The Noblemen (featuring Martin Barre)

The Noblemen, January 1965. Left to right: Mike Turnill, Bernie Smith, Bryan Stevens, Mike Ketley and Chuck Fryers
The Noblemen, January 1965. Left to right: Mike Turnill, Bernie Smith, Bryan Stevens, Mick Ketley and Chuck Fryers

Chuck Fryers (guitar, vocals)
Mick Ketley (keyboards, vocals)
Bryan Stevens (bass)
Bob Pettit (sax)
Bernie Smith (drums)

1964

December The group evolves out of Bognor Regis group, The Detours, which was formed in early 1960 by bass player Bryan Stevens (b. 14 November 1943, Laha Datu, North Borneo). The Detours have gone through numerous personnel changes over the years with singer Johnny Devlin (real name: Johnny Hobbs, not the New Zealand singer) joining in early 1962. His arrival prompts a name change to Johnny Devlin & The Detours. Shortly afterwards, Stevens recruits former Soundtracks keyboard player Mick Ketley (b. 1 October 1947, Balham, London). Later that year, he also brings in former Cruisers guitarist Alan Paul “Chuck” Fryers (b. 24 May 1945, Bognor Regis, West Sussex) and adds sax player Bob Pettit from a Chichester abattoir. In 1963, Bernie Smith, another former Soundtracks member, takes over the drum stool. Johnny Devlin & The Detours sign to Pye in November and record two tracks – “Sometimes” and “If You Want Someone”, which are coupled for a single, released in January 1964. Despite a group appearance on TV show Thank Your Lucky Stars, the single fails to chart and Devlin leaves. Pete Townshend and John Entwistle see Devlin’s band on the TV show and decided to change their band’s name from The Detours to The High Numbers, which will subsequently become The Who. The group carries on with singer John Read and plays venues on the south coast like Littlehampton’s Top Hat and Worthing’s Mexican Hat. Bob Gaitley, who runs both clubs, invites The Detours to back a new singer, South African Mike Bush, who is launching himself as Beau Brummell. The group accepts and changes name to The Noblemen. EMI producer Bob Barrett signs Beau Brummell and The Noblemen and takes them into Abbey Road to record a single – Beau Brummell Esquire and His Noblemen’s “I Know, Know, Know” backed by a version of “Shopping Around” from Elvis’ film GI Blues.

1965

January Mike Turnill briefly joins on sax taking over from Pettit, who returns to work in an abattoir and plays with Johnny Devlin in Act IV.

Photo: Evening Argus, 9 January 1965

(4) The new line up appears on Granada Television in Manchester. Despite an appearance by Brummell on TV show Ready Steady Go, his debut single, released on Columbia, does not chart.

Brighton Crescent, spring 1965, from left: Bryan Stevens, Chuck Fryers, Mick Ketley, Bob Slomat, Malcolm Randall and Bernie Smith
Brighton Crescent, spring 1965, from left: Bryan Stevens, Chuck Fryers, Mick Ketley, Bob Lomas, Malcolm Randall and Bernie Smith

February Bob Lomas replaces Turnill. The group also takes on a second sax player Malcolm Randall, who has placed an advert in Melody Maker after playing with Jeff Curtis & The Flames, and joins The Noblemen in time for a short trip to West Germany, where they play at the Storyville Jazz Club in Cologne before returning to the UK that spring. The Noblemen are photographed in Brighton wearing regency clothes.

April (25) Beau Brummell & The Noblemen perform at the Whitehall, East Grinstead, West Sussex with The Dagoes.

Bob Slomat and Malcolm Randall, Germany, spring 1965
Bob Lomas and Malcolm Randall, West Germany, spring 1965

May (1) Beau Brummell and His Noblemen appear at the California Ballroom in Dunstable with The Downsiders and The Richochets.

(9) The band appears at the Majestic Ballroom in Luton, Bedfordshire with Randall’s former group, Jeff Curtis & The Flames.

(14) Beau Brummell is listed appearing at the Carlton Ballroom in Erdington, West Midlands with The Chucks.

(22) Beau Brummell & The Noblemen perform Malborough Hall, in Halifax, West Yorkshire.

(29) The band plays at the Assembly Hall, Mold, Flintshire, Wales with The Denims.

May  (16) Billed as Beau Brummell with his Exclusive Noblemen Orchestra, the group appears at Cubiklub in Rochdale, Greater Manchester.

June  (13) The Noblemen plays at the Downs, Hassocks, West Sussex.

(19) The group appears at the New Cornish Riveria Lido in St Austell, Cornwall with The Guild.

July (2) Billed as Beau Brummell & The Nobles, they perform at the Guildhall, Axminster in Devon.

(3) The Noblemen appear at Torquay Town Hall, Torquay, Devon with Johnny Carr and The Cadilacs and The Vicarage Five.

(9-11) With a new sax player called John replacing Bob Lomas, Beau Brummell & The Noblemen play at the Star Club in Hamburg.  Immediately afterwards, the band plays at the Storyville Jazz Club in Duisberg (most likely from 12-15 July) and Randall jumps ship to join The Manchester Playboys back in England.

(16) Beau Brummell & The Noblemen play a double-nighter in Greater Manchester, starting off with a show at the Domino Club in Openshaw with Lulu & The Luvvers and then the Princess Club, Chorlton with Julie Grant.

(19) The group plays at the Manor Lounge, Stockport, Greater Manchester. This may have been Randall’s final gig as The Manchester Playboys are performing in nearby Bolton this evening and are based in the Greater Manchester area.

(24) The group, billed as The Beau Brummell Band, appears at Shefford Hardwicke in Bedfordshire.

(30) Billed as Beau Brummell & his exclusive Noblemen Orchestra, the musicians perform at the New Embassy Club, Stoke-on-Trent, Staffordshire.

August (14) The band appears at the New Cornish Riviera Lido, St Austell, Cornwall with The Road Runners. Immediately afterwards, John, the temporary sax player, also departs.  Back in England, The Noblemen take on new sax players Keith Gemmell (b. 15 February 1948, Hackney, London) and former Gene Vincent sideman, Jeremy “Jem” Field.

(20) Beau Brummell and His Noblemen Orchestra appear at Cheltenham Town Hall in what is one of the first shows by the new formation.

(21) Beau Brummell and The Noble Men play at the Galaxy Club in Basingstoke, Hampshire.

(22) The band appears at the Mexican Hat in Worthing with The Beat Merchants.

(23) The group plays at the Majestic Ballroom, Newport, south Wales with The Cellar Set.

Oslo National Park, Norway, 1965: Chuck Fryers, Mick Ketley, Bryan Stevens, Bernie Smith, Keith Gemmell and Jem Field
Oslo National Park, Norway, 1965: Chuck Fryers, Mick Ketley, Bryan Stevens, Bernie Smith, Keith Gemmell and Jem Field

September The band travels to Scandinavia to play some gigs in Norway and Sweden.

(18) Beau Brummell & The Noblemen arrive in Oslo. According to Norwegian newspaper Aftenposten, the band opens at the city’s Rondo Club, possibly for a week’s residency, with The Dukes, featuring singer Ingerid Marie.

Photo: Aftenposten. Thanks to Christopher Hjort for the photo

(26) Returning from Norway, The Noblemen join The Beat Merchants for another show at the Mexican Hat in Worthing. The Worthing Gazette advert notes that this is the band’s final British appearance for six weeks. Immediately afterwards, the band head to Rome, Italy to play at the Piper Club.

