| BIOGRAPHY |
In 1949, Henry was born in Van Wert, Ohio, USA, and grew up on a farm seven miles from town. Drumming and
music must have been in Henry’s genes, because his mother and uncle (drummer) made it from
the small farm town to New York City in 1935 to appear on Major Bowes’ Amateur Hour.
music must have been in Henry’s genes, because his mother and uncle (drummer) made it from
the small farm town to New York City in 1935 to appear on Major Bowes’ Amateur Hour.
Around the age of 12, Henry’s uncle loaned him a snare drum. When he made the transition from the one-room,
parochial school to the public junior high school, word got to the music teacher that Henry knew something about
drumming. He was invited to audition for the band, but to his astonishment, he was told he didn’t have rhythm.
parochial school to the public junior high school, word got to the music teacher that Henry knew something about
drumming. He was invited to audition for the band, but to his astonishment, he was told he didn’t have rhythm.
Instead of giving up, he began mowing every lawn he could for $2.00--$5.00 each,
and managed to save up $125.00. Amazingly, a used set of drums appeared in
the small town newspaper for that amount. Because he had earned the money,
his parents consented, and he began to teach himself to play.
and managed to save up $125.00. Amazingly, a used set of drums appeared in
the small town newspaper for that amount. Because he had earned the money,
his parents consented, and he began to teach himself to play.
In 1964, a new kid showed up in Van Wert from
the Chicago area, and moved into the same
neighborhood as the daughter of Henry’s
drummer uncle. His name was Dave Langstaff,
and he played a maple neck ’57 Strat through a
Fender Vibrolux. After failing his first audition
with Dave, Henry got an unexpected second
chance a few months later and was ready to
rock. Henry then joined his first band, The Jents.
the Chicago area, and moved into the same
neighborhood as the daughter of Henry’s
drummer uncle. His name was Dave Langstaff,
and he played a maple neck ’57 Strat through a
Fender Vibrolux. After failing his first audition
with Dave, Henry got an unexpected second
chance a few months later and was ready to
rock. Henry then joined his first band, The Jents.
| HENRY DAVID “H-BOMB” WECK |
Although they did mostly cover songs, the arrangements were always very original
and very heavy. They refused to play to top forty hits and trendy bars, so gigs were
few and far between. They were lucky to afford gas money and their union dues, but
they sure rocked.
and very heavy. They refused to play to top forty hits and trendy bars, so gigs were
few and far between. They were lucky to afford gas money and their union dues, but
they sure rocked.
The next spring, Jim rejoined the band as the bass player, and in the spring of 1966
Carol Wright joined the band with her Hammond organ.For that summer, it was The
Jents + 1. Carol left for college, Marty Freeland joined as guitarist and Dave moved
over to organ. Shortly after Marty joined, Jim Hasselsworth left again, and was
replaced by bassist Jim "Shark" McGarvey. . At that point, the band became the MUNX.
In the spring of 1967, Ted left the band and the MUNX remained Dave Langstaff, Henry
Weck, Marty Freeland, and Jim McGarvey.
Carol Wright joined the band with her Hammond organ.For that summer, it was The
Jents + 1. Carol left for college, Marty Freeland joined as guitarist and Dave moved
over to organ. Shortly after Marty joined, Jim Hasselsworth left again, and was
replaced by bassist Jim "Shark" McGarvey. . At that point, the band became the MUNX.
In the spring of 1967, Ted left the band and the MUNX remained Dave Langstaff, Henry
Weck, Marty Freeland, and Jim McGarvey.
A change of fortunes came shortly after, when the MUNX played some gigs at a place called The Sopwith Camel in
Lima. The MUNX played opposite a local band called The Mixed Emotions. The lead singer was Lavon Harper, or
“Harp”, and their drummer/manager was Mitch Pemberton. Around the same period, a keyboardist named John
Supernavage was in Lima performing at a club called The Villa, in a band called Jack Sparks & the Sparkles (aka
Seymour Duncan of guitar pick-up design and manufacture fame).
