The Secrets’ “Somethin Good For Me” / “Love” has as obscure an origin as any single out there. The band may have been from southern Illinois or eastern Missouri, but I don’t know anything definite yet. The only name I can associate with the group is Ivan White who wrote both songs.
“Somethin Good For Me” is lo-fi perfection, offering plenty of atmosphere over a chunky rhythm, a pleading vocal and a simple but apt lead guitar break.
“Love” slows it all down and substitutes accordion for the rhythm guitar. I’d put up a clip but my copy gets scratchy sounding on this side.
Released around 1967 on Raven 18569/70, with production credited to “Div – JLJ Enterprise”. This is a Rite release, as was the other Raven release I know of, Johnny Apollo “You’re Sixteen” / “Shake the Hand of a Fool” on Raven 17829/30 from a year or two earlier, with J. Hutcheson credited as director.
Rite 286 is found in the deadwax, an early Rite account number dating back to 1960. 286 was used for at least two other singles: the Harmony Echoes single “Wonderful Guest” / “Gospels Singers Heaven” on Echo CP-6759/60 from 1961, out of WFRX 1300 AM, West Frankfort, Illinois, featuring Joe Williams, Phyllis Williams, Rolla Martin and Don McCool.
Also for Amateur 11421/2, the Coachmen “Lonely Rider” / These Memories of You”, folk & pop from 1963 out of Maplewood, Missouri with J. Buchman credited on the label.
Maplewood is just west of St. Louis, and 115 miles northwest of West Frankfort. It seems possible the Secrets come from this area of southern Illinois or eastern Missouri.
I can’t afford to keep all these 45s … and I’m always looking for new ones. I’ll be selling 45s of many genres – garage, surf, r&b, international, soul, etc at the Allentown, Pennsylvania 45 & 78 rpm record fair this Saturday, April 1, 2017. If you haven’t been, there are more 45s than you can look through in three days, let alone one. Not sure my table # yet but if you come ask for Chris Bishop’s table. Or contact me ahead of time, I’ll be in town from Wednesday afternoon on.
1901 S. 12th St. ( S.12th & Vultee Streets ), Allentown, PA 18103
London-based West Indian soul outfit, Joe E Young & The Toniks recorded a superb, ultra-rare, and highly collectable, LP called Soul Buster! for Vicki Wickham’s small Toast label during 1968 before splintering when singer Colin Young joined British chart toppers The Foundations, subsequently singing lead on the UK #2 hit, “Build Me Up A Buttercup” and UK #8 hit, “In The Bad Bad Old Days (Before You Loved Me)”.
The band’s career is shrouded in mystery and very little is known about its tangled history, not to mention its origins. What we do know, however, is that Colin Young was born in Barbados on 12 September 1944 (although some sources suggest the United States) and first came to London for a holiday with his father in the mid-Sixties (possibly in late 1965).
It seems likely that the original Toniks were formed around the Stoke Newington area as that was a hotbed for musicians from the Caribbean, who had moved to London.
Colin Young formed the group with guitarist Oscar Knight; sax player Anthony Barman (aka Bauman); bass player Sam Southwell; and drummer John Seally.
However, at some point in late 1966/early 1967 Calvin ‘Fuzzy’ Samuel took over from Sam Southwell; Conrad Isidore replaced John Seally; and keyboard player Ken Cumberbatch and second sax player Denis Overton joined. Samuel and Cumberbatch knew sax player Anthony Bauman from The Blue-Ace-Unit.
Antigua-born London-raised Calvin Samuel’s first notable musical outfit appears to have been The Blue-Ace-Unit, formed around early 1965 by future Bob Marley sideman, Junior Marvin, who at the time used the name Junior Kerr. Apparently, it was Kerr who coined Samuel’s nickname ‘Fuzzy’ after the musician used a fuzz box on his bass. Samuel replaced the original bass player in The Blue-Ace-Unit around the same time that Ken Cumberbatch joined Kerr’s group on keyboards.
Blue Ace Unit gig from 31 October 1965. Photo: Melody Maker. Photo may be subject to copyright
In mid-1966, Samuel briefly joined The Rick ‘N’ Beckers before hooking up with another Antigua immigrant, guitarist Wendell Richardson, who’d grown up in Tottenham after moving to the UK at the age of 11. This may (or may not) be the same band that Richardson refers to on his website as The Four Aces, who could also have been The Blue-Ace-Unit (aka Blue Aces) after Junior Kerr joined Herbie Goins & The Night-timers.
When that group folded, Samuel reunited with Cumberbatch in the new version of The Toniks. Also on-board were Dominica-born Conrad Isidore, who had previously played with The Grenades and The Links.
Around the same time, a second sax player, Denis Overton also joined. Overton is most likely the same South African-born musician who had previously played with John O’Hara & His New Playboys during 1965-1966 and then briefly worked with Liverpool band, The Roadrunners.
Incidentally, Samuel was also close friends with The Equals and apparently Eddy Grant used Calvin ‘Fuzzy’ Samuel as a session bass player on many of The Equals’ recordings. Grant would later produce and pen material for Samuel’s post-Toniks band, The Sundae Times.
Billed as either The Toniks or The Tonicks, the sextet quickly found work gigging across the north London club scene in venues that catered for the city’s burgeoning West Indian population.
The New All-Star Club near Liverpool Street railway station became a favourite haunt. The Toniks also became regulars at Count Suckle’s Cue Club in Paddington and the Roaring 20’s in Carnaby Street, Soho.
According to Geno Washington & The Ram Jam Band guitarist Pete Gage, who would work with the band in late 1967, it was Colin Young’s manager Ken Edwards, who owned the Cue Club who renamed the singer Joe E Young.
Some of the gigs below (particularly the early ones) didn’t list Joe E Young, but Colin Young was there from start to finish.
British music magazine, Melody Maker, lists the following gigs for the band (unless otherwise noted). Some of the earlier gigs from 1966 were probably by the original formation.
