Philadelphia’s own Super-group

Dimension, May 1976

News Article Photo

Photo (on left) JDB leads feel their oats: Nanette, Tony, and Courtney

Philadelphia’s own super-group, Johnny’s Dance Band is at the very brink of exploding into national acclaim.

Polish, saavy, professionalism, camp, hard-edged rock, bluesy tunes, succulent four-part harmony, ragtime hoke, chaotic-controlled choreography, infectious humor, and power. That’s Johnny’s Dance Band. Who could ask for anything more?

Philadelphia claims full credit for this very up-and-coming ensemble that will very soon be in the limelight, on the radio waves, and zapping audiences nation-wide.

JDB has already out shined ‘big’ name groups they’ve shared concerts with—Procol Harem, J. Geils Band, and Patti Smith, with many more in line.

Seven pieces, six singers and each is an individual entity, yet coherently plugged into the total group concept, one which is very strongly, even defensively upheld. They’ve been the whole route from rough, tough bars to zero and, now, definitely up.

Versatility is their key to coming across every time, no one is left out —no one is beyond feeling the often pointed, always exciting commentary. Even Mary and Joseph get theirs in “Glory To God In The Highest.”

Now don’t take this story too lightly friends. Because it had some serious repercussions. Although Joseph knew his wife Mary very well. Thinking she was probably lying. Millions of people through¬out the world Believed her impossible story, as people often will.


All the music is original by Tony Juliano and Chris Darway—Juliano comes from a commercial incarnation of songs for Kinney Shoes, Fords, the McGovern campaign, WMMR station identifications, and the theme for “Saturday Night at the Groovies.”

Darway is often the group’s spokesman. Slender, personable, neat dress with non-trendy shag haircut, he was raised on billboard-lined highways, carhops, discount stores, and TV heroes.

His is a special brand of humor and can play any kind of audience at any hour of the day, from the keyboard or the microphone.
“Get Up, Baby, Get Down” is written by Courtney Colletti-flute, vocals, guitar, dance, and mug. It’s that will be included in a film JDB is doing music for that will tour U.S. high schools called “The Great American Teen,” sponsored by Pepsi.

Nannette Mancuni, alias “Foo-Foo LaRue,” is the token but very stokin’ femme of the group. She’s everything on stage. A super talent who can sing circles around anyone, get down very funky, and arouse more sexuality in a simple, subtle gesture than most 42nd smut-shop stars. All without taking herself seriously, without sacrificing her undeniable composition as an on woman. She’s “hippy, dippy Rhonda,” then she’s “Nanookie”-a temptress from word “go.”

“Alfredo” is Nanette’s spot as an Italian baby-doll— He’s in condition and I’m in position/ Number Seven in the Book of Love /When he knocks on my door he calls me Nanookie/He’s my baby and he brings me his cookie.

The entire repertoire is something for all; it’s drinking-music, disco-music, cruising-music— all at once, and holds onto solidly for the entire show.

The whole gamut is explored thoroughly and effectually; it’s a delectable orgy of sound, so “Just let that good time feeling/Roll down your tongue/And in the morning you’ll be cosmic cookie number one.” A prime choice for a theme-tune to this on-the-brink-of-stardom stick of dynamite that will retain it’s personality and realness.

“I’ve been in Bricklin cars, I’ve been with movie stars, I had to sit and listen to their jokes. . .So don’t tell me your story About your fame and your glory It’s all very boring to me Just give me some regular people, regular people Just like you and me. . .”

Tony Juliano—”We believe in our musical concept and we want to get it across to as many people as possible, but the concept is seven years in evolution now and no one is going to fuck with us. Everything has to connect. It doesn’t have to be the biggest label; it just has to be a company that respects what we’re doing and understands what the band is all about.

“Performing is an orgasm. The climax of a performance far surpasses any drug-induced high. We work with lots of bands and we are the straightest when to comes to drugs. Performing is the highest of highs. Everyone in the group will agree with that—performing is all.”

That fact is evident on-stage, the energy is always up and everyone is tuned in on it, highly honed in. The electricity is almost frightening, the magnetism unyielding, the effects are sweet and invulnerable. The band is on its way with no obstacles to slow it up, no chance—all certainty.

Johnny’s Dance Band. It’s super superlative.