Tag Archives: CBS

The Kool

The Kool, late 1967, from left: Jet Hodges, Dave Carol, Ray Brown, Pete Burt and Jeff Curtis (aka David Myers), photo courtesy Ray Brown
The Kool, late 1967, from left: Jet Hodges, Dave Carol, Ray Brown, Pete Burt and Jeff Curtis (aka David Myers), photo courtesy Ray Brown

 

The Kool #1 (August-December 1967)

Jeff Curtis – vocals
Dave Carol – lead guitar, vocals
Jet Hodges (aka Richard Hodgins) – keyboards, vocals
Ray Brown – bass, vocals
Pete Burt – drums

Originally known as Jeff Curtis & The Flames, their manager, rock promoter Mervyn Conn changed their name to The Kool around August 1967.

Kool CBS 45 Room at the Top

Signing the band to CBS Records, Conn used The Ivy League and session musicians, including drummer Clem Cattini, to record Tony Macauley and John MacLeod’s poppy “Look at Me, Look at Me”, which was backed by the soulful “Room at the Top” (credited to Curtis’s real name: David Myers but actually a co-write with Ray Brown and originally cut as a demo by Jeff Curtis & The Flames around May 1966).

The A-side only features Ray Brown from the band who provides the lead vocal and is surrounded by the massed vocals of The Ivy League. The B-side is notable for its use of horns and cello and has a soulful feel with Jeff Curtis’s gravelly voice to the fore.

Produced by Mervyn Conn and arranged by Keith Mansfield, the single was released on 12 October 1967 but did not chart despite being plugged by DJ Tony Blackburn on Radio 1.

During the same session, Conn used The Ivy League as singers on an excellent version of “Step Out of Your Mind”, previously recorded and released in the United States by The American Breed, and a cover of Ralph Murphy’s “Funny What a Fool Can Be”. Like the previous B-side, Jeff Curtis sang lead vocals on this track and the band members are featured on the recording.

The two tracks were coupled for a second single, issued, and then mysteriously withdrawn, in limited edition, around December 1967.

That same month, the band played at Coronation Hall in Kingston with PP Arnold, after which Ray Brown departed to reunite with Steve Reading and Mickey Baker from his 1950s band, The Sky Blue Skiffle Group, in a new outfit called Champagne. During 1968, Champagne shared the bill with The Kool at Kew Boathouse. In 1969, Brown joined The Magic Roundabout.

With Ray Brown out of the picture, The Kool carried on, bringing in new bass player Brian Hosking.

Notable gigs:

Photo: Wakefield Express

9 September 1967 – Boogaloo, Castleford, West Yorkshire Billed as The Cool so may be another band

Photo: Ampthill News & Flintwick Record

15 September 1967 – Cesar’s Club, Bedford with The 100w Carnation

 

1 December 1967 – Coronation Hall, Kingston Upon Thames, Surrey with PP Arnold (may have been later this month or first week in January)

The Kool, late 1967, from left: Ray Brown, Jeff Curtis (aka David Myers), Pete Burt, Dave Carol and Jet Hodges
The Kool, late 1967, from left: Ray Brown, Jeff Curtis (aka David Myers), Pete Burt, Dave Carol and Jet Hodges

 

The Kool #2 (January-August 1968)

Jeff Curtis – vocals
Dave Carol – lead guitar, vocals
Jet Hodges (aka Richard Hodgins) – keyboards, vocals
Brian Hosking – bass
Pete Burt – drums

Originally from Twickenham, Middlesex, Brian Hosking (b. 7 July 1947, Twickenham, Middlesex) was no stranger to the band having known Dave Carol from The Smokestacks in 1964. Hosking had first played bass with The Diplomats while at school and then joined The Feeet with guitarist Doug Ayris. During 1963, Hosking and Ayris formed The Legend with singer Nigel Kingswell and drummer John Sergeant.

In 1964, Hosking left to join The Smokestacks. Two years later, he helped form Twickenham band, The All Night Workers. However, after a few months, he departed to run a bar full-time in Heston and only returned to the live scene in October 1967 with a short-lived band called Deep Purple (no relation to their more famous namesake). When he joined The Kool, Hosking had given up the bar to sell car batteries in Slough and was living in Hounslow.

Kingston & Malden Borough News, 30 August 1968

In early 1968, The Kool appeared at London’s top nightclubs, the Cromwellian and the Pickwick. During the second part 1968, the band increasingly found work in the Kingston-Upon-Thames, Surrey area.

Notable gigs:

Photo: Swindon Advertiser

27 January 1968 – Locarno Ballroom, Swindon, Wiltshire with James Stuart Inspiration

Photo: Surrey Advertiser

15 June 1968 – West Clandon Youth Club, West Clandon, Surrey

22 June 1968 – Excel Bowl, Tolworth, Surrey

 

6 July 1968 – Excel Bowl, Tolworth, Surrey

Photo: Kingston & Malden Borough News

19 July 1968 – Apple Tree Club, Kingston Hotel, Kingston upon Thames, Surrey

The Kool #3 (August 1968-January 1969)

Jeff Curtis – vocals
Dave Carol – lead guitar, vocals
Jet Hodges (aka Richard Hodgins) – keyboards, vocals
Brian Hosking – bass
Steve Allen – drums

During late summer Pete Burt departed and joined up with keyboard player Bob Brittain for a tour of Germany. In 1969, Brittain offered Burt the drum position in his new band, Pickettywitch but the drummer declined the offer. The following year, he reunited with his old school friend from Roxeth Manor School – Rod Wharton and they formed the trio, Hogsnort Rupert. Burt subsequently retired from the music business and passed away on 20 March 2013.

Steve Allen, who was originally from Cornwall and had played in several West Country bands for five years before moving to Esher, Surrey, took over from Burt while working for the Inland Revenue in Richmond, Surrey during the day.

According to the Kingston and Malden Borough News, the new line up returned to the studios in early September 1968 to record three more sides, including two band originals, and two of the tracks recorded would be chosen for the band’s next single, due out around Christmas. The promised single never appeared.

The new Kool line-up, however, was short-lived because Allen did not like the band’s music and departed early on to join The Factory, led by singer Jack Brand.

