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INSIDE:Underground:Jethro Tull, thePentangle, 5thDimension colour,
Pop: Joe South,Rosko & Elvis,colour of Hermanand Dave Dee . ..
2 RECORD MIRROR, Week ending May 24, 1969
zl. . . want to let off steam?
Any questions on the scene?Any problems? Then drop a
line to VAL or JAMES,letters dept.
RECORD MIRROR -EVERY THURSDAY -116 SHAFTESBURY AVE, LONDON, W.1. GER 7942/3 4
BBC 'N' RCA e,
ALTHOUGH Philip Cale is rightabout Jim Reeves' releases hehas missed the two most im-
portant facts.Firstly no plugs - the BBC never
have given Jim Reeves any plugs.How people ever know about therecords that are not plugged I don'tknow.
Secondly, RCA for not releasingall of Jim's records as they appearin the States or on the Continent.The majority of Jim's fans getthese records some way or otherbecause they can't wait to see ifRCA will release them over hereor not.
I myself have 15 LPs withoutsingles and EPs that have neverbeen released over here, so con-sequently if they do see fit to re-lease one over here most of Jim'sfans will already have it - So, ofcourse, no hit!! - Betty Flint,213 Padnall Road, Romford, Essex.
Grass. . .
LEAD guitarist (and bassvoice), Tony Ferguson thisweek left Harmony Grass
:0 form his own group. He isreplaced by Tony Harding whomakes a come -back to thegroup.
Harmony Grass, who are cur-rently appearing at the DolceVita, Newcastle, and the Latino.South Shields, have been work-ing on a completely new reper-toire for their stage appear-ances.
The group are now recordingpossible material for their new'angle, following the withdrawalof the previously planned fol-low-up "A Good Thing". Amongthe material under considera-tion is a Howard and Blaikelynumber "First Time Loving"-definitely one to watch!
FLAMINGOAT 33-37 WARDOUR ST. W 1.MEMBERS AND GUESTSWELCOME AT ALL SESSIONS
OPEN FOR SPECIALALL -NITER SESSIONSon FRIDAYS (9 p.m. -6 a.m.)
HOLIDAY WEEK -END
THE COMMITTEETONI ROCKET DISCTET
SATURDAYS (8 p.m. - 6 a.m.)
HOWLIN' WOLFJOHN DUMMER BLUES
DAVE DAVANI FIVE
Special Monday Session8 p.m. - 2 a.m.
LOWALL FULSOMSTEVE MILLER DELIVERY
ON WEDNESDAYS ONLY(8 p.m. - 1 a.m.)
TONI ROCKET DISCTET
ALL GIRLS ADMITTEDFREE SO COME EARLY
MORE . . . MERRILLWHILE B & C Records unleashMerrill Moore's "Tree TopTall" country rock album and
discuss (behind closed doors) thenext single to be recorded by thisremarkable American rock initiatorthere is no doubt rock fansthoroughly enjoyed the recentMerrill Moore article by RM'sWesley Laine.
He did, however, think fit to omitthat Merrill began his career work-ing with Chuck Hall and his Bandand Artie Gearen's WesternRangers.
Merrill (who has a ten inchfinger span) is currently wonder-ing what numbers he should re-cord? I would like to suggest B&CRecords choose Eddie Bond's "Bop -pin' Bonnie" and "Rockin' Daddy"as the two songs suitable for a newMerrill Moore single. - Johnny"Quicksands" Garbutt, 17 EliasYard, London. E.C.I.
Birte Jensen. c/o Chris. J.Holmes, 6 Laurel Drive, Winch -more Hill, London N.21.-Are thereany RM readers who want to sellor swop "Ginny Come Lately"-Brian Hyland; "Oh Carol"-NeilSedaka and other old records, I
have two records by the Seekers-"The Carnival Is Over" and "WalkWith Me", which I would like toswop or sell.
Jan Slevigen, Rambo Station.Norway. - Wanted: Cliff Richard'sGerman LP "Cliff's Songs", thefirst Shadows single "Feelin' Fine"two early Frank Ifield singles,"Gotta Get A Date"/ No LoveTonight" and "Life's A Holiday/Tobacco Road" and Joe Barry's"I'm A Fool to Care". Please stateprice and condition.
RE -ISSUESDo they take the art out of Record collecting?
I HAVE been disgusted recently by the spate of re -issues.I bought many of the originals when they first came out
and was very proud of my collection as more of the recordsbecame unobtainable.
But then the record companies started to re-release them.The records started to get into the charts and have nowbecome commonplace, and this has made my collection seemvery ordinary.
I have lost my pride in my record collection and I amin the process of selling my records. For example, I havethe two recent Isley Brothers hits and both Vandellas, butI could probably only get about five shillings each for themnow, where before they were worth over a pound. There isno longer any art in collecting records.
I say call a halt to all this re -issuing, what do othersthink?-Eddie Robinson, 196 Wilbrham Road, Fallowfield,Manchester.
VAL: It depends If YOU look on a record as an Investment, orbuy it because you like the noises that come from the blackPlastic. doesn't it? It's true, though, that most of us probably takea pride in rare possessions, hut if a record will make money fora company the second time around that's the crux of the matter.
COVER UP?ITAVING just returned from aEl holiday in Holland I feel I
must protest about the stan-dard of record sleeves in Britain.
When you buy a record on theContinent you are supplied with athick paper, full coloured recordsleeve to provide adequate protec-tion for the valuable record within.
Surely it's high time record com-panies did the same for usBritish record buyers. After all,Britain is the home of pop music,
so when we have to pay 8s. 6d. fora record we want to look after itproperly, and the flimsy paperbags we are issued with justaren't good enough. - Clive Webb21 Stafford Road, Darlaston, Staffs.
VAL: One record, currently onrelease, which is issued in aglossy stiff black and white sleeveis Elton John's new single "It'sMe That You Need" on the DJMlabel. Also Georgie Fame's firsttwo releases on the CBS label,"Because I Love You" and "TryMy World" were issued in stiffcovers. I agree though, Clive, itshould be a widespread practice.
BBC AGAIN GET BACKWAS shocked and surprised
1 after reading the article "Kinks'Bum' and the BBC" last week,
to realise what perverse and pratt-ling idiots are in charge of one ofBritain's greatest industries-BBCTelevision. What I cannot under-stand is why the BBC refuse toshow the Kinks performing "PlasticMan" because of the harmlesseuphemism 'hum'. Why not, afterthe pornographic rubbish that con-stitutes most of the BBC's drama?
It is things such as this thatkeeps the Kinks (in my opinionsecond only to the Beatlesin musical talent) out of theRecord Mirror's top ten, wherethey belong. But this is not onlythe fault of priggish anachronists.what about d.j's? Why do they re-ject such great British talent asthe Kinks in favour of AmericanBubblegum merchants? Please let'shave a great Kinks Renaissance!- Norman Stinchcombe. 30 Wel-land Grove. Pype Hayes. Birming-ham 24.
DROWN ELVIS!F a London promoter's plans toI put Elvis Presley inside a mag-nifying goldfish bowl for a
Wembley Stadium Concert are suc-cessful, I only hope they won'tforget to add the water too! -Coen Brinton, 73 Grange Road,Harwich. Essex.
I HAVE no particular axe to grind1 for the Beatles but do not feel
that they are being regressivein their musical style with "GetBack". They are simply perform-ing in a manner which the publicwants. After all the record is atnumber one!
Perhaps Mr. Wells might wishto consider the view that his tenyears of cultural advancement haveresulted in a situation where wehave, in the main, two banalbranches of pop music. Under-ground music (it's not rock), whichis no more than a regular seriesof tuneless electronic noises and socalled soul music, which seems tome to be rhythm and blues with afew "sock it to me's" and "you'relooking goods" added - a monoto-nous style to be polite.
I feel that the public looks forentertainment, excitement and"danceability" in music- and let'sface it rock'n'roll provides all these.More power to the Beatles if theyare attempting to re -instate it.
I would suggest that anyone whodoubts my words looks in at theMonkees TV show on May 24 -Jerry Lee Lewis, Little Richardand Fats Domino will prove myPoint. More proof? Try the newLP "She Still Comes Around" bythe great and talented Jerry LeeLewis - now there's entertainment!- Malcolm Temple.. 19, NewberryRoad. Weymouth, Dorset.
Live on stage . .
EQUALSduring the eveningsession onWHIT MONDAYMAY 26thAdmission 7s. 6d.(incl. skating 7.30to 10.30)
SILVER BLADESICE RINKSTREATHAM HIGH RD,LONDON S.W.18Bar : RestaurantCar Park
Rosko goes tomeet Elvis, andpredicts morecommercial radio
"WHAT happened to you then, the bike break down?"I laughed as the Emperor strolled into the bar half
an hour after he was expected."Not all all," Rosko retorted, hurt at the idea that the
beautiful machine would fail him. "Never has done yet! I'lltake you for a spin when I get back from the States." Oh,don't worry, I've not had an accident on it yet, and I don'tintend to!"
The day after we met Rosko was due to fly to the Statesfor what will be mainly a holiday trip - though he is
determined to get through ham on the first day it wasthe inevitable barriers to released. There's a lot oftape an interview with the jealousies between D.J.'s"King of Rock", Elvis though, and some of themPresley. have got small minds. I like
"You're the last person to to think I've got a moreinterview the Emperor open mind than most."Rosko before he leaves, and I asked Rosko how he firstif the plane crashes you'll came to record "The Oppo-be the last in the world!" site Lock".Rosko contemplated cheer- "I've only ever been tofully, while downing bottles the Opposite Lock club once,of Chablis. but I do know Martin Hone,
In that case, Rosko, shall who wrote the number. Any -I convey your last wish to way, Polydor asked me if I
the people? "My last wish would like to record thewould be that the record number, so I did," Roskoreach number one," he told explained.me. ''People who play the
"You can't have royalties record are probably doingsent up there," added me a personal favour. I oncepublicist Mike Hales. played Tony Blackburn's
"No, but it will go to my record, but usually I havenext of kin then," said an excuse, which theRosko, happy with that idea! Brandons and the Black -
Following the ban prevent- burns don't, because (a) I
ing him from doing corn- only have a half-hour show,pering work, Rosko is and (b) I play specialisedpinning quite a lot on the material.success of the record. "The ban has meant
"You could say the record sacrificing a lot of money,is embarrassing to me, but though," he continued, "but,once it's out it's not so God willing, I'll make it up.bad," Rosko told me. "The Otherwise I suppose I shallrecord sold out in Birming- just wait until I go broke,
or they throw me out! Butyou can't fight bureaucrats,can you?"
A pity, because Roskopresents a unique andentertaining show, and hasrecently received the CarlAllen Mecca Ballroom Awardfor the top D.J.
"Because an AmericanD.J. won the award thistime they desperately wanta British D.J. to win nexttime," the Emperor declared."From that you can drawyour own conclusions!"
I asked Rosko how heintended to get to meetElvis during his trip to theStates.
"I've met him severaltimes before when we'vebeen on sets together,"Rosko told me. (Incidentally,his father, Joe Pasternak,produced several ElvisPresley films, notably "GirlHappy").
"It would normally hevery difficult to meet himnow, but I shall use myPasternak influences. WhenColonel Parker sees me heclaps his hands on myshoulders and says 'Son, how
are you?' and he'll geteverything fixed up! IfElvis gives me two thinutesI'll take it, and if he givesme two hours I'll take thattoo!"
While he is in his hometerritory of California, Roskoalso plans to complete hisAmerican television series,which is to be screenedshortly, and he is also work-ing on another programmewith Vikki Wickham. And,of course, the great charmer,Rosko, is also looking for-ward to meeting "all thosebeautiful girls at the holidayplaces, all out enjoyingthemselves!"
But Rosko's mind is notentirely occupied withbeautiful girls, he still feelsvery adamant about thenecessity of commercialradio, and he left me withthis thought:
"Things are definitelymoving on that front, butall I can say now is expectto hear a commercial radiostation on June 15."
The Emperor and theNation await .
RECORD MIRROR, Week ending May 24, 19693
'The Underground seems tohave gotten a little out ofhand' says Ian Anderson
Y ALL RIGHTS, JethroTull must be lookedupon as reaching out ofthe sphere known asunderground; or at leastbeing one of the majorforces in the move to
eliminate such classifications in music today.The reason lies in the fact that their music,no matter if technically it is jazz, pop orurban freak, is sounding more and morelike nobody else but Jethro. The Creamwere able to shed the underground titleby carefully nursing a style very individualand unique.
The solid character rapidly expandingwithin Jethro Tull is largely to the creditof the band's leader, flautist and personalityextraordinaire, Ian Anderson. Anderson'sviews on the original music trend adoptedby Tull are unfortunately not all thatcommon. Others could do well to heed theadvice or the outlook he shares. Minus theonce well-known, floor -length coat, which hemisplaced some time ago, Ian stopped bythe RM office to explain why Jethro'simage is becoming so strong in itself ratherthan a general category.
"The songs we do are not cut and driedforms of jazz and pop, but mixturesdeveloped by the group combination, I thinkit's too early to hope that all the numberssound like only us, but a style seems tobe emerging. A lot of the things I havein mind for songs either never get writtenor I go off them very soon because mymood may change and I'll view the ideaunder a different light. It's good to look atthings from several states of mind. A lotof bands tend to get so wrapped up intheir own thing it puts them out on a limb.They become far too personal and losemuch of their appeal. The undergroundseems to ' have gotten a little out of handand that makes me frightened of being toopersonal. Instead, I remain very cautious.I like to look before I leap with a song.I don't want to stretch the boundaries ofvalidity."
