recordmirrorLWeekending February 7, 1970. A Billboard Publication Price 1/- Every Friday

SOUL SURVEY '69: Alan Stintonlooks at last year's scene- page 3ANDY FAIRWEATHER-LOW:a new group - page 4

4, TILNEY STREET.

PARK LANE.

MAYFAIR.

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Week pnOing February 7th 1970._1 (1)

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LOVE GROWS Edison LighthouseTWO LITTLE BOYS Rolf HarrisREFLECTIONS OF MY LIFE MarmaladeLEAVIN' ON A JET PLANE Peter, Paul and MaryCOME AND GET IT BadfingerWITCHES PROMISE/TEACHER Jethro TullRUBY DON'T TAKE YOUR LOVE TO TOWNKenny Rogers & the First EditionI'M A MAN ChicagoFRIENDS ArrivalTEMMA HARBOUR Mary HopkinALL I HAVE TO DO IS DREAM Bobbie Gentrie/Glen CampbellSUSPICIOUS MINDS Elvis Presley

I CAN'T GET NEXT TO YOU TemptationsTRACY Cuff -LinksLET'S WORK TOGETHER Canned Heat

HITCHIN' A RIDE Vanity FareSOMEDAY WE'LL BE TOGETHER Diana Ross and the SupremesGOOD OLE ROCK AND ROLL Dave Clark FiveSUGAR SUGAR ArchiesTHE LIQUIDATOR Harry J. All StarsVENUS Shocking BlueMELTING POT Blue MinkCOMIN' HOME Delaney and BonnieBUT YOU LOVE ME DADDY Jim ReevesBOTH SIDES NOW Judy Collins(LEAVIN') DURHAM TOWN Roger WhittakerLET IT ALL HANG OUT Jonathan KingWEDDING BELL BLUES 5th DimensionWITHOUT LOVE Tom JonesI WANT YOU BACK Jackson 5JUST A LITTLE MISUNDERSTANDING ContoursYEARS MAY COME YEARS MAY GO Herman's Hermits

(Columbia DB 8656)ELIZABETHAN REGGAE Byron LeeGIRLIE Peddlers

SHE SOLD ME MAGIC Lou ChristieWANDERIN' STAR/I TALKED TO THE TREESLee Marvin/Clint Eastwood (Paramount PARA 3004)RUB A DUB DUB EqualsWINTER WORLD OF LOVE Engelbert HumperdinckYESTER-ME, YESTER-YOU, YESTERDAY Stevie WonderGOOD MORNING Leapy LeeRAINDROPS KEEP FALLING ON MY HEAD Sacha DistelIF I THOUGHT YOU'D EVER CHANGE YOUR MIND Cilia BlackWITH THE EYES OF A CHILD Cliff RichardLONELINESS Des O'Connor

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2 RECORD MIRROR, February 7, 1970

Some of the soul names of '69: I to r, Marvin Gave, solo chart -topper seen with female accomplice Tamrni Terrell. Desmond Dekker topped the lists with "The Israelites", while Diana Ross teaturedstrongly throughout the year- 1969 also saw the sad death of Roy Hamilton pictured here, while Sam and Dave's scored Atlantic. biggest hit - "Soul Sister, Brown Sugar."

SOUL SURVEY '69Alan Stinton looks at R & B in 1969 : one year ofthe three R's in soul --- Reggae, Re -issues and Religion

N almost every conceivable respect,the last year provided the mostperfectly fitting climax upon whichto leave behind the soulful 'sixties.

Like the Temptations' snowballrolling down a mountainside, thesound of Soul music (nee R & B) hadincreased in stature and impetus byever more spectacular leaps andbounds as the decade progressed.Having devoured its own prodigaloffspring Rock 'n' Roll by the end ofthe 'fifties, it cultivated from the

humblest of beginnings a vast wealth of British chartsuccess to outshine and outlive all other pop musictrands of the 1960s. But it was only in the very lastyear of the decade that the movement finally achievedavalanche proportions, fulfilling all of its earlierpromises in the most Soul -packed twelve monthperiod in the history of pop music.

1969 will be long remembered as the year in whichTamla Motown - a corporation born only ten yearsbefore - surpassed even the wildest of expectations toemerge as the most important recording organisationof the decade; whilst its erstwhile chief rival Atlantic,confirming the most dismal of predictions, sufferedalmost total emasculation as a British chart force. Itwas the year of the three Rs - Reggae, Reissues andReligion - all of which made weighty contributions tothe Soul boom; and it was the year which saw the1968 trend amongst Soul music buyers away from thesingles scene in favour of the albums market almostcompletely reversed. But perhaps above all it was theyear when the hard statistics of Soul music's impacton the British charts were sensational enough to maketheir own headline news.

For the most graphic example of the extent towhich Soul music came of age in 1969, we need lookno further than RM's Pop Fifty where thecorresponding figures for 1968 (staggering enough inthemselves only a year ago) were proved to be merelythe initial tremors of the soul -shattering eruption to.come.

A grand total of eighty Soul -type singles made thePop Fifty during 1969 notching up 696 appearances atan average of 13.7 per week - increases of fifty percent and eighty per cent respectively on the 1968totals of 54 entries and 389 appearances at an averageof 7.6. Of the eighty 1969 Soul hit singles, 47 went onto make the Top Twenty and 26 also hit the Top Ten- in each case more than double the comparative1968 figure of 21 and twelve. And as if to crown ayear of fabulous achievement, two Soul singles toppedthe Fifty whereas none had accomplished this feat in1968.

MagnificentlyWithin the framework of the Soul scene itself,

however, the most fantastic success story of them allcentred around one solitary record label. For althoughthe claim had been prematurely made on severalprevious occasions, 1969 was unquestionably THEyear of Tamla Motown.

With its one-time co -champion Atlantic relegated tothe ranks, Tamla Motown rose magnificently to thetask of achieving as much as all other Soul producinglabels put together. This it did, convincingly, in allfour charts, but nowhere more conclusively than inthe all-important Pop Fifty.

Although the label's total of 33 Pop Fifty entriesnumbered less than half of the eighty soul hit singles,its discs proved to be far more potent than those of itsrivals. In the upper reaches of the chart it accountedfor 23 of the 47 which made the Top Twenty (almostthree times its 1968 total of eight) and eleven of the26 which hit the Ten (almost four times its 1968 totalof three). Whilst in the Top Five it completelyoutweighted the opposition scoring eight entriesagainst the other labels' combined total of six. And asif to still further hammer home the message, its onechart -topping Pop Fifty smash, Marvin Gaye's "IHeard It Through The Grapevine" held the top spotfor three weeks whereas the other labels' pop charttopper reigned for just one week. Tamla's 33 pop hitsingles made 319 appearances in the Fifty at anaverage of 6.3 per week - only marginally less thanthe other labels' combined total of 377 appearancesaveraging 7.4. And some measure of the consistency ofTamla Motown artistes throughout the year can begained from the fact that the Detroit corporationsupplied no less than ten of the top fifteen points

scoring Soul attractions including the top three withStevie Wonder, Marvin Gaye and the Isley Brotherseach amassing more than 1,000 points towards thelabel's stupendous Pop Fifty total for the year of8.172.In the R & B singles chart the picture was verymuch the same. Here, despite the pruning of the chartfrom a Twenty to a Ten during September, TamlaMotown managed to rack up 37 entries (only two lessthan in 1968) at an average of six per week and recorda modest increase in those which went on to make theTen (33 as opposed to 1968's thirty). And at the topno less than twelve TM singles held the Number Onespot for an utterly unprecendented total of 33 weeks(com pared with the previous year's figures of fourchart -toppers reigning for just thirteen weeks). Thetwelve were Marvin Gaye's "Grapevine", "Too BusyThinking About My Baby" and "That's The Way LoveIs" (top for seven, four and two weeks respectively),"My Cherie Amour" (four weeks) and "For Once InMy Life" (two weeks) by Stevie Wonder, Diana Rossand the Supremes' "Love Child", the Temptations'"Cloud Nine" and the two groups' combined effort,"I'm Gonna Make You Love Me" (each top for twoweeks), "Road Runner" and "What Does It Take" byJunior Walker and the All Stars (two weeks and oneweek respectively), the Four Tops' "Do What YouGotta Do" (three weeks) and "Behind A PaintedSmile" by the Isley Brothers (two weeks).

Similarly on the albums front, it was TamlaMotown all the way; its discs accounting for a quiteextraordinary proportion of Soul music's chart action.

In the LP Pop Thirty, the label contributed twelveof the fifteen Soul albums which made the chart andsix of the seven which made the Top Ten. The overallfigure represented a slight drop on the 1968 total offifteen entries, and only one Motown LP made theNumber One spot in 1969 ("Diana Ross And TheSupremes Meet The Temptations" which was top forjust one week) compared with two during the previousyear. But in view of the negligible pop chart success ofnon Tamla Soul LPs and the very evident swing awayfrom album buying amongst Soul fans it was a trulyremarkable performance.

Exceptional

In the R & B LP Ten, however, the label's analysiswas exceptional by any standard. Of the 22 TMalbums which appeared in the chart (at an average of4.1 per week) no less than seven went on to reach thetop where they stayed for a total of thirty weeks - acolossal increase on the 1968 figures of sixteen entries(average: 2.8 per week) and four chart -toppers sharinga total residency at Number One of just nine weeks.By far the most successful R & B chart LP of the yearwas Diana Ross and the Supremes and theTemptations' "Meet" album (top for ten weeks); andthe Soul scene's most famous super -group enjoyed sixfurther weeks at the top with their follow-up albumentitled "T.C.B.". Both the Supremes and theTemptations also topped the chart in their own right(for three weeks with "Let The Sunshine In" and oneweek with "Cloud Nine" respectively), and the label'sother R & B LP chart champions for 1969 wereMarvin Gaye (two weeks with "M.P.G."), StevieWonder (two weeks with "My Cherie Amour") andthe regular 'Various Artistes' crew with Volume Threeof the highly successful "Chartbusters" series whichwas top for six weeks.

In complete contrast to the runaway success storyof Tamla Motown, the year also witnessed the finalphase in the sad decline of the Atlantic label, acomposite enough picture of which can be gainedfrom even the most cursory glance at its 1968 and '69chart score -cards. With the 1968 figures (whereapplicable) in brackets, the story reads:

Pop Fifty entries: 4 (down from 13); Top Twenty:2 (3); Top Ten: Nil (2). Weekly average: 0.4 (1.8).Best placed 1969 pop single: Sam and Dave's "SoulSister, Brown Sugar" which reached No. 15.

R & B singles chart entries: 25(40); Ten: 15 (27);Top: Nil (4). Weekly average: 1.7 (4.6). Highestposition: No. 4 ("Comin' Home" by Delaney andBonnie and Friends).

R & B LP Ten entries: 12 (24); Top: 3 (5). Weeksat top: 7 (38). Average per week: 2 (4.7). The threewhich made the top were "Otis In Europe" (threeweeks), "This Is Soul" and Arthur Conley's "SoulDirection" (two weeks each).

And in the LP Pop Thirty where during the previousyear it had supplied nine entries (including onechart -topper) at an average of three discs per week, thenet result of its 1969 efforts was one solitaryappearance at No. 16 (week ending July 5 with "ThisIs Soul")

Of the three remaining definable Soul music trends of 1969, the threatened Gospel boom failed to get offthe ground and the sum total of pop religious music'simpact on our pop charts during the year remainedpegged at the one hit single.

Phenomenal

The Reissue scene has already been extensivelycovered in RM, though it is well worth rememberinghere if only for the fact that it brought long overduepop chart recognition to a quite phenomenal numberof hallowed R & B neames including Jackie WilsonBob and Earl, the Miracles, Martha and the Vandellas'and the tsley Brothers.

And the Reggae craze was perhaps the mostimportant of all in that it provided the year's one andonly successful new pop music sound.

Quite the most outstanding feature of the Reggaeboom was the extremely high potency of the relativelysmall number of discs involved. Of the twelve Reggaesingles which figured in the R & B Top Twenty forinstance, eleven also made the Top Ten and no lessthan five went on to reach the top. The five were "ItMek" and "The Israelites", both by Desmond Dekker

(top for four weeks and three weeks respectively)Johnny Nash's "You Got Soul" and "Return OfDjango" from the Upsetters (two weeks eachl andJimmy Cliff's "Wonderful World" (One week). AndReggae's average weekly contribution to the chart wasa very respectable 2.1.

Whilst over in the Pop Fifty the Rock Steady beataccounted for eleven entries (averaging 2.5 per week)of which eight also hit the Top Ten. The highestplaced was Desmond Dekker's "Israelites" whichenjoyed one week at the top during April.

Predictably, Reggae's least impressive performancetook place in the Pop LP chart where it managed tonotch up just two entries, one of which also made theTop Ten ("Tighten Up, Vol. Two" by Various Artisteswhich reached No. 5). But in the R & B LP chart itwas back to form with a vengeance as three of its fiveentries went on to make the top. They were "TheIsraelites" and "This Is" by Desmond Dekker (top fortwo weeks and six weeks respectively) and "TightenUp, Vol. One" (four weeks).

That, statistically speaking, was Soul Scene '69. Butof course there was far more to it than just facts andfigures, and so to add the all-important Soul dressingwhich turns the meal into a feast, here is amonth -by -month round -up of the year's mostmemorable Soul music happenings.

Continued on page 6

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WHAT THE HELL IS TOE FAT? -ferns wheehs ferns wheel's first album on i",r 583066

RECORD MIRROR, February 7, 1970 3

Maurice Gibb, beardless, seen here with wife Lu/u in the 'after'situation. After, that is, shaving off his beard of which he was so proud.But it's all in the cause of furthering his career. He did it to complywith the requirements of his part in the Ned Sherrin musical 'Sing ARude Song' based on the life story of music hall star, Marie Lloyd.

Dunbar joins ZappaFRANK ZAPPA has asked Aynsley Dunbar, one of Britain's

leading pop drummers, to join his group in America. Theline-up will be: Frank Zappa, vocal and guitar; Ian Underwood,electrified saxes and piano; Max Bennett, bass; Aynsley Dunbar,drums.

This week, Dunbar said: "Thisis an opportunity I cannot affordto miss. I live for music and thiswill be fantastic experience for

Evidently Zappa has expressedan interest in Dunbar since hearinghim play at the Byg Festival inBelgium last year.

Dunbar leaves Britain forAmerica at the end of this monthor the beginning of March - assoon as he's finished recording analbum for Byg Records with hiscurrent band, Blue Whale. Hetours the States with Zappa andthen tours Europe in April and alsotakes in a concert in London thatmonth.

After the recording, Blue Whalewill disband but Dunbar hopes tore-form the group when he returnsfrom playing with Zappa.

New rock clubA NEW 'ROCK' CLUB, The RockHouse opens on the site of theFlamingo Club in Wardour Streeton Sunday evenings beginning onFebruary 15.

Membership is ten shillings andguest groups for the first eveninginclude the House Shakers andSomething Else.

Pet getsown show

on OnePET CLARK, Herman's Hermits,Badfinger, David Bowie and RobinGibb are set for live radio

on BBC's Radio One.

