Also inside' Jimmy Savile

Alan BlackRNI's Mike RossStudent Broadcasting

Radio Newsh much more

ExcitingU.S.A. RadioCompetition

Inside

NOT ONLY LEAGUE TOPPERS

BUT CHART TOPPERS

Leeds UryENTENARY P.A. CUP Mt akpiERS

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WITH

12on

CHAPTER ONESCH 168

2

The Shape of Sounds to Come

editorialHi there, and welcome to what we think is the most exciting issue of "DEE JAY AND

RADIO MONTHLY" to date. If you happen to be a new reader - where on earth have youbeen for the past seven months? No seriously, we hope you like the magazine enough toplace a regular order with your newsagent.

First of all be sure to turn to page io where you have the opportunity to win a prize ofa lifetime. TWO WHOLE WEEKS IN THE USA VISITING SOME OF THE TOP RADIOSTATIONS IN NEW YORK, SAN FRANCISCO, LOS ANGELES, NASHVILLE ANDLAS VEGAS. There are also lots of exciting runner-up prizes.

This month's DJ features include the ever -popular JIMMY SAVILE, ALAN BLACK,ALAN DELL and RNI's MIKE ROSS kicks off a new series on the lads afloat!

"DEE JAY AND RADIO MONTHLY" also takes a look at the world of studentbroadcasting, and there is pictorial coverage of our fantastic awards reception.

Add to this all our popular regular features on free radio, disco picks, etc. and you willsee why "DEE JAY AND RADIO MONTHLY" is fast becoming accepted as THEdefinitive radio and disc jockey magazine.

Our sincere thanks to you all, and see you again next month.BEN CREE

PUBLISHER

t B.C. Enterprises Ltd. 1973Dee Jay and Radio Monthly is published by B.C. Enterprises Ltd., Willmott House, 43 Queen Street, Hitchin, Herts. (0462-54399).Typesetting by Leagrave Press, Luton (Luton 51525).Printed by George Pulman & Sons Ltd., Watling Street, Bletchley, Bucks. (Bletchley 4921).Distributed by New English Library, Magazine Division, Barnards Inn, London EC1 (01-405 4614).

contentspage page

4 news and views 27 Radio Fleet Productions

6 JIMMY SAVILE 3o ALAN DELL

io "dee jay" US COMPETITION! 32 dx corner

12 frc - cib 34 beatwave - fra

14 Dave Christian's Soul Sounds 36 disco picks of the month

15 The Second XI - No. 38 Tony Mercer ColumnALAN BLACK Musing With Moffat

i6 Polly Perkins meets 39 Hospital Radio CasebookBBC Radio London's David Carter andSusan Barnes 40 "dee jay" diary

i8 MIKE ROSS 41 Student Broadcasting

20 DEREK CHINNERY - Part 2 42 dee jay album sounds - LP reviews

22 "You Tell Us" - readers' letters 45 "Record World" US charts

24 "dee jay" awards reception 46 Radio Luxembourg charts

3

Veronica demonstration halts traffic in The HagueA crowd of tens of thousands (police put the estimate at 50,000) chanting young people invaded the centre of The Hague, in

Holland just before Easter, to demonstrate in favour of the survival of offshore pop station "Radio Veronica".The demonstrators, from all over Holland, carried transistors tuned to the popular station, and created traffic chaos as they

marched in a procession several miles long.They jammed round the Parliament buildings, where a special investigating committee was holding a hearing on whether to ratify

the Strasbourg Convention which would ban "pirate" radio stations in international waters.The Parliamentary Committee ended their meeting without making a decision.Police had to intervene

when traffic piled up, causingmotorists to echo themarchers' chants with achorus on their horns.Planes flew overhead, towingbanners urging thepreservation of the station.

"Radio Veronica",claimed to be the mostpopular of the threestations off the Dutch coast- North Sea Internationaland Caroline are the othertwo - threatened withclosure if Parliament ratifiedthe convention, went backon the air on the same dayas the demonstration, on itsown wavelength, afterinterruptions caused whenits transmitter ship wasbeached in a hurricane onApril 3.

The 474 -ton formerGerman lightship wasrefloated and towed backinto its original position inthe North Sea, four milesoff Sheveningen. Veronica'sbroadcast had been resumed,through the help of rivalCaroline, but not on itsfamiliar wavelength.

"Radio Veronica" hasbecome a national issue inHolland, where supporterssay that the station givesthem entertainment andrelaxation in contrast to theofficial Dutch radio andtelevision which they considerdull.

The popular Amsterdamnewspaper, De Telegraaf, ina front-page splash story,quoted a public opinion pollwhich claimed that nearlythree-quarters of the Dutchpopulation support "RadioVeronica".

Political sources expectthe present government,already troubled by aCabinet crisis since lastyear's general elections, toavoid any action on the"pirate" radio issue andleave the problem over to alater administration.

a b.c.enterprisespublication

(Top left) Ronan 0' Rahilly and (Rest) the demonstrators at the recent Hague -Radio Veronica demonstrations.

news inbrief

Forthcoming stars set forRadio 2's "Star of the Week"include Mantovani (April 30),Liza Minelli (May 7),Anthony Newley (May 14)and Ella Fitzgerald (May 21). . . Island records are onthe search for Millie Small,who had a world-wide smashin 1964 with "My BoyLollipop" - but who hasn'tbeen heard from in the pasttwo years. She was lastheard of living in Singapore.Anyone knowing of herwhereabouts should contactIsland Records' Londonoffice (tel: 01-229 1229) . . .

Focus tour dates for Mayinclude London's RainbowTheatre (May 4/5), Leicester(May 6), Sheffield (May 7),Preston (May 8), Dublin(May 9/10), Edinburgh(May 11), Glasgow (May 12),Manchester (May 13),Birmingham (May 14/15),Hanley (May 16) andCroydon (May 17) . . .

Recent research carried outby Radio Luxembourg inScandinavia revealed amassive audience of over4,000,000 listeners

DJ JimmySavile's "Clunk -Click"series of safety belt TVads won a top award at therecent National TVAdvertising Festival held inLondon . . . the United

Biscuits Radio Networkare expanding the service toinclude their factories inManchester and Liverpool. . . soul singers ArthurConley and Major Lancehave been added to the billwhen Gladys Knight and thePips play two concerts at theLondon Palladium on Sunday,June 10 . . . Kid Jensen's"Dimensions" programmenow going out on Mondaysand Saturdays at 10 pm and11 pm respectively . . .

Female rock group Fannyare to tour Britain frommid -May. Dates set so farinclude LancasterUniversity (May 18),Northampton (May 19),Birmingham (May 20),Manchester (May 21),Cleethorpes (May 22),London's Imperial College(May 26), Croydon (May27), Plymouth (May 28),Oxford (June 2), Cardiff(June 5), Southampton(June 6), Blackburn (June 8)and Bracknell (June 16).

Popular Leeds Unitedfootballer Jackie Charltonis to present a series ofhalf-hour programmes,entitled "Jack's Track"on BBC Radio Leedsstarting on April 25, at7.15 pm. In theprogrammes Jack will betalking to Yorkshire folkat work in factories, schoolsand hospitals, etc. Theprogrammes will berepeated on Saturdays at10.10 a.m.

radio oneclub roadshow

Exciting summer holidaychanges were announcedrecently for the popularBBC programme "Radio 1Club". Five of the network'stop DJs will be involved in alarge-scale promotionalcampaign which will see theprogramme touring England,Scotland and Wales.

Beginning on July 23, theprogrammes will be presentedby one DJ each week. AlanFreeman kicks off touring theWest Country and thefollowing week Rosko willbe in the South East.From August 6 Ed Stewartvisits the Midlands and theNorth East, and StuartHenry goes home toScotland the followingAugust 20 sees DLT in theNorth West and NorthWales and Rosko returnson week beginning August 27with dates in South Walesand the West.

The actual venues arecurrently being finalised, but"Dee Jay and RadioMonthly" understands thatthe broadcasts will comefrom a special custom-builttouring broadcast caravan.

Meanwhile Easter Mondaysaw the Radio 1 Club teamwith DJ Rosko broadcastingfrom on board theTownsend-Thoresencross -channel ferry FreeEnterprise VII betweenDover and Zeebrugge."Dee Jay and RadioMonthly" were there solook out for a full report andpictures in next month'sissue.

next month in dee jay

ROGER 'TWIGGY'DAY

* ** * * **BRIAN

NIcKENZIE

4

another award for jimFor Jimmy Savde last month - an award that's different, at

least to the ordinary run of DJs. But, then, Jimmy's never beenordinary at anything.

This latest accolade came from the hands of HRH PrincessAlexandra. The occasion was the annual presentation ofCarl -Alan Awards - made to the very top professionals . .. atballroom dancing!

No, Jimmy hasn't taken to the light fantastic. His was aspecial award, for the best disc jockey.

The DJs (dinner jackets) and tulle was spread all overLondon's Lyceum Ballroom. It was a formal occasion and theaward winners shook hands, bowed, curtsied and nodded to theprincess.

Not so our Jimmy. He knew how to show proper deferenceto a member of the Royal Family. After all, he has an OBE toprove it . . .

Not a bow, not even a curtsy from our Jim. His was the realthing. He KNELT before the royal princess to get his award!

And, looking on ("I could spit", he said) was fellow DJ, TerryWogan, who was compering the show for Mecca and BBCTelevision.

more beebchanges

Following the recentprogramme and DJ changesannounced for Radio 1 in thesummer, "Dee Jay andRadio Monthly" nowunderstands that even moreare currently under discussionat the BBC.

These would include abrand new Sunday breakfastshow between 7 and 8.30 am,a change of time for"Sounds of the 70's"(possibly after midnight),and more programmeseparatron in the evening.

It is also understood thatany increase in "needletime"allowance given to the BBCwould almost certainly goto Radio 2.

SEE YOU ALL ATSanta PodRaceway

onSUNDAY MAY 13th

for the'DEE JAY'

DRAG RACE.MEETING

djs to raceat brandshatch

Top Radio 1 DJs, plusactor Nicholas Parsons, areto have a special race oftheir own at Brands Hatchon Sunday, May 6. The DJteam, to be captained byDave Lee Travis, whooriginally thought of the idea,will include Noel Edmonds,Rosko, John Peel, DaveGregory, Steve Jones andJohnny Moran.

They will oppose a teamof promotion men from thetop record companies, andthe race will be over tenlaps (12.4 miles). The racewill be known as the"Evening News Radio DJCar Race" and the driverswill all drive 112 mphSheIISPORT Ford EscortMexicos, which incorporatespecial safety roll cages andfire protection.

"Dee Jay and RadioMonthly" are hoping toarrange a similar event at ourBrands Hatch meeting to beheld on Sunday, September 9.

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5

Jimmy Salle tells Ben Cree his

strange success story. Pt. 1

"Hi there guys and gals!"No other way seems really

appropriate to introduce afeature on Jimmy Savile,ex -miner turned disc jockey,hospital porter, journalist,charity worker, etc., etc. Infact you name it and thechances are that Jimmy haseither done it, is about to doit, or if it's somethingcompletely new, will want todo it.

"Dee Jay and RadioMonthly" finally trackedJimmy down in the lowerbowels of Broadcasting House,

THE MAN WHO

INVENTED THE

DISC JOCKEYwhere each week he recordsthe "links" for his popularSunday programme "Savile'sTravels". We were greeted,however, by a French-speaking Jimmy, who wasabout half way through aseries of ten programmes forthe BBC Overseas service -a sort of French "Top of thePops". In fact Jim's Frenchwas very good, and when youconsider that he is largelyself-taught - "I bought twophrase books which cost mejust over a quid, and that's alot of loot in anyone's eyes!"

- again gives you an insightinto the character of theman. Nothing is too muchtrouble.

But what was it thatprompted his interest inbecoming a disc -jockey in thefirst place?

"When I came out of thepits with a broken back andcouldn't do any more manualwork at that time, like somany people I was lookingfor work to live. I suddenlydecided, because I do thingsin a left hand sort of way,that instead of looking for a

job I would first of all lookfor the things that I liked, putthem all down on paper, andthen see if any of the thingsI enjoyed doing would makeme a living.

"It was a very strange sortof list because it comprisedthings like music, lights, girls,stopping in bed and so on,and it was apparent to methat I could never become anatom scientist or a longdistance lorry driver. So mylist precluded just abouteverything the labourexchange had to offer, because

6

they didn't offer jobs likestaying in bed, lights andgirls. So quite by coincidenceI invented disc jockeying.

"What happened was thatI borrowed a wind-up recordplayer off one of the lads,some 78s from a girl, andwent to see a café proprietorin a place called Otley inYorkshire. I said to him`After you've closed your caféfor the evening, how aboutme sticking some posters uparound the town, and we'llget everybody to come intothe café room at a shilling -a -skull! You keep what youmake on the teas and cakes,I'll keep the money on thedoor and play the recordsand we'll have a bit of adance round."

The enterprising caféproprietor from Otley agreed,Jimmy hand -wrote theposters, and so began thecareer of Jimmy Savile - discjockey.

"I finished up making 11shillings profit that night, andas I was packing the gear upa girl came up to me and said`It's my 21st birthday nextweek and I'm having a party.I can't afford a band - wouldyou bring your gear?' Ofcourse, I said yes, and whenshe asked me how much Icharged, quick as a flash Itold her 50 bob. We held itat the same café and for fourhours I put on an incredibleDJ show. That was really myfirst audience - the youngestwas five and the eldest wasthe grandma of the familywho had had a heart attackthe day before at 82, andalternately was having toturn the music down to keepher alive and up to keep theothers amused, and it musthave been the most difficultdisc jockey job before orsince. I had such a good timeand I pulled myself a girl towalk home with - I had no

car or anything like that.Then the girl whose

birthday it was suddenly put50 bob in my hand. Well, ofcourse, at that time my entireweek's wages had been only£2, which was for six shiftsdown the pit, and after fourhours she had given me morethan a week's money. Ilooked at that money in myhand and that was theparting of the ways. Fromthen I've never looked backand from then I've never everasked for a job, and if younoticed I never asked for thatjob - she came up and askedme to play. People just came

Jimmy in Hollywood interviewing the Everly Brothers way back when ...

looking for me. They camefrom little cafés to biggercafés, from little dance hallsto bigger dance halls to chainsof dance halls."

So Jimmy Savile began towork for the Meccaorganisation - an associationwhich was to last for aroundten years.

"I worked for them as oneof their ballroom managersand I actually finished up onthe board! I turned intowhat's called a `sickbusinessdoctor' - if a place was introuble, it was mine. So I hadto put across thesetremendous strokes, and so Idid everything I couldconceivably think of -acomplete Barnum & Bailey inthe ballroom. I actually enjoyplaying records in dance hallsenormously and it's a lastingregret to me that I don't playas much in dance halls as Iused to. But there's plenty oftime and I can see my gettingback to that as a pleasure.

"With the Manchester andLeeds scenes in particular Iwould do a DJ session and inthe middle of it I would playthings like the Peer GyntSuite or Tchaikovsky, and, ofcourse, it was incredible toget music like this in a dancehall. The result was that mydance hall was filled tocapacity by 9 o'clock, and ifyou didn't get in by then thehouse full sign went up andyou'd had it."

The whole thing was a trulyenormous success and peopleused to travel for miles to seethe incredible Jimmy Savile onstage. The Mecca head officepeople would get on to theirother managers and tell them

to get up to Manchester andsee what it was so spectacularthat Jimmy was doing. Theywould return and report thathe played classical music andhow were they expected to getaway with that! But get awaywith it Jimmy most certainlydid.

"I remember one occasionin particular. I had thisfavourite piece of music to

play in the smooch timeswhen we turned the lightsdown, and it was the RayConniff version of the SwanLake ballet. One lunch-timeafter the special mid -daysession all the records hadfinished and there was onlyabout a couple of dozenpeople around - you knowthe ones who didn't have anywork that afternoon - and I

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put on this Ray Conniff piece,because I liked it. Anywaywhen the familiar strains ofthe Swan Lake ballet cameout over my big 200 -wattspeakers, a girl, who had beensitting in front of me on thestage, suddenly kicked off hershoes and went into thisperfect ballet routine. All ofus, the workmen and me andthe patrons that were left,stood transfixed while thisgirl danced round. She wasaway on her own, completelylost and as the record endedshe went down into a curtsey.Then as though she awokefrom a dream she suddenlylooked round and her handsflew to her mouth and shefled from the dance hall -minus her shoes!

"I use that as an exampleof the power of disc jockeysin dance halls - what a gooddisc jockey can do in a dancehall with people and withmusic. It knows no boundsand THAT is the true art ofbeing a disc jockey. When youcan make people do thingslike that, then you have got apower. I'm not talking aboutthe power of making recordspopular - I personally don'tthink that a DJ has any greatpower that way. You can'tmake people's minds up forthem. You can give recordsexposure, sure, but you can'tmake their minds up. WhenI've done my DJ sessions I'venot just gone on to playpeople records. I've gone onand looked at a great mass ofpeople and I've thought`Right, what are we gonna dotonight? What shall I get youinto? Shall I get you alldancing round to JimmyShand and his Band, or shallI get you to smooch roundto Tchaikovsky, or shall I getyou really moving andgrooving?' That's what mademe a fortune long before Iwent on the radio."

But the move into radiowas shortly to follow andfirst on the scene were RadioLuxembourg.

