A Billboard Publicattnn

2 RECORD MIRROR, September 25, 1971

MirrormalThey helpedEl get backon top

SWEEP! N G generalisationsare always misleading, and I

was surprised to see BillMillar class the work ofAmerican songwriters Jerome'Doc' Pomus andMort Shuman as

"Teen -Pan -Alleypap" (EchoesAugust 14th).

Their songs, it is true,were both teen -orientatedand h igh 1 y -commercial,and by the mid -sixties thepartnership hadaccumulated over tenmillion single discs oftheir works.

They were the authorsof Dion's 1949million -selling 'A TeenagerIn Love', Presley's 'It's ALong Lovely Highway','Viva Las Vegas' andAndy Williams'Can't GetUsed To Losing You'. Oneof their songs, Presley's'Surrender' (adapted fromthe Italian) topped thefive million sales mark andprovided Presley with anemphatic 32nd goldenaward.

Commercial andlucrative as the foregoinghave proved to be, it wastheir association with thelegendary Leiber-Stollerteam, the Drifters, andPresley which revealedtheir true roots and talent.They penned amongstothers, 'True Love, TrueLove' and 'Sweets For MySweet' -beautifully revivedby the Searchers in 1963- and in 1960 composedone of the finest rockrecords of all time - theDrifters' timeless classicSave The Last Dance For

Me'.For me the true worth

and importance of thePomus-Shuman associationwas revealed in three of

Veit songs - 'Mess Of

ELVIS: A READER EXHORTS BILL MILLAR NOT TO 'KNOCK THE DOC', SEE LEAD.Blues', 'Little Sister' and'His Latest Flame' - allrecorded by Presley andall exceeding the magicalmillion sales figure. Theywere pure driving rock 'n'roll, excellently producedand through them Presleyrecaptured the fire andpower of the best of hispre -Army recordings.

Pap indeed!! - L. J.SCOTT, 81 Eden Street,Silloth, Carlisle,Cumberland.

AFTER six weeks ofbreakfast time nauseationwith Noel Edmonds it's apositive pleasure to haveTony Blackburn backagain! Here at least is a

DJ whose regularlyenforced stints on theJimmy Young Show(where he invitedunpopularity by singing!)have instilled in him a

sense of humility, and theknowledge that he can bereplaced!

Not so with Edmonds.He treated the six weekperiod as a relentlessego -boosting exercise, andhis arrogance and sheercontempt for the listenerwere rarely disguised. Itwas either him or a loadof double -Dutch, and heknew it!

Why couldn't they havegiven the job to ace

breakfast DJ Roger hear the only real talentin Britain.

We were appalled bythe majority of theaudience's lack of mannersand respect for Scott'svoice. They were asapathetic as a brick wall!

`Twiggy' Day? -STEPHEN ROBINSON,45 Charminster Road,Worcester Park, Surrey.

WE ARE writing onbehalf of all the ScottEngel appreciators wholiterally travelled hundredsof miles up to BatleyVariety Club to see am'

MARIANNE HAVING A SMOKE AND A CHAT WITHALAIN DELON IN A SCENE FROM 'GIRL ON AMOTORCYCLE'.

WHATEVER happened toVanity Fare's latest record'Better By Far'? It has

Write to VALRecord Mirror7 Carnaby St.,

.ondon WIV IPG

Sixties starsstill on topALMOST every week in the columnsof Mirrormail another performer is

being hailed as a Superstar.Neil Diamond, Gordon Lightfoot, James

Taylor, Rod Stewart, Carly Simon andSandy Denny have all been hailed as

leaders of the Seventies.

received hardly any plays,yet it is the best recordthey have made - andcertainly one of the finestrecords of 1971. And itwas a record of the week!

Come on all you DJs,don't you know a goodgroup and good musicwhen you hear it? - ROYNEWMAN, 51 GrasmereRd., London SE25.

Faithful to FaithfullNOEL Edmonds may havebeen joking ( RM W/eSeptember 4th), but I

seriously believe thereturn of MarianneFaithfull to the recordscene would be a joyousevent.

As a first step, Deccacould release a maxi -singleof some of Marianne's oldhits - why not 'Is thisWhat I Get for LovingYou' backed by 'As TearsGo By' and 'Yesterday'?I'm sure many youngerrecord buyers would

welcome a chance ofbecoming familiar withMarianne's work.'SomethingBetter'/'Sister Morphine'(released in 1969 and stillavailable) shows Mariannestill has a validcontribution to make anda renewal of interestmight perhaps lead to herrecording some newmaterial. - ANTONYGOODERHAM, WhiteLodge, Broomhill ParkRoad, Southborough,Tunbridge Wells, Kent.

Stars such as PaulMcCartney, Mick Jaggerand Jim Morrison areslowly fading away, andsome like Ringo Starrseem to have dropped outof the race altogether.

Taking anotherexample, Leon Russell'sname appeared in nearlyevery music paper'scolumns for about fourweeks. It seemed as if wehad found our Superstar,but if that was so whyisn't the brilliant album'Leon Russell And TheShelter People' toppingthe album charts? Could itbe that all those so calledRussell fans just wantedto see their names inprint? Will the samehappen to Carly Simonand the others, as it hasalready to Neil Diamondand Gordon Lightfoot?

It would seem that thewell-worn stars still holdthe revered titles of`superstar' although with asomewhat weakenedfollowing. Simon andGarfunkel, even after thesupposed split are still wayup in the chart with'Bridge' and PaulMcCartney with `Ram' is

with them.

George Harrison and ofcourse the inevitable nameof Dylan appear quiteregularly and JohnLennon, more because ofhis political views I

suspect, than for hismusic, is always beingportrayed as thefigurehead of youth.

So, even with such newfaces as Rod Stewart andJames Taylor on thescene, both very goodmusicians, it would seemthat the Stars of theSixties are still on thethrone. Let them reignover the Seventies toountil someone goodenough to take theircrown emerges. I suspectthat there's a long, longtime to go yet before ithappens.- PAUL R.COLE, 51 Windemere Rd.,High Lane, Nr. Stockport,Cheshire, SK6 8AJ.

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RECORD MIRROR, September 25, 19713

Deep Purple think they may be the best hard rock bandin the world and they told RM's Bill McAllister...

IAN GI LLAN RUSHING OFF STAGE AT PORTSMOUTH GUILD HALL.

PORTSMOUTH is a

bustling, crowded town.The approach roads fromLondon in the earlyevening reveal its sprawland untidy silhouette.

The shore and land outcrops,which take mild buffettingsfrom the Channel year in andout, support huge warehouses,commerce buildings anddockside cranes. From thehigher hills behind the town,the cranes jut out of the wispysea mist like beckoning fingers.

The Guildhall is situatedamongst the hurried business ofthe town's centre. It stands asthe mark of the town's industryover the years, an impressivelysolid if not overly beautifulbuilding, that now serves as aconcert hall. It is commerce'soffering to The Arts.

BlusterThe men who conceived the

Guildhall would, in all probability,bluster and storm, were they alivetoday, to view Deep Purple andtheir teenage fans filling the hall'shistorical vastness with their noisyelectically-amplified music andscreaming.

The hysteria of DP's music,which is only a reflection of today'shysterical life -pace, may not havereceived official acceptance as a partof The Arts, and may never receivethat acceptance, but what they giveto thousands of youngsters up anddown the country makes The Artsso much nonsense.

By the same token, those whoconsider themselves "intellectuals"in rock music have managed, overthe past couple of years, toconsistently barrage Deep Purpleand their fans with a tirade ofabuse, most of it meaninglesshypothetical drivel and all of itill-conceived unthought.

ResourceIf you had been at Portsmouth's

Guildhall the other night when DeepPurple opened their British tourwith a brand new act, you wouldknow that here is a band that,having seen the difficulties involvedin being part of the "heavy" field,have brought their every musicalresource (considerable) to bear upona field that is ultimately sparse forthose with little imagination (many).

Black Sabbath arc gross musicallyand Deep Purple are not. Sabbath's

E HATEBEINGIGNORE

JON LORD: COMPOSING PROWESSdistorted view of "heavy" music,one principally dictated by thedollar and scream, is not the be-alland end-all of DP's approach.

They are all, it is true, wealthyyoung men. Not fabulously wealthy,but with bank balances considerableenough to provide them withrelaxed, stable lives. Their wealth, itis also true, has come from themusic they play. But the money wasnot the catalyst for the music totake shape. The shape came fromthe necessity to be heard.

Deep Purple were, in the wordsof bassist Roger Glover, "very angryat being ignored. A musician hatesto be ignored."

They reckoned, in their usualintelligent fashion, that the reasonfor their being ignored was that

they were not giving their best, andtheir best would ultimately getthrough to audiences. "We talkedabout it and decided that what wewould be best at musically was tobe a very, very good hard rockband. And we are a good hard rockband," said Roger Glover before thePortsmouth show. "Maybe we're thebest in the world."

It is not an idle boast. Purple'smusical ability in terms of technicalproficiency and "feel" for whatthey play is way above the rest ofthe competition. As a band they gel!more firmly than, say, LedZeppelin, who are also magnificenttechnically, but have more problemspersonality -wise.

AbilityIt is, perhaps, also Purple's ability

to reduce this musicality to thelowest common denominator thatdetermines their wide appeal. It'snot often in rock music that youget to tap your feet to what yourhead is appreciating. This two -levelset of values makes themextraordinarily effective.

Tne Deep Purple now on tourisn't so much different from thegroup you have seen before, butaccording to Glover, "the nextalbum is coming along really nicely.We haven't recorded anything yet,but we've written five songs in thelast week.

"We just finished one on thecoach trip down tonight. We'recalling it 'Highway Star'. I think it'sgoing to be the opening number."

It was nice, I observed, as westood backstage, waiting for thesupport group, Bullett, to openthe show, that Purple's lyrics werecoming on a storm. Lots of vividimagery these days and none of thatessential power missing, so neededto match the music.

"Well, that's because I'm helping

with the words now," Roger joked."No, it's all much more relaxed thistime. I never felt really comfortablewith either 'In Rock' or 'Fireball'.There was too much pressure withboth of them. The new one will begiven as much time as it needs, it'snot coming out until we arecompletely and totally satisfied withit."

This perfectionist moralityinvades their stage act, too. AtPortsmouth they took the stagecalmly amid cheers, whistles andshouts that whipped around thetight -packed hall like a crazy wind.But once the opening bars hadexploded they ripped into the actwith unabashed enthusiasm, for it isessential that they become every bitas much as involved as theiraudience.

There is. too a distinctimpression of them having madetheir point - "We want to be avery, very good hard rock band." -and now are moving into anotherarea where their musical abilitieswill be put further to the test.

ProwessOn two past occasions either the

whole band, or part of it, has beencalled upon to undertake whatmight at first sight have seemed justtoo much of a task. "Concerto ForGroup And Orchestra", however,came off with a slight plus. JonLord's composing prowess wasacknowledged, but with thetempered response that he waslacking in maturity and neededmore experience. He had, however,enough experience and talent forthe BBC to commission him towrite "The Gemini Suite", whichwas broadcast last year and isreleased next month on PurpleRecords. lei own -up time when itcomes down to that kind ofrecognition. I'm still waiting for,Black Sabbath and Grand Funk tocompose their first Concertos.

But, to each his own, and I'venever been one to deny anyone theright to do what makes themhappiest. Hard rock music is, in themain, for younger teenage fans, it'stoday's equivalent, in a strange way,of the Stones and Pretty Things intheir early stages, the music to reactagainst if you feel in any wayslightly unsophisticated.

Folk music, the contemporaryNeil Young -James Taylor -JoniMitchell brand I love so much, hasthat ethnic quality that hard rocklacks. But, in turn, when bands likeDeep Purple are around, there is theopportunity to throw away all thosesilly inhibitions, let your hair down(if that's possible) and have, in thewords of the world's happiest andfunkiest band, The Faces, "...real good time."

SHOUTUT THE

MESSAGETHE Third World War could beover before it's even started. Ifrecord critics and the BBC gettheir own way, that is.

"All the underground press have ravedabout the band," said Terry Stamp, who isfat and writes the group's fiery, reactionarylyrics. "But tho.BBC just refuse to play ourrecords, or let us have one 'What's New'play and then absentmindedly forget oursingles and album have been released. AndTV just doesn't want to know."

All rather strange in view of the fact thatThird World War are in hot demand onzheContinent. "German TV sent over anine -man team to film a TV special on us,'"Terry said, cocking an inward snoot at BBCand the commercial channels.

It's not hard to see why Third World Warare so consistently snubbed, however, if youlisten closely to the music. It's violent,harsh, blues -based rock, shouted out atgut -level. The lyrics condemn and laugh atevery existing wrongful convention. ThirdWorld War: in the words of Cat Stevens, areno "fancy dancers" ... they just bargestraight ahead.

Which is not to say the five -man band aremusically unskilled. They have, for instance,as fine a pianist as any in John Hawkens,formerly with Renaissance, a classically -trained musician now equally at.home withsweaty rock'n'roll.

CatalystsThird World War claim they have no

political aspirations for themselves, theymerely want to be catalysts for an awarenessmovement among Britons as to the stupidityof our economic, social and politicalpositions.

"Unfortunately, the music is not gettingthrough because the establishment ispreventing the people from hearing it,"Terry claims. "In Paris they play our firstsingle 'Ascension Day' immediately after'Power To The People' and our other single,'Working Class Man', along with anotherLennon song, "Working Class Hero'."

Even in America, where the new singlereceived a Hot Tip rating on the influentialGavin Report (prepared to help radioprogrammers), they feel they'll run intotrouble with a newer song - probably fortheir second album - entitled, "I'd RatherCut Cane For Castro".

Third World War's inability and unwilling-ness to compromise is leading them upagainst a blank wall as long and high as canbe made.

Their gigs here have been, to say theleast, infrequent, though, and this lack ofdirect contact with the public has nothelped. "We'll be playing a lot more dates infuture," was Terry's hopeful news. "The OzBenefit we played some time ago was onlyour second -ever gig and a little later weplayed a concert that was slammedmercilessly by someone from another musicpaper as being the worst music he had heardin years."

To prove that nothing of the sort is trueTerry then played a tape of the band's gigfollowing the slamming. "Yobbo" wasfull-blooded and powerful, sparing no effortin its searing vitality, but the music in therewas indeniably good. Well -played, well -conceived stuff. Another number from thatsame gig, "Cosh An Old Lady Blues",proved equally effective.

Bill Matthews

TERRY STAMP

4 RECORD MIRROR, September 25, 1971

WHATEVERhappened to BrentonWood?

Soul fans, like anyother sort of music lovershave their blind spots andprejudices, in fact a

collector of R&B recordsis usually as open-mindedas a Klu Klux Klanpresident - though inrather a different way.

One of the mostevident peculiarities ofBritish soul enthusiasts is

their total acceptance ofsome artists, styles andrecord labels while othersare investigated in onlyoccasional moments ofrashness.

Say Double -Shot to theaverage soul fan and he'llprobably either ask whatyou're muttering about orexclaim "oh, that pop outfit- they had some BrentonWood records didn't they?"

Any- label who hit withCount Five's "PsychoticReaction" can hardly beconsidered an organisationsworn to the sole furthermentof American Negro musicthough a study of the labelwill reveal that of the 70 to80 releases on Double Shotand Whiz Records at leasthalf are by black singers andmuch, much, more relevant -a high proportion are good -which is more than someblack -only labels can say.

Double Shot/Whiz is runfrom Los Angeles by HalWinn and Joe Hooven whoappeared on the scene in theearly sixties as writers andproducers of some prettyrotten pop stuff (rememberSonny Parker? ... "Us kidshave gotta make up ourminds what dance we'regonna do") and some prettyobscure R&B, the Doctonesand later the Quotations (notthe Italian "Imagination"ones).

The leader of both groupswas Alfred Smith who camefrom blues -country,Shreveport, Louisiana, butwho sang in a style evolveddirectly from the 'birdsgroups' of New York and theother cities - a tender, puretenor which jerked into littleflurries of falsetto.

ouble Shot'ssecretsoul

BRENTON WOOD: SOUL FANS THOUGHT

In 1963 Smith quit theQuotations and started outsolo as Brenton Wood. He cuta stream of obscure recordson obscure New York labelswhich will keep discographershappy but didn't do a thingsales -wise, and didn't deserveto - the dreadful mushbacking of Brent records andsuch songs as "MollyMalone" are best forgotten.

During a period whenblack styles were beingsmothered by over-production, Brenton waspositively asphyxiated.

In 1967 Hooven and Winnwere getting it together inL.A. and with staff producerMaurice Rodgers andpromotion man IrwenZucker, Double Shot wasborn. Brenton Wood wassigned, recorded a .piece ofsheer nonsense "The OogumBoogum Song" and barn!Double Shot's first R&B hit.It also made the Pop Charts

INSIDE STRAIGHTSWEET SOUL MUSIC: If any'Inside Straight' freak actuallyfollowed our advice ' andimported the Victones' "INeed You So" they'll be

round at Record Corner orContempo now ordering theirnew one, "Two Sides ToLove" (Front Page 2302).Beautiful, falsetto stuff evenif the flip is a complete pinchof the Delfonics - style andsong. Interesting that bothsides are written by MiltonHoward (a member of thegroup?) who a couple ofyears ago had a record onSound Stage 7 as far awayfrom sweet soul as you couldget - called "FunkyShingaling".

THEM CHANGES: Can theSheppards on Mirwood whohad the extremely awful"How Do You Like It" oldieissued here recently on JayBoy 30 really be related tothe beautiful doo-woppers,led once by Bunky Sheppard(producer/writer/managernow of the Esquires) on VeeJay and Constellation.NEW ORLEANS: Despiterumours of his death, WillieTee is alive, and well andworking the New Orleansclubs. His last record onCapitol some time ago sunkwithout trace. He forsook theclipped N.O. funkiness of hissuccesses "Teasin' You" and"Walking Up A One Way

HIM WISHY WASHY.because the infectiousnesswas apparent to all.

The follow up was a songBrenton wrote in 1963 called"Gimme A Little Sign" andthen things really started tohappen - tours, TV spots,the whole pop -star thing -which was right because"Oogum" and "Sign" werepop records. But here's thecrunch, they were good.Contrived and banal but alsolilting and kind of mellowand his "Oogum Boogum" LP("Gimme A Little Sign" here)is more of the same - allvery cute, some would saysickly, but the gentlepoignancy of his voicebeautifully captured ahaunting, sadness on ThinkYou've Got Your FoolsMixed Up", "Best Thing I

Ever Had", or "I Like TheWay You Love Me".

For a time Brenton Woodcontinued to play pop -star,"Baby You Got It" was

Street" for a complex DavidAxelrod (Lou Rawls' righthand man) production andalthough his version of"Reach Out For Me" (Capitol2892) manages to soundoriginal he didn't seem athome away from thedown-home beat. Let's hopehe records again soon, thistime with an accompanimentby the likes of AllenToussaint or the Meters -then he'll get the big hit heneeds.

STAR -DUST: During the latefifties early sixties records byblack singers were released

here in very limitedquantities. These pioneeringissues have obviously now

another deserved smash andthen the white audience tiredof his catchiness.

There was nothing fromDouble Shot released hereother than Count Five, aShirley & Alfred (ShirleyGoodman & Alfred Smith)and Brenton Wood and wheneven Wood wasn't big pophere, nobody tried to makehim big R&B. As in theStates, fans considered hisstyle too wishy-washy, tooneatly contrived, to beconsidered real soul. Theywere wrong, his style was andis one of involvement - notthe intense screaming of aJames Carr, but the matureinflectiveness of a JohnnyNash.

His unreleased singles bearinvestigation, particularly "AChange Is Gonna Come" (DS137) a song sounding like itwas wrenched from the era ofd o o -w o ps with authenticfalsetto wee-ooh's, and hislatest "Boogaloosa Louisian"'(DS 150) a funkier Wood,trying to get a down-homefeel to capture a needed hitand coming up with a

"swamps come to the city"sound of predictablecatchiness.

If the hits can't be foundagain and he drifts intoobscurity, they ought to pushout a last Lp "TheMisunderstood BrentonWood". -He is.

With no releases hereDouble Shot's other blackartists can only be bought asimports in collector's auctionsand import shops. As mostdidn't sell in the States thelatter won't be easy but someof the following may turn upin 'job -lot' R&B parcelscurrently the rage with thespecialist soul shops here.

Brenton Wood has usedboth Kent & The Candidates

and the Senor Soul groups toback him on U.S. tours butneither's solo records aremuch good save for SenorSoul's "Don't Lay YourFunky Trip On Me" (Whiz620) which sounds like a AlToussaint N.O. funker -tight, hard, exciting drive.

The group's other records(including 2 LPs) areinstrumental and boringindeed, though no worse thanKent & The Candidates'ordinary vocals.

Bobby Freeman isremembered by rock'n rollersas the "Do You WannaDance"- man and Lancashiresoulies as the "C'mon andSwim" man, but his DoubleShot sides are better- thanboth. His high tenor soarsnicely on "Put Another DimeIn The Parking Meter" (DS148) - romantic soul -grouptype stuff, while "Four PieceFunky Nitty Gritty JunkyBand" (DS 144) althoughnonsense, is beautifullyarranged. But his best if"Society For The PreventionOf Cruelty To People InLove"/"Do You WannaDance 1970" (152) - thetitles say all.

The Bagdads have hadseveral records released butonly proved really interestingon "Bring Back ThoseDoo-Wopps" (DS 133),hilarious lyric and great funspotting how many goldenoldie group tracks they canmention in one record.

A better lead voice isheard on the Invincibles'"Keen On Trying" (DS 131)a stratospheric falsettorecalling Rondalis Tandy ofthe Van Dykes. The grouphad a bit of R&B action onWarner Bros. and thisbeautiful ballad should havesold too.

Foxy are in fact" a girlgroup whose "Call Me Later/ILike The Way You Love Me"

(DS 145) was good and"Trouble" (DS 153) bettercrashing modern dance -soul.Two other artists who didn'tmake such good sounds butworth mentioning are MauriceRodgers - interesting becausehe produced just about everyDouble Shot record, and theGeorgia Prophets -interesting because, despitetheir name and soul sound,they're white.

Now we come to thelabel's real "GreatUnknown". If "It Took ALittle Church Girl" by theReal Thing (Whiz 613)suggests a good sound itsevocation is ;an accurate one.Although mid -tempo dancebeat stuff it possesses a realscorching, screaming vocal.

But for sheerinventiveness, a true R&Bclassic emerges on the group'sother record "What Is Soul"(Whiz 618), (yes, it is theBen E. King oldie, despiteStu Gardner getting on thecomposer credit). For theartist credit the label shows"The Real Thing with 18everyday people"' and that',exactly what you get.Members of the public askedwhat soul is and their tapedanswers spliced with uncannyskill into the framework ofthe song which is given a

so -tricky drum -basearrangement andall -hell -let -loose vocal. Therecord has reduced CharlieGillett and everyone elsehearing it to hysterics makingits rarity (sales failure)incomprehensible.

Perhaps Double Shotdoesn't play the R&B radiopayola game, perhaps theghetto audience couldn't takethe soul lesson from a twowhite - two black group.perhaps ...Write to all themajor UK record labels(anyone could conceivablypick up a Double Shot masterhere) or search and searchagain for a REALLY originalsoul record.

You might be told overand over again that theDetroit sound is the best,that Muscle Shoals is boss butremember, Paul Humphrie'might have been thinking oflittle ol' Double Shot recordswhen he cut "Funky L.A.".

TonyCummings

NEWS, ENQUIRIES, OPINIObecome collectors' items -London American is the mostfamed label for its vintageR&B/Rock - but one labelnever mentioned by collectorsis STARLITE, the Esquiresubsidiary.

