CHRONICLES: THE YEAR 1963
Single release: Joe Brown – That’s What Love Will Do / Hava Nagila (Piccadilly 7N 35106)
The old Jewish folk song “Hava Nagila” was used by Dave Dee & The Bostons on stage
Single release: The Beatles – Please Please Me / Ask Me Why (Parlophone R 4983)
First Beatles chart-topper, a song that featured in Dave Dee & The Bostons’ repertoire
Single release: Peter Jay & The Jaywalkers – Totem Pole / Jaywalker (Decca F 11593)
Written by Joe Meek, this song was covered by The Honeycombs on their second album
Billboard Chart entry: Roy Orbison – In Dreams (Monument 806) #7
Used in Dave Dee & The Bostons’ repertoire. Dave Dee was a great admiror of Roy Orbison. Dave Dee, Dozy, Beaky, Mick & Tich finally recorded their own studio version in 2008.
Dave Dee: Tatsächlich habe ich mit den berühmtesten Bands der 60er die Bühne geteilt, darunter die Beatles, Rolling Stones, die Who, Searchers oder die Small Faces. Aber das absolut Größte für mich war Roy Orbison kennen zu lernen! (Interview in “Bunte” 2008)
In English: Indeed I’ve been on stage with the most famous bands of the 60s, including the Beatles, Rolling Stones, the Who, Searchers or the Small Faces. But what was absolutely the greatest was to meet Roy Orbison! (Interview with “Bunte” 2008)
British album release: The Beatles – “Please Please Me” (Parlophone PMC 1202)
I Saw Her Standing There / Misery / Anna (Go To Him) / Chains / Boys / Ask Me Why / Please Please Me / Love Me Do / P.S. I Love You / Baby It’s You / Do You Want To Know A Secret / A Taste Of Honey / There’s A Place / Twist and Shout
Billboard Chart N°1: Ruby & The Romantics – Our Day Will Come (Kapp 501)
The song, written by Hillard/Garson, was covered by The Honeycombs in 1965 on their second LP
Single release: The Big Three – Some Other Guy / Let True Love Begin (Decca 11614)
Dave Dee & The Bostons play the same repertoire as most Merseybeat groups in Hamburg (The original version was issued in the USA by Richie Barrett on Atlantic 2142 in April 1962)
Axle Quarterly n°3 is edited by Ken Howard, Alan Blaikley and Paul Overy
The magazine ran for 4 issues, Autumn 1962 – Summer 1963.
A spin-off from this was a series of five provocative booklets, AXLE Spokes.
Top Ten Club, Hamburg and Hanover, Germany
Dave Lee & The Staggerlees and Jimmy Powell & the Jumping Jacks
Dave Lee & The Staggerlees on ManchesterBeat
We started life here in Cornwall. Doing gigs most nights of the week during the summer. After a couple of years or so we jacked in our jobs […]
The initial line up was myself [David Penrase], Amph (lead), Johnny Chapman (bass), Clive Gunn (rhythm), Morv Munday (drums). The band was soon split by the leaving of Clive and Morv being replaced by some of Plymouth`s best players in the shape of Derek Stenteford (rhythm) and Frankie Bennet (drums). Frank was later replaced by another Plymouth boy Stan Brown.
We did a stint in Hamburg and Hanover and worked in The Top Ten club alongside Jimmy Powell and the Jumping Jacks (we persuaded Jimmy Powell’s piano player Mick to join us) and Dave Dee and The Bostons (soon to become DDDBM&T).
We cut “Dance Dance Dance” a cover of the American Hit by Joey Dee and The Starlighters, then followed with “Sweet And Lovely” a version to be fair we “stole” from the great band of Cliff Bennett and The Rebel Rousers. [in 1963]
Spring 1963 ?
Top Ten Club, Hamburg und Hannover, Deutschland (2 months)
First Trip to Germany: The group has been signed by Iain Hines (former keyboard player of The Jets, Tony Sheridan’s group) in a Southampton heat. Dave Dee & The Bostons pile up their instruments in the train leaving from Salisbury to join Hamburg. They are due to play at Peter Eckhorn’s Top Ten Clubs in Hamburg and Hanover, and live in an apartment two floors above the club.
