Who In The World: Henry Gross - …...1976/06/05 · ing band takes to stadiums, amphitheaters and, where neces-sary, indoor concert venues. Agents contacted by Record World last

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SINGLESTHE BEATLES, "GOT TO GET YOU INTO MY

40LIFE" (prod. not listed) (Maclen,BMI). Get ready for a summer fullof Beatles music as the label prepsa massive promotional campaign.A similar program was responsiblefor getting 13 singles on the U.Kcharts, so anything can happen. ThisMcCartney sung "Revolver" track isa sure bet. Capitol P 4274.

CARPENTERS, "I NEED TO BE IN LOVE" (prod.by Richard Carpenter) (Almo/SweetHarmony/Hammer & Nails/Landers-Roberts, ASCAP). Bouncing back fromtheir hit interpretation of "A KindOf Hush," the Carpenters score withthis wistful, summery love ballad.Karen's vocal is exqvisite and sureto connect with would-be lovers ofall ages. A&M 1828.

THE BEACH BOYS, "ROCK AND ROLL MUSIC"(prod. by Brian Wilson) (Arc, BMI).This song's not really much of asurprise as the group has beenbasing its music around Chuck Berrysongs for years. Here, one of rock'sgreatest themes is interpreted by oneof its greatest exponents. The BeachBoys are back in full vocal regalia!Brother/Reprise RPS 1354.

SIMON, "IT KEEPS YOU RUNNIN' "(prod. by Ted Templeman) (TauripinTunes, ASCAP). Templeman hasbrought with him several of theDoobies inciuding Michael McDonald,who penned the track. A refreshingchange of pace for the songstresswho sounds very comfortable withthe palpitating percussive Doobiesbeat. Elektra E 45323.

CARLY

SLEEPERSTODD RUNDGREN, "GOOD VIBRATIONS"

(prod. by Todd Rundgren) (Irving,BMI). Todd has mastered the studiotechniques of several of rock's great-est with his "Faithful" Ip, fromwhich this selection has been taken.The Brian Wilson/Mike Love songis not interpreted as so much lovinglyduplicated with note for note virtu-osity. Bearsville BSS 0309 (WB).

CHEECH & CHONG, "FRAMED" (prod. by LouAdler) (Quintet/Freddy Bienstock,BMI). Using this Lieber/Stoller songfor inspiration, Cheech and Chongdelivers one of their usual zanyroutines. This one's more music&than their last couple of outings andshould be riding high on the chartsfor some time to come. Ode 66124(A&M).

BOB MARLEY & THE WAILERS, "ROOTS, ROCK,

0 REGGAE" (prod. by Bob Marley &The Wailers) (Tuff Gong, ASCAP).Marley's cult following has finallycome above ground with his "Rasta -man Vibration" Ip. Now Marley'sheaded for AM action as well withthis midtempo number which ispractically a commercial for theentire reggae movement. Island 060.

JOHN VALENTI, "ANYTHING YOU WANT"(prod. by Bob Cullen) (Mints, BMI).This uplifting track can hardly con-tain the inspired vocals of this singerwho sounds like a young StevieWonder. An excellent guitar soloadds some extra zest to the trackwhich should soon be on pop andr&b playlists from coast to coast.Ariola America P 7625 (Capitol).

ALBUMSOHIO PLAYERS, "CONTRADICTION."The Players' track record means instantrapport with their record -buying fans.The formula never seems hackneyed,either; and it's precisely that freshnessthat gives them their staying power inr&b, pop and disco circles. "Bicenten-nial" (!), "Precious Love" and "Con-tradiction" will help place them backon top. Mercury SRM-1-1088

JOHNNY & EDGAR WINTER, "TO-GETHER." Recorded live with Johnnyand Edgar playing the songs that car-ried them through their bar -band daysin Texas in a nine song rock medley("Slippin' & Slidin'," "Jailhouse Rock,"etc.). There are also "Mercy, Mercy"and "Soul Man," among others, withjust as much flash and excitement.Blue Sky PZ 34033 (CBS) (6.98).

AL WILSON, "I'VE GOT A FEELING."Wilson could be the single most ex-citing black male solo artist on recordthese days-a powerful voice that isbeautifully controlled, excellent choiceof material and just the right feeling offorcefulness. "Stay With Me," "Dif-ferently" and "Having A Party" are asstrong as the title number, with all thefeeling. Playboy PB 410 (6.98).

ANDREA TRUE CONNECTION, "MORE,MORE, MORE." Gregg Diamond is themastermind behind the Andrea TrueConnection, as writer, producer, ar-ranger and instrumentalist. The titletrack is bulleting up The Singles Chart,and "Party Line" and "Keep It UpLonger" have the potential to do thesame. It's disco . . . and more, mcre,more. Buddah BDS 5670 (6.98).

- MIMS CONTRACIFICN

,

RUSHWISHES TO

CONGRATULATETHIN LillyFOR BUSTIN'THE CHARTS

RECORD WORLD 73

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THIN UZZY'S "JAILBREAK:FEATURING

THEIR HIT SINGLE,"THE BOYS AREBACK IN TOWN."

(73786)

THIN LillyWISHES TO

CONGRATULATERUSH

FOR BUSTIN'THE CHARTS

RECORD WORLD 77

BILLBOARD 61

CASH BOX 79

Mercury SRM-1-1079 8 -Track MC8-1-1079 Musicassette MCR4-1-1079

RUSH'S "2112."FEATURING

THEIR NEW SINGLE,"TWILIGHT ZONE/

LESSONS."(73803)

products of phonogram. inc one IBM plaza. chicago. ill polygram company

Write or call your local Phonodisc distributor sales office for displays and other promotional Items.

Dedicated to the Needs Of the Music/Record Industry

RIAA Report:

Manufacturers Sales Reach $1.36 BillionII NEW YORK - Manufacturerssold records and pre-recordedtapes with a highest -ever totallist price of $2.36 billion in theUnited States in 1975, a 7.3 per-cent increase over 1974's previ-ous record $2.2 billion, the Re-cording Industry Association ofAmerica reported last week. Al-bum, cassette and eight -tracksales accounted for the gains inwhat was generally considered arecessionary year, with sales ofsingles and quadraphonic andreel-to-reel tapes declining tovarying degrees.

Dollar sales volume for albums

ABC Pacts Shelter LOS ANGELES - Jerry Rubin-stein, chairman of ABC Records,and Denny Cordell, president ofShelter Records, have announcedthe signing of a contract thatlicenses ABC to distribute allShelter product in the UnitedStates and Canada. Effective im-mediately, the agreement pro-vides for the distribution of allnew Shelter releases as well asits complete catalogue.

Included in the catalogue(Continued on page 12)

rose from $1.356 billion in 1974to $1.485 billion last year, thesecond consecutive year thatdollar volume rose by morethan $100 million. Unit sales onalbum product increased to282,000,000, more than makingup for 1974's slight slump to276,000,000. Revenues fromsingles sales fell from $194 mil-lion in 1974 to $183 millionlast year, with unit volume de-clining from 204,000,000 to164,000,000.

Eight -track tapes listing for$583 million were sold last year,an increase from $549.2 millionin 1974, with unit sales risingfrom 96.7 million to 100.2 mil-lion. Pre-recorded cassettes rose

(Continued on page 8)

JUNE 5, 1976

Concert Competition To IncreaseAs Major Acts Set Massive Tours

By IRA NEW YORK - Competitionfor youth market concert dollarswill reach a new peak this sum-mer as nearly every major tour-ing band takes to stadiums,amphitheaters and, where neces-sary, indoor concert venues.Agents contacted by RecordWorld last week were generallyoptimistic that proper showpackaging for individual marketsand professional promotion andpublicity would mean a healthyseason.

With confirmation of a fiveor six -date Rolling Stones/San-tana stadium tour in early Julydue shortly (including Los Ang-eles, San Francisco, Chicago,Atlanta and Philadelphia), more

Performers Royalty Gasps Its Last BreathBy MICHAEL SHAIN

WASHINGTON -The perform-ers royalty -a new copyrightwhich would give musicians thesame right to collect fees fromradio stations and backgroundmusic services as composers have-gasped its last breath on Capi-tol Hill late last week. The con-troversial proposal, which report-

"TiriE BECiiiii virviLo SFILEGLESSINDEX

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The Record Worldreported to Record Worldfigure for both the singlesduring periods in March.on the base. The base

edly could have brought $15 mil-lion a year to recording artists,was killed in the House copyrightsubcommittee and it appears cer-tain that the massive copyrightrevision bill will not include theperformers fee when it reachesthe House floor later this year.

Future DoubtfulThe defeat of the performers

fee - the battle for whichstretches back more than 20years -may prevent further con-sideration of the idea for many,many years to come.

BackgroundThe performers fee proposal

introduced by Rep. George Dan-ielson (D -Calif.) was never evenput to a subcommittee vote. Sub-committee chairman Robert Kas-tenmeier (D-Wis.) and other sub-committee Democrats got to-gether just before last week'smark-up session, when it ap-peared that the Danielsen meas-ure would not pass and in factthreatened approval of the entirerevision package, and drew up a"compromise" proposal. The Kas-tenmeier compromise kicked thequestion of the performers feeback to the U.S. Copyright Office,which is instructed to conduct aone year study of the economicimplications of the performersroyalty and report back to Con-gress in January 1978 with its


MAYERambitious tour plans have beenset by such leading attractions asElton John, the Beach Boys, theEagles, Jefferson Starship, Aero-smith, America, ZZ Top, JethroTull, Yes, Robin Trower, PeterFrampton, Earth, Wind & Fire,Linda Ronstadt, James Taylor, BayCity Rollers, Lynyrd Skynyrd, theOutlaws and Todd Rundgren,among literally dozens of otherheadline and support acts. Unde-nied rumors of a major StevieWonder tour persist; and TheWho are said to be readying for aone -week visit to the States atthe beginning of August

(Acts appealing to older audi-ences will be in abundance,too, with Diana Ross, HelenReddy, Charlie Rich, DionneWarwick, Isaac Hayes and numer-ous others also out on the road.)

Business UpturnChip Racklin, at ICM, said his

optimism was based on the"dramatic upturn" in concertbusiness during the fall andspring, adding that his actsseemed to have gained con -


7th RW Radio SeminarSet for New Orleans Record World has announcedthat the next trade/radio semi-nar will take place on Saturday,June 12 at the Marriott Hotel,555 Canal Street in New Orleans,Louisiana. This will be theseventh in a continuing seriesdesigned to improve communica-tions among the different sectorsof the industry.


All Counts But One

Dismissed in Davis Case NEW YORK -All but one countof Federal tax evasion chargeslevelled against Arista Recordspresident Clive Davis have beendismissed by Judge Thomas P.Griesa in Federal District Courthere. Davis pleaded guilty to asingle count of failing to reporttaxable income totalling $8800 onhis 1972 Federal tax return.

This development will bring anend to all Federal charges which


3

Sam Goody, Inc. Restructures;George Levy Elected President MASPETH, N. Y.-Sam Goody,Inc. has announced the reorgani-zation of its top management, withGeorge Levy, formerly treasurerof the corporation and an officerof the corporation for more than10 years, being elected presidentand chief executive officer. SamGoody has been elected chairmanof the board with authority to co-ordinate the activities of all de-partments of the corporation andgenerally to oversee and advisewith respect to all operations.Howard Goody, who has beenemployed by the corporation formore than 20 years, has beenelected senior vice president, withfull responsibility for the opera-tion of the stores, new locations,personnel, warehouse operationsand all related matters.

BackgroundA graduate of NYU School of

Commerce, Levy received his BSdegree in accounting in 1941. Hereceived his CPA certificate in1944, and is a member of the NewYork State Society of CertifiedPublic Accountants. Levy's prioraffiliation was serving as control-ler for six years with a nationalpublisher of music magazines. Healso served as controller for Crea-tive Playthings, a CBS subsidiary,

Wherehouse Sales Up GARDENA, CAL.-Integrity En-tertainment Corporation, whichowns and operates 69 Where-house discount record and tapestores in California, recently re-ported net sales of $9.3 millionfor the three month period endedMarch 31, up from $7.1 milliona year ago. Net income was re-ported as $26,416, up from a$170,221 loss a year ago.

Theft LossThe gains are made larger by

the $800 thousand theft loss suf-fered in 1975 which was reportedin the third quarter. Comparativeearnings were higher this yearbecause of the impact of thattheft, and because the companyhad nine more retail stores oper-ating than in the comparableperiod in 1975.

George Levy

for a period of five years. He hasserved in the public accountingfield for 10 years, five of whichwere as a specialist in bankruptcyaudits for the firm of Fred Lan-dau & Co. He is also a partici-pant in the Long Island UniversityGraduate Program School ofBusiness.

At the Annual Meeting on May27, Barry Goody was elected tothe board of directors. The fourdirectors heretofore acting-SamGoody, Abraham M. Lowenthal,Howard Goody and Levy-werere-elected.

The corporation announcedthat the new alignment and dis-tribution of executive responsi-bility does not necessarily indi-cate any major change in policy,but represents the grant of greaterresponsibility to the younger menin the organization.

Sam Goody, Inc. operates 27home entertainment stores lo-cated in New York, Pennsylvania,New Jersey, Connecticut and Ra-leigh, North Carolina.

RCA Names FieldsMgr., Prod. Merch. NEW YORK-The appointmentof Oscar Fields as manager, prod-uct merchandising, has been an-nounced by Bob Harrington, di-rector of merchandising, RCARecords

Fields joins RCA Records afterhaving spent two years as vicepresident of marketing for GRCRecords in Atlanta.

Prior to joining GRC, Fieldshad been with Bell Records inNew York for seven years, culmi-nating a variety of sales and pro-motion positions as vice presi-dent, sales.

Oscar Fields

From 1963 to 1967, he hadbeen with Columbia -Epic, joiningthem in the Cleveland office ofColumbia in inventory controland customer service, advancingto midwest regional promotionmanager, then becoming nationalrhythm and blues promotion di-rector for Epic Records.

NMPA Names Chiantia Chairman of Board NEW YORK-After serving 10years as president of the Na-tional Music Publishers Associ-ation, on May 26 Salvatore T.Chiantia was elected by theNMPA board of directors to thenewly -created office of chairmanof the board. The new officecarries with it the same leader-ship role which has been as-sumed by the voluntary industrymember who heads up theassociation but relieves him ofthe day-to-day responsibilitieswhich the presidential role, byits very nature, has entailed.

Leonard Feist, long-term

Powerhouse Picks(Due to airplay and sales in projectable markets, these recordsexhibit top five potential)

Manhattans (Columbia) "Kiss and Say Goodbye."The number one r&b record in the nation for the secondconsecutive week shows potential for equalling that inthe pop category. Being added to major playlists withnumbers in the teens.

Salvatore Chiantis

executive vice president of theassociation, was elected presi-dent, the paid chief executive ofthe association, which will carrywith it additional responsibilitiesand expanded duties.

In a parallel move, AlbertBerman was elected president ofthe agency with similar restruc-turing of tie role.

The following incumbentNMPA officers were re-elected:

Wesley Rose and NormanWeiser, vice persidents; Leon J.Brettler, secretary; Ralph PeerII, treasurer; Al Brackman, assist-ant secretary; Ernest R. Farmer,assistant treasurer.

1700 Broadway, New York, N.Y. 10019Phone: (212) 765-5020

PUBLISHER EDITOR IN CHIEFBOB AUSTIN SID PARNES

VP & MANAGING EDITORMIKE SIGMAN

LENNY BEER/VP, MARKETINGHOWARD LEVITT/ ASSOCIATE EDITOR

TONI PROFERA/ RESEARCH EDITORIra Mayer/Reviews Editor

David McGee/Assistant EditorBarry Taylor/Assistant EditorMarc Kirkeby/Assistant Editor

Pat Baird/Assistant EditorMike Vallone/Assistant Research Editor

Dods Dabney / R&B EditorMichael Schanzer/Art Director

John Czajkowski/As.ociate Art DirectorRandye Eichler/Production

Speight Jenkins/Classical EditorVince Aletti /Discotheque Editor

Michael Shain/Washington CorrespondentIrene Johnson Ware/Gospel Editor

Stan Solfer/Advertising Sales

WEST COAST

SPENCE BERLANDVICE PRESIDENT

WEST COAST MANAGEREliot Sekuler/ West Coast EditorMike Harris/Assistant Editor

Linda Nelson/Production6290 Sunset Blvd., Hollywood, Calif. 90028

Phone: (213) 465-6126

NASHVILLE

JOHN STURDIVANTVICE PRESIDENT

SOUTHEASTERN MANAGERDon Cusic /Southeastern Editor

Marie Ratliff/ ResearchRed O'Donnell/Nashville Report

49 Music Square WestNashville, Tenn. 37203Phone: (615) 329-1111

LATIN AMERICAN OFFICE

TOMAS FUNDORAVICE PRESIDENT

LATIN AMERICAN MANAGERCarlos Marrero/Assistant Manager

3140 W. 8th Ave., Hialeah, Fla. 33012(305) 823.8491 (305) 821-1230 (night)

ENGLAND

NOEL GAY ORGANISATION24 Denmark St., London, W.C.2, England

Phone: 836-3941

JAPAN

ORIGINAL CONFIDENCECBON Queen Building

18-12 Roppongi 7-chomeMinoto-ku, Tokyo

FRANCE

GILLES PETARD8, Quai de Stalingrad, Boulogne 92,France

Phone: 520-79-67

CANADA

LARRY LE BLANC9 Craig Crescent, Toronto M4G2NG, Can.

Phone: (416) 482.3125

SPAIN

FERNANDO MORENOGeneral Parinas, 9, 50izqda

Madrid 1, SpainPhone: 276-5778

SUBSCRIPTIONS: ONE YEAR (52 ISSUES) U.S.AND CANADA-$60; AIR MAIL-$100; FOREIGNAIR MAIL -5105. SECOND CLASS POSTAGEPAID AT NEW YORK, N. Y. AND AT AD-DITIONAL MAILING OFFICES. DEADLINE:NEGATIVES AND COPY MUST BE IN NEWYORK BY 12 NOON FRIDAY.

Copyright © 1976 byRECORD WORLD PUBLISHING CO., INC.

VOL. 31, No. 1511

4 RECORD WORLD JUNE 5, 1976

The album that's given you twohit singles in a row*proudly presents a third:

"Silver Star"from

Who LovesYourOu, ;December nat a isiightl

The Four Seasons on Warner/Curb records and tapes.Produced by Bob GaudioThe Four Seasons on TourMay 20 -June 2 Harrah's.June 12 Huntsville, AlabamaJune 13 Mesker Park. Evansville, Indiana:June 14 Memorial Coliseum, Ft Wayne. ndianaJune 17 Henry Levitt Arena, WichitaJune 18 Civic Arena, OmahaJune 1) Cm Dome, Waterloo, IowaJune 20 Milwaukee ArenaJune 22 Dane County Coliseum, Madison, WisconsinJune 23 Varket Square Arena, IndianapolisJune 25-26 Carowinds, Charlotte, North CarolinaJune 28 -July 3 Melody Fair Theatre, BuffaloJuly 9 E nghamton, New YorkJuly 10 Saratoga Center for Performing Arts, New YorkJuly 1e.-18 Painters Mill Music Fair, MarylandJuly 20-25 Casino Theatre, Atlantic CityJuly 29 -Aug 1 Shady Grove, Washington, D CAug 2-7 Oak Dale Theatre, Wallingford, Connecticut

Aug 10-15Au; 20Au 27Aug 28Aug 29Aug 30Sep- 1

Sep- 3Sept 4Sept 5-6Sept 7-8Sept. 10Sept 11Sept 12Sept 15Sept 17Sept 18Sept 21-26Oct 1

Westchester Theatre. Terrytown, New YorkIowa State FairOmni, AtlantaKentucky State FairHolmewood, ChicagoCanadian National .-1.xposition, TorontoMinnesota State FaTCivic Arena, PittsburghBlossom Music Fesoval, CleielandPine Knob Theatre, DetroitGarden State, Holmdel, New JerseyProvidence Civic Center, Rhode IslandNew Haven Coliseum, ConnecticutGeorge Wallace Jr Civic Center, Fitchburg, Mas3achusettState Fair, Springfie d, MassachusettsWar Memorial Coliseum, SyracuseWar Memorial Coliseum, Rochester,Valley Forge Music Fair, PennsylvaniaBloomsburg Fair, Pennsylvania

rirkg

cause

Wings, Frampton Appearances Buoy Sales of Their RecordsMcCartney -led Band Dominates Singles Activity

By LENNY BEER

II Wings (Capitol) are in Americatouring now and their product issoaring on the singles and albumcharts. For the second straightweek, the McCartney -led bandtops the singles chart and reportsthis week outdistanced the fieldby a much stronger margin thanlast. Their record of "Silly LoveSongs" leads the race in airplay,

retail and rack re-ports. Diana Ross(Motown) continuesto sell strongly but

as yet is no match for the Wings,although still slightly edging thesurge by Silver Convention (Mid-land Intl.). The only newcomer inthis week's top ten is FleetwoodMac (Warner -Reprise) with theirfirst -ever top ten single from analbum which has been in the topten for the entire year.

Andrea True (Buddah) con-tinues its charge toward the topten as does the latest from theCaptain & Tennille (A&M). TheAndrea True broke after monthsof promotional effort from thenew Buddah promotion teamheaded by Tom Cossie, AlanLott and Dave Mani. The rest ofthe records from 10 to 20 remainin basically holding positions.

Top 50 ActionMajor moves in the top 50 on

this week's listing include EricCarmen (Arista), who is movingwithin striking distance of hissecond straight top tenner; GaryWright (WB), another with twobig hits in a row; Starland VocalBand (Windsong), with the firsthit for John Denver's new labelwhich may go all the way to thetop after breaking MOR first andthen from WPGC in Washington;Brothers Johnson (A&M), whichis now peaking at ten on the r&bchart but is showing signs of go-ing even further popwise withstrong jumps in Washington,Memphis, and Cleveland leadingthe way; Parliament (Casablanca),which is now top five r&b andshowing similar pop potential;Thin Lizzy (Mercury), which is thehottest new record on radio andis now showing strong sellthroughin the West; and John Travolta(Midland Intl.), a record thatbroke first in Cleveland, Pitts-burgh and Miami and now ap-pears assured of going top fivenationally with new additions onradio following instead of leadingsales.

The hottest record in the bot-tom half of this week's chart isVicki Sue Robinson (RCA), whichhas been showing up consistentlyfor the last month as a regionalbreakout in the East and now isproving that the strength of the

ChartAnalysis

record is national, not just re-gional. It absolutely exploded inNew York and especially Boston,then jumped the country to SanFrancisco and now Los Angeles.The sales are a lot deeper thanon the usual disco record, whichgives this record the dimensionof a sure hit. RCA has workeddiligently on this project fortwo months now and has earnedthe hit. Album sales continue inthe middle of the chart with ex-pectations now running high atthe store level due to the poten-tial of the single.

New ActionNew entries this week include

the Beach Boys (WB), with im-mediate major market reaction,Carpenters (A&M), Donny Os-mond (MGM), Natalie Cole(Capitol) beginning a crossover,Todd Rundgren (Bearsville) andCheech & Chong (Ode).

Frampton Surges Peter Frampton (A&M), buoyedby the sales response to his ap-pearance before over 100,000people last week, has regainedthe top position on this week'schart, followed very closely byWings (Capitol), with enormoussales in the east, where they arecurrently appearing. These twoalbums far outdistanced the fieldin another slow sales week foralbums in general. Elton John(MCA) moved from 7 to 5 thisweek, but the expected surge wasnot there to take it anywhere nearthe top; the situation will bewatched closely in the next fewweeks and discussed here as thereports come in.

The big movement chart itemthis week is Aerosmith (Colum-bia), which in two weeks hasachieved the highest chart posi-tion ever for this group, and bothretail and rock accounts are rav-ing about this week's sales charge.The only noticeable weak spot is

REGIONAL BSingles

REAKOUTSAlbums

East:Donny Osmond (MGM)Parliament (Casablanca)John Travolta (Midland Intl.)

South:Parliament (Casablanca)Lou Rawls (Phila. Intl.)John Travolta (Midland Intl.)Aretha Franklin (Atlantic)'

Midwest:Thin Lizzy (Mercury)Queen (Elektra)Brothers Johnson (A&M)America (WB)

West:Brothers Johnson (A&M)America (WB)Thin Lizzy (Mercury)

East:Bootsy's Rubber Band (WB)BT Express (Columbia)Natalie Cole (Capitol)Crusaders (ABC)Renaissance (Sire)

South:Steely Dan (ABC)Atlanta Rhythm Section

(Polydor)Blackmore's Rainbow

(Polydor)Bootsy's Rubber Band (WB)

Midwest:Natalie Cole (Capitol)Heart (Mushroom)Steve Miller (Capitol)

West:Jethro Tull (Chrysalis)Sons of Champlin (Ariola)Steely Dan (ABC)Blackmore's Rainbow

(Polydor)Steve Miller (Capitol)

A&M's Barry Grieff To HeadRegional Merchandising TeamIN LOS ANGELES - Barry Grieff,A&M Records' national merchan-dising director, has announcedthe formation of a four -man re-gional merchandising team whosefunction he likens to that of "po-litical advance men."

The regional directors will ar-rive in a given market 10 to 14days prior to the arrival of an actset for a personal appearance.There, they'll work with localpromotion staffers, distributors,retail accounts and promoters inan effort to maximize exposure.

The marketing torte will dealin all areas of merchandising,from checking stores for productand displays, working with thepromoter of the date to assurethat the right time buys in sup-port of the date have been made,to checking air play and sales inthe area.

Initially, the concentration ofthe force will be in secondarymarkets, which have traditionallybeen overlooked to a large ex-tent by most record companies,


Back as Top LPin the New York area, where thealbum is in the low 20s, but thisposition is relatively strong forthe group, which has never beenan overwhelming New York act.The Aerosmith was the only newentry in this week's top 10.

Diana Ross (Motown) contin-ues to be the only bulletingalbum in the 10 to 20 area ofthe chart as it moves 17 to 14and shows signs of being a top10 contender next week. GeorgeBenson (WB) also continues tobullet this week at 21, with manymarkets reporting #1 sales. TheBob Marley (Island) album alsohad another fine week and movedinto the top 30 with a bullet.

Capitol StrongCapitol records showed a

strong sales week with their newproduct as the Natalie Cole madethe incredible move from a debutposition of 80 last week to 39bullet this week with across-the-board pop and r&b sales. Interest-ingly enough, the Natalie Colealbum is selling extrordinarily wellin the racks for a black albumwithout a crossover hit single todate. Also creating waves andwaves of sales for Capitol is thenew Steve Miller album, whichalso took a major jump on thisweek's album chart from 97 to 55.

Other ClimbersOther strong climbers this week

include the Charlie Daniels Band(Epic), their first on the label; IsleyBrothers (T -Neck), with their fol-low-up to their four week chart -topper, which shows similar po-tential after only two weeks ofrelease; John Travolta (MidlandIntl.), who is creating quite a stirwith his first album and singlecharging up their respectivecharts; and the Starland VocalBand (Windsong), whose sales arenow closely following the successof their single. Starland jumpedfrom 157 to 95 with stores ex-pecting huge sales in the future asthe single grows and the tourwith John Denver continues.

ChartmakerNew on the chart this week is

Jethro Tull (Chrysalis), a very solidChartmaker of the Week at 64.The Tull album is respondingquickly to the enormous FM air-play noted in last week's RecordWorld when it won the Flash -maker of the Week title on theFM Airplay Report.

Aerosmith Goes Gold NEW YORK - Columbia re-cording artists Aerosmith's latestalbum, "Rocks," has been certi-fied gold by the RIAA.


RIAA STATISTICS ON SALES OF RECORDS

SINGLES ALBUMS TOTAL

UNITS DOLLARS UNITS DOLLARS UNITS DOLLARS

CalendarYear

(In Millions) (In Millions,List Price Value)



1973

1974

1975

228

204

164

190

194

183

280

276

282

1,246

' ,356

.0485

508

480

446

1,436

1,550

1,668

MANUFACTURERS' SALES OF PRE-RECORDED TAPES

8 -TRACKCARTRIDGES

CASSETTES REEL-TO-REEL QUADRAPHONIC TOTAL

UNITS DOLLARS UNITS DOLLARS UNITS DOLLARS UNITS DOLLARS UNITS DOLLARS

CalendarYear (In Millions)

(In Millions,List PriceValue)

(In Millions)(In Millions,

List PriceValue)

(In Millions)(In Millions,

List PriceValue)

(Millions)(In Millions,

List PriceValue)

(Millions)(In Millions,

List PriceValue)

1973

1974

1975

91

96.7

100.2

$489

549.2

583

15

15.3

16.4

$76

87.2

98.8

.7

.5

.4

$3.6

2.5

2

1.5

1.4

1.1

$12

11.3

8.2

108

114

118.1

$581

650

692

-me

Sweet Goes Gold LOS ANGELES - Capitol re-

cording artists Sweet's Ip, "Deso-lation Boulevard," has been cer-tified gold by the RIAA.

Allen Pacts Charisma LOS ANGELES - Steve Allen,son of Buddy Allen (Spinnersmanager), has signed "Charisma"to a management contract withthe Allen Management firm.

INEARLYFAMOUS

coming soon on Rocket!

RIAA F igures (Continued from page 3)from $87.2 million in sales in1974 to $98.8 million last year,as unit volume climbed from15.3 million to 16.4 million.

Sales of pre-recorded reel-to-reel tapes continued to declinesteadily, with unit sales droppingfrom half a million to 400,000units, and dollar sales volumefalling from $2.5 million to $2million. Sales of quadraphonictapes also declined, from $11.23million in 1974 to $8.2 million

Feelin' Good

last year, with unit volume de-clining from 1.4 million to 1.1million.

Total List UpThe total list price value of the

albums and singles sold in thiscountry last year rose to $1.668billion, up from $1.550 billionin 1974. The total list value ofthe four types of pre-recordedtapes also increased, from $650million in 1974 to $692 millionin 1975.

Dr. Feelgood, whose debut Columbia album is titled "Malpractice," recently invadedthe Bottom Line in New York for a series of sell-out shows. Shown after the concertare: Bruce Lundvall president, CBS Records Division (third from left); Arma Andon,assistant to the president, CBS Records Division (second from right); Stan Monteiro,vice president, national promotion, Columbia Records (left); Big Figure, John Sparks ofDr. Feelgood (center); Mrs. Lundy°II (second from left); Mrs. Andon (third from right).At far right is Don DeVito, director of merchandising, Columbia label. In front: WilkoJohnson and Lee Brilleaux of Dr. Feelgood.

RSO Adds Four To Promo Staff LOS ANGELES - RSO Recordspresident Al Coury has announc-ed four additions to his nationalpromotion team.

Field AdditionsField force additions are

Frenchy Gauthier, Boston; Tom

Wubker, Chicago; Bobby Hurt,Atlanta; and Lee Arbuckle, Dallas.All previously were members ofthe Capitol Records promotionstaff, where they worked underCoury when he was that label'shead of promotion.

8RECORD WORLD JUNE 5, 1976

album is over

largest

Introducing a man whose first250,000 and still going strong.

Introducing a man with thedebut release in the history of

Blue Note Records.

t 1976 UNITED ARTISTS MUSIC AND RECORDS GROUP INC

THE C 'MSTBy MIKE HARRIS

4

STIX NIX PICNICS: As first announced in lastweek's RW, the annual "Willie Nelson Pick -Nick,"scheduled for July 2-4 in Gonzalez, Texas has beencancelled. The event, expected to draw a crowdin excess of 100,000 persons, was denied a "Texasmass -gathering permit" by the city commissionersof Gonzalez after a 125 member contingent ofBaptists-calling themselves "Citizens for Law,Order and Decency" (CLOD)-registered a formalcomplaint with their city officials. Apparently, a

vote was taken and the proposed music extravaganza -cum -picnic lostout by a narrow margin. According to Pat Reshen, of Media ConsultingCorp., who manages Nelson, there are no plans to reschedule thehuge gathering which would have featured the talents of Nelson, inaddition to Waylon Jennings, Jessi Colter, Kris & Rita Kristofferson,Charlie Daniels, Billy Joe Shaver, Dicky Betts, Jerry Jeff Walker, MichaelMurphey, America, Poco and, reportedly, Bob Dylan. Well, there'salways next year . . . We've heard that the Rolling Stones, at least,will be making our Indepedence Day weekend brighter with an L.A.-area performance with Santana-which should ge the next two hun-dred years off to a flying start!

JUST LIKE THE JACK BENNY-FRED ALLEN FEUD: From the desk ofPhil Walden: "Phil Walden can't understand why Iry Azoff isn'tsupporting Jimmy Carter for President. After all, Carter has alwaysbeen for the 'little people.'"

HAPPY BIRTHDAY DEAR BERNIE: A very exclusive birthday partywas held last week at Le Restaurant for new 26 -year -old Bernie Taupin,who received many lavish gifts from his friends, including a pair ofMarilyn Monroe's white satin pumps from Elton (who was in Scotlandwith John Reid) and yet another Monroe souvenir from MCA's RickFrio-a white chiffon scarf. Elton and Reid called up to give Bernietheir best, and they were joined in their sentiments by partygoersGlen Campbell, the Eagles, Cher and Gregg Allman, Henry Winkler,Ringo, Neil Aspinall, Iry Azoff, Olivia Newton -John and Lee Kramer,Brenda and Brian Russell, Peter and Betsy Asher, Alice Cooper, Charo,Lou Cook and Rick Danko . . . Last week, after a screening of "Pinoc-chio," Bernie-along with Connie Pappas-walked down Sunset Blvd.to a hamburger place called Power Burger. No one there recognizedBernie, but when the two had finished eating they started to cross thestreet when they were hailed down by a guy in a car. Was it recogni-tion at last? "Hey," the car's occupant said, as Bernie drew closer, "doyou know where Gazzarri's is?" . . . Elton, who is usually highlyrecognizable, will begin his U.S. tour at Washington, D.C.'s CapitolCenter on June 29, 30 and July 1, then on July 6, 7 and 8 he willappear at the Spectrum in Philadelphia. All performances have beensold out, with additional dates to be announced shortly ... Jack Daley,manager of Pure Prairie League and Shawn Phillips, threw a bashfor new RCA a&r man Alan Abrahams recently at his Pasadena house.In a ddition to PPL and Phillips, Duane Eddy, Don Burkhimer andGrelun Landon joined in on the welcoming-which included Mexicanfood, a tour of Daley's elaborately sculpted gardens and entertainmentby numerous frogs in full croak.

MORE PARTIES: Casablanca's Giants hosted a "listening party" lastweek at their local rehearsal studio. It seems like every rock writerin town showed up for the free listen-and the free food, which wasin abundance. Giants manager Cary Lipman showed everyone a goodtime, as did former Beau Brummel-now Giant-Ron Elliot . . .

Newsweek's Peter Greenberg, who has covered the music scene fromL.A. for three years, is shifting his base of operations to San Franciscoand Time's David DeVoss threw a going away party for the departingjournalist last week. This time, it was Hollywood's PR people whoarrived in droves . . . Watching Karen Stanton's opening at thePalomino were Mac Davis, members of Sha Na Na, the Doobie Bros.,Ann Peebles, Carla and Rufus Thomas, Jerry Corbetta and Sugarloaf,Freddie Cannon, Bo Kirkland and Ruth Davis and Dave Diamond.We know you've committed all the above names to memory, right?. . . The Coast also spotted Bob Marley, Maria Schneider, Ron andRussell Mae' and Barbra Streisand and Jon Peters at the recent Dr.Feelgood debut at the Roxy. Also in the audience was MayumiNakazawa, a Japanese correspondent for Light Music magazine, whohad the film ripped from her camera by a very ill-mannered LedZeppelin bodyguard after she had apparently shot a single flash photoin the direction of band members Robert Plant and Jimmy Page, who


CONCERT REVIEW

Wings Gives a Worthy Performance NEW YORK - Greeted by oneof the loudest and most enthu-siastic receptions ever accordeda rock performer on a New Yorkstage, Paul McCartney and Wingsmade their first appearance herelast Monday (24), and while therewere few surprises, the band per-formed with skill and vitalitysome of the best pop songs thisgeneration has heard.

Band MembersOne particularly pleasant sur-

prise was the degree to whichMcCartney has made Wings intoa band, in which each memberlends something of his own style.Guitarists Denny Laine and JimmyMcCulloch played well on Paul'ssongs and on their own, drummerJoe English was both polishedand distinctive, and the hornsection, aside from performingdance steps brazenly copped fromthe Temptations, fit in perfectly,especially on Wings' latest hitsingle, "Silly Love Songs," andtheir past hit, "Listen to What theMan Said."

But it was, after all, Paul Mc-Cartney the audience had paid tosee and hear, and the former"choirboy Beatle" was energetic,in good voice, and still one of themost creative bass players inrock. He and his band played formore than two hours, and con -

Capitol Taps Edmonds LOS ANGELES-Ben Edmondshas been added to the a&r staffat Capitol Records Inc. in thenewly -created position of direc-tor -talent acquisition, west coast,announced Rupert Perry, CRI vicepresident, a&r.

Bon Edmonds

During the past two yearsEdmonds worked as assistanteditor and columnist for RecordWorld. From 1972 through 1974he was an editor of Creem Maga-zine. He also has done extensivefreelance writing about music fornumerous publications includingRolling Stone, Circus, Crawdaddy,Penthouse, the Los Angeles Timesand the Boston Phoenix. A book,"Backstage Passes," which heauthored with Al Kooper, will bepublished in the late fall by Steinand Day.

centrated most heavily on mate-rial from the last three Wingsalbums.

Fireworks"Live and Let Die," which still

impresses as the most accurate(and amusing) characterizationof the technological madness ofthe James Bond films, was ac-companied by an elaborate fire-works and lighting display, andseemed to be the most enthu-siastically received of the Wingssongs. "Jet" and "Band on theRun" were also highlights, as was"Maybe I'm Amazed," the onlyselection McCartney performedfrom his post -Beatles solo albums.

The McCartney compositionsfrom the Beatle years whichcame at the mid -point of his setwere understandably well re-ceived, thoughtfully chosen andwell performed, with a rousing"Lady Madonna" perhaps thebest of the lot. McCartney'sgreatest gift is his instinctivegrasp of pop music and the popaudience; the fact that he is nowable to appeal to an audiencethat encompasses pre -teens andadults over thirty speaks tor theongoing magic that Paul Mc-Cartney creates.

McCartney's sound system lethim down opening night, butaside from that and the alarminggrowth of audience interest in adlib fireworks, the only disap-pointment in the show was theabsence of a number of Wings'strongest songs, among them"1985," "Junior's Farm," "SallyG" and "Helen Wheels."

Just For the MusicIf, as has been reported, Mc-

Cartney kept his band out of thiscountry for so long because hedidn't think they were polishedenough, then more frequentWings tours should be expected:Paul and his band are now veryobviously equal in performanceto the quality of their material,and the audience that paid onceto be present at an event would,based on their response, payagain just for the music.

Marc Kirkeby

Bowie LP, Film Out NEW YORK-RCA Records hasannounced the release this weekof "Changes One Bowie," a com-pilation of David Bowie's biggesthits. Simultaneous with the re-lease of the album, Cinema 5 willrelease "The Man Who Fell ToEarth," Bowie's first motion pic-ture, in which he has the starringrole.

"Changes One Bowie" willhave an extensive marketing planbehind it which will also pickup Bowie's "Station to Station"Ip and his RCA catalogue.


Introducing a manyou should know: Ronnie Laws.

Introducing an albumyou'll never forget: The Second

Ronnie Laws Album, "Fever."On Blue Note Records & Tapes b

C 1976 UNITED ARTISTS MUSIC AND RECORDS GROUP. INC

At Springboard, EverythingBy PAT BAIRD from the pressing plant and ware-

RAHWAY, N.J. - After morethan 14 years in the music busi-ness, Danny Pugliese, presidentof Springboard Records, is aboutto effectuate the final phase ofhis concept for a record companythat can produce everything fromideas to finished product. Thecompany, which previously spe-cialized in the distribution of re-packaged masters (including theprestigious Emarcy jazz line, orig-inally owned by Mercury Records)and budget records, is about toinaugurate Catalyst Records, a

full -line jazz label of new re-cordings.

Pugliese feels the time is rightfor such a label because "there'salot of new interest in jazz. We'vebeen watching what we've donewith the older product, reallyobscure product we thought fewpeople would be interested in.We know what we're selling andwe know it's good business.We're going to handle it like popproduct, and promote it like popproduct."

The Springboard/Catalyst of-fices, located 45 -minutes fromNew York, is an impressive com-plex, incorporating all phases ofthe record business. The plushexecutive and administrative of-fices are only a five minute walk

house.Dick Broderick, former presi-

dent of Tara Records and inter-national executive for RCA andMCA Records, joined Springboardas a&r director several monthsago because "this is the mostexciting place I've seen in twenty -odd years in the business. It's atotally integrated operation thathas commitment and great poten-tial. We're concentrating on thejazz now but we're also investigat-ing our capabilities of enteringinto production or label dealswith foreign companies."

Springboard also has officesand distribution centers in Chi-cago and Los Angeles and it is

out of the L.A. office that pro-ducer Pat Britt will work. Accord-ing to Pugliese, "Pat is a jazzproducer and musician and is re-cording jazz acts for us that areideal. He's working with wellknown artists such as Sonny Stitt,as well as complete unkowns thatare top musicians and worked assidemen in the big bands foryears. We feel that they are juston the border and are going tobreak out.

"On the east coast we haveBilly Mitchell, a great, great jazz-man. He's producing for us now.All the new jazz talent that's

Chicago GangstersTHEIR

EXPLOSIVE

NEW ALBUM!

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Is In -Housearound here, Billy will be con-tacting and setting up recordingdates with them."

Bob Demain, vice president ofsales, explained that, unlike theSpringboard distributed Emarcylines which include the great tra-ditional jazz artists of the thirtiesand forties, the Catalyst label"will include the whole spectrumof jazz. The Frank Strazzeri al-bum, which will be released inlate June, is mostly electronicmusic. I don't think you can stayin one little bag in jazz."

Also on the Springboard agendain the United States are distribu-tion of the Japanese jazz labelJ.J. Records; the development ofMorningstar Records for the re-lease of European pop masters;television packaging of rock & rollclassics and a new line of cassettetapes. Plans are being made to puttogether an in-house promotionteam as well as a field andregional force.

Pugliese admits that it has beendifficult putting his "one roof"concept into effect but "havingeverything here expedites thingsand makes us more efficient. Weget the product out quicker andwe're more concerned with every-thing. There's no substitute forbeing able to do everything in-house."

Capitol NamesTwoVice PresidentsIN LOS ANGELES - BhaskarMenon, chairman, president andchief executive officer, CapitolRecords Inc., has announced thefollowing personnel changes:Thomas Hopkins, formerly di-rector of engineering, has beenelected vice president, manufac-turing and distribution of records;and Ralph Cousino, formerly di-rector or engineering, has beenelected vice president, engineer-ing and tape manufacturing.

Both of these officers will con-tinue to report directly to DavidLawhon, CRI vice president,manufacturing and operations.

Hopkins joined Capitol in 1949and served as order service man-ager, manufacturing superinten-dent, and plant manager at sev-eral Capitol locations throughoutthe country before being appointed national plant managerin 1972.

Cousino joined Capitol in 1970after receiving his degree in elec-trical engineering from the Uni-versity of Toledo and workingextensively in the magnetic tapeindustry. He served as electronicdevelopment engineering man-ager and director of recordingoperations before being ap-pointed director of engineeringin 1974.

ABC Pacts Shelter (Continued from page 3)selection are albums by suchartists as Leon Russell, J.J. Cale,Willis Alan Ramsey, Mary Mc-Creary, Richard Torrance andPhoebe Snow among others.

New releases under the ABC/Shelter pact will include the de-but Ip from the Dwight TwilleyBand, scheduled for mid -June re-lease, and new albums fromShelter recorcing artists J.J. Cale,Tom Petty, Larry Hosford, andLyons and Clark. The first singlerelease under the new contractwill be Larry Hosford's countryoffering, "Nobody Remembers

The Losers."Shelter Records will maintain

their Los Angeles headquartersat 5112 Hollywood Blvd., Holly-wood, Ca. 90027, and will con-tinue to be under the direction ofgeneral manager Ron Henry.

"We here at ABC Records,"Jerry Rubinstein said, "look for-ward to a long and prosperousassociation with Shelter Records.Their fine artists are a welcomeaddition to the ABC Recordsfamily and we are eager to workwith gentlemen like Denny Cor-dell and Ron Henry."

Pictured from left: (seated) Herb Belkin, ABC's vice president, marketing and creativeservices; Jerry Rubinstein, chairman of ABC Records; Denny Cordell, president of ShelterRecords; and Mike Rosenfeld, lawyer for Shelter Records; (standing) Ron Henry, generalmanager of Shelter Records; Lee Young, Jr., ABC's general attorney, assistant secretary;Ed Kisslinger, lawyer for Shelter Records.


You'reAll 1A/et

If you're programming Wet Willie's new singleEverything That 'Cha Do (Will Come Back To You) (CPS 0254)It's Wet Willie's newest single release from their smash Ip "The Wetter The Better" on Capricorn Records, Macon, Ga.

These Stations Are All Wet. But They'll Tell Ya, It's The Best Wet Yet.WMPS KSJO-FM WVUD-FM WACI WTAC WWWW-FM KSAN-FM WMYK WKLS-FM WKTM-FMWBBQ KEZY KLOS-FM WLBK-FM KZEL-FM KYYS-FM KZAP-FM WNOR-FM WQXI-FM WQDR-FMWSGA WAUG KRLC WZUU-FM KNAC-FM KWKI-FM KOME-FM WXRT-FM WRPL-FM WKDA-FMWERC-FM WRMA KOZE WQPD KOHU KFDI-FM KFIG-FM WOMF-FM KILT -FM WORJ-FMWGOW WNEX KMET-FM WMFJ KEZY-FM KQRS-FM KTIM-FM WZMF-FM KPFT WQSR-FMWRFC WRBN WING WRKT KMYR KOKQ-FM WMMR KSHE-FM KEXL KZEW-FMKNOE WDUN KWST-FM WGLF KRST-FM KFMQ-FM WYSP-FM KADI-FM KTFM-FM KAMC-FMKROK WTOB WKLO WNOE-FM KFML WMMS-FM WKTK-FM WBAB WRAS-FM KOFM-FMKVOL WAIR WIFC WVIC KBPI-FM WCOL-FM WHFS-FM WRNW KBDF KMOD-FMWDAK WFOX KSTP WCUE KLZ-FM WCUE-FM WMAL-FM WLIR-FM WOSHKCBN WOWL KIOA KELI WABX-FM WYDD-FM WGOE WPLR-FM WYFEKGRL KDES KGGO WIGO WIOT-FM WGRQ-FM WHCN-FMWYOO KIKX KSDN WGPR-FM WLAV-FM WBUF-FM WAAF-FMKTGR KBCQ KXEL KSEL WRIF-FM WCMF-FM

KATI KSMB WZUU WOUR-FMKATA WACI WAAL-FMWROV KZOK

KISW-FM

Produced By Paul Hornsby For Capricorn Records, Inc. By Special Arrangement With Phil Walden And Associates, Inc.

SINGLE PICKSTHREE DOG NIGHT-ABC 12192EVERYBODY IS A MASTERPIECE

(prod. by Bob Monaco)(Warner Bros., ASCAP)

Three Dog Night's vocal prowess remainunquestioned with this, their first effoin some time. To back up its talent, tgroup has constructed a solid rhythpulse and is headed for pop/r&b play

DEJA VU-Capitol P 4277DANCE (prod. by Skip Prokop)

(C.A.M.-U.S.A., BMI)This group comes from Canada with arich vocal sound reminiscent of ThreeDog Night. Produced by this former leaderof Lighthouse, the group should soon beon its way up the pop charts.

rthe

mic

BILLY KIRKLAND-Lifesong LDIANE (prod. by Bob Stevens)

(Blendingwell, ASCAP)Kirkland leaves his producthis self -penned effort, anwith a persuasive pop apsend it all the way to fhe

RARE EARTH-Rare EarMIDNIGHT LADY (prod. by Nor

(Stone Diamond, BMI)Since producer/writerhas taken this grouphas shown rapid si

premier force. Here twith a super effort h

HOMEMADE THEDISCO TECH (prod. by

Hermant) (Almo, AHomemade Theatre

If "Santa Jaws,"of the Xmas sewill probablythe boom get

S 45006

er's chair forexcellent songeal that couldtop.

h R 5060Fman Whitfield)

Norman Whitfieldunder his wing, itns of becoming a

hey put it all togethereaded for the top.

ATRE-A&M 1822Fred Mollin & AndrewCAP; Horsefeathers/

, CAPAC)

the oddest novelty recordson appealed to you, thisickle your weird bone as

s lowered on the discos.

PAUL JABA A-A&M 1823DANCE (prod. by Ron Dante & Joel Sill)

(Irving, BMI)From the forthcoming soundtrack albumof the movie, "Mother, Jugs & Speed,"this number offers boundless energy withan unrelenting dancing rhythm.

MILLIE(Pol

THEREBra

Millito sin.ex

JACKSON-Spring SP 164ydor)OU ARE (prod. by Millie Jackson &Shapiro) (Double Ak/Shun/Pee Wee, BMI)

e finds herself at a party with no onepeak to until a certain person walksFrom there on, her singing practically

plodes with a power and urgency.

BW EXPLOSION-Dried Grape 101RUNNIN' TO MEET THE MAN (prod. by R. Nemiroff &

H. Dwellingham) (Blackwood/Raisin, BMI)This song from the Grammy and TonyAward hit musical has a contemporary,gospel infused driving sound that helpsto make it an easily programmable item.

KING ERRISON-Westbound WT 5023(20th Century)

EVERY DAY'S A HOLIDAY (prod. by M. Theodore &D. Coffey) (Bridgeport, BMI)

Errison's name has been on the back ofmany a hit Ip as a sessionman. Now thathe's out front and on his own, he showsevery indication of continuing his hit wayswith this distinctive r&b infused tune.

JACKIE DeSHANNON-Columbia3 10340

ALL NIGHT DESIRE (prod. by Glen Spreen) (Plain &Simple/Music of the Times/Almo, ASCAP)

Jackie's back to writing the kind of com-pelling pop material that kept her somuch in demand in the '60s. This is aninspired effort that could take -off.

ATTITUDES-Dark Horse 10008 (A&M)HONEY DON'T LEAVE L.A. (prod. by Lee Keifer &

Attitudes) (Kortchmar, ASCAP; Ganga, BMI)This group fronted by Jim Keltner makesquite an impression with its second singleeffort. Picking up the pace this time out,Attitudes shows good pop potential.

SOUTHSIDE JOHNNY & THE ASBURYJUKES-Epic 8 50238

I DON'T WANT TO GO HOME (prod. by MiamiSteve) (Blue Midnight, ASCAP)

A group with a background that parallelsSpringsteen's E Street Band, the Jukes'sound is more r&b based and reliant onhorns and strings. A worthy debut.

THE ORIGINALS-Soul S 35117F(Motown)

TOUCH (prod. by Frank Wilson)(Jobete, ASCAP; Stone Diamond, BMI)

The promise this group has displayed withprevious efforts has finally been realizedwith this track from its "Communique"album. A light, touching tune.

KINGFISH-Round RX XW794 Y (UA)HYPNOTIZE (prod. by Denny Diante)

(Good Grazin', ASCAP)The group formed by Bob Weir of theGrateful Dead scores with its second effortfrom its debut Ip. The sound is bouyantand flavored with serene harmonies.

PEOPLE'S CHOICE-TSOPZS8 4781 (CBS)

HERE WE GO AGAIN (prod. by Kenneth Gamble &Leon Huff) (Mighty Three, BMI)

All the elements of a crossover monsterare here with this tune written by LeonHuff from the group's new Ip. The im-pelling sound should make it a big hit.

TONY JOE WHITE -20th TC 2276IT MUST BE LOVE (prod. by Sy Rosenberg)

(Tennessee Swamp Fox, ASCAP)

It's been awhile since Tony's been in thestudio, but it was worth the wait. His newstyle is sleek and soulful, not unlike BozScaggs and is sure to garner heavy play.

THE FATBACK BAND-Spring SP 165(Polydor)

PARTY TIME (prod. by The Fatback Band)(CI ita /Sambo, BMI)

"Party time is any time," they say, andeverytime you play this, the party willcertainly rock. The Fatback Band has asound that is all its own and here it is

flourished with swinging rhythms.

KENNY RANKIN-Little David 733(Atlantic)

CREEPIN' (prod. by M. Stewart & Y. Rankin)(Black Bull, ASCAP)

Rankin possesses a cool, sleek vocaltimbre which he exercises to good effecton this Stevie Wonder composition. Anexcellent choice for pop/MOR play.

JEANNE NAPOLI-Vigor 1731 (PIP)FORGET THAT GIRL (prod. by Bhen Lanzaroni)

(Delightful, BMI)An up -tempo number with a strong hookand saucey rhythmic punch similar toVicki Sue Robinson's smash could giveJeanne a hit in either pop or r&b markets.

DANNY POTTER-Warner-SpectorSPS 0408

STANDING IN THE SUNSHINE (prod. by Harry Hinde)(Timberlane Ltd./ 'tom, BMI)

Potter's vocal sounds similar to NeilDiamond on this pop number, crisplyproduced and tastefully executed. A veryappealing AM -styled offering.

LIQUID PLEASURE-Midland Intl.JH 10695 (RCA)

TAKE A LITTLE (prod. by Bill Stahl & Art Sylvers)(Bach -Track, ASCAP)

With its pop vocal sound and chantingpercussive qualities, this tune should bean instant pop/r&b add. A delightfulsong for summer programming.

TINA WELLS-Janus J 260YOU'RE ALL I NEED TO GET BY (prod. by

Deuce Detko) (Jobete, BMI)This old Motown classic penned by Ash-ford and Simpson is given an energeticperformance by this vocal stylist. A goodchugging rhythm adds a big boost.

BRIAN GARI-Vanguard VSD 35192BETTER THAN AVERAGE (prod. by Brian Gari &

Don Casale)(Foxborough Jr. Intersong, ASCAP)

It seems that the summer is the perfecttime of the year for music such as this.A good re -working of the Jan & Dean har-mony formula should keep it afloat.

OZO-DJM 1012 (Amherst)LISTEN TO THE BUDDAH (prod. by Kaplan Kaye)

(April, ASCAP)A marriage of Far Eastern sounding vocalsand a reggae beat makes this a totallyunique effort. There's been nothing likeit before, so give it a close listen.


EDDY'S NEW SINGLE:

"COWBOY"P8-10701

Written by Ron Fraser & harry ShannonPublished by Welbeck Music (ASCAP) / Sweco Music (BMI)

Management

Gerard W. Purcell Associates133- 5th AvenueNew York, NY 10003

RCARECORDS

ALBUM PICKSCHANGESONEBOWIE opeuesomeoviEDAVID BOWIE-RCA APL1-1732 (6.98)One cut-"John, I'm Only Dancing" waspreviously available only in England. Therest are the familiar staples of a careerthat has gone through some remarkablechanges. From the song "Changes"through the "Ziggy Stardust," "DiamondDogs" and "Young Americans" periods,these are the best.

