Jeff Curtis and The Flames

Jeff Curtis & the Flames, circa spring 1963. From left to right: Malcolm Randall, Louis McKelvey, Dave Wigginton, Keith Gardiner, Malcolm Tomlinson and Jeff Curtis

Revised February 2018

Jeff Curtis & The Flames #1 (circa May 1961-May 1962)

Jeff Curtis – lead vocals

Mick Cartwright – lead guitar

Robin “Jesse” James – rhythm guitar

Gary Wheeler – bass

Derek “Dell” Saville – drums

Twickenham born insurance salesman Jeff Curtis (born David Myers; 20 June 1940) had ambitions to be a singer/performer and reportedly put together the original Flames around mid-1961 after singing in a choir.

Little is known about the early Flames. However, according to drummer Dell Saville, Curtis approached him to join a version with three Whitton musicians in mid-1961. These comprised lead guitarist Mick Cartwright, rhythm guitarist Robin “Jesse” James and bass player Gary Wheeler. Curtis ran a short-lived club, the JC Rock Club in the New British Legion Hall on Long Lane, Hillingdon Circus and the musicians played there often, debuting on 26 July 1961. Around May 1962, however, the musicians went their separate ways and Saville joined Ray Dell & The Rocking Deacons. James joined The Downliners briefly.

Advert in Uxbridge Post, 8 November 1961

Curtis started to piece together a new version of The Flames in late 1962/early 1963, starting with Hounslow-based bass player Dave Wigginton (b. 25 February 1943, Isleworth, Middlesex), who held a senior position at an import/export warehouse at London (later Heathrow) Airport during the day, and was working with Twickenham outfit, Johnny & The Pursuers, who played at the JC Rock Club. Thanks to Wigginton’s connections, the new Flames would use the warehouse to rehearse in the evenings. The bass player quickly recommended fellow Pursuers’ guitarist Louis McKelvey (b. 31 October 1943, Killorglin, County Kerry, Eire).

Born above a pub Louis McKelvey came from an artistic background; his mother and father worked in theatre. After boarding at Silverlands House in Chertsey, he attended school in Twickenham, Middlesex, where he was classmates with Don Craine, later of The Downliners Sect fame. McKelvey’s first band was local outfit Johnny & The Pursuers.

Soon after, Curtis recruited rhythm guitarist Keith Gardiner (b. September 1942). In late 1957, when he was 15 years old, Gardiner had befriended 10-year-old drummer John “Mitch” Mitchell at Tudor Rose Youth Club in Southall, Middlesex and had formed a rudimentary band together with guitarist Pete Ross, who subsequently went on to Ealing band, The Flexmen. At the time, Mitchell was attending Jim Marshall’s shop in Hanwell, Middlesex where he was taking drum lessons while Gardiner was taking guitar lessons from top session player, the late Big Jim Sullivan among others.

Wiggington recommended Malcolm Tomlinson (b. 16 June 1946, Isleworth, Middlesex) on drums around December 1962 after seeing him at a local youth club playing with The Panthers. Tomlinson was brought up in Cranford, near London Airport, where his parents worked for British Airways.

A talented musician, who later became a multi-instrumentalist, Tomlinson had attended Spring Grove Grammar School in Isleworth where he was classmates with fellow drummer Mick Underwood, who went on to work with The Outlaws with Ritchie Blackmore among others, and guitarist Tony Bramwell (see later entry). Initially a guitarist, Tomlinson started playing drums in late 1962 and soon proved his natural ability on the kit.

The new formation debuted at Curtis’s Hillingdon club but it soon closed down.

Keith Gardiner says the band opened for The Rolling Stones a couple of times at the Station Hotel in Richmond during February-March 1963 before the club was renamed the Crawdaddy. They also played at the Ealing Club during this period a few times.

Louis McKelvey, Dave Wigginton, Malcolm Tomlinson (partially obscured), Keith Gardiner and Jeff Curtis. Photo: Dave Wigginton

Around March 1963, the musicians completed the new formation with jazz enthusiast, Harrow-on-The-Hill-based sax player Malcolm Randall (b. October 1942, Hendon, Middlesex), who later earned the nickname C B (current bun). Randall’s debut was a gig in Brighton.

Competing with The Rolling Stones, another Ealing Club regular, for local area gigs, Curtis’s band started to travel further afield, including the Whisky A Go Go in Manchester.

During 1963, they backed singer Roly Daniels for a show in Catford in Southeast London.

Wigginton remembers playing a club on Jermyn Street in central London in the early days. He also says the band performed at Chiswick Polytechnic, Wandsworth Polytechnic and Chiswick Town Hall during this period.

After working with a manager who also looked after local group Pete Nelson & The Travellers, Jeff Curtis & The Flames signed to Bob Potter’s agency and started working around the Surrey/Hampshire area, including the Agincourt Ballroom in Camberley.

During this time, they opened for Freddie & The Dreamers at Botwell House in Hayes, Middlesex and Cliff Bennett & The Rebel Rousers at Kew Boathouse among others.

Jeff Curtis & The Flames #2 (Circa December 1962-December 1963)

Jeff Curtis – lead vocals

Louis McKelvey – lead guitar

Keith Gardiner – rhythm guitar, backing vocals

Malcolm Randall – saxophone (joined around March 1963)

Dave Wigginton – bass

Malcolm Tomlinson – drums/backing vocals

Jeff Curtis & The Flames, Walthamstow, north London, January 1963. Interestingly Jeff Curtis is playing the piano. This was before Malcolm Randall joined.

On 1 June 1963, Jeff Curtis & The Flames played their most high-profile gig to date, appearing with a number of local West London bands on the “Rock Twist Jive Channel Crossing”, a rock extravaganza that took place on-board the Channel ferry, the M V Royal Daffodil, which sailed from Southend, Essex to Boulogne. The billing included Tomlinson’s future band leader, Fulham-based singer Jimmy Marsh and his former Spring Grove class mate, Mick Underwood who was playing with The Outlaws and backing the show’s headline act, Jerry Lee Lewis.

Jeff Curtis & the Flames, 1963. Photo courtesy of Keith Gardiner. Left to right: Louis McKelvey, Keith Gardiner, Jeff Curtis, Malcolm Tomlinson, Dave Wigginton and Malcolm Randall
Jeff Curtis & the Flames, 1963. From left: Keith Gardiner, Louis McKelvey, Malcolm Tomlinson, Malcolm Randall, Dave Wigginton and Jeff Curtis (front)
Poster for the Channel Crossing, 1 June 1963. Image courtesy of Keith Gardiner

On 4 October 1963, Jeff Curtis & The Flames were given the opportunity to record some demos. The band (minus Malcolm Randall) cut a four-track acetate at Lansdowne Recording Studios on Lansdowne Road in Holland Park, which comprised covers of Chuck Berry’s “Bye Bye Johnny” and “It Don’t Take But A Few Minutes” (with Lenny Hastings on drums); Robert Allen and Richard Adler’s “Everybody Loves a Lover”; and Bobby Troup’s “Route 66”.

Two tracks were allegedly readied for release as a single for HMV but when this did not happen, Gardiner departed and dropped out of the music scene, although he did briefly sub for Ken Lundgren in The Outlaws at a few gigs.

Years later he formed his own band The Keith Gardiner Band (KGB), which performed around the Shepperton, Middlesex area.

Acid Jazz Records subsequently used one of the recordings for its Rare Mod CD series.