The reason may be eitherthe issues' great rarity - nopop success of any Starliteissues, or an assumption thatthe material released was allof Jamaican origin. True,most of the releases wereeither Jamaican pre-bluebeatmusic (though a blind datewould fool collectors intoguessing American R&Borigin for Higgs & Wilson orthe Blues Blasters) or countryand western, but the Blues

got out on Starlite too.Perhaps junkshops can still

reveal an occasional copy ofJimmy Lee's "All My Life" -intense Chicago style, ClentGant's "I Need You So" -relaxed club blues, BobbyDavis' "Hype You Into Sellin'Your Head" - raunchy cityshouting and Dusty Brown's"Well You Know" -Reed -style down home stuff.But rock as well as

bl u es/ R &B lovers shouldsearch for Sonny Thompson's"Screamin' Boogie" - one ofthe wildest instrumentals ofall time.YOU BEAT ME TO THEPUNCH: Blues & Soul calledthe Joe Frazier/Vivian Reed

tour "disastrous". True,though it's a shame that theymade no attempt to write upthe artists prior to or duringthe tour and only SHOUTinterviewed the band.IT WILL STAND: Fromreader, William W. Williems,Penarth:

1. Hey Little Girl (DelShannon).

2. Remember Diane (PaulAnka).

3. Start Movin' (TerryDene).

4. Honey Don't (CarlPerkins).

5. Be Bop A Lula (GeneVincent).

Tony Cummings

RECORD MIRROR, September 25, 1971

KeithAlthamtakesa tripto`MoonTowers'and seesthe popscene'slovableloonerTHERE WAS a

Moon landing inLyne, Surrey lastweek when theWho's very own'lunar -tick' did hisbit for his newcommunity byputting in a personalappearance at thelocal agricultural,'Chertsey Show'where he bowled fora pig and a bail ofhay pitched him allof three feet into theair!

A select party ofimmediate friends gatheredinside Mr. Moon's palatialasylum in the earlyafternoon where they wererewarded some fifteenminutes later by the arrivalof their host, dressedinchauffeur's uniform andsitting in the back of hisnew Mercedes.

Going into his amazingimpression of "Super -kid"Keith then prepared to trotout his toys and play us afew tunes - hot and coldrunning stereo in everyroom - but first donned hislatest at home ensemble inthe shape of a horrendousgold lame smoking jacket.

CON"I bought it in Smart

Weston's," he exclaimedproudly, camping about theroom. "It was necessary as Ihad nothing to wear andwanted to con a 'grand' outof our managers - youcan't go in and ask for agrand in yer jeans and teeshirt can you? So I donnedthis lot with me shades, athree foot cigarette holderand a pair of Oxford bags -then I went into me NoelCoward routine with Stampat Track Records.

`Dear boy, we seem tofind ourselves a bitfinancially embarassed and Iwas wondering whether youcould see your way clear -I would of course let youhave the Rolls for collateral- anyway dear boy...'

Mr. Stamp's reactions isnot on record but as I

understand he has a finecommand of Anglo Saxoninvective, I have no doubt itwas to the point.

We were next treated toa quick run down on thenew security system at`Moon Towers' and all I can

itch anbowl for

isay is that I feel sorry foranyone trying to break intothat house. Amongst thesurprise items include anincredible set of alarmsinvolving acousticsmicrophones which set offsirens at the breaking ofglass and invisible rayswhich when broken start upan alarm system in thehouse and at the- localpolice station.

AMAZEDI am assured that this is

on a reciprocal arrangementbasis and should the policestation be broken into Mr.Moon will be straight roundthere - 'Loaded' of courseand pointing in the generaldirection of the intruders. Asight to curdle the bloodand often does!

After a few more liberaldoses of scotch and coke, aride around the grounds onKeith's mini-hondaequipped with beautifulleather saddle bags courtesyof his friend Americansatirist Murry Roman weleft for the show.

On the gate of the showwe found the usualformidable and seeminglyimpassable 'wheresyerpass-andwhoareyou' but Mr.

PICK OF THE HOTU.S. RELEASES

THE NITE-LITERS:K-Jee; Tang A BooGonk (RCA). Winningno prizes for literacyand self-expression intheir choice of titles,the Nite-Liters win allthe prizes in the bookfor playing the mostincredibly good leapingjumping happychattering greatinstrumental R&Bimagineable - think ofHugh Masekela's"Grazin' In The Grass,"speed it up, tighten itup ("Hi everybody! I'mArchie Bell..." Shutup, you fool!), string itout, fill it withstuttering rhythmguitar, throaty brass,incessant rhythm,wailing lead guitar,tripping drums, blastingsax, and you'll stillhave to hear the recordto know what it's allabout.

The legendary HarveyFuqua (Moonglows,Harvey label, Motownproductions) not onlywrites and produces forthe band, but heformed them as part ofa vast great groupcalled the New Birth,comprised of groups,solo singers, and theNite-Liters as thebacking .musicians. It'sgood to see that"K-Jee," from the"Morning, Noon AndNite-Liters" album, is

huge Pop/R&B and is

even going Middle OfThe Road in America.

JAMES BROWN: Make ItFunky, Parts 1 and 2(Polydor). Sceptics canbe sceptical if theymust, but, truth to tell,

surprising thought itmay appear, and allthat, every new JamesBrown record doesseem to be better thanthe last, usually ...and this sure ain't noexception!

His first recording forPolydor (the recordlabel bears his portrait),it's a simple repetitivedance riff with a veryeffective brass phrase,solid bass, doodlingorgan, scat chatbetween JB and BobbyByrd, girlie groupchanting, and the usual"Take it to the bridge"bit. The ingredientsmay not be toounusual, but it's howhe mixes 'em thatmatters.

THE ORIGINALS: KeepMe (Soul). "Keep Me"by Berry Gordy, Jr?That seems familiar ...click click, whirr whirr... yeah - Liz Lands!So, down into thevaults, creak open theheavy dust -covereddoor marked "L,"rummage about, andthere it is - "KeepMe," Liz Lands, vocalaccompaniment by theTemptations,produced/penned byBerry Gordy, Jr. either1963 or early '64, onthe Gordy label. It wasdone very much in thestyle of "Anyone WhoHad A Heart" then,but now, produced byJoe Hinton andarranged by Paul Riser,it throbs wails andsoars in the mellifluousthroats of that "BabyI'm For Real" gang offame, the Originals.

5

Moon speaking atapproximately 250 words aminute managed to get us

through the entrance leavingman with mouth agape.

"Er yes... quite rightthe Who thank you. .guestsof organiser Mr. Boyd knowhim absolutely no troubleall the passes are with himso we will just reverse bygoing forward and notcoming back if thats allright with you thank youvery much goodbye."

I congratulated him onhis 'gobbledegook' as wesped to our ring side seats.

"Oh yes," said Keith."Well when you've doneMadison Gardens and a fewplaces you learn to speakthe 'normal' fluently."

There is a storyconcerning the Who andcrash -arrivals at the CowPalace in San Franciscowhich bears repetition.

`LOADED'Apparently as their

motor-cade drew near theauditorium Townshendspotted some hippies givingout pamphlets. Windingdown a window of thelincoln Caddillac he tookone and was amazed todiscover a slam about those

capitalistic pigswell known- the Who.

"What's all this about?"quoth Pete.

"It's about you," saidthe hippie. "Driving to gigsin luxury limousines andripping us off."

"Oh it's the car thatbothers you, is it?" quothPete and directed the driverto crash it into the nearestwall - which he did. TheWho walked from that spotleaving much amazed hippiein their wake. The World'smost un-super group!

On arrival at the mainreception area Mr. Moonwas beset by `Nobbies'andTreddies' and 'Harries' allstewarding their way aboutand found himself involvedwith cart horses, pigs andpitching bails of hay to thegreat delight of the localpress and photographers.

Returning to the beertent - the natural base ofoperations he struck up animmediate rapport with thelocal Hells Angels and wentinto a lengthy chat. Comingout of the assembly somefew minutes later heapparently felt somewhatconfused.

"I can't help feeling I

may have made a mistake,"he said. "I told them thefirst thing we had to do wasimprove their image so wedon't get this dreadful`motor -bike and blackleathers' equals 'thug'image."

So?"So the Walton on

Thames Chapter is meetinground my house onSundays," said Keithshaking his head and waslast seen careering off intothe sunset on a mini -modeproclaiming the delights ofthe local sky -diving club!

THIRDWORLDWAR

6 RECORD MIRROR, September 25, 1971

LIVE! International

Who, FacesTHE OVAL, LONDON:Bangla Desh, Bangla Desh.- George and Bob, I'msure, would have been morethan happy to have beenthere. "Rock At The Oval,1971" was a success. Agood day to give a lot ofpeople a lot of good rockmusic.

The fact that this was allin aid of the people ofBangla Desh was, of course,completely by the way. Wewere there to see The Who,The Faces, Cochise andMott the Hoople.

Cochise's late morningstart kicked off thingsnicely and with a few moremajor appearances like thisthey'll have quite a fewmouths eating from theirexceptionally musical palms.The Grease Band wereentirely capable and alsoentirely unexceptional.Lindisfarne followed with arousing, jumping set, full ofharmonies and sharp,definite music. Quintessencecontrived to be hypnoticand interesting and wereneither, if only by virtue ofthe fact that their ideals aretoo far above practability.

Nothin' But The RealThing - Those wild, hairypurveyors of modern rock'n' roll, Mott the Hoople,had a few feet tapping andthe odd head shaking andwould have been excellentshow -closers were The Whoand Faces not still tofollow. America, quieterand more studied in theirapproach were fine, butsomehow limited andEugene Wallis (who will nodoubt be launchedalbum -wise quite shortly)was good without beingover -exciting.

Atomic Rooster hadflown specially back fromthe States to make the gig

. it was worth it. Theyplayed their hits, as theyhave every right to do, andsome other things whichwere quite beaty, too, andmuch more interestingmusically. Well received,well liked.

Next To The Big Thing- Usually, around this timefolks, I start to rave aboutthe Faces. But this time I'mgoing to qualify myfanatical love of them withsome ifs, buts and doubts.Point No. 1. Why is RodStewart singing out of tunethese days? Point No. 2.Why are the Faces notplaying very well? Point No.3. Have the Faces beenblinded by the sudden floodof glowing praise that haslately come their way?

The third point actuallyanswers the first twobecause yes, the Faces are alittle blind these days."Well", said Rod when theytrotted back on stage fortheir set of encores, "wegot off to a shaky start, butI think we're alright now."They weren't. It was messy,utterly selfish and oftenvery enjoyable. Knowingwhat the Faces are capableof I will settle for nothingless than their best and thelast two under -parperformances convinces methat we all ought to letthem know how far theyhave slipped.

The Big Thing - Bycontrast, The Who wereamazing. I didn't enjoythem as much as the Faces,but they had all the punchand fire and sheerprofessionalism that Faces

lack. Pete smashed hisguitar right at the end -just like the good old days

JOHNNY CASH WITH HIS WIFESTIVAL HALL- and everyone wentbeserk. Lots of hits, just theright proportion ofeverything.

A P.S. - I've supportedthe Faces since '65 andthey're still my favouritegroup, so if anyone is goingto do any knocking it's me.All I'm asking is for a littlecommonsense from the ladsand a little more attentionto the quality of the music.They you can loon as muchas you want. BILLMcALLISTER.

Johnny CashROYAL FESTIVAL HALL:The Johnny Cash package isone of the few that remainsintact from year to year.It's a great show every time,so you go knowing whatyou'll see and knowingyou'll like it right down theline; Saturday night at theRoyal Festival Hall was noexception.

Carl Perkins opened,looking not a day olderthan 'Blue Suede Shoes' andzipping out rock and roll asit was conceived in thebeginning. Backed by thegranite faced TennesseThree and their steadyrhythmic perfection, theking displayed relaxed easeas he pounded outmemorable riffs to thebeaters and great sublety inslowies like 'Turn Around'.After a short set, the CarterFamily (without June)entered with their soaringharmony vocals.

A kind of magnificencesurrounded Helen, Anitaand Mama Maybelle as theirsweet voices gave us famousoriginals that becamestandards over the years:'Sunny Side Of Life', 'LittleBrown Church In The Dale','Cottonfields' and more.Even if you never cared forthe material, they have theimage, the aura and thebackground that can't failto move you. They are theroots.

Following them, theStatler Brothers coolwestern harmonies gave us'Memphis, 'Bed Of Roses'and an old time toe -tapper,'The Old House' that hadthe hall rocking. Theamazing thing about thequartet is their range ,fromway DOWN there to wayUP there, they cover thescales with polish.

The entire second halffeatured the great (a littleheftier and a little healthier)Johnny Cash. Dressed in

black, he confidently did'Man In Black',Kristofferson's 'SundayMorning Coming Down',Ve and Bobby McGhee',

FE JUNE AT THE

'Old 97' and more beforereintroducing Carl, theCarters and the Statlers.There was also a brief bowfrom 'Cheyenne' ClintWalker in the audience. TheCash sound is good, butwhen he backed by sevenvoices, the Tennessee Threeand Carl Perkins, the soundis bigger than the biggestgospel choir imaginable.Add his wife June and it'ssimply unbelievable.

Songs like 'Jackson','Daddy Sang Bass' and 'WillThe Circle Be Unbroken'literally carried the listenersto an old Southernplantation in sweet voalchariots. The absolutehighlight came with therolling melody of 'Peach InThe Valley'. A beaufifullyprofessional, yet intimateprogramme that improveswith every performance.L.G.

Procol HaremQUEEN ELIZABETHHALL: Seeing ProcolHarum at the top of a

concert bill in London is sorare that audiences heremight be excused forwondering if the group is

still in circulation.Yet they still have

enough name power to packthe Queen Elizabeth Hall, asthey did on Friday, and inspite of continual line-upchanges, there is still a

majestic sweep to theirmusic which is original andpowerful.

Friday was anotherdebut for them. As thegroup's leader, 'GaryBrooker said, "Every timewe play here, it's a debut".Because of that it was notsurprising that it took timeto find the right blend -new guitarist David Ballbegan by drowning out evenBrooker.

But as the evening woreon, things fell more andmore into place withBrooker very much in

charge of things. Bothvocally and visually, he is

not unlike a smootherversion of Joe Cocker, and Ican't help feeling that if theband's career had taken afew different turns, BrookerPower could have been a

major influence in pop too.Instead they are forever

saddled with the success ofa record which must nowseem like something thatoccurred way back in thepast when the group wasjust a child prodigy. Themusic still throws up echoesof the old whiter shade, butit has gained authority.

JOE MITCHELL

with a concer or concertsvenue.

Full itinerary is:(October 2) ReadingUniversity; (9) SurreyUniversity: (10) KentUniversity; (18) Guildhall,Southampton; (20) Odeon,Birmingham; (21) Green'sPlayhouse, Glasgow; (22)Opera House, Blackpool;(23) Liverpool University;(24) Trentham Gardens,Stoke; (28) Odeon,Manchester; (29) ABC, Hull;(30) Odeon, Newcastle.

During the last year anda half The Who have madeoccasional appearances inthe UK, but this new touris their first major series ofdates excluding Americanvisits. The group arescheduled to return toAmerica in Novemberfollowing the tour.

Stoneground

to tourUK in

OctoberSTONEGROUND are totour here during Octoberand November. TheAmerican group arrive hereon September 29 andcommence dates on October2 at South Bank College.

Two other London datesare set - the Roundhouseon October 3 (with BrinsleySchwarz), and ChelseaCollege on October 23.Other dates are: (October8) Town Hall, Oxford; (9)Kent University; (13)Dorothy Ballroom,Cambridge; (22) BrunelUniversity; (28) KineticCircus, Birmingham; (29)University, Guildford; (I1)Swansea University; (12)Great Hall, Aberystwyth;(13) Reading University.

A November doublealbum is set for the States,but only a single from itwill be released here tocoincide with the tour.Release of the double is notexpected until the NewYear.

WHO'S NEXTAUTUMN TOUR

by BILL McALLISTERWHO Who are off on tour! After thesuccess of their Oval appearance lastweekend their first British tour for 18months is now set and includes venues atmost major provincial cities.

The London venue has yet to be confirmed, but RMunderstands that the group will finish off their itinerary

at a "new" North London

Span'snewmaxiSTEELEYE Span's single,their unaccompanied versionof the old Buddy Holly hit,"Rave On," is now a

maxi -single.In addition to the title

track they have added a setof reels and jigs entitled"Ten Pound Float," andanother called "FemaleDrummer."

Their next album, tofollow the success of"Please To See The King,"-is titled "Pen Man Mop OrMr. Resevoir Butler RidesAgain." Radio dates forSpan are the John PeelShow on Sunday comingand Sounds Of TheSeventies the followingweek.

Jackie andTonyJACKIE Trent and TonyHatch are to begin a Britishcabaret tour with a week atthe Double Diamond Club,Caerphilly commencing onSeptember 26. Other datesconfirmed are ManchesterTalk Of The North(October 4 week), BatleyVariety Club (October 24)and Webbington CountryClub (November 7 week).

SHORTLY due to sweep the country is Mal Gray'sHurricane, a brand new combo led by that fiery singer MalGray, ex of the Wild Angels. Accompanying the rock 'n'roller are, left to right, Carlo Little (drums), Mal, DaveWendels (guitar), Freddie 'Fingers' Lee (piano) and StuColman (bass).

Last chance tosee the MoveTHE Move, who abandoned'live' work over a year agoin order to develop theElectric Light Orchestra, aremaking a one -date onlycome -back in mid -October.

They headline at TheSwan, Yardley, Birmingham,on October 13, supportedby other Birmingham acts,Raymond Froggatt and IdleRace. The show is in aid ofthe testimonial forBirmingham City footballer,Ray Martin.

live"But," stressed a group

spokesman, "this isdefinitely not the start of aseries of dates by TheMove. The Electric LightOrchestra will be under wayby the end of the year."The Move will, he said, playtheir well-known hits andalso material from theirforthcoming album, due inOctober.

Two writ row overEquals labelPRESIDENT Records boss,Ed Kassner, has served a

writ on CBS Records andThe Equals. And accordingto Eddie Grant, leader ofthe Equals, his group hasissued a writ on President.

The Equals signed toCBS last week but EdKassner claims that they arecontracted to his company

for recording, publishingand management untilOctober 1973.

Says Eddie Grant:"President Records havebeen no good to usfinancially and otherwiseand we have served themwith a writ."

And CBS managingdirector, Richard Robinson

Twenty-five day tourTHE Tams arrive in Britainon October 5 for a visitlasting until October 30.Dates for the Americanquintet currently enjoyingsuccess with the re-released"Hey Girl Don't BotherMe" are: Doncaster TopRank Suite and HullMalcolm's (October 8),Northwich Memorial Halland Darwin Uncle Tom'sCabin (9), MiddlesbroughExcel Bowl (13), WiganCasino and Liverpool MardiGras (15), PortsmouthLocarno and SouthamptonAdam and Eve (21), HalifaxScene 3 and 4 (22),Dunstable CaliforniaBallroom (23), Purley

for the TamsOrchid Ballroom (28),Bournemouth ChelseaVillage (29), and

Scunthorpe Baths Hall (30).The Tams appear on Top

of the Pops on October 7.

Want To Know Who The

NEXT Great One Is?THEN LISTEN TO RADIO LUXEMBOURG

(208 METRES ON YOUR DIAL)

NEXT TUESDAY BETWEEN 8-9 pm.YOU'LL FIND OUT

commented: "We havereceived a writ from EdKassner but we are notaware of any writ havingbeen served on the Equals.That is between themselvesand President Records.

"As far as we were awareat the time of signing thecontracts with the Equals,they were free. This is oneof the stipulations of all ourcontracts."

President Records thisweek issued a new single bythe Equals called "Help MeSimone" on which thegroup does not intend to doany promotion work.

First disc with CBS,according to Eddie Grant,will be released next monthand is titled "Stand Up AndBe Counted."

BECAUSE of an error incopy transmission, theaddress of PaceInternational, manufac-turers of the Bob Dylanposters as advertised inRecord Mirror last week,was left out of the returncoupon. It should havebeen: Pace International,1-3, Bromley Place,Conway Street, London,ON1.

RECORD MIRROR, September 25, 1971 7

and Paul Hammond.(See story topright).

1FRAMPTON QUIFirst picture ofBullet: (I to r) JohnCann, JohnnyGustaffson, Al Shaw

BLENew BY BILL McALLISTERbossmanDannyRENAISSANCE, the grouporiginally formed byex-Yardbird Keith Relf,have been joined by formerAnimals bassist, DannyMcCulloch.

McCulloch, whose recentsolo album, "Wings Of AMan," reached No. 5 in theAmerican charts earninghim a Gold Disc, willappear with the band atQueen's Hall, Bradford, onSeptember 24, Renaissance'sfirst gig for some weeks.

McCulloch has recentlybeen working on sessionswith Family Dogs SteveRowlands. FurtherRenaissance dates are: (25)Builders Club, Huddersfield;(26) UCS Benefit, Bumpers,London; (28) Nightingale,Wood Green; (30) Marquee,London.

Shirley toBrazilSHIRLEY Bassey -currently high in RM'scharts with "For All Weknow" - leaves for Brazilthis week. She will act as ajudge in the two-week longRio Song Festival and willappear as an artist on thefinal night.

Miss Bassey's first Britishdates are not untilNovember 21 when sheappears at Batley VarietyClub until December 11.Prior to that she has a

season booked at NewYork's Waldorf fromOctober 11 to 31 beforeleaving for the Casino inSwaziland for someappearances.

PETER FRAMPTON has quit Humble Pie.Lead guitarist with the group since its formation in

early '69, Frampiou will pursue a solo career for thepresent, with an album featuring himself and "friends" asthe first consideration.

Remaining Pie -men, Steve Marriott, Greg Ridley andJerry Shirley, have already approached two leadingAmerican guitarists and, according to a group spokesman."their contractual obligations are being looked into."

Steve Marriott commented of Frampton's decision to goout on his own: "Everybody is well pleased all round.Each has got something to gain by going their own ways.

Bassist Greg Ridley said:"Peter wasn't getting intowhat we are doing with allhis heart, not lately at leak.He'll be happier, we'll justrock on."

"It's time I found out ifpeople are prepared tolisten to what I can do formyself," said Frampton."After I've recorded thealbum during October I'llthink about getting anotherband together."

Frampton plans to startwork on his solo album assoon as possible and willstay with Pie manager DeeAnthony and also withA&M Records. Name..already being rumoured assessionmen for the albumare Beatles George Harrisonand Ringo Starr. Framptonhas had a passingacquaintance with them forsome time.

A proposed Albert Hallheadlining date for the bandhas had to be dropped, buttheir scheduled Europeanitinerary, from November 1to 21, will go ahead.

A double album titled"Performance - Rockin' AtThe Fillmore" is released inthe States at the end of thismonth, but A&M here willnot issue the set untilNovember. Recorded at theFillmore East shortly beforeits close, the album wasengineered by Eddie Kramerof New York's ElectricLadyland studios.

ROYAL ALBERT HALLROBERT PATERSON presentsTuesday October 26th at 7.30

ONLY LONDON APPEARANCE OF

JUDY COLLINS£1.50 to 30p. now on sale (01-589 8212)

& agents.

a

TONY ORLAND WITH THE GIRLS.

The Dawn triohere nowDAWN, featuring Tony Orlando, arrived in Britain thisweek to start their short tour. The trio - which alsoincludes Joyce Vincent and Telma Hopkins - arrived fromMajorca.

A major London venue iscurrently being arranged Osibisa showand should be announcedshortly, but only venues sofar finalised are: (Sept 24)Scene 3, Halifax; (25) Scene2, Scarborough; (27)Locarno Ballroom,Stevenage; (Oct 8) Top HatClub, Spennymore; (9)Gliderdome, Boston, Lincs.;(11-17) Fiesta, Stockton.

Dawn also record forTop Of The Pops onOctober 6 and will beshooting a sequence for the Sarstedt LPbonanza Christmas edition.

THE last two LyceumSunday concerts onSeptember 26 and October3 feature If and WishboneAsh respectively. Appearingwith If on the 26th areArmada, Accrington Stanleyand Titanic, and on October3 with Wishbone areRenaissance, Armada andBurnt Oak.

OSIBISA have been bookedfor a two-hour long TVspecial. The show, directedby Stanley Dorfman, will berecorded prior to the band'svisit to the States and willbe shown in the New Year.Osibisa are to guest on thethree Marty Feldman Showsthe first of which goes outon October 4.

TITLE of Peter Sarstedt'sforthcoming album, forrelease in late October, hasbeen changed from"November Release" to"Every Word You Say IsWritten Down."" 'November Release'," saida UA Records spokesman,"is just a bit too confusinga title for an October -released album!"

KEEPING UP

WITH JONES?

PETER FRAMPTON.

Ex -RoosterCann on new`I quit' storm

EX -ATOMIC Rooster lead guitarist, John Cann, writer ofthe group's biggest hit, "Devil's Answer," blew up a stormover his controversial dismissal earlier this year when heclaimed this week that he and drummer Paul Hammondquit the group because they thought leader VincentCrane's ideas were rubbish.

