VICEROYS, The
The Viceroys: Jim Valley, Mike Rogers, Fred Zeufeld, Al Berry, Bud Potter @ Parker's Ballroom.
Homebase: Seattle, WA
Stats: 1958-1966
Misc Notes:
ALSO SEE:
1.) VALLEY & the VICEROYS, JIM
2.) STULL and VICEROYS, BILLY
3.) VICEROYS FIVE, THE
4.) WINK & JUDY
5.) SURPRISE PACKAGE, THE
6.) AMERICAN EAGLE
"THE VICEROYS: SEATTLE ROCK ROYALTY (1958-1966)"
by Peter Blecha
VINCE VALLEY & THE CHAIN GANG made their debut during an intermission at the Lake City Recreation Center sock-hop. That was in the summer of 1958. Renamed the Viceroys by the spring of ’59, Jim Valley (guitar), Al Berry (piano), Fred Zeufeldt (drums), Fred Rucker (sax), and Bud Potter (bass) continued to develop their sophisticated teen-R&B sound at private dances held at the Washington Athletic Club, the Seattle Tennis Club, the Yacht Club, and many other uptown functions.
After about a year Berry apparently lost interest and Billy Stull (guitar) was added. In time Rucker would be replaced by Mike Rogers. During these early years the Viceroys were often fronted by African American singers like Jimmy Pipkin (from the Gallahads doo-wop group), or Aaron Stewart.
In 1960 band members were approached by a traveling "businessman" about making a single on an out-of-state, aptly-named vanity label: Dream Records. Thus, "I Love A Girl” and “My Only Love” were recorded (with un-credited guest backing by Tiny Tony and the Gallahads). In the end, the dream of becoming recording stars cost the guys $300 to receive a mere fifty copies (Dream #267) of a 45 rpm record. That was a hard lesson learned.
Stull had had enough, but upon his exit, Berry returned – bringing with him a new original tune he’d composed while playing his grandmother’s piano. It would be called “Granny’s Pad.”
L-to-R: Jim Valley, Fred Zeufeldt, Kim Eggers, Mike Rogers.
The Viceroys’ first big break occurred in the summer of ’62 when World’s Fair frenzy gripped Seattle. The combo scored the gig as regular performers on KTNT-TV's Deck Dance, an afternoon teen show hosted by radio DJ “Big Daddy” Dave Clark. Broadcast for two full months from the deck of the Dominion Monarch, a luxury liner anchored as a tourist hotel at Pier 50 in Seattle's Elliott Bay, this television exposure proved to be invaluable as the band began receiving positive responses to “Granny’s Pad” after introducing it on the show.
Signed by Seattle’s Seafair-Bolo Records, “Blues Bouquet” / Granny's Pad" (Seafair-Bolo #736) was released in early 1963. When the town’s AM radio kingpin, Pat O’Day, entered "Granny's Pad" on KJR’s Battle of the New Sounds completion the instrumental became a smash regional hit – the biggest Northwest hit ever up until that point in time - according to Bolo’s Tom Ogilvy. *
The Viceroys' "Granny's Pad" was picked up for national distribution by California’s Dot Records (#45-16456). It was then, momentarily, issued by the "Viceroys Five" - also Dot #45-16456 - when the label got spooked about another Viceroys group with a recording somewhere out there at the same time. ("Moasin' "/ "Seagrams" Bethelhem 45 - 3045)
When Berry took leave once again, Rogers switched to keyboards,. Kim Eggers (tenor sax) joined on, Potter was replaced on bass by Gary Snyder, and the Viceroys recorded the ten remaining cuts that would comprise their album: At Granny’s Pad (Seafair-Bolo #BLP-8000).When Snyder split after a few months, Rogers assumed keyboard-bass duties forever after.
The Bolo album included three singles: the aforementioned “Granny’s Pad,” which begat “Goin’ Back To Granny’s,” (Seafair - Bolo #B-739) which begat “Granny’s Medley” (Seafair - Bolo #B-743) - a recording that included not only the radio "KJR Seattle Channel 95" theme, but the region’s signature song, “Louie, Louie.”
The Viceroys had evolved from an amateur high-society combo to a rockin’ mainstay on the Northwest dance scene. In December 1964, after the band (along with vocalist Nancy Claire) had returned from a nightclub booking at the Peppermint Tree in San Francisco, Valley was lured away by the more raucous Portland band, Don and the Goodtimes.