"They'd heard about mein the dance halls - and theysent a guy up to see me andhe said `It's incredible - inthe middle of a DJ sessionthis chap plays the Peer GyntSuite or the Legend of theGlass Mountain, turns allthe lights out, and everybodyhas a smootch round'. Andthat's just the way it was."

Radio Luxembourgobviously were impressedwith this rather unusualcharacter, and so Jimmy was

signed to the Luxembourgteam, who at that timeincluded such stalwarts asJimmy Young, Sam Costa,Alan Freeman, Pete Murrayand Don Wardell. This wasthe era when many of theshows were sponsored andrecorded at the HertfordStreet studios. Among theshows that Jimmy had werethe `Warner Brothers RecordShow' followed by `The Teenand Twenty Disc Club' and`Guys, Gals and Groups'.

What else was to followfor this popular DJ - alreadyreputed at that time to be

Jimmy introducing the first ever Top of The Pops back in January 1964

and I did the very first 'Topof the Pops', on January 1,1964.

earning around £20,000 ayear?

"Well, one day I got aphone call from a guy calledJohnnie Stewart, and he said`I'm starting a new TVprogramme called `Top of thePops' and I'd like you to bethe first DJ on it.' So, ofcourse, I said `yeah, sure'

Next month, Jimmy joinsthe Radio 1 team and talksabout his various charitywork and his new TV chatshow.

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This microphone continues to be our most popular general-purpose microphone.Need anything more be said? On numerous occasions the company is asked to providea complete sound system and it is our policy to recommend customers to companiesmanufacturing or selling such systems.

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9

YES HERE IT IS-your opportunity to see at first hand how many of the top US radio stations operate andto meet their DJs.

For 14 days (the full itinerary is given opposite) the lucky winner of thisexciting "DEE JAY AND RADIO MONTHLY" competition will tour theUSA in style, with, of course, many additional opportunities to seesome of the famous American landmarks and buildings.

In addition there are 50 runner-up prizes of the first album by "Gladys Knightand the Pips" on the Buddah label, plus 50 Buddah singles.HOW TO ENTER

All you have to do is study the list below of attributes that any DJ should have and place them in order of importance.For example if you feel that "Clarity of Speech" is the most important factor then you would place letter "B" againstnumber "1" and so on until all six numbers are completed. Please write your entry in ink or ballpoint pen. Then complete,in not more than 20 words, the sentence:"I would like to visit US radio stations because ... "

Send your completed entry form together with the special entry token to the address shown, to arrive NOT LATERTHAN THURSDAY, MAY 31, 1973.You may submit as many entries as you wish, but each entry MUST be on the official "DEE JAY" entry form!RULES AND REGULATIONSAll entries will be examined, and the correct entry which in the opinion of the judges gh.es the best reason for wanting to visit US Radio Stations will bejudged the winner, and the result will be announced in the July issue of "DEE JAY AND RADIO MONTHLY".

The judges' decision in final, and no correspondence can be entered into.The judges of the competition will be John Howson, European Manager of Buddah Records, (who are providing the runner-up prizes and will also beentertaining the winner in New York); Peter Odell of Odell International Travel, (who are organising the travel arrangements); Ben Cree - Editor/Publisher of "DEE JAY AND RADIO MONTHLY"; and a top radio DJ still to be finalised.

ATTRIBUTES OF A DEE JAYA - KNOWLEDGE OF THE MUSIC D - SPEED OF ACTION WITH HIS

EQUIPMENTB - CLARITY OF SPEECHE - NEAT AND TIDY APPEARANCE

C - FRIENDLY APPROACH TO HIS F - ADAPTABILITY TO VARYINGAUDIENCE AUDIENCES AND SITUATIONS

"DEE JAY" FLY TO AMERICA COMPETITIONSend to: Dee Jay and Radio Monthly (USA Comp.), B.C. Enterprises Ltd,

Willmott House, 43 Queen Street, Hitchin, Herts. * * . *1

I would like to visit US radio stations because2

deejay3 OFFICIAL

Name 4 ENTRYAddress 5 TOKEN

Age 6 * * * * *I bought my copy of DJ at

10

FULL ITINERARYDay One: Fly Pan Am 747 to New York, and stay in a luxury hotel.

Days Two and Three: In New York - sightseeing and visiting top New YorkRadio Stations. During these two days the winner will be entertained byexecutives of Buddah Records, and escorted to see a leading personality.

Day Four: Fly to Nashville.

Days Five and Six: In Nashville - home of Country Music. Visit the CountryMusic Hall of Fame, and local radio stations.

Day Seven : Fly, via Los Angeles, to Las Vegas.

Days Eight and Nine: In Las Vegas, with visits to the top night-spots, featuring some of the world's top entertainers,

and several local radio stations.

Day Ten : Fly to Los Angeles.

Days Eleven and Twelve: In Los Angeles. Sightseeing and visiting top radio stations.

Day Thirteen : Drive from LA to just outsideSan Francisco. Call in at local radio stations "en route".

Days Fourteen and Fifteen: In San Francisco.Visit theGolden Gate and top radio stations.

Day Sixteen: Regretably Fly TWA 747 back to London.

Pictures by PETER ODELL of Odell International Travel

11

Free RadioCampaign

In last month's issue wepromised you an excitingarticle and here it is!Martin Rosen recentlyspent five days out on theMebo II, Radio NordseeInternational, living, eatingand watching the deejays atwork.

OUT TO MEBO IIThe first sight of the

Mebo II was from the shoreat Scheveningen where itwas just a tiny speck in thedistance. To get out to theboat I had to meet the"Trip Tender" which leftScheveningen about 11.30 am.On board the tender weredeejays Mike Ross, ArnoldLayne and Leo van der Goot.We arrived out on theMebo II at about 12.30 pm,and the first thing we didwas eat!

About an hour later thetender departed taking offthe boat Ian Anderson,Graham Gill, Dick de Graafand Bruno. After lunch Iwas shown to a cabin, forwhich I would like to thankBrian McKenzie for theuse of!

As soon as I sorted outmy bunk, I was shownaround the ship and Inoticed that it was a hive ofactivity. In the productionstudio (which is used forthe World Service onSundays) Buitengaats deejay

CAMPAIGN FORINDEPENDENT C BBROADCASTING

NORDSEE-WHAT IT'S

REALLY LIKEGerard Smit (Buitengaats isthe breakfast programme6 am -9 am Monday toFriday) was busily editingan interview with the DutchSwing College Band. In thenews room was HansMolenaar collecting in thenews from all over the world.(Listen to Hans' greathitback show Mondaynights 7.30-8 pm.)

At 4 pm Leo is in thestudio doing the first of his"Driemaster" programmes,which is a "live" two-hourprogramme every day. Incase you didn't know all theDutch programmes, exceptfor Buitengaats andDriemaster and the news arerecorded in RNI's Bussumstudios.

LIFE ABOARD SHIPAfter "Driemaster" and

dinner, Mike Ross begins tosort out the records into theright order for theInternational Top 30 Showwhich begins at 8 pm. I

should like to point outhere that of all the deejayson board Mike is probablythe hardest working. Notonly does he do his nightly8-10 pm programme, but hehas to be up at 3 am toswitch off the transmitters,and up again at 5.30 am toswitch them on again. Alsoif there is anything wrongwith the television aerial orthere is a light out in a cabinit is Mike that fixes it; aswell as repairing anytransmitter that may breakdown, as the 49 mb shortwave did on the Monday.

What do the rest of theEnglish deejays do duringthe day? Well after muchinvestigation, research andquestioning I found theanswer. Nothing! Well notuntil after lunch. Before youcall them lazy, rememberthe English (International)Service closes at 3 am - thedeejays stay up until 4 amor even later chatting andone night preparing the

RNI Top 30.When they do get up there

is plenty for them to do,like drinking coffee, andsorting out their mail, forlisteners who want a"name -check" on aparticular night. There arealso records in the librarywhich the deejay may wish toplay during his programme.As the evening begins, oneof the deejays prepares thenews for the InternationalService.

A day's broadcastingstarts at 6 am with GerardSmit presenting "Buitengaats",until 9 am. After the newswith Hans Molenaar, allprogrammes with PeterHolland, Tony Berk andFerry Maat are recorded.Each tape runs for an hour,and is switched on by thenewsreader after he readsthe news. He also cues upthe tape for an hour hence.Leo comes along at 4 pmwith "Driemaster" until6 pm. Finally on the Dutchservice Nico Steenbergenfor two hours on tape.8 pm after the Dutch newsMike Ross takes over withthe International Service.He is on until 10 pm whenMike reads the news cuesin Don Allen's jingles andfirst record. Don stays untilmidnight when Arnold Laynehits the airwaves until 3 am.

12

Gerard Smit - presenting "Buitengaats" every morning. The "swingometer" denoting how far the Mebo 11 is rolling.

Each deejay selects his ownrunning order from theDutch Top 50/InternationalTop 30 plus a few hitbacksand playlist records, whichare usually new releases.

THE STUDIOSFor those of you

interested in studio layout,here are the details. Allprogrammes come from thesmall studio. Probably asbig as the averagebathroom! Cartridges withadvertisements, jingles,promotions and soundeffects are in racks on eachside of the studio. In frontof the deejay is amicrophone hanging fromthe ceiling. The control panelhas ten faders (one spare).This controls the threecartridge players - thecartridges are self cueingand instant start. Threeself-starting turntables. Asthe fader is pushed up theturntable automaticallystarts. Obviously as thefader is pushed up, it putsthe relevant piece ofequipment over the air.Therefore, there is a switchwhich allows the deejay tocue records. The otherfaders are for themicrophone and the twotape decks (which aremainly used for the Dutchpre-recorded programmes).There is a large speakerabove the deejay in the leftcorner which allows themonitoring of programmes.As soon as the microphoneis switched on it immediatelycuts out the speaker. Alsoin front of the deejay arelists of publicity spots(adverts) which are to go

out, and at what time.Each advertisement iscross-checked with areference number. To theleft of the deejay are theDutch Top 50/InternationalTop 30 and playlist records.Again directly in front is awindow which looks into theproduction studio.

The production studiois much larger than themain studio, in fact youcould probably fit the mainstudio in three times!Although bigger, as far asequipment is concerned it isbasically the same. The onlydifferences being that thereare two speakers at bothends of the studio. There isonly one cartridge player,and very few cartridges -mainly for the WorldService. There are threetape decks and twoturntables with the sameinstant start and cueingfeatures. The control panelis almost in the centre ofthe studio. Behind thedeejay across the back wall,the library of singles andLPs which ranges fromDeep Purple to Mantovani!Over to the right, in theleft corner is a "swingometer"which shows how far theship is rolling to one side.It is gauged from 0-25 portand starboard (left and right!).Luckily while I was onboard it didn't move anyfurther than five! To theimmediate right of thedeejay is the door whichleads into the transmitterroom and over to the leftin the left corner is the doorto the next deck up or intothe main studio. Both studiosare situated at the bottom

Hans Molenaar checking a news item. All photos courtesy CIB

in the bows (pointed end!).

ON THE MOVE!Perhaps one bizarre aspect

about living on board theMebo II was when youlooked out of the galley orwent on deck (incidentallythe galley or kitchen is atthe stern - blunt end of theship) you may have noticedthat Veronica was abouthalf mile away port sideand Caroline about one mileaway starboard side. If youlooked again later in the day,you would probably findthe position reversed withVeronica on starboard. Thisis because the Mebo II isfitted with a swivel anchorand the ship turns with thetide.

Life aboard the Mebohowever, is not a gay,exciting thrilling life thatyou may consider it to be.Everyone gets on with theirjob of broadcasting,preparing news, sleeping,eating, writing letters, or justwatching TV.

That is about it, exceptto say put everythingmentioned together and youhave the happy sound ofRadio Nordsee International.

Dutchto closepirates?

On April 18 the DutchGovernment is to decidewhether or not to introducelegislation to outlaw thethree off -shore stations.By the time you receive this adecision will have been madeand we will be commentingon it in the next edition.

In the meantime if it isannounced that the"anti -pirate law" is passedthen we suggest all listenersshould write at once to theDutch Embassy in Londonand register a protest.

On April 18, weunderstand, there will be ahuge rally in the Hagueorganised by all the recordcompanies in Holland tosupport the stations. RadioVeronica is to broadcastspecial programmes on thisday. Regrettably manypeople in this country willnot be able to hear thembecause the IBA are stilltesting on the samefrequency. Again, we will be

reporting on this in thenext issue of "Deejay andRadio Monthly". If theGovernment have decidedto close the stations it isthought that it will beseveral months before thestations will have to close.

Carolineoffthe air

At the time of going topress Radio Caroline is offthe air. The reason for thisis that their new BarthGenerator is being installedand hopefully the remainingsections of the aerial mast isbeing erected.

The work is expected totake at least ten days as thetwo old generators have tobe taken off the ship and thenew five ton, water-cooledgenerator fitted, and willbe capable of a power400 kW. So hopefully, bythe time you are readingthis Caroline's signal shouldbe coming over to thiscountry loud and clear usingthe full power of theirtransmitters with a 180fthigh aerial mast.

Right, well we hope thatyou enjoyed our specialarticles this month. If youwant some RNI stickersthey are available at 5p forthree. Special discount ratesfor bulk orders. If you wantthem send with a foolscapsae to Free Radio Campaign,BM-FRC, LondonWC1V 6XX. Also from thesame address, details of theFRC trip out to sail aroundthe three stations. Pleasesend an International ReplyCoupon for details of this;it may be your last chanceif legislation is passed.

For the latest news aboutthe IBA, Garner TedArmstrong's version of the"History of Off -ShoreRadio" all this and more isavailable in the CIB'scurrent newsletter.Membership is only 38p,less than 1p a week! Or ifyou just want more detailsjust send a foolscap sae.Either way write to,Campaign for IndependentBroadcasting, 13 AshwoodHouse, London NW4.

See you again at the endof May.

13

CHRISTIAN'S

SOUL

SOUNDS

Hi Everybodee!Yes, the quill of the

Christian is about to flurryagain. (What flurry speech -get it? YUK). I'm sitting at16,000 feet over Belgiumhaving beer and biscuits.What a lovely way to go -10.05 am to StainesReservoir!

Since I last wrote the Soulshow has taken to theairwaves and I'm pleased tosay the reaction has beenfantastic.

Just received some newsingles from the States - allyou disco DJs make a note -the new one from theJackson 5 "Hallelujah Day"is an absolute monster - (areal put your hands togetherand clap song). I defy anyoneto sit down while it's on.Lurch - this plane is going

round a corner. You'resupposed to drink itChristian, not wear it!

Isaac Hayes' newie inAmerica already availablehere on the Wattstaxalbums - "Rolling Down TheMountainside" - not quite asgood as his last one - butvery "ecoutable"!

New band called Maxaynon Capricorn - and I believethe first record on this labelin Britain. Don't know whatthe A side is called but theB side is fantastic for discos -lots of electronic swishes andgood rhythm - it's the oldImpressions' number"Checkout Your Mind".

I'm going to startcampaigning shortly for are-release on Warner Bros.Remember Bill Cosby -comedian, tennis player and,

yes, singer. He had a monsterin 1967 with "Little Old Man(Everything's alright,uptight)". I dug it out andplayed it in a disco the otherweek and it went down astorm.

Heard about Dame SybilThorndike? She's joinedTottenham Hotspurs - Niceone, Sybil! Hey, these oneliners get worse don't they?(Editor - you could say!)

I've had a lot of lettersabout import copies ofrecords - well if you live inthe South of England tryContempo, Hanway Street,London W1 - they havemost of the soul recordsavailable and I think they'reabout the best in England.

LP of The Month Spot -Well it's got to be BarbaraMason "Give Me Your

Love". Did you dig "Yes,I'm Ready" in '65? well ifyou did listen to it now -8 minutes 56 seconds ofsensuality on record. It'sgreat for the discos too -you know fellas - it's theend of the evening and youwant to have a slow dancewith the young lady who'sbeen giving you the goldeneyeball all night. You can'tmiss with this album. It'll bereleased on Buddah soon.Watch out for it.

Here this plane's gotoutside toilets! Anyhow, asI fade slowly into the dust -sorry dusk - I leave you withthe new one from theO'Jays - "Looky, Looky"and look out for it!

Keep it together,Dave Christian.

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This month Rodney Collins startsthe first of a series on radio l's

Thirty -year -old Alan Black,from Rosyth nearEdinburgh, made hisRadio 1 debut in July 1968when he stood in for aholidaying Dave Cash inthe Thursday "MiddaySpin" spot. It was also hisfirst programme for theBBC.

Alan had started hisbroadcasting career withRadio Scotland and laterwent on to help programmethe Radio England/BritainRadio stations. And it washelping to programme oneof the pirates that reallygave Alan such a wide andvaried taste in music. Asone of Radio l's "second XI"he can be heard everyWednesday night presentingthe contemporary musicreview programme withAnne Nightingale - but whattype of music does Alanreally like?

"Well, obviously I like thestuff we feature on thereview programme. I likefolk music, and blues.But I also greatly enjoymiddle of the road music -Sarah Vaughan and BillyEckstine for instance, andFrank Sinatra. I have a greatrespect for Sinatra, I lovehis phrasing of lyrics.Really, no one can sing asong like him. I particularlylike listening to the recordsfrom his early days, the musiche made with the TommyDorsey Band for instance.

