Category Archives: Pye Records

Kenny Bernard & The Wranglers

The Wranglers were a Southeast London band formed around 1963. Judging by early photos they were a four-piece outfit before joining forces with singer Kenny Bernard, who was from Trinidad, in 1965.

Prior to the link up, The Wranglers had released a lone single for Parlophone in 1964. After they became Kenny Bernard & The Wranglers, the group cut two singles for Parlophone before drummer Glenn Martin from Wembley joined them.

An article in the South East London Mercury newspaper, dated 13 August 1965 (see above), lists the line up as:

Kenny Bernard – vocals
John Taft – lead guitar
Trevor West – rhythm guitar
Colin McKie – bass
Ian Saunders – saxophone
Alan Reeves – organ
Glenn Martin – drums

Reeves had previously been a member of another local band, The Showtimers.

This line up cut the group’s third single with Bernard, “The Tracker” c/w “You Gotta Give” on Pye, released in August. The A-side was a cover of The Sir Douglas Quintet’s “She’s About a Mover”.

This line up became the house band at the Ad-Lib Club and live recordings by the band have been released by Acid Jazz Records.

Around September Glenn Martin left to work with singer Ayshea Brough and then a few months later landed a job with Hedgehoppers Anonymous.

Judging by a later article in the South East London Mercury, Martin’s replacement was drummer John Aldrich, who together with guitarist Trevor Brown (possibly the same person as Trevor West above) joined Alan Reeves’s former band The Showtimers in early 1966.

Bernard later went solo.

If anyone can add or correct any information above, please leave a comment.

The Legends

The Legends Uxbridge Chronicle 1967 JulyA
Click photo to see full article

Peter Watkinson – lead vocals
Kevin Sparkes – rhythm guitar, organ
Keith Kendall – lead guitar
Rick Eagles – bass
Tony Watkinson – drums, vocals

Hayes, Middlesex-based brothers Peter and Tony Watkinson had formed the band in the early 1960s as The Limelites and were joined at some point by rhythm guitarist Kevin Sparkes.

In 1963, Rick Eagles, who’d previously played rhythm guitar with Wembley, Middlesex band The Delta 5 alongside future Deep Purple bass player Nick Simper, joined the Limelites on bass. Soon after, they became resident Sunday night band at the Clay Pigeon in Eastcote, Middlesex.

During mid-1964, Peter Watkinson caught another Hayes band, Brian & The Fantoms playing at the Seagull Hotel in Southall and was impressed by The Fantoms’ lead guitarist Keith Kendall, whose father was Watkinson’s manager at EMI Electronics.

Hillingdon Mirror 29 September 1964 page 5

Not long after, Watkinson changed the group’s name to the Legends and secured a recording deal with Pye Records.

Paired with legendary producer Joe Meek, the band cut a lone single, Peter Watkinson’s “Looking For Her” c/w “I’m Coming Home”, which was issued as The First Impressions in March 1965 to avoid confusion with Twickenham, Middlesex group, The Legend.

However, when the US soul band, The Impressions threatened a law suit, the musicians were forced to revert back to The Legends for a second single on Pye – Peter Watkinson’s “I’ve Found Her” c/w “Something’s Gonna Happen” in July 1965.

When the two singles failed to dent the charts, Keith Kendall departed in late 1965/early 1966 and re-joined Brian & The Fantoms for a few months before subsequently joining Hayes group, Four Point Five, which also worked as The Soul System. In the late 1960s/early 1970s, Kendall hooked up with The All Night Workers.

Kendall’s initial replacement was a lead guitarist called Ron, who was joined soon after by second lead player Ian Hollands. Hollands had previously worked with Ealing, Middlesex group, Frankie Reid & The Casuals between 1962-1963 and then a Teddington, Middlesex band (possibly Unit 4).

Towards the end of 1966, the band underwent further changes as both Rick Eagles (who hooked up with Tony Knight’s Chessmen) and the lead guitarist called Ron departed to make way for siblings Terry Williams on trumpet/vocals and Ian Williams on bass. By November, Kevin Sparkes, who’d moved on to Hammond C3, had also left to make way for Russ Pinder.

The Hillingdon Mirror ran article and photo on the new formation in its 28 March 1967 issue, page 24.

That same month, The Legends finally returned with a second single on the Parlophone label – a cover of Boyce & Hart’s “Tomorrow’s Gonna Be Another Day” backed by Peter Watkinson’s “Nobody Laughs Anymore”.

The Hillingdon Mirror ran another article and photos of the band in its 11 July 1967 issue, page 32 (see above).

That same month, The Legends released their final single on Parlophone – Peter Watkinson’s “Under The Sky” c/w “Twenty Four Hours A Day”.

When the band broke up in late 1967, Hollands played guitar on some demos that Peter Watkinson recorded in his home studio before going on to work with Hayes, west London group, The Magic Roundabout.

Thanks to Keith Kendall and Ian Hollands for providing background information on the band.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com

The Legends (Trend Magazine)

 

Selected gigs (also see comments below):

26 January 1965 – Walton Playhouse, Walton-on-Thames, Surrey (Woking Herald)

30 January 1965 – Carfax Ballroom, Oxford with The Puppets (Oxford Mail)

 

5 March 1965 – Co-op Hall, Addlestone, Surrey (Woking Herald)

 

5 June 1965 – Carfax Ballroom, Oxford with The Pressmen (Oxford Mail)

 

14 August 1965 – Orchid Room, Oxford with The Beat Merchants (Oxford Mail)

 

19 September 1965 – Co-op Hall, Addlestone, Surrey (Woking Herald)

21 September 1965 – Kodak Hall, Wealdstone, northwest London Paul Dean & The Savages (Harrow Observer & Gazette)

 

26 October 1965 – Kodak Hall, Wealdstone, northwest London with The Creed (Harrow Observer & Gazette)

 

16 November 1965 – Kodak Hall, Wealdstone, northwest London with The Creed (Harrow Observer & Gazette)

 

17 December 1965 – Kodak Hall, Wealdstone, northwest London Paul Dean & The Savages (Harrow Observer & Gazette)

 

16 August 1967 – Town Hall Park, Hayes, west London (Hillingdon Mirror)

The (Rockin’) Eccentrics

The Eccentrics, 1965 photo
The Eccentrics, 1965, back row, from left: John Kerrison, Bruce Watts (sitting) and Mick Liddell (sunglasses) Front row, left to right: Roy Robinson and Peter Maggs

Mick Liddell – vocals
Peter Maggs – lead guitar
Roy Robinson – bass
Bruce Watts – rhythm guitar
John Kerrison – drums

Middlesex County Times and Gazette, May 1965
Middlesex County Times and Gazette, May 1965

Eccentric's Pye 45 What You GotOriginally called The Henchmen, this Ealing group included lead singer Dave Kaye (real name: Dave Tregwin), bass player Roy Robinson, rhythm guitarist Bruce Watts and drummer Clive Buckie, who had played alongside Ritchie Blackmore in The Dominators.

