A candid interview traces the legacy of Delroy Bridgeman, whose voice shaped Midwest soul from The Senators to The World Column, the Jackson 5, and beyond.
Delroy Bridgeman’s story unfolds as a quintessential tale of American soul — born in the harmonies of East Chicago doo-wop, nurtured in mixed-race high school choirs, and elevated through iconic recordings with The Senators, The Valiants, and The World Column. In this intimate 2005 conversation with Bob Abrahamian on WHPK’s Sitting in the Park, Bridgeman recounts how teenage dreams turned into historic wax: from talent shows and Bristol Records to singing on Steeltown sides and even overdubbing vocals for the Jackson 5’s debut single. His journey through gospel, soul, R&B, and funk charts the musical tapestry of Gary and East Chicago across decades.
Delroy Bridgeman and the Midwest’s Unsung Harmony
In the pantheon of American soul, the stories that pulse beneath the surface often carry the most resonance. Few voices exemplify this better than Delroy Bridgeman — a singer whose career maps a rich, underappreciated terrain of Midwest harmony. Through a remarkable oral history captured by Bob Abrahamian on WHPK’s Sitting in the Park, Bridgeman’s recollections offer a firsthand account of soul music’s deep roots in the industrial cities of East Chicago and Gary, Indiana.
Delroy’s musical journey begins in the most unassuming of places: a grade school music class with Mrs. Lutz and an unexpected love for Mozart. But it was on the street corners and in the choral rooms of East Chicago Washington High that his soulful voice began to find its shape. There, alongside classmates like Robert Hudson, Ron Duleyus, and Richard Burgess, Bridgeman formed The Senators — one of East Chicago’s earliest integrated vocal groups, a rarity in the racially charged late 1950s.
The Senators emerged just as local doo-wop groups like The Spaniels and The Eldorados were dominating regional airwaves. Their debut on Bristol Records — Scheming and Taboo — was modest in reach but brimming with promise. That promise caught fire after the group won a talent show at Gary’s legendary Baby You nightclub, landing them a contract with Abner Records, a Vee-Jay imprint. Their single It Doesn’t Matter, released in 1959, received significant airplay across Chicago — a feat for a group still navigating high school hallways.
The magic of The Senators wasn’t just in their harmonies, but in their ethos. As a racially mixed group, they reflected East Chicago’s status as “the melting pot of the Midwest,” harmonizing both literally and metaphorically. While many soul narratives are centered in Memphis or Detroit, The Senators’ story reveals how integration and innovation were also thriving in the Rust Belt, powered by steel mill families and radio dreams.
As life pulled the group members toward college and careers, Delroy’s voice never truly faded. After a stint in the Navy, he returned to form The Valiants, another East Chicago vocal outfit that recorded for Chicago’s Destination Records. Their 1964 single Tell Me, Tell Me (What You’re Gonna Do), with Bridgeman on lead and Fred Kelly (brother of Rosie from The Opals) singing the flip side I’ve Shed a Tear, was part of a growing web of regional collaborations. Though the group never performed live, it served as a studio launching pad for Lou Washington — later known as Lou D. — a co-founder of Steeltown Records.
Steeltown was more than just another small label. It was the birthplace of the Jackson 5’s recording career, and Delroy found himself unexpectedly woven into their debut. During the mixing of Big Boy, Bridgeman, along with Solomon Art and George Rice, was called in to overdub background vocals when some parts needed cleaning up. “They had just come from school,” Delroy remembered fondly, “and I went out to get them sandwiches.” These vignettes — running errands for kids who would become global icons — add human texture to the mythos of soul’s evolution.
Perhaps Delroy’s most enduring artistic contribution came as a member of The World Column, a racially integrated ensemble blending rock, soul, and funk — a sonic reflection of late ’60s and early ’70s experimentation. Their single So Is the Sun became a cult favorite, later revered on the British Northern Soul circuit for its cinematic intensity and gospel-driven fire. That track, and later recordings like We’re Gonna Make It with The New World, placed Bridgeman in sessions backed by the very same musicians who played on Superfly. The fingerprints of Henry Gibson and Rich Tufo trace through these grooves, connecting local ambition to national innovation.
Bridgeman’s later years brought him full circle. He joined Just Friends, a supergroup of regional doo-wop veterans who performed for love, memory, and community pride. Members included Charles Collath of The Spaniels and Jimmy Johnson of The Goldenrods — testaments to a vibrant lineage that refused to disappear.
In Delroy Bridgeman’s journey, we see the heart of Midwest soul — not in fame or chart dominance, but in the community, creativity, and quiet legacy that shaped the genre from the inside out. His voice, whether layered in the mix behind the Jackson 5 or soaring out front on a forgotten 45, resonates as part of a deeper harmony: one composed in steel towns, school choirs, and the grooves of records still waiting to be rediscovered.
