slate)tis mee, - worldradiohistory.com · 1973. 5. 12. · rick wakeman aetm amlh 64361 cosmic...

THE OSMONDS: The fantastic year since Puppy Love-EXCLUSIVE PAGE13

A BILLBOARD PUBLICATION MAY12 '973

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RECORD MIRROR, MAY 12, 1973

10 13

-RECORDMIRROR

111111111 1 10 TIE A YELLOW RIBBON Dawn2 4 2 HELL RAISER Sweet3 2 6 HELLO HELLO I'M BACK AGAIN

Gary Glitter4 6 4 SEE MY BABY JIVE

Wizzard5 11 5 GIVING IT ALL AWAY

Roger Daltrey6 20 4 AND I LOVE YOU SO

Perry Como7 9 5 BROTHER LOUIE Hot Chocolate8 3 5 DRIVE IN SATURDAY

David Bowie9 12 6 MY LOVE McCartney's Wings

4 NO MORE MR. NICE GUYAlice Cooper Warnes

Bell 1287RCA 2357

Bell 1299

Harvest HAR 2076

Track 2094110

RCA 2346RAK 149

RCA 2352Apple R5985

Bros K16262

11 7 9 ALL BECAUSE OF YOU Geordie EMI 200812 8 9 GET DOWN Gilbert O'Sullivan MAM 9613 25 3 WONDERFUL DREAM

Ann -Marie David Epic 144614 16 6 BIG EIGHT Judge Dread Big Shot BIG1915 10 5 I'M A CLOWN/SOME KIND OF SUMMER

David Cassidy Bell MABEL416 5 7 TWEEDLE DEE

Jimmy Osmond MGM 200617517 29 7 THE RIGHT THING TO DO

Carly Simon Elektra K1209518 21 11 NEVER NEVER NEVER

Shirley Bassey UAUP 3549019 42 2 ALSO SPRACH ZARATHUSTRA (2001)

Deodato (Creed Taylor CTI 4000)20 30 4 COULD IT BE I'M FALLING IN LOVE

Detroit Spinners Atlantic K10283

21 19 7 GOOD GRIEF CHRISTINAChicory Tip

22 27 5 MEAN GIRL Status Quo23 15 10 CRAZY Mud24 34 2 ONE AND ONE IS ONE

Medicine Head25 14 10 PYJAM.ARAMA

Roxy Mush"26 18 10 THE TWELFTH OF NEVER

Donny Osmond27 45 2 BROKEN DOWN ANGEL

Nazareth28 24 11 LOVE TRAIN O'Jays29 26 9 POWER TO ALL OUR FRIEN

Cliff Richard30 17 7 AMANDA Stuart Gillies

31 31 5 LETTER TO LUCILLETom Jones

32 - WALK ON THE WILD SIDELou Reed

33 49 2 YOU WANT IT YOU GOT ITDetroit Emeralds

34 50 3 24 SYCAMOREGene Pitney

35 23 7 DUELLING BANJOS - SouEric Weissberg/S. Mandel

36 35 6 WAM BAM Handley Family37 33 5 HEY MAMA Joe Brown38 47 5 EVERYDAY Don McLean39 38 14 FEEL THE NEED IN ME

Detroit Emeralds

40 48 2 I'VE BEEN DRINKINGJeff Beck/Rod Stewart

41 32 11 CUM ON FEEL THE NOIZESlade Polydor 2058339 42

42 36 13 KILLING ME SOFTLY WITH HIS SONGRoberta Flack Atlantic K10282 43

43 22 8 GOD GAVE ROCK AND ROLL TO YOUArgent Epic 1243 44

44 37 4 BAD WEATHERSupremes Tamla Motown TM9847 45

45 40 4 WHATEVER HAPPENED TO YOUHighly Likely BBC RESL10 46

46 ALBATROSS Fleetwood Mac CBS 830647 28 11 HEART OF STONE Kenny RAK 144 4748 - - HELP IT ALONG/TOMORROW RISING

Cliff Richard EMI 2022 4849 43 12 NICE ONE CYRIL 49

Cockerel Chorus Young Blood YB1017 50ROOF TOP SINGING New World RAK 148

CBS1260Pye 7N45229

RAK 146

Polydor 2001432

Island WIP6159

MGM 2058340

Mooncrest Moon 1CBS 1781

DSEMI 2012

Philips 6006 293

Decca F13393

CA Victor RCA2303

Westbound 6146103

Pye 7N 25606ndtrackWarner Bros K16262

GL 100Ammo AM0101

UA UP 3551939

Janus 614602040

RAK RR4 41

s c°a>

4,2

2 7, cs

1 1 2

2 5 23 6 24 2 45 4 4

6 8 8

7 10 5

8 12 6

9 3 6

10 9 25

11 15 42

12 11 7

13 13 12

14 17 2

15 19 716 18 1717 16 14

18 24 619 20 13

20 22 33

21 7 7

22 34 8

23 1

24 32 725 14 2

26 26 3

27 28 21

28 27 70

29 25 2230 1

31 45 332 23 9

33 1

34 43 335 30 12

36 40 837 44 17

38 1

31 3

38 4

1

29 6

1

1

37 3

1

1

1

1

50 11

RM/BBC chart

ALADDIN SANEDavid BowieTHE BEATLES 1967/1970THE BEATLES 1962/1966BELIEVE IN MUSIC000H -LA -LA Faces

RCA Victor RS1001Apple PCSP 718Apple PCSP 717

K -Tel TE 294

Warner Brothers K 56011BILLION DOLLAR BABIESAlice Cooper Warner Brothers K 56013HOUSES OF THE HOLYLed Zeppelin Atlantic K 50014FOR YOUR PLEASURERoxy Music Island ILPS 923240 FANTASTIC HITS FROM THE50's Et 60's Arcade ADEP 3/4BACK TO FRONTGilbert O'Sullivan MAM 502SIMON Et GARFUNKEL'S GREATESTHITS CBS 69003THE DARK SIDE OF THEMOON Pink Floyd Harvest SHVL 804ROCK ME BABY David Cassidy

Bell BELLS 218SINGALONGA MAX MaxBygraves Pye NSPL 18401TANX T. Rex EMI BLN 5002NO SECRETS Carly Simon Elektra K 42127DON'T SHOOT ME I'M ONLYTHE PIANO PLAYER Elton John DJM DJLPH

427TOGETHER Jack Jones RCA Victor SF 8342CLOCKWORK ORANGE Soundtrack

Warner Brothers K 46127PORTRAIT OF DONNYDonny Osmond MGM 231510820 FLASH BACK GREATS OFTHE SIXTIES K -Tel NE 494THE RISE AND FALL OF ZIGGYSTARDUST David Bowie RCA Victor SF 8287PILEDRIVE Status Quo Vertigo 6360 082CHERISH David Cassidy Bell BELLS 210SING ALONG WITH MAXMax Bygraves Pye NSPL 18361PARCEL OF ROGUESSteeleye Span Chrysalis CHR 1046TOO YOUNG Donny Osmond

MGM 2315113BRIDGE OVER TROUBLED WATERSimon Et Garfunkel CBS 63699SLAYED Slade Polydor 2383163CABARET Soundtrack Probe SPB 1052GLITTER Gary Glitter Bell BELLS 216GILBERT O'SULLIVANHIMSELF MAM 501TRANSFORMER Lou Reed

RCA Victor LSP 4807THE OSMONDS LIVE MGM 2315117SIX WIVES OF HENRY VIIIRick Wakeman AEtM AMLH 64361COSMIC WHEELS Donovan Epic 65450MOVING WAVES Focus

Polydor 2931002IMAGINE

John Lennon/Plastic Ono BandApplePAS10004

JEFF BECK /TIM BOGERT /CARMINE APPICE Epic 65455KILLER JOE LittleJimmy Osmond MGM 2315157SPACE ODDITY David Bowie

RCA Victor LSP 4813LIZA WITH A 'Z'Liza Minnelli CBS 65212TAPESTRY Carole King

AEtM/Ode AM LS 2025HUNKY DORYDavid Bowie RCA Victor SF 8244TEASER AND THE FIRECATCat Stevens Island ILPS 9154TALKING BOOK Stevie Wonder

Tamla Motown STMA 8007AMERICAN PIE Don McLean

United Artists UAS 29285FOCUS 3 Polydor 2659 016MEDDLE Pink Floyd Harvest SHVL 795BURSTING AT THE SEAMSStrawbs AEtM AMLH 68144

chart chatterAND what a good week with,as indeed predicted last time,lots and lots of chart action.No less than 10 records makemighty leaps up the charts. Inthe Top 20 the old maestro,Perry Como, goes from 20 tosix. Could he indeed make theTop? A good move upwardstoo for Roger Daltrey.

Anne -Marie David and herEurovision song winnermakes strong progress in get-ting to 13. Carly Simon, aftergiving impression of eitherstaying static or moving down-wards, is now in the 20. Itmeans a jump of twelveplaces.

What a massive leap for theDeodoto, Also Sprach Zara-thustra, as the 2001 Theme hasa mighty 23 places move to 19from 42. Nazareth 90 from 45to 27!

The Detroit Spinners moveto 20 from 30 and the otherDetroit named group The Em-eralds have a 16 place surgeupwards to 33. Their new al-bum is on offer by the way inthe RM, Chart Parade Com-petition in two weeks time.

Medicine Head climb up-wards to 24. Gene Pitney, andPye must be feeling happywith two fast climbers, has a16 place moving forwardsdisc.

I've Been Drinking makesconservative progress forwhat might have been ex-pected as one of the week'sreally big movers. However,eight places is going the rightway!

Yes, change could havebeen expected at the top butDawn are still there. Sweetclose in behind them but mostpeople surely expected them tobe this week's number one.

Wizzard go to four but only athree position climb upwardsfor Wings and My Love. Out-side of the big movers no realsurprises then at the top.

Surprises this week outsideof Sweet not getting the num-ber one are the slow progressfor No More Mr. Nice Guy;Jimmy Osmond makes arather nasty fall to 16; thesame goes for Roxy Music asthey drop from 14 to 25. Andwho would have expected Ar-gent to tumble from 22 to 43?

The big, big surprise and agood one to see is entry for LouReed with Walk On The WildSide. People had given thatone up several months back!The producer is of course Da-vid Bowie.

Breakers come from Temp-tations and Masterpiece, Freewith Travellin' in Style (whata struggle they're having),Sad Day from the RollingStones, Isaac Hayes and IfLoving You Is Wrong, yetagain The Carpenters withSing and a real goodie fromFirst Choice called ArmedAnd Extremely Dangerous.

Congratulations to Sunder-land. What a game. Ah, near-ly forgot. Yes, folks the big hitsoon to be is Sunderland AreOn The Way. That is aBREAKER THIS WEEK.

Sweet for the Top nextchart? Perhaps Roger Daltreyor even Perry Como?

breaking throughFirst ChoiceArmed And Extremely Dan-gerous (Bell)US smash. Encouraging salesin UK over past few weeks.Poised to make the 50 here.Good feel. Punchy.

Stealers WheelStuck In The Middle With You( A& M)A Top 20 Americana hit. Airplay growing this side of At-lantic. A good, fresh, sound.Showing signs of hitting ourcharts.SylviaPillow Talk( London )Topping US Soul Charts andgetting disco play in Britain.Just love the subtle beat. Oneto watch.Rolling StonesSad Day (Decca)Unreleased oldie from Mickand the gang and Stone's col-lectors out on force and fromfirst sales plenty of otherpeople as well.

Stevie WonderYou Are The Sunshine (TamlaMotown)From the album TalkingBook. Very, very healthy in -

chart paradechart parade check-outan occasional guide into cur-rent compilation albums.

20 Original Chart Hits Origi-nal Artists (Philips) £1.99.

Among the 20 tracks can befound a somewhat varied anduneven crowd of artists likeStylistics, Nana Mouskouri,Faron Young, Donnie Elbert,Manfred Mann, Jeannie C.Riley, Dusty Springfield andLesley Gore.

All songs come from theSixties save the Platter's hitfrom 1959, Smoke Gets In YourEyes. Most of the featuredsingles hit the Top 20, ones notto are Chantilly Lace fromJerry Lee Lewis (a verystrange opening track lackingthe immediacy needed); Ram-sey Lewis with Wade In TheWater; Nana Mouskouri'sWhite Rose of Athens. TheManfred Mann track is Ha!Ha! Said The Clown and thusMike D'Abo on lead vocal.

Stevie Wonder.

itial reaction and not surpris-ing. A biggie from Stevie.

watch forBuddy Holly - That'll Be TheDay (MCA) America - Don'tCross The River (Warner).

check-outMost recent song is 1973 hit

from the Detroit Emeralds,Feel The Need In Me. PaperPlane from Status Quo followsRod Stewart's monster smash,You Wear It Well, on side two.The Dusty track is a knock-out, I Close My Eyes AndCount To Ten.

joke all the compilation al-bums odd moments of trackordering and thus here anending of White Rose OfAthens, Morning and LittleGreen Apples will mean manyending on Lobo's, Me And YouAnd A Dog Named Boo.

Doubtless big sales but Ithink Philips could have start-ed with a better selection.They have some strong cata-logue material and if they careto issue one of the 50's thatcould be an event, particularlyif they consulted all those RM,All Time Top 20 fans!

For now it's their 20 OriginalChart Hits and I guess at £1.99a pretty reasonable spendingbargain.


'1\

3

111110 PARADECompiled and edited by TONY JASPER

Anne -Marie burstsinto the British 20

ANNE -MARIE DAVIDhas proved yet again thatthe winning song in theEurovision Song Contest isan automatic British Top50 smash. She looks set forthe Top 10. WonderfulDream is this week at 13.

Eurovision influence inthe 50 doesn't end there.Cliff Richard's Power ToAll Our Friends hit didn'tmake the Eurovision num-ber one. He has, though,had a good run in the UKcharts with this disc.

Now Cliff's back inchart -land with a Maxi -single of Eurovisionsongs. He makes entry at48.

Anne -Marie was born inthe French Carmague in1952. In 1970 she signed arecording contract withCBS. Her first record wasUn Peu Romantique. In-terest in the record led toher playing the part ofMary Magdelen in theFrench version of JesusChrist - Superstar.

A song from that show,The Mary Magdelen Song,became a monster Frenchhit. Now she is conqueringBritain with Tu Te Recon-naitr as!

yesterplaysfrom the rm charts

5 years agoMay 11,19681 Wonderful World - Louis

Armstrong ( Stateside ) .2 Lazy Sunday - Small

Faces (Immediate).3 Simon Says - 1910 Fruit-

gumCo. (Pye).4 Man Without Love - Eng-

elbert Humper din ck ( Dec -Ca) .

5 I Don't Want Our LovingTo Die - Herd (Fontana).

6 Can't Keep My Eyes OffYou - Andy Williams(CBS).

7 Young Girl - Union Gap(CBS).

8 If I Only Had Time - JohnRowles (MCA).

9 Honey - Bobby Gold-sboro' (UA).

10 Jennifer Eccles - Hollies(Parlophone).

10 years agoMay 11,19631 From Me To You - Beat-

les (Parlophone).2 How Do You Do It, -

Gerry And The Pacema-kers (Columbia).

3 From A Jack To A King -Ned Millar (London).

4 Nobody's Darling ButMine - Frank Ifield (Co-lumbia).

5 Can't Get Used To LosingYou - Andy Williams(CBS).

6 In Dreams - Roy Orbison(London).

7 Scarlet O'Hara - Jet Har-ris & Tony Meehan (Dec -ca).

8 Say I Won't Be There -Springfields (Philips).

9 Two Kinds Of Teardrops- Del Shannon (London).

10 Losing You - Brenda Lee(Brunswick).

hamilton's disco picksEDGAR WINTER: Frankenstein (Epic EPC 14440) The"NOISE" on its own is an incredible cut -in over -ride effect!HENRY HALL: Teddy Bear's Picnic; Here's To The Next Time;any more! (LP "It's Five Fifteen And Time For . . ." WRC SH172) MoR Nostalgia.KEN DODD: The Song Of The Diddymen (MFP Surprise FP 26)Conga -type Fun.UPPER CRUST: Mayday (MCA MUS 1197) MoR/Easy.JOSEPH HOROVITZ ORCH: Search For The Nile (SovereignSOV 117) Dead slow Easy, for a topical "Dr. Livingstone, Ipresume" voice-over!LYNSEY DE PAUL: All Night (MAM 99) She "Gets Down"quite sexily, MoR/Pop.

focus on...APOLLO 100Besame Mucho (Young BloodInternational)A classical rock outfit, Apollo100, hit number five spot on theUS Top 100 charts with theirfirst disc, Joy. Round theworld it became a monstersmash. Nothing happened inthe UK. They're back with afresh cut. The Dutch hit pa-rade is already showing it.The two guys responsible forthe current success are TomParker and Miki Dallon. Forthe moment Apollo 100 are thecream of Britain's session mu-sicians.

chart reggaeMICHAEL JACKSON has anavid fan in seven -year -oldSteve Collins. Now Steve'smade a record himself and it'scalled Ding -A -Ling -Ting -A -Ling (Big Shot). It will driveyou mad, one way or theother. Two things about Steve- he gets 10p pocket moneyand doesn't like being in bedby 10 o'clock. Other reggaedecks to watch out for areHappy People from The Cima-rons (Trojan) plus a nice, niceDel Davis spin on the Lennon& McCartney number WorldWithout Love (Horse). Anddon't forget Peter Jones re-views all the best reggaesounds on his singles page.

disc newsALICE COOPER'S BillionDollar Babies now a gold andfourth in a row for Alice. Yesstrike gold in the US withYessongs triple LP and thatmakes their third. Ex-McGuiness Flint, DennnisCoulson working on an album.A Bread maxi -single due outMay 25. The old raver fromShowstoppers, Ain't NothingBut A Houseparty, is the open-ing cut on fourth album for J.Geils Band. Raquel Welch hasgot a recording contract, justone more string to her bow.New Presley single, Polk Sal-ad Annie, comes from his OnStage LP recorded in 1970.The 1973 Spencer Davis grouprelease their first album earlyin June.

