Sweet As Their Name - April 1968
Third Stab For The Honeybus - May 1968
Sweet Sounds From the Honeybus - circa May 1968
Compatability That's Our Success Secret - May 1968
Why I Jumped Ship - circa August 1968
Girl Of Independent Means, single review - circa September 1968
Story, single review - circa January 1970

SWEET AS THEIR NAME: HONEYBUS

If you have sat and dreamed away the hours listening to "Do I Still Figure In Your Life" or "I Can't Let Maggie Go," you will already be a Honeybus fanatic. If you have never heard of them - boo, now read on! For the Honeybus, whether they ever have a hit or not, are far acclaimed for turning out some of the nicest records in the world. The Honeybus are four boys from London led by Pete Dello. He not only sings, plays guitar and piano but writes the songs, arranges them and then drags the others into the studio and produces the records. At 25 that isn't bad going. Add the fact that for the past four years he has been a session man blasting away behind other people's records and you will understand why the Honeybus are a force to be reckoned with. As befits their name, the Honeybus turn out records of sheer honey substance. All sweet and light without being treacly. You can detect a Honeybus record outside an open window or a three foot thick wall if you really want to. "The sound happened by accident - because we use three different studios for our records. One for the backing track, one for the woodwind and one for the voices," explained Pete. "I do all the writing and producing and things because we just didn't have any money to hire anyone. And anyway we couldn't think of a producer we wanted. "I really don't like writing all that much. I don't write songs unless we have a session coming up and I have to do it. Like most writers I don't exactly write from experience. I just have a stockpile of thoughts on various subjects and draw from it whenever I have to." The other Honeybus-ers are Ray Cane, Peter Kirshir (sic) and Colin Hare. Peter used to back Engelbert Humperdinck, Colin played with the Honeycombs. 'We'd like to get a hit but we want one we can use. I mean lots of groups have a very easy obvious hit but then they've used everything up and they never get another one. I'd rather wait. It's not a bad little sound we've got is it?" They can say that again.

- DISC AND MUSIC ECHO - March 16, 1968

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THIRD STAB FOR THE HONEYBUS

There was a distinct breath of fresh air moving along Shaftesbury Avenue. In the midst of all the pop panics that go on, week in and week out, in the middle of the hard-sell "we are the greatest, so why not write about us", there was the Honeybus. Specifically, there was Ray Cane, bassist and composer, and manager Terry Noone (sic). They had every reason to whoop about with noise-and-joy, but they didn't - even though "I Can't Let Maggie Go" is riding so high in the charts. For the Honeybus, and this goes for all four of 'em, are amiable, quiet, honest, modest - and professional. This breath of fresh air... more about that. One does get fed up with all the loudmouthed side of pop music. Talentless groups and singers employ hard-sell characters to sell hard nothing. But the Honeybus simply rely on the old business of letting their music speak for them. And it paid off with their third stab at record fame. Terry Noone (sic) used to play in a group with Ray and with Pete Dello, songwriter who inspired "Maggie", though there ain't no such girl in real life (honest!). They worked with Steve Darbishire, currently retired from pop and teaching art in the Lake District, Listen to Terry Noone (sic): "We just don't go along with gimmicks, We don't want this "Honeybus slam so-and-so" sort of publicity. We don't want to rush into newspaper offices and start shouting around. We think we're very lucky to be in the charts and we want to consolidate that success, but slowly. There's no substitute for hard graft" But the fact is that I can remember no other newish group getting so much solid praise from deejays and producers. Reason is simply that the Honeybus get on with the job and don't argue and behave in a sensible way. Punctuality, showmanship, musicianship... these are the ingredients of their success with the people who matter. Says Ray: "On stage we work pretty solidly and we include a lot of our own material and a lot from sources like Bob Dylan, The Beatles, The Incredible String Band, The Cream and so on. But our main aim is to interpret a song in our own way. We dig the Lovin' Spoonful, so we include some of their numbers, but in our own way. "We all got together, with Terry, about how we wanted our career to go. This knocking of other artistes is just a load of old rubbish. There is room for a lot of different styles of music in this business and to say that somebody shouldn't like something is just being stupid. You can have your own view on whether something is good or bad. But to take it further and label something as being sheer rubbish... well, that goes too far." Getting a hit record causes one rather difficult problem for a group. Suddenly, you're in the charts. Chances are that you're also booked up for ages ahead but at the old rates of pay. The Honeybus, via the imaginative Terry Noone (sic), have avoided that. When the "Maggie" single came out they had only a couple of dates in the book, just in case. Now they earn more money. They've even turned down a couple of tentative offers for the States, simply because they feel they owe it to their "new" public in Britain to make appearances here over the next couple of months. They like rock 'n' roll because they "remember it from the old days". They steadfastly refuse to rush into an LP on the strength of having a hit single. Say the boys: "We don't regard ourselves as a hit group as yet. Maybe if the next one is big then it'll be different But we feel for fans who rush out and spend a couple of quid on an LP, probably containing all the old singles, simply because they are hearing a lot of a hit single. Our LP, tentatively put together, must include all new material.. Don't get the idea that the Honeybus are being gimmicky simply because they say they have no gimmicks. They've worked hard for their current success... their previous singles were "Delighted To See You" and "Do I Figure In Your Life", all on the Deram label. Prior to those records, Ray and Pete had worked together on sessions and in other groups. They eventually enlisted the services of 21-year-old rhythm guitarist Colin Hare and drummer Pete Kircher. Their decision to avoid the gimmick scene was taken by all of them. Says Ray: "It would have been difficult if say two of us had wanted to go out on the usual group line of stirring up controversy. But as it happened we all agreed. People have been very good to us. We want to live up to their faith in us." As I was saying, it's a breath of fresh air. No bullying, no panicking. Just four blokes, plus a manager who is really one of the group, who want to behave nicely and well. Why Honeybus? Well, they originally wanted to play music which was best summed up by the term "honey". And they happened to see a bus pass by a Shaftesbury Avenue coffee bar. As simple as that!