Tich Amey: “The first time we went to Germany we had to do an audition – it was organised by a chap called Iain Hines. I don’t know whether he’s still about or whether he’s gone on, but his brother was Fraser Hines the actor. He got us the gig really. We did two months playing every night, six – sometimes seven – nights a week. We sort of did ten days in Hamburg and ten days in Hanover – backwards and forwards.”
Stan Poole: “We went for an audition down Southampton – there was quite a few bands down there. They had open doors and people came in – they didn’t have to pay. They had a panel of judges to say who went and who didn’t. I think they were German people from different clubs who said ‘Yes, I want this band or that band’. That’s how they picked them out.” [...]
“I just done the one German tour. I think it was two months, maybe three. We used to start playing at seven o’clock at night and finish at five in the morning – working right through the night – one hour off, one hour on. We done Hamburg and Hanover. Hanover was a lot easier – not so many army personnel. Hamburg… it’s supposed to be the street of sin isn’t it – the Reeperbahn? It was… it was great! ” [...]
(in “HoldTight! – Voices of the Sarum Sound” pages 80-81)
1-14 May 63
Star-Club, Große Freiheit 39, Hamburg, Deutschland
Screaming Lord Sutch & The Savages were booked at the same time as The Searchers (until 30 June)
So Dave Dee & The Bostons were maybe at the Top Ten in May 1963, still with Stan Poole
Stan Poole: “The Searchers were in the Star Club, just behind us. We used to mix with all the other English bands – meet up in the afternoon and have a drink somewhere – good times. We used to help other bands like Dave Sutch – Screaming Lord Sutch. I went on as his stooge one night. When he comes out of his coffin he wants someone to kill. So he used to grab somebody to be his stooge.”
“I’d walk on stage with a gun and shoot him when he got out of the coffin – he gave me a gun loaded with blanks. He said `When I get hold of you, just make it look good’. He got out of the coffin, I walked on the stage, got the gun out, went to shoot him – click – tried again – click. He put his hands around my throat and I didn’t have to pretend! My tongue came out and everything – terrible! The curtain came down afterwards and he said `I thought you were supposed to pull the trigger!’ He looked at the gun and he had put the blanks in wrong somehow.” (in “HoldTight! – Voices of the Sarum Sound” pages 81-82)
News: The Avengers suffered a car accident on their way back from a dance near Poole (Dorset).
The manager and bassist of this Salisbury sextet were killed in the collision. Peter Mason was playing rhythm guitar with the band, who had just turned professional. Mason, born in Liverpool, had earlier come to Salisbury to work on a farm.
Single release: Wayne Fontana & The Mindbenders – Hello Josephine / Road Runner [Fontana 404]
This first Mindbenders single made it to #46. The song was also in The Bostons’ repertoire
City Hall, Salisbury, Wiltshire, England
The Beatles: 1500 spectators in attendance, the only time they visit the city (Brian Epstein offered £200 to cancel the booking as he had serious misgivings about the Beatles’ safety in such a venue)
Billboard Chart entry: The Surfaris – Wipe Out (Dot 16479) #2
Instrumental track written by The Surfaris and played by The Honeycombs on their 1965 Live LP
Town Hall, West Berlin, West Germany
US President John F. Kennedy holds his famous speech: “Ich bin ein Berliner”
Dave Dee on Radio 2 23 Aug ’86: In 1963 I was playing with a group called Dave Dee and the Bostons… it was later to become Dozy, Beaky, Mick and Tich with Dave Dee of course, and we were playing in a club in Hamburg called the ‘Top Ten’ club, and that was the year that Kennedy went to Germany, and did his ‘Ich bin ein Berliner’ line. I always thought a Berliner was a doughnut… but anyway… it is in German, believe it or not a jam doughnut. We were playing in this club and the Beatles’ first album had come out, and I had heard about the Beatles in 1962 with ‘Love Me Do’, and somebody said “Oh there’s this group from Liverpool called the Beatles”… I said what a silly name that is …I mean Dave Dee and the Bostons is a really trendy name… do you know what I mean?
