PETER Noone and Herman's Hermitshave finally parted company. Thesinger and his former backing groupare now separate acts, but they maystill collaborate on occasional singlesif the right material presents itself.

There has been confusion over thepast few weeks concerning Noone'srelationship with the Hermits, but thesinger told RM this week: "TheHermits have become tired of standingbehind me for seven years. They wantsome of the limelight for themselvesnow."

Recording contract forNoone and Herman'sHermits ran out onDecember 31 and hasnot been renewedyet. Instead,contracts are beingnegotiated for eachact separately.

Solo

They will both,however, still recordwith RAK, on whichthey had their "LadyBarbara" hit.

Noone is recordinghis first solo single,titled "Oh YouPretty Things," thisFriday, and release isplanned formid -March.

The Hermits, whomade their last liveappearance withNoone at Christmason the bill atLondon's Palladium,are planning theirown single, but nodetails are set.

21 hits

Final word fromNoone: "We've had21 hits together nowand we all feel wewant to go ourseparate ways and befree to do what welike. We won't be tieddown as much nowand we'll be able toexpress our musicaltalent to the full."

re. 'sdA Billboard Pu

mirrorWINTERTIMEJohnny

Winterexclusive page 13

HERMITS DECIDEby

SIMON BURNER

TO COME OUF HIDINGPeter

Ex -Supremesues for£81 million

WHILE the Supremes areriding high in RM's chartswith "Stoned Love," thegroup is being 'stoned'from another direction.This time from ex -groupmember Florence Ballard,who intends to sue them for81/2 million dollars.

F I orence left the

Supremes in 1968 butclaims that while she waswith them she was left outof the group andunderpaid. She also allegesthat in the end she wasforced out of the group.

Pictured above are: JeanTerrell, Mary Wilson, andCindy Birdsong.

2 RECORD MIRROR, February 20, 197'

irrormaiHarderfor thegirls?WHY is it thefemale singer has ashorter life in thehit parade com-pared with themale.

In the last few yearswe have had as Queen ofthe Pops, Connie Francis,Brenda Lee and our ownHelen Shapiro, SandieShaw and now Dusty,Lulu and Cilia are losingtheir grip chartwise. Andyet, the men go marchingon. Andy Williams,Sinatra, Elvis and Cliff areall still enjoying hits. Itmakes you wonder. -ROBERT JOHNS, 34Southwold Drive, Barking,Essex.

VAL: And on the samesubject Ernest Fullmanadds:

IN a recent RM top fiftythere was only one femalesinger. That proves howthe ladies are beingignored by the fans. Howdifferent to the charts ofa few years ago whenevery other record was bya female singer.

Just think of the nameswhich are missing BrendaLee, Connie Francis,Helen Shapiro, Dusty, PetClarke, Lulu etc. I thinkthat with the presentunderground scene takinga firm hold it is becomingharder every week for theladies to get a look in,which is unfortunate. -ERNEST FULLMAN, 673Sewall Highway,Courthouse Green,Coventry, Warks.

VAL: It's true that thereare a lot of male singerswho seem indestructible,but there are also femalesingers in the same class,such as Ella Fitzgerald,Shirley Bassey, DorothySquires, Cleo Lathe, to

L

CAT STEVENS

name a few. And ofcourse you could think ofnames like Marty Wilde,Joe Brown, John Leyton,Mike Same and LonnieDonegan, who no longerenjoy chart successes likethey did. So is it harderfor the girls that far?

WHILST we are gratefulfor the compliments paidto Sun Radio by David P.Richardson of Brightonwe feel that we mustdeplore his attack onRadio Sovereign, thestation that made a briefappearance at Christmas.

As far as we areconcerned, and we feelthat we are in a betterposition to judge than MrRichardson, the quality ofboth the programmes andtransmissions for theObiap were excellent.

Whilst Mr Richardsonseemed to have heard thesame rumour as we hadthat Sovereign was landbased, we can in factconfirm that it was shipbased, since a directionfinding exercise carriedout on Christmas Day ledus to the English Channeloff Birling Gap nearEastbourne. - CARLRIVERS, (Sun Radio DJ),21 Somerset Close,Worthing, Sussex.

CAT Stevens last single`Father & Son' from themarvellous 'Tea For TheTillerman' album was themost incredible thing I

personally have heardsince Lovin' Spoonful, andit really deserved somecommercial success.

Unfortunately, all discjockeys on the Beeb choseto ignore it, except forNoel Edmonds. Withoutfair airplay no record canbe successful. It's not fair.

What more can I sayexcept Cat Stevens isgoing to be really big inthis country. He shouldbe. - T. BAKER, 3 CalvinRoad, Winton,Bournemouth.SEARCHING my radio dialon Wednesday, February5th I came across a radiostation calling itself RadioCaroline on 209 metresmedium wave andclaiming to be off theHarwich coast.

Is this another bigstation or just anotherland based idiot? I wouldbe interested to know ifany other RM readersheard this amateurishstation. - KEITHPERRIN, 1873 PershoreRoad, Kings Norton,Birmingham.

I AM writing to complainabout the abysmal air playgiven to the superbCanadian group, the GuessWho. All day we aresubjected to the trash putout by the White Plains,Hermans Hermits, GilbertO'Sullivan etc. I have yetto hear a track from theGuess Who's latest LP onRadio One, except thetwo singles featured onthe LP.

The album 'Share TheLand' achieves aperfection I have onlyheard on CreedenceClearwater Revival albums.The track that stands outthe most is the BurtonCummings -Kurt Winter

ExcosE ME .130T WOULD `IOU1\4i1,11) IF I USE THE eHoNE NEyr.I'LL ONL4 GE. A FEW MINUTES...:

DAVE DAVIES:

Write to VAL,

Record Mirror,

7 Carnaby St.,

London WIV IPG

Kinks are the greatest (see letter this

composition 'Three MoreDays'.

If this track and therest of this fantasticalbum were to be heard afew times on the radio,the Guess Who wouldquickly rise to the welldeserved fame they havealready achieved in heUSA and Canada. -GRAHAM BENTLEY, 4Quitter Avenue, AnlabyPark Road North, Hull,Yorks.

I QUITE agree with W.Randell, (9th January)DJs do ignore KennyRogers and the FirstEdition. Although I haveheard 'Heed The Call' afew times on the radio itwas only being reviewedi.e. on Rosko's RoundTable (Terry Wogan'sthird choice), Scene AndHeard and the Tony

Blackburn Show. Mr Black-burn said he was not surewhat he thought of it andwould need to hear it a fewmore times. Did he everplay it to himself again?

The First Edition arebrilliant, but un-fortunately few peoplewill admit this. Most ofmy friends like soul andbubblegum, and say theydon't like the FirstEdition's type ofbubblegum, but theyDON'T play bubblegum. Ilove progressive music andI know a few people whoalso share my taste inmusic and they too saythat the First Edition singbubblegum - but theydon't!

One of these friendscame round and heard'Love Woman','Camptown Ladies', 'HeedThe Call' and 'Shine On

page)

Ruby Mountain' off the'Tell It All Brother'album, and thought theywere great. I told himwho it was and his facedropped. How prejudicedcan the world be? MISSKARYL HUNT, 229B o t ley Road, Sholing,Southampton.

I AM surprised there are noduo d.j. shows on RadioOne. By this I mean twodisc jockeys jointlycompering a programme.

In the old pirate daysthis worked mostsuccessfully with teamslike Kenny Everett andDave Cash and later withTony Brandon and EdStewart. So why can't wehave some jocks teamingup in 1971? - COLINFENN, 35 Bradgate,Cuftley, Herts.

Kink'scan't bebeatenTHANK heavens for Ray

Davies and the Kinks.They are justunbeatable.

On their last album'Arthur' they told usabout the things thatgo in the decliningBritish Empire. In theirlatest album 'LolaVersus Powerman AndThe Money Go Round'they tell us about theins and outs of themusic business. What'sso unbeatable aboutthat you may ask. Well,I can't think of anothersongwriter like Ray,who can make a

complete LP out ofone subject - andwriting only facts fromreal life.

Also I cannot think of agroup, who can singand play any type ofsong and still make itsound great, like theKinks do. Can you? -PETE MOORE, 12Churchfields Ave.,Hanworth, Middx.

MY friends and I agreethat RM's criticism ofRadio One's 'SceneAnd Heard' was thebest bit of popjournalism for a longtime. WE heartily agreeon the subject of the'pop news' being just aplug for a certain poppaper. All you have todo is wait for the nameof the person'compiling' the popnews. Pick up theappropriate pop paperand follow the speakerword for word!

Long may Record Mirrorretain its independence.- RUSSELLSAUNDERS, 65aGibbons Road,Kingston, Surrey.

FM listeners in Londongot an almighty shockrecently when RadioLondon actually playedthe Fortune's immortal'Caroline'. U n -

believable! Most of usthought the BBC haddestroyed all theircopies ages ago!

And the week before,they had played RNI'stheme 'Man Of Action'.I can't wait till theyuse 'Big Lil' as theirown signature tune! -STEPHEN ROBINSON,45 Charminster Road,Worcester Park, Surrey.

VJELL, I'VE NO OSSEcTIoN,IF THESE LADIES 1-1EKEHAVEN'T-THEY ifs,E.BEFORE ME....

AriP,*you

el '---li DON'T MINI/IF IT'S ANEMERGE_NCN

GO ON \LUT.

CS1-1N1Ws VEKklVAN SWEET LOR5".

'(AP'IA? of I

RECORD MIRROR, February 20, 1971 3

RM's Bill McAllister interviews Elton John in depth. Part 1IT seems easy to say now, after the event,but I always knew Elton John would be astar.

The "superstar" tag never occured to me untilanother pop paper applied it, but in a sense Elton IS asuperstar, joke or no joke. He has quality, an aura,presence and individuality. And talent.

"Lady Samantha" was the first thing I heard himsing. I got hold of it within two days and played itnon-stop, marvelling at its simplicity. I liked everythingabout it the vocal treatment, the arrangement, themusicianship and the lyrics. I knew nothing about EltonJohn apart from the fact that his single was beingplayed a lot on the radio, but I knew I wanted tointerview him.

There was a frustrated period when nothinghappened. I was working with a publicity firm at thetime and my days were tied up in endless press releasesand hectic phone calls. Several furtive attempts with hisrecord company's press office to arrange a suitableinterview date were foiled in one way or another and'69 drifted out.

Before I knew it, though, there was a copy of analbum called "Empty Sky" on my desk. My interest,which I admit had been flagging, was revived and I

doubt whether I have yet shown as much concern overthe appearance of an album as that one. I loved everysecond of it, its good points and its bad ones, of which

*there were few.And still there was the magic. That inner feeling I

had that here was a major talent waiting to bediscovered prompted me to try again for an interview. Itwas easier this time. Firstly, my time was freer and Ihad begun to take on freelance work on a regular basis.Secondly, it took only three atttempts to arrange adefinite interview. His record company had reorganisedtheir press office and Helen Walters, who has sincebecome a close friend, settled everything with thepromise of coffee, biscuitsand a comfortable chat.

My first interview withElton John includedBernie Taupin. Themoment I walked in theroom I could tell theywere musical twins. Thefact that they emphasisedthis point during ourconversation only broughtit home with more force.I enjoyed the interviewthoroughly. It was easy,casual, punctuated withhumour.

'We just saidokay withouteven thinkingabout"

Bernie didn't say muchand when he did it waswith a solemn grace, anendearing youthfulness.Reg talked all the time inbetween mouthfuls ofchicken sandwich (apainful experience for meto watch, and one whichcaused them acuteamusement, since I wastrying hard to be a goodvegetarian), shriekingoccasionally. It alljustified what I thought,they were a starcombination.

I saw theminfrequently after that,but on each meeting wegot to know one anotherbetter, finding our tasteswere similar in many ways- Reg and I like mostlythe same music, Bernieand I read the same books- and I began to knowthem as people.

The analogy I coulddraw is that of a parentwatching his child growup, but I prefer to thinkof it rather as me growingup with them, developingwith their music. When Ifirst knew Reg he was setagainst the idea of a band,of going on the road."I've done all that bit,"he would say. "Anyway,I'm just lazy."

But the group wasformed, the pressgradually wanted to know,the "Elton John" albumwas released, "BorderSong" just about dentedthe bottom of the Fiftyand we were all convincedthe break had to come.

When it did everyonewas staggered. It happenedso suddenly, withoutwarning. And itsside -effects are justbeginning to wear offnow. An excitementwhich was tantamount tohysteria gripped Reg,Bernie, the band and DJMRecords. It was a totallynew and bafflingexperience for them.Within the last few weeksthey've matured a lot, allof them.

Getting this interviewwas hard. "Reg justdoesn't want to do anymore interviews," Helensaid. "He's tired, Bill, andthere's been too muchpress on him." I knew it,of course, but the keennew shound or featurefiend doesn't give upeasily. Reg agreed withthe minumum of fuss to atalk when I cornered himin the dressing -room atthe Lanchester ArtsFestival. "All right,sunshine." The groundI've tried to cover will, I

hope, be new to you. I

also hope it tells youabout Elton John. Just alittle bit.

NEXT WEEK:

BILL McALLISTER TALKING TO ELTON

E REG NAL.1:1GIFT STORY

REG, resplendent in redpants, green tee-shirt anda black Chinese housecoat,sat down, took a drink ofsome variety of eggconcoction, and grimacedfor John M cK enzie'scamera. "Yeah, that DonNix album (which he hadjust put on) is very good. -Smile, smile. "Hmmph(settling himself on thesofa)." Smile, smile.

We didn't decide totalk about anythingparticularly controversial,we just talked.

"My career is gonna bevery short. One and a halfyears, that's all. I want toquit while I'm at the topand then I'll fade intoobscurity. I've got lots ofobligations for this yearand next and whenthey're all done the groupwill split.

"Does it sound badsaying I want to quitwhile I'm at the top? I

don't mean it arrogantly,it's just that so many

artists never see the end,they never know whenthey've got that long slideahead of them.

"We've got two moreAmerican tours this year,one early in '72 andthat'll be it. There won'tbe anything after that,because I know, I justknow, that I'll be tired ofbeing on the road by thattime.

"At the moment allI'm interested in is playingbecause I'm enjoyingmyself so much. There'sbeen all this talk aboutfilms and things, but thatwill come later.

"When the groupbreaks up - it must soundhorrible talking about itlike this, but it's soinevitable, we all accept itand that's the best way -then Nigel will go intoproduction almost fulltime, I think. He prefers itto playing, it's moreinteresting for him. He'shaving great fun makinghis solo album at themoment, and I'm sure it'sgood though I haven'theard anything yet.

"Dee will always play.I can't ever see a timewhen he won't be, andhe'll always be successful.He'd be working on hisown album, too, if hecould get some studiotime but there's noneavailable at the moment.He has to use Dick's(James, head of DJM)

"I had a prettygood idea of thekind of group I

wanted ..."

studio, you see, becauseDick likes everyone there.He's funny about thingslike that. There are just somany people in there atthe moment there's notime. It's different forsuperstars like me ofcourse (sniggers). I've gotso used to Trident andIBC (where he producedJohn Baldry's album) thatI couldn't use anywhereelse.

"No, I can't say I didexpect to find such goodsidemen as Nigel and Dee.There was all this pressureon me to get a grouptogether - you knowwhat it was like at thetime - and I had to do it.

"I had a pretty clearidea of the kind of groupit should be, you knowthe basic, raw thing we'vegot now, lots of power.But knowing that I alsothought it would be verynearly impossible to getjust the right people forthe job. When Dee came

The Taupin/John relationship examined ...

along I knew he was it, ithad to be. I knew what hecould do, how he wouldcontribute and I had tohave him. But Nigel was adifferent case.

I was a little bit unsureabout him at the start,but I didn't say anythingbecause I wanted to givehim a chance to provehimself. I thought I sawsomething there. Otherpeople said to get rid ofhim because they thoughthe wasn't good enough,but I just said 'Hold on,wait', and it's workedbecause he's improved somuch it's just not true. I

don't think he knows tothis day that he mighthave been out if I hadlistened to the others, butit's nice to think they'vehad to chew all thoseopinions. Nigel had justbeen a pop drummer, he'smuch more now.

"I couldn't have wishedfor a better band. LeonRussell's already told Deethat there's a place forhim in his band if ever hewants it. That's what I

call a real compliment.Oh, another point aboutkeeping Nigel was that hecould sing, that was veryimportant. Both Nigel andDee sing very well, it'sone of our strengths.

"It seems so bizarre totalk about the bandbreaking up, but it has tohappen. This is just metalking about theinevitable."

