Jaymes Fenda and the Vulcans
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"Jaymes Fenda and the Vulcans. 'Band On The Brink'"
London and South East
United Kingdom
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Last Login:
10/1/2008
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| Jaymes Fenda and the Vulcans: General Info
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| Member Since | 4/20/2008 | | Band Website | No Website at present. BUT WATCH THIS SPACE | | Band Members | Mike Pierce(Jaymes Fenda) lead vocals
John Ford, RHYTHM/back vocals
Michael Woods replaced byJim Baikie, BASS
Colin DeLaney,LEAD
Kieth Preston,DRUMS.
THIS WAS THE FINAL LINE UP BEFORE THE BAND SPLIT in 1965 | | Influences | Early R&B / American Be-bop bands e.g 'The Olympics' 'The Impalas'
'Maurice Williams & The Zodiacs' British 'Georgie Fame & The Blue Flames'
'Them' 'Zombies' 'The Animals' and Buddy Holly! | | Sounds Like | Nothing like what is mentioned in the box above. | | Record Label | Parlophone / Decca / See For Miles | | Type of Label | Major |
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Jaymes Fenda and the Vulcans's Latest Blog Entry
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’Mistletoe Love’ new version
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I’ll Wait For You
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Ready Steady Win ’Heat 4’ 1964
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’When You Get My Lovin’ A new style
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’Try Try Again’ track added to this site
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| About Jaymes Fenda and the Vulcans |
In 1960 Mike Pierce met John Ford and Graham Giles in a chance lunch time music jam session at 'Hillcroft Secondary Modern School' in Tooting, SW17. Their teachers and other pupils gathered in the classroom to enjoy what they heard. John Ford (ryth/guitar) Graham Giles (lead/guitar) Mike Pierce (vocals)
They played stuff that was popular for that time. 'All I Have To Do Is Dream' Everly Bros. 'What I Say' Jerry Lee Lewis. 'Be Bop A Lula' Gene Vincent.
John had been playing guitar for about 6 years and his talent for a young lad of 13 was outstanding. Graham who was also 13 had played for 2 years, he was very ' SHADOWS' influenced. Mike 14 had only sung to his tape recorder in the privacy of his own bedroom and sometimes at family party's, but together they decided to make it a regular thing and maybe form a band.
John would repeatedly remind the band that without a bass guitarist and drummer 'It would be no good.
In those days playing a bass guitar was not considered as cool, and drummers were few and far between, 'well for kids of their age group' anyway.
After school the three boys would make their way home and just talk constantly about the many songs they could practice and maybe! perform in public one day.
They would on most evenings (sod the homework) get together at Johns house in 'Blackshaw Road, Tooting and play together.
Mikes dad would drive to 'Earlsfield' to pick Graham up and then take them to Johns home in Tooting for practice. Dad was always encouraging them. and so he took over as a sort of chaperon/manager.
He was a member of 'The Tooting Conservative Club' (Entertainment Sec) and he got them a couple of little gigs there. Another member of that club had a son who played drums in 'The Boys Brigade' his name was Howard Smith.
One evening Howard 14 brought along a single 'snare drum and a cymbal' THATS ALL HE HAD. He joined in on the practice, it was a bit military but they were pleased and asked him to join their band named 'JOHNNY FENDA & THE PACEMAKERS'. He nearly bit their hands off at the chance 'but we still need a bass guitarist' John declared.
Opposite Mikes home at 'Louisville Road' Tooting there lived a boy named Trevor Faul who he had known for a few years, but only as a 'hello and what are you up to' sort of friend.
One Sunday morning he was out in the street washing his mums car, 'a Ford Anglia' Mike approached him and started to have a chat. 'Can you drive that car' he said . 'No, was Trevors reply. 'I bet I could take it down to the bottom of the street and back' boasted, Mike.
The conversation changed from cars to music. Trevor had seen Mike going out with his dad and he asked what they were doing. 'Were starting a band up, but we cant find a bass guitarist' was Mikes reply. Trevor's eyes lit up 'I CAN PLAY BASS GUITAR' Its not a real bass, I've taken 2 strings off and changed them for 'bottom 'E' strings. It was an old guitar that his brother had given him and he had converted it.