"Paul and I are fed up," declared an angry Cann, "withhis suggestions that we were sacked for not conforming.The truth is we split because we thought his ideas wererubbish. I quit and Paul followed me."

Cann and Hammonahave subsequently formedthe four -piece Bullet,currently touring with DeepPurple here, and will recordan album of Cann's materialsoon.

Cann also claimed thatBullet (see picture, left),have more right to theAtomic Rooster name thanthe band that Crane leads."At least I'd say that's thescore morally and musically,if not legally," said Cann."After all I wrote AtomicRooster's biggest hit andcontributed a lot ofmaterial towards theiralbum. Bullet is going to gettogether a few of the thingsAtomic Rooster couldn't."

In addition to Cann andHammond, Bullet featuresex-Quatermass bassistJohnny Gustaffson andvocalist Al Shaw.

Hawk'slossBASSIST Dave Andersonhas left Hawkwind and isforming his own band,Amon Din, along withex-Hawkwind guitarist HughLloyd -Langton.

Anderson, withHawkwind for the last eightmonths and before thatwith the German bandAmon Duul II, had alreadybegun Amon Din somemonths ago as a part-timeactivity.

Hawkwind's secondalbum, "Xin Search OfSpace" has alreadyaccumulated large advanceorders and is released onOctober 8.

Win yourselfa Smokey LP

SMOKEY Robinsonis this week's GreatOne - and YOU canwin one of hisalbums.

It's easy enough towin, providing youknow something ofwhat makes Smokey,along with the Miracles,of such outstandingimportance to popmusic.

All you have to do isanswer the questionsalongside. Write themin the space provided,tack on your name andaddress, get your entryto us by Monday,October 4.

That's all. The firsttwelve correct entriesreceived will earn aSmokey and Miraclesalbum of YOURchoice.

Send your entry to:Record Mirror (SmokeyComp), 7 CarnabyStreet, London,W1V IPG.

2

3

4

5

6

Give the Correct first name of: (a) "Smokey"Robinson; (b) "Bobby" Rogers; (c) "Pete" Moore;Id) "Ronnie" White.

Complete (six words) the line: "Son, you're growingup now ..."

Name the Smokey penned/produced: (a) Miracles'hit which the Beatles "covered" on their second(British) LP; (b) Film title song which, while anAmerican B-side by the Miracles, unaccountably wasnever issued in Britain.

Name the artists who, produced by Smokey, werefirst to sing his delightful words about: (a) "A SplitPersonality"; (b) "My Smile Is Just A Frown TurnedUpside Down"; (c) "Your Mother's Only Daughter."

The Essex had a big U.S. hit with "Easier Said ThanDone" - name the current Tamla-Motown artist whosang Smokey's song with the same title.

Early in their career the Miracles recorded twodifferent songs with the same famous title: (a) Namethe title; (b) Name the label on which the lessfamous song originally apppeared; (c) Name theco -writer common to both.

ANSWERS

1

2

3

4

5

6

Name

Address

8 RECORD MIRROR, September 25, 1971

The world of RadioI COUD FILL a book with your criticisms of Radio One. Butlet's take one of the more popular cries: "Why does thenetwork concentrate on established names instead of giving abetter chance to new talent?"

Well, the pop network is a monopoly so it must cater for the massesand give the public what it wants. And the public wants, roughlyspeaking, what it now gets fron the BBC - Messrs Blackburn, Young, Savile,Wogan etc.

But new talent does get a fair deal out of the BBC and several newnames have emerged in the last couple of years. Perhaps they have beenthe lucky ones - other would-be broadcasters who have been bangingtheir heads on the wall of Broadcasting House for the past four yearswould certainly think so.

Although Dave LeeTravis was a big nameback in the days of thefloating pop stations, I

would regard him assomeone the BBC hasmoulded into a nationalname. He has graduatedfrom the Sunday morningprogramme and "RadioOne Club" to the new 11a.m. - 1 p.m. daily spot.

"He deserves this show- I've watched himimproving for a long timenow". That's the view ofone top disc jockey ofanother. Tony Brandon onDave Lee Travis. Althoughreluctant to speak to RMat first ("I don't liketelephone interviews as I

often get misquoted")Simon Burnett did manageto get a few words out ofDave about the new show.

FACELIFT"I think that all radio

stations need a newapproach now and againfor the sake of changing.It's only possible to go onfor so long with oneformat before a facelift isneeded - and it's possiblefor a disc jockey to gostale if he has the sameshow for a long time.Besides, it's always a goodthing for a DJ to have acrack at a new audience.

"As for my new show,I want it to be somethingpleasant to listen to. A bitof fun and no messages.

Number two ina series byRODNEYCOLLINSIt's got to be different tothe Sunday show becausethe Sunday audiences arecaptive whereas theweekday audiences areactive.

"I'm really happy nowfor the first time in eightyears. I've got what I

wanted".Before joining Radio

Caroline, Dave worked ona few jobs with stations inthe States and, as TonyBrandon says, DLT hasconsistently improvedduring his three years withRadio One.

Dave Eager is anothernew name. He firstappeared on "Radio OneClub" but most listenerswill remember his sevenweek stint on theBlackburn show thisspring. With thetemporary demise of theClub programmes, Dave isleft without a regular spotfor at least the next threemonths.

"It's a shame that

'Radio One Club' iscoming off because anyshow that goes out of theconfines of a BBC studioand actually meets itsaudience must be a goodthing. It's marvellous toget into the car, drive offto some town you'venever been to before andmeet the people.

"Whenever I've seen a'Radio One Club' there'sbeen a terrific turnout,and they're always a greatcrowd to get involvedwith. This is a big part ofthe job for me...involvement. That is whyI still run my Saturdaynight discos in Manchesterand why I live in myhome city rather thanLondon. In Manchester I

can keep my feet on theground, whereas inLondon I only seem tomeet other DJs and radiopeople.

"When I was doing thebreakfast show a DJ

kindly invited me to a

PICTURED AT ONE OF HIS RADIO ONE CLUB SESSIONS

"Saturday night,everybody will be there"party. When I told him Iwouldn't be going, he wassurprised and said:'London's where it'shappening. If you keepdashing back toManchester, how can youpossibly keep in touch?"He didn't realise that thiswas the very reason I wasgoing back - to keep intouch with the kids.

"People hear you onthe radio and you've gotto reach everyoneindividually, not as a massaudience," Dave told me."Recently Jimmy Savilewalked from JohnO'Groats to Lands Endmeeting the people wholisten to his radio shows.I've been friends with Jimfor years and I know he isa sincere guy. We both

ONE OF THE NEWER BREED OF RADIO ONE DEE-JAYS: SOUNDS OF THE SEVENTIES MAN BOBHARRIS IN THE STUDIO.

believe in keeping our feeton the ground and gettingto know the listener.That's what makes radiomore personal."

Dave Eager is now 23and at the beginning ofwhat must surely be avery successful career. Heis learning that art ofcommunication whichkeeps Tony Blackburn andJimmy Young at the top.With his talents channeledin the right direction, I

sincerely believe he couldbe one of the BBC'sbiggest names in therun-up to commercialradio.

LUCKYAlan Black and Bob

Harris, who present"Sounds Of TheSeventies" shows onRadio One, are among theDJs who get more airtimeat the beginning of nextmonth.

Alan Black joined thenetwork after working onthe pirates. He did fill injobs for other Ws beforehe captured one of theprogressive spots. "The'Sounds Of The Seventies'show suits me well. Weare lucky on ourprogramme in that we arenot forced to pander toratings in any way. Themove to late evenings andVHF will give us betterreception and shouldallow more people tolisten to our kind ofmusic. It's such a shame ifpoor reception spoils asession that a band hasworked really hard on,and you know the BBC'sfacilities are getting betterand better all the time.

"I don't think I couldever go back to the massaudience shows, especiallyon a commercial stationwhere the people arepre -occupied with gettingtop ratings and bowing tocommercial pressures."People talk aboutcommercial radio beingfree, but that's hardly

IN LONDON - DJ DAVEtrue. Radio One doesn'thave presSure fromadvertisers and is able todo programmes like'Sounds Of The Seventies'without worryingnecessarily about howmany listeners it will get.

"I think Radio Onedoes a good job overall. Ithas to cater for the massesand so it has this sort ofbright up -tempo soundwhich means you canswitch the radio on anytime during the day andget pop. My only criticismis that I would tike to seemore of a choice offeredto the listener - more ofa musical choice. Perhapsthere should be a fifthnetwork, but that wouldobviously cost a lot ofmoney to set up.

"Also I'd. really like tosee more of our type ofmusic played during theday on Radio One", saysAlan.

Bob Harris replacedDavid Symons in the"Sounds Of TheSeventies" series and in afairly short space of timehas deservedly built up astrong loyal following oflisteners.

AIRPLAY"I feel that the music

we play should have moreairplay if the record is onethat could appeal to awider audience. Forinstance, I think therecent single by DaveMason and the Doors'"Love Her Madly" couldhave made the Top 20 ifthey had got more airplay.

"On the one hand I

feel that 'heavy' musicshould be featured on themass audience shows,rather than put into acompartment by itself,but on the other hand"Sound Of The Seventies"is a valuable programmefor bands and artists whoprobably wouldn't get toomuch exposure on RadioOne if, say, you hadgroups like the Middle OfThe Road followed by

EAGER.

Bridget St John."How does Bob feel

about the restricted needletime on Radio One? (hecan only feature 20 minutesof discs per day in his onehour show) "I think theneedletime problem hitsRadio Two far more than itdoes us. I enjoyworking with live bands,and new groups who don'tmake many records - orperhaps have never maderecords - get a chance toput their music across tothe listener. I don't regardmy show purely as a

record programme. I thinkone of my most importantduties is to giveinformation about themusic I'm playing. Ourmusic has such welldefined and positive rootsthat we are able to talkabout the material atsome length.

NEW"I wouldn't be able to

do that with the morecommercial pop. If I didone of the strip shows andplayed the new single by,say, Gerry Monroe, well,what could I say about itapart from the fact that itis his new record?

"That's one reason whyI enjoy my programme somuch. From next monthAlan and I will beintroducing a new recordreview programme eachFriday evening.

"I don't think I'dreally enjoy life on thestrip shows too much. I

just cannot see myself as adisc jockey churning outpop all day. I regardmyself as more of apresenter of music and tryand communicate with mylisteners.

"We get a lot of lettersfor 'Sounds Of TheSeventies' and while we'vebeen in this early eveningspot, we've sometimescaught a few listeners atrandom, who perhaps havenever listened to the typeof music we play and havefound out that they enjoy

RECORD MIRROR, September 25, 1971

This week: new talent,and the people whorun our pop network

it. It's nice to think thatperhaps we have broughtour bands and records tonew people, rather thansay, merely preaching tothe converted."

Does Bob find thereare many restrictionsworking for the BBC?

"Certainly not. Thereare restrictions in thatthere are certain thingsyou cannot say on theradio, but that'scommonsense to meanyway. For instance, I'venever wanted to telleveryone to go off andsmoke pot or anythinglike that.

"The only time I

would come up against aproblem would be if therewas a record I particularlywanted to play on theshow and I was notallowed to feature it. Butthat isn't likely to happenas we all work veryclosely with our producersand we can always makesuggestions over who isfeatured in theprogrammes.

FAULTS"The BBC has its

faults, but I am allowedmuch more freedom herethan I would get, say,with a commercial station.It's a better atmosphere aswell. In our unit of'Sounds Of The Seventies'the producers andpresenters are really intouch with what is

happening and take sometrouble with theprogrammes they putout."

Bob lists John Peel,Johnnie Walker and TerryWogan among thebroadcasters he mostadmires and says thatTony Blackburn "istechnically brilliant. Ifyou listen to him healways chooses the rightjingles for the rightrecords and that's whatpop radio is all about. Heprobably is about the bestDJ on the air".

Perhaps TonyBlackburn and Co will bethe last crop of DJs toemerge and that thefuture will give uspresenters with moreaccent on the music thanformat and style ofpresentation. If this is thecase, then Alan Black andBob Harris could well bethe Jimmy Youngs oftomorrow ... if you seewhat I mean.

The otherside ofRadio 1FIVE PEOPLE, basically,run Radio One. They areDouglas Muggeridge, MarkWhite and three executiveproducers - DerekChinnery, Doreen Daviesand Teddy Warrick.Douglas and Mark aretogether responsible forthe future planning ofRadio One. They havealready made startlingchanges and succeeded inlifting the network out of

THE CONTROLLER OF BBC RADIOS ONE ANDTWO - DOUGLAS MUGGERIDGE.the usual BBC image andestablishing its ownidentity.

Next month sees a

number of changes on thenetwork, and DouglasMuggeridge talks aboutthem: "I've taken 'RadioOne Club' off for a yearbecause I'm anxious theprogramme should not getstale. It is coming offwhen it is attracting thehighest audience figuresever. I want to re -thinkthe show and perhapsbring it back in the earlyevening, which would be abetter time slot. I want'Radio One Club' to beone of our weaponsagainst commercial radio.

"The new pattern ofdaily shows has comeabout because the end ofthe club shows left anisland in the middle of theday around which we hadto plan, so programmeswere reorganised.

"At weekends, StuartHenry has the Saturdaymorning programmebecause he did so well inthat spor during thesummer holidays. Frankly,his success was irresistible.Noel Edmonds then movesover to Sundays, but it'3not in any way ademotion for him.

"As far as Radio Twois concerned, we aremoving slightly towards ayounger image, byintroducing new stripshows". (The new showsfeature Tony Brandonfrom 11.30 a.m. - 2 p.m.and personalities such asDavid Jacobs and MichaelAspel between 7-8 p.m.)."Radio Two will now bevirtually 'live' throughoutthe day, apart from a lightentertainment band in themiddle of the evening.This makes for betterradio".

Mark White says of thechanges: "We have triedto guage what type ofaudience is listening atany particular time of theday and I think the newprogrammes will meet thedemand from theaudience. The new -styled'Sounds Of The Seventies'shows, for instance, willbe going out at a muchmore suitable time. I

think many progressivefans have been unable tohear the shows in thepast, because of theirearly -evening timing."

Executive producerTeddy Warrick isparticularly pleased aboutthe new progressive musicslot. "One hour shows arehardly ideal these dayswhether they featurecommercial pop orprogressive music. Thetwo hour strip will enableus to feature more bandsand, of course, the factthat we will also be goingout on VHF is a bigadvantage as well."

POLICYTeddy is responsible

for a number of shows onthe network. All themajor programmes aredivided between the threeexecutive producers andthen each show is alloteda producer. Derek, Doreenand Teddy are responsiblefor laying down thegeneral policy of theprogrammes, whereasindividual producershandle the day to daydetails. These three takethe responsibility for whatgoes out on the air.Derek, for instancehandles the new DLTshow, plus Blackburn,Rosko and the Savileprogrammes, while Doreenwatches over JuniorChoice, Johnnie Walkerand Jimmy Young.Teddy's responsibilitiesapart from the progressiveshow, also take in TerryWogan, the record reviewprogramme and "SceneAnd Heard".

The pirates, you mayrecall, had no producers.Why, then, are theynecessary for Radio One?Derek Chinnery replies:"A lot of planning goesinto the shows on thenetwork. For instance, ourneedletime situationmeans that manyprogrammes have 'live'music and producers areresponsible for lining upartists and supervising therecording of the acts. Theproducer then takes his'live' material and selectsthe records to build up a

balanced show".There are those who

suggest that the networkhas no definite musicpolicy; that it issuccession of shows rathertha a unit of programmes;that there is not enoughprogressive music on theair, and that Radio One,should work to a Top 40format.

In answer to thesecriticisms, Douglas andMark point out that if 1'4Jimmy Young played a i?,t,large helping of 'heavy'`,,music in his show roughly75 per cent of his listenerswould switch off forevermore. Progressive fansare not listening to theradio mid -mornings.

As far as the Top 40format is concerned, theybelieve this could notwork on Radio One. "Ournetwork does the samejob as four or five stationswould do in the States."says Douglas. "We offerpop progressive, jazz. folk.country - the lot. But Ithink the various musicforms marry in quite wellinto the general sound ofthe network. If we used aTop 40 format, we wouldnot be able to cater for allthese tastes in music.

DUTY"Radio One has a duty

to both the majority andminority audiences. Top40 all day would not servethe listeners properly".

He adds: "I believethat Radio One is

probably the finestnetwork of its typeanywhere in the world,really do".

I'm inclined to agreewith him ... This, then, isyour pop network and itsplans for the immediatefuture. As I said lastweek, Radio One willcontinue to bring newpeople into the networkand good broadcasters areemerging all the time. Thetragedy of a popmonopoly is thatwhenever Radio Onebrings someone new in, anexisting "name" is boundto suffer.

And if you getsqueezed out of RadioOne there are preciousfew places to go, unlessyou are prepared to throweverything up to live inLuxembourg or face thecruel waters of the NorthSea.

Douglas Muggeridgeand Matk White will fightto improve the networkstill further. But RadioOne clearly IS working -and that at least is one inthe eye for ;the BBC menwho were convinced itwould never be successful.

Our insurance aslisteners is that.thankfully, Radio Onecannot afford to becomecomplacent. For thenetwork cannot be surewhat commercial radiowill bring - when it

eventually arrives.

NEXT WEEK: THEOFFSHORE PIRATES -A N D THEIRFUTURE...

CHRIS YOULDEN

LIFE AND LAUGHS

ON THE ROADCHRIS YOULDEN has beenthrough the lean times and nowhas a future which is quitedecidedly fat. As lead singerwith Savoy Brown for threeyears he 'made it' in the Statesand has now embarked on asolo career.

He'll be auditioning for a band inlate August, consisting of organ,guitar, bass and drums and will thengo into the studios to cut an albumwhich will be released to coincidewith his Stateside tour nextFebruary.

Reminiscing about his hard times"I could write a complete guide tothe motorway caffs of 1967", hetalks about the days when he waslooking for a break. "I came incontact with guys of all shapes andsizes who used to spin the yarns 'I'mwell in with Radio Caroline.' I'mforming a big band', people like that.

Strangest"The strangest band I ever came

across was in East London. I waswith another musician at the timeand we got a call from someone whosaid he wanted to form a band andwere we interested. We went to seehim at his flat, somewhere inLondon. We knocked on the doorand he told us 'I can't see you nowI'm having a row with my wife, goout and sit in my car. So we sat inhis Cortina and he joined us, showingus all sort of contracts.

"I've got a band who are going to splitthe country apart" he said. "I used to playharmonica, but my wind's gone, so I'mgoing to manage them." He told us theband would have a harmonica section andwe sort of laughed, but went along withhim. Then he took us to see the organist.He was a wizened old guy who must havebeen 70, if a day and his organ turned outto be a little pedal organ in his frontroom. He was so keen on being in theband it was almost heartbreaking. He'dnever been in a band before. We played acouple of impromptu songs, but it wasreally weird. By this time we didn't know

9

Brenda Tarrytalks to

CHRIS YOULDENwhether to laugh or cry inside. so we justleft."

Chris formed his first band when he was19. "It was called The Downhome BluesBand. We had one very small 15 watt ampand no P.A. system and we were verynervous. We did a few local gigs in andaround London and entered the heat of arhythm and blues competition at theMarquee.

"We came third or something andGeorgio Gomelski expressed a certainamount of interest. I called him and heput us on at the Marquee supporting the TBones. We did some more gigs here andthere but eventually broke up. I wentthrough a variety of small bands, writingall my own material at the time, doing allsorts of strange gigs - weddings, yachtclub dances, the lot.

"Then I met Dave Peverett and we sortof got a band together for a time and weeven opened a club called The StormyMonday Blues club in a pub in Norwood.That went along for a bit and then we hadhard times. Savoy Brown were thinking ofchanging their line-up at the time andasked me if I would sing. I said yes and wewent off on the road.

Courageous"We had a small van and went up and

down the M1 in the winter with nowindows, no seats and the wind comingthrough the cracks. That was two yearsbefore our first American tour. We weredoing England from top to bottom, side toside. At that time we met the mostcourageous promoter I know. He was veryinterested in jazz and blues and we weremore or less playing Blues then. He put us inthis vast hall in Connors Quay and there wereonly about 80 people there.

"After the show he gave us a reasonablefee and we found that he put all themoney he made from successful concertswith pop groups, into subsidising weeklygigs for jazz and blues bands."

Chris left Savoy Brown last year andhas been busily writing material. As asongwriter he is already established inAmerica where a number of artists haverecorded his songs. -

10 RECORD MIRROR, September 25,, 1971

WE ARE PROUD TO BE ASSOCIATEDWITH ONE OF THE GREAT ONES

SMOKEY ROBINSONSHEET MUSIC AVAILABLE FROM

MUSIC SALES78 NEWMAN ST. W1

JOBETE-CARLIN MUSIC LTD,17 SAVILE ROW

LONDON W1 XIAE

RECORD MIRROR, September 25, 1971 11

Number Two

SMOKEYROBINSONBYCHARLIE GILLETT

CHARLIE GILLETT, oneof the most respected andauthoritative commentatorson the rock and pop scene, isthe author of the secondarticle in Record Mirror'sGreat Ones series. As wellas contributing a regularcolumn to Record Mirrorfor several years, Charlieis also the author of "TheSound Of The City," amuch -praised book whichis now accepted as thefinest yet written on thesubject. It will be publishedin Britain later this year.

ABOUT twelve years ago, BerryGordy told Smokey Robinsonhow to write songs. "Every songshould have an idea, tell a story,mean something." Smokey putaside his exercise book, full ofpainstakingly -written teen songsabout being in love with hisfifth -grade teacher and notwanting to go in the army, andstarted again. "Shop Around,""You Really Got A Hold OnMe," "My Guy," and "I SecondThat Emotion" were among thesongs he came up with to meelBerry Gordy's specifications.

In a list of the hundred best songsof the 1960 s, at least ten written bySmokey Robinson would have to beincluded. "Tracks Of My Tears,""Since I Lost My Baby," "My Girl,""Ain't That Peculiar," "It's Growing,""The Love I Saw In You Was Just AMirage." For anybody who has heardthe songs a few times, the titles bythemselves conjure a mood, a fewintricately -rhyming lines, even a placewhere a vocal group comes in toharmonise.

And then there's his singing. If fewpeople would argue with his

importance as a song -writer, morewould wince at the idea of includinghim in a list of all-time great singers.Most British record reviewers goofed atleast once during the early sixties byreferring to the female lead singer ofthe Miracles, and a lot of people stillhaven't got used to that pure highvoice. But, although it doesn't suit allsongs equally well, Smokey's style canestablish innocence and devotion betterthan any other singer - and those aretwo of the most common and

important moods in popular music.He's been singing for as long as he

can remember, and while he was stillat high school in Detroit Smokeyformed a vocal group with some

friends: Bob Rogers, Pete Moore,Ronnie White - whose used to be thepaper boy where Smokey lived - theguitarist Mary Tarplin, and Claudia,who's Smokey's wife. Mary became asession musician at Motown, and

ve

Claudia stayed home to bring up afamily, but the rest of the Miracleshave stayed together. There's been

pressure on Smokey to break awayfrom his friends ever since theybecame professionals, as Smokeyrecalled in an interview when he was inLondon to tape a guest spot for theTom Jones Show:

"Soon after 'Shop Around'. madethe charts, we were at the Apollo, anda man came up to me in the dressingroom, just before we were due to goon, and said, 'Listen, Smokey, thoseguys. in the Miracles are just riding onyour back. You don't need them. Ifyou drop them, I'll buy your contractfrom Gordy and I'll make you thebiggest star in the country. By

yourself'. I was very young, eighteenor nineteen, but somehow I knew thatmy best interests were where myloyalties were, with Berry and with theMiracles. But that was a terriblepressure to have, to go on stage andperform with something like that onyour mind. When I came off, I toldhim, 'O.K. I'll sign with you; but onlyon condition that you make BerryGordy president of whatever recordcompany I record for, and that yousign the Miracles with me'. He wasn'tinterested."

Smokey had met Berry Gordy acouple of years earlier, at a music

publisher's office in New York. Thepublisher hadn't been too impressedwith Smokey's demos, but Berry was.He introduced himself, looked throughSmokey's exercise book, suggested

they work together, and advisedSmokey to learn how to write effectivesongs, to make them mean something.

