The Ardels

Ardels Promo Flyer
1964, l-r: Fred Masson on bass, Doug Dixon, Gary Brennan (at drumset), David Burt, Bob McKay and Jim Pernokis with Fender. Flyer thanks to Terry Gomes.

Ardels early photo as quintetThe Ardels formed in Etobicoke, just outside Toronto, in 1963. They released an album of rock n’ roll standards of the day in 1964, then three 45s, one on Hallmark and two on Cancut, including what is now their most well-known work, “Piece of Jewellery”, an original by vocalist Doug Dixon. Fred Masson, bassist and founding member of the group took the time to answer my questions about the band.

Fred Masson: The Ardels were originally formed when three of us: Dave Burt (piano), Robin Scott (guitar) and I met at a local church dance. I’m not sure that, at that point, we had any defining musical influences other than current pop tunes and early blues. Rather, as I remember, we were more influenced by the bands that were playing the local circuit. We came up at the same time as a bunch of local bands who were fairly busy copying one another and stealing licks and stage business that worked. As an example of that I can vividly remember playing a John Lee Hooker song in the style of a local band long before I actually heard the original.

Ardels photo back with autographsAfter a few months of practicing we realized that none of us had the type of voice that would work as a front man and we recruited Bruce Saracini for the position. We also added Gary Brennan on drums at about the same time.

Over the first 6 months or so we probably played no more than 7 or 8 jobs, mostly local restaurants, house parties and a bunch of university frat parties.

We were competing in the neighborhood at the time with two very good garage bands, “The Checkmates” (later “John and Lee and the Checkmates”) and The Lucernes (years later Doug, Russ and I would form “The Green Apple Quickstep” with Doug Duff, the horribly talented piano player from “The Lucernes”) and realized that we needed a dynamic front man – leading us to Doug Dixon who lived in the neighborhood and had an unswerving drive to be a pop singer and composer. Doug joined us replacing Bruce and was responsible for writing almost all of the original Ardels material.

About the same time Robin Scott decided that he wanted to devote more time to his studies and we held open auditions for a new guitar player. Jim Pernokis, the brother of Ken, the guitar player for “Little Caesar and the Consuls” (which, over a few years, had included Robbie Robertson and Gene McLellan and was probably the most popular local/area group at the time) came to sit in for an hour and stayed around for about 40 years.

At the same time we recognized that we needed a horn in the group and recruited Bob McKay on tenor sax. Bob not only proved to be a terrific addition musically but also added a huge amount of charisma to the group. He can be heard on “Comin’ Down”.

As to the album, we had recorded about 12 songs at the Canadian Broadcasting Corporation (CBC) and had been given access to the master tapes. At that point we were playing regularly around Ontario and were getting requests for recorded material. Using the CBC masters we self-produced an album through Quality Records in Scarborough, Ontario so that we’d have promotional material to offer at dances – and to promoters. I think we only had about 500 of them to begin with!

The album leaned very heavily on standard rock songs of the period and borrowed heavily from Ronnie Hawkins (“Lonely Hours”) and James Brown (“I Go Crazy”) which showed off Doug’s range.

Ardels Hallmark Recording demo So Glad You're MineAbout the same time we had been contacted by Bill Gilliland of ARC Records who had auditioned us at the Met Dance Hall in Toronto and was interested in looking at the group for the label. This brought about an ARC recording session which didn’t result in a contract. Unfortunately the masters of that session have been lost.

A few weeks thereafter we went into Hallmark Studios in Toronto – a huge, cavernous room used at the time for large orchestral recording – to produce a single – primarily to impress Stan Klees and Walt Grealis who were becoming a force in Canadian music at the time, just starting to publish RPM, the music magazine (which, over the years, would morph into The Junos – Canada’s national music awards) and Ron Scribner who ran Bigland Agencies – the only large and credible booking agency in the country. The session resulted in “Comin’ Down” (a song written for Bobby Darin that had been rejected by Darin – or so we were told) and “So Glad You’re Mine” [the Arthur ‘Big Boy’ Crudup song].