Mikes stomach felt funny, sort of jumpy with excitement. 'Can you come to our next practice? Mike asked 'Yeah' was Trevor's reply, 'but your dad will have to give me a lift, because I won't be able to carry my amp and guitar down to The Broadway'.
'Don't worry mate my dad will give you a lift' Mike assured him. It was the following Wednesday that Trevor was introduced to the rest of the band. He fitted in quite well, but his bass skills were very limited.
About two months later they had rehearsed enough material to make up an hour long set, but their equipment was still very basic. HERE IS A LIST OF THE GEAR.
JOHN FORD used a 'BROADWAY' guitar and a 'WATKINS DOMINATOR' 17 watt amp.
GRAHAM GILES played a white 'ROSSETI' plugged into a small 'ELPICO'
TREVOR FAUL plucked a semi-acoustic 'MERIT' with a homemade amp converted from a reel to reel tape recorder.
HOWARD SMITH had acquired a white pearled 'PREMIER' secondhand drum kit.
MIKE PIERCE (Johnny Fenda) VORTEXION 50 amp, RESLO MIC and a homemade cabinet with a single 12inch 'GOODMAN' speaker.
But surprisingly the sound that they got out of that stuff was amazing. Not very powerful but as clear as a bell.
Being as young as they were at that time, they were unable to play on the 'pub scene' circuit. But as they got a little more polished and became more confident they started to play at 'private functions'. Weddings, birthdays all that sort of thing.
It was sad but after 15 months this line-up split. Graham was a nice lad but was very unreliable. Trevor was given the ultimatum by his parents that his study's must come first. He was gutted that he would have to give the band up. Howard, well his drumming skills did not get any better, it was a case of 'NICE BLOKE, SHAME ABOUT THE BEAT'.
John and Mike stayed together and shortly a new chapter in this story opened for them.
1961-1962
My dad John Pierce replied to an advert in 'The Stage' newspaper. It read
'WANTED...A lead vocalist and rhythm guitarist for young Clapham based group. AUDITIONS at ST. LUKES HALL, ST. LUKES AVENUE CLAPHAM SW.8
Saturday morning 15th April.
It was a beautiful sunny morning when dad drove us in his new 'Bedford Dormobile' to the audition. John and I were buzzing and full of confidence.
A very friendly gentleman, Mr. Charlie Wooloff helped us in with our equipment so we could set up on the stage.
Waiting on the stage area were three lads they had already set up their equipment in readiness for the audition, they were Rob Wooloff, drummer Michael Woods bass guitar and a very young 12 year old boy named John Wooloff who played lead guitar. John Ford looked at me and signaled that he was ready. It was a little habit of his to grip his plectrum between his lips just before he was ready to start playing, it left his hands free to clap in the timing of a song.
We had all decided to play the instrumental 'Cruel Sea' by The Dakotas to start the session off. John counted in 1, 2 and off we went. Well, you could have knocked me down with a melted 'Mars bar', it was great. The drumming was crisp, the bass was strong and the lead was note perfect. John Fords rhythm was exhilarating. Everyone was happy and at the end of the number we all felt easier. There was much smiling and clapping from the onlooking fathers.
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The morning audition just flew by. We ran through about twenty-nine numbers, which included 'Shakin' All Over' 'Move It' 'Rhythm Of The Rain' 'What I Say' 'Nivram' 'Picture Of You' 'Apache' the rest I cannot remember. John was happy, I was happy and the three lads who called themselves 'THE VULCANS' were very happy.
All the dads who attended that audition got on well together. Ted Woods, Charlie Wooloff and John Pierce, little did we know that they would all become life long friends, even after 'The Vulcan's' era was over.
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When dad, John and I got back home to 'good ol'' Tooting after that audition my mum told us that she had received a phone call from 'Charlie Wooloff'. She said that we must phone him back straight away. Dad did this and his face lit up when he heard Charlie say that 'The Vulcan's' would like to form a band with Jaymes Fenda and John Ford. We celebrated the birth of 'Jaymes Fenda & The Vulcan's' with a cup of tea and a plate each of 'egg and chips' which mum quickly knocked up for us. 'The Best In The World'.