Badfinger, Maggie Britton andJ.J.'s Dilemma are the guests forthe 'Johnnie Walker Show' onFebruary 7, with Robin Gibbfeaturing in the 'Dave Lee TravisProgramme' the following day.David Bowie is the guest'on JohnPeel's 'Sunday Show' thatafternoon.

Herman's Hermits and DustySpringfield are among the artists inline for the 'Dave CashProgramme' all week fromFebruary 9-13, with the Equalsand Harmony Grass guesting forTerry Wogan. EngelbertHumperdinck and the Casuals arebooked for the Jimmy YoungShow the same week. Pet Clark'sown programme will be broadcaston Radio 4 on January 10.

Andy is backwith a new group

by Rodney CollinsANDY FAIRWEATHER LOW, former lead singer of Amen

Corner who split from the group to go solo, is planning hisreturn to the popscene . . . with a new group. The new outfitwill sign to Immediate Records and produce an album forrelease in the spring. Said a spokesman for the disc company:"The name of Andy's new group has not yet been set, but wewill have an album by about April . "

This time, Andy Fairweather Low will feature as an

individual personality fronting a new group which may includeone other 'Amen Corner' member. "They will get right awayfrom the teenybopper scene and progress more. They will be avery interesting set of musicians."

Paul andBarry splitin UK only

BARRY AND PAUL Ryan havedecided to stop working together- but only as far as England isconcerned. Paul will still writeBarry's material for the Continentand America.

The split came because ofBarry's lack of chart success overthe last year. He told RM: ' Thelast two singles in Britain didn'tmake it, although they did well onthe Continent. So I've decided totry other people's songs and Paulwill write for whoever he wantsto."

Barry said every song had to beoriginal in England and "Love Is

Love" was a bit too close to"Eloise". "I think my third record"The Hunt" wasn't simple enough- it was too complicated. Pauldoesn't write simple material."

As lead singer with AmenCorner, Andy had chart hits with"Half As Nice," "Hello Susie,""Bend Me Shape Me," "High InThe Sky" and "Gin House." Thebreak from the group wasannounced in the Autumn andonly one disc - a newarrangement of the Beatles hit"Get Back" has been issued sincethat time - and it failed toregister in the hit parade.

Successful albums from thegroup were - "The World OfAmen Corner" and "Farewell ToThe Magnificent Seven." AmenCorner moved to Immediate fromDecca in 1969 and found newsuccess with the number one "HalfAs Nice".

Now it is reported that theexisting Amen Corner boys willcontinue to record as a group,possibly for Immediate.

Andy Fairweather Low's careerwill be re -launched in April withthe first LP. There are no plans asyet to release single material byImmediate Records.

Dubliners for RadioOne folk special

THE DUBLINERS, who hit the British charts with "SevenDrunken Nights" and "Black Velvet Band" headline a specialRadio One folk presentation on Tuesday, March 17.

Composer/singer Rod McKuenarrives in London on February 19.During the two weeks he is here,he will appear on the ValDoonican Show and berecordingThe Young Generation Show. Hewill also be recording titles forpossible future releases.

The programme - "St. Patrick'sNight Special" - will be broadcaston both Radios One and Two andrecorded five weeks earlier at theTroubadour Club in Old BromptonRoad, Earl's Court. Artistsfeatured in the concert willinclude the Dubliners and theJohnstone.

Bee Gees to re -unite?MAURICE GI BB could be the Bee Gees again - after reports that Barry isleaving Britain to work as a solo artist in the U.S. However, according to aspokesman for the group Barry is contractually tied to the Bee Gees foranother two and a half years. There is enough material already recorded fortwo albums. A new Bee Gees single and LP are already waiting to bereleased.

ANDY: interesting set of musicians.

Tom Jones forbig States tour

AS RM CLOSED for press plans were being finalised for TomJones to undertake a tour.

It is known that Tom will open at the Copacabana in New York for twoweeks from April 2 and the International Hotel, Las Vegas, Ithe world'sbiggest nitery) for a month from April 20.

Further cabaret and theatre engagements are included in the schedulewhich will keep him in America until mid -August at least. RM understandsthat Tom's manager, Gordon Mills, is finalising arrangements for Tom toundertake 32 one-nighter dates during the tour.

New Plastic OnoBand single

JOHN LENNON and Yoko Ono with the Plastic Ono Bandrelease their latest record today (Friday). Titled "InstantKarma" by John Lennon and "Who Has Seen The Wind?" byYoko Ono, it was recorded on January 27.

The Plastic Ono Band featuresBilly Preston, George Harrison,Klaus Voorman, Alan White,George Peckham, Mal Evans andAllen Klein. Produced by PhilSpector, the chorus features latenight ravers collected by BillyPreston from London's HatchettsClub. - Review on page 12.

The Keef Hartley Big Band willbe augmented to a 13 -piece forthe appearance at the MidnightRave at London's Lyceum tonight,

F r id a y . The two additionalmembers are trombonist JohnMu mf ord and trumpeter JeffCondon.

Live LPfrom

D and BDELANEY and Bonnie's new LPfor Atlantic Records will bereleased in April. A live recordingtaken from their recent Europeantour the LP is called 'Delaney andBonnie and Friends on tour withEric Clapton! Meanwhile the grouphas a new single 'Someday' takenfrom their Elektra LP 'Accept NoSubstitute' released on Friday.

NOT EVEN PROFESSORBARNARD CAN DOANYTHING ABOUT TOE FAT

concert:John MayallJOHN MAYALL confirmed his position as Britain's leading exponent ofthe blues form when he appeared with his new group at the Theatre 140in Brussels last week.

The packed theatre, venue for the last date on Mayall's extensiveEuropean tour, vibrated to an hour of pulsating, driving, thoroughlyinvigorating music and despite Mayall's deliberate sacrifice of sheerdecibels and heavy amplification in favour of more faithful acousticsounds and the abondonment of drums, this was more like the old Mayall.

Johnny Almond, playing tenor and flute, blew beautiful riffs aroundthe framework built by Mayall's guitar and mouth harp, with Jon Markon bass and Mick Mahovsky on acoustic guitar. Mahovsky turned out tobe a very able replacement for Steven Thompson whose absence fromthe group was unexplained.

The programme featured numbers from the "Turning Point" albumincluding a protracted version of "The Laws Have Got To Change"; andjudging by the brisk business the sales stand was doing in the foyer Polydorhas another best-selling album on its hands.

Tucker Zimmerman played a warmly received set, earning himself anencore in the process. In far from ideal conditions for a solo artit, heplayed with great professionalism, making light of the fact that thestage was seething with an audience overspill which effectively blockedthe view of hundreds who had paid fl for their seats. MICHAELSMITH.

concert:Spirit

IT TAKES something special todrag me away from my countryretreat over a week -end. But lastSunday at the Lyceum in Londonthere WAS something special -Spirit. And it was really worth it.

During the opening number I

was thinking 'Here's a group thatsounds better on record than inthe flesh'. But that thought wassoon dispelled as Spirit warmedup. They are one of the bestgroups I've seen and rank secondin excitement only in my mind toChicago.

Spirit incorporate so manythings in their music. They have theelectronic sounds sewn up. Yetthey use this as an end - notmerely for effect.

They are extremely visual andrealise this is an important factorwhen playing to an audience.There's 45 -years -old Ed Cassidy onthe drums (adnd he's had goodfoundations playing with jazz starsThelonius Monk, Gerry Mulligan,Cannonball Adderley etc), hisstep -son Randy California on leadguitar, Jay Ferguson lead vocal,John Locke on piano and MarkChristopher Andes on bass.

They can rock and they canswing. And swing Spirit did on "IGot A Line On You" in 6/8 withsome lovely electric piano playingfrom Locke. Many other groups

could have an object lesson indynamics listening to them.

California and Ferguson splitmany of the vocals between andboth worked well together.Ferguson reminded me of aTroglodyte the way he shuffledabout the stage.

From the very heavy "YouMake Me Jealous" to the gentler"Ice" Spirit showed they can runthe whole gamut of contemporarypop music.

As with most shows there was adrum solo. Cassidy's kit makesGinger Baker's look like a MickeyMouse set up. Flanked by twobass drums as used in Marchingbands, he sat behind a vertiblebattery of drums. He showed finecontrol and played an intelligentsolo full of poly -rhythms.

Spirit are certainly one of themost 'alive' groups around. Andthe atmosphere they create has tobe felt to be believed.

One mustn't forget thesupporting acts on the bill;Forever More, Silver Metre andVan Der Graf Generator -especially Van Der Graf Generator.

Led by singer Peter Hammill(who also writes the group'smaterial), their music is incrediblypowerful. The use of Dave Jacksonon tenor and baritone saxes(sometimes both at once) andflute (on the quieter numbers)gives the group depth and helpspunctuate the lines. Nic Potter onbass, drummer Guy Evans andHugh Banton on organ are theother members.

"Even Damnation Is PlaguedWith Rainbows" - a five part songcycle - was an arresting exampleof what they can do. A group towatch. IAN MIDDLETON. JOHN MAYALL: leading bluesman.

recordmirror7, CarnabyLondon,W1V 1PGGER 8090

EDITOR PUBLISHER:Peter Jones

EXECUTIVE EDITOR:David SkanNEWS EDITOR:Ian MiddletonPRODUCTION EDITOR:Paul PhillipsADVERTISING MANAGER:Geoff MullinCLASSIFIEDS MANAGER:Ann Maria Barker

Published by CardfontPublishers Ltd., 7 CarnabyStreet, W.1. Distributed bySurridge Dawson Ltd.. NewKent Road, S.E.1. Printed byPendragon Press Ltd., OldTram Road, Pontllanfraith,Mon. and C. J. Mason & SonsLtd. Bristol B513 7TP.

4 RECORD MIRROR, February 7, 1970

Last week in Wales Mick Jaggerbought two ponies. One, a five-yearold mare will be used for breedingpurposes and the other is "a verystrange looking skewball just forriding around," says Jagger.

Mick is at present working in thestudios editing live tracks fromtheir American tour for an LP to bereleased soon. Editing of the live LPmay take two to three weeks andthere is no title or release date butthe LP will be out as soon as

possible.

Lou Christie, in our charts with'She Sold Me Magic', is expected tovisit Britain in mid -March for atwo-week tour of ballrooms.

22 -year -old Davy Clinton seen here at a reception held to launch hisnew disc, his first on the President record label, which is an updatedversion of the old Animals' hit 'House Of The Rising Sun'. The PlayboyClub was the venue for the reception - perhaps that explains the happysmiles on the faces of Dave Cash (left) and Pete Murray (right). Or maybeit's because they think Davy's chances of having a hit on his hands arerather high.

RTE technical strikehits live broadcasting

A STRIKE by technical staff at the radio and televisionstations of RTE, the state-controlled Irish broadcasting network,has meant that many live shows are not going out.

It means, too, that if the strike continues and at the moment itis understood, this could be anything up to three months - thatnew arrangements for the National Song Contest final, fromwhich Ireland's Eurovision Entry is chosen, will have to be made.

Badfingerin Dublin

BADFINGER, currently high inthe chart with "Come And GetIt", the Paul McCartney song fromthe film, "Magic Christian", playDublin's Countdown Club ofFebruary 8.

Another British group,Fleetwood Mac, play concerts inDublin and Belfast this month.

RTE can postpone the final byup to two weeks but after thatmust decide to either bring in the10 regional juries to Dublin anddecide the winner or let the RTEMusic Department committee whochose the National Song Contestfinalists, pick a winner.

The strike could mean, however,that Ireland might not see theEurovision contest, although anRTE spokesman said last week thathe thought that there would besufficient managerial staff tocopewith the Eurovision link -up.

Stones live LPdue out soon

"THE STONES are definitely not suing anybody," said a

spokesman for Les Perrin (the Stones' publicist) yesterday. "TheStones themselves have nothing to do with the legal disputesgoing on over the Altamont concert in America.

THE Who will release a live LPin May. The follow-up to 'Tommy'the new album will include manyof their hit numbers as well as

material never before released bythe group. The album has beenrecorded during their recent toursof the U.S. and Europe.Meanwhile, the new Who singleshould be released in the next sixweeks although no titles have yetbeen finalised. Mike D'Abo, former vocalistwith the Manfred Mann group, hasjoined MCA Records as an artistand producer. D'Abo will recordfor the company as a solo artistand will introduce and producenew talent for MCA.

Nice date with RPOAMERICAN CONDUCTOR, Joseph Eger, has invited the Nice to beguest artists at his first major London concert with the RoyalPhilharmonic Orchestra at the Royal Festival Hall on March 6. Actor,John Neville and the Ambrosian Singers are expected to complete themost ambitious mixed media concert yet presented.

The Nice, whose two Festival Hall concerts on February 7 are alreadysold out will feature a Moog synthesiser in their act for the first time.

For the March 6 concert, Keith Emerson and Eger have arranged anew work especially for the programme titled, themes and variations on'2001, Space Odyssey'. The Nice will also be featured in Emerson's owncomposition, 'The Five Bridges Suite' as performed with orchestra at theFairfield hall Croydon concert last year. (This will occupy one side ofthe Nice's next album to be released at Easter.

Neville will be featured reading the poetry of his own choice toBerlioz' Lelio' and Symphiny Fantastique - a work he and Eger haverecorded together on a 'Classical Heads' album to be released by Charissma inMarch.

Eger will be staying in Europe for a televised concert with the Niceand the North German Radio Orchestra in Hanover on April 1.

NICE: ambitious mixed -media concert

Low -price Who, HendrixSIX LOW-PRICED albums - at 19s 11d with such artists as the Who,Jimi Hendrix Experience and Fairport Convention will be released inMarch by Track Records.

Called 'Backtrack' the albums were originally due for release inDecember but were held back because of a dispute over the cover design.

Backtrack 1 features Jimi Hendrix with his first hit 'Hey Joe', theWho and Arthur Brown. The second album has 'Pinball Wizard' and'Under My Thumb' by the Who, and Fairport Convention with JudyDyble.

The next three albums in the series each feature the Who on one sideand Jimi Hendrix Experience on the other. Backtrack 6 is a soul LPincluding such groups as the Sand Pebbles

A THIRD HUMBLE Pie album isplanned by Immediate for Springrelease. The group's two previousLP's issued last year were 'As SafeAs Yesterday Is' and 'Town AndCountry'.

As yet, no title is set for thenew LP, set for heavy promotionby the disc company in March.RM understands the group is atpresent recording tracks For thealbum, described as a 'progression onfrom 'Town and Country'.

Dance duo, John and Olivier,resident on RTE's pop televisionshow, "Like Now", were involvedin a car crash in which a young girllost her life. With John and Olivierwas local deejay Derry Gleen. Allthree were treated for shock andslight injuries. the accident tookplace in Co. Kildare.

Seasons, Byrdsin line for UK

BRITISH TOURS are in line for Junior Walker and the AllStars, James Brown, lk,?. and Tina Turner, Jefferson Airplane,Four Seasons, Byrds, Wil>on Pickett and Ben E. King!

