Knight Raiders - Edgewood Studios acetate
- Thread starter The Raven
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TJ Coro
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Right. I can tell you about the drums which I will discuss in another chapter. The bass guitar was a Gibson and the drums were Lido, later upgraded to dual Tom-Tom Rogers with Zildgian cymbals. As for the rest of the equipment, your guess is as good as mine. Sorry, brother. -Steve
Update: Thinking on it some more, I believe the lead guitar was a fender with a ‘fuzz pedal.’ I also remember we bought a few Marshall amps at some point, but I don’t remember if we had them when we recorded the record. I was still playing the Lido drums when we recorded. I’ll keep thinking on it. -Steve
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TJ Coro
Ikon Class
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- Leesburg, Virginia
Thanks, Mr. Fuzz. I can’t tell you much about what inspired the song, only the title, which was my contribution. It was an expression we used around the neighborhood, or hood, as the kids like to say. The song was supposed to feature the drummer, because he was “one of the best in the area” according to a quote in the Montgomery County Sentinel. And as we all know, if it’s in print, it must be true. I’m not so sure how much the song featured the drummer, however. BTW, in case you forgot…I was the drummer. -Steve
TJ Coro
Ikon Class
- Joined
- Jun 21, 2022
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- Leesburg, Virginia
Chapter IV: Working Our Way To Recording.
After our success at the talent contest, we started working on two songs written by Jeff in preparation for a recording date early the next year (1967). At the same time, demand for the Knight Raiders grew and we found ourselves playing a variety of venues throughout the Washington, D.C. Metro area - from high schools, teen centers, private parties, college frat houses to a variety of benefits for churches and cheerleaders. (No charge for the cheerleaders.) All this meant we needed to learn more songs and increase our repertoire (a copy of one of our early play list is attached). But, other than the groupies that showed up occasionally asking for autographs, guitar picks, or drum sticks and dates, there is nothing too memorable about these gigs with the exception of one - the night we played at a Damascus High School dance, the same HS attended by Jeff and Garry Phillips (lead guitar and organ).
The Dark Side Of Rock & Roll. We had played at Damascus HS several times before without incident. But on this particular night, something was afoot and we knew it. During the first set, a few guys in another band from Damascus HS showed up to make trouble, especially for me. Me? Why Me? What did I do? I never figured out why I was the target of their hostility, but I suspect it was partly because I was from Rockville, Md. which had a reputation for being a bad-ass town with a bad-ass high school football team (Richard Montgomery). Back then, nobody beat the RM football team. They hadn't lost a game in three years, if I remember correctly. Also, Rockville was considered the 'big city' to the surrounding farmlands, including Damascus, which was in the middle of nowhere, full of cows, farmers and tractor mechanics. So, I suspect there was some jealousy there and these guys were going to show this big shot city slicker a thing or two. Whatever.
Now, according to my contemporaneous notes, the leader of the other band, Kevin M., left the dance before we finished our final set, only to return drunk looking for a fight with me as we were packing up. Was he not aware of the Rockville reputation for kicking ass, dammit? Apparently not, because he came straight up to me with a few of his entourage demanding I follow him outside. YIKES!! So much for the Rockville reputation. Okay, think, think....what's the next move? As I followed him out to the back of the school, I remember my mind was a blur, I had tunnel vision, my ears were ringing and my hands were beginning to sweat! And just as my knees were about to buckle, he turned around to face me. WHAM! I instinctively hit him in the face with all the might my 135 lbs. body could muster. Down he went! Fight over? Apparently not. He was too drunk to know he was licked and began to get back up on his feet to continue the fight. All I remember after that was a lot of wrestling around on the ground with the occasional rabbit punch. Eventually, I was declared the unanimous winner by all who witnessed the...ahem, "fight." After that night , I don't recall ever fist fighting again.
Okay, I intended this chapter to be about Edgewood Studio and our demo recording, but I got a little long-winded remembering the big fight with another band. So, I will split this chapter into two parts. Part two will cover the making of the demo....unless I get sidetracked again. -Steve
After our success at the talent contest, we started working on two songs written by Jeff in preparation for a recording date early the next year (1967). At the same time, demand for the Knight Raiders grew and we found ourselves playing a variety of venues throughout the Washington, D.C. Metro area - from high schools, teen centers, private parties, college frat houses to a variety of benefits for churches and cheerleaders. (No charge for the cheerleaders.) All this meant we needed to learn more songs and increase our repertoire (a copy of one of our early play list is attached). But, other than the groupies that showed up occasionally asking for autographs, guitar picks, or drum sticks and dates, there is nothing too memorable about these gigs with the exception of one - the night we played at a Damascus High School dance, the same HS attended by Jeff and Garry Phillips (lead guitar and organ).