Selected gigs:
7 September 1966 – Tiles, Oxford Street, central London
11 September 1966 – New All-Star Club, 9a Artillery Passage, east London with The Pilgrims
2 October 1966 – Toft’s, Folkestone, Kent (Folkestone, Hythe & District Herald)
5 October 1966 – Zebra Club, W1, central London
8 October 1966 – Club West Indies, Stonebridge Park, northwest London
9 October 1966 – New All-Star Club, 9a Artillery Passage, east London
17 November 1966 – Starlite, Greenford, northwest London
17 November 1966 – Whisky A Go Go, Wardour Street, Soho, central London
3 December 1966 – New All-Star Club, 9a Artillery Passage, east London
9 December 1966 – Beachcomber Club, Nottingham (Nottingham Evening Post)
17 December 1966 – New All-Star Club, 9a Artillery Passage, east London
25 December 1966 – New All-Star Club, 9a Artillery Passage, east London
26 December 1966 – New All-Star Club, 9a Artillery Passage, east London with The Sugar Simone Show
8 January 1967 – New All-Star Club, 9a Artillery Passage, east London
27 January 1967 – Starlite, Greenford, northwest London with Inez and Charlie Foxx
28 January 1967 – New All-Star Club, 9a Artillery Passage, east London
28 January 1967 – California Ballroom, Dunstable, Bedfordshire with Dave Berry & The Crusiers and The Crestas (website: www.california-ballroom.info/gigs/)
28 January 1967 – Chalk Farm, north London with The Vaudeville Band, The Soft Machine and The Hectic Poets (Billed as the band only)
3 February 1967 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder) (Billed as The Tonics)
4 February 1967 – Ricky Tick, Hounslow, west London (Poster)(Billed as The Tonicks featuring Joey Young)
5 February 1967 – Cue Club, Paddington, west London (Billed as Joey Young & The Tonicks Band)
11 February 1967 – Birdcage, Eastney, Hampshire (Dave Allen research)
11 February 1967 – New All-Star Club, 9a Artillery Passage, east London
17 February 1967 – New All-Star Club, 9a Artillery Passage, east London
17 February 1967 – Roaring 20’s, Carnaby Street, Soho, central London
19 February 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
24 February 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
25 February 1967 – New All-Star Club, 9a Artillery Passage, east London
25 February 1967 – Roaring 20’s, Carnaby Street, Soho, central London
Photo: Aldershot News. Photo may be subject to copyright
4 March 1967 – Roaring 20’s, Carnaby Street, Soho, central London
5 March 1967 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder) (Billed as The Tonics)
5 March 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
7 March 1967 – The Place, Hanley, Staffordshire (Poster)
10 March 1967 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder) (Billed as The Tonics)
16 March 1967 – Roaring 20’s, Carnaby Street, Soho, central London
18 March 1967 – New All-Star Club, 9a Artillery Passage, east London
23 March 1967 – Roaring 20’s, Carnaby Street, Soho, central London
23 March 1967 – Klooks Kleek, West Hampstead, north London (Geoff Williams research: Decca Studios and Klooks Kleek book)
24 March 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
25 March 1967 – New All-Star Club, 9a Artillery Passage, east London
27 March 1967 – New All-Star Club, 9a Artillery Passage, east London
30 March 1967 – Golden Torch, Tunstall, Staffordshire with The Drifters, The Senate and Jimmy Cliff (Evening Sentinel)
31 March 1967 – New All-Star Club, 9a Artillery Passage, east London
7 April 1967 – The Place, Hanley, Staffordshire with Les Fleur De Lys (Evening Sentinel)
Photo: Essex Chronicle. Photo may be subject to copyright
8 April 1967 – Bluesville, St Thomas’ Hall, Brentwood, Essex (Essex Chronicle)
9 April 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
9 April 1967 – Flamingo, Soho, central London
Photo: Folkestone, Hythe & District Herald. Photo may be subject to copyright
15 April 1967 – Dreamland Ballroom, Margate, Kent with The Tribe (Folkestone, Hythe & District Herald)
16 April 1967 – New All-Star Club, 9a Artillery Passage, east London
21 April 1967 – Mr McCoys, Middlesbrough (Middlesbrough Evening Gazette) Billed as The Tonicks
29 April 1967 – Tabernacle, Stockport, Greater Manchester (Manchester Evening News & Chronicle)
14 May 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
Photo: Evening Sentinel. Photo may be subject to copyright
21 May 1967 – The Place, Hanley, Staffordshire (Evening Sentinel)
22 May 1967 – Queen’s Ballroom, Wolverhampton, West Midlands (Express & Star)
29 May 1967 – New All-Star Club, 9a Artillery Passage, east London with Nyla Rose
2 June 1967 – Golden Torch, Tunstall, Staffordshire (Evening Sentinel)
2 June 1967 – New All-Star Club, 9a Artillery Passage, east London
17 June 1967 – Gaiety Ballroom, Ramsey, Cambridgeshire with The Kinsmen (Cambridgeshire Times) (Billed as the band only)
17 June 1967 – New All-Star Club, 9a Artillery Passage, east London (Billed as John Lee Hooker & The Tonicks)
24 June 1967 – New All-Star Club, 9a Artillery Passage, east London with The Toys (Billed as the band only)
22 July 1967 – Nite Owl, Leicester (Disc & Music Echo)
The Nite Owl gig may not have happened as it took place during the period that the band played at Snoopys in Palma, Majorca which was from around late June to late August 1967.
Photo: Melody Maker. Photo may be subject to copyright
9 September 1967 – New All-Star Club, 9a Artillery Passage, east London
9 September 1967 – Cue Club, Paddington, west London (Billed as Tonicks Band)
15 September 1967 – New All-Star Club, 9a Artillery Passage, east London
Photo: North Norfolk News. Photo may be subject to copyright
23 September 1967 – Royal Links Pavilion, Cromer, Norfolk with Soul Concern (North Norfolk News)
24 September 1967 – New All-Star Club, 9a Artillery Passage, east London
28 September 1967 – Klooks Kleek, West Hampstead, north London
13 October 1967 – Cue Club, Paddington, west London (Billed as The Tonicks Band)
From late October-mid-November 1967, Melody Maker reports that Joe E Young & The Toniks were resident band at the New All-Star Club but did not say if this was every night. In early November, Ruby James & The Stax were also residents.