Lima. The MUNX played opposite a local band called The Mixed Emotions. The lead singer was Lavon Harper, or
“Harp”, and their drummer/manager was Mitch Pemberton. Around the same period, a keyboardist named John
Supernavage was in Lima performing at a club called The Villa, in a band called Jack Sparks & the Sparkles (aka
Seymour Duncan of guitar pick-up design and manufacture fame).
Original Brownsville drummer, TJ Cronley, received his
draft notice after the band had been together just over a
year. Cub, Michael & Tony remembered Henry and
tracked him down. In April of 1971, Henry became an
official member of Brownsville Station.
draft notice after the band had been together just over a
year. Cub, Michael & Tony remembered Henry and
tracked him down. In April of 1971, Henry became an
official member of Brownsville Station.
Henry transferred from Ohio State University to Bowling Green State University, and
played with a band called RotGut for a while to help with tuition and rent money.
RotGut was another very musical group, and played a lot of heavied up blues.
RotGut had two guitarists, a part-time lead singer who blew harp, and a bass player
who was also played electric violin. This would be the last band for Henry before
Brownsville Station.
played with a band called RotGut for a while to help with tuition and rent money.
RotGut was another very musical group, and played a lot of heavied up blues.
RotGut had two guitarists, a part-time lead singer who blew harp, and a bass player
who was also played electric violin. This would be the last band for Henry before
Brownsville Station.
In 1970, the Viet Nam War was going strong, and draft numbers had just been issued. Guitarist Dave, a Christian
ended up with a low number, and was eventually drafted into civilian service as a Conscientious Objector. This,
combined with other issues, put an end to The Power.
ended up with a low number, and was eventually drafted into civilian service as a Conscientious Objector. This,
combined with other issues, put an end to The Power.
The Jents :Dave Langstaff, guitar – Marvin Woodruff, bass - Jim Hasselsworth, singer - Henry, drums.
When playing a local party that summer, the band got into a little spat. A friend,
Ted Jones, sat-in and sang to cover for the guys. That night he was asked to join the band. When autumn came,
Marvin went into the Marines, so for the winter of 1965, The Jents were just Dave, Henry and Ted.
Ted Jones, sat-in and sang to cover for the guys. That night he was asked to join the band. When autumn came,
Marvin went into the Marines, so for the winter of 1965, The Jents were just Dave, Henry and Ted.
The various bands went their separate ways, until The Mixed Emotions fell
apart, and Mitch came up with the idea of Harp becoming the lead singer for
the MUNX, with a name change to the Ohio Power, and management by
Mitch. The soulful voice of Harp jelled perfectly withthe edgy MUNX sound to
create a totally unique heavy, but commercial sound.
apart, and Mitch came up with the idea of Harp becoming the lead singer for
the MUNX, with a name change to the Ohio Power, and management by
Mitch. The soulful voice of Harp jelled perfectly withthe edgy MUNX sound to
create a totally unique heavy, but commercial sound.
Around the winter of 1967-1968, the original Ohio Power (1.0) consisted of
LaVon Harper, singer - Henry Weck, drums – Jim McGarvey, bass - Dave
Langstaff, organ/guitar - Marty Freeland, guitar When Marty graduated from
high school June of 1968, he started making plans to move to California.
LaVon Harper, singer - Henry Weck, drums – Jim McGarvey, bass - Dave
Langstaff, organ/guitar - Marty Freeland, guitar When Marty graduated from
high school June of 1968, he started making plans to move to California.
The band went 3-piece for a while, but as good fortune would have it, John
Supernavage was back in Lima visiting friends, and available to join the Ohio
Power (2.0) on Dave’s newly refurbished Hammond C-2. This allowed Dave to
move back to guitar. John’s great voice contrasted wonderfully with Harp’s and
gave the band even more flexibility and style.
