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The Chocolate Watchband

The Chocolate Watchband is an American garage rock band formed in the autumn of at on the by guitarists Mark Loomis and Ned Torney along with drummer Gary Andrijasevich from the earlier group the Chaparrals, renowned for their raw, psychedelic-infused sound and energy that contributed to the scene. The band quickly faced lineup changes and was reassembled in 1966 with vocalist David Aguilar, guitarist Sean Tolby, and bassist , marking the core lineup that defined their breakthrough era. Signed to manager Ron Roupe and producer that summer, they released their debut single "Sweet Young Thing" in late 1966, followed by the hit "Are You Gonna Be There (At the )," which tied into their appearances in the films Riot on Sunset Strip (1967) and The Love-Ins (1967) but did not chart nationally. Their debut album, No Way Out (), captured their live intensity with covers and originals like "Misty Lane" but included session musicians on tracks such as "Hot Dusty Roads," establishing them as a cult favorite in the movement, though they never achieved a national chart-topping single. Subsequent releases, including The Inner Mystique (1968) and One Step Beyond (1969), continued to feature secret use of studio musicians such as members of the Wrecking Crew by Cobb, leading to tensions and a sense of despite the albums' enduring appeal in psychedelic circles. The group disbanded around 1969–1970 amid lineup shifts and internal strife, but their influence persisted through inclusion on the seminal Nuggets: Original Artyfacts from the First , 1965–1968 compilation (1972), which cemented their status as pioneers of the genre. The band reunited sporadically in the late 1990s, with Aguilar, Loomis, and Andrijasevich at the helm, alongside additions like guitarist Alec Palao, leading to reissues by labels such as Big Beat Records and new material like the 2012 album Revolutions Reinvented. Remaining active into the , the Chocolate Watchband performed what was billed as a "final" concert at the in January 2024; Aguilar announced plans in early 2024 for six new albums of unreleased and original tracks to be released via , but as of November 2025, these have not been issued, underscoring their lasting legacy in underground rock.

History

1965: Formation and early lineup

The Chocolate Watchband was formed in the summer of 1965 in , by guitarists Ned Torney and Mark Loomis, who had previously collaborated in the surf-oriented band The Chaparrals. The duo, both students at , assembled the group amid the burgeoning scene in the . The band's distinctive name originated from a suggestion by Torney during an informal gathering in the student lounge. The original six-member lineup featured Torney and Loomis on guitars, Danny Phay handling lead vocals, Rich Young on bass, Pete Curry on drums (soon replaced by Gary Andrijasevich), and Joe Kemley on keyboards. This configuration emphasized a raw R&B and sound, drawing from influences. Early performances took place at local venues in the San Jose area, including Foothill College events and regional clubs. The unconventional name occasionally led to mistaken bookings alongside prominent R&B acts, such as and , broadening their exposure in diverse scenes. The initial incarnation disbanded in late 1965 after Torney and Phay departed for other musical ventures, compounded by bassist Rich Young's draft into military service. Loomis retained the band name and reorganized it with fresh members the following year.

1966–1967: Rise with the Aguilar lineup

In early 1966, The Chocolate Watchband reformed with a new lineup that propelled their rise in the scene, featuring David Aguilar as replacing the previous singer, alongside core members Mark Loomis on , Gary Andrijasevich on , on bass, and the addition of Sean Tolby on rhythm guitar. This configuration, scouted and assembled by Loomis and Tolby, brought a dynamic frontman in Aguilar, whose charismatic stage presence and vocal style drew from influences, helping the band secure gigs at Bay Area venues like Auditorium as early as June 1966. The group's aesthetic and high-energy R&B-infused performances quickly built a local following among teenagers at teen fairs and dance halls in the . That summer, the band signed with , a subsidiary of , under manager Ron Roupe and producer of Green Grass Productions, marking their entry into professional recording. Their debut single, a cover of "Sweet Young Thing" by and , backed with a rendition of Bob Dylan's "It's All Over Now, Baby Blue," was released in 1967 on Tower's Uptown imprint, showcasing the band's raw garage energy and Aguilar's snarling delivery. This was followed by "Misty Lane" backed with "She Weaves a Tender Trap" and the single "Are You Gonna Be There (At the Love-In)" backed with "No Way Out," which further highlighted their edge and contributed to their growing buzz in the regional scene. The band's breakthrough came with their debut album, No Way Out, released in September 1967 on , which blended original tracks with covers and captured the essence of garage rock with psychedelic undertones. However, the album sparked controversy when the band discovered that Cobb had incorporated several tracks recorded by session musicians without their knowledge, including overdubbed vocals replacing Aguilar's on some songs, leading to disputes over artistic control and authenticity. Despite this, the record's gritty sound and tracks like "Let's Talk About Girls" resonated with fans, solidifying their status in the Bay Area movement. In 1967, The Chocolate Watchband expanded their visibility through appearances in two exploitation films: Riot on Sunset Strip, where they performed "Don't Need Your Lovin'" and "Sitting There Standing" amid scenes of youth rebellion, and The Love-Ins, featuring their track "Are You Gonna Be There (At The Love-In)." These cinematic outings, tied to the era's themes, amplified their exposure beyond live shows and helped cement their role as a key act in the San Francisco Bay Area's burgeoning garage and scene.