20 October 1967 – Rendevous Club, Margate, Kent with The Coloured Raisins (East Kent Times & Mail)
21 October 1967 – Cue Club, Paddington, west London (Billed as The Tonicks with Joey Young)
21 October 1967 – Ram Jam, Brixton, south London
Photo: Northamptonshire Evening Telegraph. Photo may be subject to copyright
22 October 1967 – Kettering Working Men’s Club, Kettering, Northamptonshire with Lloyd Alexander Blues Band (Northamptonshire Evening Telegraph)
Photo: Melody Maker. Photo may be subject to copyright
27 October 1967 – Railway Hotel, Wealdstone, Harrow, northwest London
28 October 1967 – Leeds International Club, Leeds, West Yorkshire
31 October 1967 – Adelphi Ballroom, Slough, Berkshire
Photo: Possibly Swindon Advertiser. Photo may be subject to copyright
4 November 1967 – Dreamland Ballroom, Margate, Kent with The Vogues (East Kent Times & Mail)
Sometime around early-to-mid November 1967, Calvin ‘Fuzzy’ Samuel departed to form The Sundae Times with guitarist Wendell Richardson. The Sundae Times later landed a record deal with President Records thanks to their friendship with Eddy Grant. Conrad Isidore also participated but continued to play with Joe E Young & The Toniks simultaneously.
Ken Cumberbatch left around the same time and moved into session work, including working with Junior Marvin. Oscar Knight also departed at the same time.
Trinidad and Tobago-born siblings Kelvin Bullen (lead guitar) and Hugh Bullen (bass), who had started out with Reading, Berkshire band, The Soul Trinity, took Knight and Samuel’s places. Richard London came in from south London bands The Heads and The Stax for Ken Cumberbatch.
Left to right: Kelvin Bullen, Richard London, Hugh Bullen, Colin Young, Conrad Isidore (sitting), Denis Overton and Tony Bauman
Colin Young – lead vocals
Kelvin Bullen – lead guitar
Hugh Bullen – bass
Richard London – keyboards
Tony Bauman – saxophone
Denis Overton – saxophone
Conrad Isidore – drums
Sometime in November, Joe E Young & The Toniks landed a recording deal with Vicki Wickham’s Toast label. Paired with former Ram Jam Band guitarist Pete Gage as an arranger, the band started to record material for an LP with producer Tommy Scott, which appears to have been cut over several sessions, starting in late 1967 and culminating with a final session in mid-1968.
According to Gage, it was Vicki Wickham (Dusty Springfield’s manager) who approached him via Rik Gunnell to arrange and produce Joe E Young & The Toniks. Gage believes that session players, which possibly included keyboard player Tim Hinkley and guitarist Ivan Zagni, who’d previously played with Mike Patto in The Chicago Blues Line and worked with his girlfriend Elkie Brooks in early 1968, may have been employed on some tracks. He also thinks that Colin Young’s friend Jimmy Chambers and Trinidad-born singer Ebony Keyes may have contributed vocals to the sessions.
Two of the earliest tracks to be recorded were two Pete Gage songs, co-written with Ebony Keyes (aka Kenrick Pitt), “Lifetime of Lovin’” c/w “Flower In My Hand”. Paired as a single, the tracks were issued on Toast in January 1968 but did not chart. Incidentally, the single also saw a South African release on the Continental label.
Debut single promotion. Courtesy Dave Else
Selected gigs:
23 November 1967 – Klooks Kleek, West Hampstead, north London
Photo: Hull Daily Mail. Photo may be subject to copyright
8 December 1967 – Burton Constable Stately Home, Hull, Humberside with The Amboy Dukes, Ferris Wheel, Roger Bloom’s Hammer, Gospel Garden and The Mandrakes (Hull Daily Mail)
9 December 1967 – Enfield Technical College, Enfield, north London with Ten Years After (Poster)
9 December 1967 – New All-Star Club, 9a Artillery Passage, east London
10 December 1967 – Ram Jam Club, Brixton, south London
Photo: Hull Daily Mail. Photo may be subject to copyright
11 December 1967 – Hull University Union at the Skyline Ballroom, Hull, Humberside with The Moody Blues and The Gods (Hull Daily Mail)
Photo: North Norfolk News. Photo may be subject to copyright
16 December 1967 – Royal Links Pavilion, Cromer, Norfolk with The Rubber Band (North Norfolk News)
23 December 1967 – Royal Lido, Central Beach, North Wales (needs source)
Photo: Woking Herald. Photo may be subject to copyright
24 December 1967 – Sunday club, Addlestone, Surrey with Art Movement (Woking Herald)
25 December 1967 – Cue Club, Paddington, west London with Ronnie Jones, Owen Grey, The Youth and Herbie Goins
26 December 1967 – Shelimar Club, Huddersfield, West Yorkshire
30 December 1967 – Israeli Student Association, West Hampstead, north London
30 December 1967 – Cue Club, Paddington, west London
24 February 1968 – Tinned Chicken Club, Castleford, West Yorkshire with Max Bear & The Chicago Setback (Sheffield Star)
Photo: Harrow Weekly Post. Photo may be subject to copyright
2 March 1968 – Burton’s, Uxbridge, London (Harrow Weekly Post)
2 March 1968 – New All-Star Club, 9a Artillery Passage, east London
8 March 1968 – Drill Hall, Stratford-upon-Avon, Warwickshire (Stratford upon Avon Herald)
15 March 1968 – Camberwell Rag Ball, Camberwell, southeast London with George Bean & The Runners and The James Stewart Dance Band (South East London Mercury)
24 March 1968 – Downbeat Club, the Swan, Maldon, Essex (Essex Chronicle)
30 March 1968 – New All-Star Club, 9a Artillery Passage, east London
31 March 1968 – Cue Club, Paddington, west London with Count Suckle Sound System (Billed as Tonicks Band)
Photo: Ipswich Evening Star. Photo may be subject to copyright
2 April 1968 – Ready Steady Go Club, Pier Pavilion, Felixstowe, Suffolk with Tony Jackson & The Vibrations (Ipswich Evening Star)
Photo: Leicester Mercury. Photo may be subject to copyright
5 April 1968 – Il Rondo, Leicester (Leicester Mercury)
12 April 1968 – New All-Star Club, 9a Artillery Passage, east London
Photo: Western Gazette. Photo may be subject to copyright
20 April 1968 – Princes Theatre & Ballroom, Yeovil, Somerset with Satan’s Chase and The Pandas (Western Gazette)
21 April 1968 – Cue Club, Paddington, west London (Billed as Tonicks Band)
22-25 April 1968 – Cue Club, Paddington, west London with Count Suckle Sound System
Photo: Middlesbrough Evening Gazette. Photo may be subject to copyright
25 April 1968 – James Finegan Hall, Eston, Teesside with The Engine and Chelfont Line (Middlesbrough Evening Gazette)
26 April 1968 – New All-Star Club, 9a Artillery Passage, east London
30 April 1968 – Falcon Hotel, Eltham, southeast London (South East London Mercury)
Soon after Joe E Young & The Toniks participated in a tour supporting American soul legend Aretha Franklin. Also on the bill were Johnnie Walker, Robert Knight and Lucas with The Mike Cotton Sound. One of the highlights was a show at what later became the Hammersmith Odeon in May 1968.
