Billy J Kramer had been friends with John Lennon for some time and John gave the group a demo of a new song, “Do You Want to Know a Secret”, which they perfected whilst working in Hamburg at the Star Club. On returning to Britain, the song was recorded at Abbey Road studios, with producer George Martin. It stormed up the charts and reached No.2 in the spring of 1963. It must be remembered that the Dakotas and Billy each had separate recording contracts with Parlophone, and that they were billed as “Billy J Kramer WITH the Dakotas”. To maintain the group’s identity, the Dakotas’ guitar instrumental “The Cruel Sea” was released as a single, and it reached the Top 20 around the same time as “Secret”. This Mike Maxfield tune was released in America as “The Cruel Surf”, coinciding with the surf craze.
The first Billy J Kramer with the Dakotas album, “Listen…”, was released at the end of 1963, and eventually reached No.11 on the LP chart. Early in 1964, the group felt they needed to release a single that wasn’t written by the Beatles (!) and chose “Little Children”. This controversial move paid off, and the record went to No.1 on the British charts in the spring of 1964. Later that year, both “Bad To Me” and “Little Children” made the American Top 10, and the group visited the ‘states, appearing on the Ed Sullivan Show, and playing to sell-out frenzied fans of the “British invasion” sound.
The Reformation 1989 - 2008
The first studio album since the 60s “The Dakotas -Volume 1” was released in August 1991, including a contemporary orchestrated version of the 1963 hit single, “The Cruel Sea”. In April 1992 the Dakotas did a three week tour of Sweden with fellow Manchester band, Herman’s Hermits. Between 1992 and 1994 the band appeared all over the UK, as well as regular trips to Germany.
In 2003 the Dakotas released their fourth studio album, “Everlasting”, to coincide with a massive 70-date “Solid Silver 60s” tour of the UK and Ireland.The tour also featured the Searchers, Wayne Fontana, Dave Dee and Barry Ryan, and ran from February until May 2003. Later that year, the band’s keyboard player, Toni Baker wrote the theme music, and the Dakotas were among the session musicians for the immensely successful British TV comedy series “Phoenix Nights”, starring Peter Kay.
In the spring of 2004 the Dakotas undertook yet another major 50 date UK theatre tour, teaming up once again with Peter Noone and Wayne Fontana, plus Bryan Hyland and John Walker of the Walker Brothers. To tie in with the tour, the band released their fifth album, “Strong” named after the title track I’m Gonna be Strong originally recorded by Gene Pitney. Almost straight after the tour, Toni Baker started co-writing the new music with Peter Kay for his TV series “Max and Paddy’s Road To Nowhere”. The show also featured Tony Christie singing the theme song, also co-written by Toni & Peter Kay.
The Dakotas were filmed in an episode of Peter Kay’s “Max and Paddy”, which was eventually broadcast in October 2004. Dressed as various 80s characters, the band performed and also backed Peter Kay on “I Guess That’s Why They Call It The Blues”.
In August 2004 tragedy struck, when guitarist Mike Maxfield suffered a stroke and had to stop performing, although he is still actively involved behind the scenes.
Richard Benson, who had worked with Toni on the Max & Paddy recordings, joined the band as lead guitarist but due to his heavy teaching schedule, couldn’t commit to long-term involvement.
Alan Clare has now taken over the role of the band’s lead guitarist.
In spring 2007 the Dakotas again toured the UK along with The Searchers, The Merseybeats, John Walker & Wayne Fontana on the Solid Silver 60s Tour.
Once again a new CD was released to coincide with this tour.
The CD, called “Evolution” to mark the changes undergone by the band over the last few years, features many new songs including an original song specially written for the band by Toni Baker called “Falling From Heaven”. There are 17 tracks in all.
You can hear and download some these songs on the music player at the top of the myspace page
Anyone wanting a copy of the CD can email the band at thedakotasuk@yahoo.com.
Eddie Mooney joined the Dakotas in the late 80s after being a member of the band “Park Avenue”. The drummer in that band was Tony Bookbinder, who had been the original drummer in the Dakotas, and this connection eventually led to the reforming of the band with Mike Maxfield.
After fronting The Dakotas for 20 years, Eddie amicably left The Dakotas in January 2008 to join The Fortunes after their long-standing frontman, Rod Allen sadly passed away.
