Above: Left: Italy 1995, Center: Slovenia, Croatia 1995, Right: Peppermint Lounge, NYC 1983 ; Right inset: J.D. King illustration (90's).
THE CHESTERFIELD KINGS FAMILY TREE
As stated above, I don’t know how many times over the years someone comes up to me and says, “Do you know so and so … he said he was in your band at one time …”, and I’m usually like, “No. Never heard of him.” So just to keep the record straight, here is the band’s family tree. Any person not mentioned here and claims to have been in the band is full of shit.
1976: I got the germ of the idea for this particular band; knew Rick Cona and Doug Meech. Rick played bass at this time, Doug, drums as always-we needed a guitar player. Found a guitar player who fell through at the time. Didn't pull it together until the months to follow.
1977-1979: I Started the band, though I was doing solo things and side projects. Came together OFFICIALLY MARCH 1979. Band consisted of: Greg Prevost (Lead Vocal, Harp), Rick Cona (Bass), Doug Meech (Drums), Bob Ames (Guitar). We initially called ourselves The Cutdowns. I changed it a few months later in this year to the Chesterfield Kings. It stuck. New Math/Jet Black Berries guitarist, Gary Trainer filled in for Bob Ames on guitar during an early studio session during this period (1979).
1978-1979: Bob Ames was in most of 1979 but left before the year ended. Steve Larreau replaced him as guitar player (Summer '79). Steve was in the band a short spell. He left and was replaced by Frank Moll.
-1979-: Frank Moll left in November 1979, went back to the Netherlands.
1980-1986: Rick Cona opted to play guitar, subsequently dropping the bass. Andy Babiuk joined MARCH 1980 and took over on bass; Doug Meech still on drums. Orest Guran joined OCTOBER 1980 on rhythm guitar/keyboards. Band became a 5-piece and stabilized for a few years. The line-up: Greg Prevost, Andy Babiuk, Rick Cona, Doug Meech, Orest Guran. It should also be noted that Armand Schaubroeck appeared onstage with the band at Scorgie's, Rochester NY, July 1983, and the number performed, "One More Day One More Night" (a number written by Schaubroeck and originally recorded by his first band Kack Klick in 1963) was recorded at a rehearsal during the same month and the track appears on the band's 'Night Of The Living Eyes' LP.
1986-1987: FAZE 6 OF THE BAND: Orest Guran left late 1986. Was replaced by Walt O’Brien who played lead guitar at this point, with Rick Cona going to rhythm guitar. Mid-1987, Rick Cona left and was replaced by Mike Pappert (as second guitarist, keyboards).
1988-1989: FAZE 7 OF THE BAND: Walt O’Brien left late 1987, the band was a 4-piece: Prevost, Babiuk, Meech, Pappert. During this time (mid-1989) FAZE 8 OF THE BAND: Doug Meech left and was replaced by Mike Pappert’s brother, Andy Pappert on drums. This version of the band was very short-lived.
1989-1994: Both Pappert brothers left, replaced by Paul Rocco (Guitar), Brett Reynolds (Drums). Band stabilized as: Prevost, Babiuk, Rocco, Reynolds for these years. FAZE 9 OF THE BAND. It should be noted that in 1989 Richie Scarlet produced the 'Berlin Wall Of Sound' album (released in 1990) and appeared on the album as well (guitar). Also-on the 1994 'Let's Go Get Stoned' album, guest appearances were made by Mick Taylor (Stones; guitar), Kim Simmonds (Savoy Brown; guitar), Gilby Clarke (Guns n' Roses; piano), Chuck Campbell (Campbell Brothers; pedal steel), Steve McNally (piano), James Locigno (saxophone), Jeff Cary (percussion) and Rob LaVaque (synth).
1994: Brett Reynolds left, replaced by Chris (Kris) Hadlock on drums. Paul Rocco left shortly after. FAZE 10 OF THE BAND.
1996: With the exit of Rocco, the band went back to being a 5-piece: Prevost, Babiuk, Hadlock with brothers Ted and Jeff Okolowicz joining on guitars (Ted: lead, Jeff: rhythm and keyboards). FAZE 11 OF THE BAND
1998: Kris Hadlock left and was replaced by Mike Boise on drums. FAZE 12 OF THE BAND
1998-2000: Band stabilized with line-up: Prevost, Babiuk, Boise, Okolowicz & Okolowicz. FAZE 13 OF THE BAND
2001-2011: FAZE 14 & FINAL FAZE OF THE BAND: Late 2000, Jeff & Ted Okolowicz both leave the band, the band reverting to a 4-piece again with Paul Morabito taking over on both lead and rhythm guitar. The line-up stabilized as: Prevost, Babiuk, Boise, Morabito. From 2008-2009, the band went to a 5-piece again (as suggested by Little Steven) with Zachary Koch (drummer of St. Philips Escalator) playing rhythm guitar. Paul Nunes appeared onstage (playing keyboards) for local shows from 2007 through 2009, also appearing on the 'Psychedelic Sunrise' (2007) and 'Live Onstage ... If You Want It' (2009) albums. Jeff Okolowicz returned for one show (replacing Zach), for the band’s last appearance in December 2009. It should also be noted that Little Steven co-produced and appeared (playing guitar, keyboards) on the 'Mindbending Sounds' album (2003 LivingEye-Sundazed/2006 re-released on Wicked Cool), as well as the 2007 'Psychedelic Sunrise' album on Wicked Cool. Other guest appearances/additional musicians include: Lynn Rubler-Capron (violin), Cheryl Frank (viola) and Kathryn Fittipaldi (cello) on the 'Psychedelic Sunrise' release, Jorma Kaukonen (Jefferson Airplane/Hot Tuna) guitar on the 'Mindbending Sounds' album, Chris Wicks (saxophone) and Lonnie Bennett (pedal steel) on the 'Live Onstage ... If You Want It' album.
Left: the band 1984. From left, Greg Prevost, Andy Babiuk, Orest Guran, Doug Meech, Rick Cona. Center: Prevost on the cover of the French magazine 'Garage Bands Revisted'; cover photo was from same '84 session on the left. Right: Prevost onstage, Peppermint Lounge, NYC 1984. Prevost: "Note that I am wearing the same dirty sweater in all the photos. That must have been my 'look of the month' at the time." TOP, Left inset: 45 "I Won't Be There"-Living Eye# 2; unissued until the late 80's, less than 10 copies circulated out of the 300 pressed (now long gone, warped beyond saving). Right: "She Told Me Lies" the band's signature song at the time ('84-'85). Inset, right: Letter to the band from Lenny Kaye January, 1983.
MR. ELECTRO ADS circa '75-'76 ... Note that the hippy holding the flower pot (3rd from the left) in the first poster is me aka Mr. Electro. Also in the top right in the second poster. Two photos on the right: Latter faze as Mr. Electro, as 1977 creeps up with cat lady sunglasses.
RIGHT: The short-lived Creatures From The Black Lagoon circa '78: Front, from left to right: Prevost, the late Larry Luxury, back right: Steve Static. Larry and Steve (prior to the Creatures were in a RnR band called Marley-they did a 45/acetate on Fine Records-the LAST band to record with engineer Vince Jans at Fine Studios, and the last band ON Fine Records) soon formed the over-the-top Powerpop/Punk group, The Now with Marty Duda. (Photo courtesy of Steve Static.)
-1975-1976: Started numerous short-lived garage/punk/psychedelic bands. This would continue throughout the late 70's. Mr. Electro & The Void, Dr. Electro & His Psychedelic Retards et al. The latter band recorded 2 albums worth of material (tapes lost) but band members came and went, and nothing was released. I played guitar and sang lead; I played a Strat through an Orange stack on 10. It gave me a nervous breakdown. I also got the name Mr. Electro from the fact that I collected Danelectro guitars at the time and had about 25 or more of them. I wrote my first original song during this time. It was called “Rejected At The High School Dance” after a real life experience with my steady girl and soon-to-be wife Caroll. Caroll Prevost: "I remember this night like it happened yesterday (the night when the fight went down at the high school dance). It's very flattering to have a song written about you when you're 17 years old, even if you're immortalized by the words 'You Bitch!'"
Above: Crude 1979 ad for a 5-song Chesterfield Kings' EP that was recorded but never released (tapes are gone; one song exists). Prevost: "The band pictured in the ad, from left to right-Rick Cona (bass), me (lead vocal, harp), Frank Moll (guitar) and Doug Meech (drums). Same lineup, pictured CENTER; From left: Frank Moll, Rick, Doug, Me. THIS WAS FAZE 3 OF THE BAND. We recorded 5 songs: "Psycho" (Sonics number), "I Think I'm Down" (Harbinger Complex number), "Don't Need Your Lovin'" (Chocolate Watchband number) and two originals I wrote, one called "My World Is Out a Line". Don't remember the other song, or the latter, except that John, the engineer said I sounded more like Lou Reed than Mick Jagger. It was recorded in a warehouse that was in reality my friend Marty Duda's father's business quarters (Humphries Exterminating), the business being 'Exterminating', as in 'pests', you know, ants, cock roaches, termites. I remember looking at jars of dead bugs during the recording process. We actually rehearsed there for a few months. In any case, Frank Moll was Dutch, from Amsterdam, a real miserable bastard most of the time. He was in the U.S. due to the fact that he was going to RIT college at the time. Rick knew him. Anyway, he was one of many guitar players we went through, the one prior to Frank was Steve Larreau, who was originally in the Darelycks of "Bad Trip" fame (he replaced our original guitar player, Bob Ames. FAZE 2 OF THE BAND). Above Right: The KillerKool 1966 Darelycks "Bad Trip" single.
