Ili and Radio Monthly

nsideoskoid Jensenerry Woganree Radio Newsisco Equipment, Record Reviews, etc.111

november 1972 no.2 20p

IOTIS REDDING

SIDE ONE1. Shake2. Ole Man Trouble3. Good To Me4. I Can't Turn You Loose5. I've Been Loving You Too Long (To Stop Now)6. Tell The Truth

SIDE TWO1. (I Can't Get No) Satisfaction2. Cigarettes and Coffee3. Down In The Valley4. These Arms Of Mine5. Tramp6. Fa -Fa -Fa -Fa -Fa (Sad Song)

1941-1967

SIDE THREE1. Try A Little Tenderness2. Rock Me Baby3. That's How Strong My Love Is4. My Girl5. Love Man6. A Change Is Gonna Come

SIDE FOUR1. Just One More Day2. Respect3. Pain In My Heart4. My Lover's Prayer5. Chain Gang6. You Don't Miss Your Water7. (Sittin' On) The Dock Of The Bay

editorialHello once again, and welcome back to the second issue of "DEE JAY AND RADIO

MONTHLY", our new exciting magazine devoted to the pop music aspects of radio, andthe disc jockeys who play the records.

If, however, you are reading "DEE JAY AND RADIO MONTHLY" for the very first timethen may I also welcome you to the magazine.

This month in "DEE JAY AND RADIO MONTHLY" you will find interesting featureson disc jockeys Terry Wogan, Rosko, Kid Jensen and Pat Campbell, together with articleson discotheque lighting equipment, the role that discos are playing in breaking newrecords, album reviews, charts, news and all our other regular features.

I would now also like to say a big 'thank you' to the hundreds of you who wrote into'DEE JAY AND RADIO MONTHLY' with your congratulations and suggestions. Pleasekeep those letters coming in.

Remember we want to make this your magazine covering all aspects of the radio andDJ scenes.

Don't miss next month's bumper Christmas edition of "DEE JAY AND RADIOMONTHLY". See you all then.

BEN CREEPUBLISHER.

© B.C. Enterprises 1972

Dee Jay and Radio Monthly is published by B.C. Enterprises, Willmott House, 43 Queen Street, Hitchin, Herts. (0462-54399).Typesetting by Leagrave Press, Luton (Luton 51525).Printed by George Pulman & Sons Ltd., Watling Street, Bletchley, Bucks. (Bletchley 4921).Distributed by New English Library, Magazine Division, Barnards Inn, London WC2 (01-405 4614).

contentspage page

4 news and views 20 Picks of the Month - DAVE CHRISTIAN

6 TERRY WOGAN 23 KID JENSEN

8 ROSKO 26 musing with moffat

to DOUGLAS MUGGERIDGE 29 PAT CAMPBELLController Radios x and 2

32 beatwave - free radio pages12 "YOU TELL US" - Readers' letter

35 dee jay album sounds - LP reviews13 Discotheques -a major force in

fashioning musical trends 38 "Record World" US charts

i6 Disco Lighting - Karl Dallas 39 Radio Luxembourg charts

3

Special programmes on Radio 1 and 2for BBC 50th AnniversaryTo celebrate the BBC's 50th Birthday Radios 1 and 2 will be featuring a whole host of special programmes running through theAutumn and early Winter. They include new series, such as "The Great Shows" - repeats of some of radio's great comedy showslike "Hancock's Half Hour", "ITMA", "Much Binding In The Marsh", etc, all introduced by Ted Ray; and "The Golden Age ofDance Bands" featuring the music of such stalwarts as Jack Payne, Henry Hall, Harry Roy and Ted Heath.

One of the most nostalgic of these programmes is the special revival of "Dick Barton, Special Agent", with original cast membersNoel Johnson, John Mann and Alex McCrindle, as Dick, Snowey and Jock.

"The Great Shows" beganon October 1, and "TheGolden Age of BritishDance Bands" on October 5.

"Dick Barton, SpecialAgent" begins its specialtwo-week run on November 6and will go out fromMonday to Friday only atthe following times:12.30 pm (Tony BrandonShow) and 6.15 pm (TeddyJohnson Show). The serial,adapted from the very firstDick Barton script, butre-recorded for Radio 2,will have 10 15 -minuteepisodes and will close onFriday, November 17.There is, however, a strongrumour that if this particularprogramme is successful, thena new series of Dick Bartoncould return to the air in theSpring.

Other one-off specialsinclude "50 Years of DanceMusic" on October 31(9.15 to 10 pm), "50 Years ofPop" on November 5 -which will run from 4 to 7 pmand replace Radio l's"Solid Gold Sixty"programme for that oneafternoon, "50 Years ofJazz" on November 7 (seeseparate story) and finally"50 Years of MillionSellers" on November 11from 1 to 2 pm on Radio 2only.

Carolineall set to go"Dee Jay and Radio Monthly"understands that plans arewell advanced for the newstation Radio Caroline, whichbroadcast a test transmissionfrom the "Mi Amigo" on259m on September 30.According to DJ Crispian StJohn, who is likely to bebroadcasting on the shiphimself, "All the oldatmosphere is there - bothon and off the ship it'sterrific. This is really goingto be the number one ship.Ronan O'Rahilly is having acomplete survey done on theship, although it is in bettercondition than most peoplethink.

"We are virtually readyto start today - the studiosare all equipped. We areprobably waiting followingthe recent RNI tests on 192mwhich caused a tremendousamount of interference alongthe Dutch coast. RNI couldwell be the station that bringsdown the big axe on theDutch stations!"

Meanwhile all has beensilent from the "Mi Amigo"since that initial testtransmission, and as alwayswe can only wait and see.

Radio 1 is five years old, and here's a nostalgic picture of DJTony Blackburn in the studios on the very first "BreakfastShow". What was the first record he played? Send your answerson a postcard to "Radio 1 Quiz", "Dee Jay and RadioMonthly", BC Enterprises, Willmott House, 43 Queen Street,Hitchin, Herts. All correct entries will be placed in a special boxand the first correct entry drawn out on Monday, November 13 -will be invited to visit the BBC studios and to have lunch with atop BBC disc jockey. Hurry, all entries must be received by firstpost on Friday, November 10, 1972. Remember - postcards onlyplease.

The things these DJs get up to! Here Radio 1 John Peel posesnude, complete with female companion, in connection with hisDandelion record label. And they call it work!

commercial radioto have more poprecords than theBeeb?It now seems likely that when the first commercial radio stationscome on the air in early 1974 they will have substantially more"needletime" than the BBC. Announcing agreement betweenthemselves and Phonographic Performance Ltd, theIndependent Broadcasting Authority revealed that the stationswill be allowed up to nine hours per day of recorded music.This is substantially higher than the current BBC allocationof 82 hours per week, which needs to be distributed over thefour networks. A figure of nine hours per day would almostguarantee total record content to programmes during themajor broadcasting hours (7 am to 4 pm) and would definitelypresent the BBC with some problems. However a BBCspokesman is quoted as saying "Obviously we shall have tore -negotiate our needletime agreement - it's not right to haveone law for them and another for us.".

The first five stations will be located in London (two, onedevoted solely to news programmes), Birmingham, Manchesterand Glasgow. A network of up to 20 stations is envisaged bythe end of 1974.