The Noblemen at the Piper Club, Rome in October 1965 Left to right: Chuck Fryers, Mike Ketley, Keith Gemmell and Jem Field
The Noblemen at the Piper Club, Rome in October 1965 Left to right: Chuck Fryers, Mick Ketley, Keith Gemmell and Jem Field

October (1) Beau Brummell and The Noblemen start working at the Piper club for a six-week stand, travelling through the city in an open carriage drawn by four white horses. During their stint at the club, the band meets actor Vincent Price and George Harrison’s parents who have won a holiday to Rome. While playing at the Piper club, the band is invited to play at the coming-out dance of the daughter of the millionaire, Prince Ruspoli. They also meet a female American singer called Kathy, who sets up a gig for the band at the Big Apple Club in Munich (where she lives) for the following May.

November After completing a six-week season, Beau Brummell and The Noblemen perform in Milan for 10 days and record four tracks in a studio that was formerly a church. These include the powerful sax-driven “Jezebel” and the Brummell composed, “I’m In Love”, a slow lilting number, neither of which are released. The group then heads south to Naples to play further dates before returning to Rome where The Noblemen sans Brummell record the tracks “Jump Back Baby” and “Ecstasy” with Chuck Fryers on lead vocals. Columbia releases Brummell’s third single (and second with the band) – “A Better Man Than I”, a spoken number, backed by “Teardrops”, which is credited to Brummell’s “Noblemen Orchestra” but it does not chart.

December Beau Brummell and The Noblemen play in Ostend in Belgium before returning to the UK.

(12) The Noblemen appear at the Mexican Hat in Worthing with The Look.

(17) The group returns to the continent to play in Turin. An engagement in St. Moritz is announced but the band do not play there.

(25-31) Beau Brummell and The Noblemen play at a club in Turin through to the new year and share the bill with Mussolini’s son Romano who plays piano with his jazz group. During January 1966, Brummell briefly splits from The Noblemen to return to Rome and tries to get into the film industry.

The Noblemen, early 1966. Clockwise from centre: Bryan Stevens, Bernie Smith, Keith Gemmell, Jem Field, Chuck Fryers and Mike Ketley
The Noblemen, early 1966. Clockwise from centre: Bryan Stevens, Bernie Smith, Keith Gemmell, Jem Field, Chuck Fryers and Mick Ketley

1966

January Columbia releases a final Brummell single, a cover of Ray Donner’s “You Don’t Know What You’ve Got” backed by “Take Me Like I Am”, but it fails to chart.

Photo: Worthing Gazette

(7) Back in England, The Noblemen appear at the Top Hat in Littlehampton, West Sussex. The advert in the Worthing Gazette notes that they have just returned from Italy.

(8) Beau Brummell & The Noblemen play at the Shoreline Club in Bognor Regis, West Sussex.

February (27) The Noblemen are a late addition to an all-nighter show at the original Cavern in Liverpool, which closes after tonight’s performance. Also included on the bill are Rory Storm and The Hurricanes and The Big Three among many others. The Cavern will officially reopen on 23 July.

March The Noblemen perform at the Storyville Jazz Club in Duisberg before moving on to Cologne.

(7-10) Beau Brummell rejoins The Noblemen briefly to share a week-long residency at the Storyville Jazz Club in Cologne with The Clayton Squares. The Squares’ singer Denny Alexander will reunite with Ketley and Stevens in The Motivation in June 1967. While in Cologne (this may have been spring 1965 trip instead), the group meets English group The Loving Kind featuring guitarist Noel Redding, who will join The Jimi Hendrix Experience in September. After playing at the Storyville Jazz Club in Cologne, the band holds down a residency at Frankfurt’s Storyville Jazz Club with Rory Storm and The Hurricanes and Johnny Guitar Watson.

(19) The Noblemen appear at the Flamingo Ballroom in Redruth, Cornwall with The Misfits.

The Noblemen in Pisa, Italy, April 1966, left to right: Mike Ketley, Bryan Stevens, Jem Field, Keith Gemmell and Chuck Fryers
The Noblemen in Pisa, Italy, April 1966, left to right: Mick Ketley, Bryan Stevens, Jem Field, Keith Gemmell and Chuck Fryers

April The Noblemen split from Brummell who returns to South Africa and records further singles (and later owns a naturist valley in the Northern Transvaal). The Noblemen accept a short residency at the Livorno Club in Pisa, Italy.

May (20) Thanks to the American singer they met in Rome last October, the group opens for The Spencer Davis Group at the Big Apple Club in Munich and both performances are recorded for German TV. Fryers has to borrow Spencer Davis’s guitar as his own was stolen while playing in Italy.

Noblemen with the Spencer Davis Group, Big Apple Club
with the Spencer Davis Group, Big Apple Club

(21) Field leaves the band and returns home by train. Stripped down to a quintet, The Noblemen play some US air bases in West Germany with singing group, The New Faces. Gemmell does not stay long and returns home with The New Faces a few weeks later. Gemmell will find success in the late 1960s/early 1970s with the progressive rock outfit, Audience and also plays with Sammy.

June On the way home, the remaining members back country and western singer/comedian Don Bowman, who invites Fryers to return to Nashville as his guitarist. The Noblemen then play at the Star Club in Hamburg before arriving back in the UK. Fryers, Ketley, Smith and Stevens decide to carry on as The Noblemen and bring in a new singer, Jimmy Marsh (b. 9 April 1941, Carmarthen, Wales). Marsh first met the group members in 1964 at the Top Hat in Littlehampton when they were The Detours and he was fronting The Del Mar Trio. When Bernie Smith opts to take up a more regular job, Marsh suggests his former colleague Malcolm Tomlinson (b. 16 June 1946, Isleworth, Middlesex) as drummer. Tomlinson has worked with Marsh since 1964 in The Del Mar Trio and James Deane and The London Cats. Before that, he was a member of Jeff Curtis and The Flames. Bernie Smith will later reunite with Mick Ketley in Bognor Regis group, The Concords in 1969.

July (3) The Noblemen are billed to play at the Royal Ballrooms in Boscombe, Dorset with Karl & The Rapiers. This might be one of the last gigs with Bernie Smith or one of the first with Jimmy Marsh and Malcolm Tomlinson.

(16) Stevens advertises for a new sax player in the 23 July issue of Melody Maker, which hits the newsstands on this day. Former Moonrakers members, Chris Rodger (b. 16 October 1946, Solihull, Warwickshire) and Martin Barre (b. 17 November 1946, Kings Heath, Birmingham) respond to the advert after Rodger misses out on a job with Screaming Lord Sutch. Rodger has joined Syndicate 1 in 1963 after leaving school in Dorset but meets Barre in Midlands band The Moonrakers in January 1965.

(22) Barre buys a saxophone at Sound City in London’s Shaftsbury Avenue for the audition three days later. On the same day, the band is billed to perform at the Cricketers Inn in Southend, Essex but it’s not clear if the current five-piece (sans saxes) perform.

(23) The Noblemen are advertised to appear at the Waterfront in Southampton, Hampshire for an evening show followed by a second gig at Le Disque A Go Go in Bournemouth, Dorset with a midnight performance leading into the 24th.

(24) Both Rodger and Barre are hired for the new line up as sax players, with Rodger doubling up on trumpet. Rodger recalls that their debut takes place at a US service club (most likely Douglas House) in Lancaster Gate at 4pm this afternoon. After the gig, they all return to Bognor Regis to rehearse at the Shoreline Club but Fryers leaves before the week is out.

Warren J. 5 Italian PS

After leaving The Noblemen in late July 1966, Fryers joins Bognor Regis group, The Warren J Five with Colin Madeley (trumpet) and Geoff Prior (bass), formerly of The Treatment. The new group is completed with former Untamed/John Lee’s Groundhogs’ drummer Terry Slade and singer John Read from The Hustlers. The Warren J Five travel to Hamburg, Germany and play at the Top Ten Club with singer Tony Sheridan. During 1967, The Warren J. 5 travel to Rome and perform regularly at the Piper club. The band records an album in Italy entitled Rhythm & Blues for the Vedette label and a single, “Sto Con Te (Tell It to the Rain)” c/w “Se Hai Qualcosa Da Dire (Tell Me)” before splitting with Read. After a brief period as The Reflections, Fryers and Prior return to the UK and join Coventry group, The Sorrows.