Ardels Cancut 45 Piece of JewelleryArdels Cancut promotion The first single was impressive enough to bring about the deal with Cancut Records and representation with Bigland.

The band played very few (if any) bars or night clubs at that time. There were, in fact, not many venues of that type available for young bands in Southern Ontario. The Toronto Strip – an area about 4 or 5 blocks long – had Le Coq D’Or, which was Ronnie Hawkins’ (almost) permanent home; The Brown Derby booked larger national acts like Joe King and the Zaniacs; The Sapphire catered to a slightly more esoteric audience and regularly featured Jackie Shane backed by Frank (Duel Trumpet) Motley while The Zanzibar catered to a more blues-oriented audience and booked in groups like The Bossmen/Shays.

The rest of us played regularly at dance halls: The Mimicombo (a roller rink), The Met, Krang Plaza, Myzeric Hall, The Masonic Temple – along with the usual school, university and church dances.

Q. Did you play on the unreleased 45, “Stronger Than Dirt” b/w “I Should Have Known”? – Was that supposed to be for Cancut as well?

I’m not sure if I played on the unreleased version of “Stronger Than Dirt”. It had been redone several times over the years but I’m almost certain that Roger played on the one that you’re thinking of. And yes it, along with “I Should Have Known” (below) was (probably) going to be the next CanCut recording.

Ardels news clipping
The band didn’t so much break up as slowly slip away. Several of us left to pursue either job or educational opportunities and some were drawn to different types of music. We were very fortunate to have been a part of the Canadian music scene at what would become known as the first gasp for recognition.

I can remember having a discussion with Garth Hudson in front of The Met Dance Hall on Lakeshore Road in Toronto at about 1:30 in the morning bemoaning the fact that there weren’t many opportunities for air-play (this was before the fabled days of CanCon, the government-mandated order for all Canadian radio stations to devote huge blocks of air time to Canadian talent. Check out the bios on Stan Klees and Walt Grealis for more on that). I seem to remember that Hudson managed to rise above the problem eventually.

Ardels photo 1966: Gary Brennan, David Burt, Jim Pernokis, Bob McKay, Doug Dixon and Roger Charlesworth.
1966: clockwise from top: Gary Brennan, David Burt, Jim Pernokis, Bob McKay, Doug Dixon and Roger Charlesworth.

RPM 100 chart, September 28, 1966
RPM 100 chart, September 28, 1966

Q. You were impressed by the Fireflies of Sault Ste. Marie when you were young – did you grow up in the Soo before moving to Etobicoke?

I lived in The Soo for about 5 years before my family moved to Etobicoke. There’s no reason that Eddie Pelletier and Howard Hall of the Fireflies [from Sault Ste. Marie Ontario] would remember me but their music – or, more accurately, the fact that a bunch of kids from the Soo could actually produce some great music – was the first bit of inspiration I needed to get on that same track. I have great memories of those guys playing the “Y” dances (and still fondly remember Eddie’s version of “Home”).

Q. I’ve read that the Ardels backed David Clayton-Thomas on a tour, is that correct?

The Ardels didn’t back Sonny Thomas at any time (at least not during my time) as he was associated with a very talented band – either The Bossmen or The Shays depending upon the time. A few of the guys in these bands – Freddy Keillor – guitar (sorry, I’m unsure of the spelling) and Tony Collicott – piano (listen to “Brainwashed” – Tony had 36 fingers.) were as good as anyone playing anywhere at the time.

The Ardels recorded a number of songs that have never been released. Along with “Stronger Than Dirt” and “I Should Have Known”, there is also an earlier version of “Piece of Jewellery”.

After the group broke up in 1968, Doug Dixon and Jim Pernokis joined The Bedtime Story, who had two 45s on Columbia.

In 1988, Fred Masson, Doug Dixon, Jim Pernokis and Ardels backup drummer Russ Crerar formed Pastime, playing together until 2000.

David Burt has had a long career as solo pianist, teacher and writer. Gary Brennan passed away in 2007.