4

great 208 Jackson5 competitionOctober 31 sees the start of a great Radio Luxembourg/TamlaMotown competition, featuring the Jackson 5. Their recordswill be played throughout the week and a simple questionasked. Senders of the first 15 correct answers will each wintwo FREE seats to see the Jackson 5 live at one of theirUK concerts. There will also be 20 Jackson 5 albums for therunners-up.

news inbrief"The Rolling Stones Story",which the BBC are planningfor Radio 1 next year is tobe narrated by AlexisKorner . . . 1972 awardsmade by the NationalAssociation of Televisionand Radio Announcers ofAmerica included BestAlbum to Isaac Hayes("Shaft"), Top FemaleSinger award to RobertaFlack, and a special"Superstar of the Year"award to Aretha Franklin ...Ed "Stewpot" Stewartrecently presented aspecially designedroundabout to theLingfield Hospital Schoolfollowing a very successfulappeal on his radio show"Junior Choice" . . . Rosko,now hosting the returnedRadio 1 Club on Mondays,plays Legs Club, Norwichon October 30 . . . GaryGlitter recently hosted aspecial reception for disco -DJsat the Hard Rock café,Piccadilly to thank themfor their help in breaking"Rock and Roll Parts land 2"which has now sold over amillion copies world-wide. . . remainder of dates forthe current Four Tops/Thelma Houston tour areOctober 25, Brighton;October 26, Luton; October27, Cardiff; October 28,Bournemouth; October 29,Liverpool; November 2,Glasgow; November 3,Edinburgh; November 4,Dundee; November 12,Newcastle; November 19,London Palladium. One ortwo other club dates are stillbeing finalised . . . LondonWeekend now showing thenew series of "PartridgeFamily" shows, featuringDavid Cassidy. The originalseries, which was shownbefore the Cassidy -boomhappened, was screened bythe BBC . . . future bookings

for the new Radio I show"Sounds on Sunday" includePentangle (October 29) andMagna Carta (November 5). . . Rosko in trouble withthe police recently over hispublicity stunt money - joke£1 notes bearing his pictureand "The Bank of Rosko" -as people have been passingthem as real money.

Jackson 5 for'Top of the PopsThe Jackson 5 will star in BBC -TV's "Top of the Pops" onThursday, November 9. They will feature their new single"Lookin' Through The Windows". In addition one or twosolo spots are expected for individual group membersMichael and Jermaine on the same show.

Jackson 5 dates in Birmingham (Nov 9), Manchester(Nov 10), Liverpool (Nov II) and London (Nov 12) are allassured of a sell-out.

To tie in with the tour BC Enterprises, publishers of"Dee Jay and Radio Monthly" are rushing out a specialJackson 5 oneshot. It will have 28 pages, a pull-out poster, aspecial poster offer, and will sell at 20p.

roskorobbedagain!Thieves have again had a goat Emperor Rosko. Recentlythey broke into one of hisvans and stole £500 worthof equipment and about200 records. The van wasparked near his home inLadbroke Grove. One ofRosko's roadies, RobinWells, has since developeda cine/sound camera -capable of filming in thedark - to record any futureincidents that may happen.This is the second occasionin four months that Roskohas been the victim ofthieves. Earlier this year,his flat was broken into,and he had to be treated inhospital for head injuriesafter interrupting the raiders.

The 'RockFile' iscomingRock File is the title of anew paperback from NewEnglish Library, to bepublished later this month.Edited by Charlie Gillett,it is described as the"who -when -and -how -bookof music". It will alsocontain a list of every Top 20Hit in the British Chartsfrom 1955-1969, and will,therefore, be a valuablereference book for discjockeys. It will cost 40p.

50 years ofjazzRadio jazz fans have areal treat in store onTuesday, November 7,when Humphrey Lytteltontakes a look at "50 Years ofJazz". The programmewhich will go out on bothRadios 1 and 2 will bebroadcast from 8.30 to9.15 pm, and will beproduced by Teddy Warrick.

a b.c.enterprisespublication

prince tovegas againTony Prince, who was inLas Vegas recently withmembers of the Elvis Presleyfan club to see "El" live,made a swift return trip latelast month to interview theOsmond Brothers, prior totheir forthcoming Britishtour. His interviews will beincluded in a special series offive programmes dedicatedto the group.

'Pop Shop'on RadioLondonRecently started on BBCRadio London is a newFriday night programme"Pop Shop". The idea of theprogramme is to reviewevery new release of thatweek, together with shortinterviews of people fromthe music industry.

Also on BBC RadioLondon, Andy Finney hassold three of his "FreshGarbage" programmes tothe States. The series iscentred on the Elektra labelfrom 1950 to the present.

208dragsterdoes itagain!The 208 dragster driven byDennis Priddle has gone evenfaster and achieved a time of6.5 seconds for the standingquarter -mile. This kind oftime places the 208 dragsteramongst the fastest in theworld.

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5

"They must realise thatcommercial radio is notblue printed BBC with acouple of commercialsthrown in"

says "sock it to 'em" DJRosko

Emperor Rosko, aliasMichael Pasternak, was bornthe son of Hollywoodproducer Joe Pasternak, onDecember 12th 1942. He isnow well established as one ofthis country's most populardisc jockeys, and as well ashis long running Saturdaymorning Radio 1 show, andthe Friday evening "Rosko'sRound Table", he spendsmuch of his time leapinground the country in trueRosko "sock -it -to -'em"style with the "Rosko RoadShow".

His entry into the DJprofession is no less typical,as Rosko puts it himself "Ijust told them I was thegovernor DJ." Who were"them"? - the US ArmedForces in Los Angeles!

What made the son of afamous Hollywood fatherwant to be a disc jockey?

"Well, I had always dugmusic, and by the time I was21 I still didn't know whatI wanted to be. I liked music,so I thought it would be agood job, and I got my wayinto it, and I've never lookedback."

Why did Rosko make themove to France and notstick with U.S. radio?

"I couldn't move fastenough out there. You haveto do a couple of years in thebackwoods, and a couple ofyears in a minor city.Finally if you are goodenough you make it in thebig city, whereas by going toFrance I was able to gostraight into major marketradio."

8

Rosko has probably workedon more stations than mostDJs, both here and on thecontinent. "1 don't thinkthere is a station in Belguim,France or Monte Carlo thatI haven't worked on. Thenfrom France 1 went to RadioCaroline, then back toFrance, and then on toRadio 1."

Rosko's many and variedexperiences as a DJ are atpresent being compiled intoa book he is writing. "It'sgoing to be mainly on howto be a DJ", he explained,"but it will also containinteresting anecdotes of myexperiences".

Following the demise ofthe pirates, where he servedalongside such stalwarts asTony Blackburn, DLT andRobbie Dale, Roskoreturned to France, to theFrench service of RadioLuxembourg - where he dida half -English, half Frenchshow from 9.0 pm to 3.0 ameach and every Saturdaynight. At this time he wasalso taping his regularSaturday morning Radio 1show, and along with MrBlackburn is probably thelongest serving regularmember of the Radio 1

team.How did the now very

popular "Rosko's RoadShow" start?

"It just seemed the logicalthing to do to pick up someextra money, and as long asa DJ had to make personalappearances, I figured itwould be a good idea toguarantee that he'd have thebest equipment available,know his own records, andget a much better scenetogether."

This "best equipmentpossible", now largelysupplied by the Orangeorganisation, runs at anefficiency power of almost2,000 watts - quite fantasticwhen you realise that theaverage disco in this countryis well under 400 watts.

Of great interest toreaders of "Dee Jay andRadio Monthly" must be thenews that Rosko is planningto open a disc jockey school,possibly in the PortobelloRoad area of London. Whatprompted this latestdevelopment?

"Once again a naturalprogression. CommercialRadio will eventually be here.Most of the DJs in thecountry want to improve

themselves - but really theyhave no way to do so,nobody to teach them. Theonly thing they can do now isimitate what they hear onthe radio, which is notalways possible. Contrary towhat everybody thinks -imitation Roskos are totallyfalse people who should beurged to follow their naturalstyle."

How will the schooloperate?

"Initially they will dosome homework from aspecial correspondence book,prior to coming to theschool then we'll put themthrough over 100 hours ofpractical work crammed intotwo weeks. Those who arevery good will get a diplomasaying that they areproficient."

And the cost? "The courseitself would be about £180.That's for the two weekscourse, plus audition tape,and we will offer theadditional facility of sendingthe best tapes to otherstations outside the UK.

How well equipped willthese new studios be?

"Very similar to the BBCstudios. I have my ownengineer, he's found a way

of converting the Garrard401 turntable to practicallyinstant start, so they couldbe used. We are making ourown cartridge machines aswell, which we will also puton the market."