Realising the inevitablealso enables you to make

concrete plans for thefuture. There will befilms, or at least a specificfilm. A part was offeredlast year, one whichseemed so ideal that itwas hard to turn it down.But, Reg explained, itwould have put the bandout of work and nothingcan interfere with EltonJohn (the group) at themoment.

"I really want to dofilms, but it can't be justanother case of a pop startrying his hand at acting.That would be totallywrong. I wouldn't evendream of tackling it if I

thought I couldn't do itwell, but I can, I know it,just the way that I alwaysknew I could write goodsongs. But to do itproperly you've got towork at it full-time,devote all your energy toit, that's why I'll have toretire from all this. I mayjust do the occasionalconcert, if people stillwant me, but a film, yes,a film.

"My career is

gonna be veryshort . . 11/2 years,

that's all."

4 RECORD MIRROR, February 20, 1971

ZAPPA'S Albert Hall gang looked prettywell prepared for publicity when Munday'sdecision was announced Neon Recordslaunched by RCA this week with releasesby FAIR WEATHER, BROTHERHOOD OFBREATH and INDIAN SUMMER soon........EDWIN STARR looked pretty uncomfortablein woolly one-piece white suit last week.

SAMANTHA JONES has argumentativeviews on Viet -Nam, but hates arguing

Don't miss FRANK FRAZETTA'Sartwork on publications like "Creepy"and "Eerie" on sale at "Dark TheyWere And Golden Eyed" in LondonLULU'S next single could be a LESLEYDUNCAN number Congratulationsto SUE AYTON on her 21st JOHNBALDRY has just cut a version ofRANDY NEWMAN'S "Burn Down TheCornfield" for his next album.

FACES "Long Player" album nowdelayed until March 19th due to sleeveproblems Hopefully, P. J. PROBYtracks cut with BRINSLEY SCHWARTZ andCOCHISE will be released at the sametime Welcome back to "BURNIN'RED IVANHOE," a great Danish band

ELP not banned from AlbertHall - only their organist, KEITHsomebody, for burning something therewith some other group.

Bumpers Club has to have the mostinane DJ ever A&M should getDON NIX'S Shelter album out here assoon as possible Cliff Richardbecoming a better singer with everyrelease will the MONKEES splitup9 MR FREEDOM seen diggingREG (ELTON) DWIGHT (JOHN) in canaryyellow (stunning) jumpsuit with largewindow -pane check (far out) at Bumpers(club) BERNIE TAUPIN, ELTON(REG) JOHN'S (DWIGHT'S) co -writers,marries MAXINE on March 27th inLincolnshire - hope they're very happyalways.

Other scenes banned by FRANKMUNDAY at the Albert Hall includeZAPPA, BLACK SABBATH, POP PROMS andeven BERTRAND RUSSELL'S 90th birthdaycelebrations after all the fuss,it seems the SHIRLEY and LEE album onthe Jay Boy label was not the realSHIRLEY, but a 1960 replacement. The1956 originals are still in the UAvaults.

Island Artists now handle GRANDFUNK'S agency for Europe MICHAELJ. POLLARD cutting an LP with the BANDin New York DAVE CROSBY'S soloLP finished TINY TIM'S cousin,EDDIE RABIN due to be launched as awriter -artist later this year - buthe claims his material is more likeJAMES TAYLOR than cousin TINY.

Fantastic LP out on CBS: TOMRUSH'S "Wrong End Of The Rainbow"

President's Joy label has releasedan excellent blues album, "The Blues,"with JOHN LEE HOOKER, BILLY BOYARNOLD and others. Many tracks latercovered.

SOLO SINGLEFROM PAULPAUL McCartney'sfirst -ever solo single isexpected to bereleased within thenext few days on theApple label.

But the current troubleswithin the Beatles' campcould delay its appearance,for already a dispute hasarisen between the Beatlesand Northern Songs overcopyright of their material.

Titled "Another Day,"the single is another debut ofsorts, for it gives composingcredit to Mr and MrsMcCartney, thus making itLinda McCartney's fist songcredit. This could herald anew period of McCartneywriting in conjunction withhis wife.

The single is taken from abatch of 18 numbers whichMcCartney recorded in theStates over a period ofseveral months, using bothAmerican and Britishsidemen. Numbers are beingselected at the moment forhis second solo album, butother titles are not knownand no release date has beenthought about as yet.

The proposed televisionappearance is still in thediscussion stages but it isbelieved that plans are farenough forward tosubstantiate the news thatMcCartney is currentlyforming a backing band forthe show, to consist of themusicians who played withhim on his Americansessions.

Thrash showMOGUL Thrash have beensigned for major Britishconcert appearances withJohnny Winter. The groupappear with Winter at St.George's Hall, Bradford(February 19) and NewcastleCity Hall (24). The groupvisit Luxembourg andFrance at the end of March.

STEVE Ellis, out of the public eye for some time now, revealed news this week of a newmanagement agreement which promises to boost his career.

He has severed all connection now with the Love Affair organisation and will be managedin future by Chas Chandler, formerly Jimi Hendrix' right-hand man. Steve will continue torecord with CBS.

President nightTHE first President Recordsnight is to be presentedtonight (Thursday) at theBumpers Club in London.Appearing on the bill will bePresident groups The Equals,Sweet Slag, and ZappattaSchmidt. Also at the clubwill be singer Alan JamesEastwood. During theevening free Presidentalbums will be given away asprizes for games.

Frankie ValliANOTHER Frankie Vallisingle is set for release. TheProud One' which floppedwhen it was first releasedhere, is rush -released thisFriday to follow up Valli'schart success with 'You'reReady Now'.

Also ruch-released on thefollowing Friday (26) is aseven year old Four Season'snumber, 'Walk Like A Man',reckoned to b e their classicrecording, which is coupledwith 'Beggin". Both are Asides.

Bown LPALAN Bown is to recordhalf of his new album 'live'next month. The probablevenue is the Torrington Clubin Finchley, London. The

singleband start studio work onthe first half of the albumthis week. Dates for Bownand his seven piece band are:Olympia Theatre, Paris(February 20), LyceumBallroom (19) and March(7). The group toursScotland between March 10and 15.

Argent dateARGENT, making headwaywith their latest single,"Celebration," star in BBCTV's "Disco 2" on February25. The group start a tour ofScandinavia in Stockholm onMarch 15. The tour will lastfor nine days.

G. B?

Island setfor album

pushAFTER several months ofapparent inactivity, Islandhas prepared a five -albumrelease for March, to befollowed in April and Maywith nine further albums,one of them a sampler of thenew product.

Title and contents of thesampler have yet to bedecided. The March releasesis comprised of albums fromNick Drake titled 'BryterLayter'; 'Dive Deep', thethird by Quintessence; thefirst album by the IncredibleString Band since moving toIsland for Europe, title 'BeGlad, For The Song Has NoEnd'; 'Wildlife' by Mott theHoople and 'Aqualung' byJethro Tull.

April and May will seealbums by Incredible StringBand's Mike Heron workingsolo, a new act called TiraNa Nog, Mick Abrahamswho was formerly withBlodwyn Pig, Sandy Dennyrecording as a solo artistfollowing breakup of hergroup Fotheringay, FairportConvention, Emerson Lake Heep in U.S.and Palmer, Cat Stevens andJimmy Cliff, making hisalbum bow on Island sinceshifting front the Trojanreggae label.

Yes tourYES are to make a 14venue tour of Britain nextmonth to promote theirla test album "The Yes

Album." After the tour thegroup go to America.

The British tour beginsat Liverpool Stadium onMarch 4 followed by LlandaffCollege, Cardiff (5), BigApple, Brighton (6), RedcarJazz Club (7), BirminghamTown Hall (9 ),Bournemouth WinterGardens (10), DoncasterTop Rank Ballroom (12),St. George's Hall Blackburn(14), Guildford Civic Hall(15 ), Nottingham AlbertHall (16), SterlingUniversity (19), AviemoreCentre (20), DunfirmalineKinema (21) and GlasgowCity Hall (22).

On six dates, Liverpool,Birmingham, Bournemouth,Blackburn, Guildford andNottingham the group willbe joined by former leadsinger with Honeybus,Johnathan Swift.

URIAH Heep's debut tour ofAmerica has been broughtforward and will nowcommence on March 22. Thefive week itinerary will takein Universities, concerts andTV appearances. To enablethe group to start their tourearly their visit to Germanyhas been cut and will nowstart on March 10.

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RECORD MIRROR, February 20, 19715

STONES OFFCAMPUS?

SEVERAL dates onthe Stones Britishtour are in danger ofbeing scrappedbecause Mick Jaggerbelieves they maylead to "a new formof segregation."

Already one date, atGlasgow's StrathclydeUniversity on March 5, hasbeen called out of theitinerary and replaced by aMarch 8 concert atG.lasgow's Green'sPlayhouse.

The danger is, thinksJagger, that university dates,which prohibit attendanceto all but students, couldlead to a new form ofsegregation. "I've only justarrived back from NorthAmerica," Mick told RM thisweek, "and so in a sense I'min the dark about all this.But at first sight though itappeared that there werevery few places to playexcept the universities, I

would rather cancel all thegigs than let it lead to a newform of segregation."

Alternative venues are

already being sought for-dates on March 12. atManchester University andMarch 13 at LeedsUniversity but these seem tobe the only ones in doubt. Inaddition a date will be foundfor March 5 to replaceStrathclyde on that day.

It is expected that all thedates, fully revised, will becompleted by next week.

Hendrix LPTRACK Records arereleasing Jimi Hendrix'slast album, "The Cry OfLove," on March 5, orsooner.

"This is Jimi'sepitaph," said a Trackspokesman, "It's ouranswer to thebootleggers."

The LP was recordedat the guitarists' ElectricLadyland recordingAudio in New York rightup until the time of hisdeath.

It will retail at £2.40.

Jericho JonesISRAEL'S top group,Jericho Jones, whichfeatures former Tornadoesguitarist Robb Huxley, hasits first single released hereon March 12. Titled, "TimeIs Now', it was written byMungo Jerry's Ray Dorset.The band visit here in Aprilto coincide with the issue oftheir first album.

MELANIE has specially TheNew Seekers next single,'The Nickel Song', set forrelease on March 19.

THE RECORD MIRROR SAYS ...BriberyONCE again the hoary oldtopic of payola raises itstired old head withSunday's opening salvo fromthe News of the Worldalleging bribery andcorruption within the BBC.

Let's be fair and say thatcertain aspects of the storygive cause for concern anddo no credit to either theBBC or certain of itsemployees. Equally, neitherdo the methods used by theNews of the World tounearth its information.

If the News of the Worldreally believes thatcorruption is rife within therecord industry, then, on theevidence of the first article a

at the BBCmuch stronger case needs tobe presented.

If it is wrong for a producerto accept an expenses -paidholiday in the sun in the hopeof future favours (or as

thanks for fortuitous help inthe past?), then is it right thatjournalists, (presumablyincluding News of the Worldstaff) should go on facilitytrips organised bypublicity-seeking companies?

On what has been revealedso far there is certainly nojustification for pilloryingeither the record companiesor the BBC as a whole.

Obviously if enoughcupboards are opened, thenskeletons will be uncovered.

There are quite a few inFleet Street. But there seemsto have been a degree ofnaivety which fails todifferentiate between suchtraditional plugging gambitsas the 'open card' and theevils of a dishonest system ofgaining airplay. What a man'seating habits have do with itis irrelevant - there areplenty of trenchermen injournalism as any recordcompany publicist willtestify and even the "orgies"appear to have been ofdubious value in ensuringthat records are played.

While people within therecord industry may feelthat the News of the World

is so far basing its allegationson a slim folio of evidence,the damage has been done.In the eyes of the gulliblepublic, the honesty of theBBC and the recordcompanies is now open toquestion.

Neither side, looked at asa whole, deserve such anindictment - but both arenow presented with a

challenge to ensure that nofurther opportunities occurin the future. There maywell be a case for the BBCtightening up on thefreedom with whichpromotion staff have accessto producers and discjockeys in the pursuit oftheir duties. In the opinionof many Radio Oneexecutives this would be nobad thing, for the

Eric ill: tour cancelledERIC Burdon has

collapsed withpneumonia andreturned to Los

Angeles leaving theremainder of his tour

with War uncom-

pleted.

The singer flew back toL.A. last week sufferingfrom pneumonia anddepression. War continuedfor three further days -

LIVE!Humble Pie

"I don t know why webother to go to Americawhen this happens," SteveMarriott said, sweatingafter a hard, thoroughlyenjoyable set before a

packed crowd at London'sMarquee club.

Humble Pie have spentmuch of their last year inthe States, drawing goodreaction everywhere, butlast week's display and theenthusiasm shown by theaudience is a goodindication that it won't belong before they at lastbreak through here.

"We've come here to playrock, ' Steve had said atthe beginning of the set -which included threesensational encores - andthat's just what they did.Numbers from their next(4th) album were includedand the LP's title, "RockOn", reveals exactly whatis happening.

Humble Pie may be loudand brash, but they arealso articulate. They usemusic as a force for theirfiery emothions, drivingriffs before them,Frampton's wild butwell-defined guitar workforming a perfectcomplement to Marriott'sintense vocals. "Red HotMama" (an encore),"Money", "Walk OnGilded Splinters" and -GetReady" showed Pie at theirbest - which is excellent.Bill McAllister.

Glasgow, Newcastle andSheffield - but despitereceiving good response atall venues, they too havereturned to the States.

It is hoped that Burdonand War will re -arrange thecancelled dates for sometime later this year.

Said a spokesman: "Warcould have completed thetour on their own if we hadthe time to make properarrangements, but itwouldn't have worked. Thetrouble was that the tripwas too long in the firstplace."

proliferation of pluggers overthe years has reached nearunmanageable proportions.It would, nevertheless, besad to see the BBC reducedto enforcing a total ban oncalls by representatives ofrecord companies.

T here's always thecomforting thought,however, that since theaccusations come fromRupert Murdoch's ownpaper, it is clear that he willcome down heavily on a

similar attempt to influenceany commercial radio or TVinterests in which he may beinvolved.

Discs upEMBER Records are puttingthe prices of their discs up"in keeping with the pricechanges announced byBritish record companies inrecent weeks." Singles willnow cost 50p. Budgetalbums stay at 75p andEmber's full price albumswill sell at £2.19 an increaseof 19p.

BRIAN Auger is to write thescore for a major featurefilm which will be shownthroughout Europe andAmerica early this summer.

trojan sounds

6 RECORD MIRROR, February 20, 1971

AXIOM: L to R DON MUDIE, GLEN SHORROCK,CHRIS STOCKLEV DON LEBLER, BRIAN CADC

Mixturesslammedby AussieAxiomSO the Mixtures regret that the sceneback home in Australia is pretty lousy?That the only other big group downunder is the Strangers? Well, anotherpretty big Australian band says on yourpushbike to that.

In response to the Mixtures' claims (RM Feb6th), Australian group Axiom reply, "If theywant to put a label like that on Australia, we'renot going to have it!" Member Glen Shorrockcontinues, "The Australian Commission evengave them a bloody great car when theyarrived! We're not putting down their talents,but it's unpatriotic. You should support yourown scene.

"Australia has been knocking at the door ofthe pop scene for years and people just laugh itoff - they won't be very happy about this backhome when the Mixtures return - if they planto.

COMMERCIALISM"They don't know anything about the music

scene there, because they aren't essentially arecording band - they play pubs and cabaret.Australia has quite a healthy little music scenegoing, although it's still a fringe activity. TheMixtures are a commercial band - the record"Pushbike Song" fairly screams commercialism.They were making about two hundred dollars aweek each, yet the come here and say it's alousy scene there!

"They never came to Britain before they hada hit single - they didn't just drop everythingand come here to try and make it. There areprobably a hundred or so Australian bands hereon the breadline trying and we're just one.There are lots behind the scenes that have madeit already - like John Farrar of Marvin, Welch& Farrar - he slammed Australia when he cameas well.

"Robert Stigwood is an Australian. I think1971 will be the year for Australians. We justcame to try and improve ourselves - no one hasheard of us, yet in Australia, we had three topten hits.

"I don't want this to sound like sour grapes- we're not putting them down for their music- we're musicians too - but the Mixtures can'tsay things like that when they've only playedcabaret and never done a serious music festivalor concert.

"If we had been shown the "Pushbike Song",we wouldn't have recorded it, because we dooriginal material, but it's alright for them. Wejust ask that you don't judge Australia by theMixtures."