1968–1969: Final albums and dissolution

In 1968, The Chocolate Watchband released their second album, The Inner Mystique, on Tower Records, which leaned into psychedelic experimentation with tracks like the instrumental "Voyage of the Trieste" and a cover of "I'm Not Like Everybody Else," diverging from their earlier garage rock style. However, producer Ed Cobb extensively used session musicians for much of the recording, including overdubs and replacements for band vocals on songs like "Medication" and "Let's Go, Let's Go, Let's Go," which fueled growing frustrations over creative control and the band's limited involvement. These tensions were exacerbated by internal shifts, as vocalist David Aguilar and guitarist Mark Loomis departed amid disputes with Cobb and the label's direction, prompting songwriting contributions to evolve toward more original, band-driven material in subsequent efforts. By late 1968, a reconfigured lineup featuring Danny Phay on lead vocals, alongside Mark Loomis, Sean Tolby, Bill Flores, and Gary Andrijasevich, began work on the band's third album, One Step Beyond, issued in May 1969. The record emphasized experimental psychedelia, with tracks like "Devil's Motorcycle" and "Fireface" showcasing distorted guitars and avant-garde structures that marked a clear departure from the group's garage roots, though session players such as guitarist Jerry Miller were again brought in to complete sessions after Loomis and Phay exited mid-recording due to health and creative exhaustion. Loomis's temporary replacement, Phil Scoma, contributed guitar during this unstable period, reflecting ongoing lineup flux and a push toward self-penned songs by Andrijasevich and others. Label disputes intensified as the band clashed with Cobb and Tower over unauthorized session usage and poor promotion, viewing as a contractual obligation that diluted their vision. Following a handful of final live shows in 1969 to support the album, the group dissolved in early 1970 amid collective burnout, repeated member departures, and irreconcilable conflicts with management, effectively ending their original run.

1999–present: Reunion and ongoing activity

In 1999, The Chocolate Watchband reunited for the 66/99 festival organized by Mike Stax in , featuring original members David Aguilar on lead vocals, on bass, and Gary Andrijasevich on drums, alongside Tim Abbott on guitar and vocals, with Michael Reese added on guitar to replace the late Sean Tolby, who had died in 1990. This lineup marked a revival rooted in the band's garage rock foundation, performing a set that reignited interest among fans of the [psychedelic era](/page/psychedelic era). The reunion led to the release of the studio album Get Away in 1999, self-released by the band and featuring tracks like "Strike the Match" and "I'm Not Like Everybody Else," capturing their raw, energetic style with contributions from Aguilar, Flores, Andrijasevich, Abbott, and Reese. Throughout the 2000s, the band undertook ongoing tours, including international dates in Europe such as shows in England, Paris, Spain, and Italy, alongside U.S. performances that culminated in a notable appearance at New York's Cavestomp festival in 2000 and the release of the live album At the Love-In in 2001. In 2005, the compilation Melts in Your Brain... Not on Your Wrist! was issued by Big Beat Records, presenting a comprehensive collection of the band's complete Tower and Uptown recordings from 1965–1967, serving as a definitive archival release that highlighted their seminal garage and psychedelic contributions. Founding guitarist Mark Loomis, who had participated in select reunion shows in 2004, passed away on September 26, 2014, in . The band continued with sporadic activity, releasing the studio album This Is My Voice in 2019 on Dirty Water Records, which included seven original tracks in their classic garage rock vein alongside covers of songs by , , and , emphasizing Aguilar's enduring vocal presence. On January 11, 2024, the band held a farewell performance at the in West Hollywood, with Aguilar backed by members of The Loons, marking what was billed as their final show. Aguilar had promised up to six new albums' worth of material for release in 2024 via , though as of November 2025, no such recordings have been issued. Following the farewell concert, the band has reported no further activity, sustaining their legacy through archival interest.