In 1962, Peter Maggs, who’d been a very early member of The Downliners with Don Craine from 1959-1962, took over lead guitar.

Mick Liddell replaced Dave Kaye on lead vocals in mid-1964 and the group changed name to The Rockin’ Eccentrics. In late November/early December, John Kerrison from Frankie Reid & The Casuals took over from Clive Buckie.

Rockin' Eccentrics Pye promo for "What You Got"

Eccentrics Pye promo for “What You Got”Sometime around April-May 1965, they shortened the name to The Eccentrics and recorded a cover of Gerry Goffin and Carole King’s “What You Got” backed by “Fe Fi Fo Fum” for Pye Records. After playing the UK scene, The Eccentrics were allegedly the first British band to pass an audition for the famous Piper Club in Rome.

Travelling to ‘Italy, The Eccentrics played the Rome club in June 1965 and later returned to Italy.

At the Piper Club, Rome, June 1965. Photo may be subject to copyright

During July Kerrison left to return to the UK and was replaced by John “Speedy” Keen from Ealing band, The Second Thoughts. Keen, of course, later went on to found Thunderclap Newman.

Liddell also left at this point and the remaining members brought in singer Romano Morandi (ex-Equipe Ottanta Quattro) and played gigs in northern Italy before returning to the UK in January 1966 and disbanding. Liddell meanwhile put together a new band called Gli Atomi, who recorded a number of singles in 1965-1966.

Back in England, John Kerrison joined Slough-based band The Horizons with singer Rod Evans, lead guitarist Colin Butt and bass player Len Hawkes.

Evans would later become lead singer with Deep Purple after working with The Maze while Hawkes would join The Tremeloes after playing with Davey Sands & The Essex.

The Horizons had work lined up in Berlin during August-September 1965 and played gigs for a few months after which Kerrison returned to the UK. In October 1965, he joined Hounslow favourites The Dae-b-Four.

Kerrison would later reunite with Mick Liddell in Italy for a one-off recording during 1966.

John Kerrison (far left) reunited with Mick Liddell in Italy in 1966

However, in February 1967, he joined The New Pirates alongside lead guitarist Mick Stewart, bass player Nick Simper and keyboard player Johnny Carroll.

By the summer, however, the band had split and Kerrison worked with Episode Six and then The Beachcombers (Keith Moon’s early 1960s band).

Notable gigs (as The Rockin’ Eccentrics unless noted)

30 November 1964 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

 

3 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Harrow Observer & Gazette)

10 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

17 December 1964 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

19 December 1964 – Witchdoctor, Hastings, East Sussex with Christian’s Crusaders (website: https://dizzytigerstu.proboards.com/thread/880/witch-doctor-1964-1967)

24 December 1964 – Ealing Club, Ealing, Middlesex with South West Five (Thursday) (Middlesex County Times & West Middlesex Gazette)

31 December 1964 – Ealing Club, Ealing, Middlesex with South West Five (Thursday) (Middlesex County Times & West Middlesex Gazette)

 

7 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette) (needs confirmation but likely)

14 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

21 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

23 January 1965 – Royal Hotel, Lowestoft, Suffolk with The Millionaires (Bo Street Runners cancelled) (Eastern Evening News)

28 January 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette)

 

4 February 1965 – Ealing Club, Ealing, Middlesex (Thursday) (Middlesex County Times & West Middlesex Gazette) (possibly with Jimmy Royal & The Hawks)

15 February 1965 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

22 February 1965 – Ealing Club, Ealing, Middlesex (Monday) (Middlesex County Times & West Middlesex Gazette)

6 March 1965 – Carfax Ballroom, Oxford with The Ravons (Oxford Mail)

26-27 March 1965 – Silver Blades, Streatham, southwest London (Streatham News) (as The Eccentrics)

27 March 1965 – Witham Public Hall, Witham, Essex with The Decadents (Essex County Standard)

 

30 April 1965 – Ealing Club, Ealing, Middlesex (Friday) (Middlesex County Times & West Middlesex Gazette) (as The Eccentrics)

 

21 May 1965 – Ealing Club, Ealing, Middlesex (Friday) (Middlesex County Times & West Middlesex Gazette) (as The Eccentrics)

Many thanks to John Kerrison, Peter Maggs and Mick Liddell for providing information.

To contact the author with further information, please email Warchive@aol.com

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Frankenstein & the Monsters

Frankenstein & the Monsters, article from the Lincolnshire Standard, April 2, 1965
Frankenstein & the Monsters, article from the Lincolnshire Standard, April 2, 1965

Above are rare photos of Frankenstein & the Monsters playing at the Woodhall Spa Hockey Club dance at Coronation Hall on Saturday, March 27, 1965. Woodhall Spa is east of Sheffield & Manchester, and a few hours north of London.Likely the act was capitalizing on the horror-rock show of Screaming Lord Sutch. The article describes what it was like to be at the show:

“…the sound building up to a crescendo of cacophony and din spread over half-an-hour and with increasing tempo, subdued lighting and flashing lights, was designed, and succeeded in stirring the pulse and the imagination.”‘

Frankenstein was vocalist Ray Stuart from Manchester, the rest of the group seems to have changed frequently over the next year. This photo seems to be an early line up of the group, named in the article as:

Paul Jarvis – bass
Budg. P. Curtis – lead guitar
Andy Fearn – drums
Royce Francis – organ

Royce Francis played with the Upsetters, a group of English musicians formed in France in 1964 that toured the continent over the next several years, often with singer Pete Lancaster. The Upsetters backed Pete on two German releases, the single “Stupitidy” (sic – should read “Stupidity”) and “Baby, Baby, Baby” on Polydor International from 1966, and the LP Rhythm and Blues Show on Polydor from 1967. Anyone have good scans of those?

I’m not sure if Royce was with the Upsetters for their entire run, as this gig with Frankenstein and the Monsters would overlap.

The Upsetters included Derek Moore (bass), John C Marshall (guitar), Jim Clapper (tenor sax), Alvino Sykes (drums) and Royce Francis (organ). Also at some point, Ron Howden, who with Derek Moore would later join the Prophets before evolving into Nektar.

Andy Fearn played with the Barry Norton Four along with Pete Brown (lead guitar) and Dave Robinson (bass). I’m not sure who Budg. P. Curtis is.

Sometime after this show Ray Stuart found another backing band, the Sheffields. The Sheffields consisted of Roy Ledger, Dave Fawcett and Richard Smith, and cut legendary 45s on Pye in 1964: “It Must Be Love” / “Say Girl” (Pye 7N 15600), “Got My Mojo Working” / “Hey, Hey Lover Boy” (Pye 7N 15627), and “Bags Groove (Skat Walking)” / “Plenty of Love” (Pye 7N 15767, also Dot 45-16722 in the US).