Notable gigs:

16 August 1968 – Apple Tree Club, Kingston Hotel, Kingston upon Thames, Surrey

Photo: Kingston & Malden Borough News

24 August 1968 –Staines Town Hall, Staines, Middlesex

25 August 1968 – Apple Tree Club, White Lion, Putney, Southwest London

 

18 November 1968 – Orange Grove, Grove Tavern, Kingston upon Thames, Surrey

 

6 December 1968 – Apple Tree Club, Kingston Hotel, Kingston upon Thames, Surrey

Photo: Melody Maker

The Kool #4 (January-May 1969)

Jeff Curtis – vocals
Dave Carol – lead guitar, vocals
Jet Hodges (aka Richard Hodgins) – keyboards, vocals
Brian Hosking – bass
Geoff Coxon – drums

Dave Carol enlisted his old friend from early 1960s band, The Drovers, Geoff Coxon, to replace the outgoing Steve Allen. Since splitting from Carol in 1964, Coxon had joined Hampton, Middlesex band, The Others, just in time to promote their lone single on Fontana, a raucous version of Bo Diddley’s “Oh Yeah”, coupled with the band original “I’m Taking Her Home”.

After The Others fell apart in October of that year, Coxon moved on to work with Colin Shane & The Shannons alongside guitarist Dave Mumford and bass player Dick Merritt. When this group split up in late 1965, the trio formed The Sugar Band with organist Malcolm Wainman, tenor sax player Pete Browning and baritone sax player Les Batt and worked the soul club circuit until late 1967.

The band’s agent then linked the musicians with Jamaican singer Delroy Williams and they became The Delroy Williams Show with The Sugar Band. By late 1968, the group had split from Williams and Coxon gigged around before joining The Kool.

Program for show in Caen, France in Feb. 1969. The photo shows the '67 lineup before Brian Hosking and Geoff Coxon had joined. Program scan courtesy of Brian Hosking
Program for show in Caen, France in Feb. 1969. The photo shows the ’67 lineup before Brian Hosking and Geoff Coxon had joined. Program scan courtesy of Brian Hosking

 

The new line up travelled to France to play the Grand Ball at Caen University in early February. During that weekend, the new band members did a signing at a record shop for their forthcoming CBS single, which featured a photo of the original line up.

Kool CBS 45 Step Out of Your Mind

On 18 April 1969, CBS belatedly released The Kool’s second single, “Step Out of Your Mind” c/w “Funny What A Fool Can Be”, over a year after it was originally recorded. Despite a strong performance, the band’s moment had passed and the single failed to chart.

The single was reviewed in the Kingston and Malden Borough News’s 25 April 1969 edition, together with a photo of the original line up.

The current line up, however, signed to MCA and recorded a final single, issued in June 1969, coupling the poppy “Lovin’”, written by the song-writing team Capitanelli and O’Connor, backed by Dave Myers’ original, “Baby’s Out of Reach”. Produced by Phil Swern, arranged by Tom Parker, and with backing vocals by Sue and Sonny, the single had great potential but was another chart failure.

Before it was released both Jet Hodges and newcomer Geoff Coxon departed. Coxon joined Calum Bryce, reuniting with Dave Mumford. Coxon currently performs with a reformed The Others.

Calum Bryce, late 1969. Geoff Coxon at far left Photo courtesy of Geoff Coxon
Calum Bryce, late 1969. Geoff Coxon at far left Photo courtesy of Geoff Coxon

 

Notable gigs:

15 January 1969 – Weybridge Hall, Weybridge, Surrey

Photo: Woking Herald

8 February 1969 – Grand Ball, Caen University, France

Photo: Woking Herald

2 May 1969 – Addlestone Community Centre, Addlestone, Surrey

 

The Kool #5 (May-August 1969)

Jeff Curtis – vocals
Dave Carol – lead guitar, vocals
Ronnie Clayden – keyboards, vocals
Brian Hosking – bass
Jim Park – drums

Jim Park (b. 21 March 1947, Staines, Middlesex) was recruited via an advert that Hosking put in Melody Maker. The band received over 60 applications for the drum vacancy but Park knew Clive Burrows, who was singing in the latest version of Hosking’s former group The All Night Workers, which still contained Hosking’s former band mate from The Legend, Doug Ayris. Burrows also worked as a store man at a shop Hosking’s girlfriend managed.

August 1969

Barely 20 years old, Clayden (b. 2 April 1949, Lewisham, Kent) was living in Ascot, Berkshire at the time and had previously worked with Maidenhead band, The John Thomas Blues Band, which included lead guitarist Graham Marshall and drummer Chris Stevens.

The John Thomas Blues Band landed loads of support gigs opening for the likes of The Pretty Things, The Gun and Aynsley Dunbar’s Retaliation and had even spent a brief period backing American blues singer/pianist Champion Jack Dupree. The John Thomas Blues Band appeared at the Crown pub in Twickenham on 11 January 1969. Clayden finds out about the position in The Kool through Jim Park whose parents worked with his.

Sir Robert Peel, photo taken September 2011
Sir Robert Peel, photo taken September 2011

The Kool, however, were nearing their end and during a run of shows at the Sir Robert Peel in Kingston Upon Thames, Surrey, longstanding front man Jeff Curtis quit the band and was replaced by singer Roger Semon, who’d previously fronted The In-Sekt Ltd and Coconut Ice.

Not long after newcomer Jim Park also departed and subsequently re-joined The All Night Workers. Alan Cottrell took his place on the drum stool.

After leaving the band he had led for nearly a decade, Jeff Curtis reverted to his real name, David Myers, and set up his own restaurant business. He died in tragic circumstances in the late 1990s.

Notable gigs:

19-20 July 1969 – Sir Robert Peel, Kingston upon Thames, Surrey

 

7 August 1969 – Sir Robert Peel, Kingston upon Thames, Surrey

9 August 1969 – Hog’s Back Hotel, Seale, near Farnham, Surrey

12 August 1969 – Sir Robert Peel, Kingston upon Thames, Surrey

The Kool, December 1970, from left: Brian Hosking, Alan Cottrell, Roger Semon, Dave Carol and (not pictured) Ronnie Clayden Photo courtesy of Brian Hosking
The Kool, December 1970, from left: Brian Hosking, Alan Cottrell, Roger Semon, Dave Carol and (not pictured) Ronnie Clayden Photo courtesy of Brian Hosking

 

The Kool #6 (September 1969-December 1970)

Roger Semon – vocals
Dave Carol – lead guitar, vocals
Ronnie Clayden – keyboards, vocals
Brian Hosking – bass
Alan Cottrell – drums

Despite losing their longstanding frontman, The Kool continued into 1970 but did not record any more material. In early 1971, Hosking and Clayden both left.

Hosking later moved to the Guildford area where he worked with the band Bloodhound. Based on Bournemouth, he is currently working with a reformed version of The All Night Workers. Clayden, meanwhile, subsequently moved to the Camberley/Ascot area on the Surrey/Berkshire border and worked with the band, Snow Leopard. He later moved to the United States where he currently resides.