How you judge Australia, nobody knows,but you can judge the Mixtures by their WarnerBrothers single, "My Baby's Gone". AsEsmeralda says, "Ridin' along on myhunchback, baby . ." L.G.

Lon Goddard

the 50singles Names from the 50

1

2

3

(1)(2)(4)

5

66

MY SWEET LORD George Harrison Apple R 5884PUSHBIKE SONG Mixtures Polydor 2058 083RESURRECTION SHUFFLEAshton, Gardner & Dyke Capitol CL 15665

4 (3) 6 STONED LOVE Supremes Tamla Motown TMG 7605 5 11 AMAZING GRACE Judy Collins Elektra 2101 0206 (6) 7 NO MATTER WHAT Badfinger Apple 317 (13) 4 IT'S IMPOSSIBLE Perry Como RCA 20438 (7) 5 YOUR SONG Elton John DJM DJS 2339 (9) 12 GRANDAD Clive Dunn Columbia DB 8726

10 (10) 6 CANDIDA Dawn Bell BLL 111811 (8) 10 APEMAN Kinks Pye 7N 4501612 (14) 17 RIDE A WHITE SWAN T. Rex Fly BUG 113 (15) 6 SHE'S A LADY Tom Jones Decca F 1311314 (-) 1 BABY JUMP Mungo Jerry Dawn DNX 250515 (12) 10 YOU'RE READY NOW

F rank ie Valli Philips BF 320 22616 (16) 8 RUPERT Jackie Lee Pye 7N 4500317 (24) 4 COME ROUND HERE, I'M THE ONE YOU NEED

Smokey Robinson & the MiraclesTamla Motown TMG 761

18 (18) 7 YOU DON'T HAVE SAY YOU LOVE MEElvis Presley RCA 2046

19 (22) 5 SUNNY HONEY GIRLCliff Richard Columbia DB 8747

20 (25) 30 IT'S ONLY MAKE BELIEVEGlen Campbell Capitol 15663

21 (11) 13 I'LL BE THERE Jackson 5 Tamla Motown TMG 75822 (32) 2 FORGET ME NOT Martha Reeves & the

Vandellas Tamla Motown TMG 76223 (20) 15 CRACK LIN' ROSIE Neil Diamond Uni UN 52924 (17) 9 BLACK SKIN BLUE EYED BOYS

Equals President PT 32525 (26) 13 WHEN I'M DEAD AND GONE

McGuinness Flint Capitol CL 1566226 (-) - EVERYTHING'S TUESDAY

Chairmen of the Board Invictus INV 50727 (21) 7 LAS VEGAS Tony Christie MCA MK 505828 (-) - ROSE GARDEN Lynn Anderson CBS 536029 (19) 6 IT'S THE SAME OLD SONG

Weathermen B & C CB 13930 (-) - SWEET CAROLINE Neil Diamond Uni UN 53131 (29) 42 MY WAY Frank Sinatra Reprise RS 2081732 (23) 13 I HEAR YOU KNOCKING Dave Edmunds MAM 133 (-1 - STOP THE WAR NOW

Edwin Starr Tamla Motown TMG 76434 (37) 3 TOMORROW NIGHT Atomic Rooster

13 C CB 131

35 (34) 2 I THINK I LOVE YOUPartridge Family Bell BLL 1130

36 (36) 2 SONG OF MY LIFE Petula Clark Pye 7N 4502637 (40) 2 STONEY END Barbra Streisand CBS 532138 (30) 2 CHESTNUT MARE Byrds CBS 532239 (28) 7 WE'VE ONLY JUST BEGUN

Carpenters A&M AMS 81340 (31) 2 WHO PUT THE LIGHTS OUT? Dana Rex R 11062

BREAKERSHAVE YOU SEEN THE RAIN Creedence Clearwater Revival, LibertyLBF 15440ROSE GARDEN New World, RAK 111AIN'T NOTHING BUT A HOUSEPARTY Showstoppers, BeaconBEA 100INSIDE LOOKING OUT Grand Funk Railroad, Capitol CL 15668WALKING CCS, RAK 109RIGHT WHEEL LEFT HAMMER SHAM Tremeloes, CBS 5429SANTA LIJA Engelbert Humperdinck, Decca F 13122

This week's chart - Top 40 only - is an emergency listingcompiled from a reduced panel of shops due to the postal strike.Returns were collected by special messengers from key locations.

JUDY COLLINS

top producers 5 years ago 10 years ago1

23456789

101112131415161718192021222324252627282930

Harrison/SpectorDavid MackayTony AshtonFrank WilsonMark AbramsonMalErnie AltschulerGus DudgeonCameron/DunnTokens/AppellRaymond Douglas DaviesTony ViscontiGordon MillsBarry MurrayBob CreweLen Beadle

Al de LoryHal DavisNorman WhitfieldTom CatalanoEddie GrantGlyn JohnsHolland -Dozier -HollandCity HallGlen SuttonJ. KingTom Catalano/Neil Diamond

1 (4) THESE BOOTS ARE MADEFOR WALKIN' Nancy Sinatra

2 (-(19th NERVOUSBREAKDOWN Rolling Stones

3 (2) YOU WERE ON MY MINDCrispian St Peters

4 (3) SPANISH FLEA Herb Alpert5 (1) MICHELLE The Overlanders6 (7) A GROOVY KIND OF LOVE

The Mindbenders7 (5) LOVE'S JUST A BROKEN

HEART Cilia Black8 (61 KEEP ON RUNNIN' Spencer

Davis Group9 (-) TOMORROW Sandie Shaw

10 (9)MIRROR MIRRORPinkerton's Assorted Colours

1 (11WALK RIGHTBACK/EBONY EYES EverlyBrothers

2 (9) ARE YOU SURE? TheAllisons

3 (3) SAILOR Petula Clark4 (5) WILL YOU LOVE ME

TOMORROW? Shirelles5 (2) ARE YOU LONESOME

TONIGHT Elvis Presley6 (4) F.B.I. The Shadows7 (-) THEME FOR A DREAM Cliff

Richard8 (8) RIDERS IN THE SKY

Ramrods9 (6) WHO AM I?/THIS IS IT Adam

Faith10 (7) RUBBER BALL Bobby Vee

a

RECORD MIRROR, February 20, 1971 7

GOD BLESS AMERICAGet thatWELL, my lady took themessage, and she wrote it on thewall: "Linda Ronstadt, EMI PressReception, 4 o'clock tomorrow."

"Different Drum" by the Stone Poneyswas a hit in the States, and should havebeen here. Written by Mike Nesmith, it hada great lyric, which lead singer Lindahandled beautifully. But that was three orfour years ago, and all I'd heard about hersince then was that people said she lookedgood.

At ten to four, there's a little huddle ofphotographers telling a girl in shorts whereto stand on the pavement outside EMIHouse. None of them seem to be awarethat's it's raining. It must be Linda, and shedoes look nice; but it's raining.

Inside, the press officer has a slightlyharassed look, reminding me of the ladywho lived in a shoe and had so manychildren, she didn't know what to do. TheEMI empire has been growing so much overthe last few years, it's difficult to make sureevery record that's released gets thepromotion it deserves.

Julie Felix is in one room, beinginterviewed; Lois Reeves of the Vandellas isin another, chatting to whoever comes in. Iask her a few questions, pretending to becasual; but my right hand knocks a whiskyglass over the publicity man's right shoe,and I retreat to the room where Linda'ssupposed to be.

So far, only her voice is there; I read theLP sleeves, hoping to find clues to give mesomething to ask her. On her first LP, twosongs by Dylan, one by Randy Newman,one by Fred Neil; on the second, sometracks produced by Norbert Putnam andKenny Buttrey, of Area Code 615. "I'mLeavin' It All Up To You" on this secondalbum ("Silk Purse") sounds much morecommercial, or anyway distinctive, than thenewly -issued 45, "The Long Way Around,"taken from the first one.

Eventually, she comes in, pert face, lovelylegs. Patient, polite, a willing and fast talker,she deals happily with every question. Veryquickly, the impression forms that she is a

Ronstadtmessageshow business natural, capable of adjustingto any situation, interested in meetingchallenges. Her conversation confirms thehunch.

How come she made a record with AreaCode 615? "Well I didn't really want to dothat, because there's a tendency for allNashville records to sound the same. But Iliked the guys so much, I couldn't say no. Ifirst sang with them when they were at theFillmore West, and they didn't have a singer;they asked me to do some numbers withthem, and we got on so well, we decided tomake a record.

"There's such a lot of pressure on thoseNashville musicians, they're making recordsfrom early morning till late at night, andthey've got to make an impression. You turnyour back, and one of them is in there witha solo. Not like in Muscle Shoals, wherethere's just the one band, and they take asmuch time as they need, with no pressures."

Linda seems to take very naturally tocountry music. "I love it; back in the daysbeftne rock, we used to do a lot of bluegrassnumbers, and even now when people fromdifferent groups get together, who've neverplayed before, they nearly always wind updoing bluegrass tunes, because they all knowthem."

On the second album, she does a verygood version of "Will You Love MeTomorrow," but no soul. "I love soulmusic, but I haven't got the voice to do it. I

wish I had; but I think there's nothing worsethan somebody doing soul badly."

Since the Stone Poneys broke up, Linda'sbeen working regularly, doing tours, TV,rock concerts. "I'm learning to fit what I doto the particular audiences. Recently I

played at the Cellar Door in Washington,DC, and it was amazing, there were threedifferent kinds of audience there. We didthree sets, and at the first one the audiencewas straight; hip, but straight, like senatorsand their kids, doctors. The second set wasto the underground, and then the third, the

LINDA RONSTADTlast one, was for rednecks, you know,Southern whites.

For each audience, we had to do specialnumbers, say different things between them.But I think we gave them all what theywanted."

I believe it.CHARLIE GILLETT

PICK OF THE HOTU.S. RELEASES

JAMES BROWN: Get Up,Get Into It, GetInvolved (Parts 1 & 2)(King). With BobbyByrd doing his "Get onup, get into it" thing,the latest hit from MrBrown obviously harksback to "Get Up I FeelLike Being A SexMachine' in someways. In fact, it ismuch less tightlyorganised and muchjazzier, with some verynice brass and guitar:consequently, it alsoseems less strong asma -ial. Do hear thesuperb "Sex Machine"album for the best ofJ.B. (Polydor 2625004) - it's great musicfor balling!

WILSON PICKETT: Don'tLet The Green GrassFool You (Atlantic).More fromGamble -HuffProductions Inc, andwhile this finger--poppin' beauty doesn'thave the Philly Soundit does have the mellowPhiladelphia feel andexquisite guitar pickingfill-ins. Better than"Engine No. 9",everything about this islovely, from theinterplay of that guitarwith the ploppingcon 3a beat, the solidbass and smooth organ,to the chix chantingand Wilson's screaming.A very happy -makingrecord.

THE TEMPTATIONS:Just My Imagination(Running Away WithMe) (Gordy). Since thecomparative failure ofthe boys' fantastic (tomy mind) "Ungena ZaUlimwengu (Unite TheWorld)", which has yet(if ever) to be releasedhere, the guys at Gordyhave obviously realised

Edwin's trying to change your mind

EDWIN STARR

WHEN Edwin Starr recorded"War," he knew that music hada subtle way of impressing anidea on the listener. He knewlyrics implanted themselvesonce a catchy tune entered theunsuspecting head. "Whenmusic was forced to go'Underground'," he said, it wasdecidely drug oriented. I feltthat if people thought musicaided the spread of drugs, itwould also help to stop thewar.

"It's the same idea asprotest songs - just a differentstyle. No more ordinary lyrics- I've got the best producers

in the world; Barratt Strongand Norman Whitfield.Between the three of us, wedecide what should berecorded."

War man Edwin was inLondon to promote his newsingle, "Stop The War." There

is no truth to the rumour thathis next will be "The WarDrags On."

"Music has been partlyresponsible for the big andrapid changes society hasundergone," says Edwin."When it was noticed that a

song could stir opinion, itaided the change.

The old cliche was that youcould take anything away frompeople and they would learn tolive with things - anythingthat is, except money. The newcliche is that you can take thataway too. A man is moreinterested in being able torelate to other people thanmaking money. Everythingused to be built around theeconomic structure - that's allchangeing.

Economics don't matter ifyou're accepted by thosearound you. Artists havehelped by saying what they felt- even though it meant theyhad to go underground. In theend, it's better for them and

the public."We know everything ain't

rosy and that everybodydoesn't fall in love left andright - we've been aware, butit took a long time for it all tobe said. Now it all comes out.If you discuss a problem, itisn't a problem; conversationbreeds understanding.

"Economics is beingreplaced by more humanisticvalues. Look at your own RollsRoyce -- what's all the stinkabout it being broke? It's stillRolls Royce even if it ain't gota dime. You can't destroy a

reputation - only the valueschange.

"When I heard people weredonating money to keep itgoing, I was amazed. That'sreal unity. Nobody says 'theymade enough money already',they say let's all pitch in andhelp out'. I want one. I'd like a'67 coup convertible -fantastic car.

Edwin explained that thechanges being affected by

music weren't slowing down inthe least; in fact that musicwasn't the only catalyst in thereaction.

"I hope this reaches epicproportions," he said, "I hopeit results in a totally unitedsituation - all countries and allpeople. Music should beinternational - but then, soshould politics and any otherfunction that deals withpeople."

Edwin himself is very muchan international function. Thesubject of "War" is alsointernational, but Edwin feelshis records are his contributiontoward stopping it.

"A lot of people didn't likethat record," he concludes,"because it threatened them. Ifthe war ever came to a halt,bang goes big business forthem; the people making guns,planes, tanks -- everything todo with the business of war."

It's a dirty business. Let's"Stop The War."

LON GODDARD

that the Tempts'funkadelic run is over,for the time being.Now they're back intheir slow I Wish ItWould Rain" bag, withsome very slinky stringsdoing moody bass runsand entwining thesubdued harmonies inhypnotic disarminglushness. Incrediblyrestful and brrrr!

imaginationstimulating.

THE SPINNERS: We'llHave It Made (VIP).Well, this undistinctivenoisy Blue Beat-ishStevie Wonderproduction will be a

great disappointment toall the Spinners' oldfans: gone is all theirvocal subtlety andfinesse, to be replacedby crude raucousyelling (any nicetouches are obliteratedby the continuouspounding electricpiano) and clompingbeat. I fully realise thatI have just describedthe perfect formula fora monster British hit,and I won't besurprised to see this asnumber one when itgets released here.

BILL MOSS & THECELESTIALS: OneHundred And 44Thousand (Westbound.As a contrast, thesinging DJ of "Sock ItTo 'Em Soul Brother"fame here presents uswith a superb,authentic Gospel slowieof great power andauthority that issurprisingly hiddenaway on the flip of hisown "Everything IsGoing To Be Alright"(which Teegarden &Van Winkle covered astheir hit follow-up).I've heard quite a lotof Gospel in my time,and this stands withhonour amongst thebest.

RARE EARTH: Born ToWander; Here ComesThe Night (RareEarth). Their own song,a big U.S. hit, and, asmildly heavy U.S.groups go, it's prettygood. There are someHerbie Mann flute bits,a jerky slow loud beat,lots of noise, and a

good blue-eyed soulvocal - flip's fine too.

LIZ DAMON'S ORIENTEXPRESS: 1900Yesterday (WhiteWhale). Lovelydifferent -sounding"easy listening", verysmooth and relaxedwith good instrumen-tation and lullingsinging.

SAMMI SMITH: Help MeMake It Through TheNight (Mega). Sammi (achick from the Country)is tearing up the Popand C&W Charts withthis Kris Kristoffersonslowie, that she does ina less declamatory stylethan Gail Wynters(whose Bassey-esqueand better version isout here).

COITUSvi

t-/strpir,z1 aAlbum DNLS 3019

produced by Barry Murray

"DIANA" (maxi single) DNX 2506 stereo

sole representation The Red Bus CompanyDistributed by Pye Records (Sales) Ltd

a RECORD MIRF

Lau hinfromIT'S true thatmeeting GilbertO'Sullivan can besomewhat disarming,with the naggingsuspicion that hemay be laughing atthe world frombehind his cloth cap.

But it becomesapparent after talking tohim that the O'Sullivanmind is keenly tuned tothe vital points in music,and for the record heseems to be verycomfortable in what hewears.