4 May 1968 – Cue Club, Paddington, west London (Billed as Tonicks Band)
Photo: Redbridge & Ilford Recorder. Photo may be subject to copyright
10 May 1968 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder)
17 June 1968 – Barn Club, Bishop’s Stortford, Herts (Steve Ingless book: The Day Before Yesterday)
Photo: Cambridgeshire Times. Photo may be subject to copyright
22 June 1968 – Gaiety Ballroom, Ramsey, Cambridgeshire with The Soul Mates (Cambridgeshire Times)
22 June 1968 – Cue Club, Paddington, west London
Photo: Cumberland News. Photo may be subject to copyright
6-7 July 1968 – Cosmo, Carlisle, Cumbria (Cumberland News)
14 July 1968 – Kirklevington Country Club, Kirklevington, North Yorkshire (Middlesbrough Evening Gazette)
20 July 1968 – Club LaBamba, Tunbridge Wells, Kent (Kent & Sussex Courier)
Photo: East Kent Times & Mail. Photo may be subject to copyright
27 July 1968 – Dreamland Ballroom, Margate, Kent with Magic Roundabout (East Kent Times & Mail)
27 July 1968 – Cue Club, Paddington, west London (Billed as Joey Young & The Tonicks Band)
Photo: Northamptonshire Evening Telegraph. Photo may be subject to copyright
18 August 1968 – Railway Hotel, Wealdstone, northwest London
Melody Maker lists some gigs under the name The New Toniks, which may or may not be the same band. The ‘new’ prefix suggests that a new formation was put together and this writer would welcome any further information.
Selected gigs (New Toniks):
22 August 1968 – White Hart, London
23-25 August 1968 – Scotland
25-26 August 1968 – Manchester
27-28 August 1968 – Recording
Colin Young joins The Foundations. Courtesy Dave Else
According to Melody Maker, Colin Young joined The Foundations in late September and made his debut at Aberdeen University on 4 October 1968. By this point, Conrad Isidore had already jumped ship to commit to The Sundae Times full-time. With the band splitting, the Bullen siblings ended up joining Herbie Goins & The Night-Timers.
With the album ready to release, Toast quickly shipped a second single in November 1968, pairing the soul classic, “Sixty Minutes of Your Love” with Lennon & McCartney’s “Good Day Sunshine”.
Around the same time, the label also belatedly issued the Soul Buster! LP, highlights of which include one of the best covers of Darrell Banks’ “Open The Door To Your Heart”. Sadly, it was all too little, too late. With few copies pressed and scant promotion, the LP slipped out unnoticed. In subsequent years, however, it became a highly prized collector’s item, not least due to the band’s personnel and individual members’ post-Toniks career.
In a final, last gasp, Toast paired “Good Day Sunshine” with the year old “Lifetime of Lovin’” for a final single, issued on 31 January 1969, but it also failed to dent the charts.
Besides Colin Young’s chart success with The Foundations, Calvin ‘Fuzzy’ Samuel and Conrad Isidore also went on to greater things.
During his time with The Sundae Times, Isidore also played and recorded with Alan Marshall’s band One, who released a rare eponymous LP for Fontana. After a stint with Manfred Mann Chapter 3 during 1970, he became a noted session player, working with the likes of Joe Cocker, Linda Lewis, Terry Reid, Vinegar Joe and Eddy Grant to name a few. He also later played with Junior Marvin in his band Hanson and with Hummingbird.
Samuel appeared on Stephen Stills’ first two solo albums, thanks to his connections with Conrad Isidore, who landed the gig after Stephen Stills caught the drummer playing at the Speakeasy in March 1970.
The bass player was hired for Crosby, Stills, Nash & Young, appearing on the single, “Ohio” and subsequently worked in Stephen Stills’s Manassas before also finding work as a session player, including with Graham Nash, Rita Coolidge and Taj Mahal. Samuel later wrote and recorded songs with Marianne Faithfull and Stevie Winwood and worked with The Alvin Lee Band and Tumbling Dice with Mick Taylor and Nicky Hopkins. In 1999, he self-released two CDs, This Train Still Runs and Love Don’t Taste Like Chicken.
Latter day member Kelvin Bullen went on to work with Swiss rock band, Toad, while his brother Hugh found success with the highly revered British funk band, Gonzalez after a spell in Italy with Herbie Goins. Hugh Bullen also cut an Italian solo LP, Feeling, in 1978.
Colin Young meanwhile went solo and recorded for Pye Records. He later joined UK group Mercy, Mercy who had a hit with “It Must Be Heaven” in the 1980s. Since then he has participated in various Foundations reunions.
Many thanks to Pete Gage for his recollections. I would be particularly interested to hear from anyone who can add or correct any of the information here.
A noted yet relatively obscure late 1960s rock/soul outfit formed by two former members of Joe E Young & The Toniks around late 1967/early 1968, who cut a great lone LP, Us Coloured Kids, and a handful of singles for President Records.