Notable gigs:

Photo: Walthamstow Guardian
Photo: Dave Wigginton. The Flames at Walthamstow Assembly Hall, January 1963

19 January 1963 – Walthamstow Assembly Hall, Walthamstow with The Gallions and Paul & The Alpines (billed as The Flames)

 

9 March 1963 – Hillingdon Club, Sevenoaks, Kent

Photo: Harrow Observer

20 March 1963 – British Legion Hall, South Harrow, Middlesex

Photo: Surrey Comet

3 May 1963 – St Peter’s Hall, Kingston Upon Thames, Surrey with The Sinners (billed as The Flames) First time in Kingston

Photo: Woking Herald

10 May 1963 – Weybridge Hall, Weybridge, Surrey

 

1 June 1963 – Rock Twist Jive Channel Crossing with Jerry Lee Lewis & The Outlaws, The Four Whirlwinds, The Del-Lormes, Johnny Angel, Nero & The Gladiators, Dane Robert, Vicki Rowe, Ricky Valance, The Fabulous Fleerekkers, Colin Chapman and Jimmy Marsh

Photo: Surrey Comet

14 June 1963 – St Peter’s Hall, Kingston Upon Thames, Surrey with Tony Clayton & The Impalas (billed as The Fabulous Flames with saxophone backing)

20 July 1963 – Walton Hop, Walton-on-Thames, Surrey

At Silver Blades Ice Rink, The Streatham News, August 2, 1963
At Silver Blades Ice Rink, The Streatham News, August 2, 1963

2-3 August 1963 – Silver Blades, Streatham, London

28 September 1963 – Agincourt Ballroom, Camberley, Surrey with Allen & The Blue Diamonds (billed as The Flames) According to Keith Gardiner who is in touch with the guitarist from Tommy Bruce’s band, The Flames actually played on 29 September as the opening act

Photo: Walthamstow Guardian

12 October 1963 – Walthamstow Assembly Hall, Walthamstow with Mel James & The Meltones and Jimmy Ritchie Combo (billed erroneously as Jess Curtis & The Flames)

30 November 1963 – Walton Hop, Walton-on-Thames, Surrey

Jeff Curtis & The Flames #3 (December 1963-July 1964)

Jeff Curtis – lead vocals

Louis McKelvey – lead guitar

Ray Soper – organ

Malcolm Randall – saxophone

Dave Wigginton – bass

Malcolm Tomlinson – drums/backing vocals

Jeff Curtis replaced Keith Gardiner with Putney, Surrey-based organist Ray Soper (b. 9 May 1941, Battersea, London), who would play with The Flames on several occasions over the next two years, venturing off to perform with various other local groups. Soper had gone to Sir Walter St John Grammar School in Battersea, south London and started playing classical piano at six years of age. In 1959, when he was 18 years old, Soper began working with local rock groups in the Chelsea area.

Around February 1964, the band did a demo session with Decca Records in West Hampstead but nothing came from it.

After leaving Bob Potter’s agency, Jeff Curtis & The Flames got work with the Roy Tempest agency. The new line up continued to gig widely but Tomlinson started to get bored.

In mid-summer the drummer took up an offer from former Fairlanes lead singer Jimmy Marsh, who he’d met on the cross Channel gig the previous summer, to join his new band, The Del Mar Trio. Tomlinson subsequently went on to play with The Noblemen, The Motivation, The Penny Peeps and Gethsemane before immigrating to Canada in January 1969 and continuing his musical career there. He subsequently worked with the likes of Bill King and Rick James among others and cut two solo albums in the late Seventies.

Notable gigs:

1 February 1964 – Hermitage Ballroom, Hitchin, Herts with The League of Gentlemen and The Dyaks

Photo: Walthamstow Guardian

29 February 1964 – Walthamstow Assembly Hall, Walthamstow with Pat McQueen Combo and The Preachers

Opening for the Rattles, March 14, 1964
Opening for the Rattles, March 14, 1964

14 March 1964 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Rattles (billed as Geoff Curtis & The Flames)

26 March 1964 – Ealing Club, Ealing, Middlesex

 

2 April 1964 – Ealing Club, Ealing, Middlesex

4 April 1964 – King’s Hall, Aberystwyth, Wales

5 April 1964 – Southall Community Centre, Southall, Middlesex with The Rattles

9 April 1964 – Ealing Club, Ealing, Middlesex

16 April 1964 – Ealing Club, Ealing, Middlesex

23 April 1964 – Ealing Club, Ealing, Middlesex

30 April 1964 – Ealing Club, Ealing, Middlesex

 

2 May 1964 – Silver Blades, Streatham, London

14 May 1964 – Rocky Rivers Top 20 Club, Conservative Club, Bedford

18 June 1964  – Majestic Ballroom, Luton, Beds with Peter’s Faces

Jeff Curtis & The Flames #4 (July 1964-January 1965)

 Jeff Curtis – lead vocals

Louis McKelvey – lead guitar

Malcolm Randall – saxophone

Ray Soper – keyboards (left around September 1964)

Dave Wigginton – bass

Pete Burt – drums

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Jeff Lake – saxophone (joined around September 1964)

The band’s new drummer was Pete Burt (b. 20 August 1946, Redhill, Surrey), younger brother of Mick Burt, sticks man with Cliff Bennett & The Rebel Rousers, who answered an advert in the music press. Brought up in South Harrow, Middlesex where he attended Roxeth Manor School, Burt had previously played with a non-professional band that started life at Botwell House, Hayes backing singer Robert (Bob) Chambers.

In an amazing twist of fate, the lead guitarist in the band was Tony Bramwell, Pete Burt’s predecessor Malcolm Tomlinson’s former class mate from Spring Grove Grammar School in Isleworth. The band played a couple of gigs before splitting up around mid-1964. Bramwell then went on to play with local bands, The Fantoms, The Fantom Creed, The Sheratons and The Hum Drum Band.

Sometime in August, the band auditioned for Joe Meek for the first time.

Clockwise from bottom left: Dave Wigginton (bass), Malcolm Randall (sax), Pete Burt (drums), Jeff Curtis (vocals), Jeff Lake (sax) and Louis McKelvey (guitar). Photo: Dave Wigginton

Around late September 1964, Ray Soper was sacked and Malcolm Randall introduced his friend, sax player Jeff Lake. Soper immediately found work with Buddy Britten & The Regents alongside future Deep Purple bass player Nick Simper. He would then work with Cyrano & The Bergeracs, where he reunited with Simper in 1965 but would remain on the fringes of The Flames.

Shortly after Jeff Lake’s arrival, the band returned to Lansdowne Recording Studios in October 1964 to record a two-track demo that included a cover of Solomon Burke and Bert Berns’ “Down In The Valley”.

McKelvey, however, was also growing restless and departed in early January 1965. On the afternoon of his wedding day (most likely in June 1965), he headed to Germany to reunite with former Jeff Curtis & The Flames drummer Malcolm Tomlinson, who was working with James Deane & The London Cats. The guitarist gigged with The London Cats for about a month before returning to London.

Then, around September 1965, McKelvey travelled to South Africa and ended up recording with The Upsetters and The A-Cads. In April 1966, The A-Cads moved to the UK to work with producer Mickie Most but when nothing happened, the guitarist moved to Montreal in September. Based in Canada, McKelvey recorded with Our Generation and Influence before returning to the UK in July 1968 briefly.

Back home he reunited with former Jeff Curtis & The Flames drummer Malcolm Tomlinson. The pair relocated to Toronto in January 1969 where they formed Milkwood and recorded an unreleased album with legendary producer, the late Jerry Ragavoy for Polydor Records. McKelvey would subsequently work with Toronto bands, Damage (alongside Tomlinson) and Powerhouse and record with Marble Hall. He currently lives in Toronto.

Notable gigs:

2 July 1964 – Majestic Ballroom, Luton, Beds with The All Stars

10 July 1964 – Berkhamsted Town Hall, Berkhamsted, Herts

11 July 1964 – Hermitage Ballroom, Hitchin, Herts with Clouds

18 July 1964 – Marcam Hall, March, Cambridgeshire

 

1 August 1964 – The Gaiety, Ramsey, Cambridgeshire with The Swinging Sounds

6 August 1964 – Rocky Rivers Top 20 Club, Conservative Club, Bedford, Bedfordshire

29 August 1964 – Hermitage Ballroom, Hitchin, Herts with Kit & The Saracens

8 October 1964  – Majestic Ballroom, Luton, Beds with The Roulettes

5 December 1964 – Hermitage Ballroom, Hitchin, Herts with The Midniters

8 December 1964 – Floral Hall, Gorleston-on-Sea, Norfolk

19 December 1964 – Ealing Club, Ealing, Middlesex with The Hobos

 

2 January 1965 – St George’s Hall, Exeter, Devon with Roger & The Sabres (billed as The Flames)

3 January 1965 – Majestic Ballroom, Luton, Beds with The Mojos

Jeff Curtis & the Flames, late ’64. From left: Louis McKelvey, Jeff Curtis, Dave Wigginton, Pete Burt (front on drums), Jeff Lake and Malcolm Randall.