Paul Rafferty was recruited to join the Dakotas as new frontman/bass player in late Feb 2008. Paul was well known to Toni & Pete from earlier years on Piccadilly Radio as a singer/songwriter & performer.
Paul has toured Britain before with his own band supporting Bucks Fizz and he has had two singles released on EMI lable: ‘The Man behind The Scenes’ which he wrote himself, and ‘Too Late Now’ written for him by Junior Campbell. They were recorded at Abbey Rd Studios London and can also be heard on our music player here on myspace.
For a few years, Paul sang & played bass at ‘Bookbinders’ a top Manchester night club. The owner of the club, the late Brian Bookbinder was also the uncle of Tony Bookbinder the Dakotas’ original drummer!
After several great singers and musicians were considered for the role of Dakotas’ frontman, Paul’s experience & fabulous vocals stood him in good stead when the final few were being considered. His natural experience of live gigs & recording made him feel instantly at home in his new environment.
Toni Baker joined the Dakotas early in the 90s, though he has a long history of working in well known bands. He played on Billy Ocean’s early recordings in the 70s, & was a member of “Shabby Tiger”, a hugely successful group in Europe, with many hit singles, such as the No.1, “Slow Down”.
Toni, who is still a top UK session man, now owns his own recording studio “Moose”. He is also a talented songwriter, who had a Number 5 hit in Japan with Eat You Up.
More recently Toni wrote all the music, including the theme tune, for Britain’s top comedian Peter Kay on his highly acclaimed comedy series “Phoenix Nights” and Max & Paddy’s Road to Nowhere.
Toni and fellow band member Pete Hilton also starred in the first episode of the first series of Phoenix Nights as members of a folk band called “Half A Shilling”. Toni continues his production and session work for major TV programmes including “Waterloo Road” and “League of Gentlemen”.
A CD containing much of his recent TV work - The Best of Peter Kay So Far -was released in December 2005.
Toni is working on the music production of a guitar tuition DVD at the moment, called “killerguitartips”.
Pete Hilton joined the Dakotas in 1999, but has also a long established pedigree. An ex-member of Freddie & the Dreamers, he is also a respected session drummer, and has been touring since 1963. In the late sixties Pete worked the original Liverpool Cavern Club with the eminent guitarist Robin Hill. Pete and Robin went on to form jazz rock band “Spring”. There were memorable live performances with Mike Oldfield, Joe Cocker, Canned Heat, Deep Purple, & Traffic. In the late seventies Pete worked theatres throughout the UK with many greats such as Frankie Howerd and Bob Monkhouse. Rolf Harris & Tommy Cooper also played an important role in Pete’s musical education! In the late seventies while working with pop group Family Affair (Alan Clare was also in the band!) Pete grabbed the opportunity to gig with the Supremes (Mary Wilson). He also worked alongside David Essex, who later inspired Pete to perform in “Godspell” while he was living in Canada. Pete is passionate about jazz and classical music and was delighted to collaborate with Robin Hill once again to perform the Claude Bolling concerto. Pete is currently recording again with Robin. He continues to teach drumming, as well as performing with the Dakotas.
Alan Clare joined the band in 2006. His varied guitar talents lend themselves perfectly to The Dakotas’ many faceted musical styles.
Alan has worked in many bands, including Freddie & the Dreamers alongside Pete Hilton, and is still a major session player, having worked with artists as diverse as the Supremes, Dionne Warwick, Buddy Greco, Cliff Richard, Gene Pitney, Gerard Kenny, Kenny Lynch, Lynn Paul and Ken Dodd.
As well as being one of the North’s leading session guitarists, Alan also teaches a master class in advanced jazz guitar techniques.
Hold Me
The Dakotas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I need you close
Wait just Slow down, let me go now
Can i go now?
Fresh like ice but your heart so cold
cnd my mind told me no
When you look at me
Yea I feel woke
Dont play me, nah you might fuck me up
cin't this shit a joke?
But your smile gettin low
I ain't trynna trip, I just wanna let you know
Bottles, sipped em down
Now my head spinnin around
You dug me in the ground
You're so pretty with your crown
Why you let me down?