After bringing back Hosking’s predecessor Ray Brown from Magic Roundabout and carrying on without a keyboard player, the final line up continued as Easy Virtue throughout 1971. During that year, John Frost took over the drum stool from Alan Cottrell.

In 1972, Carol left and was replaced by lead guitarist Frank Torpey, who’d been in the original Sweet. The band then changed name to Crackers. However, in 1973, John Frost left to re-join Carol in a new version of Easy Virtue, which lasted into the mid-1970s. Carol subsequently left the music business and currently runs his own restaurant business in Southwest London.

Ray Brown meanwhile stayed in the music business until the mid-1980s. Crackers were studio winners on Opportunity Knocks in 1976 and recorded material at Abbey Road and Surrey Sound Studios. Three tracks featuring Roger Semon, Ray Brown and Frank Torpey were released under the name Horrorcomic on Lighting Records in 1977 and reached #28 in Melody Maker’s punk charts.

Two further singles were released in 1978 and 1979 with Roger Willis from Capability Brown on drums. All of the single releases, plus six previously unreleased recordings were issued in 2006 by Sanctuary Records on the CD England 77’. Brown later worked with comedy show group The Wallies and The Beasty Grandads before retiring from the music business in September 1988. He currently lives in Surrey.

Notable gigs:

10 September 1969 – Sir Robert Peel, Kingston upon Thames, Surrey

17 September 1969 – Sir Robert Peel, Kingston upon Thames, Surrey

27 September 1969 – Kingston College of Technology, Kingston upon Thames, Surrey with Bobby Kerr Whoopee Band and The Webb

Photo: Kingston & Malden Borough News

5 December 1969 – Excel Bowl, Tolworth, Surrey

22 December 1969 – Chessington Youth Club, Chessington, Surrey

Photo: Kingston & Malden Borough News

27 December 1969 – Kingston Rowing Club, Kingston upon Thames, Surrey

Photo: Kingston & Malden Borough News

20 February 1970 – Excel Bowl, Tolworth, Surrey

 

7 March 1970 – Kingston Rowing Club, Kingston upon Thames, Surrey

21 March 1970 – Hook Youth Club, Hook, Surrey

 

4 April 1970 – Claygate Village Hall, Claygate, Surrey

17 April 1970 – Excel Bowl, Tolworth, Surrey

24 April 1970 – Hook Youth Club, Hook, Surrey

Photo: Kingston & Malden Borough News

22 May 1970 – Excel Bowl, Tolworth, Surrey

Photo: Kingston & Malden Borough News

17 July 1970 – Excel Bowl, Tolworth, Surrey

Photo: Kingston & Malden Borough News

4 September 1970 – Excel Bowl, Tolworth, Surrey

Photo: Kingston & Malden Borough News

23 October 1970 – Excel Bowl, Tolworth, Surrey

A huge thanks goes to Dave Carol, Pete Burt, Brian Hosking, Geoff Coxon, Ronnie Clayden, Ray Brown, Rod Wharton and John Frost. The Kingston and Malden Borough News also proved useful. Many thanks to Brian Hosking, Ray Brown and Ronnie Clayden for providing some of the images. This is dedicated to Pete Burt.

45 releases:

Look at Me, Look at Me/Room at the Top (CBS 203003) 1967
Step Out of Your Mind/Funny (What a Fool a Can Be) (CBS 2865) April 18, 1969
Lovin’/Baby’s Out of Reach (MCA MU 1085) 1969

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

Hedgehoppers (Anonymous)

Hedgehoppers in 1971, left to right: Alan Avon, Bill Honeyman, Colin Turner (and front) Mick Matthews
Hedgehoppers in 1971, left to right: Alan Avon, Bill Honeyman, Colin Turner (and front) Mick Matthews

Tony Kaye (guitar, vocals)
John Askey (bass)
Dave Birkenhead (organ)
Bill Honeyman (drums)

1967

October Original Hedgehoppers Anonymous lead singer Mick Tinsley and drummer Glenn Martin (who has joined after the top five success of “It’s Good News Week”) have participated in a swansong tour of Sweden and Lapland with bass player Howard Livett and guitarist Ian Atkinson.

(6) During their Scandinavian trip, the quartet play at the Cue Club in Gothenburg on a bill that also features Stoke-on-Trent band, The Colour Supplement. Singer Phil Tunstall will join a new version of Hedgehoppers Anonymous in December 1968. Comprised of guitarist Mick Nixon, bass player Paul Stevenson, drummer Ricky Ballan and future Climax Blues Band keyboard player George Glover, The Colour Supplement play another Swedish date with Hedgehoppers Anonymous, and further shows with The Troggs, before returning to the UK later in the month.

November On their return to England, Tinsley and Martin disband Hedgehoppers Anonymous. Tinsley establishes a solo career while Martin replaces Bill Honeyman in Sandie Shaw’s backing band, The Streamliners, which also comprises lead guitarist/singer Tony Kaye, organist Dave Birkenhead and bass player John Askey. Kaye, who began as a frontman with early 1960s Stoke-on-Trent band, The Huckleberries forms The Shandykins Four in October 1965. The following month, The Shandykins Four were chosen as Sandie Shaw’s permanent backing band and become The Streamliners. Askey and Birkenhead, who has previously played with Chris Ryan & The Crescents, The Scorpions and The Times, join The Streamliners in 1966. The group, however, will also use The Hedgehoppers Anonymous name for gigs.

NME, November 26, 1965
NME, November 26, 1965

December Phil Tunstall’s band, The Colour Supplement had travelled to Germany during November and spent about a month playing at the Star Club in Hamburg where they meet Ritchie Blackmore (soon to return to the UK and form Roundabout, which morphs into Deep Purple). The band then plays the Storyville Clubs in Cologne and Frankfurt for about a month before returning to Britain.

(30)  Hedgehoppers Anonymous perform at the Public Hall, Preston, Lancashire with The Atlantics, The Four Crestas and The Blue Notes.

The Colour Supplement, Phil Tunstall at top
The Colour Supplement, Phil Tunstall at top
The Colour Supplement, Phil Tunstall in front
The Colour Supplement, Phil Tunstall in front

1968

January Sandie Shaw & The Streamliners appear at the MIDEM Festival in Cannes, France.

February After Martin leaves Sandie Shaw’s band, The Streamliners, Tony Kaye brings in Roger Keay briefly before former member, Scots-born drummer Bill Honeyman rejoins. Honeyman is a veteran of popular Stoke-on-Trent R&B band, The Marauders having started out in Alan Avon & The Presidents with future Hedgehoppers’ singer Alan Avon, guitarist Peter Birch, bass player Brian Birch and sax player Tony Bennett.