Billboard Chart entry: Elvis Presley – Devil In Disguise (RCA Victor 1355) #3
“You look like an Angel” Elvis sings here – “I don’t want an Angel in Disguise” Dave Dee sings in “All I Want” in 1965
Billboard Chart entry: Chris Kenner – Land Of 1000 Dances (Instant 3252) #77
Dave Dee & The Bostons did not play the song, but only used an ad-libbed “Na Na Na Na Na” which did not exist in Chris Kenner’s original, but was later improvised by Cannibal & The Headhunters
Axle Quarterly No. 4, Summer 1963
by Blaikley, Alan; Howard, Ken; Overy, Paul (Editors)
The magazine features the works of Philip Whitehead, Gavin Millar, Jack Peterson, Ray Gosling, Gillian Freeman, Simon Raven and Paul Murdin.
Summer 1963 ?
Dave Dee & The Bostons return to Salisbury
Call Up The Groups (by Alan Clayson) page 100:
It was a season at the Top Ten club that made them, transforming a clumsy West Country group into a peerless live act and potential chart proposition. In an atmosphere of frenetic gaiety, the Wiltshire boys’ informal clowning evolved into stylized semi-vaudeville routines, and it quickly became apparent how much visiting English-speaking servicemen enjoyed Dave Harman’s rich store of dirty jokes. More important, they became celebrated exponents of the pounding mak schau beat which, especially when emphasised by Dave’s tambourine, was regarded as a try at an Anglicised Tamla sound. As Dee, himself, reflected from a Magnet Records office in 1982, ‘when you’ve been through your entire repertoire twice in one evening, you have to start improvising’.
Hamburg: The cradle of British Rock (by Alan Clayson) page 137:
For purposes other than fighting the flab too, Preludin supplies came to be stocked for employees’ use in most St Pauli establishments that kept Dracula hours – as Dave Dee gathered during his group’s first night at the Top Ten: “We walked in, and they said, ‘You are onstage in an hour.’ We said, ‘Oh no, we’ve been travelling for two days.’ This guy said, ‘Don’t worry about it.’ We went on, came off, the other band went on, came off, we went on again. It got to about two-thirty in the morning, and we were absolutely knackered. The guy says, ‘Don’t worry. I’ll take care of things,’ and he came up with five rum-and-cokes and these little tablets. I said, ‘What are these?’ He said, ‘Don’t ask questions. Just take the tablets. You’ll feel great.’ We didn’t know what they were, and, of course, it was speed – actually Preludin slimming pills – but they did the trick.
“The only problem with that,” he warned, “was that when we finished work, we couldn’t sleep and went through the next day waiting for the pills to wear off.” Unlike booze, onstage perspiration did not diminish their effect. Therefore, after the final session of the night was as energetic as the first at seven pm, a group with eyes like Catherine wheels would be ripe for mischief, which might begin with five-in-the-morning bar-hopping and end in a drowsy malaise twenty minutes before showtime. “Of course, we were knackered again,” said Dave Dee, “so we asked for more pills.”
Hamburg: The cradle of British Rock (by Alan Clayson) page 133:
Beaky Dymond discovered a sarcastic “Thanks a lot, mate!” on a postcard from Cologne, written by a guitarist who reckoned – albeit without specific evidence – that he’d contracted venereal disease from one of the Boston’s cast-offs there.
Tich’s nose for trouble was sharper than Beaky’s where romance was concerned. “Another girl fancied me too. She was there every night, looking up at me. All I’d done was speak to her, but I was walking into the club one night when she collared me with a gun in her hand. I had to pull her into a doorway and talk my way out of it.”
The story goes that Dave Dee became enchanted with Gigi, a dashing young lady who, during the Boston’s first
trip to Hamburg, had taught him the only German song in their repertoire.
Hamburg: The cradle of British Rock (by Alan Clayson) pages 111-113:
The Storyvilles were toddlers’ nurseries when set against, say, the Hamburg Top Ten where, so Ricky Richards observed, “No man was employed unless he could handle himself.” Typical was Walter, a short-fused Goliath capable of smashing the most able seaman insensible inside a minute. He had been appointed by Peter Eckhorn to keep riff-raff out. A grievance he had against Dave Dee abated when, said Dozy, “He came into our room on one of his nights off and picked Dave’s bed up with one hand, growled something at him, let the bed drop and strode out.”
Tich Amey would recall his group furnishing themselves with “knives and these spring coshes, a few inches until you flicked them, and they sprang out full-length with a hard bobble on the end”.