SINCEREGilbert grew up with

the sounds of the3eatles and as with mostmembers of hisgeneration they lefttheir mark. Then camethe gap which mostpeople are aware of, andGilbert, like manyothers, has beensearching for anothersound to provideinspiration. His solutionwas perhaps somewhatunusual, but he is

defintely sincere."A few years ago it was

Bob Dylan and the Beatlesthat I used to listen to,"Gilbert told me. "And I

didn't need to get intoanything else then becausethey were writing greatsongs. I stopped reallylistening after 'Blonde OnBlonde' and 'Let It Be'which was a bit of a

disappointment."I felt sorry for Paul

McCartney when I saw thefilm of 'Let It Be' becauseit seemed like the otherswere making fun of him. Itmust have been awful forhim when he wrote a songlike 'Maxwell's SilverHammer' and he took it tothe others to record,because it just isn't whatJohn Lennon's into, orGeorge. I felt really sad forhim.

"The two most recentalbums I've bought are theRogers and Hart 'HighSociety' album and 'EllaFitzgerald Sings ColePorter'. Every writer has tolisten to music, and themore you listen the moreyou absorb. I enjoylistening to James Taylorand Joni Mitchell, but Idon't listen to them for the

at the worldbehind a

cloth cap

lyrics. The majority ofsongs around today aren'tvery good lyrically, butCole Porter and Rogers andHart really wrote somebrilliant songs. And perhapsmore important with themit's always the melody thatcomes through strongly.Really my lyrics are me."

Of course to findrecordings by Cole Porter,Gilbert had to go out of hisway and make a conciouseffort to seek out anothersound. He admits this is so,but seeing the film 'TheLife Story Of Al Jolson'and the life story ofStephen Foster, made himmore determined to studythe sounds of yesteryear.

As an extension of thissearch Gilbert refuses to useany modern piano, unlessabsolutely necessary.Instead he collects olduprights - often given awayby people who find them anuisance - and beats awayrelentlessly to extract theessence of sounds longforgotten.

"I've got four oldupright pianos, althoughonly one works," Gilberttold me, talking in burstsand then slumping shylyback in his chair. "I breakon average three or fourstrings on the piano everyweek, because I play veryhard. Every time I call thepiano tuner he looks inhorror because they don'tknow where to begin withthese pianos. I wouldn't usea new electric piano ororgan, I just don't thinkthey compare.

IMPORTANT"I hope to take my own

piano with me when I startto make live appearances,but I don't know if it willbe possible. It would begood to have a bass playerand drummer, I think it'simportant to have a goodrhythm section, and I'lldefinitely get them. I don'tlike guitars and I thinkmore can be done with apiano. Everything's beendone with a guitar excepteating it, and even that hasbeen tried!"

So the basic format forlive appearances has beenevolved, and Gilbert says hewill be including hisfavourite song 'Miss OtisRegrets' in his repertoire, aswell as many of his owncompositions. But when willwe see Gilbert?

"I have to be verycareful," he told me. "I can'tplay anywhere when I'mdressed like this. I want todo concerts and I have a lotof ideas, and I should say itwill be fairly soon that I'llapear live. So far I've only

So nothing is impossible . . .THEY called him "theworld's most casualsinger" - and he got hisfirst Gold Disc back in1945 for a song called"Till The End Of Time",based on Chopin'sPolonnaise.

Now Perry Como isback in the charts again,this time with "It'sImpossible". At the age of58, the one-time barberhas proved that all thingsare possible.

Born Pierino Como, ofItalian parents, Perrycomes from Canonsburg,Pennsylvania - the streetwhere he lived has beenchanged from ThirdAvenue to Perry ComoAvenue. He went on tosing with bands, then intomovies - "If I'm Lucky"was the one that madehim in Hollywood - andin 1946 he was the first

PERRY COMO

pop singer to reach twomillion sales on twosingles at the same time.The double comprised:"Till The End Of Time"and "If I Loved You".

One American show -bizmagazine dubbed him"Maker of Songs",because he often revivedoldies and purred theminto the Gold Discbracket. "Temptation",written when Perry was amere twenty -year -old, was

a case in point. "I'mAlways ChasingRainbows", also adaptedfrom Chopin, was another.

By 1958, he was stillmaking million -sellers -this was the era of "CatchA Falling Star" and"Magic Moments", bothof which were well"covered" by othersingers.

And in 1960, there washis 19th million -seller,"Delaware" ... thepun -ridden survey ofAmerican States. But ifhis disc career sloweddown during the sixties,Como built anotherfortune via hisworld -networked televisionseries.

Someone once wrotethat Perry Como's vocalstyle was "casual to thepoint of indifference", buthis reply was: "If you get

a good song, it's onlyright that you let thewords and music do thehard work".

And anyway, hetriggered off a host ofstool -and -sweater singerswho used the minimum ofmovement and themaximum of lyricinterpretation. Nogimmicks ... just sit thereand sing.

Now the amiable,religious, old gentleman isback again. A catchycommercial song and a

real -life grandad is backwith the progressives andthe teenagers.

What's more, it'sevidence that his voicehasn't changed one iotaover the years. It'simpossible? It isn't, youknow.

PETER JONES

done television shows.'Nothing Rhymed' hasstrings on it, so at concertsI would to have anorchestra. I'm notfrightened of appearing live,in fact I'm looking forwardto doing a lot of things."

Along with his follow upsingle, due to be releasedon February 26, liveappearances are also likelyto cause something of asurprise considering thewide influences that GilbertO'Sullivan has absorbed.

"I used to buy CliffRichard records like'Bachelor Boy' and I saw`The Young Ones' fourtimes. I never really likedElvis, believe it or not,although I did see 'BlueHawaii' and was rocking inthe aisles to it. When I wasin a blues group called Rik'sBlues they used to play allthe original stuff, and I'd goup with a tape of a popnumber and ask if we coulddo that in the act, andthey'd say 'You must bejoking'. At that time I

preferred the Beatles'version of 'Roll OverBeethoven' to the original -no, I don't now!

"After a while I startedborrowing the group'scopies of Fats Dominorecords and I really likethem now. I like fastsingles, 'Nothing Rhymed'was particularly slow forme. The next single will becompletely different, I

believe singles should bethree minutes of simplefun."

TERRIFICWould that be the

Mixtures, Mungo Jerrybrand of music?

"No, not that," saidGilbert. "But DaveEdmunds is terrific, Free's'Alright Now' is good and'Resurrection Shuffle'. I

thought that Labi Siffre'slast record 'Make My Day'was tremendous, but it hadall the plugs possible and itdidn't go, and when thathappens then you have tolook into it. I think ifanything let it down it wasthe words."

So once more Gilbertemphasises the importanceof lyrics, particularly foralbum material, and sayswith confidence that thisforthcoming album featuresbetter material than'Nothing Rhymed'. Thatindeed should be somethingworth hearing!

"Although I've had othersingles out before, I count'Nothing Rhymed' as myfirst proper single," Gilbertadded. "Because it's thefirst one I've had any sayin. I think that's becauseGordon Mills writes songshimself and so heunderstands the lyrics andwhat is involved."

Don't let those clothesfool you, Gilbert O'Sullivanknows his market, and he'sa very discerning andlikeable chap.

NOELEDMONDS

IF you're sitting comfortably, I'llbegin: -

Because I'm a presenter of music, orrather rumour has it that I play records onthe wireless, some people regard me as alsobeing a supplier of music or ratherinformation about music. Whether or not I

have a duty to the listener to answer everyquery about records is a debatable point,but such questions do reveal someincredible anomalies in the distributionsystem for records.

Each week I receive epistlelly andverbally enquiries about the availability ofcertain discs and invariably such overturesare accompanied by cries of "I tried everyshop in town and they'd never heard ofit."

At first I dismissed such pleas as beingfrom mindless oafs who were incapable ofcorrectly ascertaining the title and artist onthe record of their choice. However,subsequent enquiries have shown that evenif you have the record label, number, artistand title correct, you still stand a goodchance of not getting the record of yourchoice, or indeed any record at all - I

therefore apologise to mindless oafseverywhere.

My enquiries started because listeners whowished to purchase my theme tune - Holiday byAndre Brasseur - were being told that it wasdeleted. Letters arrived from cities as far apart asNewcastle and Southampton, proclaiming thatdealers hadn't even heard of Andre Brasseur andthe number was not known. This was despite thefact that the shops had been told that Holidaywas the 'B' side of "The Kid" and that both wereon CBS, number 2557 - in fact the maximumamount of information it is possible to give.

Examining avery singularproblem

I found the situation even more incrediblebecause only a few weeks before I hadapproached the record company with a view togetting the record re-released because it had beendeleted once before - CBS informed me therecord would be available shortly and therefore I

knew that the listeners who were being told itwas unavailable were just being "fobbed off."

To cut a long 'Braden -type enquiry' short, I

went to shops in Southend and Romford inEssex, Hastings in Sussex and Carlisle inCumberland (needless to say I didn't go to theseplaces specifically for that purpose) and likewiseI found that I couldn't get the record.

Two said it was deleted, one refused to makeenquiries because they didn't have any CBScatalogues and one said they already had a copyon order for the past 2 months.

This is by no means an isolated case as manyother records prove equally impossible to trace -all very mysterious when the company's attitudeis - "we distributed the record and it's still instock - there should be no difficulty."

Well, as many of you know, difficulty therecertainly is, and it's all the more disgusting whenyou eventually have to cough up 10/- (sorry,50p) for the end product. Unfortunately thetruth of the matter seems to be that some dealers(all too many in fact) are just not prepared to beinvolved in the paperwork necessary to tracerecords more than a few weeks old.

Back numbers of all shades of music provealmost impossible to trace despite the fact thatthey are still catalogued and therefore stocked bythe company.

There seems to me to be just two explanations,neither of which are satisfactory: -

(1) the profit margin on records is so slightthat it is economically impossible for small shopsoutside London to employ staff sorting throughcatalogues and making telephone calls, etc.

(2) the fickleness of the consumer, with arecords popularity yo-yo-ing make most tradersdeliberately unhelpful in a search that could endup with the disc no longer being wanted.

RECORD MIRROR. February 20, 1971

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Bottom left THE SWINGING BLUE JEANS. Right: THE SEARCHERS. -Photographs by GRAHAM SPENCER (MBX)

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THE Beatles at the Tower Ballroom.

THE Swinging Bluejeans during one of their London trips, appearing on"Ready, Steady, Go."

TOP RANK BALLROOMST JOHN'S PRECINCT

FIRST ANNUAL MERSEYBEAT BALL

Wednesday, February 24, at 8 p.m.(Licensed till 2 a.m.)

HERE IS THEFINAL FANTASTIC LINE-UP

MERSEYBEATSSEFTONS (NOW WORTH)Cy Tucker & Friars, Liver Birds, Gus Travisand Midnighters, Clayton Squares, Times,Kirbys, Beryl Marsden, Chick Graham,Farron, Ricky & Red Streaks, GroupIncorporated, Dimensions, Earl Preston and

Reflections, Mark Peters.

COMPERE BOB WOOLERBILLY BUTLER'S ROCK & ROLL EXPRESS

SURPRISE SURPRISE!Guest compere

PETE PRICE of Radio Merseyside fame

Tickets 12/6, 15/- at door. Selling atRushworths, Hessys, Cranes, Lewis's, Top

Rank Ballroom.

BARRY Farrell, a popular Merseyside photographer who coveredthe activities of many of the groups on the Liverpool scene tookthis photograph at the Hope Hall Theatre in the Fifties. It showeda young, 15 -year -old guitarist who led his own group The MarsBars. His name? Gerry Marsden.

BILLY J. Kramer, enjoying some jellied eels onthe prom at Blackpool where he was appearingon a summer season.

RU

THE Chants, a popular Liverpool group who now appear on theCabaret circuits. They unfortunately can't appear at the reuniondue to commitments down South.

20R, February 20, 1971 11

HEN

E

ERSEY

iUND

THE Merseybeat boom wasthe most important chapterin the history of the Britishmusic scene due, not only toThe Beatles and subsequentimpact on the future ofmusic internationally, butalso the totality of its image,its sheer vitality and itseventual murder.

BILL HARRY,the originaleditor ofMersey Beatattempts anassessment of

why the Liverpoolgroups shook the pop world

Murder? Well, worshippershave sacrificed their Gods

for centuries and the 'kingmust die' drama has beenrepeated throughout history.People were too willing totake out the vitality theLiverpool scene had and

leave nothing in return.London re-established itself

as the show biz capitol ofthe British Isles and theMersey scene began to die.The reasons for its demiseare manyfold and began

when Brian Epstein movedthe offices of Nems toLondon.

But why Liverpool in thefirst place? The New Orleans

of pop? In a way, yes. Thefact that it was a seaport,it's geographical isolation, allcontributed to itsuniqueness. AlthoughMerseyside is a largerpopulation centre thanManchester, scarcely 40miles away, Manchester wasacknowledged as the 'centre

THE Mollies, making one of their regular appearances at the Cavern. Note that the hair -stylesof Allan Clarke and Graham Nash were very short in those days.

LED THE WO

MERSEYBEAT members Tony Crane andJohnny Banks with Swinging Bluejean LesBrand at the piano. They are at the BlueAngel club near the board of fame whichsports autographs from Carl Perkins, ChuckBerry, Anna Neagle, The Four Pennies andnumerous other personalities.

THE Pete Best Combo led by former Beatles drummer Pete Best (extreme right). The twomembers on the left are songwriting team Tony Waddington and Wayne Bickerton. Wayne is nowRecording Manager at Polydor Records.

The Big Three recording at the Cavern. This was one of the later line-ups of the group andfeatures Johnny Hutchinson, Faron and Paul Pilnick.

of the North' and had its TVand radio centres, Agenciesand show biz organisations.

Whilst artists throughoutthe country were aping CliffRichard and the Shadows,Liverpool groups wereheading in a differentdirection. As a seaport, Liver-pool had access to a vast

range of Americanrecords which wereunavailable elsewherein Britain; rock 'n'roll, C&W, ChuckBerry, Ray Charleswere the idols.

MARY Wells duringher appearance onThe Beatles tour.

Yet, the Liverpoolgroups developedtheir own style. TheBeatles were part ofit. Despite whatpeople may think tenyears later, TheBeatles were a part ofthe Mersey scene anddidn't create it. Theywere responsible formost of its influence,but they weredeveloping at thesame time as groupssuch as The Big

Three, The Under-takers, The Seniors,Kingsize Taylor andothers. Fine groupsall. At one time BobWooler was able tolist nearly threehundred groupsplaying around theLiverpool area at thesame time.

The TOP GROUPS buy their equipment from us - whynot let us quote for your requirements. ALLTHE WORLD'S leading products stocked - no depositterms - big part exchange allowances - FREE lessonsgiven on guitar and electronic organ purchases.

In addition to TheBeatles, Gerry, Cilia,Billy J. and the othergroups and soloistswho found majorfame, Liverpool hadmore strings in herbow.venuesnightlygroups could workand develop. Uniqueclubs such as TheCavern and The IronDoor. Massiveballrooms like TheTower and Locarno.Its own Beatnewspaper.

It would take toolong to analyse theorigins, far too longto document its

history and demise.Let us be thankful itall happened in thefirst place.

Dozens ofopen almost

where the

FRANK NESSY LID62 STANLEY ST. LIVERPOOLPHONE 051 CEN 1418 (3 lines)

12 RECORD MIRROR, February 20, 1971

AT THE TOP RANK BALLROOMWEDNESDAY 24TH FEBRUARY 1911 8 P.M. TO 2 A.M

THE first time I eversaw the group was atan audition LarryParnes was holdingin Liverpool. Othergroups who attendedwere Gerry and thePacemakers and BobEvans' Five Shillings.

The group were calledThe Silver Beatles then. I

sat down to watch them gothrough their paces and wassurprised to find that StuartSutcliffe, the bass player,performed with his back tothe audience. This, I

learned, was because he wasso self-conscious and criticalof his musical ability. Quitefrankly, I wasn't tooimpressed, and can'tremember the group singing.I believe they played a lotof instrumentals andShadows numbers.

Through Alan Williams,The Seniors obtained workin the Kaiser Keller Club inHamburg. Later, TheBeatles came to the cityand played at The Indraand as soon as we heardthem we realised that theimprovement in them wasnothing short of fantastic -they were great! At thebeginning they still played alot of The Shadows'numbers but graduallyturned to R & B with suchnumbers as 'Roll OverBeethoven" by ChuckBerry.

When they came overthey had very, very pointedshoes in grey crocodile.They had mauve jackets,black shirts and pants andalso had brown jackets withhalf -belting at the back. Thelength of their hair caused agreat stir around the area -it was thick at the back,almost coming over theircollars. They used to sit in

MERSEY ROUNDABOUTNews -Views -Comments -Gossip -by Virginia

THE Mojos are still activein the Londonarea Alan Williams' asyet unpublished biographyhas interesting tales of theearly Mersey sceneGibson Kemp, formerdrummer with severalLiverpool groups, nowliving in Germany - andmarried to AstridKirchner BobbyThompson (rememberKingsize Taylor and theDominoes) with RockingBerries.