March With the original Hedgehoppers Anonymous defunct, Kaye decides to take over the name and put together an entirely new version of the band. According to the Burton Daily Mail, the new version appears at the 76 Club, Burton upon Trent, Staffordshire on 10 March.

(3) Phil Tunstall’s band, The Colour Supplement appear at the Blue Ball, Risley, Staffordshire.

April (10) The Hedgehoppers Anonymous appears at the Bull’s Head, Hanford, Staffordshire.

(11) Hedgehoppers Anonymous play at the Crystal Ballroom in Stoke-on-Trent.

(12) The Colour Supplement begin a second Swedish tour.

Sandie Shaw & The Streamliners, 5 May 1968

May (12) After a disastrous tour, The Colour Supplement return to the UK and play their first show back on home soil at the Bull’s Head, Hanford.

(16) The Tony Kaye-led Hedgehoppers Anonymous appear at the Crystal Ballroom in Stoke-on-Trent.

(22) The Colour Supplement play at the Bull’s Head, Hanford.

(30) Hedgehoppers Anonymous perform at Longlands College, James Finegan Hall, Eston, Middlesbrough with The Lemon Tree and The Georgian Quintet.

June (1) After playing the Northern club scene for a few months, Hedgehoppers Anonymous are billed to appear at the Union Rowing Club in Nottingham but are replaced at the last minute by Legacy after it’s announced the band has split up. In reality, John Askey has left to join future Hedgehoppers’ singer Alan Avon’s new band, The Toyshop with Roger Jones and Tony Todd. Colin Turner from The King Pins (who have been working as The Ivy League’s backing band) takes over on bass. Turner joined the Manchester band in late 1966 prior to its relocation to the Stoke-on-Trent area and its signing with the Keith Fisher agency. He also appeared on the band’s final single for Columbia in 1967, “Summer’s Come and Gone” c/w “Another Tear Falls”.

The King Pins with Colin Turner, Star Club promo, Germany, late 1966.
The King Pins with Colin Turner, Star Club promo, Germany, late 1966.

(3) The Colour Supplement appear at the Basford Coronation Club in Basford, Staffordshire.

(12) Tunstall’s group return to the Bull’s Head, Hanford, Staffordshire.

(17) The Colour Supplement play at the Filleybrooke Hotel in Stone, Staffordshire.

(19) Phil Tunstall’s band The Colour Supplement appear at the Bull’s Head, Hanford, Staffordshire.

(21) The new Hedgehoppers Anonymous line up with Colin Turner appears at Bradford University with Fleetwood Mac, Blossom Toes and The Amboy Jukes.

(23) The Colour Supplement appear at the Clayton Lodge in Newcastle Under Lyme, Staffordshire.

July (24) Phil Tunstall’s band The Colour Supplement play at the Bull’s Head, Hanford.

August (7) Alan Avon (who will replace Tunstall in Hedgehoppers in 1970) makes an appearance at Bucknall Workingmen’s club in Bucknall, Staffordshire with his band Toyshop.

(14) The Toyshop play at the Bull’s Head, Hanford, Staffordshire.

(21) The Colour Supplement perform at the Bull’s Head, Hanford.

(29) Alan Avon’s band, The Toyshop appear at the Bull’s Head in Hanford.

September (6) Hedgehoppers Anonymous play at the Bull’s Head, Hanford, Staffordshire.

(18) Alan Avon’s band The Toyshop appear at the Bull’s Head, Hanford.

(26) The Toyshop perform at the Steelman’s club in Stoke-on-Trent.

(29) Hedgehoppers Anonymous play at Mr Smith’s in Hanley, Staffordshire.

October (4) Hedgehoppers Anonymous play at the Forest Folk Hotel in Blidworth, Nottinghamshire. Immediately afterwards, lead guitarist/singer Mick Matthews (b. 18 December 1946, Knutton, Staffordshire) joins the line up after impressing the band with his song “My Friend John Carter The Kind Magician”. Matthews, who started out in The Telstars, has been playing with Harvey’s Team with singer Ian Riley and bass player Graeme Bates. The new Hedgehoppers Anonymous line up embarks on a four-week Scottish tour with Dave Berry & The Cruisers.

(9) Phil Tunstall’s band The Colour Supplement travel to the Birmingham area and play at the Mackadown, Kitts Green, West Midlands with The Passion Forest.

(11) Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop appear at the Harold Clowes Hall in Bucknall, Staffordshire.

(23) The Colour Supplement perform at the Chesterfield Club in Castle Bromwich, West Midlands.

Hedgehoppers Anonymous Decca South Africa PS
South African sleeve from early 1969 showing a short-lived lineup, photo taken November 1968 Left to right: Bill Honeyman, Mick Matthews, Colin Turner and Dave Birkenhead

November Kaye, who wants to concentrate on a management role for the band, drops out and Matthews take over lead vocal duties briefly until Phil Tunstall joins from The Colour Supplement in December. Kaye’s sons will later write for Robbie Williams.

December Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop record a lone single for Polydor Records – the Carter/Lewis penned “Say Goodbye To Yesterday” c/w guitarist Tony Todd’s “Send My Love To Lucy”. John Askey leaves after this recording and Maurice Cope takes over on bass.

After arriving in South Africa, March, 1969 Article from the Natal Mercury
After arriving in South Africa, March, 1969 Article from the Natal Mercury

1969

January Hedgehoppers Anonymous are invited to play a three-month residency at Tiles nightclub in Durban, South Africa but Dave Birkenhead is unable to participate in the South African tour and stays behind to join The Look Twice Band.

February Decca re-releases Hedgehoppers Anonymous’ second single “Don’t Push Me” in South Africa with a picture sleeve featuring the short-lived line up from November 1968 depicting Honeyman, Matthews, Turner and Birkenhead.

(26) Remaining members – Phil Tunstall, Mick Matthews, Bill Honeyman and Colin Turner arrive in Durban to be feted as rock royalty.

March Hedgehoppers Anonymous start a three-month residency at Tiles nightclub. After playing a huge concert at the Kingsmead Cricket Stadium, they are invited to extend the Tiles residency until August.

August Following their resounding success at Tiles, Hedgehoppers Anonymous move on to Johannesburg where they hold down a residency at the 19th Level nightclub. Hedgehoppers Anonymous play at the club for three months before embarking on a short tour of Rhodesia where they appear at the Stork Club in Bulawayo and the city’s town hall.

December Hedgehoppers Anonymous return to Johannesburg to play another residency at the 19th Level nightclub before working at the Underground club below the Hotel Continental.