Jeff Curtis & The Flames #5 (January-February 1965)

Jeff Curtis – lead vocals

Dave Caralambous (aka Dave Carol) – lead guitar

Jeff Lake – saxophone

Malcolm Randall – saxophone

Dave Wigginton – bass

Pete Burt – drums

Dave Marcus Theos Michael Caralambous aka Dave Carol (b. Dave Charalambous, 14 January 1949, Isleworth, Middlesex) was brought up in nearby Twickenham. His first band was The Drovers, which he joined around 1962 and also included rhythm guitarist Richard Allen and drummer Geoff Coxon, who would feature in The Flames’ history in later years when they changed name to The Kool.

In late 1963, The Drovers changed name to The Smokestacks after lead singer Mike Smith joined and Brian Hosking from Twickenham band, The Legend, joined on bass. The Smokestacks became resident band at the 51 Club in central London. In the summer of 1964, Carol joined Hounslow band, The Valkeries and remained with them until January 1965 when he joined The Flames. He was also in the same class at school as McKelvey’s younger sister. Carol says he made his debut at the Locarno Ballroom in Swindon.

The changes, however, didn’t end there. Sax player Malcolm Randall left in early February and subsequently joined Bognor Regis band Beau Brummell & The Noblemen for about six months. In July 1965, he jumped ship to join Manchester’s Playboys.

While with that band, Randall appeared on an excellent soul single for Fontana – “I Feel So Good” c/w “I Close My Eyes”. In an incredible twist of fate, during late 1966, Malcolm Randall was playing with Manchester’s Playboys at Liverpool’s Cavern Club when he saw the latest version of The Noblemen on stage and was amazed to see his former Jeff Curtis & The Flames compatriot Malcolm Tomlinson playing drums!

After leaving Manchester’s Playboys in mid-1968, Malcolm Randall moved to Cambridgeshire and ended up working with Red Express during the 1970s, which later morphed (after Randall had left) into Shakatak. He then worked with Sindy & The Action Men among others.

In need of a replacement, Jeff Lake introduced his friend from Harrow – George Russell.

Notable gigs:

11 January 1965 – Locarno Ballroom, Swindon, Wiltshire with Sonny Childe & The Elders Consolidated

22 January 1965 – Majestic Ballroom, Newcastle upon Tyne, Tyne & Wear

23 January 1965 – Marcam Hall, March, Cambridgeshire with The Fourmost

28 January 1965 – Majestic Ballroom, Luton, Bedfordshire with Johnny Thunder & The Thunderbirds

 

13 February 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Searchers and Rodgers Lodgers (possibly one of George Russell’s first gigs)

Jeff Curtis & the Flames listed as one of the Roy Tempest Organisation’s Top 20 for 1965

Jeff Curtis & The Flames #6 (February-April 1965)

Jeff Curtis – lead vocals

Dave Caralambous (aka Dave Carol) – lead guitar, vocals

Jeff Lake – saxophone

George Russell – saxophone

Dave Wigginton – bass

Pete Burt – drums

With two of the early band members gone, including his former band mate from Johnny & The Pursuers, Louis McKelvey, Dave Wigginton handed in his notice and agreed to work until mid-April. His replacement was Ray Brown (b. 1944, Hayes, Middlesex), who ended up buying Wigginton’s pink Fender Precision bass. Having rehearsed with Jeff Curtis’s band since January, Brown made his debut with Jeff Curtis & The Flames at Walthamstow Assembly Hall on 24 April.

Photo: Walthamstow Guardian

Brown started with the Sky Blue Skiffle Group in 1956 and two years later appeared on BBC TV’s Carol Levis Junior Discoveries. In 1961-1962, he worked with Hayes band The Preachers and also spent a brief period in a short-lived group with Nick Simper. Soon after joining The Flames, Brown and his school friend Steve Reading from the Sky Blue Skiffle Group wrote and sang backing vocals on “Heart Full of Sorrow” by Heinz, which was released on Columbia in November 1965.

Notable gigs:

28 February 1965 – Olympia, Cromer, Norfolk with Circuit Five

5-6 March 1965 – Boulevard, Tadcaster, North Yorkshire with The McCoys

At the Starlight Room, Boston, April 3, 1965 with the Barron Knights
At the Starlight Room, Boston, April 3, 1965 with the Barron Knights

3 April 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Barron Knights

9 April 1965 – California Ballroom, Dunstable, Bedfordshire with The Escorts and Beaux Maverix (billed as Geoff Curtis & The Flames)

10 April 1965 – Floral Hall, Gorleston-on-Sea, Norfolk with Confessors

17 April 1965 – The Gaiety, Ramsey, Cambridgeshire with The Sons of Adam

Jeff Curtis & The Flames #7 (April-July 1965)

Jeff Curtis – lead vocals

Dave Caralambous (aka Dave Carol) – lead guitar, vocals

Jeff Lake – saxophone

George Russell – saxophone

Ray Brown – bass

Pete Burt – drums

The new line up gigged around the country and on 9 May appeared on the same bill as Beau Brummell & The Noblemen (featuring former member Malcolm Randall) at the Majestic Ballroom in Luton.

A few days after a gig at Clacton Town Hall with Cops ‘N’ Robbers in late June, Jeff Lake and George Russell took a holiday (a trip to Frankfurt to visit former member Malcolm Randall who was playing with Beau Brummell & The Noblemen), which didn’t go down well with singer Jeff Curtis.

Curtis had a band rule that the musicians all had to take a two-week summer holiday at the same time, usually in August. On their return in July, the two sax players were told their services were no longer needed.

Lake subsequently played with a number of local bands before reuniting with former Jeff Curtis & The Flames member Malcolm Randall as road manager for Manchester’s Playboys, which included their Swedish trip in September 1967. On his return, he joined Tommy Bishop & The Rock ‘N’ Roll Revival Show and appeared on the 1968 Decca single “Midnight Train” c/w “Oh Boy”.

Russell joined Hayes, Middlesex band, The Satellites in mid-1966, who changed name to The Army later that year. The band also included future Sweet bass player Steve Priest and cut two recordings in 1967 – covers of the Joe Tex hit “Sugar” and Sam & Dave’s “You Don’t Know Like I Know”. Russell remained with The Army until late 1968/early 1969. He subsequently gigged with Orange Rainbow before moving to Australia. He later returned to live in Hertfordshire.

Notable gigs:

Ray Brown's first gig with the band, April 24, 1965
Ray Brown’s first gig with the band, April 24, 1965

24 April 1965 – Walthamstow Assembly Hall, Walthamstow, London

29 April 1965 – Rocky Rivers Top 20 Club, Conservative Club, Bedford (back by demand)

1 May 1965 – Carfax Ballroom, Oxford with The Gangbusters

3 May 1965 – Radlett (most likely Radlett Centre), Hertfordshire

7-8 May 1965 – Silver Blades, Streatham, London

9 May 1965 – Majestic Ballroom, Luton with Beau Brummell & The Noblemen (former member Malcolm Randall on sax with The Noblemen)

15 May 1965 – Malvern Winter Gardens, Malvern, Worcestershire with Eric Benson & Orchestra

22 May 1965 – Manor Lounge, Stockport, Greater Manchester with The Thingumajigs (Stockport County Express) Gig cancelled

29 May 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Hollies and The Red Squares

 

11 June 1965 – California Ballroom, Dunstable (replaced one of the billed acts)

12 June 1965 – Rivoli Ballroom, Brockley, London

18 June 1965 – USAF base, South Ruislip, London

25 June 1965 – USAF base, High Wycombe, Buckinghamshire

26 June 1965 – Clacton Town Hall, Clacton-on-Sea, Essex with Cops ‘N’ Robbers (last gig with Jeff Lake and George Russell)

 

1 July 1965 – Ealing Club, Ealing, London (reduced to four piece)

3 July 1965 – Hermitage Ballroom, Hitchin, Hertfordshire with Peter Fenton & The 3,000

4 July 1965 – Woodhall Community Centre, Welwyn Garden City, Hertfordshire

August 1965, from left: Jeff Curtis, Ray Soper, Dave Carol, Pete Burt and Ray Brown. Photo courtesy Ray Soper
When they were just being billed as The Flames. Photo courtesy Ray Soper. From left: Ray Soper, Dave Carol, Pete Burt, Ray Brown and Jeff Curtis

Jeff Curtis & The Flames #8 (July 1965-May 1966)

Jeff Curtis – lead vocals

Dave Caralambous (aka Dave Carol) – lead guitar, vocals

Ray Soper – keyboards

Ray Brown – bass

Pete Burt – drums

On 5 July, Jeff Curtis auditioned two sax players to replace Jeff Lake and George Russell but decided against keeping the horns and instead invited former member Ray Soper to re-join the band on keyboards. Soper had been playing with future Deep Purple bass player Nick Simper in Cyrano & The Bergeracs for several months and then a group formed by the lead singer of The Gobbledegooks but had helped out at the auditions in January 1965, which had brought in Carol and Brown.