Above: Early 90's. 'Confessions of a Urine-Stained Dog.' Photo, above right: 1993. From left: Brett Reynolds, Andy Babiuk. Paul Rocco, Greg Prevost. Prevost: "I remember we did this Canadian tour at the time and we hadn't been there in a few years. Anyway, we used this photo for the posters and my friend Lou Molinaro, the Canadian promotor (The BEST Canadian promotor), told me "A lot of these guys up here think you're a girl in the picture and are saying, 'Prevost was replaced by a girl.'" We thought it was funny. Anyway, this yob comes up to me at one of the shows, looking like he'd been rolling logs all day, and he says, "Ay. Like wasn't a girl supposed to be singin, Ey'? I told him to get lost or I'd smash him in the head with an ash-tray. He was like, "Ay. I heard Americans were hostile." (Photo was used on the back sleeve of the Johnny Thunders single "Critic's Choice"-inset, top right) ; Inset bottom right: 3-Song EP, same band/era-A good example of the band onstage during this faze can be seen on Youtube; a clip from the band's 1990 Italian Tour: http://www.youtube.com/watch?v=KV88jdRnrKE
Scorgie's Rochester NY 1983
"A Dark Corner" 1982
the record that never was ...
Left: Memo from Aleck Janoulis, record producer, label owner and founder/founding member of LITTLE PHIL & THE NIGHTSHADOWS; Above: November 1984, Aleck is pictured producing the STOP! album at Music America Studios Rochester , NY (YES that is a TAB in the photo far left! Left is the ORIGINAL 1981 artwork Aleck did ,and included with the 6/27/81 Memo above it. I took Aleck's Logo and drew the rest of the picture sleeve AROUND it. The logo was used for decades. Above inset, the 1985 STOP! album Aleck produced, and a shot of the FANTASTIC BAGGIES album, which I used as a template for the STOP! album cover.
Above Left: Late 80's: Caroll Prevost, Greg, Richie Scarlet. Richie, at the time in Frehley's Comet, produced the band's 'Berlin Wall' album. Right: WBNY, Buffalo News 3/86.
Above: A few 'Stones' oriented magazines. " Once I saw the Stones on TV I was totally obsessed and hung up on them, which, at times, became a point of contention for me at school. I bought every magazine they were in, every single and album all on the day of their release. I joined the fan club, wrote their label London Records all the time. I had scrapbooks filled with articles from the newspaper, all that kind of stuff. You know, a real geek. I still have all these magazines (1000's) as you have probably guessed."
RIGHT: Sound-check at the STAR CLUB, Oshawa, Ontario, Canada-1986. The late Mike Star, who owned, booked and ran the Star Club as well as his record store and record company (Star Records), along with long time friend and major Canadian promoter Lou Molinaro (Now club owner of THIS AIN'T HOLLYWOOD in Hamilton, Ontario, Canada) kept the band alive from the late 80's through the mid-90's.
Above Left: In the studio with the late Dee Dee Ramone, 1986. From left to right: Prevost, Walt O'Brien, Dee Dee and Andy Babiuk. Above Right: Onstage, London, England 1987, Dee Dee Ramone (left) Greg (right).
Prevost: "We met Dee Dee at one of our shows in NYC in the mid-80's. He liked what we were doing and said he wrote a song for us to record, that song being "Baby Doll" which ended up on our 'Don't Open Til Doomsday' album. He flew up to Rochester and he produced the song as well. He was hilarious in that he rattled off one war story after another, stuff like, "Once we (Ramones) opened for Black Sabbath and these assholes threw bottles at us. I fuckin' hated it.", and "Johnny Thunders is fuckin' CRAZY. My wife Vera won't let me go NEAR him, she says I'll be a drug addict again in 10 minutes if I do." (Dee Dee was off junk at the time). During this photo shoot I remember we were like "Oh, we have to take a shot and make it look like we're mixing" and during this photo he was telling us how he was on a health kick and taking Judo lessons, and "practiced on the cops". In any case, we got to be friends and did a bunch of shows with the Ramones between 1987 and 1990. He wrote another song for us called "Come Back Angeline" which we recorded for our 'Berlin Wall' album, and he joined us onstage (and played guitar) in London in 1987 and later in New Jersey at a place called Maxwells. We did "Baby Doll", "Gloria" and "Chinese Rocks". He was a great guy." Right: Poster for Joey Ramone's 2007 'Birthday Bash' at Irving Plaza, NYC. Prevost: "I remember it was raining and our van broke down the morning we left for this show. We got towed to a garage just outside of Rochester where we spent several hours while the van was being repaired. A miserable time sitting around and wondering if were going to make it to the show on time. When it was finished we drove at maximum speed, probably close to 90 MPH and we JUST BARELY made it onstage."
Above: Left, 'Powerpop' Faze circa 1978. I was heavy into this type of sound (actually I still am into this stuff, you know, Raspberries, Big Star, Twilley, Jook, Radio Stars, etc.) and at this time I was making an attempt to be on that sort of trip, the image as you can see, I was trying to get that 'Fresh' Raspberries vibe going ... anyway, that style didn't suit me too well as I thought for me it was too pussy-assed. Above Center shot, mid-'78, (DEFINITELY trying to look like Eric Carmen on the 'Fresh' Raspberries cover) is an out-take from the "She's All Mine" / "1981 On My Conscious Mind" b/w "I Don't Need You" / "Psychological Mess" 4 song 7-Inch EP pic cover. The record exists in actetate form (2 of the songs). All 4 songs were originals I wrote in the 'powerpop' mode ("She's All Mine") and heavy-psych mode (the rest of the songs-hark back to Mr. Electro period). Note the Orange amp stacks, 'Fab', tea and remnants of 'Mr. Electro' painted on my Telecaster guitar case.
Left: Review of Distorted Levels 45 'Goldmine' circa '78; Right: 'Blitz' circa '79. Prevost: "Distorted Levels were not exactly the kind of band people liked. The band was crude, brutal and insane, and when I recorded this record I had no idea where it would end up."
Above Left: Toronto News 1/15/86. Prevost: "Toronto was a great place to play back then. The above article is from the 'Psychedelic Week' that took place at the BamBoo Club during that time. Every day that week was another 'Retro-60's' night. The Brood from Maine, the Lyres from Boston, 10 Commandments from Toronto and so on. It was a really cool time. Sort of like Haight-Ashbury if you get my drift. My wife and I were just walking around and you'd see guys from the other bands, people you knew, my friend Marty Kerluk running into us and getting coffee, stuff like that. A real cool vibe. We (Chesterfield Kings) got lumped into the whole commercialized 'Retro-60's Scene' along with a ton of other bands, and we resented it even though we invented it and rode the wave. The 'Psychedelic' retro label was cast upon us like an albatross. It was great at first, then a curse. It took about 2 more years to shake off the typecast and just be a Rock n' Roll 'band'.
Above Right: Summer 1986. Prevost: "This was probably one of the last promo shots taken of this version of the band, that being (from left to right) Doug Meech, myself, Rick Cona, Walt O'Brien and Andy Babiuk. Rick left shortly after this was taken. I remember doing shows in Philadelphia, New York City and Hoboken New Jersey at the time we did this. This was taken by Stacy Zaferes, who photographed us from the early to mid-80's. She moved to the New York area and we hadn't worked with her for a while and when we saw her at the show at Maxwell's in New Jersey that weekend, she had this idea to shoot us outside in a field, like the Kinks 'Village Green' cover, or the Stones "Paint It, Black" picture sleeve. I think this was in a field somewhere in New Jersey. Stacy shot the band's 'Stop!' album cover, and reunited with the band to shoot the 1997 'Surfin' Rampage' album cover." Inset, Right: 1987 Doomsday LP, Rare FRENCH pressing of the LP on NEW ROSE RECORDS. When we toured Europe in 1987, Armand licensed the LP out to Patrick at New Rose so the album would be more accessible for people in Europe, you know, not a US import.
Left: 1967, Me, far right, with cousin Denny Prevost (L) and cousin Denny Halligan (center). I wasn't allowed to have 'long hair' like the Stones or Pretty Things. No way my father would allow it. I was depressed about that as you could imagine … THEN I saw the WHO on Shindig!, I was like 'Wow! These guys look cool ... I can look like Roger Daltry.' Then I saw the Small Faces in an issue of 'Rave' and this was the way to go … A Revelation.
SG Mania: Above Left: Leigh Stevens 1968 (Blue Cheer), Center: John Cippolina (Quicksilver) on cover of 'Guitar Player' January 1973, Right: James Gurley & Sam Andrew 1968 (Big Brother & The Holding Co.)
The number ("Rejected At The High School Dance") was originally recorded by in 1976, but the tapes disappeared. I recently found my original demo-me playing guitar, shouted vocal-this will be released in the near future. In the late 80's-1989, maybe even 1990, I recorded this under the name the Mean Red Spiders, the group name I took from the Muddy Waters' song. Over the years (in the 90’s, 2000’s), it was covered by several bands who released single versions of the song on the Dutch High School Reject Records label, which was dedicated to releasing as many versions of the song as possible by as many different artists as possible. High School Reject Records Site: http://rinsma.home.xs4all.nl/hsr/
Above, Left: Berlin, 1988, the day after I got married. Center & Right: Onstage at the Limelite, NYC, November 19th, 1989 & Ticket for the show; Right: Richie Scarlet and me onstage. We went under the name 'Kings Of Chester' that night, and I think we used that name for about a month or so after that. Management decided we should change the name because they wanted to present us as a 'new' band. They were probably right. We changed it back soon after. I remember having the flu-I had the pukes, shakes, high fever, just totally sick. I could hardly stand. We recorded a couple of songs in the studio on Saturday, the night before we played, and I recall lying on the floor with the chills wondering how I was going to play the next night. Anyway, we did play the Limelite despite my condition, and I managed to drag myself onto the stage. I was throwing up right up to when I had to go on. I somehow got through the show and did the usual antics without puking on the audience. That night Richie Scarlet came onstage with us and we did Bo Diddley's "Pills" (pictured right). Ace Frehley was there also, and just when he plugged his guitar in for a version of "Strutter", the stupid sound tech cut the power and wouldn't turn it back on. That was that. Show over. Richie's future wife, Joann, filmed the show, which is where I got the above snaps from."