Derry Wilkie last heardof somewhere inRome Adrian Barber,former bass guitarist withCass & The Cassonovasthe The Big Three, hasbeen living in New Yorkfor several years and hasown music publishingcompany, manages theNew York Rock & RollEnsemble and acts as DJon various radio stations.

Ex -Undertaker ChrisHuston, who has had a

brilliant career in Americaas a recording engineerand producer, was in

Britain recently cutting analbum of Eric Burdon'live' in Europe Acesax -man Howie Casey,married to Scottish singer

Barry St. John and is nowmember of the RoyYoung Band KeefHartley has come a longway since Mersey Beatdays John Morris,former co -manager inLiverpool of the Kubas,now managing (andmarried to) ClodaghRogers.

Wayne Bickerton, ex -

member of a number ofMersey outfits includingSteve & the Syndicate andthe Pete Best Combo,became label manager ofDeram and is now work-ing as a producer atPolydor Records.Together with TonyWaddington, he haspenned several Statesidehits Ray Kane, formerad manager of MerseyBeat, now a disc promoterfor the Robert StigwoodOrganisation RoryStorm now a successfulradio disc jockey in

Holland.Former Mersey Beat

writers: Bernie Falk(remember 'The MovingFinger'?) now with '24Hours'; Roy Carr andAlan Smith now writingfor New Musical Express

DJ Clem Dalton has

In RM next weekCountry Supplement

returned to Britain afterspending four years as a

successful radio DJ inScandinavia StevieHolly, former LiverpoolDJ now a model in Lon-don.

Ex -member of BigThree, Johnny Gustafson,now a leading light in fineLondon outfit Quater-mass, who recently re-turned from debutAmerican tour JimmyCampbell, ex -member ofthe Kirkby's, an excellentsolo performer andbrilliant songwriter,managed by fellow Liver-pudlian Hal Carter, whoalso manages Billy Fury.He records for Vertigo.

Tony Bramwell happilyensconced at AppleHear that Gerry Marsdenis forming a groupSome Liverpool acts whoare doing extremely well:Freddie Starr, JohnnyHackett, Jimmy Tarbuck,Cilia Black, the Scaffoldand many othersScaffold have new TVseries out in April con-cerning the effects ofstress in our society'Karl Terry and LanceRailton leading Merseyoutfit the Mumble (someenterprising Londoncompany should snapthem up).

Ex -member of theFourmost - Georgie Peck-ham, a record engineer atApple Paddy Delaneystill working at theCavern......Peter Brown,

now handling the RobertStigwood Organisation inNew York Apple haveformed the Apple Band -Georgie Peckham is leadguitarist the Chants stillappearing on cabaretcircuits throughout thecountry, as are the Four -most and the Searchers.

Tony Stratton -Smith,who has been associatedwith many Mersey actsincluding Paddy Klaus &Gibson, Beryl Marsdenand the Koobas, now headof Charisma Recordsanother Scouser who'made it good' in theSmoke -- Terry SlaterWednesday, 25 May, 1960was the date that theCavern presented MerseyBeat for the very firsttime with Rory Storm &the Hurricanes and Cass &the Cassanovas.

Billy Kinsley and TonyCrane have re-formed theMerseybeats the RemoFour, over the years,eventually evolved intoAshton, Gardner & Dyke- Roy Dyke must bepleased with recent Top 5hit after all those years!

Wonder whateverhappened to: Lee Curtis,Johnny Sandon, TonyJackson, Chick Graham,Ted Knibbs, Eddie Parry,Tommy Quickly et al - ifyou know, why not dropa line to Record Mirror?

Remember that sen-sational appearance ofAlexis Korner's Rhythm &Blues Inc at the Cavern onJune 16, 1963?

ith theBeatles inHamburg

HOWIE CASEYrecounts theBeatles firstHamburg trip

with Tony Sheridan at theTop Ten Club - he helpedthem and they learned a lotfrom him.

They used to sleep in thedressing room of a cinemaand practised a great deal.In fact, when we wereasleep in the club we werefrequently awakened by thesound of guitars.

The girls used to raveover Pete Best - he was thestar boy. He was a greatfellow and the one I likedmost. He was very quietand didn't rave as much asthe others. Pete really didfit in with the group then -but their style is moresophisticated now as theyhave improved musically.He used to swop ideas with

our drummer JeffWallington.

Paul had terrific talentand used to playleft-handed guitar. He didn'tactually play it, he had theamp turned down low.

The manager of theKaiser Keller decided todiscontinue having a jukebox in the interval - andwanted to put a group oninstead. So he split ourgroup into two. He arrangedfor Stu to play with us. Sothe second unit of TheSeniors was myself on sax,Stan Foster on piano, Stuon bass and a terrificGerman modern jazzdrummer.

All we could do with Stuwas to play 12 bar blues -he couldn't venture out of

that - and I noticed morethan ever how self-criticalhe was about his music allthe time.

He used to sketcharound the club, drawingpatrons and members of thegroups such as Derry Wilkie.In fact, he left the groupduring the trip andremained in Germany tostudy at Hamburg ArtCollege.

The Beatles did theirnuts because Stu wasplaying with us.- A womanliving close to The Indracomplained of the noise andthe police closed the club.The Beatles then came tothe Kaiser Keller andreunited with Stu.

Their act was really wild.The Seniors broke the stageone night and it had to besupported on beer crates... but The Beatles broke itagain shortly after.

I thought the groupwere really terrific inGermany - and they arereally fabulous now - theyare a great credit toMerseyside.

The girls used to raveover Pete Best - he

was the star boy

:OR, February 20, 1971 13

`In places like SanFrancisco, man, theyall sit there injudgement. They'veheard too much music man'

JOHNNY Winter sitsin the corner of hisLondon hotel room,looking very muchlike the first TexanViking.

His white hair is partedacross his face like peepingcurtains, revealing thoseweird albino eyes whichlook as though they areslowly being drawn togetherby invisible magnets.

Winter looks strange. Hisbody is almost too thin; hiscrossed legs weighed downby cowboy boots. And thathair is now way past hisshoulders - the originalBorzoi -rock star. Every sooften he pushes the hairfrom his forehead, pausingbefore he answers anotherquestion.

It's press conferencetime. A journalist sits by hisside asking how often heworks. It's quite possibly aquestion Winter's beenthrough many times thatday, but still he answerswith deliberation, tryingto be helpful.

"We work about as hardas we can, man, about twoor three times a week. Overhere in Europe we playabout five times a week, Isuppose.

"But the big thing is thatwhere I used to play onlysmall clubs, these days I'mplaying all them psychedelichippie places. It's been acomplete change man. Butwe aim to play to thepeople. Sometimes we havea kind of drag audience,you know and we're doin' agreat job and we're still notmakin' it. All you can do isthink ' f - - k you!', youknow?"

Winter laughs a little andpicks up a drink besidehim on the floor. "It's a

shame really, but when thathappens there's nothin' youcan do. In places like SanFrancisco, man, they all sitthere in judgement - theydon't dance - they just sitthere. They've heard toomuch music, man." It's nowsix thirty in the evening,nearly four hours since thequestioning began.

Rick Derringer walks in.He's the guitarist in Winter'snew backing band whowere, of course, once theMcCoys until their hit'Hang On Sloopy' gave

BY ROB PARTRIDGEthem definite imageproblems. He pulls up achair forming a semi -circleof people sitting aroundJohnny Winter and explainswhat went wrong with theMcCoys. "I don't knowwhy, but people need toidentify with bands andthey sure put a label onthe McCoys all right.

"After we did 'Hang OnSloopy' ... well, to go backto the beginning, we justwent to New York as kidsjust wanting to play and wemet up with the recordcompany who told us wehad to do 'Hang OnSloopy', so we said, 'yeah,sure we'll do it your way'and we ended up doingeverything we were told todo for the next two years.

"You know, that's reallyrestricting and so weeventually changed recordcompanies to one who gaveus our own freedom, to dowhat we wanted. That wasMercury and we made acouple of albums for them,when now, yeah 1968-69,around there sometime.They didn't sell and westarved.

"I believe they've alreadydecided to repackage thealbums now we're withJohnny. That's nice, but I

don't think those two'llever sell, man."

The room is filling upwith pressmen, roadies andgeneral hangers-on. BobbyCaldwell, the band's newdrummer is sitting next toJohnny now, talking abouttheir new album, 'JohnnyWinter And Live', recordedat the Fillmore East and ata gig in Florida. Thealbum's U.S. release datecoincides with EdgarWinter's second album.Edgar, of course, isJohnny's brother. "Oh man,that's goin' to be a rangewar when those two albumscome out", says Johnny.

The two albums wereproduced by Rick. "They'reboth good, man" heanswers, establishing somekind of neutrality.

Edgar is some kind ofsuper -musician if youbelieve Johnny. "He canplay better than anyone,man. 1 remember once wehad a gig and the bassplayer didn't show up, he's

been picked up on somerape charge I believe, an'Edgar picked it up andfiddled aroun' a bit andthen started playing. Buthe's never picked theinstrument up before thattime. He's incredible, hereally is.

"But the trouble withEdgar an' me is that we'reat totally opposite ends,man. What always used tohappen was that I'd be theshowman and he'd be thetechnician.

"And then I'd always befiring him. I guess he musthave been fired at leasttwenty times an' he wasalways forming his own jazzbands an' comin' back tome after a couple ofmonths, starving. Now he'sgot his own band togetherwhich is great, man. It wasalways bad for him to hangonto what I was doing. He'sgot enough talent to go outan' do it himself."

Someone asks Johnnyabout the albums of his

very early material which arenow being released onvarious labels. "Well, a lottathe time they're releasingdemo's an' things 1 didwhen I was still in school,man. I used to record themand then take them aroundthe record companies,leasing out the tapes.

"That's the materialthat's now being released.But some of it's completelydifferent, man. Some ofthose tracks have even gotslide guitar on it - and Ididn't even play slide guitaron it - and I didn't evenplay slide guitar in themdays. And I've had a lottatrouble with contracts aswell. I reckon there's aboutfive people in Texas runnin'around with recordcontracts for me thatthey've forged themselves!"

Private conversations aregoing on all around. Thepervading pressquestion -time atmosphere isnow something much morefree. Peanuts are spilt overthe floor.

"Hey Johnny, do youremember the Del Vikings?"

asks Bobby Caldwell."And The Monotones,

man?" Bobby and Rickwork out an improvisedroutine, singing in harmonyand clapping their hands."Yeah, I remember, man"replies Johnny, smiling andjoining in.

A journalist breaks in toask whether Johnny hasheard the latest LowellFulsom album on theAmerican Jewel label.Apparently, says thejournalist, it's a greatalbum, with Fulsom singing'Why Don't We Do It InThe Road'. "No I can't sayI've heard that one", saysJohnny, "but I rememberseeing Lowell with JuniorParker one time. Man,Lowell must've broke aboutfive strings that time - youknow the blues is really'F - - k, s - -k and eat it'music, it really is."

Someone asks whetherJohnny Winter knew DougSahm the Texan leader ofSir Douglas Quintet. "Yeah,sure, you know that band'ssometimes great. But it'sdifferent to what we play

because Doug's out of SanAntonio and he wants to beaccepted by theMexican -Texans, man, 'costhey're just about thedirtiest, meanest peoplearound.

"My music comes from adifferent place. It comesfrom near Louisiana way, soit's got more of the Cajunthan the Mexican sound."

About that timesomeone comes in theadjoining room. Johnnygoes out for a moment andcomes back with threeHendrix bootleg albums.

Hendrix; voodoo chile.The last maestro of rockguitar. Johnny and Rickhave a lot owing to him.And they acknowledge. "Hewas such a humble guy, youknow," says Rick. "Weonce jammed with me andLarry Coryell on guitars,Buddy Miles on organ andmy brother on drums. Hewas like that, man, he wasso shy, he would alwaysmove over and letsomebody else take thelead."

The talk come back to

the blues. Rick tells thestory about an Englishalbum compiler who goes tothe Southern States lookingfor material. "He goes to aclub and sticks amicrophone in front ofsome old cat singing. Thenhe thinks of some really farout ethnic name, like BlindBilly Johnson andeverybody in England reallygoes for it."

Johnny adds to thestory. "The thing to do, Iread somewhere, is to havea name like Blind LemonJefferson. You've got tohave a deformity, a fruitand the name ofsome historical president. SoI'm changing my name forthe next album toCross -Eyed ApricotWashington."

"Hey Johnny, Traffic areplaying in town tonight",says one of Winter'sentourage, "why don't wego down and see them"."Yeah, that's a good idea"says Johnny, calling anend to whatever remains ofthe press conference.

`Summertime' isn't really whatMungo Jerry are all aboutIT'S becoming an increasingphenomenon than more andmore groups have giganticsuccess with their firstsingle releases. Whichsounds pretty good forthose trying for commercialsuccess, but on the otherside on the card is thdifficulty which manypeople find themselves inwhen trying to find anequitable follow up.

Mungo Jerry have got asfar as releasing anothermaxi single, but they admitit has caused some surprise- and possiblydisappointment.

"Essentially we're a liveband, explained vocalistRay Dorset, still wearingthe inevitable black hat andfurry jacket! "And it is easyfor us to produce a rawearthy sound on stage, butfor recording it's not soeasy.

"I think people expectedus to release another 'InThe Summertime', but somany people have copied

RAY DORSETTour sound. I don't think it'sthe people who come to thegigs who buy the records,and so people hear 'In TheSummertime' and don'treally know what we'reabout."

Ray says that the groupdidn't really contemplatethe problems that mightface them when they firstput out 'In TheSummertime' as far asfollow-ups were concerned,because "We didn't know itwas going to be a hit!" Andof course in one way the

problem isn't theirs sincethey leave it to theirrecord company to decidewhich number should begiven prominenece and laterdisc jockeys make theirchoice for airplay.

In his particular case'Baby Jump' has made thegrade. It has a Chuck Berryflavour to it, though Raydisagrees that this wasintended.

"It's a number thatwe've been doing on stagefor a long time, especiallyabroad," he told me. "AndI personally don't think it'sanything like Chuck Berry's'Little Queenie'. I am arock and roll fan andobviously like Chuck Berry... I'm just trying to thinkif the riff in there is like it.It's basically that we'retrying to recreate that rawand easy sound.

Apart from their successin Britain, Mungo Jerryhave reached the charts inmany European countries,

and 'In The Summertime' isstill holding a good positionin the Mexican charts,having just dropped fromnumber two.

"We did a couple of gigsin Portugal in January,"Ray explained, "And wecaused an absolute riot. Theaudience smashed uphundreds of chairs, and thepolice were getting reallyfrightened. It works in bothways when you're insuppressed countries,because the crowd wereequally frightened by thepolice. It was the first timethat anyone had worked aconcert there for five years,but we had a hit there andso we decided to go. Onour first appearance weplayed to a ten thousandcapacity crowd, and later ata theatre we worked to atwo thousand capacitycrowd."

The group are currentlyworking on an album whichconsists almost entirely of

their own material, with aversion of 'I Just WannaMake Love To You'.

On the subject ofrecording I asked,inevitably, Ray's attitudetowards the Mixtures whose'Pushbike Song' isexceptionally like Mungo's'In The Summertime'.

"We're very flattered,"grinned Ray. "Yeh yeh,really. If you are successfulpeople are going to copyyou. All the copyists ofCliff Richard, Elvis and soon got into the charts, butwhere are they now! I

know what I can do,because I've been playingthis kind of thing for ages,and I expect they knowhow far they can 'go. I'mnot worried by it, and wegot good publicity from it!"

Now it remains to be seenif Mungo can carry on in theold tradition and outlive thecopyists!

VAL MABBS

14 RECORD MIRROR, February 20, 1971

A Sundaykind of

LoveWHILE Steve Stills isout loving the one he'swith, what's happeningto the one he left athome?

All kinds of things, accordingto Johnny Taylor, who used togive warnings but now reads thenews: Jody's got your girl andgone. Unless Jackie Moore is theone left behind; she's gotwillpower.

It's always interesting to seethe different attitudes to loveand sex in successive musiccultures. Rock 'n' roll, despiteits general feeling of aggressiveexcitement, was often quitepuritanical in its sexualattitudes, and was rarelydomineering or suggestive. AsCarl Perkins sang, you can'tmake love to somebody withsomebody else on your mind.