Ian and Jethro are concentrating on asingle and an LP right now. The single,titled "Living In The Past" was written byIan and easily reflects the sound that canonly be Jethro Tull.
"This is a single, not a token single. Itis an attempt to get into the charts withoutblatant commerciality. If people are goingto buy singles, we're hoping they'll buyours. I realise the underground is stillabout and that underground groups sell LPsand not singles, yet these restrictions willbe compromised in time. Classifications, likepeople, exist. Most people think of theunderground as hairy and far out, so somesort of compromise will have to be made.This is not a commercial single for thesake of it. A lot of thought went into itand I think it's a good one. It makes mehappy to think we've done it; it's an honestsingle.
"The underground is considered vulgar.Groups are crying because they can't getnudes on their LP covers, If and when theydo get all the nudes they want, nudity willbe so prevalent, it won't be noticed. Thefour-letter words are used so much in theStates, they are getting to be common-place. I think the cycle may have finallyrevolved completely with all the decencyrallies sprouting up. Kids are realising theyreally don't want all this trouble. As theunderground gets further out, it comescloser to change and to eventual compro- '
mise. I like watching these forces at work.It's even nice that people have. a namelike underground, but somehow in print, itlooks odd."
Jethro Tull do not consider themselvesto be a segment of a mass movement, butadmit that they may be placed in one bysome of their listeners. Any position, how-ever, can be used as a stepping stone ifit is handled properly and in earnest. Whatgoes on around you can always affect you,but if your individuality and appeal workhand in hand to a healthy degree,prominence is assured eventually.
"SOMETHING INTHE AIR"
4 RECORD MIRROR, Week ending May 24, 1969
MOODIEST MADELINE & RIMJAM ON BILLIE'SNEW SINGLE .....
BILLIE-revives a James and Bobby Purify number.
ILLIE DAVIS has had a lot of hard luck withthe charts apart from "I Want You To Be MyBaby''. Her other singles have bubbled underthe charts, yet have not quite made it. Why?
"I think the reason 'Make A Feeling GoAway' didn't happen was because it was a
bit too much like 'I Want You To Be My Baby'," Billieexplained. "Mind you, the song was a big number in thediscotheques and got a lot of plays but just didn't seem tocatch on. It's hard to judge which market to go for -whether the discotheque one or the one for the mums anddads. If you go for the mums and dads, you have to recordsomething which they can listen to rather than dance to."
Recently there was a press reception in honour ofBillie's new disc, "I Can Remember" where a baby elephantwas present with a cloth over its back with the words: "ICan Remember" embroidered on each side, (elephantsnever forget - get it?), There was only one trouble.Although the elephant was small (after all, you couldn'tget a really big one up to the third floor of a building,could you?), it kept knocking poor Billie over. Luckily shewas wearing trousers, as it might have been unfortunate-you know what elephants can do with their trunks.
"I recorded my present single At the same time as I
did ' . . . Baby'," Billie explained. "So the chorus con-sists of the Moody! Blues, Kiki Dee and Madeline Bell. Themain trouble in trying to get a chart entry is finding theright sort of material. I look everywhere and people bringme things but it's very difficult. Another thing is that I
don't think I have a commercial mind. I sometimes listento a song and think it's great then people say: 'forget it, it'snot commercial', so it's all very difficult."
Billie, at the moment, is in Poland doing a TV spectacular,but when we talked she told me a joke which would make
even Tony Blackburn cringe. It goes like this: "I know awoman who married a Pole - she had a wooden baby!"
July is going to be a busy month for the songstress. Fora start she is finishing her LP called "Billie's Bag" and isalso appearing in a film with The Casuals. But first of allthe LP.
"I've done six tracks so far and I've got six to go," Billiesaid. "They include 'Angel Of The Morning', 'I Wan't YouTo Be My Baby', 'Darling Be Home Soon', 'Till It's TimeFor You To Go' and 'Billy Sunshine'. One of the ones I
shall be recording fairly soon is 'Knights In White Satin', Butone thing I don't want to do is use old 'B' sides to fill up therest of the album-I shall use new material,
"The film I am doing is a one -hour spectacular whichwill be done in black and white as well as colour for TV.It is going to be filmed on location and at Staines studios.Basically, it's all to do with fantasy - I figure in theCasuals' dreams and they crop up in mine. I'll be singingthree or four numbers although they haven't been writtenyet.
Billie still retains her interest in jazz but does not gomuch on the underground scene - she looks on most ofit as confused. When she goes back to Spain in June,Billie will head straight for the nearest bull ring. She says:,"I love the atmosphere and spectacle probably more thanthe fight itself, because I'm really an animal lover,"
Was there any main difference between working on TV inSpain or England?
"Things are so slow over there," Billie explained. "Thelast time I was there, the call was for ten in the morning.They were still painting the set and I didn't go on untilseven in the evening!"
Should "I Can Remember" re-establish Ellie in the chartsnot only the Spaniards will be shouting "ole".
EDWARD WOODWARD,alias "Callan-.
'Audiences will reject you
if you're phoney'-'Callan'"I THINK my 16 -year -old son'smore worried about this than I
am," Edward Woodward (other-wise known as Callan) told me.after having signed a recordingcontract with Dick James' DJMrecord label.
"He's afraid his old dad mightget up and make a terrible foolof himself! He said to me, "Daddon't try to be something thatyou're not, will you?" But I can
House, 20 MancfieVer Square, London W1
assure him that I won't."Edward Woodward has worked
in stage musicals and at one pointhad musical training to help himwith this aspect of his work, buthe doesn't visualise himself as a
singer:"I'm still .very much an actor,
and I've been in great demandas such for some time. In factI hadn't really sung, except in thebathroom, for about six years.Then Noel Coward asked me toappear in the musical 'HighSpirits'-and you don't turn anoffer like that down lightly.
"I sang on the soundtrack albumfrom 'High Spirits', which was re-leased in the States, and thenthis year the 'Tale of Two Cities'single was put out, and the sound-track album followed. In thosecases the records were releasedmerely to boost the show, and'anything in that direction is worthdoing."
I asked Edward what had infact prompted him to sign withDJM records, and if he wouldbe prepared to give up some timeto a recording career:
"I joined DJM because DickJames approached me and askedif I would like to record for them,"Edward replied, "I should be go-ing into the studio to record verysoon, and it remains to be seenwhat follows from that.
I asked Edward if he felt alittle schizophrenic dividing hiswork between two different audi-ences:
"The pop world and theatreworld are very different," he toldme, "but they do have a commondenominator. If you're a -phoney,audiences will reject you. You'vegot to get up on stage and enter-tain. You can't underestimateyourself or build yourself up to bewhat you're not, because audiencescan detect that. I'm quite pre-pared to appear on programmeslike 'Top of the Pops'."
Edward Woodward -has, however.already been booked to appear onthe Bruce Forsythe Show on June22 and Dave Allen's Show, whichis being recorded in May, whenit is hoped that a single will beready for release.
Before he left I asked Edwardif the "Callan" series was in factgoing to return as rumoured, andif so how would the series con-tinue after Callan had been shot,and presumably killed.
"The return of 'Callan' is stillin whispers at the moment," Ed-ward explained, "But it may pos-sibly return. The ending of theseries was left wide open, andmonths after the episode was re-corded I had to go in and matchup the last shot. Really it wasleft in mid air, because I mightnot be dead!"
And Lonely?"Oh yes, poor old Lonely,"
laughed Edward, "He still getsbottles of deodorants and thingssent to him, even though the serieshas ended. It's tremendous thesuccess it's been,"
The 'History of... Tommy woe
TALK to Tommy Roe and you'll endup feeling a little "Dizzy" all right,but it won't be because he does theusual pop star bit and rabbits onabout his current hits and his pasthits and his aspirations to becomea representative of that arch -clichegroup the All -Round Entertainers,
For Tommy, despite all his success overthe years and his proven ability to comeback after all but the faithful have pro-claimed him a Dead Duck, is very much anAll -Round conversationalist,
Athletics is a favourite topic, for instance.He has an encyclopaedia for a brain whenit comes to remembering old Olympicchampions and their best performances. Hesays: "When I was a student, I spent alot of time singing and a lot more time outon the training track and if I had anytime left I'd get down to a bit of studying."
To break in here, Tommy was at onetime, at school, leader of a group TommyRoe and the Saints. Chap named Mike Clarkplayed drums in the team and he laterturned out to be a promotion man forLowery Music and even now spends timepromoting Tommy's discs. Like the verysuccessful "Dizzy" . . .
Then there is football. The Americanbrand, of course, though last time overTommy quizzed me for half a day on theintricacies of our soccer . which nowhas at least a toehold in the Americansporting scene.
And then there is golf, When Tommymoved from his Atlanta, Georgia, home toLos Angeles, golf was one of the big con-tributory factors. He liked the idea ofbeing able to play several times a weekall the year round .
Oh yes, and there is horse -riding. Tommyis an expert. And he owns a small farmon Lake Lanier, just north of Atlanta, andit's well stocked with cattle and ridinghorses. Tommy, now 20, fair of hair andblue of eye, commutes between the twopads by jet, just so he doesn't get rustyon either his golf or his horse -riding.
Yet he still is hectically busy in themusic business. It was in 1962 that he made"Sheila", his first big hit. It hit the numberone slot with ease, sold a million andestablished Tommy round the world. Ironicthing is that as it rushed up the charts,Tommy was working as a testing technicianfor General Electric and he figured thiswas a job with prospects. His mates beggedhim to go into singing full-time, butTommy would not be budged . . .
TOMMY ROE-remember "Sheila"?
. . Until, that is, his manager BillLowery offered him £200 to resign. Thisseemed to Tommy to be a fortune, so heaccepted and took "Sheila" out with himon a successful series of one-nighters.
Next came "The Folk Singer"- and thissuccess brought him to Britain for the firsttime. He went on tour with Chris Montezand four young hopefuls named the Beatles.In the States, particularly, his run of hitscontinued with "Everybody", "Sweet Pea","Hooray For Hazel", "It's Now Winter'sDay", "Party Girl", "Birmingham" . . . and,of course, "Dizzy".
Tommy was called up into the ArmyReserves, which rather disrupted his show -business career . . even though he hadtime to stock -pile a load of singles.
Now "Dizzy", written by Tommy withFreddy Weller of Pau; Revere's Raiders(and composed on the top of a bus, accord-ing to legend), has put Tommy right backin the spotlight. Can't confirm that he willdefinitely be visiting us to promote therecord still further but I know he likesit in Britain and has a taste for Englishwarm beer!
But it is certain that we'll be seeing himin movies ere long. He's been attendingdrama school down in California and hasappeared in several plays. He's photogenicenough and natural enough to make it bigin films.
RECORD MIRROR, Week ending May 24, 1969 5
AMORE AMERICA AWAKES
THE WATTS 103rd STREET RHYTHM BAND: Do Your Thing;A Dance, A Kiss And A Song (Warner Bros. WB 7250). This band,formed by Fred Smith (Bill Cosby's, the Olympics' and Bob andEarl's producer), put out a record as the Soul Runners before changingits and their name in 1967. Here they do a typical (for them)percussive funk hip dancer that has trendy "Thing" lyrics, JamesBrown -like grunts, and some sparse guitar amongst the varied rhythms.A U.S. smash, and great for hip Soul fans! Slower flip has a BuddyMiles -like vocal. * * * * * *
LOU JOHNSON: There's A:lways Something There To Remind Me;A Message To Martha (Kentucky Bluebird) (London HLX 10269). TheFABULOUS, totally ignored original version of Sandie Shaw's initialsmash. Dig Burt Bacharach's beautiful arrangement and under -statedproduction, Lou's tremendously rhythmic voice, and . . . EVERY-TIIII:Gi I used to love this back in summer '64, and had time toturn several people on with it before S.S. came along and ruinedit for all but the masses. "Martha" was done by Jerry Butler, thenLou, before Adam Faith got his hands on it-again, Lou's was thesubtlest. As the ad says, these are utterly timeless and should notbe missed. * * * * * *
FOUR TOPS: What Is A Man; Don't Bring Back Memories (TamlaMotown TMG 698). Produced by Johnny Bristol. the Tops here do asomewaat. square but good harmony job on a mid -tempo smoothiethat is, 'at least, different from their usual style (more like some 01their "On Top" L.P. tracks). It's moving in America, but it maybe too unusual for British ears. Back to their urgent song -selling onthe ''B" side beater, which has some nice rhythmic vocal hang-ups,and is very good indeed, * * * * * *
THE CHIFFONS: One Fine Day; Sweet Talking Guy (London IILP10271). Ah! Such nostalgia! Coffin and King's lovely song (in the"Fine" bag that followed up the girls' huge 1963 "He's So Fine"smash) epitomizes all those great girlie group goodies of the early'60's. The more recent ('66) British hit coupling is the one that hadthose beautiful descant singing effects over a steady beat, and"Summer Place" strings intro. Good double -sided value, produced bythe Tokens. * * * * *
S.C.I. YOUTH CHOIR: 0 Happy Day; l'nr Ready To Serve TheLord (Stateside/Dunhill SS 8019). This is a dirty trick. The EdwinHawkins Singers, hit -bound with their treatment of this lovely tradi-tional Gospel song, were previously called the Northern CaliforniaState Youth Choir, yet with the Youth Choir heard here the S.C.I.stands for Southern California Inter -denominational . . . sneaky!Apart from that, this Choir can sure sing. and while the flip ispretty powerful their "Happy Day" crib is less relaxed than theoriginal. * * * * *
Murray Roman, the comic from0 use arguing with acomedian - and a NewYork comedian can chata monkey out of hisbananas. The bare fact isthat once funny manMurray Roman gets
started, you can't get a word inedgewise; not that it's reallynecessary even if you can stoplaughing, for Murray has quite astory to unfold and it has it'sfoundations in the very roots ofthe American pop scene.