Left to right: Bill, Mick, Phil and Colin in 1970, shortly before Phil Tunstall's tragic death. Photo by Barry Oliver
Left to right: Bill, Mick, Phil and Colin in 1970, shortly before Phil Tunstall’s tragic death. Photo by Barry Oliver

 

Hedgehoppers Anonymous Tomo 45 Man Downstairs

1970

January Hedgehoppers Anonymous sign a deal with the Highveld label to record three tracks.

March Linked with producer Tony Gibson, the group records Matthews’s “Mary Mary” backed by a beat version of Eric Morris’s “Humpty Dumpty”, which has been blended with an indigenous kwela sound, for their debut single. They also record the Matthews-Tunstall-Turner collaboration, “The Man Upstairs”.

April (10) Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop play at the Cavern Club in Liverpool.

May (30) Hedgehoppers Anonymous are billed to appear at a huge rock festival to be held at Ellis Park Stadium in Johannesburg to mark Republic Day on Monday, 31 May alongside The Bats, Omega Limited, Sounds of Brass, The Rising Sons, The Peanut Butter Conspiracy, The First Acquaintance, Hawk and The Staccatos but Tunstall is killed in a road accident on the eve of the show.

June Devastated by their loss, Matthews, Honeyman and Turner return to the UK and go their separate ways. Over the next six months, Matthews works with a band in Germany before Honeyman contacts him about returning to South Africa where there is a demand for the band.

July In their absence, Highveld releases “Mary Mary” c/w “Humpty Dumpty” as a single, which peaks at #15 on the South African LM radio chart. Producer Tony Gibson has set up his own label Tojo with his wife Jo and in August issues “The Man Upstairs” backed by an instrumental version of the song entitled “The Man Downstairs” but it does not chart.

December The remaining members add singer Alan Dutton (aka Alan Avon), who has played with Honeyman during the early 1960s in Alan Avon & The Presidents and until recently was lead singer with Alan Avon & The Toyshop. Avon’s band has toured extensively throughout the UK and recorded the collectable single “These Are The Reasons” c/w “Night To Remember” for the Concord label.

Hedgehoppers CBS LP Hey!
1971, left to right: Mick, Colin, Alan and Bill
Hedgehoppers Tojo PS A Song for Pete
1971, left to right: Mick Matthews, Colin Turner, Alan Avon and Bill Honeyman

1971

January To avoid any potential legal problems with Jonathan King who still owns the name, they drop the Anonymous tag and become Hedgehoppers.

February (27) Billboard magazine announces that Hedgehoppers have returned to South Africa after a spell in London. The revised line up resumes gigging at the Underground nightclub where they are booked for three months. Producer Tony Gibson’s Tojo label records a lone single combining two strong Matthews numbers – “A Song For Pete”, inspired by English guitarist Pete Clifford from The Bats (and one-time guitarist with Dusty Springfield’s band, The Echoes), and “Here’s To The Morning Sun”.

April The band opens Samantha’s, a new nightclub in Johannesburg. While there, Gibson negotiates a deal with CBS which allows the band to record an album mixing Matthews’ originals with covers of Buffalo Springfield’s “Rock ‘N’ Roll Woman” and George Gershwin’s “Summertime”.
(4) “A Song For Pete” on Tojo peaks at #5 on the LM Radio hit parade.

June Having given the others notice that he’ll be returning to the UK after their six-month contract is up, Avon completes a nationwide tour taking in Durban, East London, Port Elizabeth, Kimberley, Cape Town, Upington and Windhoek.

July After Avon returns to the UK in late July, Hedgehoppers bring in new singer, the late Andy Ionnides from Suck, who joins the band for a three-month residency at the Coq D’Or in Salisbury, Rhodesia.

August (29) “Hey!” recorded with Avon on lead vocals, backed by the non-album “My Friend John Carter The King Magician”, featuring Matthews on lead vocals, hits #2 on the LM Radio hit parade and tops the Rhodesian charts.

September (17) “Hey” peaks at #9 on the Springbok Radio hit parade.

October (2) Billboard magazine reports that Hedgehoppers are touring Rhodesia. After the tour finishes this month, keyboard player and singer Rupert Mellor from The First Aquaintence takes over from Ionnides. Hedgehoppers return to Samantha’s and hold down a residency until the end of the year. While there, the band records three new Mick Matthews’s songs for Parlophone Records – “I’m On My Way Ma”, “Blue, Blue, Blue” and “Young Man On The Road”, all featuring Matthews on lead vocals.

November “Blue, Blue, Blue” backed by “I’m On My Way Ma” is released.

1972

March (4) Shortly after watching their beloved Stoke City beat Chelsea in the League Cup final at Wembley, Matthews leaves the band and returns to the UK. He later returns to South Africa and forms Ballyhoo, who will have significant success in the 1970s. Hedgehoppers carries on as a trio and back Wellington Count Judge on the Mojo single “Noma Kunjalo” c/w “Salani” as The Cool Cats. A few months later, Honeyman is killed in a road accident and the band splits with Turner returning to the UK.

Mick Matthews autobiography I Started Out to Write a Song
From left: Alan Avon, Bill Honeyman (in back with glasses), Mick Matthews and Colin Turner. Photo by Gavin Furlonger

Sources:

I Started Out To Write A Song, by Mick Matthews and Adrian English (awaiting publication).
Strange Brew – Eric Clapton & The British Blues Boom 1965-1970, by Christopher Hjort, Jawbone Press, 2007
Tapestry of Delights Revisited by Vernon Joynson, Borderline Productions, 2006.

Information on the King Pins from the Starclub Hamburg site. The photo montage is their copyright.

Live dates sourced from Melody Maker, Birmingham Evening Mail, The Evening Sentinel, Nottingham Evening Post, Middlesbrough Evening Gazette.

Many thanks to Mick Matthews, Alan Avon, George Glover, Tertius Louw, Marq Vas, Benjy Mudie and Gavin Furlonger. Thank you to George Glover, Mike Nixon and Paul Stevenson for passing on details about The Colour Supplement, to Joe Toriati for the photos of this band and to Marq Vas for 45 label scans.

Thank you to Mick Matthews and Benjy Mudie at Fresh for permission to use the Hedgehoppers’ tracks. Keep an eye on Fresh Music’s website for the forthcoming Hedgehoppers CD: www.freshmusic.co.za

Mick Matthews and Adrian English’s I Started Out To Write A Song is awaiting publication.

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

Visit: www.nickwarburton.com

Laurie Wade’s Cavaliers

Laurie Wade's Cavaliers Photo
Laurie Wade’s Cavaliers on CBS Records, from left: Warren Isaacs, Laurie Wade, Chris Rees and Ivan Norman. Photo courtesy of Warren Isaacs.