Born in Antigua, guitarist Wendell Richardson had moved to London at the age of 11 and grown up in Tottenham. During 1965, he befriended fellow Antiguan-born musician Calvin “Fuzzy” Samuel and later Dominica-born Conrad Isidore. In 1967, Samuel and Isidore both played with The Toniks fronted by singer Colin Young aka Joe E Young). Through the local West Indian population, the trio got to know Eddy Grant and his band The Equals and became firm friends.
Having lost interest in The Toniks, Samuel jumped ship around November 1967 shortly before the band’s debut single on Toast, “Lifetime of Lovin’” c/w “Flower In My Hand” had been released and started planning The Sundae Times with Richardson, who had worked with The Skatelites backing Edwin Starr in February 1967. Isidore, however, remained with The Toniks but agreed to help out on the pair’s next project, The Sundae Times, who landed a deal with President Records thanks to their connection with The Equals (Ed: Samuel played bass on many of their recordings).
With Eddy Grant producing and penning the trio’s first release, “Baby Don’t Cry” c/w “Aba-Aba”, The Sundae Times’ debut was issued by President on 7 June 1968 but failed to chart in the UK. In the US, the single appeared on the small Seville imprint the following month. German and Spanish releases also followed but somewhat bizarrely it was in Israel where The Sundae Times made the biggest impact. Released as the A-side, “Aba-Aba” broke into the top 10.
With The Sundae Times starting to pick up gigs and with further hits potentially in the pipeline, Conrad Isidore left The Toniks around September 1968 to commit to the project full-time. In retrospect, it was a sensible move as singer Colin Young quit The Toniks soon after to join British hit-makers, The Foundations.
With Isidore fully committed, The Sundae Times began work on an LP for President Records’ subsidiary Joy during the autumn of 1968 with Eddy Grant producing. Richardson dominated the song-writing, penning the tracks, “Angels In The Sky”, “Adam and Eve”, “Electric Tree” and “Jack Boy”, which graced the A-side of The Sundae Times’ second single, issued on President on 22 November 1968. Coupled with “I Don’t Want Nobody”, a Richardson co-write with Isidore and Samuel, the single failed to chart.
The three musicians also collaborated on three other tracks on the LP, “Take Me Back Again”, “Psychedelic Dream” and “Do You Know What Love Is”. Samuel meanwhile penned two tracks, “On The Run” and “Live Today”, which belatedly headed up The Sundae Times’ final single outing (issued on 13 March 1970), and was coupled with Eddy Grant’s “Take Me Higher Baby”.
By then, Samuel and Isidore had been snapped up by Stephen Stills for sessions for his debut solo LP. Samuel was working with PP Arnold at the time and Isidore was working with Alan Marshall’s band One, who’d cut a lone LP for Fontana during 1969. Marshall’s group were regular guests at Stills’ Elstead home in Surrey.
While Samuel subsequently landed a gig with Crosby, Stills, Nash & Young (replacing Greg Reeves), Richardson formed Osibisa and Isidore joined Manfred Mann Chapter 3.
The Sundae Times’ own LP, Us Coloured Kids, had slipped out on Joy Records during 1969 and has since become an extremely rare, yet highly collectable item thanks in part to the Eddy Grant connection.
Selected gigs:
7 September 1968 – Glen Ballroom, Llanelli, south Wales with Lyndia Lewis and The NMO (South Wales Evening Post) Lyndia Lewis was most likely Linda Lewis but was this with White Rabbit?
6 October 1968 – Mistrale Club, Beckenham Junction, Kent (Poster)
2 November 1968 – Weymouth Pavilion Ballroom, Weymouth, Dorset with The Firestones (Dorset Evening Echo)
13 December 1968 – Fishmongers Hall, Wood Green, Middlesex with The Action (Melody Maker)
For more on the band members’ post career, see the Joe E Young & The Toniks entry on Garage Hangover. I’d be interested if anyone can add or correct any information below.
Junior Kerr (second left) with White Rabbit in early 1968. Photo courtesy of Rod Goodway
Born in Kingston, Jamaica on 3 May 1947, Donald Hanson Marvin Kerr Richards Jr, started to learn the piano at the age of two. When he was nine years old, he moved to London to live with his mother in Stoke Newington. In mid-1965, he starred in The Beatles’ movie, Help! Kerr only appeared briefly, playing one of the policemen who chase Ringo Starr in a beach scene.
Growing up on Kyverdale Road in Stoke Newington, Kerr learnt to play guitar and also further developed his keyboard skills, inspired by Jimmy Smith, Jack McDuff and Booker T, among others.
During late 1964, he formed his first group, The Blue-Ace-Unit, with keyboard player Reo Dayes, a school friend from Tyssen community primary school in Cazenove. With Kerr on lead guitar and vocals, the group also included Ian McLaughlin (rhythm guitar), Errol Pennant (bass) and Alvin Campbell (drums).
The following year, Ken Cumberbatch replaced Dayes on Hammond organ. Kerr also met Calvin Samuel, who he allegedly nicknamed “Fuzzy” because the musician played his bass through a “fuzz box”. Blown away by his bass playing, Kerr invited Samuel to take over from Pennant on bass. The Blue-Ace-Unit auditioned for a gig at the Flamingo in Soho but lost out to The Gass who secured the residency. Around June 1966, the group, which had changed name to The Blue Aces, split up and Kerr began to hang out at Soho clubs, the Roaring ‘20s and later the Bag O’Nails.
Around October 1966 (some sources say as late as March 1967), he joined Herbie Goins & The Night-Timers (where he later met guest singer Linda Lewis) and it was during this early period that Kerr saw Jimi Hendrix playing at the Bag O’Nails in Soho. Inspired by his incendiary guitar work, Kerr started to practise guitar in his free time.
Around September 1967, Kerr left Herbie Goins to form The Junior (Pretty Boy Kerr) Group. The Aldershot News lists the band playing at the “Big C”, a popular club on 1 Camp Road, Farnborough in Hampshire on 4 November. It’s not clear who else was involved in this band and whether it was the same line-up of musicians that became White Rabbit but Linda Lewis was featured as singer.