"I used to live in BleekerStreet too, you know. Everybodylived there! We were just kidsthen, but I can remember littleJohn Sebastian, Cass Elliott,John Phillips, Zally Yanovskyand a load of others. Paul Simonmoved in later and I think heeventually wrote a song aboutthe place. In those days, we didunpaid gigs in the small Villageclubs and passed the hat. Thatfell down at times because wealso used to work up a bill forcoffees, rolls and all, but couldn'tpay for them in the end. Thatmeant we had to avoid going intothe clubs where we owed moneyand they were the only placeswe could make any.
"None of the old gang figured we'dever make any money at that scene, butit sure turned into something. I usedto announce some of the gigs and forsome strange reason, people thoughtwas funny. They used to laugh, so I
got in to the comedian bit. Now thewhole sphere has undergone tremendouschanges. I've met a lot of new peoplewho have the right idea in mind; theyoung people will take over the coun-tries and affairs will be straightenedout. We will be able to live instead ofthis constant strife that is now de-manded of us.
"Some of us are natural supportersof life without the silly restraints. Take
Keith Moon for example. Mooney is avery well adjusted guy. He can be veryserious if he wants to, but spares noth-ing in just living a good life. The manshould be Prime Minister. PrimeMinister Moon - that's good.
"I see Jimi Hendrix and the Experi-ence a lot over in the States. I'll tellyou something about Noel. You knowNoel Redding? He once came to mewhile I was compering a show in NewYork and said, 'You know Murray, I'dlike to be a comedian'. Him - NoelRedding with the hair - could youimagine him as a comedian? So I saidto him, alright Noel, I'll get out thereon stage and introduce you and youcan introduce the group. Now the nameof the group is The Illinois Speed Press,O.K.? Noel mumbled a little and I wentout on stage. And I'd like to presentsomeone we all know and love, I said,one of our dearest friends from acrossthe water, Mr. Noel Redding. Nobodyappeared. I went off and found Noelhuddled in a corner. I said, you've beenin front of a thousand audiences Noel,now I'll get back out there and intro-duce you again. Let's go, this will beeasy. 'What's the group called again?',asked Noel. It's the Illinois Speed PressI said. That's all you have to remember.I won't ask you to say anything butthe Illinois Speed Press.
"I walked back on stage, looking to
Some kids from
talks to Lon Goddard
the wings to be sure Noel was there,and exclaimed, HERE HE IS FOLKS,MR. NOEL REDDING. HE'S GOING TODELIVER A LECTURE ON THE ROOTSAND BEGINNING OF THE. POP SCENE,ITS VALIDITY, AND ITS NATURALEVOLUTION. The stage technicianshelped Noel on to the stage. He walkedout, hunched and avoiding the directionof the seats, went up to the mike andsaid 'The Illinois Speed Press' andcrept off as quickly as possible. It wentdown a bomb. Afterwards, of course,when he found that the bit was a hit,he straightened up and strutted aboutboasting of his talent as a comedian,and admittedly he was very funny."
Very funny is a description that bestfits Mr. Roman himself. After his shortvisit to Britain, he's now back in theStates - but his gags remain. You candig up the LP, called "You Can't BeatPeople Up And Have Them Say I LoveYou". Forthcoming is Murray's secondalbum, dedicated to Ray Charles andcalled, "A Blind Man's Movie". Don'tget excited about the title - it's athing between Murray and his friendRay. Until the new LP is completed,you'll all have to be satisfied with onlyone Murray Roman collection. Thesethings do take a little time, you know- after all, Roman wasn't built in aday
ROMAN and the MAMAS &
Blue Matter Savoy Brown 0 SKL 4994/.)
6 RECORD MIRROR, Week ending May 24, 1969
ALBUMS REVIEWED BY R.M. REVIEWING PANEL
JEANNIE C. RILEY: "Year-books And Yesterdays" ( POly-dor 583 733).r1rIHE atmospheric Jeannie C.I and some more rather loaded
songs sung in that attrac-tive Southern tone. Semi -rockbackings with plenty of com-mercial -C8c1V sounds. Most ofthe songs have a strong lyricor else a story line, so if youlike her strident voice, interestwill be maintained throughout.* * *MISSISSIPPI JOHN HURT
"Mississippi Joint" (VanguardSVRL 19032).
TW E L V E tracks, including"Corinna Corinna", "I'mSatisfied" and "Hot Time In
The Old Town Tonight", from the1892 -born old-timer - a movingmixture of gentleness and power,and of nostalgic remorse andoptimistic hope. But mostly ofsorrow.* * * *
SUE TERRY "Sings Cry, CryAgain" (Decca Stereo SKL 4995).
HERE is an unashamedlyromantic and despairing voice- a nice voice, full of style.
from a 22 -year -old who clearlydeserves this chance to get herstyle across. via an album. Mostof the songs came originally fromthe country field and they aretreated here with reverence.Samples: "One Step Closer'", "I'mHanging On" and "If God CanForgive You So Can I".* * * *
DON CHERRY "Take A MessageTo Mary" (Monument Stereo SMO5025).
COUNTRY -BOY star with a sortof lived-in voice. "Whippoor-will", "Love Me With All
Your Heart" etc., plus a finereading of the title song - neatlyarranged and packaged but suffer-ing quite a bit by the never -changing mood and approach.* * *
RAY CONNIFF "I Love HowYou Love Me" (CBS 6356.5).
THERE is so little one can sayabout the Conniff sound be-cause it is so unvaryingly
excellent. His music suits avariety of moods and he remainstrue to both melody and lyricsand he is the master at selectingmaterial. Herein: "Those WereThe Days", "Wichita Lineman"."Hey Jude". All sparkling fresh.* * * * *
LEE HAZLEWOOD: "The VerySpecial World Of . . MusicFor Pleasure MFP 1369.
LEEy really does have a distinctivevoice, though it is not every-body's cuppa. H.2 is a good
songwriter, an imaginative pro-ducer, and here we run the gamutof these varied talents . throughsuch songs as "These Boots WereMade For Walkin' ", "So Long.Babe", -For One Moment".Arranged by Billy Strange.* * * *
THE STONEMAN FAMILY"Live". - Liberty Sunset SLS 50086.
TITLES include "Big Ball In Mon-terey", "Groundhog", "DarkAs A Dungeon" and the
evocative "Girl I Left In Ten-nessee.", from a folksey-countryteam of six who play string instru-ments and generally perform withcool aplomb.
* * *THE WHO: Tommy -Overture; It's A Boy; 1921;
Amazing Journey; Sparks; The Hawker (A); Christ-mas; Cousin Keyin; The Acid Queen; Underture;Do You Think It's Alright?: Fiddle About; PinballWizard; There's A Doctor; Go To The Mirror;Sensation; Miracle Cure; Sally Simpson; I'm Free;Welcome; Tommy's Holiday Camp; We're Not GonnaTake It (Track 613 013/4 Stereo, Double LP set).
THIS is the long awaited' album set YOU readabout in Record Mirror, folks. The Whopresent a pop opera lasting all of an hour
and a quarter and it's a sound success. Get it ?sound ? seriously, my committee, gnown popularlyas the Modern Booze Quartet, sat down and had astern listen -in and the united opinion was that thishas got to be one of the most incredible featsever accomplished in music, The subject is TOMMY,tae boy who saw his mother pollenating the wrongflower, which caused him to go deaf, dumb andblind with stock. Various external factors such asGypsy the Acid Queen and her bag of importedtricks help Tommy to negotiate things inside hishead and 'ae becomes a very practised competitorin carnival games of skill; hence the Pinball Wizard.
All of the selections in Tommy's progression arepenned with precision by Peter Townshend and hisboys. The famous style of slam bang guitar workcredited to the Who, is in full swing where it'sappropriate and the tone is levelled off to quiet,smooth orchestrals where those suit best. They havemanaged to create a number of different moodsthroughout the opera and used all facets of thepower spectrum, from the heaviest and loudest tothe gentle and the subtle:. in fact, all the in-gredients needed to classify it a fine opera. Thetop secret members of the Modern Booze Quartethave cast their ballots and it looks good. For theWho and Tommy, it's a FIVE STAR RATING!* * * * * L.G.
Beautiful Dezo Hoff-mann pit of the 5thDimension currentlyracing up RM's chartswith the "Hair" song"Aquarius/Let The SunShine In"-group havejust completed their newalbum, out here in afew weeks. Tracks in-clude "He's A Runner","Skinny Man", "ThoseWere The Days",and of course . . .
HIS week, folk, and that may just bethe right word, this hitherto beat -ridden column goes down a fewdecibels into the folk world. Folkmusic has, in a sense, been forcedunderground for a long time now and
has continued to produce as many talentedartistes as do other, more publicised, formsof music.
The name "Pentangle" will ring severalbells. The names Bert Jansch and JohnRenbourne will ring a few more. Bert andJohn used to work together as one of themost original and capable duets on the folkcircuits and singly as two of the widest -known, heavily -copied guitarists in Britain.John began doing some gigs with prettyJacqui McShee singing and renowned stringbassist Danny Thompson to make a trio. Theaddition of Terry Cox on drums made itfour, and finally Bert joined John again,putting the final polish on what was to bea sound without category and a collectionof musicians beyond competition: thePentangle.
Bert's and John's LPs have sold into themillions. The Pentangle as a unit threatens.to push those figures far, far ahead. Themost apparent aspect of the music from thePentangle - the element that really becamea trademark - is their artistic sloppiness.Everything in their repertoire has beenintricately laid out and practised, but thefour musicians are such accomplishedplayers, they are constantly adding, sub-tracting, innovating and twisting themelodies through a simply unbelievablemaze of acoutic guitar strings. The resultis that all notes and beats are not spot-on,but have a quality that obliterates the needfor extensive technical care. Bert and Johnknow their music and each other so well,they instantly and automatically calculateon which scale they can toy around with thenext set of notes. They are like one manwith twenty fingers - and this is what ourfriends in the United States actually thought.John Renbourne speaks:
"Bert's first two LPs, on which I played,were combined in the U.S. to form one longone. I wasn't billed on the back as I was
in this cowfrom oddwanted tohow he couI do thingLPs, he'sBert and ,
the PentanThe groi
recent venevery datrstanding o'under notrounded byThe audieireceptiveget on witwise, tho:unbearabledemonstralthe group.crazed andlisten, the)thing apartmagic witlinstrumentwhen Misstouch to a
Before tlNewport Fbe appearilMay 24; TTrinity CoJune 10; ITown HallReading AAlbert HaJune 30.
They car.Folk (BBC
inf on Decca's secon(New from BILLIE DAVIS is a beautifullove ballad, 'I can remember'. Abrilliant production, with a lush tenderbacking, and Billie delivering the emo-tional lyrics at near -tremble. I don't thinkthere are many people to whom this
won't instantly appeal, and it should bethe one to give a consistently goodsinger the large hit she deserves.Decca F 12923.Are you still tightening -up ? You'resupposed to be doing the popcornactually, but whatever kind of dance youdo, do it to 'Big New York' byBOBBY BENNETT. Great gritty voice,funky brass and bags of movement onthis London single, HL 10274.Don't sit down, but change tempo for arock steady number 'Bitter and sweet'from THE KINGLY BAND. This is justwhat rock steady is all about, basic,simple and hypnotic. Decca F 12926.For lovers of sweet and sentimentalsongs, how about 'Lollipops androses' from KENNETH McKELLAR ?Gorgeous arrangement, on Decca F12927.From THE NEW FACES a double Aside-'Carnival day' which is all fun
RECORD MIRROR, Week ending May 24, 1969 7
'Gil thederg round) INTRODUCING AMORY KANE
itry. There was a sudden upsurgeplaces in the States. Everyoneknow who Bert Jansch was andild play like two people. Bert ands pretty evenly. I'm on his soloon mine, we do the occasionalJohn record, and we're both ingle."ip had the same reaction to theirues in the States as they got at
here in Britain. There werevations at both Fillmores - andso even odds. They were sur-
' heavy rock groups on both sides.ices, they said, were extremelyInd those people who you couldh, you really got on with. Like-ie you couldn't were really
Those performances stand asions of the aura that surroundsAnyone who can cause a rock
ience to suddenly sit down and-I stand and applaud, has some -from ordinary appeal; they have
lin. What is already a suitableal becomes a thing of perfectionMcShee's silk tones add the finalPentangle number.hey go back to the States for theolk Festival, the Pentangle will'ig at the Royal Festival Hall onhe Dome, Brighton, on May 26;liege May Ball, Cambridge, on1radford University on June 21;
Reading, solo concert for theits Festival on June 27; Royal11 with the Fleetwood Mac on
i also be heard on Country MeetsRadio 1) on June 7. L.G.
AMORYKANE carries with him the roots of the
folk clubs, the small gigs, the low pay and thegood -man -and -his -guitar music, A very personal brandthat still attempts to draw you into it in asubtle complacent manner achieved only by the verybest of folk artistes. Amory is an American whosereal name is Jack Kane. He found the odd namewhile involved in a novel and thought it suited hischaracter.
A tall man with a peaceful moustache, Amory hadhis first LP produced by Steve Rowlands recentlyand it included lush, but carefully arranged (byAmory himself) backings to his folk based songs.The album, titled "Memories Of Time Unwound" onMCA contains a good cross section of the work thatAmory has accumulated over the years.