Laurie Wade's Cavaliers CBS 45 Say HeyLaurie Wade’s Cavaliers started as a surf group, cutting one instrumental single for the Linda Lee label, “Cloudburst” / “The Phantom Guitarist” (written by Laurie Mudge). Hear this first singel on Big Beat’s excellent compilation: Board Boogie: Surf ‘n’ Twang from Down Under).

The Cavaliers included:

Laurie Wade – guitar, vocals
Ivan Norman – guitar, vocals
Robert Campbell – bass, replaced by Warren Isaacs
Chris Rees – drums

Laurie Wade signed to CBS and cut four excellent singles in 1965 and 1966. The style of music changed to beat, but his roots in surf served him well as all the records feature sharp original guitar work. I don’t know the membership of the group, but I assume Laurie played lead guitar, and sang lead on the CBS recordings.

First came the minimal “Say Hey”, backed by a song I haven’t heard, “The Adventurer”. Laurie Wade wrote both.

Warren Isaacs sent in the photo seen here and told me, “Robert Campbell was the bass player on ‘Phantom Guitarist’. I replaced him after that and was on all the CBS records. I was in the group right up to the very end which I think was about 1968.”

Laurie Wade's Cavaliers CBS 45 To Win Your LoveThe second was an excellent Laurie Wade original, “To Win Your Love”. It’s probably my favorite of their recordings that I’ve heard, with two good guitar breaks, rollicking piano and solid rhythm backing over Laurie’s great vocal. The flip is another Wade original, “Don’t Quit Now”. It’s not a bad song, though I’m mystified by the engineering, as the rhythm guitar starts off too loudly, only to be dimmed along with the rest of the band just six seconds into the song.

Laurie Wade's Cavaliers CBS 45 The Colour of Her EyesIn 1966 they cut their most adventurous song, Wade’s “The Colour of Her Eyes”, beginning with a riff like something out of a Sonics song. The rhythm guitarist takes a page out of the surf guitar book, strumming over deadened strings with heavy reverb for a cool background sound. Laurie’s vocals alternate between gloomy and wailing!

I guess CBS didn’t know what to make of this song, as they threw it on the b-side of a cover of “Greensleeves”. The band does an interesting version, with some eerie guitar in the background, but it’s an awkward song and hardly a good choice for them.

Laurie Wade's Cavaliers CBS 45 Every Minute of YouI knew Marty Rhone’s raving version of “Every Minute of You”, but I hadn’t heard Laurie Wade’s original recording of it when I first wrote this article. It surprised to hear the band going in a more soulful direction, though it suits Laurie’s voice. Marty Rhone’s release came shortly after.

Although the label credits read just N. Kipner, the notes to Big Beat’s CD Hot Generation! say that “Every Minute of You” was a collaboration between Carl Keats, guitarist for Steve and the Board and Nat Kipner, father of that band’s singer Steve Kipner. For once neither song was a Laurie Wade original. The flip, “Let Me Down Easy” was written by Glasser and Glasser.

Their producer at CBS was Sven Libaek, a staff producer from 1963-1968 whose credits include the Atlantics (including “Bombora”), Lynne Randall, the Jet Set, the Jackson Kings, the D-Men, Kenny Shane and the Pilgrims Five. As far as I know CBS hasn’t bothered to reissue Laurie Wade’s work, which is a shame, I’m sure a remastering from original tapes, if they exist, would sound excellent, and there’s probably some good unreleased songs.

If anyone has more info on the group, please let me know.

45 releases:

Linda Lee LL-008 – Cloudburst / The Phantom Guitarist
CBS BA-221215 – Say Hey / The Adventurer (1965)
CBS BA-221235 – To Win Your Love (Wade) / Don’t Quit Now
CBS BA-221273 – Greensleeves / The Colour of Her Eyes (1966)
CBS BA-221357 – Every Minute of You (N. Kipner) / Let Me Down Easy (Glasser – Glasser) (1966)

Los Beatniks – La Barra de Chocolate

Los Beatniks CBS 7" RebeldeArgentina had a strong rock n’ roll scene dating back to the ’50s, for years largely imitative of U.S. sounds, with records sung in English. The explosion of British Invasion sounds came through the hugely influential Los Shakers, from nearby Montevideo, Uruguay, and later from Los Mockers and Los Bulldogs, also Uruguayan bands.

By the mid-’60s groups like Los Gatos Salvajes started singing in Spanish. Another was Los Beatniks, who had been playing in the basement club La Cueva on Pueyrredón Avenue. They recorded their only single “Rebelde” / “No finjas más” (CBS 21574) on June 2, 1966. “Rebelde” is credited as the first Argentine garage song sung in Spanish. The song starts with a great bass and drum line and has fine organ fills, but the coolest parts are the opening scream and the ghoulish echo of the vocals during the chorus.

They pulled some publicity stunts – supposedly playing naked in a fountain and spending three days in prison for it. There’s a short, silent b&w clip of the band playing in the back of trucks around Buenos Aires. The stunts got them some media coverage, but didn’t help their single – it sold only 200 copies out of the 600 pressed and they soon broke up. (Note: there were unrelated groups from Brazil, Chile and Mexico that also had the name Beatniks.)

Their singer Pajarito Zaguri made a single as El Cuarto Pajarito with other musicians he knew from La Cueva and an all-night pizza shop, La Perla del Once. He then joined Los Náufragos for their debut LP before forming La Barra de Chocolate with guitarist Nacho Smilari, Jorge “Yoryo” Mercury on organ, Miguel Monti on bass and Quique Sapia on drums.

La Barra de Chocolate Music Hall 7" El MaleconLa Barra de Chocolate released four singles and and LP on the Music Hall label. Stylistically they range from pop with horns and strings to psychedelia of “Proyectos de un ladrón prisionero” (hear it on the compilation Obsession on Bully Records) and “El divagante” to the extended jamming of “Viste”. My favorite tracks are the garage sound of “Buenos Aires Beat” from their LP and the b-side to their third single “El Malecon”, which has a scuzzy funk quality that really sets it apart.

Their LP and singles have been reissued on CD (from master tapes I believe), though it’s not easily available. The CD includes the b-side to Los Beatniks single, “No finjas más”, plus another song not released at the time, “El Soldado” (but not “Rebelde” for some reason), and both sides of the rare El Cuarto Pajarito single.

Thanks to Borja for the scan of the Los Beatniks single. The Magic Land is a great source of info on rock from Argentina and Uruguay.

The 004

004 on cover of Pop Gear SA #25

004 in Personality, November 25, 1965
Personality, November 25, 1965.