Update February 2018

David Burt contacted me with information on the formation of the Ardels:

I just read with great interest your article on the Ardels. I thought I would take this opportunity to set the record straight on the formation of the group. To understand the process, I have to take you back to a completely unknown group called The Stereos. I on piano, and Robin Scott on guitar, formed this group around 1959 / 60. Over the short time we were together we brought in Peter Salter who was replaced by Paul Carrier on drums. Alan Dorsey, rhythm guitar, was replaced by Dave McDevitt on bass. Like the Ardels in the beginning, nobody was was good enough to front the group vocally. I found this guy named Mike Ferry who used to do pantomime. He admitted he never sang in his life; but, would give it a try. (We didn’t care, we just needed a singer who was better than the rest of us). We did start to get gigs, but soon it became clear that there was a difference of opinion as to direction of the group. Mike Ferry and Paul Carrier left and ended up forming The Checkmates. Mike became Lee of Jon and Lee. I received a call from Gary Brennan saying he heard about our split and would we consider him to replace Paul on the drums. Robin Scott, Gary Brennan, and I were the actual founding members of the group. Fred Masson, bass came on board immediately, replacing McDevitt. Bruce Saracini was replaced by Doug Dixon. I believe it was Doug who came up with name Ardels.

Thank you to Fred Masson for helping with material for this article and for patiently answering my questions, to Ivan Amirault for contributing many of the photos and scans from RPM magazine, and to David Burt for additional information on the formation of the group.

Ardels 1966, l-r: Doug Dixon, Jim Pernokis, Gary Brennan (top), Roger Charlesworth and David Burt.
1966, l-r: Doug Dixon, Jim Pernokis, Gary Brennan (top), Roger Charlesworth and David Burt.
RPM June 6, 1966
RPM June 6, 1966
RPM, September 26, 1966
RPM, September 26, 1966
RPM, October 31, 1966
RPM, October 31, 1966

About Me

I am Chris Bishop, currently residing in the Hudson Valley with my children. I grew up in New York, Toronto and Houston, attended college in New Orleans and Colorado, and lived for some time in California, Oregon and Japan. I’ve traveled to every state of the continental U.S. except North Dakota, and a good deal of Canada as well.

I’ve been a fanatic for garage rock since high school, notably from hearing the Bondsmen and the Q65 on the Mod Monday radio show and buying LPs of the Remains and the 13th Floor Elevators at the old Venus Records. I started Garage Hangover in August of 2004 to share some of my favorite songs with friends of mine, but it has grown into something else entirely.

I’m looking for a sponsor or grant in order to devote more time to research. Please contact me if you can help.

Band members, record collectors and fans in the Hudson Valley, New York area should drop me a line.

I also will buy collections of records: 45s, LPs and 78s; especially in New York or western Massachusetts.


Deejaying at the Swan Club, València, March 15, 2008

Shirley Nair with the Silver Strings

Shirley Nair with the Silver Strings Philips 45

Shirley Nair with the Silver Strings Philips 45 You're the BoyIf you have ever seen the Girls In The Garage Oriental Special comp and wondered who the ‘Unknown Artist’ was who performed “If You Ever Go”, I can tell you. It was Shirley Nair and the Silver Strings from Singapore. The song appeared on what I believe was their first single.

Shirley Nair with the Silver Strings Philips 45 Don't Leave MeAt the age of nineteen Shirley had joined a group called the Checkmates singing Beatles covers and other beat songs. That was in late 1964. She did not stay with the Checkmates long before she teamed up with the Silver Strings. It seems the band only released a handful of records backing Shirley, including the songs “If You Ever Go”, “You’re The Boy”, “Too Late For Tears”, “Come Home To Me”, “Don’t Leave Me”, “I Won’t Let You See Me Cry”, “I’ll Remember Today”, and “Two People”.

Unlike many other Singaporean performers of the day, Shirley wrote her own material, at least that’s the case with the stuff I have seen. The overall impression I get from Shirley the singer/songwriter and the Silver Strings is a positive one. These are good pop songs.