Viceroys, Mercer Island High School, ca. 1966
"That Sound,” the Viceroy’s first recording with Greg Beck (guitar), was released in September, 1965 (Seafair - Bolo #B-754). It showed a bit of the British Invasion’s influence. A really great song, "That Sound" shoulda been a hit but, alas, it somehow slipped through the cracks…
Meanwhile, the Goodtimes scored a solid regional radio hit with Valley’s “Little Sally Tease,” a tough rocker which both the Kingsmen and then the Standells covered in 1966. In time, Valley rose through the ranks to become “Harpo,” the official 23rd consecutive musician to be hired as one of Paul Revere’s Raiders and, ultimately, one of the band's most recognizable stars. Harpo recorded on their Spirit of ’67 and Revolution albums, toured widely, and appeared in innumerable slapstick spots on Dick Clark’s popular ABC-TV traveling teen show, Where The Action Is. The Viceroys and Goodtimes also appeared on Action.
In 1966 the Viceroys , with new vocalist Rob Lowery, (formerly with Tacoma's Galaxies and The Rock Collection) signed a deal with Columbia Records. Then – surprise! – the band was suddenly informed that they would be marketed as the “Surprise Package.”
Columbia released three Surprise Package singles. The best of the bunch was an acid-dosed rewrite of “That Sound” called “Out Of My Mind" (#4-43922). All the songs suffered from what might be called the “Columbia Syndrome." They were over produced, under-promoted, commercial flops. Ultimately, they left the Surprise Package as unsigned free agents.
In 1968 the guys signed with Lee “These Boots Are Made For Walkin’” Hazlewood to cut an album titled Free Up (LHI #S-12005). The LP’s liner notes explain in quasi-psychedelic, pseudo-hip lingo that it was “…created…in a very free atmosphere, with the overall concept designed for you…” In truth, both the songs and the performances were state-of-the-art, but the album was so rushed in production, and so delayed in release (1969), that it was sadly destined for the bargain bins where it resided for many years.
The free form hippie-music era was a trying time for many established acts – especially the Raiders with their formulaic, corporate, approach. In March 1967 (right after the Seattle date on their tour) Harpo was cut loose after a tour-bus incident rumored to have involved marijuana smoke. Then, only weeks later, both Phil “Fang” Volk (bass) and Michael “Smitty” Smith (drums) called it quits.
In 1970 the Surprise Package (with Gene Hubbard replacing Rogers) recorded an album as the American Eagle for Decca Records (#DL -75258). Once again they received only a minimal marketing effort – which did, however, include promotional hype falsely claiming that the group had “played at the 1966 Beatles concert in Seattle.” American Eagle did perform concerts with the likes of Led Zeppelin, Jethro Tull, the Beach Boys, and John Mayall. Returning home to Seattle the guys finally parted ways.
[Note: This is an edited version of an essay that originally appeared in the “Northwest Music Archives” column of Seattle’s The Rocket magazine back in April, 1984.Text copyright © 1984, 2014 by Peter Blecha.]
- In 1972 Valley returned to rock ‘n’ roll, forming Sweet Talkin’ Jones.
- Zeufeldt joined up with Bighorn, which for several years was a major draw on the Northwest tavern and high school dance scene.
- According to Fred Zeufeldt, following the success of "Granny's Pad" the Viceroys played their first out-of-town gig in Wenatchee, WA. The performance was held on Mission Street, upstairs in the Eagles' Lodge. That night a new medley made its debut -- and would later be recorded as "Goin' Back To Granny's." At that time the band included: Mike Rogers; Al Berry; Jim Valley; Bud Potter; and Fred Zeufeldt.
1966 newspaper clipping
MISC NOTES:
LOCATION: Seattle
RECORDING PERSONNEL:
RECORDING STUDIO: Electricraft
RECORDING ENGINEER:
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES: acetate disc
A-SIDE MATRIX:
A-SIDE STAMPER CODE:
A-SIDE COMPOSER:
A-SIDE PUBLISHER:
B-SIDE MATRIX:
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MISC NOTES: This single made its debut on KJR radio's Fabulous Fifty charts at the #9 slot on March 18, 1963.