At that time Berry Gordy was afree lance writer and producer,providing songs for Jackie Wilson andproducing records by Mary Johnsonand Eddie Holland for United Artists.He licensed the first Miracles record,"Got A Job," to End (owned byGeorge Goldner in New York) and thesecond, "Bad Girl," to Chess (ownedby Leonard Chess in Chicago). If BerryGordy had been properly paid forwhat he did, he might never have beendriven to start his own company. But,frustrated with royalty cheques thatwere too low and too late - whenthey came at all - he decided to go onhis own. Jackie Wilson was alreadysigned to Brunswick and Mary Johnsonto United Artists, but Eddie Hollandand the Miracles were contracted to

to next page

IN=

12 RECORD MIRROR, September 25,1271

Berry, and they formed the nucleus ofhis roster when he founded theTammie, later Tamla, label.

Eddie Holland was a

singer -composer with a vocal style verysimilar to Jackie Wilson's; when Berrywrote songs for Jackie, Eddie sang onthe demo records that indicated thearrangement and melody for Jackie tofollow. But although Eddie's "Jamie"was a moderate pop hit, he didn'testablish himself as a major figure untilhe, his brother Brian and Lamont Oozierstarted working with the Supremes andthe Four Tops in 1964. as the

production -and -writing team ofHolland -Dozier -Holland. SmokeyRobinson made his impact much faster."Shop Around" by the Miracles madenumber two on the Billboard chart in1960, followed in the next two years byseveral Mary Wells hits, most of whichSmokey wrote, and in 1962 by anotherMiracles hit, "You Really Got A Hold OnMe." (The only other consistenthit -makers for Gordy's labels in thatperiod were the Marvelettes and MarvinGaye, working with writer -producers

Brian Holland, Lamont Dozier, andWilliam Stevenson).

From 1964 to 1966, Smokey wasresponsible for producing, and

providing most of the material for, theTemptations, and in addition tokeeping the Miracles going, he alsocontributed to some of Marvin Gaye'sbest records, and the odd thing forother acts including "Don't Mess WithBill" for the Marvelettes. Since 1967,when the group was officially retitledSmokey Robinson and the Miracles,

there has been a decline in thequantity of studio work that Smokeyhas been involved in; curiously, thishas coincided with a decline in thequality of his writing, suggesting eitherthat he responds best to the pressureof writing a lot of material in a shorttime, or else that he is finding itharder to represent the anguish andecstacy of love with the adolescentimages and similes that once came soeasily to him. Or maybe it is just thathe has not concentrated on writing somuch, since he became increasingly

involved in the administration of theMotown organisation.

Originally signed to Berry Gordy ona management and productioncontract, Smokey outgrew that formalarrangement to such an extent that hewas appointed as a vice president in1967. Long before this, he had

attended regular weekly meetings withthe rest of the Motown productionstaff.

"It was like a family organisationthen," he recalled. "About ten of ustook all the decisions on a collectivebasis. Berry had the final say, ofcourse, but we had a chance to makeour contributions. It was all very

informal, we knew all the secretariesand studio staff by their first names.But now there are more than 250people employed there, and of coursethe whole organisation has moved fromthe houses where Berry started it.

"I'm in charge of the departmentthat looks after the new artists that aresigned to Motown, those that haven'thad a hit yet. If and when they do get

hit, they move onto ArtistDevelopment, to learn choreography,stage presentation, that kind of thing."

In contrast to other companies suchas Atlantic, Motown insists on firmcontrol of its performers, especially

those under 21, paying them only aproportion of their royalties, bankingthe rest so that they can't spend it allat once.

"That's one of Motown's biggestheadaches, trying to instil a responsibleattitude towards money. You'd be

surprised how hard it is to explain to ayoung star that he is going to have topay taxes out of the money his recordhas earned. Atlantic doesn't take on allthat responsibility, but that companydoesn't have the same long-termsuccess with performers that Motownhas had with all of its top acts. One ortwo Motown singers have complainedabout the system and left thecompany, but they haven't been ableto repeat their success - Mary Wells,Kim Weston. And Barrett Strong, whohad a hit with "Money" and later leftMotown, has come back to become avery successful session musician, writer.and now co -producer with NormanWhitfield."

Towards the end of the interview,Smokey talked enthusiastically aboutone of his proteges, Terry Johnson, aformer member of the Flamingos, whohad then recently joined Motown as awriter, assistant producer, and singer.It seemed clear that Smokey would getalmost as much satisfaction out of anysuccess that might comecome Terry's way as

out of one me top ten hit forhimself. Suitably grateful for any

attention we may feel like giving him,he made no assumption that we shouldadmire him; and it's that .me modestunderstatement that is so irresistiblycharming in his songs and in the wayhe sings them,

The difference between a goodSmokey Robinson song and a goodsong by Tony Macauley or

Greenaway -Cooke is that Smokeydoesn't relax after he's thought of agood lyric -and -melody hook for thechorus. His songs do have an attractivechorus to draw attention and humalong to; but he fills the gaps betweenthem with a succession of secondaryrhymes and melodic diversions, so thatthe song is a pleasure not just to hearbut to listen to and get to know.Listen to "I Second That Emotion,"whose title alone would be enough formost writers - if they dared to risk sopotentially corny a concept Smokeysurrounds it with words like "notion"and "devotion," so you accept thechorus as being just the right line inthat situation.

But then Smokey mien on, and fillsthe song out:

"Maybe you think that love wasjust for fools,

And so it makes you wise tobreak the rules"

It's clever, but it's also so smoothlymelodic that these two lines, ratherthan the repeated chorus, become thefocus of the song. Or maybe youprefer some other rhyme; the point is,the songs have so much in them, thereis a choice for each person to make. "ISecond That Emotion" has, on top ofeverything else - or rather, underneatheverything else - an amazing guitarist,who squeezes a succession of perfectlyappropriate comments between and

behind the vocal lines, as sensitive asKing Curtis at his best, but at such alow volume you don't notice himunless you concentrate. Subliminalaccompaniments, yet!

As Smokey would be the first toacknowledge, the exceptional ability ofMotown'n session men contribute

Smokey's voice can

establish innocence

and devotion betterthan any other singerand those are two ofthe most importantmoods in pop

incalculably to every record that comesfrom the company, no matter howmuch the focus seems to be on thevocal. Those musicians were there rightat the start. on "Shop Around," arecord that betrays little evidence ofhaving been made as long ago as 1960.Smokey and the Miracles might havefound it much harder to generate suchan infectious spirit without the saxplayer, and without the bass playerwho somehow manages to sound as ifhe was playing a stand-up string bass,with all that booming reverb some ofus miss in these funky times.

The first records that Smokey wroteand produced for Mary Wells soundmuch more dated, although they weremade after "Shop Around." Dee DeeSharp and Little. Eva were popular atthe time, and one or two songs thatmight have sounded O.K. with a lessfamiliar twist -beat accompaniment nowsound like ordinary heartache songs ofthe period - "The One Who ReallyLoves You," "You Beat Me To ThePunch."

But for "What's Easy For Two IsSo Hard For One" and "My Guy,"Smokey got an entirely different kindof musical setting - light drumming,finger -snapping - which seemed to freeMary's voice from the inhibitingconventions of the time, and she

suddenly sounds real. So real, she even

gets away with that popworn cliche,"he may not be a movie star, butwhen it comes to being happy, we are"(borrowed, incidentally, from BerryGordy's song for Mary Johnson, "YouGot What It Takes").

Mary's high, light voice could soundvery similar to Smokey's at times, andpeople who am bothered by a manwho sounds like a girl may prefer tohear a girl who sounds like a girl,singing his lyrics; Mary probably came

closer than anyone else to representingthe innocence that America's mediaexpects teenagers to have, and whichSmokey's lyrics epitomise. (It was

rumoured that when Mary Wells caughtMotown off guard by leaving thecompany as soon as she became 21,thereby curtailing a succesfulpartnership with Marvin Gaye, Smokeyfilled in on two or three sides beforeKim Weston took aver the role ofMarvin's girl. On such rumours, the

mystique of Tamla Motown thrives).

Then again, for those who prefermen who sound like men, theTemptations may be the bestintroduction to Smokey Robinson'ssongs. Before the Temptation wentpsychedelic under Norman Whitfield'sdirection, they were probably the bestharmony group in pop music, and asuccession of songs by SmokeyRobinson gave them every chance torelax and drift through lovely wordsand melodies, "Since I Lost My Baby,""It's Growing," "My Girl," "GetReady." Lead singer David Ruffin hada gospelly rasp to his voice thatenabled him to reach ears tuned to thenew soul style of the Southern singerslike Otis Redding and the remodelledJames Brown, while the rest of thegroup hung onto the harmonies ofgroups like the Drifters.

At the same time m he was

producing those smooth classics,

Smokey also produced four frantic hitsfor Marvin Gaye, 'Take This Heart, OfMine," "One More Heartache," "Ain'tThat Peculiar," and "I'll Be Doggone."Or maybe frantic is not quite the rightword. because Marvin sang with suchprecise control, he never loses himselfto the frenzy of the accompaniment.But when people who never heard themusic of the sixties at the time startlistening to some of the hits, they may.be surprised that so much attentionvans paid to the string of hits by theStones, "Satisfaction," "Get Off MyCloud," and the rest, and so little tothese four songs by Marvin Gaye,which arouse at least as muchexcitement and have the bonus ofgood singing. "Take This Heart Of

Mine" even has a slightly familiar lyricidea, reversed:

"If you need some goodreaction, take this heart ofmine,

If you need some satisfaction,take this heart of mine."

But in the end, people will probablyforget that Smokey Robinson wrotesongs that he didn't sing with theMiracles; they'll remember "My Girl"as the song by the Temptations, orOtis Redding (or the Rolling Stones),but they'll remember that SmokeyRobinson wrote, as well as recorded,"The Tracks Of My Tears."

This song, more than any other,typified Smokey, as writer and singer.A guitar opens it, and then theMiracles, so important to him, sing

together, "do -do -do do." It's a generalmood sound, that could lead into almostanything. So when Smokey's voiceemerges it's a surprise and a delight. Thatwas his knack: to seem to be like others,but to establish his differences in a

subtle way. Almost every line in

'Tracks Of My Tears" is a bit like partof some other song, yet tell somebodya line' as Smokey wrote it and he'llanswer with the one that comes next

"People say /'m the life of theparty

'Cause I tell a joke or two;Although I may be laughing loud

and hearty,Deep inside I'm blue.So take a good look at my faceYou'll see my smile looks out of

place,If you look closer it's easy to

trace

The tracks of my team"This was a favourite theme of

REFLECTIONS

ON

SMOKEY

SMOK EY ROBINSON'S voice is

amazing - so good and so effortless. I

certainly attribute to him that piano rifffrom our hit "Bend Me, Shape Me."Actually I got it from a track celled"More, More, More Of Your Love" onthe "Away We A Go -Go" album, and itsure proved fruitful for Amen Corner aswe were then. That was one of the firstalbums I had on coming to Londonfrom Wales.

ANDY FAIRWEATHER-LOW,Fair Weather

SMOKEY ROBINSON, of the Miracles,is our greatest living poet.

BOB DYLAN

HE'S POSSIBLY the greatest writer oflove ballads in our time. Alwaysguaranteed to stir the old heartstrings isSmokey. Can't say I've listened to muchof his recent stuff, but his old albumsare always on the player. When we wereover in the States I caught him at theHollywood Bowl and it was reallyincredible, just amazing. He ripped theplace apart.

ROD STEWART

SMOKEY ROBINSON? Well he's reallythree people in one isn't he? I knowhe's a brilliant composer and as a singerand producer with the Miracles there'sno one to touch him. I think he is

brilliant and to think that he's VicePresident of Motown as well it just gomto prove that some times talent andbrains do go together!

I really can't imagine where he getsthe time or the energy to do all he does.Speaking as a fan of Smokey's I love hissongs and I feel that 'Tears Of A Clown'is an all-time classic. I also love singinghis songs myself and it's a dream ofmine that one day we will meet and I

can persuade him to write a songspecially for me - that would be reallyfantastic!

CILLA BLACK

I'VE ALWAYS thought of SmokeyRobinson as one of the major powersbehind Tamla. He's very important inways other than just making hit recordsand he's also a very good writer, ofcourse. I've also been conscious of hisbacking work on so many of the singles- and his arrangements.

While everyone thinks so much ofhim, he's not been a big star in the waythat some Tamla names have been. TheMiracles have always been a good groupand I don't know why they emerge nowand then with a hit - but not as

strongly as the other groups. Smokeyhas this very smooth voice in the upperregister. The smoothness is so noticeableand if you hear his voice through a verythick wall, you'd think it was a girlsometimes. He's really a tremendouslycontrolled singer."

ALEXIS KORNER,British blues giant, C.C.S.

a

12 RECORD MIRROR, September 25,1271

Berry, and they formed the nucleus ofhis roster when he founded theTammie, later Tamla, label.

Eddie Holland was a

singer -composer with a vocal style verysimilar to Jackie Wilson's; when Berrywrote songs for Jackie, Eddie sang onthe demo records that indicated thearrangement and melody for Jackie tofollow. But although Eddie's "Jamie"was a moderate pop hit, he didn'testablish himself as a major figure untilhe, his brother Brian and Lamont Oozierstarted working with the Supremes andthe Four Tops in 1964. as the

production -and -writing team ofHolland -Dozier -Holland. SmokeyRobinson made his impact much faster."Shop Around" by the Miracles madenumber two on the Billboard chart in1960, followed in the next two years byseveral Mary Wells hits, most of whichSmokey wrote, and in 1962 by anotherMiracles hit, "You Really Got A Hold OnMe." (The only other consistenthit -makers for Gordy's labels in thatperiod were the Marvelettes and MarvinGaye, working with writer -producers

Brian Holland, Lamont Dozier, andWilliam Stevenson).

From 1964 to 1966, Smokey wasresponsible for producing, and

providing most of the material for, theTemptations, and in addition tokeeping the Miracles going, he alsocontributed to some of Marvin Gaye'sbest records, and the odd thing forother acts including "Don't Mess WithBill" for the Marvelettes. Since 1967,when the group was officially retitledSmokey Robinson and the Miracles,

there has been a decline in thequantity of studio work that Smokeyhas been involved in; curiously, thishas coincided with a decline in thequality of his writing, suggesting eitherthat he responds best to the pressureof writing a lot of material in a shorttime, or else that he is finding itharder to represent the anguish andecstacy of love with the adolescentimages and similes that once came soeasily to him. Or maybe it is just thathe has not concentrated on writing somuch, since he became increasingly

involved in the administration of theMotown organisation.

Originally signed to Berry Gordy ona management and productioncontract, Smokey outgrew that formalarrangement to such an extent that hewas appointed as a vice president in1967. Long before this, he had

attended regular weekly meetings withthe rest of the Motown productionstaff.

"It was like a family organisationthen," he recalled. "About ten of ustook all the decisions on a collectivebasis. Berry had the final say, ofcourse, but we had a chance to makeour contributions. It was all very

informal, we knew all the secretariesand studio staff by their first names.But now there are more than 250people employed there, and of coursethe whole organisation has moved fromthe houses where Berry started it.

"I'm in charge of the departmentthat looks after the new artists that aresigned to Motown, those that haven'thad a hit yet. If and when they do get

hit, they move onto ArtistDevelopment, to learn choreography,stage presentation, that kind of thing."

In contrast to other companies suchas Atlantic, Motown insists on firmcontrol of its performers, especially

those under 21, paying them only aproportion of their royalties, bankingthe rest so that they can't spend it allat once.

"That's one of Motown's biggestheadaches, trying to instil a responsibleattitude towards money. You'd be

surprised how hard it is to explain to ayoung star that he is going to have topay taxes out of the money his recordhas earned. Atlantic doesn't take on allthat responsibility, but that companydoesn't have the same long-termsuccess with performers that Motownhas had with all of its top acts. One ortwo Motown singers have complainedabout the system and left thecompany, but they haven't been ableto repeat their success - Mary Wells,Kim Weston. And Barrett Strong, whohad a hit with "Money" and later leftMotown, has come back to become avery successful session musician, writer.and now co -producer with NormanWhitfield."

Towards the end of the interview,Smokey talked enthusiastically aboutone of his proteges, Terry Johnson, aformer member of the Flamingos, whohad then recently joined Motown as awriter, assistant producer, and singer.It seemed clear that Smokey would getalmost as much satisfaction out of anysuccess that might comecome Terry's way as

out of one me top ten hit forhimself. Suitably grateful for any

attention we may feel like giving him,he made no assumption that we shouldadmire him; and it's that .me modestunderstatement that is so irresistiblycharming in his songs and in the wayhe sings them,

The difference between a goodSmokey Robinson song and a goodsong by Tony Macauley or

Greenaway -Cooke is that Smokeydoesn't relax after he's thought of agood lyric -and -melody hook for thechorus. His songs do have an attractivechorus to draw attention and humalong to; but he fills the gaps betweenthem with a succession of secondaryrhymes and melodic diversions, so thatthe song is a pleasure not just to hearbut to listen to and get to know.Listen to "I Second That Emotion,"whose title alone would be enough formost writers - if they dared to risk sopotentially corny a concept Smokeysurrounds it with words like "notion"and "devotion," so you accept thechorus as being just the right line inthat situation.

But then Smokey mien on, and fillsthe song out:

"Maybe you think that love wasjust for fools,

And so it makes you wise tobreak the rules"

It's clever, but it's also so smoothlymelodic that these two lines, ratherthan the repeated chorus, become thefocus of the song. Or maybe youprefer some other rhyme; the point is,the songs have so much in them, thereis a choice for each person to make. "ISecond That Emotion" has, on top ofeverything else - or rather, underneatheverything else - an amazing guitarist,who squeezes a succession of perfectlyappropriate comments between and

behind the vocal lines, as sensitive asKing Curtis at his best, but at such alow volume you don't notice himunless you concentrate. Subliminalaccompaniments, yet!

As Smokey would be the first toacknowledge, the exceptional ability ofMotown'n session men contribute

Smokey's voice can

establish innocence

and devotion betterthan any other singerand those are two ofthe most importantmoods in pop

incalculably to every record that comesfrom the company, no matter howmuch the focus seems to be on thevocal. Those musicians were there rightat the start. on "Shop Around," arecord that betrays little evidence ofhaving been made as long ago as 1960.Smokey and the Miracles might havefound it much harder to generate suchan infectious spirit without the saxplayer, and without the bass playerwho somehow manages to sound as ifhe was playing a stand-up string bass,with all that booming reverb some ofus miss in these funky times.

The first records that Smokey wroteand produced for Mary Wells soundmuch more dated, although they weremade after "Shop Around." Dee DeeSharp and Little. Eva were popular atthe time, and one or two songs thatmight have sounded O.K. with a lessfamiliar twist -beat accompaniment nowsound like ordinary heartache songs ofthe period - "The One Who ReallyLoves You," "You Beat Me To ThePunch."

But for "What's Easy For Two IsSo Hard For One" and "My Guy,"Smokey got an entirely different kindof musical setting - light drumming,finger -snapping - which seemed to freeMary's voice from the inhibitingconventions of the time, and she

suddenly sounds real. So real, she even

gets away with that popworn cliche,"he may not be a movie star, butwhen it comes to being happy, we are"(borrowed, incidentally, from BerryGordy's song for Mary Johnson, "YouGot What It Takes").

Mary's high, light voice could soundvery similar to Smokey's at times, andpeople who am bothered by a manwho sounds like a girl may prefer tohear a girl who sounds like a girl,singing his lyrics; Mary probably came

closer than anyone else to representingthe innocence that America's mediaexpects teenagers to have, and whichSmokey's lyrics epitomise. (It was

rumoured that when Mary Wells caughtMotown off guard by leaving thecompany as soon as she became 21,thereby curtailing a succesfulpartnership with Marvin Gaye, Smokeyfilled in on two or three sides beforeKim Weston took aver the role ofMarvin's girl. On such rumours, the

mystique of Tamla Motown thrives).

Then again, for those who prefermen who sound like men, theTemptations may be the bestintroduction to Smokey Robinson'ssongs. Before the Temptation wentpsychedelic under Norman Whitfield'sdirection, they were probably the bestharmony group in pop music, and asuccession of songs by SmokeyRobinson gave them every chance torelax and drift through lovely wordsand melodies, "Since I Lost My Baby,""It's Growing," "My Girl," "GetReady." Lead singer David Ruffin hada gospelly rasp to his voice thatenabled him to reach ears tuned to thenew soul style of the Southern singerslike Otis Redding and the remodelledJames Brown, while the rest of thegroup hung onto the harmonies ofgroups like the Drifters.

At the same time m he was

producing those smooth classics,

Smokey also produced four frantic hitsfor Marvin Gaye, 'Take This Heart, OfMine," "One More Heartache," "Ain'tThat Peculiar," and "I'll Be Doggone."Or maybe frantic is not quite the rightword. because Marvin sang with suchprecise control, he never loses himselfto the frenzy of the accompaniment.But when people who never heard themusic of the sixties at the time startlistening to some of the hits, they may.be surprised that so much attentionvans paid to the string of hits by theStones, "Satisfaction," "Get Off MyCloud," and the rest, and so little tothese four songs by Marvin Gaye,which arouse at least as muchexcitement and have the bonus ofgood singing. "Take This Heart Of

Mine" even has a slightly familiar lyricidea, reversed:

"If you need some goodreaction, take this heart ofmine,

If you need some satisfaction,take this heart of mine."

But in the end, people will probablyforget that Smokey Robinson wrotesongs that he didn't sing with theMiracles; they'll remember "My Girl"as the song by the Temptations, orOtis Redding (or the Rolling Stones),but they'll remember that SmokeyRobinson wrote, as well as recorded,"The Tracks Of My Tears."

This song, more than any other,typified Smokey, as writer and singer.A guitar opens it, and then theMiracles, so important to him, sing

together, "do -do -do do." It's a generalmood sound, that could lead into almostanything. So when Smokey's voiceemerges it's a surprise and a delight. Thatwas his knack: to seem to be like others,but to establish his differences in a

subtle way. Almost every line in

'Tracks Of My Tears" is a bit like partof some other song, yet tell somebodya line' as Smokey wrote it and he'llanswer with the one that comes next

"People say /'m the life of theparty

'Cause I tell a joke or two;Although I may be laughing loud

and hearty,Deep inside I'm blue.So take a good look at my faceYou'll see my smile looks out of

place,If you look closer it's easy to

trace

The tracks of my team"This was a favourite theme of

REFLECTIONS

ON

SMOKEY

SMOK EY ROBINSON'S voice is

amazing - so good and so effortless. I

certainly attribute to him that piano rifffrom our hit "Bend Me, Shape Me."Actually I got it from a track celled"More, More, More Of Your Love" onthe "Away We A Go -Go" album, and itsure proved fruitful for Amen Corner aswe were then. That was one of the firstalbums I had on coming to Londonfrom Wales.

ANDY FAIRWEATHER-LOW,Fair Weather

SMOKEY ROBINSON, of the Miracles,is our greatest living poet.

BOB DYLAN

HE'S POSSIBLY the greatest writer oflove ballads in our time. Alwaysguaranteed to stir the old heartstrings isSmokey. Can't say I've listened to muchof his recent stuff, but his old albumsare always on the player. When we wereover in the States I caught him at theHollywood Bowl and it was reallyincredible, just amazing. He ripped theplace apart.

ROD STEWART

SMOKEY ROBINSON? Well he's reallythree people in one isn't he? I knowhe's a brilliant composer and as a singerand producer with the Miracles there'sno one to touch him. I think he is

brilliant and to think that he's VicePresident of Motown as well it just gomto prove that some times talent andbrains do go together!

I really can't imagine where he getsthe time or the energy to do all he does.Speaking as a fan of Smokey's I love hissongs and I feel that 'Tears Of A Clown'is an all-time classic. I also love singinghis songs myself and it's a dream ofmine that one day we will meet and I

can persuade him to write a songspecially for me - that would be reallyfantastic!

CILLA BLACK

I'VE ALWAYS thought of SmokeyRobinson as one of the major powersbehind Tamla. He's very important inways other than just making hit recordsand he's also a very good writer, ofcourse. I've also been conscious of hisbacking work on so many of the singles- and his arrangements.

While everyone thinks so much ofhim, he's not been a big star in the waythat some Tamla names have been. TheMiracles have always been a good groupand I don't know why they emerge nowand then with a hit - but not as

strongly as the other groups. Smokeyhas this very smooth voice in the upperregister. The smoothness is so noticeableand if you hear his voice through a verythick wall, you'd think it was a girlsometimes. He's really a tremendouslycontrolled singer."