Included here are what were probably Shirley’s second and third singles, from late 1965 or 1966. Why the band did not go on to produce more music, I do not know. I cannot find any information about what happened to Shirley, but it seems the Silver Strings may still be performing in Singapore at sixties revival concerts.

Shirley Nair with the Silver Strings Philips PS back

Shirley Nair with the Silver Strings Philips PS You're the Boy

Shirley Nair with the Silver Strings Philips PS You're the Boy back

The Vestells

The Vestells photo: John Kegley, Bob Schick, John Smoke, and John Schick
The Vestells, from left to right: John Kegley (drums), Bob Schick (lead guitar and vocal), John Smoke (rhythm guitar), and John Schick (bass)

Updated September 2010

Vestells Bo Jo 45 Won't You Tell Me“Won’t You Tell Me” is a song I used to cover when I played with a couple friends in the Trip 9’s. Running through those chords over and over would about make my arm fall off, but I never got tired of playing it.

The Vestells were a quartet from around Stroudsburg, northeast of Allentown. Their name seems to come from the vests they wore as stage outfits.

Two brothers, Bob and John Schick formed the basis of the band, originally with John Smoke on rhythm guitar and John Kegley on drums, later replaced by Clair Whitmore and Jim Cadue. They cut their only record at Cameo-Parkway studios in Philadelphia in 1966, then most of the band was drafted the following year.

“Won’t You Tell Me” was written by Bob Schick, and seems to feature only two guitars and drums, as I can’t make out any bass. The rhythm guitarist must have been pretty excited to be in the studio, he starts the song off so fast the drummer has a hard time getting the beat down! The song ends up at a noticeably slower tempo than when it began, but the shouts and spirited delivery really put this across. I love the ending, too, when first the drums then the guitars drop out.

The much more sedate flip side, “Please Walk Away”, was written by the group and features a different singer, Clair Whitmore. With harmonies and a bass line, I’d say the band spent considerably more time recording this song. It’s not bad if you like mellow pop ballads.

Bass player John Schick sent me the photo above and wrote to me about the band:

The pic is an earlier Vestells. I couldn’t find one with the players on “Won’t You Tell Me”. The band that recorded “Won’t You Tell Me” was Jim Cadue on drums, Clair Whitmore, rhythm guitar and vocal on “B” side of 45, and of course Bob and myself.

We played just about every bar and resort in the Poconos, including Mount Airy Lodge (now a casino), Buck Hill Inn, Fernwood, Pocono Manor, etc. We did get radio play in New Jersey (years after the band broke up).

We pressed a thousand. I’m not really sure how many we sold, given away, and lost. I still have 16 (just counted them).

Bob is now an organic farmer in Maine. He still writes songs, books, and articles on organic farming. Jim Cadue was Monroe County Commisioner for years (now retired), Clair Whitmore I believe has a sign business, and I’m still in the music business as a full-time composer. Some of my credits can be found on AudioSparx.com. All members except for my brother still live in the Poconos where the band originated.

John Schick

Update: drummer Jim Cadue passed away on May 14th, 2015.

The Dirt Merchants

 Dirt Merchants at P.A.L. in south Miami.
Dirt Merchants at P.A.L. in south Miami.

Dirt Merchants in the Miami News, Saturday, May 7th, 1966 - text below
Dirt Merchants in the Miami News, Saturday, May 7th, 1966 – text below
Todd Reece sent in the story and photos of his band the Dirt Merchants, a Miami group that unfortunately never recorded. Todd was lead singer, other members were Danny Gray lead guitar, Lee Barchan rhythm guitar, Terry Goldman bass, and Bill Shimp on drums.

Todd Reece: We were strong at all the local spots from the p.a.l. to frats., etc. We played with, and I knew people from many of the bands you already mention.

Evil got to make their record, sadly because an audience screaming contest at the fair gave them the edge over us. It came down to us and them at the battle of the bands……alas that’s the way it goes!

