axel
Tennalaga Class
- Joined
- Apr 21, 2011
I was looking for information about Jerry Cole and his various projects and came across this "review" on Amazon.com by one of the members of The Id. I thought it quite interesting. Maybe it's common knowledge here, but just in case:
"The Innersounds of the ID - The True Story
By Bassist/Singer/Song Writer Glenn Cass
For years now, I have punched up on the web, numerous forums and articles about our group The ID. We have been called a garage band along with a lot of other things that couldn't be further from the truth. I don't want to offend anybody,but nobody knows what there talking about. Don't get me wrong. There are four of us still alive and we appreciate and are amazed by the interest you people have shown in The Id for the last 43 years. So I will try my best to set the story straight.
So you will understand, I have to go back to 1958 when I first met Jerry Cole in Green Bay Wisconsin. We were both 19 years old. Jerry had been playing guitar and standup bass with a few jazz and swing groups while I played a few gigs rock and country. We wanted to put a rock group together but there wasn't much for pickers in Green Bay. I remember spending hours singing and playing guitar licks to Jerry cause he never played rock. Jerry and I became closer than any brothers. We spent all our time together. We hunted, fished and worked together. He was best man at my wedding. We could read each others minds.
One night we went to the Riverside Ballroom to see I think Jimmy Clanton and bumped into T.C. Gebheim and Larry Russell. They were looking for a group too. We added a fifth guy and became The Flaming Coals. After a lot of rehearsing we auditioned for the Picadilly which was the hottest night club in Green Bay. We got the job. A few weeks into the gig T.C. had to leave the group.
It so happened, a friend of T.C. just got out of the marines and was a hell of a drummer. He joined the group. His name is Don Dexter and he will also become the Drummer for The ID. After a year at the Picadilly we disbanded. Jerry and I worked daytime jobs and Don headed for L.A. He met Johnny Pike who was looking for a group to play a club in Colorado Springs. They came back and Jerry and I joined them and we left for the Springs. So you see, Jerry, Don and I are already very close friends.
After the job at the springs, Don and I headed back home and Jerry headed for L.A. to join the Champs. At this time I will correct another story going around about Jerry being one of the original champs. This is not true. We were in Green Bay when they released Tequila. Also, Jerry did not take Johnny Meeks place. Glenn Campbell did and they came over to our club and sat in with us after playing the Riverside Ballroom in 1959.
By 1962 we were all in L.A. Jerry and I were back together working nightclubs and doing a lot of session work and writing songs. 1964 I brought my brother Norm out from Milwaukee and he would become the fourth member of the Id.
I'm not sure of times or dates but I think it was sometime in 1966 that Arnold Sukonick approached producer/arranger Jimmy Haskell who had done some of our Capitol records. He told Arnold to talk to Jerry which he did. We were all working different gigs. Jerry called all of us and said this guy had something different and did we want to take a shot at it. We had a meeting with Arnold and decided to give it a go. He gave us the material which had never been heard of before. We needed a fifth member and brought in Rich Cliburn.
Don spent a lot of time getting the 17/8 time down cause Arnold could only count it verbally. There was no way to write parts for guitar or bass. By the way folks. There was no sitar on this album. Jerry was playing an Appalachian Dulcimer. Try writing a chart for what he played. Every note and every lick you hear was individually thought of by us. It took a long time of rehearsing and getting it down before we went in the studio.
We put a lot of time in the studio. I guess we didn't think anything of it when we cut the 10 minute version of The Inner Sound Of The Id or when we needed an instrumental later named Boil The Kettle, Mother.
We finished the album and I don't think we even had anything to do with the mastering. When I heard the finished album there was a voice over on the Id and Boil the Kettle.
Now you fans have asked who is Elijah? Elijah was Jack Good. He was the voiceover. He was the producer of the TV show Shindig and I guess was also a Shakespearean actor. I never met him but the guy was a crook. I wonder how much he made off this album? Now that I set back and think, I think we were being set up to get screwed.
