The Ward Darby Story

At the age of eleven, Ward Darby of War, West Virginia started to play the guitar and sing. Not until reaching the age of fourteen did he get interested in the entertainment field. His initial effort as an entertainer surfaced during 1954 with appearances on a Saturday morning 30-minute Country and Western program over radio station WELC in Welch, “WV. Being reared on C&W Music, he admired Chet Atkins, Bob Wills and Merle Travis, just to mention a few.

Even at his young age, Ward always seemed to be around people in the music field. One person in particular was country music performer Mac Magaha, who was the fiddle player for Porter Wagoner. His acquaintances provided him the chance to receive valuable television exposure and an occasion to perform with some of the top recording artists of that era.

During 1956, Ward did a lot of television shows and performed quite a bit with his very good friend, Mel Street . Mel, a promising country star, had his career come to an early end with his untimely death. Ward, at sixteen years of age, soon became recognized as an exceptionally talented guitarist.

While performing on the Rural Farm District (RFD) Jamboree hosted by Cecil Surratt on Channel 6 in Bluefield , WV . Ward was a member of Cecil's group, The West Virginia Mountain Boys. The group strictly played country music but Ward was gradually being influenced by the new trend in music which had taken over the land!! “ Rock and Roll.” He was inspired by this new form of music which was characterized by a persistent heavily accented beat, sometimes repetitive of simple phrases, and often a blend of rhythm and blues, and country. He decided to form a group which he labeled as The Rocks. The original members were Ward Darby on lead guitar, Jimmy Robinette, Freddy Riffe, and Bill Rotenberry on rhythm guitar, with Jim Eanes on the drums.

The RFD Jamboree was a very popular two-hour Saturday night TV show which featured such recording artists as Carl Smith, Red Sovine, Bill Monroe, Flat and Scruggs, The Goins Brothers (who were part of a group named the Lonesome Twin Fiddlers), Carl Story and the Rambling Mountaineers, plus many other artists. Jim Eanes relates that since the Rocks were a mainstay of the television show, that they would publicize all the recording artists before their scheduled video appearance. In return, The Rocks would be the opening act for these Nashville talents. Basically, it was sort of a gratuity from the established stars for advanced promotion.

All the exposure The rocks were receiving enabled them to become the stars of the Jamboree. Once the country segment of the program was completed, The Rocks would take the stage again and rock the joint with their rockin' rendition of tunes which had been recorded by Elvis Presley, Fats Domino, Gene Vincent and others.

The Rocks appearances on the RFD Jamboree brought them to the attention of Ray Bowling, a traveling salesman for King Records from Pittsburgh , Pa , not to mention a fine keyboard player and vocalist. Ray's route just happened to encompass the Bluefield , WV area. Ray became enthralled with their professionalism that he desired to become a member of the group. Ward relates that after the group would complete their Saturday night television stint they would play at different night spots around the area and were joined by other musicians in jam sessions. It was at these impromptu late night get together that Ray Bowling would join in with The Rocks vocalizing. The group was impressed with Ray so they included him in several of their television appearances.

Ray wanted the fellows to move to Pittsburgh because he felt the Steel City area afforded more opportunities to promote themselves through personal appearances with that city's highly rated disc jockeys: Jay Michael (WCAE), Barry Kay (WJAS), Porky Chadwick (WAMO), Bill Powell (WILY), and other renowned record spinners. The Rocks traveled to Pittsburgh on several occasions experiencing overwhelming success and acceptance. This positive reaction prompted the decision to make the move, but at the same time, a metamorphosis of The Rocks occurred. Several of the group members decided to stay in West Virginia , therefore, the new edition of The Rocks was now a trio. Ray Bowling did the vocals and played keyboard, Jim Eanes played drums, and of course Ward Darby played guitar.

A native of Portsmouth , Ohio , Ray Bowling had previously migrated to Pittsburgh to serve as Syd Nathan's branch manager and salesman for King Records in that district. Once Ward transplanted himself in Pittsburgh , Ray changed jobs, moving to Bill Lawrence's office to handle promotion for ABC Paramount Records. Ward was immediately hired to fill Ray's former position and remained with King Records through part of 1960. Jim Eanes decided not to move to Pittsburgh due to personal commitments at home in Princeton , WV . On occasions when Jim Eanes didn't perform with The Rocks, Ward used different interim drummers.