Alice Cooper.

world chartsHong Kong: 1, Tie A YellowRibbon Round The Old OakTree - Dawn; 2, It NeverRains In Southern California- Albert Hammond; 3, Daniel- Elton John. Spain: 3, Pow-er To All Our Friends - CliffRichard; 5, I Am An Astro-naut - Ricky Wilde ; 6, HousesOf The Holy - Led Zeppelin(LP); 7, Grand Hotel - Pro-cul Harum (LP). Japan: 9,You're So Vain - Carly Sim-on. Germany: 2, Mama Loo -Les Humphries Singers; 3,Block Buster - Sweet; 4Dreams Are Ten A Penny -Kincade; 6, Yellow Boome-rang - Middle Of The Road.Denmark: 1, Mama Loo - LesHumphries Singers; 2, YellowBommerang - Middle Of TheRoad; 3, Sha-La-La-La-La -Walkers; 4 Clap Your HandsAnd Feet - Bonnie St. Clair. -

Norway: Power To All OurFriends - Cliff Richard; 5,Can't Keep It In - Cat Ste-vens; 6, It Never Rains InSouthern California - AlbertHammond. Singapore: 1, Doc-tor My Eyes - Jackson 5; 2,20th Century Boy -T -Rex; 3Killing Me Softly With HisSong - Roberta Flack.

chart soulTOPPING the US Soul Chartsare:1, Funky Worm - Ohio Play-ers; 2, Pillow Talk - Sylvia;3, You Are The Sunshine OfMy Life - Stevie Wonder; 4,Leaving Me - The Indepen-dents; 5, Cisco Kid - War; 6, ICan Understand It - NewBirth; 7, I'm Gonna Love YouJust A Little. More Baby; 8,Masterpiece - Temptations;9, Without You In My Life -Tyrone Davis; 10, Ain't NoWoman - Four Tops.from Billboard

Partridge Family Comp andEntry Form on Page 4

DonCovay

SuPer Dude

MEMPHIS

number for the above

TWO IN A ROW

DetroitZneraldsYOU WANT ITYOU GOT IT

6146 103

From Phonogram-the best sounds around a

4 RECORD MIRROR, MAY 12, 1973

FocusAt the end of their set at the

Rainbow on Friday Focusgained four encores and hada good per centage of theaudience standing, clappingand demanding their return.Yet strangely many of thepeople watching filed out be-fore the encores came.

Perhaps they were just alittle too unimpressed bygood music - but then equal-ly those standing and cheer-ing were probably a little tooeasily impressed. Focus infact played a musically en-joyable set, despite feedbackproblems with the equip-ment, and the fact that JanAkkerman broke a guitarstring and consequentlyplayed out of tune on theclosing passages. But, at thesame time, they just failed tocreate the electric and com-pelling atmosphere whichthey sustained at the Sun-down during their last visitto England.

The programme was al-most identical to that usedbefore, with Focus HI andAnswers, Questions Ques-tions, Answers opening, fol-lowed by Focus II andAnonymous, before the soar-ing strains of Akkerman'sguitar took us into Eruption.The out -of -tune Hocus Pocusstill proved to be a favourite,and Sylvia had Thijs VanLeer presenting one of thebrighter moments of the eve-ning with excellent fluteplaying. But the most magic-al moment of all arrivedwhen Jan Akkerman re-turned for one encore with alute, and seated on his own,stunned everyone with hisbrilliance on this in-strument.

It wasn't the best perform-ance for Focus - but fine,none the less. - V. M

GodspellHAVING just had my appe-tite whetted by David Es-sex's performance in That'llBe The Day, I paid a returnvisit to see Godspell thisweek. My first impressionsof the show had been derivedfrom a preview performancewhich took place at theRoundhouse. That I enjoyedand was impressed by Da-vid's own versatility . . . butone year on, the show issparkling much more. Farfrom reducing the lively at-mosphere the intimacy ofWyndhams Theatre hasadded to the friendliness andcloseness that Godspell cancreate. In fact at the end ofthe performance the au-dience rose to their feet tobring the cast back to thestage numerous times . . .

and even joined them in sing-ing Day By Day. To updatethe show references aremade to "nice one, Cyril",and sometimes Judas Isca-riot sings a line from That'llBe The Day - whichprompts a quirky grin fromDavid. A new opening scenehas also been added andDavid's confidence hasgrown no end. I missed JulieCovington's (who's now leftne show) rendering of Day

By Da,:y but Marti Webb andiay Soper - two originals -present vastly differentcharacters excellently. In-cidentally David plans toleave the show in September,and as the house full noticesare up every night, it wouldbe wise to put in a bookingnow. VM

Roy BuchananTHE endless rain on Saturday night did nothing to dampen theenthusiasm of the crowds that packed the entrance to ImperialCollege for Roy Buchanan's first London appearance. Manydidn't get in but the fifteen hundred who made it through into thecollege's Great Hall were well rewarded for their patience. MikeAbsalom opened the show with a set that exhibited hiscustomary blend of professionalism and sheer good humour andhis cautionary tales of the sad adventures of WPC Sadie Stick,Ernie Plug and the others won a lot of laughs. But it was RoyBuchanan that the capacity audience had come to see and thisalmost legendary guitarist fully lived up to the reputation thathe has already built up in this country.

Buchanan opened with an electrifying Johnny B Goode thatleft us open-mouthed as he ripped his way through licks thatChuck himself could hardly have bettered. With the audiencestill reeling he slowed things down with It Hurts My Soul, a slowhaunting twelve bar that gave him plenty of chances to exhibithis complete mastery of a blues style that recalled B B King athis searing best. A stomping version of Missaloo led into abreathtaking electrofreak Hey Joe which Buchanan touchinglyintroduced as "a memory of my favourite guitar player". WholeLotta Shaking gave the pianist a chance to show that Roy wasn'tthe only one in the band who could really rock along and the songfaded out to a Nashville chorus of "thank you Jerry Lee" fromall the good Southern boys on stage JB

Focus - glad to be back in England?

RalphMcTellTHIS was vintage McTell.The guy enjoyed himself andso did the audience. One ofthese days he must breakthrough to mass acceptance.He is too good to remain acomparatively minor star.

Nettle Wine, Barges and afine Zimmerman Blues werethree of the early numbers.There was no stumbling, he-sitation or what have you,McTell was into his set fromthe first number.

Since it was someone'seighteenth birthday hepulled out of his goldenvaults a song he wrote at thatage, First Song. A newiefollowed called Zig Zag Line.Another brand new song wasa colourful Maddy's DancingSong. This was Ralph's trib-ute to the girl who jigs roundthe stage during SteeleyeSpan sets. His, When I WasA Cowboy was a knoek-out,so too First And Last Man.

The only mar came whenDanny Thompson joinedRalph for some numbers.Nothing wrong with Dannyjust some slap -dash hack-work meant for three num-bers the sound was not bal-anced and Thompson for allwe know could have beenrubbing his thigh.

McTell, you're great. Anda parting word of praise for avery impressive first setfrom Hunter Muskett.

TJ.

Ralph McTell.

Maggie quitsCrows tour

cancelledMAGGIE BELL has quit Stoneing involvement in her debut scancel Saturday's Rainbow gig

The announcement came ina sparsely worded statementfrom the band's publicists,Mike Clifford and Chris Tre-gove who say they do not knowwhat the group's plans are orwhat Maggie intends to do.

Maggie's album Queen OfThe Night is being recorded atElectric Ladyland Studios inNew York by producer FelixPappalardi, who is also play-ing bass on the sessions.

The publicists understandthe album will be finished atthe end of May with a lateJune release on both sides ofthe Atlantic.

RETURNThey said: "Maggie will be

returning to Britain in Juneafter promotion plans for thealbu mare finalised.

Win a newCassidy- °

Partridgesingle

50! YES 50! DAVID CAS-SIDY and the PARTRIDGEFAMILY singles TO BEWON!

David's great success withI'm A Clown has held up forsome weeks the new Par-tridge Family single calledWalking In The Rain. Now,it's out and you can win afree copy.

Answer the four questionsbelow, send in by sec-ond post May 17. Theaddress is Partridge FamilyCompetition, Chart Parade,

Record Mirror, 7 CarnabyStreet, London Wl. Also en-close the square box markedP at the bottom of the entryform. Any number of entriesproviding each has thesquare box P.

This competition is open toanyone living in Great Brit-ain. The decision of ChartParade's editor is final'. Nocorrespondence can be en-tered into. The first 50 cor-rect entries drawn out of abox on Monday, May 21, willmean 50 happy winners!

Entry FormCut out this entry form or copy thequestions and answers on to a separatesheet, print clearly and cut outremembering to enclose the P foundbelow.

1. In real -life who is David's step-

mother?

2. What character is played by David in

the TV series?

3. Apart from mother, how many in the

family?

4. What part does Suzanne Crough

play?

Name

Address

NEXT WEEK: 12 copies ofthe new Detroit Emeraldsalbum to be won!

1

The Crows because of "increas-olo album" forcing the group toand the rest of their British tour.

"An American tour is beingnegotiated, although Maggiewill be working again in Brit-ain as soon as possible."

Family will replace theCrows at the Rainbow gig withFanny on Saturday. Peter Doyle.

Peter 'ends it'with Lyn and

SeekersPETER DOYLE is to leave thment came at an emotion -chargewhen the singer -songwriter saidworld and into the musical world

Paul'sbig week

PAUL McCARTNEYlaunches into his post -Beat-les career with a vengeancethis week with his networkedtelevision show tonight(Thursday) and the start ofWings' British tour on Fri-day at Bristol.

The band play Oxford onSaturday, Cardiff on May 13,Bournemouth (May 15) andManchester's Hard Rock onMay 16-17.

At the same time theiralbum, Red Rose Speedwayis in the shops, and Live AndLet Die, the latest Bond filmwith Paul's score, opens inJune.

Simon inLondon

PAUL SIMON is to make hisfirst European solo appear-ance since his days on theLondon folk scene in the earlysixties with a concert at theAlbert Hall on June 7.

He will be flying to Englandfor just the one appearance,and is now in the middle of hisfirst solo tour of the US whichclimaxes with concerts at NewYork's Carnegie Hall on June1, 2and3.

Urubamba, a quartet of Ar-gentinian singers, and the fiveJesse Dixon Singers will beplaying with Paul.

Tickets will be on sale at theAlbert Hall box office fromtomorrow (Friday) at £3, £2,£1.50, £1 and 50p.

West Wycombe`not a fest'

ORGANISERS of the WestWycombe charity concert inaid of the Samaritans stressedthis week that the event willnot be a pop festival but aconcert which covers allshades of contemporary mu-sic.

BBC producer Mr. JohnRoss -Barnard, who has got theshow together, said reportsabout the possible size of thecrowd had been exaggerated.

"We reckon there will be inthe region of eight to ten thou-sand people and that will suitus."

The event takes place onSaturday May 26 with Wizzardtopping a long list of artistswho are appearing free.

e New Seekers. The announce-d Press conference on Monday: "I want to get out of the pop

f f

His departure also brings toan end his "very close" rela-tionship with New Seeker, LynPaul who was unable to hideher tears as they posed togeth-er for photographs.

Peter, long acknowledgedas the group's most seriousand dedicated musician, trav-elled with the group for theirextensive tour of Americawhich began on Tuesday.Meanwhile a replacement isbeing sought in London to jointhe group within a month.Peter plans to record an al-bum and single of his ownworks.

He said the decision hadbeen discussed over the pastthree months but that it was inhis mind 10 months ago.

"It was a very hard decisionbut something I feel was nec-essary for the development ofmyself and the group. I wantto develop my own ideas in away that would not have beenpossible within the confines ofthe New Seekers. My ownpersonal tastes are perhapsdifferent from the m and I wantto reach out for something Icannot grab at the moment. Ihope to write and record myown material, if that doesn'twork out I will probably try toform a new group. Before Ihad no direction but now Ihave."

He said he had plenty ofmaterial to record and that itcould be termed "heavier"than New Seekers' material.

Lyn Paul said: "There isabsolutely no animosity be-tween us but naturally we areall very upset. "

Of her relationship with Pe-ter, she said: "It has been asecret for two years and now Idon't care who knows. I amsure it's the best thing in thelong run but it will be a strainbecause we have been soclose. "

Appropriately the NewSeekers' next single is titledGyodbye Is Just AnotherWord, to be released on June8.

Edmunds istrack king

NOEL EDMUNDS soundlytrounced all the opposition inthe DJ versus record com-panies race at Brands Hatchon Sunday.

Rain drenched the hoardesof record company people whocrawled out of the beer tents towatch the race which wasdramatised by the driving ofRingo's chauffeur, KennySmith. Although he spuntwice, he still managed tofinish in second place!

RECORD MIRROR, MAY 12, 1973 5

New T Rexsingle now

recordingMARC Bolan flew back toLondon last week after a for-tnight's stay in Los Angeleswhere he set up release of theRingo Starr film Born ToBoogie.

During his stay he report-edly jammed with Harry Nil-sson and Dr. John and alsorecorded an ABC-TV showwith T -Rex which will bescreened coast -to -coast nextweek. A British showing of theshow has not yet been ar-ranged.

Marc is currently recordinga new single in London - notitle is yet available - forrush -release in the States,where it will be his first singlerelease in a year.

Born To Boogie, which re-turned to British cinemas atEaster, has been held over forextended runs at manytheatres.

Gold discs forElton and Bernie

AN embarrassment of riches for Elton John and Bernie Taupin- at a reception held by DJM last Friday they were presentedwith gold albums for 100,000 copies sold in the UK of HonkyChateau and Don't Shoot Me, I'm Only the Piano Player and athird one for a million dollars sales in the USA of Don't Shoot Me.

Fraserreallyto quitSharks?REPORTS that Andy Fra-ser's place as bass playerwith the Sharks has beentaken by former Roxy Musicbass player Rik Kenton weresaid this week by a spokes-man for Island records to be"Inaccurate".

Island's statement goes onto say: "It is true that as aresult of a hand injury sus-tained in a car crash inFebruary, Andy Fraser's fu-ture with the band is uncer-tain.

"He suffered a lot of painand found the strain of play-ing every night of the recentRoxy Music / Sharks tour toogreat, and for this reason thegroup has found it necessaryto consider the possibility ofa new member in order tocontinue with its policy ofbeing a road band. "

The Sharks, whose albumFirst Water was releasedlast week will be cutting asingle next week for releasein June and plan to return tolive appearances "as soon aspossible." For Chris Spedding'scomments on Andy Frasersee page 12 of this week'sRM.

Geordie flyout toHollandGEORDIE flew to Hollandyesterday for two TV showsbut are returning for datestomorrow (Friday) at GreatYarmouth and on Saturday atthe Queen's Hall, Larbeth.

They then go to Belgium thefollowing day for TV and ra-dio, returning to their hometown of Newcastle where theywill play their first date sinceAll Because Of You reachedthe charts at the Mayfair Ball-room on Friday 18.

The group are currentlynegotiating for a three-daybooking in Las Vegas, onedate of which will be to appearwith Elvis Presley.

BonebreakWISHBONE Ash flew to Lon-don this week to take a shortbreak from their US tour be-fore flying back for anotherthree weeks' dates. Their newalbum, Wishbone 4, is releasedhere tomorrow (Friday) andis currently at 67 in the UScharts and climbing.

Slade top IOMSunday show

More tourdates forBowie...

SEVERAL new dates havebeen added to David Bowie'smammoth tour of Britainwhich commences this Satur-day at Earl's Court in London.They are: Lewisham Odeon(May 24); Oxford NewTheatre (30); Worcester Gau-mont (June 4); Kilburn Gau-mont (13) ; Bristol Colston Hall(18) and Southampton Guild-hall (19) - Portsmouth Guild-hall originally scheduled forthis night, has now been can-celled.

...and GlitterGARY Glitter, currently holi-daying in Bali, returns to Eng-land this Saturday before hisBritish tour kicks off at Bir-mingham on May 31.

Several new dates havebeen added to his tour. Theseinclude: Chatham CentralHall (June 1); Stevenage Lo-carno (7); Worcester Odeon(15); London Rainbow (16 -this date was previously fixedfor June 30); NottinghamPalais (17); Bridlington RoyalSpa Hall (23); Ipswich Odeon(30); Redruth Flamingo (July4); Plymouth Guildhall (5)and Bradford St. George'sHall (7).

SPECIAL steamers are tobe run from Liverpool,Fleetwood, Belfast andDublin to enable fans tosee Slade at two concertsin the Isle of Man to beheld on July 8 and 29.

The shows will be at thePalace Lido in Douglas,which opens its doors torock acts for the first timeon May 27, the first of aseries of Sunday concerts.

Acts booked so far in-clude Blackfoot Sue (June17), Canned Heat (July 1),Atomic Rooster (July 15),Sweet (July 2 2 ) andGeordie (August 12). Ne-gotiations are under wayto book Roxy Music, GaryGlitter and Wings. TheRolling Stones have alsobeen approached.

Moodies'songbookA MOODY Blues songbook,retailing at £1.25, is to bepublished by Threshold Musicwithin the next two weeks. Itwill contain the music andlyrics to 15 songs from SeventhSojourn and Every Good BoyDeserves Favour, the last twoMoody Blues albums.

Sweetraise hellon tourTHE SWEET, whose Hellrai-ser is at number 2 in the chartsthis week, will be playingsome ballroom dates thismonth followed by concert ap-pearances in June and a showat the London Palladium onSaturday, July 21.