EVERYBODY COME ON OUTSTANLEY TURRENTINE-Fantasy F-9508 (6.98)A little too sweetened at times, but Tur-rentine's tenor sax work rides high aboveit all, whether on Jimmy Cliff's "ManyRivers to Cross," Gamble/Huff's "HopeThat We Can Be Together Soon" or WadeMarcus' title song. The latter is as adapt-able to jazz and rock formats as to adancefloor.

WARREN ZEVONAsylum 7E-1060 (6.98)Jackson Browne's first production is ofdeep -voiced, California underground reg-ular Zevon. It's an all-star cast, includingJackson on some cuts, Bonnie Raitt, JohnDavid Souther and Fleetwood Mac's Lind-sey Buckingham and Stephanie Nicks.Quite what one would expect from sucha stellar congregation.

A RUMOR IN HIS OWN TIMEJEFFREY COMANOR-Epic PE 34080 (CBS) (6.981This week's FM Sleeper of the Week is asinger -songwriter up with his second Ip-a nicely produced set, carefully mixed toinsure lyric prominence. The arrange-ments are lightly rocking with a goodenergy level, too. "My Old Lady and YourOld Man," "Riding Back Home to You"and "Love Me Not" gain him notoriety.

HELLUVA BANDANGEL-Casablanca NBLP-7028 (6.98)Lots of metal, lots or high-powered elec-tricity-the kind of hard -driving rock that'sderived from the likes of Yes, Mountainand Pink Floyd. Play it loud and play ittough with "Feelin' Right," "Anyway YouWant It," "Pressure Point" and "ChickenSoup." It's only five men, but the soundis for the millions!

SKY HIGH!TAVARES-Capitol ST -11533 (6.981Satin -smooth soul from one of the hottestwest coast quintets, full of energy, har-monies and pleasing arrangements. "TheMighty Power of Love," "Heaven MustBe Missing An Angel" and "Don't TakeAway the Music" show them off in thebest possible light. Sky High already, andno limit in sight!

THE LONELY ONETERRY HUFF AND SPECIAL DE'IVERY-

Mainstream 420 (6.98)The title track is Huff's currently potentsingle, with "I Destroyed Your Love" hav-ing established his talents a little earlieron. A strong soul singer, with arrange-ments by Al Johnson, this lonely musicis perfect for those who can be lonelytogether.

351 II10-.1

JE Off

EVERYTHING'S COMING UP LOVEDAVID RUFFIN-Motown M6-86651 (6.98)Producer / arranger / conductor / song-writer extraordinaire Van McCoy's put thisact together with the usual flair and taste.The strings and horns swirl around Ruffin'sgritty vocals in ever -building patterns ofpassion. The title track, "Discover Me"and "Ready, Willing and Able" are rosesto a lover's eye.

ANGELOFantasy F-9507 (6.98)Angelo began his career as a jazz drum-mer, moving on to singer/songwriter/keyboard duties and as an opening actfor Sergio Mendes. He has also arrangedand produced his debut, the sound beingpart Billy Joel, part Seals & Crofts and alot of rock 'n' roll. "Going Down To-gether" and "It Don't Matter" top.

DIGA RHYTHM BANDRound RX-LA600-G/RX-110 (6.98)Grateful Dead percussionist Mickey Hartis producer, group member and centralinspiration (aside from the dedication toUstad Alla Rahka). Jerry Garcia contributessome guitar work on "Happiness" and"Razooli," but it is the variety of percus-sive effects that lends the 1p distinctivenessand credibility.

GONE TOO LONGDON NIX-Cream CR 100/ (6.98)The opening cut says "I'm still goingthrough another change," perhaps themost succinct commentary on Nix's latestrecording effort. Recorded at various loca-tions, the Leon Russell -influence is mostevident, even on the Jagger/Richard"Backstreet Girl." Original compositionsmake up the bulk of the Ip.

AIRBORNEFLYING BURRITO BROS.-Col PC 34222 (6.98)Stevie Wonder and the Burritos? On hisown "She's A Sailor." Gib Guilbeau takescredit for most of the writing chores, andthe Burrito sound remains in tact. "JesusBroke the Wild Horse," "Waitin' For Loveto Begin" and John Prine's "Quiet Man"keep the pace changing. Airborn andflying high as ever.

BODY ENGLISHMICHAL URBANIAK-Arista AL 4086 (6.98)"New York Polka" is almost uncharacter-istically flip for Urbaniak, whose serious-ness of purpose need never be questioned.The lightness is welcome, though, andperhaps it will be carried further in thefuture. For now, there's the disco beat onthe title cut and Urszula Dudziak heard togood effect on "Zad."

SEQUENCERSYNERGY-Passport PPSD-98014 (ABC) (6.98)Larry Fast is Synergy-an ensemble ofelectronic synthesizer equipment whichhe programs for both original composi-tions and ,this time around, the MasonWilliams piece, "Classical Gas" and RalphTowner's "Icarus." The layers are orche-stral without traditional instruments.



A Clear Caseof "Hearts"

break.

1,,

Candi Staton's "Young Hearts Run Free" broke wide open as a soul singlewhen it was released... and it's breaking pop as you read this.And "Young Hearts Run Free" is only one eighth of the excitement on CandiStaton's brand new Warner Bros. LRThe album's title: YOUNG HEARTS RUN FREE. Easy to remember. Easyto listen to. And ready to do some breaking of its own.On Warner Bros. records and tapes.

New Y rk, N.Y.By IRA MAYER & BARRY TAYLOR

MAKE YOUR OWN CONNECTIONS: What prominent Bay Areasinger is hanging out with Tom Dowd these days? . . . What promi-nent TV/film personality, recently in the headlines, signed a $1 mil-lion contract with Casablanca? . . . Will long-time silent Beach BoyBrian Wilson, said to have taken a major role in the up -coming "15Big Ones" (songs and years together) Ip, show up in an equally activerole on tour this summer? . . . Where did the order barring freelancephotographers from the Wings shows in the New York area comefrom? (Only wire services and the Maysles Brothers got through.) .Caravan to Arista? .. . Ian Thomas to Chrysalis?

THE MASKED GAS MAN: How many red blooded American youthsever yearned to be in a British rock and roll band-at least for a shortwhile? That privilege was given to an unidentified passerby recentlyin the RW offices when Joey Molland, Jerry Shirley and Mark Clarke ofNatural Gas were asked to pose for a photo without the group's fourth


Capitol Promotes Perry; Realigns A&R Staff LOS ANGELES - BhaskarMenon, chairman, president andchief executive officer, CapitolRecords Inc., has announcedthat Rupert Perry, formerlydivisional vice president and gen-eral manager, a&r, has beenelected vice president, a&r.

Simultaneously, Rupert, whowill continue to report to DonZimmermann, executive vicepresident and chief operating of-ficer, announced a re -alignmentof the a&r staff.

John Carter will move into thenewly -created position of directorof artist acquisition. Ben Ed -

Capricorn Ups RushMI MACON - Don Schmitzerle,vice president and general man-ager of Capricorn Records, hasannounced the promotion of PhilRush to the position of directorof national promotion.

Rush joined Capricorn in April,1975, as western regional promo-tion manager and later moved upto national album promotionmanager before assuming his newpost.

Prior to joining Capricorn,Rush served as both a local pro-motion manager in Memphis andNew Orleans fcr RCA Records,and as western regional promo-tion manager for RCA.

monds joins Capitol in anothernewly -created position, director,talent acquisition, west coast.David Cavanaugh, a veteran Capi-tol a&r man and currently a divi-sional vice president, a&r, willcontinue in that capacity withgreater responsibilities in the areaof special projects. John Palla-dino, another senior a&r execu-tive, hasbeen appointed director,a&r-recording. All four will re-port directly to Perry.

Perry joined Capitol in 1972after working with EMI. He servedas assistant to the executive vicepresident and chief operatingofficer, director of internationala&r, general manager of a&r andvarious other positions in thea&r department before beingmade divisional vice presidentand general manager, a&r, earlierthis year.

Ninth CreationSigns with Pye NEW YORK-Pye Records hassigned The Ninth Creation to along-term, exclusive worldwiderecording pact, it was announcedby Marvin Schlachter, presidentof the label.

The Ninth Creation is a 10 pieceCalifornia r&b band. Their album,"Falling in Love," is due in June.

Isabelle Aubret France

Kira Sdriq Hee Kored

Lara Saint Paul eltaly Tanya Tucki- U.S.A.

Nb'll, .11111'

5thTOKYOMUSICFESTIVAL

Veronique Sanson *France

Daniel Boone England

Su Shifrin England Rufus U.S.A.

THE 5111 jef July 27'TORVO 1976

71R7 SIC FESTIVALKimio Okamoto, Executive Director TOKYO MUSIC FESTIVAL FOUNDATIONc/o Tokyo Broadcasting System, Inc. 3-6 Akasaka 5-chome, Minato-ku, Tokyo, JapanTelephone: 586.2406 Cable Address. TOKYOMUSICFEST Telex No.: J23295 Answer back code: TOPOMPA


THENEW

YORKSOUND L'(-4,gintro

SUMMER MADNESS

BREAKING OUTKool & The Gang's version of "Summer Madness" is infecting the entire country.

More of Kool & The Gang on the album"Love & Understanding"

STATIONS REPORT SYMPTOMS:WAOK-AtlantaWIGO-AtlantaWXAP-AtlantaINIBB-MaconWOKS -ColumbiaWSOK-SavannahWJLD-BirminghamWENN-BirminghamWGOK-MobileVVVLD-ValdostaWEAS-SavannahWFDR-GeorgiaWVNS-Tusg.WBIL-Tusg.WBLX-Mobile Ala.WDWD-Dawson Ga.WJIZ-Albany Ga.WBVL-BirminghamWTGB-BrownsvilleWBNS-ToccaINLET-ToccaVVBIL-Tusg.WQXI-FMWWIN-BaltimoreWEBB-BaltimoreWOL-WashingtonWXEL-New OrleansWHUR-WashingtonWANN-AnnapoliskVINX-WashingtonWAYE-WashingtonVVMAL-FM-WashingtonMKS -Silver SpringsWHFS-Silver SpringsWPGC-WashingtonWILD -BostonWKNO-N. H. Conn.WBCN-FM-BostonWAAF-FM-WorcesterWHCN-HartfordWBRU-FM-ProvidenceWGAW-GardenWCOZ-FM-BostonWBET-BroctonWPBS -CambridgeWTCC-SpringfieldWPTR-AlbanyWVON-Chicago

WJPC-ChicagoWNOV-MilwaukeeWAWA -MilwaukeeKKSS-St. LouisKATZ-St. LouisWESL-E. St. LouisKPRS-KansasKOWH-OmahaWMPP-ChicagoVVVVCA-ChicagoWGCI-ChicagoWBMX-ChicagoWABQ-Clev.WJMO-Clev.WAMO-PittsburghWKLR-ToledoWVKO-ColumbusWCHB-DetroitWJLB-DetroitWWWS-SaginawWAMM-FlintWCIN-CincinnatiWLYT-Clev.WGPR-DetoritMIOS-Clev. WLOK-MemphisWMMS-FM-Clev. WNOO-ChattanoogaWCOL-FM-Columbus WOKJ-JacksonWVIC-Lansing WKXI-JacksonWNCI-Columbus KCAT-Pine Bluff

KALO-Little RockKOKY-Little RockWVOL-NashvilleWCMT-Mart inWCMT-FM-Mart inWLAC-FM-NashvilleWMBM-MiamiWEDR-MiamiWRBD-Ft. Laud.WIMP -TampaWBOP-PensacolaWPDQ-JacksonvilleWCKO-Ft. Laud.WANM-TallahasseeWSRF-Ft. Laud.WBOK-New OrleansWYLD-New OrleansKOKA-ShreveportINNINR-New Orleans

WEBN-Cinn.WOVB-AthensWVVD-DaytonWIOT-ToledoWGCL-Clev.WCUE-AkronWDVE-Pitts.WAKR-AkronWYDD-Pitts.WARC-MedvilleWJZZ-DetroitWABX-DetroitWWWW-DetroitKKDA-DallasKNOK-Ft. WorthKCOH-HoustonKYOK-HoustonKJET-BeaumontKAPF-San Antonio

KGBC-GalvestonWNNRKZEYKIOU-DallasKGFJ-L.A.KDIA-OaklandKYAC-SeattleKTYM-FM-L.A.KSOL-San MateoXEAZ-San DiegoKDAY-L.A.KUTE-L.A.KQIV-PortlandKSAN-San FranciscoKSFX-San FranciscoKNAC-Long BranchKYES-RoseburgKALX-BerkeleyKBOS-TulareKTYO-FM-San BernardinoKUDE-San DiegoWSBR-San BernardinoKMET-L.A.WDIA-Memphis

WBLS-N.Y.WNJR-NewarkWBLK-BuffaloWUFO-BuffaloWDKX-RochesterWUSS-Atlantic CityWTNT-Trent onWRVR-N.Y.WPIX-N.Y.VVBAB-BabylonWOUR-FM-UticaWCHU-IthacaWBAU-Garden CityWFLY-AlbanyWRNW-RomeWRCN-RomeWRNY-RomeWKAL-RomeWGIV-CharlotteWPAL-CharlestonWLLE-RaleighWAAA-Winston-SalemW1OU-FayettevilleWSRC-DurhamWYNN-FlorenceWEAL -GreensboroWIND -OrangeburgWWIL-WilmingtonWELK-CharlottesvilleWDAS-FM-Phil.WHAT -Phil.WUSS-Atlantic CityWTNT-Trer.tonWCAU-FM-Phil.WMIVIR-FM-Phil.WCMB-HarrisburgWANT -RichmondWENZ-RichmondWRAP -NorfolkWTOY-RoanokeWJJS-LynchburgVVVVNR-Berkeley, W.Va.WPCE - PortsmouthWROV-RoanokeWTON-StantonWORL-OrlandoWERD-JacksonvilleWTAL-Tallahassee

COMING NEXT(LOVE

& UNDERSTANDING""UNIVERSAL

SOUND"

"

THE CONTAGIOUS SINGLEOFF THE ALBUM

DEP 1583

THE INFECTIOUS ALBUM DEP 2018

AVAILABLE ON DEUTE RECORDS AND GRT TAPES

AM ACTI N(Compiled by the Record World research department)

MI Thin Lizzy (Mercury). Developing strongly with

more powerhouse adds, including WLS and WQXI (24).Movement includes 39-31 WIXY, 20-16 Y100, 22-16

WRKO, 31-25 KTLK, 24-20 KSTP, 23-20 KFRC, HB-40

KILT and 35-32 WCOL. Sales are mushrooming all over.

Manhattans (Columbia). Already top 5 in Atlanta(12-5) and exploding nationally with tons of new

airplay and pop sales across the board. Picked this

week at WABC (13), 13Q (18), CKLW, KSLQ and WPGC (22)

and moves HB-20 WFIL, 32-22 WCOL,39-22 KTLK and 26-18 KILT. (Note:This week's Powerhouse Pick.)

Starbuck (Private Stock). Continuesto gain new markets with Y100 (23),WOKY (26) and KXOK, and makes impres-sive moves in all markets already withit. HB-23 KLIF, extra -28 WMAK, HB-24WFIL, 29-20 WIXY, 23-19 KDWB, 2-2

WQXI, 9-9 WCOL, 21-16 KFRC, 23-20 WHBQ, 30-25 KSTP,22-17 KSLQ, 17-13 KJR, 25-18 WPGC and 40-37 KILT.

Gary Wright (Warner Bros.) Enjoying lots of newairplay, including WFIL, KSLQ, KXOK and WMAK. Jumpsin most areas are very healthy: 10-5 WOKY, 24-15WPGC, 28-19 KILT, 15-11 KTLK, 21-15 KJR, 29-21 WHBQ,27-22 KFRC, HB-22 WRKO, 21-18 WQXI, 8-6 WIXY and #2WCOL. Selling

Thin Lissy

singles and 1ps.Starland Vocal Band (Windsong).

Taking some enormous jumps and sell-ing through solidly. New on WOKY andKTLK, and moves 21-9 KSTP, 25-17 KJR,

KILT, 22-16 WQXI, 8-5 WCOL,17-12 KDWB, HB-25 WFIL, 22-17 KHJ,HB-27 CKLW, 30-28 WHBQ, HB-25 KLIF,HB-24 KFRC and extra -26 WMAK.

John Travolta (Midland Intl.). Theaction out of Pittsburgh and Cleveland has ricochetedinto the rest of the country as no less than sixheavy stations jumped on the disc this week and last.Added this week at CKLW, WRKO, KFRC and WHBQ and lastweek to KJR and WCOL. Still top 5 at 13Q and WIXY.Sales are developing in the south and east.

Vicki Sue Robinson (RCA). A Boston breakout (3-2WRKO), this record, which picked up KFRC last week,has bounced around to WFIL and KHJ as well. Onecouldn't ask for a better test than that!Queen (Elektra). Taking an easier route with this

release, now that the group has proven itself as faras top 40 appeal goes. Going with the record this weekare WPGC, KJR, Y100 (night extra) and WCOL. Also onCKLW (HB-22), WRKO, WCAO, KSTP, WZUU, KING, WORCand WBBQ. Even with the relentless action on "Bo-hemian Rhapsody," this one is already enjoying adecent sales buzz.

CROSSOVERAretha Franklin (Atlantic). This huge r&b record

(52-31 bullet on the RW r&b singles chart) looksassured of a similar story on the pop end.Added last week at WDRQ #17 and this week to CKLW.

NEW ACTIONBeach Bogs (Brother/Reprise) "Rock and Roll

Music." An out -of -the -box add last week (mid -week)from WLS (airing it once an hour), this old ChuckBerry tune is in for the revival of its life! Also onKDWB, WRKO, KSTP and KILT among others.

Carpenters (A&M) "I Need To Be In Love." Automaticadds on this new release, including KHJ, KTLK, KSTP,KIMN, WPRO and 99X. Stay close to this one.

CONCERT REVIEW

Aerosmith Comes of Age NEW YORK - The night mayhave been clear, the moon mayhave been yellow and the leavesmay have been tumbling downoutside, but inside MadisonSquare Garden (10), Aerosmith(Col) was shaking loose the build-ing's very foundation with a

generous sampling of the sort ofhigh -voltage, high -decibel rockmusic that has contributed to thegroup's becoming one of the pre-eminent teenage attractions inAmerica. Like its closest competi-tor, Kiss, Aerosmith won its initialsuccess the hard way: without ahit single, without much FM air-play, without a great deal of pro-motion, the group built up itssizeable following by touring in-cessantly throughout the heart-lands and the east coast. Word ofmouth was its meal -ticket, andthe more Aerosmith returned toan area, the less audience re-sistance it met.

A few months ago the barrierscrumbled: Aerosmith's catalogueof albums began moving steadilyuntil all were on the charts atonce; sellout corcerts becamede rigeour; "Dream On," pulledas a single from the group's firstalbum, became an AM staple andreached the number six positionon the Record World singleschart. That there was a selloutaudience on hand at the Gardenwas merely the final affirmation ofAerosmith's coming of age.

Musically, Aerosmith's ap-proach is fairly straightforwardand no-nonsense. Solid powerriffing by guitarist Joe Perry (whohas developed into a redoubtablerhythm master) and Brad Whit-ford (who also slips in somestinging, tasty lead lines everynow and then) propels each num-ber as bassist Tom Hamiltonand drummer Joey Kramer pro-vide the solid bottom. Soaringover all of this, of course, are

CBS Fetes L&M

the distinctive, gritty vocals ofSteven Tyler.

From the blues inflections of"Big Ten -Inch Record" to thefunk of "Walking The Dog" tothe driving, relentless, sharp -edged rock and roll of "TrainKept A -Rollin'," Aerosmithdemonstrated its unflaggingpower. However, there was onemoment that was both tenderand tough; when those years ofroad work paid off handsomely;when the band members surelyconvinced themselves once andfor all that they would neverlook back again: illuminated by adim red spotlight, Tyler caressedand toyed with the first threeverses of a song. Leaning on themike stand, he swayed slightlyto the beat of the music thatrose then fell-teasingly so-inintensity. Once more the musicrose. Tyler straightened up, andwhen his voice cut through it waspowerful, urgent, magnificent-"Sing with me/sing for the years/sing for the laughter/sing for thetears . . . dream on, dream on,dream on . . . " Memories aremade of this.

Ted Nugent (Epic) opened theshow and proved that in 1976the word "music" has manydefinitions. One of rock's pre-mier madmen, Nugent rampagedacross the stage, glared at thefront row, mounted his amplifiersand created an amount of feed-back the likes of which this re-porter hasn't heard in a good fouror five years. (Though Nugent'sband boasted a singer, hecouldn't be heard.) Like BuckyWunderlick in Don DeLillo's"Great Jones Street," Nugent'spurpose is to maim, possiblyeven kill, with his music. Suchnoble aspirations speak for them-selves; it is senseless to scruti-nize the motives behind them.

David McGee

Columbia recording artists Loggins & Messina were recently in New York where aspecial luncheon was held in their honor, the week of their Avery Fisher Hall engage-ment. Their latest album is "Native Sons." Shown at the luncheon are, from left:Stan Monteiro, vice president, national promotion, Columbia Records; Larry Larson,Loggins & Messina's manager; Jack Craigo, vice president and general manager,marketing, CBS Records; Kenny Loggins; Don Dempsey, vice president, marketing,Columbia Records; Jim Messina; Genny Messina; Stan Snyder, vice president, nationalaccounts marketing, CBS Records and Paul Smith, vice president, marketing/branch dis-tribution, CBS Records.


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New Orleans

June 12,1976

SEMINARTIMETABLE

Date

ICH8: 9:75

11:15:7E

Locilti onSan Francisco

Boston

Atlanta

Denver

4: 3:76 St. Louis

6:12:76 New Orleans

The Record VVorld Trade/Radio Seminar Series,the most widely acclaimed and highly sought afterforum of its kind, MI be coming to your Maiotsoon. Don't miss the opportunity to be part o' thisInnovative, informative and educational event

DIAL GUETHE VIEWPOINTS OF THE INDUSTRY

Joe Sutton: Looking Beyond The Mystic MoodsBy ELIOT SEKULER

foe Sutton and Brad Millerfounded Sutton -Miller Enterprisesin September of 1974, establishingtwo labels simultaneously: Sound -bird and Shadybrook. The firstspecialized in the company's lineof environmental music, includingthe nine -album Mystic Moods cat-alogue; the latter featured thecompany's roster of contemporaryartists. At present, ShadybrookRecords boasts a burgeoning ros-ter that includes El Chicano,Bobby Vee, Cheyenne, Kellee Pat-terson and Douglas Lucas. Inbuilding his Mystic Moods cata-logue into a formidable retail line, Sutton, whose background includesmanagement of such artists as Neil Diamond and Rick Nelson and avice presidency at MCA, utilized an innovative approach to merchan-dising, and that same attention to detail has carried over to his workwith his Shadybrook roster. In the following Dialogue, Sutton discusses

the role of the small independent manufacturer in the record industryand outlines some plans for the future development of his two labels.

Joe Sutton

Record World: Why did you decide to go independent instead of

going as a custom label?Joe Sutton: I wanted to control my destiny and I have seen too

many examples of big companies where one is like a stepchild. Yourproduct is under the left arm and all of the parent company's isunder the right arm, and you have to really create the momentumbehind a record anyway, while still giving the majority of the profitsto that company which should be creating the momentum, so youare giving too much and getting too little. With that as an alternative,I felt that I might as well take a gamble. I wanted to be in the positionto garner the maximum profit from success, because failure is just asexpensive if you're being distributed by majors as it is if you're anindependent.

RW: Before going independent you had several distribution dealswith majors. What specifically was wrong with those arrangements?

Sutton: They're very honest and good companies but I was relyingon their information about my records, rather than being in a posi-tion where I was telling them what I needed because I had the infor-mation myself. I was always in the position of guessing what washappening. Were there records in the market? There was no way ofknowing. Half the time that I heard that there was airplay, there wasnot. It wasn't the record companies' fault, it's just that they are sooverstocked with product and they have so many independent deals.At Warner Brothers, no matter who you are, you are second to Capri-corn and their own artists. At all the majors, you're a mistake untilthe success comes and then you're in a power position. On the otherhand, the independent distributors are looking for a success. Theyhave to have it. An independent really looks to an independent be-cause they have been burned badly by the big companies. Almostevery time they have helped to create a big corporate entity, thatcorporation says "Look at all the dollars we have, we better spend itand build our own branches." Or "let's build ourselves, we can shipto ourselves and we can create anything that we want, dollar -wise."And the poor independents are looking for companies. The perfectexamples are Neil Bogart and myself. We are a peanut in the recordindustry but they support us, they promote for us, they deal straightwith us. I walk into towns and I see that my merchandise is out andmy singles are getting exposed. And the big fallacy in this businesstoday is that independents don't pay. They pay us better than theiraccounts pay them. The poor independent is waiting for his moneyfrom major stores and still paying us.

Independent distribution is as big a gamble as independent recordmanufacturing. They are going with the little guy because all of thebig guys have their own branches. The little guy-the independent-has to work harder and concentrate more; it's like raising a baby and

when that baby leaves you, where are you? You're like a parent: youhave invested all this time and effort in building a record companyinto a major, and then the major goes and opens its own branches orsells out to a corporate structure. When I look at A&M and Motown,I respect them more for their loyalty than for their success because itwould be so easy for Jerry Moss, for example, to say "I want to casftin." They are major companies who could open their own branchesand cut the indie distributors out. What is keeping them is their loyalty,and the independents, realizing this, work hard for them. I know;I'm there.

RW: Did you find that distribution is evenly good across thecountry?

Sutton: No. There are hot and cold points. For example, we havethe SSO album which was a hit in Chicago and Atlanta and did okayin New York and L.A., but we could not spread it. I'll never knoifwhether it was the record or whether it was our promotion or if thedistributors just could not get behind it. I think it was the record.It was a good record; it did well for itself, and as a result, we'vestarted on the road to establishing an act. Wherever we go everybodyknows about our record and us and everybody knows the MysticMoods. A year ago they were laughing at us when we put out theMystic Moods; now we have sold well over a quarter of a millionunits-it's moving. We have had two chart singles with the MysticMoods; they weren't red hot, but they were chart singles. And therepackaging has been incredibly important to us in terms of sales.Beyond that, what the Mystic Moods did was to show people thatwe are serious. We've gotten play on every record that we put outand we're getting stations on our records only through our ownefforts and the efforts of our independent distributors. The fact thatsome of our records have sold only moderately well is our own faultfor not giving our distributors that automatic hit record. But whenwe get it, they'll back it up; it's just an a&r success that we're lookingfor.

I want to be in the hit record businessvery badly-we all do-but the possi-bilities that exist are far wider thanthat. The Mystic Moods albums haveserved as an education for me. I don't 99walk around snapping my fingers; I

walk around thinking about promo-tions and display materials.

RW: What percentage of your business is done by the MysticMoods?

Sutton: It has been about 80 percent of our business, but I thinkthat that will change very soon. We've just signed El Chicano and I

I think our first album with them will go over 100,000 units. At thesame time, we have a new Mystic Moods album as well and I don'tthink we'll be losing any volume on the Mystic Moods catalogue.I hope that by the end of the year, about 50 percent of our businesswill be with the Mystic Moods, and that we'll have had other actsestablished as well.

In addition to El Chicano, who we just recently signed, we haveBobby Vee, with whom we'll also be doing an album. A lot of otherpeople have been walking in the door and we'll see whether we cansign some other important acts.

RW: Will there be an actual act called the Mystic Moods?Sutton: We're putting together an act. Joe Gannon, who is a dear

friend and has worked with Alice Cooper and Raquel Welch, gottogether with me when I used to manage Neil Diamond. Joe did ourshow back then; he's the best. He's involved in putting together aMystic Moods orchestra for us-an actual show that will go out onthe road.

RW: Several people have commented on the new marketability forenvironmental music. Do you think that there will be "hit moodmusic" in the future? (Continued on page 79)


ABBA MAKESHISTORY INAUSTRALIA.

*400,000 "BEST OF ABBA" IN 10 WEEKS.*360,000 "ABBA"IN 20 WEEKS.*200,000 "FERNANDO"SINGLES IN 9 WEEKS.5 SINGLES IN THE TOP TEN APRIL,1976.CHANNEL 9 SPECIAL SETS NEW HIGHIN RATINGS (YES, HIGHER THAN N.D.!)RCA IS PROUD TO BE ASSOCIATED WITH STIG ANDERSON AND IVAN MOGULL

WE THANK ABBA FOR THEIR MUSIC AND FOR BEING WHAT THEY ARE

COME BACK - THE HEARTS OF AUSTRALIA ARE OPEN TO YOU

*Total Australian population: 13% million RCA

1 SolTHE SINGLES CHART

15JUNE 5, 1976JUNE MAY

S 29

101 102 YOU'RE MY EVERYTHING LEE GARRETT-Chrysalis CRS 2112 (WB)(Island, BMI)

102 107 JOHNNIE COOL STEVE GIBBONS BAND-MCA 40551(Towser Tunes/Naimad Laine, BMI)

103 103 I'LL GET OVER YOU CRYSTAL GAYLE-United Artists XW781 Y(Pulleybone, ASCAP)

104 104 EVERYTHING THAT 'CHA DO (WILL COME BACK TO YOU) WET WLI.LIE-Capricorn CPS 0254 (WB) (No Exit, BMI)

105 106 NORMA JEAN WANTS TO BE A MOVIE STAR SUNDOWN COMPANYPolydor PD 14312 (Natural Songs, ASCAP)

106 112 SAVE YOUR KISSES FOR ME BOBBY VINTON-ABC 12186(Easy Listening, ASCAP)

107 119 MUSIC JOHN MILES-London 5N 20086 (Velvet/RA/PUB)108 105 AMERICA THE BEAUTIFUL RAY CHARLES-Crossover 985 (Tangerine, BMI)109 110 LET IT SHINE AL GREEN-Hi 5N 2306 (London) (Jec/AI Green, BMI)110 - FLAMING YOUTH KISS-Casablanca NB 858

(Cafe Americana/Rock Steady, ASCAP; All By Myself, BMI)111 127 I'M EASY KEITH CARRADINE-ABC 12117 (Lion's Gate/Easy, ASCAP)112 124 FOXY LADY CROWN HEIGHTS AFFAIR-De-Lite DEP 1581

(Delightful, BMI)113 125 RAINBOW IN YOUR EYES LEON & MARY RUSSELL-Paradise 8208 (WB)

(Teddy Jack, BMI)114 118 JUKIN' ATLANTA RHYTHM SECTION-Polydor 14323 (Low -Sal, BMI)115 108 I GET LIFTED SWEET MUSIC-Wand WDS 11295 (Scepter) (Sherlyn, BMI)116 117 YOU KNOW THE FEELIN' STEVE WIGHTMAN-Farr 003 (Carmelo, SESAC)117 145 HUNGRY YEARS WAYNE NEWTON-Chelsea CH 3041 (Don Kirshner, BMI)118 122 EASY LOVIN'/WE GOT THE RECIPE BO KIRKLAND & RUTH DAVIS-

Claridge 414 (Blue Book, BMI)119 123 BUTTERFLY FOR BUCKY BOBBY GO,LDSBORO-United Artists XW793 Y

(Unart/ Pen In Hand, BMI)120 - HEAVEN MUST BE MISSING AN ANGEL TAVARES-Capitol P 4270

(Bull Pen, BMI, Perren Vibes, ASCAP)121 121 BETTER DAYS MELISSA MANCHESTER-Arista 01 83

(Rumanian Pickle Works/Columbia/N.Y. Times, BMI)122 - PLAY THAT FUNKY MUSIC WILD CHERRY-Epic 8 50225

(Bema / Blaze, ASCAP)123 128 I'M GONNA LET MY HEART DO THE WALKING THE SUPREMES-

Motown M 1391F (Holland -Dozier -Holland, ASCAP; Stone DiamondGold Forever, BMI)

124 126 SHARING THE NIGHT TOGETHER LENNY LE BLANC-Big Tree(Atlantic) (Alan Carter, BMI, Music Hall. ASCAP)

125 - LIGHT UP STYX-A&M 1818 (Stygian, ASCAP)126 - HEAR THE WORDS, FEEL THE FEELING MARGIE JOSEPH-

Cotillion 44201 (Atlantic) (Dozier, BMI)127 129 IT'S GOOD FOR THE SOUL LUTHER-Cotillion 44200 (Atlanti

(Elvee-Deekay, ASCAP)128 135 BREAKER -BREAKER OUTLAWS-Arista 0188 (Hustlers, BMII129 130 TOWN CRYER SCOTT KEY-Pyramid 8002 (Roulette)

(Planetary/Karolman, ASCAP)130 132 SOME GUYS HAVE ALL THE LUCK SHAKERS-Asylum 45314

(Kirshner, ASCAP)131 131 SAD EYES MARIA MULDAIR-Warner-Reprise RPS 1352

(Don Kirshner, BMI, KEC, ASCAP)132 134 DAYDREAMER GINO CUNICO-Arista 0181 (Warner Bros., ASCAP)133 138 HELLO. OPERATOR GERARD-Caribou ZS8 9013 (CBS) (Big Elk, ASCAP)134 - SHARING THE NIGHT TOGETHER ARTHUR ALEXANDER-Buddah

BDA 522 (Music Mill, ASCAP, Alcartee, BMI)135 137 COULD IT BE MAGIC DONNA SUMMER-Oasis 405 (Casablanca)

(Kamikozi /Angel Dust, BMI)136 113 YOU GOT THE MAGIC JOHN FOGERTY-Asylum 45309

(Greasy King, ASCAP)137 139 ROCK ME EASY BABY ISAAC HAYES-ABC 12176 (Incense, BMI)138 114 AMERICA THE BEAUTIFUL CHARLIE RICH-Epic 8 50222 (Julep, BMII139 141 MIDNIGHT LOVE AFFAIR TONY ORLANDO & DAWN-E(ektra 45319

(Midsong, ASCAP)140 144 LIE TO ME BILL LA BOUNTY -20th Century TC 2290

(Captain Crystal, BMI)141 1 1 1 YES. I'M READY TOM SULLIVAN-ABC 12174 (Dandelion/Stillman, BMI)142 120 GET OFF YOUR AAHHI AND DANCE (PART I) FOXY-Dash 5022

ITKI (Sherlyn, BMI)143 146 CAUGHT IN THE ACT 10F GETTING IT ON) FACTS OF LIFE-

Kw/vette 5176 ITKI (1,vinn, BMII144 133 (WHAT Al WONDERFUL WORLD JOHNNY NASH-Epic 8 50219

(Koos. BMII145 140 FODFVER AND FVFR $1.1K-Arista 0179 (Famous. ASCAP)146 142 LADY OF THE LAKE STAPCASTLE-Epic ff 50226 (Sun Singer, ASCAP)147 143 NIGHT WALK VAN McCOY-HL 4667 (Van McCoy/Warner-

TornorInnr.. BMII148 - FROM MY HEART TO YOURS CHAP,IES EARLAND-Mercury 73793

IFI.th EnrInnci. BMII149 136 LOOKIN' OUT FOR it 1 BACHMAN-TURNER OVERDRIVE-

Mercury 737P4 1Ponhry:h /inn Soil, BMI)150 - WILL YOU LOVE ME TOMORROW DANA VALLRY---Phantom

JB 1 0566 (RCA) Screen Gems Columbia, BMI)

ALPHABETICAL LISTINGSINGLES CHARTPRODUCER, PUBLISHER, LICENSEE

A FIFTH OF BEETHOVEN RFT Music Pub.Corp. (RFT, BMI) 93

AFTERNOON DELIGHT Milton Okun(Cherry Lane, ASCAP) 31

ALL BY MYSELF Jimmy lenner(C.A.M./U.S.A., BMI) 73

BARETTA'S THEME: KEEP YOUR EYE ONTHE SPARROW Steve Bari & MichaelOmartian (Leeds/Dutchess, ASCAP) 24

BIG FOOT J.C.P.I. (Cascargo, BMI) 53

BOHEMIAN RHAPSODY Roy Thomas Baker(Tridnt, ASCAP) 20

BOOGIE FEVER Freddie Perren (PerrenVibes/Bullpen, ASCAP/BMI) 4

C'MON MARIANNE Mike Curb(Saturday/Season's Four, BMI) 84

COME ON OVER John Farrar (Casserole/Flamm, BMI) 68

CRAZY ON YOU Mike Flicker(How About Music, CAPAC) 47

DANCE WIT ME Rufus (MoCrisp, ASCAP) 44DECEMBER 1963 (OH WHAT A NIGHT)

Bob Gaudio (Seasons/Jobete, ASCAP) 19DISCO LADY Don Davis (Groovesville,

BMI, Conquistador, ASCAP) 18DON'T PULL YOUR LOVE/THEN YOU CAN

TELL ME GOODBYE Dennis Lambert &Brian Potter (ABC Dunhill/Acuff-Rose,BMI) 96

DON'T STOP IT NOW Mickie Most(Finchley, ASCAP) 49

DREAM ON Adrian Barber (Daskel, BMI) 41

DREAM WEAVER Gary Wright (WarnerBros., ASCAP) 37

FOOLED AROUND AND FELL IN LOVEAlan Blazek & Bill Szymczyk (Crabshaw,ASCAP) 9

FOOL FOR THE CITY Nick Jameson(Knee Trembler, ASCAP) 77

FOOL TO CRY The Glimmer Twins(Promopub B.V., ASCAP) 23

FRAMED Lou Adler (Quintet/FreddyBienstock, BMI) 89

FRIEND OF MINE M. Campbell & L.Graham (Malaco, BMI) 94

GET CLOSER Louie Shelton (Dawnbreaker,BMI) 55

GET UP AND BOOGIE Michael Kunze(Midsong, ASCAP) 3

GOOD VIBRATIONS Todd Rundgren(Irving, BMI) 87

HAPPY DAYS Steve Barri & MichaelOmartian (Bruin, BMI) 6

HAPPY MUSIC Donald Byrd (Elgy, BMI) 71

HURT (Miller, ASCAP) 88I NEED TO BE IN LOVE Richard Carpenter

(Almo/Sweet Harmony/Hammer andNail/Landes-Roberts, ASCAP) 6

I'D HAVE TO BE CRAZY Willie Nelson(Prophecy, ASCAP) 99

I HOPE WE GET TO LOVE IN TIMEDon Davis (Groovesville, BMI) 98

I.O.U. Widenmann & Herron (Plainview,BMI) 50

IT'S OVER Joe Wissert (Boz Scaggs Music) 57IT MAKES ME GIGGLE Milton Okun

(Cherry Lane, ASCAP) 67I'VE GOT THE FEELING (WE'LL BE

SEEING EACH OTHER AGAIN) MarcGordon (Irving, BMI) 76

I WANT TO STAY WITH YOU DavidKershenbaum (Irving, BMI) 83

I WANT YOU Leon Ware & T -Boy Ross(Almo-Jobete, ASCAP) 35

I'LL B GOOD TO YOU Quincy Jones(Kidada/Gouldris, BMI) 33

KISS AND SAY GOODBYE Bobby Martin(Nattahnam/Blackwood, BMI) 29

LET HER IN Bob Reno (Midsong, ASCAP) 46LET YOUR LOVE FLOW Phil Gernhard &

Tony Scotti (Loves & Fishes, BMI) 16LONELY NIGHT (ANGEL FACE)

Daryl Dragon & Tony Tennille(Don Kirshner, BMI) 32

LONELY TEARDROPS Johnny Morris(Merrimac, BMI) 82

LOVE HANGOVER Hal Davis (Jobete,ASCAP) 2

LOVE IN THE SHADOWS Neil Sedaka (DonKirshner/Kirshner Songs, BMI/ASCAP) 22

LOVE IS ALIVE Gary Wright (WarnerBrothers, ASCAP) 30

LOVE REALLY HURTS WITHOUT YOUBen Findon (Black Sheep/CommonGood/Pockt Full of Tunes, BMI) 56

MAKING YOUR DREAMS COME TRUEJanna Merlyn Feliciano & CharlesFox (Burin, BMI) 45

MAMMA MIA (Bjorn Ulvaeus & BennyAndersson (Countess, BMI) 64

MARRIED BUT NOT TO EACH OTHERCrajon Ent. Inc. (Ordena/Bridgeport,BMI) 85

MISTY BLUE Tom Couch & James Stroud(Talmonte, BMI) 8

MONEY HONEY Phil Weinman (HudsonBay, BMI) 69

MOONLIGHT FEELS RIGHT Bruce Blackman& Mik Clark (Brother Bill's, ASCAP) . 28

MORE, MORE, MORE Gregg Diamond(Buddah/Gee Diamond, ASCAP) 12

MOVIN' Jeff Lane (Desert Moon Ltd./Jeff -Mar, BMI) 21

NEVER GONNA FALL IN LOVE AGAINJimmy lenner (C.A.M./U.S.A., BMI) 25

NUMBER ONE Billy Swan & Chip Young(Combine, BMI) 91

NUTBUSH CITY LIMITS Bob Seger &Punch Andrews (Unart/Hug, BMI) 92

ONE PIECE AT A TIME Charlie Bragg &Don Davis (Tree, BMI) 66

ONLY 16 Ron Haffkine (Kags, BMI) 36

RAIN, OH RAIN Glen Frey (Frank Share/Big Shorty, ASCAP) 100

RHIANNON (WILL YOU EVER WIN)Fleetwood Mac & Keith Olsen(Rockhopper, BMI) 10

RIGHT BACK WHERE WE STARTED FROMPierre Tubbs & Vince Edwards (Unart/ATV, BMI) 15

ROCK AND ROLL LOVE LETTER ColinFrechter (Ackee/Andustin, ASCAP) 34

ROCK AND ROLL MUSIC Brian Wilson(Arc, BMI) 74

SARA SMILE Christopher Bond, Daryl Hall& John Oates (Unichappell, BMI) 11

SAVE YOUR KISSES FOR ME Tony Hiller(Tony Hiller, ACAP) 62

SHANNON Cashman and West(Blending -well, ASCAP) 5

SHOUT IT OUT LOUD Bob Ezrin (CafeAmericana/Rock Steady, ASCAP; All ByMyself/Fran Bee Music Ltd., ASCAP) 72

SHOP AROUND The Captain and ToniTennille (Jobete, ASCAP) 13

SHOW ME THE WAY Peter Frampton(Almo/Fram-Bee Music Ltd., ASCAP) 17

SILLY LOVE SONGS Paul McCartney(MPL Communications Inc. By Air withATV, BMI) 1

SIXTEEN TONS Don Harrison Band(Unichappell/Elvis Presley, BMI) 78

SOMETHING HE CAN FEEL CurtisMayfield (Warner -Tamerlane, BMI) 80

SOPHISTICATED LADY Jackson, Yancy,Barge & Evans (Jay's Enterprises/Chappell; ASCAP) 86

STRANGE MAGIC Jeff Lynn (Unart/Jet,BMI) 26

STILL CRAZY AFTER ALL THESE YEARSPaul Simon & P. Ramone (Paul Simon,BMI) 65

SWEET LOVE James Carmichael & TheCommodores (Jobete/Commodores,ASCAP) 40

SWEET THING Rufus (AmericanBroadcasting, ASCAP) 60

TAKIN' IT TO THE STREETS TedTempleton (Tauripin Tunes, BMI) 27

TAKE THE MONEY AND RUN Steve Miller(Sailor, ASCAP) 42

TEAR THE ROOF OFF THE SUCKER (GIVEUP THE FUNK) George Clinton (Malbiz& Ricks, BMI) 38

THAT'S WHERE THE HAPPY PEOPLE GOBaker, Harris & Young (Burma East,BMI) 51

THE BOYS ARE BACK IN TOWN JohnAlcock (RSO, ASCAP) 43

THE LONELY ONE Prod. not listed (Brent,BMI) 75

THINKING OF YOU Paul Davis (Web IV,BMI) 97

'TIL I CAN MAKE IT ON MY OWNBilly Sherrill (Algee/Altam, BMI) 95

THIS IS IT Van McCoy (Warner/Tamerlane,BMI) 90

TODAY'S THE DAY George Martin(Warner Bros., ASCAP) 52

TRYIN' TO GET THE FEELING AGAINR. Dante & B. Maniilow (Warner-Tamerlane/Upward Spiral, BMI) 14

TURN THE BEAT AROUND Warren Schatz(Dunbar, BMI) 63

UNION MAN Steve Cropper (Flat River,BMI) 39

WELCOME BACK Steve Barri & JohnSebastian (John Sebastian, BMI) 7

WHERE DID OUR LOVE GO (AhmetErtegun (Jobete, ASCAP) 70

WHO LOVE YOU BETTER THAN I DOIsley Bros. (Bovine, ASCAP) 79

YES ,YES, YES Stu Gardner (Turtle Head,BM!) 54

YOUNG BLOOD Bad Company (Quintet/Unichappell/Frddy Bienstock, BMI) 48

YOUNG HEARTS RUN FREE Dave Crawford(Dee -Ann, ASCAP) 58

YOU'RE MY BEST FRIEND Roy ThomasBaker (Trident, ASCAP) 61

YOU'LL NEVER FIND ANOTHER LOVELIKE MINE Gamble & Huff (MightyThree, BMI) 59


ERTAKELLY

fRDUBLEMAKER

woRLDDISC

FILE

weeklyreport

Oncurrent

andupcoming

dis:othecue

breakouts)

ByVINCEALETTI

Stunnerof ..hr Week-

"TroubleMaker,"

'.he title cut fromRoberta

lelly'sdebut

albumon Oasis,

producedby the team

whotransformed

DonnaSummer,

GiorgioMoroder

andPete

Belk-Me.Like

Summer

(whocontrOu.es

backgrounds

here),KeLy

s anAmerican

livin&in

Germanyinhc's

had a substantial

Europeansuccess

priorto her first

Americanrelease,

aid if "TroubleMaler

' at E.:48,isn't

quitethe

tour de forct.."Love

to LoveYou

Baby"was,

it norethan

malcsup

for what,t lacks

in minutesand secones

with anincredible,

smoothly

soaringdrive

andgrace.

Thesong

caninesthe spirit

of 'Ms girl

groupraKiness

("Troublemaker,

step,preaclin'

all thosebld lies/

Troublemaker,

causeyou ain't

genii'my guy"-lines

thatcould

havecome

from"Keep

YourHands

Dff MyBaby")with

thedelicious,

violin-la ed

prcductionthat

has becomethe trademark

of German-

madcelse°

M.1SiC.The

singingis vbrant,

the breakis saperb

and

full .)f poundingdrums

and the overallaffect

is overwhelming

in the

bes-s.ense.

"'lawless"is an oveiused

wordon the New

Yorkdisco

scene,but it% the right

wordhere.

Thereare four other

cutson the

Kellyalbum.

threeof them

oversix minutes,

two of themexcellent

d.sc3matenal:

"LovePower"

and "Thefamily."

"I NEED TO BE IN LOVE'THE NEW SINGLE FROM THEIR FORTHCOMING ALBUM.

SO R.A RI -AN STKEN ... SO MA( ; NI FICENTLY SUN A&M RDSAkio, Lt. TRill MANAGEMI : I k:verly Drive/Bexer ,Calif.400212 (2.1 ;

JUNE 5, 1976

TITLE,JUNE

5

1

THE SINGLES CHARTARTIST. Label, Number, (Distributing Label)

MAY29

1 SILLY LOVE SONGSWINGSCapitol P 4256

WILL ONCHART

9

H3 LOVE HANGOVER DIANA ROSS/Motown M 1392F 165 GET UP AND BOOGIE SILVER CONVENTION/Midland Intl.