Musical style and influences

Key influences

The Chocolate Watchband's sound was profoundly shaped by the , particularly the raw energy of , whose gritty performances and blues-inflected rock served as a blueprint for the band's early covers and attitude-driven delivery. Band members, including vocalist Dave Aguilar, cited the as a core influence, emulating their cohesive group dynamic and stage presence in the band's formative sets. Similarly, impacted the Watchband's songwriting and rebellious attitude, evident in their cover of the Kinks' "," which highlighted the British group's punchy, non-conformist edge and became one of the band's signature tracks. also contributed, inspiring the band's adoption of tight pop structures and harmonious interplay, as Aguilar compared their raw Hamburg-era energy to the Watchband's own early cohesion. American garage rock precursors further molded the group's aggression, with the Kingsmen's sloppy, high-energy rendition of "" exemplifying the raw, unpolished style that resonated in the Watchband's covers and live shows. As the progressed, the Watchband's evolution toward was spurred by the , including the improvisational explorations of and the , whose performances and communal ethos infused the band's later work with trippy experimentation and . This shift reflected broader youth movements, where the Watchband shared bills with these icons, absorbing the era's blend of protest, acid-tinged rock, and free-form jamming.

Characteristic elements

The Chocolate Watchband's core sound was rooted in , characterized by raw, energetic guitar riffs and distorted tones that evoked the gritty intensity of mid-1960s American . Their music featured overdriven guitars creating a fuzzy, vibrant palette, often driven by blues-inflected arrangements that prioritized aggression over polish. This foundation was evident in tracks like "Don't Need Your Lovin'," where the 's live energy translated into punchy, riff-heavy performances that challenged bigger acts on stage. As the band evolved, they incorporated psychedelic elements, particularly in later recordings, blending garage rawness with experimental production techniques such as reverb-heavy mixes and trippy instrumentals. On their 1968 album The Inner Mystique, producer Ed Cobb's influence led to overdubbed effects and atmospheric soundscapes, including non-band contributions that added diffuse, otherworldly layers to originals like "Misty Lane." This shift reflected broader San Francisco psychedelic trends, with fuzzy guitars and organ flourishes enhancing the hallucinatory vibe, though it sometimes diverged from the group's live garage ethos. Vocalist David Aguilar's snarling, Jagger-esque delivery became a defining trait from 1966 onward, infusing songs with rebellious swagger and bite that contrasted sharply with the smoother, less charismatic style of earlier singer Danny Phay. Aguilar's commanding presence powered tracks like "I Ain't No Miracle Worker," adding emotional edge to the band's bluesy covers and originals. In contrast, Phay's contributions on early material, such as shared vocals on 1969's One Step Beyond, offered a more straightforward tone that lacked the same visceral intensity. Production on debut album No Way Out (1967) sparked controversy, as producer employed session musicians extensively, replacing Aguilar's vocals on six tracks with those of and using studio ringers for two others, fostering a "ghost band" perception that misrepresented the group's authentic sound. This trickery, including overdubs and unrelated tracks like "," diluted the band's raw aggression but inadvertently amplified psychedelic quirks through added organ and eastern-tinged effects. The band's frustration with this control highlighted tensions between their live energy and studio manipulations. The band's repertoire blended covers of staples, such as ' adaptation of "Mercy, Mercy," with originals like "Sittin' There Standin'" that emphasized aggression through sneering lyrics and driving rhythms. Early sets leaned on originals like "Sweet Young Thing" to showcase their Yardbirds-inspired fuzz, while later works like "Gone and Passes By" highlighted original songwriting with rebellious themes of and defiance. This mix underscored their evolution from cover-driven to a more personal, edgy sound.