"I do have fairly catholictastes in. music. 1 think ifyou are in the musicindustry you have to befairly tolerant, for yourlisteners' sake as much asanything else. At home I'lllisten to Chuck Berry,folk and blues and, naturally,I have a great love for themusic I grew up with -- the

2nd XI

Presleys and the CarlPerkins material. I also likelight classical music.

"The only records I don'treally get on with are thepredictable bubblegumsounds - I am terriblycritical of them, although Idon't condemn that style."

Alan regards the reviewprogramme as an importantpart of Radio 1.

"Any programme thatfeatures new records andmusic is important. InAmerica there are far moreoutlets for music on radio -stations catering for virtuallyevery taste. But in BritainRadio 1, during the dayanyway, has to be all thingsto all men. If a pop recordis not really in the Radio 1format then it doesn't get

much exposure here, whichis a shame. On the 'review'programme we try to featurethe type of music thelistener won't necessarilyhear on many of the othershows."

In 1967 Alan had starteda career as a commercialartist working as a freelancein London and Paris. Hiswork in this field includesanimations for films andtelevision, and he was oneof the team who producedthe Beatles full-lengthfeature cartoon "YellowSubmarine". He still countsdrawing and painting amonghis main hobbies and iscurrently working onsketches of his Radio 1colleagues at the Beeb.He reads a lot, goes swimmingquite a bit as well.

"Somehow I don't findtoo much time to build uphobbies. Like most peoplein radio, my main hobby isnaturally playing music athome!"

Alan, who married hisFrench -born wife in Londonlast year, is soft spoken,highly intelligent, easygoing and contented with life.He doesn't have any wildambitions to win all the poppolls, and is delighted andsurprised when people doput pen to paper and votefor him. He doesn't exactlyshun publicity - but hardlygoes out of his way toattract it. And unlike someof his colleagues in radio,he's in the professionsimply because he lovesbroadcasting. "It is a verypersonal medium. Whenyou're presenting a radioprogramme you really feelthat people are listening toyou. It's a great feeling."If you ever get the chanceto meet Alan Black, do so.

IS

I first met Dave Cartera few months back, when heproduced and presented myfirst half-hour show forRadio London. We decidedthen to get together againas soon as possible todiscuss Dave's unusualenthusiasm for women!When you read this recentconversation with Dave andDeejay Susan Barnes you'llsee what I mean.

P.P.: "First of all, Susantell me when you startedwork with Radio London?"

Susan: "Right at thebeginning in June 1970.We started training sessionsbecause most of us hadn'tbeen in broadcasting before,although I had."

Dave: "All of us had toget together and, for the firsttime in British radiobroadcasting, had to learn tobe both engineers andbroadcasters. So, for acouple of months, we allplayed with the equipment.I think that the mostamazing thing for most ofus at the beginning was thatthere was virtually noaudience, so we were able to

An unusual enthusiasm for women-I to r Polly Perkins, Dave Carter and Susan Barnes.

London'sLiberatedLadies

Polly Perkins talksto Susan Barnesand Dave Carterof Radio London

make our mistakesunnoticed!"

P.P.: "Did you, Susan,start broadcasting straightaway?"

Susan: "No. I started onthe technical side, as astation assistant. Then, onSunday afternoons, I usedto go out and about,meeting the public and asking

them what record they'dlike played."

Dave: "It was a sort of'Down Your Susan BarnesWay'!"

Susan: "I did that untilthe beginning of last year.Now I do a daily showMonday to Friday morningsfrom 9.30 until 10.30."

P.P.: "I know you have a

lot of listeners."Susan: "Yes, it's surprising

how many. A long time agowe thought that, after thebreakfast show, everybodywas too busy getting off towork or doing theirhousework to really havetime to stop and listen.You see, originally we wereaiming that spot at thewomen. In fact, we werewrong, because atremendous number of mentune in. We get guyslistening while working infactories, driving their carsto work or driving cabs andlorries."

Dave: "Most broadcastershave a preconceived notionwho they are going out to.Susan's programme was firstconceived as a middle-of-the-road programme, but middle-of-the-road doesn't meanjust Ray Coniff and TonyBennett to Susan. She takesit to mean music with abroad spectrum. She playsrecords in the morning thatJohn Peel would be proudto play in his show, and wefind that a market gardeneraged 52 or a housewife

16

aged 22 both enjoy this. Wewish really that we got moreletters criticising theprogramme!"

Susan: "In fact, thetraditional concept ofmiddle-of-the-road is themusic I include least in theprogramme. Perhaps once amonth I'll include a RayConiff or something. Iplay all kind of music,including heavy blues andsoul records, and yet I gota letter from a man of 75who thanked me forintroducing him to a newscope of music."

Dave: "We're tryingvery hard to break awayfrom the concept that becauseyou belong to a certain agegroup or a certain socialstrata there is a particularbrand of music that isfitted to you. We feel thatthere is only two kinds ofmusic, good and bad, andeven that is a verysubjective thing. If youhear a record you'll feel thatyou either like it or not,and your view is no moreor less valid than mine orSusan's. Our only formatapproach is in ourpresentation, which is that we

are having a conversationwith the listeners and nottalking at them."

P.P.: "Is it your policyto have women run yourmorning programmes?"

Dave: "The women whoare doing the morningsequence of programmesare doing them becausethey can do them and notbecause they are women.I therefore feel that we aremore liberated than mostplaces."

P.P.: "Have you ever hadany irate letters saying 'Whyis a bird doing thisprogramme, I can't standthe sound of her voice?' oranything like that?"

Susan: "There have beenone or two letters, but whenyou read them you realisethat the people are totallyoff their heads anyway!"

P.P.: "I was speakingrecently to Alan Keen, thehead of Radio Luxembourgand he holds the view thatthere are no good femaledeejays."

Dave: "I would disagree.In fact I think what he saysis absolute codswallop,although I could usestronger language!"

P.P.: "Codswallop will dojust fine!"

Dave: "It isn't only AlanKeen who thinks this, itcould also be the opinion ofDouglas Muggeridge atRadio I. They all say ladypresenters of music showsare impossible to find.Now - every local BBCradio station have foundthese girls! Some are goodand some are bad, just likemale disc jockeys. In the caseof Susan, when she goes onholiday she has a goodbackup who also happensto be a girl. We haven'thad difficulty, because thegirls are there. Obviously,if girls aren't given theopportunity of gettingfront of a mike they' reinnot going to get theexperience, and this appliesto fellas as well. It's aquestion of the Heads ofRadio Stations using just alittle bit of imagination.They want everything to begift wrapped and handed tothem in a package. Theywant a super broadcasterjust given to them."

P.P.: "Like they gotTony Blackburn and nearlyeverybody else ready

trained by the pirate ships."Dave: "We started off

cold and Susan was thereso she was given the job.If she couldn't have done thejob it wouldn't havemattered if she were a girlor a fella - she wouldn'tbe doing it any more.It's as simple as that."

P.P.: "You treat malesand females as peoplerather than as gender?"

Dave: "I hope so."Susan: "I think I've done

things for most of theprogrammes on this station.Radio generally has beentied to the tradition of theold fashioned BBCannouncer in his dinnerjacket, and it's just beenimpossible for women toget into radio. Thestrongholds have to be brokenquite high up in Radio 3 andRadio 4. Once women areaccepted as announcers onthese stations then they'llbe accepted in Radio 1."

P.P: "I've alwayswondered why such astaunchly male strongholdas the British BroadcastingCorporation is known as`Auntie'. Makes youthink!"

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17

Like so many otherDJs on radio Mike Ross,Radio NorthseaInternational's top DJ,started into radio in a verysmall way.

"I was doing discos inthe Reading area when afriend told me thatCaroline were taking overRNI for the 1970 Electioncampaign - and that we wereto distribute leaflets andstickers at our discos. Thenext thing I knew was thatmy mate went up to theCaroline rally in Londonand came back and asked meif I wanted to go on radio!

"I told him that obviouslyI was interested and he saidthat I would have to puttogether an audition tape.I then came up to BeaconRecords in London for aninterview - where I metLarry Tremaine andSteve Merike. Steve wasdoing the breakfast showon Radio 1 at that timeand was not supposed tohave any contacts with RNIunder any circumstances.However he did and I wastold 'We are going outto the boat on Thursday'.I was out on the stationfor two weeks and then itclosed down."

So Mike came back toEngland and returned tothe disco scene, but thistime on a professional basis.In November he received aphone call from Steve Merikeasking if he knew anyonewho could raise a quarterof a million pounds.

"I said that I could try,and Steve told me that theidea was for Radio MonteCarlo. We raised the money,but then Maurice Gardettwho was negotiating thecontracts sold out to DaveCash and Tommy Vance -so they went and did thejob."

In January Mike againreceived o call from Steve,this time asking if he wouldlike to re -join a new RNI.He was quite naturallyrather reluctant, not onlybecause of the previousoccasion, but also because henow had several discocontracts going. And so atthis stage he declined.However in May MartinKayne left the ship and as aresult of yet another callfrom Steve, Mike joinedRNI on May 5, 1971. Howdid he find things on RNIat that time?

"Everything was all right

Dave Johns starts thefirst of a series ofinterviews with

RNI D.J's. This month:

on the ship as long as youwere one of the 'in' crowd.However if you were oneof the 'out' crowd thingscould be a bit sticky for you.It's true to say that basicallythe station was run prettywell by Steve and Alan West,except that they really hadbigger ideas than theycould really handle, and soeventually they were fired.Then we had lots morehirings, firings andre-hirings, and nothingreally settled down untilOctober 1 when everythingwent bang, and the Englishservice was closed down."

Various and many reasonshave been given for thisaction, some by ManagingDirector John De Mol, inlast month's "Dee Jay andRadio Monthly" - but otherstories include records beingthrown overboard by oneof the English DJs. Generallyspeaking the Dutch andEnglish people didn't geton too well together, andwhen two people on the shipdidn't get on they couldn'tvery easily get away fromeach other. Eventually asit turned out, theInternational Service wasrestored by Mr Bollier,

who didn't like the showsthat were put on in placeof the English speakingspots.

Now everything seems tobe much smoother on RNI.Don Allen is ProgrammeDirector and the generalopinion of him would appearto be very favourable.

"Don is like a father toall of us as he has so muchexperience from working onRadio Caroline, Manx Radioand even on the BBC. He isa real professional," saidMike.

"People are now takingnotice of us, and we haveto be grateful to 'Dee Jayand Radio Monthly' forincluding us in the magazineand in the poll. It's great.The magazine is impartialand I think it will have amassive circulation as it isin at the very start of thecurrent radio `boom' - withthe opening up of the newcommercial stations. It's alsonice for us on RNI to be ableto have features about ussuch as this one. We arestarting a fan club on RNI,but we could never affordto have a magazine on thesame style as 'Dee Jay'."

Life on board ship hasnot been without itsmoments as Mike re -called.

"One time I can especiallyremember was Christmas of1971, when Dave Rogerswas on the boat. He is areally nice person and thatChristmas we had laugh afterlaugh after laugh. Daveplayed Santa Claus, asSanta visiting the Mebo 2 onChristmas Eve, and RobEden interviewed him. Infact I have a master tape ofthe whole. of that eveningand together with othergreat incidents I would liketo put together an LP recordof the highlights of mytime on the ship. We alsoput together a pantoentitled 'Sleeping Beauty - orhow Dave Rogers was caughtsleeping at the end ofScheveningen Pier, bittenby a poisonous crab, andthen revived two secondslater by a St Bernard witha bottle of brandy'. I stillhave several bits on tape, butunfortunately I have lostthe script, so if anyone isreading this who has a copyplease let me know as Ishould very much like toput it all together. JaneBallantyne was playing theSleeping Beauty, DaveRogers was the Queen,

I0

18

Rob Eden the King andTerry Davis the Prince. Ishould love to put ittogether even if it was justfor my own satisfaction."

For the technicallyminded, Mike points out that,"We were once planning tohave an all -day EnglishService, and when RadioVeronica closed down on192 meters we set out ourspare 10 kW transmitter onthat frequency and did testbroadcasts, but we foundthat we had a 'Beat Carrier'which gave us up about257 meters, which was thetwo carriers beating togetherto form a third carrier,taking the modulation with it,and we had spread the band.We realised that to put twomedium wave transmitterson separate programmes,then both programmeswould come out on bothtransmitters and onadditional frequencies, soany idea of an all dayEnglish Service was scrubbedas it was a technicalimpossibility. We havetrouble with the broadcastson Sunday with the WorldService and the DutchService. In the AudioProcessing Circuits and the

Transmitter Circuits we havegot the breakthrough downto -48 Db Separationbetween the two signals.You are bound to get somebreakthrough because thetransmitters are sitting in aterrific field of RadiatedFrequencies, so even if weimproved the screening ofthe transmitters, the signalswould combine again in theatmosphere. You can't putso many transmitters in aboat and expect them towork perfectly, they willwork, and you mustremember that at one stagewe were broadcasting onfive frequencies. We gaveup the 31 metre bandfrequency because, as it is aproductive frequency youcannot receive any newsbroadcasts, you cannotwatch television and mostof all you cannot touchanything without getting ashock. You have toremember that we arepumping five or six kilowattsof RF power into a shipalready loaded with RF,and as a result, things startarcing. You only have tohold a bit of wire and ifyou touch the bare end, youwill get a great big burn on

your hand. We use a lotof RG8 and RG50 CoaxialCable, and it is used forfeeding aerial sources down,and an RG8 cable is abouttwo inches thick, and if youjoin a piece to a normalpiece of household wire,and feed it &kin to thenewsroom and touch it onthe 'earth', you will melt theentire wire the whole wayup."

People are always askingwhen the Dutch Governmentwill try and close down theoffshore stations. As Mikesays, "I don't think it willbe for at least a year, andit may be as long as fiveyears ahead. The Dutchhave a clause in the Billwhich says that all contractsalready signed must run,and our Dutch service havegot contracts for a yearahead. I can't see themcoming out with tugs totow us away. We have gotplans formulated within thecompany for that coming daywhen the Bill is signed.The Mebo 2 could staywhere it is, and the Mebo I isthere and could tender usfrom Spain. It is adiabolical thought, but itcould be done. The station

will have to stop the DutchService and go all English,and the Dutch crew wouldhave to be changed for aSouth American or an Irishone. It isn't really acommercial proposition oncethe Dutch sign the Bill,though if we really wantedto make money we wouldturn the station into allDutch. If and when RNIcloses I would like to workin engineering. What Ireally would love to do isto work in the BBCRadiophonic Workshop.If all fails, I would go intomy own business. I have gota few ideas on the AudioEquipment side, but I havegot very good qualificationswhich put me in line for a.very good job. The onlything apart from thecommunicating with anaudience that I will miss,is not seeing my name inthe papers. I think we areall slightly egotistic, and Ilike the 'glamour' of workingon a ship even with all thediscomforts of the business."

next month:Brian McKenzie

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Did Derek have anyobservations of the DJ teamon Radio 1 at the moment?In fact did he regard themas a team?

"Oh yes, and I hope thelisteners do. I think we'vegot a very strong team atthe moment. You knowone of the criticisms ofRadio 1 is that the DJ teamis not so much a teamas the pirates were.Remember if you live on aship or say in Luxembourgand you are throwntogether day and night,obviously you are more ofa team. But now they areall growing a little older,they are married men,families on the way if notalready, and when they'vefinished a show inBroadcasting House theyperhaps wander back to thedepartment in Egton Houseand have a natter with theproducer and various people -but you can't expect them tohang around all day, so theygo back to their wives andkids. That doesn't mean theyare not totally involved inpop radio in the sense thatthey all do a lot of outsidework as well, personalappearances and so on.That's fine by us, after allit's all promotion for Radio 1.I think they are a prettyfriendly bunch, and theyseem to get on very well -and they all have theinterests of Radio 1 at heartbecause after all that's howthey are making a living andcreating their success."

Recently there have been

How toget your

radiobreak!

Concluding our twopart interview with

Radio One bossDerek Chinnery

many changes on Radio 1,and more are planned forthe remainder of 1973. Whatare Derek's thoughts onthese?

"Let's just recap a little.We have often been accusedof not bringing in new blood- but if you look at thepresent schedules andcompare them to say fiveyears ago it's quiteremarkable the number ofpeople that have come andgone."

What about theintroduction of totalnewcomers, as with the caseof Tom Browne and"Solid Gold Sixty"?

"When it was decided tochange 'Pick Of The Pops'because Alan had been therefor 11 years and had saidat one stage that he wantedto come off the show, asalways we considered everypotential DJ for the spot.I honestly don't think peoplerealise how much time and

trouble we do take listeningto tapes and considering allthe alternatives. I thoughtin this case it was right tobring in someone new,particularly with a programmethat already had an existingstyle - so that the guy is notstarting completely fromscratch. It has a loyalfollowing of people who wantto hear the Top 20, or aswe now run it, rightly orwrongly, the Top 60. JohnnyBeerling, one of ourExecutive Producers, hadbeen taking an interest inTorn and had for sometime had him in mind forsomething. So he got Tomin and between them theydid an awful lot of work toget to the position wherehe seemed to be right forthe spot. After all it doestake some time tofamiliarise yourself with ournew equipment. Tom hadbeen making up programmesfor Danish Radio for sometime, and we all thoughtthat he had a super voice,quite unlike any of the otherDJs, and one that would beattractive on radio. I'm verypleased because wheneverwe put someone on brandnew or make changes ourlistener research seems toindicate a drop in listeningfigures, but I think thisis inevitable - it's just aquestion of unfamilaritywith names, etc. Anywaythe figures have now climbedback to something likeAlan's and after all it's stillrather early days - becauseI think it takes at least a

20

year to establish someone inpop radio these days."