Sukonick changed his name to Paul Arnold. RCA Victor took the group and gave Arnold $25.000.00 up front. We never saw a dime. They released and sent out promo's and pressed the album. We had a full page ad in Billboard and they booked us into the Happy Medium in Chicago. They wouldn't listen to us that Frisco was the place to go. We had one uniform made that could be worn two ways. That was it.
I for one had to leave my band in Ventura. They bought our plane tickets and the hotel. I guess for the most part we were using our own money. Opening night was for all the big shots from RCA and radio and media. The place was a theater with a balcony. We were all on our own risers and a light show behind us. We made it through the show. It was the hardest thing I ever done singing and playing that beat at the same time. I think we made it a week and then two of the guys got into it with Arnold.
They asked for money and he wanted to give them five dollars a day. That was the beginning of the end. I tried for two days to mend it but that was it. We ended up at the airport at around 1 in the morning with all our stuff
waiting for a standby flight and just about broke.
Here are the Facts. I myself never saw Arnold again. He never tried to get in touch. We never got our artist contracts from RCA. We never got our writer contracts. We learned from one source that the album sold around 280 thousand copies. I called ASCAP and asked if there was money in there for us. They said yes but you can't get it because you are a BMI writer. We don't know who the publisher was. They were to inform ASCAP if we were a BMI writer. They didn't.
So it all boils down to this. Almost two years of work. We put that album together. It is still being played on the radio everyday somewhere. We have never made a dime.
For you story tellers on the Web!
The Id was not Jerry Cole's band and the album was not Jerry's idea. We were five friends who came together to do this project. Concerning all the other record labels that released out-takes of the Id. There were no out-takes.
Arnold was so cheap we did not cut anything extra. The extra album on World in Sound is not the Id out-takes. It's a bunch of s*** from some other session we did and Jerrys the one who gave it to world in sound without us knowing about it. The other albums out there are from other sessions we did and we did a bunch.
Jerry evidently got his hands on some of our old sessions masters and reworked them such as the animated Egg which I found myself playing bass on.
I wrote this story on behalf of Don Dexter, Norm Cass and Rich Cliburn in
hope that it would clear up the wrong stories about us.
Thank You
Glenn Cass aka Glenn Kastner"
"The Innersounds of the ID - The True Story
By Bassist/Singer/Song Writer Glenn Cass
For years now, I have punched up on the web, numerous forums and articles about our group The ID. We have been called a garage band along with a lot of other things that couldn't be further from the truth. I don't want to offend anybody,but nobody knows what there talking about. Don't get me wrong. There are four of us still alive and we appreciate and are amazed by the interest you people have shown in The Id for the last 43 years. So I will try my best to set the story straight.
So you will understand, I have to go back to 1958 when I first met Jerry Cole in Green Bay Wisconsin. We were both 19 years old. Jerry had been playing guitar and standup bass with a few jazz and swing groups while I played a few gigs rock and country. We wanted to put a rock group together but there wasn't much for pickers in Green Bay. I remember spending hours singing and playing guitar licks to Jerry cause he never played rock. Jerry and I became closer than any brothers. We spent all our time together. We hunted, fished and worked together. He was best man at my wedding. We could read each others minds.
One night we went to the Riverside Ballroom to see I think Jimmy Clanton and bumped into T.C. Gebheim and Larry Russell. They were looking for a group too. We added a fifth guy and became The Flaming Coals. After a lot of rehearsing we auditioned for the Picadilly which was the hottest night club in Green Bay. We got the job. A few weeks into the gig T.C. had to leave the group.
It so happened, a friend of T.C. just got out of the marines and was a hell of a drummer. He joined the group. His name is Don Dexter and he will also become the Drummer for The ID. After a year at the Picadilly we disbanded. Jerry and I worked daytime jobs and Don headed for L.A. He met Johnny Pike who was looking for a group to play a club in Colorado Springs. They came back and Jerry and I joined them and we left for the Springs. So you see, Jerry, Don and I are already very close friends.