Above: 1984, right with Armand Schaubroeck; Armand recorded "One More Day, One More Night" (written & recorded by him, 1963 as KACK KLICK-45 pictured) with the Chesterfield Kings, appearing on the NIGHT OF THE LIVING EYES LP-
ABOVE: Label for unreleased 1978 Solo; Right DISTORTED LEVELS 45 1978. I did the art on the sleeve and record label … I modeled the pic cover after the ELEVATORS 'Psychedelic Sounds' LP cover.
-2009-2013-Full Circle. I Got back into playing guitar and singing solo like I did in the early part of the 70’s. In February 2012, a 45 was released on the Penniman Records distributed Mean Disposition label (“Mr. Charlie” b/w “Rolling Stone”), followed by an album in January 2013 ('Mississippi Murderer'). Penniman Records is out of Barcelona, Spain. I presently work solo with friends Zachary Koch (of St. Philips Escalator) Alex Patrick and Keenan Bartlett (of the Absolutes) who all appear on both the MISSISSIPPI MURDERER album as well as the upcoming one, UNIVERSAL VAGRANT coming out in September 2016. Concerning the Chesterfield Kings, it was really over on the last show we did in 2009. I made my exit official spring 2011 when the band dissolved.
-2014-2016-I did some unannounced shows around as well as one at the House of Guitars. Finished up my second album UNIVERSAL VAGRANT earlier in 2016, mastering it with Brian Moore of Red Booth Recording. As mentioned above, the album will be released early September 2016. At that time I will be doing more unannounced shows-alone, both acoustic & electric.
Above Left: Chesterfield Kings with guitar genius Davie Allan, backstage at the Hollywood Palace, Los Angeles, November 2006, another stop during the Fall 2006, Little Steven's Underground Garage Rolling Rock & Roll Show Tour. From left to right: Paul Morabito, Mike Boise, Greg Prevost, Davie Allan, Andy Babiuk. Inset, right: Davie Allan's masterpiece, "Blues Theme" (Theme from the 'Wild Angels'). Right: The famous 1966 Davie Allan & The Arrows Tower Records promo, Allan pictured with his double-neck Mosrite guitar. Prevost: "The show in LA was insane. The Hollywood Palace was THE SAME Hollywood Palace where the TV variety show of the same name ('The Hollywood Palace') was filmed in the early to mid-60's; only Little Steven could make something like that happen. On top of that buzz, being on the same bill as the Dolls was a heavy trip. Little Steven made the event even more over the top by adding Davie Allan to the bill. Like I said, Little Steven makes things HAPPEN. Anyway, if you haven't guessed, Davie Allan is like one of my favorite guitar players of all-time. Before the show I hung out with him and he showed me one of his vintage Mosrites. What can I say? I was floored."
Above: My draft card. Between '73 and '74 I got drafted. I was classified '1-A', number 63 which meant I was one of the next 18 year olds to go into the army. I passed the physical and they said, "Boy you are ready to go." At the time, Vietnam was just winding down and while wondering when I would be shipped off, Nixon ended the war. In case of any other altercations, however, I was still 'eligible' until I was 26, and believe me, the army hounded me to join up. Right: I was in hippy-slob mode around the time. (Note: On the card I erased my stats for obvious reasons.)
-1974: Played guitar and sang in the early Dylan mode. I was crude but liked playing and singing. I did stuff by Muddy Waters, Bo Diddley, Dylan, John Lee Hooker. I also started a newsletter called “Future News” which would become Future Magazine.
Above: Some of the British bands that knocked me out.
Above Left: Son House. "In 1965 I actually got to see Son House live. I mean it was outside the front door of this cafe, but nonetheless, I saw and heard him 'in person' if you will. I went to Holy Cross Grammar School on Lake Avenue, and about 1000 yards away on the same street was this place called the Black Candle Cafe. It was actually an extension of the House Of Guitars and owned and run by Armand and Bruce Schaubroeck. This was their first location on Lake Avenue. They soon moved further down Lake Avenue, then also had a location on Jefferson Rd., eventually moved to Titus Ave., then ultimately settled where they are now on Titus Ave. Anyway, I used to go there every day walking home from school. They had all kinds of cool guitars, records, you know. Anyway, I'd just seen the Stones on SHINDIG! and on the same show was Howlin' Wolf. A week later Brian Jones commented in a RAVE magazine what a gas it was being on the same show as Wolf. He also said he saw Son House on the set, who was with Wolf, and how amazing that was. Weeks later, I saw a poster taped up in the window of the Black Candle and it stated Son House was appearing. I was like 'I have to see this.' I went, but I was a dorky 10 year old kid you know. Bruce Schaubroeck said, 'No kids inside, but you can listen out by the front door.' I did. It was my first 'concert'. It was mesmerizing." Right: A typical 1966 Issue of the local Rochester magazine 'Spotlight'. Prevost: "The magazine came out weekly and was a guide to all the boss local groups, where they were playing, new singles ... Rochester was a happening place back then-on any given night you could see the Heard, Invictas, Angry Men, Hangmen, Quirks, Groop LTD, Humans, Trackers, Showstoppers ... I could go on. I caught a number of these bands at the Hi-Tide and the Blue Goose (teen clubs), both on Lake Avenue in Charlotte-about a 2 minute walk from my grammar school."
"Talk Talk" by the Music Machine, "Little Girl" by the Syndicate Of Sound, "Gloria" by the Shadows of Knight and "Psychotic Reaction" by the Count V like, I have listened to hundreds of thousands of times. The greatest records ever made, really.
Right-Inset-Ad for a guitar player I made from '77-'78-Rick was on bass, Doug drums, me-after a few months I found Bob Ames
Above; 1978 letter from Ray Davies concerning FUTURE
Above: Europe, 1987. Left: London, Dingwalls. Right: I get carried away by rabid fans in Paris, France 1987.
Above Left: Prevost 1981 with then car, 1974 Malibu. Prevost: "That car took a beating. Check out the crunched in front right of the car." Center: Onstage Philadelphia 1986. Above Right: Prevost, 'Glam-A-Go-Go' 1988.
-1975-1976: Also started writing for numerous fanzines/magazines and started/published my own crudely produced ‘Future’ magazine, which was sporadically published between the years 1977 through the early 80’s. Its focus was on badazz US & UK punk bands of the time (Sex Pistols, Crime, Damned, Dead Boys et al) as well as 60’s punk and psychedelia with Blue Cheer appearing on the cover of the first issue. The magazine eventually became the more refined ‘Outasite’ magazine around 1982, again, sporadically published from ’82 through 1999, with Sundazed Music in Coxsackie NY publishing (on a larger scale) the last couple of issues. Other magazines/fanzines Prevost contributed to during these years include ‘Gorilla Beat’, ‘Hartbeat’, ‘Kicks’, ‘Breakthrough’, ‘Blitz’, ‘Goldmine’, ‘Record Collector’ and ‘Here ‘Tis’ to name a few. He is currently a staff writer for Mike Stax’s highly acclaimed ‘Ugly Things’ magazine, is also writing for Jon 'Mojo' Mills' killerkool 'Shindig!' magazine and authored/wrote the book ‘Rolling Stones Gear’ which was released February 2014.
Above Left: The Heard's sole output: "Stop It Baby" (actually the B-Side) b/w "Laugh With The Wind". Right: The Heard, 1966. "The Heard were one of many local bands that knocked me out. Their 45 is one of my all-time favorites (both sides). "Stop It Baby", the B-side to the Beatlesque "Laugh With The Wind" is easily one of the best songs ever recorded-total RAW POWER. I saw them at Culver Lanes in 1966 and they knocked me on my 12 year old ass."
Slated as the 'first original by the Chesterfield Kings'-in reality the 2nd original in that I wrote "My World's Out Of Line" October 1979 (Pre-HERE ARE lineup) for the EP that was never issued (Have a demo of this from then that will be out at some point). I wrote this in the urinal at St. Josephat's church basement with Ori Guran-the band was doing all these then unheard of cover songs from my collection-we were pressured to do an 'original'-we were doing my favorite Rising Storm song "I'm Coming Home" at the time-I said to Ori I had a melody and lyric together and cross that with the Storm number-the Vox organ part-we did-showed the other guys and that was that. TWO versions recorded-both at Music America-45 version recorded months before re-recording a more blasé version that appeared on the STOP! LP. Left-the Stones' sleeve I used as a template for the picture sleeve.
Above Left: The Springfield Missouri 'Spotlight', December 6, 1985. Right: Prevost and Rick Cona onstage November 17, 1985 at the Bakery Confectionary & Tobacco Workers International Union Hall, Springfield, Missouri. The article on the left, written by Joey Skidmore was a review of the November show. Prevost: "'Mad' Jon McKinney, mainman and leader of the ultracool band, the Royal Nonesuch was the promoter of this show-and his band was also on the bill-he was hassled by the local heat for months because of this event. Apparently, it was too loud--I remember being onstage and feeling stuff falling on me-paint chips from the ceiling and walls from the volume-the cops kept hassling Jon during our stint onstage and I remember the power-lights and everything-going on and off a few times-with just me yelling along with the drums which could still be heard without electrical power. Overall, it was a real heavy scene. The photo on the right was also taken by 'Mad' Jon, I lifted this shot from his Facebook (thanks Jon!). I also remember this was the last show in middle-America during this cross-country USA tour we did-I think Orest Guran (then rhythm guitar/keys) said something like 'We have to change the oil before the long trek to San Fransisco'-we wanted to save money so we did it ourselves. We were staying at some flophouse hotel like the crystal meth-head hotels you see on BREAKING BAD and JUSTIFIED episodes-a real shithole-so we ended up changing the oil in the parking lot-just opened up the motor and it pissed a huge puddle of black dirty oil-we mopped up after with bed-sheets and towels from the hotel. Real Eddie Haskell kind of stuff." Inset, Bottom: After the show with The Royal Nonesuch; Inset, Top: Poster from the show.