By far the best track, in an overall picture, isa version of the old "We Five" hit, "You Were OnMy Mind". Amory has slowed the song down con-siderably and put more feeling into it via his intensewell -tailored voice. He begins the number with aquiet single guitar intro, gradually working the degreeof backing up until it hits a timely crescendo whichfinishes the number. The string arrangements forthe song are immaculate and the production is afeat of artistry. This track could well have been asingle. Amory comments about the origin of hisadaptation:
"I knew the fellow who played the guitar used onthe 'We Five' hit, so I knew the song. I sat downwith a rift I'd been nurturing to build my ownversion of the number. It's been with me for overthree years now. When I wrote the arrangements forthe other songs on the album, I decided to see whatI could come up with on that one too. It came offvery nicely with heavy orchestration."
As did most of the other selections on the album.Amory's voice is equal if riot better than a largenumber of straight singers today. Coupled with agood textured guitar sound, it presents a productthat can be thoroughly enjoyed. A relaxing resonance,wholesome, unimpaired and often extraordinarilyfunny. One of my own pet sounds.
Amory can be seen in concert at Wigmore Hallon May 22nd with Tim Collier. LON GODDARD
Demand Performanceand summer and candyfloss, and'Grandfather Dugan' which is a bit ofa heartstring-tugger. Two very goodnumbers we should be hearing a lot of,on Decca F 12933.MERCY made a single which went upthe American Hot 100 like a bullet froma gun, and which is now released here.'Love can make you happy' is sungin delicious harmony against a relaxed,riffling backing. On London HLZ 10273.Led by the ace arranger THE JOHNCAMERON QUARTET do their ownthing on an album, released soon, fromwhich 'Troublemaker' was taken as asingle. Cool, swift brittle jazz, onDeram DM 256.Comedian LES DAWSON, of T.V.fame, has made a record, and very niceit is too-a sentimental and highlycommercial number titled 'Send herroses' on Chapter One, CH 106.Anyone who listened to the voices of
the Apollo Astronauts without feelingmoved must be made of cardboard.These voices can be heard again in thebackground of 'Apollo ... Amen' byTHE STREET on London HLU 10275.All of which makes me think 'Howsmall we are, how little we know'which just happens to be the title of aphilosophical song by JOSEF LOCKEon Decca F 12925.Sorry to crowd PAT McGEEGAN,who is 'Calling your name' onEmerald MD 1124, and FRANKIEMcBRIDE, who sings a lovely c'n'wtype number, 'Give me your word'on Emerald MD 1125.Do the popcorn and write lots of letters.
DECCA group records
45 rpm records E The Decca Record Company LimitedDecca House Albert Embankment London SE1
Heart-throbs inAmerica -nothingover here... butjust you wait...
GilAUL REVERE and the Raiders,ladies and gents. It's YOUR faultthat they are not regulars in thecharts here as they are in
America. Time after time, we've tipped theirrecords to reproduce Stateside success, butyou've given the discs the thumbs downsign.
So kindly pull yourselves together and dosomething about this problem . . . speciallyas the boys are here in a day or so to pushtheir claims to chart fame. Their record:"Let Me", out on CBS.
Now consider the situation. Both Paul Reverehimself, the business brains of the team, and MarkLindsay, the voice of the team, have recently wonawards as "TV Personalities Of The Year" inAmerica. They, and the other Raiders, come herewith the Beach Boys, who are paying Raider expensesfor the tour, and will be playing in London, Man-chester, Birmingham, Brighton. Liverpool and Glasgow.
The Beach Boys have often appeared on the Raiders'telly shows in the States. And there is a mutualadmiration society between the two-groups. Tuesday.May 27, is the arrival date ..
Let us consider the Paul Revere and. Raiders'success story. They used to work the North Westcircuits of America, and built a big following amour;the high school and college audiences with what wassimply a hard -driving rock sound .
This dates back to 1962 and 1963, and eventuallythey released their singles on Columbia . .
which is CBS here. Ai first, they had only regionalsuccess but eventually they established themselvesas THE box office draw on the West Coast andalso eventually they broke box-office recordseverywhere.
Then, in January 1965, Dick Clark planned a pilotfor television, featuring the Raiders and called"Where The Action Is". By the summer of that year,the Raiders were national stars and people by themillion watched them on television five days a week.They actually received more exposure than any otherpop group in history. Lead singer Mark came out ofit particularly well and was instantly a teenage idol.
Then their record sales started booming, During
PAUL REVERE AND THE RAIDERS
their last four years as a unit, their records haveshot into the Top Ten, one after another - in theStates, but not in Britain. Their sales have producedfour Gold Albums, ,consistent hits in the single fieldand well over 1,000 concert appearances and eighteennational tours. And believe me, no other groupcan chalk up those kind of personal appearancefigures.
By 1966, they were voted top group in America.Mark himself was voted 'Super Star Of The Year''.When "Where The Action Is" came off the air, theboys simply transferred to shows like Ed Sullivan,The Smothers Brothers, Tonight, Milton Berle, MikeDouglas, \ Batman. Hullabaloo, Jack Benny andumpteen others.
In 1967, they again hosted their own series. 'rhistime it was called "Happening -68", every Saturdayfor a year, then five nights a week throughout 1968.On to 1969 and the series was retitled simply"Happening" and it's still going.
Enough evidence that we haven't really paid themsufficient respect? Well, here are the boys individually,as per the picture. Left to right (back row): PaulRevere, founder -member and organist, married withtwo children, blue-eyed and hlond of hair fr.centre: Mark, the FACE of the group, lead singer,Eft. 2in., and he writes and produces much of theRaiders' material.
Next man in the back row is Keith Allison, fromTexas, another six-footer, looks a bit like PaulMcCartney in certain poses, and 23 years old.
Front row, on the left is Joe Correro Jnr., thequietest and most humble (allegedly) of the Raiders.drummer. Born in Mississippi, a keen huntsman and achap who spends his time tracking down dock ci:even wild boar. And the other chap is Freddy Weller,the youngest of the team, from Atlanta, Georgia,guitarist and vocalist, writer, producer, and a ladwho once had a hit "Country" which was producedby Mark Lindsay.
Paul Revere and the Raiders, ladies and gents.We've been a bit haphazard in recognising theirtalents here in the past. Kindly see that we mendour ways when the boys arrive here in a few daysto show, in person, what Raider -mania is all about.
GROUPHave pleasure in announcing that their sole agents are
J. P. SCHOFIELD AGENCIES 01-836 2899
KULT "NO HOME TODAY"c/w "MISTER NUMBER ONE"
Out May 30 C.B.S. Records
8 RECORD MIRROR, Week ending May 24, 1969
NEW ALBUMS REVIEWED BY R.M. REVIEWING PA
Country music -It'scompletely phoney'
Joe South tellsIon Middleton...
JOE SOUTH was all knocked outlast week because so manypeople came to his press recep-tion. Something which had nothappened to him in the States.And he explained why he was sohappy.
"I really dig it, man," Joe toldme. "I love the idea and also that peoplewould come to one. Back in the Statesthis sort of thing doesn't happen too much.People like Al Martino might have one but,even so, it's hard to get people to go toone. They'll find any excuse not to go -it's hard enough to get someone to cometo a party let alone a press reception. It'sreally like pulling a tooth trying to get any-one to attend one. Whereas in England,man, it's really a groovy thing.
"Back in the States they want to be hipand non -informative and if they want tosee somebody they'd rather grab them inthe street or at home. At a press recep-tion is sort of like being on stage. You aresort of performing and being on camera."
To many people in this country, "GamesPeople Play" was Joe South's first record,but this is far from true.
JOE SOUTH-he wrote several hits forU.S. soul group The Tams ...
Fooling around with records since childhood"I've made records before. I've been fooling around with records ever since I raised
enough money to rent a studio," Joe informed me. "When I was a kid I'd make a dealto get studio time, a deal to get the musicians and everything - it's been a way of lifefor me. I had some novelty records that happened to me earlier on, when I got seriousabout being an artiste. Then later on I got into record producing and forgot about beingan artiste for a while. But the frustrations involved in recording another artiste andwriting the material is really too much - I can't get to it.
"Right now I favour being an artiste because it's much easier. You see, I don't haveto argue with myself about what material to record. I don't have to argue with myself asto which musicians to use, how much echo to put on the record - I just do it. And !have some wonderful people at Capitol who go along with the joke!"
'They thought I was a coloured cat!'When Joe's hit was issued over here some folk thought he was a hill -billy sort of
character around the age of 45-50 judging from the sound of his voice. When I men-tioned this to Joe he collapsed with laughter and related what people thought of himin the Southern States of America: "All along the South where I haven't been before,they turned out to see me and said: 'we thought you was a coloured cat'. I don't know,I guess I must send out different vibrations over phonograph records to what I reallyam."
Joe has a big thing about words and the insincerity of people in the world, which goesback to his childhood days.
"When you're a kid nobody ever takes you real serious," Joe recounted. "If you neverquite grow out of a lot of complexes that kids get, such as not being taken really seriouslyby adults, then you sort of hang on to some of the complexes and it involves you. Youbecome aware that people aren't sincere and are playing games with one another andplaying songs on one another's emotions and using each other for various things. Thisis not so predominant in England as back home-I find here if a guy says something henormally means it. In the States if somebody says something to you, you have to give acertain amount of leeway. You think, he may have meant it or he could have meant fiveor six other things."
With this attitude towards things, how did Joe feel about the record business andsome people who say what they don't really mean?
Inflated with people"The record business is very inflated with people who are trying to con you and I
think we could just as well get along without them, too," Joe replied emphatically. "Ireally hate for a guy to hype me, because I never believe any hype. In fact, I've got toa stage where I don't think I can be hyped, not even by the experts."
People say Joe is a country -influenced artiste and he guesses this is so, BUT . .
"I'm influenced by it whether I like it or not," Joe replied. "But I'm influenced by acountry music which is not like what people think of as country music today. Thecountry music today, man, is completely phoney. There's nothing country about it-you've got all electric instruments going, you've got the 300 dollar cowboy suits with therhinestones, and they do 'howdy neighbour' and all that, bUt they really come from thecity, man. I'm not influenced by this sort of music - I hate it. The old country musicwhich came out on the 78s, I always had those things around the house and I alwaysdug country music then as being pure and not watered down by a lot of influences thatare on it today to make it commercial. I think country music stopped when it got aninferior grade of people. I don't think it measures up to any sort of standard that theyused to maintain."
The artistes Joe collected on 78s were' Roy Acuff, Ernest Tubb, The Blue Skyboys,Hank Williams, Hank Snow and people like that. "And there were some good performersthen," Joe affirmed.
No Country boom in StatesWhat did Joe feel about the so-called country boom in music today?"I don't see any boom in country music in the States," was Joe's emphatic reply.
"I see a lot of country records released-probably as many country records as top fortyrecords. But the country ones aren't happening. If there is a boom, I don't know whereit's happening. Glen Campbell is anything but country now. I don't think he's even tryingto be country.
"When you buy a Glen Campbell record, you have not bought a country record.Because he's got like the strings and horns and the multi -chord songs, man, which youjust don't hear in real country music. If some people say there is a boom in countrymusic ,they might mean the Glen Campbell sound and they might mean the guitar itself,which, good gosh, has taken over the world. The next President might be a guitarplayer!"
But no matter what people say Joe maintains that the most important thing is to getthe emotion and spirit of the song across.
JERRY LEE LEWIS "SheStill Comes Round". - To MakeLove Sweeter For You; Let'sTalk About Us; I Can't GetOver You; Out Of Mind; TodayI Started Loving You Again:She Still Comes Round;Louisiana Man; Release Me;Listen They're Playing MySong; There Stands The Glass;Echoes (Mercury 20147 SMCL).JERRY in his swirling, senti-
mental mood most of theway - things like "Let's
Talk About Us;' go like theclappers, but there are so manyquiet and near -sombre moments.too. As ever he gets a big senseof occasion going and there isone of those mournful, mooneyfrontcovers on the album. Lots ofexcellent and sometimes high-flying piano, and the voice thatreally now seems capable oftackling any kind of song.Occasionally a bit too overawedfrom the vastness of the back-ings, though. Rut a minorcriticism.* * * *
VARIOUS ARTISTES "This IsChess" (Chess CRL 4540).SOME very big Chess singles
over the past four or fiveyears. with the exception of
Dale Hawkin's ten -year -old "Susie -Q", recently revived by CreedenceClearwater etc. Plenty of com-mercial, solid R & B and a prob:able chart hit. Titles are asfollows: Ain't Love Good, Ain'tLove Proud; Selfish One; SittingIn The Park; It's Wonderful ToBe In Love; She's Al; Who'sCheating Who?; I Don't WannaFuss, Wang Dang Doodle; SoulOf The Man; You Left The WaterRunning; Mercy, Mercy, Mercy;Long Tall Shorty; Talk To Me;Voice Your Choice; Tell Mama;Susie -Q.* * * *
MAHALIA JACKSON " M ahai i aJackson Sings The Best LovedHymns of Dr. Martin LutherKing". We Shall Overcome; TakeMy Hand Precious Lord; Just ACloser Walk With Thee; There IsBalm In Gilead; The Old RuggedCross; Rock Of Ages; How I GotOver; If I ('an Help Somebody;He's Got The Whole World In HisHands; An Evening Prayer (CBSSTEREO S63369).I -30R Gospel listeners this isr THE voice. The strength and
emotional quality of thelegendary Mahalia continues tostand every test and this subtlyorchestra led collection is one ofthose rare magnetic gems thatcan actually draw a tear to theeye and keeps the ear glued tothe sound. Includes one of themost terrific versions of "RockOf Ages" ever recorded. ThetribUte to Dr. Martin Luther Kingis effective, beautiful and donewith taste as only Mahalia Jack-son could do. L.G.* * * * *
MERRILL MOORE "Tree Top- House Of Blue Lights
'69; Wabash Blues; Kansas City;Born To Lose; Texas In M)Soul; Bring Me Sunshine; SweetMama Tree Top Tall; ReleaseMe; Let The Good Times Roll;She Won't Let Me Forget Her;Wabash Cannonball; Little GreenApples (B and C Records StereoCAS 1001).