The Dark Side Of Rock & Roll. We had played at Damascus HS several times before without incident. But on this particular night, something was afoot and we knew it. During the first set, a few guys in another band from Damascus HS showed up to make trouble, especially for me. Me? Why Me? What did I do? I never figured out why I was the target of their hostility, but I suspect it was partly because I was from Rockville, Md. which had a reputation for being a bad-ass town with a bad-ass high school football team (Richard Montgomery). Back then, nobody beat the RM football team. They hadn't lost a game in three years, if I remember correctly. Also, Rockville was considered the 'big city' to the surrounding farmlands, including Damascus, which was in the middle of nowhere, full of cows, farmers and tractor mechanics. So, I suspect there was some jealousy there and these guys were going to show this big shot city slicker a thing or two. Whatever.
Now, according to my contemporaneous notes, the leader of the other band, Kevin M., left the dance before we finished our final set, only to return drunk looking for a fight with me as we were packing up. Was he not aware of the Rockville reputation for kicking ass, dammit? Apparently not, because he came straight up to me with a few of his entourage demanding I follow him outside. YIKES!! So much for the Rockville reputation. Okay, think, think....what's the next move? As I followed him out to the back of the school, I remember my mind was a blur, I had tunnel vision, my ears were ringing and my hands were beginning to sweat! And just as my knees were about to buckle, he turned around to face me. WHAM! I instinctively hit him in the face with all the might my 135 lbs. body could muster. Down he went! Fight over? Apparently not. He was too drunk to know he was licked and began to get back up on his feet to continue the fight. All I remember after that was a lot of wrestling around on the ground with the occasional rabbit punch. Eventually, I was declared the unanimous winner by all who witnessed the...ahem, "fight." After that night , I don't recall ever fist fighting again.
Okay, I intended this chapter to be about Edgewood Studio and our demo recording, but I got a little long-winded remembering the big fight with another band. So, I will split this chapter into two parts. Part two will cover the making of the demo....unless I get sidetracked again. -Steve
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TJ Coro
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- Jun 21, 2022
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- Leesburg, Virginia
Great Line! Wish I thought of it. -Steve
TJ Coro
Ikon Class
- Joined
- Jun 21, 2022
- Location
- Leesburg, Virginia
Chapter IV, Part 2: Let's Make A Record.
After mastering our two new songs while at the same time performing rock & roll shows every weekend at local area clubs and schools, the day finally came to lay down some tracks and make a demo record, or acetate, as some might call it. I never did call it that until I found this fine forum and The Raven's thread asking for info on the mystery acetate. I must admit, it sounds more professional than 'demo record.' Okay, fine...acetate it is.
February 22, 1967. Finally, the big day arrived! We jumped in our cars and headed to DC to record our two original songs - Hang it Up and Love Without Words, both written by Jeff Phillips, Lead Guitar. It's possible his older brother, Garry, had something to do with these songs, which would make it Phillips & Phillips and sounds pretty cool, but I'm sticking with just Jeff, since he's the only name on the copyright.
I have to be honest, I remember almost nothing about the recording session for some reason. A total blank. Most of what I know about it comes from a journal I kept on the band, but it is very limited. Here's what I wrote:
That's it. Not much there. As you can see, I didn't keep very good journal notes. Better than nothing, I guess.
I do remember one incident at the studio that was a bit embarrassing. Butch, the base player's father, had some connection with Edgewood Studios, being a Country Western musician, and was the one who arranged for the recording, so I suspect he felt responsible for us. At some point during the session, he went out to get some refreshments for "the boys" and came back with a tray full of snacks and drinks. But, just as he was about to enter the control room, he tripped and spilled the drinks all over the floor. (YIKES!) I remember watching him scurry about looking for some towels and quickly mopping up the mess. I felt bad for him. One minute, he's our "Brian Epstein" facilitating the recording and the next minute he's just someone's goofy dad making a mess in a recording studio. Such a weird thing to remember, I know, but that's it.
I also remember the feeling we experienced after the recording session. It was fantastic! The sun was bright and warm on our faces and the air was brisk and clean as we headed to a local White Castle (burgers served by ex-cons) to celebrate our first recording, the first of many, hopefully. I wondered to myself if this was how the Beatles felt after they recorded their first record. Just fifteen and headed for... The Top of the Pops. (Quote from the Beatles.)
I can't remember if we got copies of the demo record....errr, sorry, acetate, that day or received them later, all I know is that it was great having a real 45 rpm record of your band that you could play on a record player. How cool is that? One more comment about the rec.....acetate, and I'll move on to the next chapter.
