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They also play shows for the Hell’s Angels and other biker groups out in the desert too, and Hartshorn says they also played at the Troubadour, and several clubs on the Sunset Strip in Hollywood, during this time. Hartshorn later reveals that some of the tracks were recorded on Keane’s Scully Dictaphone eight-track machine which at the time was state of the art (remember, most recordings at this time are still being done on four-track machines – eight-track machines did not become standard until the early 1970s and were shortly replaced by sixteen and twenty-four track machines). By the beginning of 1967, Margeson was out, to be replaced by Clint Williams (bass), and soon they were adding Charlie Hendricks (vocals, pipe recorder), who had previously played in bands with Clint. Keane rolls tape and produces the songs at each session, recommending a backwards guitar part here, a sitar part there, a recorder solo…

Keane discovers that these teenage musicians have never set foot inside in a professional recording studio, so he escorts them down the hall to a small room which turns out to be a brand-new state-of-the-art recording studio, with a transistorized mixing board, and transistorized three-and eight-track tape decks. Finally, now that finals were over and they’d all graduated from high school, they had to time to focus on getting a few gigs (mostly teen clubs up in the lush coastal communities in Ventura County), and maybe, just maybe, they thought they might be able to get themselves a recording contract. After their audition, a recording contract is offered to the band, and over the next week or so the details are ironed out between Averill C. Pasarow, the band’s attorney, and Jay Cooper, Keane’s attorney. I am told that with our contract rate that it will not affect us or our values … This a rticle was cre᠎ated by G SA Conte᠎nt G enerator​ D​emoversi on.

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