SRC


Band members                             Related acts

  line up 1 (1967)

- E.G. Clawson (RIP) -- drums, percussion  
- Robin Dale -- bass, backing vocals  
- Steve Lyman -- rhythm guitar, backing vocals  
- Gary Quackenbush (RIP 2015)-- lead guitar  
- Glenn Quackenbush -- keyboards, vocals
- Scott Richardson -- vocals  

  line up 2 (1967-70)

- E.G. Clawson (aka Scott WIlliamson) (RIP) -- drums, percussion 
- Steve Lyman -- rhythm guitar, backing vocals 
- Gary Quackenbush -- lead guitar 
- Glenn Quackenbush -- keyboards, vocals
- Scott Richardson -- vocals 
NEW - Al Wilmot (RIP 2005) -- bass (replaced Robin Dale) 

 

  line up 3 (1970-71

- E.G. Clawson (aka Scott WIlliamson (RIP) -- drums, percussion 
- Ray Goodman -- lead guitar (replaced Steve Lyman and 

  Gary Quackenbush)
- Glenn Quackenbush -- keyboards
- Scott Richardson -- vocals 

  line up 4 (1971-72)

- E.G. Clawson (aka Scott WIlliamson (RIP) -- drums, percussion

- Ray Goodman -- lead guitar
- Glenn Quackenbush -- vocals, keyboards 
- Scott Richardson -- vocals 

 - Al Wilmot (RIP 2005) -- bass, vocals

 

  line up 4 (1972)

- E.G. Clawson (aka Scott WIlliamson (RIP) -- drums, percussion

- Ray Goodman -- lead guitar

NEW - Richard Haddad (RIP) -- bass (replaced Al Wilmot) (1971-72)
- Glenn Quackenbush -- keyboards
- Scott Richardson -- vocals 

 

  line up 5 (1972)

- E.G. Clawson (aka Scott WIlliamson (RIP) -- drums, percussion

NEW - Bryan Coons -- bass (replaced Richard Haddad)
- Glenn Quackenbush -- keyboards
- Scott Richardson -- vocals 

 

 

 

 

- Blue Scepter
- Scot Richard Case

- The Chosen Few (Scot Richard Case)
- The Fugitives (E.G. Clawson, Gary and Glenn Quackernbush)

- Al Wilmont and the Groove Monsters 


 

Genre: psych

Rating: *** (3 stars) 

Title:  SRC

Company: Capitol

Catalog: ST 2991

Country/State: Ann Arbor, Michigan

Year: 1968

Grade (cover/record): VG+/VG+

Comments: --

Available: SOLD

Catalog number: SOLD

Price: SOLD

 

Originally known as The Tremelos (not to be confused with the English band) and then The Fugitives (see separate entry), SRC were among the found member's of Detroit's burgeoning mid-'60s rock scene. Showcasing the talents of brothers Gary (guitar) and Glenn (keyboards) Quackenbush, the original lineup was rounded out by drummer E.G. Clawson , bassist Robin Dale, guitarist Steve Lyman and lead singer Scott Richardson. 

A 1967 single on the small Detroit A-2 label did little ("I'm So Glad" b/w "Who Is That Girl") did little. Similarly a follow-up credited to Scott Richard Case ("Get the Picture" b/w "I Need You") also vanished without a trace (see separate entry), but somehow attracted the attention of Capitol which promptly signed the band.

Shortening the name to SRC, 1968's cleverly titled "SRC" teamed the band with producer John Rhys. Musically material such as "Marionette," "Daystar" and "Onesimpletask" found the group copping a stance somewhere between prevailing psychedelia and The Door's keyboard dominated, R&B influenced sound. As lead singer Richardson wasn't half bad - certainly no Jim Morrison, but a more than capable vocalist. Similarly, the rest of the band may not have been superstar virtuosities (though lead guitarist Gary Quackenbush came up with a couple of scorching runs), but on tracks such as the blazing "Black Sheep" and "Refugeve" they were as good as any of their Detroit contemporaries. A big hit in their native Detroit, the collection actually charted nationally, hitting #147. (Ron Ashcroft's album cover was kinda neat ...)

"SRC" track listing:
(side 1)

1.) Black Sheep   (SRC) - 4:46
2.) Daystar   (SRC) - 4:24
3.) Exile   (SRC) - 4:20
4.) Marionette   (SRC) - 3:58

 

(side 2)
1.) Onesimpletask   (SRC) -5:32
2.) Paragon Council   (SRC) - 4:00
3.) Refugeve   (SRC) - 3:38
4.) Interval   (SRC) - 5:07

 


Genre: psych

Rating: *** (3 stars) 

Title:  Milestones

Company: Capitol

Catalog: ST-134

Country/State: Ann Arbor, Michigan

Year: 1969

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog number: 3635

Price: $40.00

 