HAILED as the rediscoveredheadliner from the dawnof the rock age, Merrill
here expounds his pianistic andvocal theories, getting somevery strong sounds going, alllit with a personality that fairlyhammers away. But there is thetouch of sadness here, as well. . not to mention that old-time flair in cracking awaywilly-nilly. Could he an acquiredsort of taste, but certainly wellworth working at it to try andget it. This one should sell verywell indeed.* * * *
TAMM1 TERRELL AND CHUCKJACKSON: "The Early Show". -Tammi Terrell: Big John; Voice OfExperience; It's Mine; Make TheNight Just A Little Longer; Sinner'sDevotion; If You See Bill. ChuckJackson: You Don't Know Like I
Know; Sunny; Need To Belong ToSomeone; Why; I've Got To BeStrong; Every Man Needs A HomeTown Girl (Marble Arch MAL 1110).
RECORDINGS from the Wandlabel in the States and twotalents who have their own
individual following. This albumcomes off well and one can onlysay that 'rammi really is one ofthe best talents in a somewhatcrowded field. Mr. Jackson sellswith enthusiasm.* * *
CHRIS FARLOWE: The LastGoodbye - The Last Goodbye;Think; In The Midnight Hour;Mr. Pitiful; (I Can't (;et No)Satisfaction; Who Can I TurnTo; You're So Good For Me;Dawn; Looking For You; IIWas Easier To Hurt Her; Don'tJust Look At Me; April Was TheMonth; Handbags And Glad-rags; Life Is But Nothing(Immediate IMLP021).
THIS is a collection of someof the finest tracks Christurned out for Immediate
Records. The sleeve tends togive the impression that he hasnot only left Immediate, butsinging altogether - which, ofcourse, is not so at all. Chriswas always one of the bestvoices in Britain, and his uniquequality is captured well in hcscfourteen choice numbers. Highpoint of the album is the in-clusion of "Handbags .And Glad-rags". This Mike d'Abo com-position is among the best songshe's written and the best Chrishas recorded.* * * * *
RAYMOND FROGGATT: "TheVoice And Writing Of . . ." -Always Goodbye; Corrina Corrina;Red Balloon; Lonely Old World;ABC Goldfish; Sonnet By HartleyCain; Something's Going On; Theold Accordion: Froggatt Went A -Courtin'; Jeannie With The LightBrown Hair; We're All Going ToThe Seaside; Roly (Polydor583 044).
MR. Froggatt himself, alongwith the Messrs. HartleyCain, Leonard Ablethorpe.
Louis Clark - and this is one ofthe most satisfying mood -switch-ing albums in a long time froma British group. Producer TerryKennedy gets the best out of thisteam - and those who have seenthe boys in concert action willknow that their best is somethingelse. Everything here eitherarranged or composed by theerudite Raymond and the groupis in tight yet inspired mood here.It's a good voice and so is thewriting of . . Raymond Froggatt* * * * *
KIRMINGH AM PARKSjazz69 M,u26t
SUMMERFIELD PARKDudley Road, B'ham 16.
MONDAY MAY 26th.OPEN 1 p.m.
SALENA JONES * INDO-JAZZFUSIONS * ALEX WELSH* GEORGE CH1SHOLME *TERRY LIGHTFOOT * KENINGRAM * JOHNNY LAMBE
ANDY HAMILTON* EAGLE JAZZ BAND *
Adults 6s. (in advance 5s.)Children & O.A.P.'s Is.
Advance Tickets from:-Lewis's, Bull St., B'ham 4.
Handsworth TravelA gency,305 Soho Rd., B'ham 21.
Town Hall Box Office.Buses: B80, B82, B85, B86, fromEdmund St., City Centre and
Outer Circle II,
new single by
BOB if Hi`Dancing Everyw ere
budg!tj.p i 6
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BIDE YOURP01\11' Betty Harris ACT 4535
RECORD MIRROR, Week ending May 24, 19699
reviewed by Peter Jones new singles reviewed by Peter Jones new singles reviewed by Peter Jon
r It's re -issue time again folks - this week's batch
include PRETTY THINGS, EDEN KANE, NASHVILLE
TEENS and THE ALLISONS -plus NEW ones from
THE FOUR TOPS and CLIFF RICHARD . . . . .
KARL DENVER: Wimoweh; Never Goodbye (Decca F 12928). A weekfull cf re-releases . . . this is a double "A'; sider recalling 1962 biggies bythe Glaswegian with a yodel and a guitar. Either could cull fresh support.* * * *
EDEN KANE: Boys Cry; Don't Come Crying To Me (Fontana TF 1023).Another oldie, one-time chart-toPper. Very distinctive voice -and, ofcourse, Eden's kid brother, Peter Sarstedt, is a recent number one. Nicesong * * * *
GOLDIE AND THE GINGERBREADS: Can't You Hear My Heartbeat;That's Why I Love You (Decca F 12931). From 1965 and from one of thefew all -girl groups to hit it big. Tremendous feel and style on "Heartbeat",which could make it all over again. * * * * *
NASHVILLE TEENS: Tobacco Road; All Along The Watchtower (DeccaF 12929). This one goes back to 1964, the biggest hit for the group -andhere re -issued as a double "A" -skier. Both are commended. Could re -click.* * * *
HEAVY JELLY: Time Out; Chewn In (Head HDS 4001). Lengthy instru-mental piece with some splendid guitar work, fast of technique, and somePushing. pressuring drumming. Not for general tastes but virtuoso stuff.* * *
PRETTY THINGS: Rosalyn; Don't Bring Me Down (Fontana TF 1204).Re-release again, this time one of the fieriest items ever from the groupwho still have a big following. Very tough -edged group material withcatchy rhythm. * * * *
BARRY NOBLE: Give Me Your Word; Passing Strangers (ColumbiaDB 8578). Balladeer on an oldie -and with a strong performance, too, onthe flip currently a revived hit for Vaughan and Eckstine. Nice simplearrangement and warmly sung. * * * *WALLY WHYTON: Out On The Road; Jig Along (Fontana TF 1030).
Fine controlled performance ny Wally, one of the great all-rounders ofthe business. Guitar -hacked and a catchy little theme which is in the pop -country -folk field. * * * *
ROY EVERETT: Happy Birthday Blues; Empty Sky (ParlophoneR 5781). A Record of the Week. Clever if somewhat contrived vocalline, but full of feeling, and a stark simplicity about much of the backingthat makes it really a stand -out. Do try and hear this -think you'll dig.* * * *
JOSEF LOCKE: How Shall We Are, How Little We Know; St. Christopher(Decca F 12925). Tremendous ballad, this, for ballad -lovers and the goodJosef really gives it a vocal hammering. This is one which appears anoutsider but could so easily make it big. * * * * *
THE ALLISONS: Are You Sure; There's One Thing More (Fontana TF1021). This was another chart -topper years hack, penned by the boys, andstill a very well -arranged and happy sort of song. * * * *
LOS BRAVOS: Black Is Black; Bring A Little Lovin' (Decca F 22930).From 1966, and another revival and another double "A''' sider. A chart -topper then and still notable for the vibrant lead voice. * * * *
THE OPEN MIND: Horses And Chariots; Before My Time (Philips BF1790). Takes time to get moving hut in the end this is a first-rate poprecord, taken at a staccato sort of mood. Good lyrics. Good sense ofstyle, but probably a miss alas. * * * *
LEVY AND FINKLESTEIN: Sing My Sorrow; Never A Time (VogueYRS 7032). I like this a lot. Tremendous feel to it and the song is all fullof woe and sadness and suchlike, with piano mostly in the hacking. ARecord of the Week for sure. * * * * *
JULIE ROGERS: Almost Close To You; This Is Me (Ember EMB S267).A flurry of action over Julie's label change. This as a song and a perfor-mance is good enough to make the charts -a big emotional ballad with asplendid arrangement. Very nice indeed. * * * * *
LARRY CUNNINGHAM: Honky Tonk Downstairs; Bracer() (Big T 123).,Country -styled, deep -voiced, catchy, with steel guitar. Larry always sellswell so this could creep in, or even rampage in. Melodic. * * * *
LINDA SCOTT: First Of All; The Answer's In My Eyes (CBS 4246).This isn't at all had, Linda sings well but the arrangement is sometimesa bit strong, However, the song builds and it is a nice sort of urgentsound. * * * *
FRANKIE MCBRIDE: Give Me Your Word; Blenvenido Amigos(Emerald MD 1125). Slow ballad, with a nice build up, and this oldie isPerhaps geared right for today's hallady scene. Frankie sings well.* * * *LIBBY MORRIS: Runaway; Raindrops (Polydor 56326). Proving, onceagain, that she really can sing, Libby is on a Record of the Week -a lively, hard-hitting performance, marked by a complete professionalism.Tell you what - this gets the plays, it could easily make the charts.* * *
THE WALKER BROTHERS: The Sun Ain't Gonna Shine Anymore;Young Man Cried (Philips BF 1781), Re-release of the boys' giant -a super song, grand performance and who knows - could do it again.* * * * LINDA:
PAUL AND You're Taking My Bag; When I Hear Your Name(Page One POF 140). Two good voices woo create a strong atmospherehere. Almost got a tip this, perhaps it has both commercial appeal amida grown -on -you basis. * * * * *
MARJORINE: I Live; Loving Shrine (Pyramid 6069). From the stablethat produced "Israelites" etc. This is a British group woo are morethan a little different in their vocal approaches, Enough here to suggestthat it could sell. * * * * *
THE PENTANGLE:Once I Had A Sweetheart; I Saw
An Angel (Big T 124). There is aquiet air of confidence about thistraditional and nicely -revived num-ber. Exquisitely sung by JacquiMcShee, it has both charm andfeel to it and there Is no disput-ing the group's tremendous pullin concert. It could miss out, ofcourse, because it Is a ratherspecialist sound, but it's verygood. Flip: Change of pace andstyle.
CHART POSSIBILITYTHE NEW FACES:
Carnival Day; GrandfatherDugan (Decca F 12933). With eachrelease, this talented team edgenearer the charts. This is out asa double `A'-sider but concentrate,if you please, on "Carnival Day"for it is a warm, summery, happyand crystal-clear vocal sound,urged along by a splendid JohnnyHarris arrangement. Good workby Barry and Chas behind theeloquent pipes of Marie. Verystrong pop material. Flip: Okaybut nowheres near as strong.
THUNDERCLAP NEWMANSomething In The Air; Wilhel-
mina (Track 604031). Newly createdgroup who must be in with chances.Hear this a couple of times beforemaking up the mind, because itseems to grow in stature witheach spin, Vocal side is goodenough and the song has a pleas-antly relaxing start, before goingin for the big build up . . . goodguitar work, Commended. Flip: Oneof those bouncier pieces, withheavy piano work.
PETER AND GORDON:I Can Remember (Not Too Long
Ago); Hard Time, Rainy Day(Columbia DB 8585). Long timesince this duo last got togetherbut the wait is pretty well worthwhile. Certainly this is a verycatchy song, a good vehicle forthe depth of Gordon and theheight of Gordon. The arrange-ment is powerful. Play it a coupleof times. It sticks. Flip: Gordonwrote this piece of moodiness,
CHART POSSIBILITYBILLIE DAVIS:
I Can Remember; Nobody'sHome To Go Home (Decca F 12923).Despite the appearance of P and Gwith this, it suits Billie very wellindeed and this likeable andtalented girl could do herself abig chart favour with her spot-ontreatment of a song full of com-mercial appeaL The arrangementand production here is very goodindeed and Billie does a great jobon matching the mood of thelyrics. Fine performance, Flip:Pretty darned near as good asthe top deck.
CHART POSSIBILITYCLIFF RICHARD:
Big Ship; She's Leaving You(Columbia DB 8581). A RaymondFroggat song for Cliff this time,all dressed in a suitably nauticalstyle. The chorus, with organ andvoices added, is dead commercial,and Cliff fills in the verses withhis usual warmth and clarity.There Is a shanty-ish sort of feelto it and some excellent brassfigures behind. Not his best, butbetter than most. Flip: A BrianBennett song, slow ballad, andhaunting.
America Awakesby James Hamilton .
BOB & EARLDancin' Everywhere; Baby It's
Over (B&C CB -102). Bob & Earl's1966 recording (an old "B" side)is nice enough for Soul fans, butnow that all the mystery is overI don't see many Soul freaksactually clamouring to get thisfairly routine but good brassydancer (very much like JackieLee's other Fred Smith -producedthings), and it certainly isn'tgoing to grab the general Publicas much as "Harlem Shuffle".The excellent Wallace Brothers -like slow and ultra -Soulful flip(the U.S. "A" side originally) issomething else though, and hasalways been one of my favouritegoodies, so maybe this is theside to snare the Soul freaks!Anyway, as the boys are hereand the record will be plugged.it's a CHART PROBABILITY ifnot a smash.