Ray Brown had a prearranged week’s holiday from 10-17 July and his predecessor Dave Wigginton returned to honour engagements in his absence, which included a gig at the Ticky Rick Club in Basingstoke, Hants on 17 July. With Brown back from his holiday, the five-piece rehearsed on 21 July before playing their first gig together at Luton’s Majestic Ballroom where there was a bomb scare.

Often billed as simply “The Flames”, the new line up lasted nearly a year (although Soper left in November briefly to work with a Casino band on the Isle of Man, which lasted a week before he returned).

Pete Burt, who worked as a window cleaner when The Flames weren’t gigging, got a window cleaning job with British rock ‘n’ roll legend, Johnny Kidd, who had split from his longstanding backing band, The Pirates on 19 April 1966. Kidd offered The Flames some work to fulfil his outstanding dates.

During late April/early May 1966, The Flames spent about a week  backing the singer, including playing a gig at Chatham Dockyard Naval base, but the arrangement did not suit either party.

Around this time, The Flames returned to Lansdowne Studios to cut two original recordings – the David Myers/Ray Brown collaborations, “Room at the Top” and “I Ain’t The Fool”. The former was later cut by the band’s new identity, The Kool, in the summer of 1967. They also did a second audition with Joe Meek.

After Ray Soper was ousted from The Flames in May, he decided to stick with Kidd and formed a new version of The Pirates. The New Pirates (as they were called) supported Johnny Kidd throughout the summer but Soper stopped playing with the band in August. Two months later, he joined Bristol band, The Denims who were playing US bases in France. After working in Strasbourg for two months as The Headline News, he returned to the UK in April 1967.

Three months later, Soper found work playing in a band on the Cunard Cruise liner Carmania, which travelled between Southampton and Montreal on a six-week passage. Marrying a Canadian, he subsequently immigrated to Canada in 1970 and until recently played with The Dusty Roads Band from his home in Ontario. He also works as a film extra.

Notable gigs:

17 July 1965 – Ricky Tick Club, Carnival Hall, Basingstoke, Hants (Dave Wigginton fills in for Ray Brown)

22 July 1965 – Majestic Ballroom, Luton, Bedfordshire (RayBrown returns and Ray Soper’s first gig back with the band)

24 July 1965 – Locarno Ballroom, Swindon, Wiltshire with The Rising Sons

Photo: Leicester Mercury

25 September 1965 – Il Rondo, Leicester

Photo: Windsor, Slough & Eton Express

2 October 1965 – Adelphi Ballroom, Slough, Berkshire

30 October 1965 – Woodhall Community Centre, Welwyn Garden City, Hertfordshire

Photo: Surrey Comet

11 November 1965 – Byron Hotel, Greenford, London with The Keystones (billed as The Flames)

Jeff Curtis & The Flames were featured in the Surrey Comet‘s 13 November 1965 issue but it was full of factual errors (above)

9 December 1965 – Byron Hotel, Greenford, London with the Harmonies

16 December 1965 – Ealing Club, Ealing, London

18 December 1965 – Adelphi Ballroom, Slough, Berkshire

24 December 1965 – Woodstock Roadhouse, North Cheam, London

 

1 January 1966 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Nashville Teens and The Game

13 January 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)

22 January 1966 – Locarno Ballroom, Swindon, Wiltshire with Plain and Fancy

12 February 1966 – California Ballroom, Dunstable, Bedfordshire with Goldie & Dave Antony’s Moods and The Game

17 February 1966 – Byron Roadhouse, Greenford, London with The Mode (billed as The Flames)

 

31 March 1966 – Byron Roadhouse, Greenford, London with The Legends (billed as The Flames)

Photo: Windsor, Slough & Eton Express

23 April 1966 – Adelphi Ballroom, Slough, Berkshire

 

7 May 1966 – Locarno Ballroom, Swindon, Wiltshire with The Ying Yongs and The Cotswold Stones (one of Ray Soper’s final gigs)

Publishing contract for “Room at the Top” and “I Aint the Fool”, May 1966 courtesy of Ray Brown
Headline News, circa late 1966. Ray Soper is second from left

Jeff Curtis & The Flames #9 (May 1966-August 1967)

 Jeff Curtis – lead vocals

Dave Carol – lead guitar, vocals

Jet Hodges (aka Richard Hodgins) – keyboards, vocals

Ray Brown – bass

Pete Burt – drums

The remaining members brought in Richard Hodgins, a keyboard player from Shepperton, Surrey, who used the stage name, Jet Hodges. Originally a bass player, Hodges had taken up music full time after training to be an architect.

Increasingly, the band moved away from using the name, Jeff Curtis & The Flames for live shows and often went by the name, The Jeff Curtis Set or just The Flames. One of the highlights from this period was opening for Ike & Tina Turner when they played at the California Ballroom in Dunstable.

In late 1966, rock promoter and entrepreneur Mervyn Conn, started to represent the band. In December 1966, he added Jeff Curtis & The Flames to a Who concert in Sunderland and renamed the band The Kool for this one-off gig, although the group didn’t appear at the venue.

After signing to CBS Records, Conn decided that The Kool was more representative of the band’s evolving sound and renamed them as the band’s debut single hit the shops.

Notable gigs:

11 June 1966 – Corby Civic Centre, Corby, Northamptonshire with Two of Each (billed as The Flames)

 

20 August 1966 – Locarno Ballroom, Swindon, Wiltshire with The Showmen

Photo: Paul Quinton

2 September 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)

3 September 1966 – Maple Ballroom, Northampton with Sexion A (billed as The Flames)

18 September 1966 – White Lion, Edgware, London (billed as The Flames)

24 September 1966 – Drill Hall, North Cheam, London with The Fourtunes

Photo: Paul Quinton

2 October 1966 – Prince of Wales, Kinsbury, London

22 October 1966 – California Ballroom, Dunstable with Ike & Tina Turner Revue & The Ikettes (with others)

24 October 1966 – Tiles, Oxford Street, London with Edwin Starr

Photo: Paul Quinton

30 October 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)

 

5 November 1966 – Locarno Ballroom, Swindon, Wiltshire with The Undertakers and Some Other Guys. Billed as The London Flames (Jeff Curtis)

10 November 1966 – Byron Roadhouse, Greenford, London with The Boots (billed as The Flames)

Photo: Paul Quinton

12 November 1966 – Drill Hall, North Cheam, London with 5 Steps Beyond (billed as The Flames)

Photo: Windsor, Slough & Eton Express

13 November 1966 – Adelphi Ballroom, Slough, Berkshire

18 November 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)

 

10 December 1966 – Empire Theatre, Sunderland, County Durham with The Who, Dave Berry, She Trinity, The Slade Brothers and The Peddlers (billed as The Kool but band did not appear)

18 December 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)

 

15 January 1967 – White Lion, Edgware, London (billed as The Flames)

28 January 1967 – Queens Hall, Watton, Norfolk with The Eyes of Blond and The Bohemians

 

19 February 1967 – Kingsway Theatre, Hadleigh, Essex (billed as Flames)

 

9 March 1967 – Upper Cut, Forest Gate, Essex with The Style (billed as Jeff Curtis Set)

27 March 1967 – Woodstock, North Cheam, London with The Starfires (billed as The Flames)

 

9 June 1967 – California Ballroom, Dunstable, Bedfordshire with Allen Bown Set (billed as Geoff Curtis Set)

The Keith Gardiner Band, July 2011

Many thanks to Dave Wigginton, Keith Gardiner, Louis McKelvey, Malcolm Tomlinson, Pete Burt, Dave Carol, Malcolm Randall, Ray Soper, Jeff Lake, Ray Brown, George Russell, Jimmy Marsh, Ian Hannah, Brian Hosking, Richard Bennett and Tony Bramwell.

Concert adverts taken from a number of newspapers including the Ampthill News & Weekly Record, Lincolnshire Standard, the Luton News, the Streatham News, the Surrey Comet, Walthamstow Guardian, Exeter Express & Echo, Cambridgeshire Times, Yarmouth Mercury, Middlesex County Times and West Middlesex Gazette, Hertfordshire Express, Hants & Berkshire Gazette, Hounslow Post, NME, Sevenoaks Chronicle, Westerham Courier and Kentish Advertiser and Melody Maker.