Bob Abrahamian 00:00
Okay, you're tuned to WHPK 88.5 FM in Chicago. You are now listening to the Sitting in the Park show. Today I have a very special show, because we're starting off with an interview. I have someone on the phone right now all the way from Gary, Indiana — a singer who's been in a ton of groups from both the Gary and East Chicago area. His name is Delroy Bridgeman. So Delroy, can you hear me right now? Hello, Delroy, can you hear me? Hey, Delroy, can you—
Delroy Bridgeman 00:39
I can't hear you too good. You sound like you're way off in the distance.
Bob Abrahamian 00:43
So you can't hear me? Can you hear me now?
Delroy Bridgeman 00:46
Still very low, very low.
Bob Abrahamian 00:50
Okay, I think something's wrong with the board and how the phone is set up. Maybe—can you hear me now?
Delroy Bridgeman 00:58
Very—very barely.
Bob Abrahamian 01:03
Now I'm holding the phone straight up, because usually the mic should go straight into the phone. How about now? Can you hear me now?
Delroy Bridgeman 01:10
Yeah, that's a little better.
Bob Abrahamian 01:12
Okay, so now can you hear me clearly?
Delroy Bridgeman 01:14
Yes.
Bob Abrahamian 01:16
Great. I think some buttons weren’t pushed down on the board, but I think I fixed it. Hopefully we can talk now. I'm sorry and I apologize for the technical problems, but hopefully it’s solved. Okay, so first of all, your name is Delroy Bridgeman, is that correct?
Delroy Bridgeman 01:31
Yes.
Bob Abrahamian 01:33
And where are you originally from?
Delroy Bridgeman 01:35
I'm originally from East Chicago, Indiana.
Bob Abrahamian 01:38
So were you born and raised there?
Delroy Bridgeman 01:40
Yes, born and raised there.
Bob Abrahamian 01:43
And how did you first get into music?
Delroy Bridgeman 01:46
Believe it or not, in elementary school. We had music class, and my teacher—I'll never forget her name, Mrs. Lutz—she had us listen to Mozart and other classical music. Strangely enough, I loved it. I just loved music from that point on. Ever since elementary school, I’ve been trying to sing and just enjoyed music.
Bob Abrahamian 02:10
You had one of the first vocal groups from East Chicago, is that right?
Delroy Bridgeman 02:14
Yes.
Bob Abrahamian 02:15
What was the name of your vocal group?
Delroy Bridgeman 02:17
Before the Senators, it was a little group we had in seventh or eighth grade called the Latins.
Bob Abrahamian 02:22
Okay, there was a group called the Latins that recorded on a label called Ports. Was that your group?
Delroy Bridgeman 02:27
No, that wasn’t us. We were just a little local group—seventh and eighth graders just grabbing a name out of the sky.
Bob Abrahamian 02:34
So you guys never recorded?
Delroy Bridgeman 02:36
No.
Bob Abrahamian 02:37
And what year was that?
Delroy Bridgeman 02:38
That had to be around 1954 or ’55.
Bob Abrahamian 02:42
Okay. And I understand there was another group from East Chicago called the Dream Kings that might have even come before you. Is that right?
Delroy Bridgeman 02:49
Yes, I knew the lead singer.
Bob Abrahamian 02:52
William Abram?
Delroy Bridgeman 02:54
Yes.
Bob Abrahamian 02:55
Did they inspire you at all?
Delroy Bridgeman 02:56
Yes, them and also the Spaniels. The Spaniels were right up the road in Gary, and the Eldorados were out of Chicago. We used to hear all the songs on the radio, and we were influenced by all the local doo-wop groups.
Bob Abrahamian 03:11
Were those the three main groups that inspired you?
Delroy Bridgeman 03:13
Mainly the Spaniels.
Bob Abrahamian 03:15
Did you go to school with the Dream Kings?
Delroy Bridgeman 03:17
I went to East Chicago Washington. I think the Dream Kings might have gone to East Chicago Roosevelt—some of them.
Bob Abrahamian 03:23
I didn’t even know East Chicago had multiple high schools.
Delroy Bridgeman 03:26
Yes, two—one on the west side and one on the east side.
Bob Abrahamian 03:30
What was the scene like back then? Were there a lot of groups singing in East Chicago, or just a few?
Delroy Bridgeman 03:35
Not too many, but everybody wanted to sing. We'd sing with each other on the corners, at school, or hang out at the Catherine House—which today would be called the Boys and Girls Club. They had a little room with a piano there. Oh, and I forgot about the Dells! We were crazy about the Dells too.
