Let's fast forward to the summer of 1972. I moved into a small house near the beach in the sunset district of San Francisco. In the years to come, this home transformed itself into a recording studio for many of the bands I played in. Philip my best friend, moved from San Mateo to Half Moon Bay and was bored listening to the foghorns. (As he tells it) The early seventies were a transitional period of our lives. Quite ironic that the local music scene was going though changes as well. It was a magical time in San Francisco, having some backlash from the demise of the 60's love and peace generation that died such a horrible death. A new musical sound and subculture was about to change the world.
Phil and myself had not played any music together for nearly two years. Last time we had spent some time together was when we traveled to New York together (Oct.1969) but that is another story in itself. We have a spiritual bond (So to speak) both musically and comically that has stood the test of time. Phil would come up to the city nightly as we began working on some new songs. The results turned into a demo tape, that we had hoped to use to book some gigs as an acoustical duo. We were hanging out at The Cliff House (The fifty-cent Irish Coffees would really get you spun) and we started going to a nightclub on Irving Street (Country Roads) and explored the other various clubs in the Bay Area. (The Long Branch) We would watch Eddy Money or Y&T knowing we can do this too. We would record for hours letting the tape machine roll. It was during this time that we discovered the radio shack microphone that was designed for telephones. This is how those (dial-a-punk) phone calls originated. We would smoke lots of marijuana and I'm surprised today that I can remember shit. It was during this period we compiled, edited and completed a 2-track tape that I gave to Phil's brother. This inspired Dennis, Phil's brother to work with us as he had built a 4-track studio on the peninsula and enjoyed engineering tracks that he would mix into finished songs. We recorded many tracks with Dennis on drums and these recordings became The Smash tapes. (That Rock, Yes I Will, Slipping Away)
In 1977 after a short period of inactivity, Phil and myself discussed the possibility of forming a band that could play live. Phil had played bass in a band called "Tuff" and was hooked in with a network of other musicians. It was during this period I worked as a Jeweler and was given the stage name of Johnny Rock. One night during a hilarious photo session in skintight satin pants that image was born. Debra Hansen was the photographer. She took lots of pictures during those years and put up with our bullshit, thank you very much.
Billy Stapleton lived up the street; he was a hot guitarist we met who loved Jimi Hendrix as much as we did. We became good friends; he became a vital component adding unique input and guitar to what we created. Billy would be "the icing on the cake" to many of our sessions during this era (The original "Bad Food").
We needed to find a new drummer for live performances as Dennis Schraub had commitments with family and found his real forte being a sound and video engineer. Dennis remained involved and played a major part though his musical input during this decade.
George Hastings came into the picture as the drummer who had played previously with Phil and had a style we envisioned for a power trio with a front man. He dug Mitch Mitchell and Ginger Baker and that worked for the time. Drum solos were Mr. Hastings forte and he did some excellent ones at times. Especially when we ran out of material. LOL.
A bass player was always the missing component that we would struggle with in past history as making the commitment or having a sense of humor. Phil played the bass in Smash. George knew Carl Jeppesen a really solid bass player who sang well and wrote excellent compositions. He loved John Entwistle and The Who. We jelled in three-part harmony. Carl was tolerant in many ways, and had the patience to put up with George, Phil and me. This made for one of the tightest rhythm sections we had ever worked with to date. We then became known as "Johnny Rock And The Rockers"
We rented a locked rehearsal room in the basement of the Venetian Bakery in North Beach from "Francisco" who looked and acted like Chico Marx on Speed. This was the comical era of The Rockers. Some rehearsal sessions were total insanity with this nucleus as we composed "Doctor Howard" and many others with Carl and George. We composed many new compositions including songs about Pony Tail Hippies, Lesbians, etc. We were good at taking other peoples inventories. We spend a year rehearsing new material. Our first gigs were "The Day In The Dirt" festivals in Half Moon Bay. The Fog hippies on the coast were the perfect audience to test and experiment with, as they would yell, "turn it down". The Tape from these gigs document how tightly and raw the band was. Our first paying gigs were in August of 1979 at The Come Back Inn and The International Café respectfully in that town that time forgot, Berkeley. This was a natural transition from the audience on the coast.
We learned to adapt with the Punk and new wave bands in San Francisco. We played The Palms Café on Polk Street. This was a hot club we got good response in. Our first big showcase gig was at The Mabuhay Gardens in San Francisco. We opened for The Go Go's and it was one of those "never to forget" experiences from Dirk Dirksen informing us we are heavy metal, to Ginger Coyote grabbing my balls telling, me not to get macho with her/him. We learned quickly it was not what you know but who. We slowly built a local following
It was at this point we became informed (By Carl) that if the drummer did not depart the bass player would. We decided that the bass player was a much more vital component, so sadly we informed George Hastings his services were no longer needed.