Discography

Studio albums

The Chocolate Watchband released three studio albums during their original 1960s run, all under producer on the label, a subsidiary of . These recordings, while capturing the band's energy, were marred by Cobb's interventions, including the use of session musicians on several tracks without the band's full knowledge or consent, leading to disputes over the albums' authenticity. Their debut, No Way Out, came out in September 1967 and features 10 tracks blending covers and originals with a raw, psychedelic garage edge. Standout tracks include the frenzied cover of "Let's Talk About Girls" and the original "Loose Lip Sync Ship," the latter recorded under the The Hogs to appeal to biker audiences but repurposed for the . The release on Tower's Uptown imprint, intended for acts, further fueled band frustrations with mismatched promotion. The follow-up, The Inner Mystique, arrived in February 1968 with 10 tracks, shifting toward a more experimental psychedelic sound amid lineup tensions. Key elements include the instrumental "Voyage of the Trieste," which exemplifies the album's trippy, spacey vibe, and the band's raw take on The Kinks' "I'm Not Like Everybody Else." Cobb's overdubs and additional session work continued to dilute the band's live intensity, prompting ongoing authenticity debates. The band's final original-era album, , was issued in 1969 and contains 10 tracks, serving as an experimental capstone with abstract compositions and a of "Inner Mystique" to tie back to prior work. Tracks like "Black Angel" highlight its leanings, though internal conflicts and Cobb's vault-sourced material contributed to its disjointed feel and the band's subsequent breakup. Following a 1999 reunion, the band issued Get Away in 2000 via the label (sometimes dated 1999 in self-released form), a 13-track effort recapturing their garage roots with originals like "Strike the Match" and "So Screwed Up," produced with a cleaner, modern polish. Their most recent studio album, This Is My Voice, emerged in 2019 on Dirty Water Records with 12 tracks, blending psychedelic revivalism and covers such as Frank Zappa's "Trouble Every Day," backed by contemporary production that honors their legacy while updating the sound.

Compilation albums

Following the band's dissolution in the late , several compilation albums emerged to collect and preserve their and psychedelic output, drawing from singles, album tracks, and rarities to highlight their raw, influential sound. These releases, primarily from the onward, helped reintroduce the group to audiences amid growing interest in 1960s underground rock. The Best of the Chocolate Watchband, released in 1983 by Rhino Records, compiles 12 key tracks from their 1960s recordings, including "Let's Talk About Girls," "Sweet Young Thing," and "," emphasizing their Stones-inspired energy and psychedelic edge without substitutions. In 2005, Big Beat Records issued Melts in Your Brain... Not on Your Wrist!, a two-disc set spanning 49 tracks of the band's complete known recordings from 1965 to 1967, incorporating demos, alternate takes, backing tracks, and restored vocals by original singer David Aguilar on select songs like "Let's Talk About Girls." The package features extensive by reissue producer Alec Palao, detailing the band's authentic contributions versus producer-imposed elements in their original albums. Forty Four, a 1984 , focuses exclusively on material performed by the core band members, gathering 16 tracks such as "No Way Out" and "Hot Dusty Roads" to underscore their genuine garage punk roots and avoid the session player controversies of their studio LPs. The 1993 release The Inner Mystique / combines the band's second and third studio albums onto a single CD, remastered from original tapes and including bonus tracks like "Exposition 2000," offering a focused of their psychedelic evolution from 1968 to 1969. Later efforts include (2017, Purple Pyramid), a collection of re-recorded versions of their classic songs and covers, such as the title track from and "Are You Gonna Be There (At the )," performed by the reunited lineup to deliver a contemporary take on their underground favorites.