Dave Robinson commented on the ManchesterBeat.com:

At the end of 1965 however, The Sheffields went their own way before splitting ( lead guitarist Roy Ledger joined Dave Berry’s Cruisers) and Ray Stuart approached Dave Robinson, Phil Galley and Spud West to form a ‘new’ Monsters – eventually acquiring the services of former Monster’s bass player from the 1964/5 line up, Paul Jarvis.

This was the line up for the duration of 1966 with the band proving the most popular in their home city of Sheffield.

Spud West played the part of The Mummy in the horror show and introduced the wonderful new trick of setting himself on fire as he left the coffin, until it got out of hand at Worsley Civic Hall when the fire hose had to be employed!

The band frequently appeared at The Oasis, Jung Frau, Top 20 Club at Droylsden as well as Bolton Palais and similar surrounding venues.

How do I know?  I was lead guitarist in that line up before we became the fourth generation of Dave Berry’s Cruisers.

Additional info from Obscure Bands of the 50s and 60s.

Thank you to Nick Warburton for the scan from the Lincolnshire Standard.

Johnny Devlin and the Detours

Johnny Devlin & the Detours, 1962 or 1963, from left: Arthur Biggs, Bob Pettit, Bernie Smith, Johnny Devlin, Bryan Stevens, Mick Ketley, and Chuck Fryers
1962 or 1963, from left: Arthur Biggs, Bob Pettit, Bernie Smith, Johnny Devlin, Bryan Stevens, Mick Ketley, and Chuck Fryers

Mick Pye sent in these great photos of Johnny Devlin & the Detours, who later evolved into the Noblemen. Mick tells me these are from glass negatives, which I would think was an antiquated format for 1962 or 1963.

Notice retouching to remove the background on the promo shot, above.

Bryan Stevens wrote in a comment below with identifying info for the photos. He gives the lineup above as:

Arthur Biggs – rhythm guitar – Burns Black Bison 3 pick up 6 string guitar
Bob Pettit – alto/tenor/baritone sax
Bernie Smith – drums (replaced Roger Yardley)
Johny Devlin – vocals
Bryan Stevens – Burns Black Bison bass guitar
Mick Ketley – Vox Continental keyboard
Chuck Fryers – Lead guitar – Burns Black Bison 4 pick up 6 string guitar

Thank you to Bryan for identifying all the musicians and for sending in the poster below for their upcoming reunion show.

 1961 or 1962, clockwise from top left: Roger Yardley, Mick Ketley, Bob Pettit, Johnny Devlin, Bryan Stevens, Arthur Biggs and Chuck Fryers.
1961 or 1962, clockwise from top left: Roger Yardley, Mick Ketley, Bob Pettit, Johnny Devlin, Bryan Stevens, Arthur Biggs and Chuck Fryers.

Back to the 60’s – Revival
Featuring The Detours, Johnny Devlin, The Diamonds, Dave Hooper, The Southbeats, Roy Haines of the Fenmen, The Concords, Colin Madeley and Cosy.
Riverside, February 18, 2012
Johnny Devlin & the Detours, The Post, January 25, 1964
Johnny Devlin & the Detours, The Post, January 25, 1964, submitted by Nick Warburton

Floribunda Rose and Scrugg

Scrugg live, left to right: Chris Demetriou, Jack Russell, Henry Spinetti (hidden) and John Kongos
Scrugg live, left to right: Chris Demetriou, Jack Russell, Henry Spinetti (hidden) and John Kongos

G-Men with Johnny Kongos news clipping

Johnny Kongos news clip October 1966
Johnny Kongos news clip October 1966

Buried in the welter of superlative singles issued in September 1967 was an intriguing release by an Anglo-South African group with a suitably ‘flower power’ name, Floribunda Rose. A forgotten gem, ‘One Way Street’ c/w ‘Linda Loves Linda’, should have been a resounding hit but despite being plugged incessantly by several notable radio stations, it barely made a ripple. Floribunda Rose may have been lost to a bygone age but its lead singer and principal songwriter remains one of South Africa’s most successful exports and would years later become synonymous with one of Brit Pop’s most enduring anthems, The Happy Monday’s ‘He’s Gonna Step On You Again’.

Johnny Kongos

Born in Jo’burg on 6 August 1945 to Greek parents, aspiring singer/songwriter and guitarist Johnny Kongos had formed his first group, The Dukes, when he was 15 years old and began carving out a local following playing at his mother’s club, the Fireplace in Boksburg.

Joined by former Mickie Most & The Playboys guitarist Hank Squires in 1962, the group morphed into Johnny Kongos & The G-Men and over the next three years released nearly twenty singles and half a dozen albums for the Teal and RCA labels.

In late 1963, Kongos made his first exploratory visit to the UK but despite auditioning for a couple of major labels, and running into Hank Squires’s former band leader, Mickie Most, now a fledgling producer, Kongos failed to make an impact.

Empty handed, he returned to Jo’burg and reformed The G-Men. Plans to consolidate his earlier successes, however, were soon thrown in the air when the singer was called up for national defence training in late 1964.

Returning to civilian life six months later, Kongos picked up where he’d left off and recorded a final single with The G-Men, ‘Until It’s Time For You To Go’, which secured a release on Teal, the South African distributor for the Pye label.

Record Express, July 1966
Record Express, July 1966

Thanks to these connections, Kongos elected to return to the UK in April 1966, where he befriended Pye’s manager/producer John Schroeder. Sufficiently impressed by Kongos’s audition tape, Schroeder secured a solo deal with Pye’s subsidiary label, Piccadilly.

The fruits of the ensuing sessions turned up on the singer’s debut UK single – the folky, self penned ‘I Love Mary’, backed with the poppy Kongos/Leroy number, ‘Good Time Party Companion’, released that September. Credited to John T Kongos, the single was well received but did nothing chart-wise.

004 in Personality, November 1965
004 in Personality, November 1965

Johnny Kongos, 004, Ian & Ritchie at Germiston City Hall

Chris Demetriou, 1967
Chris Demetriou, 1967

004

Soon after the single’s release, Kongos was back in South Africa beginning work on a fresh clutch of songs with the intention of recording an album. One night in April 1967, he dropped into the 505 club in Jo’burg’s trendy Hillbrow district and caught British group, The 004 entertaining the crowds (see The 004 page for a closer inspection of this fascinating group). Suitably impressed, he approached the band members after they’d finished their set and asked them to help him cut the planned album as paid musicians.

A hugely popular live act, The 004 had arrived in South Africa by boat in July 1965 on the back of a contract offered to the group’s lead guitarist, Pete Clifford (b. 10 May 1943, Whetstone, London). A former member of Dusty Springfield’s backing group, The Echoes, Clifford had first visited South Africa during 1964 and participated in the singer’s infamous tour where she was deported for refusing to play to segregated audiences.

While the tour had been a PR disaster, Clifford had been promised some lucrative work by Trevor Boswell, husband of South African 1950s star, Eve Boswell, and co-owner of the Keleti Artist Agency, if he could return from London with a new group.

