JDB lead guitarist, Bobby Lenti live onstage somewhere
circa 1976-1977. This Gibson Firebird was his favorite guitar
for a while. He was known for his spectacular playing, his
strong, emotional singing, and his sexy "wrestler's" body.
PHOTO: MALCOLM BERMAN
Once upon a time, these college kids bored with college, started a band. First,
we just played old style rock 'n roll - Little Richard, Jerry Lee, Everly Brothers,
Chuck Berry - the good stuff ... mostly 3 chords ... nothing too taxing. We had
no idea what a project it would become, or how - over the next decade - the
band would change our lives.
This is Tony Juliano, and this is THE JOHNNY'S DANCE BAND STORY, in my own
words. From 1969 through most of 1977, I was a card-carrying member of this
life force. If you know me, you may have heard this, but just for the record:
Johnny's Dance Band was the single greatest achievement of my life.
Nothing else I've been a part of was as memorable, as important to folks' lives,
had such appeal, or made such lasting impact on such mass numbers of people.
TJ with JDB in concert at West Chester University,
circa 1975-1976. Sure, the motorcycle jacket LOOKED
very cool, but it was hot, and not in a good way. It would
come off after the third or fourth tune. Here's Tony ...
heavily emoting. PHOTO: FRANK JACOBS
From 1969 to 1971, the basic 4-man band laid the groundwork ... three Philadelphia College of Art students: Johnny
Jackson - bass, vocals, guitar; Chris Darway - keyboards, vocals; Paul Messing - drums ... and from Temple University,
Tony Juliano - vocals, guitar, harmonica, bass. Chris had drafted me to be the dynamic frontman (replacing a previous
John). We did the usual college band gigs, including some great ones with: Whole Oats (later, Hall & Oates); Woody's
Truck Stop (with Todd Rundgren); and The Youngbloods. Johnny's Dance Band were regulars at Germantown's Hecate's,
Circle (owned by Danny Starobin, of Sweet Stavin' Chain ... we were from a similar corner of the universe).
This period spawned the first great original tunes, from whence evolved the band's "identity" - one of irreverent satire.
Classic examples: Dog Song (Darway); Mary & Joseph (Juliano). Chris' high school pal, Courtney Colletti hung out at
"rehearsals". His great band, Beans signed to United Artists . He wanted to be in our band.
JDB's Nannette Mancini was not just a terrific singer. She was an actress. She portrayed every song. In any given show, the band's vaudevillian approach gave her many surreal and unique characters to become, if only for a moment. Whether sexy or silly, Nan's strong stage presence appealed equally to both male and female fans. PHOTO: WINSOR ROWE,1976 - 1977
In 1971, we graduated and needed to get real, so Johnny's Dance Band stopped performing ... sort of. I taught school,
but I didn't really want to get real. I was on a songwriting roll, and thought the project should continue. Paul and I, as
JDB, produced a single at Sigma sound, on Jamie Records: I'm Walkin' (a national "pick hit") & Porcelain Convenience
(Ode To A Commode - banned in many markets). We included Johnny and superb folk guitarist, Benji Aranoff.
In 1972, Regent Sound engineer, Joel Fein offered to record 10 of my tunes, for free, after hours. Friends, this was
a gift from the rock 'n roll gods. Remember, this was long before do-it-yourself-digital. The 16-track master tape was
2 inches wide. Editing was done with a razor blade. These were "The Regent Sessions". The original JDB performed;
plus, I brought in: Winnie Winston, Bob Tanner, Benji Aranoff, and two female vocalists, including Nannette Mancini.
I "discovered" her when we were both hired to sing on the same commercial. She had never been in a band before.
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The 1976 show with rock beatnik, Patti Smith, was one of four hugely successful appearances by Johnny's Dance Band at The Tower Theater, in Upper Darby, PA (where Tony grew up). At set-up, the quasi-diva-prima-donna "star" commanded everyone (including JDB & crew) to leave the building, so she wouldn't be distracted while perfecting her "sound". PHOTO: FRANK JACOBS
The '72 sessions were a gas - fun, eclectic, great sound, playing and singing, an off-the-wall choice of material. Copies
were circulated. WMMR 93.3 FM was becoming a national model of "progressive" radio format. They'd play anything.