The terrifying Walter had left his post immediately to investigate an incident reported to him by Tïch Amey who, after walking a girl home between sets, had been pursued by hoodlums until, with throat constricting, skin crawling and heart pounding like a hunted beast – which he was – he rounded on them with cosh and knife. When they backed off, Tich ran like hell along the three streets back to the Top Ten.
Hamburg: The cradle of British Rock (by Alan Clayson) page 167:
“We got on each other’s nerves” admitted Tich Amey. “If you put down a comb, and turned round and looked for it, perhaps Dozy had picked it up, done his hair and stuffed it in his pocket. Silly incidents like that would become major issues, but we stuck together – and that’s what made a lot of groups at that time a proper unit – a month in Hamburg. Being on the road in bed-and-breakfast places was one thing, but to be in the dormitory of the Top Ten was another”.
Single release: The Undertakers – Everybody Loves A Lover / Mashed Potatoes (Pye 7N 15543)
A standard in the Merseybeat repertoire, also played by Dave Dee & The Bostons in Hamburg (The original version was made by James Brown on King 5672 in September 1962)
Storyville Club, Köln, Nordrhein-Westfalen, and Frankfurt-am-Main, Hessen, Deutschland
Ricky Brown & The Hi-Lites (Southampton rock group) start a one-month engagement, extended to two months in Germany.
While there in 1964 they release an album on the CBS label: “The Liverpool Beat !” Dave Dee & The Bostons would appear at the Storyville in 1964.
City Hall, Salisbury, Wiltshire, England
Dave Dee & The Bostons supported by Mark Twain & The Saxons
Summer 1963 ?
Dave Dee & The Bostons audition a new drummer
Stan Poole, being married with children, has to leave the group. Michael Wilson joins on drums: he had played cornet with The Salisbury Silver Brass Band.
Stan Poole: “I was the only one in the band who was married, and the money wasn’t all that good because I had family as well. It was a case of struggle on or packing the band in and getting a job where money comes in. So after a lot of thought I had to pack the band in. I told them but they didn’t believe me. We done a tour, and when we came back I said ‘That’s it, you must get another drummer because it’s either my marriage or the band!’ ”
Tich Amey: “He was a bit older than us. I know three or four years is nothing but, he was married, he had kids and I think he just needed the money. He lived in the New Forest – in and out to Salisbury to rehearse. It was after we did Germany and if I remember right, we used to give him some of our money to send home to his wife because he never really had enough and we didn’t earn hardly anything.”
“Well, then he left the band and we were looking for another drummer and Dozy found Mick Wilson one day on a bus out to Netheravon – Mick used to live at Amesbury – so we had him and tried him out. Beaky told him what to play in a lot of cases. But before we had Mick Wilson, I think we put some auditions together.” (in “HoldTight! – Voices of the Sarum Sound” page 82)
Beat Instrumental n°38 (June 1966): Dave Dee Etc Had To Push Mick
Mick first came into contact with Dave Dee’s happy ensemble through Dozy, who he met on a bus. He already knew him vaguely and got chatting to him about the group which he was in at the time, Dave Dee and The
Bostons. Dozy was a bit glum so Mick enquired as to the cause and found to his delight that the Boston’s drummer had just left the group. “How about giving me a try”, he said, “I’ve been playing for quite a time”. Dozy said O.K. and took Mick’s number. The group gave him a test and, “Somehow I wangled my way in”, says Mick.
Mick of course was a bit of a fibber, he hadn’t been playing long. In fact he had only just bought a set of Trixon to play at home. The group started to knock him into shape. “It was left to Beaky to teach me the routine”, says Mick. “He was the one who always picked things up quickly and he had taught himself how to play drums on one of the group’s German trips. He was merciless, they all were. They kept on at me every minute, sometimes I got very fed up. The trouble was that they had such a slick act and the drums led them through it. I wasn’t able to just sit back and come in when I had sorted myself out. I think it took me a good six months to get the whole act off from beginning to end.”
Ask Mick if there was any particular piece of drumming which he had a bit of struggle with in the early days and he’ll admit that “I Keep Forgetting You Don’t Love Me No More” by Chuck Jackson proved to be a bit difficult. “Pretty well the whole thing is built round percussion”, he says, “I felt rather pleased when I got it off perfectly”.