Clifford sought around for suitable musicians and quickly recruited Welsh rhythm guitarist and singer Brian Gibson from The Laurie Jay Combo, who in turn recommended fellow countryman, bass player and singer Jack Russell (b. 29 April 1944, Caerleon, Wales).

Gibson and Russell had known each other for years, having first worked together in The Victors, resident band at the Latin Quarter, one of London’s top theatre restaurants.

“I had a call on the Monday from Brian,” remembers Russell, who was working as a manager for Vox in Dartford at the time. “He asked me if I fancied joining him in a band that was going to South Africa. I said, ‘Yes’ and asked, ‘When do we go?’ He said, ‘Thursday!’”

With Londoner Peter Stember (today a successful US-based photographer) completing the line up on drums, The 004 sailed for Durban and soon shot to local fame as one of the top groups working the clubs, so much so that they landed jobs supporting Gene Vincent and The Ivy League.

During 1966, the band released a handful of singles for CBS, including ‘The In Crowd’ and a decent album, It’s Alright, before Stember returned to the UK in August.

In his place, The 004s recruited Dutch-born, South African raised drummer Nick ‘Doc’ Dokter (b. 24 July 1945, Kampen, Overijsel, The Netherlands), who possessed an impressive musical CV, including a stint with The Leemen Limited alongside South African guitar legend, the late Ken E Henson.

Originally a bass player, Dokter moved to drums early his career after the sticksman in the garage band he was playing in gave up music for a regular job. Working with future A-Cads singer Sammy Evans in a factory making boilers, the pair struck up a friendship and in an interesting turn of events both ended up joining Johnny Kongos’ group The G-Men after the singer was called up for military service.

“We all went and played at John’s place, the Fireplace,” recalls Dokter. “From there I met Kenny Henson, who needed a drummer, so I moved to Durban to join Leemen Limited.”

After two rare singles on the Continental label, including a great version of ‘In The Midnight Hour’ backed by John Mayall’s ‘Heartaches’, it was time to move on again.

“I was just hanging around and Pete Clifford approached me. Peter Stember was leaving The 004 and he just said, ‘Why don’t you just come out and play with us?’ I was really a young kid and I had no experience of playing big clubs. They kinda took me under their wing.”

With Dokter filling the vacant drum stool, The 004 spent the remainder of 1966 consolidating their live reputation. When Gibson handed in his notice in early 1967 (later joining progressive rock band, Abstract Truth, alongside Henson), The 004 briefly recruited guitarist Barry Mitchell from rival band, The In Crowd, but the line up never gelled and when Kongos dropped into the 505, the group had been stripped to a trio.

“John originally offered a job to Jack and Pete,” says Dokter. “I wasn’t included in this. Eve Boswell’s son was originally going to be the drummer. He did some demos with Pete and Jack but it didn’t work out. I happened to be in one of the sessions and just took over.”

As Kongos recalls, he always intended to employ a Farfisa organ sound on his album so when Clifford, Dokter and Russell took up the offer to record with him, they were joined in the studio by a fifth member, Chris Demetriou (more commonly known as Chris Dee).

Chris Demetriou

Former keyboard player with Johannesburg’s finest R&B group, John E Sharpe & The Squires (see the Chris Demetriou interview page for more information on this band), Cyprus-born Demetriou had appeared on all of The Squires’ classic singles, including covers of The Kinks’ ‘Stop Your Sobbing’ and Paul Simon’s ‘I Am A Rock’, as well as the highly sought after Maybelline album.

“John located me through the Jo’burg Greek club,” remembers Demetriou. “I was invited to his house and the next thing I knew we were planning to leave the country and seek fame and fortune in London.”

As Kongos relates, his plan had always been to return to the UK with a band as soon as possible and use the recordings to secure further work. Looking back on the sessions, he dismisses most of the material as forgettable.

“I had written a bunch of songs and I basically wanted to do demos. I went into the studio with all of the guys and wound up taking that ‘album’ of demos to the UK.”

As events panned out, the band got half way through the recording when Kongos made a proposition: rather than pay the musicians for the sessions, he would cover everyone’s fares to UK.

The as-yet unnamed Floribunda Rose in Jo'burg, May 1967. Left to right: Pete Clifford, Jack Russell, John Kongos, Chris Demetriou and Nick Dokter
The as-yet unnamed Floribunda Rose in Jo’burg, May 1967. Left to right: Pete Clifford, Jack Russell, John Kongos, Chris Demetriou and Nick Dokter

Floribunda Rose

According to Russell, it made sense to return home and crack the British market, especially when Kongos had connections in the music industry. “He would have been a fool not to do that,” he says. “He had a contract in his back pocket with Pye and a contract with Maurice King who ran the Walker Brothers among others; it was a stable worth getting into.”

Before setting off by boat in May 1967, the newly formed group posed for some publicity photos in Kongos’s Jo’burg house. Then, a few days’ later, set sail for England, writing and rehearsing material, including the Kongos-Russell collaboration, ‘Linda Loves Linda’, in preparing for the assault on the British market.

Throughout the long journey the group struggled to come up with a suitable name. “I wanted to call it Kongos’s Magic Dragon but [John] wouldn’t have it,” says Russell.

In fact, as the bass player explains, the musicians only agreed on Floribunda Rose on the way to their first gig! Having arrived at Maurice King’s office during their first week in London, the manager calmly informed the musicians that they had a gig the next day and studio time booked a few weeks later.

A second hand camper van was hastily purchased in Earl’s Court and the band set off for its debut gig – a small club in Castleford, West Yorkshire on 14 July, stopping off in central London on route to pick the elusive name.

“John and I walked across the street in Baker Street to a book shop, desperate to find a name for the band,” recalls Russell. “Flower power was at its zenith, so we plumped for Floribunda Rose. A bloody daft name but that was where people were at.”

After a handful of gigs in the north and the midlands, including shows in Tadcaster, Burnley and Tamworth, Floribunda Rose made their London debut at Tiles on Oxford Street on 19 August.

Around this time, the group also cut its debut single under Schroeder’s watchful eye – the poppy ‘Linda Loves Linda’ – supposedly a tale of female narcissism, backed by Kongos’s infectious, and rather Beatlesque, ‘One Way Street’. The plug side, with its ‘Everyone is Loving Everywhere’ lyric, ‘fairground’ organ and free-form ending, chimes perfectly with the ‘peace, love vibe’.

Released in September 1967 on Pye’s Piccadilly subsidiary and the same week that Radio 1 aired, ‘Linda Loves Linda’ benefited from its publicity and was heavily plugged by Tony Blackburn and Pete Murray.

“We were very lucky,” says Russell. “Maurice King was an operator. He knew his stuff and employed a plugger who would go round the BBC with new releases.”

“In those days you had to get on the BBC play-list. We were on the first week of Radio 1. Only three singles a week out of the 80 releases used to get on that, which was fantastic.”