They played us. Clubs wanted to book us. There was no band. So I set about convincing everyone to do this crazy
thing that made no sense. In 1973, I succeeded in reviving the group, and Johnny's Dance Band hit the road again.
Nothin' serious. Not exactly what you'd call "commercial potential". I described it as "rock 'n roll vaudeville". We were
6 pieces: Johnny, Chris, Nannette, Courtney (guitar, bass, banjo, flute), Jack Decker on drums (another of Chris' high
school buddies) ... and me. My concept was a constant round-robin of singers, songwriters and genres, and the same
over-riding irreverent satire as always. For all the talent in the re-born band, we were every music industry executive's
nightmare. But then, we were not in it for the big-time. We were an art band, and we were in it for the art of it.
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The JDB most people remember (phase 6), typically wacky in a back room of Grendel's Lair, 5th & South Streets, Philadelphia. In 1975-1976, they played "the Lair" every Wednesday night for 18 months, to sold out houses. Due to the unmatched success of that run, Grendel's became the hottest club in town. Dave Mohn, Courtney Colletti, Nannette Mancini, Johnny Jackson (tall beard in back), Tony Juliano, Bobby Lenti, Chris Darway (holding the box fan, for a "special effect"). PHOTO: PHIL CECCOLA
Things took us off-guard in 1973. WE enjoyed our little sideshow, but would anybody else ? A new club had opened inNew Hope, PA called John & Peter's Place. An artsy town, a hippie club ... perfect. I approached owners John Larsen
and Peter Price. They liked our tape, and booked us, but we had to play for the door. We were unknown. We needed
the gig. We charged 50 cents. Johnny's Dance Band made a total of $3.50 ... for the group.
Johnny Jackson, JDB's namesake.
Singer, songwriter, guitar and bass player,
actor with classic good looks. His voice was
the sweetest of all the JDB guys. On Fender Telecaster bass,
at one of those 80-or-so Grendel's Lair gigs, February, 1976. PHOTO: MARK JENKINS
The few who saw those first gigs spread the word about this bizarre new band. Within weeks, we were turning people
away from the 125-seat club. John & Peter figured they lucked into a gold mine, and booked us for 3-day weekends,
4 weeks in a row ! Johnny's Dance Band was a hit ... and we helped put John & Peter's on the map ! People lined up
around the block to see us.
Film-maker, Alex Matter was drawn to this phenomenon, and became our manager. Our strange approach to music
made perfect sense to him, and he supported us for the next few years. Alex housed us (those who needed it), gave
us rehearsal spaces, outfitted us, paid for demos-photos-press kits, bankrolled us in so many ways, totally believed in
us made sure we never doubted our "concept"... nurtures us through the period of our greatest creative achievements
... and oh yeah, I almost forgot... ALEX NEVER TOOK A DIME FROM US ! Once, he even sold his motorcycle to pay
our rents. He just wanted as many people as possible to experience what he called the JDB "magic".
I am forever indebted to this wonderful man.
Alex set up live studio auditions with major record labels. None of them had a clue what to do with us. They couldn't
figure out how to market this act where from one song to the next, the style changed from rock-to-jugband-to-funk
to-folk-to-cha cha-to-lovesong-to-country-to-waltz-to-blues-to-broadway ... and always with this satirical attitude.
After all, in the decade of disco, how could their corporate minds, wrap around songs like Lonely Guru, Love Mugger,
Now She Sleeps In The Cold Cold Ground, The Worm Song, You're Just A Pick-Up, and the many other classics.
And of course, JDB's lead singers just kept changing with the songs ... and the songs ... were about sex and religion
and death and other taboo subjects.
We were so far from mainstream ... What the record execs couldn't handle ... is exactly what our fans loved so much!
Being born at the former Philadelphia College Of Art,
Johnny's Dance Band was blessed with artists.
In-house print and radio promos were, to say the least,
unique. In 1971, Tony wrote an incredible Neil Young parody
called, "Henry Avenue Bridge". It had satirical, historical
relevance for Germantown's Wissahickon Valley.
Chris Darway thought the saga should be immortalized
as a U.S Postage stamp. So, he designed one.
