The Majestic & Co-oP Hall

"Goin' t'  Maj ? " often heard in Bradford.

It was early in 1962 after the closing of the Gaumont that I was now on my own, running the Monday night show. The change was no problem, and after a couple of weeks, I felt I had been there for years. Being more or less the same crowd helped.  Also, Mitchell's attitude seemed to be somewhat mellow. With him running down the Gaumont, he was now spending most of his time at the Majestic, and out of the blue he booked through a London agency some recording stars. When I say stars, they didn't shine very brightly. These were pop singers who had produced some minor hits, nothing more. They then went on circuits like ours to promote themselves. That said, anything at that time was more than welcome.

The first pop star to arrive of this calibre was Danny Rivers of the Joe Meek stables, recording for Decca. Of course, not many of our teenagers knew him so, but he went down quite well having good looks and being easy to get on with.  His record at this time was a Cliff Richard type, Can't You Hear My Heart? It was a really good rock 'n' roll number, however, it only reached  36 in the Top 40. 

I remember the girls liked him and that was a good start. Soon we had  Ricky Barron on stage with a pose, not unlike Cliff Richard.

These were followed by the 'Barry James and the Strangers Showband'. 

They played terrific rock 'n' roll music mixed with variety, such as jokes, impressions, and other routines that set them apart from other groups and bands.

Another surprise visit at The Majestic was the group called  Nero and the Gladiators with their popular Decca recording of Entry of the Gladiators. These were a loud instrumental group, on a par with the Shadows, but overlooked. They dressed in Roman plastic armour and the leader Nero wore a toga and a laurel crown. It was in complete contrast to the norm, but was very good,  and made a lasting impression that night,  especially good rock 'n' roll music to dance to, all led by keyboard player Mike O Neill (Nero).

The image on the right highlights the changing use of the dance halls. Gone was the music and dancing, and in its place, bingo.

I remember all those mentioned as great guys who were really no different to us except for the fact that they had made a record. One or two did appear later in the occasional TV show. It seemed strange to watch them on television and think  "I compered his show when he came to Bradford. So, after a few weeks on my own at the Majestic, the Gaumont had closed. It was no longer Dal and Dadio, my partner was not required at the Majestic, even with the closure of the Gaumont, and how long would it last?

However, things were about to change after Joe Brown's successful visit, after which Bob Mitchell began to book other top liners. Also, the Majestic would now open Wednesdays and Fridays, which was good news. This would involve me running three shows, mostly our local groups, but with occasional stars like Joe Brown. I did think I should have some help and suggested that Dadio should help me again. Bob Mitchell agreed. I now had my ally back with me for any future confrontations. Back in the old routine, the weeks hardly varied. Our usual friends, the local groups, filled many spots and stars also came. Emile Ford,  Brian Poole and the Tremeloes, The Honeycombs, The Rocking Berries, The Four Pennies, The Swinging Blue Jeans, Billy J Kramer  and the Dakotas. Playing to capacity nights of whom  made their mark on our Majestic teenagers.

LAST DAYS OF THE MAJESTIC AS WE KNEW IT.

It was late in 1962 that manager Bob Mitchell returned to London. Dadio and I wished him well, but he had changed his attitude and was now leaving us with three nights and future stars booked, however, who will take his place? The new supposedly 'temporary' manager was Carl Glass a young man, small in stature, who we soon found out he was to give us no grief. Carl was a disc Jockey's dream, as we were left to our own devices, and to run the shows just as we wished. 

It was up to us whether we re-booked any groups, and had the power to pick and choose, plus more advertising future attractions, and unlimited purchase of the pop records from Woods. Things, on the whole, were getting better, and for the next few months of 1963 the Majestic was the place to go for those rock n' roll nights, and Carl's forward planning, mostly instigated by Dal and Dadio.

Months later while all enjoying all the 'Top of the Pops' nights we heard the news that Carl our temporary manager of over twelve months was to move on. It was a sad occasion for us and the many Majesticites. Carl took over from Bob Mitchell and helped bring the limelight back to the Majestic. 

Hopefully, someone of his ilk would replace him. 

Note: Incidentally Carl in his spare time managed the Bradford group Alan Knight and the Chessmen, even Dal and Dadio did not know that.

I think that both Dadio and I knew on our first meeting with the new manager, Harry Radley from Nottingham, that we would not get on (see page 29 When Bradford Rocked). Over the next twelve months in late 1964, we had lost Friday, and Monday nights to bingo, and Billy Hey and his Orchestra's Saturday night followed the bingo. 

Now left with just Wednesday night Dadio could see the writing on the wall and left in late 1964. Not long after, still on my own in 1965, no records could be bought, and not much in the way of advertising, plus once we had vibrant crowds, and now most were not going to the Mecca. I then left in January 1965, a few weeks later the Majestic was all bingo.