Bob Abrahamian 04:53
So what year did the Senators form?
Delroy Bridgeman 04:58
Must have been during my junior year in high school.
Bob Abrahamian 05:02
So that would have been late '50s? Around 1957 or 1958?
Delroy Bridgeman 05:06
Yes, about '57 or '58.
Bob Abrahamian 05:08
And how did the group form?
Delroy Bridgeman 05:10
Fortunately, all the guys in the group—except for Fred Lockett, who had already graduated—were in the choral club together. We all sang tenor: myself, Robert Hudson, Ron Duleyus, and Richard Burgess. We were all in the tenor section at the high school choral club.
Bob Abrahamian 05:26
So you all sang together in the choral club, and you decided to form an R&B group?
Delroy Bridgeman 05:31
Well, we would always be listening to music on the radio. And whenever the teacher would step out of the room, maybe go to the office or something, we’d start singing doo-wop songs in the choral club. Everyone was fascinated.
Bob Abrahamian 05:44
So you weren’t exactly supposed to be singing that stuff?
Delroy Bridgeman 05:46
[Laughs] No! We were supposed to be singing Schumann and all these classical pieces, longhair music. But we'd sneak in the doo-wop stuff when the teacher wasn’t looking.
Bob Abrahamian 05:58
And the teacher would get on you?
Delroy Bridgeman 06:00
Oh yeah, he'd scold us. But funny enough, when we really started doing well, the music director—Mr. Crofts—ended up becoming our manager.
Bob Abrahamian 06:10
That’s funny. So ultimately, you ended up signing a record deal, right?
Delroy Bridgeman 06:14
Yes.
Bob Abrahamian 06:15
How did you come up with the name “The Senators”?
Delroy Bridgeman 06:18
We were all still in high school, and I think we just wanted a name that sounded official and strong. Plus, we got the record deal through a talent contest in Gary, Indiana, at a venue called the Baby You. We asked our music director, Mr. Crofts, to help us prepare, and he worked with us on our songs and routines. We entered the contest, and to our blessing—we won first place. That’s how we got the recording contract.
Bob Abrahamian 06:47
So The Senators had two records, one on Bristol Records and the other on Abner Records, which was affiliated with Vee-Jay. Which one came first?
Delroy Bridgeman 06:55
The Bristol record came first.
Bob Abrahamian 06:57
So you actually had a record before the contest?
Delroy Bridgeman 07:00
Yes.
Bob Abrahamian 07:01
How did that happen? How did you end up getting a record out before that contest?
Delroy Bridgeman 07:04
I honestly can’t remember exactly. Someone must have heard us singing somewhere. We used to perform at teas, luncheons, sock hops, and different high schools—Griffith and all around. Someone from the company, which I think was based in Hammond, must’ve taken notice. They had a recording studio and a label called Bristol, and they ended up recording us.
Bob Abrahamian 07:23
Do you remember the names of the songs you recorded on Bristol?
Delroy Bridgeman 07:25
“Scheming” and “Taboo.” I can’t remember the other two. We recorded four altogether, but they only released two.
Bob Abrahamian 07:34
Did that record get any play?
Delroy Bridgeman 07:36
A little bit. Enough that we got invited to a dance show in Chicago—Jim Lounsbury’s show—where teenagers would dance on TV. We got to go on there and sing our record.
Bob Abrahamian 07:47
So it got played in Chicago?
Delroy Bridgeman 07:49
Yes, and in the local area—Chicago, Hammond. Mostly local airplay.
Bob Abrahamian 07:54
And you were still in high school when that happened?
Delroy Bridgeman 07:56
Yes, we were juniors in high school.
Bob Abrahamian 07:58
What was the lineup of the group on that record?
Delroy Bridgeman 08:01
Myself, Robert Hudson, Ron Duleyus, Richard Burgess, and our bass singer Freddie Lockett.
Bob Abrahamian 08:09
One interesting thing about your group—it was a mixed-race group, right?
Delroy Bridgeman 08:12
Yes, we were ahead of our time. We were very good too. We could sing doo-wop or read sheet music from our training in the choral club.
Bob Abrahamian 08:21
So you could do pop, soul, classical—you name it.
Delroy Bridgeman 08:24
Exactly.
Bob Abrahamian 08:25
Was East Chicago pretty racially mixed back then?
Delroy Bridgeman 08:28
Yes, it was known as the melting pot of the Midwest.
Bob Abrahamian 08:31
So the choral club was mixed, and that naturally led to the group being mixed?
Delroy Bridgeman 08:35
Yes.