The next 18 months were packed full of new territory for the band. We practised hard, got new equipment and a uniform set of dress. Red shirts, black tie's and black trousers for 'The Vulcan's' and 'blue lame' white shoe's for 'Jaymes Fenda'. My dad was on the phone promoting the band, everyday. Charlie Wooloff worked at The BBC. He was head of 'scenery' and knew lots of people that were connected to show-biz.
It was my dad that got us through his persistence onto the books of 'Harvey Risco' the big show-biz agent and the son-in-law of 'Billy Butlin'. Harvey came to see and listen to the band at a BBC audition set up by Charlie Wooloff at the 'Shepherds Bush' T.V. studios (photo's to follow of that audition, on Myspace.com. Very soon.) There were no bands performing at that time of our age group, 'Jaymes Fenda & The Vulcans' were a novelty. It was not long before the band was playing special functions at 'The Dorchester and Hilton' hotels in London and at TESCO Ladies Nights, Corner House, W.C. 1. BUT Honestly readers, that time for me was just a big 'blur'.
I was now 16yrs old. I had left school and so had John Ford. He had got a job at 'Selwyns' a shop at Tooting Broadway selling mens fashion clothing. I was working with my dad in the 'building & decorating' trade. Thank God! I was working with my father. If I had'nt I would have found it very difficult too get time off, for my love of music. Little John Wooloff our lead guitarist was finding it very difficult to get time off to perform with the band. The LCC (London County Council) laws forbade him to play after 9 pm. HE WAS GOOD, VERY GOOD but he was also a thorn in the side of 'Jaymes Fenda & The Vulcans'. My dad was responsable for his well being seeing that he had taken on the role of manager.
The band were now gaining popularity. They were playing more and more up market gigs at exclusive venues. A chance for the band too play as a supporting act to 'Cliff Richard' at a private function was offered to them. It would have been their biggest gig so far and a great chance to have been discovered.
Everything was arranged, programs printed with 'Jaymes Fenda & The Vulcans' included within it's pages. Many phone calls and arrangements had been made for the young band to play a 45 minute spot 9.30pm until 10.15pm. on a Wednesday evening. Then came the big 'hammer blow', John Wooloff was not allowed to play his part according to the law because of his age. My dad could not do anything about the strict laws of the L.C.C. They would not give an inch in this one off situation.
We the band were oblivious to this behind the scene situation. But my dad bore the full flack from the man 'Max Seymour' who had booked us for the gig. My dad a law abiding citizen could not do anything about changing the 'stipulated requirements' thrown into his ball court. We were slagged down, there was mayhem and it was promised by this man 'M.S' that 'Jaymes Fenda & The Vulcans' were finished before they had started.
1963-1965
It was hard for dad to get 'Jaymes Fenda & The Vulcans' up and running with such a young 'lead guitarist', and so it was that we had to let 'John Wooloff' go. Because of this his brother and our drummer 'Rob Wooloff' also made the decision to stay faithful to his younger brother and leave the band with no hard feelings. Their loving father 'Charlie' also understood the situation and they as a family wished the band good luck for it's future.
Michael Woods 'bass guitarist' stayed with us through this upheaval. We were soon advertising for a new 'lead guitarist' and 'drummer' to join the band.
Eventually after much searching replacements were found. On to the scene came 'Colin Delaney' lead guitarist from 'Herne Hill' and 'Dave Dufort' drummer from 'Balham'. They were exactly suited to the line-up. It was now 'John Ford' ryth/guitar, 'Jaymes Fenda' vocals, 'Michael Woods' bass, 'Colin DeLaney' lead guitar and 'Dave Dufort' drums. This was the birth of 'Jaymes Fenda & The Vulcans' recording artists.
The band were able to use The Cinema at Dulwich for rehersals on Sunday mornings. We had by now upgraded our equipmet and this big rehersal venue had given us the chance to try it all out to it's full potential. Via Colin, we had a 'Fender Strat' and 'Vox AC 50 to push out lead guitar. John Ford had now aquired a new 'Selmer' amp. Our new drummer Dave was playing his 'Ludvig' set, and what with my two brand new 'Selmer' columns, and Michael Woods upgraded bass amp, it was all beginning to look and sound the buisiness.