Later I did a few nights as the  DJ at the Dungeon Westgate with blacked-out windows and a stint with Garth Cawood's Top Twenty Club in Idle. However, my last in those days of 1965, were four Saturday nights of rock 'n' roll as  DJ compère at the Victoria Park ballroom In Keighley, the last Saturday being my highlight as 'Someone put a spell on me'  Screaming Jay Hawkins. Brilliant!

'DAL STEVENS AND THE BLUE JAYS' FIRST BOOKING AT THE MAJESTIC 1959

We hadn't been formed for very long and with the group and its trials and tribulations, at last, we were given the opportunity of what was classed as the best booking in the area. The Bradford Top Rank Majestic Dance Hall. 

I had been going to the Majestic on Saturdays for the 'Modern Dancing' scene with 'Billy Hey and his Orchestra'. This was not really the teenage scene, more the early twenties, which suited me to join other friends and girls.

I got to know the manager, Mr. Lawrence, always courteous and well-respected by the patrons. During one Saturday 'Modern Dance' night I mentioned to him that I had recently formed a group, and he suggested we have a spot on the Monday night rock 'n' roll sessions. We went to his office and a booking was placed for two weeks hence. He left me and came back with the assistant manager, Tony Cleary, who was also the DJ for those evenings. 

It was to be two twenty minutes spots from 8.15 until 8.35 and 9.30 to 9.50 and to arrive at 7 o'clock to put in any amplifiers and have a tune-up.

The lads were elated when I told them that extra practice was needed as fourteen numbers would be required to cover the two sessions. Four vocals including 'Move it '  by me and ten good rock 'n' roll numbers from the lads, including ''Apache". 

We learned that no ballads would be required as all the teenagers had come to dance. We now had our first recognised booking and were billed in the  Telegraph and Argus as a guest group with popular numbers by the 'The Blue Jays'.

Monday came and three of us with guitars made our way by bus, however, Terry would bring drummer Keg with his drum kit and our two  15w amplifiers in his car. All arrived at 7 o'clock and were greeted by  DJ  Tony Cleary The Majestic assistant manager who took us to the stage to set up our equipment. With his help were soon set up, and when the lads had tuned up were taken down to the dressing room. 

Dressed in our usual suits with our blue ties, Tony had said for us to relax and he would call us at 8.15 for our first session. Smoking the odd cigarette, it was hard to relax with the sounds of hundreds of pairs of feet drumming an impact from the ceiling above.

At 8.15 The door opened and Tony leaving a record playing ushered us up the stairs, and onto the stage where we all took our places, Terry, at the piano Keg slid onto his drum seat and the three guitarists were plugged into our small 15w amplifiers. 

As for myself, I strutted around the centre of the stage trying to give the impression that I really knew what I was doing!

At last, the DJ's record came to an end, and then we were introduced as 'Del Stevens and the Blue Jays'. The crowd went wild, or did it? I seem to remember the odd clap as I set off, a one, two, three, and off we went into Gene Vincent's 'Be-Bop-A-Lula'. After finishing this number, came some applause, and so onto the next, an instrumental, the Shadow's number 'Apache'. We soon got through our seven numbers, and on our last, the DJ appeared nodding our time was up, and in bringing us off stage there was actually some applause.

Back in the dressing room, another hour to pass, to await the 9.30 pm session. We did not venture out of the dressing room as it was a safe haven to contemplate and improve our second session.

The hour passed and we were soon back on stage for our next seven numbers. This half went much better, and we were now more confident, and the applause was good, and quite a few girls were now standing at the front of the stage (supposedly a sign of a good group).

We were now really enjoying our time on the stage when Tony was back to thank us for generous applause as we left the stage. Back in the dressing room, we were overjoyed, for once all with smiles on our faces,  I then left them packing as I was asked to see Mr. Lawrence in his office for our payment which was 4 guineas.

Mr. Lawrence with his usual diplomatic aplomb greeted me by saying we were quite good, and some adjustments were required, but on saying this he went to his diary and gave us two further Monday night bookings.  This was Mr. Lawrence, like Ray Moore the Gaumont's manager, always willing to give advice and instil confidence in the younger generation.  

It was quiet now in the ballroom as all the teenagers had left, and at 10.30 we got the instruments together and outside to pack Terry's car with Keg's drum kit and amplifiers for him to take Keg and then himself home. 

Our three guitarists Mike, Dougie, and Terence with their guitars wandered off for their buses,  and I to walked over to Manchester Road to catch the 10.50 bus to Wyke. 

It made my day when two girls on the bus said "bye Dal" as they left the bus at Bankfoot. 