Huge thanks to Dave Wigginton, Keith Gardiner, Louis McKelvey, Malcolm Randall, Jeff Lake, Ray Brown and Ray Soper for photos.

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

Page 3 of the Jerry Lee Lewis Channel Crossing Programme
Page 3 of the Jerry Lee Lewis Channel Crossing Programme
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Page 6 of the Jerry Lee Lewis Channel Crossing Programme
Page 7 of the Jerry Lee Lewis Channel Crossing Programme
Page 7 of the Jerry Lee Lewis Channel Crossing Programme

Danny and the Counts

Danny and the Counts photo and article
Danny & the Counts featured in the KELP Paper shortly after their second single. From left: Eric Huereque, Joe “Bozo” Martinez, Joe Huereque, Danny Parra and Javier “Jaguar” Valenzuela

Danny and the Counts Frogdeath 45 For Your LoveDanny Parra – guitar and lead vocals
Javier Valenzuela – lead guitar and vocals
Eric Huereque – bass and vocals
Joe Huereque – drums
Joe Martinez – tambourine and vocals

Danny and the Counts “You Need Love” is a signature tune of the mid-60s, with its unforgetable buzzing guitar riff and opening “Oh, yeah!”. Not to mention the cool bending lick after the chorus, or the lyrics about seducing a rich girl. The b-side “Ode to the Wind” is slower and moody, again with good fuzz guitar.This was their second single, from 1966, on the Coronado label. Danny Parra wrote both songs. Chiyo Music BMI published many of Coronado’s releases at this time.

Danny and the Counts Frogdeath 45 It's All OverTheir first 45 was more sedate. “For Your Love” is the Ed Townsend ballad, not the Yardbirds song, and on the flip is another mellow one, “It’s All All Over”. KELP DJ Steve Crosno’s Frogdeath label released this single.

The band consisted of Danny Parra, the song writer and lead vocalist, plus the Huereque brothers and (I believe) their cousin, Javier Valenzuela, along with Joe Martinez on tambourine and backing vocals. They were from the Clardy neighborhood in the east side of El Paso, along Delta Drive. The article by Susie Dominguez in the the KELPaper states that the band formed two years before “You Need Love”, though I’ve also read that the band formed as early as 1960, originally performing soul and Tejano music. The article also says that both Javier Valenzuela and Danny Parra played lead guitar.

After these records, Danny Parra went into the Navy and Ken Prichard joined on lead guitar. I’ve also seen two other members listed, but don’t know the accuracy of these: Javier Venisula – organ (same person as Javier Valenzuela?) and Irene Porras – vocals.

Ken Prichard later joined Brand X. Danny Parra moved to California. Eric Huereque passed away in 2003 at the age of 56.

Danny and the Counts Coronado 45 You Need LoveSince first posting this I’ve heard from “Danny”, front man Danny Parra:

Although I was indeed interested in R&B type music back in the day, it was an absolute nightmare to put together and organize a large (8-12) R&B band in El Paso that could ever hope to compete with the likes of The Night Dreamers, The Valiants, The Premiers, etc. which were all fantastic bands in that genre of music in El Paso. One summer after a dismal year of trying to pull together R&B bandmates for rehearsals and even actual gigs to perform I’d pretty much gave up the quest for a large band with a powerhouse brass section.

My interests and my best friend Eric Huereque started to notice the music trends going on in England via the Beatles and Stones, etc. Not only was their music cool and different but their groups were usually only four or five guys! Much more attainable we thought ….. so we one summer Eric and I were jamming on guitars and we noticed Eric’s little brother Joe drumming in the corner of the room with a couple of yellow lead pencils …. and keeping pretty good time at that. We eventually enlisted (after much persuasion) him to try learning some basic beats for our jam sessions. Took a while but we encouraged him.

Spurred on by by his potential and the knowledge that at least we could count on him showing up for practice we realized Eric’s cousin Javier Valenzuela was also an aspiring guitar player and that we might be able to recruit him if an audition proved him viable. Note that at this time the big draw of the eventual band’s members was that most keys guys were Eric’s family and therefore more dependable in contrast to the people we had been trying to recruit and pull together as a viable band from all walks of life and all parts of sprawling El Paso!

Danny and the Counts Coronado 45 Ode to the WindSomehow, after countless hours of practice (weeks, months, lifetimes it seemed sometimes) and many horrible and worse experimental gigs we started to focus more on the “English sound” and less on R&B. To make a name for ourselves with this new image and music direction was a herculean task in El Paso because we were all latinos. If you were a band with latinos it was expected that you played only R&B style music back in those days.

Up to this time we had a first record under our belt which was recorded on Steve Crosno’s Frog Death label. We recorded “For Your Love” / “It’s All Over” in a single live take in Steve’s home without a drummer! Unbelievable! The recordings were meant to be a dry run but Crosno decided to put them on vinyl since he could promote them on KELP airwaves where he pretty much reigned as the biggest disc jockey around in those days.

Interestingly, our “For Your Love” was released at the same time the Righteous Brothers released the same song nationwide and the two records were being played back-to-back on KELP. In short order, both records made it up to number ten on KELP’s top 20. KELP published a brochure listing of popular records and music events found all over town that I wish I’d kept a copy of!

Although we got some modest notoriety because of his help on KELP and numerous appearance on his TV “Crosno’s Hop” show, we ultimately made it clear to him [Crosno] that we wanted to pursue the English music trends as a group and abandon R&B. He wasn’t happy about this because his whole market niche was R&B …. so we had an eventual parting of the ways. We produced and recorded our next record “You Need Love” / “Ode to the Wind” using the Coronado label and our own funds.

I’ve seen many comments & references of people who liked our music but were not impressed by the “production” and/or “sound quality” of the tunes. Guess what? These have been very accurate statements since the songs were recorded as live single takes in a dumpy downtown El Paso recording studio for the princely sum of $75.00 (included master tape). The fee was for an hour of recording studio time with a very bored, spectacled, bald geezer that was truly bored out of his gourd during our session. Did he kick up our audio or segregate the instruments and vocals for a sweeter mix? Hell no! What you hear on those tracks was raw, one take, wham-bam-thank-you-maam sounds. We didn’t know any better and the audio engineer simply didn’t care squat or know any more than we did! He might’ve even been the janitor for all we knew.

Q. Is that you playing the lead guitar line on “You Need Love” or Javier?

It was Javier. Many have assumed over the years that the sound was a sitar but I can assure you that we didn’t even know what a sitar was in those days. I recollect that he used either a small glass bottle or lipstick cover on his finger as a “slide” to get that sitar-sound you hear. The fuzztone sound was one of the few guitar effects available back then … made trendy by the Rolling Stones on “Satisfaction”.

Our tape was sent through Steve Crosno’s contacts. He was a bit reluctant to help at first because we weren’t following his R&B recommendation on his FrogDeath label, but he was still cool enough to get it pressed for us with Coronado.

Ironically, I am astounded and flattered that our music seems to somehow endured through other band’s interpretations on their albums and through some compilation albums that you can still buy today that showcased much of the music happening in those days in Texas. There have even been some interesting video efforts (YouTube) made to fit our music. Hmmm, wonder where that audio engineer dude ended up after all these years?

I was drafted in late 1966 (Vietnam) and ended up serving eight years serving my country (Navy) all over the world …. including London, England. Moved with family to California, worked for years as an electronics engineer. Due to a layoff (1985) re-invented and established myself as a much published fashion and beauty photographer in L.A. and authored a book “Model Mystique Unraveled” in 1995-96.

I regret that I lost touch with the band after going in the service after 1966. But I heard that Eric (bass/manager) perpetuated the band for years in spite that I was obviously missing as the frontman!

Article scan from Rick Kern’s El Paso Musicians site, used with permission. Photos of the Frogdeath single courtesy of Danny Parra. A special thank you to Oktay for the scans and help with this article, and to Sam Stephenson for letting me hear “For Your Love” and “It’s All All Over”.

Coronado discography

Beach Nuts Coronado PS The Last Ride / Surf Beat '65

Coronado discography of El Paso, Texas
(possibly incomplete, any help would be appreciated):

The first release on the maroon Coronado label seems to be the Pawns / David Hayes 45 which was given the same release number, 127, as the original issue on Exeter 127. See my article for more on David Hayes and the Pawns.