My mother taught pre-school each morning to a bunch of local kids. The father of one of the kids was Dick Denim, DJ at WINX AM radio in Rockville, Md. My mom asked him if he would give our demo a listen. He agreed to provide feedback. Dick Denim thought the song was ok, but it sounded a bit muddled, like we were competing with each other for attention. Hey man! Fuck You! That's Rock & Roll. From that day on, we all knew him as Whatadick Denim. And what's up with that stupid name Dick Denim? You think that's cool? It ain't cool and it ain't rock & roll? Chicks are laughing at you, wanker. As you can see, we didn't much appreciate his comments.
A quick side story. Years later in the early 1980s, long after The Knight Raiders had disbanded, I found myself living with Sandy W., a popular DJ for Q107, one of the top FM rock stations in the DC area. She did the 10:00pm to 2:00am nightly show. Well, one night while she was on her way home from the station, the phone rang. It was around 2:30am. I jumped out of bed to answer the phone only to find it was Whatadick Denim calling for Sandy. A booty call, no doubt. WTF! As you can imagine, I was not very thrilled to be woken up in the middle of the night, especially by this douchebag. I shared my thoughts with him He never called again.
Okay, next chapter. The Knight Raiders reorganize, hire another manger and one member plays at a strip club. Coming soon!
PS - I've included a link below to a YT video I made of the Knight Raiders song "Hang It Up (I don't want to hear it), featuring my alter ego Puro Padre. Cheers!
After mastering our two new songs while at the same time performing rock & roll shows every weekend at local area clubs and schools, the day finally came to lay down some tracks and make a demo record, or acetate, as some might call it. I never did call it that until I found this fine forum and The Raven's thread asking for info on the mystery acetate. I must admit, it sounds more professional than 'demo record.' Okay, fine...acetate it is.
February 22, 1967. Finally, the big day arrived! We jumped in our cars and headed to DC to record our two original songs - Hang it Up and Love Without Words, both written by Jeff Phillips, Lead Guitar. It's possible his older brother, Garry, had something to do with these songs, which would make it Phillips & Phillips and sounds pretty cool, but I'm sticking with just Jeff, since he's the only name on the copyright.
I have to be honest, I remember almost nothing about the recording session for some reason. A total blank. Most of what I know about it comes from a journal I kept on the band, but it is very limited. Here's what I wrote:
"Well, we finally cut our record. It took [about] 4 hours. It sounded pretty good, too. We only had to do each song about 4 times each. Records were $3:35 apiece. I'm pretty tired. That's why it's so sloppy."
That's it. Not much there. As you can see, I didn't keep very good journal notes. Better than nothing, I guess.
I do remember one incident at the studio that was a bit embarrassing. Butch, the base player's father, had some connection with Edgewood Studios, being a Country Western musician, and was the one who arranged for the recording, so I suspect he felt responsible for us. At some point during the session, he went out to get some refreshments for "the boys" and came back with a tray full of snacks and drinks. But, just as he was about to enter the control room, he tripped and spilled the drinks all over the floor. (YIKES!) I remember watching him scurry about looking for some towels and quickly mopping up the mess. I felt bad for him. One minute, he's our "Brian Epstein" facilitating the recording and the next minute he's just someone's goofy dad making a mess in a recording studio. Such a weird thing to remember, I know, but that's it.
I also remember the feeling we experienced after the recording session. It was fantastic! The sun was bright and warm on our faces and the air was brisk and clean as we headed to a local White Castle (burgers served by ex-cons) to celebrate our first recording, the first of many, hopefully. I wondered to myself if this was how the Beatles felt after they recorded their first record. Just fifteen and headed for... The Top of the Pops. (Quote from the Beatles.)
I can't remember if we got copies of the demo record....errr, sorry, acetate, that day or received them later, all I know is that it was great having a real 45 rpm record of your band that you could play on a record player. How cool is that? One more comment about the rec.....acetate, and I'll move on to the next chapter.
My mother taught pre-school each morning to a bunch of local kids. The father of one of the kids was Dick Denim, DJ at WINX AM radio in Rockville, Md. My mom asked him if he would give our demo a listen. He agreed to provide feedback. Dick Denim thought the song was ok, but it sounded a bit muddled, like we were competing with each other for attention. Hey man! Fuck You! That's Rock & Roll. From that day on, we all knew him as Whatadick Denim. And what's up with that stupid name Dick Denim? You think that's cool? It ain't cool and it ain't rock & roll? Chicks are laughing at you, wanker. As you can see, we didn't much appreciate his comments.