Co-produced by John Eddins and SRC, having  enjoyed a taste of commercial success with their debut album, 1969's "Milestones" reflected a growing sense of comfort in the studio and an apparent willingness to stretch their musical boundaries. The second album wasn't a wholehearted departure from their debut, but there some notable changes.  While tracks like the opening rocker 'No Secret Destination' and  'I Remember Your Face' retained psychedelic elements, the collection was far more diverse this time around.  As an example. material such as 'Show Me' and 'Eye of the Storm' found the group traveling a surprisingly commercial AOR road.  Nah, the results were not perfect.  As reflected in their extended medley of 'In the Hall of the Mountain King/Bolero', the band added a needless classical/progressive element to their catalog.  You had to wonder if they'd latched on to some ELP.   The extended closer 'The Angel Song' found them mucking around in Moody Blues territory.  Luckily those were isolated side trips, with a tougher, but still commercial rock sound predominating throughout the collection.   Plenty of highlights to my ears, including the radio-friendly 'Checkmate' (which I would have tapped as the single) and 'Up All Night'.   Boasting strong melodies, Richardson's nifty voice, and guitarist Gary Quackenbush's crushing fuzz lead guitar, the set should have been a late-'60s FM favorite.  Unfortunately, their sophomore release proved another minor seller, the set peaked at #134.

"Milestones" track listing:
(side 1)

1.) No Secret Destination   (SRC) - 4:17   rating: **** stars

The psyche-tinged opener featured some riveting Gary Quackenbush fuzz lead guitar.  Coupled with one of the album's strongest melodies and some frenetic E.G. Clawson drums, this one would have made a dandy FM single.  The band reunited in June, 2012 and YouTube has a clip of the survivors taking a stab at this track.  Be warned, the sound is crap:: https://www.youtube.com/watch?v=_aTyfn9DDgM 
2.) Show Me   (SRC) - 3:40
   rating: **** stars

Admittedly I tend to be a sucker for any song with a prominent bass line  ...  Since the breezy ballad 'Show Me' opened up with a prominent Al Wilmot bass line, this one went over well with me.  
3.) Eye of the Storm   (SRC) - 4:50
   rating: **** stars

Another quick dash into lysergic territory yields on of the band's best performances.  Propelled by Gary Quackenbush's  growling fuzz lead guitar, Scott Richardson and the rest of  the band seldom sounded as good.
4.) I Remember Your Face   (SRC) - 1:40
   rating: **** stars

The aural equivalent of cotton candy laced with LSD ...  Always smile when I hear the treated background vocals.  Reminds me of a nod to the Magical Mystery Tour era Fab Four.
5.) In the Hall of the Mountain King/Bolero (instrumental)   (Edvard Grieg / Page) - 6:07  
rating: ** stars

Apparently a staple in their live show, I'll forgive most of this six minute excursion as being a reflection of then popular themes.   Nah, it wasn't totally horrible -  once again E.G. Clawson's Keith Moon styked drumming and Gary Quackenbush's  growling fuzz lead guitar injected some interesting moments into the results, though this was far from the album's creative high point.

(side 1)

1.) Checkmate   (SRC) - 3:42   rating: **** stars

Probably my pick for the album's standout performance, 'Checkmate' had a chess-related that lyric that was goofy, but surprisingly charming.  Also of interested was the fact guitarist  Gary Quackenbush normally dominated the arrangements, but this time around that honor went to keyboardist Glenn Quackenbush.  
2.) Our Little Secret   (SRC) - 2:39 
  rating: *** stars

'Our Little Secret' found the band slowing the tempo down, adding a nice little slide guitar  figure to what was one of their prettiest performances.  Almost garage-rock-ish in feel.  You also got a rare opportunity to hear the band's nice backing harmonies capabilities.
3.) Turn Into Love   (SRC) - 2:59  
rating: ** stars

 

Every time I hear 'Turn Into Love' it becomes clear that I never would have made it in the world of music promotion.  Displaying a hideous mash-up of doo-wop influences and Gary Quackenbush's fuzz guitar, this was easily the album's worst performance.   Other than wanting to destroy the band's career, I couldn't even begin t guess why Capitol marketing thought it would make a dandy single.  Simply awful choice.

 

- 1969's 'Turn Into Love' b/w 'Up All NIght' (Capitol catalog number P-2457)

 


4.) Up All Night   (SRC) - 3:04  
rating: **** stars

Another tune with a killer garage-rock vibe.  And another tune that would have made a far better single than the lame 'Turn Into Love'.   Shame it was lost as the "B" side on that throwaway single.
5.) The Angel Song   (SRC) - 8:11 
  rating: *** stars

The album might be worth the purchase price just for Gary Quackenbush's opening guitar segment on the extended closer 'The Angel Song'.  Admittedly the spoken word segment hasn't aged all that well.  To my ears it recalled something off of an early-'70s Moody Blues collection - hard to tell if it was meant to be deep and insightful, or simply over-the-top pomposity ...   Well it will certainly appeal to English and Philosophy majors everywhere. 