David Hayes & the Pawns Coronado 45 What do the Voices SayStarving Cats Combo Coronado 45 I'm Hungry

Maroon label:

127 – The Pawns – “Lonely” (J. Watkins) / David Hayes – “Meet Me Here (in New Orleans)”
128
129
130
131 – The Beach Nuts – “The Last Ride” / “Surf Beat ’65” (with picture sleeve)
132 – David Hayes and the Pawns – “Lonely Weekends” / “What Do the Voices Say” (1965, produced by Calvin Bowls)
133 – Celtics – “Man That’s Gone Mad” (Chesshire, Gordon, Daniel) / “Wondering Why”
134
135 – The Starving Cats Combo – “I’m Hungry” (Jess Diamond) / “Mi Amor Se Fue”
136 – Danny & The Counts – “You Need Love” / “Ode To The Wind” (1966)
137
138
139 – Gene Willis & the Aggregation – “We Got It” / “Shing-A-Ling’s The Thing” (produced by E. Benevidas and Barney Krupp)
140 – El Paso Drifters – “Could This Be Love” / “For Your Love”
Donald Ray Coronado 45 ShakeDoug Adams Coronado 45 I Can't Wait to See You

Yellow label with conquistador heads:

141 – The Motivaters – “Ode to Loneliness” (Doyle Young) / “Heart of Blue” (1968, produced by Charlie Russell)
142 – Doug Adams with Early Morning Traffic – “I Can’t Wait to See You” / “Hontusharaya”
143 – The El Paso Drifters – “All In My Mind” / “In The Midnight Hour”
144
145 – Mitch ‘n Gary – “Do I Ever Cross Your Mind” (Mitch Mosley) / “My Juarez Rita” (R. Sims) 1969, prod. asst. Kurt Roehm, guitar arr. Aquiles Valdéz
146 – Donald Ray & the El Paso Chessmen – “Shake” / “I Love You” (both arranged by Donald Ray and Danny Padilla, engineer Kennety Smith)
147 – Donald Ray & the El Paso Chessmen – “Can’t You See That I Love You” / “Cry Like A Baby” (arranged by Donald Ray & Larry Serrano, 1968)
148 – Charlie Russell & the Jones Hatband – “Love Gone Bad” / “Sometimes I Wonder” (both by A.L. Baker, Chiyo Music BMI, producer Johnny Dollar)
149
150 – Larry & The Knightsmen – “Selva” / “A New Acquaintance”

Charlie Russell & the Jones Hatband labels list Ron Martin bass, Conrad Morales drums, Allan Harvey steel guitar.

Beach Nuts and leader Tommy Elliot mentioned in the Herald Post in May, 1966
Beach Nuts and leader Tommy Elliot mentioned in the Herald Post in May, 1966
Leon Jones of the El Paso Drifters, August 1969
Leon Jones of the El Paso Drifters, August 1969

El Paso Drifters, Nite Dreamers, Preludes, El Paso Coliseum, August 31, 1963
El Paso Drifters, Nite Dreamers, Preludes, El Paso Coliseum, August 31, 1963
El Paso Drifters opening for Sunny Ozuna & the Sunliners December 25, 1970
El Paso Drifters opening for Sunny Ozuna & the Sunliners December 25, 1970

The El Paso Drifters are listed as appearing at a show with the Nite Dreamers and the Preludes at the El Paso Coliseum in 1963. They also appear on the Steve Crosno Day LP recorded on July 9, 1967 doing an upbeat version of the Five Keys’ “Close Your Eyes”. From 1969 until the late ’70s, the El Paso Herald Post lists them many times for live appearances, but only one article mentions a member of the band, Leon Jones. Other members were Carlos Flores, Martha Sifuentes (vocalist on “All In My Mind” and Danny Padilla, who also arranged the first Donald Ray & the El Paso Chessmen single on Coronado.

The Motivators 45 is interesting psychedelia. The group had an earlier 45 on Lin Jo Records, “Hold It” / “Soft Wind” as D-Y and the Motivators. D.Y. stood for Doyle Young, who wrote both instrumentals on the Lin Jo single and “Ode to Loneliness” for the Motivators on Coronado. Another member of the Motivators was drummer Gene Bailey. Doyle Young would have a third single as Doyle Young and Friends on Suemi Records, “The Middle of Love” / “Sunshine Love”

There was another, unrelated Coronado label from Odessa, Texas with a couple releases on a blue Coronado label, and connected to the Coronodo label:

111 – Jan Lessard – “I Just Met You” (J. Lessard, J. Wilson) / “Faithful Fool” (McNew Prod, 1964)
112 – Eddie Williams & the Sheiks – “You Left Your Happiness (Here in My Room)” (Eddie Williams) / “I Just Can’t Help Myself” (C. Gibson, Monte Mead) (McNew Prod, 1964)

Coronodo 001 – Johnny Wilson – “Twi-light Zone” / “Little Miss Fortune” (Expoloring in Sound, Coronado Recording Studios … Heart of the Hills Publishing).

Thank you to Westex, Laurent Bigot, Ken Prichard, Sam Stephenson and Michael Robinson for help on this discography.

The Bacardis – The Light Brigade

The Light Brigade at the Illini Brown Jug in Champaign, Illinois
The Light Brigade at the Illini Brown Jug in Champaign, Illinois clockwise from top: Chuck Miller, Tom Becker, Larry Walters, Charlie Leeuw and Bill Throckmorton

The Bacardis 45 on Midgard, “This Time” / “Don’t Sell Yourself” is one of the classics of mid-60s independent singles. “This Time” is a beautiful folk-rock original, very much inspired by the Byrds but with a haunting quality to the vocals that makes it stand out. The b-side gets more attention from garage collectors, for its unison bass and drum hook, great guitar break, and ragged lead vocal.

Incredibly rare, it is also one of the few ‘garage’ 45s from this time to sell for over $3,000 at auction.

The RCA mastering number TK4M-6763/4 shows Midgard Records owner Chuck Regenberg sent this tape to RCA’s Indianapolis plant at the same time as fellow Midgard release the Suns of Mourning which is TK4M-6765/6. Both are late 1966 custom pressings. The production listing “IPPRU” is just an abbreviation for “Div. of International Promotion Production and Recording Unlimited”.

For ages record collectors knew nothing about this band. There are no names on the label to help track it. The Midgard label was from Madison, WI, but the band most certainly was not. One source told me Bun E. Carlos of Cheap Trick remembers a band called the Bacardis playing around the Rockford area when he was young. He didn’t know any of the group though.

Then I received this photo of the Light Brigade from Illinois, and we found the group that had originally been called the Bacardis. The band members included Charlie Leeuw, Larry Walters, John Shaw, Bill Throckmorton and Chuck Miller. After changing their name to the Light Brigade, they eventually broke up sometime in the early ’70s.

Chuck Miller contacted me with this info about the group:

My name is Chuck Miller. I was the bass player in the Bacardis and Light Brigade. That’s me at the top of the Brown Jug clipping. I joined the Bacardis when I was stationed at Chanute AFB in Rantoul, Ill in 1966. At that time they were four guys who were also stationed at Chanute.

“This Time” was written by Larry Walters when we were living together in an apartment in Rantoul. It was recorded at the band rehearsal hall at Chanute AFB in 1967.

I believe “Don’t Sell Yourself” was written by Larry and Charlie. I think it was recorded at one of the places we played but not sure where. Both songs were band demos to get jobs and never intended to be made into a record.

I will dig through my attic to find any pictures I have of the group.

Chuck Miller

In Febuary 2013, Charles Leeuw wrote to me about the band:

Just thought I’d fill in some names to go with the flyer of the Light Brigade at the Brown Jug. “The Jug” was just off campus and a predecessor to the Red Lion and Chances R.

Chuck Miller – bass guitar, sometime lead guitar and vocals
Tom Becker- Hammond B3, Fender Rhodes, vocals. Tom replaced John Shaw our original keyboard player in the Bacardi’s
Larry Walters – lead guitar, originator of the band, vocals and songwriter
Charlie Leeuw (Chas) – lead vocal
Bill Throckmorton- drums, sometime keyboard

Jim Murn was our original rhythm guitar player and an original member, but our first keyboard player was John Shaw, who replaced Jim Murn and also played rhythm guitar and was backup vocalist. By the time of the Brown Jug billboard, Tom Becker was our keyboard player. I strongly believe John Shaw was keyboard on the Midgard record.