Soul was much less shy, andwhat didn't actually get said wasobvious enough anyway; a lot ofradio stations refused to playSam and Dave's "Hold On, I'mA Comin'." But although sexwas everywhere so were ideaslike faithfulness and devotion.You wouldn't have found a soulsinger commanding, as SteveStills did on the first BuffaloSpringfield LP, "Sit Down,I Think I Love You". And itwould be surprising to find asoul singer covering Steve'scurrent advice to musicianstrapped in their hotel bedroomswith an enthusiastic admirer.Yet that shouldn't suggest thatsoul is naive or unrealistic.

Jackie Moore knows what'sgoing on, and says as much onboth sides of her knock -out newsingle "Precious Precious"/"Willpower" (Atlantic 2091054). "Willpower" was theoriginal A -side; written byproducer Dave Crawford, it is

pure, unforced, vintage soul,with Jackie presenting a kind ofpatient claim that Tina Turnercould use but never manages toget across on record. The record

was issued in the States almost ayear ago, made no impression,and would have been forever lostif one enterprising dee-jaysomewhere had not casuallyflipped it.

"Precious Precious" is thesame idea, with Jackie beingeven more demure, forgiving,and everloving, held up by justenough guitar and sawing saxriffs. The song got requests,built into a hit locally, andeventually spread all across thecountry, where it's still selling.It's the best record by a womansinger for at least six months,and could even be a hit.

On both sides, Jackie saysshe knows her man is, or hasbeen, running around, but thathe will need to come homesometime, when she'll berewarded for her patience. JoeSimon, on "Your Time To Cry"(Polydor 2066-066) isn't soforgiving: soul keeps up theunfair system that says it's okayfor blokes to run around, butthe women have to stay true.Joe doesn't forgive. But hesounds awfully sad as he keepsthe girl at bay. His first recordfor Spring, this must be the besthe's ever done, getting atortured mood like PercySledge's best records; but there'sjust a bit too much"production" for it to workcompletely. Nice try, Polydor,but now please issue "Jody'sGot Your Girl And Gone," thebest thing Stax has put out inover a year.

Homage toOtis BlackwellALTHOUGH some rockperformers seem determined tobe cynically cruel to anyonewho wants to love them, they'renot all like that, and some usethe same terms of reference as

CHARLIEGILLETT

SAM AND DAVE: SOME STATIONS WOULDN'T PLAY THEIR DISC

soul writers. Van Morrison, inhis LP "His Band And TheStreet Choir", has a track called"Gypsy Queen" which evokessome Impressions songs, andcould well turn up on aDelphonics LP some time.

Like the previous"M o on da n ce" album, thisrecord is scattered withmelodies and phrases whichquickly become familiar andprovide places to join in withthe music; saxophone riffs andtrills come in at exactly theright places, and light accousticguitar lifts and carries most ofthe songs, without ever seemingeither jazzy or folky.

But if the arrangements andthe song -writing can be judgedmore or less objectively, thesinging can't be properlydescribed or unreservedlyrecommended. Van Morrisonnever goes for pleasing sounds,but lets the edges of his voicestay rough, even harsh, in a stylethat is somewhere between JohnFoggerty, Dylan '66, andMemphis soul '65.

He doesn't do any two songsin quite the same voice, sodepending on your taste youshould start out with "Give Me

A Kiss" (if you're a rock 'n' rollfan), "Call Me Up InDreamland" (if you're a popfan) or "Gypsy Queen" (for R& B fans).

"Give Me A Kiss" wouldhave been my choice for thesingle to break Van Morrisoninto the British market. Thebass line is pure Otis Blackwell(remember "Don't Be Cruel","All Shook Up"?), the wordsare very straightforward, andthe effect is to make everybodyin the room start smiling.

"Call Me Up In Dreamland"is recommended to pop fansbecause it has a chorus melodythat's so catchy, you sing alongwith it long before you canfigure out what the words are;even when they're writtendown, it isn't clear what theymean:

Call me up in dreamland,Radio to me, man,Get the message to meAnyway you can.Let your river rollWay down in your soul,Never to grow oldOn the saxophone."

The verses are even better,and it is a great tune.

INSIDE STRAIGHT NEWS, ENQUIRY, OPINIONHI: Tony Cummings, formereditor of "Shout" magazine,feels that more notice shouldhave been taken of two recordsreleased by London from HiRecords, the Memphis companythat relies heavily on theproduction work of WillieMitchell. "Part Time Love" byAnn Peebles (10322) made themiddle of the Hot 100 last year;Tony liked the flip, "I Still LoveYou" even better. "I Can't GetNext To You" by Al Green(10324) gives a more authenticsoul arrangement to theTemptations hit, and Tony digsit.

REGIONAL BREAKOUT: Areany of the BBC's local radiostations giving specialist musicbetter coverage than Radio Onedoes? Readers' comments onhow music is handled by localradio will be printed here, alongwith the addresses of localstations to which recordcompanies could send reviewcopies of records that RadioOne has ignored. maybe wecould make Otis Leaville's"Love Uprising" a hit inTee -side?

IT WILL STAND: ChrisConstance, of Blackburn,Scotland, lists five to lastforever, after seconding TonyHargan's nominations of "Can IChange My Mind" by TyroneDavis, and 'Rainy Night InGeorgia" by Brook Benton.1. "I Love You," by Otis

Leaville (Atlantic).2. "I Love You" by Eddie

Holman (Action, releasedfrom ABC before "HeyThere Lonely Girl" madethe charts; still available onAction, as are many othergood R & B records).

3. "Didn't You Know" byGladys Knight (TamlaMotown).

4. "Take Time To Know Her"by Percy Sledge (Atlantic).

5. "Who's Making Love" byJohnnie Taylor (Stax).

LOVE UPRISING: Incrediblearray of talent provisionallybooked to come to Britain for aweek in March by "Blues AndSoul" magazine: Otis Leaville,The Isley Brothers, CurtisMayfield, the Impressions,Major Lance, Barbara Mason,the Stairsteps, R. B. Greaves,

plus somebody still to benamed. And it won't just be aLondon do; Manchester,Newcastle, and Birmingham willget it too, if it comes, which itjust might.

LOOK BEFORE YOU LEAP,STILL WATERS RUN DEEP:It's been quite a while since wehad one of those battlesbetween an American hit by anunknown singer, and Britishcover versions that got morepromotion. But we have onewith "Rose Garden." SeveralRadio One disc jockeys haveexpressed a preference for LynnAnderson's pop -country versionof the song; will they back uptheir taste by playing hers most?Lynn really handles the lyricwell, and unless you go out andget Joe South's original versionon his LP, "Introspect" (Capitol108), go for Lynn's (on CBS5360).KEEP ON CHOOGLIN': If yougot bored and depressed again. ACreedence's "Pendulum," getready to be happy again. ALousiana group called Potliquorhave taken over whereCreedence left off about a year

ago, and pack a lot of controlledenergy into both sides of theirforthcoming Pye International45, "Riverboat" and "DownThe River Boogie." Watcheverybody pick up theirharmonicas again when theyhear what this group do withtheirs.

REMEMBER THEN: itemsfrom "Billboard", October 24,1960. Spotlight: The Miracles."Shop Around". The lead singerwarbles with fervent sincerityon an amusing item with goodlyrics about the need for a

young man to look over the"field". Dual market potential.Flip is "Who's Loving You."Tamla 54043.

Very strong Sales Potential:Johnny Watson,"Untouchable".Here's an interesting tune aboutthe TV "Untouchables".Against a backdrop of machinegun fire, Watson handles thegood lyric in "Alley Oop" style.This could step out. "JohnnyGuitar". Another good effort,this time in the blues vein.Watson and the group behindhim have a sound that couldcatch on. Two good sides. Arvee5016.

CONTINUUM: L to R, YOEL SCHWA RCZ,JOHN WARREN, MIKE HART AND DICK WILDMAN

A bandfor allmusic"I KNOW only one term - music". Andthat sums up the work of Continuum forguitarist Yoel Schwarcz. It's a band thatdraws on many influences, classical, jazzand basic rock - coming out with theirown, very individual music.

Their first album clearly displays these influences. Thefirst side draws on three pieces by Bach and theHarpsichord Suite No. 7 by Handel.

"It's a very intentional use of classical music,"explained Yoel. "The idea was basically to play classicaland then branch out into a freer music, using the classicalaspect as a framework."

Continuum came together as a result of an encounterin Amsterdam. "It started when I met John Warren inAmsterdam and formed a classical duo playingstraight -forward classical guitar pieces in the clubs," saidYoel.

As a child Yoel had played flute in a symphonyorchestra and he received a musical training in Israelbefore moving to Europe - ending up with Continuum.

He regards Continuum as a natural development of hismusical training, not something which needs analysing formusical 'validity'.

SERIOUS"It's valid to play any sort of music. What we are are

entertainers, that's all. If mixing styles together hasn'tworked in the past maybe it's because nobody has done itwell enough yet.

"Last year I was invited onto 'Late Night Line -Up' ontelevision to discuss the Soft Machine concert at theProms. The only person on that programme who didn'tregard -the Soft Machine as serious was Andre Previn. It'sthis attitude by so-called 'serious' musicians that people inother fields can't be serious which is so dismaying. I'm asserious as Previn is any day - maybe I'm even moreserious than he is."

How had a classical training affected Schwarcz'smusic?

"A musical training is good for learning how to handleyour instrument. Everything, from the wildest rock 'n'roll to Mozart requires some discipline and it helps tolearn musical keys and sometimes you need scores,especially if you have a lot of parts.

"You learn in two or three years what the untrainedperson might take a lifetime learning."

Yoel Schwarcz listens to Archie Shepp, the SoftMachine and Robert Wyatt, a lot of baroque andRenaissance music Emerson, Lake And Palmer andCornelius Cardew - drawing influences and ideas fromeach. But the music of Continuum is entering a newphase, with music written especially for the band by JohnDolby and Patrick Stanford - two composers notnormally associated with 'rock' bands.

"We want to make our music much more varied, usingthe work written for us by people outside the band,"Yoel explained. "Patrick has written an entire suite for us.

"What we want for Continuum is a band who can playeverything from Scarlatti through to electronic music.

"The point with getting other people to write for us isthat they don't care what our standard is - they writetheir music and we have to learn how to play it.

"If we wrote it ourselves then we'd always be writingwithin our present capabilities. The band wouldn'tdevelop.

"And eventually we'd like the band to be just thenucleus of Continuum, with guest soloists joining theband for a few months. We could have a rock guitarist onetime and a classical harpsichord player the next. In thatway the band would have completely different music eachtime."

Rob Partridge

RECORD MIRROR, February 20, 1971 15

Could too muchwork be suicidefortheFloyd.THE Pink Floydhave achieved a

peculiar position inpop status - onethat is both enviableand undoubtedlyself -satisfactory tothe members.

They don't have to dofive gigs a week to survive;they can do two or three insix months and theirreputation will maintainitself, if not growconsiderably.

ABSURDBut they're not a lazy

group and they don'tdeliberately take advantageof this. Drummer NickMason explains their view.

"There are some absurdscenes going on about howoften a band shouldwork," he said, frowning,"It's alright for musicalsuicide, but I don't see whya group should work 30days out of 30 on the roadunless it's to prove somepoint about stamina.What's the point? It isn'teven worth it for themoney.

"We do a lot of workabroad, but we're evencutting that down, becausewe don't want to keepplaying our favourite tunesfrom the past three years. Itgets on you. When wecome up with somethingthat we can stand to dooften, we'll take it on theroad, because Dave and I,and the others to a lesserextent, do want to play alot.

"What we'd like to do isget into a position wherewe have complete controlof what we do, based on adifferent set of values. Getto the point where wedon't have to make excusesand blame the record

NICK: 'MELODY WILL NEVER DIE'

company for things that gowrong. I don't mindadmitting that "AtomHeart Mother" was veryrushed - we had to go onan American tour rightafter that.

"The LP could havebeen technically better,but the effect is there andthat's very important. Thetitle track was particularlyrushed. Generally, we gointo the studios with aplan, but with the idea ofmaking an album.Practically the first notebecomes part of thefinished product. We'd liketo think about it longernext time.

"Another LP is beingmade now but we go intothe studios with the idea ofputting down rough ideasinstead of actual tracks -w e 'r e consciouslyapproaching this onedifferently."

MONEYThe Pink Floyd were

originators back in thedark ages when'Underground' was apopular loose phrase. Sincethen, big things havehappened to the produceof that era and a new andwonderful light has shownupon some of it'sdescendants: money.

"The 'Underground'became a highlycommercial venture",observed Nick, "It'schanged drastically - it'smuch more crowded andall the TV stars have

NICK: 'IT ISN'T EVEN WORTH IT FOR THE MONEY'

sweaty T-shirts and dirtyhair. We're thinking ofbecoming a popularchart -busting combo .

not really."Businessmen have

realized the market. A lotof these record companybusinessmen know nothingabout music, so theyalways have a few longhaired 'advisors' to help.

OVERDONEAdvertising seems to bejust for informing people arecord is out, or inAmerica, the space boughtappears to convince peoplehow much themanagement is behind theact. It was totally overdoneand 'Underground' becamean overworked phrase, butit was a jumping off pointfor us.

"Technically, there wasnothing to undergroundmusic - for us, anyway -it was just another way ofplaying rock music and ona little higher level than"Sugar Sugar". It used alot of power and volumeand you lost melody, butmelody will never reallydie.

"It seems pretty strangelooking back on it - reallyhard to describe. Endlessrock groups - that's what'Underground' meant tothe people, but that wasn'twhat it really was.

HATE"It was a mixture of

bands, poets, jugglers andall sorts of acts. The poetsand jugglers were left out,because they didn't makemuch money for anyone -not that there's anythingwrong with making money.Gradually, it was acceptedand bands made moremoney.

People outside Londonused to hate us and throwbottles -- and it was prettybad. You had to have theatmosphere or it didn'twork."

The Floyd are, perhaps,the only group that yetcarries the mystiqueinherited from the age thatbore them. U.F.O.?

LonGoddard

Now it's

CBS 66260

A fantastic new 2 LP Set at£2.99 (59/10)

Giant size full colour poster of thegroup free with every record-

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After Chicago . . .

Ballin'jack CBS 64210Dreams CBS 64203

16 RECORD MIRROR, February 20, 1971

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DattlinThe Dateline computereliminates chance as away of choosing datesit scientifically rejectsunsuitable partners andcan fix you up with asmany compatible datesas you can handle.Common sense?Certainly and madepossible by DatelineBritain's greatestmatchmaker.WHY WAITPost the coupon forfull details DATELINECOMPUTER DATINGSERVICE, 23ABINGDON ROAD,LONDON, W.8. Tel:01-937 0102. Pleasesend me my Datelineapplication form andfull details:Name

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R.N.I. ON V.H.F. Recordedin Holland. R. Rotgans,Vrijheer Eslaan 357Papendrecht, Holland.

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This Saturday, February 20thCHEETAHS, SEVENTH HEAVEN and

MARION SEGAL WITH JADENext week, February 27th Lady Jane and the Royalty andOdd Fox. LEADING GROUPS

BARS - REFRESHMENTS - 7-12 pm. 10/-

Otan clubsKENNY BALLAPPRECIATION SOCIETY- S.a.e. to Miss Pat Sanders,18 Carlisle Street, London,VV.1.

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Contact: J. Jackson8959 So. Oglesby Ave.

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RECORD MIRROR, February 20, 1971 17

hiirrorpickT. RexmaxivaluehitT. REX: Hot Love; Woodland Rock/The Ming OfThe Mountain Cometh (Fly BUG 6). Good valueanyway, apart from the name value right now - asplit 'A' side. "Hot Love" is built round a rollingslice of rhythmic development and the vocal side isboth relaxed and urgent. Almost a canteringhorse -hoof back beat - later on the odd yip and yell,and some beautiful use of violins etc in boosting thesound level. And that apart, it's plain -centre, deadcommercial. Do play it, and listen closely, a fewtimes before summing it up. - CHART CERT.

THE MARMALADE: MyLittle One; Is Your LifeYour Own? (Decca F13135). Rather a changeof style for the group. It'sthat much gentler, withgroup vocals early on, andDean coming in on hisrelaxed sort of mood.Maybe it's just me, but I

didn't find it all thatdistinctive. Professional,stylish, but not ,so

distinctive. Great stringquartet scene later on. -CHART CERT.

WHITE PLAINS: EveryLittle Move She Makes;Carolina's Coming Home(Deram DM 325). Therewas a solo version of thisnot so long ago, and weall thought it verycommercial. But it didn'tmake it. Now the namevalue of Plains has beenadded to it and it shouldmake it, virtuallytrouble -free. Nice vocalsounds. Easy tempo.Nothing complex. -CHART CERT.