The Noblemen, Bognor Regis Beach, summer 1966. Left to right: Mike Ketley, Martin Barre, Jimmy Marsh, Chris Rodger, Malcolm Tomlinson, Bryan Stevens
The Noblemen, Bognor Regis Beach, summer 1966. Left to right: Mick Ketley, Martin Barre, Jimmy Marsh, Chris Rodger, Malcolm Tomlinson, Bryan Stevens

(30) Without Fryers, The Noblemen are billed to play at the Lion Hotel in Warrington, Cheshire with The Atlantics and The Atlanta Roots.

August (6) The group travels to the southwest and performs at the Budleigh Salterton Public Hall, Budleigh Salterton, Devon. They may well have played at the 400 Club in Torquay the day before.

(7) The Noblemen appear at the Royal Ballrooms, Boscombe, Dorset with Teak & The Smokey.

(13) The Noblemen start a weekly residency at the 400 Ballroom in Torquay, Devon.

(15-19) After taking the Sunday off, The Noblemen continue their weekly residency at the 400 Ballroom in Torquay, Devon.

(20) The group travels back to the southwest for a show at the Flamingo Ballroom, Redruth, Cornwall with The Blaizes.

(21) The next day, they play at the Park Ballroom’s Beat Centre in Plymouth, Devon.

(25) The Noblemen take part in the Big Beat Boat at Bournemouth, Dorset with The Mozzeletoft.

(27) Back in the southwest, they perform at the Blue Lagoon in Newquay, Cornwall with The Nite People.

(28) On the way up to London, The Noblemen perform at the Stoke Hole at the Stoke Hotel in Guidford, Surrey.

(29) The group appears to have seen out the month playing at the 2 ‘B’s’ Club in Ashford, Kent with The End.

September The new Noblemen move up to London and share a flat in Chelsea (and later Gloucester Road).

(2) The band appears at the Fiesta Hall in Andover, Hampshire.

(3) The Noblemen play at the Steering Wheel in Weymouth, Dorset. They sign to the Roy Tempest Agency and start backing up visiting US soul acts.

with Zoot Money's Big Roll Band, the Vibrations, The Little People and the Ferryboys September 10, 1966. The following week: Otis Redding, Chris Farlowe, Gates of Eden, and Rising Sons

(10) The Noblemen back The Vibrations at the Starlight Room at the Boston Gliderdrome in Lincolnshire on a bill that also includes Zoot Money’s Big Roll Band and The Little People.

(11) The Vibrations (most likely supported by The Noblemen) appear at Toft’s in Folkestone, Kent.

(13) The Vibrations (most likely with The Noblemen backing) play at the Club Cedar in Birmingham.

(16) The Vibrations appear at the Domino club in Openshaw and the Princess Theatre in Chorlton, Greater Manchester with seven other acts (most likely with The Noblemen backing them).

(17) The Noblemen back The Vibrations at the new Cavern club in Liverpool. Also on the bill are Sooner or Later, Intent and Purpose, The Klubs, The Signs, The Times, The Tremas, The Dark Ages and Jimmy James and The Vagabonds.

(18) The Vibrations appear at Kirklevington Country Club in Kirklevington, North Yorkshire (most likely with The Noblemen backing them).

(18-19) Around this time, The Vibrations (backed by The Noblemen) appear at the Scotch of St James in Mayfair, central London. American soul legend Otis Redding, who has been touring the UK for the first time, turns up as does Mick Jagger. (On 18 September, Redding played a show at the Ram Jam Club in Brixton, south London. He played at Tiles in Oxford Street on 16 September; his only West End show).

(21) The Vibrations play at the Orchid Ballroom in Purley, Surrey but the support band is not listed.

(22) The Noblemen back The Vibrations at the Carlton Club in Erdington, West Midlands and also play another set at the Cedar Club. Later that evening, they play at the Cue Club in Paddington.

The Noblemen at Tofts, September 23, 1966 next evening: The Rick 'n' Beckers?!

(23) The group backs The Vibrations at Toft’s in Folkestone, Kent. Former Loving Kind guitarist Noel Redding joins the musicians backstage after the show. Little does he know but his future band leader Jimi Hendrix is flying out from the USA tonight on route for London. (Redding will audition unsuccessfully for The Animals on 29 September but is picked up by Chas Chandler for The Jimi Hendrix Experience the same day.)

(25) The Vibrations are advertised to play at the Club West Indies in Stonebridge Park, northwest London but no backing band is listed. The previous evening the soul singers appeared at the Twisted Wheel in Manchester but the support group weren’t advertised.

(29) The Vibrations are booked to appear at the King Mojo Club in Sheffield for an All-nighter with London’s Ravers (who could well be The Noblemen). Also on the bill are The Amboy Dukes Big Band.

October Around early October The Noblemen back The Drifters (possibly for a one-off gig in London). The most likely date is at Tiles in Oxford Street on 7 October.

(15) Billed as (The) Motivation (a name they will change to next month), The Noblemen are billed to play at the Orford Cellar in Norwich. However, Rodger recalls The Noblemen went to play US air bases in West Germany for a week, travelling on German railway and were away on his birthday on 16 October. This means this gig didn’t happen. It seems most likely they left for West Germany around Sunday, 9 October.

(16)  Around this time, the group starts to work with Edwin Starr. They are advertised to back him at the Beachcomber club in Nottingham with John Mayall’s Bluesbreakers also on the bill. However, Alan Chamberlain, singer with The Guests, says it was his group that did the honours. Rodger confrims that the group played in West Germany on his birthday which is today.

(17) Rodger says that The Noblemen backed Lee Dorsey at Tiles on Oxford Street, central London. This is the date that Dorsey is advertised for that gig in Melody Maker. The group does work with Lee Dorsey around this time who also plays at the Saddle Room in London on 19 October. However, the advert does not list a support group for the Saddle Room date.

(21) The Noblemen play at De Montfort in Leicester backing Edwin Starr on a bill that also features The Ike & Tina Turner Revue, Alvin Robinson, Family and others. On the same day, Edwin Starr appears at Sleaford Mabern Club, Sleaford, Lincolnshire (backed by The Senate), Midnight City in Birmingham (with The Night People) and the New All-Star Club near Liverpool Street. However, it’s not clear if The Noblemen backed him at either of the latter two shows.

(22) Edwin Starr appears at Reading University but no backing group is listed. It is more likely that the group backs Alvin Robinson at the Blue Moon in Cheltenham as they start working with him around now.

(23) Edwin Starr is billed to play at the Starlite Ballroom in Greenford, west London. However, it’s not clear whether The Noblemen backed the singer. It’s possible they may have backed Lee Dorsey instead at the Club West Indies in northwest London today. Alvin Robinson appears at Kirklevington Country Club in Kirklevington, North Yorkshire on this date but he’s backed by another band (The Ziggy Turner Combo). However, Tomlinson remembers backing Robinson at Newcastle University which is not far away so it’s possible this gig is in a few days’ time.
Noblemen with Alvin Robinson, Alan Bown Set, Crawdaddies, and Listen Starlight Room Boston
(28) The Noblemen works with Alvin Robinson, performing with the singer at the Dungeon club in Nottingham.

(29) The Noblemen back Alvin Robinson at the Starlight Room at the Boston Gliderdrome in Lincolnshire on a bill that also features The Alan Bown Set, John McCoy’s Crawdaddies and Listen (with a young Robert Plant on vocals). On the same day Alvin Robinson performs at the Burlesque in Leicester (most likely with The Noblemen).

(30) Alvin Robinson plays at the Jigsaw in Manchester.