The dates include: New-castle City Hall (May 17);Doncaster Top Rank (18);Peterborough Drill Hall (19);Birmingham Top Rank (20);Sheffield City Hall (21); Ban-bury Winter Gardens (26);Barrow Civic Hall (29); Bris-tol Locarno (June 3); Black-pool Winter Gardens (8);Manchester Free Trade Hall(9); Hanley Victoria Hall(15); Liverpool Stadium (16);Great Yarmouth MarineTheatre (17) and Leicester DeMontford Hall (18).

Dr John'sUK tourput backDR. JOHN'S British tour,which was to have began laterthis month, has been cancelledbecause of recording and oth-er commitments in Los Angel-es, where the Doctor nowlives.

There is, however, a "strongpossibility" that Dr. John,heading a "New Orleans"package including AllenToussaint (who produced andarranged Dr. John's new InThe Right Place album), theMeters and legendary twelve -string guitarist Snooks Eag-lin, will play a London concertin June.

REDILIGHTSOUis the first single from

(he debut albumby RSON first new signing

RECORDS AND TAPES -11,6ibid1111111:Aairoili

6 RECORD MIRROR, MAY 12,1973

NEWS EXTRATHE first dates by Jack the Lad, the newgroup comprising three breakaway mem-bers of Lindisfarne, will be in late June.The group - Rod Clements, Si Cowe, RayLaidlaw and new member Bill Mitchell onguitar, banjo, mandolin and vocals - willappear at Queens Hall, Leeds (June 22),Manchester Stoneground (23), ChelmsfordChancellor Hall (24) and Dudley College ofEducation (29).

Chalkertops

BRYAN Chalker, voted topUK Performer at the 1973 RMCountry Festival, heads thebill with his group, the NewFrontier, at Country Music'73, a concert to be held inManchester's New CenturyHall on May 25.

Also appearing at the show,part of this year's ManchesterArts Festival, will be TheCountry Strings, TrevorAdams, Pete Elliott and theSanta Fe Connection, The IdleHours, Wells Fargo, FrankYonco and the Everglades,and compere Gerry Aiden.

Tickets are £1.30 and theshow starts at 8 p. m.

ELP PLAYTO 50,000

EMERSON, Lake and Palmerclosed their five -week Eu-ropean tour with a concert onFriday at Milan, where 50,000people attended the Velo-drome Vigorelli stadium. Theconcert, which had twice beenheld off because of bad weath-er and Greg Lake's tonsilitis,was filmed by a 30 -man TV /film crew who accompaniedthe band on the second half oftheir tour.

A TV spectacular from thetour will be screened world-wide in the autumn.

The group are currently inParis, where they are spend-ing a week recording a newalbum.

Colton on Jerry LeeTONY Colton, of Heads,Hands and Feet, flew lastweek to Memphis to produceJerry Lee Lewis on two tracksfor possible single release -

Duul at RainbowAMON Duul II, who arrived inLondon last week, will playLiverpool Stadium on May 26and the Rainbow on June 1st.Their special "limited edi-tion" live album released onMay 10 has sold out and UAwill be pressing another 5,000copies for sale at budget price.

singleJack Daniels Old Number Sev-en, by Colton and HHF col-league Ray Smith, and a KrisKristofferson song.

These sessions marked thefirst occasion when guitaristSteve Cropper, late of BookerT. and the MGs, played withhis Memphis neighbour,Lewis. Pete Gavin, previouslydrummer with HHF and cur-rently touring the US withVinegar Joe, also played onthe sessions.

us news eliot tiegel

Fogerty'sone-manbandJOHN Fogerty's one-manband concept for success isproving successful. The for-mer lead inspiration withCreedence Clearwater Reviv-al, has now become involvedin recording as the Blue RidgeRangers with a music which isstrictly 100 per cent contempo-rary country.

He has had two single re-leases out under this band'sname, in which he sings all theparts and plays all the in-struments and his first albumunder that name (which isreleased in the States on Fan-tasy) is also moving up thesales charts.

Well, word is that he is busyrecording a second countryalbum and once that's done,he'll get back to good olerock'n'roll. The reason heisn't jumping right in with ahard rock album in the oldCreedence sound, is that hefeels it will be too much of aradical departure if he justgoes from one country LPright into hard rock. So thereis the second LP now beingprepared and then watch outfor John Fogerty, rock expert.

During the time when Cree-dence was America's hottestrock band and the reason whyFantasy was able to grow so

significantly from being apure jazz and blues label, thegroup sold around 100 milliondollars worth of records from1969-'72.

Fogerty feels that the bandbroke up before it reached itscreative zenith. As the bandbecame more and more of aninternational influence, theother members of the groupbegan to yearn for more of asay in the creative directionthey were all going. That wasin 1971 and Tom Fogerty,Doug Clifford and Stu Cookworked out an arrangementwhereby they would be able tocontribute songs to future LP'sand also assist with the ar-rangements. Up to that point,it had been all John's game,which was fine for John andthe three other members sincethey were recording hit afterhit, but then the ultimate frus-tration set in.

Eight goldWhile they were hot, the

band produced severaldouble -sided hits such asProud Mary / Born On TheBayou; Green River / Com-motion; Down On The Corner /Fortunate Son; Travelin'Band Who'll Stop The Rain /Up Around The Bend / RunThrough The Jungle.

Creedence recorded eightgold singles and it had sevengold albums, with Cosmo'sFactory its best seller, goingto the five million mark.

As a result of everyone try-

ing to contribute material tothe group, the inevitable ten-sion game developed, and itbuilt until they were doingtheir Mardi Gras LP whichfeatured only three songs byJohn and five from the othermembers.

And so the three decidedthat saving themselves indi-vidually was the best course ofaction rather than frustratingthemselves creatively for thatLP is considered the weakestof the band's efforts.

Once the split was complete,John began thinking aboutrecording as a single andwhen the first ads came out forthe band, there was no ex-planation that this wall ofsound was all John Fogerty,merely that the band was ar-ranged and produced byJohn. The first ad showed fivemusicians standing in theshadows with their faces hid-den. Actually it was super-imposed five photos of John.

There have been instancesof disc jockeys talking aboutthe Blue Ridge Rangers as agroup rather than the collec-tive effort of one man.

Fogerty says he's alwaysfelt he would wind up doingeverything on a record - giv-ing himself total creative free-dom and control. He sings allthe parts and plays drums,piano, bass, guitar and violin.He says he's always had thefinal sound of the record in hishead -a completed record notjust a melody line which had tobe developed.

That kind of thinking ismore in tune with the efforts ofthe big pop arrangers who

have to hear the sound of atotal orchestra in their heads.

But here is John hearingeverything he wants to happenin his head. He calls his cur-rent state putting down all theparts of the art himself, ad-ding that it's relaxing and hedoesn't have to worry aboutanyone else's feelings. "Whensomething goes wrong, there'sonly me in the room to blame,"he says.

FictitiousJohn decided to record un-

der a fictitious name becausehe doesn't believe in capital-ising on his own one. He sayshe doesn't want people buyinghis music because it has hisname on it. And he doesn'twant to be "living in the shad-ow of something I did lastyear" and being held account-able only for the sound whichCreedence created. Johnwants to explore music, whichis good news for all of us.

While the current countryLP features John interpretingmusic by such well-knowncountry composers as the lateJimmie Rodgers and MerleHaggard, the upcoming rockLP will be all John's tunes.

Now that he's back into thefield on record, he is thinkingabout forming a band andhitting the road with a groupwhich can cover the entirescope of rock to country andback again. He wants to beable to present the same soundonstage as he does on record.

I What is Judge Dread's realname?

2 Which record label doesJudge Dread record for?

3 When was 'Big Seven'released?

4_ Name three jobs that JudgeDread did before he becamea recording artist?

Thirty-five winners will each receivea copy of Judge Dread's first album,'Dreadmania' (It's all in the mind).Fifteen runners-up will each receivea fantasic Judge Dread T -Shirt.0 What you have to do :Just answer the six questions above, fill inyour name and address, and send the

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complete entry form to : nameJudge Dread CompetitionRecord Mirror (Promotions Dept.) address7 Carnaby Street, London W1V 1 PGAll entries will be examined by the judging panel, andtheir decision on the winners will be final.No correspondence will be entered into regarding thecompetition.Closing date for competition, first post May 14th 1973

Please state size of T-shirt requiredSmall [i] Medium D Large D (tick) '


HAVING passed the stagewhen they wanted to proveto the world that they werereally a heavy band,Chicory Tip are now mak-ing a definite statementabout their situation in themusic business. And thistime they believe it's anhonest assessment.

A flash pop band is thedescription they apply tothemselves, and with theadoption of some verystartling on-stage clothesit's a description they aretrying to perpetuate.

There's somethingbrash about the men ofChicory both on and offstage, and they have whatcould be put down assometimes a gullible atti-tude. They seem to steam-roller into making state-ments, or taking deci-sions, before having reallyexplored everything thatthey involve. But there's apositive side to that, too.They're not above sendingthemselves up - in factthey frequently do justthat - and they have astraightforward honestoutlook.

"Going to a gig in Mar-gate recently we stoppedan old fella to ask the wayto the hall. He just lookedin the van and said whatare you then wrestlers?"grins Moog man RodClout. "You know the lasttime I was up at CBS therewere all these slenderguys around . . . not oneof them had legs biggerthan my arms!"

"The problem is that it'sdifficult to look groovywhen you're big," agreesPeter Hewson. "Look atsomeone like David Cas-sidy. He's got a near per-fect figure for lookingsmooth, but we havetrouble getting goodclothes to fit us. If youcompare the physical sizeof our band to most otherbands we look like giants,because they're nearly allfull of slender 10 stoners!

"It's just that theybreed 'em big down inKent . . . all that coun-try air y'know. But whenwe come up to a Londonboozer we look like oafsagainst the no -bum Londo-ners, as we call them!"

"Hey, Chicory areheavy . . . in weight! "Laughter all round, andmore to come as Peter andRod relate tales of theiractivities at their keep fitevening classes. Havingpaid their fee of just a fewpounds for a course, cour-tesy of the Kent CountyCouncil, the boys fromChicory join in with localbusiness men, neighboursand even a milkman for anevening of rigorous ex-ercise each week.

"It's definitely done Pe-ter some good," says Rob."He had a terrific beer gutand to all intents and pur-poses it's gone now. Butthe main asset is thatwe're doing somethingthat has nothing to do withthe music business.

"We could say that wewent to a health farm tokeep fit or something likethat, but we prefer to ex-ercise this way becauseit's much more enjoyable.It's as much of a mentalexercise and relief to us. "

It's The Marvelmen!Five-a-side football usu-

ally starts off the eveningof training, followed by agame of basketball -"with fouls" - and anhour of general exercisingto finish. So far this time-table, designed tt keeppeople fit, has led to thegroup's roadie Paul hurt-ing his back, Gavin havinga nose bleed, Peter's next-door neighbour gashinghimself, and Peter sus-taining a black eye and atoe with three breaks in it!

"We were thinking ofdoing flower arranging,"they add. "But we're toorough for them!"

"I went on stage at theWigan Rugby Club withcrutches," says Peter. "Iwas standing on one legwith my other one restingon a chair for most of theset!"

Generally Peter is moreactive, and admits that hishand clapping jumpingroutine has been the mostcharacteristic feature ofthe group's act to date.

"We're really lookingfor a new identity now,"he explains. "We wentinto a period of reallystudying ourselves and werealised that although anidentity is there in therecords we didn't havemuch else on stage exceptthe clapping bit. When weasked various people whatsort of image Chicory Tipconjured up to them, mostof them agreed that be-cause the singles hadMoog on them we had afuturistic feel. Then come -one suggested the MarvelMan, Superman image,which we liked. "

Chicory Tip are quick toemphasise that they haveno intention of sending upany other groups whodress theatrically, butequally they want to makethe point that this newimage is not to be takentoo seriously. It's becomea starting point for atheme in the act.

"People are expectingsomething more from uson stage now," Peter ex -

Peter Hewson and RodClout

Val Mabbs talks to Chicory Tip

Chicory Tip in on-stage gear: 'We're really looking for an identity now. '

plains. "And we're devel-oping a whole show now,but we're by no meansanywhere near the corn -elusion at the mo-ment . . . it's very muchat the pregnant stage.

"We've always proj-ected ourselves personallyon stage, but we now wantto be more visually enter-taining, without beingcluttered up with gim-micks. It'll be a good hon-est pop act. "

Chicory Tip believe thatthey are limited by whatpeople expect of them, andthat no matter how goodthe numbers they composeare, they just won't beaccepted by audiencesand Press alike. They stillbristle at the thought thatpeople call them bubble -gum pop, not just pop, butsay that they've reached apoint of satisfaction inthat field, which theyhadn't believed they couldachieve.

"It helps now that we'vegot three hits we can put inthe act," Peter told me."And with the visual sidebecoming stronger we'revery happy. Whatever wewere trying to do beforewas false to our nature.We were trying to fight thesystem that we believedwas against us, and nowwe're going on stage doingexactly what we reallywanted to do and we'reenjoying it. "

"The other night in theboozer . . . a place Iplayed before I joinedChicory Tip, we got up andplayed to the whole crowdof regulars, which includ-ed a lot of bands," saysRob. "Seven or eightbands had already playedthat evening and we got upjust a couple of minutesbefore 11 . . . and wedidn't come off until twen-ty past twelve.

"We were playing to oth-er bands who you wouldthink would be somewhatmore critical than otherpeople, but at the end

everyone was doing theconga around thebar . . . they enjoyedthemselves and thatmakes us feel great. ".

That is the prime consia-eration for Chicory Tip.One or two badly playednotes doesn't bother them,they say, as long as theatmosphere is good.

"It's no good being over-sensitive about things,"says Rob. "When I sawthe Faces, before they hadMaggie May out, the firsthalf -a -dozen numbers theyplayed were really bad.But from then on some-thing just clicked and theywere amazing. Now ifthey'd been too serious

7

about their music they'dhave gone home from thestart; but they carried onand won through. "

Chicory Tip hope tocreate an even bigger au-dience for themselves byworking in all kinds ofvenues, rather than stick-ing with one or two com-fortable gigs each week.

DEODATOstraight into the charts with

ALSO SPRACH

ZARATHUSTRA

(2001) from the album

CTS 4000 PRELUDE

ti

Ti

CTL 1,3

Part O. The ;f t Oft (7, Group


Keeping up with

r\UEsOnly the name has changed

CONFUSION corner: There is Dave Clark (no "E"),drummer, record producer, actor and leader of the DaveClark Five who had more hits than I've had what's -its. Andthere is Dave Clarke (with an "E"), freelance organist,guitarist and singer.

Dave Clarke (with an "E") has decided to change hisprofessional name to David Carlsen, starting right now!

A Hollow sound justlike the Beatles!

HONEST -TO -GOD, I thought me ears wereplaying me up again. Somebody sent me a copyof Sleepy Hollow, and album by a group namedSleepy Hollow, and I thought: not another newband. Then I listened to the album.

Fantastic! So much like the early Beatles itwas uncanny. Lead voice the dead image of thetones of J Lennon. Guitar sounds . . . well,sounds very familiar. Even the drum fill-ins,just like that noted actor R Starr.

When the album came out recently in theStates, the reviewers failed not to notice theresemblance. It was just like putting the clocksback to 1963 all over again . . .

And the three lads in the group claim that it'sall completely coincidental, accidental andwithout malice. The lads? Songwriting Rich-ard Billay, 23, who admits his main influencehas been . . J Lennon.

Drummer Joe Zucca, 22, who doesn't saymuch about anything. And bassist RichardBremen, 25, who long idolised the Beatles,notably P McCartney. It's all there, that earlyBeatle freshness. The boys of Sleepy Hollowlike to thing they're filling a gap left vacant bythat Beatle break-up.

Just wait till YOU hear them .

PJ Proby isback

so watchout!I'M striking a special medalfor record -company boss Jef-frey Kruger - who announcesthis week: "I've signed P JProby to an exclusive contractwith my Ember label He's cutfour sides for a first album,and they are tremendous. Hehas also signed a managementcontract with me, and we'relining up a string of importantdates for him. "

Great. Ruddy marvellous!Without going into the why'sand wherefore's of why P Jhas been so long out of view,fact is that he is one of thegreat vocal talents. Properlyharnessed, that talent can stillbeat most of his contempo-raries out of sight.

P J himself modestly ob-served that he could sing TomJones and all the others offstage any time he chose. Thistime, let's hope he really con-centrates on proving it.

Soft rockJames Brown-soul princeA QUOTE from Jim Seals of

Seals and Crofts: "Thereseems to be a softer soundhappening now. Even the realhard rock bands have becomemore refined. I feel thatpeople are now beginning toappreciate a wider range ofmusic. Lyrics have inprovedtremendously, too. "

GIRL -of -the -week department: I was one of the five people whodidn't watch Anne -Marie David win this year's Eurovision SongContest; and I've only heard that winning song WonderfulDream 1,210,009 times. Nice girl, though. She played MaryMagdalene in the French version of Jesus Christ Superstar . . .

and she's been awarded the Grand Prix du Disque by her'Iinister of Cultural Affairs. Her personal wonderful dream is toown a German dog and a herd of wild horses. Wild horseswouldn't drag me near a German dog!

JAMES Brown has already made his movie debut, in a sense -by getting on the soundtrack of Black Caesar. Next step for thesoul lad is to play a leading role in a follow-up film. And then hegoes to the Republic of Senegal, where he will star as an Africanprince. Then they talk about making a movie of his own life andtimes.

Now that last bit should be really something; that's if heagrees to go for complete accuracy. Ah, soul! - Whatta life.

The weekend starts here.:*.

O

Latest album WIZZARD BREWSHSP 4025

(Available on Tape)

Written, arranged and produced by Roy Wood

Robin 'Mackie, Sounds.*

EMI


WHEN Roy Wood tells youhe's been working allnight you instinctively pic-ture him chanting spellsover a secret formula.