In referral to Bill Lawrence, Bill was a Pittsburgh record distributor who had been the national sales manager for Columbia Records new subsidiary Epic label during the early 1950's.

Ray Bowling felt the trio was ready to cut a record and contacted Bill Porter, who owned a small independent label named Porter Records. Ray had written two songs and arrangements that were recorded at Porter's small recording studio in Portsmouth , Ohio . The songs waxed were “Satellite” and “Arrow In My Heart”. “Satellite was a bluesy tune with a rock beat augmented by strings and horns. The lyric of the tune was the swain losing his girl by means of a satellite instead of a train. “Arrow In My Heart” was a country flavored rock ballad that had a piano and string background with a triplet figure in arrangement, and a heartbroken condition was conveyed by the lyrics. The two sides were released as Porter 10098 in November 1957 and the record did extremely well in the tri-state area. With the success of their initial record, The Rocks hoped to sign a recording contract with a major label. The stability of the group after the first release started to deteriorate as they would separate for a period of time. According to Ward, the breakup was a mutual decision because each individual had different ambitions.

Working for King Records, Ward became friends with many of the record distributors in Pittsburgh . There was one distributor in particular which Ward heard of who was also involved in recording Pittsburgh talent on his own record label – Fee Bee. Joe Averbach had three very successful hits in 1957 which he initially released on Fee Bee and later, leased to Dot Records for national distribution. “Come Go With Me” and “Whispering Bells” by the Dell Vikings (Fee Bee 205, 214), “Pages of My Scrapbook” by the Five Playboys (Fee Bee 213). Ward was interested in meeting Joe, so he went to see him, introduced himself and emerged with a recording contract. Joe lined up a recording session to be held in Cincinnati , Ohio .

Reuniting with Ward, for this session only, were Jimmy Robinette, who played rhythm guitar with the original Rocks, and drummer Jim Eanes. They cut two sides with arrangements sounding similar to those of the early Everly Brothers. In the summer of 1958, Joe released “Come Walk With Me” b/w “Emotions” as Star 227 and labeled Ward Darby and Jimmy Robinette as the “ Guitar Twins”. The record did well in the Pittsburg area.

Several months after his initial record, Ward was back in the recording studio. This time, Joe held the session at the Bell Sound Recording Facility in New York City . Two up-tempo tunes written by Ray Bowling were cut, “Iggy Joe” and “Be Mine”. Not only did Ray write the material but played keyboard and sang background vocal with Chuck Jackson on both sides. Jackson was from Pittsburgh 's Hill District and would become a popular recording artist during the 1960's.

In early 1961, Chuck Jackson's recording of “I Don't Want To Cry” (Wand 106) entered Billboard's Elite Top 40 at number 36. Mr.Jackson was kind enough to add vocal backup on many of Ward's recordings. One of Joe Averbach's groups, who were credited as “The Five Playboys” did several sessions with Ward. Mickey Sands, was the leader of the Playboys. Mickey recalls that he volunteered his voice to provide a special shriek on Iggy Joe. As it happened, It turned out perfect. Ward scored again!!! Popular saxophonist, Sam “The Man” Taylor provided the tenor sax backing for the session. When Averbach released “Iggy Joe' b/w “Be Mine” the credit identified Ward as” Willie Ward”. This pseudonym was simply a promotional gimmick, hopefully, to increase sales. The same marketing strategy was used by Joe with Sonny Day and other artists who recorded on the Star and Fee Bee labels.

During August of 1958, the rocking sound of “Iggy Joe” was being aired by Chuck Dougherty at KQV, and Jay Michaels of WCAE. Porky Chadwick was a WAMO DJ known for his ability to break new records. He gave “Iggy Joe” substantial airplay, plus “The Platter Pushin' Poppa” and Willie Ward, made appearances at his record hops throughout the Pittsburgh area. Ward acknowledges that Porky was instrumental in putting the early years of his career in motion.