(31) Robinson is billed to appear at the Whisky A Go Go in Wardour Street, Soho, central London. While it cannot be confirmed with any certainty that The Noblemen are the backing band for the 29-31 October dates, it is likely as they support Alvin Robinson for two shows in Birmingham on 1-2 November billed as The Motivations. However, Ketley has no recollections of ever playing at the Whisky A Go Go.

November (4) The Noblemen back The Coasters (and appear in their own right) at the King Mojo Club in Sheffield with Sonny Childe & The TNT.

(5) The Coasters (most likely backed by The Noblemen) appear at Rawmarsh Baths in Rawmarsh near Rotherham, West Yorkshire. Also on the bill are Brian Poole & The Tremeloes and The Dawley Crews Amblers. Around this time, they change name to The Motivation but are often billed as The Motivations (and sometimes still The Noblemen).

(9) Advertised as The Noblemen, the group supports The Coasters at the Mecca Ballroom on the Royal Pier, Southampton, Hampshire.

(10) Chris Rodger says the group supported Ben E King at the Twisted Wheel in Manchester, which took place today.

(19) Billed as The Noblemen, the musicians back The Coasters at the Cavern in Liverpool. Also on the bill are The Hideaways, The Kids, The Love Trade and The Escorts. After an all-nighter show, The Coasters perform (presumably backed by The Noblemen) at the Twisted Wheel in Manchester.

(25) The Noblemen support The (Original) Coasters at the New Yorker Discotheque, Swindon. They continue as (The) Motivation throughout the rest of 1966 and into 1967 before evolving (through various line up changes) into The Penny Peep Show, The Penny Peeps and Gethsemane. Martin Barre will join Jethro Tull in December 1968. Malcolm Tomlinson will move to Canada in January/February 1969 and form Milkwood. Ketley will join The Concords on bass, reuniting with former Noblemen drummer Bernie Smith. Smith later opens a music shop and drum school in Chichester.

1968

Former Noblemen guitarist, Chuck Fryers records an album with The Sorrows in Italy entitled Old Songs New Songs for the Miura label. After a handful of singles on the Pye and Miura label, Fryers joins Electric Heart. In 1969, he marries his girlfriend in Chichester and returns to Italy. Over the next few years, he plays with Treves Blues Band. During the 1970s, Fryers performs with The Baker Street Band and then forms his own group, which records a CD Fryers and Friends First. He currently lives in Milan and has released a solo CD That’s It?

Sources:

Bognor Regis Post, 9 January 1965 and 18 December 1965.
Flying Colours by Greg Russo, Crossfire Publications, 2009.
Music Echo – Liverpool, week ending 12 March 1966.
The Best of Cellars – The Story of The Cavern Club by Phil Thompson, Bluecoat Press, 2007.
The South Coast Beat Scene of the 1960s by Mike Read, Woodfield Publishing, 2001.
The Tapestry of Delights Revisited by Vernon Joynson, Borderline Productions, 2006.

Many thanks to Bryan Stevens, Chuck Fryers, Mick Ketley, Bernie Smith, Jim Marsh, Malcolm Tomlinson, Keith Gemmell, Chris Rodger, Nigel Norman and Sylvia Stephen.

Live dates sourced from Melody Maker, New Musical Express, Nottingham Evening Post, the Liverpool Echo, the Manchester Evening News, Sheffield Star. Other newspaper sources are listed in the comments below.

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

 

Noe Pro and the Semi-tones

Noe Pro and the Semi-tones, 1964
Noe Pro and the Semi-tones, 1964
from left: Jesse Salinas, Noe Pro, Gonzalo Gonzales, Alfonso Saenz, Gregorio Reyes and David Garcia

Noe Pro & the Semitones Pharaoh 45 I Know What's Been Going OnJesse Salinas, rhythm guitarist for Noe Pro & the Semi-tones writes about his time with Noe’s band and his later group, the Staffs:

I joined Noe Pro’s band in 1963. Original members started with inexpensive instruments mostly Sears Silvertone, Harmony or Alamo guitars and amps. Guitars, bass and microphone were plugged into one Silvertone amplifier. What started out with mostly high school musicians, Noe turned into “Noe Pro and the Semi-tones”.

Noe Pro & the Semitones Norco 45 I'm Gonna Leave This Town
“I’m Gonna Leave This Town” excellent soul-funk number

The band recorded several 45s on the Pharaoh label in McAllen, Texas in 1963, ’64, ’65 and ’66 at a small two or four track studio owned by Jimmy Nicholls. English record “Yesterday’s Dream” and flipside “Come Along My Baby” was the first recording for the Semitones, picked up by the Mercury label. The band also recorded the single “I Know” and its flipside “Reina De Mi Vida” and “I Know What’s Been Going On” and flipside “I Love You My Darling” at the Pharaoh Studio. All records had some local success.Noe Pro and the Semi-tones recorded most of the Spanish 45s at Ideal Records Studios in San Benito, Texas. I recall recording engineer and owner of Ideal, John Phillips had Baldemar Huerta (Freddy Fender) working the recording equipment. We spent numerous nights at the Ideal studios recording until 3 or 4 o’clock in the morning. The LP was done at Falcon Studios.

Noe Pro and His Semitones Brownsville Civic Center
Semitones, L-R, front: Gabriel (Gaby) Garza (sax), Gilbert Colunga (trumpet), Bobby Vill (bass); back: Jesse Salinas (guitar), Noe Pro (singer, drummer) and Carlos Cantu (sax)

Noe & the Semitones Benja 45 Oh DarlingNoe was also a great guitar and bass player, he could play numerous instruments, he arranged all the melodies for our horn section. Noe was known as the singing drummer which was unique for that time. Everyone loved to hear Noe sing and could dance to the music we played in English and Spanish.

La Vox Internacional de Noe Pro Falcon LPIn 1965 Noe was picked up by an orchestra service agency in Dallas that arranged for him to tour. They used their musicians. Some of us were either still in school or were not hired. Noe Pro’s band had new beginnings, and his music played on. Noe’s roots are in the Rio Grande Valley where he continues to record, and entertain his fans with tejano, country, rock, blues and big band music. Though it’s been over 40 years, this is some of what I recall about the early years of Noe Pro and the Semi-tones.

I played bass guitar with another school band The Staffs. By the middle of 1966, most of us were drafted into military service. It seems everyone left Brownsville, Texas.

Sadly, we have lost two of the early years Semi-tones, Gregorio (Goyo) Reyes: trumpet and Guadalupe (Lupio) Hernandez: lead guitar.

I ask anyone with knowledge of the band to submit photos, stories or any information about Noe Pro’s band “The Semi-tones”.

Jesse Salinas

Noe Pro and the Semi-Tones business cardQ. Were you part of the Blue Valiants with Noe? “I Know (You Don’t Love Me Anymore)” / “Reina de Mi Vida” is credited to Noe Pro and the Blue Valiants.

Jesse: I was never with the Valiants. Noe joined the Valiants as a drummer. The Blue Valiants did record for Jimmy Nicholls at Pharaoh when he was with them. Later Noe formed his own band the Semitones and we recorded “Yesterday’s Dream” and its flip at Pharaoh, it was the first recording for the Semitones. Noe tells me that “I Know” and its flip was actually the second recording. We all noticed the error on the label at the time we got copies but it was too late to change.