Dad was always busy on the phone promoting JFV. and very soon the band diary was beginning to fill up with dates at 'The Silver Blades' Streatham. The Wimbledon Palais, The Streatham Locarno, The Granada, Tooting to name just a few.
It was only eleven weeks later that JFV were auditioning for another drummer. We were all getting on well with each other and we had performed three good gigs with Dave. Good things were brewing for our band. I personally cannot recall the reason why Dave Dufort wanted to leave JFV. We frantically searched for another ideal drummer to take his place. And then onto the scene came 'Kieth Preston' from 'New Cross'. He was a perfect replacement. He had a genuine likable personality, just as Dave did.
JFV were up and running again and were sounding good. Our sets were becoming ever more polished and sounding more professional. Each of our numbers flowed from one and into the next without long pauses in between. Our manager, John Pierce (my dad) insisted on this style. 'Once you've got the crowd interested, don't let the atmosphere die away' with long gaps and idle chat'. 'They've come to hear the music'. Tuning up on stage was also forbidden. This was a strictly behind the scene and out of ear-shot activity. There is nothin' worse than a guitar being tuned or a microphones whistling, because of feedback down the lug-holes.
The gigs that JFV were performing at 'The Locarno' 'The Palais' and 'Silver Blades' were becomming big events. The band were playing to capacity crowds. Unknowing to us, people were being turned away from the doors. All we did was get on stage and play. The dance floors were packed. The early sixties were a magical time for this band.
An then one day the band recieved a very exciting phone call from 'DECCA' records. They wanted to send a recording scout down to see us at the next gig at 'Silver Blades'. We were to be the support band to 'The Pretty Things' they were in the charts at the time and were 'Fontana' recording artists.
'The Pretty Things' music was a mixture of Bluesy/Physcodelic and were regarded as strong opposition to 'The Rolling Stones' We were pure 'pop' a complete and utter contrast to them. It was now time for JFV. to start writing their own material and to gradually phase out 'the covers image' that they had.
The band had about a month to write some original material. John Ford and myself spent many hours in the quiet of my bedroom/mini-recording studio composing material and so Fenda/Ford composers evolved. We penned about six numbers. They were 'What A Strange Thing (To Dream About) 'I'll Wait For You', 'The Only Girl', When You Get My Lovin' 'Mistletoe Love' 'Try, Try, Again' and worked out a new arrangement for a very old 1949 song 'So Tired' which was written and recorded by 'Russ Morgan & His Orchestra'.
CHECK 'YouTube' or MySpace out. Enter 'Russ Morgan, So Tired' and you can hear it for yourself.
' N.B. This is not 'The Kinks' song 'Tired Of Waiting'
These tracks were put onto reel to reel tape and the band practised them until we were all happy with the final sound. John Ford wrote the music and I wrote the lyrics. Writing those numbers was hard work, and at one time John and I even got into a fight over a disagreement about the timing and phrasing of 'kiss kiss, kiss you tender tender, kiss kiss, kiss you tender' on 'Mistletoe Love'. John and I were having a right scrap. I mean really bad. There were punches thrown and vile exchanges of language. My Dad heard the ruck from downstairs and had to physically break us up.
At about this same time JFV were in the throws of entering a nationwide beat contest. The contest was a spin-off from the 'READY STEADY GO' pop show and was to be called 'READY STEADY WIN'. This was the biggest ever beat contest of it's time The first prize was £1,000 and a recording contract with a major recording label. Each band would have to perform a well known number and an original song written by themselves. JFV had been succesful in their audition for this televised contest and so the writing of original material was a must in their circumstances. JFV. were to be included in 'heat 4' of the competition which was due to be televised live on July 18th 1964 at 19.00hrs. a 'Redifusion' prime time television slot. The whole country would be watching. It was a sort of an early version of 'pop idol'.