With all this preparationfor commercial radio, whatare Rosko's thoughts on theforthcoming UK radioscene?

"Pretty negative at themoment. Commercial radiosays one thing, but the waythey've got it set up meansanother. To me commercialradio is where you havepeople in opposition witheach other who are taking agamble to see who cancapture the audience. Theonly way they can do this isif they have the freedom todo it. If they are going to besubject to union problems,the numbers of personnelthey can employ, the numberof records they can play,how they are going to situatetheir commercials, then it'sgoing to be very difficult.What they must realise isthat commercial radio is notjust a blue -printed BBC witha couple of commercialsthrown in for good measure."

ISO et Scpece Di StudiosThe independent studio that has been used byJohnnie Walker, Dave Cash, Emperor Rosko,

Dave Gregory, John Peel, Alan Black, and manyother well known names.

We have also helped many aspiring DJs up theladder of success. No less than SIX of our clients

have PASSED the Radio One Audition Testthrough using our studio. Perhaps we can help you!

RADIO DJ COURSES £25 AUDITION TAPES £7 per hr.

55 Charlbert Street, St. John's Wood, London NAM&Telephone 01-722 8111

9

"Certainly in the early daysRadio One couldn't comparewith, say, Radio London . . ."

In the first of a series of interviewswith the heads of radio stationsDOUGLAS MUGGERIDGE, Controllerof Radios 1 and 2 looks back at 5 yearsof Radio One

This month Radio 1 beganits sixth year of operation,faced in the none too distantfuture by the competition oflocal commercial radiostations. This month alsosees the 50th Anniversary ofthe BBC, and this seemed anideal opportunity for thefirst of a series of interviewswith the men at the top onthe radio scene. Here, in thefirst of a two part feature,"Dee Jay and RadioMonthly" talks to DouglasMuggeridge, Controller ofRadios 1 and 2.

Just for the record here arethe basic facts on the careerof Douglas Muggeridge:

Born Harrogate, Yorkshire -2 December, 1928.

Educated - Shrewsbury and theLondon School of Economics.

Joined the Liverpool Daily Postin 1953 as a graduate trainee, andthen worked as reporter,sub -editor, leader and featurewriter.

Joined the BBC in 1956. Hassince then held the posts ofTalks Producer; Senior Producer;Chief Publicity Officer(Overseas); Chief Assistant(Publicity); Chief PublicityOfficer (TV); Head of OverseasTalks and Features; and nowController of Radios I and 2, apost he has held since 1969.

What is interesting is theway he learnt of the vacancyfor the position he nowholds.

"1 learnt that this job wasopen, believe it or not, in ashop in Hong Kong. I wason a trip round Asia in mycapacity as Head of Overseastalks, and I had gone intothis shop to buy a map of

10

Hong Kong. It was a verysplendid bookshop, with allsorts of magazines and booksof every kind, and in thecorner I saw some Englishnewspapers; including a copyof the Daily Telegraph ofsomething like a week earlier.I picked it up, and there onthe front page was "BigChanges At The BBC" - theannouncement of amongother things Robin Scottbecoming Controller ofBBC 2, and the appointmentof Ian Trethowan asManaging Director of Radio,and so on, with lots of otherappointments listed - andthat was the first I heardthat this job was open.I must admit, however, thatat that stage, many thousandsof miles away from thiscountry, it hadn't occurred tome in any way to apply forthe job. In fact, it was abouttwo or three weeks after Igot home that somebodyrang me to ask if I wouldlike to be considered for theposition."

And so in 1969 DouglasMuggeridge took up thepost of Controller of RadiosI and 2. What were histhoughts at the end of FiveYears of Radio 1?

"I think a great deal ofsatisfaction really, notcomplacency I would hope,but satisfaction about what'sbeen achieved. Obviously,there are still things we wishto do, but I think we havereally managed to achieve agreat deal in this time. Thefirst point, of course, is thatwhen the service started, andeven when I joined it 31years ago, it was only anindependant service forsomething like 61 hours perday. Now it is independantfor 14 hours a day duringweekdays, and I think that'ssomething of an achievement.

"Of course, you mustremember that when Radio 1was set up, it had verylimited resources. Forinstance only one hours'extra needle -time was grantedto the BBC in order to set upthis new music station. Othernetworks were raided tomake sure we had areasonable proportion ofneedle -time, but even todayyou must realise that Radio 1is the only pop service in theworld which operates withsomething like 50 per centlive music, and this hasalways been a great problem.Mind you I think that overthe years we have managed to

"one must admitthat the BBCwere probably ratherlate onto the pop scene"

improve the live content ofRadio 1, to the point wherequite frankly I often find itvery difficult to tell whetherI am listening to the actualrecords or a studioproduction. I think that thisis a great job done on thepart of the producers, whohave improved the quality soimmeasurably."

Did Douglas feel that thiswas one of the early problemson Radio 1, where instead ofusing the actual group livein the studios, the tapecontent at first largelyconsisted of "cover"versions, such as the NDOplaying Small Faces numbers ?

"Yes, this is absolutelyright, this was I think oneof our biggest mistakes in thebeginning. Today if wehaven't enough records, weget the actual group in torecord for us. It was amisconception in the earlydays, it was to some extentforced upon us, but certainlysomething we wouldn't dotoday.

"I think Radio 1 came infor such heavy knocking at

first for two basic reasons.One was as I have just said,that we didn't have enoughrecords. The public had hada taste of non-stop poprecord radio, and then allof a sudden came this newservice, with only 50 per centrecords, and inevitablycomparisons were made, andcertainly in the early daysRadio 1 couldn't comparewith say, Radio London,which was, in it's way, avery good commercialstation. The second, andmore important reason, wasthat the pirates had beenclosed down by theestablishment, and then intheir place was Radio 1, putthere by the sameestablishment, and, ofcourse, a lot of peopleresented this. Theestablishment had takenaway the stations which theyenjoyed and instead theywere told to listen to thisnew station.

"At the same time onemust admit that the BBCwas probably rather lateonto the pop scene. The old

- -"The John Peel's of this world -

more freedom than on any other network . . ."

Light Programme did have acertain amount of popcontent, but until Radio 1began we never had anythinglike a pop service as such,so I think, therefore, thatpeople were rather distrustfulof the BBC. I hope that overthe past five years we haveshown them that we not onlywant to do it, but can do itremarkably well, and with allthe problems we have interms of needle -timerestrictions, night timereception and so on, it is afact that Radio 1 is probablyone of the best popnetworks in the world. I'veheard a lot of them, andRadio 1 is really remarkablygood.

"To begin with you mustalso remember that Radio 1is unique in the sense that itis also a pure pop servicewhich is produced by apublic service organisation,that pays no heed to theadvertiser or any otherfinancial worries for thatmatter, except, of course,the amount of money youhave to spend on actualprogrammes. Obviously youvery rarely have as muchmoney as you would like, butyou don't have thosecommercial pressures whichmost other stations have.I think, therefore, that Radio1 is given a degree offreedom which you don'tfind elsewhere, and this isone thing now that youngpeople do appreciate. TheJohn Peel's of this worldhave been given the freedomof radio, that frankly I don'tthink they would have foundon any other network. Againit is the flare of the producerthat is allowed to comethrough because in the lastresort they are notconcerned with commercialpressures, indeed at the verylast resort they are notconcerned with ratingsreally - they are obviouslyinterested in getting thebiggest audience theypossibly can, but really theiraim is to satisfy the listenerto produce the bestprogramme they can."

ben creeNext month Douglas

Muggeridge looks ahead atfuture developments forRadios 1 and 2, the advent ofcommercial radio, and givessome advice to would-beradio disc jockeys.

11

Since the publication of the first issue of "Dee Jay and Radio Monthly" we have been simply inundated with letters ofcongratulations and suggestions. In fact, our local postman has been complaining bitterly . .. so here we reprint a random selectionof some of your comments:

"Having bought the first issue of 'Dee Jay and Radio Monthly' I must, I feel, write to congratulate you on producing an excellentmagazine, which I thoroughly enjoyed reading."