The Saturday afternoonexperimental spots with newDJs seemed to have provedpretty successful for somenew faces - why are theseto end?

"Now that we have theintroduction of stereobroadcasts on Radio 1 onSaturday afternoons, theemphasis is even more onthe music - and it wasimportant that we use atop -line DJ to demonstrateour faith in stereo. We areobviously trying to encouragepeople to take notice ofstereo and so we decided onAlan, although for the first

best disc jockeys, and we arenot exactly here to give workto new people, except likeTom who dropped in on`Solid Gold Sixty' and hasproved successful."

As a recipient of probablythousands of tapes each weekfrom hopeful would-be radiodisc jockeys, what actuallyhappens to these tapes at theBBC, and to whom shouldthey be addressed?

"To the Auditions Unit -it sounds very pompous butyou must remember thatwe have pop singers, groupsand so on and not just onthe Radio 1 front, as wellas DJs, applying for BBCwork, so there really has

recorded at 71 ips with therecords cut down, after allwe all know what therecords sound like and whatwe want to know is what theDJ sounds like. Chop themiddle out, it doesn't haveto be a neat edit in fact veryoften the rougher the editingthe better because you knowthe thing is chopped to theend, and the tapes don'thave to be very long, sayabout ten minutes. Anothertip I would like to give isthat it's very helpful if theDJ gives a thumbnailbiography on the beginningof the tape - you know,name, age, address andexperience - things like that

Ready for take -off Johnny Beerling, Tony Blackburn and Derek Chinnery

eight weeks the programmeswill be by Johnny Moran.

"This doesn't mean thatwe won't at some later datere -introduce a similar sortof new talent spot. Howeveryou must appreciate thateven though the Saturdayafternoon programmes haveproduced several very goodDJs, at the moment with thevarious needle -time andprogramme restrictions, wecan't use them all! No onein their right mind wouldtake off Tony Blackburn orJohnnie Walker, who bothtopped your recent poll, andput in some new bloke.What we are interested inis doing the bestprogrammes possible with the

to be a unit. If people sendtapes to me and I happen tohave a free moment I mightjust pop one or two on tothe tape machine just out ofinterest - but I still sendthem on to the audition unitwhere they are acknowledged.The tapes are then heard atregular intervals - onaverage once a fortnight. It'sreally amazing you knowthat we even get peoplesending in piles of loosetape in an envelope, or tapesrecorded at 1 ips and thissort of thing - whereas weare using professionalequipment and without alot of complications wecan't play them.

"Tapes should be

so you know who you arelistening to.

"We do try and giveeveryone a fair hearing, weare a public organisation,we feel a certainresponsibility and I amonly sorry if there have beenlong delays. As I've saidunder present circumstancesit's not very high priority -you've got to remember thatRadio 1 is a nationalnetwork, the top pop stationand we want only the creamof the performers, so theyoung DJs must expect toserve an apprenticeshipsomewhere before they canstart on Radio 1."

Where did Derek suggestthey try?

"The local stations, bothcommercial and the BBC -these stations are employinga lot of young fellows andwe are hoping that in duecourse they will become agreater breeding ground fortop DJs."

Returning to the changesplanned for June, what wasthe thinking behind movingJimmy Young away fromRadio 1?

"I'm very sorry to seeJimmy leaving Radio 1 - he'sbeen one of the stars of thenetwork - and incidentallynot a pirate DJ! He becameone of the great successeson Radio 1 but we have tomake changes and I thinkit's a logical step for Jimmyto move over to Radio 2bearing in mind hisbackground, and for hisfuture too I'm sure that itwill be the right move.

"Similarly take the caseof David Hamilton, whowill be joining the networkin the afternoons. David isa broadcaster of wideexperience and althoughwe had featured him inprogrammes like 'Late NightExtra' and he has donerelief for presenters onRadio 2, David has alwaysseen himself as a Radio 1DJ, and has always had hisheart set on being part ofthe Radio I team. We feelthat he is well suited for ourafternoon show."

What are Derek's thoughtson the introduction ofcommercial radio to the UK?

"I see that DickieAttenborough's music policyon Capital Radio is morelikely to be similar toRadio 2, which of coursemakes Radio Ts problemeven stronger - which iswhy that network is gettingmore of it's own identity.Parallel to that I amcommitted to giving Radio 1a more positive image as apop network, and I hopethat we will be able toproject a young image. Idon't mean a youthfulimage, nor do I mean thatwe will have only youngpeople listening to it,because there are a lot ofnot -so -young who seem toenjoy the friendly approachof the Radio 1 DJs, and thecheerful and happy, even ifsometimes noisy by theirstandards, music that theyplay."

ben tree

21

As we rather expected theletter from Mr David Coatesof NAHBO, part of which wereproduced last month, hasdrawn an absolute stream ofreplies. A few to be fair infavour of his attitude towardsDJs on hospital stations - butthe vast majority agreeingwith our comments. Two,selected at random from thosereceived are reproducedbelow.

27 Rodenhurst Road,Clapham,

London SW4 8AEDear Sir,

I would not regard acompulsion on my part toto write to "Dee Jay andRadio Monthly" as one ofthe most likely events of1973, but nevertheless thecorrespondence from oneDavid Coates, the ViceChairman of the NationalAssociation of HospitalBroadcasting Organisations,provided the necessarystimulus to put pen to paper.

I read with interest thefeature in the February issueto which Mr Coates wouldappear to have takenexception, I presume in hiscapacity as a representativeof the NAHBO. The featurewas I think a fair andbalanced assessment of therealities of the hospitalbroadcasting scene asopposed to the idealistictwaddle which regrettablytends to be bandied aroundin certain quarters withclerical solemnity and greatreverence.

The feature in questiondid not intimate, as MrCoates suggests, that hospitalbroadcasting stations exist"for the furtherance of thecareers of DJs", any morethan the BBC exists for thefurtherance of the careers ofDJs. It must however bepatently clear, even to the"jaundiced eye" of Mr Coates'committee that a by-productof an efficiently run andwell organised radio station

'might just be an improvement

in the standard of work ofthose participating andtherefore the creation ofopportunity for advancement,very much a two wayexchange, the DJ infurthering his career mightconceivably contributesomething to the station ashe passes through.

It is quite possible to runa hospital radio stationwithout creating a cheapversion of Radio 1 whilstat the same time balancingthe enjoyment experienced bypatients with the satisfactiongained by the DJ, and it isarrant nonsense to suggestthat most stations aremanned by a selfless bandof devoted crusaders. Ofcourse the patients whomake up the audience areour first concern in theprovision of a service andeverything the stationbroadcasts must appeal,but please let's not getcarried away with theselfless martyr bit, we canprovide the personal touch -and enjoy it.

I am indeed happy that"Dee Jay and RadioMonthly" is taking aninterest in hospitalbroadcasting and I hope thatfuture correspondence willdemonstrate quite forciblythat the number of stationswilling to align themselveswith the kind of parochialstance which Mr Coateshas adopted will be few,very few.

Yours faithfully,Paul Houslop,

Programme Organiser,Radio Guy's,

Guy's Hospital

66 Edgar Street,Pitsmoor,

SheffieldAhoy there!

(Typical introduction fromex -pirate!) With referenceto Mr David Coates' letterin last month's issue, whichincidentally reminds me ofthe marine broadcasting act.I agree with the basicprinciples of his letter thattheir service is to relieveboredom and alleviate thefears of sick people and notto exist for the furtheranceof the careers of DJs.However his letter indicatesa very narrowminded viewof the situation. Mr Coates,let me ask you a question.If your sink was blockedI should imagine that youwould go to a plumber andnot a cobbler. If your car

wouldn't go, a garage wouldmake a better job of itcompared with a dentist.So Mr Coates when thesepoor unfortunate patientsswitch on their radios inthe morning, who do youthink that they would liketo listen to . . . a wardorderly?

I do not believe that yourstatement which read "Wehave found withoutexception, that their sole aimis to produce programmeswhich are cheap imitationsof BBC Radio 1". And thereason I don't believe you isbecause one of those letterswas mine.

I sincerely hope, Mr Coatesthat no offence is taken overmy rather blunt way ofputting things, but let's notput square pegs into roundholes and put the DJ backbehind his turntables, notfor our sake - but thepatients.

Yours sincerely,Ray Hewins (DJ)

* * * * * * * * *Drogheda,Co Louth,

IrelandDear Editor,

As a reader of "Dee Jayand Radio Monthly" everymonth, how about givingIrish TV and Radio DJs amention in your magazine?

Franklin Dee(Editor: Mr Dee (no

relation to Simon are you?)we'd love to. Would any ofour many Irish readers liketo send us some basicinformation first?)

* * * * * * * * *

Edgbaston,Birmingham

Congratulations on anexcellent magazine - in fact,the only one I have come tobuy regularly. You wouldprobably like to know justwhat your readers areparticularly interested in, andin my case it is without anydoubt, the articles on FreeRadio, and the interviewswith former offshorestation DJ's - but I'm alsofascinated by the articles ondisco equipment.

Yours sincerely,Paul Kendall

* * * * * * * * *

Biddick Hall Estate,South Shields

I myself am a discothequeDJ and have found many tipsand pieces of usefulinformation in every columnprinted.

Yours sincerely,B. Wilson

* * * * * * * * *

Dear Sir,I am a regular reader of

"Dee Jay and RadioMonthly" and in generalfind it of great interest, butwhy in seven months hasJimmy Savile, OBE, had nomention? OK so he has hada couple of mentions onpage 4 (all of two sentences!)and once he even manageda colour picture on the front- but still no article.

You have just completedthe last in your "Big Three"series, but surely Father Jimhas one of the biggestfollowings of the lot.

So how's about a massiveSavile feature?

Anonymous(Editor: OK so how's

about page 6 guys and gals!)

* * * * * * * * *

If you would like to writeto "Dee Jay and RadioMonthly" on any subjecthere is the address to sendyour letter:

"You Tell Us""Dee Jay andRadio Monthly",Willmott House,43 Queen Street,Hitchin,Herts.

* * * * * * * * *

22

Like to be alone in a

SUPER STUDIO?Then try Radio Fleet!

Gania Wyndham, who runsRadio Fleet Productions, athriving studio in the veryheart of London's newspaperworld, has one very goodreason for being involved inthe world of radio - shehappens to be married tonone other than BruceWyndham, popular BBCRadio I and 2 presenter andnews reader.

I spoke to her recently atthe Radio Fleet Studios,located little more than astone's throw from FleetStreet (and it doesn't have tobe a very athletic throw atthat), and asked her how thestudios came about.

"The idea originally cameabout last February I suppose.We realised that there wereno studios close at hand, andthis meant that we had to go,say, to Manchester Square torecord any little bits wewanted to. There literally wasnowhere in or near FleetStreet. We could have usedReuters, but not really for thesort of purposes we wanted.This area in which we're nowsitting was one enormousbarn of a room, so ourChairman suddenly said'Why don't we build ourown?' Partially, I suppose,because of the coming ofcommercial radio, but also asa general commercialproposition because we felt

Radio Fleet's DJ position

there must be lots of peoplearound this area in particularwho will want commercialradio -style studios in or nearthe very heart of FleetStreet."

So work on the new studiosstarted on August 15 of lastyear, and was completed byOctober 8th - under eightweeks in all!

"We had, I think, probablythe best technical consultantwe could have had andtogether with his architectshe designed, built and evenwired the equipment inhimself - so he knew jollywell it was going to work,and, touch wood, it'sworking very well."

Radio Fleet Productions is

part o' the UnitedNewspapers Group, and this,obviously, gives them a greatinterest in the forthcomingcommercial radio network, inparticular in Leeds andSheffield, where the groupowns the major localnewspapers. Preliminary workfor their consortiums in thoseareas has already formed alarge part of the studio'soutput.

"We thought it would be agood idea for our consortiummembers to hear the sort ofthing :hat they, mighteventually hear in their ownareas, and so we madedummy tapes. One for eacharea - and you might besurprised how totally different

they are - because inSheffield, for instance, theygo home an hour earlier thanin Leeds, and, therefore, havedifferent commuter times.We've done a completedummy of one week sampleprogrammes for both towns."

According to Gania, thereare three basic objectives tothe studios . . . "Firstly weare here to produceprogrammes for othercommercial stations, whichwe can then send up the lineto Birmingham, Manchester,Glasgow or wherever theywant them. Secondly, we canproduce here our own littlefeatures on sport, fashion,etc., shall we say for London,and finally we are here as acommercial studio for otherpeople to do whate er theywish with. I mean, kviouslywe're here not just as a prettyface - we're here to makemoney."

In fact so far several of thealready announced localset-ups have been into RadioFleet studios.

"They have actually cometo us saying 'can we producefive minutes of sport, or news,or Parliamentary stuff', whichis exactly what we want themto do."

It could be on the questionof Parliamentary material thatthis is where Radio Fleetcould well score. If the Hon.

27

Member for Wythenshawe isrequired to comment on someitem of local news, andhappens to be in the House,then it is obviously muchquicker to whip him into theRadio Fleet Studios for a fewminutes than to drag him offto Manchester.

Apart from this sort ofarea, what type of person hasbeen using the Radio Fleetstudios so far? One regularuser has been PaulHollingdale, former BBC DJ,now running his own set-up,Metromedia Radio.

"Paul has already done acommercial for Woolworth'son their special James LastLP, which has gone out onManx Radio andLuxembourg. He's done areview of a new film 'TheLovers', which will bepremiered in Manchester atthe end of April, and variousinterviews with musicians andartists."

The studio has also beenused by disc jockeys and isequipped with a full radio DJset-up. Here, either alone orwith assistance aspiring DJscan make programmes oraudition tapes, and above allthe atmosphere is veryfriendly. One particularfeature of the studio is that aDJ can sit at his console andinterview somebody, eithersitting right beside him or inthe very luxurious interviewstudio.

It is this point of DJs beingable to come into the studioand literally 'do their ownthing' that is likely to be abig success factor for thesestudios.

"For instance if you wereto go into the studio now,Ben, and say to me or ourengineer Adrian 'I'm fullyaware of what this equipmentis and should be doing, I'dmuch rather you left mealone' then we would. If,however, a fairly new orinexperienced DJ comes inand says 'I'm not quite surehow to work the Rapid Cuecartridge machine' thenAdrian would be sittingbehind and doing whateverthe DJ required - not whatAdrian thinks he needs but.the DJ says he wants. Afterall the DJ or potential DJ isthe customer and what hesays, our engineer will do forhim, and if he says he wouldrather be left alone then hewill. Obviously we are not

(Top) Paul Hollingdale using the studio; (Centre) The 10 channel Nevecontim panel; and (Bottom) The superb special interview room.

going to let any maniacs in!"From this point of view

these studios could well bepretty unique, and it iscertainly true to say that aDJ can work alone in thisstudio, provided he knowswhat he's doing. You canwork the turntables, faders,

Rapid Cue machines - andmerely by swivelling yourchair one is able to work theconsole.

One recent feather in thecap for Radio FleetProductions was a visit to thestudios by top racing driverGraham Hill who recorded a

special introductory messagefor his new book to be usedon American commercialradio station.

Talk of overseas radiobrought us to Radio Fleet'sDirector, Tom Chalmers, whois also chief executive ofRadio Services, a veteranbroadcaster of many yearsexperience - several involvingstations and networksabroad. He started inbroadcasting in 1936 andwent on to become AssistantController and eventuallyController of the LightProgramme in 1948. He thenwent out to Nigeria asDirector General of NigerianBroadcasting. He came backto England for a time asController of the BBC NorthRegion, and then returned toAfrica as Director General ofTanganyikan BroadcastingCompany. From there hewent on to join the UnitedNations as their East AfricanRepresentative, with specificemphasis on broadcasting -both radio and TV. In 1964he returned once more to theBBC where he took up thepost of Specialist Assistant tothe Controller Overseas andForeign Relations in chargeof broadcasting all over theworld. Two years later Tomwas invited to start work oncommercial radio for theUnited Newspapers groupwhich lead, of course,eventually to the founding ofRadio Fleet Productions.

How does Gania see RadioFleet Productionsdeveloping?

"I would like to see thestudios in action 24 hours aday, seven days a week forwhatever purpose - it doesn'tmatter to me. The morepeople that come to us thebetter, and I think you'llagree they will find a friendlyatmosphere. I think it's avery intimate atmosphere andI think it's a relaxingatmosphere."

I had to agree with her,and if you're looking for astudio in the London area torecord your DJ tape, somejingles or an interview - oreven if the mood takes you,a song or two - then youcould do a lot worse thancalling Gania Wyndham on01-583 9199 (ext 344 or 366).I know she'll be delighted tohear from you.

Ben Cree

28

DIGGING WITH DELL

David Griffiths talks to radio's swing kingAlan Dell was putting the

finishing touches to his BigBand Sound (Tuesday nightson Radio 2) and theproducer, John Hooper, wasmarvelling at Alan's abilityto dig up rare discs andrecordings of Americanbroadcasts. Since a very highpercentage of thisprogramme's music is notto be found in the BBCGramophone Library (itselfthe most comprehensive inthe world) but comes fromAlan's own collection andcontacts, Hooper waswondering whether recordcompanies have all sorts ofwonderful swing era goodieslovingly filed away in theirvaults.