I went to Coral Park, while most of my competition came from Southwest. I was the lead vocalist, and the youngest in the group. The rest of the guys were at Dade Jr. College. Our manager Bob Hannah was the little round Santa at p.a.l., you see in the pix.

We were the guys doing all the Animals and Stones, as they came out on record.

I left the dirt merchants to start another group, like an ego maniac lead singer would do, that was “̧Chelsea’s Children.” This group shifted to a lot of Love and Byrds. We were the house band at “the Depot” on U.S.1, across from the U of M. We played on the Rick Shaw TV show. I noticed Bill Banye went on to join together with some other folks, after our band Chelsea’s Children split.

My circle the next year included: Wet Paint, the Razors Edge, the Collection, the 7 of Us, nrbq, and Blues Image. After that I moved on. I have done a band a decade since. None with released recordings. I am currently recording a cd in atlanta. It is mostly covers of things from back in the day. I am calling this bunch of musicians “Big Love Day”. The album title at this point is “Covering the World”.

Q. So I take it the band never made it to New York to record, like the article says?

No, I left and started Chelsea’s Children. You of course know what a wild year 1967 was, and I went far into hangin’ with bands and not playin’ for quite a while. Foolish youth!

Miami News article:

So What’s in a Name?

‘S funny how bands get their names. Take the Dirt Merchants –

Half a dozen guys got together with their instruments in the home of a buddy, Bob Hannah, who worked on his car while they played.

Bob’s father arrived in the midst of the sound session and asked “What are you doing?”

“Practicing,” they said, then played a sample of what they could do. At the windup his candid criticism was, “You know, I wouldn’t sell that to a dirt merchant.”

They’ve been the Dirt Merchants ever since: Lee Barchan on rhythm guitar, Terry Goldman, bass guitar, Danny Gray lead guitar, Bill Shimp drums and singer Todd Reece. Bob Hannah is self-appointed manager.

A year has passed since the boys united – four are students at Miami-Dade Junior College, the singer at Miami Coral Park. Their twice-a-week practice sessions at the Youth Center in Kendall have improved their technique so much even Bob’s father likes the band now with its identifying Rollin’ Stones beat, rhythm and blues, rock ‘n’ roll.

Palmetto Bandstand’s Howard Show gave the Merchants their first booking. They’ll return in June when the Bandstand will be open Saturday nights for the older crowd, 17 yrs and up.

Since then, the boys have played private parties, college fraternity and sorority parties and open houses, proms, bar mitzvahs and high school hops. In fact they’re so busy now their bookings run two months ahead.

The Dirt Merchants are shaping up for a record they will cut in New York. By going there, spokesman Bill Shimp felt the band’s chances of getting nationwide exposure would be greater. “If we cut it here, it would be like a miracle to get it out of Miami,” he said.

The instrumentalists wear conservative black suits and yellow shirts usually, with ties. “Todd makes up for the rest of us,” explained Bill.

“He wears levis, sometimes sports a purple shirt with ruffled cuffs he had sent in from California, with hip huggers and a big buckle in the front. Crazy, man.”

Little Peppy with the Bare Existence

From Rochester, Little Peppy is Marlene Torre, writer and singer on both these sides. She and the band turn in a spirited performance on “It Can Happen!!” The designated a-side, “Since You’ve Gone Away” is a slow ballad about missing her lover drafted overseas.

This was a custom press recorded at Fine Studios in September, 1966, and released with their house label. The master tape that turned up with the remains of the studio has alternate takes of each song.

One mystery is who was the band backing her as the Bare Existence.

If anyone has a photo of Little Peppy aka Marlene Torre, or the Bare Existence please contact me.

The Baroque Brothers

The Baroque Brothers and the Six Pents were house bands at George Massey’s La Maison Au Go Go in Houston, Texas in 1965.

The Six Pents went on to cut a few 45s (including “She Lied” on the Kidd label) before changing into the Sixpentz and then the Fun and Games Commission.