To coincide with the station’s launch, the group recorded a BBC Radio 1 session with Brian Matthews on 25 September for a show that was replacing Saturday Club, cutting new versions of ‘Linda Loves Linda’ and ‘One Way Street’, along with covers of Paul Simon’s ‘Bright Green Pleasure Machine’ and ‘59th Bridge Street Song’. None of the tracks have been released and remain buried somewhere in the BBC archive.

Yet despite getting on to the new play list, recording a live session and having a Juke Box Jury appearance as ‘mystery band’ (on 8 September) and being voted a hit, the single stiffed.

The group returned to the daily grind of touring, often travelling hundreds of miles to play small clubs and sharing the bill with the likes of The Zombies, Dave Berry and Lonnie Donegan to name a few.

“Most of our gigs were up and down the M1 at less prestigious venues,” recalls Demetriou. “We did play some university events and supported more well known acts.”

“There are lots of little funny things that happened with Floribunda Rose,” adds Kongos. “It was really corny actually – attempting to jump on the ‘Flower Power’ bandwagon. We did dumb things like throw out flowers to the crowd at the end of a the gig [which] went down really well in Workingmen’s clubs (not!)

“I think the best thing about the band was that we did really intricate medleys of known songs – a little like Vanilla Fudge, in the sense that the versions were very different.”

Book-ending the year, Floribunda Rose spent a month playing at the Top Ten in Hamburg, grafting for six hours a night to a largely unappreciative crowd. While there, Dokter remembers rubbing shoulders with the musicians that would later go on to form the nucleus of heavy rock band, Deep Purple.

Exhausted, the group drove home non-stop, heading straight for the Scottish Highlands in the first week of January where the first cracks in the band’s precarious line up surfaced.

“We did one [10-day] tour of Scotland [and] that was the last thing I did with them,” remembers Clifford, who left after the final gig on 14 January. “I then flew out from the freezing cold to the humid heat of Durban and nearly died. I had a pair of leather jack boots and a Scottish hiking jacket!”

Pete Clifford returns to South Africa and joins the Bats

Back in South Africa, the guitarist joined The Bats, appearing on the highly sought after Image album (which includes the superb ‘Money Ain’t Worth a Dang’) and also playing numerous sessions, most notably providing bouzouki on Freedom Children’s debut album, Battle Hymn of The Broken Hearted Horde. During the late 1960s and 1970s, he became one of South Africa’s most respected guitarists and continues to tour with The Bats.

“[Pete] and John just butted like rams,” explains Russell on the guitarist’s dramatic exit. “Pete was very experienced. He had worked with some major people. He knew his stuff and was a good guitar player but basically John didn’t want a lead guitarist.”

“Pete Clifford was an incredible guitar player and so was John,” adds Dokter. “They were both very talented. It was good for Pete to actually go on his own and work with The Bats and John had the freedom to do what he wanted to do.”

Kongos has the last word: “Pete was not satisfied with the lack of progress in the band – it wasn’t easy travelling hundreds of miles to little gigs and winding up almost out of pocket at the end of the day. Musically too, it was not satisfying for us because we had different ideas. We got on each others’ nerves and could have been the model for Spinal Tap if we’d made it.”

Nick Dokter departs

With Clifford gone and Kongos assuming lead guitar duties, it wasn’t long before Dokter also bailed. “Nick was married and his wife was getting bored with the difficulties of not making money,” explains Kongos on the drummer’s departure in late February after a 10-day stand at the Nova club in Kensington, West London.

A qualified boilermaker, Dokter briefly returned to South Africa where he worked a day job while playing with various local groups. In the late 1960s, he moved to his country of birth, Holland, and returned to school to study engineering. Turning down an offer to join The Golden Earring, he subsequently emigrated to Canada in 1969.

During the early 1970s, he got back into playing and recorded an unreleased album with 5 Man Cargo, which later morphed in Cross Town Bus. Through this group he met promoter Bruce Allan and ended up working for his agency for nearly two decades, although Dokter did make occasion trips back to South Africa where he played with his old buddy Kenny Henson in his duo, Finch & Henson among other projects.

“Needless to say, being on the road for 20 years, six-to-nine months at a time, took its toll and I became a studio/session drummer,” says Dokter, who retired from playing full-time in 1989 and currently lives in Vancouver. In the summer of 2009, he plans to visit the UK and catch up with Jack Russell, who he hasn’t seen since early 1968.

Scrugg, 1968, left to right: Jack Russell, Chris Demetriou, John Kongos and Henry Spinetti
Scrugg, 1968, left to right: Jack Russell, Chris Demetriou, John Kongos and Henry Spinetti

Monmouthshire's link with Scrugg article

Scrugg Pye 45 Lavender PopcornScrugg

With Dokter out of the picture, the remaining members returned to London where Russell and Demetriou found themselves caught up in a police raid at their shared flat. “Unbeknown to us, while we were away in Germany and Scotland our road manager had been renting our rooms out,” says Russell, recalling the tragic event.

“People had been using our place as a doss house and these guys had been dealing. We hadn’t a clue the police had been watching the place and we arrived back the morning they hit the place. We were fitted up and forced to plead guilty. We were fined £50 and got front page of The Sun.”

Putting the loss of Dokter behind them, Russell returned to the Welsh valleys and brought back 16-year-old wonder kid, Henry Spinetti (b. 31 March 1951, Cwm, Wales), younger brother of Victor Spinetti and today Katie Melua’s drummer.

With two weeks’ work lined up at the Top Ten in Hamburg, kicking off on 1 March, the group headed for the continent bearing a new name – Scrugg. “I chose the name because we wanted a more earthy image and I was a fan of Earl Scruggs the banjo player,” admits Russell.

“That was a suggestion that we all made,” chips in Clifford, who believes the name was discussed while he was still a member. “We were all trying to think of a new image and I think I left on the verge of Scrugg because I’ve got a picture of Floribunda Rose and then in brackets it says ‘Scrugg’.”

Under its new guise, Scrugg returned to the studios with John Schroeder to work on the first of three classic singles, which, as David Wells rightly points out in the liners for the John Kongos’s compilation album, Lavender Popcorn, “remain exquisite examples of the psychedelic pop sound.”

Scrugg’s debut outing, released on Pye in April 1968, coupled two John Kongos numbers – ‘Everyone Can See’ backed with ‘I Wish I Was Five’. The latter is undoubtedly the stronger of the two and is notable for Lew Warburton’s stirring string arrangement (based directly on Russell’s bass line) and Demetriou’s moody organ playing, which heightens the tension, building to a dramatic climax. A yearning for the innocence and honesty of youth, ‘I Wish I Was Five’ should have been the side to plug and perhaps not surprisingly the single went nowhere.

Two months later, Pye rushed out a follow up, a cover of Scott English’s poppy ‘Lavender Popcorn’, backed by the Kongos penned ‘Sandwich Board Man’, which the singer says was inspired by said character who he used to see regularly on Oxford Street.