AXIOM: My Baby's Gone;Hold The Phone (WarnerBrothers WB 8021). Thisone stepped out of thebatch and announceditself a potential seller.Big, brash arrangementand some fair old singing.Main thing is that it hassubstance and weight -nothing airy -fairy about it.Virtually- unknown Aussiegroup, but in withchances. - CHARTCHANCE.

BLUE MINK: Time ForWinning; Many LovingThings (Philips). From themovie "The RagingMoon", but not instantlysuch a strong performancefrom the team. It's a moredirectly -commercial song,with the voices workingwell, but the song itself isin a much more ordinarymood than the fieriness oftheir earlier hits. Don't getme wrong ... it'shitworthy, but that bitmore orthodox, if you getthe gist. - CHART CERT.

MARC BOLAN: RELAXED

DAVID ALEXANDER: IfI Could See The RhonddaOne More Time; EmeraldGreen (Columbia DB8754). This one didn't domuch for me, but there'sa hetluva lot of actiongoing on round this newWelsh "find". Infuriatingtalking bit opens it, buthe moves on to singsentimentally over a

massed chorus. - CHARTCHANCE.

TITANIC: Sing Fool Sing(CBS). French group, aband of considerablepromise, here on theirfirst English release.There's a good, bouncing,hard edge to their sound- commercial, butwithout losing out onhard-core musicianship.Very promising indeed.

Feeling try theirDEEP FEELING: SweatDust And Red Wine; TurnAround (DJM . 237).Having got about as muchmileage as possible out ofrevival work, this excellentgroup now work overtheir own material. Itcomes off well. Nicesteady beat, some greatvocal harmonies and a

smooth, glossy sort ofoverall sound. Morestraightforward than ofyore. - CHARTCHANCE.

MUSIC ROOM: I Don'tMind the Rain; ComeSoftly To Me (Decca F13130). Don't knowanything about this group;but Decca have beenproducing some promisingnew names recently. This

%is, quite simply, a

DEEP FEELING

commercial song deliveredwith clarity andbrightness. Lyrics areroutine, I suppose, and it'sa bit sentimental, but it'sa very nice sound indeed.Restful. - CHARTCHANCE.

OLIVIA NEWTON -JOHN:If Not For You; TheBiggest Clown (Pye Int.25543). The girl from theill-fated Tomorrow group.This could make itbecause it's a lovely littlesong and the lovely little

AND URGENT VOCALS

WARHORSE: St Louis;No Chance (Vertigo 6059027). Drastic re -workingof the familiar opus.Group really get at it, asthey say, with some vocalmoments that just abouthammer the lyrics intoweak-kneed submission.Tremendous power andattack and I suspect inwith above -averagechances. It goes like theclappers. - CHARTCHANCE.

SWEET SALVATION:Honey Man (B and C).Cat Stevens' song, withsome beautiful pianopushing along early on.The vocal is sort ofdroopy, though, until themain chorus takes over.Rather a strongarrangement.

owngirl has a lovely littlevoice. Nice guitar, on asort of sliding scale, workswell. Rather a breathylittle voice, tinkling ratherthan thundering. -CHART CHANCE.

KAREN YOUNG: VayaCon Dios (Columbia)."May God Be With You",to paraphrase the title -an old Drifter's hit, as I

recall. Karen, with chartsuccess behind her, does avery good job - withsincerity and accuracy.Could well break through.

AUDIENCE:- IndianSummer (Charisma). Niceguitar figures behind thevoice - plus a flautalhappening in parts. Takestime to get up full steam,though, which could holdit back.

MALCOLM ROBERTS:Nothing's Gonna ChangeOur World; Let's Call HimLove (Columbia DB8758). One of the classierballadeers, Malcolm has abig voice and big talent.This one doesn't "stretch"him all the way, but it'sstill a very good mixtureof material andmasculinity. Easy-goingmelodic sequences. -CHART CHANCE.

DOROTHY SQUIRES: IfYou Love Me; Play It TdThe Rules (President PT330). Breathy, dynamic,full-blooded, red-bloodedreading of the oldie - andtaken from Dot'sdouble -album souvenir ofthat fantastic Palladiumconcert. In this sort ofmood, the lady is thetops. Must be a great bigseller. - CHART CERT.BLOODROCK: D.O.A.(Capitol). Very unusualsong - dead on arrival,the initials represent.Moody vocal over arepetitive backing - mustpay attention to the lyricsto get full value. A bitslow, draggy in parts, tomake the charts. I think.

THE MAYTALS: 54-46Was My Number (Trojan).Off -beat lyrics, to say theleast. There's a lot ofexcitement here, in ananswering -chorus format,and the beat is determinedenough - reggae, but notoverpoweringly so.Commended.SONGBIRD: Sweet Elaine(MAM). Quite a bit of fireand fervour in this, butthere is also a lack oforganiqtion - at leastthat's my view after a fewplays. But the powercould push it.

PETERJONESON THENEWSINGLES

AMERICANRELEASESTHE OSMONDS' One Bad

Apple; He Ain't Heavy... He's My Brother(MGM 2006 021).Number one inAmerica and the latest'teen sensation (that'ssweeping the nation) arethe Osmond 5. These(white) brothers, knownfor their "AndyWilliams Show"residency, quoteChapter and Verse fromthe Book Of Jacksonand, where they couldso easily have failed,have succeded inwinning over both PopAND R&B audienceswith this blatantplagiarism of "I WantYou Back". Suitableflip! A pick to click.

CHAIRMEN OF THEBOARD: Everything'sTuesday; Bless You(Invictus INV 507).Everything's gettingkinda behind America,more like. They're nowahead of us by not only"Pay To The Piper"(which shares the samealbum track flip) butalso their new"Chairmen Of TheBoard". Still, we'resticking with theoriginal releaseschedule, and hitnumber 3 should makeit here with nodifficulty, any day ofthe week. Nothing newto describe, and anywayI'm sure Blackburn is

plugging it.

NEIL YOUNG: When YouDance I Can ReallyLove You; After TheGold Rush (Reprise RS23488). Two hit albumtracks that speak forthemselves. If you digNeil you've gotta get"Cinnamon Girl" (RS23462) and make thatfantastic heavy dancerthe hit he deserves.

THE ASSOCIATION:Everything ThatTouches You (WarnerBros. WB 6113).Wishy-washy gentleharmonies, pleasant butno more.

DUSK: Angel Baby (BellBLL 1142). The sistergroup of Dawn, and areal slab of traditionalPop (from theproduction of theTokens and DaveAppell, it had to be!),complete with revvingmotor bike, early '60syearning wailing chix,more Ben E. Kingbacking noises, and a

lively beat. Oh yeah ...no relation to Rosie &The Originals. A hit.

IKE & TINA TURNER:River High - MountainDeep; Oh Baby! (ThingsAin't What They UsedTo Be) (A&M AMS829). 'Nuff said? GoodSpector flip, this timearound.

MELANIE

MELANIE: Stop! I Don'tWanna Hear It AnyMore; Beautiful People(Buddah 2011064).Firstly, this is now theTHIRD time that"Beautiful People" hasbeen available here on asingle. It is indeedbeautiful, my favouriteMelanie track, andshould be owned byeveryone, -but ... hey!ease up, fellas! TheA -side, evidently fromthe film "R.P.M."(which I expect isanother aboutrevolution), is a ninejolly foot -tapper with"El Condor Pasa" fluteand a vaguely bidschorus.

THE FLAMING EMBER:I'm Not My Brother'sKeeper; Mind, BodyAnd Soul (Hot WaxHWX 104). A clompingbeater that's fine ifthat's your bag. Thebest thing about Ibiswas the flip, the mobile"Deserted Village", anthe American copy, hethere we have been givena dull derivative albumtrack slowie.

BLOODROCK: D.O.A.(Capitol CL 156701.And now, for all you"Last Kiss" fans, theultimate in sick deaf*discs! This sombreslowie (produced byTerry "Grand Funk"Knight) is a beauty: thesinger and his chickwere flying alone(makes a change frowncars and cycles, huh?)when they hitsomething in the air.Chick dead, andthroughout the song thesinger realism graduallythat he too is dying, awldescribes t h experience. Greatstereophonic ambulant'ssirens cap this dew*which is my fave of Ikeweek. Oh, D.O.A.?"Dead On Arrival".

TOMMY ROE: Little MilsGoody Two Shoes(Probe PRO 517). Probecontinuing to do itsbest to Turnoff thePeople.

JamesHamilton

18RECORD MIRROR, February 20, 1971

soulalbums

1 (1) CURTIS CurtisMayfield

2 (2) TO BE CON-TINUED IsaacHayes

3 (3) THIRD ALBUMJackson Five

4 (4) SUPER BADJames Brown

5 (6) SLY & THEF AMILYSTONE'SGREATESTHITS

6 (7)PORTRAITFifth Dimension

7 (8)ABR AXASSantana

8 (91 CHAPTER TWORoberta Flack

9 (-) WORKIN'TOGETHER Ike& Tina Turner

10 (5) NOW I'M AWOMAN NancyWilson

11 (11) INTO A REALTHING DavidPorter

12 (141 ST AND BYYOUR MANCandy Staton

13 (10) VERY DIONNEDionne Warwick

14 (131 EVERYTHINGIS EVERY-THINGDiana Ross

15 (18) MELTING POTBooker T & TheMG's

16 (15) INDIANOLAMISSISSiPPISEEDS B.B. King

17 (17) LIVE ALBUMGrand Funk Rail-road

18 (191 OLD SOCKS,NEW SHOES ...NEW SOCKSOLD SHOESJazz Crusaders

19 (20) TEMPTATIONSGREATESTHITS (Vol 2)

20 (-) SEX MACHINEJames Brown

U. S chartssingles

1

23

4

5

6

(2)(1)(51

(6)(4)

ONE BAD APPLE OsmondsKNOCK THREE TIMES DawnROSE GARDEN Lynn AndersonI HEAR YOU KNOCKING Dave EdmundsLONELY DAYS Bee Gees

MGMBell

ColumbiaMAMAtco

(3) MY SWEET LORD/ISN'T IT A PITYGeorge Harrison Apple

7 (7) GROOVE ME King Floyd Chimneyvil le8 (8) YOUR SONG Elton John UNI9 (10) IF I WERE YOUR WOMAN

Gladys Knight & The Pips Soul

10 (25) MAMA'S PEARL Jackson Five Motown11 118) IF YOU COULD READ MY MIND

Gordon Lightfoot Reprise12 (12) WATCHING SCOTTY GROIN

Bobby Goldsboro United Artists13 (9) ONE LESS BELL TO ANSWER Fifth Dimension Bell

14 (15) MR BOJANGLES Nitty Gritty Dirt Band Liberty15 (44) SWEET MARY Wadsworth Mansion Sussex16 (16) REMEMBER ME Diana Ross Motown17 (11) STONEY END Barbra Streisand Columbia18 (19) AMAZING GRACE Judy Collins Elektra19 (13) IT'S IMPOSSIBLE Perry Como RCA20 (20) WE GOTTA GET YOU A WOMAN Runt Ampex21 (30) THEME FROM LOVE STORY Henry Mancini RCA22 (14) LOVE THE ONE YOUR WITH Stephen Stills Atlantic23 (27) AMOS MOSES Jerry Reed RCA24 (32) HAVE YOU EVER SEEN THE RAIN

Creedence Clearwater Revival Fantasy25 (22) I THINK I LOVE YOU Partridge Family Bell26 (17) BORN TO WANDER Rare Earth Rare Earthl

27 (31) (Do the) PUSH AND PULL (Part 1) Rufus Thomas Stax28 (21) I REALLY DON'T WANT TO KNOW Elvis Presley RCA29 (29) LET YOUR LOVE GO Bread Elektra30 (36) PRECIOUS, PRECIOUS Jackie Moore Atlantic31 (41) TEMPTATION EYES Grass Roots Dunhill32 (33) SOMEBODY'S WATCHING YOU

Little Sister Stone Flower33 135) 1900 YESTERDAY

Liz Damon's Orient Express White Whale34 (23) IMMIGRANT SONG Led Zeppelin Atlantic35 (39) DON'T LET THE GREEN GRASS FOOL YOU

Wilson Pickett Atlantic36 (47) JOHNNY GOT YOUR GIRL AND GONE

Johnnie Taylor Stax37 (-) PROUD MARY Ike & Tina Turner Liberty38 (34) GET UP, GET INTO IT, GET INVOLVED

James Brown King39 (--) FOR ALL WE KNOW The Carpenters A&M40 (40) YOUR TIME TO CRY Joe Simon Spring41 (42) BURNING BRIDGES Mike Curb Congregation MGM42 (-) ME AND BOBBY McGHEE Janis Joplin Columbia43 (-) SHE'S A LADY Tom Jones Parrot44 (-) JUST SEVEN NUMBERS Four Tops Motown45 (45) APEMAN Kinks Reprise46 (46) D.O.A. Bloodrock Capitol47 (49) THEME FROM LOVE STORY Franics Lai Paramount48 (48) WHEN I'M DEAD AND GONE

McGuinness Flint Capitol49 (-) HELP ME MAKE IT THROUGH THE NIGHT

Sammy Smith Mega50 1-1 I'M SO PROUD Main Ingredient RCA

ALL U.S. CHARTS COURTESY OF BILLBOARD

albums soulsingles

1 (11 ALL THINGS MUST PASS George Harrison Apple 1 (1) (Do the) PUSH2 (2) JESUS CHRIST, SUPERSTAR Various Artists Decca AND PULL (Part3 (8) CHICAGO Columbia 11 Rufus Thomas

4 (3) ABRAXAS Santana Columbia 2 (2) JOHNNY GOT5 (6) TUMBLEWEED CONNECTION Elton John Uni YOUR GIRL &6 (71 PENDULUM Creendence Clearwater Revival Fantasy GONE Johnnie

7 (5) GREATEST HITS Sly and The Family Stone Epic Taylor8 (13) LOVE STORY Soundtrack Paramount 3 (3) YOUR TIME TO9 (14) PEARL Janis Joplin Columbia CRY Joe Simon

10 (4) ELTON JOHN Uni 4 (7) DON'T LET11 19) THE PARTRIDGE FAMILY ALBUM Bell THE 'GREEN12 (12) JOHN LENNON/PLASTIC ONO BAND Apple GRASS FOOL

13 (10) STEPHEN STILLS Atlantic YOU Wilson14 (11) LIVE ALBUM Grand Funk Railroad Capitol Pickett

15 (15) LED ZEPPELIN III Atlantic 5 (41 IF I WERE16 (19) ELVIS COUNTRY Elvis Presley RCA Victor YOUR WOMAN17 (16) CLOSE TO YOU Carpenters A&M Gladys Knight &

18 (-I NANTUCKET SLEIGHRIDE Mountain Bell The Pips

19 (21) SWEET BABY JAMES James Taylor Warner Bros 6 (6) GET UP, GET20 (36) IF YOU COULD READ MY MIND INTO IT, GET

Gordon Lightfoot Reprise INVOLVED21 (22) BLOODROCK II Capitol James Brown

22 (26) OSMONDS MGM 7 (17) MAMA'S GIRL23 (27) INHALES AND NIGHTINGALES Judy Collins Elektra Jackson Five

24 (24) TO BE CONTINUED Isaac Hayes Enterprise 8 (51 GROOVE ME

25 (231 WORST OF Jefferson Airplane RCA Victor King Floyd

26 (27) TAP ROOT MANUSCRIPT Neil Diamond Uni 9 (161 YOU'RE Al

27 (28) WHAT ABOUT ME GIRL NOW

Quicksilver Messenger Service Capitol Stylists

28 (20) PORTRAIT Fifth Dimension Bell 10 (10) REMEMBER ME

29 (-1 DELIVERIN' Poko Epic Diana Ross

30 (32) NATURALLY Three Dog Night Dunhill 11 (11) HE CALLED ME

31 (29) BLOWS AGAINST THE EMPIRE BABY Candy

Paul Kantner and The Jefferson Starship RCA Victor Staton

32 (37) TWO YEARS ON Bee Gees Atco 12 (8) STOP THE WAR

33 (31) CURTIS Curtis Mayfield Cu rtom NOW Edwin34 (34) INOODSTOCK Soundtrack Cotillion Starr

35 (43) FOR THE GOOD TIMES Ray Price Columbia 13 (12)0NE L ESS

36 (38) IT'S IMPOSSIBLE Perry Como RCA Victor BELL TO'37 (42) ROSE GARDEN Lynn Anderson Columbia ANSWER Fifth

38 (44) EMITT RHODES Dunhill Dimension

39 (-) TEA FOR THE TILLERMAN 14 (-I ONE BADCat Stevens A&M APPLE Osmonds

40 (35) CANDIDA Dawn Bell 15 (151PRECIOUS,41 (18) CHICAGO III Columbia PRECIOUS42 (39) TOMMY Who Decca Jackie Moore

43 (47) BLACK SABBATH Warner Bros 16 (9) THIS LOVE IS44 (30) WATT Ten Years After Deram REAL Jackie

45 (45) CHICAGO TRANSIT AUTHORITY Columbia Wilson

46 (46) COSMO'S FACTORY 17 (19) I LOVE YOUCreedence Clearwater Revival Fantasy FOR ALL

47 (33) AFTER THE GOLD RUSH Neil Young Reprise SEASONS Fuzz

48 (25) THIRD ALBUM Jackson 5 Motown 18 (18) FREEDOM Isely

49 (50) HIS BAND AND THE STREET CHOIR Brothers

Van Morrison Warner Bros 19 (13) I'M SO PROUD

50 (-) DEJA VU Main Ingredient

Crosby, Stills, Nash & Young Atlantic 20 (-) YOU'RE THEONE ThreeDegrees

These charts are repeated from last week owing to the postal strike

FEELINdoiNg ThEIR ThiNg

ON ANOTI-(ER GREAT SINCE

"PEconoby

Pye Records (Sales) LidaDistributed.......-

.