Above: Chesterfield Kings, MAY 1980. An early shot of what was to become the core of the original 'Here Are The Chesterfield Kings' and 'Stop!' era band that most people are familiar with. FAZE 4 OF THE BAND. At this point the band was actually on solid ground. From left, Rick Cona (Guitar-switched from bass to guitar and replaced Frank Moll), Prevost laying on the hood of the car, Doug Meech (Drums) on the roof, and Andy Babiuk on the right (taking over on bass from Rick). This lineup actually came together in MARCH 1980. After Frank Moll left,I put the band on hold from November 1979 through March 1980 to complete the latest issue of my magazine, FUTURE, the Number 5 issue. Upon completion, I met Andy (at House Of Guitars again) who had an ideal place to rehearse (His parents' church basement) that also being his key into the lineup. Orest Guran joined a few months later (OCTOBER 1980, FAZE 5 OF THE BAND) on rhythm guitar/keyboards. Prevost: "The Pontiac was Doug's. He was very fussy about his stuff. He kept it immaculate and it was bummer when some drunk hit him head on and the car had to be junked. In the background you can see St. Josephat's Church. We rehearsed in the basement there from 1979 through 1996. We actually rehearsed there with Johnny Thunders when we brought him to Rochester to record an album with him. The choir was upstairs practicing at the same time we were rehearsing and you could hear this downstairs where we were. Johnny was like, 'Where the fuck are we, in a church or sumpin'?' It was comical." A 45 ("Critics Choice") was recorded at GFI Studios in Webster. See above pic sleeve. Right: Photo shoot with Stacy Z. at Seabreeze Park 1982.
Above: D&C 3/25/94: 'Like A Rolling Stone'. Prevost: "What else is new? Right?" Above: Prevost in 'Mademoiselle' Magazine March 1984. Prevost" "I know. Weird. What were the chances of being included in a magazine like this? Also nice to be in the company of Joey Ramone and Jeffrey Lee Pierce." The article was called 'Who's News': New Wave Coifs Cast A Crazy Spell'.
From a recent interview: "I started playing back in 1965. I have to say originally I was driven to play guitar from getting vibes from the Stones, Kinks and Yardbirds. That was after about a year or more of just LISTENING and soaking the sounds in. To say that first hearing such bands made me want to play guitar would be total bullshit. I had to take in all this stuff before trying that. As time went on I discovered 30’s Delta blues, Chicago and Texas blues, you know. As far as guys I really respect and aspire to be like, I’d have to say Lightning Hopkins, Muddy Waters, Bukka White, Son House, Skip James, John Lee Hooker…the list goes on…not to mention guys like Keith Richards, Ronnie Wood, Johnny Thunders, Randy Holden, Wayne Kramer, Clapton, Hendrix, Alvin Lee …the list goes on! Like I am heavy into pure blues as well as the Stones, Yardbirds, Dolls, Stooges, Blue Cheer, MC5, 70’s punk…all these elements are what I think I end up sounding like one way or another…" In ADDITION to this statement: "I was back in the 60's, as well as now, totally into the late-60's SF sound. I mentioned Randy Holden who was with the Fender IV, Sons Of Adam, Other Half, Blue Cheer, and ultimately solo. He is one of the most intense guitar players I've ever heard. The way he bends strings and holds notes is amazing. John Cippolina of Quicksilver is another powerful player, as well as James Gurley and Sam Andrew of Big Brother & The Holding Company, 2 of the most under-rated guitarists ever, due to the attention Janis Joplin got as the band's lead singer. Leigh Stevens of Blue Cheer (first 2 albums, Randy Holden was on the 3rd album), another amazing player, totally floored me, some of the riffs he did-incredible ... And not to forget Jorma Kaukonen of the Airplane/Hot Tuna. I mean his style just floors me. I was always obsessed with his style, the lead break on "Somebody To Love" in particular, which he told me he came up with on the spot. He also mentioned that one of the things he did to get that particular sound (holding notes, bending) was to "leave holes" in the sound. He once explained to me how Jerry Garcia sort of insinuated this to him, "I remember one time we were playing, I was doing some blues thing and he was saying 'You're doing too much.' It was kinda funny coming from him ... but basically what he told me at the time, and this was just the beginning of all this stuff happening (early SF scene), is that you gotta learn to leave holes and stuff like that when you play ... " Although Jorma usually used a Gibson hollowbody (345) in those days, the majority of the SF bands used Gibson SG's, which I find is perfect for savage lead breaks."
ABOVE: Me, 1965 with my cousin Debbie and sister Deana. This was taken during one of the great 'family trips' my father took us on-we'd go with my uncle and cousins. I think this was either Washington DC or Montreal ... My cousin Denny would always bring his 'G.E. Wildcat' portable record player and we'd crank the Stones (which is why I have my Stones album in the shot above), Yardbirds and Kinks when our parents went down to the hotel lounge for the evening. We'd also usually turn off the lights and throw pillows, brochures, telephone books or whatever was able to be thrown. It was always a riot except the time when I cracked my head open on a wooden chair arm.
Above Left: Ad for show at The Peppermint Lounge NYC from April 1984. Prevost: "We played at the Peppermint Lounge in New York so many times it was like we were the 'house' band. Note that the now-famous 10,000 Maniacs opened for us. I remember seeing the lead singer Natalie Merchant walking around with bare feet on the dirty bar floor and was like, 'Man, where are these guys going??'. I guess we all know they went far, Merchant in particular as a solo artist."
Above Left: Poster/AD for Bo Diddley with the band at Milestones in Rochester, NY, December 17th, 1994. Right: Onstage with Bo from the 1986 shows in Washington DC, me on harp, Walt O'Brien center, doing "Roadrunner", (Inset top: right: Backstage 9:30 Club 1986, same time). I crossed paths with Bo many times over the years as did the band. This was a Christmas show ('94) we did together in Rochester. Bo was great. We talked him into doing 'Pills' that night. He originally said he didn't remember the words and didn't want to do it. Suddenly onstage he started playing it and told me "You sing it, when I start remembering the words I'll come in ..." He came in about halfway and we swapped verses. A really heavy trip, you know. We did some shows with Bo about 8 years earlier in Washington DC at a place called the 9:30 Club. This was during the summer of 1986-I remember it being hot, humid and unbearable onstage-but still a riot. It was strenuous in that we (C. Kings) had to do FOUR SETS!!! We opened for Bo, and backed him, the 9:30 Club ALWAYS made you do TWO fucking sets or they wouldn't book you. Regardless, I remember it being a great time. Tim Warren (of Crypt Records, 'Back From The Grave'-you know Tim) went with us and he was a riot to hang out with. We were friends from way back. Anyway, Tim filmed the whole show-he was all over with the camera-close ups, all that. Then one of Bo's watchdogs confiscated the tape. A drag. He said something like "Oh we'll make you a copy and send it". Yeah, right. Never happened. Dave Peck was with us too at this show-Dave, as many of you probably know, is now famous for his company 'Reelin' In The Years'-they issue all kinds of great rock n' Roll DVDs. Anyway, Dave was a young guy at this time, really hip for his age, you know-and he was a scream. Like a comedian of sorts. He was running all sorts of Rodney Dangerfield style one-liners and a lot of them were geared at Bo, who he really liked, but he was just being funny, not sarcastic. We kept running into Bo outside when we were looking around for a place to eat and Dave was like, "Hey Bo, the dirty bookstore is in the other direction", and when we were at a crosswalk he goes, "Hey Bo, I got my camera, take off your shoes and socks and walk across the street like you're on Abbey Road." I mean it was hilarious and Bo, somewhat annoyed, was like, "Huh? What the fuck... who is this fuckin' kid?""
Above left: 1983, Irving Plaza, NYC; Right: 1983, Casablanca, Richmond Virginia
San Francisco 2003
CITY NEWSPAPER BLOG-FRANK DEBLASE-APRIL 2ND, 2013:
Saturday night at the Skylark Lounge I got to hear Greg "Stackhouse" Prevost play a set of hellacious, salacious, monstrous, and primitive blues, sandwiched between sets by St. Phillip's Escalator and the recently reunited Moviees. Prevost's new album, "Mississippi Murderer," rocks and is currently at the top of my play list. But this particular set was too loud to make out the subtleties and nuances included in his original stabs at the form, as well as on classics like "John the Revelator." (See Frank's full feature in City News in the link in the REVIEWS section of this site) Photo: Frank DeBlase.
Right: Little Steven introduces the band in Cleveland (C. Kings, Prevost pacing the stage, Mike Boise adjusting his kit-partially obscured by Prevost) amid the glare of psychedelic lights at the Beachland Ballroom, Cleveland Ohio 2/21/04. Prevost: When I started working with Little Steven, he totally revitalized my interest in being in the band … at that time I basically lost interest in the band and where it was going (nowhere), and was at the point of ending it … anyway, he literally pulled the band out of the gutter and catapulted it into mainstream America. Right, bottom: Me with Little Steven, 2003, Living Eye Studios, working out the lyrics to "I Don't Understand" which was co-written and produced by Little Steven and appeared on the 'Mindbending Sounds' album (which was initially released on Sundazed) and later issued on Steven's label, Wicked Cool Records. Inset left and right: Albums, 45's and compilations released on Steven's WICKED COOL RECORDS label. The song we wrote for the 'CHRISTMAS WITH THE KRANKS' ST ("Hey Santa Claus" appears on Little Steven's 'CHRISTMAS A GO-GO" (inset, left).