Alan Jasper,Ware, Herts

"I was greatly impressed-it has a lot of potential."John Richards,Surbiton (DJ)

"I am really looking forward to the November issue of 'Dee Jay and Radio Monthly' and consider it the best value at 20p thatanyone could wish for-well worth every penny. How about a colour photo of Johnnie Walker in one of your future issues?"

Mrs 0. Shafto,Stanmore

(Editor: Have a look at page 19, Mrs Shafto. OK!)"I've just read your new publication 'Dee Jay and Radio Monthly' and I write to say congratulations. I think the magazine has

interesting information and articles, it has good layout and pix but, above all else, it is an original idea that fills a very big gap left bythe normal music papers."

B. G. Stephens,Streatham, SW16

"I've never read a more interesting magazine, particularly your article on Paul Burnett."

"Just a quick line to congratulate you on a superb mag."

"Long live 'Dee Jay and Radio Monthly'."

Bob Price,Seaham, Co Durham

Paul Searby,Cot tingham, Yorks

Phillip Westmorland,Potton, Sandy, Beds

"Thank you for a truly superb magazine-I look forward excitedly to Issue No. 2. One suggestion, how about giving a diagram ofa Radio DJ's unit, with detailed notes on how each part works?"

Richard Rubin,Sutton Coldfield

(Editor: Good idea, Richard, and one we will incorporate in the none -too -distant future.)"I feel after reading the first issue of 'Dee Jay and Radio Monthly' that I must write and congratulate you on a first class magazine."

G. W. Heath,Free Radio Action Movement, Ashton-under-Lyne

"Congratulations on your new magazine 'Dee Jay and Radio Monthly'. There has been a need for this sort of magazine even sincethe pirates started."

Michael Roberts,Chelmsford

"I am writing to congratulate you on an excellent new magazine which I am sure will do well because it is unique. Apart from thequality of the pages, printing, photos, etc, the articles are first class."

Robert Owen,Hertford

"I was amazed at the wealth of information one could gain on the radio scene. The only area not covered to my mind is the hospitalradio scene. Any chance?"

Steve Driver,Northampton

Editor: Most certainly, Steve. We shall be starting a regular Hospital Radio Page in the New Year, and would be delighted to hearfrom any such stations, with programme details, special events, pictures, etc.)

"I have enjoyed reading the contents very much indeed. My favourite dee-jay is John Dunn of Radio 2, so I am hoping that youwill be able to feature him in a future issue. I wish you every success with this splendid new magazine."

Mrs Doreen Barnes,Windsor

"I wish to say how pleased I was with your magazine. It is very well compiled and makes very interesting reading.I would like to suggest a column where people such as myself who are just starting as DJs can write for advice and information.

For example where to set up my gear, what to say and what order to play records in, etc."Edward Hales,

Ipswich(Editor: Included with Edward's letter was a plan of the Youth Club where he now acts as resident DJ, on which our experts noted the

best position for the equipment, bearing in mind such items as fire exits, dancers, length of leads, etc. The main thing to remember is toget your speakers well in front of your unit to lessen the chance of microphone feedback. With regards to the job of being a disc jockey,two things to remember are KEEP THE CHAT TO A MINIMUM AND PLAY WHAT YOUR AUDIENCE WANTS TO HEAR,NOT WHAT YOU WANT TO PLAY.

If you would like us to include a problems column please write and let us know. The address for this, or any letters is:"Dee Jay and Radio Monthly",BC Enterprises, Willmott House,43 Queen Street, Hitchin, HertsI can see it all now-more problems with the postman.

12

Discotheques-a major forcein fashioning musical trends

... Journalist Mike Cook asks "Arethe discos taking over fromradio in breaking new sounds?"

Discotheques, the sound -filled stomping grounds ofmillions of music madyoungsters, are now a majorforce in fashioning musicaltrends.

Naturally, many high -riding disco sounds havebecome popular throughradio exposure, but there arean ever increasing number ofsurprise chartbusters breakingin the clubs. Recent examplesinclude the Stylistics'satin -smooth soul goodie"Betcha By Golly, Wow!",Judge Dread's "Big Six", andLittle Eva's cobweb special,"The Locomotion".

Not only have the discosgiven the kiss of life to thedying single, spin-offindustries, like lighting andelectronic equipment, cateringfor the ambitious DJs hopingto jump on the bandwagonand providing the latest, moresophisticated machinery forestablished jocks, are alsobooming.

Everybody, it seems, isnow eager to grab a slice ofthe disco cake, not least therecord companies. Which isnot surprising, since theyprovide the main ingredient,the music.

Which is much morecomplicated than manypeople realise. The fact is,that a record that goes downa bomb in one area flops inanother.

For instance, kids who hadbeen fed a diet of bubblegumand rock in the Manchesterdiscos, were suddently turnedon to soul music when a fewenterprising jocks beganspinning their own deletedcopies of discs such as the

Tams' "Hey Girl Don'tBother Me".

An EMI spokeswomantakes up the story: "One ofour salesmen reported thatpeople were paying 75p forimported copies of therecord, so we dug it out ofthe vaults and re-released it."

The rest is history. Radio

but the simple fact is thatsoul really starts just north ofBirmingham.

London is an ethnicmonster, each race enjoyingtheir own kind of music.Rock thrives, but to mymind the reggae revolutionhas been the most excitingthing to happen in the

The Stylistics -"Betcha By Golly, Disco!"

jocks picked it up and itstormed its way to the top ofthe charts.

As the soul snowball reallybegan rolling, more Northernclubs - like those in Leedsand Blackpool - beganspinning similar discs, someof which picked up very goodsales, often in only one town.

This year, clubs in theMidlands have been keepingthe customers happy byplaying the same kind ofmusic. Quite a few clubs inLondon, some, admittedly,which had thrived on souland R&B for some time,jumped onto the bandwagon,

metropolis. Many small WestIndian companies have beenchurning out this kind ofmusic for many years. Atfirst, badly produced WestIndian -made discs kept thereggae addicts happy.

During the past couple ofyears or so as their recordingtechniques improved, whitekids latched on to reggae. Itbegan with the skinheadswho, paradoxically,`adopted' the coloured music.Since then, the music hasgained 'respectability' and iswidely accepted all over thecountry.

Although radio DJs now

spin a liberal sprinkling ofreggae, the really big hits stillcatch fire in the clubs.

These disco flyers whichhave crashed the charts,especially this year, have beenlike a breath of fresh air.Two years ago the chartswere rather stagnant,cluttered up with a lot oftrash. The record industry, itseemed, had lost its way. Popmusic faced a crisis.

I believe the disco jockswere the guiding light behindthe renewed buoyancy ofpopular music. After all,club DJs, unlike their moreillustrious colleages on the air,many of them fettered bywhat they can and can't play,have absolute freedom to spinany disc they fancy. And if itpleases the kids, so much thebetter.

Disco jocks can alsoafford to experiment byslotting in discs by virtuallyunknown artists, goldenoldies from their owncollection, as well as spinningestablished chart sounds.Equally important, they arein constant contact with theirpublic, able to sound outwhat kind of records theywant to hear.

And they wield considerablepower with the recordcompanies. If they get a ravereaction after spinning adeleted disc, they can suggest,urge even, that the companyshould re -issue the record.This happened recently withJr. Walker's, "Walk In TheNight". The company'shandout simply said it wasbeing re-released `by populardemand'. It was virtually anovernight smash. The

13

"popular demand", of course,came from the clubs.

Now, almost withoutexception, all the recordcompanies employ disco`spies' keeping a shrewd eyeout for records that areturning on the kids. Thespies are usually the DJs.

If a record is 'happening'in the clubs, the recordcompany promotion men getto work selling it to a wideraudience. On the radio.

Most of the companiesagree that what is happeningin Manchester today,eventually hits the rest of thecountry. And the companiesfeed the disco jocks withadvance copies of newreleases. Some like Polydor,have as many as 800 clubDJs on their mailing list.