MB 10571 (RCA) 114 2 BOOGIE FEVER SYLVERS/Capitol P 4179 205 6 SHANNON HENRY GROSS/Lifesong LS 45002 166 7 HAPPY DAYS PRATT & McLAIN/Warner-Reprise RPS 1351 107 4 WELCOME BACK JOHN SEBASTIAN/Warner-Reprise RPS

1349 118 9 MISTY BLUE DOROTHY MOORE/Malaco M 1029 (TK; 149 8 FOOLED AROUND AND FELL IN LOVE ELVIN BISHOP/

Capricorn CPS 0252 (WB) 1410 11 RHIANNON (WILL YOU EVER WIN) FLEETWOOD MAC/

Warner -Reprise RPS 1345 1411 12 SARA SMILE DARYL HALL & JOHN OATES/RCA PB 10530 17

ID 15 MORE, MORE, MORE ANDREA TRUE CONNECTION/Buddah BDA 515 13m 16 SHOP AROUND CAPTAIN & TENNILLE/A&M 1817 6

14 10 TRYIN' TC GET THE FEELING AGAIN BARRY MANILOW/Arista 0172 12

15 13 RIGHT BACK WHERE WE STARTED FROM MAXINENIGHTINGALE/United Artists XW752 Y 15

16 14 LET YOUR LOVE FLOW BELLAMY BROS./Warner Bros.WBS 8169 17

17 17 SHOW ME THE WAY PETER FRAMPTON/A&M 1795 1618 18 DISCO LADY JOHNNIE TAYLOR/Columbia 3 10281 1619 19 DECEMBER. 1963 (OH WHAT A NIGHT) THE FOUR SEASONS/

Warner Bros. -Curb WBS 8168 2320 20 BOHEMIAN RHAPSODY QUEEN/Elektra 45297 23El 25 MOVIN' BRASS CONSTRUCTION/United Artists XW775 Y 1122 23 LOVE IN 'HE SHADOWS NEIL SEDAKA/Rocket PIG 40543

(MC1133 26 FOOL TO CRY ROLLING STONES/Rolling Stones 04

tlanticl13:1 29 BARETTA'S THEME: KEEP YOUR EYE ON THE SPARROW

RHYTHM HERITAGE/ABC 12177ID 34 NEVER GONNA FALL IN LOVE AGAIN ERIC CARMEN/Arista 0184

26 21 STRANGE MAGIC ELECTRIC LIGHT ORCHESTRA/United Artists XW770 Y 14Eu 30 TAKIN' IT TO THE STREETS THE DOOBIE BROTHERS/Warner Bros. WBS 8196 7Ea 32 MOONLIGHT FEELS RIGHT STARBUCK/Private Stock 039

D 33 KISS AND SAY GOODBYE THE MANHATTANS/Columbic3 10310

lil38 LOVE IS ALIVE GARY WRIGHT/Warner Bros. WBS 8143 740 AFTERNOON DELIGHT STARLAND VOCAL BAND/

Windsong CB 10588 (RCA)32 24 LONELY NIGHT (ANGEL FACE) CAPTAIN & TENNILLE/

A&M 1782 2047 I'LL BE GOOD TO YOU BROTHERS JOHNSON/A&M 1806 639 ROCK AND ROLL LOVE LETTER BAY CITY ROLLERS/

Arista 0185 7El 41 I WANT YOU MARVIN GAYE/Tamla T 54264F (Motown) 736 22 ONLY 16 DR. HOOK/Capitol P 4171 2237 27 DREAM WEAVER GARY WRIGHT/Warner Bros. WBS 8167 22Ell 48 TEAR THE ROOF OFF THE SUCKER (GIVE UP THE FUNK)

PARLIAMENT/Casablanca NB 856 539 31 UNION MAN THE CATE BROTHERS/Elektra 45294 1540 35 SWEET LOVE COMMODORES/Motown M 1381F 2541 28 DREAM ON AEROSMITH/Columbia 3 10278 23

133 51 TAKE THE MONEY AND RUN STEVE MILLER/Capitol P 4260 4111 59 THE BOYS ARE BACK IN TOWN THIN LIZZY/Mercury 73786 444 45 DANCE WIT ME RUFUS FEATURING CHAKA KHAN/

ABC 12179 7CE1 52 MAKING OUR DREAMS COME TRUE CYNDI GRECCO/

Private Stock 086MI 60 LET HER IN JOHN TRAVOLTA/Midland Intl. MB 10623 (R47 49 CRAZY ON YOU HEART/Mushroom 7021 948 36 YOUNG BLOOD BAD COMPANY/Swan Song 5 7s 08 13

49 46 DON'T STOP IT NOW HOT CHOCOLATE/Big Treantic) 9

50 53 I.O.U. JIMMY DEAN/Casino 052 (GRT)57 THAT'S WHERE THE HAPPY PEOPLE GO THE T MM

Atla 306CEI 62 TODAY'S THE DAY AMERICA/Warrer Bros. WBS 8212

53 54 BIGFOOT BRO SMITH/Big Tree BT 16061 (Atla 754 56 YES, YES, YES BILL COSBY/Capitol P 4258 6

133 65 GET CLOSER SEALS & CROFTS/Warner Bros. WBS 8190 556 37 LOVE REALLY HURTS WITHOUT YOU BILLY OCEAN/

Ariola America P 7621 (Capitol) 1057 58 IT'S OVER BOZ SCAGGS/Columbia 3 10319 11

67 YOUNG HEARTS RUN FREE CANDI STATON/Warner Bros. WBS 8181 6

m69 YOU'LL NEVER FIND ANOTHER LOVE LIKE MINELOU RAWLS/Phila. Intl. ZS8 3592 (CBS) 4

60 43 SWEET THING RUFUS FEATURING CHAKA KHAN/ABC 12179 7

7

75 YOU'RE MY BEST FRIEND QUEEN/Elektra 45318 3

SAVE YOUR KISSES FOR ME BROTHERHOOD OF MAN/Pye 71066 5

81 TURN THE BEAT AROUND VICKI SUE ROBINSON/RCAPB 10562 4

76 MAMMA MIA ABBA/Atlantic 3315 1465 66 STILL CRAZY AFTER ALL THESE YEARS PAUL SIMON/

Columbia 3 10332 566 42 ONE PIECE AT A TIME JOHNNY CASH/Columbia 3 10321 967 68 IT MAKES ME GIGGLE JOHN DENVER/RCA PB 10687 468 44 COME ON OVER OLIVIA NEWTON-JOHN/MCA 40525 1

69 55 MONEY HONEY BAY CITY ROLLERS/Arista 017070 70 WHERE DID OUR LOVE GO J. GEILS BAND/Atlan 20 871 50 HAPPY MUSIC THE BLACKBYRDS/Fantasy F 762 1472 63 SHOUT IT OUT LOUD KISS/Casablanca NB 854 1273 61 ALL BY MYSELF ERIC CARMEN/Arista 0165 25

CHARTMAKER OF THE WEEK

ROCK AND ROLL MUSICBEACH BOYS

Brother/Reprise RPS 1354 1

75 7776 64

8678 82

88

89

131182 8483 85

85 87

88 72

90 91

91 9492 -93 -94 9595 83

96 78

97 8098 100

99 -100 -

80

THE LONELY ONE SPECIAL DELIVERY/Mainstream MRL 5581 3I'VE GOT A FEE-ING (WE'LL BE SEEING EACH OTHER

AGAIN) AL WILSON/Playboy P 6062FOOL FOR THE CITY FOGHAT/Bearsville BSS 0307SIXTEEN TONS DON HARRISON BAND/Atla 323 5

WHO LOVES YOU BETTER THAN I DO ISLEY BROTHERS/T -Neck ZS8 2260 (CBS

SOMETHING HE CAN FEEL ARETHA FRANKLIN/Atl 326 2I NEED TO BE IN LOVE CARPENTERS/A&M 1828 1

LONELY TEARDROPS NARVEL FELTS/ABC Dot DOA 17620 5I WANT TO STAY WITH YOU GALLAGHER & LYLE/

A&M 1778 4C'MON MARIANNE DONNY OSMOND/Polydor PD 14320 1

MARRIED BUT NOT TO EACH OTHER DENISE LaSALLE/Westbound WT 5019 (20th Century) 4

SOPHISTICATED LADY NATALIE COLE/Capitol P 4259 1

GOOD VIBRATIONS TODD RUNDGREN/Bearsville BSS 0309(WB) 1

HURT ELVIS PRESIEY/RCA PB 10601 11

FRAMED CHEECH & CHONG/Ode 66124 (A&M) 1

THIS IS IT MELBA MOORE/Buddah BDA 519 3NUMBER ONE B'LLY SWAN/Monument ZS8 8697 (CBS) 3NUTBUSH CITY LIMITS BOB SEGER/Cap:tol P 4269 1

A FIFTH OF BEETHOVEN WALTER MURPHY & THEBIG APPLE BAND/Private Stock 073 1

FRIEND OF MINE LITTLE MILTON/Glades 1734 (TK) 3'TIL I CAN MAKE IT ON MY OWN TAMMY WYNETTE/

Epic 8 50196 9DON'T PULL YOUR LOVE/THEN YOU CAN TELL ME

GOODBYE GLEN CAMPBELL/Capitol P 4245 11THINKING OF YCU PAUL DAVIS/Bang B 724 7I HOPE WE GET TO LOVE IN TIME MARILYN McCOO &

BILLY DAVIS, JR./ABC 12170 2I'D HAVE TO BE CRAZY WILLIE NELSON/Columbia 3 10327 1

RAIN, OH RAIN FOOLS GOLD/Morning Sky MS 700 (Arista) 1

PRODUCERS AND PUBLISHERS ON PAGE 24

JUNE 5, 1976

FLASHMAKER

SLIPPIN' AWAYCHRIS HILLMANAsylum

MOST ACTIVEFLY LIKE AN EAGLE-Steve

Miller Band-CapitolROYAL SCAM-Steely Dan-

t; ABCFAITHFUL-Todd Rundgren-

BearsvilleRASTAMAN VIBRATION-Bob

Marley & the Wailers-Island

TOO OLD TO ROCK 'W ROLL-- Jethro Tull-Chrysalis

MOONMADNESS-Camel-E Janus

,

WBCN-FM/BOSTONADDS:CARDIFF ROSE-Roger McGuinn-

ColCIRCLE FILLED WITH LOVE-Sons of

Champlin-Ariola AmericaCROSSCUT SAW-Groundhogs-

UAGO FOR BROKE-Ian Matthews-

ColPROMISE-Michael Pinder-

ThresholdRED CARD-Streetwalkers-

MercuryROSE OF CIMARRON-Poco-ABCTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbHEAVY ACTION (airplay):BLOW YOUR FACE OUT-J. I

Band-AtlanticCRY TOUGH-Nils Lofgren-A&MFLY LIKE AN EAGLE-Steve Miller

Band-CapitolHARVEST FOR THE WORLD-

Isley Bros.-T-NeckRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColROYAL SCAM-Steely Don-ABCTAKIN' IT TO THE STREETS-

Doobie Bros.-WB

WLIR-FM/LONG ISLANDADDS:ASPECTS-Eleventh House

Featuring Larry Coryell-AristaHARVEST FOR THE WORLD-

Isley Bros.-T-NeckHELL OF A BAND-Angel-

CasablancaNATURAL GAS-Private StockNEW RIDERS-MCASEED OF MEMORY-Terry Reid-

ABCSLIPPIN' AWAY-Chris Hillman-

AsylumWARREN ZEVON-AsylumHEAVY ACTION (airplay, in

descending order):FLY LIKE AN EAGLE-Steve Miller

Band-CapitolTURNSTILES-Billy Joel-ColWEDDING ALBUM-Leon & Mary

Russell-ParadiseILLEGAL STILLS-Stephen Stills-

ColLES DUDEK-ColTAKIN' IT TO THE STREETS-

Doobie Bros.-WBTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisROYAL SCAM-Steely Dan-ABC

WCMF-FM/ ROCH ESTERADDS:CORDON BLEU-Solution-RocketNATURAL GAS-Private StockNO HEAVY PETTING-UFO-

ChrysalisROSE OF CIMARRON-Poco-ABCSLIPPIN' AWAY-Chris Hillman-

Asylum

THE FM AIRPLAY REPORTSWEET SURPRISE-Eric Andersen-

AristaTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbWARREN ZEVON-AsylumHEAVY ACTION (airplay, sales,

s, in descending order):FIREFALL-AtlanticYOUNG AND RICH-Tubes-A&MTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisCARDIFF ROSE-Roger McGuinn-

ColLIVE AT CARNEGIE HALL-

Renaissance-SireDREAMBOAT ANNIE-Heart-

MushroomFLY LIKE AN EAGLE-Steve Miller

Band-CapitolMOONMADNESS-Camel-Janus

WHCN-FM/ HARTFORDADDS:CORDON BLEU-Solution-RocketBILL COSBY IS NOT HIMSELF THESE

DAYS-CapitolCHUCK GIRARD-Good NewsOPEN WINDOW isingle)-

Arrogance-VanguardSLIPPIN' AWAY-Chris Hillman-

AsylumTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisBILL WRAY-LegendWARREN ZEVON-AsylumHEAVY ACTION (airplay,

s).LES DUDEK-ColFLY LIKE AN EAGLE-Steve Miller

Band-CapitolJAILBREAK-Thin Lizzy-MercuryMOONMADNESS-Camel-JanusRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColROYAL SCAM-Steely Dan- -CNANETTE WORKMAN-B. T e/

Pacha (Import)

WYSP-FM /PHILADELPHIAADDS:CIRCLE FILLED WITH LOVE-Sons of

Champlin-Ariola AmericaDEJA VU-CapitolHARD WORK-John Handy-ABC

ImpulseHONKY TONK TRAIN BLUES (single)

-Keith Emerson-ManticoreNO HEAVY PETTING-UFO-

ChrysalisROCK AND ROLL MUSIC Isingle)-

Beach Boys-BrotherSEQUENCER-Synergy-PassportTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue Thumb

HEAVY ACTION (airplay,sales):

AT THE SPEED OF SOUND-Wings-Capitol

FAITHFUL-Todd Rundgren-Bearsville

FLEETWOOD MAC-RepriseFRAMPTON COMES ALIVE-

feter Frampton-A&MMOONMADNESS-Camel-JanusROYAL SCAM-Steely Dan-ABC

WHFS-FM /WASHINGTONADDS:CORDON BLEU-Solution-RocketFORGOTTEN FANTASIES-Dave

Liebman/Richard Beirach-Horizon

HARVEST FOR THE WORLD-Isley Bros.-T-Neck

LIVE AT CARNEGIE HALL-Renaissance-Sire

RUMOR IN HIS OWN TIME-Jeffrey Comanor-Epic

SEED OF MEMORY-Terry Reid-ABC

SLIPPIN' AWAY-Chris Hillman-Asylum

WHERE SCOPES COLLIDE-Kaleidoscope-Pacific Arts

HEAVY ACTION (airplay,s, in descending order):

CARDIFF ROSE-Roger McGuinn-Col

ROYAL SCAM-Steely Dan-ABCFLY LIKE AN EAGLE-Steve Miller

Band-CapitolT SHIRT-Loudon Wainwright III-

AristaFIRST COURSE-Lee Ritenour-EpicJACO PASTORIUS-EpicILLEGAL STILLS-Stephen Stills-

ColROSE OF CIMARRON-Poco-ABC

WQSR-FM/TAMPAADDS:DIGA-Digs Rhythm Band-RoundHARVEST FOR THE WORLD-

Isley Bros.-T-NeckMONTY PYTHON LIVE AT CITY

CENTER-AristaMOON BATHING-Lesley Duncan

-MCAROSE OF CIMARRON-Poco-ABCRUMOR IN HIS OWN TIME-

Jeffrey Comanor-EpicSLOW DOWN WORLD-Donovan-

EpicTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisHEAVY ACTION (airplay,

ph , in descending oBLACK & BLUE-Rolling S

Rolling StonesFAITHFUL-Todd Rundgren-

BearsvilleSADDLE TRAMP-Charlie Daniels

Band-EpicLADY IN WAITING-Outlaws-

AristaPOUSETTE-DART BAND-CapitolRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandSILK DEGREES-Boz Scaggs-ColLEE OSKAR-UA

WMMS-FM/ CLEVELANDADDS:ANOTHER ALTERNATIVE-John

Bassette-TinkertooGO FOR BROKE-Ian Matthews-

ColHELL OF A BAND-Angel-

CasablancaRASPBERRIES' BEST FEATURING

ERIC CARMEN-CapitolRUNAWAYS-MercurySEED OF MEMORY-Terry Reid-


Asylum

HEAVY ACTION (sales,airplay):


BLACK & BLUE-Rolling toRolling Stones

DREAMBOAT ANNIE-Heart-Mushroom

FAITHFUL-Todd Rundgren-Bearsville

LADIES' CHOICE-Michael StaBand-Epic

PRESENCE-Led ZeppelinSwan Song

ROCKS-Aerosmith-ColTRICK OF THE TAIL-Ge

Atco

W -4 -FM/ DETROITADDS:GO FOR BROKE-Ian Matthews-

ColHARVEST FOR THE WORLD-

Isley Bros.-T-NeckHELL OF A BAND-Angel-

CasablancaMAHOGANY RUSH IV-ColROCK FATHER-Papa John Creach

-BuddahSEED OF MEMORY-Terry Reid-

ABCSLOW DOWN WORLD-Donovan-

EpicTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisHEAVY ACTION (airplay,

sales):ALL-AMERICAN ALIEN BOY-

Ian Hunter-ColBLOW YOUR FACE OUT-J

Band-AtlanticFLY LIKE AN EAGLE-Steve Miller

Band-CapitolLIVE BULLET-Bob Seger & the

Silver Bullet Band-CapitolRAINBOW RISING-Blackmores

Rainbow-OysterRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandRED TAPE-Atlanta Rhythm Section

-PolydorROYAL SCAM-Steely Dan-ABC

WXRT-FM/CHICAGOADDS:BODY ENGLISH-

Mich& Urbaniak-AristaFORGOTTEN FANTASIES-

Dave Liebman/Richard Beirach-Horizon

HARVEST FOR THE WORLD-Isley Bros.-T-Neck

NEW RIDERS-MCA

ONE PIECE AT A TIME-Johnny Cash-Col

SHAMAL-Gong-VirginSLIPPIN' AWAY-Chris Hillman-

AsylumTOO STUFFED TO JUMP-

Amazing Rhythm Aces-ABCHEAVY ACTION (sales, phones,

airplay):DREAMBOAT ANNIE-Heart--

MushroomFAITHFUL-Todd Rundgr

BearsvilleFIREFALL-AtlanticJAILBREAK-Thin Lizzy-MPRESENCE-Led Ze elin

Swan SongRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandSILK DEGREES-Boz Scaggs-TRICK OF THE TAIL-G: e

Atco

KSHE-FM /ST. LOUISADDS:ALL-AMERICAN ALIEN BOY-

Ian Hunter-ColHELL OF A BAND-Angel-

CasablancaNATURAL GAS-Private StockNEW RIDERS-MCARUNAWAYS-MercurySEED OF MEMORY-Terry Reid-


AsylumTROGG TAPES-Troggs-

Private StockHEAVY ACTION (approximate

airplay, phCLOSE ENOUGH FOR ROCK 'N'

ROLL-Nazareth-A&MLIVE BULLET-Bob Seger & the

Silver Bullet Band-CapitolMOONMADNESS-Camel-JanusNO HEAVY PETTING-UFO-

ChrysalisREO-EpicROSE OF CIMARRON-Poco-ABCSADDLE TRAMP-Charlie Daniels

Band-EpicTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-Chrysalis

SLEEPER

A RUMOR IN HIS OWNTIME

JEFFREY COMANOREpic

KPFT-FM/ HOUSTONADDS:ALWAYS A LADY-Rosalie Sorrels

-PhiloCIRCLE FILLED WITH LOVE-Sons

of Champlin-Ariola AmericaNEW LIFE-Thad Jones & Mel

Lewis-HorizonRUMOR IN HIS OWN TIME-

Jeffrey Comanor-EpicSLIPPIN' AWAY-Chris Hillman-

AsylumSPACEBALL-Larry Young's Fuel-

AristaT SHIRT-Loudon Wainwright III-

AristaTEAR AND A SMILE-Catalyst-

Muse

HEAVY ACTION (airplay):ASPECTS-Eleventh House

Featuring Larry Coryell-AristaBIRTH SPEED MERGING 1976-

Pyramid-PyramidFLY LIKE AN EAGLE-Steve Miller

Band-CapitolGOOD FEELING-William D. Smith

-WBLOCAL LADS MAKE GOOD-

Supercharge-Virgin (Import)MARK TWANG-John Hartford-

Flying FishTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisYOUNG AND RICH-Tubes-A&M

All listings from keyprogressive stations

around the country arein alphabetical order by

title, except whereotherwise noted.

KDKB-FM /PHOENIXADDS:DOC & THE BOYS-Doc Watson-

UAFEVER-Ronnie Laws-Blue NoteHELL OF A BAND-Angel-

CasablancaHOWLIN' WIND-Graham Parker

& the Rumor-MercuryKATY-Katy Moffatt-ColMOON BATHING-Lesley Duncan

-MCANEW RIDERS-MCARUMOR IN HIS OWN TIME-

Jeffrey Comanor-EpicHEAVY ACTION (airplay, sales,

phones, in descending order):FAITHFUL-Todd Rundgren-

BearsvilleSADDLE TRAMP-Charlie Daniels

Bond-EpicFLY LIKE AN EAGLE-Steve Miller

Band-CapitolTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-ChrysalisRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandHERE AND THERE-Elton John-

MCASLIPPIN' AWAY-Chris Hillman-

AsylumWARREN ZEVON-Asylum

KMET-FM/LOS ANGELESADDS:BALLS OF FIRE-Black Oak

Arkansas-MCAL.A. JETS-RCALOOK OUT FOR #1-Brothers

Johnson-A&MNEW RIDERS-MCAROSE OF CIMARRON-Poco-ABCRUMOR IN HIS OWN TIME-

Jeffrey Comanor-EpicHEAVY ACTION (airplay,

sales):BLACK & BLUE-Rolling St s

Rolling StonesFLY LIKE AN EAGLE-Steve Miller

Bond-CapitolILLEGAL STILLS-Stephen Stills-

ColJAILBREAK-Thin Lizzy-MercurySILK DEGREES-Boz Scaggs-Col

KSAN-FM/SAN FRANCISCOADDS:FREE IN AMERICA-Ben Sidran-

AristaGLASS HEART-Allan Rich-ColGO FOR BROKE-Ian Matthews-

ColMOONMADNESS-Camel-JanusRED TAPE-Atlanta Rhythm Section

-PolydorROSE-Rose Banks-MotownTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbWARREN ZEVON-AsylumHEAVY ACTION (airplay, in

descending order):FLY LIKE AN EAGLE-Steve Miller

Band-CapitolYOUNG AND RICH-Tubes-A&MALL-AMERICAN ALIEN BOY-

Ian Hunter-ColWELSH CONNECTION-Man-MCAROYAL SCAM-Steely Dan-ABCNO HEAVY PETTING-UFO-

ChrysalisFAITHFUL-Todd Rundgren-

BearsvilleSTINGRAY-Joe Cocker-A&M

KZEL-FM/EUGENEADDS:ACCEPT NO SUBSTITUTES-

Pleasure-FantasyCORDON BLEU-Solution-RocketFEVER-Ronnie Laws-Blue NoteHELL OF A BAND-Angel-

CasablancaLIES AND ALIBIS-Guthrie Thomas

-CapitolNATALIE-Natalie Cole-CapitolNEW RIDERS-MCASWEET SURPRISE-Eric Andersen-

AristaHEAVY ACTION lairplay,

phones):CIRCLE FILLED WITH LOVE-Sons of

Champlin-Ariola AmericaFLY LIKE AN EAGLE-Steve Miller

Band-CapitolMOONMADNESS-Camel-JanusROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCSACOLE TRAMP-Charlie Daniels

Band-EpicTAKIN' IT TO THE STREETS-

Doable Bros.-WBTOO OLD TO ROCK 'N' ROLL-

Jethro Tull-Chrysalis

Fly first class with the inventorsof soaringsountry rock.

The Flying Brothers.

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DISC FILE

TOP 21. SOUL SEARCHIN' TIM

TRAMMPS-Atlantic (Ip2. TEN PERCENT

DOUBLE EXPOSURE-Salsoul;disco version)

3. DISCO PARTY/CAN WE COMETOGETHER/THAT'S WHERE THEHAPPY PEOPLE GO

TRAMMPS-Atlantic (Ip cuts)4. I'M GONNA LET MY HEART DO THE

WALKINGSUPREMES-Motown (Ip cut)

5. TRY ME I KNOW WE CAN MAKE IT/COULD IT BE MAGIC/WASTED/COME WITH ME

DONNA: SUMMER-Oasis (Ip cuts)6. CATHEDRALS

D. C. LaRUE-Pyramid (Ip cut)7. NICE & SLOW

JESSE GREEN-Scepter8. NINETY-NINE AND A HALF

TRAMMPS-Atlantic (Ip cut)9. LOVE HANGOVER

DIANA ROSS-Motown (Ip cut)10. HIGH ENERGY

SUPREMES-Motown (Ip cut)11. HEAVEN MUST BE MISSING AN

ANGELTAVARES-Capitol (disco version)

12. LOWDOWNBOZ SCAGGS-Columbia (Ip cut)

13. TURN THE BEAT AROUNDVICKI SUE ROBINSON-RCA (Ip cut)

14. DANCE YOUR ASS OFFBOHANNON-Dakar (Ip cut)

15. NEW YORK CITYMIROSLAV VITOUS-Warner os. (Ip cut)

16. GET OFF YOUR AAHH! A DANCEFOXY-Dash

17. DESPERATELYBARRABAS-Atco (Ip

18. LIPSTICKMICHEL POLNAREFF-Atlan

(disco version)19. YOUNG HEARTS RUN FREE

CANDI STATON-Warner Bros.20. USL! YOUR IMAGINATION

KOKOMO-Columbia (Ip cut)

Davis Case(Continued from page 3)had been pending against Davis,charges which began three yearsago amid widespread pressspeculation about possible payolaand drug involvement in the rec-ord industry. None of theserumors had been reflected in anycount of the original indictmentagainst Davis, and the reductionof all charges to a single count offailing to report $8800 in Federaltaxes was widely viewed withinthe industry as a further indica-tion of a lack of substantiation atthe rumors.

The original indictmentcharged Davis with attemptedtax evasion on $95,000 in income,covering a three year period dur-ing which he was president ofCBS Records. The $8800 was saidto cover nonbusiness travel ex-penses for Davis and his family.Davis' 1972 tax return indicatedthat he paid $35,000 on $84,000taxable income for the year.

In a statement released Monday(24), Alan J. Hirschfield, presi-dent and chief executive officerof Columbia Pictures Industries,Inc., parent company of Arista,said that "Columbia intends tocontinue its relationship with Mr.Davis as president of Arista" andpraised his accomplishmentswhile in that post.

Sentencing is set for July 15.

DISCS FILE(A weekly report on current and upcoming discotheque breakouts)

By VINCE ALETTI A spate of new releases from male vocal groups this week, all aboveaverage, a few top choice. Taking them one by one:

"Watch Out" (on Atco) is the latest from everyone's favorite Span-ish group, Barrabas, and, while not quite up to the high standardsthey set for themselves in their last album, "Heart of the City," thisone's satisfyingly solid. Lead cut: "Desperately," richly -textured andhard -edged, already the consensus cut according to the DJs surveyedthis week and an immediate entry on the DISCO FILE Top 20. Myown next favorite is "High Light," mainly because of the terrific Latinpercussion lead-in and the on -edge vocals. Runners-up: "BroadwayStar" and "Fire Girl," both unmistakably Barrabas, who continue toput out one of the most unique and eclectic sounds in the disco field.

"We Got the Rhythm" by People's Choice (Philadelphia Interna-tional) was produced by Gamble & Huff and is a 100 percent im-provement, a turn -it -out turnaround, on their debut album last year.This follow-up fulfills the promise of the group's "Do It Any Way YouWanna" with a tasty selection of Philly funk, the smooth, ultra -sheenvariety, at its best here. Two standouts: "Here We Go Again" (4:55),in which the title is repeated as a chant, over a rollicking, rolling,repetitive theme (this, in a shorter version, is also the group's newsingle and could hit as big as "Do It Any Way") and a slower butequally involving "Movin' in All Directions" (6:38) with gorgeousstring touches. Left field: "Cold Blooded & Down -Right -Funky,"which is aptly named. All selections were written by Leon Huff, oftenin collaboration with members of the group, and even the mellowcuts are superb-especially "Opus -De -Funk," an atmospheric, warm-up instrumental.

Impact is ex -Temptation Damon Harris' new group and their debutalbum (on Atco) was produced by Bobby Eli from MFSB for WMOT


Discotheque Hit Parade(Listings are in alphabetical order, by title)

12 WEST/NEW YORKDJ: Tom SavareseCAN WE COME TOGETHER/NINETY-

AND A HALF/SOUL SEARCHIN'Trammps-Atlantic (Ip cuts

DESPERATELY-Barrabas-Atco (IGIVE A BROKEN HEART A BREAK-

Impact-Atco (Ip cut)I GET LIFTED-Sweet Music-Wand

(disco version)I GOT YOUR LOVE-St ratavarious-

Polydor (import disco version)I'LL GO WHERE YOUR MUSIC TAKES ME-

Jimmy James & the Vagabonds-PyeLOWDOWN-Boz Scaggs-Columbia

(Ip cut)NICE & SLOW-Jesse Green-Scepter

(disco version)TAKE A LITTLE-Liquid Pleasure-

Midland Intl.YOUNG HEARTS RUN FREE..

Candi Staton-Warner Bros.

LIQUID SMOKE/NEW YORKDJ: Murray BrooksBEDSIDE MANNERS-Super Disco Band-

Pi Kappa (Ip cut)CAN WE COME TOGETHER/DISCO

PARTY/SOUL SEARCHIN' TIMETrammps-Atlantic (Ip cuts)

CATHEDRALS-D.C. LaRue-Fyramid(Ip cut)

HEAVEN MUST BE MISSING AN ANGEL-Tavares-Capitol (disco version)

LOVE CHANT-Eli's Second Coming-Silver Blue

LOWDOWN-Boz Scaggs-Columbia(Ip cut)

SEXY LADY/DESPERATELY-Barr as-Atco (Ip cuts)

TEN PERCENT-Double Exposure-Salsoul(disco version)

TRY ME I KNOW WE CAN MAKE IT/COULD IT BE MAGIC/WASTED/COMEWITH ME-Donna Summer-OasisOp cuts)

USE YOUR IMAGINATION-Kokomo-Columbia (Ip cut)

IPANEMA/NEW YORKDJ: David ChrysostomasLACK SOUL MUSIC-B ack Soul-

Import Disque (not yet released)BROTHERS THEME/LAST CHANCE TO

DANCE-Brothers-RCA (Ip cuts)CATHEDRALS-D.C. LaRue-Pyramid

(Ip cut)GET OFF YOUR AAHH! AND DANCE-

Foxy-DashLAURA-Biddu Orchestra-Epic

(import Ip cut)LIPSTICK-Michel Polnareff-

(disco version)NICE & SLOW-Jesse Green-Scepter

Atlantic (Ip cut)SOUL SEARCHIN' TIME-Tra

Atlantic (Ip cut)TEN PERCENT-Double Exposure-Salsoul

(disco version)THINGS WON'T BE THIS BAD ALWAYS-

Mike & Bill-Arista

AMS APPLE/NEW YORKJ: Doug Carver

BEYOND THE SEA-Soul Price Orchestra-Philips (import Ip cut)

CAN WE COME TOGETHER/SOULSEARCHIN' TIME/NINETY-NINE ANDA HALF/DISCO PARTY-Tr

Atlantic (Ip cuts)HAPPY MAN/GIVE A BROKEN HEART A

BREAK-Impact-Atco (Ip cuts)HOLD ON-Righteous Brothers-Haven

(disco version)ONE MORE TRY-Ashford & Simpson-

Warner Bros. (disco version)PLAY BOYSCOUT/ONE LESS MORNING/

FREE/BRAND NEW-Melba Moore-Buddah (Ip cuts)

SOUL MAN-Calhoun-Warner-Spector(disco version)

TELL ME HOW YOU LIKE IT/IN THE STILLOF THE NIGHT-I GET A KICK/NIGHTAND DAY-John Davis & the MonsterOrchestra-Sam (Ip cuts)

TEN PERCENT-Double Exposure-Sals(disco version)

YOU AND ME-Simon Said Atco

Summer Tours(Continued from page 3)

siderable awareness of the neces-sity to coordinate the release ofnew album product, showpackaging, television appear-ances and the event factor of aperformance for a successfultour. He cited the Beach Boys,with the re-emergence of BrianWilson's active participation, as

a prime example of this under-standing. The Beach Boys willalso be travelling with an elabo-rate set resembling a shipdocked at pier, the speaker towerwhere the masts would be,amplifiers hidden in cargo bins.(For details of Z.Z. Top's "Bring-ing Texas to the World" tour,see RW 5/22/76.)

PackagingThough staging plans for

most groups will not be quiteas elaborate, centering primarilyon lighting and sound concerns,packaging will be of major im-portance, with two and three actshows a near -exclusive format.Yes and Peter Frampton, forexample, will be playing Phila-delphia and Los Angeles; JethroTull and Robin Trower willshare Shea Stadium; the Eaglesand Fleetwood Mac will do aseries of concerts together; theBeach Boys and America, andthe Beach Boys with Framptonwill also be travelling combina-tions.

Advertising"Everybody found out last

year that outdoor concerts aresuccessful, so everyone's tryingit this summer," said a spokes-person for one major New Yorkagency. "But the large venuesare still scary. The advertisingradius has to be very large, cut-ting down the number of datesto be played. And costs are pro-hibitive." General concensuswas that the promoters who willbe hurt are those who don'tunderstand the importance offar-reaching advertising, andthose doing indoor shows. As formarket saturation, Jay Jacobs atWilliam Morris commented,"That problem's always beenthere. You can't tell the super

eavies to wait. The real problemduring the summer peak is for

$5000 -and -under act with analbum in the 80s on the chartsthat's trying to break through."

Heart Sets TourLOS ANGELES - Mushroom

Records group Heart is set for itsfirst major American tour, begin-ning June 5 in State Line, Idaho,with Bachman -Turner Overdriveheadlining. The six -person groupis currently riding the charts withtheir debut album, "DreamboatAnnie," and the single releasefrom the album, "Crazy On You."


DEEP PURPLE

Jon Lord: Eight Years of Purple The original member who firstrecruited Ian Paice and RitchieBlackmore in 1968, Jon Lord hasseen five changes in the bandsince that time. In addition to the12 Purple albums to which he hasgreatly contributed, Lord hasfronted three solo albums, thelatest of which was recorded withthe Philharmonia Hungorica, andhis classical background is furtherhighlighted by several concertswhich featured his works per-formed by the Royal Philharmonicand BBC Concert Orchestras. Jon Lord

Record World: How have you sustained your enthusiasm for DeepPurple over eight years, several albums and the various changes inpersonnel?

Jon Lord: Until Ritchie left it was very simple-it was easy to sustainenthusiasm with someone like Ritchie, who was a good pusher, evenin bad moments. I'm friends with Ian (Paice) and he's still here. It wasjust the idea, the original feeling of what we wanted Deep Purple tobe and seeing it succeed kept the enthusiasm, even through thevarious personnel changes. The first one wasn't that difficult, back in1969 when Rod Evans and Nicky Simper left, because basically thatwas just getting the band to what we wanted it to be and it wasn'tquite working with Rod and Nicky. That wasn't a difficult change at allbecause we hadn't really established ourselves identifiably as DeepPurple. It was when Ian and Roger joined that it started to gel andget together.

RW: You've also enthusiastically pursued a solo career. How hasthis fitted in with the Purple activities?

Lord: I've always tried to complement my career as a member of aheavy rock band with my desires in other directions as well. I've alwaystried to balance the two. There was a time when it was a little difficultbecause Purple was incredibly busy for a period of about two yearswhen we were "making it," as it were, and there was hardly any timeto go to the toilet let alone pursue a solo career. This caused a fewproblems then because I insisted on continuing with it. I've onlyreleased two albums under my name and one jointly with TonyAshton, and I have this new one which will be out in about twomonths. So in eight years that's not a great deal; it's just that the kindof albums I've done have always taken a long time. They're involvedto write, they're involved to record, produce ana mix.

RW: Were you satisfied with the first tour with the new lire -up?Lord: Ninety-five percent yes. I enjoyed the Far East a great deal,

apart from the trouble we had in Indonesia, but the actual concertsI enjoyed very much. In fact I think the tour of Australia is one of thehappiest tours I've ever been on, that part of it was an incredibly happytime. In Indonesia we had a few problems. The police activity at theconcerts and the fact that we didn't get paid although we'd done theconcerts and one of our crew got killed. Accidentally or not we don'tknow. Then Tommy slept on a nerve. He slept funny one night and itpinched a nerve in his wrist and his fingers were like four sausages,but New Zealand, Australia and Japan were beautiful, really nice.

RW: Apart from the pure talent within the band, to whom or towhat do you credit Purple's initial success?

Lord: It was a splendid combination of five guys who thought verymuch the same way and sparked each other off-that was the nicething about it, that's what really worked. We played nearly every nightup and down Britain and all over Europe to the point when the rightrecord came out, which was "Deep Purple In Rock," everyone knewthe band, everyone had seen us play, and we were primarily a liveband. You had to see Purple to get the real effect. As to "who,"Ritchie was an enormous driving force, a perfectionist almost to thepoint of being destructive at times, but that was tempered by thecharacters of the other people; it was a nice melting pot-it workedvery well.

RW: So would you therefore say that the "In Rock" album is themost prominent in historic terms?

Lord: In terms of the history of the band I think it's the only onewhere before we made it, we sat down and set ourselves a task.

There are two to me that come close to it. "Machine Head" for thesame sort of reason, we began to expand a little at that time andagain we sat down and said right, what kind of album is this next onegoing to be, talked about it and threw ideas in and spent weeksrehearsing, to the point where when we came to record it we alreadyknew which songs were going on, how long they were going to be,and everything. We rehearsed it to that point so it was only a matterof recording it then. A couple of things happened in the studio tochange it but basically we knew what that was going to be. The otherone is "Come Taste The Band" in spite of the fact that Ritchie's noton it. To me that's an extremely successful album in terms of DeepPurple. It tells you where we are in terms of 1976. They are the onlythree that to me are milestones in our career.

RW: David has expressed a certain amount of frustration withregard to sharing the vocals with Glenn. Have you found any similarproblems in working with a different guitarist since the arrival ofTommy Bolin?

Lord: Tommy is a very different guitarist from Ritchie-he's lessstructured. He relies more on the emotion of the moment to get himacross, except in the studios where obviously he's got more time tothink. But on stage, Ritchie had an average which he never droppedbelow which was his forte, a rather stupendous technique which hecould always fall back on if he needed to. So as a result there was a

kind of a level at which Deep Purple stopped. If it was not a goodgig it would kind of bounce on this level and stay there and it wouldgive you a chance to build back up again. Tommy doesn't have quitethat technique. When you hear him play you think he does, withthis incredible speed he has, but he doesn't have that trampolineeffect. If you go below a certain level you'll just continue to go andhe'll try and churn himself back up whereas Ritchie would stay thereand say I know what's happening. Not to say he's feelingless, on thecontrary, but we all had this level at which we could stop. Tommyrelies more on the feedback, emotional feedback, so as a result it'smore difficult for me to play with him, because I don't know whereto pick up from where he's left off, but remember I've only done onebig tour with him. I'd been touring with Ritchie for years. I knewwhat he was going to do before he did it, as he did with me. So tothat extent the interplay thing disappeared slightly on the last tour.

RW: With such an incredibly successful past, what are your am-bitions now-how do you see the future going both for yourself andPurple as an entity?

Lord: I'd like to feel that what has been achieved would standeverybody in the band, or has ever been in the band, in good steadfor the future. I would also like to feel that the band could becomelike a home base for the musicians involved as well. I don't thinkI could go back to the kind of touring days of the '60s and early '70s.I think it would quite possibly drive me insane. I've done all that andI've learned an enormous amount about how to play to audiences,about how it feels in the myriad different circumstances that you getup there on stage-there's no normal gig and it's never either good


Deep Purple: Glenn Hughes Ian Pcice, Jon Lord, Tommy Bolin, David Coverdale.

RECORD WORLD JUNE .5, 1976 SECTION II 3

DEEp PURpLE

John Coletta on Purple, Past and Present As co-founder of the Purple Or-ganisation, which now incorpo-rates the group's recording activi-ties as well as personal manage-ment for members both past andpresent, John Coletta was there atthe birth of Deep Purple and re-flects upon the changes of per-sonnel throughout their history.

John Coletta

Record World: How did Deep Purple come together?

John Coletta: I was in advertising at the time, running my own com-pany, and one of my clients was Alice Edwards Fashion. Tony Edwardswas one of the directors of that company and he approachedme one day, asking if I would be interested in going 50-50 with himinto a pop group. He'd been introduced to one of the members-the drummer from the Searchers, Chris Curtis. Living in the basementflat with him was Jon Lord, who at the time was playing in TheFlowerpot Men. They then talked about Ritchie Blackmore, who atthat time was in Hamburg doing session work. We got him and DaveCurtis over (who was playing bass in France with Michel Polnareff),and a drummer named Bobby Clark, but we were still looking for asinger. Rod Evans came along for a rehearsal and brought along thislittle guy who was at that time about 17 or 18 years old-lan Paice.After awhile it seemed that Bobby was here and there and everywhere,so they set up Ian's drums and he became the drummer. Bobby wasout, Chris Curtis had departed and Dave Curtis wasn't fitting inproperly, so Jon Lord said, "I'll bring along Nicky Simper," who wasplaying with the Flowerpot Men. That was the first Deep Purple-Nicky, Rod, Ian Paice, Ritchie and Jon. They rehearsed for abouta month before going on tour in Denmark under the name of Round-about. They had a lot of success there, doing TV as well as clubs. Theycame back and made an album in about seven days; "Hush" was thesingle. It didn't do much in England but became No. 1 in the States.Within two months we were over in the States-I think we lived thatfirst year in the States. After that we spent a great deal of timein America only returning to the UK for a month here and there. Wethen released the second album and the "Kentucky Woman" single,at which point we had a revision of the whole idea resulting in Rodand Nicky leaving, as it was generally conceded they did not fit inwith the rest of the boys. We finished that tour with them-it was ahell of a tour as you can imagine, with 15 or 20 concerts to go.Anyway, we came back and then they found Ian and Roger. We wentin the studios and made another album, "Concerto For Group andOrchestra," which was an important accomplishment for the band.

RW: Where did you find Roger and Ian Gillan?Coletta: They were with Episode Six, which was on the point of

breaking up. We had a long negotiation with their lawyers andGloria Bristow, who was looking after the group, and we paid seem-ingly enormous sums to get them out. Then we went ahead and made"Deep Purple In Rock."

RW: How much progress were you making in America at that time?

Coletta: At that point Tetragrammaton went bankrupt and we werein a very difficult situation for one year where we lost the Americanmarket because we couldn't release any records. They were in litiga-tion with several people and all the contracts were held by the credi-tors. We were lucky that at the end of the year Warner Bros. boughtout the rights to Purple leaving some sort of an override in the com-pany to pay back the creditors. At that point, lucky for us again,"Black Night" broke here, so we had the European market openingfor us, otherwise we could have died. We toured in Europe for thatyear establishing Purple everywhere, and became probably the biggesthard rock group on this side of the Atlantic.lf we'd had a world-widedeal we'd have been killed, but fortunately we were with EMI for therest of the world. We developed the European market and thenWarners picked up the rights for Purple in Japan, America andCanada, and we got on the Faces tour and they at that time were

riding on "Maggie May," so it was a great opportunity for us. Theyreally did a terrific tour. They gave the Faces a hard run in most ofthe places, which in fact the Faces admitted. That broke us in Americaagain-we came back immediately with our own tour and a newalbum-"Machine Head." It sold over a million, went platinum, andof course that really put us in the big time.

RW: Have you a particular favorite album out of the 13 they'vemade?

Coletta: "Machine Head" was the one, partly because I was withthem in Montreux and experienced the entire events concerning therecording. That was the first really giant album in America-you knoWhow you get a feeling about an album, the one that takes you there;that to me was the one that took us there. That led to our success inJapan and Australia-we did big tours over there. I think we werethe first in Australia to get audiences of 50,000 people. We did theSydney race track there, and the excitement when you see that,sort of crowd for the first time is overwhelming . . . I would put thaton the level with the California jam which was attended by almost300,000 people.

RW: What do you feel about Purple's first album with TommyBolin?

Coletta: "Come Taste The Band?" You've got a problem immedi-ately with an American, for the first time, injecting his personality intoPurple. They accepted it, and tried to take the best out of him. It couldhave been more Purple though it was good. I think the next one willbe more Purple. Obviously when you've got a new member, you don'twant to kill his enthusiasm. He's full of ideas and they try to adapt andwork with those and give him complete freedom to bring in a newlease of life into the whole thing.

RW: Do you think this was necessary for Purple at that point or doyou believe they could just as easily have sustained their success re-taining Ritchie?

Coletta: The change was not due to their running out of ideas withRitchie. Ritchie had gotten to the stage where he wanted to show him-self in a new light and there was a conflict within the band. I think ithad to come as Ritchie had been making tracks of his own for twoyears.

RW: Do you now see Tommy as a permanent fixture in DeepPurple?

Coletta: Tommy's got his own solo career and you've always gotthe danger that he might just decide to stay on his own if he becomessuccessful. He's done one Purple album and six months touring withthem but we'll have to see how things progress before we make anymore decisions.


Deep Purple in 1968: from left: Nick Simper, Ritchie Blackmore, Rod Evans, Ian Paice,.Jon Lord.

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Payne on Purple:

They're a Specie "They were easily the loudestgroup I had ever heard, but at thesame time they were probably thebest. Nobody could stand nearthem-The Who, Led Zeppelin-nobody!" Bruce Payne, Deep Pur-ple's worldwide agent and presi-dent of Thames Talent Ltd., re-members the first time he saw thegroup vividly.

Staten Island"It was about five years ago in a

small theatre on Staten Island, a3000 seater," he recalls. "RitchieBlackmore and Roger Glover werestill in the group and it was justear-shattering-a wall of noise.You know they are in the Guin-ness Book of Records as theloudest rock group in the world?Well, they were! No doubt aboutit.

"They're not as loud now withthe new personnel, but back thenthey were absolutely the loudestand the tightest thing going. Theywere definitely the most refresh-ing English rock and roll bandaround."

'In Rock'At this time, the group had just

completed its first rock album forWarner Brothers, "In Rock," andthe members were out to maketheir "high energy rock" imagestick following the rock -orchestraexperiment recorded with theLondon Philharmonic. It was stilla couple of years before the suc-cess of albums like "MachineHead" and singles like "SmokeOn The Water," which wouldescalate the group straight into thepantheon of consistent gold rec-ord artists.

Since then, Deep Purple hasbeen a special group to Payne,and though he claims that mostof his favorite stories involvingthe group are "off color," thething that stands out most is theband's recent Asian tour which hedescribes as being like playing ina "riot area." During the tour,which took them to certain IronCurtain countries, the group ex-perienced some harrowing eventsincluding the death of a memberof the road crew.

Asian Tour"The problem was not the kids,

but rather at the adult end ofthings. We like the kids-it's theadults who drive you nuts by lock-ing you up in your hotel roomsand things like that." Payne insiststhat both he and the group arelooking forward to returning tothose countries and also a pos-sible trip to Russia which wouldgive Deep Purple the distinctionof being the first rock and rollband to play Moscow.

Payne's association with DeepPurple dates back over five yearswhen he was an agent for Ameri-

Group

Bruce Payne

can Talent International. ThamesTalent Ltd., which is a theatricalagency and management firm thatalso represents Blackmore's Rain-bow, Be -Bop Deluxe, Nazareth,Thin Lizzy, Strawbs and HotChocolate, is responsible forbooking, managing and budgetingits clients around the world.

Barry Taylor

lan Poke:

'Man Behind Ian Paice has been DeepPurple's "man behind the beat"since the group's inception in1968. Besides Paice, only JonLord can claim an equal amountof meritorious service within theband. "Sometimes when I lookback at the early days," says Ian,"it seems like just three or fourmonths ago. But other times," headmits with a sigh, "it feels likea full eight years."

The relatively recent departureof Ritchie Blackmore, and hissubsequent replacement byTommy Bolin, was a naturalsource of concern with fans ofthe group, who wondered ifBolin's style would be compatiblewith the other members. ForPurple's drummer, there has beena period of adjustment, espec-ially when it comes to perform-ing live. According to Ian, it'sjust a matter of learning to an-ticipate Bolin's moves-which heis getting better at all the time.

"Ritchie," recalls Ian, "was alittle easier to work with, evenwith his prima donna acts. I

guess it's because he's British and

the Beat'

Ian Paice

I know where he's coming from.I've only known Tommy for 18months and it takes awhile tofully understand people."

As their next step, Ian con-fides, Deep Purple wants to re-direct its energies a bit. "I thinkwhat we want to do now is totake Purple to a different level.We'd like to make it more of arecording unit. I feel that Purple,up to now, has really been a


John Craig on Purple PublishingII Although his association with early in 1974 and Roger left Pur-Deep Purple goes back only two ple that summer. The idea cameyears, John Craig, their present- from British Lion, Tony and I putday publisher, started his relation- the concept together before ap-ship with them in style with Roger proaching Roger and it turned outGlover's "Butterfly Ball." Craig re- to be quite successful.cently spoke to Record World "Managing their publishingabout his role as their publisher. companies seems to get more and

more complicated every week-Ritchie now having his own recorddeal, Ian Gillan and Jon Lord bothhave solo projects, and obviouslythe group itself. We're trying toexpand into a publishing companyindependent of the record com-pany. The group and in particularDavid Coverdale are really goodwriters, and can write songs asopposed to rock music. We in-tend to be more than just a pub -

"I came to know Tony Edwardsparticularly well when I workedat ASCAP. Then in 1974 I joinedBritish Lion Music where I be-came involved with Roger Glovervia 'Butterfly Ball.' We bought therights to the book to make a filmof the book and to make a record,and we were looking round for arock band or a rock person toproduce the music and Tony wasthe first person I spoke with. Hecame up with the idea of RogerGlover and although we spoke toa number of people, Roger wasthe one that seemed to be into italmost from the beginning. AlanAldridge, the guy that illustratedthe book, particularly liked it andit seemed to make sense becauseBritish Lion was involved withPurple before because they actu-ally filmed a concert at the AlbertHall, 'Concerto For Group and Or-chestra' back in the seventies andI knew how they'd got behind andI was also interested in Jon Lordwriting the film score.

Although Roger Glover's in-volvement with "Butterfly Ball"virtually coincided with his de-parture from the group, Craig ex-plained:

"We originally spoke about it

lishing division of a record com-pany. Therefore we're also tryingfor covers on existing Purplesongs.

"Although for me 'MachineHead' is the best Purple album todate (although we don't publishany of the material prior to 'Burn'as they were with Feldman) I ratethe present line-up as being asgood as the Gillan/Glover band.Purple has been around for solong it's very easy to say they'renot as good as they were, but I

don't think rock music is as ac-cepted in the world now as it was.There are no real new rock bandscoming up. They're all a bit dif-ferent, like Queen, they're notlike hard rock bands as such."

Deep Purple and the PressII In spite of their phenomenal success both in their native countryand throughout the rest of the world, the British press has nevertaken to Deep Purple. Top English journalist Pete Makowski toldRecord World in London of his own special relationship with theband and that of his colleagues.

"The first time I ever went on the road with Purple, the first time Iever met them, was just when Coverdale and Hughes joined and I

really thought they were brilliant right from the start. It was stillPurple, really heavy. It's difficult to compare that band to the presentline-up because they haven't been together that long. They're in aposition where too much is expected of them. Blackmore's leavingwas such a drastic move. I really like the 'Come Taste The Band' album.It's not one of my favorite Purple albums such as 'Burn' and 'In Rock,'but they just need to record a couple more together, stick it out, andthey'll be great. When Blackmore was there he was writing most ofthe material, even when it was Purple Mark 2, Blackmore and Gloverwere doing the writing although it was credited to the band because



DEEP PURPLE

Tony Edwards: Driving Force Behind Purple Along with John Coletta, TonyEdwards was the driving force be-hind Deep Purple. Edwards tellshow it all began and pays his ownpersonal tribute to the band in thefollowing story taken from a re-cent interview with Record Worldin London.

Tony Edwards

"While I was still working in my family business I was approachedby a member of the staff who asked me to manage her professionalcareer as a singer. Her name was Ayshea and she has progressed toconsiderably bigger things since that very humble start somewherearound 1966. In fact she's had her own program on British TV called'Lift Off With Ayshea.' Through managing her I came into contactwith various people in the rock business and in particular VickiWickham and a friend of hers, Chris Curtis, who was the drummer inthe Searchers.

"Somewhere around the end of 1967 and very much from out ofthe blue, Chris Curtis phoned me from Liverpool and asked me tomanage him and although I pleaded complete ignorance of thebusiness, saying that I was not in fact a professional manager, henevertheless was so enthusiastic that in the end we met and theseeds of Deep Purple were sown, because through Chris I met JonLord and Ritchie Blackmore and they were subsequently, togetherwith Ian Paice, to provide the nucleus of the young, emerging, DeepPurple. Mark 1 (as we now refer to them) also of course includedRod Evans and Nicky Simper. In a way I think their early successesin America were something of a false start because the Deep Purplethat was to include in mid -1969 Ian Gillan and Roger Clover wasfor me the emergence of the real Deep Purple. They were muchheavier and much more musically advanced. When 'Deep Purple In

Rock' happened in Europe, and in particular Germany, when itstarted to blaze with the reputation of Deep Purple, that for me waswhen they'd really cracked it. Jon Lord and Ian Paice, as the onlyremaining original members, must now be considered as the backboneof the group. They've endured all the triumphs as well as the dis-appointments of Purple for eight years. However, I feel we've beenvery lucky with our personnel changes during this time.

"Somehow Deep Purple as an entity .has always meant much morethan any one of its constituent members. Their two most memorablelive performances for me were 'Concerto For Group and Orchestra'and The California Jam. I suppose the first doesn't quite mean thesame thing to the various participants as in fact it means to me, butit was an enormously exciting evening at the Royal Albert Hall, wherethere was not one seat unsold and where more people than couldpossibly see were crammed into that upper level. That was an excitingand historic evening, and one that for me was filled with a lot ofpathos. I suppose California Jam was memorable by the sheerenormity of its scale and the brilliance of the group, and in particularRitchie's performance.

"At the present time the members are all working on their individualprojects, but I've always felt that the solo albums and the activitiesof the members of the group outside Deep Purple help to build themystique of the group rather than detract from it. They all becomemore interesting by their solo efforts. I'm quite sure for example thatwhen Ian Gillan created the original role of Christ in 'Jesus ChristSuperstar'-the album-that in no way distracted from Deep Purple,it just attracted a wider audience to Ian Gillan and thence toDeep Purple.

"I feel that Purple's influence over the rock industry as a wholehas been enormous. Even the American false start in '68 was theforerunner of underground, progressive, advanced, heavy, or whateveryou choose to call it, but those types of music spawned many imitators.We're having enormous success in France at the moment (which isparticularly welcome, given the fact that John Coletta and I are nowspending a considerable amount of time in Paris) with the 'Butterfly


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RECORD WORLD JUNE 5, 1976 SECTION II 7

DEEp PURpic

Tommy Bolin -Guitarist ExtraordinairePurple's newest memb- retracesthe steps in his career which ledto his being first choice replace-ment for lead guitarist RitchieBlackmore midway through 1975.Tommy Bolin became the onlyAmerican in the Purple ranks afterovercoming some practical diffi-bilties in the two parties initiallygetting together, an incident alsooutlined by Bolin when recentlyspeaking to Record World inLondon.

"After I left the James GangI wasn't doing anything at all, I

was just spending money ridicu-lously, and in the end I wentbroke. I get rich, then I get poor,then I go for about three monthsor so and something else comesalong. My whole life has beenthat way. At the time I was livingwith Hugh Hefner's ex -secretary,Maeling, who helped me out alot. She had a place that wasaway from everything which no-body could find. If I wanted totalk to somebody I would callthem, they wouldn't know whereto find me.

"Before this I was trying to geta band together in L.A. for abouta year. Eventually I had a greatband. I had two bass players on

Tommy Bolin

and off-Stanley Sheldon, who isnow with Peter Frampton, andKenny Passarelli, who's with Elton,and the keyboard player left togo with Joe Walsh. We werebased in Colorado but we couldn'tplay anywhere. It was a very ad-vanced band and in Colorado ifyou don't play concerts, you haveto play clubs like the 3.2 beerclubs. It's much worse than discos.I'm not putting discos down be-cause I enjoy some but there theydon't even know what they'rehearing.

"So we packed these places inColorado, every club we playedwe packed, and every club weplayed we got fired. I'd go up tothe owner and say 'why are youfiring us, the place is packed,look at the crowds,' and he'd say

`DOWN UNDER'MI SALUTE DEEP PURPLEFOR SALES IN EXCESS OF0.2-5/MILLION

'because people would just watchand if they don't dance they don'tsweat, if they don't sweat theydon't buy beer and if they don'tbuy beer you're fired.' It's the3.2 syndrome which after a whileI couldn't take anymore so that'swhen we moved the band downto L.A. I was supporting themfrom royalties I was getting fromthe James Gang but finally themoney just ran out. That's whenI began writing but I couldn't finda singer anywhere and I thoughtI'm just going to start singing my-self although I had zero confi-dence in my voice. I like my voiceon record.

"So I did the 'Teaser' album,although at one point there wasa doubt in their minds in the typeof players I was getting. Jazz play-ers playing rock, straight rock.

"I signed with Nemperor anda week later Purple called me.It's so stupid, it's like when itrains it pours. One of their road-ies, Nick Bell, called me at first,and then David Coverdale con-tacted me. Even now I don't knowwho first thought of getting me.

"Anyway, I went down to seePurple but when I got there noneof my equipment worked. It wasso embarrassing. I walk in, bagsunder my eyes, down on myknees, none of my pedals wouldwork, my amps worked but astratocaster through any kind ofan amplifier sounds tinny, so I

thought I'd just start playing any-way. I didn't think that theywould be as good as they wereat all, or as funky. Just to testthem, to see where they were at,I started off with something veryfunky, and they immediatelycaught on. I have so much respectfor them now it's ridiculous. Inthe first song I knew that I wantedto do it and I had a feeling thatRitchie was either going to leaveor they were going to get rid ofhim. I just had that feeling soafter a half hour of jamming I

walked over and got a drink, andthey sat around talking. Jon, whoknows every song in the book,started playing 'Cabaret' and I

was really drunk and I startedsinging by mistake 'come see thewine, come taste the band,' sothat's how the title cf the albumcame, out of a drunken stupor.Now it's like everyone in the bandhas so much respect on stage forone another, and they listen toeveryone else. I never knew whatthey sounded like before, to meit was like joining a new band. I

knew that they'd been successfulbut all I'd heard was 'Smoke OnThe Water' and 'Hush' but thatwas so many years ago. So I justran down everything and theypicked what they thought wastheir sound, the Purple sound,

and I just added what I thoughtwas my sound.

"When I used to go on stagewith the James Gang I would bevery nervous, so I thought whenI went on tour with Purple inAmerica, God it's weird, I'm notnervous when I go on stage withthese people. I thought when I

get to America I'm obviouslygoing to be nervous because I'mplaying in front of my people,especially in places like L.A. orDenver. When I go out with myband it may be another story, I

don't know, because there'll bea lot of pressure on me. Westarted in Hawaii then went toNew Zealand, Australia, thenJapan. Australia was beautiful. I

love Australians. Japan was a

weird thing because in IndonesiaI had a pinched nerve in my hand.I tried acupuncture. I had likean old lady come over and mas-sage my arm and her mother wasinto it and her great grandmother,just generations of them. Theysaid they could cure it but I keptsaying yes it feels okay but I

couldn't move. I had no move-ment in my thumb, I had no con-trol. It was frightening playing infront of a lot of people, but it'sweird, audiences get to a pointwhere they don't care what theyhear. They came with precon-ceived notions. Say we do 'SmokeOn The Water;' we could saywe're doing 'Smoke On TheWater' and we could be doing acompletely different tune and it'slike they don't care. In Japan thepeople were so polite, incrediblypolite. I walked down a hotellobby and 25 little Japanese girlswould run up at full speed andstop like one inch from me andsay 'Hello Mr. Tommy, would youplease take this, would you pleasesign my autograph book, wouldyou please, would you mind?' Itwent extremely well in America,it was like the best tour in a longtime. The band sounded reallygood every night. Once in a while,one out of every 20 gigs some-body will feel bad because oftheir hotel room or whatever, butthe States I guess was the test. Sowith that behind me I was notat all worried about the Britishtour, but I guess all audiences aregenerally the same. Often theythrow things at you, whether itbe flowers or tomatoes. I tend tothink not about that tour now, butthe next tour. I have to look thatfar because if I don't put out 101percent I'm not going to get asmany people. Even if you doyou're not going to feel the same.Also, in my solo spot, if I don'tshine every night, and if I don'tput out everything I can, I startto think about how it will bewhen I go on tour with my band.


THAMES TALENT LTD.,1345 AVENUE OF THE AMERICAS, NEW YORK, N.' 10019 TELEPHONE: (212)541-6740 TELEX: 236084

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David Coverdale: 'The Singing Salesmari David Coverdale is Deep Pur-ple's lead vocalist, who gave uphis job as a boutique managerthree years ago to front Purple atthe time of Ian Gillan's departure.He is prominently featured on thegroup's "Burn," "Storm bringer"and "Come Taste the Band" al-bums as both lead singer andsongwriter.

David Coverdale

Record World: What were your feelings at the time of your arrivalwithin the Purple ranks?

David Coverdale: Acute surprise. I didn't expect to get the job tobe quite honest. I listened to a couple of things before going to seethem. "Deep Purple In Rock" really impressed me; I still think it'sa classic album for its time, and they've sustained it now. I didn'tthink my tonsils would be the sort they were looking for, but I knewthey had a record company and a stable of artists and I thought I

may have been able to impress them enough to have heard some-thing like "you're not the sort of vocalist we're looking for but wecould use you as an artist in the studio."

RW: You were working part time with a band at the time?Coverdale: Yes, actually they were a good group. The north of

England is full of untapped talent. I'm sick of telling people but noone ever seems to bother going up there.

RW: So were you seen working with this band?Coverdale: No, we arranged an audition in Scorpio Studios in Lon-

don and I went down to the studio as nervous as hell with a bottleof brandy. I've got a lot of confidence in myself, otherwise I wouldnever have suggested an audition, I'd never even stand on a stage ifI didn't have confidence in myself. But it's weird, standing therewith a bunch of stars; but they were great, very human, and that'sone of the things possibly that made the transition from singingsalesman to fronting a band a lot easier, because the guys were veryhuman.

RW: Once you'd got the gig were you in any way conscious ofhow strong Ian Gillan's following was at the time?