Left: My '67 SG
-1978-Distorted Levels continued for a spell off and on over the months (with me playing guitar and singing lead), split, then during the early summer, I started another radical band called the Creatures From The Black Lagoon (recorded a number of tracks, again, tapes lost. Some members died; tapes believed to be in possession of one of the deceased). We had an outlet to play in that myself, along with the late Mike Ferrera (guitar player in Zenith Effluveum), Marty Duda (bass player in the band the Now) and Kevin Patrick (lead singer of the band New Math) started a punk club called the Grand Prix Lounge, a former biker hangout where a mix of the latest punk 45’s and 60’s punk records were also played over a primitive PA. It was very short-lived and was boarded up after a matter of weeks. That band fell apart, and as mentioned, I temporarily opted to go into a solo ‘powerpop’ venture with a single/EP recorded, again on Nowhere Records (“She’s All Mine” plus 3). Only an acetate or two were pressed before the project was scrapped. Greg Shaw was the only person outside to get a copy or hear this as he entertained the thought of releasing it on his then rather new Bomp! Records label. (Prevost): I was heavy into stuff like Big Star and Dwight Twilley. I tried that whole trip but felt the sound was overall too pussy-assed, at least in my case. In the long run, I’m glad I didn’t pursue that direction. The pic cover depicts me in front of a wall of Orange amps, with a box of ‘Fab’ drinking tea and trying really hard (but not making it) to look like a Raspberries-era Eric Carmen (see above center photo-out-take from the photo session). I then started other more barbaric punk bands (Paper Tombstones-for one) before eventually starting a 60’s-edged garage band called the Cutdowns who soon changed their name to the Chesterfield Kings.
WXXI Studios 1981. Photo shoot also for the "Hey Little Bird" 45 Pic Cover; Inset, top: with Rick and Doug, same era.
Above: The lovely Miss Caroll during her modeling days; center, right from the Rick Cona Collection. Right, inset: 1989 Tar Babies recording of the 1976 song.
Above: from left to right: Zachary Koch, Alex Patrick, Keenan Bartlett
LEFT: GFI Studios Webster NY recording the LET'S GO GET STONED ALBUM. Kim Simmonds of SAVOY BROWN (Center), co-wrote and played lead on "It's Getting Harder All The Time" which appeared on the album
1973-1974: DJ’d at college, WJFR-FM. Played 60’s punk 45’s, blues and then current glam bands.
Above: 1999 Honolulu, Hawaii with Mark & Deb Lindsay (left, center); Inset top left: Mark and Deb with Miss Caroll, same time; Inset top right, and left: the 45 the band and I did with Mark on Sundazed, 1998. I met Mark around the time I was recording the LET'S GO GET STONED album, 1993 at a high school in Penfield NY. Mark was going to play sax on a couple of songs on the LP but it didn't happen for some reason. In any case we came together several years later. Inset, bottom right: Cavestomp NYC 1998; inset, bottom left: still from the video of "Where Do We Go".
THE CHESTERFIELD KINGS
Left: Handbills from San Diego State University 5/16/85; Right: Ad from the Music Machine nightclub, Los Angeles 7/19/86. Prevost: " Note that we double-billed with the Tell-Tale Hearts both shows. One of the best bands I'd seen, and needless to say, one of my favorite bands. As most of you know, Mike Stax was the Hearts' bass player. We knew each other before this as we were both journalists. Mike was doing 'Ugly Things' (a powerful magazine that is still going strong) and I was doing 'Outasite'. We were on the same wavelength in all facets of music, TV, film, culture, and have been friends now for over 30 years. As you may or may not know, I stopped doing 'Outasite' and am now a staff writer for 'Ugly Things'. Anyway, these guys were dynamite. At the conclusion of the San Diego set, ALL members of both the C. Kings and Tell-Tale Hearts (10 guys all together) manned the stage for an extended freak-out rendition of Bo Diddley's "I'm A Man". When the C. Kings did a West Coast tour in 2004, I again crossed paths with Mike, this time around with his fantastic band the Loons, Mike now lead singer (and wife Anja on bass). Like the Hearts, they are one of my favorite bands and Mike is a frontman to be reckoned with: a hybrid of Phil May, Jagger, Iggy and Keith Relf-yet totally on his own trip." RIGHT: Back to 1980: The "HERE ARE" lineup band did 2 shows as a 4-piece before Ori Guran joined: TOP: Scorgie's early summer 1980, Below, the Triangle Theater late summer 1980 (August 16th-see handbill).
Above: Circa 1982-1983. Prevost: "Two clubs we played constantly in our early days. The Red Creek was a great club, sort of a 'dinner club' if you will. They had everyone from John Lee Hooker to Gene Clark playing there. U2 were actually booked there. Caroll, my wife, said her friend was having lunch there when U2 blew in for a sound check and said Bono stormed out when the people having lunch refused to leave. Obviously they didn't do a show. Scorgie's was another great place to play back then." Photo on far right: Greg 'mainlining' 'TAB' , on the road, Sweden, 1987. Prevost: "I was heavy into 'Tab' in those days. It was very hard to find in Europe back then. Sweden was the only place I could find it."
ABOVE: A few of the band's early concert flyers. Prevost: "I got into painting and drawing as far back as grade school. I wasn't really good or anything, but I knew how to make something look the way I wanted. I got better over the years and later got into graphic design. I worked for a friend of mine for a few years at a print shop doing layouts of anything from a funeral Mass card to some local group's album or CD cover. In any case, I did all the band's flyers and posters over the decades-literally 100's like the above few you see here. I also did all the artwork and layouts in my 'Future' and 'Outasite' magazines and early band stuff I did (Mr. Electro, Distorted Levels, etc). I was involved with every facet/detail with the band's (C. Kings) 45 pic sleeves, LP covers, post cards, all that. I did the artwork and layouts of all the early records, and if I didn't actually DO the artwork, the label's artist would work off of my concept/sketch/layout/design. I was actually anal about such things and they had to look the way I saw them in my mind-everything from the photos used and colors to the font used for the lettering. By the way, the above 'Teen Life' flyer was used by master animator Fred Armstrong in the band's 1982 '99th Floor' video." (See Fred's Happening site: http://animatusstudio.com/main/fred/ )
GOING SOLO (AGAIN-Back to what I did in the beginning) : I was into the solo trip at this time (1974) before starting up bands involving other musicians. AND this is where I am at NOW (2013-through PRESENT DAY), though I like working with friends and would most likely play with a drummer on occasion. I like the idea of being totally on my own, like I am on the golf course, you know, totally relying on yourself. Dylan, Neil Young and Donovan always knocked me out, just on a stage alone. I also remember one time around 1974 or 1975 flying home from NYC, I think I was coming home from CBGB'S when it first opened as a 'punk' club seeing 'new' bands like Television and the Ramones or whatever, so this was probably 1975. Anyway, on the plane home, Harry Chapin got on with his guitar, and by sheer coincidence, had the seat right next to me. He said "Hi, my name is Harry", as if I didn't know. A really nice guy. I always liked his early works with his brother (Chapin Brothers), and used to get into seeing them on shows like 'Hootenanny' back in the early pre-Beatles 60's, and I liked things he'd done like "Taxi". In any case, I asked him if he was visiting someone in Rochester or something. He said, "No. I'm doing a concert at the Auditorium Theater." I asked, "Where is your band, manager...etc.", he said, "No, just me and my guitar." I was really impressed by the fact that he brought ONE guitar, no entourage, no one. Just him. Keep in mind at this time he was a MEGA star. This always stuck in my mind.
European tour 1995 … Left Paris, Right, Rome with Massimo del Pozzo (pointing). I recall this being a LONG tough tour. Record Runner always got as much mileage out of the band they could on those tours.
SAN FRANCISCO 1985
-1976 or 1977 I met Doug Meech and Rick Cona at the House of Guitars where I worked at the time. I did in fact run into Rick almost all the time at every concert I went to-many times Kinks shows. I asked Doug and Rick simultaneously if they were into starting a band with the 60's vibe, both accepted, Rick played bass at the time. Messed about looking for a guitar player for over a year and a half before I met guitar player Bob Ames. He joined, was heavy into the Stones, and, as mentioned above, we stabilized and came together in March of 1979; called ourselves the Cutdowns for a few weeks before I renamed the band The Chesterfield Kings. NOTE: This was the FAZE ONE ORIGINAL BAND: Founding members of the Chesterfield Kings : Myself (Founder as well) Lead Vocal, Harp; Rick Cona: Bass, Doug Meech: Drums, Bob Ames: Guitar. There are NO OTHER FOUNDING MEMBERS. After this line up, guys JOINED the band which EXISTED AS THE CHESTERFIELD KINGS, and hence, they did not start it.
ABOVE: From left: DISTORTED LEVELS limited 1989 RE-ISSUE, Center-original 1978 label, B-Side; Right: ZENITH EFFLUVEUM LP, partially obscured by the ZE LP-original hand-written lyrics for "Red Swirls" dated November 1976 Left: Prevost mid-1978, Distorted Levels rehearsal, inset-back cover for DISTORTED LEVELS pic sleeve with Greg Shaw's liner notes. Below, left: Chris Stigliano/BLACK TO COMM liners for the '89 re-issue on Bona Fide, below, right: 1977 Ad for the DISTORTED LEVELS "Hey Mister" 45. Right:
Above circa 1983-right circa late 1985. In '84 to '85, the majority of the band dumped the mop haircut thing which became redundant and silly, opting for long hair, or, as pictured right, shag cuts. Lots of people were "Oh, the pain! OH they changed their look" bla bla bla. Got tired of the bullshit of being what other people wanted and just wanted to be a BAND and not some novelty trip. Photos by Stacy, top: Seabreeze Park, right Irving Plaza foyer, NYC.
-1964-Beatles Hit USA, Stones shortly after. A turning point. "After seeing the Stones on The Hollywood Palace (pictured above, left) that was it. I absolutely did not care about the Beatles after seeing the Stones. Though I do like their records, the Beatles were to me, a sissy band.
Above: My first guitar, the '65 'Audition'. I still have it. It's so rusty and filthy I keep it in the garage. I have the Kingston amp somewhere also-at my parents house.
ABOVE: 1978 ad for Greg's solo EP; Right: Back cover liners by Greg Shaw ... one of many solo projects that remained unreleased. Prevost: "Note the '67 Strat in the photo. I paid $100 for it back in the early 70's. I sold it to a guy for $400 in the early 80's and thought what a big profit I made. We all know it goes for multi-thousands now. Back in those days we bought and traded guitars like gum cards." Right: Greg Circa 1977- early 1978.