As a Polydor spokesmansaid; "The discos are now a

very important part of ourpromotional activities. Wehave 800 club DJs on ourlist and quite a few of ourchart discs have broken inthe discos.

"The clubs certainly give achance to records that don'tget radio plays, but almost asimportant as the "breakers"is the fact that some records,especially on the Mojo label,although they might not makethe charts, sell slowly butconsistently over a muchlonger period than our"instant" hits.

He added: "We realise thediscos are going fromstrength to strength and withour mailing list we canguarantee an audience ofwell over a million."

That is quite staggering, Ifind. So it's little wonder thatthe majority of record

companies have alreadyjumped on the discobandwagon. WEA's Atlanticlabel has released - orre-released some fabuloussoul material this year alongwith a number of long-established disco classics.The major reggae labels -Trojan and Island - arepicking up very healthy salesvia the clubs.

A random ring -round ofthe companies and theirdisco policy produced thefollowing:

An EMI spokesman said:"We don't lean overbackwards to release discomaterial, but if one of thebig discos, especially in theManchester area, write to usand say they have beenplaying a certain record andgetting rave reaction, welook into it. Naturally, our

Motown and Invictus labelsdo cater for the discos, butthey are released purelybecause we think they havehit potential."

Richard Evans, Decca'sman with his ear to thedisco scene, considers theclubs of great importance.His company has hadconsiderable success launchingchart hits via the discspinners.

Two fairly recent discsthat took off solely throughdisco plays were Little Eva's"Locomotion" andLieutenant Pigeon's "MouldyOld Dough". Evans, too,takes requests from DJs forthe re-release of certain discsvery seriously. "We've got to,more and more records aretaking off in the clubs now.In fact, they are becoming aserious rival to radio. I havemany club DJ contacts, andthey are the people whoknow what the kids want.And we are only too happy tooblige if we can."

Front-runner on the discoscene, in my opinion, isPhonogram. Under theguiding light of NigelGrainge this company havehit the charts with recordsthat would have died a deathwithout disco

It was the club DJs thatput "Betcha By Golly Wow!"and Bobby Hebb's "LoveLove Love" into thenational charts.

These two, plus numerousothers from this with -itstable, have notched upconsiderable sales successthrough disco spins.

Deservedly, too, becausePhonogram went out on alimb, took a chance on 'soul'and R&B discs fromvirtually unknown artists,and succeeded.

At the time of writing,Phonogram have justreleased Chuck Berry's "MyDing A Ling" instantlybanned by the BBC andRadio Luxembourg.

So here's one disc that willstand or fall in the discos.No radio plays . . . but thisdisc will get into the best-selling charts through theefforts to the club DJs andtheir spirited customers.

A kind of test case toprove my theory - or, sadly,shatter it.

I think I shall bevindicated.

mike cook14

Chuck Berry -"ay Ding A Ling" stands or falls in the discos

Oil slides, Strobes andSound -Light units...

Lots of mobile discjockeys would claim to bein show business, but whilethey take good care of thebusiness, sometimes theytend to let the "show" partof their chosen vocationtake care of itself.

After all, when you havegreat artists like Jimmy Cliffand Otis Redding handlingthe music for you, they argue,who needs to do more thangrunt a few "right on" and"have mercy" interjectionsinto the mike?

But if all you are offeringis recorded sounds, withlittle or nothing more, thereis really no reason why thecustomers shouldn't stayhome and play the musicthey like on their own hi-fi,is there? People like to goout, of course, if only tomeet members of theopposite sex, so it's only fairto give them some sort of ashow as well.

Hence the growingpopularity of the light show.

Light shows have a verystrange and mixed ancestry,all mixed up with drugsand the fine arts. Originally,they were a type of far-outart called "mixed media",in which a number ofAmerican artists tried tobreak out of the pictureframes that had been putround their lives.

At an art gallery in NewYork a guy called JamesRosenquist had spectatorswalking across amulti -coloured ramp aboveflashing lights shiningthrough torn Fab soaplabels and painted Perspex.An art critic at the timedescribed the experience asrather like seeing a funfair

Karl Dallas this month looksat the growing worldof the disco 'light show'

from the top of theBig Wheel.

Rosenquist said he'd gotthe idea from the constantbarrage of sound and sightsfrom American advertising."It's like being hit with ahammer," he said. "Youbecome numb. But theeffect can be to move youinto another reality."

It was on the West Coastthat the word "psychedelic"started being applied to thissort of visual experience,especially when accompaniedby loud rock music. LSDwas still legal in those daysand the idea was that all theflashing lights coupledwith the sounds so loudthat you felt them throughyour body rather thanheard them createdsomething like the feelingon a psychedelic "trip".Typically, the technique wasused to most effect duringthe "Trips Festival"organised at that time inSan Francisco.

Meanwhile, things werehappening on this side ofthe Atlantic. An artistcalled Mark Boyle began towork with progressive groupslike Pink Floyd and theSoft Machine. He producedsome startlingly beautifuleffects, some of which wereso effective that they werefilmed and projected againmuch later, when I saw theSoft Machine played at theInstitute of ContemporaryArt in London.

They were not the leastremarkable in view of theprimtitive techniquesinvolved.

The whole basis of thelight show is the fact thatoil and water do not mix.

Originally, what they didwas to put somewater -based inks with someoil -based colours and putthe resulting -mess inbetween two glass slides ofthe right size to be putinto a slide projector.

As the heat of theprojector lamp caused thetwo liquids to warm up, theystarted to swirl about, andthe resulting changingpatterns could be projectedon to the wall behind themusicians, or even upon theaudience. Sometimes, too, oldmovie films used to be

called a liquid wheelprojector. This still operateson the oil -and -water inksprinciple, but the wholething has been put togetherfor you and you just slip itinto the projector and offyou go.

Of course, it's a bit moreexpensive than a couple ofbits of glass and somebottles of ink, but then it'sa sight less messy. Theaverage cost, per wheel -sometimes called a cassette -runs to between £8 and £10,and remember that youcan't just get by with one

i))12440L mkt

Discosound DBOL psychedelic sound -to -light converter will handle up to1000 watts per channel and has individual controls for bass, mid and treble. Theunit also has over -ride switches so that any of the channels can be left onpermanently, if required, £37.50.

projected on the walls,like a sort of movingwallpaper. I once saw thewhole of a Frankensteinmovie that way, and, longbefore he becameintematlonafly famousenough to be banned by theBritish film censor, one ofAndy Warhol's first flicks.

These days, the technologyhas become far more smooth,though sometimes I wonderif the ease with which youcan get a light showtogether hasn't taken someof the soul out of it. Thesedays, basically, all you haveto do is to buy what is

or two.Nor should you expect to

get away with just oneprojector. The nicest effectscome from combining thelight from two or eventhree, especially if each oneis projecting a differenteffect. One could have aliquid wheel, for instance,another the sort of moirepatterns you sometimessee when one piece of clothis seen through another(look at any girl in asee-thru blouse if you don'tget what I mean) and athird could have what isknown as a Liquidaire tank,

16

in which air is blownDumped into the colouredliquids rhythmically.

Naturally, such a thing iseven more complicated thanyour simple cassette, andin fact it costs about fourtimes as much. You can geta projector with Liquidaireattached for about £110,compared with about £25for a simple projector.

strobe from where you sitso make sure it has remotecontrol facility. Andremember, also, that theconstant flashing can makesome people feel a littleunwell, so don't overdo it.Like most powerful effects,it is more effective if it isused in moderation.

The whole aim, in mostdiscos, is to reproduce

Discosound D.140L is similar in function, except that it has built-inmicrophone so that it does not have to be connected to the amplifier, reactingto the sound from the speakers, £49.50.

Then there's the strobe,the rapidly flashing lightoriginally devised forphotographers, which givesthe impression of watchinga slow motion film as itflickers. The speed of theflash is usually variable - Iknow of one that will flashbetween one and 30 timesper minute, and anotherwhich flashes so fast, up toeight times a second, youcan hardly see it.