In July 1967, Polydor Records had issued Linda Lewis’ debut solo single, “You Turned My Bitter Into Sweet” but it had not been a chart success.
Towards the end of the year, Kerr and Lewis put together White Rabbit, which comprised lead guitarist Andy Rickell from Calne, Wiltshire groups, The Pack and J P Sunshine, and his friend (and former Pack member) drummer Terry Stannard, who’d recently been working with Freddie Mack & The Mack Sound. The remaining members were rhythm guitarist/singer Brian Henderson and bass player Ralph Richardson from Lisa Strike & The Jet Set. Henderson had also worked with Nirvana.
Managed by Ian Samwell (Lewis’ manager) and Laurie O’Leary who managed the Speakeasy, the group played a month’s residency in Biarritz, the south of France, at the Canasta Club. Then, in the early months of 1968, White Rabbit toured Italy and France, but after their return (around late March), Kerr decided to leave.
Although he is rumoured to have re-joined Herbie Goins briefly (Ed. he appears on French TV on 4 April; this is more likely to have been a recording from the previous year), he in fact formed a new band that debuted in early April. 1968.
At some point in early 1968, Kerr ran into guitarist Mike Piggott in London, who had just left The System Soul Band, led by singer Ivan Sinclair.
The pair formed a new outfit, Junior’s Conquest, who landed a regular gig at the Pheasantry on the King’s Road in Chelsea.
According to the Redbridge & Ilford Recorder, the band also performed at the El Grotto in Ilford, east London on 7 April 1968, which may have been the group’s debut show.
Junior’s Conquest, late 1968. Courtesy of Mike Piggott. Pete Dobson is far left, Mike Piggott (top) and Junior Kerr. The person on the right might be John Best
It’s possible that while at the Pheasantry the group was invited to perform at a club in Stockholm, Sweden that summer called Alexandra’s, kicking off with a show on 17 May billed as Don Kerr & The Conquests.
Thanks to Mats Jarl for the clippingsAdvertised in paper on 31 May. Billed as The Conquest. Thanks to Mats Jarl for the clipping
With drummer Pete Dobson and a bass player, who was replaced by John Best, Junior’s Conquest played together for about six months, including a show at the Victoriana in Liverpool with Sinbad on 11 September 1968.
They also appeared at the Broken Wheel in Retford, Nottinghamshire on 5 October 1968 and the popular West End club, Hatchettes in Piccadilly on 22-23 November 1968.
Sometime in early 1969, however, the band split up. While he was fronting Junior’s Conquest, Kerr had also participated in the London production of Hair on Shaftsbury Avenue, which debuted on 27 September. It was here that he met singer Marsha Hunt whose band he briefly worked with in 1969.
During the early 1970s, Kerr would work with Keef Hartley and then move to the US before subsequently changing his name to Junior Marvin and finding fame with Bob Marley during the late 1970s.
I would be interested to hear from anyone who can add any further details to Kerr’s 1960s career.
White Rabbit in late 1967/early 1968. Left to right: Brian Henderson, Junior Kerr, Terry Stannard, Linda Lewis, Andy Rickell, Ralph Richardson. Photo courtesy of Rod Goodway.
A fascinating, yet short-lived band that included a number of notable musicians who went on to greater things.
The original White Rabbit line-up came together about November 1967 around singers Junior Kerr and Linda Lewis, who’d met earlier that year as members of Herbie Goins & The Night Timers.
Junior Kerr, incidentally, had started out with The Blue-Ace-Unit while Lewis had performed with John Lee Hooker in 1964 and sung with The Q-Set before they backed Maxine Brown and then Ronnie Jones.
White Rabbit was managed jointly by Ian Samwell (Lewis’ manager) and Laurie O’Leary, who managed the Speakeasy club in London.
Linda Lewis in Record Mirror. Thanks to David Else for the cutting
The band’s guitarist Andy Rickell and drummer Terry Stannard had both previously worked together in Calne, Wiltshire band, The Pack during 1966 with future White Rabbit singer Rod Goodway. The trio had also played with another, albeit short-lived, Wiltshire group, Flower of Wisdom between February-June 1967.
When Flower of Wisdom broke up, Terry Stannard moved to London where he joined Freddie Mack & The Mack Sound, which is probably how he ran into Junior Kerr, who’d formed his own band, The Junior ‘Pretty Boy’ Kerr Group around October 1967. In fact, Stannard may well have been a member of this band after working with Freddie Mack (and possibly may have been with Herbie Goins briefly).
Meanwhile, Rickell and Goodway began working with the studio project J P Sunshine, which they kept together after Rickell joined White Rabbit (possibly also after a short stint with Herbie Goins) and Goodway was invited to replace Art Wood in the post-Artwoods band, St Valentine’s Day Massacre between January-April 1968.
The original version of White Rabbit was completed with two additional musicians, rhythm guitarist/singer Brian Henderson, who’d recently been part of Nirvana’s backing band and was previously in The Soul Mates and Liza Strike & The Jet Set, and bass player Ralph Richardson, who’d worked with Henderson in The Jet Set.
According to the Redbridge & Ilford Recorder, White Rabbit played at El Grotto in Ilford, east London on 9-10 December 1967.
After a short Italian tour, which included playing in Turin (see poster above) and billed as Junior Kerr and Linda Lewis and White Rabbit, they performed at the “Big C” club in Farnborough on 24 February 1968.
On 10 March, White Rabbit returned to play at El Grotto in Ilford, east London, according to the Redbridge & Ilford Recorder.
The band also played at the Revolution Club in central London before travelling to France to perform, which included a few weeks in Biarritz (most likely the Canasta Club).
On their return in late March, Terry Stannard departed, later working with Mirrors (with Boz Burrell and Nick Judd), Alan Marshall’s band One and Kokomo among others. Kerr remembers a Jewish drummer called Mick, who briefly filled in.
However, Junior Kerr also departed in late March and formed his own band, Junior’s Conquest who debuted in early April. (Ed. He is seen on French TV playing with Herbie Goins in April 1968 but this must be a recording from 1967.) In later years, he would change his name to Junior Marvin and work alongside Bob Marley.