Now he’s seen enough action with the group to be able to sail through the routine three times before breakfast so he’s concentrating on getting himself across to the fans. “I believe in a bit of show’, he says, “Twiddling the old sticks, things like that.”
Town Hall, Thurso, Scotland
From Liverpool: Dave Dee & The Bostons
Highland Archives: Northlands Rock: Part Three – Shakin’ All Over
One of Glasgow Dance Promotions July 1963 events featured Geronimo and The Apaches who, predictably, hailed from Liverpool. From then on every second group seemed to be Scousers. A month later Northern Dance Promotions presented Dave Dee and The Bostons, also billed as being ‘from Liverpool’. They probably wished they were; but in fact they had travelled all the way from Southampton to make their professional debut in Thurso Town Hall in front of 20 people. Undismayed, Dave Dee kept on plugging away until he hit the jackpot with Dozy, Beaky, & Co. in the late 60s.
Beat Instrumental n°40 (August 1966): Dave Dee reports on a D D, D, B, M and T Venue“Talk about one-nighters”, the man said! Trouble is there have been hundreds of ‘em, so where do we start ?
Well, that’s easy enough, there’s one in particular which none of us will ever forget and that was a one-night stand in Scotland at a little place called Thurso.
It’s so far north that if you drive any further you end up in the sea! And the roads. They’re bad enough by day, but at night they’re ridiculous. They’re only wide enough for one vehicle, and every so often there are little pull-ins to let other cars past.
We had to go up from Birmingham, and at that time I was the only one who could drive. We had to start playing at ten o’clock that evening and it meant driving for 21 hours to get there in time.
We’d had to hire a van to get us there too, because our own had just lost an argument with a lorry.
As it was, the first thing we saw when we arrived was a bloke jumping up and down outside. As soon as we stopped he started screaming that we only had 15 minutes left before we were on.
It was in the town hall, and it was one of those buildings about six-million years old where they hold courts and the local market.
As you go in to set up the gear there are lorries coming out with boxes of fruit on the back from the afternoon market.
There were only the usual half-dozen girls hanging around while we set up. The pubs were still open so the rest of the people hadn’t turned up yet.
There was a preliminary group on when we arrived, knocking themselves out for the handful of people who were listening to them. It’s like that in Scotland. But as soon as the pubs close at 10.30 p.m. the place gets packed.
At the time though we didn’t realise this, so when we started playing to an audience of no more than a dozen we felt really sick.
The scene there is so bad . . . when the rest of the people come they’re stoned out of their minds. No one knows if there’s a group on stage or not because they never look. They just grab a girl and start dancing.
Waltzing really, I suppose. There was no shaking, no twisting, not even any jiving. They’d just waltz round the hall to the music. It was crazy.
Still, we were as bad. We were so tired we didn’t know what we were doing.
And we had to drive almost 300 miles again the next day – not something we were looking forward to I can tell you.
The changing facilities were a joke too.
We’d send someone across the road for some fish and chips so we could eat while we got changed. That was diabolical. We had to go behind a screen to get changed, there were no rooms or anything. Honestly, it’s so way out that far up in Scotland it’s just not true.
We weren’t too happy with the stage either. It was one of those things about five feet above the floor. We like to be closer to a dance audience because it makes contact easier and you come across better.
This didn’t help for our stage act, which at that time was a mixture of everything with songs, parodies and routines.
We just couldn’t do it there because of the guy who was running the show. He insisted that after about every three numbers Mick should do a drum roll so that everyone would change partners.
It was too much.
Fortunately we’d just come back from Germany where we’d been doing a lot of old rockers. We could remember these, so we did them instead of the routine, and I must say it went down all right.
But that was the last job of that sort we ever did.
Now things are different. We have two road managers who drive our gear around, while we go in a car. Everyone can drive too, except Dozy, so it’s not so bad.
He’s hopeless though, and we had to toss up to see who’d teach him to drive. As usual I lost and I’ll have to do it, but he promises to do as he’s told, which is just as well. Normally it takes him about half an hour to cross the road!
Bridego Railway Bridge, Ledburn near Mentmore, Buckinghamshire, England
Robbery of the Glasgow-to-London Royal Mail train by Ronald Biggs and 14 other thieves.