Noe Pro Falcon promo photo

Noe Pro and the Blue Valiants Pharaoh 45 I KnowNoe Pro’s 1960s record releases

45s:

Noe Pro and the Semitones:

Mercury 72341 – “Yesterday’s Dream” / “Come Along My Baby (and Dance with Me)” (1964)

Pharaoh 118 – “I Know (You Don’t Love Me Anymore)” / “Reina de mi Vida” (credited to Noe Pro and the Blue Valiants)
Pharaoh 124 – “I Know What’s Been Going On” / “I Love You My Darling”

Noe Pro y Los Semitones Bego 45 Para Ti
“Para Ti” for the Bego label, a wild adaption of the Animals “I’m Crying”

Bego BG-167 – “Para Ti” / (as Noe Pro y Los Semitones)

Benja 103 – “Oh Darling” / “What Shall I Do” (both written by Benny C. Mendez and credited to Noe and the Semitoness)

Norco 110 – “If You Would See Me Tomorrow” / “I’m Gonna Leave This Town”

Ideal 2163 – “En Que Pierde una Mujer” / “Gracias”
Ideal 2285 – “Usted” / “Quizas, Quizas, Quizas”
Ideal 2370 – “Gorda” / “Mi Baby”
Ideal 2372 – “Extraños en la Noche”
Ideal 2382 – “El Destgastado” / “El Soltero”

Falcon 1656 – “Yo Te Daria Mas” / “Llora”

Album:

Falcon FLP-2055 – La Voz Internacional de Noe Pro

songlist: Llora, Mi Razon, Sin Verte, Incomprendida, Humo en los Ojos, Yo Te Suplico, Yo Te Daria Mas, Yo Soy Aguel, Aunque Me Hagas Llorar, Ya No Me Quieres, Cuando Comienza Elamor, Que Injusticia

Thank you to Jesse Salinas for the photos and scans in this article, and to Chad Burnett for the scan of the Bego 45 “Para Ti”.

The Veskants

Jack Benner, drummer with the Veskants and the Silvertones wrote to me about his career:

I started out playing piano as a kid, but didn’t like conventional music lessons. After a couple of years with Mamie B. Forkel (I swear), I quit. Later I found Geneva Hamilton, about as round as she was tall, well into her 60’s, coal-black dyed hair and smoked Camels, but she could PLAY piano! That was my start-out instrument (professionally). The problem with piano in a “movable” band back then was the equipment you had to buy and carry. Not every place you needed to play had a piano and if it did, it usually meant re-tuning the whole band.

When I met Mickey Sharp in the 9th grade and I was so impressed with his natural style on drums, I asked if he would teach me as much as he could. We struck up a life-long friendship and he taught me as much as I could learn. I was never quite in his league … he was the best, I was just good.

I started playing professionally while attending Richfield High School. My first job was with Jeweldine Taylor & The Rockets and first job was at James Connally AFB. Later we played at The Flame Room Lounge. When I was with the band, Augie Roundtree was on bass and I think Wallace Pelton may have been on lead guitar, she played rhythm guitar (Fender Jaguar). Started on piano but Rex Boehme took a radio DJ job in Dallas, so I took over drums.

Q. Did you play on her 45, “Look Who’s Talking (About Love)” on the TRC (Texas Record Company) label, backed by Bogle & the Beaumen?

Did not play on the Jeweldine Taylor record. Don’t remember hearing it or knowing about it until now. Her dad was her booking agent and manager and he repaired typewriters for a living. A few years after I worked for her, she went deeply religious and carried a Bible around with her. If you spoke to her, just a “hello”, you got “saved”!

I worked part-time at Waco Music Center in Southgate for a short time. Later we formed a band called Veskants with Larry Nichols (keyboard/sax), Ted Richardson (guitar), Richard Travis (bass), me on drums and Ronnie Byrd as vocalist. We recorded “Little Miss Heartbreaker” and “More Than Love” at Goodson McKee’s recording studio. Songs were written in part by Byrd. “More Than Love” was supposed to be the “A” side of the record but for some reason “Heartbreaker” got the most request/play, go figure. Pressed a few hundred records on W.M.C. label. Sold a few – gave away most. I still have a couple. Larry Nichols made up the name Veskants … who knows what goes through that mind of his!

Next band was The Silvertones featuring Little Anthony. He claimed his real name was Anthony Fontaine, who knows, but we were soon packing them in at The Red Carpet Club. Several talented players came and went in this band. I played trumpet, Mickey Sharp drums, Rick Jensen tenor sax, Ronny Cawthon lead guitar for a while, later Ted Richardson, Richard Travis bass (got drafted) so Jerry Rierson took bass – later Frank Tate. Larry Nichols played keyboard and for a while we had a 3rd horn (bari-sax) but can’t remember his name.

While in school, I took “Band” and learned to play the Coronet. Never really figured on using it professionally – weren’t many bands at that time using brass. Then as if by magic, Herb Alpert came along and then the R&B (soul) bands and all of a sudden there was a need for brass-players. It was light and easy to transport and I loved it for traveling all over the country. I can’t tell you the number of times I played “Lonely Bull”! Because I could play several instruments fairly well, I was never without “work” if I wanted it. That was nice.

Q. Was the Silvertones you were with the same group that recorded with Gaylan Ladd, “Get Out of Town” / “Something Is Strange”?

The Silvertones I played with did not record while I was with them but Gaylan came along after I left the band and the band Heather Black had a core of Silvertones in it so that’s possible. When we picked up Little Anthony and the extra instruments we were mainly a “showband”.

We toured many clubs & military bases. Gaylon Christy was our first agent but we got picked up by Sam Gibbs – Wichita Falls. Lots of work/travel! After band broke up (Dec. ’68) I moved to Arlington, took a day job and started working as “fill” on drums or keyboards, got married and was transferred to Wichita Kansas where I formed a 3-piece club band to keep my sanity.

When I got back to Texas (Hurst) I quit playing for a while. Then got a call from Frank Tate and Richard Travis to play organ/front a band called Bandana. Their rhythm guitar got transferred and they had a contract at Franks Lakeview Inn on Lake Belton. Just wanted me to help them out to the end of the contract – about 10 weeks. This was in 1973 – four years later we were still going strong.

Smil’n Jack Benner

Thanks to Mike Markesich for the scans and transfers of the Veskants single.

The Knights Band – The Original Knights

The Knights Band, from left: Bill Ashton, David Keller, Bick Mitchell, Carson Hood, Dudley Parker (?), and Ray Edwards
The Knights Band, from left: Bill Ashton, David Keller, Bick Mitchell, Carson Hood, Dudley Parker (?), and Ray Edwards

The Knights Band were Ray Edwards (vocals), Dudley Parker (keyboards), Carson Hood (bass), Bill Ashton (sax), Bick Mitchell (drums) and Dave Keller (lead guitar).Vocalist and DJ Ray Edwards sent in the early photo of David Keller’s first band, the Knights and gives some background, below.

The Preachers was David’s third band. In Shades Valley High School in Birmingham in the early 60’s, David played lead guitar for The Knights. I was the singer (little guy on the end) and “booking manager.” Other members were Bill Ashton (sax), Carson Hood (bass), Dudley Parker (keyboards), and Bic Mitchell (drums).

I graduated in 1963 and after a year at UAB in Birmingham headed to Tuscaloosa and a job 5 nights a week as a DJ at WJRD in Tuscaloosa. I was “invited” to drop out of the group. David took over lead vocals and sort of manager. They changed their name to The Original Knights and put out a 45 record to promote the band.

In the late 60’s I ran into David. He had just bought the convertible and told he he was making great money promoting bands. He said he had paid 21 $100 bills for the car. This was in Panama City where he had the club. The next thing I heard was that he was about to be drafted and had headed for Canada.

I have caught up with Bill Ashton, he is in sales and gets to Alabama from time to time. I met Dudley Parker at a wedding I was Djing for. (DJ company is Alabama Entertainment – alaentertainment.com) I talked with Bic who was filling in with a band playing at The Club. Carson died some time after we were in the band.

I have often wondered what happened to David. He was always “Crazy David” even when we had Saturday Morning band practice in his parents garage on Dolly Ridge Road in what became Vestavia Hills.