It all seems to tie upsomehow: get all the musi-cians you love best, writethe music you've alwayswanted to, cast the magicand let Wizzard do therest. Yes Sir. Metal intogold don't make it nomore. When you've got thesolid gold alchemy of SeeMy Baby Jive who needsWitchcraft?

See My Baby Jive'sspectacular leap up thecharts must have beenuppermost in mind as thechampagne flowed whileRoy was in town lastweek.

We met at the Londonmews house of publicistTony Brainsby and beforelong I began to wonderjust what our Roy wascelebrating?

Was it Baby Jive'senormous success, Roy'scommission to write twosongs for Elvis, his sum-mons to America to pro-duce Tony Joe White andPaul Butterfield, theband's projected FourSides double album or sim-ply Wizzard magic's spell-binding grip on the coun-try?

But no. There was onecloud on the horizon, for-mulated over the recentadvertising for thegroup's single whichspoke of: "The sound PhilSpector always wanted. "

Narked"We were quite narked

about that," said a rathertired Mr. Wood. "Wedidn't know that wasbeing used in the ads andwe wouldn't have agreedto it if we had known. Itcould have needled Spec -

Roy Wooda hard

working manby peter harvey

tor's fans and honestly Idon't think the cut needsthat sort of projection. Itstands up on its own. "

He agreed that Spectorhad been the influence be-hind his arrangement."But all that was a longtime ago now. This isdifferent. A kinda funkySpector sound. "

Even as Jive launchesinto pop's outer stratos-phere, Roy has the nextsingle in line. "It's all inmy head at the momentbut I already know howit's going to be. It'll besort of Spectorish but dif-ferent again. There is abasic feel in Ball Park andJive that I want to carryon with, but other thanthat I'm not saying. "

"Yes, mind it," laughedRick Price looking verychic with a new half -bleached -out hair -do.

The two former Movemen who both hail fromBrum had been workinguntil 7 am that morning ontracks to follow theplanned double album

which in turn will followWitches Brew.

"It's going to be fourcompletely differentsides," said Roy. "Onejazz, one rock, one coun-try, and one classical.There's such a lot of dif-ferent influences in theband. "

What influences himmost, then?

Classical"I like everything. All

kinds of music, especiallyclassical. My folksbrought me up on it. But Ididn't have any classicalmusical training. I shallbe playing oboe and sopr-ano saxophone on the nextalbum. I'm still notproficient on them but Ican get away with it in thestudio. At the momentwe're experimenting withpick-ups for the wind in-struments."

When Wizzard do go intothe studio Roy never hasany notes written down,but keeps most of his ideas

Roy Wood: "We're doing well. We're all knocked out about the single"

in his head and makes hisown notation as he goesalong. His single arrange-ments take a lot of timetoo, and Baby Jive wasactually recorded at threedifferent studios!

Even so, Roy's reputa-tion as a hit -maker hasobviously spread far.

"I am going to the Stateswith three songs forElvis," he said with en-thusiasm. "His people gotin touch with me and saidEl needed two more songsfor his next album so I'mgoing to see him at somegig out in the Nevadadesert. "

But the main reason forRoy's visit to America is towork on production forTony Joe White and PaulButterfield. "I don't knowwhat they're into. I'll justhave to wait until I getover there but I was reallyknocked out when theyasked me to go. "

With so many projectsplanned, Roy's originalfear that Wizzard wouldprove too costly to take onthe road is now dis-appearing behind a pile ofbanknotes. "Well notquite," he adds. "But weare doing well at the mo-ment and we're allknocked out about thesingle. "

"The important point,though, is that Wizzardhave no image to getacross. We really enjoyour music and try to giveeveryone value for mon-ey. "

He says that anyone go-ing to see Wizzard just forthe hit material will bedisappointed. "We do allsorts of music with mod-ern jazz, and time -changes thrown in;though at the moment wedo need some practice. Wehaven't had a chance towork anything really newout since Wembley, butthat makes it exciting be-cause Roy just says: 'we'lltry this tonight' and wetake it from there. "

On top of all this fren-zied action comes a fur-ther departure for theebullient Mr. Wood. He'sjust written, produced,and played on a newsingle, Farewell for Ay-shea, a 23 -year -old girlwho is already well knownamong young TV au-diences.

It's all very hectic andbusy at the moment, butseeing Roy taking it all inhis stride, you get theimpression that he is avery satisfied man thesedays.

Rick Price: "Wizzard have no image"

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RobertaTHE first time around,when she came to Englandand played a concert lastJune at HammersmithOdeon, Roberta Flack washailed in such terms as"one of the great emerg-ing personalities of popu-lar music"; "arguably thebest new black singer onthe scene"; "a singer ofmajor stature. "

Her dark, lingering in-terpretations of a start-lingly wide variety ofsongs found nothing lessthan acclaim, She had aquietly moving hit singlewith a ballad by EwanMacColl, The First TimeEver I Saw Your Face,one of the least likely,least typical songs in thecharts in '72.

Her repertoire includedlong -drawn out versions ofBridge Over Troubled Wa-ter, Carole King's You'veGot A Friend and Will YouStill Love Me Tomorrow,Leonard Cohen's Suzanneand Hey, That's No WayTo Say Goodbye, the reg-gae hit Young Gifted AndBlack, and songs by suchwildly unrelated writersas Bob Dylan, Stevie Won-der and the Bee Gees.

It seemed as if there wasno song too "pop" for herto rework in her dignifiedway; she could take themost forgettable song andturn it into somethingquite memorable, reveal-

ing depths that you'd nothave suspected in a thou-sand years, and they'd allend up as if they wereRoberta Flack songs. No-body had a harsh word tosay against her.

By the time she returnedto England in January,Roberta seemed estab-lished. But the musicalpress, true to form, sud-denly turned against thesinger they'd previouslyextolled. "Too manypeople have been tellingMiss Flack she's a gen-ius," said one reviewerafter her London concert.

The best that anothercould manage to say was:"her musicians deserveda special hand for playingso slow for so long withoutfalling asleep. " "Spin-eless," said somebodyelse. Was Roberta Flack'ssuccess the result of aconfidence trick? Or wasit a case, as one writersuggested, that she was"maybe a little too subtlefor those who expect artis-tic fireworks"?

Roberta herself says, "Ican sing fast songs aswell, but few fast songsseem to make any sense.They are for one reasononly and that's to getpeople excited and in-volved in the rhythm,"adding that she was bornunder the sign of Aquariusand, "sometimes Aqua-rians take a long, painful

genius or damp squib?time to make a point. Ithink that might explainit. "

The old cliches con-cerning the natural senseof rhythm, the spon-taneous exuberance ofblack music come to mind;Roberta sings slow, andshe sings too many songsby white people for thetastes of some. She's alsoa very studied performer,having several years ex-perience of teaching, adegree in music, and arigorous classical train-ing.

It has been suggestedthat she could become agreat blues singer but,although she has beenasked to play Bessie Smithin a film of her life, heraims are wider. "I don'tfeel as if I'm a soul singer,or any thing else. I want tobe considered just a greatmusician," she says.

After twelve weeks inthe charts with Killing MeSoftly With His Song and asuccession of excellentbest - selling albums, itseems as if listeners arewell enough able to makeup their own minds aboutRoberta. "I still thinkshe's boring," says myfriend at the next type-writer, who has had hismind set for some weekson a large and powerfulnew motorbike upon whichto burn holes on the high-ways of England.

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12 RECORD MIRROR, MAY 12, 1973 RECORD MIRROR, MAY 12, 1973 13

AT THE time of their for-mation Sharks set themselves a plan of action totide them through the firstsix months of their career.

That time is now past,though the news that

Andy Fraser has quit theagrondup has now emerged, forthe remaining mernbersare happy enough. Ok, sohe-ehe's saying that MU fore gettinglike having the group line- in, ,,up disrupted so soon . . . 'Sharks'but their outlook . still releasedoptimistic. Chris is not"I can't deny that we by the factwanted to keep hen ews to aren't currentlyourselves for a while," ark onlead guitarist Chris thence circuitSpedding told me. "But it ..We wouldwas simply because we touring indidn't have a positivelion.untilstatemeM to make about in fact,who would be replacing , i

we re heAndy in the group. We've in England.'thew. 'et. shhte time that start. off0 would be going because

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OSMOND fans wit butI sometimes doubt f therest of us do, at least itsextent. I mean the success0 the Osmonds, Donnyand Jimmy, over the past12 months.

One year ago the first1Osmond single, Donny's

Puppy Love, was re- .leased. It has sold almostthree-quarters of a mil-

Crazy Horses fromthe unified Osmonds isover the 500,000 mark.Little, or shall we drop it?Jimmy Osmond's, LongHaired Lover From Liver. I'

means the only Osmondstory from the past year,

The five have been here,in England. Thousandsturned out to see theirplane land and to try to getjust a mere glimpse of thefabulous American group.Their concerts were shoolute sellouts and peoplequeued foe days and hopefully applied for ticketsweeks in advance.

The posh Sunday Timesdevoted some a their colour supplement to theboys and even if the artic. wasn't too polite itby in very, . but with that freedom0 injured his finger a I'm very aware of thevets small clubs in Eu- - you've got to take dis-while ago and hasn't ben for a visual thin

pool is precariously Moseto reaching an amazing

was by fact of inclusion atribute to the Osmond'sneedlope, come back to record t cipline which is what a lotable to play too well out on and we're tackling that in million sales. Donny's popularity.

an album about Christmas of jazz musicians don't do.the road; but we wanted to iline, ill, the Reay our own way," Chris ex- Superficially TwMfth Of Never . a... / ., Most people agreed themy sound isget the album out and tour with a this gig S ream, plains. "We've not really that a a rock group muse -away before we told got a very strong image at man. - '

er monster seller. urnThen thereon albums; k

five were incredibly politewhile they were here. And

people about that." the moment . . . but thethethe final thingDespite Andy's depot with, say, Roxy,Portrait of Doy, Crazy 's rHorses, The Osmonds'

they must have had to putup with numerous peopleproblemwas that the album would Planningture the concept of Sharks who have, is that thebe released and we'd see Live and TOO Young with r-- asIdng the same old ques

rernains the same, and whole concept has beenwhat happened from there Yes, that's R, Sharkshavingsales of either above or

below 100,000.bons,

It was the mass 0 fansalready worked on as far as America developed so much inrockthe Rosy Muhlt tour; and Bryan Ferry's mind that and they're alsoWell

slightlyPortrait Of Donny has at London Airport and out -

con c e wed. nowat other gigs with J. Geils, to the racewe're very pleased that there isn't much they can planning enterthe group don't intend to do outside 0 that. It's a or the charts with a spent more than 30 con-

:notice weeks in the al.side the London ChurchillHotel which certainlywe.re achieved an theseslip back down the ladder things. - package, finished and poi - single, too. Old Jelly Roll bum chart and Too Young made them known to the

at all ished and it must be hard is the most likely track to had a run of almost five great adult public. The'We've been getting into for audiences . see any 0 taken from the album . months, television newsreels and

playing a many big gigs, Experience . .. though Sharks are notdevelopment on that. And of course the stn daily papers carried eoun.a year sinceand we just can't go back entirely convinced yet glee and albums are by no Donny: Puppy Love tress pictures of wild,

to doing the small things The next six months' Chris strongly believes, that it is as suitable foragain. What we need to plans begin with finding a owever, that Sharks will Britain as they feel it

screaming fans. And Os -mondmania was indeed

1find is someone who can suitable bassist; and cnn- developvisaally and muse- would be for America. been.really come m and play Linue with moves towards rally ih a natural way- He But with the logic they There were lots of inter

says their attitude to mu- seem to apply to them-with us on the level we're America. But having sicat now. We want to pick gained much experience in is developed in an in selves' Sharks should beeating stories to be foundsurrounding their visit. It-ofupwhereweleftoffandto the music business tangible way talk moving out of the rough w was said their ear suf-

continue from there. through working on ses- ferns and space evolves . water soon enough, baring fered 2500 worth of dam -'In fact we've just set :ions and with the Bat- ' and rather than keep- their teeth with a yen- age in 30 seconds! Tony

ourselves a couple of tered Ornaments - as mg to a set formulam200-nee! Barrow, the ex -publicityweeks to find someone - well as having cut two solo music' the group developtheir music on stage byand we've got people ring- albums for EMI - Chns

man with those famedBeatles said he had never

improvisingmprov.ing.ing up asking to join us - says he's happy to let ! . seen anything like it sinceseenthen we'll spend a couple things take their course. Just to allay any fears ; Mabbs the Liverpool four wereof weeks in rehearsal be Since joining Sharks which that term might Chns Spedding doing their rounds and

playing for the fans.

7."

. I

And then this year, 1973,it was rumoured, andfound to be true, that Don.ny and brother Alan were

SO Blackfoot Sue did makemother three in the Top SOwith Standing In The Road Blackfoot Sue

West Road where it's onlyquieten Tuesdays.

"Now We Are Three is aboutback to the tuneduring thesummer of IX. a chick who gets into trouble. in Britain. Record papersDrummer, Dave Farmer, This one is a bouncy acoustic Were beseiged with cal.

says somewhat kroup whith was at one point to a bomb atia :ea number with lots of harmonies-Everyone put the record in danger of being labelled. quite a noise followed by the and no pretensions. It hasdown when it came oh And Mae... someSr into make- lights coming. up. Obviously thades of the Turtles and the

s and in sat down outsideplay, where they thoughtthe two might just turn upnow wherever you go the it up and hade pretty wierd on the record you can't get MI , oown ,t,ne ...ad.

cos it - they call it a garb. wear onstage. the sound but stereo helps orate onto two in ' - it was worth trying:picas

elassiethese drew cAlan comments: "Actually mates bit. Spring. That's another very anything, it seemed.And now a new tingle has we were into the lipstick be- "The ultimate Messiah is dramatic, nig Track hoe

appeared called Summer. It's fore Sweet but they took the 4 the bomb. You can ean the is a send-up with the theme inlike their top three hit alum stuff into their Image bomb war if you like. were

Ig

Alan and Donny: secret London visit

ItIrelThose of you well into

Osmond history will ofknow that thenothing the title Glittery Obituary.

from last year. so where has and were of course much big-LLL i ' saying baneh tates politics is Just take the first lines ofthe teeny bop sound gone? ger than us. People thought V- - 0111111.1 t the gun arrel and that is ,Overated, celebrated, esti-Come to that were they ever an )key began R e 0, . " ..C. frightening." mated chromium -plated

. -"QS . The .ece.a ..ek M Country toupee, Overpaid, a futureout and out ehart 50 orientated Dave.. pienty to say about

*0

-.thnn

4, .seta 0.06Hihr.i

coursemoods quite to thefore in the early Sixtieswhen elder brothers yin

ToPOP group? this. "We play lots of different

Dave answered: "We just sounds. We don't want peoph qe - ! Ham' Dave mamma.' "This made from blue eye shade,"i one masicallY illus..les our Dave on the fourth cut, side

'

-, 410+11. ---and were part ofthe group.

happened to make the kind of 10 say, 'they play to and so' , " great interest at present in two, On His owe: emo in St ..k . However, it's been dur.

single which has good coon. and then turn-off. People are'I

country material. We love the acoustic number and one ra.rnercial feel. We do play that °Bea here., 'e.t.d. B, Of Diihrds, for instance. There's. comae Fromnece we go...--.!stuff but Ws part of a much MaMs say Him Caper isa't a Mm dram Mt Me Me eMea° to Too Soon and this w. the',Um*

.,se...' .

..0.-efr ,' cif

ing the past year thatthings have really hap-pened, and happened

wider musical world. Don't ear nut enough, others give - freaks on this. last one we wrote and it has a BID.forget three of is have played him.. thumbs up - It al/ m .n. - 0 4:.., "Our third oafs Cry. This is imo, feel to it,together for some time. To, crazy. The thing is th hear the acoustic harmony. We use lets Gypsy Jam, the final s amy brother and bass guitarist, mu., of voices. We recorded at very good laugh, a nice one te ea..

I Must confess the Oamends are not my cup of

plus Eddie Colga, our lead "Our manager played a s tine harm.. I'M., Thee a So there's the album . aguitarist and myself used to solute tabei version Id ear at middle range void and finally nutshell. Now we need yob

r ..r:0,

,

tea, but equally I have toany the past year has been

front a group cadled Virus. bum to a heavy. S0 theguy a falsetto. Then they wit ill"in IMO Alan Jones joined di,'t know who he was listen- effects or an overwhelming and And I Uive Her. Mar. them to talk about their mixed together and out come Not too hard to do just that.

.One t. -,-

an almost fairy-StaryCOSS.

and from then on the name ing to. Wow, he said, far out. sound. vet.," record. a great harmony feel." Alan and Dave made pretty ,--, Alan, Wayne, Merrill,

became Blackfoot Sue." He nearly went through the "We really dig," they elm Accompanying the release "Our first track," said Alan, The fourth song is My Oh ogroactoon for anThere is of curse notnjng floor when an mand out who it ruse& "the stuff Lennon and of the single comes an album. "is called Messiah. It's our My. Alan carries on the al. or so. I wish them well.

iiar,,A.,,, 1

._ n" - 4 -Jay, Donny and Jimmy,here's a HAPPY ANNI-

partieularly off .putting in was" " McCartney used to write. We Nothing To Hide, with a Mic, first song in the bum's description: "Tills to us VERSARY celebration oftheir new single to any age Alan and Dave are pretty don't,by the way, really go for Spillane.type cover. Taking thus it has to be pretty drantht- has hit single potential. It'slt has a lovely lazed forceful on what they mean by their individual stuff. The the point of Dave and Alan ie, an epic opener. . stage what reale expect from u.s.

feel, the kind one associates music. They would like to see thing is they wrote some lovely that they too wanted to writh we stand ready to play. We Call it if you like, Boogie Tonyfeel,

i;, the first year in which youtook Britain by storm -

for instance with the Fleet. term.. songawl. a definite tunes a. melodies. You our and put over a variety of say hello and then the lights Rock. It really moves well. ta ./.. Deollbtless there will be awood Mae °lassie, Albatross. tune back in the pop scene and go road humming a song like music, plus hying emphasis dim. We create a whining It's about our current living Jasper second, Yes?