Bob Abrahamian 08:36
So you won the talent show in Gary. That was through the help of your choral director?
Delroy Bridgeman 08:40
Yes, Mr. Crofts helped us with our music, trained our voices, and even played piano for us in the contest.
Bob Abrahamian 08:46
Do you remember what song you performed at the talent show?
Delroy Bridgeman 08:49
“Gloria,” a song made famous by Dee Clark.
Bob Abrahamian 08:53
And that led to the Abner Records deal?
Delroy Bridgeman 08:55
Yes, we won first place, and first prize was a recording contract with Vee-Jay Records.
Bob Abrahamian 09:00
So The Senators ended up releasing a record on Abner Records with two songs, “Julie” and “It Doesn’t Matter.” Which one was the A-side?
Delroy Bridgeman 09:06
“It Doesn’t Matter.”
Bob Abrahamian 09:08
Okay. Let me play that side, and then we can talk some more. I haven’t heard it in 20 years.
Delroy Bridgeman 09:13
Okay.
[music playing — "It Doesn’t Matter" by The Senators]
Bob Abrahamian 14:40
Ah, okay. That was just The Senators with a really nice cut called “It Doesn’t Matter,” and that came out on Abner Records. I think it came out probably around 1959. Delroy, do you know if that's right?
Delroy Bridgeman 15:02
Yeah, I think so. That would have been when I was a senior.
Bob Abrahamian 15:07
And Abner Records was a division of Vee-Jay Records, right?
Delroy Bridgeman 15:10
Right. Being a young kid, I didn’t understand at the time. I asked, “Why isn’t it on Vee-Jay?” But I guess Abner was a big executive. He later became a big producer at Motown.
Bob Abrahamian 15:20
Okay, yeah. I didn’t know that. So that record got some airplay in Chicago too?
Delroy Bridgeman 15:26
Yes.
Bob Abrahamian 15:27
Did it get more play than the Bristol record?
Delroy Bridgeman 15:29
Yes, it did.
Bob Abrahamian 15:31
But the group broke up not too long afterward. I forgot to ask—who sang which parts on the record?
Delroy Bridgeman 15:36
On “It Doesn’t Matter,” Robert Hudson sang the lead. I think I was singing first tenor, Richard Burgess was second tenor, Ron Duleyus sang baritone, and Freddie Lockett sang bass.
Bob Abrahamian 15:49
Okay, so that’s five members.
Delroy Bridgeman 15:51
Right.
Bob Abrahamian 15:52
And the group broke up because everyone went to college, right?
Delroy Bridgeman 15:55
Yes. Ron and Richard were seniors. I think Robert was too. Fred had already graduated. I was a junior. That’s basically what broke up the group—everyone went their separate ways for college.
Bob Abrahamian 16:07
So the group broke up soon after the record was released?
Delroy Bridgeman 16:09
Oh yeah. It might’ve still been out in the summer, but by the fall—September—everyone was gone. Education came first for us. In fact, Robert—who has since passed away—ended up becoming a schoolteacher. Ron lives in Canada now. Richard Burgess—or I should say Dr. Burgess—is an eye doctor down in Carbondale or Southern Illinois. Freddie Lockett has passed too. I’m the only one hanging around back here, you know?
Bob Abrahamian 16:37
So you’re the only one from The Senators who stayed in music?
Delroy Bridgeman 16:40
Right.
Bob Abrahamian 16:41
So on Abner Records, “Julie” was the B-side and “It Doesn’t Matter” was the A-side?
Delroy Bridgeman 16:44
Yes.
Bob Abrahamian 16:45
Okay, well, I just played that, and we can talk more. So after the group broke up, did you go to college?
Delroy Bridgeman 16:50
Yes, the following year I went to Indiana State.
Bob Abrahamian 16:53
So you were in high school for one more year. Did you try to form a new group?
Delroy Bridgeman 16:57
No, I don’t think so.
Bob Abrahamian 16:59
So you just focused on your studies?
Delroy Bridgeman 17:01
Actually, I was focusing on football.
Bob Abrahamian 17:05
[Laughs] Okay. So the next group I know you were involved with was The Valiants. Is that right?
Delroy Bridgeman 17:10
Right.
Bob Abrahamian 17:11
How did that group come together?
Delroy Bridgeman 17:14
That came about after I returned from the Navy. Some of the guys—Lou Washington, Solomon Art, Fred Kelly, and Dennis Day—wanted to get a group together. We started messing around, sounded pretty good, and decided to record.
Bob Abrahamian 17:25
So you said you went to college for a year and then went into the service?
Delroy Bridgeman 17:30
Right.
Bob Abrahamian 17:31
What year did you return from the service?