RECORDING PERSONNEL:
RECORDING STUDIO: Acme Recording, Seattle
RECORDING ENGINEER: Fred Rasmussen
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX: 45-736 - 1
A-SIDE STAMPER CODE: 45 - 736 - 1 (etched)
A-SIDE COMPOSER: Mike Rogers
A-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
B-SIDE MATRIX: 45-736 - 2
B-SIDE STAMPER CODE: B - 736 - 2 (etched)
B-SIDE COMPOSER: Al Berry
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
"Blues Bouquet" Album Reissues:
Side 2 track # 5 on The Viceroys At Granny's Pad (Seafair-Bolo Records BLP - 8000) LP. 1964
Track #2 on Granny's Pad (Seafair-Bolo Records BSCD 8006 - 2) CD. 2006
"Granny's Pad" Album Reissues:
Side 2 track #1 on The Viceroys At Granny's Pad (Seafair-Bolo Records BLP - 8000) LP. 1964
Side One Track #2 on Bolo Bash......Volume Number 1 (Seafair-Bolo Records BLP 8002) compilation LP. 1965
Disc one, track #9 on Wild And Wooly: The Northwest Rock Collection (Experience Music Project EMPCD 001) CD. 2000
Track #1 on Granny's Pad (Seafair - Bolo Records BSCD 8006 - 2) CD. 2006
MISC NOTES: This was the national release of Seafair-Bolo #736. It was then quickly discovered that another group named the Viceroys had a record out at the same time ("Moasin'" / "Seagrams" Bethlehem #45 - 3045), so Dot Records pivoted and pressed additional copies of the song with labels crediting the Viceroys Five..
LOCATION: Seattle
RECORDING PERSONNEL:
RECORDING STUDIO: Acme Sound
RECORDING ENGINEER: Fred Rasmussen
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX:
A-SIDE STAMPER CODE:
A-SIDE COMPOSER: Mike Rogers
A-SIDE PUBLISHER:
B-SIDE MATRIX:
B-SIDE STAMPER CODE:
B-SIDE COMPOSER: Al Berry
B-SIDE PUBLISHER:
1965-01-16. "Granny's Pad" reissued as Side One Track #2 on Bolo Bash.....Volume Number 1 (Seafair-Bolo Records BLP 8002) compilation LP.
MISC NOTES: NOTE: In early, 1963, during one of The VICEROYS' first - if not THE first - road trip outside Seattle, the group played at the old Eagles' Hall in Wenatchee, WA. At that dance they performed what a new un-named that was to become "Goin' Back To Grannys".
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
Album Reissues:
Side One Track #1 "Goin' Back To Granny's" reissued on Bolo Bash......Volume Number 1 (Seafair-Bolo Records BLP 8002) compilation LP, 1965
A-SIDE MATRIX:
A-SIDE STAMPER CODE: SP 81363 (etched)
A-SIDE COMPOSER: Berry, Potter, Rogers, Valley, Zeufeldt, Fuller
A-SIDE PUBLISHER: Bolmin Pub. Co. (BMI)
B-SIDE MATRIX:
B-SIDE STAMPER CODE: SB 81363 - 2 (etched)
B-SIDE COMPOSER: Mike Rogers
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
MISC NOTES: Album re-issued in 2006 on compact disc which featured nine additional tracks. See Seafair-Bolo BSCD 8006 - 2
Side I
1. Goin' Back To Granny's (Berry, Potter, Rogers. Valley, Zeufeldt, Fuller)
2. David's Mood (Dave Lewis)
3. Dartell Stomp (Dick Burns)
4. Mary Ann (Ray Charles)
5. Tiger Shark (Jim Valley)
6. Get Set (Mike Rogers)
Side II
1. Granny's Pad (Al Berry)
2. Heartbreak (Thomas - Hoyle)
3. Sack O' Woe (J. Adderly)
4. Come On (E. King)
5. Blues Bouquet (Mike Rogers)
6. Medley:
Granny's Pad
Louie Louie
Goin' Back To Granny's
LOCATION: Seatte, WA
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 rpm
DISC NOTES:
A-SIDE MATRIX: BLP- 8000 - 1
A-SIDE STAMPER CODE: ^6142
B-SIDE MATRIX: BLP - 1000 - 2
B-SIDE STAMPER CODE: ^6142 - X
MISC NOTES:
LOCATION:
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FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
Known Label Designs:
1RA.) A - B retail label. Orange background. White knife logo and BOLO with black edging. All other numerals and lettering black. No distribution notation.
1RB.) A - B retail label. Orange background. Knife logo and BOLO in white with black edging. All other numerals and lettering black. Distribution notation: Dist. By Vee Jay Records.
1PA.) A - B promo label. White background. Knife logo and BOLO edged in black. All other numerals and lettering black. PROMOTIONAL NOT FOR SALE lower left of spindle hole. With the notation: Dist. By Vee Jay Records lower right of spindle hole, this is the first - and only - known example of the "local" retail label design being utilized for "national" (and likely local) promotional purposes.
2RA.) A - B retail label. Reddish orange background. No logo. Black numerals and lettering. Distribution notation: Excel. Dist. By Vee Jay Records.