A quick side story. Years later in the early 1980s, long after The Knight Raiders had disbanded, I found myself living with Sandy W., a popular DJ for Q107, one of the top FM rock stations in the DC area. She did the 10:00pm to 2:00am nightly show. Well, one night while she was on her way home from the station, the phone rang. It was around 2:30am. I jumped out of bed to answer the phone only to find it was Whatadick Denim calling for Sandy. A booty call, no doubt. WTF! As you can imagine, I was not very thrilled to be woken up in the middle of the night, especially by this douchebag. I shared my thoughts with him He never called again.
Okay, next chapter. The Knight Raiders reorganize, hire another manger and one member plays at a strip club. Coming soon!
PS - I've included a link below to a YT video I made of the Knight Raiders song "Hang It Up (I don't want to hear it), featuring my alter ego Puro Padre. Cheers!
Last edited:
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Hang It Up is incredible. As for comparisons, Paul Revere & The Raiders may be great, but The Knight Raiders are pure genius!
TJ Coro
Ikon Class
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- Jun 21, 2022
- Location
- Leesburg, Virginia
Gracias, jefe! That’s a helluva compliment. Made my day, mate. -Steve
TJ Coro
Ikon Class
- Joined
- Jun 21, 2022
- Location
- Leesburg, Virginia
Chapter V: Moving On Up.
After recording the demo acetate, the Knight Raiders popularity continued to grow, but what happened with the demo? I have no memories of any attempts to promote it, other than featuring it in our set list and giving it to a bottom-rung local DJ at a small town, but popular, AM radio station. He never played our record on the air, but offered comments, as discussed in the prior chapter. There may have been some high level behind-the-scenes attempts to get the demo published, but I never knew of any and the demo remained just that, a demo dust collector that went nowhere.
Still, our success was growing and our manager (Jeff and Garry's mom, Mrs. Phillips) needed some help. So, we hired a professional manager with a fairly large clientele of bands in the DC metro area. Jeff's mom was still involved, but Greg Weiser, our new manager did most, if not all, of the bookings. And that was fine. While Mrs. Phillips did a good job getting us off the ground, we needed to take the next step and hire someone who could manage the band full time. Plus, it was nice to be managed by someone other than the lead guitar's mom.
After The Beatles hit the scene in the early 60s, at least on this side of the pond, Garage bands were becoming very popular among all the young dudes, especially those of us who couldn't get girls, and it seemed like everyone was learning how to play a musical instrument. Noting the tread among teenage boys (and some girls, I suppose), one of the largest newspapers in the DC metro area began publishing a whole section in the weekend edition dedicated to area bands. This is where our new manager began to promote the Knight Raiders. Man, it was so cool to pick up the weekend edition and see our band listed alongside other top area garage bands. But it didn't stop there. Our new manager wanted us to learn one or two popular adult contemporary songs. What? That ain't Rock & Roll.
In 1960, Otto Preminger released a movie that was extremely popular in the John F. Kennedy era- Exodus. The film's theme song (this land is mine?) became very popular and, according to Wikipedia, was "...widely remixed and covered by many artist." And now, due to our manager's urging, it was about to be covered by the Knight Raiders! What the F...? Despite our apprehension, we learned the song and began to play it at our gigs. Surprisingly, it was kind of popular, mostly among the older set, and became a regular part of our play list for a time. To be honest, I loved playing the song! It gave me a chance to use my timpani mallets -BOOM-boom BOOM-boom BOOM-boom! Imagine a slave ship in ancient times beating out a rhythm for the rowers. That's sorta' what it was like. And using the mallets to slowly bring the cymbals to a crescendo - too cool! Next to Wipe Out, it was one of my favorite songs to play.
Okay, in the next chapter, I will cover more changes to the Knight Raiders that will have a material impact on the direction of the band. Now, I know I promised to discuss the "strip club incident" in this chapter, and no doubt a few of you are disappointed. But I promise it will be included in the next posting. As a tease, it's related to an opportunity I had to play with a DC musical legend at a well-known strip club. Remember, I'm only 15 years old. You don't want to miss it!
After recording the demo acetate, the Knight Raiders popularity continued to grow, but what happened with the demo? I have no memories of any attempts to promote it, other than featuring it in our set list and giving it to a bottom-rung local DJ at a small town, but popular, AM radio station. He never played our record on the air, but offered comments, as discussed in the prior chapter. There may have been some high level behind-the-scenes attempts to get the demo published, but I never knew of any and the demo remained just that, a demo dust collector that went nowhere.
Still, our success was growing and our manager (Jeff and Garry's mom, Mrs. Phillips) needed some help. So, we hired a professional manager with a fairly large clientele of bands in the DC metro area. Jeff's mom was still involved, but Greg Weiser, our new manager did most, if not all, of the bookings. And that was fine. While Mrs. Phillips did a good job getting us off the ground, we needed to take the next step and hire someone who could manage the band full time. Plus, it was nice to be managed by someone other than the lead guitar's mom.