A noted songwriter, English, had serious pop credentials and had scored hits with covers of ‘Hi Ho Silver Lining’ and ‘Bend Me Shape Me’, but the group was uncomfortable recording such a blatant teeny-bopper, bubblegum track. The band’s producer, however, overruled any objections and even contributed to the recording by playing piano with a plectrum! “John Schroeder said, ‘You’re doing it’,” remembers Russell. “‘You’ve had two of your own and you’re doing one of mine now, so shut up!’”

Tailor-made for the pop market, ‘Lavender Popcorn’ should have been Scrugg’s commercial breakthrough but like its predecessors faded into obscurity.

Scrugg on stage, left to right: Chris, Henry (hidden on drums), Jack and John
Scrugg on stage, left to right: Chris, Henry (hidden on drums), Jack and John

Forced to make a living on the road, Scrugg resumed their busy touring schedule travelling the length and breadth of the country and taking in towns as far as field as Newcastle, Birmingham and Penzance. Debuting on 3 August 1968, the band also became regulars at London’s renowned nightclub, Scotch of St James, returning again for shows on 7 and 14 September and culminating with a two-night stand on 27-28 September. During this hectic period of touring, Scrugg participated in a historic moment in rock history, opening for a “mystery” band of superstars at a show at Sheffield University on 23 November.

“We opened for them and then watched their show,” says Kongos. “We all agreed that these guys would probably not make it because ‘who needed another Cream?’ so we gave them the thumbs down. They were called Led Zeppelin!”

With Zeppelin’s star in the ascent and Scrugg’s future looking bleak, the end was in sight.

John Kongos and Jack Russell on tour in Scotland
John Kongos and Jack Russell on tour in Scotland
Clockwise from top left: John Kongos, Henry Spinetti, Chris Demetriou and Jack Russell
Clockwise from top left: John Kongos, Henry Spinetti, Chris Demetriou and Jack Russell

In early January, Scrugg’s final single was released and coupled the Kongos’s rave up, ‘Will The Real Geraldine Please Stand Up and Be Counted’ (a song originally recorded for the album session in Jo’burg in 1967), with the singer’s ‘Only George’, a kitchen sink tale about break-up and divorce, introduced by Russell’s freakily distorted vocal.DJ John Peel remained a huge fan and opened his show numerous times during its first week of release but despite the publicity, it failed to chart. Dispirited, the musicians decided to call it a day, bowing out with a two-night stand in Margate, Kent on 18-19 January.

In the aftermath of Scrugg’s split, Kongos went on to establish a successful solo career in the early Seventies, scoring hits with ‘He’s Gonna Step On You Again’ (co-written with Demetriou) and ‘Tokoloshe Man’. He currently resides in Arizona and is preparing material for a new album.

The others meanwhile maintained a less visible, albeit rewarding careers. Spinetti became a top session drummer, working with the likes of Roger Chapman, Bill Wyman and Eric Clapton while Demetriou co-wrote several songs for Kongos’s debut album, Confusions of a Goldfish, and later oversaw recordings for Mike D’Abo and Cat Stevens among others. He currently lives in Esher, Surrey and is a pastor in a local church.

Russell, who gave up playing music in 1969, later ran a successful specialist advertising agency before retiring in 2005. Aside from a brief reunion with Pete Clifford and Brian Gibson where they played at a theatre in Hampton Hill, Middlesex to celebrate Russell’s 6oth birthday, he currently plays solo sets at the Rising Sun pub in Twickenham.

Aficionados can expect to pay hefty prices for Floribunda Rose and Scrugg singles. Mercifully, Castle compiled an excellent CD in 2001 called Lavender Popcorn, pulling together all of the recordings, including the previously unreleased Scrugg track, ‘Patriotic’, although regrettably the BBC radio sessions were omitted.

Despite that small oversight, the CD is recommended to anyone who feels the urge to savour some of the most exquisitely recorded British psychedelic pop.

A huge thanks goes to Jack Russell for his generous assistance in pulling the story together and for offering the use of his private photo collection and live gig list. Thanks also to John Kongos for his insights into the group, Chris Demetriou, Nick Dokter, Pete Clifford and David Wells.

Copyright © Nick Warburton. All Rights Reserved. No part of this article may be reproduced or transmitted in any from or by any means, without prior permission from the author.

Releases:

Floribunda Rose:
Linda Loves Linda / One Way Street, Picadilly 7N.35408

Scrugg:
Everyone Can See / I Wish I Was Five, Pye 7N.17492
Lavender Popcorn / Sandwichboard Man, Pye 7N.17551
Will the Real Geraldine Please Stand Up and Be Counted / Only George, Pye 7N.17656

 

Floribunda Rose gigs (thanks to Jack Russell for diary dates):

14 July 1967 – Crystal Ballroom, Castleford , West Yorkshire

15 July 1967 – Boulevard, Tadcaster, North Yorkshire

18 July 1967 – Burnley, Lancashire (no venue listed)

22 July 1967 – Brierfield, Lancashire (no venue listed)

4 August 1967 – Crow’s Nest, Tamworth, Staffordshire

19 August 1967 – Tiles, Oxford Street, London

26 August 1967 – The Boogaloo, Crystal Ballroom, Castleford, West Yorkshire (according to the Sheffield Star and Wakefield Express this was with The Magic Lanterns)

29 August 1967 – Luton, Bedfordshire (no venue listed)

 

2 September 1967 – The Rover, Solihull, Warwickshire

3 September 1967 – Cromer, Norfolk (most likely Olympia Ballroom)

8 September 1967 – Clouds, Derby, Derbyshire

9 September 1967 – Cesar’s Club, Bedford, Bedfordshire (according to the Bedfordshire Times)

15 September 1967 – Tiles, Oxford Street, central London with Simon Dupree & The Big Sound

22 September 1967 – Crystal Ballroom, Castleford, West Yorkshire

23 September 1967 – Wellington (near Hull, Humberside, no venue listed)

24 September 1967 – Cosmo, Carlisle, Cumbria with Root and Jenny Jackson and The Hightimers

25 September 1967 – Radio 1 recording

29 September 1967 – Wigston, Cumbria (no venue listed)

30 September 1967 – Boulevard, Tadcaster, North Yorkshire (according to the Yorkshire Evening Post, this was with The Flowerpot Men)

 

1 October 1967 – Clayton Lodge Hotel, Newcastle-under-Lyme, Staffordshire with The Pink Variety

7 October 1967 – Cleveland Arms, Wolverhampton, West Midlands (according to Express & Star)

12 October 1967 – Penny Farthing, Hanley, Staffordshire

12 October 1967 – Crystal Ballroom, Newcastle Under Lyme, Staffordshire

13 October 1967 – St Helens, Lancashire (possibly The Co-Op)

14 October 1967 – Leicester University, Leicester, Leicestershire

20 October 1967 – Kendall Town Hall, Kendall, Cumbria

21 October 1967 – Royal Ballroom, Ripley, North Yorkshire

22 October 1967 – Cofton Country Club, Birmingham (listed in Fabulous 208 but not in Jack’s gig list)

28 October 1967 – Barrow, Cumbria (most likely Barrow Public Hall)

29 October 1967 – New Tredegar, Wales (no venue listed)

 