2.5 million Pounds were stolen and never recovered. Biggs escaped from prison in 1965, and finally fled to Brazil. In 1980, he appeared in “The Great Rock ‘n’ Roll Swindle”, as did Dave Dee.
TV Show: Ready Steady Go, Rediffusion Television, London, England (6:08-7:00 pm)
Hosts: Keith Fordyce and Cathy McGowan – Premiere
With Chris Barber, Billy Fury, Burl Ives and Brian Poole & The Tremeloes
City Hall, Salisbury, Wiltshire, England
Dave Dee & The Bostons supported by Danny & The Detonators
Danny & The Detonators championed the “Sarum Sound” on their adverts
Top Ten Club, Reeperbahn 136, Hamburg, Deutschland [No DDDBMT involvement]
The Fleerekkers disbanded after their Summer Season at Blackpool in 1963. Tex Cameron (gt), Elmy Durrant (sax) and Alan Monger (rh) then formed the Giants with Harry Kershaw (bs) and Kenny Slade (dr). The group’s first booking was in Hamburg, where they teamed up with vocalist Tony Vincent.
They recorded a live album at the Top Ten Club, released in March 1964.
Single release: Joe Brady – The Great Train Robbery / Is This Where We Say Goodbye (Pye 15569)
The first song penned by Ken Howard & Alan Blaikley, in conjunction with their work on a police series (Actor Joe Brady plays PC Jock Weir in “Z Cars”). The single was banned.
Dave Dee interviewed by Tony Gillham on BBC Radio Bedforshire (29 Dec. 85):
Tony Gillham: Of course Ken Howard and Alan Blaikley did write an awful lot of hits in the sixties?
Dave Dee: Yes it was quite weird because they were two guys working for the BBC. Ken was working on the ‘Tonight’ programme and Alan working on ‘Z Cars’ and they wrote a record about the Great Train Robbery. There was a Scot’s guy in ‘Z Cars’. (Jock something?) And he sang this record about the Great Train Robbery and they realised how easy it was to write a song, get it recorded, and get it put out on record. That’s what started the whole thing off. Printed in Zabadak n°3, December ‘86
German album recording: “Alex Harvey And His Soul Band” LP (Polydor LPHM 46424)
Recorded Live in The Top Ten Club Hamburg
If the Star-Club inspired live sets from The Beatles and others, the Top Ten had this one as testament
Alex Harvey had assembled the Soul Band in his native Glasgow in the early sixties. He went to Germany in 1963, where he recorded this first album with different musicians: they were most of Kingsize Taylor’s backing group, The Dominoes. The Dominoes were under contract with Philips. But they also recorded under the pseudonym of the Shakers, on Polydor. Harvey came back to London in 1964, and later signed as a solo artist with Fontana Records in 1965.
[In fact, the LP seems to be a fake live recording, with applause added later. Among the musicians employed were: George Carmichael (sax), Bobby Thompson (bass), Edward 'Ted' Taylor and Gibson Kemp (drms). But it is widely considered as the first Scottish Rock album.]
Gaumont Cinema, Salisbury, Wiltshire, England (2 shows)
The Everly Brothers, Bo Diddley, Little Richard, The Rolling Stones (play Salisbury for the first time)
The group was originally formed in Hackney during November of 1963 by guitarist Martin Murray. His day job was managing a hair salon, and when he formed the band, he brought along his assistant, Anne Margot Lantree, who was nicknamed “Honey”.
Her brother John Lantree joined on bass, and Alan Ward played lead guitar. And for a lead vocalist, they had Dennis d’Ell (born Denis Dalziel). They got a three-times weekly gig at a pub called the Mild May Tavern, on Balls Pond Road in London’s East End.
Single release: Glenda Collins – If You’ve Got to Pick a Baby / In the First Place (HMV POP 1233)
Written by Joe Meek, this song was later covered by The Honeycombs
Dallas, Texas, USA
John Fitzgerald Kennedy, the thirty-fifth President of the United States, was assassinated at 12:30 p.m.
City Hall, Salisbury, Wiltshire, England
Dave Dee & The Bostons supported by Sonny Webb & The Cascades (C&W group from Liverpool)
Single release: The Beatles – I Want To Hold Your Hand / This Boy (Parlophone R 5084)
This B-side influenced “Is It Love”, from Dave Dee & Co’s first single. It became a fixture of their later repertoire, until they recorded it officially in 2008.