ABOVE Right: Northgate Plaza, Dewey Avenue, Rochester, NY, 1953 'Grand Opening'. Northgate was about a 7 or 8 minute ride on my bike from my house, and I spent much of my life in the early to late 60's there. In the photo you can see 'Star Market' on the left; not pictured, but on the left of that was Woolworth's, left of that was Music Lovers Shop (that store arrived here in the 60's); all the way to the right and at the end of the plaza was W.T. Grants (also not pictured). All of these places carried records, 45's and albums, even McCurdy's carried albums, which you can see decorated with 2 Christmas wreaths. Anyway, after making a few dollars cutting lawns, shoveling snow (in the winter), washing cars or selling golf balls (Latta Lea and Lake Shore golf courses were right by my house-I'd venture out into the poison ivy and poison oak with a bucket, until it was filled to the top with golf balls lost by golfers who didn't want to go into the woods when they hit a slice. I'd find dozens every day in the summer. I'd then go to the 8th tee at Latta Lea, where the pond was-and guys would put balls in the water non-stop. I waited and was like 'Wanna buy some golf balls?' Almost new-4 for a dollar' or make deals with guys until I had 4 or 5 dollars). I'd then ride my bike with my cousin, one of the guys on the street or by myself, go to Music Lovers Shop, buy an album or a couple of singles and then get a milkshake next door at Woolworth's. They (Woolworth's) had a restaurant with booths and a soda bar and I'd look at my records while downing a shake. WBBF or WSAY was usually on in the background. It doesn't get any better than this, really. Northgate Plaza has since been demolished and bulldozed. (Thanks to Kevin Patrick for bringing this memory back.)
-1968-1973: I Played guitar, sang mostly on a personal level and into the next wave of cool: Blue Cheer, Alice Cooper, Amboy Dukes, Steppenwolf, MC5, Stooges, T. Rex…then ‘glam’ period that followed, Bowie, Mott The Hoople, Sweet, Slade, Silverhead, NY Dolls … I saw the Dolls when they first came out. It was a revelation of sorts. In college at the time,I majored in Chemistry, studying medicine, with the concept of becoming a doctor in the not-so-distant future … but … the idea of starting a band someday was germinating after seeing the Dolls and the fact that I was still hung up on the Stones.
Above: Left: Backstage, summit meeting, 'Cavestomp' 1998 NYC: from left, Sky Saxon (Seeds), Robert Martinez (? & The Mysterians), Greg Prevost, Mark Lindsay (Paul Revere & The Raiders). Center: Prevost live 1999, Rochester, NY, Right, Prevost, filming the 'Where Is The Chesterfield King?' film feature, Geva Theater, Rochester, NY 1999. Right inset center: 45 'Theme Song' for the film on Sundazed; B Side we recorded the Beau Brummels' "Sometime At Night" with former Brummels lead singer Sal Valentino, whom I did a duet with on this record. Inset, top right: Chesterfield Kings Monthly Magazine, 1998 (unissued). Inset bottom right: "Wrong From Right" 45-same band/era; Inset above: Poster for the film.
Above Left: 2006, Little Steven's Underground Garage Tour with the New York Dolls, Supersuckers & Charms; Right: END OF THE ROAD-The last show ever, German House, December 10, 2009. At the time the band didn't actually end, but I knew this was the end for me and it was time to move on and away from the band. There were a lot of bad vibes that night; drummer Lee Michael Boise told me in retrospect that he KNEW that night that would be the last show ever. Inset, right, poster from the 2009 Spanish tour with ROY LONEY & SENIOR NO; Inset center: ESPN 2005 New Year's Eve, Top inset: with Conan O'Brien 2007.
The Fall 2006, Little Steven's Underground Garage Rolling Rock & Roll Show Tour. Photo right: 'Put Up Yer Dukes'; NY Dolls & Chesterfield Kings backstage, Boston Mass. November 2006.
PHOTO GALLERY-CURRENT STACKHOUSE ERA
I will continue to post new images as they happen … I may add in the future a VINTAGE photo page
-1978: I have to introduce the CHESTERFIELD KINGS here as with all the bands/solo projects I was involved with it gets confusing unless I actually explain and clarify the origin of the band. Again I was STILL drifting back into the DISTORTED LEVELS throughout 1978 (45 released that year; got reviews into 1979 see above image scans) after the breakup of the short-lived CREATURES, as I didn't have a steady lineup for the newly emerging Chesterfield Kings. After a number of personal changes over the course of a year and a half, the lineup stabilized in March of 1979. At this time I opted to drop playing guitar live (occasionally adding riffs to C. Kings’ studio recordings) to do my concept of a Jagger/James Brown/Iggy thing. I had he germ of the idea for the CHESTERFIELD KINGS as early as 1976, but the concept of that becoming a reality didn't take place until the latter part of 1977. So many 'MYTHS' were invented for the the band back in the early 80's, like how the band members known here as the HERE ARE THE CHESTERFIELD KINGS lineup came together-I made up some spiel about how 'we all met at a Kinks concert'-totally not true. Another MYTH is that the first 45 "I Ain't No Miracle Worker" was released in 1979. NOT TRUE. It was actually released in 1981 prior to the BATTLE OF THE GARAGES VOL. 1 COMP. in 1981. I invented the '1979' release date in the early 80's to give the younger guys in the band more credibility. I am also tired of hearing how 'so and so' was a member of the band-I hear this ALL the time how some guy I never heard of was in the band--and other nonsense about 'founding members.
Above Left: Backstage, Memphis Tennessee, Fall 2004: Chesterfield Kings & the Cramps. From left: Mike Boise (C. Kings), Poison Ivy (Cramps), Andy Babiuk (C. Kings), Paul Morabito (C. Kings), Greg Prevost (C. Kings), Lux Interior (Cramps). Prevost: "This was taken directly after we finished our set, which is why we look soaked like wet rats. Paul and I used to have this ongoing joke for years and years 'Oh the air conditioning is on out there, we won't sweat and get soaked tonight.' Then we hit the stage, the lights are like 1000 degrees, you move around etc. By the 3rd number we looked like wet dogs and laughed
Above LEFT: The Cutdowns late 1978-early 1979; soon to be The Chesterfield Kings. From L to R: Doug Meech, Bob Ames, Rick Cona, Greg Prevost. Prevost: "Definitely hippies. It took some time convincing guys that we should look like the Stones did on their first album, but at this point, I think I was just impressed to have 3 other guys in a band into the same music for more than 5 months. Yeah, I was a hippy too." Above Center: Chesterfield Kings 1979; from L to R: Frank Moll (guitar), Rick Cona (bass), Doug Meech (drums), Greg Prevost (lead vocal, harp); Above Right: Gary Trainer of New Math/Jet Black Berries-Gary filled in playing guitar (Bob Ames pulled a 'no-show') on a recording session in early 1979.
ABOVE: the 1981 BATTLE OF THE GARAGES VOL. 1; we had "(Are You Gonna Be There) At The Love-In" included on the release … center and right-the first record released by the band. I have to point out, and I recently realized that the date on most discographies states that this was released in 1979; this is NOT TRUE. This was actually released in the early months of 1981. I was researching and making sure my data was correct and found an issue of GORILLA BEAT from Spring of 1981 and it stated that Andy joined the ALREADY ESTABLISHED AND EXISTING band in March of 1980 and Ori joined in October of 1980. NO WAY this came out in 1979. A Gorilla Beat Magazine issue released at the time confirmed that it was released SPRING 1981. I believe we made up the myth that it was out in '79 to give more cred to the younger guys in the band as well as make it seem that the band was 'the first to release a garage record' or whatever (sort of like the space race between the USA and Russia in the 50's & 60's 'who will be first??'). In any case, this came out the same time as the VOXX BATTLE OF THE GARAGES in 1981. Far Right: Contract to me from Greg Shaw.
ABOVE: Left: 'Drunk On Muddy Water' cover out-take. Prevost: "This was taken by Mary Ellen Gardiner, a really good friend of mine, and the garage in the background was in her back yard. She did a lot of our photos over the years including the front cover of the "Hey Little Bird" picture sleeve and shots on the back cover of our first album." Photo on the Right was an off-the-wall Beatlesque shot of the same era band: in the photo: From bottom, then clockwise: Brett Reynolds (drums), Andy Babiuk (bass), Paul Rocco (Guitar), Greg. Right, inset, bottom: PAISLEY ZIPPER BAND 45 on Get Hip, Center-Spanish bootleg-same band--same band lineup as 'Drunk'-I came up with the name back in the 70's when I used to put it on my 45's 'Want List'-and other collectors would look for it even though it didn't exist and I made it up--joke was on them!