It's important, with astrobe, for the light to fill theavailable space. Most ofthem are rated as so manyjoules, and for a roughguide you can calculate onejoule per ten feet square(100 square feet). A fourjoules strobe suitable for mostmedium -size venues willcost you about £25, while amuch flashier version, cancost you up to £45.

You'll need to be ableto control the flash of the

visually the beat of themusic, and it is possible todo this with a lightingsystem fed directly out ofyour sound system. This isusually done with athree -channel sound -to -lightunit, in which differentcoloured lights flash withvarying intensity to the bass,treble or middle notesplayed on the speakers.It works particularly well ifyou have deep, red lightsfor the bass notes, orange forthe middle notes, and verylight yellow, for the hightones.

Get a unit that can handlea wattage per channel fargreater than you arecurrently putting out, toallow room for developmentand to prevent anythingblowing if there are anyunexpected loud notes onany of your discs. You canget them to take 400 wattsper channel (making a total

Bank of three spot, suitable for linking with the Discosound converters,costs £13.50.

of 1200 watts) but I'drecommend having not lessthan 1000 watts per channel.

Incidentally, if you don'tfeel like spending too muchon lighting at first, or ifyou have a rather specialevent for which you needsomething extra, you mightlike to know that you canhire it from Effectlights of46 Goodge Street, London.Prices range from 75p for asimple three -light projector,constantly changing fromred to blue to green, to £2for a sound -to -lightconverter. It's cheaper by theweek, of course, and rentalsfor longer periods arenegotiable, they tell me.

They also have a numberof items of their ownexclusive manufacture,including a 12 volt 100 wattprojector with a 1000 -hour -life bulb and a magneticfastening for the cassetteswhich cuts change -over time,for sale at £56.25, or £2 perday rental.

karl dallas

Karl Dallas, who writesevery month on dj equip-ment, is best-known as apop music critic, writing for"Melody Maker", "TheTimes", "Folk Review",and other papers. But he hasalso written regularly onelectronics for such maga-zines as "Music BusinessWeekly", "Electrical andElectronics Trader" and"Let It Rock". He is alsoa prominent author,commencing with his book"Swinging London", whichgave a new phrase to thelanguage, and his last lookat the pop superstars,"Singers of an Empty Day"which received criticalacclaim when it came out inBritain last year and isshortly to be published inAmerica.

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IN

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17

For UK fans, radio isbeginning a revival. A revivalin the sense that, at somepoint over the next year toeighteen months, the BBC'smonopoly (or nearmonolpoly) will be brokenby the introduction ofIBA -type commercial radio.

Which means that theradio industry immediatelybecomes more healthy.

Radio One does a good jobby day, as Radio Luxembourgdoes by night. But we deservesomething more - the chanceto pick and choose ourfavourite music station.

Perhaps this situationmakes you think of Holland,almost the centre of goodEuropean radio (pop -wise,anyway) since the demise ofour own offshore pirates.

They have Veronica andNordsee . . . and, as you'llknow if you've beenfollowing your papersrecently, it doesn't all endthere. So, for the Dutch,everything in the garden islovely. Or is it?

The Dutch Governmenthave been threatening actionaganst the pop pirates forat least the last three years.Political parties havepromised it . . . but none

What lies aheadfor Dutch Radio?have had the guts to actuallyDO anything. But thesituation looks ripe forchange. Dee jay and RadioMonthly's Dutchcorrespondent Alan Clarkwrites: "The current radioscene in Holland isembarrassing theGovernment, who, ideally,would like to put an end toall offshore stations. But, inthe past, they have had to bewary - for Radio Veronicawas drawing a much largerslice of the radio audiencesthan the home -basedHilversum station. "Now,however, everything isconfused. Hilversum,Nordsee and Veronica are allclaiming the largest audiences,but the truth is thatpopularity seems to bedivided fairly evenly betweenthem, the Dutch service ofNordsee having caught upwith Veronica because,purely and simply, they putout a stronger signal - it'snothing to do withprogramme quality.

Most of the problemsbegan with the RNI whowere putting out too stronga signal for the DutchGovernment to ignore them.Now complaints are rolling infrom other Europeancountries and the station'sdays - unless it intends to goit alone as Caroline did in1967 - are numbered.Nordsee probably andunfortunately wont' seeanother Autumn.

What, then, of Veronica?The 1971 bombing ofNordsee's Mebo 11 didconsiderable harm toVeronica's image, but it isstill no doubt fact that thestation has many followers.It may have lost somelisteners but the Dutchpeople are loyal to the station,in the sense that they wouldbe reluctant to lose it toGovernment pressure. If theDutch put through thisMarine Offences Bill (whichthey almost certainly will do)and it becomes law (which itcertainly may do) then

Veronica will close down -and move onto land.

But it will be a verydifferent Veronica. Not anall -day station, but insteadone which will broadcast saythree of four hours a dayover one of the nationalexisting networks".

This is Alan Clark's viewof the way things will go inHolland, and all the pointerssuggest he is correct.Veronica is safe in as muchas it will probably continuein one form or another. ButNordsee is not regarded as a"Dutch station": by its ownoft -repeated definition it is"international", which meansit really belongs to no-oneand, when it comes to thecrunch, who will support it?In the difficult times that lieahead, the station will needmuch, much more than the300 or so English listeners'cards received every week.

If it is to survive, it willhave to expand its thinkingto become one of two things -either truly international, ortruly Dutch. There's nodoubt about it, the problemis a sticky one and, over thenext twelve months, thewaters of the North Sea willbe pretty lonely for RN!.

sounds on stageTHE FOUR TOPS/THELMA HOUSTON

The Four Tops set theOdeon Hammersmith alightthis month - metaphoricallyspeaking, of course. Theyreturned for anothertriumphant tour, and playedto a house so full that insome places people werethree deep in the aisles.Some of the cognoscentiwere worried that having leftTamla Motown for ABCDunhill, the Tops mighthave abandoned theirTamla hits. But they needn'thave worried - all those discofavourites, and the old magic,were still there.

The Four Tops rockedtheir way through "I'll be,there", "Baby I heed yourloving", "I'll turn to stone","Simple game" and many -

other turntable classics ininimitable style - despite thefact that leader Levi Stubbshad an injured foot, and wassupported by crutches for alarge part of the performance.His courage and endurancewere magnificent - although

obviously in considerablepain his vocals were aspowerful as ever, and heeven managed to keep upwith some of the routinesfor which the Tops arefamous.

At the end, after they'dbrought the house down withone of the best versions of"MacArthur Park" I've everheard, and followed it upwith "Can't help myself"and "Same old song", theytook three well -deservedencores which weren't justcalled for, they weredemanded. "Walk away

..Renee", "Bernadette" and"Shake me, wake me"completed one of the bestshows I've seen for a longtime, and proved beyond alldoubt that the Four Topsare one of the few groups inthe business that really knowwhat entertainment means.With "I'll turn to stone"re-released as part of thecurrent oldies boom, and theMotown Chartbusters albums

selling in their thousands(volume seven out thismonth) as well as thepromise of great things fromtheir new Probe/ABCDunhill contract, the Topsmust be the DJ's dreamgroup of all time.

Earlier in the evening,Thelma Houston had hadthe unenviable task ofpreceding the Four Tops.It's strange but here we havea contractual situation theexact opposite of the Tops -Thelma has just left Dunhillto join Motown's new WestCoast label, aptly calledMoWest. She's not a younglady we've seen or heardmuch of in this country -her only major release beingthe beautifully performed andproduced "Sunshower"album. But here she turnedin a very creditableperformance with a varietyof songs including her latestsingle "No -one's going to bea fool forever", and a reallynice Otis Redding number.

rosemaryhoride

Thelma's an incrediblybouncy, happy lady who canturn out anything fromShirley Bassey type numbersto real funky rock songs. Ina club environment she'sgreat - the sort of performerwho'd go down really well atthe Talk of the Town, andyet whose records arewelcome on any DJ'sprogramme, or in anydiscotheque. In the hugeHammersmith Odeon shestill managed to get across tothe audience ankestablish arapport, even though thesound was not all it couldhave been at times. And withan audience to whom shewas almost unknown, andwho'd only come to see theTops anyway, itys a lotfor her that even after anencore they still wanted more.

