. His playing was very dramatic, but effective. He played a double mounted tom kit, with 2 cymbals. I don’t remember what brand. They sounded good.
When The Guilloteens finished their set and came off the bandstand, there was a break−to announce the jam session. I was very nervous to sit in and play. I climbed up the ladder and sat behind the drumset. Being a lefty, I switched the high hat−snare and floor tom. This is never a welcome event for the house drummer. I have zero memory of what happened, what songs we played or the audience reaction. I felt ok about it.
I returned the kit to its original position−climbed down from the bandstand.
There was no friendly drummer conversation from Joe Davis. I don’t think he said a single word to me. I may have warned him, was it ok to switch some things around? It wasn’t a problem−I guess. He was older and experienced. Maybe he was familiar with left-handed drummers.
Hearing and seeing−The Guilloteens was an interesting lesson. Being in that environment−with that age group of young adults was a different scene. It was like a teen-club with smoking and alcohol. The Guilloteens image-music and charisma was skilled.
Joe Davis had a unique style, radiating confidence with zero stage fright. He was the strongest personality in the band. I’d heard (rumor) The Guilloteens were paid $250 a week in 1967. I was making $125 on my gig.
I mentioned earlier about their celebrity stardom. They had performed on American Bandstand, had a semi-hit record. Their two singles were regional hits in Memphis. I Don’t Believe and Hey You. I’d never heard their songs on the radio. The Guilloteens played “I Don’t Believe“ while I was at The Vanguard that afternoon.
In Florida, there were groups with regional hits. We The People and The Nightcrawlers come to mind. The Royal Guardsmen had more than a regional hit. In 1966, “Snoopy vs. the Red Baron” was certified gold and reached #2 in the Billboard Top 100.
The history of The Guilloteens as recording artist−band is very interesting. I don’t know how they arrived at The Vanguard. The original members are from Memphis. Laddie Hutcherson (lead vocals, lead guitar) Louis Paul (bass guitar, backing vocals) Joe Davis (drums - backing vocals)
With the popularity of−The Guilloteens in Memphis, they were discovered and relocated to Los Angeles. The Guilloteens played on Shindig, American Bandstand, Hullabaloo and Where the Action Is. As a teenager-drummer-these were must see television shows for music. I believe some of The Guilloteens success was due to their mutual management with the group Paul Revere and the Raiders. As a teenager, I saw Paul Revere and the Raiders on Dick Clark, every week. They had numerous national hits.
I’ve discovered many vintage 60s TV shows on Youtube. The Guilloteens have multiple featured appearances. {The Guilloteens, TV performance videos on Youtube start in 1966} Most of the video TV performances are The Guilloteens lip-syncing their record (I Don’t Believe) [They play “Hey You”] on a show called The Shivaree Show. It’s a West Coast show. I never saw it in Florida.
Watching Joe Davis play [Hey You] in the video from The Shivaree Show, I can see his style and showmanship. The tune {Hey You} is kind of like−The Kinks−You Really Got Me. Not as gritty, but it has some energy. He has a little, Keith Moon thing with some repeated cross overs. It’s impressive for 1967.
When I saw Joe Davis play at The Vanguard, he was behind a 5-piece kit. (Maybe a Ludwig Hollywood Set) In The Shivaree video, it’s a standard 4-piece kit−maybe Rogers−from the tom mounts. The recorded track is good. It’s busy, but clean.
(There are specific Youtube videos with audio only) There’s a tune called “I Sit And Cry” you can definitely hear Joe could play some fast rolls around the set. Another tune from 1967 called “I Love That Girl” sounds quintessential of 60s guitar-bass-drums with vocals.