By no means, sighed Alan.He went on to tell of ahorrifying event anacquaintance hadwitnessed: into a'huge pitoutside Los Angeles,truckloads of master

recordings had been dumped.For obviously, the recordbusiness has to keep movingahead and has to get rid ofold stuff, most of whichnobody will ever want tohear again.

But of course, here andthere are to be found gems,especially, perhaps, from theswing era, and if nobody in arecord company cares - orknows - then out goes a gemalong with the mud, the stones,and the fool's gold.

Fortunately for those ofus in Britain who have theswing taste, Alan Dell caresand knows. Thanks todiligent research,perseverance, and thebuilding up of an informalnetwork of contacts, he isable to snatch many aswinging sound fromimpending oblivion. It seemsto me that he is much morethan a smooth -voiced andknowledgeable disc jockey.

He is providing a uniqueopportunity to hear bigbands from the past, at atime when they weresupremely popular. Thoughthere are some fine bandstoday (notably, of course,the great survivors such asEllington and Basie), theera has gone and, apartfrom recreators such as SydLawrence, there doesn'tseem to be much happening.The modern mood isapparently indifferent to theswinging dance band.

All the more reason, then,to delve into the past andpresent those sounds that canstill excite, or at least havegreat nostalgia value. Thatthere is a steadily growingaudience for big band swingcan be seen from theever-increasing listeningfigures to Dell's programme.

How Alan found himselfin this particular niche asone of the world's leading

exponents of swing era musicis a long story that beginsin his native South Africain the 40s when Alan wasgrowing up in a house inwhich his journalist fatherreviewed records. So Alanjust naturally heard practicallyall he wanted of the popularmusic of the time. He hadto buy very few discs, thoughhe vividly remembers thefirst one his father didn'thave and which, havingheard it on the radio, Alanrushed out to buy - GlennMiller's "Slow Freight",still one of his favourites.(In fact, Miller's wartimeAEF band with strings wasto become his favourite ofall orchestras.)

He played a little pianoand drums in a would -be -jumping school band andthought he might become apro musician. He went tosee the South AfricanBroadcasting Corporation's

30

orchestra at Johannesburgand one look at the set-upin the studio, with mikeseverywhere, and Alan saidto himself "This is for me!"He joined the SABC as aclerk in the record library.

Browsing around onelunch break he found somedusty records on a shelf,asked about them and wastold not to bother with them.They were by Count Basieand decent South Africanssimply didn't like that kindof music. Alan, however,liked them very much. Somuch so that he wrote a20 -minute script for them,took it to the programmemanager, who passed it, andallowed Alan to read it onthe air. His broadcastingcareer was off to a swingingstart, he was promoted topresentation assistant. Hewrote scripts, didannouncing, and - after awhile - became a big bandproducer.

Always intensely interestedin acoustics, Alan wasdetermined to learn how toget the. best possible broadcastsound for his shows. And,he says, SABC was quiteremarkably progressive -

"using condenser mikes longbefore the BBC". It was whileworking on an SABCcommercial programme,Voice of Capitol, that hesaw an opportunity to takeleave of absence for a fewmonths and visit the Capitolstudios in Hollywood which,he considered, had the bestrecording sound at that time(1952).

So he went, via -London,where he made a few contacts.

Capitol's Hollywoodstudios and stars exceededAlan's wildest expectations.Week after week he foundhimself "working" onrecording dates with thegreats he'd previously onlyheard on the radio - StanKenton, Peggy Lee, Nat Cole,Kay Starr, Les Paul andMary Ford, Tennessee ErnieFord.

"But although I wasoffered a regular job, myvisa did not entitle me towork in USA. If I'd had thatkind of visa I would havebeen liable for call-up in theAmerican army and I didn'tfancy being shipped out toKorea!

"So after being awaynine months, and being very

short of money, I returned toLondon where I could earna few pennies writing sleevenotes for Decca and so on.Also, the SABC wanted meto do some shows fromLondon."

It was organising theseprogrammes, with EveBoswell singing and TonyOsborne writing,the chartsthat brought him intocontact with BBC producers -who have been employinghis services ever since. Alandidn't get to go back toSouth Africa until October1971 - "almost 20 yearsafter I'd left. I wentprimarily to see my motherbut found lots of old friendsstill working at SABC wherethey gave me a right royalreception!"

Now Alan can look backon a distinguished BBC (andLuxembourg career embracingTed Heath Swing Sessions,Date With A Disc and -currently on Sunday nights -Music To Midnight. Back in1954, when such thingswere unheard of at the BBC,he pioneered a spot of ad-libdeejay chat. It happened ona lunchtime programme whenhe and producer Denys Jones

suddenly realised, only a fewminutes before the broadcast,that the programme hadbeen extended by 20minutes. Alan dashed to thegramophone library, pulledout a few of his favouriterecords and told an amazedDenys just to cue him in.All went well and this nowcommonplace practice was atthe time regarded as anunbelievably brilliant feat!

Nowadays, Alan lovinglyand carefully assembles hismost difficult programmematerial at home in his ownstudio, dubbing discs on totape and splicing away tohis ears' content. On TheBig Band Sound he hasexperimented_ with the stereoeffect of playing, say, anoriginal Jan Savitt recordfrom one speaker and aGlen Gray hi-fi recreationfrom the other, switchingback and forth and thenplaying both at once!Sometimes he takes a chorusor so from several recordsand splices them intoelaborate and musicallyexciting medleys. Therearen't too many disc jockeysaround with Mr Dell'stalent.

THUNDERBOLTS!

. .. came down from the sky and amongstthe debris we found a formula on how tobuild a great disco worthy to carry"their" names. The only condition theymade was that we must: "Build up toa standard and not down to a price".

SIS Thunderbolt Division,12 Military Road,Northampton NN1 3EUHotline 0604 32965

BUYJUPITER

BE ONE

STEP

AHEAD!

With ajingleMachine

SIS12 Military

Road,NorthamptonNNI 3EU

70- IT WILL TURN YOUR JINGLES ON

31

DX CORNER dive jenkinsOne of the obvious

rewards of Dxing is to beable to listen to stationswhich you would normallynot be able to. Now thatthe 20 BBC local radiostations are operating onboth medium and VHFfrequencies, and with thecoming of the commercialstations it's a good idea toconsider Dxing these stations.

Although, as their nameimplies they are aiming atan audience within, say, a15-20 mile radius of thetransmitter, the fact thatstations like BBC RadioLondon are regularlyreported by members ofContinental DX clubs,should show you thatthey are well worth tryingfor, even if you have nolocal station in your area.

A bit of patience and youcould well find anothersource of radioentertainment. I often listento London, Oxford andBristol on their respectiveVHF outlets. For RadioBrighton I find the mediumwave outlet best because theVHF signal is normallyswamped by Radio Solent.Therefore it is advisable totry both bands whensearching for these stations.Identifying a station can bea problem, as manystations share frequencies,and of course takeprogrammes from the four

Try someone else's localnational networks. Giventime however, a localprogramme will be airedand you should then knowfor sure the station you havereceived. All the localstations will verify yourreception reports, some witha QSL letter and descriptivefolder, so QSL collectorshere is another 20 stationsto aim for.

As regular readers of thismagazine know, the localBBC stations are beingfeatured in a series whichgives an insight into theirmusic programmes. The listof stations alongside thisfeature will give you thefrequency information toenable you to try for thesestations. If one particularstation interests you, anynewsagent can order for youthe relevant edition ofRadio Times which lists thestations' programme detailsin full.

FM Dxing can also bringyou stations from Europe;Belgium, Holland and Franceare the best bets. This formof Dxing is unpredictable,but when conditions aregood, you could well be infor a treat as many stationscome in with a quality asgood as a local broadcaster.I once received a Belgium

station, and for over twohours I enjoyed a greatcountry and western show,the only interference wasfrom the police whonormally had the exclusiveuse of that channel!

One pointer to goodFM DX conditions is yourTV, if you get interferencefrom Continental stationson either sound or picturethen FM DX should bepossible and a tune of theVHF band may producesome real surprises. Youcould also tune the TV and

try for some TV DX butthat's another subjectentirely.

While Continental stationsare unpredictable, I havefound that the BBC stationsare constant, some daysbetter than others but alwayswith a fair signal, so whynot try for one or two"local" stations tonight.

FM DX is one of thesubjects covered in Contactthe magazine of World DXClub, and if you would likedetails of membership thensend a large sae to me at11 Wesley Grove, Copnor,Portsmouth P03 5ER andI will be pleased to send yousome.

LOCAL RADIO WAVE LENGTHSMedium

Station Wave VHF VHF(Metres) (MHZ) (Later)

Birmingham 206 95.6Blackburn 351 96.4Brighton 202 95.8 95.3Bristol 194 95.4 95.5Carlisle 397 95.6Derby 271 96.5Humberside (Hull Area) 202 95.3 96.9Leeds 271 94.6 92.4Leicester 188 95.2 95.1London 206 95.3 94.9Manchester 206 95.1Medway (Chatham Area) 290 97.0 96.7Merseyside (Liverpool Area) 202 95.8Newcastle 206 95.4Nottingham 197 94.8 95.4Oxford 202 95.0 952Rotherham (Relay of Sheffield) 95.05Sheffield 290 88.6 97.4Solent (Central Southern England) 301 96.1Stoke-on-Trent 200 94.6 96.1Teesside (Middlesbrough Area) 194 96.6

NB: In the near future some stations will move to new VHF frequencies.These are shown in the last column.

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PUBLICATIONSOFFSHORE THREE is OUT NOW!The OFFSHORE staff return fromtheir visit to the Mebo II and theMI Amigo, to give you the very latestnews! Also news of the Peace ship,Mebo III, and the political situationin Holland. Rob Holland speaks outin defence of Arnold Layne, newsof the OFFSHORE Opinion Poll,1973, a brand new competition, andlots, lots more! Don't miss OFF-SHORE THREE! Send just 6p blankPO, plus LARGE SAE to: ORCHeadquarters, 134 Eastwort1 Road,Chertsey, Surrey, KTI6 8DT.

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32

joy and Radio monthly

boo -Wovefree radio news, comment and features -compiled

each month by the fraIn Parts 1 and 2 of our

series on the forts wedescribed the two typessituated in the ThamesEstuary and off the eastcoast of England. We alsosaw how the ex -army fortswere used by various FreeRadio stations. This month,in Part 3, we take a closerlook at the naval -type forts(or towers, as they arecommonly described).

Knock John tower is about18 miles east of Southend inthe Thames Estuary. So faras we know, the first personto visit the tower with ideasfor Free Radio was RoyBates.

Roy Bates did not set up apermanent base, and inSeptember, 1965, Radio Citytook possession of the fort.Knock John tower is onlyabout four miles fromShivering Sands, where RadioCity was located. It wastherefore convenient for"colonisation", and aquantity of equipment waslanded there. Radio Citydid not have any knownplans for a new station, butmerely wanted to use the fortfor testing equipment.

Unfortunately for RadioCity, Roy Bates had decidedto open Radio Essex fromKnock John tower. Hearrived with a strong forceof men and took over. Threepeople from Radio City,including DJ Dick Dickson,were for a while held as"prisoners". A transmitterand other equipment worthover £500 were alsocaptured.

Both sides continued toclaim the fort, but eventuallyReg Calvert of Radio Cityannounced an agreementwhich left Roy Bates inpoisession.

Radio Essex opened on

Towersof power

very low power, using anex -US Air Force 1 kWtransmitter. The name of thestation was later changed toBBMS (Britain's BetterMusic Station).

In November, 1966, RoyBates was fined £100 forunlicensed broadcastingwithin territorial waters.Defiantly, he kept thestation on the air. Herefused to accept the court'sdecision that Knock Johnwas within Britishjurisdiction, and maintainedthat the rules for settling thethree-mile limit flew in theface of everything he hadlearned in 25 years' workconnected with the sea,including running a fishingfleet.

"It seems to me certainfactors are being bent to

produce certain results,"he said. "We shall not beclosed down. I have neverheard of anything like thisbefore in my life -a sandbar has become a part of theland." He announced hewould continue to transmitwhile his appeal was pending"even if my solicitors adviseme to the contrary".

The appeal was lost. Itwas decided to transfer thestation to a different fortand to re -open as RadioAlbatross. But before weleave Knock John, we musttell you about the ghost.

We learnt about the ghostfrom Radio Essex discjockey, Michael Cane (betterknown as Martin Kayne).Martin didn't believe inghosts until he worked onKnock John tower, but this

particular ghost was soactive that its existence cameto be taken for granted. Itwas even given a nickname -Jonah.

Jonah made noises, castshadows - and walked about.On one occasion everyone onthe fort was in the messroom when footsteps wereheard outside. The DJs andengineers were so convincedthat they had heard someonewalking that they made athorough search of the fort.No one was found.

The fort to which RoyBates decided to transfer wasanother of the ex -navaltowers, known as TongueSands. This stands somenine miles from Margate.Roy Bates got as far astaking over the tower, butinstead of continuing tobroadcast under the newname of Radio Albatross,he decided to move on yetagain - this time to Roughstower.

Roughs is thenorthernmost naval -type fort,situated some seven mileseast of Felixstowe. RonanO'Rahilly was reported tohave spent £15,000developing the tower. Hisplans were to use it as aholiday hotel, health centreand helipad. He had thesuperstructure removed sothat a helicopter could landon the platform, but did notget as far as putting thetower to any commercial use.

The picture shows theplatform converted to ahelipad, after Roy Bates hadtaken over the towerand erected a radio mast.

The story of how RoyBates wrested Roughs fromRonan, and how he turnedit into the independentsovereign state of Sealand,will be told in the fifth and

34

final part of this series.We have now covered all

the forts except the ex -navaltower at Sunk Head,approximately 12 miles fromWalton -on -the -Naze.

Sunk Head tower was thehome of Radio Tower andTower Television. Studioconditions on the tower wereprimitive indeed, as can beseen from the photographstaken while the radio andtelevision equipment wasbeing tested. Radio Towerwas planned to be somethingdifferent from all the otheroff -shore stations - reallocal radio, qualityprogrammes to serveminority groups in EastAnglia as well as showswhich would have moregeneral appeal. To readtheir prospectus, you wouldalmost think they wereapplying for an IBAcontract!

But it was TowerTelevision which attractedthe widest publicity. Thesuccessful test transmissionsprovide the only exampleof free enterprise televisionbeamed to Britain from ship,fort or plane.

The two men behind theoperation (Peter Jeeves andEric Sullivan) wanted tokeep the TV tests a secret,so they transmitted at4.20 am. They reckonedwithout a compulsive viewerwho, instead of switchingoff when BBC 1 closeddown on Channel 5,continued to stare at thescreen. Perhaps he wasbewitched by theever-changing psychedelicpattern of shooting stars?Be that as it may, he saw aglobe appear on his screenwith a symbolic tower on thetop, and the words "TowerTelevision". He told thenewspapers, and the secretwas out. An annoyedMr Sullivan said: "Thisjoker caught us during ourtests. But it does at leastprove our night-timebroadcasts have anaudience".

Alas, the audienceremained a small one,because Radio Tower andTower Television did notget beyond the testing stage.Some people thought this tobe deliberate policy - it wasrumoured that the use ofSunk Head for broadcastingwas merely a cover forsmuggling or drug -trafficking.These rumours may well haveoriginated from the slogan

used by Radio Tower topublicise its wavelength:"Get a fix on 236".

All the evidence points theother way. If anything of thatnature had been going onthe operators would nothave risked attractingmassive publicity tothemselves by trying to openan off -shore televisionstation. Nor would theyhave used a slogan whichcould have been taken torefer to drugs. There is nodoubt that Radio Tower andTower Television weregenuine attempts to widen thescope of free enterprisebroadcasting.

After the Marine OffencesAct became law on August 14,1967, 17 officers and menfrom the Royal Engineerswere spotted fixing powerfulexplosive charges to thetower. A few days later,there was a spectacularorange flash and Sunk Headwas blown to smithereens,leaving just the remains ofthe two concrete legsprotruding from the waves.

There is a strongly -heldview that the destruction ofSunk Head was much morethan just a means ofremoving for ever thepossibility of a Free Radiostation using the tower.It is beyond our scope toendorse or refute thisviewpoint, so we shall merely

quote, without comment,a writer on the subject:"It was an act of appallingirresponsibility by theLabour government, towhom the silencing ofcommercial radio was a moreimportant consideration thanthe defence of the country.The government was awarethat the forts in the Solent(Normansland, Spitbank,St Helen's and Horseland),which were constructedunder the orders of LordPalmerston in 1860, were usedin World War I and WorldWar II. The forts occupiedby the pirate radiostations were built to guardthe entrance to Britain'smost vital waterway leadinginto the heart of London.The guns on the forts weresufficiently powerful to bringdown enemy planes whichmight also have beenheading for the capital. Whocan say for certain these fortswill never again be neededfor the defence of thecountry? The fort complexat Great Nore had to bedemolished after the warbecause it was a danger toshipping. But none of theother forts stand in the mainshipping lanes, and theremust be no further wantondestruction of our defensiveoutposts."