MASON WILLIAMSGreensleeves; 13 Dollar Stella
(Warner Bros. WB 7272). TheSmothers Brothers may have beensacked by their T.V. company.but Mason Williams continues tomake pleasant noises as always.This heavily - orchestrated, up-tempoed up -dating of the gentleoldie (!), which is currentlyPopular "easy -listening" in theU.S., could carry on here wherehis successful and much -requested"Classical Gas" left off, since hisexcellent "Saturday Night At TheWorld" vocal follow-up failed.Mason's guitar does the twiddlyhits, and is backed by slabs ofviolin and romping rhythm. Themore peaceful flip features a bitof pretty happy-go-lucky self -penning with guitar to the fore,
JAMO THOMASI'll Be Your Fool; Janet Soul
(Chess CRS 8098). Lovely subtlefunk on this beautifully flowing
rhythm dancer, with some of"Heard It Thru The Grapevine's"greatness. Jamo's curious high.though not falsetto, voice, ridesover the chugging beat and thesubdued guitar which, with twonice brass breaks, constitute thehacking. Much better than "ISpy (For The F.B.I.)", and giventhe plays it could do big things.Re -entitled instrumental flip is thesame as "F.B.I.'s" though - aPity.
IKE & TINA TURNERI'll Never Need More Than
This; A Love Like Yours (Don'tCome Knocking Every Day):London HLU 10267), Two moreold Phil Spector productions of"Mountain High" vintage, thatfeature Tina in soaring form onthe echoing, churning Spector/Barry / Greenwich top -side (abetter than typical Spectorsound), and held rather more Incheck on the old Martha & TheVandellas classic plodding slowieflip, which was. in fact, "Moon-
orginal follow-up. Avery good -value coupling, especi-ally for those fans who onlywant the Spector tracks on the"River Deep" L.P. and alreadyhave the recent "Demand Per-formance" "Mountain" / "LastDance" hit.
ELLA FITZGERALDSunshine Of Your Love; Hey
Jude (Polydor 56767). "Ho. ho!But isn't this jolly!" you arelikely to think. Here, indeed, wehave Ella, in concert, having alot of fun doing the Cream andthe Beatle biggies - except shesings them straight and beauti-fully with a fabulous band back-ing, so that this is absolutely NOTa put-on! I've never gone for herbefore, but these really areridiculously good, and could be a
SML 1038 ODML 1038 DERAM
12" Stereo or Mono LPDeram Records Decca HouseAlbert Embankment London SE1
JUSTIN: Right Now; The Place Where Sorrow Hides (Buffalo BFS1001). Heavy slow beat with bongos weaving round it, brass inserts.and drawn-out echoed vocal group back-up all help to make this
'well sung, purposeful plodder sound a bit Tamla. Justin, whoeverhe is, has a strong, note -worthy, Black voice and a sense of styleto go with it. Good. slow, semi -wailed flip. Any information aboutthis guy? * * * * *
ANTHONY AND THE IMPERIALS: Anthem (Grow, Grow, Grow);Goodbye Goodtimes (United Artists UP 35(.17). After his last "LetThe Sunshine In" "Hair" tilting, Anthony Gourdine stays in thesocial commentary mood on this Sly -influenced Randazzo/Pike heavy'n' slow beater, which in fact ends up nicely "Good God Almighty"funky on a Joe Tex kick. * * * * *
Experiencehim at theAlbert Hallon June 5th
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10 RECORD MIRROR, Week ending May 24. 1969
Made inRecord production techniques and the Land Of Dreams
THERE was a time, not so long ago, when almostall the writing about popular music wasdescriptive or informative. For instance, '''Billboard"(Sept. 8, 1962) had this to say about a new JoeTex record ("Meet Me In Church", Dial 3007): "Afine blues by Tex, with strong gospel roots. Thearrangement makes great use of horns. One ofTex's strongest efforts and it could happen." It'sstill possible to write this way, but the currentstyle tends to be more like the way Paul Williamswrites, in "Crawdaddy". Of the Who's "I Can See
For Miles" he wrote: "I can hear it in my mind. Thesong explodes in bursts of energy, from my brain,through my body, down the street by which I'm walkingand out into the world, pulling me with its strengthtowards infinity. Peter Townshend's guitar rings harderand faster, and I can feel it for centuries." Playing withphrases inspired by the title, Williams tries to recreatethe impact of the music on him.
The "Billboard" writer wrote for an audience whichhadn't heard the song yet, trying to provide the neces-sary clues which the reader could follow or drop depend-ing on his interest in music. "Crawdaddy" assumes theaudience already knows the song and understands Wil-liams' taste - maybe he can express the feelings they'vehad when listening to the record, or maybe they just likereading that kind of writing, reassured by his confidentreaction to the sound.
The problem of how to write about various forms ofart has always baffled and intrigued critics, whethertheir subjects be painting, films or sport. For a start-what do. you assume about your audience: that theyknow as much or more than you do? Or that they knownothing? (Do I pause to explain what "Billboard" is;or "Crawdaddy!" Or both?) Next, do you give your ownreactions to the art; or do you have a pattern ofanalysis, making sure always to mention content, style,and technique? Finally, are there some qualities orelements which will immediately tell the reader whetherhe is likely to be interested?
The record buyer can do quite a lot of sorting outwithout either reading a review or hearing the records,just by looking at names. SoMe may look just at thename of the singer, and decide from that: but this canbe dangerous. In many cases the singer has little controlover what song he uses, how he sings it, or whataccompaniment he gets. Just as good actors find them-selves sometimes in terrible films, so good singers canmake horrible records.
The next name people might look at is the label-there are plenty of record buyers who listen to everyrecord released on a particular label, Tamla Motown,
some ways, this is morereliable, because the styles and quality of individuallabels such as these tend to be consistent - in each case,the labels select from a narrow range of Americanreleases.
The reason -for the consistency and reliability of someof these labels is because they each use records pro-duced by a small number of people. The "producer" hasonly recently achieved wide recognition. This is the manwho supervises the recording session; often a composer,he may also choose the songs, decide on how they shallbe presented and arranged, direct the recording balance,and say "do it again".
Producers can interpret their job in various ways,sometimes keeping themselves in the background,basically just making sure that the session takes placeand reproduces what the singer can do best; or else com-pletely dominating the session, using the singers to
IRMA THOMAS (left) and BETTY HARRIS
achieve a sound or effect they want. The history ofAtlantic Records illustrates how the concept of producerhas tended to change, and is well presented in the"History of Rhythm and Blues" series of LP's recentlyissued by the company. Early records, supervised byAhmet Ertegun and then by Jerry Wexler, tended topresent the singers "naturally", with the same kind ofsongs and accompaniment they would have had in theirlive performances. But in 1957 Jerry Wexler introducedvibes into the accompaniment for the blues singer ChuckWillis, to create an effective mood for "C.C. Rider", andin 1959 Leiber and Stoller produced a dramatic effectwith rock and roll violins in "There Goes My Baby". In1960 Phil Spector returned to vibes for Ben E. King's"Spanish Harlem", and then went off on his own.
With "You've Lost That Lovih' Feelin'" (1965) and"River Deep, Mountain High" (1966) Spector achievedessentially all that could be done with studio techniques,remarkably achieving ecstacy through "artificial" methods.Possibly the most successful studio production sincethose records has been Denny Cordell's "Whiter ShadeOf Pale", in which he sensibly went for the completelyopposite feelings, of absolute detachment.
But not many producer -dominated records had thecoherence - togetherness! - of these; much more oftenthey were like the ABC -Paramount accompaniments forLloyd Price and Ray Charles, who had girlie choirs andsyrupy strings wrapped around them in order to meetwhite tastes. And even now, when people should havelearned from Spector and know better, we get those shrillscreechy girl chants and saw -edge strings.
So that "Billboard" comment on Joe Tex's recordbegins to make sense - evidently the record wasn't oneof the regular pop products. Mote likely, it was producedin the tradition of New Orleans productions, whichtended to give the singer a studio without too manytrappings. Two men were particularly important in NewOrleans sessions - Dave Bartholomew through most ofthe fifties, and Allen Toussaint since the early sixties.
Bartholomew is of great significance as the man whofirst recorded Fats Domino; he worked for many years asrecording director, session producer, and studio band-leader for Imperial Records, a Hollywood company whichrecorded several important New Orleans singers. TheNew Orleans dance blues was one of the major rhythmand blues styles of the fifties, featuring piano and tenorsax. At fast tempos the high pitched tenor of Fats Dominoand Smiley Lewis was reminiscent of Joe Turner's style,but at slow tempos their voices took on a softer tone anda stronger Louisiana accent.
e . . by Charlie GillettLewis was never popular with the national white audi-
ence, although his "I Hear You KnoJkin- was success-fully covered for Dot by Gale Storm and his "One Nightof Sin" became the more polite and much less moving"One Night" for Elvis Presley. Like many of Imperial'ssingers, Lewis recorded with Bartholomew's band, andmade some of the finest records which have never beenmade available in LP form in this country.
Bartholomew's success with these singers inspired otherWest Coast companies to record in New Orleans. Speci-alty cut "Lawdy Miss Clawdy" by Lloyd Price (1952)and "The Things I Used To Do" by Guitar Slim (1954),both of which used similar instrumentation and arrange-ments to Domino's records. And in 1955 the Georgiasinger Little Richard recorded "Tutti Frutti", the first ofa series of hit records, in New Orleans, with severalmusicians who played on Domino's records and also onShirley and Lee's hits for Aladdin.
By the end of the nineteen fifties, the Hollywood com-panies had lost interest in the New Orleans recordingstudios, but local companies were using them more often.Fire/Fury, with headquarters in New York; Ace, basedin Jackson, Mississippi; and New Orleans companies in-cluding Ric, Ron and Minit were all recording NewOrleans singers in the city. Wilbert Harrison's "KansasCity" (Fury, '59), Ernie K -Doe's. "Mother -in -Law" (Minit.'61), and Chris Kenner's "I Like It Like That" (Iistant,'61) were among the city's biggest national hits, all ofthem influenced by Fats Domino's style but featuring amore distinct shuffle rhythm..
Since then Lee Dorsey has been the city's most famoussinger, one of many supervised by Allen Toussaint. Dor-sey's recently reissued "Get Out of My Life, Woman" isa fine example of contemporary rhythm and blues singing,and features the charming piano playing of Toussaint,modest, expressive and witty.
Toussaint also produced records by two of the greatestfemale rhythm and blues singers, Irma Thomas and BettyHarris. Both singers are unusual in having relativelytittle obvious gospel influence - they are female bluessingers, with exceptionally effective ways of singing aboutsadness and love.
Having worked with Minit Records when the companywas based in New Orleans, Toussaint now runs severallabels in conjunction with Marshall Seehorn, includingSansu, Tou-Sea, and Dee -Su. Many of the records soundlike attempts to recreate the sound and success of LeeDorsey, but Diamond Joe has made several excellentrecords, including the fascinating "Gossip Gossip" (notreleased in this country).
Although the name Allen Toussaint does not guaran-tee greatness in a record, it indicates that the sound willbe unlike most other records being made; he seems lessimpressed by "soul" than most other producers acrossthe United States, and continues to develop singers withconnections to the blues. Whether this is good, remainsfor you to decide.
Recommended records:"Take a Look", LP by Irma Thomas (Minit), particularly"Wait Wait Wait". "Rhythm and Blues Classics, Vol 1"(Minit), particularly "Ruler of My Heart" by IrmaThomas, "How Many Times" by Aaron Neville, and "KoKo Mo" by Gene and Eunice. "Rhythm and Blues Classics,Vol 2", (Minit), particularly "Over You" by Aaron Nevilleand "Country Fool" by the Showmen. "Million Sellers,Vol 1" by Fats Domino (Liberty). "Soul Perfection" LPby Betty Harris (Action, "Get Out Of My Life, Woman"(Bell, 45 by Lee Dorsey. For rare New Orleans style 45'son U.S. labels, see Rod Patton's lists in Record Mart(advertised in Records for Sale in Record Mirror).
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records for saleATTENTION rock and country fans- fantastic "George Jones Hits"LP (U.S. Musicor) - limited quan-tity - only 308. (Post free), - B.Smith, 54 Shayfleld, Manchester 22.
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LYRICS WANTED by Music Publishing House - 11 St. Alban'sAvenue, London, W.4.PROFESSIONAL MANUSCRIPTSfrom tape. Photostats. Demonstra-tion Records by Recording Stars.-Morgan Jones, 27 Denmark Street,London. W.C.2. 01.836 1186.
fan clubsBILLY JOE ROYAL!!! S.a.e, toMiss Diana Cox, 19 Roedean Cres-cent, Brighton, Sussex.LOVE AFFAIR!!! Stamped ad-dressed envelope to: Sue, c/o 28/30Theobalds Rd., London, W.C.1.
KENNY BALL APPRECIATIONSOCIETY. - S.a.e. to Miss PatSanders, 18 Carlisle Street, London,W.I.DAVE CLARK 5. S.A.E. to Maureen,c/o Harold Davison Ltd., 235/241Regent Street, London, W.I."BE IN ROSKO'S RANGERS" -S.a.e. c/o 148 Morley Ave., London, N.22.
HILL JOE ROYAL!!!! S.a.e. to:Miss Diana Cox, 19 Roedean Cres-cent, Brighton, Sussex.OFFICIAL International Roy Orbi-son Club, 21 Daventry Gardens,Harold Hill, Romford, Essex.
MiscellaneousJOIN the Discotheque Set member-ship of London's leading discothe-ques, only 12. - Write, The Dis-cotheque Set, 30 Baker Street, W.I.
records wantedANY unwanted records bought, orexchanged for new. - S.a.e. details.Cob Record Centre, Portmadoc,Caerns,
I BUY your unwanted records.Send details and s.a.e. to Andy.Croutel Rd., Felixstowe, Suffolk.A.M.
personalEXCITING DATES BY COMPUTERFOR EVERYONE EVERYWHERE- SEND TODAY FOR FREEQUESTIONNAIRE WITHOUT OB-LIGATION - DATELINE (DEPT.R), 16 STRATFORD ROAD, LON-DON W.8. TELEPHONE 01-9370102.