The 004 were a mid-1960s R&B group put together at the suggestion of Trevor Boswell, a partner in the Hugo Keleti agency, after Dusty Springfield’s disastrous expulsion from South Africa in late 1964. (Hugo Keleti was the father of Eve Boswell, the South African 1950s star, and Trevor was her husband.) The band comprised of expatriate Britons, who recorded a string of singles and a lone album for the CBS label.Lead guitarist Pete Clifford (b. 10 May 1943, Whetstone, London) had first played with The Jesters and then briefly worked with Georgie Fame in London before visiting South Africa for the first time in 1964 with Dusty Springfield as a member of her backing group, The Echoes. Following the fateful trip, Clifford played with Tom Jones on a UK tour and then formed The 004 to return to South Africa, sailing on the Capetown Castle on 10 June 1965 where the band got its set list together.

Bass player/singer Jack Russell (b. 29 April 1944, Caerleon, South Wales) and rhythm guitarist/singer Brian Gibson (b. 17 March 1942, Newport, South Wales) had first met in Wales as members of The Victors, who had a residency at the Latin Quarter in London’s West End. When the band broke up in June 1964, Russell toured the Costa Del Sol and Morocco with French pop singer Teddy Raye while Brian Gibson joined The Laurie Jay combo where he met and socialised with Pete Clifford. In March 1965, after the failed continental tour, Russell got a job as production manager with Vox in Dartford. When Clifford had the call from Boswell and was asked to form a band to return to South Africa that summer, he recruited Gibson, who in turn recommended Russell. The band added Londoner Peter Stember on drums to complete the line up.

004 with Gene Vincent and Jackie Frisco, Daily News, December 3, 1965
with Gene Vincent and Jackie Frisco, Daily News, December 3, 1965

After arriving in Durban by boat on 30 June 1965, the group began playing at the Al Fresco Night Club in a hotel on 1 July. The band signed to CBS and recorded a string of singles for CBS, kicking off with “The In Crowd” in November 1965. The following month, the band backed Gene Vincent in Durban for three months.Prior to the release of the group’s debut single, The 004 had briefly relocated to Johannesburg and worked the 505 Club in Kotze Street, Hillbrow. Back in Durban in early 1966, The 004 opened Tiles club, playing with The Ivy League in May. The following month, the band’s lone album It’s Alright was released and contained Gibson’s promising originals, “She’s Going Back Home Today”, “I’ve Found Her” and “Beverley” alongside covers of Curtis Mayfield’s title track and Mann, Weil and Stoller’s “On Broadway”. The album had been recorded in CBS studios in Johannesburg in late 1965 on an old two-track machine with overdubbing rather than the four-track Studer equipment widely available in Europe. During this time, Clifford and Russell did lots of studio work as session musicians recording with Eve Boswell, The Dream Merchants, The Sandpipers (the South African version), Johnny Collini and many others.

In August 1966, Nick ‘Doc’ Dokter (b. 24 July 1945, Kampen, Overijsel, Holland) was recruited from The Leemen Limited to replace Stember, who returned to the UK and later became an internationally renowned photographer, based in California.

Two months later, The 004 returned to Durban to play at Tiles and on 24 December joined a number of acts, including The Gonks, The Difference and The Dream Merchants to play a Christmas Eve show at Durban City Hall.

In March 1967 Gibson also left and Barry Mitchell from The In Crowd briefly took his place. Gibson later played with progressive rock band, Abstract Truth and lives in South Africa. Two months later, the band met John Kongos who invited the musicians, by then down to trio without Mitchell, to the UK to record that summer.

Clifford, Dokter and Russell recorded with John Kongos as a group called Floribunda Rose in London during mid-late 1967 before Clifford left to return to South Africa to join The Bats. Dokter also moved back to South Africa, albeit briefly, working as a boilermaker. He soon moved to Holland before emigrating to Canada where he played with Five Man Cargo, a UK band who later morphed in Cross Town Bus. In later years, he did session work for the Bruce Allan Agency and currently lives in Vancouver.

Russell meanwhile stuck with John Kongos until 1969 and recorded a string of singles in London as Scrugg before moving in to an advertising agency. He currently lives near Hampton Court.

Article by Nick Warburton

Pop Gear article, May 1966
Pop Gear article, May 1966
August, 1966, clockwise from top left: Brian Gibson, Jack Russell, Pete Clifford and Nick Dokter
August, 1966, clockwise from top left: Brian Gibson, Jack Russell, Pete Clifford and Nick Dokter
Article in the Natal Mercury, November 26, 1966.
Article in the Natal Mercury, November 26, 1966.
Final group photo, 1967
Final group photo, 1967

004 CBS Records promo photo

List of releases:
45: The In Crowd/Without You (CBS SSC 599) 1965
LP: It’s Alright (CBS ALD 8911) 1966
45: Goin’ Out Of My Head/Little Miss Trouble (CBS SSC 677) 1966
45: Happening Humpty/Lah To The Power of 6 (Continental PD 9198) 1966

Many thanks to Jack Russell, Nick Dokter, Pete Clifford, Vernon Joynson and Tertius Louw

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.

Ed: The oddball single “Happening Humpty” was recorded in order to get Matt Mann to release The 004 from the CBS contract. The band felt suppressed by Mann who offered them no material. Mann refused to release the idiosyncratic and oddball trumpet work by one of South Africa’s top trumpeters. The idiotic inclusion of “out of time” bum notes was deliberate. Mann released the band. Graham Beggs then released the single under the Continental label. It has since become a collector’s item.

May, 1966, l-r: Pete Stember (foreground), Brian Gibson, Jack Russell and Pete Clifford
May, 1966, l-r: Pete Stember (foreground), Brian Gibson, Jack Russell and Pete Clifford

Interview with Chris Demetriou

John E. Sharpe & the Squires on the cover of Pop Gear S/A, February 7, 1966. Chris Demetriou is seated at left.
John E. Sharpe & the Squires on the cover of Pop Gear S/A, February 7, 1966. Chris Demetriou is seated at left.

Chris Demetriou is best known for co-writing the UK top 5 hit “He’s Gonna Step On You Again” with fellow South African John Kongos and for producing Cat Stevens and former Manfred Mann singer Mike D’Abo. He talks to Nick Warburton about his South African years, working with UK-based groups Floribunda Rose and Scrugg and becoming a pastor.

Chris Demetriou, October, 1966
Chris Demetriou, October, 1966

Q) Hi Chris, I gather from your surname that your heritage is Greek? I know that you grew up in South Africa so what is the connection?I was born in Cyprus but my parents immigrated to South Africa and I stayed there until John Kongos and I moved to the UK in 1967.

Q) You started out as a keyboard player. Was John E Sharpe & The Squires your first group and how did you come to join them?