In Part 4 we shall returnto Shivering Sands and tracethe events which led up to theraid which took place inJune, 1966. We shall alsosee how this event, and thetragedy which followed,had serious implications forthe future of Free Radio inBritain.

Norderney-why nostandby ?

The plight of theNorderney, which waswashed up on the beach at

Scheveningen in the fiercestorm which raged throughthe night of April 2, remindsus once again of thevulnerability of the radioships. Radio Veronica isstrong enough to survive thiscrisis, but will lose revenueand listeners.

Last year, we suggestedthe stations should agree onthe provision of a stand-byship, for use by any stationwhich was temporarily unableto transmit from its regularvessel. If commercial rivalryprevents such anarrangement, cannot a shipbe purchased and fitted outby an independent bodywhich supports all threeoff -shore stations? For ourpart, we are willing toco-operate with anyonetowards this end.

One thing is certain. Onno account must thestand-by ship, if it evermaterialises, be used for afourth off -shore station.Apart from the fact that thiswould defeat the object, thepatience of the governmentof Holland is alreadystretched to the limit withthree stations operating offthe Dutch coast.

This brings us again tothe subject of rumours aboutnew stations. These areagain flying around, andone is becominguncomfortably persistent.Surely the potentialoperators of new stationsmust realise that not onlywill they lose every guilderof their investment - theywill bring the existing FreeRadio stations to an end aswell.N

Finally, a reminder thatFRA associate membershipcosts you nothing more thana stamped and self-addressedenvelope. If you haven'talready joined, simply sendyour sae to the Free RadioAssociation, 339 EastwoodRoad, Rayleigh, Essex,SS6 7LG. And we also havea special offer to "Dee Jayand Radio Monthly" readerswho are already FRAmembers. If you send us ansae and quote yourmembership number, we'llsend you a quality self-adhesive sticker with a birdof peace encircled by thewords "Friends of FreeRadio", a car sticker and,other promotional materialworth over 20p in total.

35

DISCOPICKSDISCOPICKSDISCOPICKAs promised in last month's correspondence column we are extending this particular feature - which has proved immensely popular

with our many disco DJ readers - to two pages. This will enable us to give more indication of the type of record - speed, mood, etc. Soonce again over to our hard-working but tame disco DJ . . . "Hi, everyone! Glad to know that this page has been so useful. And so asthere are tremendous lots of goodies for you this month, let's dive straight in with the up -tempo swingers . . ."

UP TEMPO SWINGERSTHE ROUTERSFIRST CHOICEBOBBY BYRDBARRABASMIDNIGHT MOVERSTOM JONES10 CCSPENCER DAVIS GROUPSTEAM MACHINEMANDINGONAZARETHTHE SYMPHONICSMAE WEST (Yes it is!)DANIEL BOONEJOHNNY RIVERSNEIL DIAMONDBOB SEGERMAXAYNESTHER PHILLIPSRASTAFARIMATATASHANGRI-LASANGELS ONE -FIVEMANDRILLSTAPLE SINGERSTHE BURNER -LEE AUSTINJAMES BROWNJOHNNY JOHNSON & HIS BANDWAGONHOT BUTTERTHE JAMES BOYSDOUGAL BROTHERSJEFF WAYNEBARRY BLUEBOSS

Let's GoArmed and Extremely DangerousSaying It and Doing It Are Two Different ThingsWild SafariFollow The Wind (Parts 1 & 2)Letter to LucilleRubber BulletsCatch Me On The RebopYou Make It MoveMedicine ManBroken Down AngelUsing MeGreat Balls Of FireSunshine LoverBlue Suede ShoesCherry CherryRosalieFeelin'I've Never Found A ManFunky CityI Need SomebodyGive Him A Great Big KissToodyMandrillOh -La -De -DaReal WomanI Got Ants In My PantsGive Me Your Love AgainPercolatorOver and OverCuckoo-Ka-ChooGet Movin'Dancin' (On A Saturday Night)Mony Mony

Warner K16156Bell 1297Mojo 2093 028RCA 2339Contempo CR 7Decca F 13393UK 36Vertigo 6059 076Capitol CL 15746EMI 2014Mooncrest MOON 1Polydor 2058 341MGM 2006 203Penny Farthing PEN 804UA UP 35508UNI UNS 556Reprise K 14243Capricorn K 17509 'Kudu KUS 4002Satril SAT 8President PT 400Buddah 2011 164Pye 7N 45227Polydor 2066 320Stax 2025 142Mojo 2093 027Polydor 2066 296EMI 2011Pye Int 7N 25609Penny Farthing PEN 806Columbia DB 8972MCA MUS 1193Bell 1295Deram DM 382

SLOW & SMOOCHY ONESBARBARA KEITHBARRY WHITEMEL & TIMISAAC HAYESCOLIN AREETYJIGSAWPAUL McCARTNEY & WINGSDETROIT SPINNERSBETTY LAVETTELIBIDOKENNY LYNCHANN ODELL

Free The PeopleI'm Gonna Love You Just A Little More BabyWhat's Your Name(If Loving You Is Wrong) I Don't Want To Be Right(If Loving You Is Wrong) I Don't Want To Be RightThat's What It's All AboutMy LoveCould It Be I'm Falling In LoveYour Turn To CryHold On To Your FireWe Can Be FriendsI Didn't Mean To

Reprise K 14240Pye Int 7N 25610Stax 2025 171Stax 2025 177Deram DM 383BASF 05 19572-9Red Rose Speedway R5985Atlantic K 10283Atlantic K 10299Mooncrest MOON 2Atlantic K 10297DJM DJS 276

MEDIUM TEMPO GROOVERSHAMMERHEADJIM NELSONALBERT KINGDAVID BOWIEGALLAGHER & LYLELLOYD MILLERWARGENE PITNEYHURRICANE SMITHTHE MIXTURESSTARBUCKJIMMY THOMASSYLVIADEODATO

Nice GirlTell Laura I Love HerBreaking Up Somebody's HomeDrive In SaturdayJesus Save MeBlack Is BlackThe Cisco Kid24 SycamoreBeautiful Day, Beautiful NightSlow TrainWouldn't You Like ItAll God's ChildrenPillow TalkAlso Sprach Zarathustra (2001)

RCA 2326EMI 2017Stax 2025 162RCA 2352A&M AMS 7063JAM 40UA UP 35521Pye 7N 25606EMI 2018UA UP 35532RCA 2350Contempo C8London HLU 10415CTI CTS 4000

36

DISCOPICKSDISCOPICKSDISCOPICKREGGAE CORNERDESMOND DEKKERDANDY LIVINGSTONENICKY THOMASPIONEERSTHE HITTERSRIGHTEOUS FLAMES

Sing A Little SongCome Back LizaImages Of YouAt The DiscothequeHypocriteLet The Music Play

Rhino RNO 115Horse HOSS 28Horse HOSS 29Trojan TR 7888UA UP 35530RCA 2353

album picks of the month

THE AVCO MOBILEDISCOTHEQUE Volume 1Various ArtistsAvco 6466 011

As the title implies, andquite correctly, this is acollection of some of the

star pickALICE COOPERNo More Mr Nice GuyWarner K 16262

Almost certain to zoomto the top of the charts,this is probably the mostcommercial record that AliceCooper has made. Takenfrom the "Billion DollarBabies" album - this onewill go down very well in thediscos.

star pickTHE SWEETHell RaiserRCA 2357

As most disco DJs knowif you want to get 'emgoing - put on a Sweetrecord. Right? Well, here'stheir latest offering, andagain it'll do the trick.Another Chinn -Chapmancomposition, and full ofexcitement from beginning toend. Really moves.

best discotheque -stylematerial (and, therefore, notusually so readily available)from the Avco catalogue.Nice mixture of styles andtempos, and with artistssuch as the Stylistics,Donnie Elbert and DellaReese obviously to berecommended.

Personal favourites areDonnie Elbert's "I Can'tHelp Myself", which as I'msure you know always gets'em leaping, and the opening"What's A Matter Baby" byL. J. Reynolds andChocolate Syrup.

A nice idea - and I'malready looking forward toVolume 2!

star pickSTATUS QUOMean GirlPye 7N 45229

Although this is oldmaterial (from the "DownThe Dustpipe" and "In MyChair" period - circa1970-71) - like itspredecessors it really movesalong and should really get'em going. Therefore, highlyrecommended.

star pickGARY GLITTERHello! Hello! I'm Back AgainBell 1299

Gary's singles all makesuperb disco records - vizhis top award in the recent"Dee Jay and RadioMonthly" poll - and this oneis certainly no exception.More up -tempo than previousand a nice one. Don't missit.

THE MERCURY MOBILEDISCOTHEQUE Volume 1Various ArtistsMercury 6338 153

Similar idea to the Avcocollection above, but thistime featuring disco materialfrom the Mercury label.

Top artists featured includeJerry Butler ("One NightAffair"), Bobby Hebb("Love, Love, Love") and

Joe Tex ("I Gotcha").Other good movers are

The Krystal Generation's"Wanted Dead or Alive"and the opening track ofside two "Sweet Happiness"by Newby and Johnson.

As with the Avco set agood mixture of styles andtempos, and again highlyrecommended.ALSO RECOMMENDED

Wilson Pickett's GreatestHits - Atlantic K 60038

James Brown - SoulClassics - Polydor 2391 057

Wattstax - Soundtrack -Stax 2659 019

Kool and the Gang - MusicIs The Message -Mojo2347 004

Jerry Lee Lewis - TheSession - Mercury 6338 217/8

Mandingo - ColumbiaStudio 2 - TWO 400

THINK DISCOPOWER !

Fantastic equipment- leaflet from

DISCOPOWER (mail order dept ),50 Ringwood Hill, Newport, Mon.

37

thetony

mercercolumn

Record vromotion in theUSA is completely differentto over here. In England youhave Radios 1, 2, 3 and 4,plus Luxembourg and yourBBC local stations. Eachrecord company may havetwo or three pluggers andpossibly one to deal with thediscos.

In the States there are nodiscos as such - but therecord companies have thetask of contacting over5,000 radio stations!

The companies have, onaverage, a Head of RecordPromotion in each of theirmain offices (they usuallyhave three offices in majorcities over the USA) withmaybe three assistants andit is/heir job to get round

to as many stations aspossible.

All albums and 45s aremailed out to the stationsand the staff then dofollow-up visits. The othermain activity is usuallyPA's by artists who areworking in the area and callin to the local stations inthat town.

The companies also havetravelling promotion menwho spend anything fromthree weeks to two monthson the road visiting stations.They pick up their promotionmaterial either from theirhome or from mail officeswhich they arrange to visitat certain times.

One of the best fieldpromotion men in the USis Alan Riley who used towork for Jerry RossProductions - the companywhich owned ColossusRecords Inc. He used tovanish for weeks on endand come up with greatplays all over.

Also of interest is the fact-that the stations each havetheir own record chartswhich the promotion mencheck on each week. Thismeans that the companiescan see what is called a"regional break-out" oftenweeks before the disc getsinto the national Top 100.

It's quite strange really -you could get a recordselling, say in Los Angeles,and in their charts - whichis not even being played inNew York. That is untilsomeone comes in from LAraving over the disc and thenall the stations will pick upon it.

Worth a mention, in myopinion, are two ofAmerica's best recordpromoters that I know.These two men have helpedme in the past by mailingrecords to me from the US.They are George Brewer ofColumbia Records andSteve. Wax of Bell.

Here are some morestations for your information:

WHB,106 W 14th Street,Kansas City,Missouri 64105Johnny Dolan

KXOK,1600 N Kings Highway Boulevard,St Louis,MO 63113Ram Otis

KOMA,Box 1520,Oklahoma City,Oklahoma 73101Johnny Bridges

WDGU,Box 6606,Minneapolis,55420Scott Burton

Finally, here are my

show's records for thismonth. The album is"Exuma" on the Kama Sutralabel.

Singles of the monthinclude Johnny Johnson's"Give Me Your Love Again"on the new EMI label,"Gold Medallions" byTucky Buzzard on Purpleand "Clap Your Hands andStamp Your Feet" byBonnie St Clare (and UnitGloria) on Philips.

If you've got a copy ofthe Sutherland Brothers andQuiver single on Island"You Got Me Anyway" -flip it and listen to the "B"side - "Not Fade Away" - it'sthe best record I've heard inmonths.

'Bye for now.

musing with moffatDUSTY SPRINGFIELD

came on to prolongedapplause, waited until it haddied down and then camethe musical introduction toher first song, one of herpast money -spinners. Isettled back to listen. Butcould I? Oh no. Again theappreciative fans broke intowild applause, drowning atleast the first half dozenwords of her song. Thescene was a recent Sundayconcert at the LondonPalladium at which Dustywas the undisputed star. Ithappened again a few weekslater when the stage wasoccupied by a Mr TONYBENNETT. What is theaudience trying to prove?And to whom? The singeror to itself? It can surelyonly be one of two things.That (a) it recognises thesinger which isn't very,brilliant seeing that the nameis printed on the tickets or

(b) it has heard the songbefore.

To make matters worse,people are now applaudingat the start of a song thatthe artist has never sungbefore, let alone recorded!If Tony Bennett hadincluded an aria from "LaTraviata" in his repertoireyou can be sure that someidiot would have put hisor her clammy little handstogether and that the rest,sheeplike, would havefollowed suit.

Also on the bill withMr B. was the excellentSTAN REYNOLDSOrchestra and included intheir repertoire was a medleyof Glenn Miller memories.What did we get?Rapturous applause whenthe "sheep" recognised"Moonlight Serenade"although, as far as I know,Mr Reynolds and Co neitherwrote it or have recorded it.

Memo to audienceseverywhere. KINDLY STOPTHIS OBNOXIOUSAMERICAN HABIT ATONCE. For the record MrBennett performed suchstandards as "I Left MyHeart in (Applause)", "If IRuled The (Applause)" andmany others. He did NOTsing "God Save The(Applause)". Exit Moffatfrom the Palladiumapplauding loudly - AT THEEND.

Memo 1 - to BBC DJsIt is almost eight years

now since the "late" JIMREEVES died and the "late"NAT "KING" COLEdeparted this life in 1965.Is it therefore not timethat the use of "the late" wasdiscontinued? Believe it orbelieve it not, dear readers,but on ITV's "Stars onSunday" recently a referenceto the "late" SIR EDWARD

ELGAR was made, wordsperhaps by the "late"WILLIAM SHAKESPEARE!Sir Edward died in 1934,Master Shakespeare in 1616.

Memo 2 - to the staff of my"local"

When I come up to thebar and order "one smallwhisky for my wife" andthen, in quieter tones, add"and a large scotch formyself", would you kindlyrefrain from shouting, forall to hear, "a small onefor the wife and a large onefor yourself". If I want herto know, I'll tell hermyself!

roger moffat38

HOSPITAL RADIO CASEBOOKA drive to persuade more

hospital radio organisationsall over Britain to join theNational Association ofHospital BroadcastingOrganisations (NAHBO)was called for by theNAHBO chairman, Mr KenFulstow, at the association'sannual meeting, in London.

Speaking to a "Dee Jayand Radio Monthly" reporterafter the meeting, which washeld at HammersmithHospital, Mr Fulstow said."There are still many hospitalbroadcasters who are unawareof our existence. We want tobring them into the fold.There are also severalbroadcasting organisations -quite big ones - who feelthat they have nothing togain from being members.To them I would say:In the field of charitablework that we are in, it'snot only what we can getout of membership, it'simportant that we helpothers with the experiencethat we have gained over theyearg. Let us have yourmembership and share withus your knowledge."

Nearly 50 hospital stationsare members of theassociation - ranging fromlarge networks, such as thehuge 55 -hospital network inLiverpool, to smallerone -hospital, and evensometimes one-man,stations.

The NAHBO constitutiondeclares as its aim: To extendand improve the relief ofsickness, infirmity and oldage, through hospitalbroadcasting and alliedservices, by givingencouragement and providingadministrative, technical,legal and medical advice;while, at the same time,providing a meeting placeand platform for allconnected with theseservices for the free exchangeof ideas and information.

Membership of theassociation costs just ET ayear.

Some 90 delegates fromall over.Britain attended themeeting in London. Amongthem were members of someof the newest stations -Yeovil, recently openedwith the assistance of Bath

and Bristol organisations,and Radio Rainhill, inPrescot, Lancashire, due onthe air on June 1.

The meeting decided tofoster the establishment ofregional organisations toimprove communicationbetween stations and thecentral executive committee.Western England stationshave formed a South WestAssociation of HospitalBroadcasting Associations.The former Scottish regionhas been dissolved, to bereplaced by a more informalstructure, while the northernareas already have their ownassociation.

It was decided that allfuture annual generalmeetings should be held inLondon. The second generalmeeting required by theassociation's constitution,will be held in theprovinces. Next autumn'smeeting will be in Swansea.

Mr Fulstow, with somereluctance, permitted himselfto be re-elected chairmanfor a fourth (and last, hedeclared) term.

Other officers elected were:Secretary - Mrs EnaMontgomery (of 16 SouthTerrace, Euxton, Chorley,Lancashire); Treasurer -Geoff Steer (Weymouth);Committee - Dennis Rookard(Harold Wood), Kathy Jones(Oldham), Selwyn Thomas(Swansea), Phil Davies(Swansea), Paul Easton(Northwood Park).

Other committee membersuntil the 1974 annualmeeting - David Coates(Hammersmith), BrianSnowdon (York) and C.MacFarlin (Liverpool).