ALEXIS KORNER,British blues giant, C.C.S.

a

14RECORD MIRROR, September 25, 1971

Smokey's, to describe physical

appearances and then to reveal the

reality behind them. And he oftenalluded to the way we use our faces asmasks; his most famous song with thistheme, now, is "Tears Of A Clown,"originally a throw -away track on an LPthe Miracles made in 1967, Make ItHappen. T h row -away? Probably,because he borrowed a couplet fromone of his earlier songs, which hesurely wouldn't have done for a songhe really cared about. In 1962,

Carolyn Crawford recorded his song"My Smile Is Just' A Frown TurnedUpside Down," which included the

rhyme:"Just like Pagliacci did,I keep my sadness hid,"

which comes in at the end of "TearsOf A Clown." (Or maybe it was theCarolyn Crawford song that was a

throw -away; Smokey might have

forgotten he'd ever written it).Anyway, this idea was one thatSmokey used quite often, but surelynever more effectively than in "TracksOf My Tears."

"Tracks Of My Tears" was recordedin 1965, probably the peak period forthe Miracles, who also recorded "OooBaby, Baby," "Fork In The Road,"and "Going To A -Go -Go" that year."Ooo Baby" was possibly the purestsong they ever did, relying almostentirely on Smokey's expressiveness

and scarcely having any words beyondthe title and a sighed "I'm crying." Itis futile to describe how he sings it;but it's the kind of song that causesyou to stop whatever you are doingand close your eyes. A veryconcentrated trip.

"Going To A -Go -Go" is the

opposite kind of mood song, open andcarefree, but again has only a fewwords (the best line is " 'most everytaxi that you flag is going toa -go-go."). Smokey confirms his

amazing ability to abandon himself toa song; he doesn't overstate the lyric,but stretches its implications as far asthey'll go. On "Going To A -Go -Go,"that isn't very far; on "Fork In TheRoad," he really does "make youthink."

If 1965 was this peak year, Smokeystill make some great records later, justnot so often. "I Second ThatEmotion" was a 1967 record, and sowere "The Love I Saw In You WasJust A Mirage" and "More Love.""More Love" was another mood songwith not many words but a memorableextended line, "It'll take a hundredlifetimes to live it down, wear it down,tear it down," where each "down"seems to be the least word in the

sentence, but is followed by anotherphrase. That's a trick Smokey usesquite often, and I was planning to citeanother example on the last MiraclesLP, "Don't Take It So Hard," but thesong was written by Johnson,

Schofield, and Johnson, which provesthat other people are learning theRobinson craft. "The Love I Saw In

You" had a similar effect, where

Smokey seemed to use a standard

cliche about lipstick traces but thenmade the line ring true to him byadding a specific definition: "all that'sleft are lipstick traces of kisses youpretended to feel." In most songs, thething about lipstick traces is they neverget washed off; in this one, you

imagine the singer running to the

bathroom to find a flannel.We recently went through a period

in popular music when innovators wereexpected to make their inventivenessself-evident, by using some outrageousdevice. Writers crammed their songswith words, as if that was song -writing;guitarists let their amplifying systemsmake noises for them, as if that wasplaying guitar; and singers growled andtalked and imitated other people, as ifthat was singing. Small wonder thatSmokey Robinson seemed to lose hisnerve, that he tried to make his songs

and arrangements seem mature (toooften, they seemed only pretentious),and that he reached in desparation forthose songs that did seem to be

well -written, "Bridge Over TroubledWater," "Wichita Lineman," ',HeyJude." If the young pop music

audience has gone crazy, maybe thebest thing to do is please the parents.Maybe, but I don't think so. We'recoming out of the period where

everybody was looking for something

"new," and are acknowledging thatthere were some good people in popmusic before the Beatles. One of themwas Carole King,, and it will be

interesting to see if her success inspiresanother of them, Smokey Robinson, togo for the same audience that boughther LP; not only is he a better singer,he's a better writer too. But, whether hedoes or not, there is already enoughmaterial in the Motown catalogue toplace him among the great ones.

SMOKEY ROBINSON

ISCOGRAPHYTHE RECORDSSmokey Robinson and theMiracles. Greatest Hits. TamlaMotown STML 11072."Going To A Go Go,""Beauty Is Only Skin Deep,""From Head To Toe," "MyGirl Has Gone," "You ReallyGot A Hold On Me," "MoreLove," "Shop Around,""Ooo Baby Baby," "I SecondThat Emotion," "Come OnAnd Do The Jerk," "TheLove I Saw In You Was JustA Mirage," "The Tracks OfMy Tears," "What's So GoodAbout Goodbye," "That'sWhat Love Is Made Of,""Mickey's Monkey, "(ComeRound Here) I'm The OneYou Need."

Start with this, and thenwork backwards andforwards. Smokey orco -wrote all but three of thetracks, which span the period1960-67.

Most of the LPs that wereissued before Greatest Hits,have been deleted, but we'lllist them, for the benefit ofthe curious and thesecond-hand record hunters.

Hi - We're The Miracles.Oriole PS 40044.

Partially reissued on FromThe Beginning, see below.

The Fabulous Miracles.Stateside SL 10099.

Issued in 1964, this had"The Man In You," "Such IsLove, Such Is Life," and

"I've Been Good To You,"and several more goodperformances.

Going To A Go -Go. TamlaSTML 11024.

"Tracks Of My Tears,""Going To A Go -Go," "OooBaby Baby," "My Girl HasGone," "In Case You NeedLove," "Choosey Beggar,""Since You Won My Heart,""From Head To Toe," "AllThat's Good," "My BabyChanges Like The Weather,""Get Me Some," "Fork In TheRoad."

Five of the tracks on thisremarkable LP are also onGreatest Hits, but "Fork In TheRoad" is not availableelsewhere, except on the flipof the original 45 issue of"Tracks Of My Tears."

The Miracles From The

Beginning. TML 11031.This collected some of the

best material from the periodbefore EMI took over

distribution of Motown'slabels, and although four ofthe tracks reappeared on

Greatest Hits, the LP is still

worth having for "Bad Girl,""Way Over There" (TheMiracles first record forTamla), "A Love She CanCount On," and other songs.

Away We A -Go -Go. STML11044.

Possibly the weakestMiracles LP so far, this hadsome uncertain versions ofsongs Smokey had no part inwriting, but still had at leasttwo beautiful tracks, "SweptFor You Baby" and "More,More, More Of Your Love."

Make It Happen. TamlaSTML 11067.

"The Soulful Shack,""The Love I Saw In You WasJust A Mirage," "My LoveFor You, ' "I'm On TheOutside Looking In," "Don'tThink It's Me," "My Love IsYour Love (Forever)," "MoveLove," "After You Put BackThe Pieces (I'll Still Have ABroken Heart)," "It's A GoodFeeling," "You Must Be

Love," "Dancing's Alright,""Tears Of A Clown."

Two of the strongest

tracks, "The Love I Saw InYou Was Just A Mirage" and"More Love" are also on

Greatest Hits; another twobecame the celebrated reissuehit, "Tears Of A

Clown"/"You Must Be

Love." But there's still at

least one more great trackthere, "After You Put BackThe Pieces (I'll Still Have ABroken Heart)."

Special Occasion. Tamla

STML 11089."Yesterlove," "If You Can

Want," "Special Occasion,"

"Everybody Needs Love,""Just Losing You," "GiveHer Up," "I Heard ItThrough The Grapevine,""Yesterday," "Your Mother's

Only Daughter," "MuchBetter Off," "You Only BuildMe Up To Tear Me Down."

Uneven, but four songsstand out, "You Only BuildMe Up To Tear Me Down,""Special Occasion," "If YouCan Want," and the wistful"Yester Love."

Live. Tamla STML 11107."Once In A Lifetime,"

"You And The Night AndThe Music," "I Second ThatEmotion," "Tracks Of MyTears," "Poinciana," "Up UpAnd Away," "Theme FromValley Of The Dolls,""Yesterlove," "Walk On By,""Yesterday," "If You CanWant," "Mickey's Monkey,""Ooo Baby Baby," "Going ToA Go -Go."

Not recommended, exceptto the management of "TheTalk Of The Town."

Time Out. STML 11129."Doggone Right," "Baby

Don't Cry," "My Girl," "TheHurt Is Over," "You NeglectMe," "Abraham, Martin AndJohn," "For Once In MyLife," "Once I Got To KnowYou (Couldn't Help But LoveYou)," Wichita Lineman,""The Composer," "Here I GoAgain," "I'll Take You AnyWay That You Come."

Includes "Baby, Baby

Don't Cry" and "TheComposer," but suffers fromSmokey's uncertainty aboutwhat kind of arrangements -touse, and from his awkwardinterpretations of otherpeople's hits, including"Wichita Lineman" and "ForOnce In My Life."

Four In Blue. Tamla STML11151.

"You Send Me (With YourGood Lovin')," "Dreams,Dreams," "Tomorrow Is

Another Day," "Hey Jude,""California Soul," "A LegendIn Its Own Time," "You'veLost That Lovin' Feeling,""We Can Make It We Can,""When Nobody Cares,""Don't Say You Love Me,""Wish I Knew," "My WorldIs Empty Without You."

"Dreams, Dreams" has acommercial arrangement and"Legend In Its Own Time" aclever idea, but it's a weakLP overall.

Smokey Robinson And TheMiracles. Tamla STML 11172.

"Flower Girl," "Who'sGonna Take The Blame,""Darling Dear," "You've GotThe Love I Need," "GetReady," "Bridge OverTrembled Water," "Tears Of

A Clown," "Come RoundHere (I'm The One YouNeed)," "Something,""So meth ing," "Something

You Got," "Point It Out,""Don't Take It So Hard,""Backfire," "The Reel Of

Time," "Wishful Thinking."Even without the bonus

addition of his two British"reissue hits," "Tears Of AClown" and "(Come RoundHere) I'm The One YouNeed," this was a vast

improvement over theprevious three' LPs. "BridgeOver Troubled Water" wasunnecessary, but "Who'sGonna Take The Blame," anAshford -Simpson song,brought one of Smokey's bestvocal performances, and

"Flower Girl," "Point ItOut," and "Don't Take It SoHard" are all effective.

The Temptations. GreatestHits. STML 11042.

This picked up the firstthree titles mentioned above,but had six more songs bySmokey, including "GetReady," "Since I Lost MyBaby," and "Girl (Why DoYou Wanna Make Me Blue)."Featuring David Ruffin andEddie Kendricks as lead

singers, the LP contains someof the best music of the era.

Marvin Gaye. Greatest Hits.STML 11065.

Only four of the songs areby Smokey, but the rest ofthe LP is good, and anywaythose four are incredible,some of the most excitingrecords Motown made: "TakeThis Heart Of Mine," "OneMore Heartache," "Ain't ThatPeculiar," and "I'll Be

Doggone."But maybe the best way

to hear Smokey's songs is ashe wrote them, and as theywere heard at the time, in

among records by othersingers and other writers. Fivecompilation albums are worthlooking for with this in mind.

Motown Magic. TML 11030.Six Smokey songs. Two by

the Miracles, "Going To AGo -Go" and "My Girl Has

Gone." Two by Marvin Gaye,"Ain't That Peculiar" and

"One More Heartache." "MyBaby" by the Temptations";and "Don't Mess With Bill"by the Marvelettes, whoseGreatest Hits LP, with"You're My Remedy" and"As Long As I Know He'sMine" on it, has never beenissued here.

A Collection Of 16 OriginalBig Hits, Volume 4.TML 11043.

It has five Smokey songs,including the Contours',"First I Look At The Purse."Also Marvin's "I'll BeDoggone," the Miracles'"Tracks Of My Tears," andtwo by the Temptations, "MyGirl" and "It's Growing."

A Collection Of TamlaMotown Hits. TML 11001.

Six. The Miracles' "I LikeIt Like That" and "The ManIn You," Mary Wells' "What'sEasy For Two" and "MyG u y ," the Temptations'"Why You Wanna Make MeBlue" and the Marvelettes'"You're My Remedy."

Hitsville USA. TML 11019.Four, including Marvin's

"I'll Be Doggone" again, theTemptations' "It's Growing"(again) and "Since I Lost MyBaby," and the Miracles'"Ooo Baby Baby."

Motown Memories Volume 2.TML 11077.

Only two, but one ofthem is Carolyn Crawford's"My Smile Is Just A FrownTurned Upside Down." Theother is the Miracles' "I'll TrySomething New."

Other Motown PerformersThe following records

include a substantialproportion of Smokey'ssongs:

Mary Wells. My Guy. StarlineSRS 5040.

Eight of the 12 songs werewritten by Smokey and manyof them showed his ingenuityat its best: "Two Lovers,""What Love Has JoinedTogether," "You Beat Me ToThe Punch," "My Guy."

The Temptations. SingSmokey. TML 11016.

In addition to the classic"My Girl," "It's Growing."and "The Way You Do TheThings You Do," the LP alsoshowed some of Smokey'sinfluences and earlyexperiments. "Baby, Baby I

Need You" could be any ofthe many vocal groups of theperiod; "You'll Lose APrecious Love" suggests theblues tones of ernsingers like Ba Lynn orWilliam B

RECORD MIRROR, September 25, 1971 15

from Smokey Robinson &the Miracles

Smokey Robinson& The Miracles

Tamla Motown STML 11172

'Greatest Hits'Tamla Motown STML 11072

EMI Records The Gramophone Co. Ltd.' EMI House, 20 Manchester Square, London, WI A lES ;Om

A member of the EMI Group of CompaniesInternational leaders in Electronics, Records and Entertainment.

Four in BlueTamla Motown STML 11151

EMIMusic Centre

and newalbums from theserinliTHEALucr 4.]

"Illtlys Ankh, /lm I ipsIII Wen. Your Winnan

The Temptations Gladys Knight and the Pips The SupremesSkys the limit If I were your woman Touch

Tamla Motown 11184 Tamla Motown 11187 Tamla Motown STML 11189

16 RECORD MIRROR, September 25,1971

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SEPTEMBER 23-29THURSDAYRoyal Albert HallTRAFFIC

Apollo Club, 375 HighRoad, Willesden, NW10TAMS

New Lord's Club, CivicCentre, GravesendKEITH CHRISTMAS

Town Hall, High Street,Kensington, London SW8GENESIS AND SATTVA

Torrington, 4 Lodge Lane,North Finchley, N12BE BOP PRESERVATIONSOCIETY

Fox at Wallington PublicHall, Stafford Road,WallingtonSTATUS QUOBull's Head, Barnes Bridge,London SW13SPIKE HEATLEY-TONYLEE DUO

Leek Blues Club, Red LionHotel, Market Place, Leek.GUEST GROUP

FRIDAYOdeon, ManchesterMARVIN WELCH ANDFARRAR

Brick House, HullAUDIENCE

WallingfordTwickenhamBELL 'N' ARC

Masonic,

Royal Albert Hall, LondonCARPENTERS AND LABISIFFRE

Two J's, BraintreeARMADA

Marquee, 90 Oxford Street,London WIHARDIN AND YORK

Park Hall Ballroom,Wormelow, HerefordHOT CHOCOLATE

Windsor Hall, BlackburnMAGNA CARTA

Torquay Town HallFAMILY

Hobbits Garden, 267 TheBroadway, WimbledonHAWKWIND

Van Dike, Exmouth Road,PlymouthSTATUS QUO

Bull's Head, Barnes Bridge,London SW13SAM ROBINSON ANDTHE BILL LE SAGE TRIO

SATURDAYOdeon, WolverhamptonMARVIN WELCH ANDFARRAR

Clarence's HalifaxLINDISFARNE

Clarence Pavilion,PortsmouthSTRIFE FERNHILL,BEGGARS DEATH

Liverpool StadiumTRAFFIC

Park Hall Ballroom,Wormelow, HerefordRAY McVAY AND HISBAND

Temple, Wardour Street,London WIMR. MOSES ANDSCHOOLBAND

London Apollo Club, 375High Road, Willesden,London NWIOOSCAR TONEY JNR.

Starlight Rooms, BostonCURVED AIR

Village, Roundhouse, LodgeAvenue, DagenhamMOTT THE HOOPLE

Van Dike, Exmouth Road,PlymouthFAMILY AND CURTISSMALDOON

Bull's Head, Barnes Bridge,London SW13BE BOP PRESERVATIONSOCIETY FEATURINGHANK SHAW AND PETEKING

SUNDAYEmpire, LiverpoolMARVIN, WELCH ANDFARRARFree Trade Hall, ManchesterTEN YEARS AFTER,SUPERTRAMP, KEITHCHRISTMASMister Bee Club, 43Peckham High Street,London SE15OSCAR TONEY JNR.Lyceum, StrandARMADA, IF,ACCRINGTON STANLEYAND TITANICColiseum, LondonCAT STEVENS

Civic Theatre, GravesendROGER WHITTAKER

Torrington, 4 Lodge Lane,North Finchley, LondonN12STACKRIDGE

Fox at Greyhound, ParkLane, CroydonWISHBONE ASH ANDBURNT OAK

Bull's Head, Barnes Bridge,London SW13Morning: RONNIE ROSSAND THE BILL LEESAGE TRIO

Evening: BRIAN SMITHAND THE BILL LE SAGETRIO

MONDAYCivic Hall, WolverhamptonTEARGAS

Quaintways, ChesterIF AND GENTLE GIANT

Bull's Head, Barnes Bridge,London 5WI3DICK SUDHAULTERQUINTET

TUESDAYColston Hall, BristolMARVIN, WELCH ANDFARRAR

City Hall, SheffieldTEN YEARS AFTER,SUPERTRAMP ANDKEITH CHRISTMAS

100 Club, Oxford Street,London WIARMADA

Royal Albert Hall, LondonCREEDENCE CLEAR -WATER REVIVAL

Fox at Starlight, HighStreet, CrawleySTATUS QUO

Bull's Head, Barnes Bridge,London SW13TONY LEE -SPIKEHEATLEY DUO

WEDNESDAYChelsea Village,BournemouthTAMSWinning Post, Gt. CherseyArterial Road, TwickenhamSTATUS QUOBull's Head, Barnes Bridge,London SW13ALAN HAVEN

COLLEGE EVENTSSEPTEMBER 23Kent UniversitySTRIFE FERNHILL,BEGGARS DEATHSEPTEMBER 24University Union, CardiffSTACKRIDGEBedford College ofEducationBELL 'N' ARCSEPTEMBER 25Bishops Otter College,ChichesterSTACKRIDGEKeswick College, NorwichAUDIENCE , .

TAPE AND HI-FI INF

The amazingworld of sound

Part 3: Car Cassette SystemMUSIC ON 4 wheels inits early days wasrepresented by the carradio, and at the timethis proved a fairlyreliable source oftravelling entertainment.

The radio has a somewhatlimited choice of pro-grammes, and if you, likeme, get a little tired of theold recipes and slimmingexercises which seem toinfiltrate into many of theDJ programmes, and find it alittle frustrating and alsoimpossible to reduce weightor bake a cake whilsttravelling at any speed, tapeis the thing.

The 8 -track cartridge andthe cassette have at last giventhe opportunity of listeningto music that one wants tohear, pop, jazz, classics, andopera, etc. wherever andwhenever you please.

I chose the stereo cassettesystem for my car inpreference to the 8 -trackcartridge for two mainreasons. One, I had already apretty good selection ofmusic cassettes for my hometape deck and two, mystorage space; always limitedin a car, could contain agreat deal more cassettes asthey are so much smallerthan the equivalentcartridge.

Every one of the majorrecord companies now issueprerecorded cassettes andthis represents a veryextensive library of musicwell over 2,000 LP records.

The 8 -track system, weknow, is a continuous loopsystem and will go onplaying ad -infinitum untilyou get tired of that LP, butthe new double playcassettes playing 1 hour eachside is equally as good. Twoof these C120 cassettes forexample, will cover ajourney from London toManchester four hours ofmusic of your own choice,and what's more, in stereo.

Stereo in a car really hasto be heard to be appre-ciated. I am told the bestmethod of hearing music instereo is through headphones as, one does notsuffer with sound distortionfrom echo reflected onabsorbed sound. Backgroundnoise which although almostimpossible to eliminate inthe car can be greatlyreduced, the stereoreproduction in the limitedconfines of the car is trulywonderful.

Radiomobile, the well

PHILIPS N2602

CASSETTEAPERTURE

mth

Radientelie

°MOSSINDICATOR

LIGHT

[alto, a.

C OTT'S tO L

RADIOMOBILE 301CS

known car radio specicialistshave just introduced thestereo cassette car tapeplayer, model 301CS intotheir range. This welldesigned package has twinvolume and tone controls,speaker balance control,illuminated warning lightand fast forward windbutton are just a few of theadvanced features of thisunit.

The compact, functional'easy on the eye' design

THE HITACHI CST213WITH SPEAKERS

allows it to be simply fittedin most cars. Just two screwsthrough the Mounting Lugsat the top and a piece ofperforated strip (supplied)attached to a wing nut fixingat the rear and the unit issafely in position. The twospeakers supplied, each withtheir own handsome blackmoulded grilles, are equallyeasy to fit and complete,simple to follow, illustratedinstructions are provided.

The Radiomobile 301CScomes ready for 12 voltnegative earth cars, but canbe easily converted topositive earth if necessary. Ithas a recommended retailprice of £46.00 completewith speakers.

Hitachi with their stereocassette player have includedan AM radio tuner. Themodel CST213 has easy,accurate operation evenwhile driving, thanks to the

PHILIPS RN312

cassette slide -in system.Casette tape auto -ejectbutton and One -touchselection of cassette or radio.

Dynamic, rich sounds oflarge seven watt poweroutput, with tone andbalance controls and devicefor connecting to ariel. It ispossible to change to radioeven while the cassette isbeing played.

Dimensions: Width 11% in.x 2% in x depth 6% in.Recommended retail price£54.95 which does notinclude speakers. These caneasily be included with theHitcahi SB330 setup for afurther £6.95.

Philips with their newRN312 cassette car radioagain give the best of bothworlds. A product of Philipsminiaturisation technique,this under -the -dashboard -mounted model combinesgood looks with highreliability.

The silicone transistorisedcar radio operates on Longand Medium wave bands andthe cassette player sectiontakes all the cassettes - youjust slot them in. Rewindingis fast and easy - even whenyou're driving. And there'san automatic stop at the endof the tape.

To heighten your stereo,there's a stereo balancecontrol and a powerful 6watts per channel output forbrilliant stereo reproduction.

The RN312 costs £65.00and is supplied with 2 loudspeakers.

Another Philips stereocassette player, the N2602 isworthy of mention. Costing£48.00 this neat model hasits own built-in amplifiers.When it's connected to twoloud speakers supplied withthe unit you get thecomplete stereo play backsystem inside the car.

You can load the N2602simply whilst you drive, justslip the cassette lengthwiseinto the letter box slot. Atouch operated barsemi -ejects the cassette foreasy removal and the controlfor fast wind and rewind canbe operated whilst thecassette is playing. Thestereo cassette player has ablack impact resistancepolystyrene outer casingwith an all -metal screenedcase inside.

There's an illuminatedon -off indicator, stereobalance, volume/On-Offcontrols and a 3 -positiontone switch with anautomatic end -of -tape stop.The N2602 is supplied withtwo loudspeaker enclosuresand costs £48.00.

Barry O'Keefe

RECORD MIRROR, September 25, 1971 17

JUST FOUND TIME to sitdown in my dressingroom anddrop you a line from lovelyHarrogate. How shall I start?Well, let's say "having a

wonderful time. Food good,weather fine. Wish you werehere."

So why am I here? Playingthe part of "Alfie" in BillNaughton's play of that name.And I must say how good andexciting it is to be back on thestage again after six years.

However, it's been only a monthaway from the old disc-jockery. Weend here on Saturday, then it's backfor the start of my new Saturdaymorning series on October 2 - it

i runs from 10-12.But I've certainly grown to love

good old "Alfie". In disc-jockery, ifyou're running out of words youcan just put on a record. But here,it's on stage at 7.30 and you don't

I leave for three hours.What amazed me is that

somebody worked out that in actualwordage, "Alfie" is the secondlongest part in the English language.The longest is ... "Hamlet". FromShakespeare to Bill Naughton is

; quite a step.For weeks before I came up to

Harrogate, I'd wander acrossHampstead Heath, trying to getinside all my lines. It's been hardwork, but I've really enjoyed it verymuch.

Mind you, "Alfie" is basically a.- Cockney, while yours truly is a

Scot. I could have tried myCockney accent, but this isessentially a truthful play in everyway - so I thought it wrong to tryplaying the part in a phoney style.Hence, my "Alfie" is turned into aScotsman.