Coverdale: No, I'll quote Jon Lord on this. After my first six monthswith the band, which covered most of the European tours and Ameri-can tours, he complimented me on the fact that there'd been nocalls for Ian from the audience. This isn't knocking Ian at all-I thinkwe just came up with the goods at the time. We proved that it wasa fine transition. My voice isn't anything like Ian's, and I've sincemet Ian and we get on famously. It's like a mutual admiration society.I've heard his new album and I love it. It's very much like a featherin my cap; I don't think people stopped thinking about Ian Gillanat all-it was like "Oh he's alright as well."

RW: Was it always your ambition to become a full-fledged rocksinger?

Coverdale: A singer-yes. I wasn't really bothered; I love manydifferent kinds of music. Singing rock is a great physical and emo-tional release but it's very limiting to a certain extent because it's aconstant screaming thing, particularly when you're in competitionwith some of the loudest players there are. At times it's frustratingbecause I can handle excellent melodies, but as I say, rock and rolldoesn't call for melody. I'm very pleased to see Queen making it.Someone gave me a couple of albums the other day and I was play-ing some of them to my lady and she said their sense of melody isimmaculate. It's very confusing, there's very little you can latch onto, there's a phrase here and there you can pick up, but it's veryclever rock and roll.

RW: So does this mean you're going to fulfill this ambition byway of a solo album with a more melodic approach?

Coverdale: I just think the songs are good enough to not put aPurple stamp on. A lot of the songs I've taken to Purple could havebeen rearranged and done by anybody but when you give a pieceto Ian Paice or Ritchie Blackmore or Jon Lord they put their stampon it, which inevitably comes out as Purple. It's as good as the con-ception I had before but I want to experiment now with a littlemore subtlety. I've got some good musicians to accompany me: I'vegot a lovely guitarist called Mick Moody who used to be with Snafuwho has a good feel for the blues, and hopefully the lovely TonyAshton to tinkle the ivories. He's so underrated that guy, for me he's

one of the finest, soulful players I've ever heard. Tony's recognizedas one of the great looners and sometimes that overshadows thefact that he's a phenomenal keyboard player. What put the seal onwanting to use him was when I saw him do the "Butterfly Ball." Hecame out in this crazy outfit and spilled beer all over Jon Lord andthe whole place fe:1 about because it had been really stiff and clini-cal up until then. It was fabulous. He started playing this phenomenalblues; I hadn't heard anything like it since Bill Evans with Miles Davis.Such feeling, it had all the hairs on my neck going crazy-I love him,he's such a beautifully sensitive guy. I've spoken to him-he's inSwitzerland at the moment. The first time I asked him about it washalfway through our last American tour. I called him from Atlanta,and he was a bit out of it, he was singing "Georgia" and all kindsof American blues and he said "Oh yes, I'll do it man," and it wasleft at that until a couple of weeks ago when I was getting moredefinite approval to do an album. I'm not too sure about the bassplayer and drummer yet, there's a couple of guys I've got underconsideration. Martin Birch is going to be producing it. He alwaysgets the best out 01 me anyway. I'm using a four piece horn section,three excellent chick singers which I found out three days ago weregoing to be available to do it-Liza Strike, Barry St. John and HelenChappell-there again that was another "Butterfly Ball" thing.

RW: Were you writing a lot of material before you came intoPurple?

Coverdale: Yes, I was writing a lot more consistently, funnilyenough. It is really weird with Purple because when I got in and gotover the initial nerve thing they were saying we've got you two newguys (myself and Glenn) and we want to change the style a little. Wefelt the same on listening to some of the older stuff, that it wasgetting very clinical and they wanted to try a bit more so I was bring-ing in a few ideas. When I was first playing them I got the impres-sion from them of "it doesn't sound like Purple," so consequentlyto please them and everybody else I started writing with Purple inmind, which was limiting to a certain extent because I like to writein various styles. At the moment, I'm in the process of writing songsfor consideration by other artists.

RW: There's no shortage of material now then?Coverdale: I'm getting back into consistency. I became dependent

on writing with Ritchie because I'd come up with good guitar licksbut he would take them and expand them into something mindblowing-he's a genius-and my limited "You Don't Know Like I

Know" guitar riffs turned into phenomenal guitar excursions.RW: How do you find things now with another new addition to

the band in the shape of Tommy Bolin?Coverdale: When Tommy comes up with the goods he's excellent.

His problem is that he's constantly replacing people and consequentlyhe's got a downer about a lot of things. We wanted the guy in theband and obviously replacing Blackmore wasn't the easiest thing.I'm very pleased with the album "Come Taste The Band." That wasthe logical follow-up to the first album Glenn and I did with theband. "Stormbringer" suffered because we'd been working so long.Funnily enough Ritchie had said to me you probably won't be awareof the fact but we've been working so much when we finish this"Burn" album that by the time we get a telephone call saying you'rein the studio next week you won't have any material. So some ofthe stuff on "Stormbringer" would have been a lot better if we'dhad a little more time to experiment.

RW: Now that you are all pursuing solo projects will you cut downon live appearances in the future?

Coverdale: I've really no idea. Since doing "Come Taste The Band"we've been on the road all the time. It's two weeks since we finishedand I'm still in a state of perpetual time lapse. It's crazy. There's somuch on my mind, particularly with this album coming up. Every-one's at various points of the globe resting. You can't turn round topeople and say "I can't do a good show tonight, I'm tired, I've gota headache." It's expected of you to be excellent all the time. Con-sequently you don't regard people in bands as human, but believeme they are. As far as the music is concerned, I'm quite happy to goon stage with Purple and play exactly what people want to hear, aslong as I am getting off on it. I can get off on playing "Strange KindOf Woman" and all those things because they're still new to me.As long as I'm having fun, that's the important thing. I'll never evergo on stage and go through the motions; I'd never cheat myself,never mind the audience. God forbid I wouldn't like to go back tothe shop I was working in without actually buying it first. But if I

stopped having fun I think I'd be prepared to do that, or I'd besinging in one of the subways.


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TPS 3505

1 C 188-94 865/66

SHVL 751

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TPSP 351

SHVL 759

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TPSA 7501

2LS 2644

SLEM-589

TPSA 7504

TPSA 7508 TPSM 2002 TPSA 7515

DEEp PuRrolf

Roger Glover: From Performer to Producer Roger Glover joined Deep Purple Mark 11 after "14 flops, a lot ofstarving, and a lot of getting into debt." At the peak of its commercialsuccess, he quit the band to get involved in production, a tool whichbecame useful in the construction of his widely acclaimed "ButterflyBall" album.

Record World: When you first joined Deep Purple did you envisionthe kind of success that they went on to achieve?

Roger Glover: No, not at all. When I joined Deep Purple I'd beenin the business for quite a while. I'd been professional for aboutfour or five years, and I'd been playing semi -pro for five years beforethat, but nevertheless I was incredibly green and when I was firstoffered the Deep Purple gig I hadn't really heard of them or any oftheir music. All I knew was that they were offering about doublewhat I was making in the other band, so that was a big incentive.Also Ian Gillan was moving to this band and he and I were togetherin Episode Six. So that was another incentive for me to move, andEpisode Six had come to the last stages of decline so I really waslooking for something else. As a matter of fact, I was going to go backto folk music. I had visions of my doing a one man -one guitar thing.Then I heard "Led Zeppelin I" and that changed all my ideas musically.I suddenly realized that I really wanted to be in a heavy band, sowhen the Deep Purple thing came up it was an opportunity to playwhat I wanted to play. I had no idea that it was going to happen. I

knew there was money involved because the whole thing was backedby a couple of businessmen and they were paying wages, payingfor roadies, and any equipment I wanted was bought. They'd loanme the money to buy it and then assuming we made it I'd have topay it back-I understood that. That's why it was quite a traumaticthing to go through, as after being in the band a couple of monthsI realized I was £4,000 in debt. It worked out okay; I paid themoney back, and we made it.

RW: At what point did you realize that your ambitions were reallyrelated to the rock business?

Glover: It goes back to school really. I was interested in and likedpop records-all the product of the day, like Bob B. Soxx & TheBlue Jeans. Also all the other rockers such as Fats Domino and LittleRichard, who in fact I used to go and see when they came over ontours. Then one day I saw my first electric band ever; it was a schoolband called The Lightenings and I couldn't believe it. I stood trans-fixed; they were rehearsing in the assembly hall and were playing"Poetry In Motion." I was absolutely staggered. This was for a

Christmas musical show that the school put on every year, so whenI saw this band I thought next year, I'm going to get a band together,because by then I was playing a few chords on the guitar. So a bunchof us got together, formed a band and the next year we were on theshow. There were two bands in the school, The Lightenings and ourband, which was called The Madisons. Both bands eventually splitbecause some of them went to University and it was fortunate thatthe right members left each band so that the two bands could thencombine. We changed our name to The Lightenings because theyhad more bookings than The Madisons. Meanwhile, I was coming tothe end of my academic career; I wasn't particularly brilliant, but I

was really interested in art. So I left school and went to art college,and all the time I was working semi -pro, four, five, six nights a week.After two years I was very disillusioned with art school because I

couldn't study what I wanted as I didn't have the right qualifications.All my family said stick at college, get a career behind you, but afriend of mine at college, a sociology teacher, took me back to herhome, introduced me to her husband, and we all had a big discussionabout it, and she gave me one piece of advice. She said don't dowhat you ought to do, do what you want to do, and if it turns outbad, never regret it. I've never forgotten that advice. I still refer backto that. That's really what made me decide to turn professional withthe band, because I knew that was what I wanted to do. We turnedpro, went to Germany and starved, then with Episode Six I got arecord contract and in fact we had several different record companiesin the end. I think we had 13 or 14 singles out, none of which madeit. Pye was the first company, then MGM, and Chapter One. ThenI got the Deep Purple offer-after 14 flops, a lot of starving, and alot of getting into debt.

RW: Do you feel that the kind of opportunity that existed at thattime for Deep Purple is still there for aspiring heavy rock bandsof today?

Glover: No, I think times have changed considerably since thosedays. There was a lot more money about and a lot more freedom

then. Now things are much, much tighter and more under a businessumbrella as opposed to music or art or whatever you want to call it.You can't get a contract these days if you're an aspiring rock bandor a solo performer unless you already have some saleable appeal,whereas in the early Deep Purple days and before, record companieswould take loads of chances. Every now and again one of thosecomplete unknowns, people that went against the grain, would make it.

RW: Which Purple album gave you the most personal satisfaction?Glover: The first one, "Deep Purple In Rock," possibly because at

that time I was new, and although I'd been writing songs for a longtime I wasn't really taken seriously in Episode Six. For the first time inmy life, at a rehearsal I'd think of something in my head and sayhow about doing this, and sing along a bit, and there were themusicians there capable of playing it, instantly. They knew what I

was talking about. That was a great release for me. It was a veryimportant step in my output because that really gave me confidenceto do more, and I -eally felt very much a part of "Deep Purple InRock." All the albums after that were a reflection of that first one.The first one is the one I remember most, with most affection."Machine Head" I have a soft spot for, mainly because of the weirdcircumstances under which we recorded it.

RW: What do you consider to have been your most remarkableexperience with the band in terms of live appearances?

Glover: There are certain moments when I'm amazed at what I

went through. One of the worst was in Germany when Ritchie wastaken ill and we did the concert without him. We did about an hourset and we were mentally and physically exhausted at the end ofthat, having to do something without Ritchie, he was such a mainstayin the band. We couldn't do an encore; they were shouting for morebut we said no, we just can't do it, and we left for the hotel. I'vealways been under the assumption that an encore is something anartist does if he feels like it; in other words if he condescends to doit then that's it, but in Germany at that time it was demanded, itwas a right of the audiences and of course when we didn't appearthey got very angry. They smashed up the stage and all our gear-a very nasty scene. R.tchie, meanwhile, was back in England, he hadhis appendix out I think, then in a week or so he was back, and wefinished the tour but from then on there was always a lot moresecurity.

RW: Was producing something you always wanted to get intoand was it something that just came along once you'd had someexperience in studios?


Deep Purple, vintage 1972. :rem left: Roger Glover, Ritchie Blackmore, Ian Paice,Jon Lord, Ian Gillan.

1% RECORD WORLD JUNE 5, 1976 SECTION II

EEP PURPLE

Martin Birch and the Sound of Deep Purple Initially an engineer, MartinBirch was eventually adopted byDeep Purple as their producer.However, nothing has changed inhis seven year relationship withthem as Birch explained in thefollowing interview with RecordWorld.

Martin Birch

Record World: How did you first make the transition from engineerto Deep Purple's producer?

Martin Birch: On the second album I was assistant engineer and I

just became friendly with them. I was running round looking afterthem in the studio. Then I started engineering for other people andmy career was coming on, and then Purple asked me if I would dothe same for them. The first album I did with them was "Deep PurpleIn Rock;" we worked together and it came off. That was in De LaneStudios in Kingsway (London) but the first album that we recordedoutside the country was "Machine Head," which was made in Mon-treux which inspired "Smoke On The Water."

RW: At what point did you take over officially as their producer?Birch: I've always been very creative as far as they're concerned-

I've always injected my own thoughts. We jelled so well, so it's alwaysbeen that way. The actual title was one of those things where therecame a time when someone said "why aren't you getting a productioncredit" and I said "why aren't I getting a production credit?" I thinkthe first album was "Stormbringer," but that's just a title really, it'salways been the same.

RW: What major difference did you find in producing "Come TasteThe Band" with the new line-up, as opposed to the previous albums?

Birch: The absence of Ritchie was obvious. It was almost obviouson "Stormbringer." They'd been together a long time then. Musical

differences started on "Stormbringer," and after that Ritchie decidedthat he wanted to go his own way. "Come Taste The Band" had tobe different because Tommy Bolin was in it, a different personality,a different style of playing.

RW: Are there any other particular difficulties in capturing onrecord what is essertially a really exciting live band?

Birch: Energy. What happens when the band's on stage in frontof a big audience, and the atmosphere that goes with it-the lightsgo down, leaving little twinkling red lights on the stage, and theaudience is looking forward to it-the adrenalin flows! They comeon and they're nervous and they're ready to go, very tense, andthen they let it all out. When they come in the studio they've justgot out of bed and they say have a cup of coffee, what are we goingto do today, that sort of atmosphere. I try to act as a sort of catalyst,to induce the energy flow, to get a good atmosphere going so thatthey can feel that energy. If you can't capture that energy there wouldbe no conviction, which is needed all the time; even if it's a balladyou've got to have the mood right, you've got to get that energy there.

RW: Has there yet been any talk of Purple getting back togetherfor another album?

Birch: There was time booked for a new album in the near futurewhich has been put back. Not cancelled, but put back. So I supposethey're waiting. They've just done an incredibly extensive tour, oneof them's getting married and there are various other things hap-pening. I think they want to settle down, get themselves togethera bit, then they'll see what they want to do. As far as another albumgoes I would say there's a very good chance of them making anotheralbum in the next few months.

RW: It's not often that you get so many changes of personnel ina band where the departing musicians all stay under the same um-brella, which is a tribute to the Purple Organisation. What specialqualities do you feel they have?

Birch: They're a good company. They've had their faults, there'sno denying that, they'd be fools to deny it too, but they can see them


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110ALBUMSfall are on Warner Bros. unless otherwise noted)

Shades Of Deep Purple-TetragrammatonBook Of Taliesyn-TetragrammatonDeep Purple-TetragrammatonConcerto For Group & OrchestraDeep Purple In RockFireballMachine HeadMade In JapanWho Do We Think We AreBurnStormh ringer24 Carat Purple-Purple (U.K.)Deep Purple Mark I & II-Purple (U.K.)Come Taste The Band

11 EP11.1.discograi ey

SOLO ALBUMS

JON LORD

Gemini Suite-CapitolWindows-Purple (U.K.)The First Of The Big Bands (with Tony Ashton,-Warner Bros.

RITCHIE BLACKMORE

Ritchie Blackmore's Rainbow-Oyster PolyciorRainbow Rising-Oyster Polydor

ROGER GLOVER

Butterfly Ball-Mercury Vocal Interp-eation of the Complete Verse from Butterfly Ball-Argo/London

TOMMY BOLIN

Teaser-Nemperoofttiantic

IAN GILLAN

Child In Time-Oyster Polydor

MISCELLANEOUS

Jon Lord wcs c member of the group Art Woods that recorded twa albums, "Ar Gallery" (Eclipse) and "Art Woods" (Spark)(both U.K. oily: Rod Evans, singer in the oricinal line-up .(eto'ded two albums with the group Captain Beyond, "CaptainBeyond" and 'Sufficiently Breathless" (both Warne- Bros.) NI ck Simper, bassist in the original line-up recorded one albumwith the group War Horse, (U.K. only) Rcger Glover and lan Paice produced the first Elf album "Elf" (Columbia).The next twa, L.A. 59" and "Trying To Burn The Sun" (boll /11,7..;M) were produ.:ed by Glover alone.. Glover also pro-duced "Razcmanaz- and "Loud 'n' Proud" for Nazareth (A&M.), ' Living In A Backstreet" for the Spence. Davis Group (Ver-tigo), "Unfin.shed Picture" for Rupel Hine (U.K. only) aid "Sweet Deceiver" fo- Kevin Ayers (U.K. only) as well as his own"Butterfly Ball." Ian Gillan played the lead role in "Jesus Christ Supe:star" and appears on the original soundtrackrecording (MCA: He has also produced the group Jerusalem. for Decca (U.K. on'y) Tommy Bolin was formerly a mem-ber of the group Zephyr and recorded one album for then (ABC P-obe) before joining the James Gang with whom he re-corded "Bang" and "Miami" (both Atlantic). As c session mvsidan, he is heard on Billy Cobham's "Spechum" (Atlantic) andAlphonse Mouzan's "Mind Transplant" (Blue Note) Glenn Hughes was a member of the group Trapeze before joiningDeep Purple for the "Burn" album. With Trapeze he car be heard on "Trapeze," "Medusa" and "Ycu Are The Music,We're Just Tie Ecnd" (all on Threshold) Pitchie Blcc<rnctra ca-i be heard on the Screaming Lord Sutch album, "Hand;Of Jack the Ripper" (Cotillion). n

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Rob Cooksey: From Roadie to Personal Manager Rob Cooksey reflects uponPurple's career, initially from aroad manager's viewpoint and cur-rently from that of a personalmanager, having grown with thegroup over the years. The follow-ing interview with Record Worldtook place in London.

Rob Cooksey

Record World: How long have you been involved with Deep Purple?Rob Cooksey: Almost since the outset eight years ago. I started off

in fact as their equipment road manager. I worked with them forover four years doing that and then I got a bit fed up pushingequipment about so I went on to the personal side of being a roadmanager. Then I left them to come and work in the Purple officesin management, working with three other small bands we had atthe time. One was Hard Stuff (or Bullet; we changed the name inactual fact), one was Silverhead, and the third was Tucky Buzzardwhich Bill Wyman used to produce. I went through about 18 monthsof managing those and we finally wound that side of the businessdown. John Coletta and Tony Edwards wanted more time to con-centrate on what they really do. John is president of the recordcompany, Purple Records and Oyster Records, and Tony is the presi-dent of the publishing side of things. So it finally reached the pointwhere they made me a partner so I run the management side ofthings, John does the record side, and Tony does the publishing.I've been actually managing Purple for the last two years.

RW: At what point would you consider that Purple really brokeinternationally?

Cooksey: I would say from "Deep Purple In Rock;" I'd say allaround the world that broke them as an enormous group. Before thatthey were very, very successful, but that album put them in the topfive groups in the world. The big break for Purple in the States wasa tour when they were special guests to Rod Stewart and The Faces.The Faces had just broken there, that must be four or five years ago,they'd really made it, but I think we went down on that tour as wellas they did. In some places even better. After that we never lookedback, we just went on tour after tour. The earlier records like "Hush"and "Kentucky Woman" were very successful in the States, but theywere on Tetragrammaton which went bust and we had that 18 monthlull after that. Most new groups then having a hit single in the Stateswould be touring for three months to get the exposure, but becausewe found ourselves without a record company we lost the impactof those two hit singles and had to start again. We had to break it twice.

RW: With three major personnel changes during the last twoyears, do you feel that any of the band's charisma has been lost?

Cooksey: I don't relate it to charisma particularly. They've certainlylost something, but they've gained something else. We've neverdirectly set out to emulate the people that have gone. We've neverfound a guitarist and said, in the case of Tommy, "you must try andplay like Ritchie, we've got to keep the sound." I just don't believeyou can do that. In fact I attribute a lot of the success of Deep Purpleto not keeping the sound, to changing it. With that many personnelchanges it's been a big risk. When Ian and Roger left I-and I thinkeveryone else-was very worried about replacements. You've got toworry. That certainly worked very well and naturally when we gotBolin I was apprehensive at first, but I think he's worked out verywell. Our tour of the States has proved that. We had a marveloustour, sold out nearly everywhere we went, made a lot of money-itwas very, very successful. Tommy found his feet. When you get anew guy in you have to remember they're musicians, there's anaesthetic side to it, no manager can say you will play like that. Youget them in because they're good and get a sound. I think in manyways we've gained by having so many changes although each timewe've been criticized.

RW: What was the feeling when Ritchie decided to leave?Cooksey: When we lost Ritchie the band was at a low ebb. The

initial reaction, and I must admit on my part too, was oh boy, whatare we going to do now, and for about a week everybody was talkingabout doing a solo album, everyone was thinking it all over, andGlenn wanted to do one, Dave wanted to do one, everyone wantedto do their own thing. Then we re -thought it and realized it wasn't

the end of the world. We said "let's make a list of guitarists, let's seewho's about," and there were the obvious people on the list, someof whom I'm sure wouldn't have joined Deep Purple if they'd beenasked. Anyway, top of the list was Tommy Bolin. We didn't knowmuch about him, we'd only heard him playing on Billy Cobham's"Spectrum" album and a couple of other things.

The unfortunate part of it was that he does have someone whomanages him for his solo career, in a different context altogether andhe'd just signed a three year record deal with Nemperor, which isNat Weiss' label distributed by Atlantic, a sort of jazz/rock label,which is where his other manager saw Tommy fitting into. So whatwe've had to do is make a compromise. I manage Tommy under theumbrella of the Purple Organisation for all Purple tours, Purplerecording, but still allow him time to make one album a year andto make one tour to promote that album, which he's doing now.You can never-I've been in this position before with other groups,when I managed Tucky Buzzard especially, there was a co-manager-I don't particularly believe in the autocrat, but when it comes tomanagement I think there can only be one guy saying this is thisway, and if you get two managers doing the same thing the managersend up screaming at each other. But I think we've resolved the Bolinsituation amicably provided we all stick to the ground rules and sofar everybody has, so it's worked out very well. For records he issigned as an individual to Nemperor but of course it falls under WEAand we're with Warner Bros. in the U.S. Basically I think Nat Weisscertainly saw the advantage in having him join Purple because itprobably added two or three years to his career.

RW: When it comes to pursuing solo projects do you think thereis a danger that too much energy will be spent there and not inPurple as a unit?

Cooksey: I suppose the epitome of a good manager would sayabsolutely not, but the way we've always run our organization is totry and be as hcnest with ourselves as possible and I'd be a liar ifI said it didn't worry me. I'm worried now because I know thatDavid's writing for his own album, I know that Tommy writes all hisown stuff, therefore I've got to worry that when they come recordinga Purple album as they are in June, the best ideas they've had, theywon't use. It's worried me for years because Ritchie was doing itfor two years before he left and so was Jon. We're fortunate inasmuchas when Purple goes in to record an album they tend not to haveanything written up until about three weeks before they recordthe album.

RW: From 13 albums, which is your personal favorite?Cooksey: This one, "Come Taste The Band." Definitely this one,

it's got far more light and shade. That's an over -used term, but it'smore melodic. Tommy's coming into the band has added a newdimension. He's very good at writing. If you look at the album you'llsee that he wrote seven or eight out of 10, 80 percent of the stuffhe at least co -wrote, and this goes back to what we were talkingabout before. It's new. It's not the old Deep Purple-we never triedto make it the old Deep Purple. It gives them a new dimension, itup -dates it. Thai doesn't wash very well with the old hard corefans, but I'd credit this to the success that we still have. I don't thinkyou'll find as many bands as old as Deep Purple that can still sellout the concerts and sell as many albums. Apart from this one I'dchoose "Machine Head" and -In Rock."

RW: What do you consider to have been their greatest achieve-ment?

Cooksey: I think their greatest achievement as a band is to haveweathered the storm of all the personnel changes and stuck togetherover all this time. I'm not the kind of guy that sits around and saysthat everyone always gets on okay because we don't. We fight, therehave been many, many rumors of Deep Purple splitting up, dozensevery year for the last five years. Most of which are completelyunfounded, some of which have a foundation to them. Every bandI know that is as old as Deep Purple must have its problems. If youlive together for years and years, and by that I mean you're perman-ently on the road together, it must be like anything else, like beinga construction worker, working with the same guys for five yearsyou're bound to have arguments, or want to change your job fromtime to time, become dissatisfied. There have been times when DeepPurple has almost split up, but I think their greatest achievement isthat they didn't. As for an outstanding concert, I think the CaliforniaJam near L.A. in California in late '74 which was just one of thosemarvelous things-quarter of a million people, topping the bill,great show-in my mind that stands out as one of their best perform-ances ever.


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DEEP PuROI

Ian Gillan on the Ins & Outs of Rock Ian Gillan became one of theworld's most successful rock sing-ers after joining Deep Purple in1970. In the following interviewhe explains why he decided toquit the business only to eventu-ally return as leader of his ownband.

Ian Gillan

Record World: How did you then come to join Deep Purple?Ian Gillan: It was in a roundabout way really. Originally I had a

chance to sing with the band and I turned it down. Then when RodEvans and Nicky Simper left I sort of got the word somehow to go.Anyway, they came along to see me at a gig and it developed fromthere. Roger came along to the session because they needed a bassplayer and they wanted him to join at the same time. Roger and I

had been working together for years before that anyway.RW: At that time did you envisage that Purple would go on to be

as big as they've become?Gillan: I hope so-that's why I joined. Episode Six was going the

wrong way, I didn't like what they were doing originally, so Purplegave me a chance to do something more interesting. I'd been fairlystifled by being in a harmony band. I'd been a rock & roll singer,then I got into Episode Six and I was really beginning to go downhilla bit, singing -wise. I was writing too and Episode Six didn't want torecord any of Roger's or my songs because none of the others wereinvolved in it. So Purple gave me a chance to get back to what I wasdoing before, and it also gave me a chance to write.

RW: At what point did you teel that Purple had really made it?Gillan: I don't know, it sort of grew really. The States just dis-

appeared, we had to pay our dues right from the beginning there. Wecracked it in England around "Deep Purple In Rock." Before that the"Concerto" album was a great promotion album and it helped thename of the band. The "In Rock" album really did it. We did two orthree fantastic British tours then which I remember were fabulous. I

will always look back on them as one of the most exciting performingtimes. Anyway, it built up in Europe and then gradually we crackedit in the States with "Machine Head."

RW: What was the most memorable tour for you?Gillan: I remember a night in Glasgow, it was just fantastic-just

before the end of the concert somebody rushed in and gave us thefirst edition of the Daily Mirror (national newspaper) and there werepictures of us all over the front page and I thought "here we go, it'slooking alright" and I'll never forget that. It was a big thing as upuntil then I'd been playing in crummy pubs and clubs and that sortof thing. There was another time in Scotland, in Aberdeen, when wewere doing a TV show and Tony Edwards came in and said "BlackNight" had just gone into the charts at no. 8, straight in. I had about40 records out with Episode Six and not one of them had ever got inthe top 30, so it was a great moment. If you want to be a success,well I don't know many people who want to be a failure, but successopens up possibilities which give you the drive to keep you going.

RW: What brought about your decision to quit the band?Gillan: They were becoming stagnant and so was I. No one was

prepared to get out of the formula that had developed. It alwayshad to be this is how the album is going to be lined up, it's got tofollow the formula the right way throughout the album, and to doanything different wasn't accepted by the mainstream of the thinkingin the band. I'd said twice before I was going to leave before I

actually did. No matter what labels were attached to us, whether it'sprogressive, heavy rock or whatever, we were a thinking band. I didn'tmind being called progressive, although we played rock music, asthere was an extremely high calibre of musicians in the band, and wealways thought about what we were doing. It wasn't only down tovirtuosity in performances, although the solo business got a bit outof hand at the end, but a lot of thought went into the writing of thesongs as well. In the end I considered that it was becoming a bitshallow even though right up till "Who Do We Think We Are" therewas a lot of thought going in. I played that again around Christmastime, and I thought it still sounded good. Songs like "Woman FromTokyo" and "Smooth Dancer"-looking back I'm pretty pleased withthem, but I couldn't have carried on doing that all the time. It was like

the end of Episode Six, but on a different level. I needed a changebut I couldn't come out of a band like Purple and just go into some-thing else. It would have been such an anti -climax.

RW: Neverthe,ess did you always intend to get back into music?Gillan: No, to be honest I didn't. At the time I was that shattered.

I'd be crazy to have chucked in a band like Purple for any otherreason than my being just really exhausted mentally-I had completelyhad it. At that time I was really down. I didn't want to go, I just hadto. I was so depressed that I thought I'd finish with the whole game.Then eventually I got the guitar out again and started writing a fewsongs. Then last year I went in the studio and made an album but Inever really played it to anyone because it was an abortion; it wasa collection of the sort of songs you sit at home and write-all sortof soft although a couple of them turned out well. It wasn't an albumand it wasn't where I wanted to be or where I wanted to go and itcertainly wasn't strong enough for me to come back. Then I had achat with Roger about it. (I did that on my own, without Roger.) I

like working with Roger so I asked him to produce me. I always feelbetter with him in the studio. When I get really angry at things he sayscalm down, do it again, let's go and have a beer and have a chatabout that song. He's a great booster, he pushes me on and I likeworking with people who push. That's why I like working with peoplelike John (Gustafson), Ray (Fenwick), Mike (Moran) and Mark (Nauseef).

RW: Did it take you long to form the band?Gillan: No, it really just happened. We were in the studio and we all

agreed-that was it. It just evolved as I had no intentions of gettinga band together. I had only planned to make a solo album withsession musicians, then this crowd turned up and it really clicked. I

never thought I'd get that feeling back but now I've got that oldbuzz again.

RW: So do ycu see this as a long term venture?Gillan: Yes, there's no doubt. Obviously we'll see how it goes-

if no one wants it there's no point to our rushing around on the road,I'm not going back to pubs again.

Purple and the Press(Continued from page 6)they all chipped in, but he was the driving force behind it. Ideallythe new band is good but they've just got to stick it out. Bolin needsto be broken in because it's a hell of a position for him to be in.

"The first Purple that I really got into was the line-up includingIan Gillan and Roger Glover, although I remember when 'Hush'came out but I wasn't into albums then that much. They were like aBritish version of Vanilla Fudge then, they weren't heavy rock at all-well-arranged, almost classical material. I don't think you can compareIan Gillan to David Coverdale. I did an interview with Blackmorejust after Coverdale had joined, and Blackmore was looking for atotally different singer to Gillan. Gillan was a screamer, a rock &roller, Coverdale was more soulful. If I recall correctly, when GilIanand Glover left Purple, Blackmore was going to leave and form aband with Phil from Thin Lizzie and Paul Rodgers on vocals. So in


Deep Purple at the California Jam.

1$RECORD WORLD JUNE 5, 1976 SECTION 11

DEEP PURPLE

Warner Bros. Execs Praise Purple Power'II Since signing with the label in1970, Deep Purple has enjoyeda cooperative, prosperous rela-tionship with Warner Bros. Rec-ords. To both parties' credit, theBritish band has racked up hugeAmerican and international sales,five gold albums and a goldsingle. The space between "DeepPurple and the Royal Philhar-monic" and "Come Taste theBand" has witnessed the de-velopment of one of WarnerBros.' largest, most productiveacts.

'Consistency'"Respect" and "consistency"

are two words which characterizethe company's attitude towardDeep Purple and each Warnersexecutive who's worked with thegroup during the past six yearshas his own reasons for citingPurple's past success and theirenormous potential.

Vice president of sales andpromotion Eddie Rosenblattpoints to the band's "longstand-ing reputation as both a greatconcert draw and a solid, con-sistent album act," while vicepresident and national promo-tion director Russ Thyret singlesout several Deep Purple dis-tinctions.

Mostly associated with the

band during his tenure as direc-tor of national sales, Thyret cites"the fact that Deep Purple haslong maintained one of the best-selling catalogues on the label,despite much AM airplay" as asubstantial factor in the band'scontinued prosperity.

Tape SalesOf special attention to director

of tape operations and nationalsingles sales manager Lou Den-nis is the exceptionally high pro-portion of tape sales the grouphas generated. "Albums like'Machine Head' and 'Made inJapan' have and continue, yearsafter initial release, to do greattape sales. We've regularly donebetween 60 and 70 tapes to every100 Ips on much Deep Purpleproduct. Add to this the fact that'Smoke on the Water' is prob-ably the largest 45 in our Back -to -Back singles series and youhave to conclude that DeepPurple is an enormously po-tent act."

Basic respect for the band'ssolid reputation, both onstageand on record, is a point maderepeatedly by Warner execs, par-ticularly by general manager RonGoldstein and vice president,artists relations, Bob Regehr, bothof whom have been associated

with Purple since its tenure withthe label began.

Regehr: "They've always beenone of the major performinggroups, worldwide. Even beforethey broke here in America-with that first Faces tour, longbefore they had the benefit of asingle like 'Smoke on the Water.'They were big in England andGermany .. . Despite the person-nel changes, the departure ofBlackmore and his replacementby Tommy Bolin, they remainone of the prime live attractionsin the business."

Purple's international successhas long been validated, a factWarner Bros. international direc-tor Tom Ruffino points with prideto. "The group has :ong beenconsidered a legend in Japan, forinstance. The Japanese really ap-preciate their brand of 'heavymetal.' and Purple singles andalbums have always done well inthat market. Witness the live 2 -record set 'Made in Japan' . . . "

Warners' association with DeepPurple has proved fruitful andnourished a healthy respect foreach other among both parties.As Warners executive vice presi-dent and director of creativeservices Stan Cornyn admits,"They helped make the world

safe for heavy metal. DeepPurple's was a music that theaudience knew more about thanthe record company did at first;we sat back and watched it knockover the store. Since then, theiraudience has grown, Deep Purplehas grown-as, I think, the musicon 'Come Taste the Band' indi-cates-and so, I hope, have we."

Ian Paice(Continued from page 6)band that comes up to par onlyon stage. It would be nice to justtake a couple of years and con-centrate on making records.

"Also," says Ian, "everybody inthe band will be spending a lotmore time on their individualprojects. Jon has his second love,which is his orchestral things,and he's doing a lot more of thatlately; on his own. David andGlenn both want to do their ownalbums and Tommy has hisrecording commitments with At-lantic. So, if I get the creativeurge, I might do a solo myself.I've been meaning to make onefor six years-and I'm still nocloser than when I first thoughtabout it. But I'll get around to itone day, when I'm sure I've gotthe right material."

FA

IDAN E Su-Cs!rum 'Durum

for letting usshare your tremendous success

FRANCIS, DAY& HUNTER Grano2 MEM 13, MIT1ILWEI 149 TEL.:4103084


DEEp PuRplr

Graham Nolder: Promoting PurpleGraham Nolder's involvementwith Deep Purple was elevatedfrom a purely friendly basis to abusiness level when he joined thePurple group of companies in1971. He initially acted as theirpublisher but eventually workedwith the group in every spherebefore forming his own company,which is now responsible for thepromotion of their product.

"My relationship with the Gil -Ian / Glover Deep Purple wascloser than it is with the currentgroup because they're all livingout of the country now.

"My first business involvementwith them came about in 1971after I became an employee ofTony Edwards and John Colettawhen I looked after their publish-ing company.

"Eventually I became more in-volved with the Purple companyon an overall basis as opposed tosimply being a publisher. So I

went to Australia and New Zea-land with them in November,1975. The tour started in Hawaii,then went to New Zealand, Aus-tralia, Jakarta, Indonesia and Ja-pan, but I was just on the Aus-tralia and New Zealand part. Theydid America after that and then

Graham Nolder

the dates here this year. I'd beento America with them beforewhen they did the California Jamwhich made them the highestpaid act in the world. They didthe Ontario Speedway track whichis 40 or 50 miles outside L.A.There were close on 400,000 peo-ple there and it was also televisedby ABC via the Goodyear hot airballoon. That was something, thatwas the most exciting time be-cause they went on as dusk camedown so they were the first band

Congratulationsto our friends, top group

Deep Purplefrom

WatanabeJapan's top entertainment organisation

Shin Watanabe, President, Watanabe Production Company LtdMisa Watanabe, President,Watanabe Music Publishing Corp

Head office:Matsui Building, 1-6-8 Yuraku-Cho, Chiyoda-Ku,Tokyo,JapanUS office:14533 Valley Vista Boulevard, Sherman Oaks,California 91403 USA Phone 213 990 4224European office:185 Pavilion Road, London SW1 England Phone0l-235 0525

to be seen when the lights werereally effective and that's whenRitchie did his guitar stint into thecamera. That was great fun.

'Machine Head'"On record I consider there are

two outstanding albums. I think'Machine Head' was an all-timegreat for anybody to try to com-pete with, and that was the yearwhen they were tie biggest sell-ing band in the U.S., but for alive album I like 'Made InJapan.' It'll take somebody a longtime to beat the quality of thatrecording. It's really exciting andcaptures everything. The last al-bum has more funkiness andmelody as opposed to the ag-gressive knock -you -flat kind ofmusic. I prefer the original be-cause Purple started out with thatkind of music in their heads andnobody was going to make themchange, which I admire in a band.They kept going until they weregiven the breaks. Just because aradio channel didn't play theirmusic didn't deter them. They be-lieved in what they were doingand they continued it, they stuckit out and it proved that kids didwant it. Today's band is quite dif-ferent. Obviously if you do changea little you lose fars but you gainothers. Perhaps today they are

more varied. My own personaltaste would revert back to theGillan / Glover / Blackmore band,Deep Purple Mark 2, but then I

was a lot younger then so whoknows.

"I've always felt that DeepPurple as a love or hate band.Either you went to see them liveor you bought their albums be-cause you really loved them, oryou just detested them. One orthe other, it was black and white.Therefore, although it was greatfor Deep Purple to have theirown label, when we came topromoting other acts on thelabel people automatically as-sumed that it was heavy rockand roll. In the early days it was,with bands like Silverhead andTucky Buzzard, but then you hadthe slightly lighter side with anAmerican lady named CarolHunter who made what I thoughtwas a lovely album, but it didn'treally see the light of day in theU.K. When I became more in-volved with the record label thanthe publishing I thought it a goodidea to try to break away frombasically the rock and roll orcontemporary kind of music andtry and move across to moremiddle of the road. Purple


To one bunch of superstars

from two others

it is superb being associated

together and looking forward to

many more good times

luv,

Allan & Graham

87 Riverview Gardens, Barnes, London, S.W.13

01-7484770

20RECORD WORLD JUNE 5, 1976 SECTION II

DEEp PuRplE

Ritchie Blackmore:

Taking on New Challenges He started playing when hewas only 11, using an electricguitar he had put together him-self. He was performing profes-sionally at age 17, and severalyears later he joined the groupwhich would catapult him toprominence in the rock and rollarena. Ritchie Blackmore becamea driving force behind DeepPurple, and in the processacquired a deserved reputation asa most capable and dynamic rockguitarist.

It was in 1968 that Blackmore,then living in Hamburg, receiveda wire from Chris Curtis of TheSearchers, suggesting he contacttwo London based musicians whowere in the process of forminga band. Blackmore instinctivelymoved to join forces with JonLord and Ian Paice and ultimatelyDeep Purple. "I'm not sure ex-actly what made me do it. Maybeit was a hunch but I decided togive it a try, he stated."

The subsequent success of theband was most impressive as

Deep Purple became a majorattraction world-wide. The band'sascent to stardom was in no smallpart a result of Blackmore'sefforts, evidenced by his explosiveguitar playing and energetic stagepresence.

Through the years, Blackmoreremained a constant as DeepPurple weathered a host of per-sonnel changes. Then in 1975,Blackmore decided it was his timeto be moving on.

Ritchie Blackmore

"There were too many direc-tions in the band-all of us be-came too egotistical, includingmyself. It became like a five waybattle on stage. Which is goodsometimes, but there wasn't toomuch unity in the band. Therewere no rehearsals and the writ-ing was getting very scrappy . . .

I like rock and medieval music,one extreme to the other. IanPaice, the drummer, is into funkand jazz. Jon was just into classi-cal. It was just that there weretoo many diverse things happen-ing." Leaving Deep Purple was,of course, difficult, but Blackmorehas found a renewed challengewith his own group, Blackmore'sRainbow. I he new band includesRonnie James Dio (lead vocal),Cozy Powell (drums), Jimmy Bain(bass) and Tony Carey (key-boards).

Graham Nolder (Continued from page 20)signed an act called Reflections,which is basically a cabaret, TVkind of act, completely the op-posite to rock and roll. But theirfirst few records, certain deejaysand programmers who saw it wasa Purple label wouldn't evenbother to listen to it becausethey would assume, wrongly,that it was heavy rock and roll.If they were working on a middleof the road format they wouldimmediately start looking moreat labeis like Bell; therefore therewas a slight disadvantage toartists like Reflections being onPurple. So I encouraged Tony toform another label as it waspointless putting out recordswith certain people not evenbothering to listen to them. Itwas the opposite to rock pro-grams on the BBC and commer-cial stations, seeing somethingon Rak or Bell putting it to oneside although they're not awareof the artist. If they've got some-thing on Harvest, Bronze orIsland they'll most probably playthat first because they've got agood idea that they're not going

to be wasting their time. In theend we had a new label calledOyster and then we switched allthe acts other than Deep Purpleto Oyster, leaving Purple purelyand solely as their label.

"I left Purple in the early partof this year to form an inde-pendent promotion, manage-ment, and publishing companywith Alan James called RimeEnterprises. This was not due tobeing unhappy at Purple, I justwanted to try at working formyself and prove to myselfwhether or not I could do it.Luckily I'm still connected withPurple in that Rime ,s respon-sible for promotion of all prod-uct on the Oyster and Purplelabels for the foreseeable future.It's good because I'm aware ofpersonalities within the DeepPurple syndrome-Gillan, Black -more, Jon and Tony, and ofcourse Deep Purple. I'm awareof where they're looking and thekind of things they do so it wasa nice natural progression in a

way, with no bitterness, andwe're all good mates."

Deep thanks...Purple thanks

fromGar Van Egmond

to Deep Purple.TEN Concerts 'nAustralia & N.Z.

ovember,December'75.COMPLE ELYSO D OU

Garry VanPromotions

Playbox Theatre Building,Melbourne, 3000, Australia.

Telex 34122, Cables 'GARVAN'ENGLISH REPRESENTATIVE:

Talent Artists Ltd., 13 Bruton Street,Telephone 01-493(343,

Telegrams and Cables 'TALART'

Egmond

55Telephone

Te,ex

Pty.Exhibition Street,

635251Melbourne Australia

London W128573

London

Ltd.

X 8JY

W1

RECORD WORLD JUNE 5, 1976 SECTION II21

DEEp PuRplf

John Coletta (Continued from page 4)

RW: Can you explain why there's always been some degree ofreluctance over total acceptance of Deep Purple in the U.K.?

Coletta: In America AM & FM gives more opportunity for heavyrock on the radio. They also have the big stadiums whereas in Englandyou can only reach a small number of people at any one time. Beforewe hit America we played halls with a maximum capacity of 2,000and often received complaints from the management because it wastoo noisy. In the U.K. there was only the BBC which doesn't play hardrock so you can't reach the public that way, which is a major part ofthe problem. TV programs are also limited to pop and there's alwaysbeen a lack of opportunity for rock in this way.

RW: Do you feel that this situation is changing in the U.K. with theadvent of commercial radio?

Coletta: It's changing, but the commercial stations haven't gottenthe audiences yet. Once they begin to build FM audiences such as theAmericans have where albums are played from cover to cover withoutinterruptions, they may make a difference. On Radio 1 Alan Freemanhas probably been one of our only allies. Whenever we've releasedan album he plays 2 or 3 tracks and gives us a good send-off. KenEvans on Radio Luxembourg has always supported us too, but gen-erally radio exposure has been a problem in the U.K. I think this is oneof the things that emotionally hurt the group a great deal; in theirown country they've never been able to get the enthusiasm on radio.Whenever a Purple single comes out the BBC playlist panel turns itdown and that hurts.

RW: How did you feel at the time Ian and Roger left the band?Coletta: When you have a proven formula for success, and every-

thing's working, it's hard to see it breaking up because you neverknow how things will resolve themselves. Take Cream for example.They had terrific success but when they broke up none of them madeit again until recently when Clapton came back, but the other twohaven't. You don't know what is going to happen. So when David andGlenn came in I had my doubts about what was going to happen.I knew the boys were musicians of good quality, that they had theideas, but the acceptance was not guaranteed. However with Ritchiethe acceptance is there; it's not sheer luck, it's because he's got thedrive and he's got the ability, but to a certain point you have to relyon the audience. They've accepted him as part of a new band whichis marvelous and the new album is incredible. The first album wasgood, but I felt that Ritchie's dynamics were missing. He obviouslydid that for a reason: he wanted to establish the rest of the band, hedidn't want to swamp them. Now he feels he can inject more of hisown personality. The new one has that thunderous Ritchie Blackmoresound, good guitar playing and a lot of it, which is what most peoplefelt was missing before. They thought that as Ritchie was breakingaway from Purple, Ritchie's going to be Ritchie, and it didn't actuallycome over that way, it came over as another band with Ritchie laidback. I think they'll be surprised with this one.

Martin Birch (Continued from page 13)

and they put things right. Now they're spreading out having the Oysterlabel which has given them a new image.

RW: What special ingredient did Purple have to put them beyondthe reach, in terms of success, of other similarly talented rock bands?

Birch: It's the old fairy dust trick-spread a little fairy dust on it.If we knew we'd all be multi -millionaires. How do you define it? I

was listening to an interview this morning with Tony Bennett and theinterviewer asked him why he recorded "San Francisco" and he saidhe was in some place and a guy brought it in and said would he liketo do this song and he thought yes it's alright so they played it andhe ran through it and the barman at the hotel where they were re-hearsing said "if you record that song I'll buy it." It seems the publicsometimes knows more than the people in the music business.

RW: How do you believe Purple has sustained such energetic stageperformances after all this time?

Birch: I think it's down to a case of professionalism. It's the sameas if you watch the Stones on stage. All through the years, evennow, they're so professional, and they've been together now for Godknows how many years. It's as if they say "we're going to give youwhat we can, you've paid your money, you've come in, and you'regoing to have a good time, we're going to give you some rock androll"-that's their attitude. That's what Deep Purple does, and anoff night for Deep Purple, unless you knew them inside, you'd saywas a great gig, but they might say "it didn't feel quite right to us."I've seen them create so much energy on stage it's been incredible.Your hair stands on end, it vibrates. This is when I suppose they'd classit as a great gig.

Purple in Japango

-41{71:74ittairl A 51344

!CEP

Deep Purple in Japan with Rob Cooksey.

Roger Glover (Continued from page 12)Glover: It just happened. I'd never even thought about production.

In Episode Six we had various producers, none of which meant muchto me, and when I joined Deep Purple we all decided that we knewwhat we wanted so therefore we didn't want a producer, we justwanted an engineer. It was through Deep Purple that I learned a lotabout production. I used to watch everything Martin Birch did andI was really interested to find out why he did certain things, so I'dalways be hovering around. When it came to the mix, for the firstalbum every member of the band was there from beginning to end,making suggestions; for the second album most of the people werethere most of the time. The third album it was virtually myself andIan Paice. People would come in, have a listen, get bored and go awayagain. So in the end, Ian Paice would look after his drums and I'dlook after a lot of everything else. The first one I really did that onwas "Made In Japan." I really started getting into the mixing sideof it then, and a friend of mine, Rupert Hine, was making an albumand looking for a producer and I said to him "I'd better not produceit, I like your songs and I'd probably ruin them." As it happened wecouldn't get anyone else so I ended up as producer. I suppose I

enjoyed it but I still didn't think much about going into productionas a career, and then Nazareth phoned up and said "will you produceus?" and I suppose I started thinking of myself as a producer as wellas a writer and performer.

RW: "Butterfly Ball" has become successful on a worldwide scale.Have you any similar type of projects in mind?

Glover: As a matter of fact I've been trying to cut down on mywork as a producer because it tends to take over a little bit. I'vedone two albums this year-one was the Ian Gillan Band, and theother was a band called Strapps which I co -produced with LouAustin, the engineer I use. I did that because Mick Underwood is inStrapps and he was in Episode Six at the time Ian and I joined DeepPurple because he used to play in a band with Ritchie, who toldMick that they were looking for a bass player and vocalist. So Mickwas the connecting point. So partly for old times sake and partlybecause I think Strapps is a good band I did that, but I'm not reallylooking for production work, I'm really trying to work for myself now.This album coming up shortly is of so much importance because mycareer rests on it. I've decided that I could make a pretty good careerout of production, but it doesn't totally satisfy me, I'm too much ofa writer. Production always means you're working for someone else,working with someone else's songs and I really want to work withmy own.

RW: Is it strange to look back on Deep Purple as it is now?Glover: Not now. I went to see them a few months after I'd left

and I really felt very bad. Very, very depressed. It felt wrong, someoneelse being out there, the audience going wild, and I was sittingbackstage. In fact going to any concert I have the same feeling-that I was on the wrong side of the footlights. But it's three yearsnow since I left and I've got over it. As a matter of fact I went tosee Deep Purple at Wembley on their last British tour and I didn'tfeel bad at all. It didn't worry me at all, even when they played"Smoke On The Water," which is a song close to my heart.


DEEP PURPLE

Glenn Hughes: The Changing Face of Deep Purple After forming his own soul -oriented band, Trapeze, GlennHughes was offered the vacancyleft by outgoing bass player /vocalist Roger Glover three yearsago. Since that time Hughes hasbecome a major influence in thedevelopment of Deep Purple'ssound, as revealed in the follow-ing interview with Record World.

Glenn Hughes

Record World: What made you decide to join Deep Purple?Glenn Hughes. They were planning for me to join in 1973 but

they asked me at the end of '72 to join. I had to think about it becauseI had my own group, Trapeze, and I wanted to make it on my own,with my own group. After a while I studied Purple's music and I gotto know the guys really well so I became interested in what theywere doing and what they were going to do. I was interested in thenew format of what it was going to be at the time.

RW: What difficulties presented themselves in joining a bandwhich had already enjoyed considerable success?

Hughes: Obviously jumping on the bandwagon, jumping into thebig time. I suppose it was an ego difficulty if you want to put it likethat, but my ego isn't an out and out thing I like to show-my egois only in my music. I thought there'd be no problem because myconfidence in my music is very high, and there was no difficulty atall really. I was used to playing to large crowds, from beirg secondon the bill on gigs with my old group although I had not played atthe big festivals like the California Jam or any of the outdoor footballstadiums. They were different, I was playing to 60-70,000 people anight, which is a lot but I just got into it.

RW: Who has been the greatest influence on your career?Hughes: I have to say overall Stevie Wonder was, and still is, but

I've played with a lot of interesting people since. I met Stevie Wonderabout three years ago, but before that I was really a big fan of his.

went in tne studio with him, and watched him. I also jammed withhim and it was great, but before that everything Stevie has ever donehas rubbed off on me a lot, which is noticeable I suppose in some ofthe Trapeze material I used to do. It doesn't show so much withPurple because I haven't got that sort of commitment to do that, butI hope to do a solo album which David Bowie might produce. We'vebeen talking about it for two years. David was staying with me inL.A. for two months, planning this album. So my personal songs willbe coming out cn that. As I say, Stevie Wonder overall is my majorinfluence, but lois and lots of black artists are really what it is for me.

RW: Do you consider yourself to be first and foremost a vocalistor a bass player?

Hughes: I'd have to say definitely a vocalist. I used to play guitarbefore bass in the early Trapeze and moved on to bass, and I'vebeen playing a piano for the last 18 months, which I really enjoy.Obviously I'm a singer and I think of this as being most important.I don't want to shove Dave off, obviously, because he's the leadsinger, but the band realizes I'm a singer. That's another reason whyI have to do my solo album. I just love singing.

RW: What Deep Purple album has given you the greatest personalsatisfaction?

Hughes: The first one I did, "Burn," was a little too broad, it wastoo basic rock for me, and the next one, "Stormbringer," was theleast productive but I liked doing it, but I have to say "Come TasteThe Band" was the best album for me to play and sing on.

RW: Do you feel the arrival of Tommy Bolin has been a boost?Hughes: Yes v do, I really do. He's been playing with us on stage

for about the last six months. Tommy Bolin is a guitar player; he'saffected by things that happen during the day. If he's got to go on atnight time and he's had a bad day or something, he'll feel it. TommyBolin to me is tie best guitar player in the world. Then again he hashis ups and downs, but the thing you've got to admire about Tommyis that he's a very sensitive person and if he's not feeling too goodthen obviously he won't play his best. Tommy Bolin is the biggestinfluential guitar player I've ever worked with, moreso than Ritchie.


We are happy, having been associatedfor so long with the talents of

SONGS

CC

23

DEEP PURPLE"You Keep On Moving!"

Amsterdam-25-Oranje Massa ulaanBrussels-2-Rue Jules Lebrun


DEEp PuRplf

Richard Bagehot: The Legal Advisorband. When Torr my joined it was done in America and from a prac-tical point of view our American attorney undertook the negotiations.When Glenn informed his previous band, Trapeze, that he was propos-ing to leave, his managers realized that this was a chance which hereally wanted to take. It was a free choice for Glenn and they tookthe attitude that if that was the best for him in his own opinion thenthey wouldn't stand in his way; therefore there was no particular prob-lem there. I think they were sorry to see him go, and there were somenegotiations obviously to compensate the band in some way, but I

think that they took it extremely well. A lot of bands would try andput a block on it, and some managers would try to do the same, notnecessarily out of spite, but in order to get some investment back.

"There have never been any other complications arising from thepersonnel changes even on royalties because in simple terms, in anygroup-we refer to them as Marks 1, 2, 3 and 4-those members ofthe band at the time share or shared the receipts from concerts andrecord royalties accruing from sales of records in which they weredirectly concerned as artists. Ian and Roger still receive royalties fromrecords with which they were connected. Since Tommy joined theband he will participate in the share of record royalties on the recordsthat he has been actively involved in. I think this is the only fairbasis on which it will work. In addition, any other way would makeaccounting incredibly difficult, and consider that this band in all itsvarious forms has stayed with the same management since its in-ception in 1968 it says a great deal for the people involved."

As the group progressed so, thePurple company grew and Rich-ard Bagehot became full-time le-gal adviser, a position that he didnot evisage when he first becameinvolved. He now reflects uponthat period and upon his experi-ences over eight years with Pur-ple in the following interviewwith Record World.

Richard Bagehot

"I was working with a firm of solicitors when John and Tony cameto see me together with their accountant, Bill Reid, because they hadfound this pop group and wanted me to handle whatever contractualrequirements that were necessary. Some of the boys were in factunder age so I advised Tony and John to obtain separate legal repre-sentation for the boys. So the negotiations for that contract wereconducted between two sets of solicitors. It can be very difficult toexplain a contract to young musicians, who really don't want tolisten to a lot of legal jargon anyway, but if any band becomessuccessful one of the first things they might say is that they didn'tknow what they were signing, or it wasn't explained to them howtheir obligations came about and so on. This way allowed them tobe advised absolutely independently so that someone in fact arguedon their behalf.

