Due to our featured essay on the Lance Records Story, Michael Gleicher of Lance Records’ recording group the Cellar Dwellers contacted us. We had, in our initial posting of the article, indicated that despite pouring through copies of original Lance Records newsletters from the 1960’s, the band’s line-up was unknown. With great satisfaction, we’re pleased to announce that it no longer is. Michael kindly provided that information - and more – as he recalls his days in Albuquerque’s Cellar Dwellers.
An Interview with Michael Gleicher
60sgaragebands.com (60s): How did you first get interested in music?
Michael Gleicher (MG): I started playing when I heard the Ventures recording of "Walk, Don't Run" when I was in seventh grade. I loved their instrumental music, and would try to learn as many of their songs as I could. I bought a Kent guitar (an imitation of a Fender Jazzmaster) with my paper route money, and the three of us (Editor’s Note: Michael and brothers Don and Fred) shared a Silvertone amplifier that my parents bought. Another huge influence for me in the early days was Chet Atkins. Don introduced me to his music, and I couldn't believe my ears when I first heard one of his albums. I have always loved his playing, and his inventiveness and impeccable sound still blow me away. I eventually learned to play his finger-style arrangements, and even though I now play mostly classical guitar, I have a couple of Gretches that I still enjoy playing some of Chet's music on.
60s: Was the Cellar Dwellers your first band?
MG: I played in a pickup band with my brother Fred that was formed for a talent show at McKinley Jr. High School when I was in eighth grade. We played "Cherry Pink And Apple Blossom White", and it was the first time any of us ever performed in public. I still remember the adrenalin when everyone started cheering and clapping when we began the song. I then formed a band called the Sceptres in ninth grade with some friends at McKinley (Dyke Sprecher (sp?) on drums, Terry Booze on rhythm guitar, and Larry Vigil on bass). We played on Johnny's Record Party, and for a few gigs around town. We broke up when I was a sophomore in high school, so I guess we were together for about two and 1/2 years.
60s: When was the Cellar Dwellers formed?
MG: I believe the Cellar Dwellers started in 1966. Frank Cotinola and I were friends at Del Norte High School in Albuquerque, and Frank knew Pete and Steve. I remember going to Steve's house one day after school to hear him play, and being impressed because he knew some of the chords to “The Girl From Ipanema”. We got together at Steve's house one day to try to play something, and everything just clicked musically.
60s: Where did the band typically play?
MG: We started out playing at parties and school dances at Del Norte. After we started becoming fairly well known, we played all over the place: school dances, Carnaby '66, lots of University of New Mexico college frat parties, Kirtland AFB NCO club, etc. We also played a lot in Santa Fe, at John Philbin's dance club, the Oddfellows Lodge, and St. Michael's College come to mind. We also played several times in other New Mexico towns like Truth or Consequences, Portales at Eastern New Mexico State, Grants and Gallup, New Mexico.
60s: How would you describe the band's sound? What bands influenced you?
MG: We tried very hard to have a "studio" sound when we performed - clean, with the vocals not drowned out by the instruments (especially not by the bass). Pete and Steve both had good singing voices, and we all worked pretty hard on harmony and timing, so that when we played a piece that had something tricky in it, like a modulation or a break, we would all be together. We were influenced by some of the famous '60s bands – British groups, mainly, like the Beatles and Rolling Stones, but also other bands like the Doors, Rascals, Paul Revere and the Raiders, etc. It's been so long that I've forgotten most of the songs we used to play, but we were mainly a singing group, although I was always partial to instrumentals (and I still am).
60s: Did the Cellar Dwellers participate in any Battle of the Bands?
MG: I only recall one time where we did something like that. It was at Carnaby '66, and my brother Don's band was the other band. I think we declared it a tie; both bands did a pretty good job that night, as I recall. There was also a "Most Popular Band" contest that the local radio station (KQEO) put on to pick a local band to play at the Civic Auditorium with some band from Los Angeles. It was a write-in contest, and the Cellar Dwellers won. It was a blast playing at the auditorium.
60s: Did the Cellar Dwellers have a manager?
MG: We didn't have any formal manager (since) we all booked gigs. We had an arrangement with Lindey Blaskey (Lindy and the Lavelles) where we would pay him a percentage of jobs that he booked for us, but we were still free to book jobs on our own.
60s: How popular locally did the Cellar Dwellers become?
MG: The band was pretty popular, particularly after "Love Is a Beautiful Thing" came out. For a time, we were playing every weekend.
60s: How far was the band's "touring" territory?
MG: As I mentioned, we were mainly in Albuquerque and Santa Fe. We played a few times in Truth Or Consequences, Portales, Grants, and Gallup, but we had enough going on in Albuquerque to keep us busy.
60s: What other local groups of the era do you especially recall?
MG: Well, of course my two brothers' bands: the Piggy Bank (Don) and the Nomads, but also the Plague, the Morticians, Carl Silva and The Striders (I briefly played lead guitar for them before the Cellar Dwellers started), the Viscount Five, and Lindy and the Lavelles (I played on one of Lindy’s records).
60s: Which one?
