The Mauds
| Company type | Band |
|---|---|
| Industry | Music |
| Founded | 1964 |
| Founder | Bill Durling |
| Headquarters | Chicago , United States |
| Products | Music albums and singles |
The Mauds played a significant role in the Chicago music scene of the 1960s and 1970s, particularly within the genres of jazz rock, blue-eyed soul, and blues rock, alongside notable groups such as The Buckinghams, Chicago, and The Ides of March. Established in 1964 by Bill Durling on rhythm guitar, who brought in Jimy Rogers as the lead singer, the band developed their distinctive Chicago Blue-Eyed Soul sound by 1967 with the addition of Billy Winter on bass, Robert “Fuzzy” Fuscaldo handling lead guitar, and Craig Baumgard on drums. Their name, "Mauds," was a nod to the British mod culture slang term for "modern." Over time, lineup changes occurred including Timmy Coniglio stepping in for Durling, drummers Phil Weinberg followed by Denny Horan joining the group, and Bill Sunter replacing Winter on bass.
History – band formation and early years
In 1966, Jimy Sohns of Shadows of Knight discovered The Mauds and played a crucial role in securing performance opportunities and facilitating their contract with Dunwich Records, which was distributed by Mercury Records. Their initial single released in 1967 was a cover of Sam & Dave’s "Hold On," recorded at Chicago’s renowned Chess Studios—famous for hosting blues legends and early sessions by the Rolling Stones. The track achieved local chart success, peaking at No. 15 on WCFL and No. 11 on WLS; however, it encountered censorship issues due to provocative lyrics that hindered its broader success despite a subsequent edited re-recording.
The Mauds’ 1967 album Hold On contained several blue-eyed soul numbers such as “When Something is Wrong with my Baby,” “He Will Break Your Heart,” and “Knock On Wood.” Their interpretation of “Mercy, Mercy, Mercy,” originally an instrumental jazz piece by Cannonball Adderley with lyrics penned by Curtis Mayfield, demonstrated their soulful approach. Mayfield himself commended their take on “You Must Believe Me” and expressed intentions to compose material exclusively for them. Unfortunately, their version of “Mercy, Mercy, Mercy” coincided with a more commercially successful rendition by The Buckinghams that reached No. 5 nationally. The album also featured original compositions like “C’mon and Move” (written by Rogers and Fuscaldo) and “You Made Me Feel So Bad” (by Horan and Fuscaldo).
Sohns reminisced about rehearsing with The Mauds’ original lineup while Jimy Rogers was still attending high school, eventually selecting them as his band’s successor at The Cellar teen club. On occasion, Rogers stepped in as lead vocalist for Shadows when Sohns was unwell.
In 1968, The Mauds released their most successful single to date, "Soul Drippin'," which included contributions from future Chicago members Walter Parazaider, Lee Loughnane, Jim Pankow, and Robert Lamm. According to Rogers, this recording session inspired these musicians to form C.T.A., which later became Chicago. The single reached No. 85 on the Billboard charts and climbed to No.16 on WCFL as well as No. 12 on WLS locally.
By 1969, additional personnel shifts took place: Richard Tufo joined as organist; Tim Coniglio exited; trumpeters Denny Spiegel and Frank Laurie were added; Jim Zollers came aboard on trombone; Mike Schwab replaced Bill Sunter on bass. Their release “Satisfy My Hunger” featured Rogers playing acoustic guitar while its B-side “Brother Chickie” showcased Tufo’s jazzy organ stylings. During this era, Sam Alessi also contributed keyboard parts and later rejoined for the 1999 Cellar Reunion concert held in Arlington Heights, IL.
The Mauds contribute to shaping the Chicago sound
In contrast to many of their Chicago peers who drew heavily from the Beatles, Rogers crafted a more soulful approach that complemented his gritty vocal tone. Alongside other rock musicians from the 1960s and 1970s, Rogers integrated rhythm and blues elements and helped define the unique "Chicago Sound". While the 'British Invasion' dominated the American rock landscape, the Mauds distinguished themselves by infusing soul influences into their music.
Jimy Rogers, the group's lead vocalist, was recognized for his "blue-eyed soul" singing style. The band regularly visited South Side soul clubs to study legendary performers such as Sam & Dave, Otis Redding, and Curtis Mayfield. Rogers collaborated with notable artists including Carole King and Stephen Stills, and considered performing at a tribute concert for Otis Redding one of his career's most meaningful moments.