Delroy Bridgeman 17:33
I came back in 1964.
Bob Abrahamian 17:35
And did you return to East Chicago or to Gary?
Delroy Bridgeman 17:38
To Gary. My folks had moved there.
Bob Abrahamian 17:41
So at that point, you were living in Gary, but still connected to East Chicago?
Delroy Bridgeman 17:44
Yes. All the guys were from East Chicago. I’d go back to visit and hang out. I also went to church there, so we stayed in touch.
Bob Abrahamian 17:50
And you mentioned some of the members—yourself, Solomon Art, Fred Kelly, Dennis Day, and Lou Washington. How did you all know each other?
Delroy Bridgeman 17:56
We grew up together. In East Chicago, all the singers knew each other.
Bob Abrahamian 17:59
So were the rest of them still living in East Chicago?
Delroy Bridgeman 18:01
Yes, I was the only one who had moved to Gary.
Bob Abrahamian 18:03
Okay. Let’s pause here. Next, we’ll talk about The Valiants' recordings and your return to music after the Navy.
Bob Abrahamian 18:10
So you were living in Gary, but the rest of the guys were still in East Chicago. What year did the group form — was it around 1964, when you came back from the Navy?
Delroy Bridgeman 18:16
Yeah, somewhere around 1964 or ’65.
Bob Abrahamian 18:19
One thing that’s interesting is that you released at least one record. The record I have is “Tell Me, Tell Me (What You’re Gonna Do),” backed with “I’ve Shed a Tear,” and it came out on Destination Records. That was a Chicago label that released some soul music and a lot of rock music too. But I also found something online — a site that lists 45s from Indiana — and it shows another Valiants record on Steeltown Records, which was Gordon Keith’s label. It lists “I’ve Shed a Tear” on one side and a different song on the other. Do you remember doing another song?
Delroy Bridgeman 18:54
No, I don’t remember doing another song. I remember “I’ve Shed a Tear,” and Fred Kelly sang the lead on that. I sang the lead on “Tell Me, Tell Me.”
Bob Abrahamian 19:03
So maybe there was another release you don’t remember?
Delroy Bridgeman 19:06
Could be. Chalk it up to a senior citizen moment! [laughs]
Bob Abrahamian 19:09
[Laughs] Okay. I was looking at the record — Gordon Keith’s name isn’t on it, but it lists Ben Brown and Maurice Rogers. I know Maurice was from East Chicago, right?
Delroy Bridgeman 19:18
Yes. He was a great piano player and arranger. He did a lot of arranging for us — and for Gordon.
Bob Abrahamian 19:23
And Ben Brown was involved too?
Delroy Bridgeman 19:25
Yes, Ben was a drummer. He played on a lot of sessions.
Bob Abrahamian 19:28
Do you remember where you recorded that record?
Delroy Bridgeman 19:30
I think it was at Boulevard Recording Studio in Chicago. I remember it being on Michigan Avenue, but that was so long ago.
Bob Abrahamian 19:38
So this record came out around 1964 — it was a Gary production that was leased to Destination Records in Chicago?
Delroy Bridgeman 19:43
Right.
Bob Abrahamian 19:44
Well, let me play the record. It’s a nice one. This is The Valiants with “Tell Me, Tell Me (What You're Gonna Do),” released around 1964 on Destination Records.
[music playing — “Tell Me, Tell Me (What You're Gonna Do)” by The Valiants]
Bob Abrahamian 26:01
Okay, you’re tuned to WHPK 88.5 FM in Chicago, and you’re listening to the Sitting in the Park show. That was a nice record by The Valiants — a group from East Chicago, with one member living in Gary at the time. The song was “Tell Me, Tell Me (What You’re Gonna Do),” and I have Delroy Bridgeman on the phone. Delroy, you were singing lead on that track, right?
Delroy Bridgeman 26:23
Yes, I was.
Bob Abrahamian 26:25
And the record came out around 1964 or ’65. You mentioned it came out on Destination, which was a Chicago label, but it was produced in Gary and leased out?
Delroy Bridgeman 26:34
Right.
Bob Abrahamian 26:36
And you may have even had a second record on Steeltown, though we’re not sure about that yet. So that record came out — who sang the other parts?
Delroy Bridgeman 26:46
Solomon Art sang first tenor, Lou Washington sang second tenor, Fred Kelly was on baritone.
Bob Abrahamian 26:54
And on the flip, “I’ve Shed a Tear,” who sings lead?
Delroy Bridgeman 26:57
Fred Kelly sang lead on that one. I was second tenor, Solomon was first tenor, and Lou — well, we called him Lou, but his real name was Ludie — he sang baritone.