At this time it was decided to drop the "Johnny Rock" from further bookings to promote us as a unified group without having a back up implication. We then became known as " The Rockers". Entering a new phase to record our compositions and release them on our own record label as many other local groups were doing at the same to promote their product.
Next up came finding a new drummer. We placed ads, did the auditions, but one Saturday afternoon at Leo's Music we found the bedrock basher. Bryan Allinsmith was from Boston but played like a possessed madman. Bryan loved to party and attracted lots of women. One night after a gig at The Palms, a fight broke out and the results left Bryan with a broken leg. The culprit that broke his leg was left lying in the middle of California Street by Gus and Papa (our roadies) and from that night on, "The Wrecking Crew" was born. The word around town was don't mess with "The Rockers" road crew.
Late in 79 we entered Mobius Music in San Francisco to record our debut EP of 4 Songs. Carl's (Come Back & Don't Leave Me Tonight), Phil and John's "I Want To Tell You" and Phil's "Understanding". The songs were well received by the local press (BAM) and was distributed by Tower and other local record shops.
This became the beginning of the end as we played the local circuit for a year until we had completely burned ourselves out in this nucleus. Carl finally had a moment of clarity and left the group after being tolerant of Bryan, John and Phil. It was in everyone's best interest when we parted company.
The struggle for a bass player was a challenge as matching Carl skills was tough. We found a bass player named Sheridan Oaks who was competent but didn't have gear or wheels. Thanks to Phil's "big heart" of generosity with his ability to drive people and loan them gear or money, we were back on the road temporality. This guy really didn't match our style or fit the humorist make up of The Three Stooges we were about to become. Today I'm astonished that we survived during this period of hardship. Our humor is the asset of our camaraderie and it's been our saving grace in low productivity periods. We were at the crossroads when the inception of The Finders evolved.
John SanFilippo was a homeboy from the "village". He played guitar and bass with a unique aura of psyche and spirit. Phil, Denny and myself knew John though their younger brother Jimmy. John was a member of Britley Black's Next an offshoot of Crime. He adhered well in the social subculture of new wave musicians. The scene was big in SF and we respected his modern sensitivity and his stylistic sense of dress and he would do anything for a laugh. John became a vital component to the personalities of the Hole Finders. We videoed wild parties and took this piss out on anyone.
John Lennon's untimely death moved us to write a tribute, as he was a big influence on our music and life. We paired that song with a Rolling Stones rocker and hit the road. A local label helped us distribute and we began yet another quest on the circuit. The single did OK but we needed to make a statement with something totally unique.
The Three Stooges anthem we wrote "Calling Doctor Howard" came into the picture as it had become a live favorite with our fans so we paired it with "Bad Food" This really got peoples attention yet this unconsciously took us into the land of novelty not good territory for a serious pop group.
That cover featured a picture of me vomiting over a toilet holding a telephone with a picture of the Stooges in the background. We received a letter from Columbia pictures asking to cease and desist the use of the Stooges images or we would be sued. (Moe Howard's daughter didn't have a sense humor) This made great press (we changed the cover sleeve) and the record sold well. We made a video under the direction of Joe Oligher at Video-West he also managed us at this point. The clip aired on MTV's 120 minutes.
During this period we decided to add an additional guitarist. Mark Newcomb was a hard-edged player who fit with our power-pop style. Joe O. got us an introduction with the infamous Tony Secunda once manager of The Move, T. Rex, and others. Tony was a quick-witted businessman who knew the industry backwards yet the powers around our group created ambivalence towards trusting him.
It was time for us to record the big LP. We entered Mobius Music once again recording new tracks until our egos set in. Some of us were also dabbling with alcohol and other substances. This didn't help to keep our focus or to levitate our fears. Those songs remained in a box for nearly twenty years until recently. Squid Music has revitalized and preserved the bands today a fitting tribute to the power-pop music from that era. We were young and very immature working in an industry that could eat you alive. (Looking back today it's funny that those who used to open for us back then are still around today.) The music lives on today as timeless as we created so much in a very short time and sad that it ended so quickly. Phil and myself continue to have the same bond. I'm grateful for his friendship though out the years. We continue (With Squid Music) to acknowledge the players that contributed to our musical journey. We are communicating with each other in the hope of creating some new music together in the future.
John Rock
February 2003