A NAHBO trophy -presented to the Britishassociation by theircounterparts in Holland,ZON - was awarded toRadio St Helier (Surrey) fortheir entry in a taperecording competition,arranged jointly by NAHBOand a national magazine.

Radio St Helier's tape,one of their weekly newsprogrammes, came topamong 18 entries from all

the country.Second was Portsmouth

Hospital Broadcasting fortheir taped review of 1972,while Radio Enfield, with aprogramme about theEnfield Town Show, tookthird place.

The prizes were presentedby veteran broadcaster, BobDanvers -Walker.

During a brief talk, inwhich he spoke of the valueof hospital broadcasting,not only to patients, but asa breeding ground forup-and-coming broadcasterswith commercial radio inview, Mr Danvers -Walkerrecalled that he was oneof the world's first -everhospital broadcasters. Heproduced a photograph,showing a hospital broadcast,in which he participated,being made in Melbourne,Australia, in 1930!

NAHBO members, attheir annual meeting, alsoheard Mr Peter Redhouse,manager of BBC RadioLondon, speak of localradio's place in BritishBroadcasting.

HOSPITAL BRIEFSOne of the country's

newest hospital radiostations, Radio Rainhill(Prescot, Lancashire) willcome on the air on June 1.The station is being builtlargely with a grant of nearlyi1,800 from the MerseysideHospitals' Council and afurther £500 from the localmanagement committee.It will serve nearly 2,000patients at the psychiatrichospital.

Coventry Hospitals'Broadcasting Service haveappealed to the public fordonations to their recordlibrary. Already 1,000albums and singles (one -fifthof the target figure) havebeen received.

Radio Wey, serving 2,000patients in the Weybridge,Surrey area, celebratedthe opening of their newstudio with bumperprogrammes put out live by

guest disc jockeys fromRadios 1 and 2.

Radio 2 DJ, Tony Brandon,accepted the presidency of thestation and was one of theprincipal guests on the day.

He was supported byNoel Edmonds, JohnnyWalker, John Dunn, KeithGallyer (Radio London) andKeith Skues.

The special programmesbegan at 2 pm and continueduntil 9.30 pm, when, it isreported, Keith Skues had tobe "dragged from thestudio" to enable thestation to close down andthe patients to get some sleep.

The studio was closed inJanuary to enable it to becompletely reconstructedat a cost of about £525.

Radio Wey normallybroadcasts for 50 hours aweek. During the studioshut -down, membersprovided a limited servicewith the help of tapespre-recorded at their homes.The live soccer broadcastsremained a part of theservice, however.

One of the firstprogrammes to go out viathe new studio was a livecommentary of the FAAmateur Cup Final atWembley. With the blessingof the FA and the WembleyStadium authorities, RadioWey's John Best and PeteLewis provided their ownword pictures of how localteam Walton and Hershamdefeated Slough by one goalto nil.

For the past year or so,patients at Lister Hospital,Hitchin, Herts, have hada Sunday morning servicebroadcast to them fromthe local parish church.

However, the otherSunday, fortunately afterthe weekly broadcast, athief broke into the churchand stole the mixer unit.

The theft was reportedin the local newspapers.

The following morning,the Vicar, the ReverendMichael Tingle, went tohis pulpit and found, onthe floor - the stolenmixer.

Fixed to it was a note,with just one word on it -"Sorry".

39

Scotch

TapeVery interesting letter

received a few weeks agofrom an organisation callingthemselves Radio Scotland(North). Founded in 1966the aim of the station was atfirst to keep alive the soundof the old Radio Scotlandwith tape listeners andeventually to obtain abroadcasting licence. Theynow hope that wheneventually a licence is issuedfor that area their applicationwill be met with favour andthey will then be able totransmit from their studiosin Banff to an area embracingboth Aberdeen and Inverness.

In the meantime they areoperating as a non-profitmaking tape station.Listeners (?) send in tapeson which the stationrecords shows, the only costbeing the return postage.The programmes includejingles and commercialsand 75 per cent of therecords played arepromotional product, dueto the support they arealready receiving from themajor record companies.Listeners come from all overGreat Britain and theContinent, and in additionthe station runs a regularprogramme on the radioservice of Hairmyres Hospital,East Kilbride.

They are also in theprocess of launching a RoadShow Discotheque to helppublicise the station allover the North of Scotland.There is a supporters' clubknown as the RSN CLANand the station produces itsown Prediction Hit Fifty.

It all sounds veryenterprising and as you cansee from the pictureopposite their studios lookpretty good too. Well done,Radio Scotland (North).The address should youwish to write to the stationis 26 Newtown Drive,Macduff, AB4 1SR.

Nightclub

Did you know, for instance,that the BBC programme"Night Ride" has its veryown club? It's been goingnow for over three years

Pee Jay DiaryOver the past few months, in fact since we started "Dee Jay

and Radio Monthly", it has become apparent that there aremany interesting side -lines and stories, concerning the DJ andradio field, which do not, unfortunately, merit a full article orfeature.

We have decided, therefore, that from time to time, probablyevery other month, to run a "Dee Jay Diary" page or pageson to which we can collate these minor stories. And so withoutfurther ado, here we go . . .

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Radio Scotland (North)-The Studio (sec Scotch Tape).

and came about originallyat the suggestion of alistener. The honoraryPresident and I gather"King Pin" of theorganisation is none otherthan popular BBCpresenter Peter Latham,and the club produces itsown bi-monthly bulletin"Night Owl", whichexcelled itself in theMarch/April issue by makingnice comments about "DeeJay and Radio Monthly".Thanks, "Night Owl"!Membership costs £2 peryear and the club holdsregular parties andget-togethers which arealways attended by manyof the Radio 2 personalities.If you are interested inbecoming a member, thenwrite to the Secretary,Pam Bartlett of 1 WhitehouseCrescent, Chelmsford,Essex CM2 7LP, and, ofcourse, don't forget tomention "Dee Jay and RadioMonthly".

Jan SouthYet another local station

is helping to eke out therather meagre amountof air -time given to jazz.Tuesday May 1 sees thestart of a new programme"Jazz on Solent" on BBCRadio Solent. Theprogramme which goes outat 7.40 pm, will beintroduced by the station'sprogramme organiser, Dave

Challis, who in his sparetime plays clarinet withBournemouth's Gerry BrownJazzmen.

"The show will largely beproduced by the scores ofjazz enthusiasts who live inthe area who have said thatthey will provide us withnews for the local jazz diary,which will be the life -bloodof the programme," saidDave.

The plan to feature localbands as well as interviewlocal and visiting jazzpersonalities, and there willalso be review spots coveringnew jazz record releases.

Anyone interested inhelping supply jazz news,or feature suggestions forthe programme shouldwrite to Dave at BBCRadio Solent, Southampton,S09 4PJ.

Gay Gordon ?Nice letter received from

Stuart Henry, following ourfeature on him last month.I quote:

"As you may or may notknow, I now regard actingas about my onlymentionable hobby. Lastyear I played a Glasgowmurderer in 'New ScotlandYard" and a tinker in`Adam Smith'. On Sundaynight, May 27, my nextdramatic offering goes out.A play called 'Blinkers' byPeter Ransley, with JohnNeville and Barbara Ferris,

in which, as a change frorrithe heavies I'm usually castas, I ply a Londonhairdresser with distincthomosexual inclinations.

"Best of luck for yourcontinued success. I doenjoy reading it."

Thanks Stuart, anddoubtless many of ourreaders will be tuned in onMay 27.

Discountfor D.T.'s

Just like to draw all ourmany DJ readers to theexcellent discount schemebeing run by Mike Searle,alias Lord Welling, from71 Belgrove Road, Wellingin Kent. For a cost of £5per year DJs can obtaina full 15 per cent discounton all records, tapes,accessories, disco lightingand sound equipment,stationery and custom-madestage display material. Theyalso receive a regular mailinglist of all new releases ofinterest to the DJ. Deliveryshould be made within 48hours. A 10 per cent discountis available on records andtapes only, with a 5p packingand postage charge on ordersunder £2.50, for no annualcost.

If you buy a lot ofrecords and haven't yetfound a friendly local dealerwho will give you a discount -this sounds like a good idea.

Thinkalbums

Finally I wonder howmany DJs are making fulluse of the many compilationalbums now on the market?For instance instead ofcarrying over 300 45s - it isnow possible to have allthe "A" sides on less thana dozen albums - and thesecover many of the top hitsof the last 20 years. Nextmonth in "Dee Jay andRadio Monthly" we will belooking at those that areavailable. Meanwhile whatdo you our DJ readersthink of them. Write to"Dee Jay Diary", B.C.Enterprises Ltd, WillmottHouse, 43 Queen Street,Hitchin, Herts.

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up my copy of the "World CAMPUS. RADIO often the stations invite 0In January 1969, I picked of their friends, and very g

Radio & TV Handbook", listeners to come along toand an entry under the One area of broadcasting that has not been covered the studio with records.heading "Great Britain" previously in 'Dee Jay and Radio Monthly', and It is however more likely thatcaught my attention. It a listener will hear a newwhich may, in fact, be totally unknown to many ofreferred to a station called album by an unknown groupour readers, is the ever increasing area of StudentUniversity Radio York, Broadcasting. Many universities now have their own on a familiar label, than abroadcasting on 300 metres broadcasting set-up, and in this first article Andy better -established artiste whomedium wave under a special Sennitt, who has in the past been in charge of Radio records on a label which doesGPO licence. I had never Bailrigg at the University of Lancaster, takes a not send out promotionheard of this station before, look at the overall Student Radio scene. copies. There is nothingand imagined that it must the station can do if ahave been for some company refuses to help, andundisclosed purpose other

students were also planninga station like the one at

I learned that Lancaster provide an audience. and discussions on current

than broadcasting. A few

University and received a

with each station, but the original music by university format of a typical campus

universities are at adisadvantage, and so farall the stations are locatedat universities where there is a of news and features oflarge central nucleus of

the older non -campus

The sources of finance vary affairs topics, drama,

shows if you add the timefor "chat". The rest of theprogramme output consists

university, documentories

35 hours of actual record

interest to members of the

examples of students buying

stations, and leave the ball

records they might not havestudent handbook which otherwise heard, as a resultcontained reference to of airplay on campus"Radio Bailrigg". From this, student accommodation to

in the companies' court.

there is no money left tobuy records. All we can do

months later, however, I is point out the numerouswas accepted by Lancaster

Next, a word about the

a complete broadcasting fairly typical. An initial Even some of the majorYork, and that it was to be situation at Lancaster is artistes and so on. radio show. Most stations

tend to put out moreservice of information and £1,000 came from an annual record companies have still specialised forms of musicentertainment. Being deeply goodwill gift from three to realise the potential of before midnight, and have ainterested in all aspects of American colleges whose campus radio. Happily, late show of 1 or two hours

join the group of people Lancaster to study. This was the student stations withbroadcasting, I applied to students come over to many of them now supply playing mixed types of music

from "bop" through torunning the project, little supplemented by loans some or all of their releases, progressive. Often, listenersrealising that I would end from some of Lancaster's and a few companies even are invited to ring up withup in charge of the whole own colleges and at go to great lengths to their requests, and frequentlyoperation for nearly a year. the moment an annual co-operate. We discovered these practically take overMy experiences showed that grant of over £600 is received that most companies were the whole show, so the DJdespite being in existence from the university's student under misapprehensionsfor four years, student council. about the status of campusbroadcasting in this country Professionals may be

.

radio, and it is quite possible As often as possible,

never knows what he will beplaying ten minutes later!

is still relatively unpublicised surprised that, with the that even now there are interviews, special reportsand misunderstood in the amounts of money quoted promotion managers who and other non -music itemsplaces where it could be of above, it is possible to have either never heard of are included to make the

Smost benefit. Thus I want to produce a workable radio university stations, or who programmes more interesting,4-4 describe the student radio station. Let me honestly believe that they and the whole programmes

scene as it stands now, and stress that, while obviously are illegal rag -week operations are generally unscripted andgive some personal views on the resources of the student of some kind. A big step unpredictable.its future role in the framework stations are limited, the forward, however, took place Already student radio hasof British radio. standard of programmes in May 1972 when all but produced several promising

At the time of writing, can be extremely high, and one of the existing stations disc -jockeys. I have heardeight different universities in terms of value -for -money attended a highly successful people on campus stationshave their own stations on I should imagine that conference. As a result, the who are as professionalthe air. These are York, campus audiences get the National Association of as some of the BBC andLancaster, Kent, Essex, best possible deal. A typical Student Broadcasting came offshore disc -jockeys.Surrey, Brunel, Warwick campus station has a main into existence, and the effect Apart from their microphoneand Loughborough. Several studio with a couple of of this has been to technique it is obvious thatother stations are in the record decks, two high -quality co-ordinate the activities they need to be competentpreparatory stages, and a tape decks, DJ microphone of all campus stations and at operating the studionumber of universities are plus one or two interview provide a stronger, united equipment, as nearly all DJconsidering the idea. The mikes, a mixing console voice with which to approach shows are one -man -operated.technical regulations laid with six to eight channels, the various authorities and I would confidently say thatdown by the Ministry of studio monitor and talkback organisations. many student DJs would bePosts and Telecommunications system and a portable tape You are probably quite at home in aare stringent, and basically recorder for location work. wondering, then, how the professional radio studio,involve the use of special With relatively limited stations manage to produce and can only hope that anyinductive loops which make facilities, it is inevitable that balanced programmes of producers or programmethe signal audible on the a large proportion of each music when many labels directors looking for newcampus on a normal station's output should simply ignore them or talent will not overlook thetransistor radio, but which consist of music refuse to send their releases, campus stations. In the USAprevent effective reception programmes. Phonographic By far the largest source a career in broadcasting isoutside the university. Performance allow, on of records is from the often begun with a campusBesides being extremely average, 28 hours a week students themselves. Most station, and it would bedifficult to achieve, this of "needletime", which in DJs arrange to bring along nice to have a similarrequirement also means that practice should permit about their own records and those situation in this country.

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41

dee jay album sounds

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THE CHI-LITESGreatest HitsBrunswick BRLS 3003JACKIE WILSONGreatest HitsBrunswick BRLS 3004TYRONE DAVISGreatest HitsBrunswick BRLS 3005

Three great albums whichmust obviously recommendthemselves to each andevery disco DJ - becausereally there's some terrificmaterial here. In fairnessvery few of the 48 trackscould be classed as charthits, but everyone has beena tried and tested discofavourite - some likeJackie Wilson's "ReetPetite" for many years.

Jackie's selection alsoincludes "(Your Love KeepsLifting Me) Higher andHigher" and a very soulfulversion of "Danny Boy".

The Chi-Lites albumwhich contains their bighits "Have You Seen Her","Oh Girl" and "Give MorePower To The People" andthe Tyrone Davis set are alsopacked full of fisco goodies.

Don't you dare miss anyof these.

BC

NEWPORT IN NEW YORK '72Roberta Flack, B.B.10% Curtis MayfteklHerbie Mann, Les McCann, Billy Eckstine

NEWPORT IN NEWYORK '72Various ArtistsAtlantic ATL 40439

Following the catastrophicand senseless wrecking of the1971 Newport Jazz Festival,in 1972 organiser GeorgeWein took a calculatedgamble and moved the eventinto New York City.Most people said that he wasmad, but for nine days inJuly the Festival spirit wasre -born in the very heart ofNew York.

This album collates thebest of several "soul"sessions held as part of theweek - and with featuredartists such as CurtisMayfield, Roberta Flack,B. B. King, Herbie Mann,Les McCann and BillyEckstine, it's good.Personal favourite tracks areCurtis' "Pusherman" fromthe film "Superfly" andRoberta Flack's powerfulrendition of "Somewhere"which closes the album.

Be sure to give this one alisten.

BC

ALICE COOPERBillion Dollar BabiesWarner Bros K 56013

Alice Cooper isundoubtedly one of thecurrent phenomena on thepop scene. If, however, youget down underneath all themake-up and other attention -getting showbiz gimmicks -there is a group which comesup with pretty basic buteffective rock music. Muchof it goes down very wellon the disco scene, andincluded here are three ofhis big hits "Hello Hooray","Elected" and the current"No More Mister NiceGuy". Having said thatwith the exception of thesethree and perhaps the titletrack there's little torecommend this one to theDJ market. But if you likewell -played progressive rockmusic this could be one foryou.

BC

DANDY LIVINGSTONETrojan TRLS 45

Dandy Livingstone firsthit the charts last yearwith his great record of

"Suzanne, Beware of theDevil", originally issued asa "B" side to one of thetracks included on this album- the old Emile Fordnumber "What Do YouWanna Make Those EyesAt Me For" - but laterflipped and re -issued with adifferent backing track.

"Suzanne" is notincluded, but his follow-up"Big City" is. There's alsoa nice version of theGoffin/King composition"At the Club".

A good reggae album.BC

TRAPEZEYou Are The Music: We'reJust The BandThreshold THS 8

This is one for the heavymusic freaks. Loud guitar,strained vocals, solid beatbut nothing much original.The group are musicallygood and succeed in gettingnicely to the body rhythms,but they need strongermaterial to have moreinstant appeal.