After the job at the springs, Don and I headed back home and Jerry headed for L.A. to join the Champs. At this time I will correct another story going around about Jerry being one of the original champs. This is not true. We were in Green Bay when they released Tequila. Also, Jerry did not take Johnny Meeks place. Glenn Campbell did and they came over to our club and sat in with us after playing the Riverside Ballroom in 1959.
By 1962 we were all in L.A. Jerry and I were back together working nightclubs and doing a lot of session work and writing songs. 1964 I brought my brother Norm out from Milwaukee and he would become the fourth member of the Id.
I'm not sure of times or dates but I think it was sometime in 1966 that Arnold Sukonick approached producer/arranger Jimmy Haskell who had done some of our Capitol records. He told Arnold to talk to Jerry which he did. We were all working different gigs. Jerry called all of us and said this guy had something different and did we want to take a shot at it. We had a meeting with Arnold and decided to give it a go. He gave us the material which had never been heard of before. We needed a fifth member and brought in Rich Cliburn.
Don spent a lot of time getting the 17/8 time down cause Arnold could only count it verbally. There was no way to write parts for guitar or bass. By the way folks. There was no sitar on this album. Jerry was playing an Appalachian Dulcimer. Try writing a chart for what he played. Every note and every lick you hear was individually thought of by us. It took a long time of rehearsing and getting it down before we went in the studio.
We put a lot of time in the studio. I guess we didn't think anything of it when we cut the 10 minute version of The Inner Sound Of The Id or when we needed an instrumental later named Boil The Kettle, Mother.
We finished the album and I don't think we even had anything to do with the mastering. When I heard the finished album there was a voice over on the Id and Boil the Kettle.
Now you fans have asked who is Elijah? Elijah was Jack Good. He was the voiceover. He was the producer of the TV show Shindig and I guess was also a Shakespearean actor. I never met him but the guy was a crook. I wonder how much he made off this album? Now that I set back and think, I think we were being set up to get screwed.
Sukonick changed his name to Paul Arnold. RCA Victor took the group and gave Arnold $25.000.00 up front. We never saw a dime. They released and sent out promo's and pressed the album. We had a full page ad in Billboard and they booked us into the Happy Medium in Chicago. They wouldn't listen to us that Frisco was the place to go. We had one uniform made that could be worn two ways. That was it.
I for one had to leave my band in Ventura. They bought our plane tickets and the hotel. I guess for the most part we were using our own money. Opening night was for all the big shots from RCA and radio and media. The place was a theater with a balcony. We were all on our own risers and a light show behind us. We made it through the show. It was the hardest thing I ever done singing and playing that beat at the same time. I think we made it a week and then two of the guys got into it with Arnold.
They asked for money and he wanted to give them five dollars a day. That was the beginning of the end. I tried for two days to mend it but that was it. We ended up at the airport at around 1 in the morning with all our stuff
waiting for a standby flight and just about broke.
Here are the Facts. I myself never saw Arnold again. He never tried to get in touch. We never got our artist contracts from RCA. We never got our writer contracts. We learned from one source that the album sold around 280 thousand copies. I called ASCAP and asked if there was money in there for us. They said yes but you can't get it because you are a BMI writer. We don't know who the publisher was. They were to inform ASCAP if we were a BMI writer. They didn't.
So it all boils down to this. Almost two years of work. We put that album together. It is still being played on the radio everyday somewhere. We have never made a dime.
For you story tellers on the Web!
The Id was not Jerry Cole's band and the album was not Jerry's idea. We were five friends who came together to do this project. Concerning all the other record labels that released out-takes of the Id. There were no out-takes.
Arnold was so cheap we did not cut anything extra. The extra album on World in Sound is not the Id out-takes. It's a bunch of s*** from some other session we did and Jerrys the one who gave it to world in sound without us knowing about it. The other albums out there are from other sessions we did and we did a bunch.
Jerry evidently got his hands on some of our old sessions masters and reworked them such as the animated Egg which I found myself playing bass on.
I wrote this story on behalf of Don Dexter, Norm Cass and Rich Cliburn in
hope that it would clear up the wrong stories about us.
Thank You
Glenn Cass aka Glenn Kastner"