JANE SCOTT for genuine friends,Introductions opposite sex with sin-cerity and thoughtfulness. Detailsfree, 5d. stamp to Jane Scott, 50/RMMaddox Street, London, W.I.
MAKE NEW FRIENDS of theopposite sex in the most reliabl:'and inexpensive way availableFree details.-S. I. M. (32) BraemarHouse, Queens Road, Reading.Berks.
PEN/PERSONAL friends for every-one. Sincere. Confidential.-S.a.e. toAmethyst Club, P.O.B. 4. 78 Red -lion Street, London.
announcementsREWARD for information. Stolen.130 singles, inc. Dynatones, Black-pool, May 13. C. Brown, 6 TrevorRoad, Burscough, Ormskirk, Lancs.CITY OF LONDON DEAD-Rubbish!Visit the Black Raven, evenings, fordancing, music, beer, at pub prices.185 Bishopsgate, EC2.
for salePOSTERS Hendrix, Mayall, Clapton,Green, Four colour prints SO x 20,6/- each. Complete set of four20,-. Post free. - C. W. 0. RodgeMaynard, R.M. 112, BeckenhamRoad, Beckenham, Kent.
mobile discothequesA BETTER sound with Penny andKathy's Disc Show. - Phone 529-7514 p.m.
BLUES & SOUL No, 19 MayArticles, photos on MarvinGaye, Wilson Pickett, PeggyScott and Jo Jo Benson, AllenToussaint, The Isleys, BettyHarris, Ike and Tina plus PartOne of the Drifters Story.disc Info, Dave Godin. Specialnew look B & S. Send 3s. P.O./Cheque to 7 Trinity Close.'Bishop's Stortford, Herts.
RECORD MIRROR, Week ending May 24, 196911
RECORD IRROR CHARTS PAGE
AIR MAILED FROM NEW YORKGET BACK*3 (3) The Beatles (Capitol)LOVE CAN MAKE YOU HAPPY5 (5) Mercy (Sandi)HAIR1 (8) Cowsills (MGM)AQUARIUS/LET THE SUNSHINE IN MEDLEY*3 (10) 5th Dimension (Soul City)THESE EYES6 (6) Guess Who (RCA)OH HAPPY DAY*10 (4) Edwin Hawkins Singers (Pavilion)THE BOXER*4 (7) Simon & Garfunkel (Columbia)GITARZAN9 (7) Ray Stevens (Monument)IT'S YOUR THING7 (9) Isley Brothers (T -Neck)ATLANTIS*25 (4) Donovan (Epic)GRAZIN' IN THE GRASSIf (4) Friends of Distinction (RCA)MORE TODAY THAN YESTERDAY13 (6) Spiral Staircase (Columbia)WHERE'S THE PLAYGROUND SUSIE19 (4) Glenn Campbell (Capitol)TOO BUSY THINKING ABOUT MY BABY17 (3) Marvin Gaye (Tamla)HEATHER HONEY18 (3) Tommy Roe (ABC)PINBALL WIZARD*16 (6) The Who (Decca)RIVER IS WIDE*20 (6) Grass Roots (Dunhill)GOODBYE*28 (4) Mary Hopkin (Apple)IN THE GHETTO24 (3) Elvis Presley (RCA)HAWAII FIVE 011 (8) Ventures (Liberty)I CAN'T SEE MYSELF LEAVING YOU22 (5) Aretha Franklin (Atlantic)TIME IS TIGHT*8 (8) Booker T. M.G.'s (Stax)SWEET CHERRY WINE15 (8) Tommy James & The Shondells (Roulette)BAD MOON RISING46 (2) Creedence Clearwater Revival (Fantasy)STAND23 (5) Sly & The Family Stone (Epic)EVERY DAY WITH YOU GIRL35 (3) Classics IV (Imperial)MORNING GIRL33 (3) Neon Philharmonic (W.B./7 Arts)THE CHOKIN' KIND*14 (7) Joe Simon (Soundstage)GIMME GIMME GOOD LOVIN"26 (10) Crazy Elephants (Bell)DAY IS DONE*41 (2) Peter, Paul and Mary (W.B./7 Arts)YOU'VE MADE ME SO HAPPY*27 (10) Blood Sweat & Tears (Columbia)NOTHING BUT A HEARTACHE*36 (5) The Flirtations (Deram)HAPPY HEART74 (5) Andy Williams (Columbia)THE COMPOSER21 (5) Diana Ross & Supremes (Motown)I'VE BEEN HURT44 (2) Bill Deal and Rhondels (Heritage)MY WAY*29 (6) Frank Sinatra (Reprise)WINDMILLS OF YOUR MIND47 (2) Dusty Springfield (Atlantic)CISSY STRUT42 (3) Meters (Josie)ONE- (1) 3 Dog Knight (Dunhill)IT'S NEVER TOO LATE48 (2) Steppenwolf (Dunhill)ISRAELITES- (1) Desmond Dekker (UNDMEDICINE MAN- (1) Buchanan Bros. (Event)SEE- (1) The Rascals (Atlanta)BLACK PEARL- (1) Checkmates Ltd. with Sonny Charles (A&M)I COULD NEVER LIE TO YOU50 (2) New Colony Six (Mercury)(1 WONNA) TESTIFY- (1) Johnnie Taylor (Stax)LET ME- (1) Paul Revere & Raiders (Columbia)SEATTLE49 (2) Perry Como (R.C.A.)I'M A DRIFTER- (1) Bobby Goldsboro (U.A.)BORN TO BE WILD- (1) Wilson Pickett (Atlantic)
BUBBLING UNDERWHAT IS A MAN-The 4 Tops (Motown)ROMEO & JULIET THEME-Henry Mancini (RCA)THE APRIL FOOLS-Dionne Warwick (Scepter)GOOD MORNING STARSHINE-Oliver (Jubilee)PROUD MARY-Solomon Burke (Bell)SPECIAL DELIVERY -1910 Fruitgum Co (Buddah)DON'T LET THE JONESES GET YOU DOWN
-The Temptations (Gordy)LOVE ME TONIGHT-Tom Jones (Parrot)MARLEY PURT DRIVE-Jose Feliciano (RCA) -TOMORROW TOMORROW-Bee Gees (Atco)SORRY SUZANNE-HoHies (Epic)rRETTY WORLD-Sergio Mendes & Brasil '66 (A&M)AUSALITO-Al Martino (Capitol)
WHAT DOES IT TAKE-Jr. Walker and the All Stars(Soul)
NO MATTER WHAT SIGN YOU ARE-Diana Ross and the Supremes (Motown)
TOP 15 LP's1
NASHVILLE SKYLINE1 Bob Dylan (CBS)ON THE THRESHOLD OF A DREAM2 Moody Blues (Deram)IIOLLIES SING DYLANG Hollies (Parlophone)BEST OF THE SEEKERS3 Seekers (Columbia)GOODBYE CREAM7 The Cream (Polydor)ELVIS4 Elvis Presley (RCA)SOUND OF MUSIC8 Soundtrack (RCA)OLIVER12 Soundtrack (RCA Victor)SONGS FROM A ROOM5 Leonard Cohen (CBS)BOOKENDS14 Simon & Garfunkel (CBS)HAIR9 The London Cast (Polydor)LED ZEPPELIN10 Led Zeppelin (Atlantic)TRUMPET AGO -GO Vol. 3- James Last Orchestra (Polydor)SOUNDS OF SILENCE- Simon & Garfunkel (CBS)20/20- Beach Boys (Capitol)
ALBUMS BUBBLING UNDERSOUND OF MUSIC-Andy Williams (CBS)BEATLES (Apple)BEAT OF THE BRASS-Herb Alpert (A&M)COLLOSEUM-Colloseum (Fontana)DIANA ROSS & SUPREMES JOIN THE
TEMPTATIONS-(Tamla Motown)FAMILY ENTERTAINMENT-The Family (Reprise)GENTLE ON MY MIND-Dean Martin (Reprise)THE GRADUATE-Simon & Garfunkel (CBS)GREATEST HITS-Frank Sinatra (Reprise)
[ I LOVE HOW YOU LOVE ME-Ray Conniff (CBS)JUNGLE BOOK-SoundtrackLIVE AT THE TALK OF THE TOWN- Seekers (Columbia)
[OVER AND OVER-Nana Mouskouri (Fontana)PARSLEY, SAGE, ROSEMARY AND THYME- Simon & Garfunkel (CBS)DR. BYRD AND MR. HYDE-The Byrds (CBS)
5 YEARS AGO
JULIET2 The Four Pennies (Philips)MY BOY LOLLIPOP3 Millie (Fontana)DON'T THROW YOUR LOVE AWAY1 The Searchers (Pre)YOU'RE MY WORLD12 Cilia Black (Parlophone)IT'S OVER6 Roy OrbisonI BELIEVE4 The Batchelors (Decca)DON'T LET THE SUN CATCH YOU CRYING9 Gerry and the Pacemakers (Columbia)A LITTLE LOVIN'10 The Fourmost (Parlophone)CONSTANTLY7 Cliff RichardI LOVE YOU BECAUSE8 Jim Reeves (RCA)WALK ON BY11 Dionne Warwick (Pye)WORLD WITHOUT LOVE5 Peter & Gordon (Columbia)THE RISE & FALL OF FLINGEL BUNT- The Shadows (Columbia)I WILL17 Billy Fury (Decca)CAN'T BUY ME LOVE13 The Beatles (Parlophone)DON'T TURN AROUND16 Merseybeats (Fontana)MOVE OVER DARLING15 Doris Day (CBS)MOCKINGBIRD HILL14 The Migil Five (Pye)IF I LOVED YOU20 Richard Anthony (Columbia)NO PARTICULAR PLACE TO GO- Chuck Berry (Pye)
R & B SINGLES1
BEHIND A PAINTED SMILE3 Isley Brothers (Tamla Motown TMG 693)TIME IS TIGHT7 Booker T & The MG's (Stax 119)SHOTGUN/ROAD RUNNER1 Jnr. Walker & The All Stars(Tamia Motown TMG 691)HARLEM SHUFFLE4 Bob & Earl (Island WIP 6053)HIGHER AND HIGHER8 Jackie Wilson (MCA BAG 2)TRACKS OF MY TEARS9 Smokey Robinson & The Miracles(Tamla Motown TMG 696)OH, HAPPY DAY- Edwin Hawkins Singers (Buddah 201048)CUPID2 Johnny Nash (Major Minor M.M. 603)THE ISRAELITE5 Desmond Dekker (Pyramid PYR 6058)FREEDOM TRAIN13 James Carr (BMC CB 101)I DON'T KNOW WHYG Stevie Wonder (Tamla Motown TMG 690)THE RIGHT TRACK19 Billy Butler (Soul City SC 113)PROUD MARY- Solomon Burke (Bell BLL 1062)SWAN LAKE18 The Cats (BAF No. 1)I'M LIVING IN SHAME11 Diana Ross & The Supremes (TMG 695)LOVE IS ALL I HAVE TO GIVE16 The Checkmates Ltd. (A & M AMS 747)RIDE YOUR PONY- Lee Dorsey (Bell BLL 1060)LET LOVE COME BETWEEN US- James & Bobby Purify (Bell BLL 1056)I HEARD IT THRU' THE GRAPEVINE10 Marvin Gaye (Tamla Motown TMG 686)MINI SKIRT MINI12 Wilson Pickett (Atlantic 584261)
1 BUDGET LP's1
FOUR AND ONLY SEEKERS(-) The Seekers (MFP)WORLD OF VAL DOONICAN(-) Val Doonican (Decca)WORLD OF MANTOVANI(-) Mantovani (Decca)ONLY FOREVER(-) Dean Martin (MFP)WORLD OF CHARLIE KUNZ(-) Charlie Kunz (Decca)EARLY ALPERT(-) Herb Alpert (Marble Arch)HITS '69(-) (MFP)IMPACT(-) (MFP)WORLD STAR FESTIVAL(-) (EMI)HITS OF DONALD PEERS(-) Donald Peers (MFP)THIS IS . .. DESMOND DEKKER(-) Desmond Dekker (Trojan)YOU CAN ALL JOIN IN(-) Various Artistes (Island)ROCK AND ROLL(-) Jerry Lee Lewis, Chuck BerryFats Domino (Fontana)
14 SEEKERS' GOLDEN COLLECTION(-) Seekers (Fontana)WORLD OF THE BACHELORS(-) Bachelors (Decca)
10 YEARS AGO
A FOOL SUCH AS I/I NEEDYOUR LOVE TONIGHT1 Elvis Presley (RCA)IT DOESN'T MATTER ANY MORE2 Buddy Holly (Coral)IT'S LATE/THERE'LL NEVERBE ANYONE ELSE BUT YOU3 Ricky Nelson (London)I'VE WAITED SO LONG5 Anthony Newley (Decca)SIDE SADDLE4 Russ Conway (Columbia)COME SOFTLY TO ME6 Frankle Vaughan (Philips)DONNA7 Marty Wilde (Philips)PETITE FLEUR8 Chris Barber (Nixa)COME SOFTLY TO ME10 Fleetwoods (London)GUITAR BOOGIEIs Bert Weeden (Top Rank)NEVER MIND/MEAN STREAK13 Cliff Richard (Columbia)FORT WORTH JAIL12 Lonnie Donegan (Nixa)I GO APE9 Neil Sedaka (RCA)CHARLIE BROWN11 The Coasters (London)ROULETTE- Russ Conway (Columbia)WHERE WERE YOU ON OUR WEDDINGDAY?15 Lloyd Price (HMV) -C'MON EVERYBODY18 Eddie Cochran (London)SMOKE GETS IN YOUR EYES16 The Platters (Mercury)GUITAR BOGIE SHUFFLE19 Virtues (HMV)THREE STARS- Ruby Wright (Parlophone)
R & B LP's1
THIS IS . .. DESMOND DEKKER1 Desmond Dekker (Trojan TTL 4)TIGHTEN UP2 Various Artistes (Trojan TTL 1)JOHNNY NASH6 Johnny Nash (Major Minor SMLP 47)DIANA ROSS & SUPREMES MEETTEMPTATIONS4 (Tamla STML 11096)THIS IS SUE5 Various Artistes (Sue IPP 3)
6 GREATEST HITS- Diana Ross & The Supremes(Tamia Motown STML 11063)THIS IS SOUL7 Various Artistes (Atlantic 643301)GET READY9 Booker T & The MG's (Atco 228004)IN THE GROOVE- Marvin Gaye (Tansla Motown STML 11091)HISTORY OF ... OTIS REDDING3 Otis Redding (Atco 228001)
BLUE NUMBERS DENOTENEW ENTRY
*AN ASTERISK DENOTESRECORD RELEASED INBRITAIN
Compiled forRecordRetailer andthe BBC byThe BritishMarketResearchBureau.