It gives another side to a not tracks relying on studio The Long And Winding Road on tuneful material, I asked effect on our mihrs, there's a place, Hounslow and the Great The Osmond. 500,000 ale or Crazy Horses

IN NEXTWEEK'SRECORDMIRROR:

Apenetrating

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GLENCOETAKE one global pow-erhouse of commu-nication and call for vol-unteers to spread theword; chances areGlencoe will be headingthe queue of preachers.

The four guys whostretch roots from Scot-land to India are justboiling over with en-thusiasm for instant eu-phoria. Call it Britishwhite - hot - gospellingmusic, or simply rock 'n'roll. Whatever the bag,Glencoe are playing themusic they want to ontheir just -finished al-bum.

So, even if the Album'snot due for release untilSeptember, there wasplenty of excitementwhen CBS gave a sneakpreview of the mastertapes. Indeed, Mr. BenSidran himself, an un-sung hero from America,was still finishing off hisproduction job while thereception went on.

The tall, bearded Chi-cago man best knownhere as Steve Miller andBoz Scaggs' producerwas flying home the nextmorning for gigs withPhil Upchurch.

But his work on thissecond Glencoe albumand the presence of SteveMiller's ace bassmanGerald Johnson, hasdone more than anything

else to draw out thegroup's best.

Bombay -born NormanWatt Roy (India Joe),Coe's bouncing bundle ofenergy bass, was singingalong as we listened tothe tracks.

"It's so good to knowwe have done somethingreally good," he says inan animated way thatpulls you right into con-versation.

"Ben Sidran has madeall the difference. Hereally drew us out. "

He explained just howit was that the group metup with Ben. "We didthis gig in Chicago thatwas really the best weever played . . . andSteve Miller was there.It was incredible becausethe Steve Miller bandhad been by far our big-gest influence. We iden-tify entirely with Stevie'slyrics so when Ben saidhe would produce, it wasthe best possible thing. "

DifferenceAnother important fac-

tor was the visit of Mill-er's band to London."Gerald Johnson came tothe studio, liked what wewere doing, and said he'ddo any playing we want-ed.

"I was knocked out,"Norman bubbled. "Ilearnt so much from that

UPHORIABY PETER HARVEY

guy, he really made adifference to my play-

Listening to the tracksyou hear the influences.It's a very tight albumwith melody and lyricpower to draw you in.Maybe it's inevitablethat the band will getcategorised with theSteve Miller, CSNYsound, but they are Brit-ish. By gad sir, stiffupper lip.

They are a friendlygroup these Glencoeboys, and as far as theyare concerned they havealready made it in per-sonal terms.

"We are not botheredabout the bread scenebecause we are doingexactly what we want. "Norman again. "Thegigs are going down welland that's what we loveto do. Like at MadisonSquare Gardens the au-dience there was reallyalive and pumping outenergy. 'Yeah man, playsome rock 'n' roll' comesat you from all sides asyou take the stage andyou feel really good. "

The band have beentogether for just one yearnow and though theywere happy with the first

album at the time, theynow see the productiondownfalls. Gig -wise, too,they feel more at home inthe States. Perhaps an-other band will be lost toAmerica?

"No, we will alwayscome back," says Nor-man. "But English au-diences are different. Wehad a good gig at theRainbow with Spirit butsomehow things don'treach the heights they doin the States. " So it'sback to America soon foranother tour.

And a long wait for thealbum release shouldlead to a huge stockpilingof songs. Graham Mait-land who plays key-boards and writes nearlyall the lyrics, says in hissoft Glasgow brogue:"We've already gotenough songs for anotheralbum. It's incrediblereally. They keep com-ing all the time. It's beenlike that ever since wefirst got together. Everymember had the sameeffect on each other. "

Norman chimes in:"We really are one. "Graham's lyrics and theband's music range frompiercing philosophyplayed with a country

feel, to danger - on - the -streets rock with some ofthose Milleresque elec-tronic touches we allknow and love.

PropulsionThroughout this ex-

citing album the super-lative guitar work ofJohn Turnbull reachesnew heights. His attackand sheer electronic pro-pulsion rivet the listen-er.

Add to all this the in-

fluence of Gerald John-son who plays on onetrack, a Krishna -typechant, Ben Sidran play-ing piano, and even Cof-fee from Osibisa comingin on congas. It all addsup to compulsive listen-ing. And just for kicks,there's Graham doing hisbit on an accordion he'shad since he was a boy.It's a track joiner whim-sey that sounds like someHighland fling. Very in-teresting.

rfasprmietstrsdscribrimireaciss-r.-

How SOperstd.Wrihot modehososuptstoratioytt

ThoSiottoot,ort:(weal

Hintfits Hn.wHHWHHnew stncs

iflaSieHOr

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16RECORD MIRROR, MAY 12, 1973

TOP U.S. MALE ARTIST1973 BILLBOARD/

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TRAVELLIN' LIGHT

RCA LSA 3124

around the country

Tom T HallNashville'smusical journalistALTHOUGH Tom T Hall hasnow entered his tenth year asa resident of Nashville, he hasonly been putting his own ma-terial on record since 1969.Within that relatively shortperiod he has emerged at theforefront of the community'ssinger / songwriter fraternity.

The transition froin song-writer to singer / songwriteris, according to Hall, a com-paratively natural move.

"The big demand in Nash-ville, and in the music in-dustry in general, is forsongs," he explained. "Thereare plenty of good singers andgood entertainers but, in orderto succeed, you need that par-ticular song. So the recordingcompanies started to sign upthe songwriters for the simplereason that they knew theyhad songs.

"A lot of songwriters arenow in the recording businessbecause they don't have tosearch for material. Theyhave it - they write it!"

Tom T Hall is, however, alittle different from the greatpercentage of other song-writers. The various labelsthat have been thrust uponhim - including "musicaljournalist" and "storyteller"- provide some clues. Eversince he first caught the pub-lic's - and the trade's -imagination with Harper Val-ley PTA, that fast -paced epicof small town hypocriseswhich made Jeannie C Rileyan "overnight success", hehas been presenting an honestrealism to the realms of thecountry music lyric. Hisstrength lies in the fact that hewrites from experience andinjects his lyrics with a rareperceptiveness.

"It wasn't always like thatthough," Hall adds. "Back inthe early days when I firstcame to Nashville my com-mercial successes were a littlecontrived. I was not writingme - I was trying to writewhat I thought would be com-mercial. At that time I wasunder tremendous pressure tosucceed - it was either that orquit the business and trysomething else.

"Where you live has a lot todo with what you write. Nash-ville has become a hodge-podge of people - it has musi-cal influences from all over theworld. Consequently you havethe tendency to write on amuch broader plane. If, how-ever, you lived in Phoenix,Arizona, you would probablywrite a lot of songs that wouldbe native to that area. I thinkyou write better - more wide-ly understood - songs inNashville because there issuch a broad assortment ofpeople and ideas.

"In writing these songs youuse Nashville as the hub andthen look around at the rest ofthe world. It's the centre ofyour thinking and it keeps youmore commercial . . . more intune with the times in musicalterms."

During the course of the pasttwo years a number of Hall'salbums have been released inthe British Isles and his mate-rial - stemming from a musi-cal background that includedbluegrass and gospel flavour-ing - is now spreading for

recognition beyond normalcountry music boundaries.

His current British release- Reflections (Mercury 6338194) - is a special UK com-pilation by Radio London'sBob Powell and presents aselection of material which,hitherto, has not seen the lightof day on this side of theAtlantic. Among the titles arehis two earliest hits I WashedMy Face In The Morning Dewand Ballad Of Forty Dollars.

"The second song," he re-calls, "is about when I was ayoung man and one of my firstjobs was working in a grave-yard. Later, when I had ar-rived in Nashville, I thoughtabout those days and wrote thesong based upon some of myexperiences.

"I like to believe that it's avery honest song. It's a dan-gerous way to write becauseyou can become so close to thereality of the situation that youcan face some kind of mentalproblem. There's a sort ofcontrolled madness in thesong. I like to write that waybut it's a difficult job. "

Tom T Hall has now added afurther role to an already dis-tinguished career. In theguise of stage entertainer henow regularly tours the UnitedStates - and more distantclimes - with his five -pieceoutfit The Storytellers. Backhome in Nashville he hassigned as a regular artist onthe famed Grand Ole Opry.

But, unlike many of his fel-low singer / songwriter com-patriots, a movement into oth-er spheres has not diminishedany of his creative writingtalents.

"If I weren't writing," Hallanswers, "then I wouldn'thave any reason to sing be-cause I tell my stories. I don'tknow whether I would be en-tertaining if I sung someoneelse's stories. I'm not sure ifI'm that much of a performer.I think my records are suc-cessful because people knowit's me that I'm singing about.I don't think there would beany great need for me to makerecords if they weren't mysongs."

tonybyworth


Six children 'a little repressed' butTO SEE Viola Wills sing-ing with Joe Cocker, you'dassume she had the sort ofbackground common withmost of the finest blacklady singers. Her voicecomes out sweet, strong,clear and uninhibited, justlike she'd been used tostanding up in church andhollering since she was alittle girl.

You'd be very wrong,though. "I did go tochurch", Viola told me,"but it was a Baptistchurch around LA, and itwas very quiet, everyonesat down. It was reallysedate. The early musictraining I had didn't comefrom singing in church.When I was seven, I won ascholarship to play pianoat a Music Conservatory.I wasn't really that inter-ested in Bach and Beetho-ven, but my father keptme in there. "

All in all, it was a bit of arepressive background forsuch a strikingly exuber-ant and attractive younglady as Viola. Even whenshe had finished playingclassical piano and sing-ing Ave Maria and TheLord's Prayer in "a highsoprano voice", her earlydays of singing profes-sionally, about nine yearsago, were taken up with"light pop - things likeLullaby In Birdland. Inever really got into theR&B things. "

JacksonShe wasn't doing much

in the way of live per-forming, for the very goodreason that she was bring-ing up six children! It'sdifficult to reconcile thatfact with the reality ofViola, who looks remark-ably slim, young and fullof life. At any rate, she'sstaying foxy about ages,and refuses to tell me howold the kids are. Inevita-bly, they're crazy aboutthe Jackson Five.

After a lot of years withother responsibilities tak-ing first place, she's nowable to concentrate on thesinging, as the most im-portant thing, and itseems like the perfect re-lease.

Viola's a little bit shyabout meeting new people,but when she gets on totalking about singing, itall disappears. "It's like adam that's bursting. OnceI get out there and breakthe ice, I just have a ball.The first night I sang be-hind Joe, I was so excited Ijust about tore up mythroat. It was like I'd beencaged up, like an animalinside me had been want-ing to get out. It's hard forme even to control. I justgo with it and holler. "

Her first gig with theCocker All -Stars was atthe LA Forum in front of18,000 people, when sherecalls feeling like an in-sect until she first heardher voice being amplifiedaround the hall, filling theplace. "It was an hour anda half or two hours, thatshow. I thought I wasgoing crazy. It was my

Viola just keepson hollering!

first experience of a longshow, and after it, I couldhardly talk for about halfan hour. I couldn't evenreally think about it all, orI'd probably haveflipped. "

"I mean", she says withher eyes growing wide atthe thought, "It's like Cin-derella. Suddenly fromnowhere to somewhere,singing with Joe, I'm mak-ing it. " She shakes herhead with amazement,and reprimands herselffor getting so carriedaway in an interview."Just calm down, be cool,Viola", she says to her-self. A little of her Baptistrepression comes throughfrom time to time. "Iguess I was a little repr-essed as a child. I didn'tknow it at the time. "

Originally, Viola wasone of a group of fourgirls, who went under theglorious title of The Sanc-tified Sisters, brought in toaccompany Cocker abouta year ago in the middle ofthe last -but -one Americantour. But it proved to bedifficult to fit that voiceinto just a four-part har-mony - it naturally de-manded attention.

So, before long, she wasdoing the second lead onDo Right Woman, and be-fore the Rainbow gigswere cancelled, she wasdue to have her own spoton that show. And now

there's a solo album on theway.

"The Sanctified Sistersgot together as a mixtureof luck and genius, andnow I just don't see howwe could break up. Wehadn't sung together be-fore, but it just workedout. So often, you get onevoice that's a little tooheavy or too light, but wehave that blend.

Solo album"But it was kind of hard

for me to adjust to singingin a group when I'd beenused to doing it by my-self. " The solo albumcame about through Cock-er's manager, NigelThomas, who is the pro-ducer for the record. "Ni-gel happened to hear meplaying one day, and hesaid: 'You've got to getinto a studio. Go into thestudio, girl', just like that.It was just one of thosethings - I've worked inthe music business forabout nine years, and I'vedone a few records andthings for small com-panies, but nothing likethis. "

The album will featureViola's own songs: "I'vebeen writing just about allmy life, but recently I'vestarted getting moreserious about it. Original-ly, I was just dabbling,and they weren't so good,but now, I've got more

confidence in my writingthan my singing. "

The album has Cocker'sunderrated side -men AlanSpenner and Neil Hub-bard, as well as Jim Kar-stein, who will be on futureCocker dates. And Violadescribes the sessions as"the most beautiful timeI've had. I vas surprised,I thought they'd maybehave a difficult time to getthe feeling going with me,but it ended up with a realspiritual feel. No prob-lems - they're real soulbrothers. "

And what's Joe like towork with? "He's real,authentic. He doesn'thave to play at being astar, he just is. He's verystraightforward. If youask him a question, youget a straight answer, andso on. When we're alltouring together, it's onebig party.

"The only thing I'veseen bring Joe down wasin Australia, that made usall sad, and pretty up-tight. There were peoplethrowing chairs throughwindows, and all sorts ofthings that were reallyuncalled for - it was justa political situation. Itreally hurt Joe - he dideverything but just bawl,just cry."

JamesCraig

STRICTLY INSTRUMENTAL

Cum on feel

the Noize!

by Rex Anderson

THEY RECKON that chil-dren can hear quite highfrequencies. The averageperson can hear soundsbetween 30 and 16,000cycles per second. Chil-dren can probably hear upto 20,000 cycles per secondbut in adolescence yourhearing deteriorates andgoes on doing so for therest of your life.

But it's the high fre-quences that seem to grabthe teenage audience. Thecorrect name for cyclesper second is herz namedafter a man called Herzand pronounced "hurts"which at between 10 and 16Khz (kiloherz), and loudvomme, it does.

My theory is that be-cause teenagers can hearhigh frequencies obvious-ly they like to do so. Afterall, I sucked my toes as ababy simply because Irealised this was my bigchance and in a few yearstime I'd have troubletouching them, let alonesucking them.

Now the problem withhigh frequencies is that ifwe can only just hear themthey tend to be drownedout by all the other fre-quencies around which wecan hear very well. Inyour average rock bandthere are no instrumentsthat can play really highfrequencies as fundamen-tal notes.

The high frequencies weenjoy are harmonic over-tones - the notes thatsound behind the mainnote and go up to give theoverall colour and tone sothat we can tell the differ-ence between a piano play-ing middle C and a guitarplaying the same note.

Loud noiseWe like all that coloura-

lion, and, all right, if wecan't hear the very highfrequencies anyway thenit doesn't matter. But ifwe can, the amplificationhas to be turned up prettyloud so that the speakerscan pick them up.

That's my theory forwhy concerts are alwaysso loud. I used to think itwas just bad balancingwith instrumentalistsfighting to be heard overeach other. But now thatmost venues have a bal-

ance engineer at a board,that can no longer be true.You just like loud noise.

Now I like loud noisetoo. It's great when therhythm is just somethingthat is giving you pleasantthrobbing sensations inthe groin and the melodyon lead guitar is makingyour scalp tingle. The mu -Fie seems to be holding youup and you are aware ofnothing else outside of it.Any other thoughts thatmight creep into yourmind are drowned out.

However, I am sick andtired of walking arounddeaf for two days after aconcert. It can be nice tocome out into the night airwith a ringing in yourears, but if it's still theretwo days later that's bad.Apart from being annoy-ing, it is also dangerous.

DistortedApparently the danger

is from these high fre-quencies, especially ifthey are distorted. Thereis a current rage over aflattened sort of treble gui-tar sound which is reallyrather funky but at a con-cert the other week I hadto stick my fingers in myears because it was liter-ally painfuL

Well, I had a bad cold atthe time, so that didn'thelp, but I wasn't alone.Apparently the scientificfacts are that loud treblenoises actually fracturethe tiny hairs in your earthat you use to pick uphigh frequencies. Any-thing over 130 db ( deci-bells - don't ask me whatthey are, it's just a way ofmeasuring loudness likehorsepower is a way ofmeasuring engine capabi-lities) is practically leth-al.

Fortunately, these sortof frequencies at thesesort of volumes are prettyrare. But they are becom-ing commoner. Speakersare more efficient thanever and both groups andDJs have only got to turnthat volume knob a littlemore and bam . . . acouple of minutes ataround 150 db wouldn'tjust deafen you, it wouldprobably kill you.

Just don't do it . . .

that's all.