Ray Edwards

 The Original Knights, from left: Carson Hood, Bill Ashton, Bick Mitchell and Dave Keller
The Original Knights, from left: Carson Hood, Bill Ashton, Bick Mitchell and Dave Keller

Original Knights Knight Enterprises 45 Going FishingWhen Edwards and Parker left, the band became a quartet, now calling themselves the Original Knights. This group released one 45 on their own Knight Enterprise Records recorded at Boutwell Recording Studios in Birmingham. David Keller wrote both songs, “Going Fishing” and “Please Don’t Go”, which has vocals credited to Keller and Carson Hood.According to the sleeve, Keller attended University of Alabama in Birmingham while Hood and Mitchell were students at Walker Jr. College (now Bevill State I believe) in Sumiton, 25 miles to the northwest. Bill Ashton is listed as attending the more distant Auburn University.

For further info on David Keller, check out the page on the Preachers.

Thanks to Ray Edwards for the photo and info about the Knights Band, and also to Jeff Lemlich for the scans and transfers of the 45 as the Original “Knights”.

Original Knights PS back

Paradise discography

The Paradise label out of Houston, Texas is known for garage 45s by Thursday’s Children and the Warlocks, which came late in the label’s run. Most releases are r&b or blues, but there are even some country singles in the series.

any help with this would be appreciated

1000 – Joe Medwick – Second Time Around / Alabama Blues
1001 – Perk Williams – I’m Hanging My Teardrops Out / Release Me
1002 – Jimmy Nelson – Her Last Bye Bye / Tell Me Who
1003 – Frankie Anthony – Goin’ to the River (Frank Argento) / Brenda
1004 – Joe Medwick – You Little Heartbreaker You / I Cried
1005 – Willard Burton – The Last Buffalo / Cuban Cane Fields
1006 – Joe Hill – Just Not My World Anymore / Give Me a Reason
1007 – Link Davis – You Were Only Pulling My Leg / Whenever You Find Your Love My Love (1963)
1008 – Gashead – I’m Too Good / I Want to Get into Something
1009 – The Impellas – Five Plug / Sailing High
1010 – Gene Allison – Not Even Judgment Day / Fading Love
1011 – Gashead – You’re Gonna Miss Me When I’m Gone / Why Do You Treat Me Like a Tramp
1012 – Jimmy Nelson – Sweet Sugar Daddy / I’ll Be Ready
1013 – Johnny Copeland – I Need You Now / Heebie Jeebies
1014 – Link Davis – Orange Blossoms / Feu Follet (1963)
1015 – Larry Martinez – Borquinho / Melinda Café
1016 – Jim Post – Every Once in a While / Look a Long Way
1017 – The Rendevous – Ruby Baby / Ram-Bunk-Shus
1018 – Willard Burton – The Freeze / No Name
1019 – Interns – Sally Met Molly / Have Mercy
1020 – Chris Funston with the High Hopes – Summertime / There’s Nothing Left
1021 – Warlocks – Life’s a Misery / Splash Day
1022 – Thursday’s Children – You’ll Never Be My Girl (Jan Pederson) / Try Girl (Charles Helpinstill, Brown) (also released on Kidd 1334)
1023 – Interns – Don’t Make Me No Mind / Life With You
1024 – Leon Mitchison – The Sheek Part 1 / Part 2

5000 – Tommy Hammond – Ride This Train / Beging to You
5001 – Jim Jones and the Chaunteys – Sparkle and Shine / Three Squares
5002 – Johnny Copeland – Night Time Part 1 / Part 2
5003 – Oscar Perry – I’m on My Way / I Want to Get Old with You
5004 – Julius Jones and The Riverea’s – Eimmer Line / Soulin’ with the Riverea’s

With thanks to Texas Soul Recordings for filling in some missing gaps in my discography, and also to Myskatonic for confirming the Chris Funston disk, and to Bob for the listing of 5001.

The Second-Hand Bitter-Sweet

The Second-Hand Bitter-Sweet photo

Second-Hand Bitter-Sweet CEI 45 You're Gonna Be Mine NoMost of the Second-Hand Bitter-Sweet were from the small town of Bainbridge, Maryland. They released one 45 in August 1968, one side an upbeat pop song, “You’re Gonna Be Mine Now”, the other a moody favorite of many garage fans, “Please Don’t Go”.

Both were originals by Burchfield and Deaton, and Robert Brown produced the single on his CEI label.

Vocalist Tom Deaton answered my questions about the band and provided the photo and news clip seen here.

Q. Who else was in the band besides you?

Robert Burchfield, Bill Nelson, Mark Wirth, Mike Burchfield, John Oglevee, and Gary Donovan.

I was in a band in high school called the Cobras. When I went into the Navy, I formed another called the Cobras II. We changed the name pretty quickly to Midnite Mass. It was during that time that I let another drummer take over and concentrated on singing. We folded pretty soon and I loaned out my P.A. system to some Navy dependents. I went to pick it up and they were rehearsing for a show at a Catholic school. They sounded pretty awful – they were all just starting to play and sing. I showed them how to sing one of their songs and they asked me to join so I did.

We came up with the name, Second Hand Bitter Sweet cause of the crazy named bands at the time – Strawberry Alarm Clock, etc. When we played out, the kids made fun of us cause we couldn’t sound like the covers. So I suggested we write a couple of our own songs that the kids couldn’t compare to anything. We did – it worked – the kids thought we were great.

Second-Hand Bitter-Sweet CEI 45 Please Don't GoGot hooked up with some guy nearby (we were in Bainbridge, MD). We went to a big studio in Baltimore and recorded 2 songs.

The producer was supposed to promote the record, but instead he sent us 500 copies and moved to Ohio.

Of course, it’s virtually impossible to promote something on your own. I had one big time DJ tell me that he got hundreds of 45’s a month and threw most of them in the trash. He said if they had a $50. with it, he would play it once…

I think I gave up too early, but I spent a year in Morocco before I got out. I took up guitar over there and formed a band called the Jagged Edge. Jagged Edge was my first attempt at playing guitar. The rest of the guys were jazz musicians so we did mostly rock and a little jazz. It was fun – we were the only American band in Morocco at that time.

Back in the states, I didn’t do much for a while (college, etc.). When I took a job in San Diego, I played lead with a country band called Country Rainbow – great band. I also played acoustic in bars for drinks and tips.

Back in North Carolina I played with several bands – wrote a few more songs. The band I’m in now, Legacy, is a lot of fun. We played as a 3 piece for over a year. Now we have another guitarist and a new drummer. We do about four of my originals – it’s just a helluva lot of fun. I also volunteer at a local hospital where I sing and play acoustic to cancer patients and others who are in bad shape. 64 and still rockin…. what can I say – “I got the music in me…”

Tom Deaton

Be sure to check out Tom’s website N.C. Blues.

Second-Hand Bitter-Sweet news clipping: Tom Deaton, Robert Burchfield, Mike Burchfield, Mark Wirth, Jon Oglevee, Gary Donovan and Billy Nelson

CEI Records

Bob Brown had been recording and releasing records in his hometown of Fremont, Ohio since the early ’60s on his Courier and Empire labels. He continued to produce singles while stationed in the Army in Aberdeen, only 11 miles from Bainbridge. During his two years there he released several records, changing the label name to CEI (Courier-Empire International).

These include:

Sodom & Gomorrah “Flower Children” (written by Caulson, Rudacille and Brown and co-produced by B. Kuhns, D. Bush and G. Gregory) / “Twenty Miles”
The Soulations “Come on Thats Love Baby” (Lester Earl Lee G&J) / “Will You Be Mine”
The Runabouts “Way Of Life” / “All Is All ” (is this the same group from Cincinnati that cut “I Need Time” / “The Chase” on Vox?)
The Hamilton Peach “With the Girl That You Love” (Jeff Yost) / “One Way Ticket Down”
The Souls of Britton “Make a New Light” / “I’ll Be on My Way” (this group had an earlier 45 from 1966, “JJ (Come Back to Me)” / “Can’t Be True” (both by Heiberger / Bumgarner, produced by C.M. Bartlett) on Ed Kennedy’s Ken-Del label out of Wilmington, Delaware).
Sites n’ Sounds “The Night Is So Dark” (R. Taylor, D. Blankenship)

Back in Ohio in late ’68, R.T. Brown became even busier, releasing a good light psychedelic 45, the Majority of Six “I See the Light” / “Tears Like Rain” and a rare private press LP by “Eric”.