Bob Abrahamian 27:10
Yeah, that’s one thing I wanted to ask — was Ludie his real name? L-U-D-I-E?
Delroy Bridgeman 27:13
Yes, Ludie Washington. Later, he shortened it to Lou D. on his solo records.
Bob Abrahamian 27:17
Okay. And Fred Kelly — was he related to Rosie Kelly from The Opals?
Delroy Bridgeman 27:20
That was Rosie’s brother.
Bob Abrahamian 27:22
So all of you were from East Chicago, and you had just moved to Gary?
Delroy Bridgeman 27:26
Yes, but I was raised in East Chicago. Everybody knew each other — we played sports together, sang together, swam at the same pool. It was a great time.
Bob Abrahamian 27:34
How did you come up with the name The Valiants?
Delroy Bridgeman 27:37
I don’t remember. [laughs]
Bob Abrahamian 28:03
So the group, The Valiants, formed around 1964–65. You released that one record on Destination, and you mentioned it was a Gary production that got licensed to a Chicago label. Did the group do any shows around town?
Delroy Bridgeman 28:15
No, I think we were just recording. It was more of a studio group. We figured if the record took off, then maybe we’d start doing shows.
Bob Abrahamian 28:23
So you were almost like a studio group, not a full-time performing group?
Delroy Bridgeman 28:26
Right. And Lou was starting to do solo work by then too.
Bob Abrahamian 28:30
Yeah, Lou D. ended up releasing quite a few records on his own. He even did a duet with Rosie Kelly, right?
Delroy Bridgeman 28:34
Yes, that’s right. They did a nice duet together.
Bob Abrahamian 28:37
That "Smoky" record?
Delroy Bridgeman 28:39
Yeah, that’s the one. Lou recorded at least five or six records by himself.
Bob Abrahamian 28:42
And he was one of the founders of Steeltown Records, along with Gordon Keith, right?
Delroy Bridgeman 28:45
Yes, he was.
Bob Abrahamian 28:47
So the group — The Valiants — formed and then broke up pretty quickly?
Delroy Bridgeman 28:50
Yeah, everyone went their own way with different projects and ideas.
Bob Abrahamian 28:54
Do you know what some of the other members went on to do? Did Fred Kelly or Solomon Art continue in music?
Delroy Bridgeman 28:59
Fred didn’t continue. He just worked and settled down. Solomon Art actually became fire chief in East Chicago.
Bob Abrahamian 29:06
Wow, I didn’t know that. Did Solomon do any other music after The Valiants?
Delroy Bridgeman 29:09
No, I think that was it for him.
Bob Abrahamian 29:12
And Lou, of course, kept going in music. You said he even got into acting?
Delroy Bridgeman 29:16
Yeah, he moved to California and was in a few films. I can’t remember the names, but he definitely did some acting work out there.
Bob Abrahamian 29:23
And there was one more member you mentioned earlier — Dennis Day?
Delroy Bridgeman 29:26
Yes. Dennis went to Fisk University and sang with the Fisk Jubilee Singers. Now he lives in New York and is still doing music and production work.
Bob Abrahamian 29:36
So after The Valiants, the next musical project you were involved in was Kenneth & Delroy. Were you doing any other music in between that and The Valiants?
Delroy Bridgeman 29:45
No, not really.
Bob Abrahamian 29:47
The Kenneth & Delroy record came out around 1967, is that right?
Delroy Bridgeman 29:50
Somewhere around ’67 or ’68.
Bob Abrahamian 29:52
And it was released on Steeltown Records — Gordon Keith’s label. Who was Kenneth?
Delroy Bridgeman 29:56
Just a young guy around town, trying to get into music. He played guitar and wrote a couple songs. We ended up teaming up, and it was kind of a Sam & Dave thing. We called ourselves Kenneth & Delroy.
Bob Abrahamian 30:09
So the idea was to be a vocal duo like Sam & Dave?
Delroy Bridgeman 30:11
Exactly. But I’ll tell you — that record was probably the worst thing I ever recorded. [laughs] I still don’t know how I agreed to that.
Bob Abrahamian 30:17
[Laughs] The record was called Let Me Hold You Close, right?
Delroy Bridgeman 30:20
Yes. Written and produced by Gordon Keith.
Bob Abrahamian 30:23
And they even misspelled your name on some of the pressings.
Delroy Bridgeman 30:26
Yep. That went along with the song. [laughs] Maybe it was a blessing in disguise that they didn’t spell it right!
Bob Abrahamian 30:32
There are some background vocals on that record — do you remember who did those?
Delroy Bridgeman 30:35
Honestly, I’d have to hear the record again. It might’ve just been me and Kenneth overdubbing ourselves.