JFV. had decided to let their loyal band of supporters choose the final original song which would be performed on the 'READY STEADY WIN' show. On the Sunday prior to the gig at 'The Silver Blades' the band laid down 4 tracks recorded at 'Pa Jones' recording studio in 'Morden' They were 'I'll Wait For You', 'Try,Try Again', 'The Only Girl' and an out of season 'Mistletoe Love'. With the tracks cut on 45rpm. promo acitate, the band invited twenty five chosen loyal supporters to a room on the upper floor of 115, Louisville Road, Tooting. There we asked them 'which song for the competion' would they prefer us to perform. It was like the show 'JUKE BOX JURY'
John Ford and I sat quietly together in another room, we were not allowed to influence the choice of the jury. We both felt as if we were waiting to hear the outcome of a job interview, that jittery feeling inside. Everyone's had it at some stage of their life.
We both joked nervously together on the outcome, but very soon the choice was made. The all girl panel had decided on 'Mistletoe Love' as the original song that 'JFV' would have to perform in 'The Ready Steady Win' competition. I had bet on 'I'll Wait For You' and John had thought it would have been 'The Only Girl'. We were both wrong and bemused by the fact that we would have to sing a 'christmas song' in the middle of summer. 'Maybe! no one would notice', John whispered under his breath.
On the night of 'The Silver Blades' gig in front of a full house and in the presence of the 'Decca' records, talent scout, I announced the song 'Mistletoe Love', chosen by our fans and to be played for the first time in public. 2mins and 3secs later it was all over. The deed had been done. There were cheers and screams from the the onlooking crowd when it was finished The girls in the front row were leaning over the glass barrier which seperated them from the stage and were reaching out towards the band. I glanced at Keith, Colin, John and Mike in disbelief. They were all enjoying this moment just as I was. The man from 'Decca' must have noticed this enthusiastic ovation for an unknown band but he had now slipped away into night with his notes. The time was now 9.30pm. Our set was over and the band went up to 'The Bali-hi' bar to meet the stars of this evening 'The Pretty Things'.
During the weeks leading up to July 18th 1964 I had watched with fixed eye's on the 3 heats of 'READY STEADY WIN' all of course in black/white (colour tv had not then been invented) The bands who had already qualified for the finals were 'The Bo Street Runners'(blues) 'The Fallin' Leaves'(pop) and 'The Thyrds'(progressive blues) At that time I did feel that our style of 'pure pop'would be washed over by the new wave of 'blues, R&B orientated bands. And so it was that an emergency meeting was called by JFV to decide on the number that we would perform as an already previously recorded track by a well known recording artist or artiste's.
Should the band plump to do a 'Searchers, 'Needle's 'n' Pins' or even attempt to duplicate a 'Peggy Sue'. We were all in confussion. And then after much debate it was decided to run with the fox, and to show that JFV were able to perform a classic soul/blues number 'Walkin' The Dog' the 'Rufus Thomas' number was our chosen first half offering.
We practised that number 'Walkin' The Dog' more than 100 times until we were almost sick to death of it. The opening intro was based on 'The Wedding March. On the 'Rufus Thomas' version this intro is played by a brass section. Could JFV generate enough feeling with a single guitar intro played by Colin Delaney? Colin had worked hard too perfect his intro, it had to be spot on to grab the attention. Finally the band was happy and we prepared to meet our fate in three days time on the live beat contest 'Ready Steady Win'.
THE DAY OF THE 'READY STEADY WIN' Heat 4. At Redifussion Television studio's. JULY 18th 1964. Weather overcast and humid.
Dad and I were up at 06.00hrs. It had been arranged that dad and I would load the bands equipment at Louisville Road by 06.30hrs. Then after a quick cup of tea and a slice of toast we would drive to Blackshaw Road and pick up John. Then we would travel to Clapham and pick up Mike Woods our bass guitarist. Colin Delaney and Kieth Preston would meet us at the entrance gate of the T.V studio's with their dads who would drive them there. Our travel plans had worked perfectly and we all met up together at 09.15hrs. outside of the studio's in London.
We were all very excited as we were ushered through the studio's and to the 'make-up' department. We were being treated like VIP's. John Alderton and Gay Shingleton who were host's of the show both made us very welcome. JFV arrived at a room with our name on the door. John looked at me and I read his mind. I could see his face with that 'pixie' look of pure delight on it. We Would give it our best today, and try to win this heat.
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TO BE CONTINUED..
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