Founding member Chris Darway one of the most talented songwriters anywhere in the music business. The inventive writing team of TJ and Chris set the tone for JDB's musical satire and rock 'n roll vaudeville. His long, spoken song introductions were as entertaining as the tunes themselves. Crooning and playing his funky Wurlitzer electric piano, at their beloved homebase club, John & Peter's in New Hope, PA, 1975.
We held auditions in New York City, in 1974, for a killer lead guitarist. Dozens responded, but one guy from Brooklyn
pulled out a slide and beat the competition. His name was Bobby Lenti, who also brought great vocals, songwriting
and stage presence to the band. So now we were seven. Not long after, we held drummer auditions in New Hope and
local, Dave Mohn blew 'em all away. This completed the line-up most people remember - the team we took to Philly:
Dave, Bobby, Courtney, Nannette, Chris, Johnny, Tony.
Philadelphia then became our primary focus. JDB locked into Grendel's Lair at 5th and South Streets, and played everyWednesday...for 18 months. Other notable shows were: Philadelphia Folk Festival; Valley Forge Music Fair; The Main
Point; four concerts at The Tower Theater; The Spectrum (the only unrecorded act to play the 19,000-seat venue); and
the first ever concert at Penn's Landing (when it was just dirt) ... WMMR's Listener Poll voted Johnny's Dance Band the
"Best Local Band" ... then they had us play there on flatbed trucks ... and 10,000 people showed up !
For 5 years, 1975 until 1979, JDB was the biggest local draw in the Philadelphia tri-state area !
One of the first known promo illustrations, done by the Fine Arts Major at PCA, Paul Messing. Note how he captures the essence of each personality. Spelling wasn't his strong suit (Johny's), but he was great, approaching the music in a most theatrical way. Paul was the first of three drummers, followed by Jack Decker and David Mohn. This 4-man band came to be regarded as the original line-up, but there was an additional John at the outset, in mid-1969. Should the name have been Johnnies' Dance Band? Shot in a Phila. College Of Art studio, where the unusual student body & faculty usually encouraged the unusual ideas of our boys. Drawing: Chris, TJ, Johnny, Paul; Photo: Johnny, Chris, TJ, Paul. PHOTO: CHRIS DARWAY
Our band had a sweetheart relationship with radio station WMMR 93.3 FM. Our first drummer, Paul Messing becametheir Production Manager. He and I created the landmark "Station I.D.'s (which you still hear sometimes), for which I
wrote and sang rock star parodies, promoting the station. We did many live broadcasts with Gene Shay, and Ed Sciaky,
who made us their special project. (See photo caption with JDB, Ed, and his famous friend). The station did live simul-
casts of a few JDB shows. One such show, from the Tower Theater, yielded a hot version of Pushed Around Too Long.
WMMR put it into regular rotation on the air for a year or two, making it a major hit in the region, long before it was
recorded. Written by TJ, with help from Johnny J, and great Nan vocal, I consider it one of my strongest rock tunes.
Courtney Colletti 
most definitely could shake it (and still can). He had chops for days ... on guitar, bass, flute, percussion and vocals. Being classically trained, he taught the band a lot about music, such as chord and harmony theory. CC's insane onstage characters had people screaming with laughter. His most famous invention was the parody interpretation of bluesman, "Blind Jelly Lead Dick". Here he is on bass and dancing at one of the 1976 Tower Theater concerts. PHOTO: FRANK JACOBS
David Mohn wasn't looking for a gig, that day in 1974. He simply saw a sign for Drummer Auditions, and out of curiousity, turned in the driveway. Little did he know that fateful turn would alter his life ... but you'd have to ask Dave about that. The try-outs had ended, and the band was choosing. Then Mohnie played, and blew everybody else out of the water. He could rock with the best of them, but his semi-jazz background brought killer new grooves that helped take JDB to its highest highs. Doesn't he look like a jazzer in this shot? West Chester University concert circa 1975. PHOTO: PHIL CECCOLA
www.jdmdrums.com
The Johnny's Dance Band Extended Family
Our road crew worked very hard for us, and we could never thank or pay them enough. Lee Tener worked for freeuntil we could afford to pay him. He was the all-around best and most devoted Roadie we ever had. I felt like he'dthrow himself in front of a bullet for me. Lee passed away some time ago, and I spoke at his funeral. I will never
forget him. Our Lighting Director, Elen Gross (later, Elen Lenti) was truly dedicated to her craft. Other important
members of the inner circle were: Jay Bender and Andy Strauber - Sound; Carl Josel - Road Mgr; and Roadie, Dennis
Raphael. A few others came and went, but these devoted human beings received the coveted Johnny's Dance Band
jackets. Our Phila. tri-state area fans - many tens of thousands, based on concert attendance and record sales - were
unbelievably devoted. Eventually, one super woman came forth from the crowd, and became President of The JDB
Fan Club. This gentle lady, and cool cartoonist, was Mary Lynn Bernardo. Anita Wise was a close family member,
who helped in countless ways and sold our t-shirts. The great JDB logo was designed by Beck & Raphael (Phila).