Bob Abrahamian 30:40
So probably just the two of you layering your own background vocals?
Delroy Bridgeman 30:42
Yeah, that’s what I think.
Bob Abrahamian 30:44
Did the record get any airplay?
Delroy Bridgeman 30:46
No, not really.
Bob Abrahamian 30:47
And what about the Valiants record — did that one get any local airplay?
Delroy Bridgeman 30:50
It got a little play, especially on Gary stations. Maybe one or two Chicago stations too.
Bob Abrahamian 30:55
But the group still didn’t do any live shows?
Delroy Bridgeman 30:57
Nope. We didn’t sing together live, just studio stuff.
Bob Abrahamian 30:59
One thing I wanted to ask about — you were actually involved in the Jackson 5’s first recording, right?
Delroy Bridgeman 31:03
Yeah, and it’s kind of funny how that happened. We were on the same label — Steeltown — and I happened to be at the studio with Solomon Art and Gordon Keith. They were mixing the track, and a few spots in the background vocals weren’t quite right. Instead of calling the Jackson 5 back in, Gordon asked if we could just fill those parts in. So we did.
Bob Abrahamian 31:22
So you actually overdubbed background vocals on their first single, “Big Boy”?
Delroy Bridgeman 31:25
Yes, just a few background parts.
Bob Abrahamian 31:27
Were you at the original recording session?
Delroy Bridgeman 31:30
I was there the night they recorded “Big Boy.” It was late — around 10 or 11 PM. They had just come from school, and I went out to get them some sandwiches. [laughs]
Bob Abrahamian 31:39
So you were hanging out with them while they recorded?
Delroy Bridgeman 31:42
Yeah, and sometimes Gordon would call me to help give them rides to rehearsals or gigs. I knew the family. Back then, everybody from Gary helped each other out.
Bob Abrahamian 31:50
So later, you, Solomon Art, George Rice, and even Gordon Keith added background vocals?
Delroy Bridgeman 31:54
Yes, just to fix a few things in the mix. George was another great singer from East Chicago.
Bob Abrahamian 31:58
What studio did you use for that overdub?
Delroy Bridgeman 32:00
It was a studio in Chicago — I think on the West Side or maybe near downtown. I don’t remember the name.
Bob Abrahamian 32:05
Could someone actually hear your voice on that record?
Delroy Bridgeman 32:07
Maybe, but everything was so blended in, you probably couldn’t tell who was singing what.
Bob Abrahamian 32:11
That’s still really cool. So after that, the next thing I know you were involved in was The World Column. What was the story there?
Delroy Bridgeman 32:18
Bob Redding brought me into the group. The World Column started out as an all-white rock band from Munster, Indiana. But they needed singers, so Bob — who was from Gary — brought me and Joe Odom in.
Bob Abrahamian 32:30
So it became a mixed-race band?
Delroy Bridgeman 32:32
Yes. Bob, Joe, and I were the Black vocalists. The band was mostly white, but we blended everything — rock, soul, pop.
Bob Abrahamian 32:41
And Joe Odom had a background in singing?
Delroy Bridgeman 32:43
Yes, he was a baritone or bass singer. Great voice.
Bob Abrahamian 32:46
So you had three singers and the original rock band?
Delroy Bridgeman 32:48
Exactly. We performed all over Northern Indiana and Illinois. We played with groups like The Buckinghams and Ask Rufus — with Chaka Khan before she was famous.
Bob Abrahamian 32:58
Was it strange playing those rock clubs?
Delroy Bridgeman 33:00
Not at all — that’s what made us unique. We could do it all. We’d play Led Zeppelin, Chicago, Earth, Wind & Fire, Sly & The Family Stone — whatever the crowd wanted.
Bob Abrahamian 33:12
And you eventually recorded a single as The World Column — “So Is the Sun.” Do you remember how you got the record deal?
Delroy Bridgeman 33:17
We auditioned for a producer in Chicago, and he liked us. We recorded at a major studio — not Universal, but something close. That was the “So Is the Sun” session.
Bob Abrahamian 33:27
Let me play that record. This is The World Column with “So Is the Sun.”
[music playing — “So Is the Sun” by The World Column]
Bob Abrahamian 48:17
Okay, that was The World Column with “So Is the Sun.” I’ve got Delroy Bridgeman on the phone, and he was part of that group. That came out around 1970. Who sang lead on that track?
Delroy Bridgeman 48:27
Bob Redding sang lead. Joe Odom, Dave Meyer, and I sang background vocals.
Bob Abrahamian 48:35
So four singers on the track?
Delroy Bridgeman 48:36
Yes.