Sources include: Background on the CEI label from Buckeye Beat and 45rpmrecords.com.

The Malibu’s and Bastille

The Malibus from left: Joe Brocolli, Peter Place, Pete Bulger and Jack Henehan
The Malibu’s, from left: Joe Brocolli (guitar), Peter Place (keyboards), Pete Bulger (drums) and Jack Henehan (guitar)

The Malibu's Planet 45 Cry (Over Her)The Malibu’s “Cry (Over Her)” is a garage classic that made it to the first volume of Back from the Grave in 1983. It was the Malibu’s first single, written by Jack Henehan and released in 1966 on the Planet label. Stock copies on the blue Planet label are rarer than the white label promo copies like the one I own.

“Leave Me Alone” is also credited to Henehan but it repeats the chorus tag “until I can think about her without feeling sorry for myself” from the Zombies’ “Leave Me Be”. In other respects the lyrics and arrangement are different from the Zombies song.

In 1968 or 1969 the band re-recorded “Cry” in a faster version without the rough edges and ferocity of the original. The flip was a very pop song with harp, “I Miss You”, co-written by Jack Henehan and Joe Broccoli.

The Malibu's Planet 45 Leave Me AloneThis 45 was issued with bumper sticker (see below), and also as a Pepsi flexi-disc.

There’s an oft-repeated rumor that the band was from Litchfield, Connecticut, but Ray Renzi, who joined Jack Henehan’s next band, Bastille, wrote to me:

None of the Malibus were from CT. All of them were from Rhode Island, most if not all, from Cranston. Three of them were fraternity brothers of mine at URI. The Malibus consisted of Jack Henehan, Joe Broccoli, Peter Place, and Pete Bulger.

They changed their name to Bastille with these same four members and played together under that name for a while. Joe left the band after he graduated from URI and left RI either for a job or for the military, and we formed the group that included Rick Nielsen, Sam Gingerella and myself with Jack, Peter and Pete.

Later Pete Bulger left the band and we hired Jim Szydlo, who played in my previous band “The Mirage” to play drums. This is when we recorded our 45 with “Music Ship” which showed up on a compilation CD (LeBeat Bespoke Vol 3) in England a few years ago. Later Peter Place went on active duty with the Navy and my brother Lou joined the band. There was one more version of the band after I left in 1973 or 1974.

I stay in touch with the guys that I played with and I have worked in some duos with my brother, Rick, or Jack. Rick and I are producing a CD (OLDZKOOL – The Ray Renzi Project) which should be done in about a month. My brother Lou from Bastille plays bass and sings on it. The other musicians are my brothers Len and Ken, my sister Dianne, Dave Maher on sax, George Correia on drums, Rick and myself on guitars.

Ray Renzi

Malibu's Bumper sticker included with the second release of "Cry"
Bumper sticker included with the second release of “Cry”

The Malibu's Malibu 45 Cry (Over Her)Original member Joseph Broccoli wrote to me in February, 2011:

I was an original member of the Band, the Malibu’s and can fill in some blanks from the early days of the band. The original incarnation of Broccoli, Henehan, Place and Bolger formed the band in 7th grade and continued playing throughout high school and then college. We were all from the Cranston/Edgewood areas of RI.

We played for multiple high school and frat parties, private parties, yacht club parties, WPRO appearances and for Cherry & Webb’s fashion shows. We were also involved in several “Battle of the Bands” competitions throughout the New England area. We were also managed by Ralph Stuart from the Biltmore downtown and we played for quite a few debutante balls and exclusive weddings and parties in the New England area alongside his formal big band. We also played in the RI Veterans Memorial auditorium, fronting headliners such as The Four Freshmen and The Byrds.

The first two singles, “Cry” and “Leave Me Alone” were recorded in Myron Fluff’s [Myron Arnold’s] studio in Providence. “Miss You” was recorded in Boston in the same studio that Patti Page recorded “Old Cape Cod”.

I left the band in August of 1971 to begin a graduate degree at the Univ. of Michigan. We changed the name to The Bastille because were continually played at The Bastille, a club in Newport, RI.

Joseph Broccoli

Bastille photo: Sam Gingerella, Pete Bulger, Rick Nielsen, Peter Place, Ray Renzi and Jack Henehan
Bastille, prior to recording the 45, from left: Sam Gingerella (sax), Pete Bulger (drums), Rick Nielsen (guitar), Peter Place (organ), Ray Renzi (guitar) and Jack Henehan (bass and lead vocals)

Bastille 45 Trying to Be FreeBastille gigged around Rhode Island and Vermont and cut “Trying to Be Free” / “The Music Ship” in 1973. I haven’t heard the A-side, but “Music Ship” has good freakbeat-style guitar work, hard drumming (with a cowbell) and heavy organ backing. Ray Renzi and Jack Henehan wrote both songs.

Thanks to Ray for info on Bastille and the photo of the group, to Mike Markesich for the scans and transfer of the second Malibu’s single, and to Yourek for the scan of the Malibu’s bumper sticker.

Note: These Malibu’s are not related to the ones who cut “I’m Cryin'” for the Quill label or the Macon, Georgia group who did “I Want You to Know” / I’ve Gotta Go” (both by David Luckie) for the PJ label, or the soul group who did “It’s All Over But the Shouting” / “A Broken Man” on White Whale. Or other Malibus like the ones who cut “Humpty Dumpty Was Making Out”, “Hey Hey Hey” or “La Da Da”.

The Majestics

Mop Top Mike suggested I cover the Majestics, an unknown group who cut this one 45 for MGM in 1965. Hopefully we’ll be able to find some more info on this band.

The A-side is “Smile Through My Tears”, a ballad something in the style of the Beau Brummels, written by Cruz-Columbo. It’s backed with “Love Has Forgotten Me”, which I find less compelling.

Tommy Smalls produced the single independently. Mastered in late 1965, MGM purchased it for release in April, 1966. Tommy Smalls is possibly the same DJ known as “Dr. Jive” who was involved in the payola scandal in 1958. That Tommy Smalls relocated to Los Angeles, where he was an R&B DJ for KADY in 1964 then back to New York at WLIB in 1965. By 1968 he was Vice-President in charge of r&b for Jubilee Records.

The publishing was through Earl Music, BMI, though I can’t find any listing in BMI’s database for either song.

The MGM Labels: 1961-1982 by Michel Ruppli and Ed Novitsky indicates “Smile Through My Tears” and the flip as “purchased titles” and “this group was listed in files as “The Mysterians”.

Other groups called the Majestics

There were many other groups by the name Majestics. I don’t think any are related to this group, but I’ll list some of them here.

The one closest in time to this group recorded the soul classic “(I Love Her So Much) It Hurts Me” b/w “Girl Of My Dreams” on Linda 121, both songs written by Arthur Robles, produced for Faro Productions and released in the fall of 1965. The same songs (minus the horn intro on “It Hurts Me”) had a second release as by David and Ruben on Warner Bros 7316, this time listing production by Eddie Davis. A third release on Rampart in 1969 reused the original Linda stampers. David and Ruben were Art Robles’ brothers. Their group was generally known as ‘Art’s Majestics’.

Interestingly, there was another release by the Majestics on Linda 111, “Strange World” / “Everything Is Going to Be All Right” (by Chick Carlton, produced by Bobby Gross), but this is on the blue Linda label, distributed by Scepter, NY in 1963. Supposedly, this was another band entirely, black, not Hispanic.