German album release: The Beatles – “With The Beatles” (Odeon SMO 83568)
It Won’t Be Long / All I’ve Got To Do / All My Loving / Don’t Bother Me / Little Child / Till There Was You / Please Mr Postman // Roll Over Beethoven / Hold Me Tight / You Really Got A Hold On Me / I Wanna Be Your Man / Devil In Her Heart / Not A Second Time / Money
The first Beatles album released in Germany was their 2nd, “With The Beatles”. That is probably why Dave Dee said in an interview “We learned all the songs off the Beatles’ first album” (Zabadak 4, page 24), while going on to mention The Rolling Stones’ “I Wanna Be Your Man” on that same album.
Hamburg: The cradle of British Rock (by Alan Clayson) page 203:
“We used to do ‘Love Me Do’ and ‘Please Please Me’ after they were hits”, recounted Tich. “We also did ‘Some Other Guy’, ‘Mashed Potatoes’, all the Liverpool music”. [...] Now that German audiences had become as well-versed in Beatles album tracks too, “We learnt all the songs off With the Beatles”, said Dave Dee, “and all President Kennedy’s fleet were coming into the Top Ten and they came to us and said, ‘What is this music you are playing?’ We told them it was Beatle music, and they said, ‘Gee, why don’t you play it in America? It would go down really great’. I guess they were the first Americans that ever heard of the Beatles and of Beatle-type music.”
Southern Entertainer Issue 1 Page 7:
Currently on Tour in the Midlands
DAVE DEE and the BOSTONS
Send GREETINGS and BEST WISHES
to all their fans, friends and readers of
“THE SOUTHERN ENTERTAINER”
Dave Dee & The Bostons Tour of the Midlands
The group returned to Salisbury on Tuesday (December 3rd?)
City Hall, Salisbury, Wiltshire, England
Dave Dee & The Bostons supported by Jack Simmons & His Orchestra
Philips Studios, Stanhope House, 2-4 Stanhope Place, London W2, England
The Ravens audition for Philips’ chief A&R manager, Jack Baverstock, who rejects them. They will soon change their name to “The Kinks,” possibly in reaction to a John Barry Seven recording, “Kinky” referring to the leather worn by Cathy Gale on the television show, The Avengers.
Six months later, The Who (aka High Numbers), would pass the same kind of audition and succeed.
Radio Luxembourg Session: Marine Theatre, Lyme Regis, Dorset, England
Dave Dee and The Bostons Live Prerecording for a future performance on Radio Luxembourg during December
Dave Dee & The Bostons Tour of the South
Dave Dee and The Bostons complete a series of nine dates, including Andover, Bournemouth, Portsmouth, Yate Swindon, Catford, Margate, Camberley
Second Trip to Germany (1 month)
Dave Dee & The Bostons leave England for another season in Germany
NME n°1042 (31 Dec. 66):
“We’ve spent New Year in some very weird places,” continued Mick. “I remember three years ago we were travelling on the boat-train to Germany on New Year’s Eve and Dozy and I celebrated with a half-pint of bitter. That was all we could afford in those days.”
Stadt Wien, Kaiserslautern, Rheinland-Pfalz, Deutschland [No DDDBMT involvement]
Dutch group The Shoes are under contract in this Café: groups from every country (from as far as South Africa), were being sought in every Discotheque in West-Germany (and even in Switzerland)
In America, Coca-Cola developed a new campaign slogan, ‘Things Go Better with Coke.’
The words and music for the slogan were written by McCann’s creative director, Bill Backer, and performed by the popular musical group the Limelighters. The advertising campaign was so successful that it was extended to have music artists adapt the song in their own way, from Jan & Dean in 1965 to Dave Dee, Dozy, Beaky, Mick & Tich in 1968.
Steve Rowland arrives in Spain from California, where he will play in five movies during the next two years.
Gibraltar-citizen Albert Hammond released 4 EPs between 1962 and 1964 in Spain, as part of The Diamond Boys or with Richard Cartwright as “Albert y Richard”.
Howard & Blaikley work at BBC-TV:
Alan Blaikley became a trainee producer with BBC TV Talks Department and worked on the daily current affairs programme Tonight. Ken Howard worked in the Drama Department for Z Cars.