Excerpt FROM BLACK 2 COMM/BLOG 2 COMM Interview with Chris Stigliano:
Prevost: “In the mid to late 60's I was into records, playing guitar, reading magazines on stuff I liked: rock n' roll, cars, monsters, sci-fi, baseball. I was going to be like Mickey Mantle, you know, my hero at the time (early 60's). I played on the KPAA (Kodak Park Athletic Association) baseball team for a few years, and in 1967 our team came into second place in the state and it was like a really big deal for me and all the guys on my street (SEE PHOTO BELOW, LEFT: Summer 1967, from left, Bill Kolmier, Mike Minnehan, Luke Basso, my cousin Dennis Halligan, me). I also played golf, and in my teens had the idea that I'd go pro. Football, basketball, tennis, bowling, boxing-I was into all that stuff. I was also into shooting skeet amongst other things like stop signs, TV sets people threw out on the curb and abandoned cars-I had/have a couple of shotguns and I used to love shooting. Life was pretty loose for me, you know, I was young enough not to have to get shipped off to ‘Nam, but old enough to appreciate everything that was happening. Like all kids in school back then, I read Huckleberry Finn, and totally related to the concept of just getting on a raft, being free and letting the water take you wherever it was going. Total freedom, you know. For me, life was just unplanned and totally spontaneous; uncomplicated, really, though there were stressful times during the school year. I used to ride on open boxcars to my cousin's house. It was a heavy trip. I really liked that--just layin' around in a pile of straw watching houses go by. The railroad was across the street from my house on the other side of the golf course (Latta-Lea Par-3, which was practically in my back yard) and the train would go by every other hour about 10-15 miles an hour and I'd throw my bike in, then jump in; jump out near my cousin's house, then when it got dark, rode my bike back home since the train didn’t go back that way. I used to read 'Creepy' magazine and 'Tales From The Crypt' comics. As you know, those were all about ghouls, monsters, cretins and stuff like that. Anyway I'd read this one story in 'Creepy' called 'The Damn Thing'-it was about this thing that could turn invisible and would stalk people, then when it tore them apart, it could be seen. I had this notion that when I was going home in the dark that this thing was in the bushes along the railroad tracks and it sort of messed up my mind-I'd imagine I could hear rustling in the weeds and it would jump out in front of me."
Above Left: Band goes into a Beach Boys mode for the 1997 'Surfin' Rampage' surf-vocal album. From Left-front: Chris Hadlock, Ted Okolowicz, Andy Babiuk, Greg Prevost, Jeff Okolowicz. This is the same line-up that was on the 'Where The Action Is' album (inset, bottom right), with exception of Chris Hadlock, who was replaced by Mike Boise on drums. Inset, top right, the 'throw-away' Spanish 10-inch 'tour' LP. Center & Right: Honolulu, 1999, Prevost and wife Caroll with the legendary Don Ho. Prevost: " Caroll and I used to go to the Pro Bowl in Hawaii every other year. Going to Hawaii was one of the factors that inspired me to want to do the 'Surfin' Rampage' album. Anyway-we used to go see Don Ho and hang out with him every time we went. First time we hooked up, he called me onstage to do a song with him. We did Leadbelly's "Pick A Bale of Cotton". Really heavy"
ABOVE: 'Geek-O-Rama' '73: Cardinal Mooney High School Yearbook. The tie and shirt were my father's. I never owned things like that myself (still don't). My hair is also tied back in a ponytail. Good thing, or I'd look like one of those hippies on 'Room 222'. My father used to tell me I looked like a wooly bear. Center: Mooney High School.
Issues from 1982-1999
-1977-Started collecting vintage Television, Film, Music, Rock n’ Roll. Amassed over 40,000 hours of the aforementioned, all of which is now digitized. In the 80’s teamed up with like-minded TV collector Dr. Ron Evans and formed ‘e/p/Partners’, a company dedicated to the preservation of vintage Television and film. Did research over the years for the news-based CNN, PBS and 20/20.
Goin' To California …1985 Cross-Country USA Tour for the STOP! album. We drove for 42 hours straight from Springfield Missouri to San Francisco. Brutal but hilarious. Inset, 'snapshot' right: El Mocambo Club Toronto, 1986 with Miss Caroll, where the Stones recorded half of the 'Love You Live' album.
-1977-Continued with various bands (Tar Babies), played guitar (guested) on one song on an album by local Prog-Rock band Zenith Effluveum (Album: “Almost Made It In the USA” see photo below). Credited on the record as ‘Hard finger-nailed guitar’. Prevost: “I was best friends with those guys. They thought my playing was insane and asked me to play on a song. I can’t remember the song or what I did.” The Tar Babies merged into Distorted Levels (same band) who recorded and released one 45 in 1978 on Prevost’s Nowhere Records label (“Hey Mister” b/w “Red Swirls”) with liner notes by the late Greg Shaw of Bomp! Magazine. (see further down this thread for pic cover & label images)
LEFT: Circa 1977- early 1978. This was around the time I was doing solo stuff, and involved with The Creatures From The Black Lagoon. We did originals I wrote as well as stuff by the Sonics, Little Richard and Eddie Cochran, who I was obviously obsessed with as you can see from my image at the time. I was a total 'greaser'. I sang lead and played lead guitar. I was into using Fender Strats, Teles and strictly Fender amps during this era. Shortly after this time I ventured into a 'powerpop' faze. This was followed by a regenerated DISTORTED LEVELS. A 45 was recorded then released on my label Nowhere Records. My image changed like a number of times in this year!" ('powerpop' photos above this section)
ABOVE: Besides collecting records and teen magazines, I also collected baseball cards, all kinds of gum cards, Aurora Universal monster models (amongst others), comic books and all kinds of monster magazines like the ones pictured above. To me, this stuff was as important as Rock n' Roll. As far as 'Uncle Scrooge' comics are concerned, I was really heavy into these, likewise with 'Donald Duck' comics. When I was a kid I liked the detail, stories and humor in them. The artists and writers in comic books in many cases were not credited back in the 50's and 60's and I didn't discover who the genius behind these stores was until the 1970's, that being Carl Barks. When I found out, I was obsessed with having EVERY story he wrote and illustrated. It took years, but I believe I did find and collect them all. I can read them endlessly. I once got on a quest to find Barks, but by the time I had a contact he had just turned 98 years old, and died shortly after that.
Left: Greg, New Mexico 2004, during a tour with the Cramps. Prevost: "This was at a rest area. The rattlesnake warning sign was outside the bathroom. I didn't have a gun with me, and was lucky I didn't see any rattlers. Like, what if one did come your way, what are you gonna do, kick it? I also vividly remember at that same rest stop, there were literally 1000's of these oversized grasshoppers. I always liked grasshoppers, they look like they are smiling. Anyway, they were covering the sidewalk and I walked carefully so I wouldn't step on any, then we saw this crazed woman stomping them. I said "What are you doing?" She just kept splattering them. I guess she wasn't as charmed by their smile as I was." RIGHT: Poster for Little Steven's Festival at Randall's Island 2004; photo FAR right bottom also. Right : JIMMY KIMMEL LIVE, 2004.
NOTE: When I started the Chesterfield Kings, The NIGHTSHADOWS were one of the bands I modeled the band after, along with the Stones and Yardbirds. I don't remember exactly when I connected with Aleck, but I'd have to say late 70's. I sent him my records, Distorted Levels, then the first Chesterfield Kings 45, we corresponded, I did liner notes on a number of Nightshadows re-releases, as well as an extensive story/interview with Aleck in OUTASITE #3 and so on. We are still friends and still in contact.
ABOVE & Left: The Great HOUSE OF GUITARS Blues session 2/8/14; Photos by Mike Scrivens; House Of Guitars … Left with Rick Cona and Brother Zach Koch; Big Paul Morabito was also in the ensemble.
Above: Virgin Records instore NYC, 2003. From left, Paul Morabito (Guitar), Greg Prevost (Lead Vocal), Andy Babiuk (Bass), Mike Boise (Drums). This was the last faze of the band. Center: Prevost onstage 2009; Right: Advert for the band's SXSW appearance, March 20th, 2009. Inset RIGHT: Original SUNDAZED release of MINDBENDING SOUNDS, promo pic from same photo shoot.
Left: NYC 1981-the BATTLE OF THE GARAGES era with Ed Richter left (Ed did the psychedelic liquid lights), me, Rick Cona; Center: Chicago 1988, Right-Two 45's we did with the LYRES, above on SUNDAZED, other on Rolf Rieben's FEATHERED APPLE label.
-LATE 50’S-EARLY 60’S: Got into music, first likes include Elvis, Beach Boys, Jan & Dean, surf, teen idols like Fabian, Paul Peterson, Bobby Rydell
GREG 'STACKHOUSE' PREVOST OFFICIAL WEBSITE
Above: 'First Dutch International Garage Festival' Rotterdam, Holland July 2004. Right: Chesterfield Kings with the Remains backstage, Rotterdam, 2004. From left, front: Paul Morabito (C. Kings), Mike Boise (C. Kings), back: Greg Prevost (C. Kings), Bill Briggs (Remains), Vern Miller (Remains), Andy Babiuk (C. Kings), Chip Damiani (Remains), Barry Tashian (Remains). Right: A 1965 promo shot of the Remains (same members). In case you are not familiar with how big the Remains were, they had an album and several 45's on Epic Records from 1965-1966 and opened for the Beatles on their final tour in the US, 1966. Also note that the Von Bondies were on the bill as well. Most people know them from the dynamite opening number (show's theme song) on Denis Leary's really happening & long-running show 'Rescue Me'.
Above Left: Inside Cover Out-Take for 'Let's Go Get Stoned' album. Right: 'Stoned' session 1993, GFI Studios with Mick Taylor. From left: Andy Babiuk, Brett Reynolds, Greg Prevost, Mick Taylor, Paul Rocco.
ABOVE: Backstage at Gino's, Portland Maine, circa '83-'84 with Bebe Buell; Right: Onstage with Bebe-we did the Syndicate Of Sound's "Little Girl" together ... Prevost: "I had the flu during this show. Sick as a dog. You can see how wasted I look in the pic on the right. Thank God Bebe came up and sang, as I was burned out at that point." PHOTOS: THE RICK CONA COLLECTION … Inset, right: STOP! Photo shoot out-take 1984, pic: Stacy Z.
ABOVE: My 1959 Danelectro 'Convertible'...the 'Mr. Electro' main guitar-I still have it...painted it 'psychedelic' back in 1975. I still use it for certain tones. Right: One of many MR. ELECTRO recordings, this dated from May 1976
RIGHT: Las Vegas, Nevada, September 29th, 2004: Backstage 'Las Vegas Rockaround': from left: The legendary Kim Fowley, Greg Prevost, and the late Hasil Adkins.