More info has come in on the comments below. Hopefully we’ll see more photos of the Bacardis soon.

Source: news clipping from Hollywood Hangover.

The Poor Souls

Poor Souls business card

Poor Souls business card

Poor Souls penny cardPrimates recording on the Marco label.

I grew up on 34th Street with Barry Bozzone though I was a few years younger. The Poor Soul’s covered many of The Primates’ songs including “Fate”. I don’t believe The Primates recorded a studio version of the song.

Earlier this year, our lead singer, Phil Borgia sent me The Poor Soul’s recording of the song, made in the late 60’s. It was put on tape by Phil’s uncle, using a guerilla recording technique during a rehearsal i.e., using a microphone placed in front of the room plugged into a reel-to-reel deck.

Unfortunately, no one has been able to find photos of the band though I know we had enough taken that some should still exist. I have the band rehearsing on converted 8mm film that was put on 1.2 VHS and then converted to digital media.

The Poor Souls business card [to the right] was very unusual. My father designed it, he was a graphic artist.

After our bands split up, Barry and I played together in a number of bands with only limited success. We also co-wrote quite a few songs though our careers in other fields short-circuited any chance for popularity. However, we have reconnected too after 40 years and we are making plans to reunite, at least on one song we think has a fighting chance in the Christian song market.

I’ve been living in Mahwah, NJ for the last 12 years or so. My former bandmates are all on the east coast – two in NY, one in PA and one in North Carolina. The five members of The Poor Souls (sans Mark) are reuniting for the first time in over 40 years this weekend. I’ve attempted to find Mark on several occasions but no luck.

Rick Grande, November 2010


Here is some great 8mm film of the band, with “Fate” and their version of “C.C. Rider” / “Jenny Take a Ride” added as a soundtrack.

2010 reunion, from left to right: Rick, Joe (Mac), Phil's daughter Lorissa, Vinny and John
2010 reunion, from left to right: Rick, Joe (Mac), Phil’s daughter Lorissa, Vinny and John

Poor Souls 2010 - 1967

Rick also sent two interesting photos of Hy Fenster’s Universal Rehearsal and Recording, a studio which is still in business at the same address, 17 W. 20th Street in Manhattan.

Universal Rehearsal and Recording, 17 West 20th St, NY
Universal Rehearsal and Recording

Universal Rehearsal and Recording, 17 West 20th St, NY. Tascam founded in 1971, so this photo must be no earlier than that year.
Tascam founded in 1971, so this photo must be no earlier than that year.

Frogdeath Discography – Steve Crosno

Any help with this discography would be appreciated.

Frogdeath (sometimes listed as Frog Death) was run by Steve Crosno, a DJ on El Paso’s Top 40 radio, KELP. He also had a TV dance show Crosno’s Hop on the local Channel 7 that ran from summer of 1961 into 1970. He obviously had a sense of humor, from the logo to the messages on the labels like “Do Not Write in This Space”, or “for best results use riaa curve (whatever that means)”. Crosno passed away in September 2006.

Early releases like the Imposters have a University Park address, by Las Cruces, New Mexico, the same location as the Goldust label.

Froth 1 – The Imposters – “Wipe In” / “Tulsa”
Froth 2 – Cain & Able – “Creí” / “La Bamba” (arranged by Rick Young) / A Moment of Soft Headedness
Froth 2 – Four Frogs* – “Think I’m Losing You” / “Mr. Big” (both by Colin Flannigan) (some copies with picture sleeve)
Froth 4 – Danny & the Counts – “It’s All All Over” / “For Your Love”

Froth 66/1 – The Night-Dreamers – “Mr. Pitiful” (vocal Sunny Powell) / “I Can’t Help It (I Just Do)” (James Brown)
Froth 66/2 – El Paso Premiers** – “This Is the Beginning” (Bobby Rosales) / “Let Me Call You Darling” (vocal by James Patterson)
Froth 66/3 – Mike Reynolds and the Infants of Soul – “When Will I Find Her” / “It’s Judy” (both written by Mike Rosen)
Froth 66-4 – The Astros – “Amarga Navidad” (Jose Alfredo Jimenez) / “I Love You Dear” (Hector Luna)

Froth 67-1 – The Night-Dreamers – “I Take What I Want” (featuring “the amazing ‘Sonny & Sam'” / “Wisdom of a Fool” (vocals by Al ‘Mr. Tears’ Sanchez)

There are two releases labeled Froth 2, but I haven’t found a Froth 3 yet.

* According to Doug Neal, the Four Frogs were Bert Peters, Claude Perilli, Colin Flannigan, Billy Withers with one other member.

** aka Bobby & the Premiers, who also recorded for C.L. Milburn’s Souled-Out of Texas label.

An earlier version of “When Will I Find Her” was released on a Las Cruces label.

I’ve heard there’s also an LP on Frogdeath by Mike Reynolds, but I haven’t seen it.

More info on Steve Crosno can be found at Lone Star Stomp (which also discusses the Four Frogs release) and Borderlands.

There was also a very rare LP titled Steve Crosno Day, July 9, 1967, Recorded Live at the El Paso Coliseum, but I’m not sure if that was released on Frogdeath or some other label. Anyone have photos, scans or a transfer of it? A CD release may have additional songs but the track list seems to be:

The (Las Cruces) Starliners
01. Instrumental
02. The One That’s Hurtin’ Is You
03. It’s Not Unusual
04. Tramp

The El Paso Drifters
07 – 09 Featuring Martha Sifuentes
05. Intro / Sweet Soul Music
06. Groovin’
07. Respect
08. Close Your Eyes
09. All In My Mind

The Las Cruces Majestics
10. Band Intro
11. Instrumental
12. Intro / Papa’s Got A Brand New Bag
13. Goin’ Back To Miami
14. More

The Impressions
15. Let’s Go Steady / You Are My First Love
16. I’ve Been Lonely Too Long

The Gene Willis Aggregation
17. Instrumental
18. Papa’s Got A Brand New Bag / Instrumental
19. James Brown Jam

The El Paso Premiers (Bobby And The Premiers)
20. I’m A Practical Guy
21. I Dig Girls
22. Hello Stranger
23. Put Me In Jail

Sonny Powell And The Night-Dreamers
24. Kind Of A Drag
25. Mr. Pitiful

Bernard Tanchester
26. Steve Crosno Tribute Presentation

Thanks to Ken Prichard for the Cain & Able scan and to Sam Stephenson for the Mike Renolds scans.

Ab’soul’lutely Solid

Ab'soul'lutely Solid, Spring 1968 photo
Ab’soul’lutely Solid, Spring 1968. From left: John Elzner, Randy Williams, Charlie Roberts, Wayne Gillespe, Dennis Patterson, and Daniel Elzner

The Ab’soul’lutely Solid came from the small town of Kaufman, southeast of Dallas. Unfortunately a live tape and demo recording seem to be lost now.Keyboard player Randy Williams wrote to me about the group:

Dennis Patterson – vocals
Charlie Roberts – vocals
Daniel Elzner – guitar
Randy Williams – organ
John Elzner -bass
Wayne Gillespie – drums

I was in Ab’soul’lutely Solid, a band out of Kaufman, 67-68. I didn’t live in Kaufman, but in Athens, about 40 miles away. The Elzner brothers and the rest of the band were from Kaufman. I was barely 17, the guitarist was barely 16…we were the youngest. I was a classical pianist before I got the Vox.

We were mainly a cover band, but we were really tight. We did rock and roll and soul…..thus the band’s name….Paul Revere, Animals, Hendrix, Wilson Pickett, Doors, etc.

If we rehearsed in the Elzner’s garage, half the town would show up in 15 minutes or less.

We did a battle of the bands in ’68 in Dallas. Also played a UT Austin frat party in ’68, and played around Kaufman, Terrell, Royce City, Seven Points, Athens, mostly smaller places.

We recorded one gig live, and John had the tape, but doesn’t know where it is. We did a ‘studio’ recording for a lady from New York, but never heard back.

Daniel, the guitarist, later played with Tommy Overstreet, the country singer, and lived in Nashville for a while. Still play piano after a 40 hiatus, and just got a Vox Continental, trying to get a British Invasion band together.