"Naturally, acting for a successful rock band has presented variouslegal problems, some of a more serious nature than others. Whattends to happen is that the only occasions you ever look at a con-tract are firstly when you sign it and secondly when you begin tothink it isn't so good. The normal kind of problems which any bandhas are minor things such as non-payment for dates. I think the onlymajor real hassle we've had was some time after the event, and itarises out of the very first band, which included Nicky Simper andRod Evans. Years after Nicky and Rod had left the band, Nicky tookit into his head to sue the band and their manager, saying, in somany words, that he shouldn't have been fired. This went througha long period of negotiation; he issued proceedings, but finallyoutside the court doors a settlement took place. There was also theserious problem with Purple's first American record deal, althoughit was one of those things where it became a more practical elementas opposed to a legal one. The American company, Tetragrammaton,when it went into liquidation, caused what is called a moratorium;it simply went into suspended animation and nobody could do any-thing. Really it went outside the legal side to say who could do what.Creditors had to be satisfied. Contracts with bands have a potentialbenefit, and the American system is very much more complex thanthe British.

"Of course when I first met the group it was simply on a formalbasis, but as time went on they became friends. On a musical levelI think I'm in the same position as somebody who would go outand buy their records; I have never become involved in the creativeside of their music or the marketing of it. I am happy to sit back andenjoy their records and concentrate on servicing them in the capacityin which I feel I operate most successfully.

"By comparison there is a tendency in the American system fornobody to make any move whatsoever without his lawyer being there,but in our organization it's been very much the other way. The artistshave always had freedom of choice. Those who have had managerialresponsibility for the band from time to time have done more orless what they wanted and I come into it when negotiations takeplace and contracts need to be prepared-then it becomes a teameffort. I think one of the great strengths of our team is that you havethe management side, Tony, John, and Rob Cooksey, the agency andthe very strong force behind the whole lot has been our financialadviser, Bill Reid, who has had tremendous experience in life itselfand to describe him simply as an accountant is wrong. Because he'sa comparatively older man than anybody else here he tends to belooked upon as the Godfather.

"However, I was certainly very closely involved with the firstchanges in the band when Rod and Nicky left and Ian and Rogerjoined, and the later transition when Glenn and David joined the bandbecause there were things which happened in the U.K. The negotia-tions for Glenn took place here, with his managers and the rest of his

Glenn Hughes(Continued from page 23)

There again, I think Ritchie's unbelievable. He and Tommy are myfavorite guitar players, but Tommy and myself are really close andhe's great.

RW: Is there a particular concert you can recall as being somethingspecial to you personally?

Hughes: The California Jam, because it was so aggressive. Theattitude of the whole thing, the whole organization of the concert,was like a Nazi thing. The band was introduced when I was still in thedressing room; it was really strange, I walked on stage and they wereall ready to go. Everybody's attitude to the gig was so uptight,aggressive and everybody was pushed around backstage so they wenton and really played so strong and good. It was a grand feeling todo that.

RW: Did you fird that when you started writing with Purple itcame naturally or was it a problem?

Hughes: It was at first because I wasn't used to that kind ofmaterial-very basic rock rather than funky music. I had to work withJon and Ritchie to really get into that kind of music, the sound, butafter the first album I think it was okay. It became natural for me towrite those kind of songs.

RW: Was the change in Purple's sound a conscious move or wasthis a gradual development?

Hughes: A gradual development. It was obvious the band wasgoing to change when Tommy joined because he's a free -formjammer. We do jam a lot anyway, but as I say it depends on how hefeels-sometimes he might play slow blues, other times rock & roll-which is good. When Ritchie left, the band slowed down a lot. Weliked to do things that we wanted rather than what he wantedbecause Ritchie, God bless him, was the kind of person and it gotto the point where he left because of this for which I don't blamehim. He was so pissed off with playing the same songs for eightyears that he wanted to do something else. I don't blame him reallyafter eight years. So he left and we started doing what we wanted todo. I think it was a then conscious move, but probably both a gradualand conscious thing really.

RW: What are your plans for the immediate future?Hughes: The solo album is the main thing. I've got a little studio in

L.A. I've got enough for a double album if I wanted but I'm onlygoing to release a single. I've chosen the songs really well, I'm reallyhappy with it; that's the immediate thing, that'll be the next twomonths.


Ep PuRpix

Baz Marshall on Purple's EquipmentAfter serving an apprenticeshipwith Uriah Heep, Baz Marshall, in1973, joined Deep Purple to takeresponsibility for their equipmentand supervise the road crew thathandles it. In that capacity, Mar-shall has since traveled the worldand now recalls some of his ex-periences with them in the fol-lowing feature taken from a re-cent interview with Record Worldin London.

III "The first dates I did were onthe European tour followedstraight away by America in Janu-ary, 1973. That was the last tourthe band did with Roger Gloverand Ian Gillan. I found Americamore exciting because the peopledemand more. They pay theirmoney and they want more thanyou can give which is exciting ina way. English audiences are alittle bit laid back. They sit, listen,and watch, whereas Americanaudiences like to participate. Theyjump up, get well out of it, enjoythemselves. If they don't like whatthey see they usually let youknow.

"Visiting Japan for the first timewas quite interesting, I really likedthat. Also Australia and New Zea-land. I'd never been there beforeand you never know what anaudience is going to be like when

you go to a different country.After working with a bunch ofguys like Uriah Heep you couldn'twish to work for a better groupthan Deep Purple because they'regreat, all of them, they're just verynice people to work with. Everytour I've done with them I'vereally enjoyed. There's no particu-lar one. Ever, when they changed,it was always exciting for me. Ob-viously if you put something newinto a group it takes somethingold out of it. but it still gets ex-citing. They're down now to twooriginal members but it's still anexciting band to watch, and towork with, and they're very pleas-ant as well. Since I've been withthem, at the end of every tourwe'd have a bit of fun. The lastEnglish tour we did we had aflour fight in Coventry and all theroad crews danced on with theirtrousers down and this Americanone we had a pie throwing con-test with Crazy Foam-we walkedon and slapped everybody in theface with a plate of foam. That'sthe kind of group they are. Theydon't mind. There's not manyother groups I know that wouldtake that.

"As far as the equipment is con-cerned none of it was bought inthe shop. It's all been rippedapart, and put back together

Baz Marshall

again. Literally that's what we didwith it. Especially Jon Lord's key-boards. He plays seven differenttypes of keyboards on stage andnone of them are as they werewhen they were bought. The am-plification on that is quite large,a couple of Crown DC 300 ampswhich give out quite a lot of vol-ume. Sometimes it gets so loud Ican't really stand it, so I've startedto wear ear muffs. The PA systemwe use in America is 25,600 wattsand 5000 watts of that is on stagemonitors so the guy on the mixingboard has a really hard job be-cause straight away he's got fiveand half thousand watts of moni-tors plus all the instruments, thenhe's got to get a balance between

the out front PA and the monitorsand the stage. A great deal de-pends on where you play. If youplay at a place with bad acousticsit sounds terrible, it hits the backof the room then comes backtowards you, there's a lot of echo.

"Purple has been recorded asthe loudest band in the world andnow in the U.K. the authoritiesmeasure the volume. At the Em-pire Pool we had a couple of menfrom the Greater London Councilrunning around with meters butit wasn't all that bad. I think theyclocked up about 170 decibels.They were quite pleased with that.It was different in the arena,on one side it was 170, and111 on the other - the crowdabsorbs a lot of it. We use morePA equipment in America. Al-though the main PA is 25,600watts, it differs wherever we play.Sometimes we can only usemaybe half of it. If it's a theatrelike the Boston Theatre we useabout two thirds of it because it'sa theatre and there's just nowhereto put it and you don't really needit because it's a very nice theatre,the acoustics were very good. Wetake it as it comes. The system wehave is enough to cover MadisonSquare Garden but obviously youdon't play places of that size


LA L LA

HOW PURPLE CAN YOU GET WITH A QUARTER OFA MILLION SALES IN HOLLAND?

DEEP

EMI-BOVEMAferaixoderc,_HOLIANDEMF"' '


DEEp PURpIF

Purple and the Press(Continued from page 18)Coverdale, Blackmore obviously found someone with a new approach.He's so much more into blues while Gillan's a rock & roller. Thething between Hughes and Coverdale has to be balanced out. I don'tthink egos should get in the way, I think they should all club togetherand work on the music, the whole direction. 'Come Taste The Band'did have a direction, but Bolin seems to be interested in solo projectsand I think once all that gets out the way the band is really goingto get together and bring out something good.

"I went to Munich about a year ago and Blackmore was recordinga solo album. I don't know if anything was happening at the time butit was pretty evident that Blackmore was going to leave because hewas into different things, and it was pretty evident that Purple withHughes and Coverdale wanted to get into other scopes as well. In away I think the split was good because it has given everyone a healthystart again, and I think Bolin was a great choice of guitarist as well.It's great getting someone who no one's got any previous idea orconception of what they're going to be like. Bolin as opposed toBlackmore is not a front man, he's a part of a band. He's not as muchof a showman. That's nothing against him, but he's a totally differentpersonality. Blackmore would walk on stage and he wouldn't sayone word. I've never heard him say anything. The whole band hasgot less of a mystique about it than before. The whole thing before,at that time it was right, but now with people like Hughes it's gettinglooser, the whole thing, the whole idea, even the set; if you listen,there's lots of jamming.

"When I was at Sounds (British consumer music paper) I was theonly person at that time who liked Purple. I've got a theory aboutjournalists, that they're into integrity, and it's not 'cool' to like heavybands, because the music isn't 'ethnic,' it doesn't come from r&bor blues. Journalists like discovering things for themselves and Purplewasn't discovered by journalists-journalists don't get any credit forPurple's success because they built themselves up through their ownfollowing, just through sheer gigging. I find it weird that a bandlike Led Zeppelin (I'd put them on the same level musically) getsmore credit for what its done, but a band like Purple doesn't. I findit strange because they're both equally successful. I put Blackmore andPage at the same level myself, because they've both been throughthe same thing-sessions, etc.-but Blackmore was never rated asPage was, as a legendary guitarist, although Blackmore was thoughtof as simply a heavy metal guitarist. I don't think a lot of Britishjournalists were aware of how successful Purple was, because it wasall in America. The press here usually follow things that are in vogue,you get bands like Little Feat and things like that, ethnic music, punkrock, or whatever, and bands like The Stones, but somehow Purpledidn't fit in. A journalist's role is to convey what's happening in themusic scene. If a band is happening I think you should write aboutit anyway. I feel a lot of bands now aren't getting their fair shareof space for the same reasons.

The editorial matter for this special section was compiled byRecord World British correspondent Ron McCreight. Specialthanks go to Jenny Hall, Lynne Wheeler, Richard Bagehot andJohn Craig for their assistance.

Baz Marshall(Continued from page 25)everywhere. There's no hall toobig for the PA system we have.

"I've never had any real per-sonal problems with the groupsince I've been with them. Afteryou've been on the road togetherfor a while, you live together forthree or four months you get afew scenes but they're not reallyheavy, once you've got it off yourchest it's over. The next day it's allforgotten. If you take things toheart and listen to all the moansand groans and everytihng thatgoes on and take it seriously youmight as well get out of the busi-ness because it just doesn't work

like that. If you've got somethingto say, say it, and once you'vesaid it it's forgotten. Unless itwere really serious-for exampleif I had to come home becausesomething drastic had happenedat home, there'd be no problem,I'd just fly home. I wouldn't losemy job or anything like that. I

could go back and just pick upwhere I'd left off. I have someonewho can take over my job as soonas I leave and if someone elsehad to leave I'd take over doingtheir job. You have to be able todo it because nobody can be in-dispensable or you could stop atour."

Live Purple Power

Deep Purple live in 1975 in Japan.

Tony Edwards(Continued from page 7)

Ball' and in particular the single 'Love Is All' which is now a top 10single and is probably the heaviest selling international single inFrance at the moment. It's very exciting and there are various coverversions of it coming out, and in particular Sacha Distel has done aFrench version which seems to be on television almost every night.This kind of success broadens the base of Deep Purple generally,when you think of one of their former members, Roger Glover,bringing out something like this which is not Deep Purple music butnevertheless it'll always be associated, there'll always be a DeepPurple tag on it because of Roger's membership in the band andthe fact of course that on the album you'll find David Coverdale andGlenn Hughes. In the live concert of 'Butterfly Ball' at the AlbertHall there was one marvelous moment where I believe Ian Gillan,Roger Glover, Jon Lord, David Coverdale and Glenn Hughes were allon stage at the same time."

Jon Lord(Continued from page 3)

or bad or medium or not bad or not too good-there's a trilliondifferent categories you can put a gig into, different countries,different audiences, different ways of playng to them, and I've learnedall that. It's now second nature, which is great, I'm the organist ofDeep Purple; that's how I made my name such as it is, and for a longtime to come that's what I'm going to be known as. People will sayoh that's Jon Lord but they won't say he's the organist of DeepPurple, but that's understood. I'd like to try and prove in my ownsolo career that that's not the only thing I am, but I'm very proud ofbeing that. I don't want to gainsay anything that Purple has done-ever. I did it, and by doing it I put my seal of approval on it. Themere fact that it exists and I've done it means that I'm happy to havedone it and I hope that we can continue to make it worthwhile. It'seight years old, and you know how you get a dogs' age by multiplyinga human age by seven, well I think with a band you have to multiplyby 100 in terms of what some bands' longevity turns out to be.Maybe there's a dozen bands that have been around such a long timeand of that dozen maybe less than half have actually achieved anykind of enormous popular acceptance and financial security, etc.There's not many that have done it. It's this awful thing of trying tokeep one step ahead of the public. You achieve a public by whatyou do, your first success, then you've got them for two yearsno matter what you do, but it's after that two years, they demandand they might demand more of the same, but you can't do that, youcan't just go on, you've got to start trying to lead them away ontosomething that you want to do as well. That's the difficult point,and to sustain that for eight years is not bad going.

26RECORD WORLD JUNE 5, 1976 SECTION II

WEEP PURPLE

Bill Reid A Uniaue Relationshi Accountant, friend, and above all an enthusiastic ally, Bill Reid hasbeen with Deep Purple throughout their career. In the following inter-view, Reid describes his own particularly unique relationship withthe group and how he first came to be involved.

Record World: How did you become involved with Deep Purple?Bill Reid: I first became associated with Deep Purple via the man-

agers, Tony Edwards and John Coletta, who said that they thoughtthey were about to get some young men together who played musicand would I be interested in helping both them and the musicians torun like a business, and generally help the organizing in any way Icould. I'd already known John Coletta for about five or six years, butI met Tony Edwards for the first time then. I met Tony and we decidedthat we were unlikely to quarrel unduly, then I met the boys and theyseemed from a cursory glance an enthusiastic, professional lookinglot, and this was very important as far as I was concerned, becauseit seems to me that you're never going to get anywhere in businessor any other activity unless the people concerned have a professionalattitude towards their business. They've got to mean it.

RW: Was there ever a personality clash between accountant androck group?

Reid: I don't think my being an accountant or they being musicianshas in itself made any difference. It's entirely a matter of the willing-ness on both sides; of course, it's a two way street, them to acceptme and me to accept them. Although it was not my first experiencewith rock music it was the first time I'd come that close to it, andI'd never been to a rock concert before, but of course having childrenwho were possessors of all kinds of records I had some idea, and Ithink I would have done better if I'd listened to more of them becauseI'd have learned more sooner. Subsequently of course I've found thatmy children's comments, not only about the Deep Purple group'sperformances but also about other groups, some famous and somenot, have been extraordinarily valuable to me because they knowfar more about it-it's the music of their generation rather thanmine.

Another thing that I think the more senior members of Purpleremember is that whereas for them it is another performance, forthe audience outside it's once only. Purple appears once in a city.Take the last American tour: I think their last performance was onDecember 4 last year, that was the last of 33 performances in theUnited States, but of course they were all in different cities and forthe people who attended those concerts that was their only time,and no group should ever forget it. It has to be special for those peo-ple who are watching. And unless they have that approach the audi-ence rightly will never forgive them. Why should they? They're payingtheir hard earned money to see them, they're entitled to the best thatperformer can give. It doesn't matter if he's tired, if he's cold, if he'sgot the flu, if he can perform he must give of his best. There was a verygood example I saw of that, in Seattle in 1974, when Ian Paice hadthe most awful dose of flu. He was sweating, he was really feelingterrible, his head was swimming, but wrapped up in blankets he waspiled into the limousine at the hotel, taken as near as possible tothe back entrance of the theatre, kept warm until just before Purplewent on, he went on, performed, unbelievably, and immediatelyafterwards was rolled up into blankets, whipped into the limousineback to the hotel, and was in bed before half the audience had leftthe hall. Ian Paice went on.

RW: Since becoming so closely involved with Purple, did you everfeel inclined to become more involved in the music itself?

Reid: Even if I did know enough, which I certainly don't, to inter-fere with the music in any way would be extremely unwise. I thinkthe way to run an organization is to let those people who are bestat what they do, do it, and leave everybody else to do what theyare best at. So let the musicians choose their own members, letthem compose and/or play the music, let the management get onwith the management, let the people who are responsible for moneyget on with it, and let the strategists get on with laying their plansfor the long term future. I think that the least each one interfereswith the others activities the better, and the outcome will be happier.

RW: Is it possible that Deep Purple might have passed its peak?Reid: If you judge it on sales of records or you judge it on the

sizes of the halls the group plays, then I suppose you could say thata peak of Purple activity and popularity was reached when the secondPurple group, consisting of Lord, Paice, Blackmore, Gillan and Glover,was on the road and making records which have sold far and awaythe greatest number. I refer of course to "Machine Head" and "MadeIn Japan" which have been the biggest sellers right along the line

and you can look in the record charts to find that out, and I supposeyou could say that was a peak, but as whenever you reach a pinnacleof anything, it was an uphill run. On the departure of Ian Gillan andRoger Glover, there was a slight dip, and then you had them startingto rise again, with the "Burn" album for example, which was an ex-cellent album and sold an awful lot of records.

I don't know what the group would select as the best but perhapsthey would pick songs that were not very popular but may well infact be better songs in intrinsic terms. I think that anyone who sug-gests that they are quite as popular today as they were 21/2 years agowould be fooling themselves, but again I regard this as purely partof the cycle, because the essential people within the group are soprofessional, so expert, and so experienced that I see that the cyclewill continue. I think in a year's time one might see this group sailinghigher than ever before. Look at the accumulated experience ofcertain members in that group. It's enormous. And by that time they'llhave even more experience in handling audiences.

Now normally when a group has a change of personnel there's agreat explosion and the people who are leaving not only leave thegroup but they leave the management. This is not the case at Purple.Ian Gillan and Roger Glover are still very much with the Purplefamily. Ian Gillan, as you may know, got his own band together andis about to tour the U.K., and Roger Glover has made "Butterfly Ball"and has produced other things for Purple. He'll also be making analbum of his own but all within the Purple family. Ritchie Blackmore,who left just under a year ago, has formed Ritchie Blackmore'sRainbow and again he hasn't left-there was no great explosion orrow, he's still in the family. I take the view that what one does todaywill set the pattern for what is going to occur 20 years from now andtherefore if you conduct your business in such a way, not onlywithin Purple itself, but with outsiders as well, in such a way thatwhen you say something people will believe it, because they havecome to rely on your words and they know from experience that youkeep your word. So if we shake hands on a deal in this company wemean it. We don't say "is it in the contract." It doesn't matter if it'sin the contract or not, the question is did we give our word or not.

ISWITH

FESTIVAL MUSICIN AUSTRALIA

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RECORD WORLD INVOLVES YOU

Album Picks Private Stock Signs Peter Lemongello

(Continued from page 16)

WE GOT THE RHYTHMPEOPLE'S CHOICE-TSOP PZ 34124 (CBS) (6.98)

This is dance music all the way, as justone look at the cover will tell you. It

is indeed the rhythms of People's Choicethat set the group apart from so manyothers, along with lead singer FrankieBrunson's gut -level vocals. "Here We GoAgain," "We Got the Rhythm" and"Movin' In All Directions" have the funk.

NIGHTFLIGHTGABOR SZABO-Mercury SRM-1-1091 (6.98)Szabo's move to Mercury is marked bya subtle redefinition established throughproducer/songwriter/guitarist Bunny Sig-ler. Recording at Sigma with Sigler, how-ever, has not obscured Szabo's Latin roots.The guitar playing is gently forceful andalways cogent. Listen to "Concorde,""Keep Smilin' " and "Smooth Sailin'."

UNEMPLOYMENT BLUESFORCE OF NATURE-Phila. Intl. PZ 34123

(CBS) (698)

Heavy emphasis on steady, pulsatingrhythms punctuated by horn and guitarsolos along with vocals. "Baby I'm Yours(And I'm So Glad)," "Toy Ball" and"Freeze" give an idea of the differentinfluences that have fused to give birth tothis natural force.

GANGSTER LOVECHICAGO GANGSTERS-Gold Plate GP 1012

(Amherst) (6.98)Solid disco fare, strong in both instru-mentals and vocals, with varying temposand original material (with the exceptionof "Feel Like Making Love," also beauti-fully rendered). "On the Way," "I'm AtYour Mercy" and "Got A Little Picture"are among the choicest cuts.

NAKED REALLY NAKEDAIEN ROBIN-Carrot CA 317 (Caytronics) (6.98)Robin uses the taped voices of politicalfigures such as Nixon, Rockefeller andAgnew, asking his own questions andsupplying his own commentary, splicingin the pre-recorded words. The result isfrequently hilarious. The man behind"Welcome to the LBJ Ranch" is on targetagain, more biting than before.

BORN TO GET DOWNMUSCLE SHOALS HORNS-Bang BLP 403 (6.98)The Horns quartet-Harrison Calloway,Harvey Thompson, Charles Rose andRonnie Eades-have full support from anequally significant rhythm section high-lighted by lead guitarist Ken Bell. "Bornto Get Down" is the current single, with"Open Up Your Heart," "Where I'm Com-ing From" and "Give It To Me" movers.

NO HEAVY PETTINGUFO-Chrysalis CHR 1103 (WB) (6.98)Hard rockers who know the ropes andhave mastered their craft with a rartfinesse. "Natural Thing," "I'm A Loser,""On With the Action" and "Martian Land-scape" don't let up, while "Belladonna"showcases a softer side. Band is set totour this summer, and that's where itsstrength is reported to be.

rNelt Or

Chicago

GangsterLowe

NEW YORK - Larry Uttal,president of Private Stock Rec-ords, has announced the signingof a long-term, exclusive record-ing contract with Peter Lemon-gello, whose innovative televisionadvertising campaign has beenthe subject of much discussion.

"In just a few months, PeterLemongello has become nation-ally known through his innovativemedia campaign. His unprece-dented television exposure andsinging ability have contributedgreatly to his meteoric rise onthe music scene," commentedUttal. "I firmly believe thatPeter Lemongello is going to bea super -star. He is an extremelytalented artist, whose good looks,charm, charisma, and sincerededication are all a part of thisincredible phenomenon. We aredelighted that Peter has chosenPrivate Stock Records."

Peter Lemongello first came tothe attention of the public and

the record industry early inJanuary when he applied thetelevision advertising techniquesused to sell albums by establishedstars to his own debut Ip byoffering it directly to the publicthrough a series of tasteful, lowkey television commercials. Theintensive advertising campaign,which began with a two-weekseries of 10 second "teasers"designed to create awareness ofthe artist and which were fol-lowed by a full schedule of 60and 120 second commercials,reportedly enabled Lemongelloto sell well over 40,000 albumsin the greater New York area.

SRO ConcertsThe success Lemongello

achieved via this campaign wasreflected by this two sold -outconcerts within one month atLincoln Center and by the numer-ous television appearances andnewspaper and magazine articleson the Lemongello phenomenon.

drta.dePictured above (from left): attorney Bob Casper; president of Private Stock Records,Larry Uttal; Peter Lemongello; and Dick Gersh of Richard Gersh Associates, publicrelations counsel to Lemongello.

Janus Names Newman

Natl. Promo Dir. LOS ANGELES-Ed DeJoy, vicepresident of Jaius Records, hasannounced the appointment ofLouis Newman as national promo-tion director for Janus Records.

Louis Newman

Newman's duties entail the co-ordination, promoticn and mar-keting of all Janus, Barnaby andShock Records on a nationalbasis. He wil also be involved inthe scheduling of new releases.

Prior to joining Janus Records,Newman had been national pro-motion director for Dark Horse,Discreet and Blue Thumb Rec-ords.

Abkco Reports Loss NEW YORK-Abkco Industries,Inc. has announced revenues forthe six months ended March 31,1976 amounting to $3,660,657with a loss of $232,618 or 160per share as compared to reve-nues of $4,274,821 and a profit of$112,443 or 80 per share for thesix months ended March 31, 1975.Without legal expenses relatedto the company's litigation withthe "Apple Companies," thecompany would have had a profitof $188,730 before tax for thesix months ended March 31, 1976and $682,446 for the six monthsended March 31, 1975.

Operations for the secondquarter ended March 31, 1976resulted in a loss of $91,939 or64 per share compared to a profitof $52,116 or 40 per share for thecorresponding period in 1975.Revenues for the quarter amount-ed to $1,844,049 as compared to$1,893,322 for the same periodin 1975. Without Apple litigationexpenses the company wouldhave had a profit of $169,976 be-fore tax for the first '76 quarter.

RECORD WORLD JUNE 5, 1976 59

New York N.Y (Continued from page 18) Who In The World:member, Peter Wood, who was in England at the time.

BUSMAN'S HOLIDAY: Contrary to circulating rumors, Return ToForever has not broken up. Carolyn Clarke of Theta Management hasinformed us that the group will merely be taking a respite of severalmonths after nearly five solid years of touring and recording. In thattime, Chick Corea will work on several solo projects, including a filmscore. Stanley Clarke will begin work on his fourth solo album startingnext month, which will be promoted by his first solo tour sometimein the summer. Guitarist Al DiMeola will also keep himself busy withvarious solo projects including the "Go" concert of last weekend atLondon's Albert Hall. "Go" is the visual/musical conception of StomuYamashta, who brought his Red Buddah Theatre to the BrooklynAcademy Of Music three years ago. Working with Yamashta andDiMeola in London are a colorful assortment of musicians: StevieWinwood, former Tangerine Dream percussionist/ synthesist KlausSchulze and former Santana drummer Michael Shrieve with stringsconducted by Paul Buckmaster. The Royal Ballet rounds out the pro-duction. A "Go" 1p will be released on Island hopefully sometimenext month at which time Yamashta is expected to tour here.

NOTED: Bill Graham, on location with Francis Ford Coppola andcast filming "The Apocalypse" in the Phillippines, put his time togood use when the rainy season interrupted the crew's scheduleby organizing "mud volleyball" and "mud softball" games . . . Syner-gist Larry Fast demonstrated the new polymoog synthesizer at a re-ception/preview party for his new "Sequencer" album at Atlanticstudios last week. The polymoog should be an indespensible instru-ment due to its portability and range of possible tones. It is also thefirst synthesizer on which actual chords can be played : . . The firstperformance of "A Poke In The Eye," the London musical comedyfeaturing members of Monty Python and the Goodies, was recordedfor a possible album . . . Rick Grech has announced the line-up ofhis first band since his sudden departure from KGB. Included are:Claire Hamill (vocals), Rob Townsend (drums), Charlie McCrackin(bass), Roger Saunders (guitar), Tom Harvey (guitar), Dave Seddons(steel guitar) and Kips Brown (piano) Grech? He plays the fiddle . . .

Not to be outdone by Monty Python, John Denver and RCA Englandhave managed to get 300,000 copies of an album recorded at hisI.ondon Palladium concert into the shops in only 10 days.

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Henry Gross Has Come a Long Way NEW YORK-Henry Cross hascome a long way since his daysas a somersaulting lead guitaristfor Sha Na Na. His current single,"Shannon," has gradually madeits way into the top 10 and "Re-lease," the Lifesong Recordsalbum that it is drawn from, hasmanaged to climb steadily as well.

It is significant that Gross'first hit single is simultaneouslyLifesong Records' first major charteffort, for he has a close and en-during relationship with his pro-ducers, Terry Cashman andTommy West, who also headLitesong. The duo producedHenry's A&M albums, both ofwhich were progressive radiofavorites. In addition, Barry Grossand Marty Kupps, both of whomare longtime associates of Henry,head up promotion and sales forLifesong.

A bright, funny, young nativeNew Yorker, Gross seems to

The Coast

have developed a surprising af-fection for the south. The feelingis obviously mutual, for he is aheadliner in places like Atlanta,New Orleans and Jacksonville.His most recent album featuressong tributes to Memphis, one ofElvis' bodyguards and to an areain Northern Georgia known as"Moonshine Alley."

Musically, Gross is basically arocker, but, as "Shannon" illus-trates, he is a diverse talent, withthe ability to make many differ-ent kinds of musical statements.He has toured with the DoobieBrothers, the Beach Boys, andmost recently with Aerosmith,and shows a rare affection for be-ing out on the road.

As for the future, perhapsHenry sums it up best in a linefrom his record company bio. "Iwant," he says, "to be biggerthan Zazu Pitts."


were sitting many feet away in a balcony perch. One heavy stated"Led Zeppelin doesn't like their picture taken," as another snappedthe camera out of Mayumi's hands while she looked on helplessly.In a theatrical gesture, the film was exposed and thrown to the flooras many onlookers booed their disapproval.

SENSE AND NON -SENSE: Roderick Falconer has returned fromEngland . . . The voice you are hearing on the promotional radiospots for the Alan Parsons Project's "Tales of Mystery and Imagination"belongs to none other than Orson Welles . . . Neil Merriweather,notorious for his part in the ill-fated Space Rangers and for his workwith the Stars (nee Hollywood Stars) is going into the studio withDetroit refugees The New Order. And another unsigned band, TimMcGovern's Straight Jacket, played the Starwood recently and report-edly generated some label interest . . . Judas Priest, a new Janusacquisition, is being compared favorably with Led Zeppelin byEngland's Beat International magazine. "Sad Wings of Destiny" isthe name of their soon to be released 1p . . . Producers Kenny Kernerand Richie Wise will soon begin work on the second 1p by KGB . . .

Dobie Gray, who is also recording presently, is set for a tour ofSouth Africa in late July ... Congratulations to Loudon Wainwright IIIand wife Kate McGarrigle, who are the proud parents of a newdaughter, Martha Gabrielle . . . When Al Coury hosted a dinner atthe Beverly Wilshire for his new RSO staff last week, the affairincluded 26 bottles of wine-all consumed, presumably. "Jesus,"Coury observed, "it you guys produce as well as you drink, we're homefree already."

'Flag' Day at KHJ

Shown during the recording of "The Flag," a special bicentennial spoken word UnitedArtists single recorded by Charlie Van Dyke, program director and air personalityon KHJ/Los Angeles, are (from left), Charlie Van Dyke; producer and United Artistsvice-president pop a&r, Denny Diante; and arranger Jimmie Haskell. Recorded atLos Angeles' Devonshire Sound, "The Flag" features Van Dyke's voice in a patrioticrecitation backed by the Jimmie Haskell Orchestra. The single has just been released.


JUNE 5, 1976 (JP THE RETAIL REPORTvim)

SALESMAKER OF THE WEEK

gr. "1. .!*

ROCKS

AEROSMITHCol

TOP RETAIL SALESROCKS-Aerosmith-ColHARVEST FOR THE WORLD-

Isley Brothers-TNeckFLY LIKE AN EAGLE-Steve

Miller Band-CapitolNATALIE-Natalie Cole-

CapitolRASTAMAN VIBRATION-

Bob Marley & the Wailers-Island

CAMELOT/ NATIONABLACK & BLUE-Roll' g es-

Rolling StonesCLOSE ENOUGH FOR ROCK 'N'

ROLL-Nazareth-A&MFAITHFUL-Todd Rundgren-

BearsvilleHARVEST FOR THE WORLD-Isley

Brothers-T-NeckHIDEAWAY-America-WBLIVE: BLOW YOUR FACE

J. Geils Band-AtIanLIVE BULLET-Bob Seger & the

Silver Bullet Band-CapitolROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCSTARLAND VOCAL BAND-

Windsong

HANDLEMAN/NATIONABLACK & BLUE-Rollin to

Rolling Stones

HARVEST FOR THE WORLD-IsleyBrothers-T-Neck

HERE & THERE-Elton John-MCAJOHN TRAVOLTA-Midland

InternationalLEE OSKAR-UALIVE BULLET-Bob Seger & the

Silver Bullet Band-CapitolRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColROYAL SCAM-Steely Don-ABCSADDLE TRAMP-Charlie Daniels

Band-Epic

KORVETTES/ NATIONALAT THE SPEED OF SOUND-

Wings-CapitolDESTROYER-Kiss-CasablancaGREATEST STORIES LIVE-

Harry Chapin-Elektr.LED ZEPPELIN II-Atla is

LOOK OUT FOR #1- othersJohnson-A&M

RASTAMAN VIBRATION-BobMarley & the Wailers-Island

ROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCSADDLE TRAMP-Charlie Daniels

Band-EpicYOUNG & RICH-Tubes-A&M

MUSICLAND/ NATIONALDREAMBOAT ANNIE-Heart-

MushroomFAITHFUL-Todd Rundgren-

BearsvilleILLEGAL STILLS-Stephen Stills-

ColNATALIE-Natalie Cole-CapitolRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCSADDLE TRAMP-Charlie Daniels

Band-EpicSTARLAND VOCAL BAND-

WindsongWILLIE NELSON LIVE-RCA

RECORD BAR/NATIONALBREEZIN'-George Benson-WBDREAMBOAT ANNIE-Heart-

MushroomFLY LIKE AN EAGLE-Steve Miller


Isley Brothers-T-NeckHERE & THERE-Elton John-MCANATALIE-Natalie Cole-CapitolRAINBOW RISING-Blackmore's

Rainbow-OysterRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColSILK DEGREES-Boz Scaggs-Col

KING KAROL/NEW YORKBLACK ROSE-J. D. Souther-

AsylumDIANA ROSS-MotownFREE IN LOVE-Millie Jackson-

SpringHERE & THERE-Elton John-MCAJOHN TRAVOLTA-Midland

InternationalMISTY BLUE-Dorothy Moore-

MalacoNATALIE-Natalie Cole-CapitolRAINBOW RISING-Blackmore's

Rainbow-OysterSADDLE TRAMP-Charlie Daniels

Band-EpicSILVER CONVENTION-Midland

International

TWO GUYS/EAST COASTAT THE SPEED OF SOUND-

Wings-CapitolDIANA ROSS-MotownFLEETWOOD MAC-RepriseFRAMPTON COMES ALIVE-

Teter Frampton-A&MLIVE AT CARNEGIE HALL-

Renaissance-SireMOTHERSHIP CONNECTION-

Parliament-CasablancaRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColRUFUS FEATURING CHAKA KHAN

-ABCSADDLE TRAMP-Charlie Daniels

Band-Epic

CUTLER'S/NEW HAVENBILL COSBY IS NOT HIMSELF THES

DAYS-Bill Cosby-CapitolBLACK & BLUE-Rolling i.to

Rolling StonesCOMIN' AT YA!-Coke Esc

MercuryFIREFALL-AtlantiFLY LIKE AN EAGL -Steve Miller

Band-CapitolHARVEST FOR THE WORLD-Isley

Brothers-T-NeckINTERVIEW-Gentle Giant-

CapitolLOOK OUT FOR #1-Brothers

Johnson-A&MNATALIE-Natalie Cole-CapitolROCKS-Aerosmith-Col

S RAWBERRIES/ BOSTONBILL COSBY IS NOT HIMSELF THESE

DAYS-Bill Cosby-CapitolEVERYTHING'S COMING UP LOVE

-David Ruffin-MotownFABULOUS-Stylistics-H&LLADIES' CHOICE-Michael Stanley

Band-EpicLIVE AT CARNEGIE HALL-

Renaissance-SireMORE, MORE, MORE-Andrea True

Connection-BuddahROSE-Rose Banks-MotownT-SHIRT-Loudon Wainwright III-

AristaTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbYOU ARE MY STARSHIP-Norman

Connors-Buddah

FOR THE RECORD/BALTIMORE

BILL COSBY IS NOT HIMSELF THESEDAYS-Bill Cosby-Capitol

DARYL HALL & JOHN OATES-RCADREAMBOAT ANNIE-Heart-

MushroomENERGY TO BURN-B.T. Express-

ColHARVEST FOR THE WORLD-

Isley Brothers-T-NeckNATALIE-Natalie Cole-CapitolSALONGO-Ramsey Lewis-ColTHE MANHATTANS-Col

THOSE SOUTHERN KNIGHTS-Crusaders-ABC Blue Thumb

YOU ARE MY STARSHIP-NormanConnors-Buddah

WAXIE MAXIE/WASH.

BLACK & BLUE-Rolli .nes-Rolling Stones


FLY LIKE AN EAGLE-Steve MillerBand-Capitol

FREE IN LOVE-Millie Jackson-Spring

HARVEST FOR THE WORLD-Isley Brothers-I-Neck

HERE & THERE-Elton John-MCANATALIE-Natalie Cole-CapitolSTARLAND VOCAL BAND-

WindsongTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbWHERE THE HAPPY PEOPLE GO-

frammps-Atlantic

GARY'S/RICHMONDBLACK & BLUE-Roll' g es-

Rolling StonesDARYL HALL & JOHN OATES-RCAFLY LIKE AN EAGLE-Steve Miller

Band-CapitolFRAMPTON COMES ALIVE-

Peter Frampton-A&MHARVEST FOR THE WORLD-

Isley Brothers-T-NeckHERE & THERE-Elton John-PRESENCE-Led Zeppel n

Swan SongROCKS-Aerosmith-ColSILVER CONVENTION-Midland

InternationalTAKIN' IT TO THE STREETS-

Doobie Brothers-WB

NATL. RECORD MART/MIDWES

A STREET CALLED STRAIG TRoy Buchanan-Atla


GREATEST STORIES LIVE-HarryChapin-Elektra

HARVEST FOR THE WORLD-Isley Brothers-T-Neck

HERE & THERE-Elton John-MCAILLEGAL STILLS-Stephen Stills-

ColNO EARTHLY CONNECTION-

Rick Wakeman-A&MPROMISE-Michael Pinder-

ThresholdROCKS-Aerosmith-ColSTEPPIN' OUT-Neil Sedoka-

Rocket

RECORD ESTATE/CHICAGOHERE & THERE-Elton John-MCAJOHN TRAVOLTA-Midland

InternationalLIVE BULLET-Bob Seger & the

Silver Bullet Band-CapitolNATALIE-Natalie Cole-CapitolRED TAPE-Atlanta Rhythm Section

-PolydorRIGHT BACK WHERE WE STARTED

FROM-Maxine Nightingale-UA

ROYAL SCAM-Steely Dan-ABCSWEET SURPRISE-Eric Andersen-

AristaTALES OF MYSTERY &

IMAGINATION-Alan ParsonsProject -20th Century

TOO OLD TO ROCK 'N' ROLL: TOOYOUNG TO DIE-Jethro Tull-Chrysalis

ROSE DISCOUNT/CHICAG

BLACK & BLUE-Rolling toRolling Stones

DIANA ROSS-MotownHARVEST FOR THE WORLD-

Isley Brothers-T-NeckHERE & THERE-Elton John-MCAI WANT YOU-Marvin Gaye-

TamlaLOOK OUT FOR #1-Brothers

Johnson-A&MNATALIE-Natalie Cole-CapitolRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandSILVER CONVENTION-Midland

InternationalTOO OLD TO ROCK 'N' ROLL: TOO

YOUNG TO DIE-Jethro Tull-Chrysalis

A survey of NEW product salesin the nation's leading retail outlets

listed alphabetically

RECORD REVOLUTION/CLEVELAND


FEVER-Rornie Laws-Blue NoteFLY LIKE AN EAGLE-Steve Miller


Isley Brothers-T-NeckLADIES' CHOICE-Michael Stanley

Band-EpicMYSTERIES-Keith Jarrett-ECMRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandRIGHT BACX WHERE WE STARTED


RUNAWAYS-MercuryTOO OLD TO ROCK 'N' ROLL: TOO


LIEBERMAN/MINNEAPCILISA CIRCLE FILLED WITH LOVE-Sons

of Champlin-Ariola AmericBLACK & BLUE-Rollin Sto

Rolling StonesFIREFALL-AtlanticFLY LIKE AN EAGLE-Steve Miller

Band-CapitolILLEGAL STILLS-Stephen Stills-

ColRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCSADDLE TRAMP-Charlie Daniels

Band-EpicTOO OLD TO ROCK 'N' ROLL: TOO


PEACHES/ST. LOUISCOMIN' AT YA-Coke Escovedo-

MercuryENERGY 'O BURN -3.T. Express-

ColFEVER-Ronnie Laws-Blue NoteFLY LIKE AN EAGLE-Steve Mi'ler

Band-CapitolFOOLS GOLD-Morning StarGATHERING OF THE TRIBES-

Budd). Miles-CasablancaRED TAPE-Atlanta Rhythm Section

-PolydorROCKS-Aerosmith-ColSHAKTI-ColWEDDING ALBUM-Leon & Mary

Russe!l-Paradise

PEACHES/FT. LAUDERDALEBALLS OF FIRE-Black Oak

Arkansas-MCABORN TO GET DOWN-Muscle

Shoals Horns-BangCARDIFF-Roger McGuinn-ColDREAMBOAT ANNIE-Heart-

MusFroomIV-Mahogany Rush-ColNO HEAVY PETTING-UFO-

ChrysalisRAINBOW RISING-Blackmore's

Rainbow-OysterRED TAPE-Atlanta Rhythm Section

-PolydorROCKS-Aerosmith-ColTOO OLD TO ROCK 'N' ROLL: TOO


POPLAR TUNES/MEMPHISDOC & THE BOYS-Doc Watson-

UAEVERYTHING'S COMIN UP LOVE-

David Ruffin-MotownFLY LIKE AN EAGLE-Steve Miller

Band-CapitolH RVEST FOR THE WORLD-

Isley Brothers-T-NeckNATURAL GAS-Private StockNEW RIDERS-New Riders of the

Purple Sage-MCARAINBOW RISING-Ritchie

Blackmore's Rainbow-OysterROCKS-Aerosmith-ColROSE OF CIMARRON--Poco--

ABCROYAL SCAM-Steely Dan-ABC

TAPE CITY/NEW ORLEANSBREEZIN'-George Benson-WEHARD WORK-John Handy-ABC

ImpulseHARVEST FOR THE WORLD-

Is'ey Brothers-T-NeckHERE & THERE-Elton John-MCAROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABC

SI INGRAY-Joe Cocker-A&MTHE MANHATTANS-ColTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbYOUNG & RICH-Tubes-A&M

INDEPENDENT RECORDS/DENVER

CRY TOUGH-Nils Lofgren-A&MFLY LIKE AN EAGLE-Steve Miller

Band-CapitolKATY MOFFAT-ColNEW RIDERS-New Riders of the

Purple Sage-MCAROCKS-Aerosmith-ColSTINGRAY-Joe Cocker-A&MTALES OF MYSTERY &

IMAGINATION-Alan ParsonsProject -20th Century

TOO OLD TO ROCK 'N' ROLL: TOOYOUNG TO DIE-Jethro Tull-Chrysalis

WELSH CONNECTION-Mon-MCA

YOUNG & RICH-Tubes-A&M

ODYSSEY/SOUTHWEST& WEST

A CIRCLE FILLED WITH LOVE-Sons of Champlin-AriolaAmerica

BILL COSBY IS NOT HIMSELF THESEDAYS-Bill Cosby-Capitol




MISTY BLUE-Dorothy Moore-Malaco

NATALIE-Natalie Cole-CapitolROSE OF CIMARRON-Poco-ABCSADDLE TRAMP-Charlie Daniels

Band-EpicTOO OLD TO ROCK 'N' ROLL: TOO


MUSIC PLUS/LOS ANFIREFALL-AtlanticFOOLS GOLD-Morning StarHELL OF A BAND-Angel-

CasablancaIV-Mahogany Rush-ColLIVE AT CARNEGIE HALL-

Renaissance-SireMONTY PYTHON LIVEI AT CITY

CENTER-AristaRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandRUNAWAYS-MercurySTARLAND VOCAL BAND-

WindsongTOO OLD TO ROCK 'N' ROLL: TOO


TOWER LOS ANGELESEVERYBODY COME ON OUT-

Stanley Turrentine-FantasyFIREFALL-AtlanticLADY IN WAITING-Outlaws-

AristaNATALIE-Natalie Cole-CapitolRASTAMAN VIBRATION-Bob

Marley & the Wailers-IslandRIGHT BACK WHERE WE STARTED


ROCKS-Aerosmith-ColSTARLAND VOCAL BAND-

WindsongT-SHIRT-Loudon Wainwright III-

AristaYOUNG & RICH-Tubes-A&M

EVERYBODY'S RECORDSNORTHWEST

A CIRCLE FILLED WITH LOVE-Sonsof Champlin-Ariola America


FLY WITH THE WIND-McCoyTyner-Fantasy


NO HEAVY PETTING-UFO-Chrysalis

RAINBOW RISING-Blackmore'sRainbow-Oyster

ROCKS-Aerosmith-ColROYAL SCAM-Steely Dan-ABCTHOSE SOUTHERN KNIGHTS-

Crusaders-ABC Blue ThumbTOO OLD TO ROCK 'N' ROLL: TOO


CEI

COCB

ED

Ea36

JUNE 5, 1976

PRICE CODE

GE JH

TITLE, ARTIST, Label, Number (Distributing Label)

JUNE MAY5 29

2 FRAMPTON COMES ALIVE

PETER FRAMPTON

A&M SP 3703

WKL ONCHART

19 1 G

5

3 1

4 3

El 7

6 6

7 4

El 35

9 9

10 10

11 11

12 8

13 14

17

15 15

16 1617 1918 20

19 12

20 22

El 24

22 1323 1824 25

AT THE SPEED OF SOUND WINGS/Capitol SW 11525BLACK AND BLUE ROLLING STONES/Rolling Stones

COC 79104 ( I

PRESENCE LED ZEPPELIN/Swan Song SS 8416 (At a

HERE AND THERE ELTON JOHN/M(2A 2197

FLEETWOOD MAC/Warner-Reprise MS 2225

THEIR GREATEST HITS: 1971-1975 EAGLES/Asylum 7E 1052

ROCKS AEROSMITH/Columbia PC 34165

A NIGHT AT THE OPERA QUEEN/ Elektra 7E 1053

TAKIN' IT TO THE STREETS DOOBIE BROTHERS/Warner Bros. BS 2899

HIDEAWAY AMERICA/Warner Bros. BS 2932I WANT YOU MARVIN GAYE/Tamla T6 342S1 (Motown)THE DREAM WEAVER GARY WRIGHT/Warner Bros. BS 2868

DIANA ROSS/Motown M6 861S1HISTORY/AMERICA'S GREATEST HITS/Warner Bros. BS 2894

SONG OF JOY CAPTAIN & TENNILLE/A&M SP 4570KISS ALIVE KISS/Casablanca NBLP 7020TRYIN' TO GET THE FEELING BARRY MANILOW/

Arista 4060DESTROYER KISS/Casablanca NBLP 7025AMIGOS SANTANA/Columbia PC 33576BREEZIN' GEORGE BENSON/Warner Bros. BS 2919EARGASM JOHNNIE TAYLOR/Columbia PC 33951COME ON OVER OLIVIA NEWTON-JOHN/MCA 2186MOTHERSHIP CONNECTION PARLIAMENT/Casablanca

NBLP 702225 27 SILK DEGREES BOZ SCAGGS/Columbia PC 3392026 21 BRASS CONSTRUCTION/United Artists LA545 G27 23 OUTLAWS VARIOUS ARTISTS/RCA APL1 132128 26 LOOK OUT FOR #1 BROTHERS JOHNSON/A&M SP 4567

34 RASTAMAN VIBRATION BOB MARLEY & THE WAILERS/Island ILPS 9383

30 29 SILVER CONVENTION Midland Intl. BKL1 1369 (RCA)31 30 DONNY & MARIE-FEATURING SONGS FROM THEIR

TELEVISION SHOW/Polydor PD 606832 28 ROCK 'N' ROLL LOVE LETTER BAY CITY ROLLERS/Arista 407133 33 LOVE TRILOGY DONNA SUMMER/Oasis OCLP 5004

(Casablanca)34 37 STRUTTIN' MY STUFF ELVIN BISHOP/Capricorn

CP 0165 (WB)40 STEPPIN' OUT NEIL SEDAKA/Rocket PIG 2195 (MCA)38 AEROSMITH/Columbia PC 32005

37 32 STILL CRAZY AFTER ALL THESE YEARS PAUL SIMON/Columbia PC 335

38 36 RUN WITH THE PACK BAD COMPANY/Swan Song80 NATALIE NATALIE COLE/Capitol ST 11517

40 41 MAIN COURSE BEE GEES/R50 SO 4807 (Atlantic)41 31 LOVE WILL KEEP US TOGETHER CAPTAIN & TENNILLE/

A&M SP 455251 THE ROYAL SCAM STEELY DAN/ABC ABCD 931

43 39 RUFUS FEATURING CHAKA KHAN/ABC ABCD 90944 42 ROBIN TROWER LIVE/Chrysalis CHR 1089 (WB)45 43 CHICAGO'S GREATEST HITS CHICAGO/Columbia PC 33900

59 SADDLE TRAMP CHARLIE DANIELS BAND/Epic PE 3415076 HARVEST FOR THE WORLD ISLEY BROTHERS/

T -Neck PZ 33809 (CBS)48 49 GREATEST HITS ELTON JOHN/MCA 2128

57 ILLEGAL STILLS STEPHEN STILLS/Columbia PC 3414850 53 ERIC CARMEN Arista 405751 56 GET CLOSER SEALS & CROFTS/Warner Bros. BS 290752 54 LIVE BULLET BOB SEGER & THE SILVER BULLET BAND/

Capitol SKBB 1152353 55 HELEN REDDY'S GREATEST HITS/Capitol ST 11467

9 F

F

F

3 F

45 F

14 F

2 F

24 F

9 F

6 F

10 F

19 F

14 F

29 F

12 F

35 G

31 F

10 F

9 F

6 F

13 F

11 F

161218

1712

5

10

8

11

11

19

7

317

2

42

61

4

2811

28

4

2

81

4

225

627

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

54

Eal

56

57

59

6061

62

63

50 FOOL FOR THE CITY FOGHAT/Bearsville BR 6959 (WB) 20 F

97 FLY LIKE AN EAGLE THE STEVE MILLER BAND/Capitol ST 11497 2 F

45 GRA-ITUDE EARTH, WIND & FIRE/Columbia PG 33694 27 G44 ONE OF THESE NIGHTS EAGLES/Asylum 7E 1039 50 F

69 LEE OSKAR/United Artists LA594 G 4 F

63 WEDDING ALBUM LEON & MARY RUSSELL/ParadisePA 2943 (WB) 6 F

70 THE MANHATTANS/Columbia PC 33820 5 F

62 CRY TOUGH NILS LOFGREN/A&M SP 4573 7 F

64 FACE THE MUSIC ELECTRIC LIGHT ORCHESTRA/United Artists LA546 G 33 F

65 GREATEST STORIES LIVE HARRY CHAPIN/Elektra 7E 2009 4

CHARTMAKER OF THE WEEK

- TOO OLD TO ROCK 'N' ROLL:TOO YOUNG TO DIE

JETHRO TULL

Chrysalis CHR 1111 (WB) 1 F

77 DREAMBOAT ANNIE HEART/Mu room MRS 500575 FIREFALL Atlantic SD 1817467 NEVER GONNA LET YOU GO VICKI SUE ROBINSON/

RCA APL1 1256 8 F68 48 LADY IN WAITING OUTLAWS/Arista 4070 9 F

69 46 DESIRE BOB DYLAN/Columbia PC 33893 20 F70 72 FAITHFUL TODD RUNDGREN 'Bearsville BR 6963 (WB) 3 F71 47 YOU CAN'T ARGUE WITH A SICK MIND JOE WALSH/

ABC ABCD 932 9 F72 73 RELEASE HENRY GROSS/Lifesong LS 6002 15 F

im 81 JAILBREAK THIN LIZZY/Mercury SRM 1 1081 4 F

74 52 THE SOUND IN YOUR MIND WILLIE NELSON/ColumbiaKC 34092 10 E

75 60 ROMANTIC WARRIOR RETURN TO FOREVER/Columbia

PC 34076 10 F

10 92 JOHN TRAVOLTA/Midland Intl. BKL1 1563 (RCA) 2 F

77 79 2112 RUSH/Mercury SRM 1 1079 6 F78 61 WINGS OF LOVE TEMPTATIONS/Gordy G6 97151

(Motown) 11 F

88 DARYL HALL & JOHN OATES/RCA APL1 1144 4 F

80 83 BLACK ROSE JOHN DAVID SOUTHER/Asylum 7E 1059 3 F

90 TALES OF MYSTERY AND IMAGINATION: EDGAR ALLENPOE THE ALAN PARSONS PROJECT/ 20th Century T 508 3 F

82 84 SEDAKA'S BACK NEIL SEDAKA/Rocket 463 (MCA) 46 Fal 94 SALONGO RAMSEY LEWIS/Columbia PC 34173 2 F

84 85 WILDERNESS C.W. McCALL/Polylor PD 1 6069 4 F85 66 TOYS IN THE ATTIC AEROSMITH/Columbia PC 33479 58 F86 86 TED NUGENT/Epic PE 33692 23 F87 58 CITY LIFE THE BLACKBYRDS/Fantasy F 9490 26 F

98 STRETCHIN' OUT IN BOOTSY'S RUBBER BANDBOOTSY'S RUBBER BAND/Warner Bros. BS 2920 2 F

co 100 YOUNG AND RICH THE TUBES/A&M SP 4580 2 F

90 68 LOVE & UNDERSTANDING KOOL & THE GANG/De-Lite DEP 2018 16 Fal 127 RAINBOW RISING BLACKMORES RAINBOW/

Oyster OY 1 1601 (Polydor)al 102 LIVE: BLOW YOUR FACE OUT J. GEILS BAND/

Atlantic SD 21111 109 ENERGY TO BURN B.T. EXPRESS/Columbia PC 3417894 99 CLOSE ENOUGH FOR ROCK 'N' ROLL NAZARETH/

A&M SP 4562 2 F

STARLAND VOCAL BAND WINDSONG/BHL1 1351 (RCA) 1 F

96 74 GIMME BACK MY BULLETS LYNYRD SKYNYRD/MCA 2170 16 F97 82 GREATEST HITS SEALS & CROFTS/Warner Bros. BS 2886 30 F98 101 WELCOME BACK JOHN SEBASTIAN/Warner-Reprise

MS 2249in 118 THOSE SOUTHERN KNIGHTS CRUSADERS/ABC Blue Thumb

BTSD 6024 1 F100 71 DISCO-FIED RHYTHM HERITAGE/ABC ABCD 934 13 F

67

ALBUM CROSS REFERENCE ON PAGE 64

THE WINNER:#1 AGA NIMORE THAN THREE MONTHS AGO,"FRAMPTON COMES ALIVE!" PROVEDITSELF TO BE THE HOTTEST SELLINGALBUM ON THE STREET.

IT STILL IS.