Altogether a great showwith some memorable andhighly playable songs whichwas above all entertaining -a rare but still highly prizedcommodity.

18

sounds of the month

yes'close to the edge'atlantic k50012

I'm biased because Ialways look forward to thenext "Yes" LP. This is noexception. "Close To TheEdge" is still in the fine

tradition of "Yours Is NoDisgrace" and "Roundabout"- the more you listen themore you hear. All I cansay is if you don't know

Yes - go down to your localrecord store and creepinto one of those boothswhere people scrawlobscenities on the walls

albumof themonthand listen to it. Itshouldn't take you long tosee what I'm on about.Kid Jensen first turned meon to Yes.

next best

One of the Mighty Minorsof Music - dig that one!Little Donny Osmond witha collection of songs - someold, some new, featuring hismonsters "Puppy Love" and"Hey There Lonely Girl".It's a shame that Neil Reidwas projected at the adultmarket and not at the"teens" if you like. Theymight have given him somemore appropriate material,and then I would have beenable to rave about Neil Reidsinging "All I Have To Do IsDream" or "This Guy's InLove With You" - bothall time classics. Still, DonnyOsmond has come up withthese two tracks on afantastic LP.

I've always loved theNew Seekers ever since Iplayed football withLyn Paul and Eve Graham.Their personalities reallycame across in the tackle!Now the rest of the footballresults . . .

Huddersfield T 4 Bristol C 1No seriously, with tracks

like "Day By Day" fromGodspell, Todd Rundgren's"I See The Light" and thebeautiful "Song Sung Blue"spiced with a little CaroleKing and Cat Stevens music- they'll certainly get awayfrom that "I'd Like toTeach the World" image.

The long awaited LPfrom Alan and the lads. Infact I already knew what itwould be like, because Iheard a tape of it about amonth ago, when Alan Hullcame over to Luxembourg.

Tracks - hit record, ofcourse - "All Fall Down".Other favourites include"Plankton's Lament","Dingly Regatta" and thetitle track. To be truthful Ithought "Don't Ask Me"would have been the single -but then I always wasweird!

in thissectioneachmontha top djselectstheirtop LP'sandsinglesfromthepastmonth

a b.c.enterprisespublication

20

sounds of the month

singlesof themonth1. Michael Jackson - "Ben" -

hopefully by the time thiscomes out you'll have thisone or it will at least havebeen released. LittleMichael Jackson back inthe old smoochy "getchain the throat girls" style.Slow yet catchy. Probablyhis big one for Christmas.

2. Alice Cooper - "Elected" -as big if not better than hislast one. To coincide withthe American PresidentialElections - already amonster over here.

Fantastic bass riff makes itgreat for discos.

3. Redbone - "Fais Do" -new one from the WitchQueen mob. Should bea monster. Back to the oldbass rhythm again whichmakes it great to play in"ye olde disco".

4. Staple Singers - "ThisWorld" - great song, butif it doesn't get plays onthe radio - you know theresult! Shame, cos Staxhas some great things but

they don't get the plays.Buy it!

5. Stylistics - "People MakeThe World Go Round" -played it in a disco theother day and it wentdown a storm, if you cansay that for a smoochysong. Marvellous record -great for late nightlistening. Hope theyrelease it in England.

6. Bombadil - "Breathless" -lots of instrumentals aboutat the moment, this is oneof the best. Already a hit

in the North of Englandin discos. Not sure if it'strue, but a little dicky birdsaid it might have beenBarclay James Harvestand friends having a loonabout in the studio!

7. Skatalites - "Guns ofNavarone" - an oldiereggae thing, but I'd loveto see it re-released. It'sstill very popular in thediscos. How about it?Well that's it for this

month's selections. Hopeyou like them. Keep listening.

thismonth'sselectionby 208'sDaveChristian

next monthanothertop djmakeshis choice

21

dee jay's editorben tree talksto 208's kid jensen

"I don't really see verymuch coming fromcommercial radio inGreat Britain"

Canadian born KidJensen's nightly programme"Jensen's Dimensions" iscertainly one of the mostpopular features on RadioLuxembourg, and is uniquein the sense that Kidchooses the record contentof the show himself, oftenonly a short while beforegoing on the air. He wasrecently voted fourth in theMelody Maker disc jockeypoll, the highest placingachieved by a 208 DJ inrecent years. But let's goback to the beginning inCanada . . .

"I was born in a placecalled Victoria in 1950. Myfather was a jazz musicianwho worked a lot in televisionand radio. This was my firstintroduction to radio,because I used to go to thestudios with him all thetime. We moved around alot and heard a lot of radio.I was always fascinated byradio, especially the musicaspect of it. I learnt to playpiano and trumpet, and whenI was 14 I started off doingodd jobs at one of the localradio stations, operating aboard controlling the sound,that sort of thing. I rememberthe first thing I ever spokeon the air was a commercialfor a car company.

"At 16 I got my firstprogramme which at thattime was a Top 40 show ona local am station. So I quit

school for radio, whichsurprised even me, becauseI didn't think that I'd takethat much interest in it.Till then I was also in agroup, and I decided thatradio was a good mediumfor a frustrated musician -to listen to music, to presentmusic - because that was mybasic interest, music.

"After six months I movedto a middle of the roadstation, I was doingclassical programmes on anfm station, I was doingmorning shows, I was doingall sorts of things actually,being the youngest in the areaI was always doing the oddjobs.

"Then as I worked aroundI started playing contemporarysounds or as they wereknown then 'undergroundmusic' - in 1967 music thatcame out of San Francisco -Grateful Dead, JeffersonAirplane, etc. And I wasworking on an fm stationoutside of Vancouver."

How did you come tomake the move over toLuxembourg? I believe thatoriginally you weretelephoned and offered thejob, is that correct?

"Actually I was sent atelegram. Initially when Ijoined the station I wrote aletter with an audition tape,because a buddy of mine

from Caroline South, SteveYoung, came to work at thestation where I was working.I'd never even thought ofradio in Britain. About thesame time he came itco-incided with a 'DangerMan' series on TV, and Ifound out later that it wasset on Radio City. So Iasked Steve about radio inEngland, and he said thatthe pirates were dead, whichwas why he had come toCanada, but why not tryLuxembourg. So I did andabout a week later I had atelegram saying that if Icould be over within 96hours the job was mine.So I packed up my job, saidgoodbye to everyone, andgot over here quickly withno hesitation. That was 1968,and I've been here prettywell permanently ever since,except for a two and a halfmonth period when I wentback to Canada to do radioand TV in the Yukon."

What was the reason forthat? Did you actually leavethe station?

"Yes I did. I was notasked to leave. I left becauseI was dissatisfied with theprogrammes as such. Well,the real reason was that Ididn't want to play whatsomebody else told me toplay, I wanted to play myown thing. I thought that Icould best put across myown personality by playing

23

the music I enjoy playing,that I felt a part of, that Icould relate to. Up untilthen I'd been doing somepop shows, and then ontwo nights a week I woulddo a three hour dimensionprogramme, called the`Underground Incident' orsomething. So I'd go andstart at ten o'clock at nightand be happily doing popshows, and then all of asudden - WHAM! Whenyou're playing the JeffersonAirplane it's a whole differentscene you see, and I feltthe audience was thinkingwell who's he trying to kid -who is he really - he's notbeing very honest. Which istrue. I mean I can adaptmyself easily, I could do acountry and western show,I could do Scottish folkmusic, I feel I could do thatquite adequately on theradio - but I think peoplecan tell whether you arebeing honest and sincere ornot. And I felt that I coulddo it better playing themusic I am now. There'smore scope, more things totalk about."