My favorite song and production is the record, Wild Child. It is very much like a Paul Revere and the Raiders tune…with more high energy drumming. Joe Davis plays very well on this track. He really drives the 12-string guitar and vocals. He genuinely played with conviction and passion. There’s a Shindig (1966) Youtube show with The Guilloteens. The bands usually fake playing. (The vocals are live) Some of the 60s Shindig Shows are very good. If you can find it, you’ll see Joe Davis playing drums as The Guilloteens and Searchers share a song. [All very entertaining with a few gems of actual music]
The Guilloteens recording label was Hanna-Barbera. They were founded in 1957 and produced classic animated cartoon shows including: Tom and Jerry, Huckleberry Hound, The Flintstones, Yogi Bear, The Jetsons, Scooby-Doo, The Smurfs and more. (A very impressive resume of hits)
I don’t understand the secret of success in the music business. The Guilloteens were on the cutting edge of Fame & Fortune in Los Angeles. Getting on those National Television shows required the right management. How the Guilloteens ended up playing Top-40 on a house gig at The Vanguard? (It’s a Mystery) It seems they had a lot going on as recording artist. Competition was tough, still is.
Maybe they had a shot and there wasn’t enough interest to get them to the next level.
When their Hanna-Barbera contract ended−they released music on Columbia {not a minor player} much has to do with record label and management. That’s always a topic of conversation from popular musicians when they discuss their−success and failure.
Revisiting the Youtube videos, I have more appreciation for Joe’s talent. I never thought about getting to know other drummers back then.
That’s a lesson I regret.
I enjoyed that Sunday afternoon in 1967, hearing The Guilloteens. It was a music lesson−to see and hear and Joe Davis.
Melbourne Civic auditorium – Blues Magoos – Mitch Ryder – The Yardbirds – The Blues – Paul Butterfield – The Stones – Eric Clapton – Jeff Beck
A highlight of (The Winter 1967- was my experience to hear The Yardbirds with drummer Jim McCarthy at the Melbourne Civic Center. On the bill were 2 other acts. Mitch Ryder plus The Blues Magoos. Mitch Ryder seemed displeased to be on the bill. Known more as a bluesman…he made an opinionated comment about surf-music. I didn’t quite get it. Melbourne wasn’t the West Coast with−Dick Dale−The Ventures−Surfaris or any Surf Bands.
This was a different group, not The Detroit Wheels. I’d seen−The Detroit Wheels in 1966 at Orlando’s Tiki Club. (Johnny “Bee” Badanjek) played drums. (A Great Foot) I met Bobby Caldwell that afternoon for the first time. Like me−he was there to check out the band and drummer. Those classic Detroit Wheels tunes have some distinctive drum tracks.
Mitch’s back up band was tight and energized. They opened without Mitch and played a modern cover of -Reach Out I’ll be There-By The Four Tops- It was very high energy. The drummer played the groove off his floor tom. It was similar to a rhythmic rendition of (Sing - Sing – Sing) by Gene Krupa. Every band member was solid and played with attitude. Mitch Ryder continues to carry -The Detroit Blues- tradition. I’ve always been a fan.
The Blues Magoos had a “45 record” on the radio called “We Ain’t Got Nothin’ Yet.” A popular song with a Vox continental organ-guitar riff and psychedelic solo [The extended version didn’t get played on the radio] The Blues Magoos amps were really loud.
The crowd-pleaser highlight was the colorful−light up-flashing band uniforms.
They were visually entertaining and brought the Summer of Love, 60s psychedelic vibe [Similar 60s Hippie groups were having some commercial radio and media success] West Coast bands, Jefferson Airplane, The Dead and Strawberry Alarm Clock.
I discuss in more detail my Space Coast [Summer of Love] experience in: _Notes of a Young Drummer 1966-1969_
In 1967, I was familiar with The Yardbirds. Many of the popular teenage bands I heard covered renditions of: For Your Love…Train Kept A-Rollin…Shape of Things…Heart Full of Soul…Over Under Sideways Down…I’m a Man…Smokestack Lightning. In 1967, I wasn’t aware of Eric Clapton. It wasn’t long before I was turned-on to a group called Cream. I would also hear Jimi Hendrix on the radio. In my radio airwave world…the first Hendrix tunes I heard were [Wind Cries Mary] and [Purple Haze] I became a huge fan in 1968. I Still Am.
___My academic categories’ of music in 1967 were without genre or titles
-I liked it all-
In 1967, I’d seen and heard a record called “East-West” by The Paul Butterfield Blues Band. The word [Blues] in the group’s name was a clue. They certainly played The Blues. Seeing that album jacket in 1967−as an 18-year old drummer−I noticed they were an integrated band. Looking closer, they were from Chicago. Listening to the [East West] record, I heard something unlike the popular British Invasion bands on my 1967 playlist. It would be decades before I put the British Blues discography together. In 1967, I never thought of The Stones, The Animals or The Yardbirds as Blues Bands.