This fantastic line-up of

New album American talent will be presentedin a series of tours by executive

from vice-president of the AmericanProgram Bureau, Danny

Humble Pie O'Donovan. Danny O'Donovan, theman who introduced and managedthe Symbols in Britain, arrangedtours here last year for WilsonPickett, J. J. Jackson and Ben E.King.

Ben E. King will tour Britain forone month beginning on May 1. Novenues have as yet been fixed forhis tour. Wilson Pickett returns inSeptember for five dates here -London, Birmingham and Liverpoolvenues included in the set, whichwill also visit Scotland.

Jefferson Airplane, Byrds andthe Four Seasons will all tour in theAutumn. Contracts and details ofthe visits are now being finalised byAPB.

Liberty-UA artists Ike and TinaTurner arrive in April for a series ofclub and cabaret dates. The duohave a new single issued this month,featuring a new arrangement of theStones' hit 'Honky Tonk Women.'

First single from HerdAmen group due

JUDAS JUMP, recently formed from ex -members of the Herdand Amen Corner, have their first single released on February13th. On the same day there is the rush released single fromSimon and Garfunkel, and other American offerings from JuniorWalker and the All Stars, Ronnie Hawkins, Johnny Cash and JuneCarter and current visitors the Edwin Hawkins Singers.

British artists with singlesreleased on the 13th include VinceHill, Helen Shapiro and John L.Watson with a solo offering.

The list of singles is as follows:EMI PARLOPHONE: Judas Jump- 'Run For Your Life'; Toe -Fat -'Bad Side Of The Moon';COLUMBIA: Vince Hill - 'Don'tSpeak Of Love'; Nanette - 'FlyingMachine'; STAX: William Bell -'Bring The Curtain Down'; DOT:Andy Kim - 'A Friend In TheCity'; CAPITOL: Peggy Lee -'Love Story'; TAMLA MOTOWN:Junior Walker and the All Stars -'These Eyes'; HARVEST: Ayers -'Singing A Song In The Morning';BELL: Paper Dragon - 'At Last I

Found Someone to Love';POLYDOR: Paul Nicholas -'Freedom City', ATLANTIC:Brook Benton - 'Rainy Night InGeorgia'; Ronnie Hawkins 'DownIn The Alley'; BUDDAH: EdwinHawkins Singers - 'I Believe';ELEKTRA: Bread - 'Move Over';CBS: Johnny Cash and June Carter- 'If I Were A Carpenter'; JohnnyWinter - 'Johnny B. Goode';Gordon Haskell - 'Oo La Di Doo Edison Lighthouse, currentlyDa Day'; Simon and Garfunkel - number one, are in the studios'Bridge Over Troubled Water'; next week recording their firstBLUE HORIZON: George Smith - album. Titled 'Electric'Someday You're Gonna Learn'; L ig hthouse', all titles areDECCA DERAM: John L. Watson. Mason/Macaulay compositions.

Six monthsin U.S.

for RoyalsTHE ROYAL SHOWBAND,

one of Ireland's longest establishedbands, left for America last weekwhere they will play a six-monthseason at the Stardust Hotel, LasVegas.

Pye Records in Britain andIreland are rush releasing the band'sversion of Joni Mitchell's "BothSides Now' featuring singerCharlie Matthews. the B-side is theFrank Sinatra hit, "My Way".

Both tracks come from an albumwhich will be released in Americato coincide with the group's visitthere.

Prior to their departure for theU.S., the Royal were in Londonrecording tracks for albums andsingles to be released in Ireland andBritain while the band is inAmerica.

nf0

I'vegotveryhunguponthelyricsof'Groovin'out on life' which is by THE NEWBEATS andwas released last week. I'm not going to printany of the words, not because they're dirty butbecause of copyright things, but I'm sure I'mnot the only person who can immediatelyidentify with this song-you know how somesongs, like some books, seem to have beenwritten with just you in mind. Apart from theeeriness of hearing somebody singing whatyou're thinking, this is a super record. It's onLondon HLE 10299.

MUSIC MOTOR are a new group made up of 1-'\two former Swinging Blue Jeans and three LIother ex -members of Liverpool groups, and theyhave a very good solid unpretentious sound.Their first single is called 'Happy', and that'sreally what it's all about. The single is onDeram DM 282.

I never thought I'd want to hear "I'll never fall inlove again' again but I've been wrong before.The DIONNE WARWICK version, which was ahit in the States, is a much lighter, softer pro-duction than any I've heard, and just suited tothe texture of Dionne's voice. Even if you've

I RECORD MIRROR, February 7, 1970

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heard it a million times you'll still enjoy this, anddon't disagree until you've heard it-on WandWN2.

For dancers and disco people we have a recordby AL GREEN called 'You say it' which wasrecorded in Memphis and produced by WillieMitchell. I think Al is somebody we'll be hearinga lot more of in the R'n'B field. I've listened to

an album of his, not released here, and it's veryimpressive. The single is on London H LU 10300.Anyone who has the nerve to say that soul isdead, or whatever, can't have listened to analbum by THE CHI-LITES' called 'Give it away'.You'd have to be pretty strange not to dig this,or at least bits of it, so please go to your localfriendly record store and ask to hear a couple oftracks-especially track 5 on side one. Thealbum is on MCA, MUPS/MUP 397 and it'sbeautiful.

The new Tony Joe White album is out nextweek and that is the record to end all records !

Do try to see the Keef Hartley Big Band at theLyceum on the 6th February.

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always

HERE is a certainkind of problem thatMaurice and I aregetting letters about

and it is one of thoseproblems that there is reallyno set answer to.

No matter what I suggest, it willnever seem right to the personwho wrote to me.

It is the problem of the younggirl who thinks she is in love witha married man at the office.

Sometimes it is just infatuation;sometimes it is the result of anoffice party getting out of hand;sometimes - and only sometimes- it actually is love, the real thing.

But most times, in myexperience, it is just infatuation.Let's face it, office people spendmore time in the office than athome. In many cases wives seemore of their colleagues than theydo of their husbands, and I

suppose that could lead to a

certain amount of friction.

What has raised this age-oldproblem again this week is a letterfrom (Miss) Jack Lister, ofB I a ydon-grove, Grimsby, Lincs.She writes: I have a funny sort ofproblem. You see I am crazyabout this married man I workwith.

"It's no use telling me its silly, I

know. The trouble is that there'sonly one person can take my mindoff him, that's you.

"If I could receive just a fewlines from you, Barry, I couldperhaps forget about him. I doneed a souvenir from you to keepmy mind off Danny ..."

Well, Jackie, its flattering thatyou prefer me to the person youare supposed to be in love with.

I am the last person in the worldto want to lecture you, but itseems to me that you allowyourself to become infatuatedwith anyone you see. And thatcould get you into a lot oftrouble.

Apple Records

BILLY PRESTON

ALL THAT I'VE GOT(I'M GONNA GIVE IT TO YOU)

Produced by George Harrison OUT NOW Apple 21

Romance atthe officethe best ofboth worldsfor the man

I don't know how old you are,Jackie, but judging from yourhandwriting I would say you areabout 20, and you should havegrown out of the infatuation stageby now.

Anyway, I'll be sending youanother letter in the post laterabout the other point youmention, as you want it keptconfidential.

Another letter now from MandyWarner, of Wembley, Middlesex.She tells me, "I have been havingan affair, for want of a betterword, with a guy in my office.

"It has been going on now forabout 10 months and it is a reallyhopeless situation. He has twochildren and has no intention ofleaving his wife. I have not been

out with anyone else since ourfriendship, although I get plentyof invitations. Also, he is the onlyman I have made love to.Obviously I cannot go to myparents with this problem - I'm19 by the way - so have you anyserious advice to offer?"

Many letters come in like this,but Mandy I am afraid you haveonly yourself to blame for thissituation. It is bound to happen inalmost every case.

Let's face it, the guy you arehaving this affair with has got thebest of both worlds. He has got abird on the side and then he cango home to the wife and kids. I'msorry to be so blunt, but that's thesituation in a nutshell and you areprobably so much involved youare blinded to reality.

SOUL SURVEY '69continued from page 3

JANUARY: Marvin Gaye's "Grapevine" replaced at the top of U.S. chartsby Diana Ross and the Supremes and the Temptations' "I'm Gonna MakeYou Love Me". Jr. Walker and the All Stars, Bandwagon and Billy Stewartamongst those touring here.

FEBRUARY/MARCH: R & B boom reaches its absolute zenith (weekending February 8) with 23 sould-type singles in the Pop Fifty. Several bigname Soul stars on tour here includg Stevie Wonder (neisdlining his ownpackage show), Nina Simone, Edwin Starr and Ben E. King plus first-timevisitors Mary Johnson and the Chambers Brothers. Fifth Dimension and Slyand the Family Stone hit the top in the States (with "Aquarius" and"Everyday People" respectively) whilst Marvin Gaye does likewise here with"Grapevine". "Diana Ross And The Supremes Meet The Temptations"becomes Britain's best-selling album.

ParadiseAPRIL/MAY/JUNE: The real Bob and Earl in on the strength of their

"Harlem Shuffle" smash; other artistes touring include J. J. Jackson, Inezand Charlie Fox and the First Lady of Gospel Music, Mahalia Jackson hereto enthral a packed Royal Albert Hall. Desmond Dekker's "Israelites" topsthe Fifty; Atlantic subsidiary Atco launched here with the simultaneousrelease of 29 albums (many of them Soul gems). Tragic death of ShortyLong. More Gospel action as the Edwin Hawkins Singers hit the No. 2 spotwith "Oh Happy Day"; and the chart scene become a veritable paradise fordeep-dyed Soul freaks with Booker T and the MGs, the Isley Brothers,Smokey Robinson and the Miracles and Jackie Wilson all in the PopTwenty.

JULY/AUGUST/SEPTEMBER: Jimmy Ruffin, Chuck Berry andnewcomer Max ("Wet Dream") Romeo in for tours. Sad death of RoyHamilton. First ever Reggae music spectacular (starring Johnny Nash,Desmond Dekker, etc.) at the Empire Pool, Wembley a resounding success.Tremendous week (27/9) for Tamla Motown as its singles capture the topsix positions in RM's R & B Ten. Ray Charles and Company in for theirannual blast, and still more visitors include Wilson Pickett and ErmaFranklin (in concert together at the Albert Hall), Carla Thomas, PrinceBuster and Robert Parker.

OCTOBER/NOVEMBER/DECEMBER: Old favourites Garnet Mimmsand Lee Dorsey here; also the long awaited Albert King in for Jazz Expo'69 co-starring John Lee Hooker, Otis Spann and the Stars of Faith.Temptations top Stateside with "I Can't Get Next To You" followed bythe Fifth Dimension and "Wedding Bell Blues". Diana Ross quits theSupremes - official. Big scoring West Indian groups the Upsetters and thePioneers arrive to make the most of their Reggae hits, whilst from Americacome old friends Arthur Conley, Little Richard (for TV only), Howlin'Wolf and Percy Sledge. Greatest album in the history of RM's R & Bcharts, Atlantic's bargain -priced "This Is Soul" drops out of the LP Tenafter a fantastic unbroken run of twenty months. And at the top of theU.S. charts Tamla Motown rounds off yet another year in true traditionalstyle as Diana Ross and Co. reign supreme once more with "Someday We'llBe Together."

ConsternationLooking ahead, it is quite obvious that the soul -scorching pace set by R

& B music during 1969 cannot be maintained far into the 'seventies.Already the Reggae boom appears to have passed its peak, and even TamlaMotown must be experiencing some consternation over the recentcomplete pop chart failure of big hit follow-ups by Marvin Gaye, the IsleyBrothers and the Temptations.

But in the absence of a completely new pop revolution, Soul musicshould be assured of a fair slice of the pop market for some considerabletime to come if only in recognition of the undeniable quality of itsmerchandise. And if its performance during 1970 is anything like asentertaining as it was in 1969, this time next year should find us once againtelling it like it was.

Write toBarry orMaurice

c/o RecordMirror

THIS WEEK

Most office relationships end uplike this. Sometimes the guy leaveshis wife and settles down with theoffice girl, but if they get marriedis she really going to trust him?How will she know he is notbefriending another girl at theoffice?

And remember at the momenthe is not being faithful either toyou or his wife.

My considered advice to you,Mandy, is to accept some of theinvitations you are getting fromother - unmarried - people. Seewhat they are like, you don't haveto involve yourself.

Your eyes will be opened tonew things. I wouldn't mindbetting you spend many lonelyhours at home wondering whatyour man is doing.

So go out, enjoy yourself.

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RECORD MIRROR, February 7, 1970

4 t MUMEYE(CERT.'X') 6 Lon GoOJi,d

Black Widow,Myth andMAGICK

BY THE GOAT, it was in the cards. Maleficium extends it'sdemonic fingers in the the sleeping bones of pop music andthe Black Arts consume our young musicians into the great,

fiery brew.

If that didn't throw you, this will. Black Widow is the nameadopted by six tortured souls whose music revolves aroung theeerie dimensions of Black Magic. Demons, Elementals, spells,sacrifice and shiver me timbers to the sound of sax, flute, organ,clarinet, drums, bass and guitar. Black Widow members KipTrevor, Jim Gannon, Clive Jones, Clive Box, Zoot Taylor and JeffGriffith have poured through the archives of the supernatural andcomposed a lengthy stage act that comprises all you need toguarantee one of the Devil's orgies.

We wanted a story"It was Bok's (Clive Box) idea to go into the Black Magic field.

We all took a subject and learned as much as we could about it,then put it all together and made an act out of it," stated JimGannon. "We wanted a story to act and that is what has beenwritten. We have handouts to help the audience in participating.The central number is 'Come To The Sabbat' where the audiencestarts looning about and flows on stage. The whole thing turnsinto a sabbat."

Authenticity is bound to be the surge. Instead of sunny freeconcerts in Hyde Park, there will be not so secret Black popMasses in woodsy grottos throughout East Anglia. Big witchesand little witches, warlocks and wolfmen will rock to the beat ofthat old standard, 'Pack Up Your Tarot' as garments are cast tothe wind and shimmering bodies writhe in lusty abandon. Fanclubs will be abolished in favour of covens. Mecca ballrooms willsuffer great lack of attendance. There will be a record run onbroomsticks.

Danger in the ritual?But what if England's great musical talent gets too good at

ritual - what if the intense vibes released from frantic contortingactually reach into the beyond, releasing Satan's hordes on thehapless ravers? Brigades of deformed horrors and shapelessmarauding monsters. And the cruelty of it all; the spirits ofsleeping hippies drawn forth from the grave to trudge the physicalrealm again, tired office workers with ghostly briefcases roused tolive again by ungodly sacraments. A mixture of the sad and thegrotesque, the wailing and moaning of myriad spirits unleased in awhirpool of savagery ...

"I don't think there is any danger of us calling up any spiritswith our music," said Jim, "Maybe if we had about five thousandpeople chanting away madly we might get a few, but I don'treally worry about it. We believe there are forces about, but wedon't actually practise black magic. It took a lot of bookwork towrite this act."