Some time ago, when NoelEdmonds took over the TonyBlackburn show and I took overfrom Noel, I got pretty deeply intothe ecology -pollution scene. I

pointed out a few things that areupsetting our environment andasked for facts and figures fromlisteners.

It was only a short part of theprogramme, which I introduced byplaying a few sharp blasts of "SaveOur Planet", which is on the "EdgarWinter's White Trash" album. Butmy rather. frightening statementsabout what is really happening toour space -ship called "Earth" reallycaught on.

So I'll be revealing more facts inthe new series.

Like this "gem". Since the CleanAir Act of 1956, it's true that thequestion of air pollution hasimproved ... that is, less soot andless smog. But the actual air webreathe is in a terrible state, withcolourless, odourless, tasteless anddeadly gases.

STUART HENRY.

Sixty per cent of it comes fromour old friend the internalcombustion engine. Petrol with leadadded to it - anti -knock, you know- is the cause. Now ... oneMILLION tons of this lead is

pumped into the air in the UnitedStates every year. It's calledtetra -ethyl, and it attacks the lungs,skin and brain. Specially the brainsof children, and it can causemadness.

Frightening, isn't it? And we'reusing up the earth's oxygen, whichwe have to breathe, faster than it'sbeing produced. That's a fact. A707 jet uses up 35 tons of oxygenevery time it crosses theAtlantic ... and there are 3,000 ofthese air liners in the air at any onetime. And we're killing off the verysource of the supply of oxygen,such as the di -atoms, the plankton,in the sea.

Take Japan. There are oxygenunits set up at ten major trafficintersections in Tokyo so that thetraffic cops can take an "oxygenbreak" every so often just tocombat the exhaust fumes that arethrown out of cars.

In Los Angeles, there is a

respiratory centre where theinhabitants can go into a sealedbuilding and breathe fresh air for awhile.

They think more deeply aboutthese terrible problems in the States- but we're gradually becomingmore and more aware. Scientists inAmerica, for instance, havepredicted that every man, womanand child in the hemisphere willhave to wear breathing helmets evento survive in the streets of the maincities.

So ... I'll be hammering homeany new information I get via mynew series. And, like it or not, thefact is that we are all DOOMED theway things are going. Noexaggeration.

So listen to that "Save OurPlanet" track by White Trash - thealbum came out a few months ago.Listen and take notice because it'sgood that pop music is lining itselfup in the ecology scene.

BUDGIE: (LEFT TO RIGHT) RAY PHILIPS, BURKE SHELLEY AND TONY BOURGE.

It's advisable to remove domesticbirds before playing Budgie's LPBUDGIE: five sweetlads with a flair fordelicate, pretty melodiesthat float through thebreeze like the tiniestspring fowl? WRONG!Three men from Waleswho slam, pummel andpound, sweating thebeat out of rock withgreat grinding thrust.

It's enough to make thefeathers fall out of yourbudgie, so it is advisable toremove domestic birdsbefore playing their MCAalbum - a record that isdelightful, but not in a

docile way.Discovered by Black

Sabbath producer RodgerBain, Budgie have beenwriting their own materialfor about 18 months andvarious influences have ledup to their characteristicgut rock sound. Themembers. Burke Shelley.Tony Bourge and RayPhilips. had wandered downfrom Cardiff for the day fora fast burger at the HardRock Cafe. We take youthere

"We were messingaround with names", saidBurke, "when I made thesuggestion we call it Budgie- taking the piss out ofourselves. I figured peoplewould laugh at the name,

I used to sing in bed tillI went to sleep as a kid. I'dsing out the windows to hipteenagers to impress them;stand up and sing in buses.When I was six, I hadmemorized a lot of

by LON GODDARDthinking of the usual tweettweet image until theyheard us. It's a paradox.Soon after that came theadvent of Adam Faith'sBudgie TV series and thatactually helped out."

"We never had any realideas about gettinganywhere - just earningsome bread", explainedTony. "There was a fourthmember with us about 18months ago, a rhythmguitarist, but he was reallyholding us back. When heleft, we continued on as atrio. When we saw a littlepopularity and found somefans. out outlook began tochange."

Burke never visualised itany other way - he knewthey had to make it. "I'vealways had a feeling wewould: I was determined.

complete numbers. I'drather fall than give up.

"During school, I wrotesongs consistently.Eventually, I gave up schoolfor quantity surveying, butit held no interest for meand I would rather havebeen at hoine playing theguitar. Then I met Brian,the rhythm guitarist wholeft us, found Ray througha music shop and Tonyjoined us six months later.We practised in a hall,sleeping and eating there forweeks, then began to gig.We played mostly otherpeople's stuff, but slowlybegan writing and movingforward. Brian didn't. Wewould never jam - hewanted to practice 'YummyYummy' or his own songson that wavelength. Whenhe left, we decided to play

only our own stuff; we'dmake it on that or bust.

"First there was a

melody, then a bass riff,then the heaviness came. Ithad to be gutsy, becausethat's what the songsrequired. Some peoplemight say we're jumping ona bandwagon - that thereare similarities between usand other bands, but it'splaying what you want toplay that counts. Sure,there are similarities; weFigured we might be putdown, but it would be falseif we didn't do it. Thesimilarities don't bother us- we think we know whatthose other bands wereaiming at and we think wehave a better grasp of it andwill do better at it. It issimply ourselves' speaking."

- Sure, there aresimilarities between Budgie,Led Zeppelin, BlackSabbath and so on. Themain similarity is that theywill all three probably blowyour head to bits in a

desirable fashion. Don't bethe last on your block tolose your mind ...

The most spectacular rock concert trip ever !The legendary 42 member-one and only coast-to-coast tour-all mad, save one Englishman!

PIE TOO co, ovrne 111.1 14

JOE COCKERMAD DOGS aENGLISHMEN

Steno,

Joe CockerLeon Russell

Exam -dive Andean JERRY MOSSOencled tra PIERRE MIME

Produced bv MARRY MARRS,PIERRE MADGE and ROBERT ABEL

Assocole Producet SIDNEY LE VIMAn AAM FILM m assn

h CREATIVE FILAI ASSOCIATESReleased thnotqh MGM -EMI

inTechnicel,

Also from September 26th at ODEONS - CROYDON,HAVERSTOCK HILL, HORNCHURCH. LEWISHAM.RICHMOND. SHEFFIELD and WALPOLE. EALING

18

smaCLASS! F I EDS

The price for a classified advertisement is: 5p perword. £2 per single column inch, boxed. BOxNumber charge 25p. No money, in any form, shouldbe wild to a Box number. Advertisements should besubmitted by Thursday of the week precedingpublication. All advertisements are subject to theapproval of the publishers. The RM will not be liablefor any event arising out of advertising.

records for sale"ABSOLUTELY THE BESTmail order export service forall readers living inNORWAY, SWEDEN,FINLAND, DENMARK,GERMANY, HOLLAND,BELGIUM, etc. Now youcan obtain all your recordsquickly and cheaply fromTANDY'S famous mail orderexport service. Write todayfor full details plusTANDY'S famous listing ofBest Selling LPs and newreleases, from: TANDY'S(RM), 18-20 WolverhamptonRoad, Warley, Worcester-shire."

ROCK AUCTION - PresleyHMV, Vincent, Domino,Perkins, Rich, RonnieHawkins, Ray Smith, Cash,Berry, etc. Over 2,000 45sincluding many Sun at 45p.5p s.a.e. list. 18 DelamereGardens, London NW7. 9595187.

RECORD COLLECTORS!Worldwide service. Bestsellers stocked.Discontinued recordsspecialists, 1000s available.Disco's delight. Thousandslistings! Hours browsing!Send 13p current issue TheRecord Collector. HeanorRecord Centre (R), Heanor,Derby.

OVERSEAS READERS -We give large discounts onANY new LP - supplied freeof tax. Send for FREEcatalogue. Cob Records(Export Division 12),Portmadoc, Caernarvonshire.

OVER 5,000 qualityguaranteed used LPs alwaysin stock. Also, largediscounts given on ALL newLPs - satisfactionguaranteed. Send for FREEcatalogues. Cob Records,(Dept. 12), Portmadoc,Caernarvonshire.

3000 DIFFERENT singlesof all kinds, from 5p. S.a.e.4 Cavendish Avenue, St.Leonards

RECORD BAZAAR:50,000 from 10p. Send 5pfor lists of 45s and LPs to:1142/6 Argyle Street,Glasgow.

BIG 5 Prince Buster hotbanned record 60p 'SlippedDisc', 262 Lavender Hill,London SW11.

FREE LISTS - send s.a.e.- 12 Winkley Street,London E2.

FREE SINGLES, plusthousands of Rock, Pop andSoul bargains, all in RecordMan Magazine. Send 15pP.O. to 16 London Hill,Rayleigh, Essex.

SINGLES 10p EACH,everything, hundreds. Larges.a.e. lists 187 Sulivan Court,Fulham, London SW6 3DN.

AVAILABLE NOW. All ourlists of deleted Pop, Rock,Soul 45s and LPs. Send 5pplus large s.a.e. to: F. L.Moore Records Ltd, 167aDunstable Road, Luton,Beds.

BIG SOUL Auction larges.a.e. for lists. Harris, 21

Clarement Road, Sedgley,Staffs.

RECORD LENDINGLIBRARY (Postal), Join us- save money. Don't buy -borrow. Send s.a.e. fordetails to: 17(R), Park ViewCourt, Fulham High Street,London SW6 LP3.

SOUL/R.B.ALL CURRENT ISSUES

LIST OF OLDIESIMPORTED SINGLES

AND LONG PLAYERS

OVERSEAS ORDERSWELCOME

Write or Call

RECORD CORNER27 BEDFORD HILL

BALHAM, SW12

ROCK ON! Hundreds ofnew London deletions.Jerry Lee, Hurricanes, etc.Original Sun 45s. 93Goldborne Road,(Portobello Road). Saturdayonly.

REDDINGTON'S GREATROCK SET SALE. Listsavailable now. Contains allthe 'all time greats'. Manycheap items. s.a.e. to: 20Moor Street, Ringway,Birmingham 4.

AMERICAN LPs - £2.40each. If ifs available in

America, I can obtain it.Send 15p for lists of 10,000titles to P. Jenney, 26Ripon Drive, Blaby, Leics.

ROCK 'N' ROLL 78sauction - 250 differentunplayed. Presley, Perkins,Lewis, Cochran etc. Manyrare groups and Diddley,Ruth Brown, McPhatter, L.Baker, D. Hawkins, Willis,McCracklin, J. Scott,Valens, L. Williams, Wailers.Large s.a.e. Flat 15, 160Westbourne Grove, LondonW11.

ELVIS FANS!! Rare Elvisbooks "A Century OfElvis," "The Elvis TheyDig," 2 Albert Hand booksboth now very very rare.Offers please to: M. Perry,26 Lilford Road,Camberwell, LondonSE5 9HX.

INTERESTING NEW mailorder service, HOTDISCOUNTS, FREEpostage, rapid delivery,PLUS experienced personalattention. Details by returnfrom: MINIT PRO-MOTIONS, Dept. AE/1, 16Kings Road, (West),Newbury, Berkshire.

UN RELEASED U.S.Original soul singles, 50pence and LPs £2. Just"Voice Your Choice."International reply couponfor list. Chuck Goldenberg,90 Heath St., W. APT, 202Toronto, 7 Ontario, Canada.

GOLDEN OLDIES,hundreds available fromfivepence. s.a.e. R. Smith23 Benhurst Ave.,Hornchurch, Essex.

tapesDISC JOCKEYS

Disck Jockey Gimmick/Jingle Tape III

*We have produced an-other jingle tape, crammedfull with jingles, drop in's,music pads, flashbackjingles, twin spins', showopeners', (250 in all) de-signed especially for DJswhether they are on radioor in the discotheque.*Make your programme/show sound professionaland slick, with thiswonderful one hour tape,which is guaranteed to getyour audience turned onand happy.*As used by R.N.I. andRadio Veronica.*Recorded on 'Scotch'(Low noise) brand andEMI tapes.

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*Special Bonus!!! Thereare still a few copies left ofI and II. Buy all three anddeduct 50p from the totalprice.*Orders dispatched sameday*Rush your order todayto:East Anglian Productions

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SOUL! OLDIES! POP! Ontape - s.a.e. to: ExcaliburRecordings, 44 Earls CourtRoad, Kensington,London W8.

EXCHANGE TAPES with"The Recording Kittens"the UK's top femaletapesponding team and allthe other members of "TheGreat Britain TapespondingClub." Details from:G.B.T.C., 203 King's Road,Chelsea, London SW3.

records wantedAS MUCH AS £1-25pallowed for your unwantedLPs in part -exchange forbrand new LPs - or we willbuy them for cash. S.a.e. fordetails first. BDR2, CobRecords, Portmadoc,Caernarvonshire.URGENTLY WANTED forcash - large collections ofPop, Soul, Rock, C&W, 45s.High prices paid for goodcondition records. Noquantity too large. Sendrecords or details with s.a.e.to: F. L. Moore .RecordsLtd, 167a Dunstable Road,Luton, Beds.

CHUCK BERRY LPs "AfterSchool Session" and "BerryIs On Top" wanted. Goodprice paid. Must be in goodcondition. M. J. Gregory, 6Hall Street, Alvaston,Derby.

SINGLES, EPs, LPs boughtfor cash, must be goodcondition, good prices -send to John, 145 OldburyRoad, Worcester.

PET CLARK'S "ThankYou." State price. BoxNo. 373.

songwritingLYRICS WANTED byMusic Publishing House, 11St Albans Avenue,London W4.

announcementsWANTED: TWO GO-GOdancers for 23.10.71. Discofee £2. Write to Mr P. M.Dodd, 108 Blaker Court,Fairlawn Charlton, SE7 7ET.

RECORD MIRROR, September 25, 1971

Iota k personalJANE SCOTT for genuinefriends. Introductionsopposite sex with sincerityand thoughtfulness. Detailsfree. 3p stamp to Jane

Scott, 50/RM, MaddoxStreet, London W1.

MAKE NEW FRIENDS,marriage partners. Stampto: Postal Friendship Club,Dept. A34. 124 KeysAvenue, Bristol BS7 OHL.

MAKE NEW FRIENDS.Ladies and Gentlemen fromall over the world would liketo correspond with you.Details and 40 samplephotographs free. Write,enclosing a 21/2p stamp, to:Interspond, P.O. Box 58,Brussels 1020, Belgium.

OPERATION MATCH.We're Britain's leastexpensive computer datingcompany and the mostcheerful and energetic. Webelieve that computerdating has fallen into a

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DattlineThe Dateline computereliminates chance as a

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GOOD LOOKING MAN 25living in Northampton seeksgirlfriend living anywhere.Box No. 374.

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Coach departures - 18October and 13November. £69 single,£110 return.

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publicationsFIREBALL MAIL EnglishSpecial. Jerry Lee Lewis -news, photos, reports. EddieCochran photo, MemphisStory. 20p. Temple, 117Piltonvale, Newport, Mon.(delivery approx. one weekfrom Holland).

EDWIN STARR!! AndValerie Simpson!! MotownMonthly 12p + stamp. 48Chepstow Road, W2.

mobile discothequesLIVEWIRE DISCO. A discoworth booking on alloccasions. Phone 552 9884or 599 7068.DAVE JANSENDISCOTHEQUES. Radiostyle professionalentertainment 01-699 4010.

MEBO SOUNDSMOBILE

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APACHE DISCO, lights,exclusive Top 40.Reasonable rates. Phone:01-540 1282.

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Just for the fun of it! 77SOUND DISCO. Top 40sounds with M.G. Phone:01-360 4954 (evenings).

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fan clubsKENNY RALLAPPRECIATION SOCIETY- S.a.e. to Miss Pat Sanders,18 Carlisle Street, LondonW1.

"LAST NIGHT" new recordfrom Roy Orbison. 21

Daventry Gardens,Romford, Essex.

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RECORD MIRROR, September 25, 197119

e

countr stTHE Johnny Cash show is here, but sad to say GlenSherley isn't with them.

Glen is an integral part of the show in the United States, butthere is one thing that prevents his making the trip abroad: he is aparoled convict, who cannot leave these shores.

Sherley makes no bones about it. Most of his life he wasin trouble, and now he's doing his utmost to stay out of it.A troublemaker even in prison at times. Then Johnny Cashcame into his life, albeit inadvertently.

Quirks of fate often determine the destiny of a man.Sherley has had many of them. There were the ironicdevelopments in the poverty days which led him towarddisaster. There were the kinder happenings later in life,

which brought him back to usefulness and somethingmeaningful.

One of these was a tape lefton the dashboard of a rental car;another was the faith of oneman which somehow spread likea chain reaction.

The beginning, 35 years agoin this case, was not a happyone. Glen Sherley was born to afamily of itinerant vegetablepickers, who toured the fields ofCalifornia, Oregon and Arizona,and eked out a bare existence inthe sweltering heat of theirrigated valleys.

Fighting became a way of lifewith the young man, not onlyfor his life, but for what he feltthe world was depriving him of,a chance to break away fromthis miserable life.

Since the chances did notmaterialise, Sherley drifted intotrouble. Suffice to say that thetroubles, as time went on, werecompounded by bitterness anddespair, and ultimately Sherleybecame a full-time felon, a manwho was paying.his various debtsto society in the Californiaprisons.

When he became engaged infights in the prison, he foundsolace in the solitary retreat ofputting his thoughts first intoverse, and then into music.Actually, he had written a littleas a youngster, but neverdisclosed this to anyone becauseit was considered to besomething less than manly.

HOPESWith him in prison was a man

named Earl Green, a fellowserving time for murder.Fortunately, there are those whodon't foresake even thelong-term offenders, and Greenhad a friend named ReverendFloyd Gressett, of Venture,California, 150 miles from whereFolsom Prison is located.

Ventura also is the home ofthe original family of JohnnyCash, and the Columbia artist isa frequent visitor to that city,where he calls on his daughtersby his previous marriage. In thecourse of time, Cash came toknow the Reverend Gressett.

Prisoner Green was aware thatCash knew Gressett, and aware,too, that Glen Sherley hadwritten many songs. One ofthem, in particular, he felt wascommercial. Green talkedSherley into passing this song on

You won't seeGlen Sherley withJohnny Cash thisyear - he'son parole

The man fromFolsom Prison

GLEN SHERLEYto the minister, in hopes it mightone day reach Cash.

Sherley had high hopes, whichvanished rapidly as time wentby. After three months,convinced that Cash would neverhear the song, Sherley asked forit back.

"I felt that it probably wasn'tvery good anyway," Sherley toldRecord Mirror. "And if Cashnever heard it, at least hecouldn't turn it down. That wayI could always think it wasgood."

Fortunately for all, theReverend Gressett ignoredSherley's letter, and kept tryingto get the song to Johnny Cash.Two more months went by, andstill nothing, and again Sherleyasked for the song. AgainGressett ignored him.

It was in February - eightmonths after the song was givento the man of the cloth - whenJohnny Cash came to Ventura.He was on his way to FolsomPrison to record his famous livealbum. It was here that theReverend Gressett and JohnnyCash got together.

Actually, the tape was givento June Carter Cash to give toher husband to hear, and sheperformed her duty. Johnny wasto proceed on to a motel near

Folsom, and listen to it there.Then, one of the facts of fate.

At the airport, Johnnyremembered that he had left thetape on the dashboard of arental car in Ventura. Althoughfeeling badly about it, there wasa plane to catch. The ReverendGressett, however, was not goingto let it go at that. He raced tothe agency, found the tape stillon the dashboard, and sped backto the plane in time to get it toCash. Johnny tucked it in hispocket, and carried it on withhim.

In the quiet of the motelroom, June played the tape forhim. The song was "GreystoneChapel," and Cash liked what heheard. In the next hour or so hememorized the song.

It was the next day whenCash, appearing in the confinesof Folsom, when Johnny lookeddown at the prisoner in the frontrow and said: "And now, GlenSherley, here's your song. I hopewe do it justice."

Needless to say, he did.Sherley cried like a baby.

The shaken prisoner returnedto his cell, and did what camemost naturally. He devoted all ofhis thinking hours to writingsongs, and he turned out threeor four hundred of them.

And he correspondedregularly with Cash, whoanswered his letters, and withLarry Lee, who heads thepublishing division of the Houseof Cash. He also correspondedwith Jim Malloy, producer forsuch artists as Sammi Smith ofMega and Eddy Arnold of RCA.Malloy, too, had faith inSherley's ability, and he tookone of his songs for Arnold torecord. That was "Portrait Of MyWoman."

Malloy then arranged, after athree month effort, to go to theCalifornia prison and let Sherleyrecord for himself. Taking alongNashville session musicians, herecorded Glen Sherley in a livealbum, in the prison gymnasium.

This was the first timeSherley had ever appeared beforea live audience. He did so well,the fellow prisoners had him dothe whole show -over again. Itwas after his eventual releasefrom prison, some time later,that he was signed by Mega, andhis album was released.

Getting Sherley out, however,was a major undertaking. Beforeit was finalised, many steps hadto be taken. Prison officials,convinced Sherley not only wasrehabilitated, but now could be astrong force in society,concurred in his parole afterintercession by such people asGressett, Cash. Malloy, Lee, theReverend Billy Graham. andperhaps others.

Cash offered him a residence,a contract as a writer for theHouse of Cash, and a role in histravelling show. He already hadthe Mega contract.

A proven writer, Sherley nowhas come along strong as aperforming and recording artist.Faron Young has recentlyrecorded one of his songs.

Sherley has either written allof his songs, or co -written themwith Harlan Sanders, anotherprisoner still behind bars atFolsom. One of these was "LookFor Me," sung by Johnny Cashand June Carter Cash in theiralbum.

The one-time vegetable pickernow, in moving around withCash, has seen more of the U.S.than he had ever seen in his life.The day will come when he willbe able to see all the world.

It is a long period of parolebecause Sherley had led a longlife of crime, but the day willcome.

Meanwhile, the Johnny Cashshow will have all of its otherregular features, including theCarters, the Tennessee Three, theStatler Brothers and more whenthey reach England. A part ofGlen Sherley will be there, too.

BillWilliams

NEXT WEEK IN RECORD MIRRORNANCY AND LEE

Bigman,sweetvoice

BRENDAN SHINE was aceili band singer by way ofbeing a farmer. In additionhe was a winner of theHohner All -IrelandA c cordeon Championshipand with these two talentshe became known at everywake, wedding and funeralin the Irish Midlands.

Shine is a big man,standing six feet or more.He still has the healthycomplexion of a farmer, butit is slowly giving 'way toballroom pallor. His workrate has increased hundredper cent and a continualstring of hits has made hisone of the most popularbands in Ireland.

SUCCESSSuccess has made serious

inroads on Shine's relaxedway of life to the extentthat he only gets to thefields for the odd few hoursanymore.

"I kind of miss it. I'm sobusy that I don't have timeto think about it. It is stillmy first love, but whenthings are going well, I

might as well make the -most of it.

"In the days of my firstband, we only playedaround home, which is

outside Athlone, atweddings and things and itleft me plenty of time forthe farming and justenjoying myself. It's hard tobelieve, but I still doweddings with my brotherOwen, who is also in theband."

His first big hit was "ABunch Of Violets Blue,"one of those stories of loveand war and somehow hegot away with changingstyle for his next song"Sailor Boy" which wasn'tquite as successful. But hislatest effort has been hisbiggest to date.

"O'Brien Has NowhereTo Go" is one of thoseIrish/American humoroussongs, born in the bowels ofthe Bronx. A cleverpublicity campaign and thecatchy inoffensiveness ofthe song made it numberone and packed the hallsfor Brendan Shine and hisband.

Despite all his success,Brendan Shine is stillbasically shy and off stageis just a good naturedcountry lad who likes a fewdrinks and a bit of pleasantchat. If the good times wereto go, he wouldn't worrybut while it lasts, he may aswell make hay, whileBrendan shines.

20

AMERICANRELEASES

FOUR TOPS: Simple

Love (TamlaYou Stole My

(Tamla MotownTMG 785). BothBritish productionsfrom last year, the topis a Topped upchurning version of a

Moody Blues song byMike Pinder, while theflip belts along. Theircurrent U.S. hit is theireven older "MacArthurPark."