A-SIDE MATRIX: B - 743 - A
A-SIDE STAMPER CODE: 45 - B - 743 - A (etched)
A-SIDE COMPOSER: Dick Burns
A-SIDE PUBLISHER: Goins Mlusic Co. (BMI)
B-SIDe mATRIX: B - 743 - B
B-SIDE STAMPER CODE: 45 - B - 743 - B (etched)
B-SIDE PUBLISHER: Bolmin (BMI); Limax Pub. (BMI); Bolmin (BMI)
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Nancy Claire (vocals);
RECORDING STUDIO: Commercial Productions
RECORDING ENGINEER: Lyle Thompson (engineer); Pat O' Day (producer)
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
Known Label Variations:
1.) Promotional A -B disc. White label background with black lettering. AUDITION RECORD spelled vertically to right of Imperial logo on left of spindle hole.
2.) Retail A - B disc. Black label background with white and purple accents to left of spindle hole.
A-SIDE MATRIX:
1.)
2.) IM - 5979
A-SIDE STAMPER CODE:
1.)
2.) IM - 5979 (etched)
A-SIDE COMPOSER: Curtis Williams
A-SIDE PUBLISHER: Dootsie Williams Pub. (BMI)
B-SIDE MATRIX:
1.)
2.) IM- 5980
B-SIDE STAMPER CODE:
1.)
2.) IM - 5980 (etched)
B-SIDE COMPOSER: Doris Woods - Donald Woods
B-SIDE PUBLISHER: Limax Music Inc. (BMI)
MISC NOTES:
LOCATION:
RECORDING PERSONNEL:
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FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX: B - 749 A
A-SIDE STAMPER CODE: B - 749 - A (etched)
A-SIDE COMPOSER: Brown - Terry
A-SIDE PUBLISHER: Armo (BMI)
B-SIDE MATRIX: B - 749 - B
B-SIDE STAMPER CODE: B - 749 - B (etched)
B-SIDE COMPOSER: Jim Valley
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
MISC NOTES:
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX: B - 750 - A
A-SIDE STAMPER CODE: "BACON FAT"
A-SIDE COMPOSER: Andre Williams
A-SIDE PUBLISHER: Nom Music Inc. (BMI)
B-SIDE MATRIX: B - 750 - B
B-SIDE STAMPER CODE: "UNTIL"
B-SIDE COMPOSER: Jim Valley
B-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
MISC NOTES: As SURPRISE PACKAGE, "That Sound" was later reworked and issued as "Out Of My Mind" (Columbia 4 - 3922)
LOCATION:
RECORDING PERSONNEL: Zeufeldt (drums), Rogers (keys), Eggers (sax), Beck (guitar)
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX: B - 754 - A
A-SIDE STAMPER CODE: B - 754 - A (etched)
A-SIDE COMPOSER: Zeufeldt, Rogers, Eggers, Beck
A-SIDE PUBLISHER: Bolmin Publ. Co. (BMI)
B-SIDE MATRIX B - 754 - B
B-SIDE STAMPER CODE: B - 754 - B (etched)
B-SIDE COMPOSER: R. Davies
B-SIDE PUBLISHER: Joy-Boy Music Corp. (BMI)
MISC NOTES:
1. Granny's Pad (Al Berry)
2. Blues Bouquet (Mike Rogers)
3. Goin' Back To Granny's (Berry, Potter, Rogers, Valley, Zeufeldt, Fuller)
4. Get Set (Mike Rogers)
5. David's Mood (Dave Lewis)
6. Dartell Stomp (Dick Burns)
7. Mary Ann (Ray Charles)
8.Tiger Shark (Jim Valley)
9. Heartbreak (Joe Thomas - Carlee Hoyles)
10. Sack O' Woe (J. Adderly)
11. Come On (E. King)
12. Granny's Medley
Granny's Pad
Louie, Louie (Richard Berry)
Goin' Back To Granny's
13. Louie Louie (Richard Berry)
14. Buckin' The Wind (Eulysseus Lewis)
15. Please, Please, Please (Brown - Terry)
16. Bacon Fat (Brown - Williams)
17. Until (Jim Valley)
18. Sha La La (Robert Taylor - Robert Mosely)
19. Little Latin Lupe Lu (Bill Medley)
20. Jerkin' Around (Valley - Rogers - Eggers - Zeufeldt)
21. That Sound (Zeufeldt - Rogers - Eggers - Beck)
22. Slow Down (Williams)
23. Tired Of Waiting For You (Ray Davies)
24. The Last Time (Jagger - Richards)
25. Blues On Broadway (Mike Rogers)
26. Manhattan Mood (Mike Rogers)
27. Comin' Home Baby (Dorough - Tucker)
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
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FORMAT: compact disc (CD)
DISC NOTES:
Reissue of vinyl lp Granny's Pad (Seafair-Bolo Records BLP 8000 1964) with fifteen (15) additional tracks.