The forces of darkness are waiting just beyond - content inknowing that the pop groups of the world cannot rest until BlackMagic has been exploited to it's full musical potential. Their daywill come, you can bet your sweet talisman. And the first evilgrimy fiend to be resurrected will be that putrid pulsatingglobule, the Crawling Eye.

lettersWrite to Val, Record Mirror,

7, Carnaby St, London WIV I PG

THE SUMMER OF '68 saw TommyJames and the Shondells top forfive weeks. Since then the Britishpublic has completely ignoredthem.

'Crimson and Clover' wasnumber one everywhere on theContinent and in America. Overhere it didn't make the top fifty. AsTony Brandon has once said. "Theynever make a bad record." so let usin 1970 prove that we canappreciate the super sounds of T.J.and the S's by putting them backinto the charts where they belong.

And let's start now, the momenttheir current American hit 'She' isreleased over here. - JONATHANMEPISH, Fields House, LancingCollege, Lancing, Sussex.

MORE EVERLYSMANY PEOPLE JUSTIFIABLYhold the opinion that the EverlyBrothers' All I Have To Do IsDream' was, and still is, theultimate version, but isn't it timewe had a new single from this bestever duo?

It is eighteen months since 'MilkTrain' was released, and after are-release of 'Cathy's Clown' lastspring, Warner Brothers have nowissued 'Good Golly Miss Molly' as asingle from the 'Hit Sound' LP of1967.

It would be more sensible forthe Everlys to record some newmaterial to make the charts,thereby giving the singers of 1980something to revive! - DEREKHARVEY, 8 Ramsay Road,Headington, Oxford.

SORRY, I'LL READTHAT AGAIN!RECENTLY ON HIS morning showand Top of the Pops TonyBlackburn ti,s reviewed singles byFleetwood Mac, Chicken Shack andDelaney and Bonnie and Friendsfeaturing Eric Clapton. On hismorning show, to my disgust, heslated all of them. But when hewent on Top of the Pops he saidthat they were beautiful, or great(to which I wholeheartedly agree),contradicting himself.

Is he mad, or does somebodywrite a script for him? - PAULSCOTT, 47 Woodbridge Road,Moseley, Birmingham 13.

BAD MEMORY?SO THE GOVERNMENT is goingto allow the BBC to set up anetwork of local radio stations onthe medium wave is it?

Perhaps they think everyone hasforgotten their main excuse for notallowing commercial radio inBritain, namely that there are notsufficient frequencies available onMedium Wave to allow anothernetwork of stations to be set up. -MARTIN DAVIES, 16 MaesPengwern, Llangollen,Denbighshire.

EXCITINGMANY PEOPLE have been talkingabout the singing and guitar workfrom Jimi Hendrix. The one whitesinger I ever heard playing guitarthis way was Eddie Cochran. Heused to open up his act with RayCharles' What I'd Say'. And what astorm he whipped up. I have neverheard this kind of music moreexcitingly rendered.

Unfortunately Eddie never madeany records of this kind of music,in fact, there is no evidence on thestrength of Eddie's records of thefull range of his talents. I only wishthere were a wait or releasing the

sound -track of Eddie'sperformances for 'Boy Meets Girl'(still in existence with a friend ofmine who received the master tapefrom the Editor in 1960), whichinclude 'Milk Cow Blues', 'MoneyHoney' Sweet Little Sixteen' and 'IDon't Like You No More'.

Maybe some record companymight be interested in releasingthese tracks by the way of a newalbum featuring Eddie's greatestfilm and television recordings bythis late great star, Eddie Cochran.- PETER MORGAN, 85 Kingsway,Kingswood, Bristol.

UNIQUE TALENTTHAT FATEFUL DAY, February3rd is with us once again. Most ofus who remember the great days ofthe late 'fifties' and early 'sixties'will instantly bring to mind thetragic air crash that took the livesof Buddy Holly, Ritchie Valens andthe Big Bopper - but this day, too,marks the tragic death of theunique composer/producer Joe

Meek who died on February 3rd,1967.

Many of Joe's productions werecertainly unique...and far and awaysuperior to their contemporariesand he will always be rememberedfor such mammoth worldwide hitsas 'Telstar', as well as material bythe Honeycombs and John Leyton.By an ironic coincidence, Joehimself was a great admirer ofBuddy's work. The best examplewas the 'Tribute To Buddy Holly'by Mike Merry, written by Joe'sassociate Geoffrey Goddard. - J.H. BLAKE, 116 CanonburyAvenue, Islington, London N.1.

Miki, the Monkeesdraft dodging andsongwriting

MIK! is now 23 and hashis third single out.He's not really wellknown although he

has written a couple of big hits herefor other people - like "Iremember Natalie" for BobMonkhouse.

He could have had everything bynow. Lots of money, three bigselling albums, lots of hit singles -and been a teenage `fave' craze . ..if he had joined the Monkees.

IF? Mild got down to the finalthree boys for thejob -that -Davy -Jones -got some whileback. It would have been great tohave been in the Monkees - orwould it?

"Obviously I would have enjoyedbeing part of the group. I was anactor to begin with anyway and Ithink it would have worked out forme. But take away the money andthe star bit and I suppose I'm betteroff now. I've learned a great dealabout the business and amdeveloping my career in two ways- songwriting and performing,and I

might not have been able to do thatwith the group.

"I didn't fail the auditions forthe Monkees. It's just that I hadalready been in America for sometime and I would have got my draftpapers soon ... so I left!"

Of the two sides to his career,Miki regards the singing as the`luck' part. "The songwriting iseasier. I am sure I'll get some moresuccess here if I keep trying. Butthere's more luck involved with thesinging side.

"I've come to realise this moreand more. Quite frankly, I love the

MIKI: singing is 'luck'

people - the public - but I'm notto keen on many of the people I'vemet in the business.

"For the future I would reallylike to write a good musical andstar in it too. Go on making recordsand writing for other people. BobMonkhouse, Mud and SimonDupree have already taken mysongs, so it looks good."

Mild says that if the new RCAsingle "Cinnamon" doesn't make it,he's going to keep trying.

An honest gentleman, and wittywith it. Interviewed on the 'DaveCash Show' last week, Dave toldhim "If we have a daughter, we'regoing to name her 'Cinnamon'.Mind you, my wife's not going tohave a daughter yet. We'll have todo something about that."

"Want any help?" asked Mild.RODNEY COLLINS.

YOU'D BETTER

WATCH OUTFOR TOE FAT

- IT MIGHT

BE CATCHING

Why do welisten to them?

Why do wefight their wars

for them?'"Christopher Jones...

a superstarfor the seventies

AFranko,hproduun

CHRISTOPHER JONES

RALPH RICHARDSON

PAUL ROGERS

ANTHONY HOPKINS

PIA DEGERMARK

ITS CHRIS JONES -THESENSATIONAL NEW STAR -WITH THE BEAUTIFULGIRL FROM SWEDEN

1111111e E

wvriirrnruzi Me% pi Resa IOU/WAR A

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NORTH LONDON I SOUTH LONDONFROM FEBRUARY 8th FROM FEBRUARY 15th

AT PRINCIPAL ODEON AND OTHER IMPORTANT THEATRES

AND THEN ON GENERAL RELEASE THROUGHOUT THE COUNTRY

RECORD MIRROR, February 7, 1970

by Keith

Altham

6".""......;bahams whoO

rMick

left Jethro Tullto formBlodwyn Pigthe essence of

his work is 'communication.'Unlike a number of theircontemporaries the Pig have alreadyreleased three singles and 'Same OldStory' which is their fourth is

coming shortly."Yeah I'd 'ave a go at that 'Top

Er the Pops' w'dn't I?" sniffedMick in mock skin -head tones.Seriously I think it's just plainstupidity to say you don't want ahit single or you don't want toappear on 'Top of the Pops'. TheStones appear on it and they do agood insert - so does Jethro - sodo dozens of other good groups -it's valid!

"We go on stage and attempt toplay good music but with bearingin mind that the audience havepayed good money to come andhear it. I know some groups go onstage now with a holier than thouattitude and just play what theylike with no attempt to reach theaudience. We are professionalmusicians paid to do a job and thejob is to please people bycommunication on all levels. I tryto break down any barriers theremight be between the stage and theaudience by talking and joking tothem between numbers.

"Silly little things like atManchester University where weplayed recently and the light showthey had suddenly flashed a lewdphotograph of some naked bird onthe screen. I couldn't believe it andneither could the audience - I justgaped and said the first' thing thatcame into my head - 'I don't knowabout you but she looks deformedto me!' Everyone laughed and itestablished contact with them aspeople not just spectators."

It was nice to hear that Mick hadonly words of praise for his ex -bossIan Andersen in the days when hewas the Tull's lead guitarist. Thesplit occurred according to Micksimply because their musical ego'sclashed.

"Ian is a nice guy and you won'thear me putting him down," saidMick. "It was simply that Ian hasvery definite ideas of how thegroup should operate and I felt myown musical ideas were beingsuffocated. It turned out that myleaving was the best thing thatcould have happened to both of us.

"I feel that the Pig is different

BLODWYN PIG: "'Top of the Pops' is valid!"

he communicative Pifrom Jethro Tull in as much as weall contribute to the group'sidentity. Occassionally I have toput my foot down on a matter ofpolicy but essentially we're a

democratic unit."To look at Mick these days with

his mane of long hair and dislike ofviolence it is difficult to picture has a conscript in the artillery.

"The Army is a huge joke," saysMick of his two year voluntaryservice. "They maintain they aregoing to teach you a trade but allthey really teach you is how to kill

which is what it's all about. Theonly thing it taught me was to be aconscientious objector if the needever arose.

"I joined up as a youngsterbecause I thought the uniform andboots were a trip and it wasn't untilI got involved that I realised themajority of people who do join arenon creative people who go inalmost out of desperation becausethey can't do anything else!"

The saga of just how BlodwynPig got its name is an interestingone.

"There is this guy called GrahamWaller who plays piano with usoccassionally," explained Mick, "Itwas he who named us. He's a bit ofa 'nutter' - goes around attackingcoat hangers which he calls 'Blongs'and shouting out 'Death to theBlongs.' He also sells fake ice-creamto school -kids called 'Zeeglo' andwhen I asked him what 'Zeeglo' washe said, 'Not even the kids knowbut it makes them wonder."

"Graham turns up all over theplace and during the time we wererehearsing the new group he turned

up at the hall and just poked hishead round the door. Pointing at ushe said 'Blodwyn Pig' - and thenhe disappeared. His other claim tofame is that he says he wrote 'I AmA Walrus' but John Lennonpinched it by mental telepathy!"

Already making a name forthemselves in America 'BlodwynPig' are building up the kind ofreputation by word of mouthwhich established 'Zeppelin' TenYears After' and the 'Nice'. Thiscould be the year of the Pig.

KEITH ALTHAM.

THI;FU11

I was justa session man'- TONYBURROWS

ED I SON LIGHTHOUSEare songwriter -producerTony Macaulay's owncreation. When he leftPye to join Bell Records

he was determined to get a hit."Love Grows (Where My RosemaryGoes" was the result.

Explained Tony: "I got thisgroup called Greenfield Hammer"- who are four very good lookingguys. The lead singer for the recordis Tony Burrows who was with theIvy League, the Flower Pot Menand the Kestrals.

"What happened was that I putTony - he's a session musician andhe reads music perfectly, which is atremendous advantage - with thegroup and stuck them together.

"They my creation absolutely.Barry Mason, who's a veryimportant person in my life, - hewrote 'The Last Waltz', 'Delilah'and the present Engelbert - and Ihad this song together. A friendwho had flu at the time came upwith the title from a nursuryrhyme.

"Ten minutes later we hadwritten the song."

"As well as writing it, we arealso publishing, and I'm producerof the record."

Had enough

At a press conference about therecord Tony said: "Tony Burrowswill not be touring with the group.All of them were definitely on therecord, but Tony has decided toleave before the next single."

Explained Mr. Burrows: "I'vebeen touring for seven years andI've had enough of it. I want toremain a session singer. I've got awife and two children and this ISthe first time I've been able toenjoy the family. I will do thegroup's album, but the group haveRay Dorey, who's also a singer."

"Whenever we want a goodsinger we get Tony. I'll probablyuse him again," commented TonyMacaulay.

Estimates of the money TonyBurrows will lose by his decisionnot to continue with the grouprange from £5,000 to £30,000.

Commented Ray Dorey, one ofthe remaining members of thegroup: "We shall miss Tony, we'vegrown quite attached to him."

The record has sold close on aquarter of million copies.

`John Lennon is doing it in his way, I'm doing it in mine!

JIm1111/1 PRIVATE

JIMMY CLIFF: "I don't just sing reggae."

WHEN 1 was small, my fatherexperienced World War twoand when it was over, he used

to tell me that at last war had ended on theearth. Now when I pick up the newspaper,there are headlines about war all over theglobe. It is worse than before."

Jimmy Cliff sings R & B with feeling, buthe sings his own words and his own messagewith great belief. His chart success with`Wonderful World, Beautiful People' broughthim further into the public eye, but he isafraid they might not have listened closeenough .. .

Wonderful"It would be a wonderful world if people would

understand one another and realize they can livewithout war of any kind. My new record, 'Vietnam'is an extension of my feelings on this. It is a sickworld where you strive to bring your children upsafely until they are old enough to be killed. Thesong is about a guy who goes to Vietnam and doesn'tcome back - sad, for everyone took for granted thathe would."

1111"Sometime when you do a record about this,

people say it's sick, but it isn't. I am saying what Ifeel in the way I am best suited. People will listen tofacts - they will hear the truth even though it ishard to take. John Lennon is doing it in his way, Iam doing it in mine. Whether or not his way is right.only time will tell; but if everybody worked togetherthe peace crusade would win."

Happened"I don't just sing reggae. Most of my songs I

wrote as simple folk numbers and I didn't even knowhow they were going to be recorded until I got tothe studio. 'Vietnam' became a very light numberwith a slight reggae beat. It just happened to be asong I'd written and did in extra time at the studio.It only took one take. You have to say what youneed to say even if most people think it is the wrongway to present it. The politicians are power -mad andthey create war. I don't know whether they listen tomuch in the way of songs, but I think it would help.

"We're lucky in England. This country is sort ofin limbo - we don't have to grow up and startfretting about going off to war. I wouldn't wantto goif we did. I summed it all up in the end of`Wonderful World, Beautiful People', but I thinkmost people missed it. Just at the end, it says,`Everybody can help, talkin' about you, talkin'about me; Harold Wilson, Richard Nixon, Pompidouand Kosygin ..."'

RECORD MIRROR

; IS NO.it AND THEr HAS JUST BEGUN...AN INVESTIGATION INTO THE INCREDIBLE 'NOW YOU HEAR

HIM, NOW YOU HEAR HIM', EXISTENCE OF CHARTBUSTING

SESSIONMAN TONY BURROWS.

`He will leave soon- EDISON LIGHTHOUSEARE THEY simply a

manufactured product?Where they piecedtogether bymoneymaking

businessm en as a sure-fire success?"No", say Edison Lighthouse as

their record 'Love Grows' shootsinto the number one spot, "We'vebeen slogging it out for five yearsbefore this chance came along. As'Greenfield Hammer', we've spent along time writing and playing onthe road; we didn't just do a recordand then form a group for publicdisplay.