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Ufrom Billboard

tingly1 1 TIE A YELLOW RIBBON ROUND THE

OLD OAK TREE Dawn Bel2 4 YOU ARE THE SUNSHINE OF MY LIFE

Stevie Wonder Tamla3 3 LITTLE WILLY The Sweet Bell4 2 THE CISCO KID War United Artists5 6 DRIFT AWAY Dobie Gray Decca6 7 STUCK IN THE MIDDLE WITH YOU

Stealers Wheel AEtM 1416FRANKENSTEIN Edgar Winter Group EpicTHE NIGHT THE LIGHTS WENT OUT INGEORGIA Vicki Lawrence BellDANIEL Elton John MCATHE TWELFTH OF NEVERDonny Osmond MGMREELING IN THE YEARS Steely Dan ABCWILDFLOWER Skylark CapitolMY LOVE Paul McCartney Et Wings ApplePILLOW TALK SylviaDAISY A DAY Jud StrunkSING CarpentersHOCUS POCUS FocusOUT OF THE QUESTIONGilbert O'Sullivan

VibrationMGMAEtM

Sire

MAMFUNKY WORM Ohio Players WestboundWALK ON THE WILD SIDE Lou Reed RCATHE RIGHT THING TO DOCarly Simon ElektraTHINKING OF YOULoggins Et Messina ColumbiaPEACEFUL Helen Reddy CapitolI'M GONNA LOVE YOU JUST ALITTLE MORE BABY Barry White 20th CenturyMASTERPIECE Temptations Gordy.STEAMROLLER BLUES/FOOLElvis Presley RCAPLAYGROUND IN MY MINDClint Holmes EpicI'M DOING FINE NOWNew York City ChelseaIT SURE TOOK A LONG, LONG TIMELobo Big TreeLEAVING ME Independents WandCHERRY CHERRY (From "Hot August Night")Neil Diamond MCAARMED AND EXTREMELY DANGEROUSFirst Choice Philly GrooveAIN'T NO WOMAN (Like the One I've Got)Four Tops DunhillRIGHT PLACE, WRONG TIMEDr. John AtcoSUPERFLY MEETS SHAFTJohn Et Ernest Rainy WednesdayI CAN UNDERSTAND IT New Birth RCATEDDY13EAR SONGBarbara Fairchild ColumbiaBLUE SUEDE SHOESJohnny Rivers United ArtistsNO MORE MR. NICE GUYAlice Cooper Warner BrothersLET'S PRETEND Raspberries CapitolWILL IT GO ROUND IN CIRCLESBilly Preston AEtMHEARTS OF STONEBlue Ridge Rangers FantasyNEITHER ONE OF US (Wants to be theFirst to Say Goodbye)Gladys Knight Et The Pips SoulDRINKING WINE SPO-DEE O'DEEJerry Lee Lewis MercuryPINBALL WIZARD/SEE ME, FEEL METhe New Seekers MGMNerveAND I LOVE YOU SO Perry Como RCAI KNEW JESUS (Before He Was A Star)Glen Campbell CapitolCLOSE YOUR EYES Edward Bear CapitolSTIR IT UP Johnny Nash EpicONE OF A KIND (Love Affair)Spinners Atlantic

albums1 2 LED ZEPPELIN Houses of the Holy2 3 BREAD The Best Of3 1 ELVIS PRESLEY

Aloah From Hawaii Via Satellite4 6 BEATLES 1962-19665 7 BEATLES 1967-19706 4 PINK FLOYD

The Dark Side of the Moon7 9 EDGAR WINTER GROUP

They Only Come Out at Night8 5 ALICE COOPER Billion Dollar

9 8 TEMPTATIONS Masterpiece10 10 GLADYS KNIGHT Et THE PIPS

Neither One Of Us11 11 WAR The World is a Ghetto12 14 FOCUS Moving Waves13 13 HUMBLE PIE Eat It14 12 DIANA ROSS/SOUNDTRACK

Lady Sings the Blues15 15 STEVIE WONDER Talking Book16 16 ELTON JOHN

Don't Shoot Me I'm Only thePiano Player

17 18 CARLY SIMON No Secrets18 19 THREE DOG NIGHT

Recorded Live In Concert -Around the World With

19 23 STEELY DAN Can't Buy a Thrill20 21 BYRDS21 25 JEFF BECK, TIM BOGERT

Er CARMINE APPICE22 24 PROCOL HARUM Grand Hotel23 39 SEALS Et CROFTS

Diamond Girl24 32 DOOBIE BROTHERS

The Captain Et Me Warner Brothers25 30 JOHNNY WINTER Still Alive Et Well Columbia26 27 DONNY OSMOND Alone TogetherM GM-Ko-

lobWarner Bros.Warner Bros.Warner Bros.

Atlantic

AtlanticElektra

RCAAppleApple

Harvest

27 42 DEEP PURPLE Made in Japan28 20 DELIVERANCE Soundtrack29 47 FACES Ooh La La30 45 SPINNERS31 22 MAHAVISHNU ORCHESTRA

Birds of Fire32 37 DONOVAN Cosmic Wheels33 17 EUMIR DEODATO Prelude/Deodato34 29 LOU REED Transformer35 31 JOHN DENVER

Rocky Mountain High36 35 DEEP PURPLE

Who Do We Think We Are!37 41 MANDRILL Composite Truth38 40 LIZA MINNELLI The Singer39 43 CABARET Soundtrack40 26 ALLMAN BROTHERS BAND

BeginningsJERRY LEE LEWIS The SessionTRAFFICShoot Out at the Fantasy Factory IslandSEALS Et CROFTS Summer BreezeWarner

Bros.BETTE MIDLER The Divine Miss M

EpicBabies Warner

BrothersGordy

SoulUnited Artists

SireA Et M

MotownTamla

MCAElektra

DunhillABC

Asylum

EpicChrysalis

Warner Brothers

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ColumbiaEpicCTI

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Warner Bros.Polydor

ColumbiaABC

RICK WAKEMANThe Six Wives of Henry VIIIDAVID BOWIE Space OddityAL GREEN I'm Still in Love With You

48 36 JAMES BROWN/SOUNDTRACKBlack Caesar

49 67 ANNE MURRAY Danny's Song50 52 LOGGINS Et MESSINA

rStraight from the States

BROWNSVILLE STATION:Let Your Yeah Be Yeah (Big'Free). Recently in reviewingthe J. Geils Band's Reggae -styled newie, I remarked thatthe new "R & B" boom was on

' its way. Maybe my reasoningwas a bit obscure: my use ofthe term "R & B" in quoteswas meant to denote what theBritish Pop public, and notSoul fans, thought of as thattype of music, bath in the mid -'60s. Thus, just as the British"R & B" groups of that eraplayed a mysterious musicalconcoction which owed little toits American inspiration, sothe new breed of white pla-

giarists are adapting Reggaeto their own limitations, withthe result that they may wellcreate in the process a de-based "Reggae" boom thatbecomes to the '70s what so-called "R & B" was to the '60s.Here, for instance, the some-time Rock Reviving raucouswhite group have made Jim-my Cliff's Pioneers hit into acrashing clomper which owesjust about nothing to real Reg-gae. Of course, that may havebeen the group's intention, asthe song itself is strong, butthe end result is very similarto the kind of coarse cover -jobthat made Pop hits out of

subtle black songs in the "R &B" past.

FOSTER SYLVERS: Mis-demeanour (Pride). Open thetrade mag, see a pie of Mi-chael Jackson, think "Hi,Mike!", then read the name"Foster Sylvers", go "Huh?",do a double take, and believewhat I say in the AmericanSingles column alongsidewhen I describe the Sylvers asvisually modelled on the Jack -sons. What's more, althoughthere are differences, youngFoster has even been made tosound as much like Michael as

AtcoMercury

A Et NI'RCA

Hi

PolydorCapitol

Columbia

possible (although I'd imaginehe's a bit younger). The perkylittle plinker that he sings waspenned, as was the group'sBritish single, by Leon SylversIII. and the whole group singLeon's more intricate flip intheir sophisticated Stairs-teps/Friends Of Distinction/Miracles style.Again, this is one very goodgroup which should be heard.As for Foster, who could wellbe the one to break them withthe 'teens, as they've obvious-ly planned, he's in at 127 firstweek on the Record World Top150 Chart, jumping from 71 to40R&B.

SI TATby James Hamilton

'American SinglesGLADYS KNIGHT & THEPIPS: Neither One Of Us(Wants To Be The First To SayGoodbye) (Tamla MotownTMG 855). Gladys & the Pips'biggest -ever US smash, thissubdued and tender super -Soul slowie was topping theAmerican Charts at the sametime as the group were switch-ing labels to Buddah . . . suchsweet parting, such irony.LAURA LEE: You've Got ToSave Me; Crumbs Off TheTable (Hot Wax HWX 119). Astrong week for the chix, this.Laura must rank amongst thehierarchy of Soulstresses, butis not always well served byher material . . as, to acertain extent, here. This tam-bourine -chinking gospel -girlieslow lurcher is very worth-while for the raw excitement ofits performance, though maybe flipped by many in prefer-ence for its chunkier flip, al-ready known as done by oth-ers, which has a great sputter-ing wah-wah percussion trackthat builds brassily, moodilyand magnificently. Why isn'tit the plug side?MILLIE JACKSON: Break-away; Strange Things (Pol-ydor 2066317). The "My Man,A Sweet Man" gal who de-served to smash here last timeout but failed to break throughbeyond number fifty, Millie isback emoting on another, lessfluid and more deliberate,Raeford Gerald thumper. Theslower "adult" flip is rathermore powerful.GUNHILL ROAD: Back WhenMy Hair Was Short (KamaSutra 2013063). There are adisturbing number of thosehorrible new cheapo injection -moulded, paint -labelled,brittle new -style pressingsamongst this lot of releases, allon the Phonogram/Polydor(ie: Polygram) group of la-bels. Object and help stampthem out! All of which isunfair to this Kenny Rogers -produced group's stop/startgentle thumper which cap-tures in its lyrics, unintentio-nally, the atmosphere of Brit-ain's "That'll Be The Day"nostalgial movie. And howcome that movie could goof sobadly (even if justifiably froma dramatic viewpoint) in thechronology of its music?! Somuch stuff from the early '60sbeing played in '59 . . . bah!TERESA BREWER: Music,Music, Music; School Days(Philips 6073706). The Xmasreissue of Patti Page's "HowMuch Is That Doggie In TheWindow" inspired me to lookfor the original of this, trulythe first Pop song that I per-sonally was ever aware of,which would have been a lo-gical follow-up to Patti any-way. Delight turned to horroron hearing this, though -Teresa has re-recorded it,backed by the otherwise ex-cellent but here inappropriate

wait for it - Heads, Hanas& Feet! Put another nickel in!Why can't we, please, have theoriginal? Chuck Berry's flip is

, actually funky and fine, and itworks rather well . . . 0000000 weee!NEIL SEDAKA: Standing OnThe Inside (MGM 2006267).Considering the great popu-larity with dancers of Neil's"That's When The MusicTakes Me", it seems strangethat the record went no higherthan eighteen (of course, theother Neil - Diamand - faredsimilarly with "Song SungBlue"). Despite his suddenswitch of labels, Mr. Sedaka'snewie is awfully like that lastone, though sounds less likeCarole King.BING CROSBY: Gonna BuildA Mountain (Daybreak DAS401). Okay, laugh, but you'dbetta believe that Bing'sBasie-backed bouncy treat-ment of the hackneyed Newleywarhorse swings like a bitch,and really stands out as some-thing refreshingly light andairy. Yeah - bring back the

big bands!THE BOBBY FULLERFOUR: Another Sad AndLonely Night (President PT394). From 1966, the sameyear that they fought the law,this white group's janglingbeater has Beatles influenceswell to the fore - my, howthose moptops ruined Ameri-can music! Only R & B ben-efitted, filling the gaps in theChart while white Pop had are -think. Bring back Randy &the Rainbows, too!THE GRASS ROOTS: Love IsWhat You Make It (ProbePRO 583). Almost the Ameri-can Hollies in the consistencystakes, these bubblegummershave yet to hit here. Theirlatest US hit is an urgentstaccato scrubber about love,and if you make it with mewe'll make it all rightJOHNNY RODRIGUEZ: PassMe By (If You're Only Pass-ing Through) (Mercury6052305). This young Chicanoex -con is a protege of Tom T.Hall and is fast becoming a bigCountry star. Country & Wet-back? Er hum! His plaintivevocal style is pleasant if unre-markable on this ditto near -yodelling creamy slowiewhich features some mightyfine (but predictably present)pedal steel and fiddle. Affi-cionados will appreciate theinherent tension, though.SKEETER DAVIS: The EndOf The World; I Can't StayMad At You (RCA 2356). MissDavis's slowie was a World-wide smash in 1963, andsounds remarkably like thesort of thing that Dana mighthave sung in her bath prior toEurovision fame. Heartbro-ken brief recitation, and aGoffin & King flip whichsounds it, shoobedoobedoobopdu m du m bedoobedoo.

THE SYLVERS: Wish That ICould Talk To You; How LoveHurts (MGM 2006-198). Fol-lowing in the footsteps of theStairsteps, except visuallymodelled on the Jacksons, theSylvers are another blackfamily act who make lovelySmokey lead -swapping musicand intricately -arrangedFriends of Distinction-ishhigh -flying harmonies onthese delicate slowies, which Iunreservedly commend to theattention of all Soul GroupFreaks. Unfortunately, al-though their image is right,their music is far too subtle tcsnare the 'teens over here, onthis showing.BOBBY WOMACK & PEACE:Across 110th Street; Hang OnIn There WA UP 35512). Bob-by, the Soul star you should allbe getting hip to on his owntheme song from the newblacks/Mafia/fuzz flick. Hisis a cool but rasping voice, fullof Gospel authority, which hesets in Marvin Gaye-ishsmoothly churning lushnesson top and in chugging, accel-eration, gently driving rhythmflipside. Can you understandit?!

BARRABAS: Woman; WildSafari (RCA 2339). Pen-ned/produced by FernandcArbex, this looked Continentaltwine until I saw that it'sclimbing R & B and breakingout in New York, Philly, LAand St. Louis. Well, the chapsinging these percussivethrobbers still sounds extremely Continental, andrather hoarse, which only em-phasize the Latin rhythm. An-other Chakachas? More Titan-ic?ALBERT KING: Breaking UpSome body's Home (Stax2025162). Albert and Lucy, hisguitar, have a satisfying ifpredictable Blues sound whichis both sorts warm and hug-gable and brain -searing withit. On this recent Ann Peebleshit plodder, the wailing Lucygets super -searing and shouldbe played loud. WHH0000!


DURING 1972 alone Wish-bone Ash made three tripsto the States to undertakeextensive tours. And, asmight be expected, when Imet Steve Upton he wasrelaxing in London in be-tween two visits to theStates.

The group had decidedthat two months in Amer-ica would be more bear-able if split by a shortreturn to London when theboys could at least snatcha little time with theirwives.

"Thankfully America iscatching up with Wish-bone Ash," says Steve,who explains that the cur-rent tour is the group'ssixth in that country. "It'salways hard for an Eng-lish band to make it thereunless one has a hit singleor album. Now we have agood hard following. Ifyou'd have asked mewhere they were situatedbefore this tour I'd havesaid mostly down south,but now everywhere weplay seems to be good. "

Wishbone Ash are nowheadlining on their toursto audiences averagingabout 4,000 per venue.They admit that theyhaven't yet reached thestage when they could jus-tify being top of the bill at12,000 seaters, but the au-dience reaction theycreate indicates that theyare steadily moving to-wards that goal.

The band are very mucha people's band. Over theyears they have beensteadily working, gradu-ally building their au-diences until they reachedthe point when, with oneswift swoop, they shot into

Ted Turner

Security? Not ina rock and!Wishbone Ash's Steve Upton tells Valerie Mabbs

the upper reaches of thealbum charts with Argus.

"It's true we gainedpopularity through our au-diences, and we haven'tbeen hyped in the press,"Steve agreed. "Wewouldn't be in America atall if it wasn't for thepeople in England who'vesupported us so much.We've worked - withoutsounding violins andbringing on the flowers -very hard, and a lot, inEngland and we've putourselves out to givepeople the chance to seethe band.

Success

"We were on the roadfor nine months before werecorded an album, and itwas a big success . . . atop 20 album. Then Pilgri-mage came next followedby Argus which made ev-eryone say "this is it" -that all took a matter oftwo years. We've neverbeen over -exposed as faras the press is concerned,we've just made a gradualprogression. "

Wishbone: a people's band

The latest developmentfor Wishbone has been theinclusion of tracks whichSteve describes as"songs" on their albumWishbone Four - releasedthis week.

"They've been written

as songs," he explains."There's a lot more con-centrations on lyrics withthem, as well as vocals.Before Argus we tended tobe very much an in-strumental band, butthat's changing now. "

I wondered if this meantthat Wishbone would beforced to alter their onstage act to a great de-gree.

"I'd agree that it couldif we were just doing ma-terial from this album,"Steve told me. "But weplay tracks from everyalbum we've made be-cause it keeps the highpoints and mellow pointsin the act, and also be-cause our audiences wantto hear them.

"People shout out forPhoenix from the first al-bum . . . OK we could saywe're not going to do it,but after all people cometo hear you play yourmusic, and that's part ofit. "

LoyaltyIt could be thought that

it's easy for Wishbone Ashto talk in such terms . . .

but in fact they're showingtheir loyalty, to their Eng-lish fans particularly, in adifferent way.

In June they plan totour around Britain - tomake up for the sixmonths they have beenaway - and at the sametime they will be recordingthe concerts for a livealbum.

"It seemed an obviousand natural thing to do therecording in England,"Steve told me. "We feelsorry that we haven'tworked here for a while."

Steve Upton

Wishbone will be usingthe Stones mobile truck torecord with - "the onlyone around," says Steve,and when I remind himthat Ronnie Lane has in-vested in what is, appar-ently, a good studio, headds: "Yes, a wisemove. "

So what, I wondered isMr. Upton investing hiscash in.