1111k HIM

RICK JONESHiya MayaArgo Z DA 156

42

A sensitive, soft andgentle folk -oriented albumfrom singer -songwriter Rick,a talented Canadian. It'sbeautiful late -night listening -very personal, but withenough character to make itappealing to a large-ishaudience. The stringarrangements are delicate,but Rick can swing whennecessary.

BUCKWHEATCharadeLondon SHU 8444

Really striking coverpicture on this one -afar-out "charade" ideathat came off. The group isa solid white funk unit witha powerful girl lead singerin Debbie Campbell.They're adventurous withina limited framework, yettheir solid blues "Tell MeBabe" is the track that'sbeing programmed here andsomehow comes across withmore immediacy than theheavier (musically) stuff.

THE GUESS WHOLive At The ParamountRCA Victor SF 8329

One of the best "live"heavy rock albums for ages.On side one the team runthrough some of theirbest-known songs like"Albert Flasher" and on to"Pain Train", with their usualexhilarating guitar andhigh-energy rhythms, butit's on side two where theyreally come on strong.Their live "AmericanWoman" is an extendedversion of the single and it'ssheer joy all the way. Musthave been a good audiencethat night at Seattle.

EDDIE KENDRICKSPeople . . . Hold OnTamla Motown STML 11213

Eddie was one of theTemptations lead singers - hesang "Get Ready", if youneed identification - and thissolo LP showcases him withsome adventurous songs andarrangements. He gets Afroon "My People . . . HoldOn", a funky workout, andlater gets into some prettyvocal showcases with somesoulful and often poignantsongs. Well produced byFrank Wilson.

CAMELMCA MUPS 473

Some ambitious andplaintive rock from a "new"group containing somewell-known musicians,including keyboard manPeter Bardens. This is thefirst record I've heard inwhich Bardens really fulfilshis considerable talents.Strong, unhurriedarrangements, mature songs,interesting workouts. A nicesurprise.

ERNIE SMITHErnie . . . Smith, That IsLondon SH 8442

A real curiousity, this one.Ernie is a kind of reggaecabaret singer with a mature

and expressive voice setagainst a variety of reggaerhythms, if that makessense. An attempt atsophistication thatsometimes comes offperfectly - his version of"Desiderata" is the best I'veheard - and at other timesmatches the inane sleeve.

VULCANSStar TrekTrojan TRLS 53

Basically an album ofreggae instrumentals withsome space -y moog givingfuturistic touches. It's acombination that just aboutworks, but at times theethereal quality of thegimmickery swamps the gutbeat. Pleasant reggaebackground music with awelcome difference.

WARThe World Is A GhettoUnited Artists UAS 29400

This is a mammoth albumhit in the States and it's easyto hear why. It's in the samesubtle Latin rock bag asSantana (although nowherenear musically similar) andfeatures subtle body rhythms,superb instrumental workand some beautiful vocals.It's a class album, cleverlyproduced, deserves to beheard.

LON AND DERREK VANEATONBrotherApple Sapcor 25

Nice brotherly loveimage dominates thewell -designed sleeve. Themusic is equallywell -produced - by KlausVoormann - and is abig -sounding gospel groovethat rolls over you for thefirst play or two, and laterbegins to insinuate itselfnicely. The atmosphere ismellow and musically strong.The songs especially areuppers; this is an albumworth owning.

RARE EARTHWillie RemembersRare Earth SRE 3008

Definitely the best RareEarth album so far. They'vesuccessfully combined allthose diverse influences andfinally mastered theheavy -soul genre they'veexperimented with for solong. An atmosphere of loveand optimism pervades thealbum, and every track isstrong with something tooffer.

HOOKFOOTCommunicationDJM DJLPS 428

One for the specialists.Hookfoot come on withsome of the best heavy rockinstrumental workoutsaround, but you need tolisten closely and carefullyif your interest is to beretained. They're short onmelody and long onrepetition, so the musictends to work on a moresubliminal level. When itgets through, it hits. But itneeds patience.

43

reviews in brief

Unsure of rte exactvintage of "The King ofRock - Bill Haley Plays";Ember EMB 3396) - but it:ertainly isn't the Haley Iremember of old. No "RockAround The Cock" materialiere. Not reallil recommended

. . "L_ve" tenor sax soulsounds from tte late KingCurtis on Atlantic K 30029,recorded at Snmlls' Paradise in1966. Sone nice tracks on:his one . . . Bags ofcxeitemert conveyed by7.ke and Tina Tinter (Warner3ros K 36001) .vhich:ncludes good versions of"You Are My Sunshine"and "I Can't Stop LovingYou" - (Elvis please note!)

. . The BBC's. programme''Scrapbook of 1940" appearson PhiLps Intonational4382.042. Narrated byFreddy Grisewood andwith the actual voices ofSir Winston Cturchill,Lord Haw -Haw and NevilleChamberlain plus musicalinerludeslfrom Vera Lynn,Arthur Askey and CharlieKunz, this is a fascinatingalbum fol. of nostalgia . .

Quite passable :over versionsof recent hits ircluding"Pinball 'Wizard", "DoctorMy Eyes", "Ki ling MeSoftly With His Song" and

Cindy Incidentally", makeap "Mike Monon's Non StopHits" (RCA InternationalWJTS 1427). In-erestipg torote that :he orlyinstrumental track "Sylvia"comes off by fa- the best -food for though? . . .

Thelma Houston almostmade the charts last yearwith her record of "NoOne's Gonna Be A FoolForever.' which is includedin her album "ThelmaHouston" (MowestMWS 7003). Ato includesa. nice version kr:* KrisKristofferson's "Me andEobby McGee" . . pleasantreggae sounds from thepopular Pioneers on "IBelieve In Love" (TrojanTRLS 48) . . . LieutenantHgeon, who sprang to famewith "Mouldy Cold Dough"now come up w th their&but LP "Mouldy OldMusic" "Decea SKI. 5154).

The original hit is includedalong with freshinterpretations of Lennonand McCartney's 'YellowSubmarine" and a slow"Red River Rock" . . . earlySweet and Pipkins crop upon "Gimme Dat Ding"(Music for PleasureMFP 5248). The t tie trackwas, of course, a big hit forthe Pipkins bock h 1971and their tracks aren't allthat bad. But the Sweetnumbers just really aren'tup to "Blockbuster" standardsat all . . . 1958 Newport JazzFestival recordings make upan album by Ray Charles(Atlantic K 30032) As onewould expect from therecording location the wholealbum has a strong jazzfeel to it, and includes agreat version of "In A LittleSpanish Town" . .. there isa definite early Beatles feelto "Fresh Raspberries"(Capitol EST 11123). ThisUS group have sold severalmillion discs in NorthAmerica but have lot yetreally taken off over here.Maybe it's because we were:00 close to the originalsand still remember withaffection those four "mop:ops" from Liverpool . . .

1968 vintage Canned Heatrecordings make up "Rollin'and Tumblin' " (SunsetSLS 50321). Very bluesinfluenced and recordedbefore their realcommercial success camealong. All right if you enjoythe blues . . . Budget priceTamla on "The Isley...Brothers" (Music forPleasure MFP 50014). Nomassive hits here a -thoughthe Isley's were among thevery first artists to sign tothe then embryo Tamlacompany. Excellent valuethis one . .. Popular 60'ssinger Bobby Vee paystribute to one of his earlyinfluences, the late greatBuddy Holly, on "IRemember Buddy Holly"(Sunset SLS 50318) whichhcludes all of Buddy's hitsIke "That'll Be The Day",`Oh Boy" and "It Doesn'tMatter Anymore". A nicetibute album . . .

classifieds

MOBILEDISCOTHEQUES

BRIAN DAY SHOW. ProfessionalRadio DJ. Mobile throughoutsouthern England. 750 watt. "Orange"Sound. Lights and jingles. Office:123 Fore Street, Exeter. Tel (0392)55114.

MAINSOUND DISCOTHEQUE en-tertainment for all occasions. Tel. 01-994 4903.

RADIO NORTH KENT, MobileDiscotheque and Lights. Phonebetween 6 and 7 pm. 01-6583218.

FOR SALEDJ RECORD BOXES -lightweight,capacity for 250 singles and 10 LPs,finished in matt black. SAE fordetails: 138 St. Georges Road, Chel-tenham, Glos.

AMERICAN RADIO STATIONprogramme and jingle tapes. Lists,SAE to D. Smith, 29 Suffolk Avenue,Leigh -on -Sea, Essex SS9 3HD.

AKG M1CS/HEADPHONES 30%OFF RECOMMENDED RETAILPRICES. M/CS: Low impedance (60or 200 ohms) -D707C..£12.25; E..£13.30; D190C..£15.89; E..£18.50;D202CS . £28.00; ES .. £29.40; D1200C..£25.90; E..£27.30. High impedence:For D190 or 01200 types, please add£1.00 to above prices. (C..DinConnector -E.. Cannon Connector.)Also all other Dynamic AKG Micsavailable at 30% off. HEADPHONES:K60..£10.50; K100..£6.30; K150..£8.05; K180..£19.60; above pricesexclusive of p&p. Please add to theabove prices the VAT required.For details please phone 031-229 9651,or write to: Mail Order Department,REL Recording Studios (Radio Edin-burgh Ltd), 7A Atholl Place, Edin-burgh. Trade enquiries also welcome

RNI STORY PART 1A documentary on tape orcassette covering the story ofRNI in 1970. Features everymajor event plus many otherextracts. Only £1.75 for this90 minute production.Commercial Radio Researchers,BM-CRR, London WC1V 6XX

JINGLES

PERSONAL JINGLES and1,000 no identity disco and radiojingles. Also American Soul,Top 40, Jazz and C&W pro-grammes by America's TopStations and DJ's. Plus manypirate jingles and shows; over50,000 items available. Send largesae for FREE list to L. Williams,2 Langham Court, Mersey Road,West Didsbury, Manchester 20.

SONOVOX I Superbly producedpersonal jingles. The real thing!Custom made. As used by RNI,Caroline, Radio 1. You'll agreethey are as good as Pams orPepper T's. Fast service (USAmade). Details: Soundround,47 St Andrews Road, Deal, Kent.

D.J. COURSESDISCOTHEQUE DJ COURSESnow being held regularly at theRoger Squire's Disco Centre, Lon-don, N19. Benefit from many yearsof successful experience in thebusiness. Tuition on professionalequipment in a natural discothequeenvironment. Further informationand booking enquiries to Miss Mead01-722 8111.

PERSONALARE YOU ADVENTUROUS?If so, you must not miss the chanceto make exciting new friends of theopposite sex. Write - S.I.M. (DJ),Braemar House, Queens Road,Reading.

PENFRIENDS wanted urgently;all ages. SAE to: Pen Society,(P.29), Chorley, Lancs.

POSTAL INTRODUCTIONS forfriendship or marriage. Details fromDUET, 11 Macclesfield Street, Lon-don, W1.

UNUSUAL PENFRIENDS. EX-CITINGLY DIFFERENT. Stampedenvelope for reply: Dept DJ1, Bureaudes Amies, PO Box 54, Rugby.

CALLING

ALL

D.J.'s

DISCO-UNT

do you get discount

when buying records?

For a full 15% discount

on singles LPs and

tapes send for details

to:

Lord Welling

Disco-unt Club,

71 Bellegrove Road,

Welling, Kent,

or Phone: 01-303 7636.

FOR CLASSIFIEDADVERTISING

phone0462-54399

SCRIPT 4The Magazine on Alternative Radio is now available* * * * *

News and Features on Radio Caroline, Northsea, Jackie, Free Radio andVERONICA SHIPWRECK PHOTONEWS* * * * *

Price 13p (including p&p) fromDept DJ, 35 Gtenmore Road, LONDON NW3 4DA

44

u.s.chartstop 30singles1 The Night The Lights Went

Out

2 Ain't No Woman (Like TheOne I Got)

3 Neither One Of Us

4 Tie A Yellow Ribbon RoundThe Ole Oak Tree

5 Sing

6 Break Up To Make Up

7 Cisco Kid

8 Call Me

9 Killing Me Softly With HisSong

10 Space Oddity

11 Love Train

12 Stir It Up

13 Danny's Song

14 The Twelfth Of Never

15 Masterpiece

16 Little Willy

17 Dead Skunk

18 Peaceful

19 Aubrey

20 Drift Away

21 Stuck In The Middle WithYou

22 You Are The Sunshine OfMy Life

23 Walk On The Wild Side

24 Reeling In The Years

25 Cover Of Rolling Stone

26 Step By Step

27 Also Sprach Zarathustra

28 Daisy A Day

29 Pinball Wizard/See Me FeelMe

30 Out Of The Question

Mid April 1973

u.s.chartstop 30albums

1 Billion Dollar Babies Alice Cooper WarnerVicki Lawrence Bell

2 Lady Sings The Blues -Soundtrack Diana Ross Motown

Four Tops Dunhill3 Dark Side Of The Moon Pink Floyd Harvest

Gladys Knight &The Pips Soul 4 Deliverance - Soundtrack Warner

5 Don't Shoot Me, I'm OnlyDawn Bell The Piano Player Elton John MCA

Carpenters A&M 6 Rocky Mountain High John Denver RCA

Stylistics Avco 7 The World Is A Ghetto War UA

War UA 8 Can't Buy A Thrill Steely Dan ABC

Al Green Hi 9 Birds Of Fire MahavishnuOrchestra Columbia

Roberta Flack Atlantic 10 Aloha From Hawaii viaDavid Bowie RCA Satellite Elvis Presley RCA

O'Jays Phil Int 11 Space Oddity RCA

Johnny Nash Epic 12 Moving Waves Focus Sire

Anne Murray Capitol13 The Divine Miss M Bette Midler Atlantic

14 Masterpiece The Temptations GordyDonny Osmond MGM15 Shoot Out At The Fantasy

The Temptations Gordy Factory Traffic IslandThe Sweet Bell 16 No Secrets Carly Simon ElektraLoudon 17 They Only Come Out At

Wainwright Columbia Night Edgar Winter Epic

Helen Reddy Capitol 18 Wattstax - Soundtrack Stax

Bread Elektra 19 Transformer Lou Reed RCA

Dobie Gray Decca 20 Prelude Eumir Deodato CTI

21 The Best Of Bread ElektraStealers Wheel A &M

22 Talking Book Stevie Wonder Tamla

Stevie Wonder Tamla 23 I Am Woman Helen Reddy CapitolLou Reed RCA 24 Neither One Of Us Gladys Knight &Steely Dan ABC The Pips Soul

Dr Hook & The 25 Around The World WithMedicine Show Columbia Three Dog Night Dunhill

Joe Simon Spring 26 Hot August Night Neil Diamond MCA

Eumir Deodato CTI 27 Who Do We Think We Are Deep Purple Warner

Jud Strunk MGM 28 Derek And The Dominos InConcert RSO

The New Seekers Verve 29 Byrds Byrds Asylum

Gilbert O'Sullivan MAM 30 The Session Jerry Lee Lewis Mercury

45

chartssingles

top 30

chartsalbums

hot heavy 201 Tie A Yellow Ribbon 1 Houses Of The Holy Led Zepplin Atlantic

Round The Ole OakTree Dawn Bell 2 Eat It Humble Pie A&M

2 Hello! Hello! I'm Back 3 For Your Pleasure Roxy Music IslandAgain Gary Glitter Bell

4 Grand Hotel Procul Harum Chrysalis3 Get Down Gilbert O'Sullivan Mam

5 River Terry Reid Atlantic4 I Am A Clown David Cassidy Bell

6 Ooh La La The Faces Warner5 Tweedle Dee Little Jimmy Osmond MGM

7 Cosmic Wheels Donovan CBS6 All Because Of You Geordie EMI8 Electric Light Orchestra 2 Electric Light7 Pyjamarama Roxy Music Island Orchestra Harvest

8 Heart Of Stone Kenny Rak9 Larks Tongues in Aspic King Crimson Island

9 Power To All OurFriends Cliff Richard EMI 10 True Stories Judy Collins Electra

10 Drive In -Saturday David Bowie RCA 11 Dark Side Of The Moon Pink Floyd. Harvest

11 Twelfth of Never Donny Osmond MGM 12 In The Right Place Dr. John Atlantic

12 Crazy Mud Rak 13 Mothers Pride Fanny Reprise

13 Love Train O'Jays CBS 14 Katpain Kopter & The'Fabulous Twirly Birds Randy California Epic

14 Duelling Banjos Eric Weissberg &Steve Mandel Warner 15 Birds Of Fire Mahavishna

Orchestra CBS15 My Love Wings Wings

16 Greenslade Greenslade Warner16 Good Grief Christina Chicory Tip CBS

17 Cum On Feel The Noize Slade Polydor 17 Old Soldiers Never Die Heads, Hands andFeet Atlantic

18 The Right Thing To Do Carly Simon Elektra18 In Concert Derek & Dominoes RSO

19 Brother Louie Hot Chocolate Rak19 In Deep Argent Epic20 20th Centry Boy T. Rex T. Rex

21 By The Devil (I was 20 Byrds Byrds Asylum

Tempted) Blue Mink EMI

22 Never Never Never Shirley Bassey U.A.

23 I Don't Know Why Andy & DavidWilliams MCA NOTE

24 Giving It All Away

25 Bad Weather

Roger Daltry

Supremes

Track

Tamla THESE CHARTS ARE26 Why Can't We Live INCLUDED AS A GUIDE

Together

27 Hey Mama

Timmy Thomas

Joe Brown

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CHAPTER ONE PRESENT

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