 

 

 


Genre: psych

Rating: *** (3 stars) 

Title:  Traveler's Tale

Company: Capitol

Catalog: SKAO 273

Country/State: Ann Arbor, Michigan

Year: 1970

Grade (cover/record): VG+/VG+

Comments: minor ring and edge wear; gatefold sleeve

Available: 1

Catalog number: 5051

Price: $40.00

 

Prior to going into the studio to record their third album, guitarist Gary Quackenbush was involved in a nasty motorcycle crash that left him sidelined with a broken arm for a year. Rather than delay the recording sessions, 1970's "Traveler's Tale" saw guitarist Ray Goodman brought in as a repalcement.  In spite of the personnel change, the album wasn't a major change in musical direction.  In his role as lead singer Scot Richardson remained an acquired taste, continuing his penchant for singing flat and trying to cover his limited range and delivery with vocal histrionics - check out the painful closer 'The Offering' where you were  left to wonder whether he was gonna make it to the end.  Tracks like 'A New Crusader' (good) and the instrumental 'Across the Land of Light' (bad) found the band continuing to mine their Hammond and guitar powered progressive/psych hybrid with mixed results.  Having recently pulled all three LPs out, I'll readily admit that their third studio set had a slightly more progressive orientation than the two earlier releases.  It wasn't the most original or consistent release you've ever heard, but 'Midnight Fever' was one of their better straight ahead rockers, while 'Never Before Now' was one of their most blatantly commercial offerings.

 

All told it was probably the weakest of their three original studio releases, but the album had enough going for it to be worth a spin and it grows on you after awhile.  Also a word of warning for audiophiles - as the album engineers blame the Glenn Quackenbush and E.G. Clawson for the collection's slightly muddy sound.  Who knows, maybe it was just my copy.

 

"Traveler's Tale" track listing:
(side 1)

1.) A New Crusader (Scott Richardson - Glenn Quackenbush - Ray Goodman) - 7:04   rating: **** stars

For some reason the opening of 'A New Crusader' has always reminded me of something out of the Uriah Heep catalog.  Guess it might have had something to do with Glenn Quackenbush's Hammond B-3 work.  As mentioned earlier, clocking in at over seven minutes, this was also one of those tunes that carried a more progressive flavor, though the harmony vocals gave the song kind of a Beach Boys sheen.
2.) Street without a Name   (Scott Richardson - Glenn Quackenbush) - 4:12  
rating: *** stars

Always liked the Gregorian chant-styled vocal sections.  Kicked along by Quakenbush's keyboards, the song had a nice enough melody, but really didn't take off until Ray Goodman' fuzz solo came to the rescue.  Shame it took so long and didn't last longer.
3.) Midnight Fever   (Scott Richardson - Ray Goodman) - 4:25  
rating: *** stars

Unlike the first two tracks, 'Midnight Fever' found the band turning towards bar band, blues-rock.  Built on a crushing Al Wilmot bass line, Goodman's fuzz guitar,  and Quackenvush's jittery keyboards, this one was far better than you would have expected. 
4.) Never Before Now   (Scott Richardson - Glenn Quackenbush) - 3:57   rating: *** stars

Built on a roly-poly keyboard figure, 'Never Before Now' was probably the most mainstream and commercial track the band ever recorded - certainly the most commercial tune on this album.  Capitol seemingly agreed with that assessment, tapping the song as a promotional 45, though the label doesn't seem to have released a stock copy of the single:

- 1970's 'Never Before Now' b/w 'My Fortune's Coming True' (Capital catalog number 2726)        

 

(side 2) 
1.) By Way of You    (Scott Richardson - E.G. Clawson - Al Wilmot - Glenn Quackenbush - Ray Goodman) - 3:17   rating: *** stars

Initially 'By Way of You' struck me as being the band at their worst - a forgettable melody; Richardson trying to power his way through the track; needless complexity.   Still not a favorite, but Goodman turned in a monstrous solo and it's far better than my original valuation.
2.) Diana    (Scott Richardson - Glenn Quackenbush) - 4:41  
rating: ** stars

A jazz-rock-flavored ballad, 'Diana' captured the band at their nadir.  About the only nice things I can say about this one were it was relatively brief and Wilmont turned in some nice bass work.
3.) Across the Land of Light (instrumental)       (Scott Richardson - E.G. Clawson - Al Wilmot - Glenn Quackenbush - Ray Goodman) - 6:55 
rating: ** stars

Let me describe this with three words - pretentious and forgettable.  Actually the midsection of the song found the band stumbling into what sounded like a "B: movie film score, before they moved on to some ELP-inspired jamming.
4.) The Offering   (Scott Richardson - Glenn Quackenbush) - 6:11
  rating: ** stars

Geez, did I put on a Todd Rundgren album by mistake?   'The Offering' was another progressive-tinged tune with Richardson turning in a flat and irritating vocal and Goodman's lead guitar once again provided the song's most enjoyable component.

 

 

 

The band briefly struggled on through a couple of  personnel changes, releasing a 1972 single for the small Big Casino label:

- 1972's 'Born To Love' b/w 'Badaz Shuffle' (instrumental) Big Casino catalog number BC-1001)

 

 

Under the name Blue Scepter, the band somehow attracting the attention of Motown which released one final single on the company's rock oriented  Rare Earth subsidiary:

- 1972's 'Out In the Night' b/w 'Gypsy Eyes' (Rare Earth catalog number R 5040F)

 

 

And that was the end of their recording career ...

 


 

 

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