"When I get some mon-ey I'll invest it," he says."We're not paupers, butall I've got is a flat inFulham and my Beetle! Inthis band we all planahead as far as our musicis concerned; it's differentfrom say, putting out asingle and it hits numberone, then you say, hey farout I'm a pop star.

"That never was myidea of being famous at

all. I just found myselfwith a bunch of guys whowanted to form a band,and I wanted to play, al-though I didn't know any-thing about playing. I nev-er thought my ambition isthis or that . . . I justlearnt how to play drumsand followed it throughfrom there. -

It's a follow throughthat has proved to be agreat success story, butsays Steve:

"I don't think being fa-mous in a rock band givesyou security . . I don'tthink that's the criteriafor doing it. "

So what, I wondered,might Steve consider as aposition of security.

"Hmm, I don't know.But it's not being in a rockband!"


StrangeWizzardbrew

Wizzard Brew (HarvestSHSP 4025). A verystrange brew this is, too,There's nothing thatseems as direct and con-structive as Ball ParkIncident on this, thoughthere are great flashes ofthe humour - particu-larly in Fifties style rockvein - that the singleconveyed. But Wizzarddon't seem to have anyparticular direction inwhat they're doing. Onemoment they're present-ing some sounds veryclose to free -form jazz,the next there's a march-ing style song in JollyCup Of Tea, and thenagain there's some greatrock riffs. There aresome fine sounds, it'strue, but at present I'msomewhat bemused by itall. V. M.DEODATOPrelude - (cri CTL 10).The lengthy Aiso SprachZarathustra sped fast intothe singles charts, and thisalbum, arranged and con-ducted by Eumir Deodato, isin no way a disappointingfollow-up. Deodato's pianostyle is dominant throughitems like Baubles, Banglesand Beads, and there's thatbasic jazz feel, that fusion ofthought, that made the singlean unexpected but deservedtriumph. Massive orchestralsounds; cleverly mar-shalled.DEL REEVESBefore Goodbye - (UnitedArtists UAS 29437). One ofthe livelier of the countrymusic talents -- his voiceavoids thatdrawling intensity, And thebackings here have morespirit than most to come outof the Nashville scene.LAURIE STYVERSThe Colorado Kid (ChrysalisCHR 1038). Second albumfrom the Colorado cutie,again recorded in London.Nice clean uncomplicatedarrangements of ..fxesh anduncomplicated songs allwritten by Laurie. The ladyhas class and shows a lot ofwisdom for her 21 years.BOBBY CHARLES(Bearsville K45516). Betterknown as the writer of someearly rock n roll hits like SeeYou Later Aligator. Here hegets into some neat countryfunk with The Band's RickDanko, Levon Helm, andGarth Hudson joining in forgood measure.

1 aMike Hennessey, Mitch Howard, Peter Jones, Val Mabbs, Rick Sanders

Do the Dangle: JohnEntwistle rocks on

Rigor Mortis Sets In(Track 2406106). Admi-rers of the Who's bass -player's bilious sense ofhumour won't mindsongs about Peg LegKate, who can really dothe hop, a brand newdance called the Dangle,which involves a ropeand a chair, and the titleof the album itself. A lotmore people are going tobe put off, which meansthis album, which con-tains some extremelygood rock compositionsplayed with rare fire,may not get the hearingit deserves. With a littleless of the macabre, alittle less reworking ofold rock classics - Lu-cille, Hound Dog and Mr.Bass Man are undoubt-edly good songs, but whyhere? - this album couldhave been an unqualifiedsuccess. Entwhistle canwrite fine gutsy musicand he's put together agood band to play it.Rigor Mortis may makeyour brain recoil butyour feet won't stop tap-ping. RS.

HANK CRAWFORDWe Got A Good Thing Going- (KUDC 7). The jazz al-toist, an imaginative musi-cian, with Bernard Purdie ondrums, plus guitarist GeorgeBenson and some stirringstring -section sounds. Gil-bert O'Sullivan has even gothimself into this scene withAlone Again Naturally.MICHEL VILLARDMusic From Films OfCharlie Chaplin - (Pye Int.NSPL 28173). The music aswritten for Limelight, ADog's Life, Modern Times,arid a slab from the old scorefor the Gold Rush epic.

BILLY CRASH CRADDOCKTwo Sides Of Crash -(Probe SPB 1072). Thethirteenth of thirteen chil-dren - a country stylist whocopes admirably with slowballads, and who is that bitless at ease with the more up -tempo songs.

VARIOUS ARTISTSGood 01 Country Music -(MGM53 081). Another well -prepared package, with theStonemans, Roy Acuff, HankWilliams (the elder), andTobacco Jones on his Maid-en's Prayer . . veteranperformers on the old ruraltype of country music.ROY BUDDPlays The Music Of GilbertO'Sullivan - (Pye Quad1021). Jazz pianist, filmscorewriter, husband of CaterinaValente . . paying his ownmusical tribute to Gilbert theGenius - electric piano outfront over orchestra.LIZA MINNELLIMaybe This Time - (CapitolST 11080). Title track is theshow -stopper from the movieCabaret, and this 1964 -recorded set also has Liza,with a Z, on old standards byKern, Hammerstein and oth-ers. Interesting nostalgiaview of a then young talent.

BLACKFOOT SUENothing To Hide (JAM JAL 104). Heavy guitar -lead rocking predictably startsoff this latest offering. It's good and strong though not all that original. BlackfootSue have wisely diluted the heavy dosage with some quiet acoustic tracks thatwork extremely well. Vocals and lyrics are not particularly strong, thoughGlittery Orbituary -a dig, but at who - works well. The songs are pushed alongby consistently good drum and bass lines. The best tracks are probably theacoustic Cry, the up -beat My Oh My and the poppy Now We're There. A good, wellvaried album that should please all the fans. GB.

TOM PAXTONNew Songs For Old Friends(Reprise K44237). Oh greatenchantment. Paxton'sthick brown gravy voice, ir-resistable humour, and folk-sy sing -along style arecaught here in their bestsetting - an English con-cert. This set recorded atLondon's Marquee capturesthat spontaneous feel anddelivers a new set of thosewistful songs that make youfeel warm and good inside.Here's a matured songsmithsinging about dreams,schemes, love and life, andjust for good measure there'sRalph McTell, and daugh-ters Katy and Jennifer (re-member Jennifer's rabbit? ).Songs that are bound tomake you laugh and mayeven make you cry.PHIL TRAINERTrainer BASF BAG22291073. A first album froman American singer -song-writer who comes over as arelaxed musician and ca-pable lyricist Production isexcellent and the albumwould stand up on thestrength of one track alone -Beautiful Jim, dedicated tothe Doors' Jim Morrison -were the rest of if not equallygood. Mention should also begiven to the lead guitar workof Barry Clarke.

VARIOUS ARTISTSStrictly Bepop - (One UpOU 2006). Artists involved inthis back-up to the bepop erainclude Tadd Dameron, Diz-zy Gillespie and Babs Gon-zales . . . five from thelatter, a bop singer with acurious style and a vividimagination.FATS DOMINOThe Best Of . . (UnitedArtists UAS 29467). With thethe Fat man back with us ontours, it's hard to know justhow to define the "best" ofhis work, for it spans such along period of time. On thisone is Blueberry Hill, a per-sonal favourite; and Ain'tThat A Shame, Walking ToNew Orleans, I'm Walking,The Fat Man, and that gemfrom 1955, My Blue Heaven.

Average White put itwhere you want it

AVERAGE WHITEBANDShow Your Hand (MCAMUPS 486). Stevie Won-der kept coming to mindlistening to the previewcopy of their first albumdue out in June. It's gotthat funky RnB feel withplenty of sax and pianolaid over a tight rhythmsection and some finevocal harmonies fromJEANNIE C. RILEYWhen Love Has Gone Away- (MGM 2353 078). Certain-ly one of the prettiest of thecountry girls, and with thatmuch -vaunted hit singleHarper Valley PTA to hercredit . . . Jeannie has anemotional but controlledvoice, and one can sense thatshe could easily breakthrough into the pure popfield given the right song.Possibly I'll Sing For You, orthe title track from this al-bum . . either could dowell.

NUGGETSOriginal Artefacts From TheFirst Psychedelic Era(Elekra 7E 2006). Cor, re-member these then? 27 gemsof those hazy summers be-tween '65 and '68 from ourAmerican psychedelicgrandfathers. If you want tofeed your roots with somegood nourishing compost thisspecial priced double is amust.CHARLEY PRIDECharley's Day Is Here -(RCA Victor LSA 3144). Theone big coloured countrystar. He has a purity of voicethat stands out even in thecurrent mad rush of record.ings from Nashville, and he'sin good form here on BestBanjo Picker, A Good Worn-an's Love and Spell Of TheFreight Train . . . narra-tive songs mixed up withsheer sentiment.STEPHANE GRAPPELLI1973 - (Pye NSPL 18403).The flawless violin tech-nician, and some familiaritems, like Three LittleWords, Avalon, Don't MeanA Thing. And he shows hispiano styling on Emotion .

Rave fromthe graveTHE BIG 3Resurrection (Polydor2383 199). One of thetoughest groups, musi-cally speaking, to comeout of the Merseybeatboom. Musicians' musi-cians, too. Brian Ep-stein signed them -Brian Griffiths, JohnnyGustafson, drummerJohnny Hutchinson .

. . now Elton John'sdrummer Nigel Olssonhas for this resurrec-tion replaced Hutch.Tony Bramwell got thethree together and thesession is packed withgritty, raw -edged ex-citement . . . songs in-clude Lavender Blue,Rockin' Robin, GottaMake A Fool Of Some-body, Lucille and theroar up on Dizzy MissLizzy. Great stuff. PJ.

PERCY FAITHDuelling Banjos - (CBS65599). Highlight of this isthe title track from thesound -track of the movie De-liverance, a hurry -along sec-tion that is all too short.Other theme material stemsfrom Ben, from Shaft andthat main love sequencefrom Lady Sings The Blues.

Alan Garrie and HamishStewart. Tracks likeTwilight Zone, TLC andReach Out, really takeoff, the latter featuringsome beautifully under-stated guitar work. Butthe highlight is a re-recorded version of theirrecent single, Put ItWhere You Want It - it'sright where you want it.AY.

LIZA MINNELLIThe Singer - (CBS 65555).Includes Liza's very specialreading of Carly Simon'sYou're So Vain, and otherstand -out tracks are JamesTaylor's Don't Let Me BeLonely Tonight, Mac Davis'sI Believe In Music whichopens the show, and theplaintive Where Is Love.She's deservedly in the su-per -star bracket now, andLiza is surely one of the mostexciting vocal talents.ANDY WILLIAMSFirst Time Ever I Saw YourFace - (CBS 65559). Anoth-er example of how Andy cantake hits by other people andturn them into new -style per-formances. Title track washuge for Roberta Flack, butnow comes up bright andnew. Alone Again Naturallyworks well. And he gives anoutstanding work-out forDay By Day.MATT MUNROFor The Present - (Colum-bia SCX 6525). One of thebest of British balladeersa man who can swing a little,too. This set, which includessome recordings from 1971and last year, includes hisown reading of Bridge OverTroubled Water, the Beatles'Michelle, a first-rate Sarah'sCorning Home, and one of thebest -yet interpretations ofJimmy Webb's Didn't We?BUCK OWENSIn The Palm Of Your Hand- (Capitol ST 11136). Goodwriter, Buck - as well asbeing one of the biggest ofcountry music giants. Songslike Arms Full Of Empty andIn The Palm Of Your Hand,and more especially Get OutOf Town Before Sundown -all samples of his skill.TOMMY OVERSTREETHeaven Is In My Woman'sLove - (Dot SLPD 543).Texan country stylist, and hesticks to the gentle, warm-hearted style song - butthere's a sign of inter-pretative talent when he re-jigs old hits for other artists

. . like Charley Pride'sGonna Take A Little BitLonger.THE MANY SIDES OFROCK 'N' ROLL(United Artists UAD60025/6). A double albumcompilation this, which isjust great. Original rockcatalogue, a side of in-strumentals, a side devotedto the greats like Cochran,Lewis and Domino; yetagain teen ballads withFrankie Avalon featured,and the groups. Just hearthe Five Satins on In TheStill Of The Night rightthrough to The Rivingtonsand a 1962 version of Pap -Oom - Mow - Mow. Let ThereBe/Drums, Walk - Don'tRun . . - more and more.Super-doopa!HENRY MANCINI / EL-MERBERNSTEINHighlights From Film -harmonic 70 - (Polydor 2383190). Highlights from a lush-ly -orchestrated concert atthe Royal Albert Hall in1970.BOBBY SHORTIs Mad About Noel Coward- (Atlantic SD 2-607). Thisis out fast after the death ofNoel - Bobby Short, pianistsinger, who recently had asimilar double -album out tocommemorate the works ofCole Porter.


(Miki should take itwith his follow-up

FRANK IFIELD: The RiseAnd Fall Of Solly Glick(MAM 101). Frank once hadthree number ones in a row.This is the kind of song,hand -clapping and intense,that could push him backinto the charts. Story -linesong, and a bit hard to singalong with, but worth theattention needed, and it's gota funky sort of backing, withsome fine guitar work. -CHART CHANCE .

Suzipower!

SUZI QUATRO: CanThe Can (Rak 150). Thecopy I'm now playingreplaces that which Ihad originally . . . butI still think Suzi is ca-pable of a big break-through. She's got thispower and pace andsense of drama, and theability to whip up ex-citement. This soundsfaintly in a voice -strain-ing level for her, but it'sstill very commercial,and repeatedly inter-esting. CHARTCHANCE.

KINCADE: Dreams Are TenA Penny (Penny Farthing).Hefty beat, and some prettydetermined and professionalsounds over it all - goodsounds but perhaps lackingthat final something.

MIKI ANTONY: AnotherDay Without You (Bell1306). Four people wrotethis important follow-up. . . a follow-up hit, I'dguess. Miki has a niceclean sound, vocallyspeaking, and this has afaint continental feel to it- a rambling melodyline, but determination inthe back -beat. It sort ofchatters away at somespeed, and has a directcommercial appeal. Pro-duced by the in-defatigable Cook -Green -way partnership.CHART CERT.

MIKE HUGG: Stress AndStrain (Polydor 2058-359).Ex -Manfred Mann man whoshould have had a hit lasttime out on a solo single. Hegets into a melodic, under -stretched sort of format onrecord; takes time to get thefull value, but when it works,as here, it works very wellindeed. And the arrange-ment and production . . .

both quite exceptional. Avery nice, good, auspicioussingle. - CHART CHANCE.

PETER D. KELLY: Work-ing Class People (RCA Vic-tor 2363). I'm determined toforce PDK into the chartsbecause (a) he deserves it;and (b) he is a class per-former who gets hold of classmaterial. This has a pon-derous but exciting beatwhich builds up and up, andthe lyrics are well worthhearing. It rocks along,some guitar figures boost itno end - and the chorus lineis catchy enough to be reallyquite big. - CHARTCHANCE.

TERRY DACTYL AND THEDINOSAURS: She Left IDied (UKR 39). It's catchyenough but it really doesn'tdo much for me. It's apatchy sort of production,even if it does also have thatfoot -tapping sort of ap-proach. Swirls along, in-strumentally, after the firstinnocuous-ish vocal lead in.- CHART CHANCE .

reggae cornerSO there's this little black boy, all of seven years, and theyrehailing him as the reggae equivalent of Little JimmyOsmond. His name is STEVE COLLINS, and he reggaesthrough Ding -A -Ling, Ting -A -Ling on the Big Shot label, andit's got fair charm and warmth.

So there's this guy, age unknown, and they're hailing himas the vocal "double" of Gilbert O'Sullivan. His name isALAN WOOD, and he reggaes through Oh Why on the Beaconlabel - the flip of a double `A'-sider is Every Little Touch, bya reggae team called Hollywood. Seems Alan just can't helpthat vocal similarity.

From THE ROOSEVELT SINGERS: Heavy Reggae(Sioux), a somewhat confused and rambling production withlots of chat. And a very good single indeed from THECIMARONS on Check Out Yourself (Trojan), a song -production which has a distinct wide commercial feel to it.

Nice one, too, from BYRON LEE who, with the Drag-onaires, gives the oldie In The Mood a modernistic andreggae -styled work-out. BIG YOUTH on Ja To Uk (Grape)turns in a somewhat complex production - off -beat andinterest -grabbing, I thought.

Why Do People Have To Cry - that's the new one fromBRENTON KING (Down Town), softly -sung and plaintive.From BELLFIELD: How You Gonna Get Control (Smash),with a built-in and very catchy instrumental lead-in THEUPSETTERS could sell well with Sunshine Showdown (DownTown), a sound-effecty party -type piece.

From GLEN BROWN: Wedden Skank (Down Town), withwedding -march instrumental spasms. Trying To Wreck MyLife, by DELROY WILSON (Smash), falsetto -vocalised,softly -phrased and of fair quality. I. ROY'S Black Man Time(Down Town) . . . . well, it's full of gulps, roars, yelps,before settling down harmonically.

Nice performance from LORNA BENNETT on Chapel OfLove (Blue Mountain), and the dressing up in Reggae styleharms not this fine old song. And finally: LEE PERRY, onStation Underground News (Bread), built on a most per-suasive back beat.

FourEuro-songs

Jagger's talents save from Cliff

PETERJONES

singles

on thenew

a weak Stones release gAshesin

; DaysT sOhf sL vEem/

2022). No problems here.Four of the Eurovisionentries - and probablyas I write roaring up thecharts. If I may say so, Iliked Tomorrow Risingthe best. But whatever Isay, the sum total of thislittle lot will make it.CHART CERT.