The Baroque Brothers only released this one 45. “So Glad Was I” combines distinctive folk-rock harmonies with a more typical bridge. The band is so competent that I wonder if they didn’t cut more records under a different name.

Members were Kirk Patrick, Bo Allison, Roger Romano and Jim Robertson. Both songs here are by Kirk Patrick, listed in BMI’s database as Har. Kirkpatrick.

The flip “Baroque au Go Go” is a light instrumental with horns and overdubbed crowd noise.

Thank you to Nancy Kuehl for the scans of the news articles and La Maison flyer. Another source for info was the 1960’s Texas Music site

The Chancellors, Ltd.

The Chancellors Ltd., photo scan courtesy Andrew Brown
Photo scan courtesy Andrew Brown

The Chancellors Ltd. Dene 45 You Be the JudgeThe Chancellors Ltd. were a Houston band with members David Singleton, Brian Evans, Clark Clem and Gary Bowen.

Somehow they connected with a local socialite, Dene Hofheinz Mann, who had written a book about her father Judge Roy Hofheinz titled You Be the Judge. Roy Hofheinz was a former mayor of Houston, Texas, owner of the Houston Colt 45s baseball team which became the Astros, and builder of the Astrodome.

Dene Hofheinz Mann wrote the song “You Be the Judge” and had the band record it for her own Dene label (dig the dome!) It was produced by Mann and Burchfield, and arranged by F. Beymer.

The Chancellors Ltd. Dene 45 From the SublevelsI’d say it was a tie-in to the book, except the lyrics are all centered on a love interest, not about politics (maybe indirectly – “who understands the rules that we live by!”)

In any case it’s a great moody rocker, catchy but completely uncommercial. The flip is a fine instrumental written by lead guitarist Clark Clem – its title, “From the Sublevels”, describes its sound perfectly.

Evans Music City, listed on the card, is still in business at a new address.

Clark Clem turns up in another bit of Houston music history, as the guitarist of the band Deuce Is Wild (or Deuces Wild).

Sources: Bio of Roy Hofheinz from the Handbook of Texas Online, interesting history of the Colt 45s at Everything2.

The Chancellors Ltd. business card

The Del Counts

The Del Counts, photo courtesy of Dan Shearen
This is the same Del Counts of Minneapolis who had a couple 45s on Soma, “Bird Dog” / “Let the Good Times Roll” and “What is the Reason” / “With Another Guy”. They also recorded a full album at Dove Studios that was never released.

Charlie Schoen, bass player and vocalist, wrote both songs on this 45, produced by their manager, Marsh Edelstein. I really dig “Ain’t Got the Time” with its whining guitar bends, fast beat and drum break. The flip is the less convincing “Don’t Ever Leave”.

The Del Counts had a long career playing at the Marigold Ballroom and around the Minneapolis area. They continued into the early 70’s, releasing a final 45, “Who Cares” / “Don’t Let the Green Grass”, in 1972, and were still playing live in recent years.

Charles Schoen contacted me about the band recently:

Members were Steve Miller on guitar, Bob Phalen on bass, Kelly Vincent on drums, myself on keys and vocals. “What Is the Reason” sold over 20,000 in the first two weeks it was out because the District Manager of Musicland Records told me that we had a four star pick in Record World magazine with a bullet. That was just Minneapolis and St. Paul MN.

Sources include: Birdland Revisited article in City Pages.

From left: Charles Schoen and Steve Miller. Photo courtesy of Dan Shearen

Los Soñadores

Los Soñadores (the Dreamers) were from, I believe, Seville. Their first 45 has an excellent original “Sin saber por que” and a song I haven’t heard, “Judy con disfraz”. If I can find a copy I’ll post it.

José Luis Garrido wrote both songs on their 45, including “Vete,” a short, upbeat number with elements of Knock on Wood and Papa’s Got a Brand New Bag. The a-side is a pop ballad “Lo sé por mi.” This is one of the discs I found in Valencia with the help of Borja.

After Los Sońadores, José formed a group called Flamenco, opened recording studios and worked as musical producer on films.

The site for '60s garage bands since 2004