CO-OP Hall Southgate Bradford

Towards the end of 1959, as well as the Majestic bookings, we secured a six-week booking at the Co-oP Hall, Southgate, every Wednesday, called the 'Two Shilling Hop'. This was a good booking at £5, plus useful publicity leaflets

'Hey! Cats! Heard The News?'  Even the tickets had our name on them, which made us quite popular. This venue gave us the opportunity to experiment with the numbers, which would give us an insight into whether the teenagers liked or disliked the music by their response. Thus we could keep a number in as the crowd suggested, or discard it.

The CO-OP hall was situated in Southgate - off Thornton Road, this was one of the many dance halls used for private functions with the resident band 'Haydn Robinson and the Dunedin Players'. 

With a beautiful stage and good PA system and its central location, it made it very popular for theatrical shows and exhibitions connected with its adjacent store, Cooperative Society Store. In the 1950s, with the advent of rock n' roll, they started to introduce local groups, one of them being 'Dal Stevens and the Blue Jays'.

October/ November 1959.

The crowds were not as large as the Majestic, probably about five hundred, mostly the same teenagers turning up each week, and quite a few from the Monday nights at the Majestic. This made Wednesday nights successful. 

However, with too many rock 'n' roll venues and the demise of private functions, it closed its doors in the mid-60s and was demolished.

Sad, as we all said it was one of the best places we had played.

I still have both a ticket and a flyer promoting our appearance. Both saying Blue J's not Jays! Oct 1959. See below

As Mike and myself had decided to give it a try to reform the group, our luck changed as within a week we had Eric Holroyd, lead guitarist who called at my home saying 'he had heard I was looking for a lead guitarist',  he was just what we required and would help to transform the new group. 

Where I worked, at Grattan, was John Lund a rhythm guitarist who would join us, and through an introduction, Keith Artist the drummer. And we still had bass guitarist Mike. 

A few days later we all got together for a practice, and get to know each other at Storr Hill Baths one Sunday morning. All went well and both Mike and I agreed things could only get better, but for now, lots of practice was required. And a change of name.  I kept my name and after much discussion, The Four Dukes were born.

It was hard work, but we were moving along with the usual repertoire of vocals and beat music of the pop artists. We were still at Storr Hill Baths, Wyke on Sunday mornings from 8 am until 10 am, until the angry residents made us move on for disturbing their Sunday morning lie-in! 

Unity Hall in Bradford was our next place to practice for 10/- on a Wednesday evening. All this took place with journeys on the buses, luckily Keith's dad had a car and helped him with his drums. We had not played to the public anywhere yet, however, Grattan where I worked was having a charity night at Clayton Hall in Clayton and we were asked to play. We all agreed we needed a start, so our first appearance was that night (see The Grattan Connection page).

It was the last venue Mike played at, but in the meantime, we had secured Dennis 'Duane' Oliver for bass guitar who also worked at Grattan.  

Soon we had bookings at the Gaumont, Majestic, The Students Club, and the 'Saturday  Teenage Show' at the Gaumont Theatre. This last one was with Mr Philcox the manager, who was aware that we were having problems finding a place to practice with the struggle to get to Unity Hall and the additional expenses.

One Saturday after playing the 'Teenage Show' he offered us one of the ten dressing rooms in the theatre, all soundproofed, for us to practice. We could enter from the balcony and we could leave our things the drums there and access them any time it was open.

This was not only convenient but free of charge!

We had the bookings, but with regard to finance and profit, we were sometimes not covering our expenses. Eric was beginning to get agitated and being married needed extra money. Dennis was being offered a place in other groups such as the Crusaders because of their singing voice - so much like Cliff Richard, making me almost redundant! Keith I think, needed to be more successful. Only John seemed content until things got better. As it happened, something helped us to make a decision.

In January 1961 we had played twice at the Gaumont's 'Sunday Big Beat Nights' and the following Saturday night I had obtained a good booking at the popular 'rock 'n' roll' venue Christie's in Selby. We hired a Dormabile for the journey, however, a couple of our group's girlfriends had joined us, which was a first. The night at Christie's was a success. However, the next day one member of the group accused another of 'chatting up'  his girlfriend on the way home after he had been dropped off! There was no truth in this, but it caused so much animosity that within a week 'Dal Stevens and the Four Dukes' were no more. After all the trials and tribulations over the past twelve months which could have caused us to disband it was an argument over a girlfriend. 

A week later I went along to the Gaumont's Sunday night 'Big Beat Night', three weeks since my last performance with the group. While standing at the soft drinks bar the manager, Ray Moore came over to have a word. During the conversation, he asked 'if my group would like another booking', and he was very surprised when I told him we had disbanded. 

Then, out of the blue, he asked me 'Would I like the job as the Disc Jockey working for him'. The rest is history!