2 November 1967 – Nottingham (no venue listed)

5 November 1967 – Sutton in Ashfield, Nottinghamshire (possibly The Revolution)

7-13 November 1967 – Birmingham, West Midlands area gigs (booked through the Astra Agency) (see below)

9 November 1967 – Kingfisher Country Club, Wall Health, West Midlands with The Californians and The Barmy Barry Show (according to Express & Star)

10 November 1967 – Waggon and Horses, Wall Health, West Midlands (according to Express & Star)

15 November 1967 – Hucknall, Nottinghamshire (no venue listed)

18 November 1967 – Walton Playhouse, Walton-on-Thames, Surrey

 

December 1967 – Month in Hamburg, West Germany (Top Ten Club on Reeperbahn)

 

5-14 January 1968 – Ten-day trip to Scotland (see below)

12 January 1968 – Ballerina Ballroom, Nairn, Scotland with The Rebel Sounds

13 January 1968 – Victoria Hotel, Forres, Scotland (Forres Elgin & Nairn Gazette) This is missing from Jack Russell’s gigs

Peter Clifford left Floribunda Rose in Scotland after the final gig and flew to Durban, South Africa to join The Bats

20 January 1968 – Dreamland Ballroom, Margate, Kent with The Amboy Dukes

3 February 1968 – Barrow Public Hall, Barrow, Cumbria with 4th Coming

16-25 February 1968 – Nova Club, Kensington, London

Nick Dokter left immediately afterwards and the musicians brought in Henry Spinetti. At some point the group changed name to Scrugg but did also continue to be billed as Floribunda Rose for some shows.

1-15 March 1968 – Top Ten, Hamburg, Germany

31 March 1968 – Sunderland, Tyne & Wear (no venue listed)

 

1-6 April 1968 – Sunderland, Tyne & Wear (possibly gigs at various clubs in the area)

7-13 April 1968 – Wolverhampton, West Midlands area gigs (see below)

The following are confirmed from the Express & Star newspaper (and billed as Floribunda Rose):

7 April 1968 – Albrighton WMC, Albrighton, West Midlands

8 April 1968 – Civic Hall, Wolverhampton, West Midlands with The News

11 April 1968 – Essington WMC, Essington, West Midlands

12 April 1968 – Oasis Club, Wolverhampton, West Midlands with The Dunes

13 April 1968 – 3 Men in a Boat, Walsall, West Midlands

 

20 April 1968 – Mr Smith’s Club, Winsford, Cheshire with T Bunkum Band and The Hideaways (billed as Floribunda Rose)

21 April 1968 – Coventry (no venue listed)

Around about now, they change name to Scrugg

3 May 1968 – ‘Tik Tok’ Discotheque, Grimsby (billed as Floribunda Rose) (according to Grimsby Evening Telegraph)

4 May 1968 – Dorothy Ballroom, Cambridge with Bob Kidman & His Band, The Break Thro’, Jubilee & The Sacremento “B”, Mildenberg Jazz Band (billed as Floribunda Rose)

10-19 May 1968 – Elgin area gigs in Scotland (see below)

10 May 1968 – Ballerina Ballroom, Nairn, Scotland (Forres Elgin & Nairn Gazette)

19 May 1968 – Red Shoes Theatre, Elgin, Scotland

24 May 1968 – Victoria Hall, Selkirk, Scotland

25 May 1968 – Miners Wallace Institute, Kirkonnell, Scotland

31 May 1968 – Ringway, Birmingham, West Midlands

 

1 June 1968 – Sheffield, South Yorkshire (no venue listed)

2 June 1968 – Club Cedar, Birmingham, West Midlands

14 June 1968 – Milnthorpe, Cumbria (no venue listed)

15 June 1968 – 400 Ballroom, Torquay, Devon (Herald Express)

16 June 1968 – Jack’s diary says Birmingham 6 Ways but confirmed as Queen’s Head Beat Club, Six Ways, Erdington, West Midlands (billed as Floribunda Rose; see below too)

21 June 1968 – Eastbourne, East Sussex (no venue listed)

25 June 1968 – Oxford (no venue listed)

29 June 1968 – Queen’s Head Beat Club, Six Ways, Erdington, West Midlands (billed as Floribunda Rose)

3 July 1968 – Olympia, Scarborough, North Yorkshire with The Minority Soul Sound and The Urge

26 July 1968 – Sunderland, Tyne & Wear (not sure this happened as I have found Scrugg billed to play Steering Wheel, Weymouth on this day)

27 July 1968 – Newcastle (no venue listed)

 

1 August 1968 – Bolton, Lancashire (no venue listed)

2 August 1968 – Reading, Berkshire (no venue listed)

3 August 1968 – Scotch of St James, Mayfair, London

5 August 1968 – Birmingham (possibly Queens Beat Club, Erdington, West Midlands)

10 August 1968 – Sibyllas, Swallow Street, London

11 August 1968 – Abercarn, Wales (no venue listed)

16 August 1968 – Lon Crom (most likely Cromwellian, South Kensington, London)

17 August 1968 – 6 Ways (most likely Queen’s Beat Club, Erdington, West Midlands)

18 August 1968 – Sutton in Ashfield, Nottinghamshire (no venue listed)

24 August 1968 – Crom Lon (most likely Cromwellian, South Kensington, London)

 

7 September 1968 – Scotch of St James, Mayfair, London

8 September 1968 – Ilford, London (possibly The Angel)

14 September 1968 – Scotch of St James, Mayfair, London

15 September 1968 – Playboy, Hyde Park Corner, London

16-18 September 1968 – Wales gigs TBA

21 September 1968 – King’s Hall, Aberystwyth, Wales with The Shakedown Sounds (this is missing from Jack’s gigs and comes from the Cambrian Times but may not be the same band)

26 September 1968 – Crom Bolton, Lancashire (most likely Cromwellian)

27-28 September 1968 – Scotch of St James, Mayfair, London

29-30 September 1968 – Wales gigs

 

1-4 October 1968 – Wales gigs

5 October 1968 – Sutton in Ashfield, Nottinghamshire (no venue listed)

10 October 1968 – Commall Hebton (not sure this is correct)

11 October 1968 – Penzance, Cornwall (possibly Winter Gardens)

12 October 1968 – 400 Ballroom, Torquay, Devon (Herald Express) It is missing from Jack’s diary but they also play here on 19 October 

21 October 1968 – Quaintways, Chester, Cheshire with The Pearlettes, The Elastic Band and Wall City Jazz Men

 

2 November 1968 – Ilford, London (possibly The Angel)

4 November 1968 – Sibs London (most likely Sibyllas, Swallow Street)

15-17 November 1968 – Scotland dates

23 November 1968 – Sheffield University, Sheffield, South Yorkshire with Led Zeppelin

 

7 December 1968 – Ilford, London (possibly The Angel)

14 December 1968 – Rotherham (no venue listed)

28 December 1968 – Stage Club, Oxford

 

18-19 January 1969 – Margate, Kent (most likely the Dreamland Ballroom)

The gig list cuts off here so not sure if there are any others

 

The Monotones and the Treetops

The Monotones in Holland, 1964: Brian Alexander, Gary Nichols, Jim Eaton and Pete Stanley
The Monotones in Holland, 1964
from left: Brian Alexander, Gary Nichols, Jim Eaton and Pete Stanley

If you’ve ever seen Michael Apted’s 1964 documentary Seven Up! you may have wondered what song the kids are dancing to during the party scene towards the end of the film. I learned from my friend Michael Lynch that the song was “What Would I Do” by the Monotones, a group from Southend-on Sea in Essex, about 45 miles directly east of London.