Edison Lighthouse includes RayDorey, Stuart Edwards, GeorgeWeyman, David Taylor and TonyBurrows. Except for Tony Burrows,they existed as Greenfield Hammerbefore songwriter Tony MaCaulaychose them to record the MasonMaCaulay song, 'Love Grows'.

"A lot of groups were

interviewed and listened to beforewe were picked to record thenumber and we're really gratefulfor the chance," said Stuart. All ofus have been writing songs for along time, but you need a hitrecord before people will give you aproper listen.

"We could have written a

brilliant song and nobody wouldhave noticed. However, when yousee a Tony MaCaulay or a BarryMason song, you look twice. Nowwe can write some ourselves andpeople will really hear them,because we've had a number onerecord. This is a stepping stone -now we have our foot in the door."

What about the terriblefollow-up syndrome. Doesn't thisinstant responsibility weigh just alittle heavy?

"It has all happened a bit fast,"admitted Ray, "and I think I wouldhave liked it to go a little slower,

but I'm certainly not complaining. Idon't think it will end fast becasueit began fast. As for a follow-up, wehave a lot of faith in Tony andBarry.

"This is the first song they'vewritten together and I figure theycan write many more; but there willnever be another 'Love Grows'.Getting to number one solves a lotof problems too. Our next recordwill be heard. I hope it is as

commercial as the first."A lot of groups get a hit and

then try to do heavy stuff -thingsthey've really wanted to do. We area commercial group and we aren'tashamed of doing commercialsongs. That's what we intend tokeep doing. We don't want toeducate anybody. Besides, thereisn't any big stable commercialgroup with the break-up of theAmen Corner and the Love Affairsplit, so the market is open."

Rumours have been circulatingthat Edison Lighthouse has actuallymade several other records under

other names and the members aretied by contracts to different...ompanies; that suits are being filedand the wool is over the public'seyes.

"Tony Burrows, who sings onthe record," explained Stuart,"isn't really a member of the group.He was one of the session men whocame with the orchestra. Tony hasplayed on a lot of other records forother groups, but none of us haveever done any. Since he isn't reallya member, he doesn't want to staywith the group. He will probablykeep it up while the record is

around, but leave after that. Thebig thing, however, is that this hasgiven us the confidence that weneeded. We can now carry on withgood records without a worry."

There is more to EdisonLighthouse than meets the eye andmore to 'Love Grows' than thechart shows. It's an interestingentanglement and this will be anumber one record to reckon with.LON GODDARD.

`He is thebest'- TONY

MACAULAYHE IS 26. He is a sessionman. But it's not the firsttime he's had a big hit,for he was with theFlowerpot Men and Ivy

League. And he's on several otherdiscs at the mom ent that arebubbling under the chart - like theBrotherhood of Man's "United WeStand" and "My Baby Loves Love"by White Plains.

A strange situation? Yes, butthis is not the first occasion that agroup has topped the charts withhelp from session lead singers.Edison Lighthouse play on therecord. One of the group sings aswell.

But the vocal is really TonyBurrows. And he's not in EdisonLighthouse. Doesn't want to be ona permanent basis, either . . ." I

can't work with the group becauseof various contractual difficulties.I'm doing TV promotion on therecord though, but I'm not actuallyin the group."

TV promotion of EdisonLighthouse includes Top Of ThePops. In fact, last week's edition ofTOTP included Tony singing withtwo groups - for he also sings thelead vocal on the Brotherhood ofMan release, used last week as theprogramme's tip for the top.

And if it makes the top? He's atemporary in the Brotherhoodgroup as well.

AppearancesThen there's the White Plains

group with vocalist . . . TonyBurrows. That group is set for acouple of ITV appearances,including the new Simon Dee series.and Tony says he's featured onanother half a dozen discs forrelease fairly soon!

On the peculiar EdisonLighthouse situation, a statementfrom Tony Macaulay's pressofficer: "It's true Tony is featuredon a number of other releases at themoment. Tony is a session singer.He's doing promotion .with thegroup but we feel it would beunfair to the fans for him to pullout at this stage in the disc'ssuccess, so he'll stay with the groupfor the moment."

An unusual situation. And whoknows, Tony Burrows could findhimself in the top three, threetimes! That's if the White Plainsand Brotherhood of Man make ittoo. What would Top Of The Popsdo then, one wonders?-RODNEYCOLLINS.

VANITY FARE: "If we were Jethro Tull we'd have no trouble."

Vanity Fare: The neglectedmillion -selling group ...

DESPITE being in the comfortable positionof climbing up RM's top thirty, a ratherdisgruntled Dick Allix and Trevor Bricearrived at the office.

Something of an off-puttingconfrontation occured when they discovered a mix-upover their appointment, though I escorted them offthe local 'cheer -house' and a little calm reigned.

Other people had obviously been chipping away atthe members of Vanity Fare before, so I decided to letthem give vent to their feelings.

"If we were Jethro Tull or someone, we wouldn'thave any trouble," retorted Trev. "But somehowpeople can be so indifferent. We did an interview theother day on these lines, and we laughed like madwhen it wasn't used. And that was what it was allabout!"

After a while Dick and Trev did come round, andactually admitted to "feeling much better now" aftera talk and a few pints.

"'Early in the Morning' sold a million all over theworld, " said Trevor. "So we're quite happy. Don't saywe're not. But I don't think anyone's written about itbefore."

"Now we've had three hits we'd like to dosomething like a two hour concert," added Dick. "Werealise we couldn't fill the Albert Hall alone at themoment. I suppose people would obviously say whatthe hell are Vanity Fare trying to do, because theyknow us by our records. But really we could present avaried show. We're used to working in cabaret and weenjoy it, but we're trying to get away from thewhite -suited image."

Although they don't have their own concertscheduled, Vanity Fare will be appeared at the AlbertHall on January 31st along with the Edwin Hawkin'sSingers and the Spinners.

A visit to America is also planned for the group,though with the success of 'Hitchin' a Ride', it hasbeen postponed until March.

"We're obviously looking forward to going becauseit's where the 'bread' is," laughed Dick, turning to hisgirlfriend and taking her hand.

"But it does open up a whole new market," addedTrey. "The single has already done well there in thecharts, without any personal promotion, so we feelfairly confident about going. But our management willwork all the financial side out I'm sure."

Vanity Fare have recently signed with the'superstar' company MAM, under the guidance ofGordon Mills, the man behind Engelbert and TomJones.

"We're very happy with our management andpublicity. And something else we're pleased with isour first film which has just been completed. It was allfilmed by an ariel photography company, and featuredPeter Sellers and Graham Stark. The sequence with usshows the group on the roof of a mansion house,playing 'Hitchin' A Ride'. We're going to see a

run-through of it, and it's hoped it will be used forgeneral release."

Vanity Fare will soon be leaving for America, butin the meantime they are already working on theirnew single, scheduled for release in May.

THEIRN EXT

DOUBLEALBUM

OUTH ERESOON

VARIOUS Americangroups after visitingBritain for the firsttime, will report theirgreat enthusiasm for

the people, the town, the King'sRoad, or subjects in a similar vein.

But not so, Chicago. When I

spoke to Walt Parazaider after hisreturn to America, one of thethings he was most rememberingwas the Speakeasy's Brown Ale!

"I've not had brown ale before,"he explained. "We don't have it inthe States at all."

But on reflection, Walt decidedthe group had achieved a little morefrom their tour than just theecstacy of British Brown Ale.

"We're really pleased to see 'I'mA Man' in the charts. The recordsales actually doubled after ourappearance at the Albert Hall. We'dalready worked about three weeksin Paris, Switzerland and Sweden.Now we're putting together anothertour, but in the meantime we'll beback in the studio to record forabout two weeks.

"Our second album, a double setis out in about three weeks timehere. It will be released in Britaintoo. Tracks I'd particularly like tomention are 'Wake Up Sunshine'and 'Fancy Colours', but all thecompositions are our own."

In fact, Chicago's first albumwill be released here during March.I asked Walt why the group haddecided to change their name fromChicago Transit Authority, tosimply Chicago.

"We wanted to cut the namedown and give the city theidentity," explained Walt. "We'vebeen in Los Angeles for a year anda half now, but originally we camefrom Chicago. It's not a very goodplace for groups though. To beaccepted there you have to playeveryone else's material, and thatdidn't really suit us.

"We've been really impressed bysome British groups we've seen.One of the groups we got to hearwas Graham Bond, he was reallygood. And of course the Beatles gowithout saying. There's a lot ofgood British musicians. Some ofthose we've seen in America a lotare Spencer Davis, Eric Clapton andthe people that played with JimiHendrix. He's got another bassplayer and drummer now, and I

don't enjoy it as much. Really hewas well-known for the people hecarried with him."

VALERIE MABBS

February 7, 1970 9

ill aCLASSIFIEDS

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10 RECORD MIRROR, February 7, 1970

LANCHESTER '70festivalrountwup

clapping along with "He's Got TheWhole World In His Hands."

IT SEEMED perfect - theEdwin Hawkins Singers to maketheir British debut at Coventry inBritain's most modern Cathedral.

But what could have been a

joyous occasion was spoiled by twothings.

Firstly, no p.a. system wasallowed, which meant that whilethe choir en masse could be heardpretty well throughout theaudience, the solos were oftencompletely lost.

Problem two was that theconcert was being recorded for thespecial BBC TV programme to beshown at Easter. Great, for thosewho couldn't get to the actualevent, but not so good for thosewho did - the camera crews were aconstantly intruding barrierstopping the audience/congregationfrom really becoming part of thechoir.

Edwin Hawkins, pianist, soloist,arranger and director of the churchsingers from the San Francisco Bayarea, looked harrassed in the breakbetween the Singers' two one -hoursets. "It's such a shame," he said,"people paid money to hear us andthere is just no way for all of themto hear us."

Within these tight limitations,the Singers did very well. Theyrefused to get discouraged and hadthe whole audience on their feet

AN ODD SORT of evening atMothers, the Birmingham 'heavy'club, as Friday's contribution tothe Lanchester Art Festival.

No really popular groups, andlast act of the evening, sopresumably top of the bill, was alast minute addition, local groupDanny and the Heart -Throbs.Unheard of outside Birmingham,Danny and his boys do a rock 'n'roll set which is a send-up of thewhole scene, black leather greasyhair and all, although the musicis a straight laying down the lineof what rock is all about.

Free were on before Danny'smob and played a predictable setincluding the very popular'Woman'. The crowd loved themand gave them the accolade ofbeing the only group of theevening to be asked to do anencore. Much better live than onrecord, Free had the audience onits feet with a mind-blowing,ear-splitting set.

Yes, possibly one of the finestlive acts in the country, seemed alittle out of their depth and gotsomething of a cool receptionuntil they moved from their sweetmusic on to some more poundingmaterial.

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personal.JANE SCOGG for genuine friends.Introductions opposite sex withsincerity and thoughtfulness.Details free, 5d stamp to JaneScott, 50/RM, Maddox Street,London, W.1.

ROMANCE, marriage, friendshipand penfriends. Why be lonely? Ourfiles contain 100's of clients, bothsexes, all ages, professional,

continued from page 10business and working class. Sendfor details: Gentry Agency, P.O.Box 141, 55 Godwin Street,Bradford 1., or ring Bradford663273 9a.m. to 10p.m.

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GIRLS! Free - dates/friendship.Send your details to: (s.a.e.) 18Woden Road East, Wednesbury,Staffs.

MALE 122) Just out of R. Navy,seeks interesting job anywhere.Record Mirror Box No. 215.

GOOD LOOKING MAN (24) seeksgirlfriend. Please write to Brian, 50Avon Drive, Kings Heath,Northampton.

TRY DATELINEHave fun! Dateline computerdating is the with -it way tomake new friends. Write nowto: DATELINE(Department R), 23 AbingdonRoad, London, W.8.

Tel. 937-0102.z

records wanted

UNWANTED LPs bought or

exchanged for new. S.a.e. CobRecords (PR), Portmadoc,Caernarvonshire.

MOULDY OLDIES. All yourunwanted 45s, EPs, LPs, 78sbought. Any quantity. Send forgenerous cash allowance by returnto Davids, Station Place,Letchworth, Herts.

ROCK AND POP discs bought. LPs,45s, 78s. Early rock to latestsounds. Up to £2 for LPs! 18Delamere Gardens, London N,W.7.959-5187.

RECORDS BY Dutch groupEkseption. D. Smith, 29 SuffoldAvenue, Leigh -On -Sea, Essex.

FREE organist, on stage at Lanchester

YOUR TURN, PIANO MANThe new instrument of our times (this month, this year, this

Jecade?) is the piano. Pop groups including Blue Mink and Arrivaldepend a lot on it for their distinctive sound, chasing the magicaleffect of the instrument in "Oh, Happy Day." While among the newrock singers and groups' Bob Dylan, The Band, and the Sir DouglasQuintet all make good use of pianists. Good news for Ray Charlesand Floyd Cramer, Fats Domina and Jerry Lee Lewis, whosepioneering records should now be in more demand.

There are too many Ray Charles LP's to list here - most onAtlantic are reliably good, but most of his ABC -Paramount materialwas done for pop fans and didn't advance his style. Floyd Cramerhas recorded mainly as an easy listening pianist with countryleanings, and would probably be heard better as a session man forsome singer's records - maybe a reader can advise us on the recordthat shows him off best. But most immediate attention should bepaid to records by Fats Domino and Jerry Lee Lewis. Liberty hasrecently issued a compilation of previously unreleased material byDomino, and London may soon delete its Sun catalogue, includingthree LP's by Lewis.

The Liberty LP, "Rare Dominos" (83174) is probably the mostconsistently good LP of Fats Domino material ever put together,eighteen tracks from the period 1949 to 1953 that enable thelistener to trace the evolution of a particular style of rock 'n' rollout of a modified big band jazz style.

Perhaps the finest track on the LP is "Stay Away" (side two,track seven), recorded late 1950 by Domino's regular six -piececombo.

It begins with fast, rich chords from Domino which keep surgingunder his vocal and then carry on the beat as the rest of the bandseems momentarily to fall behind, before everyone comes back witha series of riffs that build the sound up. Domino takes a solo thatcovers much more of the keyboard than usual, and sings the finalpart. Drums, which were later to provide the emphatic rhythm ofhis rock 'n' roll records, were here almost inaudible, leaving theresponsibility of keeping a beat to piano, bass and guitar.

Many of the tracks feature the clean, pure sound of WendellDuconge's alto solo. while others have the tougher sound of tenorthat Domino features in his rock 'n' roll records; "I've Got Eyes ForYou" has a particularly rough, booting solo from Buddy Hagens.

And, bouncing, pounding, and swirling through every track, atvarious tempos and with a variety of modified boogie beats, thatfull-chorded piano style of Fats Domino's, sounding disarminglysimple but invariably complete and hard to imitate. (One question:Side two, track eight is described as a vocal, "Don't Leave Me ThisWay," but is a "cocktail" instrumental - anybody know its title?)