Jim Peterik from The Ides of March (band) lauded Rogers as an exceptional frontman, naming "Soul Drippin'" among his top songs. Radio icon Dick Biondi praised “Soul Drippin’” as one of Chicago’s finest recordings. Dick “Daddy Dewdrop” Monda, who wrote the track, credited Rogers’ interpretations with breathing new life into his songwriting career.
By 1970, the lineup included Marv Jonesi on guitar, Sam Alessi playing Hammond organ, Mike Schwab on bass, and Denny Horan handling drums. Their performances on Rush Street attracted celebrities like John Belushi and Dan Aykroyd, fueling speculation that their "White Soul" style influenced the original Blues Brothers sketch. After signing with RCA, they released Carole King's “Man Without A Dream,” which did not achieve commercial success. The Mauds disbanded in 1971 after modest chart performance and reemerged as "Flash" with new members John Christy, John Hardy, and Marc Coplan. They continued performing at Chicago venues and recorded a demo for Columbia while seeking opportunities in Los Angeles.
A 1971 Billboard review of Flash’s show at Whisky a Go Go commended their dynamic stage presence, particularly noting Rogers’ rapport with the crowd. Producer Al Kooper described Rogers as "the next Mick Jagger" and initiated a Columbia project that was later abandoned due to legal complications involving Lynyrd Skynyrd. Following this setback, Rogers temporarily stepped away from music to pursue hairstyling in L.A., where he worked with numerous celebrities and reportedly created Barry Manilow’s iconic hairstyle.
Hiatus and resurgence
In the 1980s, Jimy Rogers returned from California to care for his mother and observed successful comebacks by his 1960s contemporaries such as Shadows of Knight, The Buckinghams, and The Ides of March. After his mother passed away in 1999, Rogers was invited to reunite the Mauds for a Cellar reunion concert, assembling a lineup featuring Denny Horan, Sam Alesi, and James Scalfani. He recalled the enthusiastic audience response as a profound testament to the band’s enduring influence.
By 2000, Rogers reassembled the Mauds with musicians including Al Ciner (from American Breed and Rufus), Mike Arnold, Jerry Smith (Flock), and Bob Melville. Over the next eight years, the ensemble expanded into a ten-piece band led by Rogers’ vocals alongside members such as Michael Flynn and Bill LeClair. They sold out performances at venues like Ravinia Festival and Park West. The group released a live album titled Soul Attitude (2005) followed by a studio album Souldier On (2007), featuring guest appearances by artists such as Howard Levy and Greg Rzab (Black Crowes).
The Mauds received substantial support from Chicago media outlets. WLS’s Dick Biondi had championed them since their early days in the ’60s. Bob Stroud of WDRV included their songs on his Rock ‘n’ Roll Roots compilations. Bob Sirott acknowledged their impact during his PBS program Chicago Stories. WGN radio featured Rogers in “The Secret History of Chicago Music,” complemented by coverage in the Chicago Reader. Additionally, Rogers appeared in Greg Herriges’ 2006 documentary Player: A Rock ‘n’ Roll Dream.
Final chapter
In 2006, Rogers established the blues ensemble Blue Road, joining forces with Gary and Joan Gand, Ari Mintz, Steve Nevets, Joel Treadwell, Billy Shaffer, and Graham Nelson. Aiming for a more roots-oriented blues and soul fusion tailored to intimate settings, Blue Road performed in excess of 200 concerts and produced multiple live recordings, notably Blue Road Live at Gabe’s Backstage Lounge, which garnered praise within blues communities. The band also took part in the Chicago Blues Festival during both 2009 and 2010. Their CD earned a spot among the “top 11” new releases of 2009 on ChicagoBluesGuide.com and gained airplay on XM/Sirius Bluesville at both local and national levels.
Building on this momentum, the final lineup of The Mauds featured Gary and Joan Gand, Steve Nevets, Joel Treadwell (also known for work with R. Kelly), Jocelyn Mallard, and Veronica Stanford. This group performed at the November 2009 launch event for Dean Milano's book Chicago Music Scene, which documents Chicago’s bands from the 1960s and 1970s. This last formation of The Mauds played only a few shows before Rogers succumbed to cancer in December 2010.
Albums
- The Mauds Hold On (1967)
Singles
- Ha Ha Ha (1967) Mercury
- Satisfy My Hunger (1967)
- When Something Is Wrong (With My Baby) (1967)
- Hold On (1967)
- You Must Believe Me / He Will Break Your Heart (1967)
- Only Love Can Save You Now (1968)
- Soul Drippin' (1968)
- Man Without A Dream (1971), RCA