Randy Williams

Houston music clubs – The Act III / The What a Way to Go Go

Johnny Winter at Act III Houston Post, Nov. 30, 1966
Johnny Winter at Act III, Houston Post, Nov. 30, 1966

A story on a Texas group The Valens / The Outcasts (not the Askel group) mentions the band trying out for a Houston club The Act III a Go Go. However a member of the Interns remembers there being two different clubs, “What a Way to Go Go” and the “The Act III”.

Andrew Brown provided the scan above and says there was also a club called “What a Way to Go Go”. The clubs might have shared the same location, but that’s still speculative. Act III’s address was 6663 S. Main, it seems its been torn down for a strip mall.

Does anyone have posters, photos or material from either club that would clarify this minor point about the Houston music scene?

The Dinks “Nina-Kocka-Nina” and “Kocka-Mow-Mow” on Sully Records

The Dinks photo
The Dinks, from left: Bob Bergmann, Bill Hollingsworth (seated with glasses, Dean Dietz, Bruce Brown, Mike Moran (seated) and Gale Scanlon. Photo courtesy of Bob Bergmann

Pat Waddell – lead vocals, replaced by Dean Dietz
Steve Kadel – lead guitar, replaced by Bill Hollingsworth
Bob Bergmann – rhythm guitar and vocals
Gail Scanlon – organ
Bruce Brown – bass
Mike Morrand – drums

The Dinks’ “Nina-Kocka-Nina” takes the repetitive nonsense of “Surfin’ Bird” and adds a bizarre parody of an Asian accent. The soft-spoken opening has the Japanese inflection down well, even if most of the words are gibberish. Once the song gets going the tone shifts to something that sounds like no real language except variations on “papa ooh mow mow”. The few lyrics in English, “get out your pencils, get out your books, try to catch all the teacher’s grubby looks” and “I’m taking English, History, Biology and Chemistry” imply that school is turning him into a raving idiot! Ironically, the writer of the song would become a teacher himself after leaving the Dinks!

“Penny a Tear Drop” is very different, and the contrast between the twelve-string guitar and organ sounds great. It’s something of a shame that the success of “Nina-Kocka-Nina” put the Dinks into the novelty category and ended their chances of making it as a sincere pop act. Song writing credits for “Penny a Tear Drop” go to Ray Ruffin (a variation on Ray Ruff’s name I hadn’t seen before) and Jack Dunham, whose name also turns up on the Dinks second 45.

Needing a follow up to “Nina-Kocka-Nina” they predictably cut another song in that vein. “Kocka-Mow-Mow” lacks the magic of the first record. Instead of being a band original, it was knocked off by two of Ray Ruff’s associates: Jack Dunham again, and Royce Taylor, a singer who had his own 45 for Sully as part of Gaylen & Royce, “I Can’t Stay” / “Modern Day Fools”.

Oddly it comments directly on their first disc: “all the DJs across the nation, thought we had a bad creation, they just thought we were up in smoke, but that’s kind of funny because we’re on all the charts” … “radio stations started getting calls, they said our band made their skin crawl, they didn’t like the music ’cause it made them sick, but everybody wanted to hear it, kids” … “they said ‘Nina-Kocka-Nina’ was the most … you better think twice before you put this one down.” On the flip is an incredibly insensitive song by Royce Taylor, “Ugly Girl”, sung in the sweetest voice.

Dink’s rhythm guitarist Bob Bergmann answered some of my questions about “Nina-Kocka-Nina” and the band:

I am Bob Bergmann, the writer and lead singer for “Nina-Kocka-Nina” on the Sully label. I played rhythm guitar for the Ragging Regattas and the Dinks back in the 60’s out of Beloit, Kansas.

The band was started earlier by Steve Kadel, from Beloit, Kansas. He was one of my best friends growing up in the 60’s. We graduated together in ’62. We learned guitars together during high school, by ear. We learned with 5-strings on our guitars–THANK GOD–there was no little E-string.

After graduating, Steve went to Fort Hays College which is now Fort Hays State University in Hays, Kansas and I went to St. Mary of the Plains College in Dodge City, Kansas. Steve started the band The Ragging Regattas in Hays. After two years, I transferred to Fort Hays State College and joined the band. Steve was the person who should be giving credit for starting the band.

I was in my froshmen year in college at Dodge City, Kansas and came up with the song “Nina-Kocka-Nina” and the jibberish language. We put the song together after a performance somewhere in Nebraska. We were sitting there on our amps, very tired, and I got up and started to sing the song which the band had never heard. They all plugged back in and the song was created. I had no idea what the jibberish meant, but at some performances, I was asked by orientals if I knew what I was saying and I think they agreed, I was saying some real words. Pat created his own background words during the recording. Pat’s name should have never been first on the record [writing credit] and he will admit that.

The reason we went to Texas to record, two different times, was our so call it manager had contacted Ray. We did not write “Penny A Tear Drop”. It was written by a person in the 30’s. The song was the reason we were asked to come to Texas to record. I would say it got us in the recording field. “Penny a Tear Drop” took hours. [We] needed a flip side and we did “Nina-Kocka-Nina” in a few minutes and it went over the best.

We were called the Regattas when we went to record, but Ray sent our contract back and changed our names to the Dinks because Ragging Regattas didn’t match the “Nina-Kocka-Nina” song. I did sign a contract with BMI in New York after “Nina-Kocka-Nina” came out. There was a nice writeup in one of the top record magazines in the US about the song. Full page showed a picture of the record and around the record were comments from DJ’s around the nation about the song.

We were mainly an instrumental band. The song list was very long and mixed between vocals and instrumentals. Our main songs were by the Ventures, and other instrumental groups, many from England. We recorded an album of instrumental songs at Sully Studio after the two 45s, but it never came out.

Somewhere I have one of the many sheets of songs we had taped to our our Fender Dual Showmans. We all had Fender instruments and amps. I did have a Country Gentleman at one time. I also played rhythm on a Fender 6-string bass that was owned by one of the guys in the Blue Things. It had a very funky sound and the frets were very far apart which made it tougher to play.

One of the hardest songs that I remember doing was “Slaughter on Tenth Avenue” by the Ventures. Our lead guitar, Bill Hollingsworth was the greatest, and I don’t think I could have learned the rhythm without his help. You mention “Surfing Bird” by The Trashmen: Bill was first cousins with their lead guitar player.

After a few years, Bill Hollingsworth replaced Steve on lead guitar, and Dean Deetz replaced Pat Waddel on vocal. I left the band in ’66. I got married in January 1967 and finished my teaching degree. I am a retired business teacher here at Jetmore, Kansas of 35 years.

If my memory serves me correctly, [the Dinks] went on a year or so before some of the guys were drafted. After that, they split company and two bands were started – I think the Beasts and another Dinks band. I was one of the junior high school sponsors and we hired the Beast for our high school prom. I remember joining the band for “Nina-Kocka-Nina”. The students and staff couldn’t believe it. One student came up to me and said “Mr. Bergmann, I didn’t know you had that in you”!

On March 7, 2009 the Dinks were inducted into the Kansas Music Hall of Fame in Lawrence, Kansas. It was a gala celebration for our band who I had not seen for forty years. Steve could not make it to the induction ceremony.

Bob Bergmann

Thanks to Brian Kirschenbaum and Christian for scans of the Dinks original 45s.

Full page ad in Billboard, December 4, 1965
The Dinks – Bob Bergmann at bottom left of photo

The Intruders

The Intruders were from the small towns of Glenville and Scotia, outside Schenectady, New York. They were students at Burnt Hills-Ballston Lake and Scotia-Glenville High Schools and formed the band in 1964.

Carl Buell – vocals
Mark Hecker – lead guitar
Mark Ernst – rhythm guitar
Mike Collins – bass guitar
Snooky Mercoglan – drums, replaced by Warren Droms

They recorded their 45 at WRGB studios in Schenectady. The number RK4M 5992/3 indicates an RCA Custom pressing from 1964.

Mark Ernst has a very cool website on the Intruders and his later career, though he doesn’t say what happened to the group after releasing the single. Presumably, they broke up as members graduated school.

The A-side features the slower “What Kind of Girl Are You”, which starts out with a great bluesy riff and has some good soloing as the song fades.

The flip, “Hey Hey” is a good rocker.

“Hey Hey” was written by Marc Hecker, Mark Ernst and Carl Buell, with credits to AC Production and Intruders Music. “What Kind of Girl Are You” was written by Hecker and Buell.

Thank you to Brian Kirschenbaum for the scan and transfers of the 45.

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