FUTURE MAGAZINES 1977-1982
*NOTE*-1978-1979: During the transition of the Cutdowns to the early Chesterfield Kings, I tracked down all the original members of the Chocolate Watchband (see their albums above) and came close to reuniting the band with me filling in as lead singer. I was, and still am heavy into these guys. I tried to organize a fan club at this time, but at the time no one joined up-I had a newsletter ('Future Newsletter') and plugged it in nearly every issue I printed up. Today you could get thousands of people to join, but back then, I guess they were still too uncommon. Anyway, I found all the original members and attempted to get them back together-Dave Aguilar, the lead singer was a professor at a Colorado University at the time and was not available to do this so I offered. The band, the Chesterfield Kings or Cutdowns or whatever we were calling ourselves then, were on shaky ground so I got ready to move to the West Coast to join the Watchband. I sent them a recording of me (with an early line up of the band which featured myself (Lead Vocal, Harp), Rick Cona (Bass), Doug Meech (Drums) and New Math’s guitarist Gary Trainer (see photo below-right) filling in for our guitar player Bob Ames when he didn't show up for the session, doing “Fortune Teller” and “I Can Only Give You Everything” (Engineered & produced by Duane Sherwood, New Math's audio tech at the time; tapes actually still exist-to be released SOON-Gary recently reminded me that I joined NEW MATH onstage at Marty Duda's wedding shortly after this recording session for "Gloria" and "Dirty Water"). They liked it and said I was ‘in’. Things fell through when guitarist Mark Loomis disappeared into a commune. I commenced with my own band. Keep in mind that this was only about 7 or 8 years after the Watchband broke up so the guys were still around and relatively young … also keep in mind that no one in 1978 or 1979 was really hip to groups like this or the Elevators who are so well known in this day and age, but I was willing to take the chance. Above Right: Rochester D&C article from this era-circa late 1979-lineup included myself, Rick Cona (Bass), Doug Meech (Drums), Frank Moll (Guitar)-our appearance never took place--problems with Frank Moll at the time.
Music America Studios-Rochester, NY-1984, recording the STOP! album. The studio was owned and run by Paul Curcio who was a founding member of the MOJO MEN ("Sit Down I Think I Love You" fame)-the "Lies" 45 was done there also (alternate version)
Left: One of many 'Future' Newsletters. Most are lost. I still have 1000's of letters from the FUTURE Era-Above: Letters circa 1977-early 1980 from Willie Loco Alexander (in the BOOM BOOM BAND at the time), Jeff Connolly (DMZ at the time, letter from '78), Fred Cole (RATS at the time) and Barry Tashian (solo C&W with his wife at the time).
FLASHBACK: here are the chesterfield kings album 1982
-1966-1967: I was heavy into UK & US top 40 bands & lesser known ‘garage’ (lame term but for lack of a better description) bands. Fave UK bands at the time: Stones, Kinks, Yardbirds, Pretty Things, Them…Fave US bands at the time: Byrds, Music Machine, Syndicate of Sound, Standells, Shadows of Knight, Seeds, Count V, Love, 13th Floor Elevators, ? & The Mysterians, Blues Magoos…an endless list.
THROUGH THE PAST DARKLY
European Tour 1995
Scorgie's was one of the main clubs we played from the early to mid-80's
-Got my first guitar and amp for Christmas ‘65. It was an ’Audition’ electric guitar with a 4-watt Kingston amp. I felt like Keith Richards!” First song I learned/played: “Satisfaction”, on one string of course.
ABOVE: 'Stackhouse' Prevost onstage at the Skylark Lounge March 30th, 2013; Jeff Spevak's column Democrat & Chronicle March 28th 2013.
GREG 'STACKHOUSE' PREVOST NOW!
-I grew up in Charlotte, a suburb of Rochester, and went to grammar school at Holy Cross from 1960 through 1969.
Above: This was recorded in 1982 at Bill Thomas' studio in Webster NY-Bill knew Rick Cona from school, and he was in bands that did shows with us at the time. For some reason we didn't like the sound or whatever, but it NEVER came out UNTIL like 1990 or so--this was NOT released in 1982-that is a MYTH we made up-just like the MEAN RED SPIDERS-that was a MYTH also--that was me and Andy in 1990 or '91 and we pretended it came out in 1978 (I didn't KNOW Andy unitl 1980 so that was NOT possible obviously) or something-but it did NOT come out when we pretended it did just like THIS did NOT come out in 1982. Both sides came out first on the NIGHT OF THE LIVING EYES compilation and it was slated as Living Eye #2---at the time we pressed up the MEAN RED SPIDERS in 1990 0r 1991, we pressed up 200-300 of this "I Won't Be There" 45-ONLY 4 OR 5 WERE ACTUALLY IN CIRCULATION-maybe a couple more-I know of THREE--Massimo del Pozzo has one (the one pictured above is his copy), Rolf Rieben of Feathered Apple has one, and I saw one listed for $643 on Ebay years ago--I DON'T HAVE ONE-I gave my copy away by mistake-maybe to Rolf-I don't remember-no big deal-anyway-the 2-300 copies disappeared or got warped in storage or whatever-no idea what happened to them-so even though it came out in 1990 or 1991-it is still the rarest Chesterfield Kings record. Photo center is from 1982, taken in the basement of St. Josephat's church in Irondequoit. PS If you see copies of this for sale, beware, they are probably FAKE.
Above: Live, Circa late 80's. Prevost: "I spent a lot of time tearing out ceilings, punching holes in walls and knocking holes in stage floors. I am doing the latter in the above left shot, with the help of a 40 pound cinder-block. (See Article below.) Also note the chick lying on the edge of the left side of the stage-she was wearing this shortie-skirt and no underpants, and occasionally the mystery was over."
-1965-Saw Son House live ‘from afar’. Got turned onto House from a comment Brian Jones made in an issue of ‘Rave’ magazine. Also got turned onto the likes of Chuck Berry, Bo Diddley, Muddy Waters, Slim Harpo et al via the Stones, Yardbirds, Pretty Things, Them and Kinks.
BELOW: Some images that have not been seen ever or in decades:
Left: Alternate cover shot for the LP, blue background was sprayed on (physically, pre-computers; Center, bootleg 80's Euro version of the LP, right, Rick, me out-take shot, photos by Steve Wendell.
Left: Out-take shot for the "A Dark Corner" 45 pic sleeve-by Steve Wendell who also did the HERE ARE album cover-"Dark Corner" was one of the 6 'extra' songs recorded for the album; I loosely modeled the cover after the Stones "Time Is On My Side" US pic sleeve.
"She Told Me Lies" 1984
Above Right:Onstage with Kim Draheim (left) and Barry Miller (Right, harp) both of the INFRARED RADIATION ORCHESTRA for "Little Red Rooster" 4/35/14- Photos: Aaron Winters
RIGHT: MARCH 1979: The original lineup of the CHESTERFIELD KINGS-From left: Rick Cona (Bass), Doug Meech (Drums), Greg Prevost (vocal, harp), Bob Ames. Rehearsal at the old WCMF Studios on Leighton Avenue, Rochester, NY. This is the FIRST lineup-the founding members of the band. We rehearsed there thanks to brother Marty Duda who was a mutual friend of mine and Bob Ames' prior to forming the band. When we got ousted from WCMF, Marty arranged for us to rehearse at his dad's business HQ, Humphries Exterminating on Main St.
Typical literature I'd read during breaks at St. John Fisher College.
JOIN THE SHITKICKER REBELLION, BABY
Above-Stackhouse Live at the LOVIN' CUP 4/25/14 -Above Right-Brother Zach Koch; Photos by Aaron Winters
The band'sHERE ARE THE THE CHESTERFIELD KINGS album was recorded very unconventionally-the sound that was needed required the vintage technique used in the 60's-not the 24-track studios that were "IN" at the time-my friend Jim Havalack who I hung out with all the time back in the day told me his brother Bob, who I was also friends with-had a 4-track tape recorder-we recorded 9 songs in the basement of St. Josephat's church ("Hustler", "You Better Look Now", "Little White Lies", "I'm Going Home", "Come With Me", "Fluctuation", "Satisfaction Guaranteed", "99th Floor" and "Time To Kill"-the other numbers were recorded at Sandcastle with John Fritsch)-I also did the vocals in the attic of John Borelli's house-for these 9 songs-but they were distorted-and I re-cut them at PCI--at any rate-here is the original receipt (above right) for the recording of the bed tracks for the above mentioned 9 songs-the address my name is with is House Of Guitars/Mirror as Armand just signed the band-we ultimately took the 4-track machine into PCI Studios-ran it onto a 24-track and I over-tracked my vocals-I think we used a maximum of 3 tracks out of the 24-the bed track, lead vocal, backing vocal--only "Expo 2000" took advantage of more tracks---8 maybe--we also recorded at LEAST 6 more songs at PCI that we replaced with the Sandcastle recordings engineered by John Fritsch-they remain unreleased-I remember a few numbers recorded and not used: "Never Had It Better" (Electric Prunes"), "One By One" (Blues Magoos), "Go Away Girl" (Young Men), "We're Pretty Quick" (Chob), "A Dark Corner" (Bourbons) which was issued as a 45, and one other that escape my memory … I have the tapes somehwere-they may surface when Mirror decides to do a deluxe edition on CD.
ABOVE: Prevost interviewing Captain Beefheart 1977, interview appeared in FUTURE #3, pictured above; Right: Prevost with 'The Man' Bo Diddley, late 1982. Bo proclaiming he reads 'Outasite'; ABOVE TOP Right: BOMP! Review of FUTURE
Left: Back to 1980! Fall 1980--one of the first photo shoots with Orest Guran; Right with Roger McGuinn 1983 at the Casablanca
The Byrds. Prevost: "Did I already mention that I liked the Byrds?" Above Left: Prevost early 1982. Above Right of Prevost: Roger (Jim) McGuinn of the Byrds 1965. Prevost: "My whole image in the early months of 1982 was lifted from Roger McGuinn. The 'McGuinn' specs I'm wearing in the picture I got in 1965 at 'Daw Drugs' on Dewey Avenue for 98 cents. I got them right after seeing the Byrds on 'Hullabaloo.'"