- RECORD MIRROR - April 27, 1968

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Sweet Sounds From The Honeybus

After all the harshness of revamped rock - meet a group who are sounding off gently!

The Honeybus have been the darlings of pop pundits for nearly a year now. Their first record, "Delighted To See You", caused some interest but the follow-up, "Do I Still Figure In Your Life", was the one that had all the hipper journalists and deejays hooked on the softly wistful sound that this sensitive group produce. The sound is distinctly their own because they not only play and write their own records, but produce them as well. The Honeybus are four people with virtually a single musical mind. Pete Dello (24) is the writer and co-founder with Ray Cane (22). They were later joined by Pete Kircher (23) and Colin Hare (21). Ray Cane explains how the Honeybus work: "We're a group concerned with making good records. We're not a gimmick group and we're not in it solely for the money, although it's a good thing to have! When we started we laid down principles; we wouldn't play outside London and we'd concentrate on making records and doing radio. It worked well for us. We played a lot of colleges. At first, bookings were few and far between but we were lucky with radio. We did one show, knocked them all out and were offered more and more work! "We knew then what we didn't want to do as a group. We formed in the middle of the soul music boom. We hated it and refused to play numbers like "Knock On Wood". About a third of our repertoire is our own material. Pete Dello writes most of it and I do a bit too. "The release of our hit "I Can't Let Maggie Go" was timed just right. There wasn't anything else around that week so it had a good chance. Pete picked the name Maggie - it's not based on any particular girl. "Although "Do I Figure" and "Maggie" are wistful songs, we don't want to be labelled - it's too limiting. Next time we'll do something completely different and after that we'll be ready to make an LP. We think that an album must be equal in quality to a single." The Honeybus care about what they do and they promise many sweet sounds.

- Unknown, circa May 1968

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HONEYBUS-A-WEEK: COLIN HARE

COMPATABILITY - THAT'S OUR SUCCESS SECRET!

I can now reveal the secret of the Honeybus They're not just shrewd and talented - they're downright compatible. And it spells success. "They're ever such nice fellas," said Colin Hare, Honeybus rhythm guitarist. "We don't argue and we're all reasonably punctual people. But it wasn't planned that way. "I was in dead end street and had almost decided to get out. Then one day I met a friend and asked him if he knew anybody who wanted some gigs done. He asked me if I would go along to a rehearsal in a Denmark Street recording studio. "So I went and there were the Honeybus - well Peter, Ray and Pete, They asked me to come again for another rehearsal and I suppose I first knew I was a member of the group when we played our first gig at Sybilla's. "Nobody ever said welcome to the Honeybus - I just knew I was one of the group." Before Colin completed the foursome he went to Israel with a group called the Honeycombs. And before that he'd been going solo in clubs up and down the country, ballad singing and accompanying himself on guitar. He confcsses he doesn't really know why "Maggie" has been such an immense hit. "Well it's an easy-going song and reflects our attitude. It's not too false and of course everybody's thrusting things down the public's throat now." Colin, who's written songs for other groups he's been with, is writing again and has already completed a couple of numbers. "I don't write anything that's strong enough for a single. It's more LP material but as Peter Dello turns out such a lot of stuff I've tended to sit back. But I've watched and learned from him. "In fact it takes quite a few months before one can write in the group's style and over the last few months I've learned a helluva lot from Peter. He seems to keep all his compositions bright and simple. ''He's the boss but it's unwritten. He never lays down the law - actually he's more of a musical leader." Colin is thinking of taking a music course in the evenings if he can find the time and free time is something all the group thank manager Terry Noon for. "We have Mondays and Tuesdays off. It's a good basis to work to and there's always things you want to do. "It makes the group run more efficiently Some groups work all the time but rushing around takes the enjoyment out of this business." How has the success of "Maggie" affected Colin? "We're working more but we're in a better position to take the work we want now. Before we took everything just to live." Colin might soon get a flat in London. At the moment he lives with his mother in Hornchurch but she wants to move nearer his sister. "I like to get out to see my sister and her family and I'm that much fresher when I meet up with the boys again." Colin thinks the best bit of the business is meeting people. "I like to meet other people and I usually learn a lot from them. It's good touring around and bumping into friends. I met John Perry of Grapefruit the other day. I've known him since schooldays and he was very complimentary about our record. Grapefruit are all nice fellas." Is Colin worried about the group's next record? "We'll do our best - if it's wrong it's wrong. Of course plugs made "Maggie" and without them it wouldn't have gone." He says the group is slowly compiling LP material and is not contemplating working outside Britain until it is more established. He's got no marriage plans but reckons that travelling around he might meet someone. "You can't tell, can you?" As far as musical tastes go Colin prefers British pop and he's always been a harmony fan. "In earlier groups I used to like The Beach Boys a lot but since I've been with the boys I've learned to like different stuff. "It's good to meet and join new groups because you discover other people's attitudes." He prefers British pop because he feels it's more original. "Groups like the Who are themselves. I mean I don't understand what progressive groups are trying to do.'' Colin is looking forward to the day when the Honeybus can visit the States. As far as ambitions are concerned he's wisely content to see where all the sudden fame is leading him and the rest of the boys. Without a doubt it's all been very exciting. "I think our most exciting week was when we were leaving Terry's office and he had a phone call to say "Maggie" was just bubbling under the Top 20. "We were very lucky from the start. Things have just slotted into place." Concluded next week...