Dick Whiteford handled booking for a while. All the great photographers were phenomenal - capturing the spirit,
some of which is reflected here - and they were all doing it for free! To all the wonderful people who gave in so
many ways, without compensation, I will always remember the beauty and love behind your contributions and support.
More than just a great band. Johnny's Dance Band had a strange, wonderful, magical effect on people.
Acoustic performance, main stage evening concert, at the Philadelphia Folk Festival, August, 1974. Invited by Gene Shay, the Godfather of Philly Folk, JDB treated the audience to "Mary & Joseph" - Tony's satirical saga of the immaculate conception. The crowd of 10,000 sang along with the high-kicking chorus, and the band received a standing ovation. Prior to this, the band had never played to more than a few hundred people. (Phase 5 group) Bobby, Courtney, Nan, TJ, Jack Decker, Johnny & Chris (on piano, behind the band). PHOTO: PHIL CECCOLA
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The Dance in Johnny's Dance Band was not so much because it was the greatest music for dancing. It was way more theatrical than that. Instead, it was more about the insane-satirical-quasi-choreography, invented by Tony, and performed by the band members onstage. This was pure entertainment, mixing moves of many genres like: Motown R&B - The Rockettes - Folk Dancing - Doo Wop - Can Can - Jitterbug ... always something new and totally nuts. Precision uniformity is apparent here in the dance from Colletti's timeless classic funk piece, "Get On Up." From an outdoor concert at Pastorius Park in Chestnut Hill, PA, circa 1975. PHOTO: FRANK JACOBS
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We did many gigs in New York City through Alex, showcasing us to the industry. We opened for The Ramones at CBGB's
and the punk crowd hated us. We did the Billboard Magazine (bible of the music biz) Convention, at The Bottom Line,
where the audience - including Bill Graham - loved us. Peter Frampton loved my '57 Les Paul, Jr, and offered me $1000
(in 1975 dollars), which I declined. In later years, broke and desparate, I sold that guitar for $450, to pay the rent.
Some other great gigs: opened for Bonnie Raitt, Astor Theater, Reading, PA; Bucks County Playhouse with Martin Mull;
Trenton War Memorial with Southside Johnny & The Asbury Jukes; Valley Forge Music Fair with Sha-Na-Na; The Tower
Theater with Bryan Ferry; The Tower Theater with Procul Harem; and playing for Aussies all week in Newport, Rhode
Island, at The America Cup Races !
Nannette, Tony and Courtney howled
the Canine Chorus. Johnny looked on
and laid down a blues dirge on bass.
While Chris (not seen here) would be
lamenting, sorta singing, sorta freaking out,
"Ya' know my doggy's got a hole
in his head ... I think he's dead ... and
he don't bark ... no more !" It was an
hysterical "song of love and death"
(a JDB trademark) that he wrote in
the first year of the band.
This photo is circa 1974, from the
great Bryn Mawr club, The Main Point
(the original). The Johnnies played
many sold-out shows there ... sharing
the bill with other strange artists,
such as Father Guido Sarducci, and
Martin Mull. In an attempt to keep
the bankrupt venue from going under,
Johnny's Dance Band did quite a few
fund-raiser benefits, as did many other
artists. It worked for several years,
but the Main Point finally folded
in 1981.
The members of Johnny's Dance Band owed an incredible debt of gratitude to the late, great Ed Sciaky, one of the country's most influencial disc jockeys, then still at WMMR 93.3 FM. Ed loved the band, and did everything in his power to support them, and promote their success. One night, he brought a friend to their club gig at the intimate Grendel's Lair in Philly.