Oh, but If you don't
Hold me close, you won't find me now
Hold me when I cry (Ooh hold me, like I'm money)
Hold me, this whole time
Hold me like we're fine
We will be all right
My mind told me lies But please don't fight
I only want you right by my side
cnd then In the end when we both ridin
You're all mine, and I'm your guy
Ohhh, hold me when I smile
Hold me forever, get higher
Hold me when I'm down
Hold me, your love I'll drown
Hold me now
Hold me now
In the lyrics of The Dakotas's song "Hold Me," the singer is expressing a deep desire for closeness and connection with someone. The repeated plea to "hold me" signifies a yearning for physical and emotional support, suggesting a need for comfort and reassurance. The lyrics convey a sense of vulnerability and a longing to be embraced, indicating a craving for intimacy and security in the relationship.
The lines "Fresh like ice but your heart so cold / And my mind told me no / But your eyes like gold" juxtapose conflicting emotions within the singer. Despite recognizing potential danger or hurt in the relationship ("my mind told me no"), there is still an undeniable attraction to the other person ("your eyes like gold"). This internal struggle between caution and desire is reflected in the lyrics, adding complexity to the dynamics of the connection.
The reference to feeling "woke" when the person looks at the singer implies a heightened sense of awareness or awakening in their presence. However, there is also a sense of apprehension and fear of being manipulated or hurt, as indicated by the warning "Don't play me, nah you might fuck me up." The singer acknowledges the possibility of being deceived or emotionally harmed, highlighting a sense of caution and self-preservation in the face of mixed signals.
The lyrics further explore themes of love, trust, and emotional turmoil, with phrases like "You dug me in the ground" and "Why you let me down?" suggesting experiences of pain and disappointment in the relationship. Despite the challenges and uncertainties, the singer expresses a willingness to stay committed and connected, seeking reassurance and affection through the repeated refrain of "hold me now." Overall, the lyrics convey a mix of vulnerability, desire, and resilience in navigating the complexities of love and emotional intimacy.
Line by Line Meaning
Hold me, why don't you hold me?
Please show me affection and hold me close.
Wait just slow down, let me go now
Take a moment, give me space to leave if I need to.
Fresh like ice but your heart so cold
You may seem icy, but your heart feels distant and cold.
When you look at me, yea I feel woke
Your gaze makes me feel alert and alive.
Don't play me, nah you might fuck me up
Don't toy with my emotions, it could hurt me.
But your smile gettin low
Your smile is fading, signaling hidden feelings.
Bottles, sipped em down
I've been drinking to cope with my thoughts.
Why you let me down?
Why did you disappoint me?
Hold me when I cry
Comfort me when I'm emotional.
Hold me when I smile
Embrace me during moments of happiness.
Hold me now
Hold me at this moment.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@jmrodas9
This song is still very good to hear. It has nice language in its lyrics and nothing vulgar or obscene. The rhythm is very good too. The Beatles were musical geniuses really.
@philbrown9764
I remember hearing this on the radio during the 60s, when I was a teen. It still sounds great in my 70s.
@fuzzlewit9
You still have great taste in your 70's.
@davidwinn721
72 here, and I can ditto that observation. We used to have the transistor radio in bed at night during the early to mid 60's, listening to a Top 40 charting 45's and of course the Beatles had like 6 sides in the top 5-10 slots.....plus all these other great British Invasion singers and artists like Billy J Kramer, Petula Clark, Gerry & The Pacemakers, Peter Noone, Peter & Gordon, etc. What complimented The Beatles back then on the radio was Terry Stafford and Suspicion which held a top 5 position at the same time, and was a great song. I still love all Beatles compositions including Bad To Me, and they never tire or get old. McCartney-Lennon-Harrison wrote some really tasty chord progressions, melodies and lyrics, didn't they?
@rodmcdonough6111
You captured it so well, I was there back then and still here today... with an even greater appreciation of all those British Invasion bands you mentioned, as well as the musicianship, chord structure and vocal quality. It never gets old!
@utubemusiccritic
Always loved this song. The fact that Lennon/McCartney wrote it is amazing. Was there nothing they couldn't do?
@ashith1297
Well, they couldn't make bad music.
@milesfromneworleans
Their best song was "Something".
@darrenringer9811
Damn. This song popped into my head and I was determined to figure out what it was that made it noteworthy. But that is almost a cop-out.
@ClassicAustralianTV
I had no idea that they wrote it but now you mention it I can hear a bit of Beatles in this song.