Monotones Pye 45 What Would I Do

Mark Lloyd and Jim Eaton singing the Everly's
Mark Lloyd and Jim Eaton singing the Everly’s
“What Would I Do” was the first of four singles they released on Pye in ’64 and ’65. To say this song has charm would be an understatement, even more so if you’ve seen Seven Up. The bridge is especially fine, with tremolo guitar behind the vocals “if I say that I love you, and you know that it’s true …”

The band gives a sharp performance on the flip, “Is It Right” though the song is less distinctive than the top side. Both songs on their first 45 were written by ‘Stanley Alexander’, actually Brian Alexander and Stanley Peter Frederick according to the BMI database. I didn’t know anything else about the band until Phil T. contacted me with the newspaper clipping and the following info:

During their early years, the group line-up changed many times but by 1964, it comprised Brian Alexander (lead), Jim Eaton (vocals and rhythm), Pete Stanley (bass) and Gary Nichols (drums) and I believe that it was these four who made the recordings. Their original vocalist, Nigel Basham also performed separately under the name Mark Loyd and was backed from time to time at local gigs by another Southend band, The Mustangs, who also originated at Westcliff High.

Sadly, I understand that The Monotones’ drummer, Gary Nichols, died in April 2007.

Photos of the band’s early years sent to me by guitarist Ian Middlemiss can be seen on this separate page.

Much more information about the band came when Jim Eaton and Peter Stanley left detailed comments about the band. To read the full history of the group and it’s change to the Treetops, read through the comments below. Jim also sent the photos seen here with this comment:

I have attached some photos of The Monotones in the early sixties and also some of The Treetops (our new name when we joined Mecca at the Wimbledon Tiffanys). You will note we added a female to our lineup, a great vocalist Martha Smith. We cut several records as The Treetops when the lineup comprised Brian Alexander (lead guitar and backing vocals), Jim Eaton (rhythm guitar and lead vocals), Pete Stanley (bass guitar and backing vocals), Mark Lloyd (lead vocals, vibes and harmonica), Martha Smith (lead vocals and piano) and Pete Trout our very fine drummer.

In the article about the band for The Southend Standard Jim Eaton also noted their appearance on Ready Steady Go, Thank Your Lucky Stars and Juke Box Jury, clips I’d love to see if they still survive.

The Monotones, 1962
The Monotones, 1962

Monotones Hickory 45 When Will I Be LovedThe Monotones had two U.S. releases on the Hickory label, one of which, “When Will I Be Loved” / “If You Can’t Give Me All” was not released in the UK. It turns out to be a demo recorded before their first Pye 45, released in the U.S. without the group’s knowledge!

Monotones Hickory 45 If You Can't Give Me AllJim Eaton recently heard these songs again for the first time in about 47 years! He wrote to me:

I received and played the record yesterday and it is definitely us. I now recall cutting both sides as a demo in 1963 at the Regent Sound Studio in London’s famous Denmark St. (also known as Tin Pan Alley due to the large number of studios, record publishers and musical instrument shops.)

Monotones 45 releases:

UK:
Pye 7N 15608 – What Would I Do / Is It Right (February 14, 1964)
Pye 7N 15640 – It’s Great / Anymore (1964)
Pye 7N 15761 – No Waiting / Like A Lover Should (1965)
Pye 7N 15814 – Something’s Hurting Me / A Girl Like That (1965)

US:
Hickory 1250 – What Would I Do / Is It Right
Hickory 1306 – When Will I Be Loved / If You Can’t Give Me All

Monotones promo photo for "Now Waiting", from left: Jim Eaton, Brian Alexander, Gary Nichols and Pete Stanley
Promo shot for “Now Waiting”, from left: Jim Eaton, Brian Alexander, Gary Nichols and Pete Stanley
Mark Loyd backed by the Monotones with session musicians:

Parlophone R 5277 -I Keep Thinking About You / Will It Be the Same (1965)
Parlophone R 5332 – Everybody Tries / She Said No (1965)
Parlophone R 5423 – When Evening Falls / When I’m Gonna Find Her (March 1966)

Note that all his solo releases spell his last name “Loyd”

Treetops 45 releases:

Parlophone R 5628 – Don’t Worry Baby / I Remember (1967 – also released in the U.S. on Tower 388)
Parlophone R 5669 – California My Way / Carry On Living (Feb. 1968)

Columbia DB 8727 – Mississippi Valley / Man Is a Man (1970)
Columbia DB 8799 – Without the One You Love / So Here I Go Again (1971)
Columbia DB 8934 – Why Not Tonite / Funky Flop-Out (Oct. 13, 1972)
Columbia DB 9013 – Gypsy / Life Is Getting Better (Aug 3, 1973)

Mark Lloyd, 1964
Mark Loyd, 1964
Postscript, February 2011:

Jim Eaton: “I have just returned from Australia where I caught up with Mark Loyd who was for many years part of The Monotones before he pursued a solo career.

Update, April, 2012

I’m sorry to report that Mark Loyd (born Nigel Basham), the lead singer with the Monotones and Treetops passed away on April 4, 2012, after fighting cancer for seven years. Mark had been living in Sydney, Australia where he ran a successful event/management company. My condolences to his family, friends, and band mates.

Thanks to Phil for sending in the article from The Southend Standard, January 2006 and to Jim Eaton for his help with songs, photos and information for this page.

The Monotones at the Elms, 1964: Pete Stanley, Brian Alexander, Jim Eaton and Gary Nichols
The Monotones at the Elms, 1964
from left: Pete Stanley, Brian Alexander, Jim Eaton and Gary Nichols

Monotones Hickory 45 What Would I Do

Monotones at The Elms, l-r: Brian Alexander, Jim Eaton, Gary Nichols and Pete Stanley
At The Elms, l-r: Brian Alexander, Jim Eaton, Gary Nichols and Pete Stanley
The Treetops, 1966
The Treetops, 1966
The Treetops, 1967
The Treetops, 1967
The Treetops promo for "Don't Worry Baby"
The Treetops promo for “Don’t Worry Baby”
The Treetops, 1968
The Treetops, 1968