Brian Henderson, who later worked with J J Jackson, and Ralph Richardson also departed.
On 6 April, the group was advertised playing on the French TV show Bouton Rouge but it’s not clear if this definitely happened. If they did appear, this would have been the broadcast date and would have been recorded in March while they were working in France.
Thanks to Bruno Ceriotti for photo
Linda Lewis and Andy Rickell meanwhile pieced together a new version of White Rabbit in late March 1968. Rickell recruited his former Pack and J P Sunshine colleague, singer Rod Goodway, who’d left St Valentine’s Day Massacre, to replace Junior Kerr.
Rod Goodway shortly after joining White Rabbit
The pair also recruited drummer Ron Berg, who interestingly had also played with Freddie Mack & The Mack Sound (alongside Stannard) during mid-late 1967.
To complete the new version, they added Cyprus-born bass player Pete Pavli and organist Mick Aron.
Redbridge & Ilford Recorder has them playing at the El Grotto in Ilford on 4 April. It is possible this may have been just with Linda Lewis singing before Rod Goodway joined.
White Rabbit in St Tropez. Left to right: Ron Berg, Rod Goodway, Linda Lewis and Peter Pavli. Courtesy Rod Goodway
Almost immediately, the new White Rabbit left the UK for the south of France and performed at the Papagayo Club in St Tropez for three weeks, starting in the first week of May.
The musicians were back in London for a notable gig at the Middle Earth club in Covent Garden, opening for Captain Beefheart & His Magic Band on 25 May. The group also opened for The Crazy World of Arthur Brown around August.
Around August/September 1968, however, Rod Goodway and Linda Lewis both left, the latter to embark on a successful solo career after fronting Ferris Wheel where she played alongside future Foreigner drummer Dennis Elliott.
Pete Pavli also left to join High Tide while Mick Aron went on to work with Pete Brown.
Andy Rickell and Ron Berg kept the band going until around November/December of that year, bringing in a number of musicians, including Hammond organist Peter Jennings, who subsequently joined Cressida in September 1969.
Jennings says that he worked with Berg at Sidney Bron’s ‘Bron’s Orchestral Service’ in Oxford Street and then Newman Street, collecting music from publishers in the area and sending them to customers.
The Hammond organist recalls that they also had a singer, who he thinks came from Leicester and a trumpet player from Wales.
He remembers that Laurie O’Leary was still managing the group and that they rehearsed in a gym on Tottenham Court Road. Jennings recalls a gig in Ilford (most likely El Grotto; there is a guest group appearing there on 14 November 1968) one at Sybilla’s in Swallow Street, central London before splitting.
On the band’s demise, Ron Berg joined Mick Abrahams’ post-Jethro Tull group, Blodwyn Pig while Rickell later joined The Crazy World of Arthur Brown.
Jennings worked with several bands before joining Cressida, including one with guitarist Ged Peck called Storm. The others were Van Dyke and Luther Morgan.
This author would be interested to hear from anyone who can add any further information. Huge thanks to Rod Goodway for photos and background information.
Samron Records had a great run, releasing only a handful of singles but all that I’ve heard are top-notch rock ’n roll. Thee Avantis’ “I Want to Understand” / “Nancy” on Samron S-103, recorded in late 1965, is one of the best.
“I Want to Understand” is the kind of single I never get tired of, featuring a neat guitar hook, solid bass and drum playing, the right amount of organ and great vocals. There are fine guitar and organ breaks, the entire song clocking in at 2:27.
The other three singles on Samron are:
Samron S-101: The Wizards “Don’t Trust A Man” / “Sad Little Girl” Samron S-102: Ognir & the Night People “I Found a New Love” (Nehring, Marusak) / “All My Heart” (Nehring, Molinaro) released October 1965
Samron S-104: The Five Flys “Livin’ for Love” / “Dance Her By Me”
Samron was run by Ronald Magazzu, and Sam Lesante was also involved. The first two singles listed Magazzu Productions in Hazleton, PA, while the label for the Five Flys changes the town to Coaldale, PA.
I’ve read Thee Avantis were from Scranton, but I found a notice in the Hazleton Standard-Speaker from March 5, 1966 listing the band for a Sunday Dance at the Fiesta Room in Hazleton, about an hour’s drive southwest of Scranton.
I only know the names of three members of Thee Avantis: Nick Fata on bass and Robert Schnessel who wrote both songs, plus Tom Flanagan. Magazzu Music Co. published both songs.
Thank you to Mike K and Mike Markesich for additional info on the label in their comments.
The Conductors, from left: Larry Borgess, Chad Fenstemaker, Skip Kreitz, Regan Meyer, Barry Hirsh, and Danny Brungard
The Conductors came from Williamsport, Pennsylvania, cutting the great “She Said So” as the b-side to their June 1966 single. Members were:
Larry Borgess – lead vocals Chad Fenstemaker – lead guitar Skip Kreitz – rhythm guitar Regan Meyer – bass Barry Hirsh – organ Danny Brungard – drums
Barry Hirsh and Larry Borgess left to join Prince Charles & the Royaltones. Mike Ranck replaced Larry until the Conductors split.
“She Said So” is a stomping fuzz and organ rocker written by Barry Hirsh, with taunting lines:
You gotta stay home and watch the kids tonight, Because she said so, But I wanna tell ya, Better sit up and say that everything’s not right, Because you said so.
You gotta break free, Stand on your own two feet, Stop doing things that you don’t want to do, Just because she said so!
The original A-side “Whatever’s In Your Smile” is light pop, but worth a listen, it too was written by Barry Hirsh, and features harmonies, piano and a lighter touch on the guitar.
Publishing was through Hi-Mar Music and Ronbeth Music BMI, both of which had other copyrights, most notably Ronbeth with the 7th Avenue Aviators “You Should ‘O Held On”.
The Conductors single came out on Dater DT-1303/4 in June, 1967. Dater was owned by Dave Chackler, and had one other single that I know of, the Soul Generation “I Can’t See You” / “Big Boss Man” on Dater DT-1301. The A-side has the Starlites doing a drier, stripped-down version of their classic on Bar-Clay, “I Can’t See You”. The label notes produced by Dave Chackler for Peter Warren Enterprises. The Starlites came from Reading, PA, 100 miles southeast of Williamsport, so I wonder how the Conductors connected with Dave Chackler.