Supernavage was back in Lima visiting friends, and available to join the Ohio
Power (2.0) on Dave’s newly refurbished Hammond C-2. This allowed Dave to
move back to guitar. John’s great voice contrasted wonderfully with Harp’s and
gave the band even more flexibility and style.
| Brownsville Station: Michael “Cub” Koda ( guitar), Henry Weck (drums), Michael Lutz (Bass) |
After his first studio experience with Brownsville, Henry realized his powerful
drumming was not making the audio transition to record. His drums sounded
wimpy, so he set out to learn audio engineering and record production. In the
Brownsville practice place, he wired together any audio gear he could afford and
began recording Brownsville demos and a number of local bands. In varying
degrees, he was involved in the production of the rest of Brownsville’s albums.
He learned a great deal from working with legends like Doug Morris, Eddie
Kramer and Tom Werman.
drumming was not making the audio transition to record. His drums sounded
wimpy, so he set out to learn audio engineering and record production. In the
Brownsville practice place, he wired together any audio gear he could afford and
began recording Brownsville demos and a number of local bands. In varying
degrees, he was involved in the production of the rest of Brownsville’s albums.
He learned a great deal from working with legends like Doug Morris, Eddie
Kramer and Tom Werman.
Around 1973, Tony Driggins left Brownsville, and Michael Lutz moved from
rhythm guitar to bass. This power trio became the Brownsville that most fans
know and love.
rhythm guitar to bass. This power trio became the Brownsville that most fans
know and love.
During this time, Henry, or “H” as Cub liked to call him, engineered and
produced various artists for ATCO and Atlantic Records. Then in 1983, he turned
a one-room schoolhouse into a 24 track recording studio.
produced various artists for ATCO and Atlantic Records. Then in 1983, he turned
a one-room schoolhouse into a 24 track recording studio.
While on tour in 1978, Brownsville played some gigs in Texas with a southern
rock group called Blackfoot. Soon after, Henry and his manager cut some 8-
track demos on Blackfoot. These were so hot, Blackfoot was signed to ATCO
Records. In 1979, ATCO released the “Strikes” album, and it quickly went Gold,
then Platinum. This led to Henry working on three Blackfoot studio and one live
album, recorded with the Rolling Stones mobile in the UK in 1982.
rock group called Blackfoot. Soon after, Henry and his manager cut some 8-
track demos on Blackfoot. These were so hot, Blackfoot was signed to ATCO
Records. In 1979, ATCO released the “Strikes” album, and it quickly went Gold,
then Platinum. This led to Henry working on three Blackfoot studio and one live
album, recorded with the Rolling Stones mobile in the UK in 1982.
For the next fifteen years, bands of all sorts recorded there. “H” finally got to know
many of the Michigan legends like Rob Tyner & Wayne Kramer, from the MC5; Ron &
Scott “Rock” Ashton from The Stooges; guys from The Up; Scott Morgan and Bill Figg
from The Rationals; and so many great talents from that golden era in rock history.
“H” also worked with and mentored countless younger groups, many who are very
successful in the business today.
many of the Michigan legends like Rob Tyner & Wayne Kramer, from the MC5; Ron &
Scott “Rock” Ashton from The Stooges; guys from The Up; Scott Morgan and Bill Figg
from The Rationals; and so many great talents from that golden era in rock history.
“H” also worked with and mentored countless younger groups, many who are very
successful in the business today.
Brownsville Station: Michael “Cub” Koda (L- guitar), Michael
Lutz (R- guitar), Henry Weck (drums), Tony Driggins (bass)
Lutz (R- guitar), Henry Weck (drums), Tony Driggins (bass)
There weren’t many places to play in Ohio then, but Michigan was a musical hotbed. Because of that, The Power
played every gig they could in Ann Arbor and Detroit--that’s how Henry met the future members of Brownsville Station.
They’d drive three hours each way, set-up, play, tear down and drive home the same night for a band total of $125.00,
often less.
played every gig they could in Ann Arbor and Detroit--that’s how Henry met the future members of Brownsville Station.
They’d drive three hours each way, set-up, play, tear down and drive home the same night for a band total of $125.00,
often less.
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