For a period of six months or so, Ward headed a group, which consisted of Ward and four brothers One played a wailing saxophone, the other was a drummer, another played bass, and of course a keyboard player, all providing vocal harmony back-up. This group, billed as Ward Darby and the Moore Brothers, were an exceptionally professional unit, during the short time they worked together. A lot of rehearsing made them vocally superb and their stage appearance in tuxedos was strictly class. The group enjoyed a considerable amount of success. A comment would always surface, that one could immediately pick out Ward when they performed, because he was the only white member of the group! Ward notes that they did much of their work for Bill Powell, a black DJ with radio station, WILY, Pittsburgh . Even while Ward and the Moore Brothers were performing throughout the tri-state area, Ward was also doing session work for Joe Averbach as a guitarist, arranger and most times collaborating with other recording artists in the writing of their material. In October 1958 Ward was again recording at Bell sound in New York . They cut two excellent rockabilly sides “Ooo Wee Baby” and “I'm A Madman”. The same personnel who provided the background vocally and instrumentally at the “Iggy Joe” sessions were on this one as well. With this Fee Bee release, Averbach credited the Five Playboys as the Warblers. “Ooo Wee Baby” received a good amount of airplay in Pittsburgh but the record was never nurtured outside the Steel City . All of the records Ward released were exceptionally good but, one important element was missing, the promotion department had failed, expecting the songs to hit automatically.

Even though Ward was a talented guitarist, his recordings up to now had showcased his vocal ability. During the fall of 1958, he assembled a combo which he tagged Ward Darby and the Raves. Ward played lead guitar and sang, Leo Watkowitz on drums, Ray Bowling on electric piano, Jim Mendys on saxophone, and Dave Baltos on rhythm guitar. The group collaborated to write several songs. Two instrumentals drew the attention of Joe Averbach, “Safari” and “WHAM-O”. Ward related that “WHAM-O” was written as a tribute to WAMO's Porky Chadwick. Joe recorded the group at Universal International Recording Studio in Chicago . Ward Darby and The Raves cut their four pieces of original material but only “Safari” b/w “WHAM-O” would be issued on Averbach's Petite label in May of 1959. When the record was released, “Safari” immediately achieved hit status, entering the survey charts of KDKA, WEEP, and WKQV.

Ward indicates that KDKA DJ's pushed the record and featured Ward Darby and the Raves at many of their record hops. The immediate success of “Safari” throughout the area prompted Averbach to release the record to Randy Wood for national distribution on his Dot label. “Safari” b/w “WHAM-O” was released as Dot 45-15942. Ward says that once “Safari” received Dot distribution, the record broke open in the southern part of the country, especially in Texas & California , and its popularity reached into mainstream USA . The success of their recording enabled the group to do a promotional tour of Cleveland , Ohio , on Easter Sunday at a huge roller rink. Several thousand people attended. They appeared with Dion & The Belmonts, Dinah Washington and Dave “Baby” Cortez. Jim Mendys remembers that the owner of the rink was raising hell all night because he felt Dave “Baby” Cortez would ruin his organ with musical showmanship and antics. At the conclusion of the show, the organ was still in playing condition.

Aside from their steady gig at Bobby Star's Lounge in the East Liberty section of Pittsburgh and numerous one-nighters throughout the tri-state area, Ward Darby and The Raves once again appeared at an outdoor rock and roll show in Pittsburgh during the summer of 1959, which featured the Fleetwoods and Ronnie Hawkins and The Hawks. Local sensation, George Benson, also performed on the show. Darby's group put on a sensational performance. Leo Watkowitz stood as he played the drums while the other group members were performing footwork maneuvers to their rockin' rhythms. Ward recognized for his professionalism in the entertainment field was booked with big name artists such as Freddy Cannon, Jimmy Jones, Sammy Turner, and others too numerous to mention.

In 1962, Ward went to Baltimore Md. Checking the recording studios, he met a musician named Charlie Daniels. Together they formed a group called Charlie Daniels and the Jaguars. Members of the group were Charlie on bass, Ward on lead guitar, Buddy Davis on drums, and Vic Catalano (aka William Vickers) on sax and keys.