Something Obviously Borrowed are another mystery to me. Their only single is a good two-sider, released on the same J.R.P. label as the Shadow Casters.
“Tell the People” is upbeat, with typical lyrics of the time (“Now is the time to tell the people, all about love”). D. Geinosky and L. Carr wrote the song; they were probably members of the band.
“Joan” is laid-back rock, with a feel something like Loaded-era Velvet Underground, the singer intoning “please come on home, Joan”. Writer credit is to the producer, James Ruff, but members of the Shadow Casters noted he put his name on one of their compositions, “Going to the Moon”.
James Ruff Productions probably paid for recording time and pressing of the single on J.R.P. 004, sometime after April 1968. J.R.P. labels list an address in Aurora, Illinois. Sandpiper BMI published both songs but I don’t see a copyright listing for either. The code TM 2665/6 indicates Chess Records’ Ter-Mar studio in Chicago.
Something Obviously Borrowed seems to be the only other release on JRP besides the Shadow Casters, and also seems to be rarer than their singles.
One instrumental, three releases, three different titles.
Herman’s Hermits “Mrs. Brown, You’ve Got a Lovely Daughter” topped the Billboard Hot 100 in May of 1965, so a Hollywood studio owner rushed out a parody, “Mrs. Schwartz You’ve Got An Ugly Daughter” with the artist listed as Marty & the Monks, released on Associated Artists AA-3066. This version is on youtube if you want to subject yourself to it.
The much worthier side is the instrumental on flip, cut by a group that seems to have been totally unrelated to the musicians on the A-side. “Mexican Party” is a rocking take-off on “Money” that sounds like it was actually recorded live in the studio. There are whoops, shouts, lots of string bending, a ridiculous horn blast. It has a lot in common with the Pacific Northwest sound like the Moguls “Avalanche”, the Jesters’ “Alki Point” or even Don & the Goodtimes version of “Money”.
Barry Wickham pointed out in his comment below that “Mexican Party” had actually been released the year before as the b-side of “Distortion” / “Distortion Part II”, by the Distorters on Clark Records 364. K. Young, G. Connor, and T. Reed have writer credits, which would remain when the song was retitled “Mexican Party” and “Psychedelic City”. The Kevgreg producer credit suggests Kevin Young and Greg Connor, both of whom were frequent songwriting collaborators, often with Dorsey Burnette.
Johnny Faire (aka Donnie Brooks) must have owned at least part of Faire Music. It had been a going concern since 1959, when it published “Pure Love” by Jesse Hodges and Johnny Burnette, the top side of a Sonny James single in June of that year. After that Faire Music shows up in a couple Cash Box directories and a smattering of releases by Bobby Lee Trammell, Frankie Knight, Curtis Lee, Billy Storm and others.
Jesse Hodges is credited as producer on the Associated Artists release. Hodges owned Hollywood Sound Recorders and I believe he owned the Associated Artists label, which released about twenty 45s, including a couple of Hodges’ own singles. Not having a b-side by Marty & the Monks, he must have simply reused the Distorters recording.
Kevin Young, Greg Connor and T. Reed’s names do not appear on other Associated Artists releases as far as I can tell.
“Mrs. Schwartz You’ve Got An Ugly Daughter” had another release on Era Records 5037. “Mexican Party” aka “Distortion part II” is on the flip, but this time the title is “Psychedelic City”.
Both the Associated Artists 45 and the Era release have ∆-57190 in the deadwax, which dates the stampers for both 45s to June of 1965. I assume the Associated Artists was the original release. I have no idea when this “Golden Era Series” came out but 1967 wouldn’t be a bad guess, given the new, topical title.
My fellow WGXC deejay Jillian found a possible source for the band name in the obscure Marty the Monk cartoons of the 1930s.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
The Secrets’ “Somethin Good For Me” / “Love” has as obscure an origin as any single out there. The band may have been from southern Illinois or eastern Missouri, but I don’t know anything definite yet. The only name I can associate with the group is Ivan White who wrote both songs.
Colin Young – lead vocals
Two of the earliest tracks to be recorded were two Pete Gage songs, co-written with Ebony Keyes (aka Kenrick Pitt), “Lifetime of Lovin’” c/w “Flower In My Hand”. Paired as a single, the tracks were issued on Toast in January 1968 but did not chart. Incidentally, the single also saw a South African release on the Continental label.
Wendell Richardson – guitar/vocals
With The Sundae Times starting to pick up gigs and with further hits potentially in the pipeline, Conrad Isidore left The Toniks around September 1968 to commit to the project full-time. In retrospect, it was a sensible move as singer Colin Young quit The Toniks soon after to join British hit-makers, The Foundations.
The three musicians also collaborated on three other tracks on the LP, “Take Me Back Again”, “Psychedelic Dream” and “Do You Know What Love Is”. Samuel meanwhile penned two tracks, “On The Run” and “Live Today”, which belatedly headed up The Sundae Times’ final single outing (issued on 13 March 1970), and was coupled with Eddy Grant’s “Take Me Higher Baby”.
In July 1967, Polydor Records had issued Linda Lewis’ debut solo single, “You Turned My Bitter Into Sweet” but it had not been a chart success.
Managed by Ian Samwell (Lewis’ manager) and Laurie O’Leary who managed the Speakeasy, the group played a month’s residency in Biarritz, the south of France, at the Canasta Club. Then, in the early months of 1968, White Rabbit toured Italy and France, but after their return (around late March), Kerr decided to leave.
The original version of White Rabbit was completed with two additional musicians, rhythm guitarist/singer Brian Henderson, who’d recently been part of Nirvana’s backing band and was previously in The Soul Mates and Liza Strike & The Jet Set, and bass player Ralph Richardson, who’d worked with Henderson in The Jet Set.
Around August/September 1968, however, Rod Goodway and Linda Lewis both left, the latter to embark on a successful solo career after fronting Ferris Wheel where she played alongside future Foreigner drummer Dennis Elliott.