Jerry Lee Lewis was the only white piano -playing rock 'n' rollsinger of comparable importance to Domino, but there has been nocollection of his best work available here. In the States, the Suncatalogue has been bought by Shelby Singleton, who has issued 12"Greatest Hits" LP's by Johnny Cash, Carl Perkins and the other bigmen; Polydor has rights to other Singleton material, but doesn'tknow whether it has this Sun stuff.

So, for the moment, London still has three Lewis LP's - allerratic in quality --- available: (1) "Jerry Lee Lewis" (London 2138),including "Fools Like Me," "High School Confidential," "It'll BeMe," (2) "Jerry Lee Lewis Vol. 2" (2440), including "Great Balls ofFire," "Hello Josephine." (3) "Breathless" (8323), including title,"Teenage Letter." Lewis also has half the Ember LP, "Sunstroke"(5038), which includes "Down The Line".

HELP ME SOMEBODYTHERE IS a rumour going round that needs to be confirmed or

denied, and Record Mirror readers are probably the best people todo it. Several times the Rolling Stones have been referred to as "Thegreatest rock and roll band ever." (Yes, ever.) Well? Please fill in theform below, or make one like it.

To: Rock and Roll Poll,Record Mirror, 7 Carnauy Street, London W.1.

The greatest rock and roll band ever is

Signed:

Name

Address:

(Closing date for ol I : March 10, 1970)

The results of the poll will be published in this column at me enaof March. Any comments you feel like adding will be welcome,particularly date's when the band played, together, its personnel, andthe qualities it had or has. (Definition of a band should be a groupof musicians - with or without singers - who played together bothin live performances and on records for at least a year'.

°DOES THAT MEAN WE'RE.ALL GOING TO BE ALLERGICTO TOE FAT?

LORD SUTCH of 'Screamin" fame has an album out in Americafeaturing Jimmy Page and Jon Bonham of Led Zeppelin, Jeff Beck, NoelRedding and Nicky Hopkins Frank Sinatra's first London concert ison Ascension Day - must be significant Michael Brodie's debut discjust has to be a cover version of "Come And Get It- flautist HerbieMann sitting in with Delaney and Bonnie in America is Roy Squiresof Lowery really the phantom pregnant dormouse? John Gee closedthe Marquee Club in London last week evidently because there weren'tenough people in the audience

King Crimson's single "In The Court Of The Crimson King" enteredAmerican charts at 96 shouldn't it be 'Edistone'Lighthouse? new Gent's hairdressers in London must think KateSimpson of another paper is a fella - she got an invitation to be pleasantlysurprised drummer Ed Cassidy of Spirit, step father of guitaristRandy California (aged 18) of Spirit Ginger Baker's Western film"Zachariah" now includes Country Joe and the Fish in the cast It'sTony Blackburn joke time: ' I'll warn motorists there's a man paintingwhite lines down the centre of the road. He won't be listening to this show,anyway, he'll be tuned to Radio 2 for middle-of-the-road music!"

Monkee Mickey Dolenz playing an unemployed drummer in a stage playin America someone in America thinks the Fairport Convention areAmerican... someone else in America thinks the Dutch group ShockingBlue is in fact Scottish! A5: Ray Peterson next Mondayevening, (February 9), Thames Television screens Elvis' "JailhouseRock" Lulu's "Oh, Me Oh My" just breaking in America policecadets from London's D Division have formed a group called 'TheB I uebeats' is Barry Class purchasing a new Saville Rowlawsuit? as a hobby, May Blitz' roadie breeds pigs

At the last night of Klooks Kleek in London last week, Chicken Shackmanager, Harry Simmonds was de -bagged by Stan Webb. theFlirtations looking for a nice reasonable flat - any offers? new DeccaLP pays tribute to Bernard (N.D.0.) Herrmann's priceless theme musicalcontributions to such classic Hitchcock films as "Psycho" and "North ByNorth-west" Expect a major push from EMI to really establish theF ifth Dimension here

Can anybody recognise Pat Campbell's voice on the Dave Cash Radioprogramme stand by for a whole rash of Doris Daytelemovies Q6: which one-time US hit provides the theme tune ofBBC -1's "Holiday 70" programme? a heavy schedule for TonyBurrows on last week's "Top Of The Pops what's happened to CliffRichard's "Two A Penny" film? although Lupas music did nobusiness at MIDEM, Bryan Morrison won £150 at poker from Don Black,Mervyn Conn, Cyril Smith and Vic Lewis! it's reported Gang Bangare doing good business in Scandinavia and should be returning soon

Or, as the ex -New Yord cop turned Soul singer said to his 'typical'British backing group: ' I'm afraid I must ask you to accompanyme" Barry Ryan still exploring those Eloisian fields May Blitzalmost missed their opening booking at Leeds when custom officials at theSwiss border 'accidentally' severed through a cylinder hose on their vehiclelooking for 'you know what' on his departure from RM, Rex Gomesintends to celebrate with "Just A Cup Of Coffee."

RARE BIRDa first single

`Sympathy'owlievils highconcenfc B120

.a_taeternoih_m.CHARKSZIA

A FIRSTSINGLE FROM

Topo D Bil

'WITCH!TAITO' CB116

B&C RECORDS LTD. 37 SOHO ,C;)CIARE,LONDON,W.1.(01734 3932)

RECORD MIRROR, February 7, 1970 11

LOVE AFFAIR: new singer Auguste Eadon -a throaty, sturdy voice

RONNIE HAWKINS WITH THE BAND: Who Do You Love; BoDiddley (Roulette RO 512). Originally released on the old Columbiagreen label back in '63, this single has been much treasured by those

discerning few who found it then (like a fool, I dug it but never got it,'cause he was white - a mistake I have long regretted!) Many of our morefamous guitar super -stars were am ong those few - which is no surprise,since, along with Lonnie Mack during the same year, the amazing guitarsounds that Robbie Robertson brought screaming forth on "Who Do YouLove" were truly a foretaste of the future. Anyway, now everyone can getthe real genuine 1963 article again(there's an L.P. too), and wonder atthe un-dated modern sound!(Forgetting Pop history; the beaton these two old BoDiddley-penned dancers isridiculous, and their sheerexcitement communicates itselfimmediately to everyone). CHARTCHANCE.

THE ARCHIES: Jingle Jangle;Justine (RCA Victor RCA 1918).Clever chap, that Jeff Barry (theproducer) - instead of following -up"Sugar, Sugar" with anothersound -alike, he's not only got a

completely different beat going buthe also has a chick singing the lead(with some nice male support nearthe end). As with "Sugar", the tuneis not immediately obvious yetonce you've heard it a few times itbecomes maddeningly catchy. Theless -danceable beat is the onlyelement that may hold this back.Monotonous slow flip. CHARTCERT.

KENNY ROGERS & THE FIRSTEDITION: Something's Burning;Momma's Waiting (Reprise RS20888). "Someone's Goofed",more like! They should have goneahead with "Reuben James" astheir follow-up, since this soft -

then - building, soft - again - then -building slowie certainly won't get

Spector spellshit for Plastic

Ono BandLENNON/ONO WITH PLASTICONO BAND: Instant Karma (Apple1003). Insistent thumping beatright from the word go withLennon on a Presley -type echokick. Instantly memorable chorusline will sell this one despite thepreaching verse theme. Drums arethe main sound in the backingwhich includes Billy Preston and -wait for it - Allen Klein! Producedby Phil Spector and it shows.Number one? Yes. Just like that.CHART CERT.

LOVE AFFAIR: Lincoln County;Sea Of Tranquillity (CBS 4780).New singer Auguste Eadonherewith introduced. A throaty,sturdy voice, perhaps morepowerful, deeper than that of SteveEllis. A good Goodhand-Tait songwith a maze of strings and brassbehind. No sign of deterioration,glad to say. This is good stuff;full-blooded. CHART CERT.

CLIFF AND HANK: The Joy OfLiving; Boggatoo/Leave My WomanAlone (Columbia DB 8657).Super -gentle, vocally, but not forlong. Beautiful crisp Marvin guitarspasms, full chorus, and a sort ofGospel build-up. Do listen to thelyrics, which are thoughtfullystrong. Actually, a darned good andrepetitive pop record. Flip is splitbetween Cliff and Hank. CHARTCERT.SIMON AND GARFUNKEL:Bridge Over Troubled Waters; KeepThe Customer Satisfied (CBSStereo -released Feb. 13th).

Simon takes a back seat as

Garfunkel sings the lead for thefirst time in a gospel influencedcomposition. The depth is infiniteand the spiritual quality is stirringas well as soothing. Begins as aGarfunkel solo, building graduallywith Simon coming in for the finalcrescendo. The atmosphe..e isimmense with the purity of Art'svoice as the moving force. It is

impossible to resist the emotionalforce of the makeshift religion; thenatural wonder and magnificence ofthe lyric. CHART CERT.

HARRY J. ALL STARS: The BigThree; Lavender (Harry J. 6601).Though still convinced that ninetyper cent of the reggae soundsprecisely the same, this must standa chance 'cos it's a follow-up to abiggie. Pounding -but -relaxed beat,plenty organ, and quite a goodmelody line. Can't say much moreabout it. CHART CHANCE.BILL ODDIE: Harry Krisna; OnIlkla Moor Baht'at (Dandelion4786(, Glorious send-up of theBeatle-Lennon scene. And whyNOT Harry Secombe, HarryLauder, Harry along there . .. andso on. Sue and Sunny lend theirvoices, Bill throws in the oddgimmick and John Peel is there orthereabouts. It is very funny.Funny enough to sell . . . butofficially the 'B' side. "Ilkla Moor"is equally tremendous anddifferent. CHART CERT.RARE BIRD: Sympathy (CharismaCB 120). Album track from a

high -promising group. Actually ifyou play this once it may notregister, but the ability and thesense of style and drama is thereand it could easily take off, on anoceanic scene of melodic,hard -driving impact. It's gentle,basically; but powerful. Okay?CHART CHANCE.

SHORE ST. CITADEL: JohnnySoldier (Bell 1093). Piano andsepulchral voice. Story -line song.Not struck, but it has a morbidfascination somehow.**

PEANUTS: Come On In (Decca).Almost variety -type ballad with adistinctively catchy arrangement.*THE ORANGE BICYCLE: TakeMe to The Pilot (Parlophone R5827). Harsh, perhaps overdone,with a thudding -scuddingback -beat. It's a mid -tempo builderof fairish impact.**DAVY CLINTON: House Of TheRising Sun (President PT 290). TheAnimals went out one by one . . .

can this pacey, brisk, Latinish andbluesy re -reading make it? it'spretty good.***

AMERICA AWAKESby James Hamilton

Taste of things to comethe crowds dancing (nor the criticsdisapproving) . . it's not that it'sbad, just ordinary. PerkierCountry -tinged flip. CHARTCHANCE.

HERB ALPERT & THE TIJUANABRASS: The Maltese Melody; GoodMorning Mr. Sunshine (A & M AMS7731. About time this popular bandhad another hit here, and, as was"Spanish Fly", this rousing BertK ae m pf e rt stomper has beenreleased here instead of theircurrent U.S. single to try and getthem one. It has one of thoseall-purpose "where - have - i - heard- that - before" Mediterraneanmandolin melodies worked inamongst the usual brass, and it'sthis that could sell it. Pretty flip,with strings. CHART CHANCE.

ANTHONY SWETE: Backfield InMotion (RCA Victor RCA 1905).Since the Mel & Tim million -sellerdoesn't appear to have been pickedup for this country from GeneChandler's Bamboo label, we mustmake do with Swete's cover. Notthe Poindexter Brothers' song, it's anicely dated beater with soulful

Sam & Dave-ish bocal touches -quite good."*

THE STEELERS: Get It From TheBottom; I'm Sorry (Direction58-46751. Not as kinky as the title,actually! The chunky beat andbrassy backing detract from thenice Impressions -like vocal qualityof this Soul group - they're heardbetter on the flip. A recent R & Bhit. Keep it up, Direction!**

THE METERS: Look -Ka Py Py;This Is My Last Affair (Direction58-4751). Of the five or so Meterssingles that I have, this, theircurrent U.S. hit, is my favourite.The funky modern tricky beat is agas - to most ears it will soundslow, but to those in tune with thenew R & B rhythms it will be araving "Popcorn" -type dancer! Acomplex instrumental, withpercussion, bass, organ and oddvoices. More straightforward niceflip. Well done, Direction!***"

LAURA NYRO: Wedding BellBlues; And When I Die (VerveForecast VS 15221. A wise move,releasing these two tracks fromLaura's first (19661 album now.Her originals are always so much

more interesting, because they areso personal, than the countlesscovers by other artists. These twoare of course in current release bythe 5th Dimension and Blood,Sweat and Tears, but Laura's ownversions are much mellower andeasier on the ear - which is why, inview of "Blues" popularity now, Imake this a CHART CHANCE.

JOHNNY TAYLOR: Love Bones,Seraration Line (Stax 141).Johnny's current U.S. hit is anothercouple of tracks from his latestalbum (which is one of the betterones out of the generallyuninteresting recent Stax batch -surely "product" instead of recordsthat simply HAD to be made?)."Bones" is an average stomper,with a nice end bit; "Line" is anO.K. slowie.**

SWEET INSPIRATIONS: (GottaFind) A Brand New Lover (Parts 1& 2) (Atlantic 584312). The bestbit of this nice slowie, which tendsto drag on without much newhappening (as "Hey Jude"), is rightat the start - the girls do a

head -turning "wow, what wasTHAT?" trick with the words"home" and "alone", and a bitlater with "friends" and "been".Otherwise, they keep up a steady"somebody who's gonna care aboutme", which weaves itself into quitea soulful intensity.***

EDWIN STARR: Time; RunningBack And Forth (Tamla MotownTMG 7251. A shame that theywithdrew Edwin and Blinky's "OhHow Happy", as this is lesscommercial. A fair enough fastbeater, it has a good backing. whilethe intro to the nicer slowish flip isalmost B, S & 7! Edwin's voicesounds good on the flip too - I

wish it could be given a vehicle asgreat as "Agent 00 Soul" again,though.***

DONNY HATHAWAY: The Ghetto(Parts 1 & 2) (Atco 226010). "Yes,this is the Ghetto - sho' nuff now". . . then into a delightful funkyelectric piano instrumental thatcooks along especially on Part 2,with vocal interjections andbuild-up of Latin -Rock percussion.Great! Just beginning to show onthe R & B charts."*""

JOHN ROWLES: Save The LastDance For Me (MCA 5032). Albumtrack but the old Drifters' numbersuits John's virile voice rather well.Girlie chorus etc.**BLACK VELVET: Please Let Me In(Beacon 151). Big, bluesy andbrash. Actually a bit samey, too.But a powerful group, sound -wise.Doomy soul**

GOLDEN EARRING: Another 45Miles (Major Minor 670). So-soinstrumentally, but a fair leadvoice. A scared sort of number withthe odd gimmick.**MUSIC MOTOR: Happy (DeramDM 282). Happy string sounds,with a pretty routine group soundapproach vocally. Undemanding.**A. J. KELLY: The Eyes Of TheBeholder (President PT 282). Oneof those mass-produced big ballads .. . nice enough, but nothingdifferent.*

JELLYBREAD: Comment (CBSBlue Horizon 3169). Semi -spokenintro on a song basically bluesy.Takes too long to build, though.**ANNI ANDERSON: Never ToStrangers (Philips BF 1832).Tremendous looking -and -singinglady. Sexy song -selling.***G RIMB LE: Fresher Than TheSweetness In Water (PennyFarthing 711). Okay ballad ... butit sounds pretty nothing at first,then after spins takes on a fairmeaning.**BARBARA WINDSOR: When I

Was A Child (UPC 101). Personalitysells this otherwise merely so-sonostalgic story. She's luy'ly.'Onest.***STUART DAMON: Eros (AcclaimAS 1). "Champions" telly -star, andas a singer no slouch.ballad of authority."*"PIPE DREAM: If You Do WhatYou Gotta Do (Penny Farthing710). Pretty straight commercialballad with predictable format, butthere's above -average zing here.Why not try it?**SALENA JONES: This Is Love(CBS 4767). Alas it won't sell, but Ijust describe (always) Miss Jones as"Magnificent".***

ARCHIES: female lead on newy

12RECORD MIRROR, February 7, 1970

SPENCER: affection for the music.