Vic was from Pittsburgh and was a versatile musician. He knew of Ward and Ray Bowling. He could play any wind instrument. On instances, he would have the mouthpiece of the alto, tenor and baritone sax, somehow fitted into his mouth, and play them all at the same time. The Jaguars performed a lot of the Top 40 hits of that era, and also some country tunes during the early part of the mid-60's. Vic, Charlie and Ward primarily did all the group harmony singing while sharing the lead vocals with each other. Buddy Davis didn't sing very much but periodically would lend his voice for a couple of novelty tunes. The group was doing gigs from Baltimore , Maryland to Tulsa , Oklahoma . Appearances were made all through the Midwest , California and Texas . While on these extensive tours, The Jaguars performed with many recording artists that had gained national recognition from their records. Ward acknowledges they appeared with Bruce Channel (“Hey Baby” on Smash, 1962), Buddy Knox (“Party Doll” on Roulette, 1957) Sue Thompson in Reno , Nevada & Roy Clark at the Hi Ho Club in Wichita , Kansas . Ward remained with the Jaguars into 1965 at which time both he and Daniels went their respective ways in Orlando , Florida to pursue individual careers. Charlie Daniels went on the form the Charlie Daniels Band.

Sometime in 1965, Ward went to Memphis , Tennessee and did some concerts with Charlie Rich. Ward also met Bill Black who was having medical problems and was no longer performing with his combo. Bill brought Ward into the Bill Black Combo as their guitarist. During his three-month stay with the group, Bill Black's Combo was part of the “Shower of Stars” which featured Gene Pitney, Bobby Goldsboro, Brian Hyland Gary Lewis & The Playboys, the Hullabaloos, the Crystals , and The Reflections and Dobie Gray. Being a member of Bill Black's Combo provided Ward with the sort for a homecoming when the group of entertainers performed at the Syria Mosque in Pittsburgh .

Still in 1965, after leaving Bill Black's Combo, Ward met Ronnie Dove. They performed at the Rocket Club in Washington, D.C. Ward backed performers like Link Wray, Roy Buchanan. Charlie Byrd noticed Ward's expertise on the guitar, and quickly became friends with him, creating a mutual admiration relationship. Opportunity was calling Ward at this time to Louisville , Kentucky where he joined a house band billed as Group '68 who worked in one of the city's major clubs. Ward recalls that Group '68 stayed together for close to a year and they used the Spiral Staircase, a horn group from California, for a while to add the their sound. During his stay in Louisville , Ward also performed with Jimmy Jones (Good Timin'). Audrey Williams, Hank Williams Jr.'s mother, was the booking agent from Nashville , TN.

There are many musicians who have been a part of Ward's life at one time or another. Ward always came up with brilliant musicians to fill in certain spots for his band. He very carefully choose talented individuals who would be compatible with his programs of touring and recording, or whatever had to be achieved to produce an excellence in music. After many years of touring, he settled in Lexington , Kentucky . He remained there until 1980. In the early 1970's, Ward did 14 television tapings in Cleveland , Ohio with Roy Rogers, Jr. There were many Grand Ole Opry stars as featured guests on the show. Ward Darby and his band “The Up Country Bachelors”. Ward wrote and supplied the musical backing for the program.

While in Lexington , Ward operated a club for two years, which he called “The Night Life”. The club did very well and provided the area with top flight entertainment. Some of the Country stars who appeared there were Barbara Mandrell and her band, Charlie Rich, Ronnie Dove and his band, and Ray Peterson. Ward also helped develop the group Exile which went on to become a hot country band. Ward worked with some of the members from Exile, Steve Goetzman (drummer) had performed with Ward and Ward's partner Charlie Wiley, off and on, for four years and as a member of the “Up Country Bachelors”. Sonny Lamaire, bass man for Exile, did some jobs with Ward, as well as Les Taylor. Les was the anchorman and lead guitar player at Ward's club, The Night Life. Darby did several recordings in Lexington and Nashville . Most of his recorded music was now Country and Western style. Several of Ward's noteworthy contributions were “Wake Me In The Morning”, “Walk Away”, and “The Great Drinking Bout”, all receiving significant airplay around central Kentucky .

Ward moved to Florida in 1980. For years, he worked the hot spots throughout the entire state. He returned to Nashville , periodically to do some recordings. Few of his recordings during the ‘80's made the local charts, but he did have one tune entitled “Truck Driving Women (Turn Me On)” which sold well throughout Kentucky , Tennessee , and Florida . The truck drivers liked it.