CONGRATULATIONS PETER!From everyone at A&M,

Direction: Dee Anthony. Bandana Enterprises Ltd.. 654 Madison Avenue. NYC 10021 Agency: Frank Barsalona. Premier Talent. MM 7th Avenue. NYC 10019

JUNE 5, 1976JUNE MAY

5 29

101 104 HARD WORK JOHN HANDY/ABC Impulse ASD 9314102 105 THE PROMISE MICHAEL PINDER/Threshold THS 18 (London)

103 87 WINDSONG JOHN DENVER/RCA APL1 1183

104 106 FOOLS GOLD/Morning Sky 5500 (Arista)

105 91 KC AND THE SUNSHINE BAND/TK 603

106 110 ENDLESS SUMMER BEACH BOYS/Capitol SVBB 11307

119 LIVE AND IN LIVING COLOR TOWER OF POWER/Warner Bros. BS 2924

108 95 HAIR OF THE DOG NAZARETH/A&M SP 4511

109 114 NO EARTHLY CONNECTION RICK WAKEMAN A&M SP 458

121 WHERE THE HAPPY PEOPLE GO THE TR PS/Atlantic SD 18172

111 93 THE LEPRECHAUN CHICK COREA/Polydor PD 6062

112 89 A TRICK OF THE TAIL GENESIS/Atco SD 36 129

113 108 ON THE ROAD JESSE COLIN YOUNG/Warner Bros. BS 2913

114 96 BLACK MARKET WEATHER REPORT/Columbia PC 34099

125 GET YOURSELF UP HEAD EAST/A&M SP 4579

ME 128 FREE AND IN LOVE MILLIE JACKSON/Spring SP 1 6709 (Polydor)

117 78 STATION TO STATION DAVID BOWIE/RCA APL1 1327118 120 POUSETTE-DART BAND/Capitol ST 11507

119 103 KINGFISH/Round RX LA564 G (UA)

120 123 BLOODLINE GLEN CAMPBELL/Capitol SW 11516121 124 MOONMADNESS CAMEL/Janus JXS 7024122 126 THIS MOTHER'S DAUGHTER NANCY WILSON/Ca tol ST 11518123 107 M.U.-THE BEST OF JETHRO TULL/Chrysalis 1078 (WB)

EILE - RENAISSANCE LIVE AT CARNEGIE HALL RE AISSANCE/Sire SAS 4 3902 2 (ABC)

125 131 LED ZEPPELIN IV/Atlantic SD 7208126 112 REDHEADED STRANGER WILLIE NELSON/Columbia KC 33482127 113 STARCASTLE/Epic PE 33914128 116 SMOKEY'S FAMILY ROBINSON SMOKEY ROBINSON/

T6 341S1 (Motown)129 117 GIVE US A WINK SWEET/Capitol ST 11496130 115 THOROUGHBRED CAROLE KING/Ode SP 77034 (A&M)131 122 THE REAL McCOY VAN McCOY/H&L 69012

143 SHOWCASE SYLVERS/Capitol ST 11465133 129 LET THE MUSIC PLAY BARRY WHITE/20th Century T 502134 111 HE'S A FRIEND EDDIE KENDRICKS/Tamla T6 343S1 (Motown)

EEO A CIRCLE FILLED WITH LOVE SONS OF CHAMPLIN/Ariola America 50007 (Capitol)

- BILL COSBY IS NOT HIMSELF THESE DAYS/RAT OWN, RAT OWN/Capitol ST 11530

137 138 FAMILY REUNION THE O'JAYS/Phila. Intl. PZ 338 (CBS)

EEO - RED TAPE ATLANTA RHYTHM SECTION/Polydor D 1 6060139 142 WILLIE NELSON LIVE/RCA APL1 1487140 141 "I" PATRICK MORAZ/Atlantic SD 18175141 - MISTY BLUE DOROTHY MOORE/Malaco 6351 (TK)142 133 EQUINOX STYX/A&M SP 4559143 134 BLACK BEAR ROAD C.W. McCALL/MGM M3G 5008144 - STINGRAY JOE COCKER/A&M SP 4574145 135 THE WHITE KNIGHT CLEDUS MAGGARD & THE CITIZENS BAND/

Mercury SRM 1 1072146 130 RECYCLED NEKTAR/Passport PPS 9911 (ABC)147 136 THIS IS IT MELBA MOORE/Buddah BD 5657148 137 BEFORE THE NEXT TEARDROP FALLS FREDDY FENDER/

ABC Dot DOSD 2020149 139 LAND OF THE MIDNIGHT SUN AL DiMEOLA/Columbia PC 34074150 140 WHO LOVES YOU FOUR SEASONS/Warner Bros. -Curb BS 2900

l'6°1THE ALBUM CHART

15

107

110


151-200 ALBUM CHART151 HOTTER THAN HELL KISS/

Casablanca NBLP 7006152 REBEL JOHN MILES/London PS 669153 HIGH ENERGY SUPREMES/Motown

M6 863S1154 BELLAMY BROTHERS FEATURING

"LET YOUR LOVE FLOW"Warner Bros. BS 2941

155 MYSTIC VOYAGE ROY AYERSUBIQUITY/ Polydor PD 6057

156 YANKEE REGGAE THE SHAKERS/Asylum 7E 1057

157 CATE BROS./Asylum 7E 1050158 ODYSSEY CHARLES EARLAND/

Mercury SRM 1 1049159 TURNSTILES BILLY JOEL/Columbia

PC 33848160 REO/Epic PE 34143161 COME AS YOU ARE ASHFORD &

SIMPSON/Warner Bros. BS 2858162 YOU ARE MY STARSHIP NORMAN

CONNORS/ Buddah BDS 5655163 MONTY PYTHON LIVE AT CITY

CENTER/Arista 4073164 FLY WITH THE WIND McCOY TYNER/

Milestone M 9067165 RIGHT BACK WHERE WE STARTED

FROM MAXINE NIGHTINGALE/United Artis-s LA626 G

166 THE BEST OF ROD STEWARTMercury SRM 2 7507

167 ROSE OF CIMARRON POCO/ABC ABCD 946

168 GERARD/Caribou PZ 34038 (CBS)169 DANCE YOUR ASS OFF BOHANNON/

Dakar DK 76919 (Brunswick)170 BARRY MANILOW/Arista 4016171 EVERYTHING IS COMING UP LOVE

DAVID RUFF'N/Motown M6 8172 A STREET CALLED STRAIGH RO

BUCHANAN/Atlantic S173 TOUCH JOHN KLEMMER/A

ABCD 922174 DRESSED TO KIIL KISS/Casablanca

NBLP 7016175 RUMPLESTILSKIN'S RESOLVE

SHAWN PHILLIPS/A&M SP 4582176 NEW RIDERS NEW RIDERS OF THE

PURPLE SAGE/MCA 2196

177 TAPESTRY CAROLE KING/OdeSP 77009 (A&M)

178 FEVER RONNIE LAWS/Blue NoteBN LA628 G (UA)

179 VOLUME II EARL SCRUGGS REVUE/Columbia PC 34090

180 KISS/Casablanca NBLP 7001181 JOHN DENVER'S GREATEST HITS

RCA CPL1 0374182 NO HEAVY PETTING UFO/Chrysalis

CHR 1103 (WB)183 FRAMPTON PETER FRAMPTON/

AMA SP 4512184 LIFE & TIMES BILLY COBH

Atlantic SD 18166185 T SHIRT LOUDON WAINWRIGHT III/

Arista A 4063186 INFINITY MACHINE PASS RT

Arco SD 36 132187 COMIN' AT YA COKE ESCOVEDO/

Mercury SRM 1 1085188 SHAKTI WITH JOHN McLAUGHLIN

Columbia PC 34162189 ABANDONED LUNCHEONETT

DARYL HALL AND OH' OATES/Atlantic SD 7269

190 ALL-AMERICAN ALIEN BOYIAN HUNTER/Columbia PC 34142

191 THE DON HARRISON BANDAtlantic SD 18171

192 BORN TO GET DOWNMUSCLE SHOALS HORNS/BangBLP 403

193 NIGHT JOURNEY DOC SEVERINSEN/Epic PE 34078

194 THE WHITE ALBUM THE BEATLES/Apple SWBO 101

195 THE RUNAWAYS/Mercury SRM1 1090

196 MAHOGANY RUSH IV/ColumbiaPC 3 4 1 9 0

197 RAMONES/Sire SASD 7520 (ABC)198 SATISFIED 'N' TICKLED TOO

TAJ MAHA1/Columbia PC 34103199 CRIME OF THE CENTURY/

SUPERTRAMP/ A&M SP 3 647200 LADIES CHOICE MICHAEL STANLEY

BAND/Epic PE 33917

ALBUM CROSS REFERENCEAEROSMITHAMERICAATLANTA RHYTHM SECTIONBAD COMPANYBAY CITY ROLLERSBEACH BOYSBEE GEESGEORGE BENSONELVIN BISHOPBLACKBYRDSBLACKMORE'S RAINBOW

8, 36,11,

8515

1383832

1064021348791

BARRY MANILOWBOB MARLEY & THE WAILERSSTEVE MILLER BANDDOROTHY MOOREMELBA MOOREPATRICK MORAZNAZARETH 94,NEKTARWILLIE NELSON 74, 126,OLIVIA NEWTON -JOHNTED NUGENT

182955

141147140108146139

2386

BOOTSY'S RUBBER BAND 88 O'JAYS 137DAVID BOWIE 117 LEE OSKAR 58BRASS CONSTRUCTION 26 DONNY & MARIE OSMOND 31BROTHERS JOHNSON 28 OUTLAWS 68B.T. EXPRESS 93 PARLIAMENT 24CAMEL 121 ALAN PARSONS PROJECT 81GLEN CAMPBELL 120 MICHAEL PINDER 102CAPTAIN & TENNILLE 16, 41 POUSETTE.DART BAND 118ERIC CARMEN 50 QUEEN 9HARRY CHAPIN 63 HELEN REDDY 53CHICAGO 45 RENAISSANCE 124JOE COCKER 144 RETURN TO FOREVER 75NATALIE COLE 39 RHYTHM HERITAGE 100CHICK COREA 111 SMOKEY ROBINSON 1283ILL COSBY 136 VICKI SUE ROBINSON 67THE CRUSADERS 99 ROLLING STONES 3CHARLIE DANIELS BAND 46 DIANA ROSS 14JOHN DENVER 103 RUFUS 43AL DIMEOLA 149 TODD RUNDGREN 70DOOBIE BROTHERS 10 RUSH 77BOB DYLAN 69 LEON & MARY RUSSELL 59EAGLES 7, 57 SANTANA 20FARTH. WIND & FIRE 56 BOZ SCAGGS 25ELECTRIC LIGHT ORCHESTRA 62 SEALS & CROFTS 51, 97FREDDY FENDER 148 JOHN SEBASTIAN 98FIREFALL 66 NEIL SEDAKA 35, 82FLEETWOOD MAC 6 BOB SEGER & THE SILVER BULLET BAND 52FOGHAT 54 SILVER CONVENTION 30FOOLS GOLD 104 PAUL SIMON 37FOUR SEASONS 150 SONS OF CHAMPLIN 135PETER FRAMPTON 1 J.D. SOUTHER 80MARVIN GAYE 12 STARCASTLE 127J. GEILS BAND 92 STARLAND VOCAL BAND 95GENESIS 112 STEELY DAN 42DARYL HALL & JOHN OATES 79 STEPHEN STILLS 47JOHN HANDY 101 STYX 142HEAD EAST 115 DONNA SUMMER 33HEART 65 SWEET 129HENRY GROSS 72 SYLVERS 132ISLEY BROTHERS 47 JOHNNY TAYLOR 22MILLIE JACKSONJETHRO TULL 64,

116123

TEMPTATIONSTHIN LIZZY

7873

ELTON JOHN 5, 48 TOWER OF POWER 107KC AND THE SUNSHINE BAND 105 THE TRAMMPS 110EDDIE KENDRICKS 134 JOHN TRAVOLTA 76CAROLE KING 130 ROBIN TROWER 44KINGFISHKISS 17,

11919

TUBESVARIOUS ARTISTS:

89

KOOL & THE GANGLED ZEPPELIN 4,

90125

OUTLAWSRICK WAKEMAN

27109RAMSEY LEWIS

NILS LOFGRENLYNYRD SKYNYRDC. W. McCALLVAN McCOYCLEDUS MAGGARDTHE MANHATTANS

84,

836196

14313114560

JOE WALSHWEATHER REPORTBARRY WHITENANCY WILSONWINGSGARY WRIGHTJESSE COLIN YOUNG

71114133122

213

113

THE NAME:The 2nd Annual

International Record and Music Industry Market in the USA.

THE DATE: SEPTEMBER 8-11

THE PLACE:

THE NEWFORMAT:

Ex

Fairmont HotelNew Orleans

Entire market all under one roof 3 floors of "closed booths" Showcasing of talent V.I.P. cocktail party

(Sept. 7th on eve of show) First 1200 participants

accommodated at same hotel

P:75 WE MEAN BUSINESS.THE COUPON:

I.

We wish to participate in International Musexpo '76 and have indicated our requirements below.rOFFICE / BOOTHS RENTAL!

Specially converted guest rooms into "closed booths" of varying sizes, allfully furnished, carpeted and air-conditioned, containing record and ortape playback equipment as well as telephones for in-house and outsidecalls All office booths are located on specifically designated ash bit floorsand cannot be used as sleeping rooms. Office booth rental cost includesRegistration Fee of $500 and permits unlimited free Registration for allmembers of the company.

Sizes. Rates and Priority: Varying in size from 130 sq. ft. (13 ft. a 10 ft.) to350 sq. ft. (25 ft. x 14 ft.), office booths are made available at one standardrate regardless of size and are allocated on a first come first served basis.Rates for additional office booths vary in accordance with number of officebooths reserved and not according to size.

Please checkthe appropriate

box

Number 1 0 One office booth $2,000" 2 =I Two adjoining Office Booths $3,500

3 E3 Three Office Booths $4,9004 =our Office Booths $6,2005 1=1 Five Office Booths $7,500

Number QEach additional Office Booth $1,200

PARTICIPATING WITHOUT AN OFFICE OR BOOTH!

'MPORTANT: 10% INCREASE IN PARTICIPATIONCOST AFTER JUNE 1E, 1976

OPEN BOOTHS RENTAL

Located in the plush carpeted and air-conditioned ballroom area. Eachbooth includes a 8' high drape backwall, 3' high drape side -rails, name sign(name of exhibitor, city and country)and is fully furnished.

Size A C=I 10'x 10' $1,500" B 1=1 15' 0 10' $2,200"Please check C I= 20' x 10' $2,800

the appropriate 25' x 10'30' x 10' $

G i= 40' x 10'

$3,400400

0box 1=3$5,200

=3 50' x 10'6,Number Each addi' ioral 5' x 10' module .. $S64003

FOR OPEN AND CLOSED BOOTHS

Booth rental cost includes Registration Fee of $500 and permitsunlimited free Registration for all members of tf e company.

Registration Fee per Company . . $500 Permits unlimited free registration for all members of the company.

Full payment enclosed with application. Enclosed 's our check for $ in full payment.Name Title

Company

Address

City

State or Country Zip

INTERNATIONAL MUSEXPO 76 LTD.1350 AVENUE OF THE AMERICASNEW YORK CITY, N.Y. 10019, U.S.A.TELEX: 234107 MUSEXPOPHONE: (212) 489-9245

For bow accOmodetton-Group Air r Hotel peckeg-end other Intormelon contact Musimpo Housing Buniau 12121489-9245

UL TRUTHBy DEDE DABNEY

HOLLYWOOD: Personal Pick: "Nasty"- Kathy Collier (Greedy). What betterway to introduce a new company thanto have an artist of the class of Ms.Collier. Her delivery is an excellentexample of total professionalism.DEDE'S DITTIES TO WATCH: "Here We

,4 Go Again People's Choice (TSOP);"Sensation, Communication Together"

- - Albert Kill& (Utopia) ; "Can't Take My Eyes Off OfYou" Brook Benton (All-Platinum); "Little GirlBlue" Little Beaver (Cat).

UP & COMING: "Dance And Free Your Mind" Sins OfSatan (Buddah).A cut being played quite heavily from the new

Kool and the Gang album is "Summer Madness." If youdon't have that particular 1p, please contact yourdistributor who handles De-Lite Records.

Once again Johnson Publications will hold theirThird Annual Ebony Music Awards Show which will betaped June 8th at the Trans American Video Studio inHollywood, California. John H. Johnson, publisherof Ebony magazine, will be joined by Sidney PoitierAretha Franklin and Fred Williamson to name but afew as hosts of this star-studded show. Edgar Charlesproducer, is handling this performance, along withMurray Schwartz, president of Mery Griffin Produc-tions.

Currently looking for a position as a radio an-nouncer is Frankie "M", who holds a first classlicense. You may contact Frankie at (313) 898-3762.

Warner Bros. recording artists The Staple Singers were the recipients of another goldrecord award; they are seen between shows at the Riviera Hotel in Las Vegas acceptinga gold single for "Let's Do It Again." Participants in the presentation included, fromleft: Cleo Staples; Mary Stuart, representing Curtom Records, which released thesoundtrack recording; Yvonne Staples; Pop Staples; Warner Bros. executive Bob Kras-now, who brought the group to the company; Mavis Staples; and attorney Joe Porter.

Quiet Elegance will not be quiet for long, for soonto be released on the Hi label is their recording of"Something That You Got." Also, Al Green will openat New York's Uris Theatre. The opening will be ablack tie affair.Remember the NATRA Convention August 1-5 in the

islands. If you have not secured your reservationsyou may contact Al Gee at WLIB-AM in New York.

Farr Taps Walker LOS ANGELES-Robert Walkerhas been named national r&bdirector of Farr Records. Walker,who has been in the record busi-ness for 22 years, was formerlywith Motown, Screen Gems,Chart Records, Capitol, RCA,Commonwealth United andMums. In that time he has func-tioned in several different capaci-ties. Walker has been an artist,songwriter, producer, deejay andindependent promotion man.

Buddah Promotes Rhone10 NEW YORK - Alan Lott, vicepresident of r&b operations forThe Buddah Group, announcedthe promotion of Sylvia Rhoneto national r&b promotion co-ordinator. Her new responsibili-ties will include coordinating theactivities of both the Buddah r&bpromotion field staff and the localindependent distributor promo-tion representatives. Ms. Rhonewill be in contact with bothmajor and secondary radio sta-tions, the trade publications,radio tip sheets, as well as withthe Buddah sales force, tying to-gether sales and airplay in eachmarket.

Little David Plans'Watergate' Album LOS ANGELES-"The Water-gate Comedy Album" featuringAvery Schreiber, Jack Burns, AnnElder and Frank Welker will bereleased by Little David Recordson June 17, the fourth anniversaryof the Watergate break-in. Thealbum, recorded live in Holly-wood, features a series of skitsabout the foibles of Washingtonpolitics.

Westbrooks JoinsSoul Train/Spectrum LOS ANGELES - Logan H.Westbrooks has been appointedvice president in charge of mar-keting for Soul Train andSpectrum Records. The announce-ment was made by Don Corneliusand Dick Griffey, co -owners ofthe labels. In his new position,Westbrooks will be chief liaisonbetween Soul Train/Spectrumand RCA, distributors of the labelsworld-wide, and will be in chargeof all marketing, merchandisingand sales programs instituted bythe labels.

Westbrooks comes to SoulTrain and Spectrum Records hav-ing spent the last five years withCBS in various marketing capaci-ties. He most recently worked inthe international division of CBSbased in Lagos, Nigeria.

Mercury Sets CampaignFor New Players LP CHICAGO -A massive mar-keting campaign surrounds the re-lease of the new Ohio Playersalbum, "Contradiction," byPhonogram, Inc./Mercury Rec-ords. The album ships this week.

There will be trade ads an-nouncing the release as well aslocal radio spot advertising andlocal consumer print ads. Addi-tionally, there is a 21 -inch by 37 -inch, four-color poster of thealbum jacket for displays.

The release of "Contradiction"precedes an English tour for theband, set June 18-26, which willbe followed by an extensiveAmerican tour through the sum-mer. A single from "Contradic-tion" will be released after the1p.

R&B PICKS OF THE WEEKILA BILLY PAUL, "PEOPLE POWER" (Mighty

Three Music, BMI). More powerto the writers - Whitehead,McFadden and Carstarphen--for they have taken the talentof Billy Paul and put togethera single destined to pleasethe public. Extracted fromPaul's recent album, "WhenLove Is New," which has re-ceived national acclaim. Thiswill garner much chart action.Phila. Intl. ZS8 3593 (CBS).

JACKSON, "THERE YOU ARE"(Double Ak/Shun Music/PeeWee Music Pub., BMI). MightyMillie is back with a top-notchtune. Ms. Jackson's soulfulexperience takes you on arhythmic, scenic trip by wayof her superb delivery. Lyrical-ly it has all the ingredients totravel to the top. Millie Jack-son has reached the height ofcreativity. Spring SP 164 (Poly-dor).

"THE SUFER DISCO BAND." Superin sound and super in projectionof instrumental expertise. Re-corded at Media Sound Studios,producer Paul Kyser has aidedthis group in expressing theirversatility. "A Song For You"starts out this album, followedby such cuts as "Private Party,""Disco Symphony," and manyothers perfect for disco attention.Their name suits them well. PiKappa PKS 4000 (Buddah).


NOT ONLYARE THEY DANCINGTHEIR ASSES OFF

THEY'RE DANCINGTHEIR JOCKS

OFF!

BRUNSWICK DAKAR

THE MB.3. SINGLES CHARTJUNE 5, 1976

JUNE5

1

MAY291 KISS AND SAY GOODBYE

THE MANHATTANS-Columbia 3 103102 2 LOVE HANGOVER DIANA ROSS-Motown M 1392F3 3 GET UP AND BOOGIE SILVER CONVENTION-Midland Intl.

PB 10571 (RCA)4 4 YOUNG HEARTS RUN FREE CANDI STATON-

Warner Bros WBS 8181

ICI 9 TEAR THE ROOF OFF THE SUCKER (GIVE UP THE FUNK)PARLIAMENT-Casablanca NB 856

6 7 DANCE WIT ME RUFUS FEATURING CHAKA KHAN-ABC 121797 8 I WANT YOU MARVIN GAYE-Tamla 54264F (Motown)8 5 MISTY BLUE DOROTHY MOORE-Malaco M 1029 (TK)

12 OPEN SMOKEY ROBINSON-Tamla T 54267F (Motown)10 10 I'LL BE GOOD TO YOU BROTHERS JOHNSON-A&M 1806

KM 15 BARETTA'S THEME: KEEPYOUR EYE ON THESPARROW

RHYTHM HERITAGE-ABC 12177

14 MARRIED BUT NOT TOEACH OTHER

DENISE 185AI-11-WestboundWT 5019 (20th Century)

16 FRIEND OF MINELITTLE MILTON-Glades 1731

(TK)

14 6 MOVIN'BRASS CONSTRUCTION-

United Artists XW775 Y 18 THAT'S WHERE THE HAPPEOPLE GO

THE TRAMMPS-Atla16 11 DISCO LADY

JOHNNIE TAYLOR-Columbia3 10281

23 SOPHISTICATED LADYNATALIE COLE-Capitol P 4259

18 17 THIS IS ITMELBA MOORE-Buddah BDA

519

19 13 BORN TO GET DOWN (BORNTO MESS AROUND)

MUSCLE SHOALS HORNS-BangB 721

20 19 IT'S COOLTHE TYMES-RCA PB 10561

21 20 LIVIN' FOR THE WEEKENDO'JAYS-Phila. Intl. ZS8 3587

(CBS)

22 21 HAPPY MUSICTHE BLACKBYRDS-Fantasy

F 762

ED 26 COULD IT BE MAGICDONNA SUMMER-Oasis 405

Kasablanca)

CO 30 YOU'LL NEVER FINDANOTHER LOVE LIKEMINE

LOU RAWLS-Phila. Intl. ZS83582 (CBS)

29 LET IT SHINEAL GREEN-Hi 5N 2306

26 24 LOVE AND UNDERSTANDINGKOOL & THE GANG-De-Lite

DEP 1579

36 THE LONELY ONESPECIAL DELIVERY-Mainstream

MRL 5581

38 WHO LOVES YOU BETTERTHAN I DO

ISLEY BROTHERS-T-Neck Z582260 (CBS)

D 33 I GET LIFTEDSWEET MUSIC-Wand WDS

11295 (Scepter)

30 25 MORE, MORE, MOREANDREA TRUE CONNECTIO

Buddah BDA 515

ED 52 SOMETHING HE CA FARENA FRANKLIN -

332632 22 I'VE GOT A FEELING (WE'LL

BE SEEING EACH OTHERAGAIN)

AL WILSON-Playboy P 606233 34 TOUCH AND GO

ECSTASY, PASSION & PAINFEATURING BARBRA ROY-Roulette 7182

E1:1 45 STROKIN' (PART II)LEON HAYWOOD-20th Century

TC 2285

En 41 YES, YES, YESBILL COSBY-Capitol P 4258

36 37 GET OFF YOUR AAHHIAND DANCE (PART I)

FOXY-Dash 5022 (TK)37 27 RIGHT BACK WHERE WE

STARTED FROMMAXINE NIGHTINGALE-

United Artists XW752 Y38 28 BOOGIE FEVER

SYLVERS-Capitol P 1179 44 FOXY LADYCROWN HEIGHTS AFFAIR-

De-lite DEP 158140 35 HUSTLE ON UP (DO THE

BUMP)HIDDEN STRENGTH-

United Artists XW733 Y49 HEAR THE WORDS, FEEL

THE FEELINGMARGIE JOSEPH-Co ill'

44201 (Atlantic)

LEI 48

CZ! 50

42 43 SARA SMILEDARYL HALL & JOHN OATES-

RCA PB 10530

IT'S GOOD FOR THE OULUTHER-Cotillion 44

(Atlantic)

CAUGHT IN THE ACT(OF GETTING IT ON)

FACTS OF LIFE-Kayvette 5126(TK)

45 32 DON'T STOP IT NOWHOT CHOCOLATE-Big -e

BT 16060 (Atlantic)46 39 NIGHT WALK

VAN McCOY-H&L 466747 51 EASY LOVIN'/WE GOT

THE RECIPEBO KIRKLAND & RUTH DAVIS-

Claridge 41456 LOVE

GRAHAM CENTRAL STATION-Warner Bros. WBS 8205

49 40 HE'S A FRIENDEDDIE KENDRICKS-TamlaT 54266F (Motown)

50 31 DO YOU WANNA DO ATHING

BLOODSTONE-London 5N 1064

58 SUNSHINEIMPRESSIONS-Curtom CMS

0116 (WB)52 53 ROCK ME EASY BABY

ISAAC HAYES-ABC 1217659 SPIRIT OF '76

BOOTY PEOPLE-Calla CAS 11060 CAN'T STOP GROOVIN'

B.T. EXPRESS-Columbia3 10346

61 I HOPE WE GET TO LOVEIN TIME

MARILYN McCOO & BILLYDAVIS JR.-ABC 12170

56 42 HEAVY LOVEDAVID RUFFIN-Motown

M 1388F64 UP THE CREEK WITHOUT

A PADDLETEMPTATIONS-Gordy G 7150F

(Motown)65 HAPPY MAN

IMPACT-Atco 7019

1111 - SOMEBODY'S GETTING ITJOHNNIE TAYLOR-Columbia

3 10334

66 HEAVEN MUST BE MISSINGAN ANGEL

TAVARES-Capitol P 427069 WANNA MAKE LOVE

SUN-Capitol P 425468 NINE TIMES

MOMENTS-Stang 5066(All Platinum)

73 THIS MASQUERADEGEORGE BENSON-Warner Bros.

WBS 8209

- WHOLE NEW THINGROSE BANKS-Motown M I383F

60

75 SO GOOD TO BE HOMEWITH YOU

TYRONE DAVIS-Dakar DK 4553(Brunswick)

133 - IT AIN'T THE REAL THINGBOBBY BLAND-ABC 12189

67 70 L.A. SUNSHINESYLVIA-Vibration VI 567

(All Platinum)

- FROM MY HEART TO YOURSCHARLES EARLAND-Mercury

73793

I'M GONNA LET MY HEARTDO THE WALKING

SUPREMES-Motown M 1341 F70 - LOVER'S HOLIDAY

LeROY HUTSON-Curtom 0117(WB)

71 - NIGHT LIFETHE MIRACLES-Tamla T 54268F

(Motown)72 - BLT

LEE OSKAR-United ArtistsXW807 Y

73 71 I'LL GO WHERE YOURMUSIC TAKES ME

JIMMY JAMES & THEVAGABONDS-Pye 71066

74 - IF HE HADN'T SLIPPED ANDGOT CAUGHT

BOBBY PATTERSON-Granite 536

- HARD WORKJOHN HANDY-ABC Impulse

IMP 310005

75

WMOT on the Road

In a week-long series of private receptions held in Chicago, Detroit, New York andPhiladelphia, Atlantic/Atco recording group Impact (of WMOT Productions) was pre-sented to representatives of the media and retailers in each city. For this first lunket,Impact was accompanied by Barbara Jean Harris and Primus Robinson of Atlantic,along with president Alan Rubens, vice president/general manager Bruce Greenberg,and artist relations director Lei Loft, all of WMOT. The next day in Detroit, Impacttoped a segment of the local TV show, "The Scene." In New York City the next day,Impact was met by more than 400 people of the Georgian Suite. Shown at theGeorgian Suite reception are, from left: WMOT president Alan Rubens, Impact'sDonald Tilgham, WMOT vice president Steve Bernstein, Impact's Damon Harris,WMOT producer/arranger/composer Bobby Eli, Atlantic Records chairman AhmetErtegun, Impact's Charles Timmons and John Quentin Simms, and WMOT vice presi-dent/general manager Bruce Greenberg.

Disco File (Continued from page 30)

Productions, the guys behind Blue Magic. With this heavy accumula-tion of credits, the album is, predictably, an attractive, carefully -crafted one, not unlike the recent Norman Harris production forEddie Kendricks (the voice Harris replaced in the Temptations). Primedisco cut: "Give a Broken Heart a Break" (5:57) whose chugging paceis underlined by the repeated chorus. In addition to "Happy Man,"already released as a single, there's another likely dance number:"Love Attack," which features another vocalist in the group.

Freddie Perren, riding high with his Sylvers hit, has produced thenew Tavares album, "Sky -High!" (Capitol) in his especially light,bright, highly -polished style. "Heaven Must Be Missing an Angel,"which hit the DISCO FILE Top 20 this week at number 11, is includedand it alone is worth the price of the album, but another long cut,"Don't Take Away The Music" (6:18), is similarly high-spirited andstrong. Runner-up here: "The Mighty Power of Love."

The most obvious dance cut on the new Stylistics Ip, "Fabulous"(on H&L), is a Van McCoy song called "Starvin' for Love" that soundsvery much like every other Van McCoy song recorded by the Stylistics.But my favorite is an off -beat, left -field cut called "It's So Good"which runs just over four minutes and is mostly instrumental exceptfor the repeated title and one quick verse of singing. An excellent,pulsing production and an interesting change -of-pace.

That closes the male vocal group category, but there's another finenew album this week that would be difficult to categorize. It's asmooth blend of synthesizer -based jazz on the debut album by DexterWansel, "Life on Mars" (Philadelphia International), one of the bestalbums of this sort to come our way in some time. Nothing superdisco here, but "You Can Be What You Wanna Be" (5:04) is certainlydanceable and lusciously produced (by Wansel himself) and the titlecut has a certain irresistible mystery. Not to be missed.

FEEDBACK: Tom Savarese reports a great floor reaction to Pass-port's 10 -minute instrumental, "Ju-Ju-Man," from the group's new"Infinity Machine" album (Atco). He says the complex, free -formelectronic track "worked from the first time I played it" at 12 West."I Got Your Love," the Stratavarious cut Savarese lists and which weraved about some time back, is being released in the States by Rou-lette within the next two weeks, with 12 -inch pressings for DJs. Watchfor it . . . Once again, the new Biddu Orchestra album, "Rainforest,"is one of the hottest imports in the discos. David Chrysostomas lists"Laura" in his Ipanema top 10 this week; Phil Gill chose "Rock MeWith Your Love" last week; and several other cuts are being playedas well. It's on Epic in England and Epic America is scheduling it forrelease at the end of June with some modifications: "Jump for Joy"and "I Could Have Danced All Night," both included on the lastBiddu U.S. release, will be dropped from "Rainforest" and replacedwith newer cuts, one Biddu's current British single, "Bionic Boogie". . . Doug Carver from Adams Apple in New York points out thatwe missed mentioning the Righteous Brothers' recent Lambert &Potter single, "Hold On (To What You Got)" (Haven), which he'slisted in his top 10 this week. Consider it mentioned and recom-mended, primarily because of its 4:20 disco version.


THE R&BLP CHART

JUNE 5, 1976

1. I WANT YOUMARVIN GAYE-Tamla T6 342S1

(Motown)

2. BREEZIN'GEORGE BENSON -Warner Bros. BS 2919

3. LOOK OUT FOR #1BROTHERS JOHNSON -PAM SP 4567

4. MOTHERSHIP CONNECTIONPARLIAMENT -Casablanca NBLP 7022

5. DIANA ROSSMotown M6 861S1

6. THE MANHATTANSColumbia PC 33820

7. STRETCHIN' OUT IN BOOTSY'SRUBBER BAND

BOOTSY'S RUBBER BAND -Warner Bros.BS 2920

8. EARGASMJOHNNY TAYLOR -Columbia PC 3395

9. WHERE THE HAPPY PEOPLE GTHE TRAMMPS-Atlantic SD 18 72

10. RASTAMAN VIBRATIONBOB MARLEY & THE WAILERS -Island

lips 938311. LEE OSKAR

United Artists LA594 G

12. AMIGOSSANTANA-Columbia PC 33576

13. HARVEST FOR THE WORLDISLEY BROTHERS -T -Neck PZ 33809 (CBS)

14. FREE AND IN LOVEMILLIE JACKSON -Spring SP 1 6709

(Polydor)1 5. BRASS CONSTRUCTION

United Artists LA545 G16. WINGS OF LOVE

TEMPTATIONS -Gordy G6 97151(Motown)

17. NATALIENATALIE COLE -Capitol ST 11517

18. THIS IS ITMELBA MOORE-Buddah BDS 5657

19. SILVER CONVENTIONMidland Intl. BKL1 1369 (RCA)

20. SMOKEY'S FAMILY ROBINSONSMOKEY ROBINSON-Tamla T6 341S1

(Motown)21. CITY LIFE

THE BLACKBYRDS-Fantasy F 949022. LOVE 8. UNDERSTANDING

KOOL & THE GANG-De-Lite DEP 201823. ENERGY TO BURN

B.T. EXPRESS -Columbia PC 34178

24. DANCE YOUR ASS OFFBOHANNON-Dakar DK 76919

25. THOSE SOUTHERN KNIGHTSTHE CRUSADERS- ABC Blue Thumb

BTSD 6024

26. YOU ARE MY STARSHIPNORMAN CONNORS-Buddah BDS 5655

27. MISTY BLUEDOROTHY MOORE-Malaco 6351 (TK)

28. GRATITUDEEARTH, WIND & FIRE -Columbia

PG 33694

29. MYSTIC VOYAGEROY AYERS UBIQUITY-Polydor PD 6057

30. HIGH ENERGYSUPREMES-Motown M6 863S1

31. RUFUS FEATURING CHAKA KHANABC ABCD 909

32. COME AS YOU AREASHFORD & SIMPSON-Warner Bros.

BS 2858

33. SALONGORAMSEY LEWIS-Columbia PC 34173

34. ALL THINGS IN TIMELOU RAWLS-Phil. Intl. PZ 33957 (CBS)

35. LOVE TRILOGYDONNA SUMMER-Oasis-OCLP 5004

(Casablanca)

36. BILL COSBY IS NOT HIMSELF THESEDAYS -RAT OWN, RAT OWN

Capitol ST 1153037. FEVER

RONNIE LAWS -Blue Note BN LA628 G(UA)

38. HARD WORKJOHN HANDY ABC Impulse ASD 9314

39. LIVE AND IN LIVING COLORTOWER OF POWER Warner Bros. BS 2924

40. FAMILY REUNIONO'JAYS-Phila. Intl. PZ 33807 (CBS)

Power to Burn

Columbia recording artists B. T. Express have just released their debut Columbia album,entitled "Energy To Burn." To help celebrate the event, a party was held in theirhonor. B.T. Express' first Columbia single, "Can't Stop Groovin' Now, Wanra Do It SomeMore," was recently released. Shown at the gala event are: Bruce Lundvall, president,BS Records Division (fourth from left); and, from left: Don Ellis, vice president, pop

a&r, Columbia Records; Mickey Eichner, vice president, a&r, east coast, Columbia Rec-ords; Dennis Rowe, B.T. Express; Louis Risbrook, B.T. Express; Larry F,gel, generalprofessional manager, April/Blackwood Music; Bill Risbrook, B.T. Express; Bob Esposito,director, east coast, April/Blackwood Music. Sitting, from left: Carlo: Ward, B.T.Express; King Davis, the band s manager; Richard Thompson, Barbara Joyce, B.T. Ex-press; Stan Monteiro, vice president, national promotion, Columbia Records.

A&M Merchandising Team(Continued from page 6)to make sure that they are serv-iced with all available aids tosales and promotion of A&Mproduct.

The force will work closely withretail accounts in these marketsto make sure that available mer-chandising tools which have beenprovided to the distributors areon display. They'll act as an addi-tional back-up for the regionalsales managers and distributorsin covering all possible outlets togain visibility for A&M acts.

College Reps to ExpandAs an additional responsibility,

the force will work closely withA&M's extensive college rep de-partment, in expanding its areasof responsibility from promotionto merchandising; they'll alsocover those secondary areas on aregular basis to ensure a constantA&M presence on both a radio

Performers Royalty(Continued from page 3)

recommendations.The so-called compromise was

actually little more than a straightturndown of the performers feeidea. The issue has been debatedsince the late 1940s when now -retiring Senator Hugh Scott (R -Pa.)first raised the idea at the behestof long-time friend Fred Waring.The proposal has generatedstaunch broadcast industry oppo-sition since that time. The copy-right office is already on recordas supporting the idea and therequirement of a copyright officestudy was merely intended tosoften the blow to the recordcompanies and musicians union.Danielson was not even presentat the mark-up session, underlin-ing the futility of the proposal.

and retail level at campuses andsecondary markets in the areas oftheir schools. The special forcewill also help coordinate store re-ports on record sales and providea personal and direct contact withthe local store managers of majorchains to insure an immediatepersonal identification. with A&Mand to guarantee a consistent andthorough servicing of productand marketing aids to these keymarkets.

The regional merchandising di-rectors will report directly toGrieff, who will in turn report toA&M president Jerry Moss ontheir progress and effectiveness.

New Orleans Seminar(Continued from page 3)

The seminar is open to alldealers, radio station personneland other industry persons in-terested in meeting to shareideas and further solidify rela-tionships with Record Worldstaff members and others in theindustry. Invitations are goingout to key radio and dealerpersonnel in a 500 mile radiusof New Orleans.

The seminar will be an after-noon affair which will include abuffet lunch followed by an in-formal meeting and discussionsession headed by members ofthe Record World market re-search staff.

Don Anthony of Tape City inNew Orleans will be the localhost for the seminar and anyquestions about the meetingcan be directed to him at (504)888-2509 or to any member ofthe Record World market re-search department in New Yorkor Los Angeles.

THE JAZZLP CHART

JUNE 5, 1976

1. BREEZIN'GEORGE BENSON -Warner Bros.

BS 2919

2. ROMANTIC WARRIORRETURN TO FOREVER -Columbia

PC 34076

3. BLACK MARKETWEATHER REPORT -Columbia

PC 34099

4. THE LEPRECHAUNCHICK COREA-Polydor PD 6062

5. CITY LIFETHE BLACKBYRDS-Fantasy F 9490

6. LOOK OUT FOR #1BROTHERS JOHNSON-A&M SP 4567

7. TOUCHJOHN KLEMMER-A8C ABCD 922

8. REFLECTIONS OF A GOLDEN DREAMLONNIE LISTON SMITH & THE COSMIC

ECHOES-BDL1 1460 (RCA)

9. LAND OF THE MIDNIGHT SUNAL DiMEOLA-Columbia PC 34074

10. ODYSSEYCHARLES EARLAND-Mercury

SRM 1 1049

11. THOSE SOUTHERN KNIGHTSTHE CRUSADERS -ABC Blue Thumb

BTSD 6024

12. PRIMAL SCREAMMAYNARD FERGUSON-Columbia

PC 33953

13. SALONGORAMSEY LEWIS-Columbia PC 34173

14. OPEN YOUR EYES, YOU CAN FLYFLORA PURIM -Milestone M 9065

15. MYSTIC VOYAGE

16. AURORAJEANLUC PONTY-Atlan is 8163

ROY AYERS UBIQUITY-folydorPD 6057

17. PLACES AND SPACESDONALD BYRD-Blue Note

BN LA549 G (UA)1 8. BACK TO BACK

BRECKER BROTHERS BAND -Arista 4031

19. FEELS SO GOODGROVER WASHINGTON, JR.-

Kudu KU 2451

20. LIFE AND TIMESBILLY COBHAM-Atla tc 8166

21. SURPRISESHERBIE MANN -Allan c SD

22. JACO PASTORIUSEpic PE 33949

23. BRASS CONSTRUCTIONUnited Artists LA545 G

24. MOONSHADOWSALPHONSO JOHNSON -Epic

PE 34118

25. SHAKTI WITH JOHN McLAUGHLINColumbia PC 34162

26. I HEAR A SYMPHONYHANK CRAWFORD-Kudu KU 2651

27. TROPEAJOHN TROPEA-Marlin 2200 (TK)

28. FLY WITH THE WINDMcCOY TYNER-Milestone M 9067

29. THAT IS WHY YOU'RE OVERWEIGHTEDDIE HARRIS -Atlantic S 1683

30. LEE OSKARUnited Artists LA594 G

31. AMIGOSSANTANA-Columbia PC 33576

32. HARD WORKJOHN HANDY-ABC/Impulse

ASD 931433. FEVER

RONNIE LAWS -Blue NoteBN LA628 G (UA)

34. YOU ARE MY STARSHIPNORMAN CONNORS-Buddah

BDS 565535. MYSTERIES

KEITH JARRETT-ABC Impulse ASD 931536. MISTER MAGIC

GROVER WASHINGTON, JR.-KuduKU 20

37. NEW YORK CONNECTIONTOM SCOTT -Ode 77033 (A&M)

38. JOURNEY TO LOVESTANLEY CLARKE-Ne

NE 433 (Atlantic)39. KOLN

KEITH JARRETT-ECM 1064/65(Polydor)

40. HAVE YOU EVER SEEN THE RAINSTANLEY TURRENTINE-Fantasy

F 9493

RECORD WORLD JUNE 5, 197669

Ha Sets 'Bubbling Brown Sugar' Promo ENGLEWOOD CLIFFS, N.J. -H&L Records has kicked -off an ex-tensive, major merchandising andpromotion campaign on their firstBroadway show album, the musi-cal "Bubbling Brown Sugar." Themain thrust of the company's ef-fort is focused on the New YorkCity area. This is based on thebox-office draw of the Broadwayshow, which is now playing to fullhouses at the ANTA Theater.

According to Bud Katzel, vicepresident & general manager, thelabel's campaign began May 16with print ads in the weekendeditions of the New York Timesand the Sunday News. The adswere tied with the Korvettes chainand advertised the album, as wellas a consumer contest which en-ables the buyer to fill out theentry blanks at all the record de-partment counters of the Kor-vettes stores and win two freetickets to the Broadway show.The ticket give-away covers some30 stores in the metropolitan area.Along with the ticket give-away,H&L Records prepared a special

B'nai B'rith LodgeSets Advertising Meet NEW YORK - On Monday,June 7, the Music and PerformingArts Lodge of B'nai B'rith willpresent a panel discussion en-titled "Advertising and ReachingThe Consumer - Through TheEyes of The Manufacturer."

Among the panel membersthat will participate are JoelBorowka of The Music Agency(advertising agency for Arista,Private Stock and Big ThreeMusic) and Tom Dellacorte, ad-vertising manager of RCA.

The panel discussion will takeplace at the Central Synagogue,123 East 55 Street, N.Y.C., 7 p.m.

Dart-ing About

in-store spot announcement fea-turing music from the original castalbum and an announcement ofthe ticket give-away. In additidnto this, a special sales price is be-ing offered on the album at therecord department.

On May 19, H&L Records wenton the air with 60 -second spotsrunning over WWRL, WBLS andWNEW-AM. The spots not onlytagged Korvettes, but other retailaccounts as well. Mays, Alexand-ers, Sam Goody and King Karolare among the retail chains thathave been included in the airspots as well as print ads in thelocal papers.

Merchandising AidsAs part of the merchandis-

ing program H&L Records alsoshipped heavy quantities of post-ers, streamers, counter -cards andblack and white photographs ofscenes from the Broadway musicalfor window display and in-storedisplay.

UA Names BrownII LOS ANGELES - Thom Wil-liams, director of creative serv-ices, United Artists Records, hasannounced the appointment ofBob Brown to the post of di-rector of artist relations for thecompany. Brown will be headinga newly -formed department ofartist relations at United Artists.

BackgroundBrown was most recently a

free lance producer, producingthe soundtrack for the AliceCooper film, "Good To See YouAgain, Alice Cooper," and thelast album by Ray Manzarek.

He had previously spent twoyears with Alive Enterprises/AliceCooper Inc., as director of pub-licity and director of west coastoperations.

Capitol recording artists the Pousette-Dart Band, in the midst of a concert tour withYes, recently played New York's Bottom Line. Backstage opening night, numerouswell-wishers offered congratulations. Pictured (from left) are: Irwin Sirotta, Capitol'sNew York promotion manager; band members Allison Cook and Jon Pousette-Dart(whose renowned modern artist father, Richard, was in the audience that night);Vin Scelsa, WNEW-FM music director; band member John Curtis; and WNEW-FM radiopersonalities Dennis Elsas and Dave Herman.

In the Groove

Organist Groove Holmes' new album, "I'm In The Mood For Love," is spearheading"May Is Flying Dutchman Month" at RCA Records. While promoting the Ip in theNew York area, Groove, his trio and vocalist Brenda Jones appeared at Hopper'sfor a two-week stay. Shown here at the club (standing, from left) are Mort Weiner,director, custom label marketing; Holmes; Bob Rifici, manager, field marketing, customlabels; Flying Dutchman head Bob Thiele; and (seated) Teresa Brewer (Mrs. Thiele)and Brenda Jones.

MMI Inks Foldy

Peter Foldy has signed a personal man-agement contract effective immediatelywith Music Marketing International,(MMI), according to Buz Wilburn, presi-dent of that organization. MMI will beginworking on worldwide representation forPeter Foldy, a Capitol Records -EMI ofCanada Ltd. recording artist, and Wilburnwill also be involved in new activities forPeter Foldy outside of the recording realm.MMI is currently negotiating for an Ameri-can label release to be announced in thenear future. Foldy's next single, "Rox-anne," will be released on June 21 inCanada.

Bowman Joins Grunt SAN FRANCISCO - CynthiaBowman has replaced HeidiHowell as publicist for Grunt Rec-ords. Ms. Howell, who gave birthto a 5 lb. 13 oz. baby boy on May11, is on a leave of absence.

Ms. Bowman, a native NewYorker, has lived in the Bay Areafor nine years. For the past yearand a half she worked as a Roll-ing Stone staffer whose responsi-bilities included assisting theeditors of the music section,writing record reviews and somenews coverage. She also contri-buted record reviews to the nowdefunct City of San Franciscomagazine.

Janus Ups Greenwald LOS ANGELES-The appoint-ment of Dave Greenwald asnational secondary promotiondirector was announced jointlyby Ed DeJoy, vice president ofJanus Records, and Louis New-man, national promotion directorof Janus Records.

Greenwald joined Janus Rec-ords in 1975 as national collegepromotion director and has sub -subsequently added all secondarytop 40 and MOR stations to histerritory.

Prior to his joining the JanusRecords promotion team, Green-wald was the buyer for LicoricePizza stores and general managerof Sunshine Records.

ABC Record & Tape

Promotes James Davis MINNEAPOLIS - James W.Davis has been named midwestregional sales manager for ABCRecord and Tape Sales Corp., itwas announced by Herbert J.

Mendelsohn, president of thecompany.

Davis, who will report toHerbert Fischer, national salesmanager, joined ABC Record andTape Sales Corp. in January, 1973,as a salesman. In November, 1974,he was named field sales manager.

Prior to joining ABC Recordand Tape Sales Corp., Davis was asalesman for Bigelow Sales Co.for two years; salesman, DartRecords for five years; and recordbuyer for Record Service Co.

CTI Signs Three NEW YORK-Peter Paul, vicepresident/business affairs &artist relations, CTI Records, hasannounced the signing of LaloSchifrin, Dave Mathews, andGrant Green to the label.


Executive Action

Shown at the before -dinner cocktail party in Scottsdale on Friday night are, from left:Atlantic's senior vice president of marketing Dave Glew and chairman Ahriet Ertegun,and WEA president Joel Friedman and executive vice president Henry Droz.

Brokaw Bows Firm LOS ANGELES-David Brokawhas announced the formation ofThe Brokaw Company, Public Re-lations. The firm has clients inevery facet of the entertainmentindustry as well as corporate ac-counts. Present and future plansemphasize a continuity in thismultifaceted approach.

Amicable ResolutionFormation of The Brokaw Com-

pany followed immediately uponan amicable resolution of Bro-kaw's partnership agreement withSteinberg, Lipsman and BrokawPublic Relations. Brokaw beganhis public relations career as aconsultant to Governor Brownwhen he was Secretary of State in1972 and became an accountexecutive with Jay Bernstein Pub-lic Relations in 1973.

Offices are at 9255 SunsetBoulevard, Suite 411, Los Angeles,Ca. 90069; phone: (213) 273-2060.A New York office and additionalstaff will be announced shortly.

Fogelberg Gold NEW YORK - Epic/Full Moonartist Dan Fogelberg has receivedRIAA gold certification for his"Souvenirs" Ip, not his current Ip,"Captured Angel," as reportedlast week in Record World.

Lifesong Taps De Marta NEW YORK-Paula De Martahas been appointed national pro-motion coordinator for LifesongRecords, it was announced byMarty Kupps and Barry Gross,vice presidents, promotion andsales.

Paula De Marto

Ms. De Marta will coordinateactivities for the Lifesong promo-tion staff and will serve as acentral source of promotion infor-mation for the company as wellas for numerous radio stationsand trade publications.

Ms. De Marta has worked in avariety of record -related posi-tions for such companies as MCA,Polydor, Buddah and MidlandInternational. She will report toGross and Kupps and will bebased at Lifesong's New Yorkoffice.

WEA Hosts Marketing Meet

Film 'History' of Atlantic/Atco

Highlights Company's WEA Presentation NEW YORK - "A Commit-ment to Music: Atlantic/Atco inthe 70's," a half-hour film cap-sulizing the company's 28 yeargrowth from the perspective ofartist development was the high-light of Atlantic's Friday night(21) presentation at the WEAMarketing Conference in Scotts-dale, Arizona. The film, writtenand supervised by Elin Guskindof the advertising department,capped Atlantic's participationin the six day event, whichbrought together over 100people representing the WEADistribution Corporation, itsthree major labels - Atlantic,Elektra/Asylum and Warner Bros.and many guests from the radio,press and retail fields.

At the Friday night banquethosted by Atlantic, featuredspeakers and presenters in-cluded Atlantic Records chairmanAhmet Ertegun, Henry Allen andEddie Holland of Cotillion Rec-ords and Nat Weiss of NemperorRecords.

The keynote of the affair,however, was the film, openingwith an audio-visual montagethat compresses Atlantic's musi-cal history into a three minutesequence that showcases morethan 175 separate Atlantic actssince the late '40s. A foreword byErtegun leads into a series ofsequences introduced by At-lantic Records president JerryGreenberg, who again emphasizesthe company's personal commit-ment to developing its artistsover time. Top -rated artistswhose careers have taken shapein the '70s are presented musi-cally and visually on -screen:Bad Company, Average WhiteBand, Manhattan Transfer, Spin-ners, Billy Cobham, StanleyClarke, Blue Magic, Jimmy CastorBunch, Major Harris, Hot Choco-late and Bette Midler.

In the next sequence, sevenartists are presented who typify,

Over 100 WEA staffers attended the WEA marketing meeting held May 16 in Scottsdale, Ariz. Management of Atlantic, Warner Broth-ers and Elektra/Asylum Records unveiled new -artist plans and hosted seminars on various marketing topics. Pictured (left) areJerry Sharell, E/A director of advertising and artist relations, with WEA president Joel Friedman; (center) Lou Dennis, Warner Brothersnational sales manager, and Jerry Greenberg, Atlantic president; and (right) E/A marketing VP George Steele with Ed Rosenblatt,Warner Brothers VP, sales.

as Greenberg points out, At-lantic's belief in sticking withthe artist as the career buildsmomentum: Genesis, RoxyMusic, Barrabas, Jean -Luc Ponty,ABBA, Michel Polnareff, andKenny Rankin. The artists pre-sented in the film's finalsequence represent a mixture ofestablished acts who look to At-lantic when recording contractsexpire, along with those brandnew acts whose careers on At-lantic have just Started this year:Wishbone Ash, Trammps, RoyBuchanan, Melanie, Don Harri-son Band, Firefall, Impact, RingoStarr and AC/DC.

After the film, WEA presidentJoel Friedman and executive vicepresident Henry Droz acceptedcopies of "The Object," the 10 -inch high obelisk that symbolizesLed Zeppelin's "Presence" al-bum, their award for establishingthe album as the retail sales -maker of the year. Other specialawards were also made to vari-ous WEA branch managers.

Atlantic's senior vice presidentof marketing Dave Glew closedthe evening's program with a

presentation of Atlantic's forth-coming album product, projectedfor June and July release. Histheme, "5 years of growth andsophistication," was echoed inthe presentation itself, as Glewthanked the WEA staff oncemore for their individual appre-ciation of the music Atlantic hasbeen responsible for over thelast half -decade.

New AdditionsTo Musexpo '76 NEW YORK - United ArtistsRecords and Music PublishingGroup heads the list of recentadditions to the participants inMusexpo '76, to be held Septem-ber 8-11 at New Orleans' Fair-mont Hotel, Musexpo presidentRoddy Shashoua told RecordWorld last week. Over 350 com-panies from 24 countries are al-ready committed to participate,and advance bookings at thispoint are 400 percent ahead oflast year, according to Shashoua.

The two gala nights at the showhave been allotted to a night ofcountry music September 8, tobe coordinated by the CountryMusic Association, and a NewOrleans Jazz festival, to be a

benefit performance for the DukeEllington Memorial Cancer Fund,Shashoua said. Both will takeplace in the International Ball-room of the Fairmont.

Several new regional Musexporepresentatives have been addedin recent weeks, Shashoua alsoreported.


RECORD WORLDRecord World en Mexico

By VILO ARIAS SILVA MEXICO - Satisfechos y conenormes esperanzas de que seesta tomando conciencia paracombatir la pirateria fonografica,regresaron de Ia cita de produc-tores que tuvo lugar en el Paso,Texas, la delegacion mexicanaque estuvo encabezada por LuisBasten Talamantes, actual Presi-dente de AMPROFON (Asocia-cion Mexicana de ProductoresFonograficos) é integrada JavierMigoya, Paco Llopis y RogelioAlpizar.