Other Majestics include: a doo-wop group from Detroit who recorded for Contour, Chex and V.I.P.; a Miami, Florida group who cut “Cave Man Rock” on Marlin; a vocal group from Massachusetts who recorded for 20th Century Fox and other labels.

Background on unrelated Majestics groups from Soulsource and Doo-Wop.blogg.org. Thanks to Mike Markesich for the scan and transfers.

The Regents on Capitol, Reprise, Peoria, Penthouse and Dot Records

The Regents, 1966, Jerry Rosa, John Harris, Craig Boyd, Johnny Mann, Mike McDonald
The Regents, 1966, from left: Jerry Rosa, John Harris (sitting, holding his knee), Craig Boyd (sitting in front looking down), Johnny Mann and Mike McDonald (far right)
Scan courtesy of Joni Bartley

Regents Capitol LP Live at the A.M.-P.M. Discotheque side 2The Regents were house band at Jack Martin’s A.M-P.M. on La Cienega Blvd., one of the many discos that opened up to compete with the Whisky a Go Go.

In 1964 Capitol recorded the band at the club for an LP of standard songs of the day. I really dig their cover of James Booker’s instrumental, “Gonzo”.

Despite having a gatefold cover to fill with photos and notes, Live at the A.M./P.M. Discotheque doesn’t bother to list a single member of the band. I’ve read some members were originally from Bakersfield. Craig Boyd and Tom Baker had started in a group called the Raiders, then Tom joined the Midnight Flyers. Jerry Rosa had been in a band called the Defiant Ones.

Band members were:

Jerry Rosa – vocals and tambourine
Mike McDonald – vocals and lead guitar
Tom Baker – 12-string and rhythm guitar, replaced by Johnny Mann, then Marilyn Read
John Harris – bass
Craig Boyd – drums

David Axelrod produced the album. Domenic Priore’s book Riot on the Sunset Strip quotes Axelrod saying “Jack Martin’s AM-PM was the kind of place where you could order steak sandwiches, and a fistfight would break out every ten minutes. A lot of tough guys went there, so it didn’t last long.” Two songs from the album, “Sugaree” / “Mojo Workout” were released in Germany.

Regents Capitol LP Live at the A.M.-P.M. Discotheque

After the A.M./P.M. club closed, the band became the house band at It’s Boss. Following the LP they cut four singles for four different labels. First up was “She’s Got Her Own Way of Lovin'”, a good original by Mike McDonald backed with “When I Die, Don’t You Cry”, released on Reprise 0430 in November, 1965 and produced by Jack Nitzsche.

Tom Baker left in 1965 and the band hired Johnny Mann to replace him.

Next came “Summer Time Blues” / “You Don’t Love Me” on Peoria 008 in March of 1966, produced by John Harris.

The Regents on stage 1965, from left: Jerry Rosa, Tom Baker, Mike McDonald and John Baker. Not pictured: Craig Boyd on drums.

The Regents Penthouse 45 WordsTheir third single has the original version of the very catchy Boyce/Hart song “Words”, later done by the Leaves, the Boston Tea Party and the Monkees, usually with a slower opening tempo than the Regents arrangement. I have a promotional copy that has “Words” on both sides of the record, but stock copies have the excellent b-side, “Worryin’ Kind” another fine original by McDonald.

This disk was produced by Norm Ratner and engineered by John Haeny and released in July 1966 on Penthouse 502, distributed by Mira. It was also released in the UK on CBS.

The Regents Penthouse 45 Worryin' KindTheir last 45 was “Russian Spy and I” written by Jackie Javellin (aka Casper Koelman) and originally done by the Dutch group the Hunters. The Regents version is probably the most well-known, at least here in the U.S. Though the Regents lift the opening riff directly from Hunters guitarist Jan Akkerman, the solo is much more intense, the tempo of the song quicker and the harmonies much more effective than the Hunters version. I bet they could have done a killer version of this live. Produced by Norm Ratner for Dot 16970 in November, 1966, the flip was a cover of “Bald Headed Woman”.

Marilyn Read joined on guitar at some point in 1966 and stayed about a year. She was also in the Ladybirds.

When the band ended, Craig Boyd joined The Hook after Dale Loyola and Dennis Provisor had left the band. Recording as a trio with Bobby Arlin and Buddy Sklar, Craig plays drums on The Hook’s second album Will Grab You. The Hook appeared on the Ironside episode “Trip to Hashbury” miming to both sides of their single “Son of Fantasy” / “Plug Your Head In”.

Michael McDonald, Craig Boyd and John Harris formed McDonald’s Farm, releasing “Excited” / “Deep Feeling” on Vital Records 2369, produced by Ron Shannon.

The Regents Penthouse 45 Russian Spy and II’ve also read that they were the band for The Dating Game in the early seasons of that show. Tom Baker wrote to me last summer, but I haven’t had a response to the last two emails I sent. A friend of the band confirmed that they were on The Dating Game, and added that they were UCLA students who played often at Chuck Druet’s club Barnacle Bills on E. Huntington in Duarte.

There seems to be some confusion as to whether or not these are the same Regents who recorded the original version of “Barbara Ann”, but that was an entirely different band, whose members were Sal Cuomo, Chuck Fassert, Tony Gravagna, Don Jacobucci, and Guy Villari.

Nor is the Michael McDonald of this Regents the same guy who was in the Doobie Brothers (but see the Implicits entry on this site for Tom Johnston’s early band).

There are other records by groups called Regents that aren’t related to this group, including: “Cape Fear” (T. Foley) / “Summertime” (produced by J. Choate for the Ohio label Prix); and “No Hard Feelilngs” / “That’s What I Call a Good Time” on the Kayo label. The Regents with “Me and You” / “Playmates” on Blue Cat was a Canadian group who also recorded the LP Going Places with the Regents on Quality.

Some info from a phone interview with Craig Boyd.

Regents Capitol LP Live at the A.M.-P.M. Discotheque gatefold
Regents Capitol LP Live at the A.M.-P.M. Discotheque gatefold
The Regents opening for the Lovin' Spoonful at It's Boss, 1965
The Regents opening for the Lovin’ Spoonful at It’s Boss, 1965
Photo from the collection of Nancy Kuehl
McDonald's Farm: John Harris, Mike McDonald and Craig Boyd
McDonald’s Farm: John Harris, Mike McDonald and Craig Boyd
Scan courtesy of Joni Bartley

Gered & Dodique of the Gremlins

Collin Pruitt of Ink Mathematics suggested I cover this super-obscure acoustic 45 by Gered & Dodique of the Gremlins that he found in Montana. At first listen you might peg them as hippies, which may be correct, but the songs are not light-hearted, even if “Silent Meditation” mentions “free love” and “I’ve taken LSD so I can fly”. Both were written by Krueger and Smith – Gered Krueger and Dodique Smith?

“Store Away These Thoughts” is the more uptempo song, asking people to listen to their words that “one man may have thought he had the answer, but we’ll never know because he died.”

“Silent Meditation” opens with harmonies reminiscent of “Homeward Bound”. Searching for some knowledge that “will some day bring my way life’s happiness”, the writer says he might “end it all” and finishes with “I couldn’t pass away my cares and my tribulations, so you won’t have to help me anymore, because I won’t be here tonight.”

I can’t find any info on Gered & Dodique, or any reference to a Gremlins with members Krueger and Smith. Mid-America Production (M.A.P.) booked other groups across the upper midwest, like the Trenchmen, so a Montana location for this duo is a likely possibility.

The National Records number 8-8821 is a code of the Kaybank plant in Minneapolis, though that doesn’t mean the songs were recorded there. Mike Markesich’s breakdown of the Kaybank codes indicates a date of April-May, 1968.

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