Live albums

The Chocolate Watchband's official live discography is modest, consisting primarily of reunion-era material that captures the band's enduring intensity. No official live albums were released during their original run, owing to the era's sparse documentation of garage and psychedelic acts' performances, though tapes of early shows have long circulated among collectors. The band's sole official live release is At the Love-In Live! In Person at Cavestomp!, issued in 2001 by ROIR Records. Recorded on , 1999, at the inaugural Cavestomp! festival in , the album features the reunited core lineup of vocalist David Aguilar, guitarist Mark Loomis, drummer Gary Andrijasevich, bassist Bill "Flo" Flores, and guitarist Sean Tolby delivering high-octane renditions of signature tracks like "Blues' Theme," "Don't Need Your Lovin'," and "." This setlist draws from their classic studio albums, emphasizing the raw, Stones-inspired edge that defined their sound, while the live setting amplifies their chaotic energy and audience interaction. The recording marked a pivotal moment in the band's revival, helping to reintroduce their music to a new generation of enthusiasts during the late-1990s psych revival. A limited-edition release, Dark Side of the Mushroom: Sitting There Standing Tour (2005), documents additional reunion performances but remains unofficial and scarce, further underscoring the band's reliance on sporadic live captures post-reformation.

Singles

The Chocolate Watchband's singles, primarily released during their formative period on the Tower and Uptown labels, captured the raw energy of the movement and contributed to their cult status in the scene, though they never achieved national chart success. These releases often featured covers and original tracks that blended punkish attitude with psychedelic edges, earning regional airplay and later inclusion in influential compilations like Nuggets. Their debut single, "Let's Talk About Girls" b/w "Sitting There Standing," appeared in late 1966 on (743). A of the Tongues of Truth , the A-side delivered a sneering rocker that resonated with local audiences, garnering airplay on Bay Area radio stations and establishing the band's arrogant, Stones-like swagger early in their career. The B-side added an original instrumental edge to the package. "Sweet Young Thing" b/w "Baby Blue," released in 1967 on Uptown Records (740), was penned by band associate Ned Cobb. The A-side delivered a sneering, upbeat garage rocker that resonated with local audiences, garnering airplay on Bay Area radio stations. The B-side, a cover of Bob Dylan's "It's All Over Now, Baby Blue," highlighted the group's interpretive style. "Misty Lane" b/w "She Weaves a Tender Trap," also on Uptown (749) in 1967, featured dreamy psychedelia on the A-side original and a moody original on the B-side, further showcasing their evolving sound and regional popularity. "Are You Gonna Be There (At the )" b/w "One Night Stand," released in 1967 on Tower, tied directly into the through its association with the The Love-Ins. Rushed into production in a single day, the A-side's jangly and satirical nod to gatherings captured the band's peak creative synergy, gaining modest airplay and cementing their tie-in appeal to the era's youth movement. The B-side offered a punchy, original rocker that complemented the A-side's vibe, though the single's cultural weight lay in its cinematic context rather than commercial breakthrough. "I'm Not Like Everybody Else" b/w "In the Midnight Hour," also on Tower in 1967, marked the band's highest-profile release and became a cornerstone of lore. The A-side's cover of ' defiant anthem amplified the Watchband's rebellious ethos with raspy vocals and fuzzed-out guitars, turning it into a staple on retrospective playlists and a symbol of youth alienation. The B-side, a soulful cover, showcased their R&B roots and received some regional rotation, underscoring their versatility amid the era's influences. In the post-reunion era, the band issued "Get Away" b/w "Superman" in 2000 on Big Beat Records, signaling their return after decades dormant. The A-side, from their comeback album of the same name, revived their gritty sound with modern production, earning praise for bridging 1960s garage aesthetics to contemporary audiences at festivals and reissues. The B-side paid homage to classic rock tropes, reinforcing the group's enduring influence on revivalist scenes without chasing mainstream charts.

Band members

Current members

The lineup of The Chocolate Watchband, as of 2024, centered on longtime core members who sustained the band's psychedelic sound through reunions and new recordings until the group's final performance. David Aguilar served as , a role he held since the band's original incarnation in 1966–1967, with brief interruptions, before rejoining permanently in 1999 upon the group's reunion. Tim Abbott contributed on and backing vocals, having joined in 1999 as part of the reunion efforts that revitalized the band. Gary Andrijasevich provided drums and percussion, remaining from the band's founding in 1965 and offering continuity across decades of activity. Derek See handled guitar, keyboards, and occasional lead vocals, having joined in to bring fresh energy from his background in psychedelic and scenes. Alec Palao rounded out the group on bass and backing vocals, a member since 2001 whose production expertise has supported recent album efforts like the 2019 release This Is My Voice. This configuration enabled occasional recordings and a farewell performance billed as the band's final concert in January 2024 at the Whisky a Go Go, where Aguilar was backed by additional support from The Loons. No further live activity has been reported as of November 2025.