After The Beatles hit the scene in the early 60s, at least on this side of the pond, Garage bands were becoming very popular among all the young dudes, especially those of us who couldn't get girls, and it seemed like everyone was learning how to play a musical instrument. Noting the tread among teenage boys (and some girls, I suppose), one of the largest newspapers in the DC metro area began publishing a whole section in the weekend edition dedicated to area bands. This is where our new manager began to promote the Knight Raiders. Man, it was so cool to pick up the weekend edition and see our band listed alongside other top area garage bands. But it didn't stop there. Our new manager wanted us to learn one or two popular adult contemporary songs. What? That ain't Rock & Roll.
In 1960, Otto Preminger released a movie that was extremely popular in the John F. Kennedy era- Exodus. The film's theme song (this land is mine?) became very popular and, according to Wikipedia, was "...widely remixed and covered by many artist." And now, due to our manager's urging, it was about to be covered by the Knight Raiders! What the F...? Despite our apprehension, we learned the song and began to play it at our gigs. Surprisingly, it was kind of popular, mostly among the older set, and became a regular part of our play list for a time. To be honest, I loved playing the song! It gave me a chance to use my timpani mallets -BOOM-boom BOOM-boom BOOM-boom! Imagine a slave ship in ancient times beating out a rhythm for the rowers. That's sorta' what it was like. And using the mallets to slowly bring the cymbals to a crescendo - too cool! Next to Wipe Out, it was one of my favorite songs to play.
Okay, in the next chapter, I will cover more changes to the Knight Raiders that will have a material impact on the direction of the band. Now, I know I promised to discuss the "strip club incident" in this chapter, and no doubt a few of you are disappointed. But I promise it will be included in the next posting. As a tease, it's related to an opportunity I had to play with a DC musical legend at a well-known strip club. Remember, I'm only 15 years old. You don't want to miss it!
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I'm really enjoying your story Steve. It's great that you decided to share it with us. I know lots of members and visitors are enjoying each episode. I play Hang It Up every day, - several times!
TJ Coro
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- Leesburg, Virginia
Thanks, mate. I can’t express how much I appreciate your comments and all the comments I’ve received. TBH, I’m amazed at just how many long forgotten memories are coming back to me as a result of this exercise. Thanks again for your kind words.
TJ Coro
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- Joined
- Jun 21, 2022
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- Leesburg, Virginia
My pleasure, amigo. I’m having a lots of fun putting the history of the band together. I’d be interested in hearing where you guys are from and your interest in rock music from the 60s. Like, did/do you play an instrument, were/are you in a band, stuff like that. I can see some info on your profile page - age, location - but some of you don’t include that info in your profile. Come on…don’t be shy. -Steve
13th Floor Garage
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Steve, I really enjoy and appreciate you sharing your recollections. I not only enjoy your recollections, but your writing style as well.
Bandwise, I can play a little bit of most instruments by ear. My goal before hitting 30 was to get all those cassette tapes with various riffs (dating back to when I was eleven years old and onward) to actual completed songs. I had written enough boy meets girl/boy loses girls poetry to intertwine the two to music. Objectively speaking, those 4-track recordings would have absolutely no appeal to anyone (I'm now 58) , but hearing them from time to time still brings me joy.
As to appreciation of "garage"... I heard the Monkees version of (I'm not your) "Stepping Stone" on the folks AM car radio and it really grabbed me. Although I was only about four years old, I'd already enjoyed listening to music and this particular song really stood out. I was probably the only four year old with a Rock and Roll LP (I talked my dad into buying me "Aftermath"). A couple of years later, I came across and listened to my Uncles "Got Live If You Want It" (Rolling Stones) LP. I remember their version of "Fortune Teller" sounding cooler than any Stones song I'd previously heard.... and grabbing me like when I first heard "Stepping Stone." At the time, I never knew that there was a style of similar music that had/was being played by teenagers all over the states.
Although neither of the above songs seem to contain the urgency, purity, rawness and authenticity of local teenagers cutting a new record, the sound resembled a style that I liked (and better than other music being played on the radio).
Bandwise, I can play a little bit of most instruments by ear. My goal before hitting 30 was to get all those cassette tapes with various riffs (dating back to when I was eleven years old and onward) to actual completed songs. I had written enough boy meets girl/boy loses girls poetry to intertwine the two to music. Objectively speaking, those 4-track recordings would have absolutely no appeal to anyone (I'm now 58) , but hearing them from time to time still brings me joy.