- DISC AND MUSIC ECHO - May 18, 1968

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Why I jumped off the Honeybus - by Pete

The pop music business is full of best-kept secrets; each week comes a startling revelat'ion that has been apparently hushed-up for months. Most of these are well known within the "in" circles, but one, revealed just last week, was a genuine secret. Honeybus leader, composer and creator Pete Dello has left the group, to be replaced by Dundee's own Jim Kelly. Pete, who formed the group in May last year with bass guitarist Ray Cane, wrote both "Do I Still Figure In Your Life" and "I Can't Let Maggie Go", leaving his mark indelibly stamped on the Honeybus sound. And as anyone hearing the new single "Girl Of Independent Means" will know, that stamp has now been wiped completely clean, and the Honeybus sound like a new group. "Yes, they've certainly been having a field day since I left" grinned Pete, who sounded remarkably cheerful despite a visit to the abominable dentist. "But Ray is going to make a good little songwriter, mainly because he lives entirely for it - and although I don't like this record as much as when I first heard it the boys still have a great sound." Pete decided to leave the Honeybus about two months ago, and finally made the break two weeks later after fulfilling all outstanding bookings. "I can't really explain why I left," he says. "I just woke up one morning and didn't fancy playing in the band any more. "I had a lot of things I wanted to do and no time to do them. I've always been a man of projects - things I want to do for personal satisfaction. Whether or not I ever finish any of them is a matter of opinion. They're always finished as far as I'm concerned but perhaps not to others." "Now I'm going back to studying music, not with a tutor, but teaching myself. No, it's not really as hifalutin' as it sounds. "I've always been interested in music and I've found through careful study that today's pop music goes right back, through Bach sonatas to Vivaldi, and even the Renaissance music before that. "And as Bach and Vivaldi sound as good today as they probably did then this discovery gives a bit of food for thought. I'm now trying to visualise what today's pop music will sound like in 100 years, and if possible then try to write music that will still sound good then." It all sounds very soul satisfying and intelligent, but where was the money going to come from? "Yes, of course I have to think about money. I've always been like this though, and I guess I'll just carry on until the bank balance gets low, and then find a quick job to build it up again. "In fact I've already begun to get itchy feet again. The first fortnight with nothing special to do was great. I rediscovered some of my old childhood interests like spotting insects. I dug out an old book and spent a whole week going round the garden digging up rocks and finding little earwigs and things.' But it's not all play for Mr. Dello. "I'm working on a record now which I wrote with Billy Fay, and I'm very pleased with the result. Also I hope to have a solo single out before very long and follow it up with a solo LP. But I don't quite know what's going to be on it yet! "Meanwhile I'm writing a few songs to keep Terry (my manager) quiet and generally having a good time." Pete stresses too that the Honeybus are still his firm friends - so all will be well that ends well.

- Unknown, circa August 1968

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HONEYBUS
Girl Of Independent Means (Deram)

At first I was rather biased against this record. You see, I've always thought it a shame when a group come up with a very pretty, individual, identifiable sound as the Honeybus did, only to have a switch in personnel and adopt a new sound. But to be fair, and taking the single on merit alone, it is excellent. For one thing it has the best sound I've heard from a British studio in a long time. Very sharp, clear and clean with precise guitar playing. It trots along with warm American voices and sharp brass. Who can blame them for trying to aim more at the commercial market? Not me. And it sounds like a hit.

- Unknown, circa September 1968

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HONEYBUS
Story (Deram)

Still a fine group. This one rambles on a bit, but it's well sung and lyrically sound. ***

- Unknown, circa January 1970

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Many thanks to Gitte Jensen for her help with transcribing this text xo

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