In fact I started playing guitar, moved on to bass guitar, and ended up playing a Farfisa organ out of necessity. I’m not sure, but I think Les Goode brought me into The Squires.

John E. Sharp and the Squires CBS 45 Stop Your Sobbing
Q) Besides John E Sharpe and yourself, the other original members were bass player Les Goode, guitarist Barry Saks and drummer Mervyn Harris. The group has a reputation for being one of the best groups on the Johannesburg live scene in the mid-1960s. What do you remember about recording with the band?

We played as more of an R&B band when doing gigs but somehow changed styles in the recording studio. Hence, the cover version of “I am a rock” (by Paul Simon). The band was South Africa’s answer to The Rolling Stones.

Q) You co-wrote a few songs for the band with John E Sharpe. What prompted you to start composing material?

Although I had been writing lyrics since I was twelve and experimenting with different musical styles, it was very natural for me to write with someone else. I chose songwriting partners because that’s what worked for me.

Q) John E Sharpe & The Squires were managed by Clive Calder, who later went on to become one of the richest men in the music industry. What was he like to work with?

I found Clive to be very focused and extremely astute as a musician. You could see that he had a future beyond South Africa.

Q) The band’s lone album “Maybelline” is now almost impossible to find but is regarded as one of the best South African records from that period. What do you remember of the album’s sessions?

Hey I’d love to hear it again! We recorded it at Gallo Studios on a four-track machine. Not many overdubs or clever tweaking. A nearly “live” recording in a true R&B style.

Floribunda Rose in Johannesburg, May 1967 before setting off for England. Left to right: John Kongos, Chris Demetriou, Pete Clifford (foreground), Jack Russell and Nick Dokter. Courtesy of Jack Russell.
Floribunda Rose in Johannesburg, May 1967 before setting off for England. Left to right: John Kongos, Chris Demetriou, Pete Clifford (foreground), Jack Russell and Nick Dokter. Courtesy of Jack Russell.

Q) In mid-1967, you left the group to join fellow countryman, John Kongos in London for his new group Floribunda Rose alongside Dutch-born Nick Doktor, Welshman Jack Russell and English guitarist Pete Clifford. How did you make the connection with John and how did you know the other players?John located me through the Jo’burg Greek club. 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. The other players were already in place.

Q) What were you first impressions of London and where did you all end up living? Also, do you have any memories of playing live on the local scene? I found one date for the band playing at Tiles in London in September 1967 with Simon Dupree & The Big Sound.

Wow! You have sourced some interesting information. The Tiles Club! I remember playing the Tiles Club more than once. However, most of our gigs were up and down the M1 at less prestigious venues. We did play some university events and supported more well known acts, but it’s so long ago, I wouldn’t be able to confirm if we were just in the crowd or on the actual bill. I remember seeing Joe Cocker and Jethro Tull.

Q) The group signed to Piccadilly Records and worked with John Schroeder on the single “One Way Street” c/w “Linda Loves Linda”, both sides of which are great tracks. What do you remember about recording this single? Were there are any other songs recorded that were subsequently scrapped?

John Schroeder was very organised when it came to booking studio time. We were in and out as quickly as was necessary to lay down the backing tracks. No real freedom to create on our own.

Q) What was the decision to change the band’s name from Floribunda Rose to Scrugg? Was it the same line up of musicians? I read that Henry Spinetti played some drums?

The “flower power” thing was on its way out and we thought a name change would help us re-focus and take a slightly different direction. Also, Henry had just joined the band.

Q) Scrugg issued three hopelessly rare singles for Pye, none of which seem to have sold that well. What do you remember about these tracks and why do you think the group never got the success it deserved?

We were managed by The Walker Brothers’ manager and had reasonable exposure on radio and some TV, so I do not really know why we didn’t make more of an impact. I suppose that this is just the way the music business runs.

Q) When Scrugg folded in early 1969, you elected to stay in England and continue to work with John Kongos on his solo material. What happened to the other members? I believe that Pete Clifford returned to South Africa to join The Bats?

John and I had burnt our bridges after leaving South Africa. Going back was not an option. John and I were very close – like brothers. Therefore, continuing to work together was natural.

Q) How did you come to move into production work? Did you still continue to perform?

Before “He’s Gonna Step On You Again” became a hit (and after the group had disbanded), I answered an ad in Melody Maker for a production assistant. It was GEM Productions, which was set up by Laurence Meyers and Tony Defries. Tony took me under his wing and I got to help their artists and producers in the studio and out. Sometimes mixing singles, other times helping with promotion. David Bowie, Gary Glitter, Johnny Johnson and the bandwagon, and Mike d’Abo were all part of the team. Right after the successes with John Kongos’ recordings on the Fly label, I seized the opportunity to get into production. I was introduced to Barry Krost (Cat Stevens’ manager) and he took me on board and immediately introduced me to A&M Records. I then established a strong connection with the label and recorded four albums with different artists (including “Down at Rachel’s Place” with Mike d’Abo).

Q) Tell me about your work with Cat Stevens. How did that come about?

As I was being managed by Barry Krost (BKM) it was only a matter of time before Stevens and I would work together. I first helped out on some live recording and then worked with him on the “Budda and the Chocolate Box” album. But it was not a good combination. Two Greek boys in the studio! I eventually had to back out in order to preserve the relationship. We are still friends.

Q) You also worked with Mike D’ Abo on his album “Down At Rachel’s Place”. What were those sessions like?

This is my finest recording. Even now I listen to it and enjoy every moment. We had the best of everything – musicians, arranger and engineer. Ken Scott was my engineer (he went on to produce David Bowie, Supertramp and Chris de Burgh).

Q) You are probably best known for co-writing “He’s Gonna Step On You Again” with John Kongos which became a huge hit in the UK, South Africa and the States and became a hit for The Happy Mondays years later. Tell me about the inspiration for that song and how you and John came up with it?

I had written the first part of the lyric in South Africa in protest of the political situation and the mistreatment of the black population. I had seen similarities between this and the abuse of the Red Indians. John liked the theme and we started writing a song with the guitar riff as a strong lead. John and I could write five songs a day if necessary but when we started writing this song it was different – we knew something truly unique was taking place.

Q) When did you give up a career in music to become a pastor? What prompted that change in career?

I had already moved away from the music business and into the media industry. The career change never took place, rather, I evolved. However, there was a distinct heart change. My career in the media is still very active, even though I am a pastor. Business is what I do – a pastor is who I am. The difference between “calling” and career. I trust you understand.

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.

Many thanks to Jack Russell for the use of photos from Pop Gear SA and his personal collection.

The as-yet unnamed Floribunda Rose in Jo'burg, May 1967.
The as-yet unnamed Floribunda Rose in Jo’burg, May 1967.