LAURA NYRO: "New YorkTenderberry" (CBS).

Laura has already been'recognised' by a considerableportion of the underground andpop syndrome. Her voice is a harshcross between Dionne Warwick andNina Simone with a dash of Jackiede Shannon. Work that one out!It's a fine strong voice, capable of

expressing the most intenseemotion and adding anotherdimension to her modern poetrythat effectively serves as lyrics forher complex songs. Written down,the lyrics aren't so wonderful, butthe way she sings them, they work.I wish though that she didn't soundquite so much like a hysterical,neurotic and hard New York female- busily showing off.

A long wait for S and Galbum-but well worth it!JEREMY SPENCER: (RepriseRSLP 9002). Linda; Shape I'm In:Mean Blues; String -a -Long; HereComes Charlie (With His DancingShoes On); Teenage Love Affair;Jenny Lee; Don't Go, Please Stay;You Made A Hit; Take A LookAround Mrs. Brown; Surf in' Girl; IfI Could Swim The Mountain.

Now listen. No really, listen.You know Jeremy Spencer, thelong-haired raver from theFleetwood Mac, him who does allthose Elmore James songs? No,come back . . . where are yougoing? Listen ! ! 'Cos honest he'sgot this gas LP and it's really gonnabe number one! Well, it'd better be- or else rock 'n. roll is dead. Yesrock 'n' roll. Ah, now you'relistening aren't you! There's RickNelson, Presley, Frankie Lymon,Bo Diddley and even Tommy Roe('Linda' is exactly the same as'Sheila'). It's just a great rock ravewith 'If I Could Swim TheMountain' being a complete mickeytake of the whole Presley gruntscene. 'Mrs. Brown' presumably theLiverpool Scene/Ray Davies and'Don't Go Please Stay' is pureFleetwood Mac. The rest is pure'58-'62 showing a genuine affectionfor the music and is for that reasonfar superior to the Reuben and theJets set by Zappa. ONce peopleknow the content of the album andthat Jeremy is a member of the Macand that the're backing him upthere'll be no stopping this one. Soshout it from the rooftop's all yourockers!!DELANEY AND BONNIE: Home(Stax SXATS 1029).

Little Bonnie proves on thisthree-year old set that she comesthe nearest of any white girl singerto getting a black sound. With'Piece Of My Heart' which everyonethought belonged immortally toJanis Joplin she merely shows that

even three years ago she had it allover Janis. 'Everybody Loves AWinner' still featured in their stageact is a beautiful slow, bluesyburner with a great deal of latentpower. 'Things Get Better' and 'MyBaby Specialises' are of course soulclassics and on this showing there'sno improvement on the originals.But on stage now - wow, that's adifferent matter! The whole albumlacks the spontaneous funkiness ofthe more recently recorded Elektraoffering but still shows the duo tobe outright winners in the race toachieve a white 'soul' sound (okayreaders, that's your cue to get yourpens and paper and write strongletters of complaint to Val!) Pluswith current interest in them sohigh this one stands more chance ofmaking the charts.

RONNIE HAINKI NS: "ArkansasRockpile" (Roulette Mono RCP1003). Dizzy Miss Lizzy; My Gal IsRed Hot; Thirty Days; Mary Lou;Odessa; Horace; Who Do YouLove?; Come Love; Arkansas; SayBass Man; Mojo Man; Bo Diddley.

Wow! Ronnie Hawkins is one ofthe last of the classic rockers andthis LP is a celebration of vintagerock 'n' roll. None of these trackshave been released in this countrybefore and date back to 1959 and1963. Backing him are The Hawks- later to back Bob Dylan as TheBand. Side one is vintage '59 withHawkins singing frantic and highpitched on such classics as "DizzyMiss Lizzy" and Chuck Berry's"Thirty Days" while the tracks onthe other side show his style fouryears on - a much moresophisticated treatment whichincludes "Who Do You Love?" and"Bo Diddley". It's all tremendousstuff - and it's nice to see RM'sCharlie Gillett credited for helpingto compile the LP. R.P.

LEN

SIMON AND GARFUNKEL: Bridge Over Troubled Water - Bridge OverTroubled Water; El Condor Pasa; Cecelia; Keep The Customer Satisfied;So Long Frank Lloyd Wright; The Boxer; Baby Driver; The Only LivingBoy In New York; Why Don't You Write Me; Bye Bye Love; Song ForThe Asking (CBS Stereo 63699).

It's been a long wait for new material from the pride of New York,but as usual, it was worth the delay. The LP contains stereo versions of"The Boxer" and it's 'B' side, "Baby Driver," plus both sides of thelatest single to be released on the 13th, 'Bridge Over Troubled Water'and 'Keep The Customer Satisfied'.

For the title track, the least expected route is utilized as Simonmoves into gospel territory. Garfunkel sings the lead and there is noguitar, only rolling southern piano which builds to an orchestralcrescendo.

'El Condor Pasa' has a Greek flavour although the, title is Spanish.Simon re -wrote only the words here and it's in the simple village folktradition. Very heavy percussion and acoustic guitar open 'Cecelia', alight-hearted song with a teriffic production behind.

Another of his upbeated views on society's injustices on 'Keep TheCustomer Satisfied'. Still light of mood, the song is riddled with brassand rock sax. 'So Long Frank Lloyd Wright' is a quiet personal songbacked by a Jose Feliciano style guitar. A very strange lament to a deadarchitect and the work he left behind. 'The Boxer' was one of 1969'sbest singles and the stereo version is even better. 'Baby Driver' is anotherupbeated fast lyric with special rock and roll effects. Interesting familylife depicted.

Of all the new material, the prettiest and most moving of the songs isthe soothing 'Only Living Boy In New York'. A poignant, lilting number,this one is as 'America' was to 'Bookends'.

Electric guitar and symbol beat as Simon sings tongue in cheek on'Why Don't You Write Me'. A frivolous comment and more greatpercussion. The only live track is the Everly's 'Bye Bye Love'. Straightrock and roll version with atmosphere and an audience that claps likethe dickens. Last is Paul singing from the heart on 'Song For TheAsking'. A song that asks for a smile in return and seeks to shed thecomplexities that seem to latch on to our lives.

Another brilliant achievement from a talent that simply refuses tofalter. L.G.

ITES -TOE FAT IS SOMETHINGO BE RECKONED WITH.YOU'D

BETTER BELIEVE THAT!

ON/ONOwith The Plastic Ono Band

INSTANTKARMA!

,Who has seen the wind?

Produced by Phil SpectorRitten, Recorded, Remixed 27thJan1970 APPLE RECORDS APPLES1003

RECORD MIRROR, February 7, 1970 13

IF YOU LIKE SOULTHAT'S SCORCHINGERMA FRANKLIN

Soul sister

OR SUPERCOOLTHE CHI -CITES

Give it3,u49vm

0

YOU'LLFIND IT ON

of

I mca 4ial>M CA Records The Decca Record Company Limited Decca House Albert Emban'rnent London SEt

AMERICA AWAKESby James Hamilton

Gut -levelcommercialityfrom CCR

CREEDENCE CLEARWATER REVIVAL: Down On The Corner;Fortunate Son (Liberty LBF 15283). Already much imported and ravedover in clubs, CCR's latest American chart -topper is much more direct thanthe surprisingly unsuccessful (though undeniably popular with dancers)"Green River". The beat is basic, and without much instrumental supportit is emphaized by the clipped chanting delivery of the lyrics. Animmediate gut -level seller, I should think. Noisier flip. CHART CERT.

BOBBIE GENTRY: Raindrops Keep Falling On My Head; Seasons Come,Seasons Go (Capitol CL 15626). Well, I like the B. J. Thomas version!also liked the Burt Bacharach version of his other song, "I'll Never Fall InLove Again" - and we all know who had the hit with that!) It seems fairto say that for as long as the BBC keep on giving Bobbie TV series they arelikely to plug her records on the radio, with the result that whenever shemakes a version of a good song she is likely to beat her competition, nomatter how good they may be. Self -penned flip. CHART CERT.

PAUL ANKA: Happy; Can't Get You Out Of My Mind (RCA Victor RCA1904). Anka sings Bubble Gum! It's nothing special, but already fuss isbeing made over it and since really anything seems to go in the Charttoday it must have a chance. The good slow flip rambles on a bit"MacArthur"-ishly. CHART CHANCE.

SLY AND THE FAMILY STONE: Thank You (Falettinme Be Mice EffAgin); Everybody Is A Star (Direction 58-4782). An instantaneous smashin America, this percussive repetitive dancer hits me very hard indeed ...we allknow what my tastes are, so that's not much of a guide, but I dothink that this could well get through to people in much the same way asC.C.R.'s "Down On The Corner" is likely to! I think it's a gas! (Yes,Cynthia, the title is spelt that way). Unusual slow brassy flip. CHARTCHANCE.

JIMMY RUFFIN: Farewell Is A Lonely Sound; If You Will Let Me, I

Know I Can (Tamla Motown TMG 726). I don't see it, but my accountantdigs this so it must have something for the public. Very much in the mouldof his past hits, it's a semi -slow sentimental swayer, to the well -triedformula. Nice flip. CHART CHANCE.

ARTHUR CONLEY: They Call The Wind Maria; Hurt (Atco 226011).That's only The West Wind, mind. (The hot, passionate South Wind iscalled Gladys.) String -backed and ever so classy, Arthur (the mightymidget) makes quite an un-cliche-ed stab at this unexpected material -from his present disc -jockey support, he could do well. Lovely soulful flip(penned by Jackie Avery). CHART CHANCE.

Break-up!Val Mabbs talking to the Ryan twins just before

they announced the split

SOME PEOPLE'S 'mornings after the night before' tend to be alittle harder to bear than others. Paul and Barry Ryan, togetherwith their newly appointed manager Clive McLean, whosewedding was the cause of the night's revelries seemed at firstsight to be bearing up fairly well. The only apparent side -effectsbeing a more subdued Barry and a chill of fragile air in theroom.

But it soon warmed up!"My albums don't really sell well

here," said Barry reflecting on thecommercial failure of his currentalbum. "Though they're numberone, or in the top five in everyContinental country. I don't thinkpeople will have something like aHerman's Hermits album in their'progressive' collection. Mind you,it was really funny, I saw a wierdguy leaving a record shop in theKings Road with severalunderground albums together withmine!"

"It was probably for his sister,"chipped in Paul, stonily. "Theproblem is my compositions arejust too good for England."

"Paul!" exploded Barry inhorror. "That sounds terrible, youdon't mean that. You don't haveto be so cynical."

"Surely," Clive venturedhopeful), "You mean that they'rebetter than the public wouldexpect from your

"No," said Paul adamantly."That would sound big -headed.They just don't want to listen togood orchestrations."

So now Paul and Barry haveaimed at a simpler sound withtheir current single 'M.a.g.i.c.a.l.Spiel.'

"I'm happier doing this kind ofnumber now," said Barry. "I think'Eloise' was a hit because it wasifferent, but this sound may be

more commercial generally."If the single proves successful

here it will probably be Barry'snext American release, as Polydor

is already planning a majorpromotion campaign there.

"They paid a million dollars forBarry," explained Paul. "And theywant it back." At which remarkeveryone present reeled in horrorand Barry laughed. "Paul's makingsome great statements today. Whathe means is I have to earn itback!"

Perhaps the hangovers werebeginning to show after all!

"I want to bring 'Eloise' out inAmerica," said Clive, pacing slowlyup and down by the coal -glowfire.

When M.G.M. brought it outover there before, they cut it totwo minutes," Barry told me. "Wewouldn't have let that happen hadwe known before. Los Angeles wasthe only place where the uncutversion was released and it was atnumber one for five weeks."

"So that answers the questionabout what 'Eloise' could havedone in the States," said Paulconclusively, glancing across toClive.

Before I left, I asked Paul ifthere was a possibility that he

might pursue a composing 'career'more into the realms of theclassical music he loves, andperhaps there would be a splitbetween Barry and Paul.

"No, not at all," said Paul."Barry's got more sense thanthat!"

Barry groaned once more. Andin view of the troubled air thatnow prevailed - I left!

I think it must have been a

pretty telling party after all!