Ed had a feeling his pal would dig the band too. That friend was Bruce Springsteen. He dug the band for sure, and hung out all night. That was the summer of '75. Just before Labor Day, "Born To Run" was released. In October, he was on the covers of Time and Newsweek. Bruce told the band, "I hear a lot of hits here. Just don't let the music business bosses change you, because that's what they'll want to do. Stay true to your dream ." Great advice... Pictured: Bobby, Ed Sciaky, Nannette, David, JDB booking agent Dick Whiteford, Bruce Springsteen, Courtney (behind Bruce's then big hair), Chris, Tony, Johnny. PHOTO: JANET MELARAGNI magnify
During Johnny's Dance Band's peak years, the mid-seventies, we were treated like royalty, especially in our homebase,
New Hope, and in Philadelphia, Pennsylvania. Being a "frontman", people recognized me wherever I went. A large part
of our fan base was made up of restaurant and bar employees. They came to our late-night shows when they got off.
At dozens of restaurants downtown, anytime I patronized them, the house wouldn't let me pay - they'd "comp" my bill.
Almost every periodical in the area ran in-depth feature photo articles about JDB, and they were all rave reviews.
In our little corner of the world, we were ... OK, I'll say it ... rock stars.
Johnny's Dance Band at "The Swamp" in 1974.
This North Jersey farmhouse was provided
by their manager and benefactor, Alex Matter
and his partners. In total isolation (surrounded
by The Great Swamp), JDB had a great place
to rehearse and try out their most unusual ideas.
(Clockwise from left):
Courtney, Chris, Nannette, Tony, Jack, Bobby, Johnny.
We finally signed a record deal with Windsong Records (an RCA subsidiary). After being rejected by more companies
than I can remember, we were thrilled. Our new bosses were John Denver and Jerry Weintraub. We would frequent
the New York offices of our mother company, RCA, and started "rubbin' elbows with the elite." JDB was in the same
RCA "stable" with Kenny Rogers, David Bowie, Bo Diddley, Etta James, Don McLean, Harry Nilsson, The Guess Who,
and hundreds more. We thought we were impressed.
Unfortunately, the RCA machine didn't understand us any more than the other record labels. We all tried to find
common ground, but the relationship was doomed from the start. Within the band, there was growing disagreement
over what to do. We worked very hard to make an album we could be proud of, but there were so many compromises
that the end result was watered down. It wasn't us at all. The whole thing that we were known for - rock 'n roll
vaudeville & irreverent satire - was gone. Not allowed. When the record came out in early 1977, most fans were
disappointed, and who could blame them? We did the usual promotional appearances, but in the end, our debut
(self-titled) "Johnny's Dance Band" album was at best only a regional success.
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Nan & Tony dance - just like Fred & Ginger - Live at Grendel's Lair, Philly (5th and South Streets), circa 1976. TJ's right hand is in a cast, having sustained a fishing injury the night before, and surgery on the day this was shot. The bandleader was heard to boast, "Well ... I never missed a gig !" PHOTO: ANNIE JACKSON
Relaxing poolside at the cover photo shootfor the first album on Windsong Records (RCA).
You'd think they were mainliners ... until you
look closely at Bobby's shoes (his "favorites").
Chris, Nan, Mohn, Tone, Johnny, Bobby, Courtney.
circa 1976 PHOTO: FRANK JACOBS
Johnny and I quit the band in late 1977. We had a great run, but things were now out of our hands. The powers that be were going to keep changing the formula, in an effort to get those hit records. And this, after all, was not why our "art band" came into existence. JDB did a second LP in '78 (with 6 of 10 tunes co-written by TJ). Bobby and Courtney left around that time, and were replaced. For the final LP in '79, the group was called Nan Mancini and JDB. They did a fine job, but this was not Johnny's Dance Band,.
I'm intensely proud to have spent the best, most prolific years of my creative life with Johnny's Dance Band. I repeat:
We had a great run. The magic that existed among us yielded a creative flow from all the members that was nothing
short of astonishing. It was an unmatched thrill to be in the middle of it. Too bad we ended just before videos began,
because we were the ultimate visual and theatrical band. I have no films to share of those totally entertaining and
very funny performances. But to those of you who were there ... perhaps one day, you might tell your kids about it.
Peace, Love, Rock 'n Roll,
Tony Juliano
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Variety reviews JDB