As to appreciation of "garage"... I heard the Monkees version of (I'm not your) "Stepping Stone" on the folks AM car radio and it really grabbed me. Although I was only about four years old, I'd already enjoyed listening to music and this particular song really stood out. I was probably the only four year old with a Rock and Roll LP (I talked my dad into buying me "Aftermath"). A couple of years later, I came across and listened to my Uncles "Got Live If You Want It" (Rolling Stones) LP. I remember their version of "Fortune Teller" sounding cooler than any Stones song I'd previously heard.... and grabbing me like when I first heard "Stepping Stone." At the time, I never knew that there was a style of similar music that had/was being played by teenagers all over the states.
Although neither of the above songs seem to contain the urgency, purity, rawness and authenticity of local teenagers cutting a new record, the sound resembled a style that I liked (and better than other music being played on the radio).
TJ Coro
Ikon Class
- Joined
- Jun 21, 2022
- Location
- Leesburg, Virginia
Great stuff and very interesting, Mr. Garage. Helps me understand who is reading my stories. What part of the country/world are you from? I’ve noticed we have some international folks around theses parts, such as Bosshog from Sydney, Australia. Very cool! -Steve
13th Floor Garage
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- May 12, 2011
I grew up all over North Carolina. My roots are mainly Concord, NC. Unfortunately, 1960's radio wasn't as cool in my area. The Charlotte (a larger near by city) radio stations placed a stronger emphasis on Beach music. Although we'd hear the Turtles, Lovin' Spoonful, Association etc... I don't recall hearing music such as the Seeds, Electric Prunes etc..
Concord, did however have a couple of cool bands (Tamrons and The Huns). I knew nothing about them until the "Back From The Grave" LP series. I later discovered that my aunt and uncle went to school with them.
TJ Coro
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Note to Mr. Garage - as I was responding to your last bio post, I must have done something that messed up my ability to “like” post #76. Did I somehow combine two posts under #76? I’m so confused!
Anyway, I’m giving your post a here. Thank you for your kind words.
Anyway, I’m giving your post a
here. Thank you for your kind words.
TJ Coro
Ikon Class
- Joined
- Jun 21, 2022
- Location
- Leesburg, Virginia
Chapter VI: Big Night At The Rand - Going to a Go-Go
Shortly after hiring a new manager, Greg W., I got an opportunity to play with a top Washington, D.C., nightclub soul singer, Phil Flowers and the Flower Shop. The drummer for the Flower Shop, Rick Sheltra, attended the same high school as I did and was good friends with our new manager. One night, Rick was unable to perform and I was asked to fill in for him at the Rand Night Club, located along the 14th street corridor in DC, famously known as the Red Light district back then.
First, a little background on Rick Sheltra. Without a doubt, Rick was one of the best, if not the best, drummers in the DC area and beyond. He was so good he could actually play the Wipe Out drum solo on his teeth! Who does that? He was so good that he started playing full-time with Phil Flowers while still in high school. An Amazing drummer! Somehow, he played nights at the strip club and attended high school during the days, at least for awhile. Even though he was 3 years older than me, we shared a class (typing, I think) where he would show up, totally exhausted, after playing until 2 am the night before. This didn't last long, however; and soon he moved into an apartment in DC near the night club. I considered him a friend and when he decided to upgrade his drum kit, he offered to sell me his old pearl sparkle drums which he personally picked out with his dad, also a musician, at the Rogers Mfg. Plant. How cool is that? I still have the kit.
Okay, back to the story. Out of the blue, I was asked by our new manager's assistant, Steve T., if I was available to fill in for Rick that night. Imagine, 15 years old and being asked to play at a strip club with a top area performer! Of course I was available. Rick's father, Mr. Sheltra, also played the local night club circuit and agreed to give me a ride to and from the Rand night club. All I had to do was wear a white shirt and a dark jacket. No problem. I had Phil Flowers latest Album, "Our Man In Washington," so I spent the day learning the songs. Okay, I'm ready. Let's do this thing!
Early that evening, Mr. Sheltra picked Steve T. and I up to take us to the Rand Club. I was starting to get nervous and excited, but mostly nervous. Hell! I'm a 15 years old boy about to play with a group of top notch professional musicians - musicians who backed up national acts, like Lainie Kazan, Actress and singer. A boy's dream come true, right? And if that weren't enough, it would all happen while beautiful topless girls danced all around me. Ooohhh, mama!..
I was met at the club by Rod, the sax player, who took me to the breakroom where the rest of the band was hanging. They were very nice, friendly and seemed impressed when I told them I spent the day learning the songs from the album. Rod even said as much to Phil Flowers as he walked in the room. He smiled as he reached out to shake my hand. It's show time.