(4-HLCORD MIRROR, February 7, 1970

TOP U.K. ALBUMS1 (2) LED ZEPPELIN II (Atlantic)2 (3) MOTOWN CHARTBUSTERS VOL. 3

Various (Tamla Motown)3 (1) ABBEY ROAD Beatles (Apple)4 (-) A SONG FOR ME Family (Reprise)5 (7) JOHNNY CASH AT SAN QUENTIN (CBS)6 (6) EASY RIDER Soundtrack (Stateside)7 (4) LET IT BLEED

Rolling Stones (Decca)8 (5) LIVE IN LAS VEGAS

Tom Jones (Decca)9 (14) CHICAGO (CBS)

10 (15) BEST OF SEEKERS (Columbia)11 (8) BASKET OF LIGHT

Pentangle (Transatlantic)12 (11) TO OUR CHILDREN'S CHILDREN'S

CHILDREN Moody Blues (Threshold)13 (9) SOUND OF MUSIC Soundtrack (RCA)14 (10) ENGELBERT HUMPERDINCK (Decca)15 (22) IN THE COURT OF THE CRIMSON

KING King Crimson (Island)16 (24) GLEN CAMPBELL 'LIVE'

(Capitol)17 1-1 GOING PLACES Herb Alpert

and the Tijuana Brass (A & M)18 (12) BEST OF CREAM (Polydor)19 (18) 2001 - SPACE ODYSSEY

Soundtrack (MGM)20 (16) OLIVER Soundtrack (RCA)21 (-) SOUNDS GENTLE Val

Doonican (Pye)22 1-1 JOHNNY CASH AT FOLSOM

PRISON Johnny Cash (CBS)23 (13) THROUGH THE PAST DARKLY

Rolling Stones (Decca)24 (20) LED ZEPPELIN (Atlantic)25 (29) HAIR London Cast (Polydor)26 (-) BIRTHDAY Peddlers (CBS)27 (-) BEST OF THE BEE GEES

(Polydor)28 (19) ON THE THRESHOLD OF

A DREAM Moody Blues (Deram)29 (-) ON THE BOARDS Taste (Polydor)30 (-) VALENTYNE SUITE

Colosseum (Regal Vertigo)

5 YEARS AGO1 (3) YOU'VE LOST THAT LOVIN'

FEELING Righteous Bros.2 (6) TIRED OF WAITING FOR

YOU Kinks3 (1) GO NOW

Moody Blues4 (5) COME TOMORROW

Manfred Mann5 (2) YOU'VE LOST THAT LOVIN

FEELING Cilia Black6 (-) KEEP SEARCHIN'

Del Shannon7 (10) CAST YOUR FATE TO THE

WIND Sounds Orchestral8 (4) YEH, YEH

Georgie Fame9 (8) GIRL, DON'T COME

Sandie Shaw10 (7) TERRY

Twinkle

10 YEARS AGO! (1) WHY Anthony Newley

2 12) A VOICE IN THEWILDERNESS Cliff Richa

3 (3) STARRY EYEDMichael Holiday

4 (4) WAY DOWN YONDERFreddie Cannon

5 (6) POOR MEAdam Faith

6 (5) HEARTACHES BY THENUMBER Guy Mitchell

7 (9) PRETTY BLUE EYESCraig Douglas

8 (-) SLOW BOAT TO CHINAEmile Ford

9 (7) WHAT DO YOU WANNMAKE THOSE EYES ATME FOR Emile Ford

10 (-) BEYOND THE SEABobby Darrin

ALL the chartsTOP U.S. SINGLES

2

3

4

5 (5)

6 (7)

7 (13)8 (4)

9 (17)10 (11)11 (21)12 (10)

13 (14)14 (6)15 (9)

16 (19)17 (15)18 (50)

19 (20)20 (12)21 (22)22 ( 16)23 (18)24 (25)25 (30)26 (34)27 (31)28 (45)29 (26)30 (31)

31(39)32 (36)33 (-)34 (-)35 ( -

36 (48)37 (-)

38 (37)39 (43)40 (-)41 (42)42 (40)

43 (-)44 (49)45 (- )

46 (-)47 (44)48(41)49 (---)

VENUS Shocking Blue (Colossus)I WANT YOU BACK Jackson 5 (Motown)RAINDROPS KEEP FALLING ON MY HEAD B. J. Thomas (Scepter)THANK YOU (Fallettin Me Be Mice Elf Agin)/EVERYBODY IS A STARSly and the Family Stone (Epic)WITHOUT LOVE (There Is Nothing) Tom Jones (Parrot)I'LL NEVER FALL IN LOVE AGAIN Dionne Warwick (Scepter)HEY THERE LONELY GIRL Eddie Holman (ABC)WHOLE LOTTA LOVE Led Zeppelin (Atlantic)NO TIME Guess Who (RCA)JINGLE JANGLE Archies (Kirshner)PSYCHEDELIC SHACK Temptations (Gordy)LEAVING ON A JET PLANE Peter, Paul and Mary

(Warner Bros. -Seven Arts)ARIZONA Mark Lindsay (Columbie)DON'''. CRY DADDY/RUBBERNECKIN' Elvis Presley (RCA)SOMEDAY WE'LL BE TOGETHER Diana Ross and the Supremes

(Motown)

FANCY Bobbie Gentre (Capitol)LET'S WORK TOGETHER Wilbert Harrison (Sue)MA BELLE AMIE Tee Set (Colossus)OH ME OH MY Lulu (Atco)HE AIN'T HEAVY' HE'S MY BROTHER Hollies (Epic)ONE TIN SOLDIER Original Caste (TA)GIVE ME JUST A LITTLE MORE TIME Chairman of the Board

WALK A MILE IN MY SHOES Joe South (Capitol)JAM UP JELLY TIGHT Tommy Roe (ABC)TRAVELLIN` BAND/WHO'LL STOP THE RAINCreedence Clearwater Revival (Fantasy)WALKIN' IN THE RAIN Jay and the Americans (United Artists)EARLY IN THE MORNING Vanity Fare (Page One)BLOWING AWAY Fifth Dimension (Soul City)WINTER WORLD OF LOVE Engelbert Humperdinck (Parrot)MIDNIGHT COWBOY Ferrante and Teicher (United Artists)BABY TAKE ME IN YOUR ARMS Jefferson (Janus)HONEY COME BACK Glen Campbell (Capitol)RAINY NIGHT IN GEORGIA Brook Benton (Cotillion)THRILL IS GONE B. B. King (Bluesway)DIDN'T IT BLOW YOUR MIND THIS TIME Delfonics (Philly Grove)WONDERFUL WORLD, BEAUTIFUL PEOPLE Jimmy Cliff (A & M)

THE BATHROOM WINDOW Joe Cocker

(A & M)

SHE BELONGS TO ME Rick Nelson (Decca)MONSTER Steppenwolf (Dunhill)EVIL WAYS Santana (Columbia)HOW CAN I FORGET YOU Marvin Gaye (Tamla)LET A MAN COME IN AND DO THE POPCORN (Part II) James Brown

(King)BREAKING UP IS HARD TO DO Lenny Welch (Commonwealth United)LOVE BONES Johnny Taylor (Stax)TONIGHT I'LL SAY A PRAYER Eydie Gormme (RCA)ALWAYS SOMETHING THERE TO REMIND ME R. B. Greaves (Atco)

(Invictus)

CUPID Johnny Nash (Jad)WHEN JULIE COMES AROUND Cuff Links (D a)

BRIDGE OVER TROUBLED WATERS Simon did Garfunkel (Columbia)(-) THEyRAPPER

7 (2)

8 14)

9 17)

10 (8)

TOP U.S. ALBUMS1 (1) LED ZEPPELIN II (Atlantic)2 (2) ABBEY ROAD Beatles (Apple)3 (5) WILLIE & THE POOR BOYS

Creedence Clearwater Revival (Fantasy)4 (3) LIVE IN LAS VEGAS Tom Jones (Parrot)5 (4) LET IT BLEED Rolling Stones (London)6 (6) WAS CAPTURED LIVE AT THE

FORUM Three Dog Night (Dunhill)7 (7) ENGELBERT HUMPERDINCK

(Parrot)8 (9) SANTANA (Columbia)9 (15) THE BAND (Columbia)

10 (14) LIVE PEACE IN TORONTO 1969Plastic Ono Band (Apple)

11 (12) JOE COCKER! (A & M)12 (17) EASY RIDER Soundtrack (Dunhill)13 (13) IN-A-GADDA-DA-VIDA

Iron Butterfly (Atco)14 (20) TO OUR CHILDREN'S CHILDREN'S

CHILDREN Moody Blues (Threshold)15 (30) I WANT YOU BACK Jackson 5 (Motown)16 119) BUTCH CASSIDY & THE

SUNDANCE KID BurtBacharach/Soundtrack (A & M)

17 (8) BLOOD, SWEAT & TEARS (Columbia)18 (16) CROSBY/STILLS/NASH (Atlantic)19 (-) GRAND FUNK Grand Funk

Railroad (Capitol)20 (21) I AM THE PRESIDENT David Frye (Elektra)21 (10) PUZZLE PEOPLE

Temptations (Gordy)22 129) RAINDROPS KEEP FALL IN' ON

MY HEAD B. J. Thomas (Scepter)23 (11) LITTLE WOMAN Bobby

Sherman (Metromedia)24 (26) BEST OF ... Tommy

Jones and the Shondells (Roulette)25 (-) MONSTER Steppenwolf (Dunhill)26 (25) HAIR Original Cast (RCA)27 (27) TWELVE IN A ROE Tommy Roe (ABC)28 (28) JOHNNY CASH AT SAN QUENTIN

(Columbia)29 (-) BEST OF ... Charlie Pride (RCA)30 (-) VOLUNTEERS Jefferson

Airplane (RCA)

R 'N' B SINGLES(1) I CAN'T GET NEXT TO YOU

Temptations2 (3) SOMEDAY WE'LL BE TOGETHER

Diana Ross and the Supremes3 I-) I'M A MAN Chicago

(CBS 4715)4 (5) COMIN' HOME

Delaney and Bonnie5 (6) YOU KEEP ME HANGING ON

Wilson Pickett6 (-) WEDDING BELL BLUES

5th Dimension (Liberty LBF 152881SITTING ON THE DOCK ORTHE BAY DellsTO BE YOUNG, GIFTEDAND BLACK Nina SimoneDO WHAT YOU GOTTA DOFour TopsJUST PLAIN BEAUTIFULDelaney and Bonnie

R 'N' B ALBU11) TIGHTEN UP (VOL. 2)

Various Artists2`':16) PUZZLE PEOPLE

Temptations3 (2) MOTOWN CHARTBUSTERS (Vol 3)

Various Artists4 (7) TOGETHER Diana Ross and the

Supremes with the Tempta ns

5 (3) CLOUD NINETemptations

6 (-) SECOND WINTER'Wormy Winter (CBS 66231)

7 (9) RID RED WINEVarious

8 (4) MY CHERIE AMOURStevie Wonder

9 (10) REGGAE SPECIALVarious

10 (8) MGP Marvin Gaye

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RECORD MIRROR, February 7, 1970 15

CARL WAYNE: "I'll never go into a group thing again."

She bought Her Spanish dancing skirt - "it's wool and it's really warm" - in Camden Market for 10s.The silk blouse was a present from Jeff Dexter - "I get all his leftovers". Her red socks were stolen fromher brother. And the boots came from "a boots shop". She explained, "I really am no good at clothes. I

just have them to wear." Such is the straightforward attitude of Linda Lewis, singer with Ferris Wheel,child of the East End and full of a recent visit to Switzerland with the group. "It's so CLEAN there," shekept saying, almost as if she couldn't believe it. The group appeared on television there and had a date atthe Blackbird Club in Geneva on its opening night. "Unfortunately they hadn't finished the club when wearrived so it was all a bit hectic," said Linda who is just 19. She wrote two numbers on the group's latestalbum "Ferris Wheel". And she enjoys singing "because I like it." But what about that velvet jacket, Linda?"That was a present from somebody or other too!"

Big chief Waynespeak withforked tongue

but singwith stronghonest voiceL

interestingPresleypreferableBut beforegreat fanskies fallshasten to

AST WEEK I hearda voice which I ratethe mostsince Elvis Aaronand infinitelyto Thomas Jones.the wrath of that

club in the Welshupon me may I

add it is just myopinion.

The voice has a bit of RitchieHavens about it, a touch of theScott Walkers and a hint of the JoeCockers. It is a good voice - astrong voice and it carries in itstimbre that elusive ingredient'conviction' - it is the voice ofCARL WAYNE.

HidingHe of the Move who until the

recent split has been hiding his lightunder the dominating bushel whichhas been Roy Wood. The voicecame my way last week when Carlstrode manfully up the four flightsto my office with what hemysteriously alluded to as 'a demodisc for some album material' underhis arm.

"If it sounds good on our recordplayer it is good", I informed himand without more ado we removedthe small attentive dog from infront of the horn and listened to anarrangement of 'Just Like AWoman'.

"Nice voice and a goodarrangement," I commented afterthe first few bars.

"You were right about it being agrotty record player," said Carl.The voice flowed on.

"Who's the singer," I askedinnocently. "He's good?"

"Just a session guy," said Carl."First time I've heard it'. He spokewith forked tongue.

Wasted"Forget the song," I quoth, "If

that guy is not signed up to a labelgo and get him under a

management contract - he's

wasting his time doing demos.""What do you think of the

backing?" asked Carl."Good, good - sympathetic and

intelligent but listen to that guy hecan really sing. Listen to that lownote - is he coloured?"

"Glad you liked it," smiled Carl."You're the first journalist to hearit - it's ME!"

Never in the words of the

KeithAlthamtalking

toCarl

Wayneimmortal Frankie Howerd has my'flabber been so ghasted." Andfrom Dylan's 'Just Like A Woman'it was a short spin to Jim Webb's'Didn't We' and more power to Mr.Wayne's vocal elbow. Waddyameanyou've never seen a vocal elbow -own up, own up!

The recording's had been made atCarl's own expense in a

Birmingham studio with a backingprovided by a lorry driver, a

shopowner, an engraver and a

salesman - all part-time musicians.Carl told them just what he wantedand paid them off. The results areimminently superior to manyexpensive sessions I have heard.

"I've wanted to leave the Movefor almost a year since TrevorBurton left," said Carl whoaffirmed he will do no morebookings with the group. "When westarted the group it was a veryworthwhile thing but in recentmonths it has become senile!

Our records have just not livedup to our reputation. Our rate ofprogress was a joke - six singlesand one album in a year!

"The only possible way in whichthe group could have continuedwould have been to split it in two -Carl Wayne's 'Move' and RoyWood's 'Move'. I don't want tobitch about the differences betweenRoy and I because it's all over nowbut we never saw eye to eye. Sixmonths ago I decided that justmaking good money was notenough and I needed to showsomeone what I really could do.

"The major difference betweenmy split and say people like DaveDee and Robin Gibb is that theyhave both made records which insomeway reflect their past workwith their old groups. My work is acomplete departure and I am goingto have to convince a lot of peoplethat I can sing - that's why I madethese demos!

"So far the three friends whohave these demo discs have raisedcomparisons with Tom Jones, P. J.Proby and even Billy Eckstine -I'm not saying that I recognise anyof these inflections myself but I'm

delighted with comparisons to suchgreat vocalists.

"My own preference forvocalists is varied but the kind ofapproach I admire most is frompeople like Joe Cocker who sings asthough he means it - call it 'soul'call it 'sincerity' it comes outsounding honest. I want to be anhonest singer and if I can gettogether the kind of backing groupthat Joe has with the Grease Bandwith perhaps the addition of a

meletron it would be ideal.

Difficult"Cocker could go on stage

dressed in a top hat and tails or akaftan and it wouldn't worry theaudience because they come to hearhim sing. I want to go on stagedressed in the manner I like - lookat me now just an ordinary suit andtie - stand, sing and collect!

"I'll never go back into a groupthing again because it is like a

marriage - so difficult to make itwork. I'm a 'Leo' and I want thingsmy way. I'm going to do an albumof standards and songs my way andmaybe a concert with the MidlandLight Orchestra and another withthe Norman Dovey Big Band.

"The type of material I want toperform would be taken fromalbums like the 5th Dimension's'Magic Garden' and ThemlaHoustons"Sunshine'.

Mystery

The Move was not a greatfinancial success Carl informed mealthough they were beginning tobreak ground in America. He feelssorriest for bass player Rick Pricewho only joined the group si)months ago but thinks he hasenough song -writing talent to makeout.

There was a mystery referenceto something called 'The ElectricLight Orchestra' which Roy Woodand Bev Bevan have been thinkingof forming and a mention of Carl'shaving moved down to Londonfrom Birmingham to centralise hisnew solo efforts.

"My contract with my presentrecord company is up shortly andwe shall just have to see where wego from there," said Carl. "I wouldlike to release something which isnot necessarily geared for the chartsbut will at least give people someidea of what I can do. I desperatelyneed people rooting for me becauseI am at present an unknownquantity."

Root. Root. Root.

16 RECORD MIRROR, February 7, 1970