By Jason Barnard
The Fleur de Lys (or Les Fleur de Lys as they were originally known) were formed fifty years ago in Southampton. Until they split five years later they recorded and released a string of memorable records including ‘Circles’ and ‘Hold On’; universally recognised as classics of the era.
However they are also notable of having a string of talented of musicians in their ranks. So much so that drummer Keith Guster was the only ever present member throughout their entire history. However many myths have grown up around Keith and the band, partially due to a number of singles released under different banners and some tracks that have wrongly attributed to them. It’s startling to know that it’s only that the first official album by The Fleur de Lys was released just recently, ‘You’ve Got To Earn It’, on Acid Jazz.
Jason Barnard speaks to Keith to uncover the truth behind The Fleur de Lys:
https://thestrangebrew.co.uk/articles/the-fleur-de-lys-keith-guster
Subject: Potential Consignment / Valuation Inquiry: Unissued 1965 Doris Troy Decca Advance Pressing Acetate
I am contacting you regarding an exceptionally rare piece of 1960s soul history currently in my possession, which I believe will be of immense interest to your platform and the global Northern Soul community.
I wonder if Fleur De Lys surviving group members know of this recording session?
I own a 7″ blue-label Decca Group Advance Test Pressing / Acetate featuring Doris Troy in Sleeve
The disc is dated 16/7/1965 in red typescript on the main stamped label.
The track layout on the disc is as follows:
• Main Dated Side (A-side): I’m Gonna Make it Up to You
• Flip Side (B-side): One Room Paradise (Written by Teddy Randazzo)
As you know, while “One Room Paradise” was recorded by Aretha Franklin, Margie Hendrix, and The Raelets this mid-1960s Doris Troy session was never commercially rolled out by Decca UK or released in the US and was recorded before the latter two commercial releases
This acetate confirms that a master tape was sent to the UK, mastered, and cut for a planned UK release that was ultimately shelved—with the entirely unreleased track “I’m Gonna Make it Up to You” slated as possibly the primary plug side.
The lacquer surface is intact, and the typed label details are fully legible.
Given the unique “new discovery” nature of this item and its historical significance to UK R&B/Soul distribution, I would greatly appreciate your professional assessment regarding its potential auction value.
I would be delighted to provide high-resolution photographs of the labels and the disc surfaces upon request.
There are two topics currently on Soul-Source with short snippets of the recordings
I am still researching and seeking the band and backing singers currently i am reaching out to mutiple persons who are possibles for this pivotal piece of history where soul meets mod
There are a few contenders for the Rhythm Section but the Fleur de Lys appear in the research alot please see below
Decca Records: July 1965 Ghost Session
Analysis
Historical Investigative Report & Working Hypothesis
1. Executive Summary & Verification
Based on the physical and visual attributes—a light blue Decca Advance Pressing featuring red printed
headers, typewriter text, and the distinct absence of a machine-stamped Decca matrix number in the
run-out groove—this disc is highly suspected to be an authentic, uncatalogued test cut from a legendary
clandestine ‘ghost session’ recorded on or around Friday, 16 July 1965.
The session yielded two specific tracks: ‘One Room Paradise’ and ‘I’m Gonna Make It Up to You’,
featuring American soul icon Doris Troy. Because this session was orchestrated ‘off the books’ to bypass
strict US contractual obligations with Atlantic Records, standard corporate session logs and matrix ledger
books will yield no documentation.
2. The ‘In the Building’ Methodology
Because the evening session was unlogged, the key to identifying the personnel (musicians, backing
singers, and engineers) relies on cross-referencing the official daytime corporate studio diaries for the
West Hampstead studios (Broadhurst Gardens, London). Staff engineers and union-contracted session
musicians were already physically inside the building on official daytime budgets, making them the primary
pool ‘raided’ by Decca Promotion Manager Tony Hall for the after-hours tracking.
3. Target Daytime Bookings (July 16, 1965 Window)
Official Daytime Artist Significance / Operational Clue
The Zombies Actively tracking/mixing at Decca London in July 1965. Entirely engineered
by Gus Dudgeon, placing him at the mixing console immediately before the
ghost session took place.
The Fleur de Lys Rising British mod-soul group signed to Decca. Heavily utilized by producers
as an in-house rhythm unit for visiting American soul acts during this exact
window.
Lulu / The Luvvers Tracking mid-1965 singles. These sessions utilized top-tier, union-contracted
London session giants who would remain in the building after hours.
Chris Farlowe and The Thunderbirds
Reg Dwight and Bluesology
Geno Washington and the Ram Jam Band
The Session Elite
Has Keith Guster listened to the 15 sec recorded segments?
I would be very grateful if this could be confirmed and if the drumming pattern sound is distinct no Doubt Keith would remember the session on listening to the two music segments
Madeline Bell has confirmed no recollection of her at the session
Thankyou Warren