My head was beginning to spin in anticipation of what was about to happen. There I was, sitting at a drum set under the classic red and blue lighting of a typical topless night club, getting ready to play with Phil Flowers and the Flower Shop. According to Gerry Granahan, "Phil is one of the most dynamic entertainers that I have ever seen on a night club floor."* WOW! And there I am, barely in my teens, with beautiful, naked girls all about....well, topless, which was naked enough to me. And there was Steve T., sitting at the front table, beer in hand, staring at the dancers with a jaw-busting grin on his face. Suddenly, Phil walked on stage to a thunderous applause.
1-2-3-4! Rod, the sax player and leader of the band, counted out the beat and we began to play. I was nervous, but I was fine, keeping pace with the pros and keeping it simple - Ringo style! I don't remember the songs we played, except for one (Boogaloo Down Broadway), but I'm sure we played all the cover songs from his current album, like The Great Prentender, Try A Little Tenderness, and Mr. Pitiful. I knew these songs. I practiced these songs. My focus was sharp and I wasn't distracted by the two naked lovelies dancing next to me, well...not at first. I felt good and was playing well. Eventually, I relaxed enough to take in the sights around me. This is great! Then it happened. The next song on the set list - Boogaloo Down Broadway.
Boogaloo Down Broadway, Yeah, Funky Broadway. A great song that I was somewhat familiar with, but never played. Since the intro included a single hit of the snare on the 3rd beat, (I think), Rod said he would que me when to hit the snare. Okay, I can do that. It's a simple intro, really. But apparently I couldn't. After the guitar intro and a two beat pause, Rod lifted and lowered his sax to que me to hit the snare, but I rushed and hit the snare too early. (If you're not familiar with the song, I've included YT link to the song.) Anyway, after my miscue, the band continued to play and I was fine until we came around to that part of the song again. Rod looked over at me, getting ready to que me when to hit the snare, but once again, my timing was off. I was either too early or too late. At this point, the sweat is poring down my face, I lost my rhythm, my sticks are getting slippery, as I struggle to continue to play. I could see the concern/ disappointment on Phil Flowers' face as Rod continued to lead me along. The song finally ended, as did the set. Back in the breakroom, none of the musicians said a word about it and instead, patted me on the back, reassuringly.
As I sat in the breakroom mopping the sweat from my face, Rod came in and mentioned that a drummer pal of theirs had shown up and asked if I'd mind if he sat in on the next set. What a diplomat. Of course I didn't mind. I thanked them for the opportunity and headed out into the night club showroom. I don't remember much after that, just that I slid into a seat and sat in a shocked silence next to Steve T., who had relocated to a table towards the back of the room. I would have left right then, but we were waiting for Mr. Shelta, who was playing at another night club, to drive us home. So, I sat there with a stained smile as the band came out for the second set. I have to say, it was a bit uncomfortable sitting there watching a more experienced drummer take my place. I felt like a failure. I was getting sick!
On the ride home, Mr. Sheltra asked how I did, but I was speechless. So, Steve T. spoke up and told him I did fine, but flubbed one song and that they got another drummer to play the rest of the sets. I don't remember exactly what Mr. Sheltra said, but whatever it was, it was kind and comforting. Cool guy!
Okay, this has been a really long chapter and I'm beat. So, I will discuss the band shakeup in the next chapter. Enjoy the YT clip. It’s a great song.
__________________________________________
*Gerry Granahan, author of the Album liner notes.
Shortly after hiring a new manager, Greg W., I got an opportunity to play with a top Washington, D.C., nightclub soul singer, Phil Flowers and the Flower Shop. The drummer for the Flower Shop, Rick Sheltra, attended the same high school as I did and was good friends with our new manager. One night, Rick was unable to perform and I was asked to fill in for him at the Rand Night Club, located along the 14th street corridor in DC, famously known as the Red Light district back then.
First, a little background on Rick Sheltra. Without a doubt, Rick was one of the best, if not the best, drummers in the DC area and beyond. He was so good he could actually play the Wipe Out drum solo on his teeth! Who does that? He was so good that he started playing full-time with Phil Flowers while still in high school. An Amazing drummer! Somehow, he played nights at the strip club and attended high school during the days, at least for awhile. Even though he was 3 years older than me, we shared a class (typing, I think) where he would show up, totally exhausted, after playing until 2 am the night before. This didn't last long, however; and soon he moved into an apartment in DC near the night club. I considered him a friend and when he decided to upgrade his drum kit, he offered to sell me his old pearl sparkle drums which he personally picked out with his dad, also a musician, at the Rogers Mfg. Plant. How cool is that? I still have the kit.