GET BACK1 (5) Beatles (Apple)MY SENTIMENTAL FRIEND2 (5) Herman's Hermits (Columbia)MAN OF THE WORLD3 (6) Fleetwood Mac (Immediate)DIZZY11 (6) Tammy Roe (Stateside)BEHIND A PAINTED SMILE7 (6) The Isley Brothers (Tamla Motown)MY WAY6 (7) Frank Sinatra (Reprise)COME BACK AND SHAKE ME4 (7) Clodagh Rogers (RCA)GOODBYE5 (7) Mary Hopkin (Apple)THE BOXER9 (4) Simon & Garfunkel (CBS)RAGAMUFFIN MAN15 (4) Manfred Mann (Fontana)PINBALL WIZARD10 (8) The Who (Track)ROAD RUNNER12 (6) Junior Walker and All Stars(Tamla Motown)AQUARIUS/LET THE SUNSHINE IN22 (5) Fifth Dimension (Liberty)LOVE ME TONIGHT19 (2) Tom Jones (Decca)LIVING IN SHAME21 (5) Diana Ross & The Supremes(Tamla Motown)HARLEM SHUFFLE13 (9) Bob and Earl (Island)'I'HE ISRAELITE8 (8) Desmond Dekker & Aces (Pyramid)GALVESTON27 (3) Glen Campbell (Ember)CUPID14 (7) Johnny Nash (Major Minor)BADGE25 (6) The Cream (Polydor)PASSING STRANGERS20 (9) Sarah Vaughan & Billy EckstineMercury)TRACKS OF MY TEARS30 (3) Smokey Robinson & The Miracles(Tamla Motown)GENTLE ON MY MIND16 (15) Dean Martin (Reprise)DICK-A-DUM-DUM28 (3) Des O'Connor (Columbia)BOOM BANG -A -BANG18 (9) Lulu (Columbia)I'D RATHER GO BLIND44 (3) Chicken Shack (Blue Horizon)TIME IS. TIGHT30 (3) Booker T & MG's (Stax)SNAKE IN THE GRASS35 (2) Dave Dee & Company (Fontana)I DON'T KNOW WHY24 (8) Stevie Wonder (Tamla Motown)COLOUR OF MY LOVE22 (6) Jefferson (PYe)I THREW IT ALL AWAY50 (2) Bob Dylan (CBS)HIGHER AND HIGHER39 (2) Jackie Wilson (MCA)HAPPY HEART- (1) Andy Williams (CBS)WINDMILLS OF YOUR MIND17 (12) Noel Harrison (Reprise)YOU'VE MADE ME SO VERY HAPPY36 (4) Blood Sweat And Tears (CBS)BLUER THAN BLUE34 (5) Rolf Harris (Columbia)LIVING IN THE PAST41 (2) Jethro Tull (Island)GROOVY BABY38 (2) Microbe (CBS)OH HAPPY DAY- (1) Edwin Hawkin Singers (Buddah)MY FRIEND36 (4) Roy Orbison (London)GIMMIE GIMMIE GOOD LOVIN'- (1) The Crazy Elephant (Major Minor)THINK IT ALL OVER46 (2) Sandie Shaw (Pye)MONSIEUR DUPONT47 (14) Sandie Shaw (PYe)WHERE DO YOU GO TO MY LOVELY42 (15) Peter Sarstedt (United Artists)I CAN HEAR MUSIC33 (12) Beach Boys (Capitol)WALK ON GILDED SPLINTERS- (1) Marsha Hunt (Track)SORRY SUZANNE32 (11) The Hollies (Parlophone)SANCTUS40 (6) Troubadour du Roi Baudoin (Philips)I HEARD IT THRU' THE GRAPE VINE26 (14) Marvin Gaye (Tamla Motown)SWAN LAKE- (1) The Cats (Bas)
JAMES CARR - No. 10 in the R & 13
chart with "Freedom Train'.1
12 RECORD MIRROR, Week ending May 24, 1969
Atop five prediction for "Oh Happy Day" by the EdwinHawkins Singers - everyone raving over it . . . What
was Joe South's publicist Lord Tim Hudson doing wearingsomeone else's trousers the other morning? ... Dilys Watlingsigned a recording contract with Pye Records . . . Too badthey had to run out of DJs for the "Scrambler" - it wasquite the best Radio 1 quiz game since "Crack The Clue" ...Al8 (a) Mike Raven; (b) Johnnie Walker; (c) Tony Black-burn; (d) Jimmy Saville (odd one out was "Time Is Tight"which isn't used as a signature tune) . . . Journalists seenswaying from Billie Davis' reception straight (or rathercrookedly) on to one for Joe South . . Good to see Chessgetting something out of the reissue boom, if only, in theR & B chart . . For publicity stunt, Chicken Shack will notuse a "100 Ton. Chicken" to promote forthcoming album ofthe same name . It might just be possible to accept theinclusion the Monitors and the Fantastic Four on Motown'slatest "Collection Of Big Hits" LP, but Blinky ? . . . Talk ofHoneybus split if latest record "She Sold Blackpool Rock"doesn't happen . . . MGM Press Officer Des Brown leavingto join Warner Bross. . . Mark Edwards disguised as Alcock,won a prize with the businessmen team in Daily Mail Trans-atlantic Air Race . . After sock it to me, ponder on these;smock it to me - expectant mother, shock it to me -electrician, flock it to me - shepherd, hock it to me - pawn-broker . . Beautiful red-headed nude on the cover of LenDeighton'a "An Expensive Way To Die" is Samantha Bond,girl friend of Bruce Turner of the Village . .
Q19: Under what title was Edith Piars autobiography pub-lished in Britain (clue: it was also the title of one of KayStarr's biggest ever hits)? . . . At Billie Davis' reception, thefirst time the Face has seen an elephant after boozing! . . .
"IF . . No. 1": If Stevie Windwood ever falls out with hisnew group, will they tell him to go and play in the Traffic?. . .Leapy Lee, currently enjoying success in America with"Little Yellow Aeroplane" refusing to work thete as he hasa fear of flying . . . Bob Houston leaving Melody Maker tojoin Tony Barrow International . . . John McLeod signed asa A & R manager with Pye Records . . . Great news for allcine/Rock fans - the classic beat film 'The Girl Can't HelpIt" is now available to all and sundry in 16mm. (enquiriesto Ron Harris Cinema Services; Glenbuck House, Surbiton,Surrey) . . . New outfit Ian Anderson wears on stage is farmore flamboyant and colourful than his old raincoat (whichhe lost in America) .. . New Scaffold album called "L The P"
. . Quote from J. J. Jackson - "I am the kind of chocolatewhich melts in the mouth and not in the hand" ...Bill Fowlerpulled a fellow in Hamburg and didn't realise until the finalmoment -- Dave Dee set it up! . . . Look out for Breakthruas Marquee residents . . Alvin Lee buying a cottage.in thecountry . . . Instruments and sounds on Harvey Matusow'sfirst album include; Jew's harp, Tibetan gong, mini -zither,2 -string backless guitar, toy duck, Indian bells, toy turtleand believe it or not a piano amongst other things . .
Circus went down a storm at the Brussels Revolution . . .
Popular Asgard Club in Stratford once owned by MandrakePaddle Steamer ..
Elvis Presley', next single in the States reputed to be"The Fair's Moving On", written by Doug Flett and GuyFletcher . Jimmy James at Sotheby's veteran car sale ...Spirit of John Morgan have been approached by CaptainMorgan Rum (Seagrams) with a view to doing TV com-mercials . . . One of the guests at a Led Zeppelin party inthe States was a live octopus brought by promoter BillGraham . . . Locomotive returned from Germany last weekwith a German roadie named Hole . . . Poet and the OneMan Band went down a storm at the Golden Rose Festivalof Montreux . . . Richard Harris taking the title role in afilm of Dylan Thomas with music composed by Jim Webb. . Jim Webb also doing music for new film version of"Hamlet" . . . Vince Edward, star of "Hair" has been signedby Limbridge Music for record productions, and Jim Webbhas agreed to write a song for Vinee's next single . . . EstherOfarim the guest of honour at the Antibes Song Festival inJune . . . Peter Prince still trying to assert himself as guv'norSnooker player . . Watch out for the RM dart team - soonto be a force to be reckoned with . . . So many differentsingles recorded from "Hair" . . Buffy Sainte -Marie abig success in Rome and given a riotous party - guestsincluded George Sanders, Peter Ustinov, Jonathan Winters,Carroll Baker . . Head Retords have won their battle to findthe real Heavy Jelly . . . Legal difficulties causing long delayof Mighty Baby's first single . . . Gypsy excellent at lastweek's Lyceum all-night rave - next Friday, Procol Hamm
.. Hard Meat signed to Blue Horizon but to be distributed onan independent label.
DAVE DEE. DOZY, BEAKY MICK & TICH- -
`The young aren't just rebellingagainst the old anymore' saysREG PRESLEY
yOU know how it is with artistes . . . Sometimesthey take a little bit of warming up before theyreally get going and sta;.t laying it on the line.It happened that way, this week, with Reg Presley.
The eminent Trogg began by talking about thepolicy of recording singles featuring a Trogg inturn (currently it's Reg himself with "LucindaLee"), then moved on to explaining the decline
of the group's consistency at hit -making."It started with 'Surprise Surprise'. We were in America
when it was released and we were intending to come homethree weeks before we actually did - which would havebeen a week after it was released, just in time to promoteit. But we stayed longer than expected in the States andby the time we got back it was too late. That was abouta year ago. Things are different now, it can take a lot longerfor a record to reach the charts, It used to be that if aknown group had released a record that didn't show in thecharts within two or three weeks they'd know somethingwas wrong. Now you could go over a month before it beginsto show. Look at Clodagh Rogers - her record was outmonths before anything happened."
Reg's view is that pop has a continual urge to move outinto adventurous territory and when the going gets a bittricky there's an inevitable return to basic beat, followed byfurther stemming out. "The people listen to beat or balladswhile re -thinking what they want. At the moment, inAmerica, the ballad stands a good chance. They're fightinga war and when they are, they want to relax. Even someof the psychedelic groups are turning to ballads. In peacetime they don't want to get excited, they want to be lulled,to be pacified. But it usually takes about six months fora certain thing to move one way or another, to get adjusted.In America nine months ago we had a terrific hit - becauseof Vietnam, I reckon with my 'Love Is All Around'. It onlygot to number seven nationally but it was in the top 100for a long time and reached number one in most areas atdifferent times. It probably did a little better than any otherTrogg record, even 'Wild Thing'."
By this time Reg was getting into his stride so, withoutfurther interruption, here's Presley's Prediction:
"It may sound silly to say this now but - all of a sudden- it will be very In to be very simple. Maybe not evenwords to songs. Saw something like what I have in mindon BBC -2 recently - three Jew's harps, a guitar and, Ithink, a sitar. So simple. Get a sound and gently elaborateon that.
"We Troggs are trapped. We started on one thing and ifwe sing too violently to another scene we might lose the fans,we have. We've got to sneak up on it, without them evenrealising we're changing. If I could capture the right groupI'd like to work on them and manage them in this newfield. I tell them not to play music, just sounds, and rhythm.
"The y6ung aren't just rebelling against the old any more.
"The young are having a go at the governments of theworld now, they're going straight in for the kill. I mean,our government has got to see that this world we are livingin is not going to he any more run for the older generationbut for youth - and I'm talking about up to 45 or so.It's got to be run for the majority.
"It's bound to succeed. We'll eventually have a youngleader, 30 to 35, who will govern with the aid of a mag-nificent computer. The young will have the knowledge andwill make use of the wisdom of the old too.
"Yes, I know that some of the present young will growinto the new old but that will only be for the next five orsix years. After that, they'll be trying to stay young, tokeep up with what's happening. And as for the really oldpeople. I hope they'll be properly looked after in future.Maybe given free transport to tour the world and enjoythemselves when they retire. Old people certainly deservebetter care than they get at present."
the mums and dads who say get on with it
Two Fantastic Versions of the Big American Hit!Recorded on LibertyLBF15223 PROUD MARYby Creedence Clearwater Revival
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