Former members

The Chocolate Watchband's original lineup in 1965 featured co-founder Ned Torney on guitar, who helped establish the band's raw garage rock sound alongside Mark Loomis before departing later that year to join The Topsiders, later known as The Other Side. Torney, born in 1944, passed away in November 2005. Also in the 1965 founding lineup were bassist Rich Young, who left due to draft obligations, and organist Jo Kemling, who departed to join The Topsiders with Phay and Torney. Early frontman Danny Phay served as lead vocalist in the band's inaugural 1965 configuration, bringing a charismatic presence that influenced their initial performances at Foothill College, though he left shortly thereafter to pursue opportunities with The Other Side. Sean Tolby joined as rhythm and later lead guitarist from 1966 to 1969, with sporadic appearances in the 1970s, contributing significantly to the band's breakthrough era, including their cover of "" and the psychedelic shift on The Inner Mystique. He died on November 18, 1990, in , from liver and kidney failure. Bassist was a core member from 1965 to 1969 and rejoined for the 1999 revival through the 2010s, anchoring during the classic 1966–1967 lineup that defined their Rolling Stones-inspired style and later reformation efforts. He died on March 8, 2018. His departures marked key transitions, including the band's temporary dissolution in 1969 and shift to newer configurations post-2010s. Co-founder and lead guitarist Mark Loomis played from 1965 to 1967 and briefly in 1968–1969, writing key tracks like "Loose Lip Sync Ship" and leading the band through their most productive period before leaving for The Tingle Guild; he died on September 26, 2014, in . Pete Curry contributed on drums in the 1965 founding lineup, participating in early gigs before exiting due to draft obligations, helping lay the foundation for the band's energetic live shows. Phil Scoma joined on keyboards from 1968 to 1969, adding psychedelic textures to recordings like tracks for the unissued At the Psychedelic Factory during the band's late-1960s . Guitarist Michael Reese performed from 1999 through the 2010s, replacing Tolby in the revival era and contributing to albums such as Get Away (2007), bridging the band's historical sound with modern tours before his departure facilitated further lineup adjustments.

Legacy

Cultural impact

The Chocolate Watchband's track "Let's Talk About Girls" was included on the influential 1972 Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968, curated by , which highlighted key garage and recordings from the mid-1960s. This appearance helped establish the band as pioneers of , with their raw, fuzzed-out sound contributing to the groundwork for later punk movements. The Nuggets compilation played a pivotal role in inspiring the garage rock revival of the 1990s and 2000s, exposing new generations to the band's aggressive energy. The band's enduring fanbase has been sustained through numerous reissues of their 1960s material, including comprehensive collections like Melts In Your Brain...Not On Your Wrist! The Complete Recordings 1965–1967, which have sold globally and introduced their music to contemporary audiences. This , which has grown organically since the Nuggets era, reflects their lasting appeal in circles. The band remained active into the 2020s, culminating in a final concert at the in January 2024, with plans announced for six new albums of unreleased and original material to be released via that year, though as of November 2025, these releases have not materialized.

Media appearances

The Chocolate Watchband gained early visibility through appearances in two counterculture-themed exploitation films released in 1967, both directed by Arthur Dreifuss and produced by . In Riot on Sunset Strip, a low-budget drama depicting youth rebellion on ' , the band performed live on screen with the songs "Sitting There Standing" and "Don't Need Your Lovin'". These energetic tracks underscored the film's chaotic portrayal of teenage riots and featured alongside performances by other period acts like . The band also appeared briefly in The Love-Ins, a satirical take on the emerging movement and experimentation, where they contributed the psychedelic-tinged single "Are You Gonna Be There (At the )" to the . The song, co-written by producer , directly referenced the film's title event—a mass "" gathering—and highlighted the band's raw, proto-psychedelic sound amid scenes of and social upheaval. Beyond these films, the Chocolate Watchband had no major television appearances during their original run, though footage from Riot on Sunset Strip has been repurposed as archival material in retrospective specials on and the scene.

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