Del propio Luis Baton, me dipor enterado de los resultadosque son realmente muy positivos,y lo que es mas, en breve lasautoridades norteamericanas y sussimilares en Mexico, tendran unareunion, para que la caza depiratas y sus productos, seamasiva en todo lo largo de Iazona fronteriza. En esta importan-te cita, tambien estuvieron pre-sentes representantes del Senadode Texas, el Sheriff de El Paso,Jefes del FBI, el Jefe de la Policiay representantes al Congreso dela Union; quienes dieron unamuestra de sus profundos corioci-

I

mientos de la industria y sussecretos, como si fueran auten-ticos disqueros.

Por parte de los productoreslatinos en E.U., asistieron JoseGarcia, Osvaldo Venzor, EliseoValdez, Rick Rivera, CarlosEstevez y Al Hurricane.

Estas medidas, estan siendotomadas ante el alarmante creci-miento de estos espurios, queestafan y se burlan tanto de lasleyes estadounidenses como delas mexicanas. En Ia actualidad,el sistema que emplean consisteen fabricar sus productos ilegalesen E.U. y venderlos en Mexico,variando sew:in las circunstancias6 sea fabricar en Mexico y venderen E.U.; al respecto, las autori-dades estan en pie de "guerra"y la caseria sera gigantesca.

Por nuestra parte, en RecordWorld en todo momento noshemos mostrado enemigos im-placables de estos cobardes ysupuestos anonimos. En muchascolumnas, hemos denunciado eltrafico asqueroso que existe en


I CONTINUING THE REVIEW

OF A MASTER

"EDDIE'S CONCERTO"(TICO TSLP 1409)

EDDIE PALMIERIWINNER OF THE FIRST

LATIN GRAMMY

AND FOUR LATIN NY AWARDS,

INCLUDING

"MUSICIAN OF THE YEAR"

FEATURING THE VOICE OF

ISMAEL QUINTANAINCLUDED ARE:

"PA' HUELE", "PA' LA OCHA TAMBO" (LIVE),"REVOLT/LA LIBERTAD LOGICO", AND

"EL MOLESTOSO", PLUS FIVE MOREPALMIERI CLASSICS!

Distributed by Fania Records

SALSA SINGLES!"BUENAVISTA GUAGUANCO", ORCH. HARLOW, FANIA 760"LAS MUCHACHAS", PACHECO, FANIA 763"MI DESENGANO", ROBERTO ROENA, INT'L 8021"BONCO", LOS KIMBOS, COTIQUE, C-278"AOUI DE NUEVO", KAKO Y AZUQUITA, ALEGRE 4078"SONAREMOS EL TAMBO", TIPICA '73, INCA 6095"VENGO DEL MONTE", TOMMY OLIVENCIA, INCA 6094"DESAFIO/CHALLENGE", FANIA ALL-STARS, FANIA 764

LATIN AMERICAN

DESDE NUESTRINCON INTERNAC°NAL

By TOMAS FUNDORA Enrique Marquez, presidente de Ia AsociaciOnde Editores Mexicanos de Musica (EMMAC),aunci6 que se ha creado Ia medalla de oro "MariaGreyer" para premiar en el futuro en Mexico alcompositor sobresaliente cada afro . . . Jesus yGuillermo Acosta de Discos Gas de Mexico,establecieron causa contra Sonart de Mexico porBanos y perjuicios resultantes del lanzamiento noautorizado de Los Mirlos de Peru, producidos porel dinamico disquero peruano Alberto Maravi, en

territorio azteca. El asunto esta siendo investigado energicamente porel licenciado Gabriel E. Larrea Richerand, titular del Departamentodel Derechos de Autor, dependiente de Ia Secretaria de EducacionPublica de Mexico . . . Y hablando de Maravi, su grupo Los PastelesVerdes, del cual es Director y primera voz Aldo Guibovich y que hanresultado triunfado-es en casi toda Latinoarnerica se encuentran ahoradisfrutando como exitos los numeros "Ruega por Nosotros" y "Cuandotu no estos. El grupo emprendera proximamente una jira que incluiravarias ciudades de Norteamerica y una presentaci6n en Mexico . . .

Fabian Ross, productor Argentino, con amplio historial en su pais yBrasil, se ha hecho cargo del sello International del grupo Fania. Entrelos artistas que maneja este sello en Estados Unidos se cuentan JoanManuel Serrat, Los Angeles Negros, Germain, Teddy Trinidad yRoberto Yantis. i Exitos Fabian!

Al crear un nuevo sello en California, Juan Enciso declar6 en Mexicoque: "Era necesario integrar en Estados Unidos una comparifagrabadora con capital mexicano y con elenco latinoarericano, muyespecial de nuevos valores artisticos de Mexico, con miras a crear elambiente propicio y el material para divulgar en las diferentesespecialidades, una mejor forma de crear nuevas fuentes de trabajopara los artistas nuestros." Arnulfo Blanco se encarga de producir yseleccionar el material que ha comenzado a lanzar Fogata Interna-cional, que ya se encuentra colocando varios de los nOmeros pro-ducidos en los "rankings" de la costa oeste. Entre ellos se cuentan"Cristina" por Chalo Campos y su Orquesta," "Seamos Sinceros" porAlejandra Bravo y ''Treinta Copas" por Arnulfo "El Coyote Blanco". . . Pancho Cristal de All Art de Nueva York, abrird sus oficinas enMiami, Fla., a cargo de Ramon Castellano. La nueva facilidad dePancho se ocupara de produccion y compra de mercancia paraexportacion, asi como la promocion del sello All Art en el areafloridana, distribufda por Latin Records Distributors . . . Mis mascordiales saludos a Manuel Martinez Henares de "A Ritmo de Hoy"(La Voz de Leon) de Espana. Su articulo publicado en "La HoraLeonesa" sobre "Salsa" y en el cual menciona a este colega es enextremo interesante. Y parece que la salsa va entrando en Espana. Laprimera impresion es que todo ritmo tropical va recibiendo especialatencian en Europa. El propio gobierno colombiano ha mostradointer& en promocionar su musica tropical en Espana. Y dice MartinezHenares en su articuio: "Los discos de Fania han Ilegado a Espana deIa mano de Discophon y el pOblico espariol ha podido asf conocer"la otra musica caliente," la musica "Salsa" de esos hermanos de razaaclimatados en U.S.A. Si algunos no la conoceis ya, en cuanto Ia hayaisconocido, bailar con Ia otra musica caliente se convertira para todosen una necesidad irresistible, exactamente igual a como ocurre enEstados Unidos. Algon dia le pediremos a Tomas Fundora de RecordWorld un gran favor; que nos cuente algo mas extenso y con mas"salsa" sobre todos ellos . . . Firm6 Tony Rosado, representante de laOrquesta neoyorkina La Fuerza Latina, contrato con Orlando Brucomo artistas exclusivos de Discolando Records . . . Comienza arecibir fuerte promocion Chico Navarro en Estados Unidos con "Ycomo haras" (Ch. Novarro-Mike Ribas) editado por Microfon . . . Vatomando gran fuerza internacional el cantante ciego brasileno, EdwardCliff, a tray& de su interpretaciOn de "Nights of September." Proxima-mente RCA lanzara ur long playing de este artista que logro despertar



COCO RECORDS"El Sonido Creativo"

WE'RE NOT #1 BUT WE GET THE JOB DONE WON!

THE SALSA LP OF THE YEAR -THE MOST CONTROVERSIAL LATIN LP EVER!

CLP 120

EDDIE PALMIERI-Exclusively on Coco RecordsCanto: LALO RODRIGUEZ

Produced by: HARVEY AVERNE

WINNER OF 5 AWARDS IN THE 1976 MUSIC POLLBEST SALSA LP: "UNFINISI- ED MASTERPIECE"BEST PRODUCER: HARVEY AVEP,NE (UNFINISHED MASTERPIECE)BEST PIANIST: EDDIE PALN,IERI (UNFINISHED MASTERPIECE)BEST TIMBALES NICKY MA.RRERO (UNFINISHED MASTERPIECE)BEST SAXOPHONE: MARIO RIVERA (UNFINISHED MASTERPIECE)BEST ORCHESTRA: EDDIE PALMIERIBEST MUSICIAN: EDDIE PALMIERI

Coco Records wishes to thank the Music Industry, the critic and the public,for their votes, recDcnition and support, two year! in a row.

NOTE: Last year's award winning LP (Grammy Award, Stereo Review Magazine Award/Latin N.Y. Music Awards) "The Sun of Latin Music"-SLP 1 )9 is still going strong!

A "GALA" OCCASION

GALA RECORDS & COCO RECORDSPROUDLY ANNOUNCE THE ARRIVAL OF

A BRAND NEW ALBUM BY EYDIE GORMEProduced by: STEVE LAWRENCEArranged by: DON COSTA, NELSON RIDDLE,

JOHN D'ANDREAon:

FEATURING THE NEW HITSINGLE "LA PLEGARIA DEMI AMOR"/"QUIEREME MUCHO""DIME", "ERES TU", "ESTATARDE VI LLOVER", AND MANYOTHERS

.9a112rd.

'Donde estan las estrellas- GALP 2001

P.S. EYDIE GORME'S ALBUM WITH TRIO LOS PANCHOS ISSTILL THE #1 BEST SELLING LP IN LATIN MUSIC HISTORY

coco records

INTERNATIONALLY DISTRIBUTED BY

COCO RECORDS254 W. 54th St., N.Y.C. 10019

12121 582-6386

HARVEY AVERNE, President

coco records

SAM GOFF, General Managing Partner

LATIN AMERICAN HIT PARADE

AlbumsSpain Mexico

By FERNANDO MORENO By VILO ARIAS SILVA1. DESIRE 1. MELINA-JAMASBOB DYLAN -CBS CAMILO SESTO-Musart2.

3.

BARCELONA, GENER DE 1976LUIS LLACH-MovieplayWISH YOU WERE HERE

2. COMO TE EXTRANOLA REVOLUCION DE EMILIANO ZAPATA

PINK FLOYD-EMI 3. QUIERO4. A NIGHT AT THE OPERA JULIO IGLESIAS-Polydor

QUEEN -EMI 4. MORENO DE 15 ANOS5. JESUCRISTO SUPERSTAR LOS FELINOS-Musart

VERSION TEATRAL ESPANOLA-Ariola 5. INTERROGACION6. FLY ROBIN FLY LA FRESA SALVAJE-EMI Capitol

SILVER CONVENTION-Belter 6. COMO UN DUENDE7. TOMMY LOS BABY'S -Peerless

BANDA ORIGINAL PELICULA-Polydor 7. LAGRIMAS Y LLUVIA8. HORSES JUAN GABRIEL-RCA

PATTI SMITH -EMI 8. CUATRO LEGRIMAS9. LA NARANJA MECANICA LOS POLIFACETICOS-EMI Capitol

BANDA ORIGINAL PELICULA- 9. COMO ME DUELEHispavox SILVIA Y GILBERTO-Cisne RAFF

10. AMOR LIBRE 10. TEMAS MEXICANOS (VOL. 25)CAMILO SESTO-Ariola JUAN TORRES-Musart

Record World en ColombiaBy ARMANDO PLATA CAMACHO

Jorge Villamil compositor de"Llamarada," "Espumas," "Oro-pel" y otros exitos se metio enviolento lio: fue detenido por elEjercito cuando portaba mas decien mil dolares en un helicOp-tero, en pleno centro de gue-rrillas. Al final el pUblico de sutierra natal Neiva se desbordo enjubilo pues su vinculacion eracomo intermediario tratando derescatar a un consul holandez EricLeupin, secuestrado hace mas deatio y medio. Villamil compondraun tema denominado: "El De-tenido." R.C.A. anuncie) que conel incidente se subieron las yentasen un 19%.

Fruko tambien esta metido enproblemas por incumplimiento decontrato en el pasado "FestivalVallenato" de Valledupar, ganadopor Nafer Duran, por esta razonno ha concluido su septimo LPpara Fuentes, parece que Frukopagara mas de 2.000 dolares comomulta.

Raphael capture) la atencion deColombia por mas de 10 dias,desde su Ilegada al AeropuertoIa gente sigui6 paso a paso

andanzas. Die) conciertos muyprofesionales, Ilene) todas lasplazas y gust6 a rabiar. Ya lohabiamos visto en la pasadaFeria de Cali, pero esta vez todoColombia lo aplaudio.

Aparecio en el mercado el LP"Jesucristo Super Estrella" deCamilo Sexto, comienza a venderentre la gente joven.

Los Sobrinos Del Juez (TheJudge's Nephews) parece seraneditados por Polydor 6 DiscosOrbe.

Bambuco inauguro el almacende discos mas moderno deSuramerica en Unicentro unaciudadela comercial de fabula.

CBS lanza a Los Ayers, duetoantioqueno con musica folkloricatradicional, dispuestos a competircon el mito de Garzon Y Collazos.

Lyda Zamora hace noticiadoble: se separe) de su segundoesposo el torero Pepe Caceresy recibe aplausos por su expec-tacular de T.V. "El Mundo Magicode Lyda Zamora," muy biendirigido por el realizador argen-tine David Steivel.


PresentaSus

Novedades

"Vestido Me:dodo"OCTAVIO

Musart TEDM 10583

!De todos los Sabores!Chelo y su ConjuntoMusart TEDM 10575

MUSICAL RECORDS CO.P.O. Box 75, Hialeah, Fla. 33011

Tel. (305) 887-2638

Singles

MexicoBy VILO ARIAS SILVA

1. COMO TE EXTRANOLA REVOLUCION DE EMILIANO

ZAPATA-Melody2. QUIERO

JULIO IGLESIAS-Polydor3. VOLVERE

DIEGO VERDAGUER-Melody4. NUESTRO AMOR ES EL MAS BELLO

DEL MUNDOESTELA NUNEZ-RCA

5. JAMASCAMILO SESTO-Musart

6. CUERPO SIN ALMALAS COLOMBIANITAS-Peerless

7. DESPACITOLOS ANGELES NEGROS-EMI Capitol

8. COMO ME DUELESILVIA Y GILBERTO-Cisne RAFF

9. COMO UN DUENDELOS BABY'S -Peerless

10. A MI GUITARRAJUAN GABRIEL-RCA

ColombiaBy ARMANDO PLATA CAMACHO

1. LLAMARADAISADORA

2. ENFERMO DE AMORDANNY

3. PARA QUE NO ME OLVIDESLORENZO SANTA MARIA

4. SONANDO CONTIGOUNO Y DOS

5. TU, COSA SEXYCHOCOLATE CALIENTE

6. YO TE PENSAREVICKY

7. ESTOY ARDIENDOFLASH

8. VOLVERESANTO CALIFORNIA

9. LEVANTATE Y BAILA EL BOOGIESILVER CONVENTION

10. EL GONDOLERORAPHAEL

SpainBy FERNANDO MORENO

1. FLY, ROBIN, FLYSILVER CONVENTION-Belter

2. SABADO POR LA TARDECLAUDIO BAGLIONI-RCA

3. HURRICANEBOB DYLAN -CBS

4. AMORE GRANDE, AMORE LIBEROIL GUARDIANO DIL FARO -RCA

5. HAY QUE VALOCHARANGA DEL RIO HONORIO-

Movieplay6. VOLARE

AL MARTINO-CBS7. BYE BYE FRAEULIEN

MICKY-Ariola8. PARA QUE NO ME OLVIDES

LORENZO SANTAMARIA-EMI9. SOBRAN LAS PALABRAS

BRAULIO-Belter10. JAMAS

CAMILO SESTO-Ariola

New YorkBy EMILIO GARCIA

1. AMOR LIBRECAMILO SESTO-Pronto

2. DEJARAJULIO IGLESIAS-Alhambra

3. CIERRA LOS OJOSYOLANDITA MONGE-Coco

4. POR CULPA TUYAKING CLAVE-Orfeon

5. THE NECESITO TANTO AMORELIO ROCA-Miami

6. CARINO MIOROBERTO LADESMA-Musart

7. LA MUNECAELADEO ROMERO SANTOS

8. UNA CARTALOS TERICOLAS-Lamar

9. EN SILENCIOTANIA-Pop Hits

10. LA PICAZONLOS MELODICOS-Discolando

Nuestro Rincon (Continued from page 72)gran interes en el conglomerado RCA reunido en MIDEM reciente-mente. Elward Cliff logro su primer impacto al presentarse en elFestival de Piriapolis del 1971 en Uruguay interpretando "Time Bird."

Estrena este semana el Teatro Baronet de Nueva York Ia peliculaargentina "Los Gauchos Judios" en Ia cual participa estelarmenteGinamaria Hidalgo . . . Los Sobrinos del Juez (The Judge's Nephews)estan dando fuertemente con su interpretacion de "Glorioso SanAntonio" y "Lovers." El grupo miamense sigue vendiendo fuerte su"Without Your Tender Love" en varias areas latinas y europeas . . .

A medida que van Ilegando denuncias e informaciones de parte decompositores y editoras de las arbitrariedades e irregularidadescometidas por varias asociaciones y editoras, no tan solo en EstadosUnidos, sino en toda Latinoamerica, me entra la duda de si las Leyesque supuestamente deben proteger a los autores, estan realmenteprotegiendolo o si son unicamente usadas para crear econorniasfantasticas que luego van a parar a terceras manos. Vamos entrandocon esto en la clasiticacion norteamericana de "racket." iY seguimosadelante! . . . Y ahora . . . iHasta Ia proximal

Enrique Marquez, president of the Association of Mexican Pub-lishers (EMMAC), has announced that from now on the "Maria GreyerGolden Medal" will be extended every year in Mexico to a topcomposer . . . Jesus and Guillermo Acosta from Discos Gas, Mexico,sued Sonart of Mexico because of the unauthorized releases of record-ings by Peruvian group Los Mirlos, produced by Alberto Maravi. Thematter is being extensively investigated by attorney Gabriel E. Larreafrom the Author's Rights Offices in Mexico. And while talking aboutMaravi, his group Los Pasteles Verdes, with Aldo Guibovich as directorand first voice, is making it again with "Ruega por Nosotros" and"Cuando to no estes " The group will tour the States and Mexico in afew weeks . . . Fabian Ross, Argentinean producer with an extensivebackground in Argentina and Brazil, is now in charge of the inter-national label of the Fania family. The label's roster includes verypopular artists such as Joan Manuel Serrat, Los Angeles Negros,Germain, Teddy Trinidad and Roberto Yanes.



Nuestro Rincon (Continued from page 74)Fogata Internacional was created in order to assure that a new

label, formed with Mexican investment and by Mexicans in the States,could properly create the necessary image and product that couldguarantee Mexican artists new jobs. Such was declared by Juan Encisoin Mexico several weeks ago. Arnulfo Blanco is producing and selectingthe material to be released on the new label, which, by the way, isshowing great stamina in almost every single radio chart on the westcoast. "Cristina" by Chalo Campos and his Orchestra, "SeamosSinceros" by Alejandro Bravo and "Treinta Copas" by Arnulfo"Coyete Blanco" are topping almost every listing in the area . . .

Pancho Cristal from All Art Records, New York, is establishing facilitiesin the Miami area. Ramon Castellano will be in charge of Pancho'snew offices and warehouses and will take care of production andpurchasing of material to be exported and take care of the promo-tion of All Art label, presently distributed in the area by Latin RecordsDistributors . . . Best regards to Manuel Martinez Henares from "ARitmo de Hoy" (Leon's Voice) in Spain. The popular radio personalityis growing, in which he stated: "Records from Fania arrived in Spain,released by Discophon, permitting the Spanish public to know 'theother hot music,' the 'salsa' music created by our brothers in theU.S.A. One of these days we will ask Tomas Fundora from RecordWorld to let us know more about 'salsa' and about all of it" ... TonyRosado, representing Fuerza Latina, a new "salsa" orchestra formedin New York, signed with Discolando Records as their exclusive artists. . . Chico Novarro is enjoying air coverage via "Y como hards,"released by Microfon several weeks ago in the States . . . Brazilianblind singer Edward Cliff is moving nicely with "Nights of September,"performed in English. Edward started to gain recognition at Festivalof Piriapolis, Uruguay, when he performed "Tine Bird." His "Nightsof September" could skyrocket him to immediate success .. . BaronetTheater is premiering in New York the Argentinean film, "LosGauchos Judios," starring Ginamaria Hidalgo, this week. The film isexpected to be a success and an open door to spread the popularityof the already famous singer Ginamaria . . . The Judge's Nephews(Los Sobrinos del Juez) are smashing now with "Glorioso San Antonio"b/w "Lovers." Their success with "Without Your Tender Lcve" was thekey to their international acceptance. The Miami group is smashing inthat area and moving to all markets with great force ... The complaintsand information regarding irregularities in payments of royalties tocomposers and writers I am receiving are forcing me to think twiceabout how the author's rights laws are being enforced in every Latincountry and the States. It seems that Latin composers are sufferingfrom the application of a certain "racket" about which nobody saidanything and which nobody seems to know about. Now Latin com-posers are starting to move on in order to fight for their rights andprivileges of which they had been deprived for so long. I'll keepreporting about it! . . . And that's it for the time being:

En Mexico (Continued from page 72)

la zona fronteriza, por lo que, esuna satisfaction, ver que unenfuerzas autoridades, productoreshonestos y tdos los involucradoscon el medio que tienen laconciencia tranquila.

Despues de manifestares simpa-tizante del Rey Juan Carlos yaceptar que actuaria sin ropa anteel publico, si las circunstancias loexigieran; Camilo Sesto (Musart),realizo la mas brillante de susvisitas. En cada show, ratified' laprivilegiada voz que ostenta, re-sultando escalofriante el pasajede la obra "Jesucristo Super-estrella" que interpreta sensa-cionalmente. Junto con estostriunfos, Camilo incrementa otrohit mas a su larga lista de exitosdisqueros; se trata del tema"Jamas," que marcha arrolladora-mente al primer lugar depopularidad.

Revento la mas reciente graba-cion de Juan Gabriel (RCA); "Ami guitarra," invade la Republicay las yentas van en aumento . . .

Tremenda, la forma en quese sostienen Las Colombianitas(Peerless) con "Cuerpo sin alma."A pesar del tiempo, continua elexito a nivel national . . . El

argentino Diego Verdaguer (Mel-ody), que se did, a conocer con"Volvere," colocando otro buennumero titulado "Yo pescador deamor" . . . Con un futuro sinlimites, por sus atributos musi-cales, debutO la Familia Morled(Cisne RAFF) con un sencillo enel que destaca "Volveras, "Vol-vere."

Aparecio un nuevo sencillo deltropical Conjunto Africa (Peer-less) con los temas "Apagaradio" y "Ven a bailar" . . .

Marcando un record de per-manencia en el primer lugar consu hitazo "Como te extrafio," LaRevolution de Emiliano Zapata(Melody), se nuestra como elgrupo mas sobresaliente de latemporada iY hasta la proximadesde Mexico!

LAT1N AIVIERICANALBUM PICKS

NOSTALGIASGERMAIN-International INT 905

Acompariado por Los Luceros Blancos,Germain ofrece un repertorio que puederendir frutos. "Si estas oyendo mi Can -don" (Wildo), "No Creas que estoymintiendo" (0. Salinas -H. Gonzalez),"Porque te quiero" (0. Salinas) y "Quieries?" (Cantoral).

Backed by the group Los Luceros Blancos, Germain offers a verycommercial package that could make it. "Verano Azul" (Wildo-J.Carlos Giz), "Tu ya sabes como" (Cantoral-Rudolphy), "Nostalgias"(D.R.) and "Si estas oyendo mi Cancion" (Wildo).

TORMENTAArcano DKLI 3320

Con arreglos de Jorge Calandrelli, Tor-menta de Argentina se luce en "Por ague-llos Dias de nuestro Ayer" (Tormenta-Baradino), "Yo no se si sabras" (Tormenta-L. Lopoz), "Hay un Sentimiento" (Tor-menta) y "Por todas esas cosas" (Tor-menta).

With arrangements by Jorge Calandrelli, Tormenta is at her bestin this outstanding package. "Yo no se si Sabras" (Tormenta-L. Lopez),"Porque siempre te querre igual" (Tormenta-Barabino) and "AmadoNino Mio" (Tormenta-Barabino).

EXITOS DE ORO/GOLDEN HITSJOE OUIJANO-Costo-Coco CLP 121

Numeros que han vendido fuertementepor Joe Quijano en un solo paquete.Ritmicos, bailables y cargados de sabor."Nosotros/La Yuca/Quimbombo" (P. Jun-co/A. Rodriguez/L.M. Grinan), "Como hashecho" (D. Modugno), "La Media Vuelta"(J.A. Jimenez) y "Se te Olvida" (A. Carrillo).Una grabacion todos estrellas.

II Golden hits by Joe Quijano in one package. "Listed" (G. Ruiz-Monis), "El Retrato de Maria" (I. Curi-M. Rivera Conde), "La Flautade Bartolo" (J. Quijano) and "Azuquita Mami" (F. Hernandez -M.Alvarez). An all-star recording!

ESTE NEGRO SI ES SABROSOPETE CONDE

Con gran respaldo musical y con arreglosde Jose Febles, Papo Lucca and LouieCruz, el salsoso Pete Conde se luce en"Catalina la 0" (J. Ortiz), "La Abolition"(C. Alonso), "Amor Perdido" (Pedro Flores)y "Guaguanco de Amor" (C. Alonso).

II With outstanding salsa musicians backing him and superb arrange-ments by Jose Febles, Louie Cruz and Papo Lucca, Pete Conde offersa very saleable package. "Pueblo Latino" (C. Alonso), "Tumbakutun"(C. Alonso), "Cuando estoy contigo" (Don Felo) and "Catalina la 0"(C. Alonso).

En ColombiaFuerte remezon en los Sindica-

tos despues de la muerte deCrescencio Salcedo con debatesen beneficio de los compositoresy cantantes por T.V.

Se acabo el sisIema de EmisorasRadio Vision su Director GonzaloAyala paso a la Direcci6n deRadio Tequendama, antes ejercidapor este corresponsal, ahora a


sus ordenes en Radio Continental,Apartado Aereo 9144, Bogota.

Audio Latino monta oficinas enpleno centro de la CapitalColombiana.

R.C.A. monta consola de 16canales en Medellin y lanza elsegundo LP de Isadora con unacanci6n muy pegajosa "Sabras DeMi."


IN NEW YORK-Last January con-certgoing New Yorkers were con-fronted with a dilemma. At ex-actly the same time on the sameevening two of the most import-ant mezzo-sopranos in the worldwere singing solo recitals: atCarnegie Hall Dame Janet Bakergave a program which HarriettJohnson of the New York Postcalled the most successful vocalrecital she had ever attended.Certainly Carnegie was packed,and Dame Janet, as usual, drewthe lion's share of the musicalcrowd. But to those of us atHunter College, the recital of JanDeGaetani was not one whit lessinteresting or exciting. In fact,to this listener the choice ofrepertory made it even more in-teresting.

Miss DeGaetani won her fameas a contemporary singer, butabout two years ago began tosing classical and romantic musicin concert as well. Her Hunterrecital contained some remark.able Schubert and even someBellini songs. Of course, it also

1 CLASSICALWORLD

Treasures from NonesuchBy SPEIGHT JENKINS

had some of Charles Ives songs,and in the interpretation of thesethe mezzo-soprano has no su-periors and few peers. She de-livers them with insight and in-telligence; her feeling for thewords coupled with her innatemusicianship and style makes forquite a combination. She hasalso, over the last two years,developed the color and weightof her voice, making it a moreinteresting instrument than be-fore.

Miss DeGaetani has appearedin some concert opera hereaboutsbut has yet to appear onstage ata major opera house. This prob-ably is a wise choice; her voiceis such an amazingly responsiveinstrument in the concert hallthat it might lose some of itsfinesse when singing romanticmusic over a whole orchestra.But whatever Miss DeGaetanichooses to do, she is growingvocally.

Nonesuch has just issued thelatest proof of her art in a whole


"CLASSICAL... BARBRA"Bravissima!

: ..a very specialmusical experience.-

- Leonani Bernstein

Her first classicalalbum ever.Exquisitely sungart songs byDebussy, Handel,Schumann, Orff,Faure, and more. i

"Classical

A new side ofStreisand,on ColumbiaRecords &Tapes.

33452

AA4

14 r .Ititip

14r.

CLASSICALWORLD RETAIL REPORT

JUNE 5, 1976CLASSIC OF THE WEEK

JOPLINTREEMONISHASCHULLER

DG

BEST SELLERS OF THE WEEKJOPLIN: TREEMONISHA-Schuller-DGBELLINI: I CAPULETI E I MONTECCHI-

Sills, Baker, Gedda, Patane-AngelGERSHWIN: PORGY AND BESS-White,

Mitchell, Maazel-LondonSAINT-SAENS: SYMPHONY NO. 3-

Barenboim-DG

SAM GOODY/EAST COASTBEETHOVEN: COMPLETE PIANO

CONCERTOS-Rubinstein, Barenboim-RCA

BELLINI: I CAPULETI E I MONTECCHI-Sills, Baker, Gedda, Patane-Angel

CHAVEZ: PIANO CONCERTO-Westminster Gold

GAGLIANO: LA DAFNE-White, Vorwart-ABC

JOPLIN: TREEMONISHA-Schuller-DGLISZT: TRANSCENDENTAL ETUDES-

Berman-ColumbiaTHE PIANO MUSIC OF LEO ORNSTEIN-

CRI

ANGEL ROMERO IN CLASSICAL GUITAR-Angel

BEVERLY SILLS SINGS MUSIC OFVICTOR HERBERT-Angel

CLASSICAL BARBRA-Streisand-Columbia

RECORD & TAPE COLLECTORS/BALTIMORE

BERLIOZ: HAROLD IN ITALY-Davis-Philips

BERLIOZ: OVERTURES-Previn-AngelBRUCKNER: SYMPHONY NO. 9-

Barenboim-DGCRUMB: BLACK ANGELS-Concord

Quartet-TurnaboutDEBUSSY: ETUDES-Jacobs-NonesuchDONIZETTI: MARIA STUARDI-Sutherland,

Pavarotti, Bonynge-LondonIVES: SYMPHONY NO. 3-Marriner-

ArgoRASKIN: LAURA-RCASAINT-SAENS: SYMPHONY NO. 3-

Barenboim-DGSTRAVINSKY: OEDIPUS REX-Stravinsky-

Odyssey

FRANKLIN MUSIC/ATLANTABACH: VIOLIN AND PIANO SONATAS-

Melkus, Dreyfus-ArchiveBEETHOVEN, HAYDN: SCOTTISH FOLK

SONGS-Baker-Angel

BRUCKNER: SYMPHONY NO. 9-Barenboim-DG

DUKAS: SYMPHONY IN C MINOR-Weller-London

GERSHWIN: PORGY AND BESS-White,Mitchell, Maazel-London

HAYDN: STRING QUARTETS-Cleveland Quartet-RCA

JOPLIN: TREEMONISHA-Schuller-DGSAINT-SAENS: SYMPHONY NO. 3-

Barenboim-DGSIBELIUS: SYMPHONIES NOS. 5, 7-

Davis-PhilipsSTRAUSS: TONE POEMS, ROSENKAVALIER

SUITE-Ormandy-RCA

RECORD FACTORY/SAN ANTONIO

BEETHOVEN: COMPLETE SYMPHONIES-Solti-London

BELLINI: I CAPULETI E I MONTECCHI-Sills, Baker, Gedda, Patane-Angel


JOPLIN: TREEMONISHA-Schuller-DGSPANISH ENCORES: DE LARROCHA-

London

LUCIANO PAVAROTTI IN CONCERT-London

LUCIANO PAVAROTTI SINGS FAVORITETENOR ARIAS-London

BEVERLY SILLS SINGS1MUSIC OFVICTOR HERBERT-Angel

BEVERLY SILLS SINGS PLAISIR D'AMOUR-Columbia

STRAUSS: ALSO SPRACH ZARATHUSTRA-Solti-London

TOWER RECORDS/SAN DIEGOBEETHOVEN: COMPLETE SYMPHONIES-

Solti-LondonBELLINI: I CAPULETI E I MONTECCHI-

Sills, Baker, Gedda, Patane-AngelBERLIOZ: HAROLD IN ITALY-Davis-

Philips

BOLLING: SUITE FOR FLUTE AND JAZZPIANO-Rampal, Bolling-Columbia

THE VIRTUOSO FLUTE-Rampal-RCA


JOPLIN: TREEMONISHA-Schuller-DGMAHLER: SYMPHONY NO. 2-Mehta-

LondonSAINT-SAENS: SYMPHONY NO. 3-

Barenboim-DGSTRAUSS: ALSO SPRACH ZARATHUSTRA-

Solti-London

TOWER RECORDS/SAN FRANCISCO

BACH: CANTATAS-Harnoncourt-Telefunken

DONIZETTI: MARIA STUARDA-Sutherland, Pavarotti, Bonynge-London

HANDEL: MESSIAH-Leppord-RCAMOZART: PIANO CONCERTOS-Schnabel

-TurnaboutMOZART: SACRED AND PROFANE

SONGS-Knothe-PhilipsRACHMANINOFF: PRELUDES-Ashkenazy

-LondonRACHMANINOFF: RHAPSODY ON A

THEME OF PAGANINI-Ortiz-AngelSCHUBERT: MASS IN E FLAT-Guest-

ArgoSIBELIUS: SONGS-Flagstad-LondonTIPPETT: QUARTETS-Lindsay Quartet-

Oiseau lyre

76RECORD WORLD MAY 29, 1976

Screen Gems -Columbia

Promotes Ira Jaffe NEW YORK-Ira Jaffe has beenappointed to the newly -createdposition of director of talentacquisition and development byScreen Gems -Columbia Music,the music publishing division ofColumbia Pictures Industries, Inc.,it was announced by Lester Sill,president.

Ira Jaffe

Sill emphasized that Jaffe'sprimary responsibility will befinding new talent as well asseeking already established actsfor the publishing company.

CoordinatorJaffe will coordinate the work

being done by Paul Tannen,general manager Nashville opera-tion, and will supervise the acti-vities of Neil Portnow, managerof talent acquisition and develop-ment in New York.

Regency Inks Johnsons LOS ANGELES - The BrothersJohnson, A&M recording artists,have signed with Regency Artists,Ltd. for worldwide representation.

TourThe Brothers Johnson, Louis

and George, plus a nine manband depart June 8 on a sevenweek, 30 -city national tour, priorto joining Quincy Jones for histour of 23 major cities, which be-gins in August.

Chappell Ups Schaefer NEW YORK-Jim Schaefer hasbeen named to the newly -createdpost of manager of the copy-right and licensing division ofChappell Music, it was announcedby Philip Mahfouz, vice president,administration of Chappell.

In his new post, Schaefer willbe responsible for the dailyoperation of the division and thecoordination of its staff. He willreport directly to Mahfouz.

Schaefer has been assistantmanager of the copyright divisionfor the past three years. Prior tojoining Chappell, he was directorof publications for F.E.L. Publica-tions, Ltd. in Los Angeles. Duringhis career, Schaefer has been amusic reviewer, music editor andrecora producer.

America Gets Gold LOS ANGELES - America'smost recent Warner Bros. album,"Hideaway," has been certifiedgold by the RIAA.

CLUB REVIEW111.1101.11/IMMICIIIMIMMMI.

Mercury in Memphis

Pictured on hand for the dedicationleft: Sheryl Feuestein, Mike Gormley,

Brass Construction: Big, Bold Sounds LOS ANGELES-The only thingmissing was a dance floor, as

Brass Construction (UA) put itsRoxy showcase into high gear.The east coast band's self -titleddebut Ip is currently registeringstrong chart activity after gainingsubstantial play in New Yorkdiscos, and onstage the bandoften surpassed the high energyoutput of their hit record.

Keyboard player and leadsinger Randy Muller, recentlyrecovered from a serious boutwith pneumonia, was back in topform as the nine -man groupwent through its well -rehearsedpaces on "Movin' " and "Chang -in'," the two body shakers thatstarted the whole ball rolling.The music-part funk, part jazz,

Atlantic Fetes Sylvia Syms

In celebration of her return to the Atlantic Records family after some 25 years, SylviaSyms was honored with a private cocktail party at 75 Rockefeller Plaza last weekto announce the release of her brand new album, "Lovingly, Sylvia Syms." The Ipwas produced at Atlantic Recording Studies in New York City by WEA Internationalpresident Nesuhi Ertegun and his chief musical assistant Ilhan Mimaroglu. Followingthe release of her album this week, Sylvia Syms embarks on a summer road companyour (through upstate New York, New England, Ohio and Texas) of the musical "FunnyGirl," in the role of Rosie Brice, with Carol Lawrence. Pictured with Ms. Syms isRW editor in chief Sid Parnes.

of Mercury's new Memphis of were, fromJerry Lee Lewis, Charles Fach and Just, Phillips.

part r&b-is much more akin tothe likes of Earth, Wind & Firethan to the legions of one-shotdance bands, so this outfit willhopefully avoid being type -castas a purely disco phenomenon.

Special kudos go to Larry Pay-ton on drums and Wade WilliamSton on bass guitar, who keptBrass Construction's powerfulrhythmic thrust right on linethroughout the show - andespecially so on a stunning rendi-tion of "Peeidn'." It's just toobad there wasn't enough roomfor everyone to get up and boogie.

Besides the aforementionedMuller, Payton and Ston, BrassConstruction consists of SandyBillups, vocals and congas;Michael Grudge, sax and vocals;Wayne Parris, trumpet and vocals;Morris Price, trumpet, vocals andpercussion; Jesse Ward Jr., saxand vocals; and Joseph ArthurWong, lead guitar.

Mike Harris

Lorber & ScheerBow New Firm NEW YORK-Alan Lorber andLeonard Scheer have announcedthe formation of Lorber/ScheerProductions, Inc. The new com-pany will concentrate on the de-velopment of artists and writersin the fields of record productionand music publishing.

The first project, completedand scheduled for June releaseon RCA Records, is an Ip byFree Beer, entitled "HighwayRobbery." Free Beer's nationaltour begins in June to coincidewith RCA's release schedule andmarketing program.

The second project for Lorber/Scheer, also set at RCA, is byRenee and the RhinestoneRambles, "Renee, Backstage AtThe Opry." The record was pro-duced by Lou Christie at Audioinnovators of Pittsburgh for Lor-ber/Scheer Productions.

Other artists currently inproduction at Lorber/Scheer areHarry Sandler, John Sweeney, TheLove Inventions and Phil Gentile.

Shown celebrating backstage after United Artists showcased their disco -soul bandBrass Construction at the Roxy are (from left):. Billy Juggs, KMET (Los Angeles); JimiFox, music director, B-1000 (San Diego); BC's Randy Muller; Ray Anderson, UA vicepresident, promotion; Jeff Samuels, UA air department, who presented the band withgold records onstage; Jeff Lane, producer of Brass Construction; and BC's managerSid Maurer.


RECORD WORLD INTERNATIONALCANADA

By LARRY LeBLANC TORONTO-The first Guess Who album to bereleased since their official break-up last year willbe an album featuring Randy Bachman, recordedafter the highly successful "American Woman" Ip.This previously unreleased set (to be issued soon),was recorded before Bachman left the band. It was"canned" on Bachman's departure and the groupwent on to record "Share The Land" with KurtWinter and Greg Leskwi replacing Bachman . . .

Long-time Ottawa songstress Colleen Peterson hassigned with Capitol in the U.S. with a single expected shortly and analbum, already recorded in Nashville, being released by fall ... TommyAmbrose has signed with Warner Brothers in the U.S.

Hot single here is a remake of the Richards -Jagger composition "TellMe" by Airlift on RCA. Producers Willi Morrisson and Ian Guenther,also responsible for the success of the T.H.P. Orchestra in Canada,are currently putting a band together to perform some of their "studiohits" . . . The Mercy Brothers are currently working on an RCA Ip intheir Elmira studio. They've just released a new single, "Old LovesNever Die" .. . Big excitement at RCA these days is over the signingof Carroll Baker, who is scheduled to have an Ip released in June.She's also a heavy favorite for a country Juno award for next year .. .

Dan Hill is currently at work on his second GRT Ip at Manta Soundwith Matthew MacCauley and Fred Mullen producing.

The Colonial Tavern has re -opened its basement room under thenew name Underground At The Colonial. First group presented wasAudio, formerly Audiomaster . . . Blood, Sweat and Tears, featuringDavid Clayton -Thomas, will perform at Montreal's Olympic Villageon July 20 for the 12,000 international athletes housed there. Theoutdoor concert will be telecast to a worldwide audience via satel-lite ... The Toronto Symphony, with the aid of the Touring Office ofThe Canada Council, will undertake the first Canadian tour in its54 -year history. Under music director Andrew Davis, the TS will tourQuebec and the Atlantic Provinces from May 24 to June 4.

AUSTRALIAAustralian singer Jon English looks like he has a no. 1 on his hands

with the current single, "Hollywood Seven," which will also bereleased in the States through the Snuff Garrett Organization ... WEAis confident Little Feat will tour Australia and New Zealand in July/August. Album sales over the past year or so have been substantial. . . ABC artist Tom Sullivan currently in Australia for a TV special tobe shown on the seven network . . . Normie Rowe's new single,"Elizabeth," gaining plenty of airplay; the song also did well in therecent Yamaha Song Festival.

Festival Records is releasing Keith Carradine's single, "I'm Easy,"while WEA has rights to Keith's new album . . . Glen Campbellcurrently here filming a TV special with Olivia Newton -John. Thespecial is intended to be shown worldwide later in the year . . .

Phonogram's James Pegler is leaving for London soon to recordanother album. Digby Richards has also been signed to Phonogramwith his debut single for the label out soon . . . Ray Stevens' firstconcert is in Melbourne's Festival Hall May 26 ... Leo Kottke tours inearly June.

Neil Diamond, after having completed an exhaustive tour of 15concerts, is tipped to visit England probably in September or October

WEA is currently hot on the heels of RCA (which has ABBA) withits success of Queen and the Eagles. Coming up soon are new albumsby Rod Stewart and Carly Simon . . . The Little River Band's Ip, "AfterHours," selling very well, according to EMI's Roger Langford . . .

Richard Clapton currently recording his third Ip for Festival, producedby Richard Batchens . . . Radio 2GB Sydney doing very well with theirnew pop format. Radio '77 gets underway shortly with Peter Davidsoncoordinating activities ... RCA is currently working hard on its newly -acquired ABC label. John Egginton, formerly of CBS, has beenappointed label manager.

ENGLANDBy RON McCREIGHT

LONDON-Radio One put on a Rolling Stones extravaganza week-end in recognition of the opening of their six night season at Earls

Court. BBC producer Jeff Griffin, mainly responsible for the Stonesidea, compiled an "Insight" program which traces the group's historyand also featured a 60 minute live recording in his own "In Concert"show, which goes out every Saturday. Twenty-one Rolling Stones hitswere rotated by all deejays throughout the weekend in completeacknowledgement of the return of the Glimmer Twins and friends.Further reports of the Earls Court shows next week.

Keith Reif, whose musical career commenced 13 years ago as frontman with the Yardbirds, was found dead at his home last Wednesday(12), his death coming after a long illness. Relf had played in Renais-sance, Armageddon, and recently formed A&M band Now.

Following Eric Carmen's recent success, Capitol has issued TheRaspberries' "Overnight Sensation" and heavy airplay could give thesingle some overdue recognition. Bryan Ferry has a winner with hisversion of the Canned Heat classic, "Let's Work Together," retitled"Let's Stick Together" (Island). Another oldie, "Stranger on the Shore,"re-emerges with the original version by Acker Bilk (EMI) competingwith an inspired updated treatment by the Martyn Ford Orchestra(Mountain). Important albums come from Blackmore's Rainbow ("Rain-bow Rising"-Polydor), David Bowie ("Changesonebowie"-RCA) andRay Thomas ("Hopes, Wishes and Dreams"-Threshold).

After much speculation in view of the pending expiration of theirdeal with Pye, DJM has concluded a manufacturing and distributiondeal with CBS. The agreement was negotiated by DJM's Stephen Jamesand Nick Hampton with CBS's Norman Stollman and Jack Florey.

Russ Ballard was presented with three silver discs (for his productionon Leo Sayer's "Another Year" album and "Moonlighting" single andRoger Daltry's "Ride A Rock Horse" album), as well as a special "GoldSheet Music Award" for his composition, "New York Groove," a hitfor Hello which has sold over two million units taking in variouscover versions.

Steely Dan has arrived (accompanied by ABC's Elaine Corlett) topromote their "Royal Scam" album, and included in their scheduleis an appearance on Capital Radio's Nicky Horne Show. Stephen Stillsis due over next month to play his first live concert here in two years.Stills will play the "West Coast Rock Show" on June 5th at the Cardiffsoccer stadium in Wales and his "Illegal Stills" album has just beenissued by CBS. Also arriving shortly are Janis Ian, for one New Victoriaconcert only along with some TV promotional dates; Leonard Cohen,who will complete a nationwide tour; and our own Ian Hunter, whowill be promoting his "American Boy" (CBS) album. The Chieftainsreturned triumphant from their Stateside tour where they filled bothCarnegie Hall and the Philharmonic within a few days. ManagerJo Lustig also reports great response to the Irish band on the westcoast and Toronto, and now they will tour the U.K. before setting offto conquer Australia and New Zealand.

REPORT FROM SWITZERLAND: Uriah Heep, having returned only afew days previously from their American tour, flew here to launch, inappropriate style, their new album-"High and Mighty"-on top of theSchilthorn mountain. Having the privilege of accompanying the bandfor the occasion (along with such highly esteemed British rock enthu-siasts as deejay Alan Freeman), I was able to experience Heep's talentsas never before displayed when they picked up some traditional Swissinstruments, including the Alpine Horn, and attempted to give a liveperformance of their latest work at an altitude of over 10,000 feet.However, later we were given the opportunity of hearing the real thingas recorded at the Roundhouse Studios, London and then it becameobvious as to why Bronze Records had taken so much care over thepresentation of "High and Mighty." This album is certainly their bestyet, mainly due to Ken Hensley's most imaginative songwriting andthe added energy from newcomer John Wetton, who co -wrote two ofthe titles. Heep now takes to the road on another European tour which,along with "High and Mighty," should firmly establish them as a majorforce in rock on an international basis.


DialoguSutton: Yes, and that's where we're going with it. It's going to be

a very contemporary sound but it's still mood music. Instead of beingoriented towards hit singles, it's an environmental sound, music tomake love by; that's what it's for. My partner, Brad Miller, just puttogether a few albums, one of which was called "Hawaii Sounds ForLove." All it is is bird calls, the sounds of the ocean and the soundsof the forests of Hawaii. You can laugh if you want to, but if I putit on the phonograph and you turn out the lights, you're relaxingsomewhere in Hawaii; it's incredible. I'll sell records wherever I canbecause I'm too small not to. And I sit in awe of records that sell andare not pop hits. There's a lot that can be sold, it's a big market outthere and if you let people know that you've got something good,they'll buy it.

RW: But how do you let people know that a record is available ifyou don't have airplay?

Sutton: Airplay is very unimportant in the context of that kind ofproduct. Merchandising is far more important. If you go into anyretail store in Dallas, you'll find that Big State has our product stocked.The same is true of all the Penney stores and if you go into LicoricePizza or Music + here in L.A., you'll find displays for the MysticMoods. Retailers know that the Mystic Moods catalogue offers theman easy sale. When people walk into the store and are looking formood music, they don't even have to be thinking of the Mystic Moods.The whole line has done very well, and it hasn't been because ofairplay. It's been because of our distributors, who have taken saleablemerchandise and have put it in front of people's eyes. If they can'tsee it, they won't buy it because they aren't going to be looking forit on the shelves.

We've worked out a plan with Heilicher Bros. whereby everybodywho buys a Mystic Moods album will get a free "mood ring." Moodrings are a big item in the country now and we think that our promo-tion will be phenomenal. We also work very closely with the GRTpeople, who handle our tapes. They have 12 salesmen out there andthose guys have really been selling my album. I want to be in thehit record business very badly-we all do-but the possibilities thatexist are far wider than that. The Mystic Moods albums have servedas an education for me. I don't walk around snapping my fingers; I

walk around thinking about promotions and display materials.

e (Continued from page 22)

Nonesuch (Continued from page 76)

album of the songs of CharlesIves. On it she is accompaniedby her usual partner, GilbertKalish, an artist of great subtletyand musicianship. They breathetogether with his piano singingat the same level as her voice.

The songs are drawn from thefamiliar and the rarer Ives, in-cluding in the former group, "TheCircus Band" and "Memories."In "Memories" Miss DeGaetanisuccessfully treated English asthough it were Italian. That is,she sings the lyrics with crystalclarity at an enormous speed.Ives' strength, of course, lies notjust in his creation of a universein his songs but in his forthrightuse of American folk songs. "TheThings Our Fathers Loved" is a

fascinating amalgram of much ofour patriotic music, and "Like aSick Eagle" haunts one with therealization of the creature'smortality. Each song is interesting,and Miss DeGaetani and Kalishmake this a record that it a

pleasure to hear again and again.In the same category is another

Nonesuch release: the completeEtudes of Debussy played by PaulJacobs. Jacobs has served aspianist for the New York Phil-harmonic for some years, but hisfame has come from his uniquely

appealing treatment of contem-porary music for the piano. HisSchoenberg, for instance, seemsto get to the heart of the com-poser's thought and makes themusic sound far more than exer-cises to anyone who will reallylisten.

In the Debussy Etudes, one isstruck with Jacobs' understandingof the French mind. In Frenchmusic, whether the work is im-pressionistic Dadaesque or Ba-roque, it demands a clarity andultimate simplicity in approachbefore it is ornamented or madeelaborate. Jacobs does just this inthe Etudes, starting simply withthe least richness of tone. Fromthen as he moves through eachbook he shows his expectedtechnical facility while overlayingthe pieces with constantly shiftingcolors and a free use of rubato.The pianist is at his best through-out, rising to heights in the thirdetude, a study in fourths, and inthe chromatic etude that opensBook II. The whole record is apleasure to hear, and avoids anysense of dryness or academic.These are pieces built togethercarefully, and at the conclusionone is pleasantly aware of thesolidity and support of the wholeedifice.

RW: How many artists do you think you can handle on the label?Sutton: I would say never more than 10 on our roster unless we've

busted wide open and we become like A&M. In addition to the 10album acts, we might also pick up singles from time to time. But I

don't believe in having a promotion man calling a radio station andtalking about four records, because when you're small you just can'tclaim that you've got four hits at the same time and maintain anycredibility. And in today's market, you'd better have something totalk about when you call a radio station. In terms of manpower, too,we just don't have the power of say, Columbia, which can afford tohave six of the top 10 singles because they have the staff to deliverthem. We don't, and we also don't have the amount of quality productthat they get just from the sheer number of albums that they put out.

Every record that we put out has got to be important to us, becausewe stand to lose too mach money on our releases. Just to put out arecord costs three or four thousand dollars and then you've gotdeejay mailings, telephones, shipping costs, the cost of getting yourdistributor interested in it, etc. There's nothing for nothing thesedays, so when you put out a record, you'd better believe that youhave a record.

RW: Neil Bogart was talking for a while about putting togetheran association of independent labels that would pool their promotionand sales staffs. Would you be interested in that type of arrangement?

Sutton: It doesn't make sense to me because I'd rather have oneguy out there working for me than 10 guys out there working forme and nine other companies. Then it becomes a matter of who canscream the loudest at the promotion men for their own product.Independent means independent and I don't want to pool with any-body because I'll only have to be competing with the guy I'm poolingwith. It would be like Jabbar and Chamberlain both playing centerfor the Lakers; just as there can only be one center, you can't have apromotion man working for two independent labels. I think it wouldbe a disaster, because the bigger company could pay the guy moreand demand more from him. When I hire an independent promotionman-and there are some sensational promotion men out there-he's working for me.

RW: Supposedly, there's been a proportional shift in the amountof record business done by the racks and the amount done byretailers. Does that affect the small independent at all? Does it helpyou or hurt you?

Sutton: It can help in some cases and hurt in others. When youhave a hit, the racks are a tremendous asset. It you have records thathave to be worked and you get into the racks, you have that muchless work to do, because you're dealing with one guy who has allthose outlets and you can set up promotions through him at onecentral point. Whereas when you're working strictly through Momand Pop stores and the in-depth catalogue store, you really have togo store by store and chain by chain. That's a lot of work for a smallcompany.

Working with retailers also is a matter of getting a pattern estab-lished and having them become accustomed to getting your callsbecause they don't know who you are when you're as small as we are.Even a company like Casablanca-as successful as Neil has been-a lot of people don't connect Casablanca with specific product at therecord store level. They may be just into the item, and the item is arecord wrapped in cardboard. Sometimes that's a problem and some-times that works in your favor.

RW: You mentioned before that Shadybrook-Soundbird could han-dle about 10 acts at a time. To what extent is that a long-term pro-jection?

Sutton: Success breeds success, and we have yet to have that onebig score, although some of our records have come close. I will bevery conservative until we have that giant success, because it's afteryou've had that hot record that people start looking for your product.It's that way with Neil right now; he's hot, he's had a couple of bigsuccesses and his credibility is way up there. Whatever he puts outnow is going to get a shot. He's made some program directors lookgood.

Eventually, we could work eight, even 10 albums but-again-Iwould never want to put out more than three or four singles in amonth. You're just guessing when you do that and you miss too manyrecords that way. I don't want to miss; I want to give every recordthat we put out a good shot because if you don't care that muchabout it, why bother to do it? That's the one nice thing about beingvery small: you can put out what you like and you can make dealswith the people you enjoy working with. ©

RECORD WORLD JUNE .5, 197679

Phil Cody: Doing What Comes NaturallyBy ELIOT SEKULER

LOS ANGELES-It would prob-ably prove tedious to even at-tempt to list them, but over theyears the Don Kirshner stable ofsongwriters has produced a prettydecent share of thoroughbredswho, in turn, have been respon-sible for an awesome anthologyof classic popular songs. Theircollected work has been far fromhomogeneous, but especially inthe halycon days of the late fiftiesand early sixties there was a kindof characteristic polish to a widesampling of the Kirshner cata-logue of songs, and even today,long after the Brill building cub-icles have been abandoned, therestill seems to be some musicalcontinuity to the songs thatemerge from those offices.

Many, if not most of the topsongwriters working for DonKirshner went on to become ar-tists, enjoying varying degrees ofsuccess. Such is now the case withPhil Cody, whose work, if not hisname, has become uncommonlyfamiliar via the collaborationswith Neil Sedaka that have re-sulted in such contemporary stan-dards as "Laughter In The Rain,""Solitaire," "The Immigrant" andall of the songs on Sedaka's newalbum, "Steppin' Out." Earlier thisyear, Phil Cody's own first albumwas released by Warner Bros.,richly produced by the amazingBrooks Arthur, and leaving nodoubts that Cody can sing withthe same facility evident in hiswriting.

"In elementary school, theyused to stick me out in front ofthe other kids as a soprano,"Cody recalled recently. He wassprawled, crumpled like a ball ofwasterpaper on a couch in hismanager's - Howard Portugais -house following rehearsals for hiscurrent club tour. "I've liked tosing and I like to sing everything,"he said, explaining that his musi-cal interests vary widely. "I havethese fantasies, you know, andsometimes I'll be Otis Cody, ElvisCody or Joni Cody, I think thatgood songwriters sometimes arethe ones who can steal melodies.A favorite pastime of mine is tak-ing old melodies and re -workingthem."