Okay, back to the story. Out of the blue, I was asked by our new manager's assistant, Steve T., if I was available to fill in for Rick that night. Imagine, 15 years old and being asked to play at a strip club with a top area performer! Of course I was available. Rick's father, Mr. Sheltra, also played the local night club circuit and agreed to give me a ride to and from the Rand night club. All I had to do was wear a white shirt and a dark jacket. No problem. I had Phil Flowers latest Album, "Our Man In Washington," so I spent the day learning the songs. Okay, I'm ready. Let's do this thing!
Early that evening, Mr. Sheltra picked Steve T. and I up to take us to the Rand Club. I was starting to get nervous and excited, but mostly nervous. Hell! I'm a 15 years old boy about to play with a group of top notch professional musicians - musicians who backed up national acts, like Lainie Kazan, Actress and singer. A boy's dream come true, right? And if that weren't enough, it would all happen while beautiful topless girls danced all around me. Ooohhh, mama!..
I was met at the club by Rod, the sax player, who took me to the breakroom where the rest of the band was hanging. They were very nice, friendly and seemed impressed when I told them I spent the day learning the songs from the album. Rod even said as much to Phil Flowers as he walked in the room. He smiled as he reached out to shake my hand. It's show time.
My head was beginning to spin in anticipation of what was about to happen. There I was, sitting at a drum set under the classic red and blue lighting of a typical topless night club, getting ready to play with Phil Flowers and the Flower Shop. According to Gerry Granahan, "Phil is one of the most dynamic entertainers that I have ever seen on a night club floor."* WOW! And there I am, barely in my teens, with beautiful, naked girls all about....well, topless, which was naked enough to me. And there was Steve T., sitting at the front table, beer in hand, staring at the dancers with a jaw-busting grin on his face. Suddenly, Phil walked on stage to a thunderous applause.
1-2-3-4! Rod, the sax player and leader of the band, counted out the beat and we began to play. I was nervous, but I was fine, keeping pace with the pros and keeping it simple - Ringo style! I don't remember the songs we played, except for one (Boogaloo Down Broadway), but I'm sure we played all the cover songs from his current album, like The Great Prentender, Try A Little Tenderness, and Mr. Pitiful. I knew these songs. I practiced these songs. My focus was sharp and I wasn't distracted by the two naked lovelies dancing next to me, well...not at first. I felt good and was playing well. Eventually, I relaxed enough to take in the sights around me. This is great! Then it happened. The next song on the set list - Boogaloo Down Broadway.
Boogaloo Down Broadway, Yeah, Funky Broadway. A great song that I was somewhat familiar with, but never played. Since the intro included a single hit of the snare on the 3rd beat, (I think), Rod said he would que me when to hit the snare. Okay, I can do that. It's a simple intro, really. But apparently I couldn't. After the guitar intro and a two beat pause, Rod lifted and lowered his sax to que me to hit the snare, but I rushed and hit the snare too early. (If you're not familiar with the song, I've included YT link to the song.) Anyway, after my miscue, the band continued to play and I was fine until we came around to that part of the song again. Rod looked over at me, getting ready to que me when to hit the snare, but once again, my timing was off. I was either too early or too late. At this point, the sweat is poring down my face, I lost my rhythm, my sticks are getting slippery, as I struggle to continue to play. I could see the concern/ disappointment on Phil Flowers' face as Rod continued to lead me along. The song finally ended, as did the set. Back in the breakroom, none of the musicians said a word about it and instead, patted me on the back, reassuringly.
As I sat in the breakroom mopping the sweat from my face, Rod came in and mentioned that a drummer pal of theirs had shown up and asked if I'd mind if he sat in on the next set. What a diplomat. Of course I didn't mind. I thanked them for the opportunity and headed out into the night club showroom. I don't remember much after that, just that I slid into a seat and sat in a shocked silence next to Steve T., who had relocated to a table towards the back of the room. I would have left right then, but we were waiting for Mr. Shelta, who was playing at another night club, to drive us home. So, I sat there with a stained smile as the band came out for the second set. I have to say, it was a bit uncomfortable sitting there watching a more experienced drummer take my place. I felt like a failure. I was getting sick!
On the ride home, Mr. Sheltra asked how I did, but I was speechless. So, Steve T. spoke up and told him I did fine, but flubbed one song and that they got another drummer to play the rest of the sets. I don't remember exactly what Mr. Sheltra said, but whatever it was, it was kind and comforting. Cool guy!
Okay, this has been a really long chapter and I'm beat. So, I will discuss the band shakeup in the next chapter. Enjoy the YT clip. It’s a great song.
__________________________________________
*Gerry Granahan, author of the Album liner notes.
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