Bob Abrahamian 48:38
And then you released another record on ATCO Records — “Midnight Thoughts” and “Lantern Gospel.” Do you remember how that happened?
Delroy Bridgeman 48:43
Honestly, not too much. I think it was the same group, though.
Bob Abrahamian 48:46
How long did The World Column last?
Delroy Bridgeman 48:48
At least a year or two. We gigged a lot. Then the guitar player passed away, and things started fading. Bob eventually formed a new group — The New World.
Bob Abrahamian 49:00
And The New World had a horn section, right?
Delroy Bridgeman 49:02
Yes. It was a full band — horn section, organ, drums. We played all over the Midwest — Wisconsin, Iowa — everywhere.
Bob Abrahamian 49:10
When did that band form?
Delroy Bridgeman 49:12
Early ’70s.
Bob Abrahamian 49:14
Who was in the vocal group?
Delroy Bridgeman 49:15
Me, Bob Redding, Doyle Cole from The Passions, and later Maxine Creighton joined.
Bob Abrahamian 49:23
You recorded a great single — “We’re Gonna Make It” on Curtom/Polydor. How did that come about?
Delroy Bridgeman 49:28
We signed with Curtom, but they used studio musicians for the session — not our actual band. That upset the band a bit.
Bob Abrahamian 49:36
So the same musicians from Curtis Mayfield’s albums played on your session?
Delroy Bridgeman 49:39
Yes. Henry Gibson and the whole crew. We got to sit in on the Superfly sessions. It was amazing.
Bob Abrahamian 49:46
Wow. And “We’re Gonna Make It” is a really powerful track — very Curtis Mayfield-esque.
Delroy Bridgeman 49:51
Yeah, it’s a great song. Too bad it didn’t get more exposure at the time.
Bob Abrahamian 49:54
Well, it’s finally getting attention. DJs in England are playing it in soul clubs now, and collectors are seeking it out.
Delroy Bridgeman 50:00
Wow. That’s great to hear. Maybe someone will reissue it someday.
Bob Abrahamian 50:04
Let’s play it now. This is The New World with “We’re Gonna Make It.”
[music playing — “We’re Gonna Make It” by The New World]
Bob Abrahamian 1:03:00
That was The New World with “We’re Gonna Make It” — a beautiful, powerful record. I’ve got Delroy Bridgeman on the phone. Who sang which parts?
Delroy Bridgeman 1:03:12
Bob Redding sang lead. I sang second tenor, Doyle Cole did baritone, and Maxine sang top tenor.
Bob Abrahamian 1:03:21
And the B-side was “Help the Man,” written by Rich Tufo, who also worked with Mayfield?
Delroy Bridgeman 1:03:26
Yes, he wrote and produced that one.
Bob Abrahamian 1:03:29
So what happened after that? Did The New World record anything else?
Delroy Bridgeman 1:03:32
No, just that one record. After a while, the band started fading. Members had day jobs — Bob was a teacher, I worked in the steel mill, Joe was a mailman. Life got busy.
Bob Abrahamian 1:03:43
Did the group eventually disband?
Delroy Bridgeman 1:03:44
Yes, we all drifted apart. The drummer passed, and that really ended things.
Bob Abrahamian 1:03:51
So what have you done musically since then?
Delroy Bridgeman 1:03:53
I sing in a doo-wop group now — mostly for fun. We’re called Just Friends. We all sang professionally in the past.
Bob Abrahamian 1:04:01
I saw you perform at Central High School in East Chicago — you guys were great!
Delroy Bridgeman 1:04:04
Thank you. We try to keep the harmony alive.
Bob Abrahamian 1:04:07
So who’s in the group now?
Delroy Bridgeman 1:04:09
Charles Collath, who also sings with The Spaniels, Jimmy Johnson and Sam Elmore from the Goldenrods, and John Coleman from The Passions.
Bob Abrahamian 1:04:17
So it’s like a supergroup of surviving doo-wop singers from Gary and East Chicago!
Delroy Bridgeman 1:04:21
[Laughs] That’s right.
Bob Abrahamian 1:04:23
Well, thanks so much for telling your story. You’ve been part of so many groups and recordings from this region — it’s important history.
Delroy Bridgeman 1:04:30
Thank you. My pleasure.
Bob Abrahamian 1:04:32
Any final thoughts for the audience?
Delroy Bridgeman 1:04:34
What would the world be like without music?
Bob Abrahamian 1:04:36
That’s a good thought. Thanks again, Delroy. And on that note, here’s a track where we just might hear your voice in the background — The Jackson 5 with “Big Boy.”
[music playing — “Big Boy” by The Jackson 5]