Ego SWEAT dUST ANd REu WINEDJS 237

RECORD MIRROR, February 20, 1971 19

ERIC BURDON AND WARERIC BURDON & WAR

The Black -Man'sBurdon (Liberty LDS84003/4). Double albumsare very hard to take inimmediately, they need tobe listened to andappreciated over a periodof time much longer thanthe average reviewingsession. So, on firstimpressions this set -which includes the rathertame but controversial"P.C.3" - would havemade, as is the case withso many two -set albums, agood single. "HomeCookin' " and "TheyCan't Take Away OurMusic", the tracks pulledoff as a single, areprobably the best thingsin the whole 90 minutesof music. Both areexciting, rhythmic andfeature Burdon in his bestsetting.

On the other hand,there are dismal failureslike "Paint It Black"which is extended overthree parts and is prettycontrived. Lyrically, mostof the numbers saysomething valid and theconcept of the album, byBurdon, is sound enough,but so much is similarthat over an hour and ahalf's listening there arefew highlights. Burdon isnot a great singer, thoughhe fits War perfectly andthe band themselvesshould have somethinggood to offer via theirown solo album later thisyear. B.M.

CONTINUUM:"Continuum". (RCAVictor SF8157). Classics,but with a completelyupdated feel, somehow.Two classical guitarists,boxed string bass,Percussion. They'veadapted Bach , Handel andso on, and one sidefeatures the Legend OfChilde Harold by RichardHartley. Obviously ofspecialist taste,nevertheless this is one to

`11be commended. And study.

irrorpkki.REVIEWERS: Lon Goddard, Rob Partridge, Valerie Mabbs, Bill McAllister, Peter Jones, Mike Hennessey

tatiMANIERIMEMMINM: AN ALBUM OF EXTREMES

nis' last sofull of j

JANIS JOPLIN/FULL TILTBOOGIE 'Pearl'(CBS 64188). Janis'last album,thankfully sparedthe tastelesse xtremes of'memorial album'packaging by CBSRecords sensitivesleeve. And themusic itself is fullo f joy andtogetherness, notfelt in Janis' musicsince her classic"Cheap Thrills"album.

Of course it's sad thatJanis should have been onthe verge of such beautifulmusic when she died. Butthere's much in this albumwhich delivers thepotential she's shown overthe years. For instance,there's Bobby Womack's'Trust Me' and 'BuriedAlive In The Blues' byNick Gravenites.

But perhaps the mostappealing track on thewhole album is the short,almost give-away number'Mercedes Benz', a littleditty Janis seems to havewritten on the spot andrecorded solo withoutthe excellent Full TiltBoogie band but with herown infectious, gigglinghumour.

This is a good album -

JANIS JOPLIN: JOYFUL MUSIC

not great, but certainly analbum well endowed withspirit and guts. Andperhaps it's fitting that itshould finish withRagovoy/Schman's 'Get ItWhile You Can'. Janiscertainly did.CARL PERKINS: "BlueSuede Shoes." - BlueSuede Shoes; Movie Magg;Forever Yours; All Mama'sChildren; I'm Sorry I'mNot Sorry; Glad All Over;Turn Around; Gone, Gone,Gone; Her Love RubbedOff; You Can't Make LoveTo Somebody; Let TheJuke Box Keep On Playing(Sun Golden Treasure6467009). Another ofthose slice -of -historyproductions - a listing ofthe tracks is sufficient towhet the appetite of theinterested masses. Almostpedantically heavy rhythmsection forces the manalong.

JIMMY OWENS: "NoEscaping It." - (Polydor

Select 2489 008). Jimmyon trumpet and flugelhorn,blowing with the utmostflexibility. A prettyamazing version of JimWebb's "Didn't We," butmostly his own material,with Kenny Barroncontributing several solohighlights on piano. A fewhorn -playing mates addedto the original quartet.JUNCO PARTNERS:"Junco Partners." -(Philips 6308 032). Groupcomprises David Sproat,John Woods, RobertSargeant and CharlesHarcourt - albumproduced by Fritz Fryer,who used to be with theFour Pennies' hit group. Achange of direction for him- this is a pretty heavycollection with somenotably good vocal workby pianist Sargeant. Healso wrote the best tracks.

BALLIN' JACK (CBS64210). Bailin' Jack arean American band, about

which favourable reportshave been filtering acrossthe Atlantic for the pastfew months.

Well, now we havetheir first album - andit's a little disappointing.The group's actualperformance doesn't liveup to the good thingswe've been hearing aboutthem. The line-up, withsaxophone, clarinet, andtrombone on top of theusual rhythm sectionshould give the group agreat deal of flexibility.Instead the band only hintat what they might becapable of; it's too rigidand almost nervous music.Nevertheless, Bailin' Jackare a band with muchpotential - better lucknext time?E NGELBERTH UMPERDINCK:"Sweetheart". -Sweetheart; CaliforniaMaiden; Woman In MyLife; I'll Be Your BabyTonight; Take Me ForNow Love; The First TimeI Ever Saw Your Face;Santa Lija; Live And JustLet Live; For The GoodTimes; Put Your Hand InThe Hand; When There'sNo You (Decca SKL5078).

Engel can swing a bitwhen the mood takes him

swing in a pure popidiom. But this is theromantic Engel and it is asuccessful album becausethe material has beencarefully chosen -"California Maiden" and"Santa Lija" are

particularly strongmelodically - and themoods are varied by theuse of several differentmusical directors. Such asArthur Greenslade, LesReed, Johnny Arthey, IanGreen, Frank Barber andLaurie Holloway, which isa lot of varied direction.Oh, yes - CharlesBlackwell too on thealso -excellent "I'll BeYour Baby Tonight".Engel sometimes sounds abit pendantic in delivery,but obviously a big seller.

ARC . . At This (DeccaSKL-R 5077). A veryversatile group, hostingabout five different typesof music, all carried offwith flair and precision.Lead singer isn't billed,but he does a fine job asdoes David Montgomeryon drums and MickGallagher on guitar andpiano. Nice picking onwhat sounds like amandolin. Whatever, it'snot the usual heavydirectionless stuff -highly calculated and wellexecuted, these guys havetaste and ability. L.G.

TIM HOLLIER; Skysail(Philips 6308044). I keepthinking Tim Hollier willget the knack, but no -he's still writing his ownmaterial and it's stillpixilated, uninspiredmeanderings withflavourless lyrics. If hecould forget Tibet,beachcombing, the girl heleft behind/is searchingfor, Merlin, clouds, rain,wind and learn to describehis pain a little better, itmight ease ours. JohnCameron's arrangementshave seen better days, butthe production isadequate. L.G.

Fourfrom'lionSIREN "Strange

L ocomotion"(Dandelion DAN 8001)P RINCIPALEDWARDS MAGICTHEATRE - "TheAsmoto RunningBand" (Dandelion DAN8002). STACKW A D D Y - "StackWaddy" (DandelionDAN 8003). THE WAYWE LIVE - "The WayWe Live" (DandelionDAN 8004).

John Peel's relaunchedDandelion label will,hopefully, receive moreattention than of late.The initial release batchof four are of a higherstandard than previousDandelion product withThe Way We Live beingthe outstandingoffering.

Siren is a pleasant butunassuming album oflight -touch blues. Itflows easily, unhurriedand predictable with alack of pretensionwhich if otherwisepresent would make ita bore. I'd imagine thaton stage Siren are quiteexciting, here it's just alittle low-key.

On the other hand,Principal EdwardsMagic Theatre offersome novel ideas in thepresentation of theiralbum which is oftenpoetic, but onoccasions trips over itsown fleet-footedness.There is, in fact, noo utstandingmusicianship apparent,but the compositionshave a lilt of their ownwhich commends them.Again this is a bandwhich is probablybetter appreciated livebecause of thetheatrical element.

Stackwaddy delve intostraight twelve -barblues with an obviousenthusiasm, and ifyou're a fan of electricbritish blues then you'lllike it, otherwise thereis nothing for you. Butnice in its own way.

The Way We Live, whichis a duo fromRochdale, is thepunchiest of all thealbums. There is anelectic influence atwork in their songs andthe variety ofinstruments usedexceptionally well byJim Milne and StephenClayton flavours thefinished product. Theymake a cleandistinction betweentheir acoustically basedmaterial and theelectric stuff and thisaugers well for theirfuture. B.M.

20RECORD MIRROR, February 20, 1971

,ANSLEYDUNBAR B LIE VVH:

1"

SuperRM WRITERS PICK THEIR ALBUMS OF THE MONTHsounds

ACV

BLUE WHALE Aynsley DunbarWarner Brothers WS 3010

THE COMPLEAT TOM PAXTONElektra RECORDED LIVE EKD 2003

13 The DoorsElektra EKS 74079

WHALES & NIGHTINGALES Judy CollinsElektra EKS 75010

ROCK EXPLOSION VariousEmber SE 8001

JANIS JOPLIN/FULL TILT BOOGIE: Pearl(CBS).

Janis was always an artist. Whatever shesang always had conviction and honesty, twoqualities which make 'Pearl' such a superbalbum. This is the follow-up album to 'CheapThrills', forget the disappointing 'KozmicBlues'. What we have on 'Pearl' is a verytogether band giving ample backing to Janison some of her best material since 1967. It's ajoy to listen to, especially the simple, but veryappealing 'Mercedes Benz' and 'Get It WhileYou Can', the closing track. Whether 'Pearl' issuch a good album as 'Cheap Thrills' isdoubtful - it wasn't really completed whenJanis died - but the album is a lovelyexample of what might have been ...

ASHTON GARDNER & DYKE: The WorstOf (Capitol E -ST 563).

Brought to pubic attention via theircurrent "Ressurection Shuffle" single - theone Tony Ahston claims is a joke - there nowcomes an excellent album, their second,which contains more of those happy,chunky opuses in which A, G&D specialise.

In addition to featuring the talents ofMessrs Ashton, Gardner and Dyke there are afew surprise guests, not the least of whom areGeorge O'Hara Smith and Sir Cedric Clayton,otherwise known as Harrison and Clapton.Even without their contributions, whichappear on he brilliant Ashton composition,"I'm Your Spiritual Breadman", the albumwould stand out. It has punch and drive, afeeling of involvement and enjoyment missingon so many.

The songs, it must be said, are not reallyexceptional, but personality will always out,and in this case more so than most. I suspectthat AG&D are in for a very hectic, verysuccessful time in the future. B.M.

NEIL DIAMOND: Tap Root Manuscript (UNIUNLS 117).

Neil Diamond has always been a fairsongwriter, resting comfortably in that spacebetween obvious chart pop and melodicpoetry. With this album (released Feb 26th),he breaks clean through to the category oftop songwriters. Side one is a healthy lot ofsongs in the "Cracklin' Rosie" tradition, butit's side two that's the revelation.

His "African Trilogy" covers the wholeside - a project he's spent lots of timecompleting and the result is gorgeous. Amidthe classical, Latin and African rhythms, youcan picture the grassy hills, the night beasts,the formidable storms - all that is the DarkContinent. A breathtaking suite. L.G.

GRATEFUL DEAD: American Beauty(Warner).

The Dead's music travels further eachrecord. If their music, in the past, tended tolose its relevence the further from Californiathe listener was, then during the two latestalbums, 'Workingmean's Dead' and this newone, 'American Beauty', they have solved thatproblem. This is a lovely album of countryinfluenced rock, immaculately written,arranged and produced. And it must surelyconvince everyone that the Dead can sing too- something that was in doubt on their earlieroutings. Play this album and enjoy SanFrancisco in your own home.

DUFFY POWER: Innovations (TransatlanticTRA 229).

The title is perhaps a little misleading, forthere is certainly nothing innovative aboutthis album. Yet it is not without its appeal -perhaps "Surprise" would have been a betteralternative. Although made some years backthere is still a lively quality about it andDuffy sings "God Bless The Child" withconviction and sensitivity, while tackling"Mary Open The Door" with lots of fire.Acoustic bass - by either Jack Bruce orDanny Thompson - is used throughout,superbly played in every case, and providingmost of the relaxed feel. In addition, JohnMcLaughlin's guitar is kept simple tocomplement Duffy's mature vocals. He seemsmore confident on the slower songs like"Exactly Like You". A great album though,worthy of your attention. B.McA.

LAURA NY RO: Christmas And The Beads OfSweat (CBS 64157).

Take most performers, listen hard and youcan surely come up with clearly -definedderivative aspects. But Miss Nyro is unique,totally and completely unique. And this is hermost unique album. Songs like "Been On ATrain", or "Upstairs By A Chinese Lamp",and the apparently underrated "Christmas InMy Soul", are given the full dramatic,sometimes rambling, treatment. She's not forthe casual listener - Laura calls for closeattention and a little analytical thought.Maybe that's why she's slow catching on here.Multi -talented. And ...unique. P.J.

RAY STEVENS: Unreal (CBS 64194).Quite simply a tremendous talent, both as

writer and singer. Okay, so the singing isn'tworld class, but it's the blend of the two thatmakes this album stand out. In a way, Ray isan eccentric. He sort of thinks double-talk inhis lyrics - then changes the mood entirely todestroy one illusion and create another. He'sfor real! No more to say. P.J.

DON EVERLY: Don Everly (A&M ODE 70AMLS 2007).

Excellent first release from one EverlyBrother. It's a tough thing to support - tofind favour with one half of a well loved teamwho was partly responsible for its dissolutionisn't easy - but you've got to admit it's goodand that it's all you're going to get till theother one records. "Tumbling Tumbleweeds"is great and the rest of the countrified folk allnicely done by Don with aid from CurtisAmy's sax, Ry Cooder's bottleneck guitar,Sneaky Pete's steel guitar, Donna Washburn'svocals and Scott McKenzie's 12 string. Great.L.G.

IKE AND TINA TURNER: Workin' Together(Liberty LBS 83455).

Pausing only to wipe away the beads ofsweat at the very thought of Miss Turnerworking anywhere, I'll just mention "ProudMary" and "Let It Be" as two tracks whichtogether make this a supersounds album. Andthe rest aren't far behind. Chap named EkiRenrut wrote the title song - which is a

backwards tribute to Ike Turner. Tina purrs,cajoles, thuds and sighs with X -certificatefrenzy. And thearrangements go like the veryclappers. P.J.

ALL SLEEVES ARE ADVERTISEMENTS

DEATH WALKS BEHIND YOUB&C Atomic Rooster CAS 1026 B&C

EVERYONECAS 1028

CATCH MV SOUL Original Cast RecordingPolydor 2383 035

USA UNION John MayallPolydor 2425 020

RYAN'S DAUGHTER SoundtrackPolydor 2315 028

LIVE TASTEPolydor 2310 082

DOROTHY SQUIRESAT THE LONDON PALLADIUMDorothy Squireshires Palladium

5tfRor4 SUFIS

POPORITSIATI LUG,

11/4,1ER

. Dorothy Squirt,hircx P.tilldium

.5ipiites heftIe best

Ike T.! Ms

fag NROTIV

DOROTHY SQUIRES AT THE LONDONPresident PALLADIUM PT 1..5 1043/4