MG: I was trying to remember the tune, but I can't remember it now. If I remember correctly, Steve Maes (sp?) played lead, and I played rhythm on this cut.
60s: Don was in the Monkeymen (later the Piggy Bank). Did you ever record or work with him?
MG: I played on a couple of his recording sessions, and we used to jam at the house once in a while, but I don't remember ever playing any gigs with him. We both played lead guitar, and I think we would have sounded pretty good if we had gotten together, but somehow it never happened. I still enjoy listening to Don play. He’s a very creative guy with lots of good musical ideas.
60s: Does this mean that you played on the Piggy Bank's recordings? Or was it before or after that time period?
MG: No, I didn't play on any of the Piggy Bank recordings. Don did some recording at John Wagner's studio later on. I don't know what their arrangement was, and I sat in on a couple of sessions. On one, I remember playing piano (not well; I just banged out chords, but it turned out okay). I can't remember the time period, but I believe it was after the Cellar Dwellers broke up.
60s: What about Fred’s band, the Nomads. Did they record?
MG: They didn't do any recording as the Nomads, but I believe they were the band that backed up Bobby Sprunk on his 45. I know for sure that Fred (his name is Frederick, so we usually call him Rick) played on it.
60s: Where was the Cellar Dwellers’ 45 recorded?
MG: The recording session was at John Wagner's studio in Albuquerque. I remember that it was a pretty long session, and we were all tired by the time we got something down that we were happy with. I also remember how odd it was laying down the instrumental track by itself, and then going back to add the vocals. John was (and is) an excellent engineer, and always managed to make musicians sound as good as possible. Don and I spent a lot of time working with him, and he is the guy I'd call now if I wanted to do any recording.
60s: The single was released on Lance Records. Do you recall how you hooked up with them?
MG: Actually, I don't. In fact, I don't remember even remember signing with them.
60s: Any recollections, then, about Lance Records’ Dick Stewart?
MG: No, I sure don't - although the name sounds familiar.
60s: The single included a Rascals cover and a song written by Don. Did the Cellar Dwellers write any original material?
MG: We didn't write anything of our own, but we did arrange and play a couple of pieces that my brother Don wrote. "Working Man" (the flip side of the 45) was one that he did.
60s: Do any (other) '60's Cellar Dwellers recordings exist? Are there any vintage live recordings, or unreleased tracks?
MG: I have the original 15ips masters of the Cellar Dweller's 45 somewhere in my archives. I don't remember that we ever did any others.
60s: Did the band make any local TV appearances? Does any home movie film footage exist of the band?
MG: We were never on TV. By the time we came along, Johnny's Record Party (a local show along the lines of American Bandstand) was no longer on the air, as I recall. I think Frank Cotinola's family has some home movie footage of one of our practice sessions where we were goofing around.
60s: What year and why did the band break up?
MG: We broke up in 1968 or early 1969. I didn't have time for it after graduating from high school and getting a job, and we were all not getting along that well. I actually quit the band for a couple of months before we broke up for good. Pete and Steve asked me to join them again for a gig because the new lead guitar player wasn't working out, and after that I think we all decided to call it quits.
Of all of us, Frank Cotinola was the only one who continued playing for a career. He was a terrific drummer, and toured with Jose Feliciano, among others.
60s: What about today? What keeps you busy?
MG: I am now a computer consultant, working on high performance networks and storage systems. I started the business in 1998 in San Diego, and just recently moved to Tucson, Arizona. After the band broke up, I just played for myself - lots of Chet Atkins tunes - until I heard an album that Christopher Parkening recorded on classical guitar and was so blown away that I started playing classical. I've been doing that now for about 25 years or so, and have been fortunate enough to have lessons with some great teachers, including Hector Garcia in Albuquerque, and with Celin and Pepe Romero in San Diego.
I performed a lot in Albuquerque, both solo and with a flute/violin/guitar trio (Trio Arioso). I also played a few concerts, including one for the New Mexico Guitar Society. I did a couple of TV shows with Hector Pimentel, and a lot of church performances at the church I belonged to in Albuquerque. I moved to Knoxville, Tennessee from Albuquerque in 1994, and didn't perform anywhere until I moved to San Diego in 1996, and started playing at some of the local coffee shops. I keep pretty busy with my work, and for the past couple of years I haven't played in public, although I try to practice whenever I can make the time. I have been fortunate enough to have guitars made for me by Lorenzo Pimentel, and by Pepe Romero Jr., and my goal is to cut back to half time next year, and start playing here in Tucson at coffee shops and restaurants, and maybe do some recording. There is a very active arts program here at U of A, and lots of talent, and I think it would be fun to get involved with the guitar program here.
60s: How do you best summarize your experiences with the Cellar Dwellers?
MG: It was a lot of fun for me. I got to play some good music with some really talented guys, and had also had the enjoyment of seeing how people liked our music. The only thing I think I might have changed, in retrospect, was to either have turned it down a notch, or worn earplugs.
The Cellar Dwellers:
"Love Is a Beautiful Thing" / "Working Man" (Lance 111A/112B)
Michael Gleicher (lead guitar)
Frank Cotinola (drums)
Steve Serencha (organ/guitar)
Pete Springer (bass)
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