ELVIS PRESLEY: I'mLeavin'; Heart OfRome (RCA 2125). Alovely lalalala-ingslightly NeilDiamondish lilter,probably too pretty forhis hammyemotion -loving public... although I hopeI'm wrong. What I dohope is that theanonymous sender of a"rare" Elvis single somemonths ago will get incontact again.

1!GENE PITNEY: Run RunRoadrunner; RainmakerGirl (Pye Int 7N25564). Produced byCharlie Foxx (Inez'sbrother), who producedGene's great "She's AHeartbreaker" R&Brecord, this heavyslowie is by JerryWilliams - yes, SwampDogg! What's more,Gene's vocal is awfullylike Little Jerry's old"You're MyEverything" (theWalker Bros coveredit). It's been remixedfor British consump-tion, and could click.Gay flip.

RAY STEVENS: All MyTrials; Have A LittleTalk With Myself (CBS7443). Presumablymulti -tracked by Rayhimself, this gentlesemi -inspirationalharmony group (?)soaring slowie is rathernice - good Loon, andwailing Carpenters'"Close To You" -likeharmonies. Re -issuedvery powerful flipsidejogger, again done allby himself.Recommended.

BOBBY RUSSELL:Saturday MorningConfusion (UA UP35283). Bobby'sresponsible, withBobby Goldsboro, forall those awfulmawkish sentimentalAmerican everydayhousewife records.Here, he's speeded upthe clever lyrics (I'lladmit he writes 'emwell always), until thesong is reminiscent ofRay Stevens' old "Mr.Businessman." RadioOne seems to love italready, and indeed it'squite fun.

LAYNG MARTINE: RubIt In (CBS 7470). And,produced by RayStevens, this fella has areally amusing,somewhat unseasonalnow, ditty aboutrubbing in suntan

lotion. Nice Coasterstouches, and generalawareness of America'srich Pop music heritageset this apart, althoughmost people will justhear Bubblegum. Someof you nostalgicats willdig.

by JAMESHAMILTON

STEPHEN STILLS:Marianne; Nothin' ToDo But Today(Atlantic 2091141).Wheee! From his latestalbum, a gloriousromping slipping and

sliding fast happybeater, c/w a JimiHendrix in structurebut not sound, choppyrhythm jumper. Niceone!

CANNED HEAT: LongWay From L.A.; Hill'sStomp (UA UP 35279).Good get it on anddon't forget toboogie -type stompingnoises from Heat, withsome powerful guitarjangling. Yeah! JoelScott Hill streaks alongothe very fast Bluesinstrumental flip.

THE DOORS: Riders OnThe Storm (Elektra K12021). Thisrainfall -backed sinisterword but lullinglyeasy -paced beauty is

even better in its full7:14 album version,and indeed this and the7:49 choogling "L.A.Woman" title track arejust two of many goodreasons for getting theLP. Go get it, y'hear?

WAR: All Day Music; GetDown (UA UP 35281).Mmmm, huh! Relaxinggentle rhythms, a

swaying melody,gorgeous harmonies,and a bitch of a greatrecord that shouldappeal across the boardto Soul, Progressive,Easy Listening, Jazzand ... well, Americanaudiences in general,'cos I don't thinkBritain is up to it.Prove me wrong,please. Funkier flip.What a good groupthey are, now.

CHARLES LEONARD:Funky Driver On AFunky Bus, Parts 1 and2 (Jay Boy BOY 39).From LoadstoneRecords, this recentultra -funky R&Bdancer is almostdefinition of what goodole Funk should beabout. A real butgoodie! This mightrestore the confidenceof old Soul Freaks, andput some wiggle intheir ass.

TYRONE DAVIS: OneWay Ticket; We Got ALove (Atlantic2091131). Why don'tthe British discodancers go for bouncyinstead of bang bang

RECORD MIRROR, September 25, 1971

CLODAGA: LIKELY TO BREAK THROUGH

lodagh's clapalong son

bang beats? Until theyget hip a whole sectionof modern R&B willcontinue to be ignoredhere. However, rumourhas it that theBrunswick catalogue is

going to Mojo, so thenmaybe we'll see somesmoke!

JACKIE MOORE: DearJohn; Here I Am (JayBoy BOY 35). Welldone again toPresident, for findingthis 1968 waxing bythe "Precious,Precious" lady. Aversion of "Amen"with secular lyrics,humming/screamingfemale Gospel support,and rattling drumming,it's pretty darn nice.Good disco -type flip.

CLODAGHRODGERS: LadyLove Bug; Stand ByYour Man (RCAVictor 2117).

Despite losing directiona bit, chart -wise, Clodaghis always likely to breakthrough. This is a wispy,easy -on -the -ear sing -alongjob ... with banjo andstring giving it a somewhatThirty-ish feel. Should getpeople clapping along withher - and it certainlyshould get the airplays.-CHART CHANCE.

FREEDOM: Thanks MissLittle Louise (Vertigo6059 051). Piano opensthis one, then a very stylishvoice. Gradually there's abuild-up on overall sound- all boosting very goodlyrics. Trouble is: all thistakes time to register andit's not until mid -way thatthings are in full swing.However, it is a listenableeffort and could add atouch of class to thecharts.-CHARTCHANCE.C.M.J: La La La (Mother).Can't get much simplerthan this - I meantersay,anyone can sing alongwith a la -la -la. For thatreason, it could just catchon.

LESLEY DUNCAN.

ED WELCH: Clowns; TheBird Song (United ArtistsUP 35284). Almost aclassical feel at the starthere - Ed is a new talenthighly rated by TomPaxton. The haunting sortof atmosphere carries -it's a song of substantialimagery and maybe a bitdisjointed, in style, tomake it big in the charts.It develops into a very fulland well-roundedproduction. Nice.-CHART CHANCE.

JANE RELF: Without ASong From You (Decca).Absolutely splendidperformance by Jane.Through the verse shehovers, crystal clear, andinto a very good basicchorus. A haunting voice,this. A very good single.

JOHN BARRY: Themefrom "The Persuaders".-CBS 7469. Highlydramatic orchestration ofthe main TonyCurtis -Roger Mooretelly -series theme. Couldeasily break through onsouvenir value apart frommusicianship.

Sing (CBS).The excellent lady on one of her excellent songs.Lots of lyric content, a very simple and pleasingarrangement. And with just about the rightamount of sing -along content, too.

LESLEY DUNCAN: Sing Children

THE BROTHERHOODOF MAN: CaliforniaSunday Morning; Do YourThing (Deram DM 341).Girl -inspired vocal line-upon a gentle, wispy, wistfullittle song. Melodically, itseems strong enough for thecharts, even if short onpow -type impact. Slow-ishbut it registeredimmediately on my mind.How about yours? -CHART CHANCE.

THE CATS: One WayWind (Columbia).Continental productionwith appropriateinstrumental sounds. Arather sad sort of lyricalscene. Not really for me.But well sung.

TIFFANY: One In A

Million (Pye). Tiffany is alady singer. She has awarmth and style thatcomes across immediately.This isa near -blatantlycommercial song,well -produced andwell -written by theArnold, Morrow andMartin team.

CHOPPER: Don't YouBelieve It (United Artists).Jonathan Kelly songwhich drives quite a bit. Arocker out of the LittleRichard days -gone -by sortof field. Fairly exciting.

AN Hey Lordy Li(Pye). well into thehand -clapper area, fairenough at this level, butnot quite into achart -happy sort of sound.The chorus bit is verycatchy, though.

-LEONARD RUSK;Nobody Needs You More(DJM). A Goodhand-Taitand Cokell number. Whichmeans a strong melodicchorus line and a resoluteset of lyrics. But notnotably a hit in this form.

RO RO: Here I Go Again;What You Gonna Do(Parlophone R5920). A

new team. Which couldtend to hold this excellentsingle back. There's somerambling violin work -facile and good - and ashuffling percussive -bassback -beat. The mainchorus is very much "on"and there's a sort ofcountry -rock -hoedown feelto it all. Quite outstandingthis one. Honest.-CHARTCHANCE.

MIKE COOPER: CountryWater (Dawn). Sort ofhill -billy theme, drawledout and with occasionalflashes of real spirit. Butnot really a big -sellingapproach. Not here.

BOB RICH: Filthy Rich(Mother). Strangejuxtaposition of name andtitle, but a rather cleverperformance. Hard to seechart chances, but itmoves along very wellindeed.

DOCTOR MUSIC: OneMore Mountain To Climb(Bell). Rather patchy earlyon, but into the mainchorus and it takes on avery commercial, if rathersterotyped, sound. A fairamount of saleable spirithere.

CANDLEWICK: Caribbean(Decca). Something verynice about this. Awell-rounded vocal sound,on a bouncy mid -temposong - by a group new tome. Like a lot of it, but itmay just miss out.

RANSOME HEAD; Sing(York). Fairlyheavy-handed sound here.A spirit of enthusiasm,but it's somewhatup-and-down in terms ofactual impact. A so-sopiece, in register.

ReggaeReviewsA VERY full list of reggaematerial, starting withTHE ETHIOPIANS on"What A Pain" (SongBird), a rather basichelping with some of thatlanguid, almostcouldn't -care -less vocaltreatment.

LIZZIE AND DELROYWILSON handle "DoubleAttack" (Jackpot) withsome electric momentsthat really make it standout - a bit talkie but inwith fair chances. BOYFRIDAY sings the old BillJustis "El Raunchy"(Downtown), deliveringwith the odd cliches, butmostly accent on themelody line.

And THE OB-SERVERS on "KeepPushing" (Bi Shot), keepthings moving at a briskishpace, with organ workingovertime. Quite a fair oldspecialist sound."Jamaica" by HONEYBOY (Trojan) has a

certain charm - nothingexceptional, just thatvocal charm.

CARL DAWKINS onhis own song "Make ItGreat" (Expulsion) does afair job, and in partscreates considerableexcitement. Produced byRupie Edwards, "Girl YouAre Too Young" (Big),by THE DIAMONDS,fairly lilts along, but it's atrifle on the twee side."More Axe" by BOBMARLEY, and theWailers, is on Upsetter andhas a somewhat strainedair to it all, despite somegood lyrics.

From DANNYRAYMOND: "Sister BigStuff" (Big Shot), a

patchily impacty sort ofnumber,...though withpossible sales chances. Oneof the most likely reggaesingles: THE MAYTALSon "It's You" (Summit), avery clever (thoughstraightforward) vocalarrangement.

MILLER JAMES: Changes(Decca). Fair voice, onsome rather unevenmaterial. There is power,but also a slightlyrambling air which doesn'tclick so well. Cat Stevens'revival.

MIKE LYNCH: BrotherLove Your Fellow Man(MAM). One of thosegospelly things, withexhortations to listen,please listen. Okay on thebasic power, but notexceptional.

MOGUL: I Love YouVery Amor (Columbia).Commercial productionwith a teeny -hopper sortof approach: i.e. directchoral hook and nothingtoo much happening onthe vocal side.PETER E. BENNETT:The Ballad of Galdwain.(RCA SF 8190). Youngwriting -singing talent, whotasted single success witha song about a seagull.But here there is moreimagination, especially inthe use of recorders, flute,country fiddle and goodold-fashioned string bass.It's an off -beat, sometimescasual voice. It deserves tobe heard.

RECORD MIRROR, September 25, 1971 21

Mirrorpick/LPsREVIEWERS: Lon Goddard, Rob Partrid e, Valerie Mabbs, Bill McAllister, Peter Jones, Mike Hennesse

Traffic'sWelcome To TheCanteen (IslandI LPS 9166).

Recorded live at the OzBenefit concert and theFairfield Halls Croydonwith the four originalTraffic members, plusRick Grech, Jim Gordonand 'Re ebop' KwakuBaah. The recording is a

little distant when DaveMason sings the quiet 'SadAnd Deep As You' andit's sometimes shallow onthe orchestrated ones, butothers like '40,000Headmen' are superb inquality and performance.A giant ten minute versionof 'Dear Mr. Fantasy' isgood and better is thehuge atmosphere of theeight minute `GimmeSome Lovin", which isvocally a bit distant, butthe whole event is reallycaptured nicely. Great tohear them together and avery fine sleeve. L.G.

0. C. SMITHHelp Me Make It ThroughThe Night (CBS 64549).The D. C. Smith Storyreaches a new glossy low.After "Hicory Holler" andthe under -rated "MainStreet Mission," he's beenmoulded into an AmericanLovelace Watkins - muchmore sophisticated, ofcourse, with more than ahint of those blues rootsamong a pack of songsthat wouldn't be tooheavy for BobbyGoldsboro.

This country boy reallyswings, with DorseyBurnette's "Tall OakTree" and our ownfavourite "Watchin' ScottyGrow." It's rather likeAretha Franklin in herpre -Atlantic days. Veryclassy indeed, but watchout for when 0. C.'scontract is up ... maybeJerry Wexler'll have a fewideas. N.J.

FLEETWOOD MACFuture Games (RepriseK44153). Not as strong astheir fantastic last album,but very nice. Therecording and productionare perfect and allmembers are well up topar in writing andperformance. The lack ofPete Green and JeremySpencer is evident if youexamine the finesse andmusical wit, but there is

no incompetence here andsome very prettyinstrumentation --

especially on 'Sometimes'.Christine Perfect McVie'sfirst official appearancesare of harmony benefit

%at nd add much scope. L.G.

japl

reeEMI TT RHODESThe American Dream(A&M AMLS 64254).Nothing to say, but it'sO.K. Emitt's second LP isas good as his first - herhymes nicely, writespertinent songs andsounds very comfortable.Too comfortable by half.He's good looking, verytalented, but there's a lackof intensity that could beremedied by a stretch ofsolitary with bread andwater. After a few days,let him out and take himto a studio. Nothing todo, Emmitt, it's up toyou. N.J.

THE FLAMIN'GROOVI ESFlamin' Groovies (KamaSutra 2683 003 select).Wow! Plenty of misplacedenergy here. Instead ofsetting the world to rights,the Fla min' Grooviescome up with an albumwhich doesn't feature asingle SERIOUS cut. Eventheir name indicates a lackof concern about thesituation. The two -LP setis a special Britishpresentation comprisingtheir two U.S. LPs"Flamingo" and "TeenageHead." The latter title justabout sums the wholething up. It's sheer rock'n' roll throughout, goodclean instrumentation withinspired slide guitar workand vocals that take offespecially when apeing awell-known pop figure(e.g. Lennon, Presley,Randy Newman etc).Sounds a little like theRolling Stones of fiveyears back, except theGroovies don't take theirinfluences seriously.Probably one of the fewtypes of music aroundthat goes well with anystate of mind, except,maybe, a headache. N.J.

LONDON POPSORCHESTRAHits PhilharmonicVolume 4 (Pye NSPL41011). Fact that this isthe fourth volume showsthe popularity of the idea- lyric -less hits like "It'sImpossible" and "RoseGarden," and theemphasis on pure melodyisn't wasted. Nicelistening.

SANDY DENNYThe North Star GrassmanAnd The Ravens (IslandILPS 9165). A great singerbacked by great musicians.'Black Waterside' isparticularly beautiful withRichard Thompson'samazing electric guitar.Others helping out areJerry Donahue, PatDonaldson, GerryConway, Trevor Lucas,Ian Whiteman, Barry andRobin Dransfield, RoystonWood and BuddyEmmons. Altogether, it'svelvet smooth, slowbacking, full of inventionand clever highlights andheld amply together bySandy's fine voice. Thereis an indescribable feelhere that says this is thebest there is. L.G.

DREX NELSONThe Four Pianos Of ...(Pye Special PKL 5501).Quite a stylist is Mr.Nelson - a series ofdifferent styles, in fact.This is a melodic set,mostly from recent charts.Easy listening.

WINWOOD: GIMME SOME MORE LOVIN'. SEE LEAD.

ELVIS PRESLEYHis Hand In Mine (RCAVictor SF 8207). Churchmusic still appeals deeplyto Elvis and this hymnalcollection includes thespiritual -type "Joshua FitThe Battle" and thestraight church -y, morerestrained, "Jesus KnowsWhat I Need". Ahuge -seller first timeround. And could do it allover again.

Dazzling Danes

DAY OF PHOENIXWide Open N -Way (Greenwich Gramophone Co. GSLP-R1002).

This is nothing more or less than a brilliant album bya brilliant band. Phoenix are Danish, but cannot becompared with their better-known countrymen, Burnin'Red Ivanhoe. Burnin' Red's jovial down-to-earthness is afar sight from the more spaced approach of Phoenix,whose writing is mainly a vehicle for stunning leadguitarist Karsten Lyng.

The songs, mostly Prehn-Lyng compositions, althoughOle Prehn does write two by himself, can be disregardedas songs with the exception of the opening "CellophaneNo. 1." Prehn and Lyng's writing concentrates onsustaining and changing moods and has little time forcommon ideas of melody and theme. To this end itmight have been better not to print the lyrics which areof the kind that should come from out of the music tobe savoured for their sound and not their sense. Danishlyric writing being what it is in English (well, just youtry to write a few Danish songs) it might be wise toemploy a British lyricist next time. But overall a

dazzling performance from an incredibly musical band.B.M.

CLIFF BENNETTRebellion (CBS 64487).Rebellion, Cliffs latest(and could be, best) group- a five-piecer with Cliffdoing his usual all -actionset of vocals. Three of theboys were originallyknown as Spiggy Topes -and guitarist RobertSmith, clearly a talent,adds further strength.That Clapton-Russell sliceof "Blues Power" is reallya stand -out track, but"Better World" is alsovery much worth hearing.An album full of drama.

VARIOUS ARTISTSSummit Meeting (JoyJOYS 205). Dating from1960, top jazz men in avariety of permutations.Excellent, bothhistorically and in termsof style. Featured: EddieHarris, Cannonball, YusefLateef, Tommy Flanaganetc. Off -beat "Bye ByeBlackbird" from BillHenderson.PEARL BAILEYPearl's Pearls (RCA Victor8193). She's 53 now, buta truly distinctive talent.Hard to assess this one incomparison with her pastoutput, but it sure swingsalong with the LouisBellson orchestra. Fourarrangers kick in theirtalents and Pearl meandersgood-humoredly throughstrong songs. A stand -out.STEF MEEDERWhat Now My Love(Gemini GM 2011).Produced in Holland -Hammond organist onwell -varied themes, withbass, guitar and drums inattendance. But samey.

NINANina Alone (Pye NSPL18368). Really it'sanother career for Ninanow that she hasseparated, vocally, fromFrederik. On this tasteful,well -produced album, sheshows sheer nerve in"covering" such as"Bridge Over Troubled"and "Time I Get ToPhoenix", but stillmanages to find somethingdifferent to revive thelyrics. Her main ingredientis sheer warmth. Sheervocal warmth.MOVIE SCOREDeath In Venice (RCAVICS 1552). The originalmusic from the film, thescore of Mahler andBeethoven, played by theBoston SymphonyOrchestra with guestartists.MANTOVANIWith Love (Decca SKL5092). Plenty ofstring -mad arrangers havetried to emulate thewhispery Mantovani sound- but he's the one whosells all over the world.Fairly predictable set ofsongs, with "My Prayer"outstanding. Lushlyorchestral.TED HEATH100th London PalladiumSunday Concert (EclipseECS 2091). An historicbig -band land -mark - thedays when the Heath bandwas tops and packed thePalladium every weekend.This re-release includes"How High The Moon","Mood Indigo"etc.... that great bunchof star sidemen.

SomesoundvalueANOTHER batch ofthe value -for -moneyDJM Silverline albumsshows just how variedis the music available- five wide -ranged LPsfollowing on the initialrelease pile somemonths back.

SENTIMENTALSTRING CHORALE:Sentimental Stereo (DJSL013). Top session mengathered just for thisalbum - which featuresfamiliar tear-jerkersarranged by Des Champ.

GUNTER NORIS:Thoroughly ModernMozart (DJSL 015).Harpsichord arrangementsof Mozartian sonatas, plus"Magic Flute"interventions, but done ina distinctly up -dated style.

LARRY PAGE: LarryPage Orchestra (DJSL012). The LPO has built aworld-wide following forneat arrangements ofstandard songs.Worthwhile easy listeningmaterial.

PANCHO GONZALES:Feel Like A Mardi Gras?(DJSL 014). Mexican -styled music with livelyswinging arrangements. Aslice of atmosphericorchestration - nice"Bonnie And Clyde."

ALAN RANDALL:Plays Hit Songs Of GeorgeFormby (DJSL 011).Multi -instrumentalist whospecialises in recapturingthe good humour andstyle of the late movie -starcomedian.

ALAN RANDALLTONY KOSINECBad Girl Songs (CBS64540). Produced byPeter Asher this is verymuch in the Taylor vein.Kosinec has a light, prettyvoice which, some yearsago, would have beenideal for Bobby Vee typematerial. Nowadays, ofcourse, everyone writestheir own songs and Mr.Kosinec is no exception.So his performance,despite his youth, is fairlymature if a little mixed indelivery. The guitar workon some tracks is straightout of "Sweet BabyJames," and songs like"Bad Girls" are fineefforts. Asher's productiontoo is delicate andsuitable. A verycommendable album towhich a listen would notgo amiss. B.M.