THE ROLLING STONES: Sad Day; You Can't Always Get What You Want(Decca F 13404). Well, this release probably won't warm the cockles of Mike'sheart, or Keith's either for that matter. But it's from 1966, top -side up, and ispreviously unreleased in Britain . . . though it was produced by Andrew LoogOldham in those far-off days and released just in Canada and the States. TheJagger - Richard number starts gently, then explodes a little, and it's all reallydown to Mick and his talent. But it sure ain't the best of the Stones. CHARTCERT.

Marsha Hunt

Don't mistake JIMMY THOMAS for Timmy Thomas. Jim,as opposed to Tim, is resident in Britain and has his debutdisc, All God's Children, out on the Contempo label.Jimmy has toured with Bill Withers, been back-up singerfor a while with Doris Troy, and with the Ike And TinaTurner Revue. His single is pretty strong, meaningfulstuff, and his Gospel -singing background comes throughwith unmistakeable punch.

Now it's MARSHA HUNT and 22 - that's the label creditthe delectable Marsha and four good -lookers who could dowell in the teen -market anyway. 'The song is The BeastDay (Vertigo), and Marsha tells me: "It's a song I sang asa child . . . I once injected it into a song of my own, butthis is exactly how I sang it when I was five years old.Actually Black American kids have incredible streetsongs which they sing and do their own little dance stepsto. " A very strong single. Very.

Opportunity Knocks winners have been winning in thecharts too, of late, Paper Lace won well, and their single isRagamuffin Man, and there is also an album Paper Lace- First Edition, on the way. They are a four -piece group,and they've built a big following among the producers ofboth Radio One and Radio Two. In terms of vocalharmony, they've got a lot to offer. Do try the record. Theboys are worth the bother.

LYN AND GRAHAMMcCARTHY: Friends WithYou (Nashville Int. ). Coun-try-folkish team, duo of me-lodic intent, and a melodicand straightforward littlesong.

ORIGINAL CAST: JosephAnd Amazing TechnicolorDream Coat (RSO). Maxi -single dealing with high-lights from the stage andalbum recording.TAILS: She Loves Her Dog(Decca). A folksey-pop item,with catchiness built in, andall about how some double-entendre meanings can bebuilt into a happy old popproduction! Could click.

DUFFY: Running Away(Chapter I). Good hard -edged sounds, with a basicbeat that could move it along. . . but it's a bit short onthat final touch of dis-tinction.

CLIFF RICHARD: HelpIt along / Tomorrow Ris-

POLLY PERKINS: Coochi-Coo (Chapter I). A barrel-house bag of hard -sell vocalwork, sexily determined,and to a boogie back -beat.Builds up a fair head ofsteam.

SANDS OF TIME: Down ByThe River (Santa Ponsa).New label, and an ex-perienced group workingover a Hammond-Hazlewoodsong. It's a commercialsound, no mistake, and couldgive Roger Easterby andDes Champ a debut label hit.

WAYNE FONTANA: To-gether (Warner Brothers).Very much a hit -maker indays gone by, and still withthat warmly flexible vocalstyle. Song is a mixture ofthe complex and the simple,and it really does take a bit ofsinging. Brassy backing.Welcome, Wayne . . . wel-come back.

BRUCE SPELMAN: Lady(Beacon). Well -constructedsong, and a nice sense ofrhythm, and some inter-esting lyrics. I quite likedthis . . .

SIMON BUTTERFLY: RainRain Rain (Cherub). Greatflowing instrumental soundsof pattering rain, and a re-petitive lyric flow, and a fairold flood of build-up.

CYCLES: Nevada Style(Alaska). Good lead voice onthis - an authoritative voicewhich handles clipped -stylelyrics with confidence.Build-up song.

BRIGHT WINTER: RiverSong (Pye). Jangling sort ofproduction, with some nicemoments and a definite OldSeekerish-sound, mainly be-cause of the girl voice. Nice.

THIN LIZZY: Randolph's Tango (Decca F 13402). Another important follow-up.Story -line build-up of the lyrics, and it's fairly restrained in basic sound. Worth aclose study, even if there is something a bit repetitious about the melody whichcaused me momentary inertia. The la-la-lah bits come off infectiously well, sodoes some of that lead guitar work and the persistent drumming. CHART CERT.


tVA RI AlWrite to: Val, Record Mirror, 7 Carnaby Street, London W1V1PG

The Dougalls: They'rejust too big -headed

VAL: Following the Dou-gall's comments about theOsmonds and Jacksons inTony Jasper's recent fea-ture, RM not only receivedlots of mail opposing theirattitude - but also a phonecall from Billy Handley, ofthe Handley Family.

"They should keep quiet,"said Billy, "Who are theyanyway? Jimmy is great.Anyway there are enoughgirls in the world for all ofus!"

And from our readers:

I USED to watch Opportun-ity Knocks and I saw theMinny Maestroes as theycalled themselves. I likethem because they lookedlike a bunch of lads whowould respect people whohad been in the pop business

longer than they have.Having read the article I

now think differently. Theythink they are the greatestthing on earth. Well, let'sjust see how they get on. Idon't think they'll get veryfar if they make any morestatements like that.

D. Briedis.3 St. Dunstan' s Gardens,London W3.

I LOVE Jimmy Osmond verymuch, and I don't like to seehim being insulted. Theydon't know good singingwhen they hear it.

Susan Read.29 Cripsey Avenue,Shelley, Ongar,Essex.

THERE are many groupsbetter than the Osmonds Iknow, but these three corn -

HOW good to see Joe Brown back in the charts with HeyMama. Joe is a great talent on the pop scene who entertainedus with some great records in the Sixties, like That's WhatLove Will Do. I just hope we hear a lot more of him in theSeventies.

46 MacLean Road,Honor Oak Park,London, SE2.

or

Derek King,

plete novices get onto thetelevision and think thatthey've made it big. Maybethey've not heard of otherrivals like the Handleys,James Boys and SimonTurner. They all have talent,but certainly they've notbeen shouting their headsoff, have they?

Susan Smith.1 Glendale Road,Burnham -on -Crouch.

I REALLY. pity those poorDougall Boys who have sud-denly been discovered andtold they are the answer tosuch groups as the Osmonds,and Jackson Five, and be-lieve it.

I think someone ought to

inform them that to be in theclass of the Osmonds orJacksons takes a lot of hardwork and patience. Thesetwo groups have been profes-sionals for some years. Theyknow the business inside out.Most of all, they are allmature young men who donot boast who is the greatestor criticise each other.

It is now that the Dougallsshould learn not to considershow business as a com-petition to who is tops andhow many fans they can takefrom other groups. Stopbragging, boys, about some-thing you are not. You areyoung and talented but lackpersonality and experience.

So get down to work be-cause you have a lot to learnbefore you reach the stan-dard of the present daystars.

Miss Frances Golder.260 Hither Green Lane,Lewisham,London SE13.

God blessall who

sail in her!NOW that Radio Caroline istemporarily (we hope!) offthe air, I have no doubt thatmany readers, like myself,realise just what an achieve-ment it it that they shouldhave reappeared like theydid.

When one realises that theMi Amigo very nearlyreached the scrap yard, it iswonderful to think that thisgreat little ship, with somany great memories,should take to the North Seaand broadcast again. Youcannot help but feel that sheis the ship that won't die.The recent fierce storms putRadio Veronica out of actionand RNI was near to a crisis- yet Mi Amigo struggledbravely on.

Good luck to Ronan andthe DJs now on Radio Caro-line and may this great littleship remain as a symbol ofFree Radio for many yearsto come. Joy Sutters.49 Formby Avenue,Stanmore, Middlesex.

Sold outsell-out?

WANTING tickets for theapproaching GilbertO'Sullivan concert at theRoyal Festival Hall we rangthem asking for tickets andwere told not to apply forthem before April 25.

Consequently we sent ourmoney on April 24 figuring itwould reach the box officefirst post on the 25th. Nowwe've been informed that allthe tickets are sold out. Theletter was dated the 25thwhich meant that if peoplekept their word the concertwas sold out in one morning.

We're fuming! Either theFestival Hall disregardedthe rule they made, or themusical social circle (mod-els, actors, directors, popstars, etc.I and the Presshave bought all the tickets.

We realise the FestivalHall is right in the heart ofLondon, but Gilbert has a lotof fans in London who helpedto make him what he is todayand they shouldn't be deniedthe right to see him becausecritics and the sort of peoplewho see him every day buyup the tickets.

Kim Chalet and SarahOrians,

221 Tudor Drive,Kingston -on -Thames,Surrey.

AFTER seeing Born To Boogie for the fifth time this week Imust protest at Marc Bolan not doing a British tour. In myopinion they are far better live, and it beats me why they haveto mime on TOTP.

So let's have a tour boys, and show Slade and Co that T.Rex are not beaten.

8 Winchester Street,Belfast.

Roy Ferguson.

Any old copies ofRM lying about?

HAVING become a fan of your excellent paper over a yearago, I would like to take this opportunity of asking, throughyour Mirrormail column, for any of your readers who haveold copies of RM or who have kept a record of the singlescharts over the years to contact me. I'm now attempting tocompile a complete record of the RM charts from when theystarted.

J. Elliott.33 Hill View,Esh Winning,Durham DH7 9LD.

7 Carnaby St., London W1V 1PG. Tel: 01-437 8090

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Moody No. 6

Tony Clarke

AFTER you've crawledout of the London con-fusion of traffic andheaded south-west foran hour, you come toCobham, Surrey, a well-heeled country townnestling beside themeandering River Moleand the A3 to Port-smouth. There's a qui-etly wealthy sort of at-mosphere along themain street, leading thevisitor to the conclusionthat most of the shop-ping round these hyarparts is either done bytelephone or in monthlytrips to the deep-freezecentre where you canbuy haunches of caviarand that sort of thing bythe case.

At one end of the pleasantHigh Street, just around thecorner from the mill, is a shopbearing the name ThresholdRecords. It is one of twoowned by the Moody Blues, theother being in Andover (homeof the legendary Troggs) andseveral additions to the chainare planned. Above the shop,in easy-going contrast to thenormal high -density Londonrecord company office, is theregistered home of the' 'oodies' Threshold label.

We rendezvous here withNick Massey, Threshold'shead of publicity, who hasinvited us to visit the SixthMoody Blue, otherwise knownas Tony Clarke, who has pro-duced their records since theDays Of Future Passed. Thepurpose of our visit is tohear selections from theband's past albums whichTony has re -mixed in quadra-phonic sound. He has actuallyre -mixed the entire MoodyBlues catalogue with the ex-ception of In Search of the LostChord.

After a rapid consumption ofhospitality under the ancientoak beams of the Moodies'local, a handy two hundredpaces from the office, it's offwe go through the leafy lanesof the stockbroker belt lookingfcr Chateau Clarke. The houseiz; situated on a hillsidereached by private road.Standing in the double drive,as if further confirmation ofthe Moodies' remarkable suc-cesses were needed, areTony's maroon Rolls and hiswife's silver-grey Mercedes.Just down the road is RayThomas's house; the othermembers of the band live insimilar places within a fewminutes' drive, except forMike Pinder, who has a farmin Sussex.

Greeted by 'Ibny and ush-ered into his enormous L-shaped living room we arewelcomed by a weak gruntfrom a pallid figure in sung-lasses who turns out to be

RickSandersdownhomewithproducerTonyClarke

Graeme Edge. The Moodieshad sonething of a party theprevious night, which ended at3.30 a. m.

After hearing about a sail-ing accident which had hap-pened to Graeme "somewhereoff Bournemouth, I think," theday before, we had to leavehim to sleep on the vast sofaand ascend to Tony's attic,filled with speakers of giantdimensions, tape machines,shelves of tape boxes and alarge mixing desk.

"What would you like tohear?" he asks, turning on thepowefand sending a powerfulhiss from the speakers whichcauses in your reporter a cer-tain trepidation - one hasheard rumours of experimentsfrom the Moodies involvinglow -frequency sound waveswhich result in unlikely physi-cal manifestations. One par-ticular frequency gets you inthe throat; another so the sto-ry goes - and later confirmedby Tony - causes relaxationof the muscles of the digestivetract.

The selected track is Proces-sion from Every Good BoyDeserves Favour, and whileTony sets knobs and slidesvolume controls, the grandroar of four very loud channelsthrobs into the small room.

You have to admit that it issimply magnificent. Crystal-clear vocals seem to hangdirectly above your headwhile the mighty Pindertron-a Pinder-adapted Mellotron- and guitar, bass and drumsswoop and soar from one cor-ner of the room to the other.

As re -mixed song followssong, it becomes apparent thatof all bands, it's such as theMoodies, users of great sweep-ing layers of sound, who aregoing to benefit most from thenew possibilities of quad. Inthe quieter passages of solcinstruments, quad tends tosound a little thin; you need tohave a lot going on for besteffect. With a variety of tonecolours rushing in from here

and there, a bank of mellotron-violin charging at you frombehind your left shoulder anddisappearing again, with arich guitar solo sweeping incircles above your head - atrick, incidentally, that Tonymanaged to produce in stereoby judicious use of echo andwas borrowed by Jimi Hen-drix on Electric Lady land -there's no denying that quadsound is going to follow stereojust as logically and ex-pensively as stereo super-seded mono.

"When I first heard ofquad," says Tony, "I thoughtit was a bit of a con; I didn'tsee that the cost of buying theextra stereo amp and the twoextra speakers would be justi-fied by the results, but since Istarted to look into it I'vebegun to realise the possi-bilities.

"When people start arrang-ing music specifically for quadsound, the possibilities are re-markable. There are so manythings you would be able to do,shifting instruments from onespot to another. You have 360degrees of sound at your dis-posal. "

Tony finishes the demon-stration by playing Knights InWhite Satin - a fitting touch,since the song was the first hitsingle from theClarke/Moodies collaborationand has recently, five yearsafter it was recorded, againbeen a number one chart suc-cess in the States. The band,says Nick, have noticed achange in their audience overthe last year which has ex-plained this second -time -round phenomenon; ratherlike the Teddy Boy fashioncurrently winning convertsamong the sons of the originalteds, a new generation ofMoody Blues fans who' 9I neverheard them in the early dayshas grown up.

How has the group reactedto their largely unpubli-cised, prolonged reign at thetop of the tree? How do theymanage to keep a fresh ap-proach when so often bands gosoft after the first few hits?

Much of the answer, Tonybelieves, is that each memberof the band spends his timebetween albums trying to getinto something new in the wayof experiences. At the mo-ment, it's boats. When Thre-

shold began as a record com-pany, they all got into beingcompany directors, commu-ting up to town on the train.Mike even bought himself abrolly. It's really a case, saysTony, of re-creating them-selves, of keeping on findingnew interests.

When it's time to make anew album - Tony, as theband's producer, has to resista lot of pressure from Dec ca tosqueeze as many eggs as pos-sible from the golden goose -Tony has to wait until they allwant to record, until they'vegot something to say.

"Then I'll book up six oreight weeks in the studio," hesays. "When we start there'snever more than a couple ofnumbers ready. Justin Hay-ward is a great instigator, heusually has something; butthe first days usually havemore conversation - we maynot have seen each other for amonth - than recording. Af-

ter that, we realise that wecan't put it off any longer, andsomebody is going to have toget up and sing a song. At firstit'll be four or five acousticguitars around a coffee table.Gradually it'll move towardsrecording; we reckon to takeabout a week to finish a song.It takes longer now; we fin-ished Days of Future Passedin two weeks. "

The Moodies seem to haveresisted the temptation tolapse into idle luxury in thecountry largely, says Tony,because they really do enjoyworking. Each year theyreckon to play a couple ofAmerican tours and one Eng-lish one. The story's thesame- they tend to procrasti-nate on rehearsal, but once it'sunder way, they like to workhard. A sixteen -date US tourwill take the Moodies sixteendays - straight in, charteredjet from city to city, and outagain. They tend to get home-

sick; they tend not to practiseenough, so that with the best ofintentions, they don't feelready to play. Pre -perform-ance nerves always strike,and if Graeme isn't physicallysick before a show, which hasbecome a tradition, the groupwould feel as if something wasreally wrong.Superstitions like that, saysTony, are very much a part ofthe Moody Blues story. No-body wants to change the art-ist who designs their recordsleeves - he's become a tradi-tion. Nobody wants to changeanything very much; the mu-sic naturally matures - Tonysays that where once theymight have used ten mellot-rons they'd probably now real-ise that the same statementcould be made more simplyand effectively with just oneinstrument. A gradual organ-ic development is fine, but thewinning formula won't beabandoned at a stroke.

OPEN AIRROCK 'N' ROLL SHOW

To be held Friday 1st June atCarshalton Park, Ruskin Road, Carshalton, Surrey

SCREAMING LORD SUTCHwith

THE HELLRAISERSROCK OF ALL AGES

IMPALASCAVERNOUS BOOT

Tongue Tied DANNY D.J.Gates open 6.30pm - Admission 25p

Mammoth Fun Fair - Licensed Bar CafeteriaTickets can be obtained fromCONCORDE PRODUCTIONS

89 MITCHAM LANE, STREATHAM, SW16(01-769-3653)

OR AT THE GATE

24

PAUL ItaARLAlbum PCTC 251Cassette TC PCTC 251Cartridge 8X PCTC 251

and,WMGS

on tour:May 11 Hippodrome,BRISTOLMay 12 New Theatre, OX-FORDMay 13 Capitol, CARDIFFMay 15 Winter Gardens,BOURNEMOUTHMay 16 Hardrock,MANCHESTERMay 18 Empire,LIVERPOOLMay 19 LEEDS UniversityMay 21 Guild Hall, PRE-STONMay 23 Odeon,EDINBURGHMay 24 Greens Playhouse,GLASGOWMay 25/26 HammersmithOdeon, LONDON

slate)tis mee, - worldradiohistory.com · 1973. 5. 12. · rick wakeman aetm amlh 64361 cosmic...

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