For me, they played popular music [I enjoyed]
The Stone’s rendition of Little Red Rooster on American television was a different groove then most pop tunes. I recognized the non-pop form-tonality and attitude. “The Blues“ style was distinct.
It wasn’t until I saw the Ginger Baker - Eric Clapton-Jack Bruce association with Graham Bond and John Mayall that I began to look deeper into their recorded discography.
As I type this, I’m listening to Sound Venture by Georgie Fame & The Harry South Big Band. Georgie Fame is another name I would see associated with various British musicians. Sound Venture has a Mose Allison, Mark Murphy, Joe Jackson, Ray Charles vibe−with a taste of Count Basie. An amazing well recorded 1966 release.
I recognize several musicians’ names on this record including: Ronnie Scott, Dick Morrissey, Kenny Wheeler plus Phil Seamen and Bill Eyden on drums There aren’t any liner notes pertaining to which drummer is on what tune. Bill Eyden played drums on the big 1967 hit, A Whiter Shade of Pale – Procol Harum. Phil Seamen was Ginger Baker’s main influence. Mitch Mitchell (Jimi Hendrix) plays drums on the 1966 Georgie Fame album−Sweet Things.
#10
Jim McCarthy - The Yardbirds (b-1943)
Playing drums with The Yardbirds was Jim McCarty. My view to see and hear The Yardbirds was great. The stage at the Melbourne Civic Center was wide−plenty of room. It was elevated about shoulder high from the floor. I stood down front−standing in front of guitarist Jimmy Page. He had a Fender amplifier elevated on a stand.
I recognized Jimmy Page wasn’t Jeff Beck from seeing The Yardbirds record covers. The Yardbirds on that gig in 1967 was a quartet. Jim McCarty drums, Jimmy Page lead guitar, Keith Relf - vocals / harmonica and Chris Dreja electric bass. By 1967, I’d heard various Guitarist (name dropping] Jeff Beck -how great he was-
_I would see Jimmy Page again (August 31, 1971) with Led Zeppelin at Eddie Graham’s Sports Stadium in Orlando_
I think the audience that night may have been slightly underwhelmed with−The Yardbirds. I could be wrong. Thinking back, the eclectic variety of music on that show makes me wonder. I absolutely enjoyed seeing and hearing The Yardbirds. I can’t remember any other bands I’d seen like them. They seemed authentic. They played all of the Yardbirds tunes I was familiar with. I’d seen Mick Jagger−occasionally play harmonica on a few Stones tunes. Keith Relf’s harmonica seemed to be more of a lead−full time instrument with The Yardbirds.
Jim McCarty’s role as The Yardbirds drummer was relaxed. The tunes and music they played weren’t pop tunes that needed to be played [just like the record] There are several Youtube videos of The Yardbirds available for viewing.
A [1965] For Your Love performance video includes Jeff Beck playing 12-string acoustic guitar. It’s an up tempo version with Keith Relf singing and playing bongos. Jim McCarty is playing a nice Ludwig 4-piece kit. They play it live−with a few screaming audience members.
Keith Relf has his [cool daddy –O hipster] look as he holds and plays the bongos. (Shades Included) I always thought this was a unique tune (For Your Love) Recorded bongos add to its character. Without bongos−the record would have been much different. I don’t remember Keith playing bongos at The Melbourne gig.
Another Youtube video (Heart Full Of Soul) from 1965 with Jeff Beck is a live television performance. Jim McCarty plays his silver sparkle Ludwig 4-piece kit. His tuning and sound is very dynamic.
I always liked The Yardbirds logo on his front “Bass Drum” head. That was a very popular 60s thing. The Beatles−The Animals−The Kinks−Buffalo Springfield−The Turtles−The Rascals−The Monkees−The Standells−Cream−The Byrds−The Who they all had cool (Bass Drum) logos.
There’s a 1966 Youtube video, The Yardbirds faking a performance of Shapes of Things inside a racetrack. I don’t care about the video−but I always liked