Cody first came into the Kirsh-ner fold years ago, following ayear of "busting songs on thestreet." "I'd been writing songsfor various publishers - weirdkinds of songs - when DonKirshner heard some things andasked me to Join his office. Sedakaand Howie Greenfield just weren'tclicking at that point - they'dbeen writing together for about19 years - so Neil and I triedsome things and it worked," Codysaid.

Prolific in his work with Sedaka,

Phil Cody

Cody claims that most of the lyricsfor the "Steppin' Out" album werewritten in about two weeks -Cody's own songs sometimes takemonths to complete. "With Neil,it's all extremely business -like.We'll sit at a piano and Neil willplay a variety of melodies. De-pending on the atmosphere andwhat I've been through that day,lyrics will start to suggest them-selves. I have an uncanny abilityto follow melodies, so it's easy forme to write words to other peo-ple's music.

In contrast, Cody claims that"Bogie," the song that he de-scribes as his favorite on his debutalbum, was about six months inthe making. "That's the most suc-

K-Tel Sales Up MINNETONKA, MINN.-K-TelInternational, Inc., has reportedsales of $89,043,000 for the firstnine months of fiscal 1976, up35 percent from the $65,776,000reported for the comparableperiod last year. Sales reportedfor the third quarter endedMarch 31, 1976 were $39,996,000compared with $28,449,000 forthe same three months last year.This represents an increase of$11,547,000 or 41 percent.

The company reported a netincome of $3,069,000 for thenine months of this year com-pared to a net income of $1,694,000 for the same nine months infiscal 1975. Reported net incomefor the three months to March31, 1976 was $4,212,000 com-pared with a net income of$1,780,000 for the same quarterlast year.

Walden Pacts Stillwater MACON - Bunky Odom, vicepresident of Phil Walden andAssociates, has announced thesigning of the rock group Still-water to a management contract.Stillwater, a seven -member groupfrom Kathleen, Georgia, has beenappearing throughout the Southfor the past four years.

cessful song on the album," hesaid. "It does just about every-thing but smoke a cigarette forme and it was a concept that I

developed in my head and actullycame out just the way I'd firstheard it in in my mind; it's slick,sleazy and I love it."

In his over-all appraisal of hisfirst album, Cody is candid andtries to be objective. "It's a goodfirst album, I think even a shadebetter than a good first album.I like some of the songs a lot andsome I wish I never did." Abouthalf the material for a second al-bum has been completed and willprobably be recorded during thesummer months.

Folowing dates in Phoenix, SanJose and Denver, Cody openedat L.A.'s Roxy last week and isscheduled to appear at the BottomLine in New York June 3-5. Hetravels with five musicians andtwo backing vocalists and claimsto have "a great band." "I don'twant to play somewhere like Mad-ison Square Garden, but I'd liketo eventually play colleges. I'mlooking to the day when I won'tbe just an opening act, and it'salready starting to be a 'when'instead of an 'if.'"

Fox Signs Tee LOS ANGELES - Willie Tee,New Orleans based vocalist andkeyboard specialist, has beensigned to Clive Fox Music inconjunction with Jerry Schoen-baum's Zembu Productions.

Tee's album is currently beingrecorded for United Artists inBogalusa, Louisiana at Bill Evans'Studio In The Country and inLos Angeles at various studios.The album is being produced bySkip Drinkwater with arrange-ments by Harold Battiste.

Hailin' Hayes

Private StockPromotes Lewow NEW YORK-Louis Lewow hasbeen appointed national promo-tion manager for albums atPrivate Stock Records, it wasannounced by Noel Love, vicepresident of promotion. Lewowjoined the label in August as anational promotion manager forsecondary markets.

Prior to joining Private Stock,Lewow handled regional promo-tion for A&M/Ode/Dark HorseRecords in the New York -NewJersey -Connecticut area, wherehe was responsible for collegeradio stations, newspapers andconcert committees.

America To TourJapan, Australia LOS ANGELES-America, War-ner Bros. Records recording ar-tists, have been set for a majortour of Australia and Japan.

The Australian leg of the tourbegins July 11 in Christchurch.Dan Peek, Gerry Beckley andDewey Bunnell launch the Japan-ese segment of the tour on July20 in Tokyo.

America then returns to theUnited States for another leg oftheir current U.S. concert swing.

Pomeroy ResignsFrom Col Studios NEW YORK-Effective May 21,recording engineer and musiceditor Douglas Pomeroy resignedfrom the Columbia RecordingStudios. He is now acceptingfree-lance engineering and pro-ducing assignments, and has be-gun doing sessions at the BigApple Studio in Soho. Pomeroycan be reached at (212) 852-3673.

After the opening of his special show with Dionne Warwick, "A Man and A Woman,"at Los Angeles' Shubert Theater, Isaac Hayes was feted by ABC Records at an after -concert party. Festive spirits prevailed throughout the evening, having gotten startedwith Hayes' orchestra, the Isaac Hayes Movement, and his choir, the Hot ButteredScul Singers, during the "A Man and A Woman" performance. Attending the star-studded gala also were Ms. Warwick, Marc and Florence La Rue Gordon of theFifth Dimension, Leslie Uggams, Elizabeth Montgomery and Johnny Mathis. Picturedabove with Hayes is Steve Resnik (left), ABC's national director, secondary promotion;and Scot Jackson, ABC's national director album promotion.


CONCERT REVIEW

Return To Forever: Musical Perfection NEW YORK - They play musicwhich at times can L.. ,old andquite impersonal, but at the Bea-con Theatre last Saturday (22)Return to Forever (Col) and allits component parts turned in avirtuoso performance of musicwith warm and very human qual-ities.

Appearing without an openingact, Return to Forever provideda pair of hour-long sets whichwere greeted with equal enthusi-asm by a receptive and perceptiveaudience. The group overcame aninitial sluggishness and then pro-ceeded to roar right along, ex-pertly utilizing a host of keyboardsand synthesizers along with anacoustic piano. Making effectiveuse of material off their "Roman-tic Warrior'' album, including thetitle track, "Medieval Overture"

Guess Who RCA Album NEW YORK-RCA Records is

issuing a heretofore unreleasedalbum by Canadian recordinggroup, The Guess Who. Recordedin the spring of 1970, "The WayThey Were" features Randy Bach-man, Burton Cummings, Jim Kaleand Garry Peterson.

Winner of What?

Stan Monteiro, VP, national promotion atColumbia (center), presented RW's ToniProfera (left) with "Chorus Line" T-shirtsin honor of the show's garnering nineProferas at the recent Tony Award cere-monies. The man at right is not AbeBeame.

Capitol Signs Starz LOS ANGELES-Starz, a five -man, New York -based rock androll band, has signed an exclusiverecording contract with CapitolRecords.

Starz was brought to Capitolby Bill Aucoin Management, Inc.and Rocky Steady Productions,Inc. The first Starz album, titledafter the band's name, will berush -released in June. It is pro-duced by Jack Douglas.

Starz consists of lead singerMichael Lee Smith, guitaristRichie Ranno, guitarist BrendenHarkin, bassist Peter Sweval anddrummer Joe X. Dube. They willembark on a national concerttour in June.and "The Magician," they furtheraugmented the impact of theirperformance with the use of large

on-stage mirrors, allowing thefaithful an overhead perspectiveon Return to Forever.

The second set was acousticand highlighted the abilities of theensemble's individual members,with Chick Corea, Stanley Clarke,Lenny White and Al DiMeola alloffering flawless solos.

The group remained perfection-ists and professional throughout.These were musicians motivatedby their background in jazz, butstill capable of playing in a wellthought-out, intelligently com-posed rock context.

Bill Greenfield

Six From Vanguard NEW YORK - Vanguard Rec-ords will release six albums andtwo singles for May. Headingthe list is the debut album by thegroup Arrogance, "Rumors." Asingle from the album "OpenWindow" has also been shippedalong with "Better Than Average"by Brian Gari.

Other albums scheduled forrelease are: "The Main Force"by Elvin Jones; "The EssentialLouis Armtsrong;" "The EssentialRamblin' Jack Elliot;" a five -rec-ord set of Richard Strauss TonePoems, and Mozart's Requiem,performed by Johannes Somary.

Amherst PactsAugust Moon WEST SENECA, N.Y.-LeonardSilver, president of AmherstRecords, has announced thesigning of an exclusive long-term,worldwide publishing and distri-bution agreement between Am-herst and August Moon Produc-tions, Inc.

Spring Sales Surge Seen by London NEW YORK - Strong new al-bum product, merchandising aids,personal appearances and in-creased singles sales are spurringthe most successful spring andsummer merchandising periodsfor London Records in recentyears, according to Herb Gold-farb, vice president of sales andmarketing for the label.

Goldfarb attributes a portion ofthe sales surge to initial enthusi-astic reception on an industrylevel (i.e., distributors, retailstores and radio stations) of newalbum product that has beenpassed along to consumers. Hecited the following albums fortheir sales strength: "The Prom-ise" by the Moody Blues' MichaelPinder; "Rebel," John Miles' de-but album; Savoy Brown's "Skin'N' Bone;" Al Green's "Full ofFire;" Bloodstone's originalsoundtrack to the movie "TrainRide To Hollywood;" and "MoreManlovani Golden Hits."

Herb Goldfarb"London's year -long campaign

to establish individual identitiesfor the five members of theMoody Blues created an aware-ness of Michael Pinder's "ThePromise," Goldfarb said in Point-ing out one effective merchandis-ing campaign. "We strengthenedthat awareness with a series ofteaser postcards, trade and con-sumer ads and heavy radio buys.Pinder also completed a 10 citypromotional tour, and we plan a'second effort' in those cities tocontinue the momentum alreadybegun."

While advertising and mer-chandising aids have been crucialin album marketing, Goldfarb feltthat personal appearances havebeen most valuable catapulting

Back in the Saddle

Epic Recording artist Cnarlie Daniels flew into Boston recently as part of his currenttour of the States to coincide with the release of his debut Epic album, "SaddleTramp." While in the city, Daniels dropped by Strawberries record stare for an in-storepromotion of the album and his appearance at the Orpheum Theatre. Shown (fromleft): Ron Piccolo, regional director, CBS Records, northeast region; Jeep Holland,Strawberries; Don Mercurio, CBS Records, salesman; Charlie Daniels; Lennie Collins,local promotion manager, Epic/Custom Labels, Boston branch; George Ryan, branchmanager, Boston branch, CBS Records; Rick Swig, regional promotion marketingmanager, Epic/Custom Labels, northeast region

sales. "The two month SavoyBrown tour has injected life intothe sales of their new 'Skin 'N'Bone' Ip, as well as their cata-logue on London Records," hesaid. "Touring has also aided thesales of Al Green's 'Full of Fire.' "

He added that the company ex-pects ZZ Top's upcoming grandtour to expand the Texan band'saudience, thereby creating newinterest in their four cataloguealbums.

Also, Bloodstone's soundtrackalbum has picked up in marketswhere the movie has played, andGoldfarb predicted the name as-sociation will result in increasedsales on Bloodstone's soon -to -be -released studio album, "Do YouWanna Do A Thing."

Although albums have beenthe backbone of London's salesincrease, Goldfarb cites the fol-lowing singles as essential to thecurrent and upcoming success:"Fonz Song," John Miles' "Mu-sic," Al Green's "Let It Shine"and Bloodstone's "Do You WannaDo A Thing."

CTI Adds Two NEW YORK - Jerry Wagner,CTI's vice president/marketing,has announced the addition ofBob Roy Emory to theCTI field force.

Craig returns to CTI, where heworked between 1972 and 1973as the label's west coast promo-tion director. In between, he heldpositions at Sugar Coated Pro-ductions, Sussex Records, andmost recently London Records,where he had the title of westcoast regional promotion man-ager. Working out of Los Angeles,Craig will cover the L.A., SanFrancisco, Denver, Seattle andPhoenix markets with the titleof regional marketing director/west coast.

Roy Emory comes to CTI fromKing Records where he was na-tional promotion and marketingdirector. Emory, whose tenure atKing lasted from 1956 through1973, was in charge of everyaspect of the production, distribu-tion, and marketing for the labeland its subsidiaries. He joins CTIas regional marketing directormidwest, operating out of Cin-cinnati, and covering the Chicago,Detroit, Cleveland, St. Louis, Min-neapolis and Pittsburgh markets.

Maimone Hospitalized NEW YORK - Joe Maimone,eastern promotion manager forCapitol Records (MOR), has beenhospitalized for an as yet un-diagnosed illness. Those wishingto send notes can send them tothe Hoiy Name Hospital in Tea-neck, New Jersey.


BPB Production Bows NASHVILLE - BPB Productionsand Associates, Inc. have an-nounced the opening of theirnew offices located at 1302Division Street, Suite 100, in theFaron Young Office Building.

Under the direction of OrenBarrett, president; Bob Payne,vice president; Rick Bacino,treasurer; and Eddie Snell, pro-duction manager, BPB housesC -O Cowpoke Records.

Artists on the C -O CowpokeLabel include "Smilin'" EddieSnell, Zero Jones, Johnny Gore,Oren Barrett and Rick Bacino.They all are also songwriters forBPB's publishing company, OpenHeart Music.

Under BPB Productions are"Smilin'" Eddie Talent Agency,record distribution, custom re-cording and a photographyagency.

H. Rose AgencyInks The Runaways CHICAGO - Howard Rose ofThe Howard Rose Agency, Ltd.and Scott Anderson, manager ofMercury artists The Runaways,have announced the signing ofthe all -female group to TheHoward Rose Agency, Ltd. forbooking.

A national summer tour, sched-uled to start in early July, is al-ready being worked on. The touris designed to support the group'sdebut album "The Runaways,"released by Mercury on May 17.

Davis Does Gold NEW YORK - Columbia recording artist Mac Davis' album,"All The Love In The World."has been certified gold by theRIAA.

Horwitz Joins RR NEW YORK - Earl Horwitzhas joined George Hocutt's RRRecord Distributors of Glendale,California. In his new capacity,he will be responsible for RR'snew natonal marketing program,which entails the marketing, mer-chandising and sales of the Mark56, Concord Jazz, Stanyan, Capi-tol Cartoon Classics, Glendale,Electric Lemon, Revelation andTestament record lines.

Horwitz was most recentlywestern regional manager forAudiofidelity Enterprises.

Sebastian Goes Gold LOS ANGELES - Warner/Re-prise recording artist John Sebas-tian's single "Welcome Back,"has been certified gold by theRIAA.

Screen Gems Execs Meet in Nashville NASHVILLE-The annual meet-ing of executives from ScreenGems -Columbia Music/ColgemsMusic, the music publishing di-vision of Columbia Pictures In-dustries, Inc., took place herelast week.

Executives from the company'sNew York, London, Los Angelesand Nashville offices met for twoday -long sessions May 18-19. Ac-cording to Lester Sill, the groupreviewed the revenues for the cur-rent fiscal year (the division'sfiscal year ends June 30th), re-viewed the budget projectionsfor fiscal 1977, set a number ofgoals for the development andacquisition of new talent and,finally, announced the expansionof its talent acquisitions and de-velopment department.

Specifically, Sill reported thatthe division's projected revenuesfor fiscal 1976 would be "righton target." The division will beprojecting a substantial increasein revenues for fiscal 1977. Thiswill be accomplished, in part,

Sill said, as a result of a greateremphasis on the acquisition anddevelopment of new writingtalent and writer/artists.

Among the writer/artists Sillreferred to are the Side Of TheRoad Gang, whose first albumfor Capitol has just been re-leased, and a pop writer -per-former, Paul Harrison, out ofNashville, whose new single onRSO is expected to be releasedshortly. Also signed to new recorddeals this year are artist/writersBarry Mann (Arista), RichardSupa (Epic) and Mark James (Mer-cury). All three are currently inthe studios cutting new record-ings which will be releasedshortly.

To augment its talent oper-ation, Sill named Ira Jaffe, whohas been a professional managerfor the division in Los Angelesfor the past seven years, as di-rector of talent acquisition anddevelopment. Sill said anotherperson would be added to the de-partment in the Houston -Austin

Freddy Fender: 'The Real Thing' NASHVILLE - Perhaps peoplewere looking for "the real thing"in 1974 when they discoveredFreddy Fender, aka Baldemar G.Huerta, who rose from obscurityto overnight sensation with hispop success of an old countrysong, "Before The Next TeardropFalls," on the ABC/Dot label.

It's ironic that Fender was nota "country" singer at the time ofhis recording of "Teardrop" andeven more ironic that while manycountry singers are deliberatelywatering down their country re-cordings in an attempt to cut a"crossover" record, it was thestone country sound of "Tear-drop" that was the biggest coun-try crossover of 1974.

Before recording "Teardrop,"Fender had spent years cuttingr&b records, the past several yearswith Huey Meaux in Houston. Itwas at Meaux's insistence - be-cause he had the recorded track,that Fender cut "Before the NextTeardrop Falls." "I cut it to getHuey off my back," said Fendergood naturedly. "But I reallyfound myself in country music. I

wasn't a country singer before,but country music has changedso much they accepted me. Also,when a man puts his soul intohis music, it crosses all borders."

Fender's roots were never moreobvious - with both personaland professional influence - thanwhen he performed before hishometown crowd recently at"Freddy Fender Day" in San Ben-ito, Texas, a border town about10 miles from Brownsville, Texas.Fender received the congratula-tions of the townfolk where hegrew up, a proclamation from the

Mayor and a paraCe through thestreets.

At the concert that night heldin nearby Mercedes, Fender sangnot only his hits, such as "Tear-drop," "Wasted Days and WastedNights," "You'll Lose A GoodThing," and "Wild Side of Life,"but also songs such as "CherryPie," "Holy One," "Rain RainRain Rain" and "Mathilda" -songs he had been singing foryears.

Perhaps after a degree of suc-cess, some people forget howdesperate their survival was dur-ing the lean years. Freddy Fenderspent too many years being des-perate and too few being success-ful to lose memories of the timeswhen survival faced him everyday. "Man, I spent years doinganything - scratching just tryingto stay alive," said Fender. "Now,I try to show I'm grateful for thepeople who made me successfulby meeting as many fans at theshows as possible and signingautographs as long as they wantme to. They know I'm real be-cause they can touch me."

Fender backed into countrymusic, accidentally discoveringhis niche. The long years spentlitsening to and playing rhythmand blues is paying off for himthough as the country audience isturning more and more to thesound of rock 'n roll in the '50sand 60s for their country soundtoday. Fender plans to cut morer&b flavored songs with countryarrangements in the future to cap-italize this movement. You couldalmost say that country musicbacked into Freddy Fender.

Don Cusic

area. He stressed, however, thatwhile each of these people willheadquarter in one particularcity, their areas of coveragewould be the entire country.

Sill also announced the ap-pointment of Kathy Carrie asa professional manager in theLos Angeles office. She willassume the professional dutiespreviously handled by Jaffe.

One of the highlights of themeeting was the presentation byDanny Davis, vice president ofnational promotion, on the pro-motional activities involving re-cently -released recordings.

Social activities included a bar-becue at the home of Paul Tannen,a luncheon at the BMI headquar-ters, hosted by Frances Preston,vice president of BMI in Nash-ville, and a country breakfast atthe ASCAP headquarters, hostedby ASCAP's regional director, EdShea.

In addition to those executivesalready cited, the group includedIrwin Z. Robinson, vice presidentand general manager; IrwinSchuster, vice president and di-rector of professional activities;and Irwin Griggs, controller,from the New York office; RayWalter, head of the Londonoffice; Jack Rosner, west coastbusiness affairs; and Roger Gor-don, general professional man-ager from the Los Angeles office;and Charlie Feldman, profes-sional manager in the Nashvilleoffice.

ABC Releases Six LOS ANGELES - ABC Recordshas set seven albums in the Mayrelease schedule.

On ABC Records, Duke andthe Drivers, the Boston -based sex-tet, have readied their secondalbum entitled "Movin' On," pro-duced by Deke Richards.

ABC/ Dot Records has two en-tries in May. One is Randy Cor-nor's debut album, titled "MyFirst Album." Also featured isRed Steagall's ABC/Dot albumnamed after his single, "LoneStar Beer & Bob Wills Music."

A special rush -release in Mayis the ABC/ Impulse Record al-bum "B.B. King and Bobby BlandTogether Again Live."

The album was produced byABC/Impulse general managerEsmond Edwards.

Sire Records has designatedMay as the month for the debutof "The Beckies."

Passport Records presents Syn-ergy's second album, entitled"Sequence." Sire Records andPassport Records are distributedby ABC. Also scheduled for re-lease is the ABC/Songbird album"War On Sin," by gospel artistInez Andrews.


VKIRLD

Clower Re -Signs with MCA

Holding a quill, Mississippi humorist Jerry Clower is seen renewing an exclusive long-term recording contract with MCA Records in his hometown of Yazoo City, Mississippi,recently. A crowd of friends and neighbors turned out to witness the signing, whichtook place at the corner of Broadway and Main Street in "beautiful downtown Yazoo."Seated with Clower are: Tandy Rice (left) of Top Billing, Inc., the firm which managesClower; and Snuff Miller, Clower's producer for MCA Records. MCA Records has beenClower's exclusive recording company since he entered the entertainment field fiveyears ago.

Muscle Shoals MusicHonored by BMI ROGERSVILLE, ALA. - Thefifteenth anniversary of MuscleShoals Music business was fetedat a banquet given by BroadcastMusic, Inc. on May 24 at theJoe Wheeler State Park Resortin Rogersville, Alabama.

Several hundred guests at-tended the cocktail party anddinner honoring "the 15th yearof Muscle Shoals Music and thepeople who make it." Rick Hallwas presented a special awardby Edward N. Cramer, presidentof BMI, which read "A commen-dation of excellence presentedby Broadcast Music, Inc. to RickHall for long and outstandingcontributions to the world ofpopular music."

Cramer headed the group ofBMI hosts for the event, whichincluded Frances Preston, vicepresident and head of thesoutheastern office, and RogerSovine, Helen Maxson, DelBryant, Jerry Smith and PatsyBradley, all from the Nashvilleoffice.

The Muscle Shoals music in-dustry began in 1961 when RickHall opened his first studio inthat community.

RECORD WORLD COUNTRYFan Fair Softball TourneySet for Two Rivers Park NASHVILLE-Twenty-one teamsmade up of recording artists, discjockeys and musical industry per-sonnel will kick off official FanFair activities with this year's ThirdAnnual Fan Fair Softball Tourna-ment. Scheduled for 'lune 7-8 atNashville's Two Rivers Park, lo-cated just off Briley Parkway nearOpryland, the games will start at9:00 a.m. on the 7th (Monday)and 11:30 a.m. on the 8th (Tues-day).

The women's division cham-pionship game will be at 3:00 p.m.on Tuesday; the men's champion-ship game at 4:30, also on Tues-day. Plans are being finalized to

NASHVILLE REPBy RED O'DONNELL

Bill Anderson checked his books and discoveredhe was away from home "all or part of" 213 daysperforming in 110 shows during 1975. A grin ratherthan chagrin was his reaction to the tour logfigures. "I suppose," he said, "I am one of thoserare persons in this business who doesn't disliketraveling."

When Jimmy Dean stages a comeback he reallycomes back! Jimmy's single of "1.0.U." on theCasino label, out only four weeks, already is ranked

among the elitist in the charts. (He means top 20?)Sure you've heard Freddy Fender's fast-moving "Vaya Con Dios."

Les Paul and Mary Ford hit the million sales mark with it in 1953.Freddy keeps bending those oldies into modern acceptance.

Wonder what happened to David Peel? Peel, one of stars of the"Nashville" movie, is now working the Reno -Lake Tahoe cabaret cir-cuit.

I hear that tickets (about 15,000 of 'em) to Elvis Presley's home-coming concert at Memphis July 5 sold out in about four hours. Inour time you've never seen his likes as a crowd -getter.

They're getting younger all the time: 17 -year -old Rebecca JoFeatheringill (on Texas Records) is out with a single titled "The EffectsYour Leaving Had On Me." Rebecca Jo is an 11th grade student fromCasper, Wyo., managed by Dallas' Don Schafer. Why not change hername to Becky Feather-and promote her as a bird of a singer?

In last week's column I referred to Country Kingdom artist LukeAustin as Steve Austin. I apologized to Luke for the boo boo. Helaughed and said, "I'm flattered to think that I would be called 'SteveAustin.' After all he is the 'Six Million Dollar Man'."


broadcast the championship gamelive on WSM radio. Trophy pre-sentations will follow.

Teams in the men's division in-clude: Billboard's Music Row Reb-els, Ray Griff's Rays of Sunshine,Ronnie Milsap's Blind Faith, WS -M's Big Country Machine, KennyPrice's Super Sidemen, Playboy'sChartbusters, RCA's Nippers,ABC/Dot's Hot Shots, NashvillePickers, The Jones Boys, ErnestTubb Record Shop Rejects, BillAnderson's Po' Boys, Cal Smith'sCountry Bumpkins, Mercury Rec-ords, Supersound's Super Dudes,WMAK All Americans, and Con-way Twitty's Twitty Birds.

Teams in the women's divisioninclude: Mary Reeves' Reev-ettes,the Po' Girls, ABC/Dot's HotShots and WSM's Mouth of theSouth.

Bill Anderson's Po' Boys wonthe Men's title last year; MaryReeves' Reev-ettes captured tophonors in the Women's division.

Attendance is free to the public,and buses will transport Fan Fairregistrants to and from the park.Concession stands will be openboth days.

There will be drawings for rec-ord albums on both days, andNashville songwriter/artist FrankKnapp will take his position onthe field from the sky on Tuesdayafternoon when he makes a free -fall parachute jump into the park.

LS Promotes Byrd;

Baker Joins Label NASHVILLE - David Byrd hasbeen promoted to vice presidentin charge of a&r for LS Records,with Phebe Baker appointed tothe position of national promo-tion director. The announce-ments were made by Lee Stoller,president of LS Records.

In another announcement, LSrecording artist Daniel has beennamed music director in chargeof the LS publishing companies.

COUNTRY PICKS OF THE WEEK

z

DON WILLIAMS, "SAY IT AGAIN" (B.McDill; Hall -Clement, BMI). Arocking chair rhythm andDon's super smooth vocalsmake this a winner spinner.He sings to his lady to tellher love to him one more time-and you can bet she's readyto coo as soon as the recordends. A consistent hitter, Donkeeps his streak going strongwith this number. ABC/DotDOA -17631.

CDI)ot

ac OAK

a.Lila

us

RIDGE BOYS, "FAMILY REUNION"(D.A. Coe; David Allan Coe,BMI). The Oaks sound likethey're ready to explodeacross the board with this in-fectious number about familyget-togethers. Their gospelharmonies were never finerand the production is superb,capturing a mood that's per-fectly in line with summer.Columbia 3-10349.

EDDIE RABBITT, "ROCKY MOUN-TAIN MUSIC." Eddie is emergingas one of the finest singer/song-wriers to come out of Nashvillewith catchy tunes, lyrics and anear and pen aimed towards thecommercial country market. Thisalbum contains his hit, "Drinkin'My Baby Off My Mind," the titlecut, "Two Dollars In The Jukebox"and "Do You Right Tonight. -Super! Elektra 7E-1065.


COUNTRY HOT LINEBy MARIE RATLIFF

M FEARLESS FORECAST: Have you everbeen "Frog Kissin'"? Chet Atkins,super -picker, becomes a vocalist onthis one and the summer nonsense trendwill carry it far!!Roy Clark also praises the season

in "Think Summer;" it's a runaway atWDEE, WBAP, KSOP, WIRE, KCKN, KCKC,

eN, KWMT, KPIK, WXCL and KWJJ.Ed Bruce has a catchy entry in "Sleep All Morning;"

beginning to happen at WWVA, KKYX and KCKN.

Gene Watson's latest, "Because You Believed inMe," is gaining strength in Texas andwestern markets; ditto for LarryGatlin's "Warm and Tender."The Country Cavaleers are spinning

at WBAM, WJQS and KKYX with "If ILove You."LP Leanings: The choice from the

new Johnny Cash 1p is "Let There BeCountry" at KBUL and KCKC; RonnieMilsapla "Lovers, Friends and Strangers"WHOO and WWOK.

Wayne Kemp's United Artists debut, "Waiting forthe Tables To Turn," is starting inLouisville and San Antonio; "NumberOne With A Heartache" is looking goodfor Billy Larkin at WXCL, KSOP, WBAM,WJQS and WGMS.

"Say It Again" bears repeating whenit's sung by Don Williams! Early be -

v lievers include KIKK, KENR, WWVA andWMC. Maly Lou Turner takes to a dif-

ferent sound and she sounds good at WDEE, WHOO,WSLR and KCKN with "It's Different With You."

Monster Movers: Connie Smith, Margo Smit.122. George

Jones & Tammy Wynette.

Vernon Oxford's "Redneck" is a hot request itemat WWOK, added at KBOX and KIKK.

Don Williams

Ed Bruce

favored at

SURE SHOTS

Bpi Clark -- "Think Summer"Don Williams -- "Say It Again"Tommy Overstreet -- "Here Comes That Girl Again"

LEFT FIELDERS

Shirley & Squirrely -- "Hey Shirley"Dr. Hook - "A Couple More Years"

Larry ButlerCharlie RossJack LebsockBilly Swan -

AREA ACTION-- "Theme from 'Stay Hungry' " (KCKN)

- - "Give Her What She Wants" (KBOX)- - "Country Music Is A Lady" (KKYX)"Number One" (WINN)

KBOX, DallasKBUL, WichitaKCKC, San BernardinoKCKN, Kansas CityKENR, HoustonKIKK, HoustonKJJJ, PhoenixKKYX, San AntonioKLAC, Los AngelesKLAK, DenverOPIK, Colorado SpringsKRAK, SacramentoKRMD, Shreveport

HOTLINE CHECKLISTKSOP, Salt Lake CityKVOO, TulsaKWJJ, PortlandKWMT, Ft. DodgeWAME, CharlotteWAXU, LexingtonWBAM, MontgomeryWBAP, Ft. WorthWCMS, NorfolkWDEE, DetroitWHK, ClevelandWHOO, OrlandoWIL, St. Louis

WINN, LouisvilleWIRE, IndianapolisWJJD, ChicagoWJQS, JacksonWMC, MemphisWMOP, OcalaWPLO, AtlantaWSLR, AkronWSUN, St. PetersburgWUBE, CincinnatiWWOK, MiamiWWVA, WheelingWXCL, Peoria

C 60 UNTRYSINGLE PICKS

COUNTRY SONG OF THE WEEKMEL STREET-GRT GRT-057I MET A FRIEND OF YOURS TODAY (B. McDill-W. Holyfield; Hall-

Clement/Maple Hill/Vogue, BMI)Mel was never better than on this number about a cheatin' wifeand the husband who finds out. Bound to go all the way with thisone!

GARY MACK-Soundwaves SW -4532ONE LOVE DOWN (R. Klang-D. Earl; Singletree, BMI)A smooth sailing, up -tempo number by Gary is sure to pull requests.Chalk up a winner here-one hit down on the turntable.

RED STEAGALL-ABC/Dot DOA -17634TRUCK DRIVIN' MAN (T. Fell; Belinda/Elvis Presley, BMI)This classic is brought back again by Red in winning form. A greatjuke box number and perfect for any driver-from two to 18 wheelers.

NAT STUCKEY-MCA MCA -40568THE WAY HE'S TREATED YOU (G. J. Price; Contention, SESAC)Nat never sounded better than on this ballad about love that's gonewrong. He definitely treats this lady and this song right!

HARRY BLANTON-Starcrest GRT-051MONEY HONEY (J. Stone; Waldon, ASCAP)This was a hit for Elvis almost two decades ago-and it's just as strongtoday, as Harry belts it out in winning fashion. It's on the money,honey.

BILLIE JO SPEARS-United Artists UA-XW813-YMISTY BLUE (B. Montgomery; Talmont, BMI)A great song by a great singer-already a standard, Billie's version of

"Misty Blue" will gain even further acceptance in the country field.

JERRY FORD-Farr FR -006I FORGOT TO LIVE TODAY (D. Lee -A. Reynolds; Gold Dust, BMI)A name like Jerry Ford will go far on record-and this Jerry gives aboost to the song economy with this gem. Farr out!

SANDY POSEY-Monument ZS8 8698WHY DO WE CARRY ON (THE WAY WE DO)

(S. Posey; Music City Music, ASCAP)The "Single Girl" is back with a country funk number that asks whywe do the things we do. She was born a singer-and will bounceback strong with this number.

JERRY POWELL-Epic 8-50240FLASH TURNIPSEED (R. J. Powell; Tree, BMI)This song is long and strong about a rhinestoned cowboy who madea splash with flash. Humorous and catchy-listen for this.

BUCK TRENT-ABC/Dot DOA -17633THE WRESTLING MATCHES (G. Sutton -L. Cheshier; Flagship, BMI)Glenn Sutton had a hand in writing this song about a buddy namedBill who got him in trouble at a wrestling match. Buck puts down hisbanjo and raises his hand a winner.

BERNIE FAULKNER-Homestead HM -1011TAKIN' HER FOR GRANTED (B. Faulkner; Fancy Pants, BMI)This song will surprise a few folks-a great hook and solid countrylines. Grant this boy a hit!

WILL POWERS-Little Richie LR-1006THE PETERBILT SONG (W. Forsyth; Little Richie Johnson, BMI)Good juke box song-especially those in truck stops. Peterbilt to thehilt!

EDDY ARNOLD-RCA PB-10701COWBOY (R. Fraser -H. Shannon; Welbeck, ASCAP/Sweco, BMI)Eddy returns to RCA in fine style with a touch of "Cattle Call" in hisvoice about a little range rider. Ride 'em Cowboy!

$4RECORD WORLD JUNE 5, 1976

Gospel Radio Seminar

Spotlights Growth11 NASHVILLE - The fourth an-nual Gospel Radio Seminar waskicked off this year with a "gos-pel mixer" on Thursday evening,at the Airport Hilton, attended byprominent music industry execu-tives and the registrants of theseminar. The keynote addresswas given on Friday morning byJarrell McCracken, president ofWord, Inc. McCracken challengedthe broadcasters to recognize theinfluence and direction gospelradio can have in our world. TheSaturday luncheon was high-lighted with a presentation byhumorist Cotton Ivy, Canaan re-cording artist.

The theme for the 1975 semi-nar was "Gospel Radio . . . TheNew Frontier." Six panels dis-cussed those new frontiers, whichincluded new formats, market-ing, singles, radio personalitiesand progressive gospel.

Robert MacKenzie, president ofParagon Associates, gave the clos-ing address and summed up thetwo day discussion by calling foithe understanding of the realmessage behind gospel radio.

The seminar concluded Satur-day evening with a banquet andtalent show for the participants.The Singing Christians, LillieKnauls and Jerry Jordan and theJordans presentedgospel music under the directionof master of ceremonies CharlieMonk.

Jim Black, chairman of the '76seminar, stated, "with more than50 percent of the people activelyinvolved in full-time gospelbroadcasting in attendance, andwith the involvement and in-depth exchange of ideas at thisyear's seminar, I feel delightedand most encouraged for thefuture of gospel radio and itsnew frontiers."

'Rumor' Monger

Capitol recording artists Steve Miller (left)and Steven Fromholz recently met back-stage at the country music Palomino Clubin North Hollywood where Fromholz wasbusy ripping through two sets a night,dispensing his own special brand of hu-mor as well as tunes from his debutCapitol album, "A Rumor In My OwnTime." Fromholz and Miller both grew upin Texas. Miller was in town to coordi-nate the release of his new "Fly Like AnEagle" album and make plans for a ma-jor tour June 7-30.

Smiley ExitsTop Billing NASHVILLE - Dolores B.

Smiley, vice president arid gen-eral manager of Top Billing, Inc.,has resigned effective May 31,according to Tandy C. Rice, Jr.,agency president and owner.

A veteran of eight and a halfyears with the agency, Ms.Smiley's departure is in order topursue other business opportuni-ties. Plans will be announcedlater.

Wilhite Debuts Firm NASHVILLE-Billy Wilhite Tal-ent, Inc. has announced that theyhave opened new offices in theFaron Young Executive Building,Suite 106, 1300 Division St.,Nashville.

Nashville Report (Continued from page 83)

Chet Atkins played his "Frog Kissin'" single for Bobby Bare, re-marking, "I may be a threat to you as a singer." Bobby listened andtersely commented, "I don't think so."

Here are the people in country music who will be birthdaying thisweek: Johnny Bond, Carl Butler, Bill Mack, Gordie Tapp, Annette Null,Don S. Reid and Asher Sizemore.

Country music dean Roy Acuff, who suffered a heart attack April 10,continues to improve. He's now taking long walks-and graduallybecoming accustomed to a salt -free diet.

Faron Young can now return to Oklahoma to perform without fearof immediate arrest.

A charge of indecent exposure against the singer has been dis-missed by Tulsa Dist. Atty. S. M. Fallis, Jr.

Fallis said he decided to dismiss the 1974 charge because of anaffidavit filed by a witness that "raises a grave question as to evidencesupporting the original allegation."

The past Saturday night David Houston introduced his next single,"Lullaby," during an appearance on the Wheeling, West Va. Jamboree.

It was the first time Houston had introduced a new single since hesang "Almost Persuaded" on the same Jamboree almost 10 years ago.

Do you think lightning will strike twice in the same hall? Whatever,the recording of "Lullaby" was produced by Billy Sherrill and co-written by by Curly Putnam and Rafe Von Hoy.

CoTHE COUNTRALBUM

CHARTY

JUNE 5, 1976JUNE MAY WKS ON

5 29 CHART1 1 GREATEST HITS OF JOHNNY RODRIGUEZ-Mercury SRM 1 1076 82 2 THE SOUND IN YOUR MIND WILLIE NELSON-

Columbia/Lone Star KC 34092 11Ei 5 THE SUN SESSIONS ELVIS PRESLEY-RCA APM1 1675 8

4 4 'TIL I CAN MAKE IT ON MY OWN TAMMY WYNETTE-Epic KE 34075 115 6 FASTER HORSES TOM T. HALL-Mercury SRM 1 1076 80 8 BLOODLINE GLEN CAMPBELL-Capitol SW 11516 77 7 GILLEY'S GREATEST HITS, VOL 1 MICKEY GILLEY-Playboy PB 409 9

El 10 HARMONY DON WILLIAMS-ABC Dot DOSD 2049 69 9 WILDERNESS C. W. McCALL-Polydor 1 6069 510 3 COME ON OVER OLIVIA NEWTON-JOHN-MCA 2186 1211 11 IT'S ALL IN THE MOVIES MERLE HAGGARD-Capitol ST 11483 14

14 HAROLD, LEW, PHIL & DON STATLER BROTHERS-Mercury SRM 1 1077 8

17 WILLIE NELSON LIVE-RCA APL1 1487 614 12 THE OUTLAWS WAYLON, WILLIE, JESSI & TOMPALL-RCA APL1 1321 1815 13 ELITE HOTEL EMMYLOU HARRIS-Reprise MS 2239 1916 15 CHESTER & LESTER CHET ATKINS & LES PAUL-RCA APL1 1167 12

EEI 21 SUNDAY MORNING WITH CHARLEY PRIDE-RCA APL1 1359 518 18 FOREVER LOVERS MAC DAVIS-Columbia PC 34105 719 16 THE WHITE KNIGHT CLEDUS MAGGARD & THE CITIZENS BAND-

Mercury SRM 1 1072 1320 20 TWITTY CONWAY TWITTY-MCA 2176 2021 19 MACKINTOSH & T. J. SOUNDTRACK-RCA APLI 1520 822 24 LARRY GATLIN WITH FAMILY & FRIENDS-Monument KZ 34042 1023 26 THE EARL SCRUGGS REVUE, VOL. II-Columbia PC 34090 624 27 FEARLESS HOYT AXTON-A&M SP 4571 625 25 HANK WILLIAMS, YOU WROTE MY LIFE MOE BANDY-

Columbia KC 34091 1026 29 JUST FOR THE RECORD RAY STEVENS-Warner Bros. BS 2914 527 23 SILVER LININGS CHARLIE RICH-Epic KE 33545 728 32 BILLY SWAN-Monument PZ 34183 329 22 PEOPLE PUT TO MUSIC FREDDIE HART-Capitol ST 11504 930 28 MOTELS AND MEMORIES T. G. SHEPPARD-Melodyland ME 40351 831 31 ON THE MOVE DONNA FARGO-Warner Bros. BS 2926 932 30 LONGHAIRED REDNECK DAVID ALLAN COE-Columbia KC 33916 1033 33 SOMETIMES BILL ANDERSON & MARY LOU TURNER-MCA 2182 1634 34 ROCK 'N' COUNTRY FREDDY FENDER-ABC Dot DOSD 2050 1535 39 SOMEBODY LOVES YOU CRYSTAL GAYLE-United Artists LA543 G 27

44 20-20 VISION RONNIE MILSAP-RCA APL1 1666 237 41 TEXAS DANNY DAVIS & THE NASHVILLE BRASS-RCA APL1 1578 438 36 200 YEARS OF COUNTRY SONNY JAMES-Columbia KC 33918 1839 38 THE GREAT TOMPALL TOMPALL GLASER-MGM M3G 5014 1440 40 FLOYD CRAMER COUNTRY-RCA APLI 1541 741 45 AS LONG AS THERE'S A SUNDAY SAMMI SMITH-Elektra 7E 1058 4

MI 50 SADDLE TRAMP CHARLIE DANIELS BAND-Epic PE 34150 2

- ONE PIECE AT A TIME JOHNNY CASH-Columbia KC 34193 1

CEI4546474849

5051

52

54 MEL STREET'S GREATEST HITS-GRT 801047 WILLIE NELSON & FRIENDS-Plantation PLP 2446 THE SHEIK OF CHICAGO JOE STAMPLEY-Epic KE 3403637 EASY AS PIE BILLY CRASH CRADDOCK-ABC Dot DOSD 204035 I'D JUST BE FOOL ENOUGH FARON YOUNG-Mercury SRM 1 107542 ALONE AGAIN BILLY WALKER-RCA APL1 1489- NOW AND THEN CONWAY TWITTY-MCA 2206

2

39

1576

1

51 WHEN THE TINGLE BECOMES A CHILL LORETTA LYNN-MCA 2179 1655 HEAD FIRST ROY HEAD-ABC Dot DOSD 2051 3

- FROM ELVIS PRESLEY BOULEVARD, MEMPHIS, TENNESSEEELVIS PRESLEY-RCA APL1 1506 1

54 48 BLACK BEAR ROAD C. W. McCALL-MGM M3G 5008 3255 53 LOVIN' AND LEARNIN' TANYA TUCKER-MCA 2167 1956 43 NARVEL THE MARVEL NARVEL FELTS-ABC Dot DOSD 2033 1457 52 DON'T CALL ME-I'LL CALL YOU JERRY JORDAN-MCA 217458 58 REDHEADED STRANGER WI.LLIE NELSON-Columbia KC 33482 50

- THIS IS BARBARA MANDRELL-ABC Dot DOSD 2045 1

60 56 STRAWBERRY CAKE JOHNNY CASH-Columbia KC 34088 961 49 TRYIN' LIKE THE DEVIL JAMES TALLEY-Capitol ST 11494 562 57 JESSI JESSI COLTER-Capitol ST 11477 1863 59 PRISONER IN DISGUISE LINDA RONSTADT-Asylum 7E 1045 4464 60 THE HAPPINESS OF HAVING YOU CHARLEY PRIDE-RCA APL1 1241 2665 64 TEXAS COUNTRY VARIOUS ARTISTS-United Artists LA574 H2 1366 62 THE SONG WE FELL IN LOVE TO CONNIE SMITH-Columbia KC 3391 1067 61 LOVE PUT A SONG IN MY HEART JOHNNY RODRIGUEZ-

Mercury SRM 1 1057 2168 65 OVERNIGHT SENSATION MICKEY GILLEY-Playboy PB 408 2669 63 INDEPENDENCE NAT STUCKEY-MCA 2184 1070 67 COUNTRY WILLIE WILLIE NELSON-United Artists LA410 G 2971 70 BEST OF THE STATLER BROTHERS-Mercury SRM 1 1037 4572 71 TOM T. HALL'S GREATEST HITS-Mercury SRM 1 1044 3573 73 BEFORE THE NEXT TEARDROP FALLS FREDDY FENDER-

ABC Dot DCSD 2020 6074 74 DON WILLIAMS GREATEST HITS-ABC Dot DOSD 2035 3175 66 ALL THE KING'S HORSES LYNN ANDERSON --Columbia KC 34089 12


JUNE 5, 1976

TITLE, ARTIST. label, NumberJUNE MAY

5 29

THE COUNTRY SINGLES CHARTWKS. ON

CIWIT

mi

4

6

2 WHAT GOES ON WHEN THESUN GOES DOWN

RONNIE MILSAPRCA PB 10593 12

3

5

4

8

7

ONE PIECE AT A TIME JOHNNY CASH/Columbia 3 10321

I'LL GET OVER YOU CRYSTAL GAYLE/United ArtistsXW781 Y

AFTER ALL THE GOOD IS GONE CONWAY TWITTY/

DON'T PULL YOUR LOVE/THEN YOU CAN TEMLLCAM4E0534

GOODBYE GLEN CAMPBELL/Capitol 4245HURT/FOR THE HEART ELVIS PRESLEY/RCA PB 10601

9

10

10

1010

U 10 WALK SOFTLY BILLY CRASH CRADDOCK/ABC Dot DOA17619 10

8 15 YOU'VE GOT ME TO HOLD ON TO TANYA TUCKER/MCA 40540 8

13 EL PASO CITY MARTY ROBBINS/Columbia 3 10305 9

11 LONELY TEARDROPS NARVEL FELTS/ABC Dot DOA 17620 10

14 STRANGER JOHNNY DUNCAN/Columbia 3 10302 12

12 1 MY EYES CAN ONLY SEE AS FAR AS YOU CHARLEY PRIDE/RCA PB 10592 13

16 SHE'LL THROW STONES AT YOU FREDDIE HART/Capitol 4251 9

11:1 21 ALL THESE THINGS JOE STAMPLEY/ABC Dot DOA 17624 7

15 17 I.O.U. JIMMY DEAN/Casino GRT 052 4

16 19 THE DOOR IS ALWAYS OPEN DAVE & SUGAR/RCA PB 10625 8

I7 20 SUSPICIOUS MINDS WAYLON JENNINGS & JESSI COLTER/RCA PB 10653 6

22 YOUR PICTURE IN THE PAPER STATLER BROTHERS/Mercury 73785 8

23 I'D HAVE TO BE CRAZY WILLIE NELSON/Columbia 3 10327 720 6 WHAT I'VE GOT IN MIND BILLIE JO SPEARS/

United Artists XW764 Y 15

21 9 THAT'S WHAT MADE ME LOVE YOU BILL ANDERSON &MARY LOU TURNER/MCA 40533 11

22 24 AMERICA THE BEAUTIFUL CHARLIE RICH/Epic 8 50222 7

23 12 THE WINNER BOBBY BARE/RCA PB 10556 13

31 CAN YOU HEAR THOSE PIONEERS REX ALLEN, JR./Warner Bros. WBS 8204 6

25 29 YOU ARE SO BEAUTIFUL RAY STEVENS/Warner Bros.WBS 8198 6

32 HOMEMADE LOVE TOM BRESH/Farr 004 6

27 27 I'D JUST BE FOOL ENOUGH FARON YOUNG/Mercury 73782 9

33 THAT'S WHAT FRIENDS ARE FOR BARBARA MANDRELL/ABC Dot DOA 17623 5

29 18 FOREVER LOVERS MAC DAVIS/Columbia 3 10304 12

47 HERE COMES THE FREEDOM TRAIN MERLE HAGGARD/Capitol 4267 3

31 35 T FOR TEXAS TOMPALL GLASER & HIS OUTLAW BAND/Polydor PD 19314 7

41 I REALLY HAD A BALL LAST NIGHT CARMOL TAYLOR/Elektra 45312 5

42 ON THE REBOUND DEL REEVES & BILLIE JO SPEARS/United Artists XW797 Y 6

34 36 THE BIGGEST AIRPORT IN THE WORLD MOE BANDY/Columbia 3 10313 8

44 WHEN SOMETHING'S WRONG WITH MY BABYSONNY JAMES/Columbia 3 10335 14

45 IS FOREVER LONGER THAN ALWAYS PORTER WAGONER &DOLLY PARTON/RCA PB 10652 4

37 28 RED, WHITE AND BLUE LORETTA LYNN/MCA 40541

38 25 COME ON OVER OLIVIA NEWTON-JOHN/MCA 40525 13

66 VAYA CON DIOS FREDDY FENDER/ABC Dot 17627 3

40 26 I COULDN'T BE ME WITHOUT YOU JOHNNY RODRIGUEZ/Mercury 73769 15

55 NEGATORY ROMANCE TOM T. HALL/Mercury 73795 3

42 34 LONE STAR BEER AND BOB WILLS MUSIC RED STEAGALL/ABC Dot DOA 17610 15

43 40 (HERE I AM) ALONE AGAIN BILLY WALKER/RCA PB 10613 844 37 KENTUCKY MOONRUNNER CLEDUS MAGGARD/Mercury

73789 854 HEART DON'T FAIL ME NOW RANDY CORNOR/

ABC Dot DOA 17625 456 ANGEL ON MY SHOULDER JONI LEE/MCA 40553 430 MR. DOODLES DONNA FARGO/Warner Bros. WBS 8186 10

59 LOVIN' SOMEBODY ON A RAINY NIGHT LaCOSTA/Capitol 4264 3

49

51

55

57

58

63

w65

66

131

10

6

6

3

446

4

10

39 10

73 SAVE (OUR KISSES FOR ME MARGO SMITH/Warner Bros. WBS 8213 2

76 LOVE REVIVAL MEL TILLIS/MCA 40559 2

77 SOLITARY MAN T. G. SHEPPARD/Hitsville 6032 2

46 LET YOUR LOVE FLOW BELLAMY BROTHERS/Warner Bros.WBS 8169 12

69 HAVE A DREAM ON ME MEL McDANIELS/Capitol 4249 5

85 THIS MAN AND WOMAN THING JOHNNY RUSSELL/RCA PB 10667 3

65 WHEN SHE'S GOT ME (WHERE SHE WANTS ME)DAVID ALLAN COE/Columbia/Lone Star 3 10323 7

71 INDIAN NATION BILLY THUNDERKLOUD/Polydor 14321 3

75 DOING MY TIME DON GIBSON/Hickory 372 2

38 NOTHING TAKES THE PLACE OF YOUASLEEP AT THE WHEEL/Capitol 4238

58 GONE AT LAST JOHNNY PAYCHECK & CHARNISSA/Epic 8 50215

57 PLEASE TELL HIM THAT I SAID HELLO SUE RICHARDS/ABC Dot DOA 17622

70 IN SOME ROOM ABOVE THE STREET GARY STEWART/RCA PB 10680

67 A BUTTERFLY FOR BUCKY BOBBY GOLDSBORO/United Artists XW793 Y

64 FLASH OF FIRE HOYT AXTON/A&M 181161 IT'S ENOUGH RONNIE PROPHET/RCA PB 50205

68 YOU ALWAYS LOOK YOUR BEST (HERE IN MY ARMS)GEORGE JONES/Epic 8 50227

43 YESTERDAY JUST PASSED MY WAY AGAIN DON EVERLY/Hickory 368

LIVING PROOF HANK WILLIAMS, JR./MGM 14845

CHARTMAKER OP THE WEEK

- GOLDEN RINGGEORGE JONES & TAMMY WYNETTE

Epic 8 50235 1

84 GOLDEN OLDIE ANNE MURRAY/Capitol 4265 3

- ROCKY MOUNTAIN MUSIC EDDIE RABBITT/Elektra 45315 1

82 I LOVE THE WAY YOU LOVE ME RAY GRIFF/Capitol 4266 2

72 72 I FEEL 4 HITCH HIKE COMIN' ON LARRY JON WILSON/Monument ZS8 8692 6

83 WAS I' WORTH IT JOE STAMPLEY/Epic 8 50224 2

74 74 IT TAKES ALL DAY TO GET OVER NIGHT DOUG KERSHAW/Warner Bros. WBS 8195 5

75 80 WOMAN DAVID WILLS/Epic 8 50228 4

SO SAD (TO WATCH GOOD LOVE GO BAD)CONNIE SMITH/Columbia 3 10345 1

87 IT MAKES ME GIGGLE JOHN DENVER/RCA PB 10687 2

90 MAKIN' LOVE DON'T ALWAYS MAKE LOVE GROWDICKEY LEE/RCA PB 10684 2

- THINK SUMMER ROY CLARK/ABC Dot DOA 17626 1

80 86 GETTING OVER YOU AGAIN DALE McBRIDE/Con Brio 109 2

81 89 TRA-LA-LA-LA SUZY PRICE MITCHELL/GRT 050 3

- ONE Of THESE DAYS EMMYLOU HARRIS/Reprise RPS 1353 1

83 60 LOVE STILL MAKES THE WORLD GO ROUNDSTONEY EDWARDS/Capitol 4246 6

- BRIDGE FOR CRAWLING BACK ROY HEAD/ABC Dot DOA17629 1

85 52 TOGETHER AGAIN EMMYLOU HARRIS/Reprise RPS 1346 14

86 91 SLEEPING WITH A MEMORY KATHY BARNES/RepublicIRDA 223 3

87 95 THE SWEETEST THING (I'VE EVER KNOWN) DOTTSY/RCA PB 10666 2

88 88 I DON'T WANT TO BE A ONE NIGHT STANDREBA McENTIRE,"' 73788 4

89 97 I'LL GET BETTER SAMMI SMITH/Elektra 45320 2

90 49 I GOTTA GET DRUNK WILLIE NELSON/RCA PB 10591 991 BECAUSE YOU BELIEVED IN ME GENE WATSON/

Capitol 4279 1

92 92 THE MAN FROM BOWLING GREEN BOB LUMAN/Epic 8 50216 4

93 - GOODNIGHT MY LOVE RANDY BARLOW/Gazelle IRDA 217 1

94 96 LADIES LOVE OUTLAWS JIMMY RABBITT/Capitol 4257 2

95 100 WHO'S BEEN HERE SINCE I'VE BEEN GONE HANK SNOW/RCA PB 10681 2

96 HEY SHIRLEY (THIS IS SQUIRRELY) SHIRLEY & SQUIRRELY/GRT 054 1

97 48 ROCKING IN ROSALEE'S BOAT NICK NIXON/Mercury 73772 1498 - IT'S DIFFERENT WITH YOU MARY LOU TURNER/MCA 40566 1

99 53 WITHOUT YOU JESSI COLTER/Capitol 4252 8

100 - HE'S STILL ALL OVER YOU JOEL SONNIER/Mercury 73796 1

TOMMY OVERSTREETbigger than ever!

Tc-) i2/11.1/ S

PR.ou 7 LL i/b a 1- i REititi.JEb 4LY eaAirgaGr- 1...3;77< 4 ge2or RECORDS An/ fri4d6_ 4 6,2f.Ar A/ 443 .02o Zae . . . 2 W 64Addi.y

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GOT TO GETYOU INTO MY LIFE

(474)

The First Single Released ByTHE BEATLES

Since"The Long And Winding Road"May 1970!

From The Soon -To -Be -Released2 -Record Set

Featuring 28 FabulousBeatles Hits,

Specially Priced!(:)KEin 11. ,')

Documents

Who In The World: Henry Gross - …...1976/06/05 · ing band takes to stadiums, amphitheaters and, where neces-sary, indoor concert venues. Agents contacted by Record World last