22 RECORD MIRROR, September 25, 1971

soulalbums1 2

2 1

3 3

SHAFT Sound-track/Isaac HayesWHAT'S GOINGON Marvin GayeARETHA LIVEAT THE FILL -MORE WESTAretha Franklin

4 4 FREEDOMMEANS ... Dells

5 8 (For God's Sake)GIVE MOREPOWER TO THEPEOPLE Chi-Lites

6 6

7 5

8 9

9 10

HOT PANTSJames BrownJUST AS I AMBill WithersMR BIG STUFFJean KnightLIVE AT FILL -MORE WESTKing Curtis

10 11 UNDISPUTEDTRUTH

11 7 THE SKY'S THEL IMITTemptations

12 13 IF I WERE YOURWOMAN GladysKnight and thePipsCHAPTER TWORobert FlackSURRENDERDiana RossTRUTH IS ONITS WAY NikkiGiovanni and theNew York Com-munity Choir

13 12

14 16

15 15

16 19 BREAKOUTJohnny Hammond

17 18 MAGGOT BRAINFunkadelic

18 14 CURTIS LIVECurtis Mayfield

19 17 RAINBOW FUNKJr. Walker and theAll Stars

20 20 WHAT YOUHEAR IS WHATYOU GET/LIVEAT CARNEGIEHALL Ike andTina Turner

chartssingles

1 1 GO AWAY LITTLE GIRL Donny Osmond MGM2 4 MAGGIE MAY/REASON TO BELIEVE

Rod Stewart Mercury3 3 AIN'T NO SUNSHINE Bill Withers Sussex4 8 THE NIGHT THEY DROVE OLD DIXIE DOWN

Joan Baez Vanguard5 2 SPANISH HARLEM Aretha Franklin Atlantic6 5 UNCLE ALBERT/ADMIRAL HALSEY

Paul and Linda McCartney Apple7 6 SMILING FACES SOMETIMES Undisputed Truth Soul8 12 SUPERSTAR Carpenters A&M9 10 WHATCHA SEE IS WHATCHA GET Dramatics Volt

10 7 I JUST WANT TO CELEBRATE Rare Earth Rare Earth11 11 STICK UP Honey Cone Hot Wax12 16 DO YOU KNOW WHAT I MEAN Lee Michaels A&M13 14 I WOKE UP IN LOVE THIS MORNING

Partridge Family Bell14 20 IF YOU REALLY LOVE ME Stevie Wonder Tamla15 15 WON'T GET FOOLED AGAIN Who Decca16 19 TIRED OF BEING ALONE Al Green Hi17 9 HOW CAN YOU MEND A BROKEN HEART Bee Gees Atco18 21 SWEET CITY WOMAN Stampeders Bell19 40 YO -Y0 Osmonds MGM20 25 SO FAR AWAY/SMACKWATER JACK

Carole King Ode21 22 CHIRPY CHIRPY CHIRPY CHEEP CHEEP

Mac and Katie Kissoon22 18 SIGNS Five Man Electrical Band23 27 MAKE IF FUNKY Pt 1 James Brown24 24 STORY IN YOUR EYES Moody Blues25 29 RAIN DANCE Guess Who26 13 TAKE ME HOME, COUNTRY ROADS

John Denver with Fat City27 35 THIN LINE BETWEEN LOVE AND HATE

Persuaders28 30 SATURDAY MORNING CONFUSION

Bobby Russell29 17 LIAR Three Dog Night30 39 I'VE FOUND SOMEONE OF MY OWN

Free Movement Decca31 23 BANG LA DESH/DEEP BLUE George Harrison Apple32 33 WEDDING SONG (There Is Love) Paul Stookey Warner Bros33 34 BREAKDOWN Rufus Thomas Stax34 36 THE LOVE WE HAD (Stays On My Mind) Dells Cadet35 42 TRAPPED BY A THING CALLED LOVE

Denise Lasalle Westbound36 37 I AIN'T GOT TIME ANYMORE Glass Bottle Avco37 45 STAGGER LEE Tommy Roe ABC38 38 SURRENDER Diana Ross Motown39 41 ALL DAY MUSIC War United Artists40 49 EASY LOVING Freddie Hart Capitol41 48 LOVING HER WAS EASIER (Than Anything I'll Ever

Do Again) Kris Kristofferson Monument42 43 MARIANNE Stephen Stills Atlantic43 - MacARTHUR PARK Four Tops Motown44 50 ANOTHER TIME, ANOTHER PLACE

Engelbert Humperdinck Parrot45 46 WHERE EVIL GROWS Poppy Family London46 - BIRDS OF A FEATHER Raiders Columbia47 47 STOP, LOOK LISTEN (To Your Hearty

Stylistics Avco48 ONE FINE MORNING

Lighthouse Evolution49 - K-JEE Nite-Liters RCA50 - ANNABEL LA

Hamilton, Joe Frank and Reynolds Dunhill

ABCLionel

PolydorThreshold

RCA

RCA

Atco

United ArtistsDunhill

ALL U.S. CHARTS COURTESY BILLBOARD

soulalbums singles1 1 TAPESTRY Carole King Ode2 3 EVERY PICTURE TELLS A STORY Rod Stewart Mercury3 2 EVERY GOOD BOY DESERVES FAVOUR

Moody Blues Threshold4 5 RAM Paul and Linda McCartney Apple5 4 WHO'S NEXT Who Decca6 8 SHAFT Soundtrack/Isaac Hayes Enterprise7 6 CARPENTERS A&M8 9 MASTER OF REALITY Black Sabbath Warner Bros9 11 SOUND MAGAZINE Partridge Family Bell

10 7 MUD SLIDE SLIM AND THE BLUE HORIZONJames Taylor Warner Bros

11 12 AQUALUNG Jethro Tull Reprise12 13 JESUS CHRIST, SUPERSTAR Various Artists Decca13 14 DONNY OSMOND MGM14 10 WHAT'S GOING ON Marvin Gaye Tamla15 15 POEMS PRAYERS AND PROMISES

John Denver RCA Victor16 18 ARETHA FRANKLIN LIVE AT FILLMORE WEST

Aretha Franklin17 26 BARK Jefferson Airplane18 16 STICKY FINGERS Rolling Stones19 21 FIFTH Lee Michaels20 20 A SPACE IN TIME Ten Years After

AtlanticGrunt

Rolling StonesA&M

Columbia

21 24 THE SILVER TONGUED DEVIL AND IKris Kristofferson

22 17 AT FILLMORE EAST Allman Brothers Band23 39 HOT PANTS James Brown24 43 (For God's Sake) GIVE MORE POWER TO THE

PEOPLE Chi-Lites25 19 FOUR WAY STREET

Crosby, Stills, Nash and Young26 25 TEA FOR THE TILLERMAN Cat Stevens27 34 ANOTHER TIME, ANOTHER PLACE

Engelbert Humperdinck28 44 LIVE IN CONCERT James Gang29 23 L.A. WOMAN Doors30 22 BLUE Joni Mitchell

MonumentCapricorn

Polydor

Brunswick

AtlanticA&M

ParrotABC

ElektraReprise

31 30 WHAT YOU HEAR IS WHAT YOU GET/LIVE ATUnited Artists

32 27 Warner Bros33 35 Dunhill34 28 Rare Earth35 - Columbia36 31 Columbia37 33 Columbia38 41 RCA Victor39 42 Sussex40 37 A&M

CARNEGIE HALL Ike and Tina TurnerPARANOID Black SabbathGOLDEN BISQUITS Three Dog NightONE WORLD Rare EarthBARBRA JOAN STREISANDCHICAGO TRANSIT AUTHORITYBS&T 4 Blood, Sweat and TearsBEST OF Guess WhoJUST AS I AM Bill WithersCLOSE TO YOU Carpenters

41 36 SURVIVAL Grand Funk Railroad42 29 TARKUS Emerson, Lake and Palmer43 45 UNDISPUTED TRUTH44 32 FIREBALL Deep Purple45 - BLESSED ARE ... Joan Baez46 46 UP TO DATE Partridge Family47 - ME AND BOBBY McGEE

Kris Kristofferson48 40 STEPHEN STILLS It49 49 ABRAXAS Santana50 MAYBE TOMORROW Jackson 5

CapitolCotillion

GordyWarner Bros

VanguardBell

MonumentAtlantic

ColumbiaMotown

1 1 STICK-UP HoneyCone

2 4 MAKE IT FUNKYPt 1 James Brown

3 3 SPANISHHARLEM ArethaFranklin

4 2 BREAKDOWN Pt1 Rufus Thomas

5 5 IF YOU REALLYLOVE ME StevieWonder

6 10 THIN LINEBETWEEN LOVEAND HATE Per -waders

7 7 TIRED OFBEING ALONEAl Green

8 8 THE LOVE WEHAD (Stays OnMy Mind) Dells

9 6 AIN'T NO SUN-SHINE BillWithers

10 11 HIJACKIN' LOVEJohnnie Taylor

MEM=11 12 TRAPPED BY A

THING CALLEDLOVE DeniseLaSalle

12 13 CALL MY NAME,I'LL BE THEREWilson Pickett

13 9 SMILING FACESSOMETIMES Un-disputed Truth

14 14 A PART OF YOUBrenda and theTabulations

15 16 WOMEN'S LOVERIGHTS LauraLee

16 18 SURRENDERDiana Ross

17 15 WHATCHA SEEIS WHATCHAGET Dramatics

13 19 TAKE ME GIRL,I'M READY Jr.Walker and the AllStars

19 20 SHE'S ALL I'VEGOT FreddieNorth

20 - A NICKEL ANDA NAIL 0. V.Wright

BILLBOARD'S BIG HIT PREDICTIONS

FIFTH DIMENSION

BY using last minute sales trends and detailed informationcollected from retailers, Billboard Publications in Americaare able to produce computerised facts about which singlesare most likely to make the highest chart gains NEXTWEEK.

This ability to predict, with a high degree of accuracy, the fastest movers for theweek's sales following the published charts, is of obvious interest to the popindustry and fans alike.

Billboard's "Prediction Spot" will appear exclusively in Record MirrorThis week's list:

JOAN BAEZ, The Night They Drove CAROLE KING, So FarOld Dixie Down Away/Smackwater Jack

CARPENTERS, Superstar

STEVIE WONDER, If You Really LoveMe

STAMPEDERS, Sweet City Woman

GUESS WHO, Rain Dance

OSMONDS, Yo -Yo

FIFTH DIMENSION, Never My Love

GAYLE McCORMICK, It's A Cryin'Shame STEVIE WONDER

RECORD MIRROR, September 25,1971 23

THE FACE should have known TERRYWOGAN would never make a blunder likethe one reported last week - it was adeliberate error in a competition (what dowe win?) tonight (Thursday) at10.10 p.m. on BBC -2, get out your razorsfor ROMAN POLANSKI's 'Repulsion' inwhich CATHERINE DANEUVE does it inthe hall with the candlestick (but it ain'tCluedo).

The STONES States tour for Novemberhas been delayed till February or Marchwhen a possible new album will tie in didyou know dept.: that C.C.S. is also the nameof an advertising agence specializing inalbum covers? BILL GRAHAM, owner ofthe late Fillmores, has issued a pamphletcontaining music by a series of the artistswho performed there over the years,including: CROSBY, STILLS, NASH ANDYOUNG, ELTON JOHN, ARETHAFRANKLIN, JOE COCKER, LEONRUSSELL and the Band. He's also writing abook on the two ballrooms.

What wouldn't TAMI LYNN's UK labelgive to get hold of her recent U.S. Hit`Mojo Hannah'? ELVIS does his final '71tour of the U.S. with a 12 city junketbeginning Nov. 5th who's RODNEYBURBECK's favourite journalist?

SMOKEY ROBINSON has finallyexplained why his wife CLAUDETTE quitthe MIRACLES years ago: the strain of thework had caused six miscarriages.

RM stud star BILL McALLISTER heardbacking JACKIE 'Rupert' LEE on 'BlueMorning Haze' his lovely vocal chords

CLIFF RICHARD wants to do aself -penned album a guy we know isn'ttoo impressed with 'Nathan Jones' - he sayshis radio always sounds like that GREGRIDLEY moving to Epping soon, where allof HUMBLE PIE will be together.

Will songs cut for the Red Light label bepublished by PERVIS STAPLES' PervisMusic Company? mixed feelings dept.:NEWBEATS state musically 'I Am MyBrother's Keeper', while the FLAMINGEMBERS insist 'I Am Not My Brother'sKeeper' bad news dept.: Radio One Clubwill be back rumours that ANDREWOLDHAM will start another label soon.

SANDY BULL currently re-emergingwith another Vanguard album CriteriaStudios of Miami celebrating three goldrecords cut there: ARETHA's 'SpanishHarlem', CLAPTON's 'Layla' and STEVESTILLS' Stephen Stills II' for thisweek's anagram, change TONYBLACKBURN into TEDDY THE PICNICBEAR in two easy chops.

Ex-Monkees MICKEY DOLENZ andDAVY JONES suing a feast of companiesincluding: Columbia Pictures, ScreenGems -Columbia Music, Colgems Music,Screen Gems, Colpix Records, ColgemsRecords and Raybert Productions. Theyallege money was witheld from the TVseries, records, personal appearances andmerchandising tie-ins and claim $20 millionfrom the lot despite a series of hitrecords, the U.S Underground Press stillsnubs Canadian groups pick of thecurrent re-releases - IRMA FRANKLIN's'Piece Of My Heart' the TAMS tourBritain soon.

th 50 4

singles albums1 1 9 HEY DON'T BOTHER ME Tams Probe PRO 5322 3 6 DID YOU EVER Nancy and Lee Reprise K 140933 11 4 MAGGIE MAY/REASON TO BELIEVE

Rod Stewart Mercury 6052 0974 16 4 TVVEEDLE DEE TINEEDLE DUM

Middle of the Road RCA 21105 5 6 NATHAN JONES Supremes Tamla Motown TMG 7826 18 4 TAP TURNS ON THE WATER C.C.S. RAK 1197 17 4 COUSIN NORMAN Mamalade Decca F 132148 8 5 I BELIEVE (IN LOVE) Hot Chocolate RAK 1189 12 5 YOU'VE GOT A FRIEND

James Taylor Warner K 1608510 2 9 I'M STILL WAITING

Diana Ross Tamla Motown TMG 711 4 8 BACK STREET LUV Curved Air Warner Bros K 1609212 9 11 SOLDIER BLUE Buffy Stainte-Marie RCA 208113 15 6 FOR ALL WE KNOW

Shirley Bassey United Artists UP 3526714 7 12 NEVER ENDING SONG OF LOVE

New Seekers Philips 6006 12515 6 8 IT'S TOO LATE Carole King A&M AMS 84916 10 9 WHAT ARE YOU DOING SUNDAY

Dawn Bell BLL 116917 21 7 DADDY DON'T YOU WALK SO FAST

Daniel Boone Penny Farthing PEN 76418 13 9 LET YOUR YEAH BE YEAH Pioneers Trojan TR 782519 25 2 LIFE IS A LONG SONG/UP THE POOL

Jethro Tull Chrysalis WIP 610620 14 11 IN MY OWN TIME Family Reprise K 1409021 32 3 FREEDOM COME FREEDOM GO

Fortunes Capitol CL 1569322 19 12 WHEN LOVE COMES ROUND AGAIN

Kenn Dodd Columbia DB 879623 33 3 ANOTHER TIME ANOTHER PLACE

Engelbert Humperdinck Decca F 1321224 29 17 CHIRPY CHIRPY CHEEP CHEEP

Middle of the Road RCA 204725 48 2 YOU DON'T HAVE TO BE IN THE ARMY TO

FIGHT IN THE WAR Mungo Jerry Dawn DNX 251326 27 13 TOM-TOM TURNAROUND New World RAK 11727 34 5 MOON SHADOW Cat Stevens Island WIP 609228 31 7 AT THE TOP OF THE STAIRS

Formations Mojo 2027 00129 22 7 BANGLA DESH George Harrison Apple R 591230 49 2 BUTTERFLY Danyel Gerrard CBS 745331 30 9 MOVE ON UP Curtis Mayfield Buddah 2011 08032 35 5 (For God's Sake) GIVE MORE POWER TO THE

PEOPLE Chi-Lites MCA MU 113833 23 12 DEVIL'S ANSWER Atomic Rooster B&C CB 15734 24 15 LEAP UP AND DOWN St Cecilia Polydor 2058 10435 20 10 WE WILL Gilbert O'Sullivan MAM 3036 26 11 HEARTBREAK HOTEL

Elvis Presley RCA Maximillion 210437 39 6 LITTLE DROPS OF SILVER

Gerry Monroe Chapter One CH 15238 28 11 GET IT ON T, Rex Fly BUG 1039 38 3 REMEMBER Rock Candy MCA MK 506940 37 2 KEEP ON DANCING Bay City Rollers Bell BLL 116441 41 4 AMAZING GRACE Judy Collins Elektra 2101 02042 36 12 WON'T GET FOOLED AGAIN

The Who Track 2094 00943 42 4 MY WAY Frank Sinatra Reprise K 1400844 47 2 SUPERSTAR/FOR ALL WE KNOW

Carpenters A&M AMS 86445 45 5 BACK SEAT OF MY CAR

Paul and Linda McCartney Apple R 591446 - WITCH QUEEN OF NEW ORLEANS

Redbone Epic EPC 735147 - - LOOK AROUND Vince Hill Columbia DB 880448 40 25 KNOCK THREE TIMES Dawn Bell BLL 114649 - - SIMPLE GAME Four Tops Tamla Motown TMG 78550 - - SULTANA Titanic CBS 5365

1 5 1 FIREBALL Deep Purple Harvest SHVL 7932 3 8 EVERY PICTURE TELLS A STORY

Rod Stewart Mercury 6338 0633 1 3 WHO'S NEXT The Who Track 2408 1024 2 8 BRIDGE OVER TROUBLED WATER

Simon and Garfunkel CBS 636995 4 8 EVERY GOOD BOY DESERVES FAVOUR

The Moody Blues Threshold THS 56 6 8 TOP OF THE POPS Vol 18 Hallmark SHM 7457 8 7 TAPESTRY Carole King A&M AMLS 20258 9 8 SWEET BABY JAMES

James Taylor Warner Bros K 460439 19 5 MOTOWN CHARTBUSTERS Vol 5

Various Tamla Motown STML 1118110 30 6 JIM REEVES' GOLDEN RECORDS

RCA International INTS 107011 15 8 C'OMON EVERYBODY

Elvis Presley RCA International INTS 128612 11 10 RAM Paul and Linda McCartney Apple PAS 1000313 7 8 MUD SLIDE SLIM AND THE BLUE HORIZON

James Taylor Warner Bros K 4608514 24 8 THE WORLD OF YOUR 100 BEST TUNES

Decca SPA 11215 - THE MOST OF LULU MFP 521516 13 6 MASTER OF REALITY Black Sabbath Philips 6360 05017 20 7 THE INTIMATE JIM REEVES

Jim Reeves RCA International INTS 125618 - - THE MOST OF THE ANIMALS MFP 521819 38 1 GIMME SHELTER Rolling Stones Decca SKL 510120 33 8 BIG WAR MOVIE THEMES

Geoff Love and His Orchestra MFP 517121 14 8 BLUE Joni Mitchell K 44128Reprise22 42 8 THIS IS MANUEL EMI STWO 523 - - THE MOST OF HERMAN'S HERMITS MFP 521624 12 8 ANDY WILLIAMS GREATEST HITS CBS 6392025 18 8 LOVE STORY Andy Williams CBS 644672627

-45

1

6WORLD OF MANTOVANIWORLD OF MANTOVANI Vol 2

Decca S/PA 1Decca S/PA 36

28 46 8 THE SPINNERS LIVE PERFORMANCEThe Spinners Contour 6870 502

29 41 8 IF I RULED THE WORLDHarry Secombe Contour 6870 501

30 25 1 MAN IN BLACK Johnny Cash CBS 6433131 - 1 EVERYTHING IS EVERYTHING

Diana Ross STML 1117832 1 BUDDY HOLLY'S GREATEST HITS Coral CP 833 16 8 STICKY FINGERS

Rolling Stones Rolling Stones COC 5910034 26 8 EXPERIENCE Jimi Hendrix Ember NT 505735 1 SONGS OF LOVE AND HATE

Leonard Cohen CBS 6900436 35 2 WORLD OF VAL DOONICAN Decca SPA/PA 337 - 1 LED ZEPPELIN II Atlantic 588 19838 10 5 LOVE STORY

Original Soundtrack Paramount SPFL 26739 - 1 ALMOST IN LOVE Elvis Presley RCA INTS 120640 - - TOUCH

The Supremes Tamla Motown STML 1118941 1 NEIL DIAMOND 'GOLD' Uni UNLS 11642 NANCY AND LEE

Nancy Sinatra and Lee Hazelwood Reprise K 4412643 29 3 PAINT YOUR WAGON

Soundtrack Paramount SPFL 25744 - - GILBERT O'SULLIVAN HIMSELF MAM 50145 40 2 GIRLS I HAVE KNOWN

Jim Reeves RCA International INTS 114046 - 1 THE WORLD OF THE BACHELORS Decca S/PA 247 43 5 SYMPHONIES FOR THE SEVENTIES

Waldo De Los Rios A&M AMLS 201448 - 1 JOHNNY CASH AT SAN QUENTIN CBS 6362949 28 4 DEEP PURPLE IN ROCK Harvest SHVL 77750 31 3 OVER AND OVER Nana Mouskouri Fontana STL 5511

The Top 50 album chart as used in Record Mirror has been enlarged toinclude all price categories from full -price to budget lines. As it is

effectively a new chart, we have had to start from scratch with the"number of weeks" in chart column.

top producers 5 years ago 10 years ago1

23456789

101112131415161718192021222324252627282930

L. Hazelwood/N. SinatraRod StewartGiacomo TostiFrank WilsonMickie MostMarmaladeMickie MostPeter AsherDeke Richards/Hal DavisCurved AirB.St.M/Jack NitzscheJohnny HarrisDavid MackayLou AdlerThe Tokens/Dave AppellLarry Page/Tic TocJ. Cliff/S. CrooksIan AndersonFamilyCooke/GreenawayJohn BurgessGordon Mills -G. Tosti/I. GrecoBarry MurrayMickie MostPaul Samwell-SmithLeon HuffGeorge Harrison/Phil Spector

1 2 DISTANT DRUMS Jim Reeves2 1 ALL OR NOTHING The Small

Faces3 4 TOO SOON TO KNOW Roy

Orbison4 - I'M A BOY The Who5 3 YELLOW SUBMARINE/

ELEANOR RIGBY Beatles

6 - .LITTLE MAN Sonny and Cher7 - YOU CAN'T HURRY LOVE

Supremes8 5 GOD ONLY KNOWS Beach

Boys9 6 GOT TO GET YOU INTO MY

LIFE Cliff Bennett10 8 WOR KING IN THE

COAL -MINE Lee Dorsey

1 4 MICHAEL Highwaymen2 3 WILD IN THE COUNTRY/I

FEEL SO BAD Elvis Presley3 - VVAL KIN' BACK TO

HAPPINESS Helen Shapiro4 1 KON-TIKI Shadows5 2 JOHNNY REMEMBER ME

John Leyton

6 6 JEALOUSY Billy Fury7 - YOU'LL ANSWER TO ME

Cleo Laine8 - WILD WIND John Leyton9 - SUCU SUCU Laurie Johnson

10 5 YOU DON'T KNOW HelenShapiro

111111111=111111111111111111111111111111111111=111111.1011,

1

24 RECORD MIRROR, September 25, 1971

Curved Air's Sonja Kristina is a chanow she's less butch and soon it will be

NJA K A is thene-girl among four me

curved Air and the I

female among five atmpstead house, for the

group's manager lives there*too.

Curved Air have a communalapproach to their affairs - somegirls might find that delicious,some might find it awkward andto some it might be threatening

to Sonja, it representssomething entirely different.

She's a carefree bird bynature; bound only by the lawsf circumstance, her own

"initiative and an inborn feelingor people. Her responsibilities

are her own decision and theonly obstacle that occasionallyconfounds her is trying to do toomuch for too many.

HARD"We've always stayed

together", she says, "except inthe times there wasn't enoughroom -- but now we have a

bigger place and everyone hastheir own room.

"It's really hard to find a bigenough place in London withnice neighbours, but we have tostay near town. We don't gettired of one another -- in fact, itworks ttif- other way end rakes,!or k:f the ;,:=.1res off.

"If we were apart, eachperson would have differentproblems and everyone elsewould be unaware of them -we'd be growing apart. As it is,

we have ups -and downs, but it'sgenerally pretty happy.

"I was never used to beinglooked after, being fairlyindependent. I had a shortmarriage some years ago, whichended while I was pregnant andleft me defiantly independent.

DIFFERENT

"I gave the baby to myparents to care for. Things werea lot different then than they arenow. I was in Hair for a while andthey were a free band ofpeople. I was the type of girlHair was all about - I was moreperson than a lady; I was

probably a lot more butch anddefensive, too. I was living in anunreal world - I had to keepmoving.

"It was a community feeling,I had a lot of friends and I hadto see everybody. We used to doludicrous things and sit uptalking all night. Everybody wason equal standing; I had a lot of

(friends who were chicks and alot of fellas, who I didn't

necessarily sleep with. I'm justbeginning to straighten out,though that feeling is still thereand seems to exist without me.

"When you get attached tosomeone, like I am now, youmeet new people and beginseeing less of the others - notbecause you don't want to seethem, but because you're so

busy. When you go to bed, you

go there to sleep and that's good- I need sleep. Things change alot.

"Now I'm engaged to Mal, ourmanager, and we'll be marriednext month. I'm just lucky i

found someone who's involved inthe same business and canunderstand it. I will be focusingattention on Mal, the band andmy baby.

SONJA: 'I USED TO BE HAPPY GO LUCKY - NOW HAPPY'.

II"I won't be getting him back

from my parents - it wouldn'tbe right unless I could look afterhim all the time and give him thesame kind of security they can.What if I should have to go theStates or do a gig every night?

This won't be a conventionalmarriage where we buy a houseand I cook all the food; I've gotto let the band run its course -

experiment. Of course, patternschange all the time - this is allspeculation. I love my son verymuch and the bond is stiff' therebut he's with a family and totake him would be wrong.

"Distribution of attention getsto be less and less of a problemevery day. When affairs areunsure, it's a problem, but rightnow, with the single doing welland the new album coming out,things look good. When ifsorganised, I am more relaxed.Sometimes, I've had to hold mybreath a bit.

STABLE"In the beginning of Curved

Air, there was just me and theband. Now, there's Mal and I,

then the band. Me and my fella.I'm less worried aboutimpressions and I'm becomingmore stable, for my social lifeused to be quite hectic.

"Sometimes I miss doingthose odd things and talking allnight. I used to sometimes feelobligated to stay up and talk topeople all night. There was

always someone to be put up orsomeone using the flat - but itwas fun.

"I owe all those people a lotarid I hope to see them all again,00n. Now there's more order tomy -tile. I used toluaritweVilsiiltiSt happy.

And she looks at ease withherself. Apart from that, CurvedAir release their second album onSeptember 24th - one of theevents that keeps a smile Oro

Sonja's dimpled cheeks. She feelsthe record is better than the firstand just as important in anotherway.

IMPORTANT"The first album is always

very important, but this one isjust as significant, because wehave now realised studiopotential. There was a lot ofexperimentation on the first oneand we couldn't relax. Now wehave greater knowledge ofrecording as well as knowledge ofeach other, so the feel is muchimproved.

"It was also done during a

creativerecordedAmerica

period. Some werebefore we went tocompletely re -mixed

on returning. There are gentleones and brisk rock ones - we'revery pleased with it."

Listen to it and feel the mood- maybe now you know a littlemore about Curved Air.

LonGoddard

WHO IS NEXT WEEK'S GREAT ONE?