What were you doingactually in the Yukon?

"Radio and TV. It was afairly middle of the roadstation in the town ofWhite Horse. It was verycold in the Yukon - 45°Fbelow zero when I was upthere, and you had to dressreally warm, and I was gladto be back in Luxembourgafter that experience. Thestation would play countrymusic for a few hours, thenmiddle of the road 'easylistening' music, then they'dget into rock and pop andI'd do that. Also there was aTV station I used to do latenight news and commercialsfor them."

And so you came back toLuxembourg. Why?

"Well they sent me anothertelegram saying that if Icame back they would behappy to let me have myown show seven days aweek instead of just two, andtkey needed somebody to dothe show, and would I comeback. And I said yeah rightaway, because I didn't hateLuxembourg - the reason Ileft was because I wantedto do my own showregularly."

Was that the occasionthey had the telecast thing?

"In Leicester Square - ohyeah, that was great - Icouldn't believe that."

How do you find life inLuxembourg?

"Life here can be a bitstrange for the first sixmonths or so. It takes awhile to get used to, gettingused to the people - theyare friendly after they knowyou. The food here is greatof course. The one thingabout Lux is that I feelwasted. I'm 22 now, Iwork two hours out of a24 -hour day - so thatleaves me with pretty well 22hours to do nothing. Livingin a big city has advantagesfor that - there's alwayssome sort of incentive. Idon't feel the incentive to dothings, you see. I'm justwasting my time - it's myown fault I suppose, a moreambitious person would bereading, or writing a book orsomething like that.

"I feel that there is somuch in the music industryin London, and not being allthat far away, and also beingpart of the one commercialstation that England has -having all this time withnothing to do I'd rather havemore part of the musicscene. Not particularlybusiness, but just associatemyself more and be involvedwith the workings of themusic."You mentioned commercial

stations just now. Anythoughts on the forthcomingUK commercial radioscene?

"I worked on a few stationsthat were pretty hick, and afew that were very goodbefore coming toLuxembourg - but I don'tsee very much coming fromcommercial radio in GreatBritain. It's not that I'mafraid of it at all, because Iwould dearly love to havesome competition. OnLuxembourg at the momentit's so easy to get stagnant.I mean you're on the airbetween I and 3 in themorning, there's nobodycompeting with you, and youwonder if everyone's listeningto you because there isnothing else on the radio.I would love competition -like Radio Geronimo, RadioMonte Carlo and RadioNorth Sea. The first two whenthey were going tried to putout contemporary music -they didn't get ratings forthem, but they thought theycould. They used to come onthe radio and make fun ofthe things I used to do. Itwas great, really, because Ithought these bastards aretrying to take away all mylisteners, and I'm not goingto let them do it. I know itsounds corny but it makes

kid-seen here in the 208 studio

you give more - you reallytry harder.

"Remember that inCanada or the USA aprogramme director will takeall the DJs into a room andlook at the ratings and if youdon't have top rating andyou're doing the 6 to 9show - they want to knowwhy, and you leave thestation if you're not doingit right. I love that.

"As far as commercialradio goes in Great BritainI can see it going two ways.I don't think they will try tocopy the Americans, and itwon't be like the piratestations with the needle -time restrictions. I can see itbeing very local and verymiddle of the road, thenhopefully after about fiveyears or so stations willbegin to specialise like theydo in the States, they canplay middle of the roadmusic or country and western,or they can be a newsstation or.have chat shows,etc.

"As long as it doesn'tturn out like the manysecond rate Americanstations. It's not so muchpresentation as knowingyour market. You could bringthe top New York RadioStation to London, but itwould die the death surely,

24

because they are not readyfor it. Similarly in Americaa lot of English radio wouldsound very hick. There'snothing wrong with that aslong as it is successful, aslong as people enjoy it,which is, after all, theprime reason for being there.No, honestly, I don't reallysee a lot happening at all.I would love to be provedwrong, but by what peopletell me about this needle -time it's just ridiculous."

Kid, what about artists.Who are your personalfavourites at the moment?

"At this time I listen a lot toa guy called Bobby Whitlockfrom America, he has a newalbum out in England on CBS.He used to be with Derek andthe Dominoes, and used toplay with Delaney andBonnie, as a young kid out ofTennessee and is very, verygood. I like Dylan. Mymusical tastes are really veryvaried. That's one thing I

would like to get across topeople, because so manypeople will not ask for meto do commercials or specialpresentations immediately youplay the kind of music Iplay. You become stereo -typedeven by people within thiscompany. Lux considers thatif it's going to be KidJensen then it's going to beDeep Purple, Uriah Heep,Black Sabbath, Grand FunkRailroad that sort of thing.thing. But there's also a lotof Joni Mitchell, a lot ofMiles Davis, Weather Reportand John McLaughlan,involved in the show too.Neil Young, Dylan and therest of it - it's a very variedthing."

You are often linked inthe DJ world with John Peel.How do you feel aboutthat?

"Surprisingly enough ourtastes in music aredecidedly different. This isone of those areas where

people tend to stereo -typeyou. In England I reallyhave to watch out forthis . . . people do say`Jensen, Peel - the samething!' It's not at all. Justlisten to the programmesand you will find thisdifference in our musicaltastes. Our styles aredifferent. You know, oneday I would very much liketo do a double show withJohn Peel. I think it wouldbe very interesting and provea lot of people wrong -who classify us and put usinto the same sort of thing.

"I love listening to John,I think he has a very greatsense of humour, very dry. . . in fact I like his senseof humour better thananything else. I don't myselflike to work the way that heworks, but then I think thateveryone should do theirown thing, otherwise it'spointless. For instance,lots of ballroom DJs in

kid selects his programme minutes before going 'on the air'

England try to copy Rosko,or Blackburn, or somebody,and it's pathetic really.The same thing largelyapplies to US radio,every DJ has the samethings to say. When I'm30 I don't want to be sayingthe same thing as everyoneelse. I want people to listento me not just because he'splaying music, but becausehe's got something to say -not a genius, but he's got apersonality, some sort ofwarmth. He's got his ownindividual style, and he'sputting something acrossthat nobody else is.

"I don't want to copyanybody. UndergroundDJs in England always haveto be very sombre and talklike John Peel - by no meanssmile, that would be uncool!I've got no time at all forthese people."

ben tree

Next month's 208 interview with Bob Stewart25

d j quotes:"I have always rejected thethought that radio should bejust background music. Itperforms a backgroundfunction, of course, but itseems a waste of time andeffort if you reckon to bebroadcasting to people whoare not listening!" . . . JOHNDUNN, RADIO 2.

"My big regret is that Idon't have my own radioshow in this country. It issomewhat ironical that youcan go 12,000 miles acrossthe world where they knowyou, but ten miles outsideLondon, they have neverheard of you!" . . . KEITHSKUES, BBC RADIO 2ANNOUNCER.

rt .

"I'm not against easy -listeningtypes of discs - but there areso few records in the chartthat give you an `up' - whichis sad" . . . STUARTHENRY, RADIO 1.

"Contrary to the view heldby some people, usuallyDJs themselves, a DJ isn'tthe star. He isn't the show,however much he may enjoylistening to his golden tonesreverberating in his stereoheadphones. He is simply thelink between the musiciansand one listener multipliedsix or six million times.His concern must be firstand foremost to the listenerand his sympathy for themusic.

Musicians and listenersexisted before DJs and they'llstill be around when the lastDJ has disintegrated todust." . . . DAVID CARTER,BBC RADIO LONDON.

musing with moffat

I don't know whether it istrue or not but I'm told thatjust prior to The Olympicsthe German band had torehearse and record thenational anthems of thecompeting countries. On totape went the American's,the Russian's and so on.When they got to "God Savethe Queen", they said "Isuppose we may as welldo this one as well thoughI doubt whether it'll getused!". I believe it wasused once or twice thoughI wasn't watching at the time.Whenever I chanced to viewThe Munich Funfair it wasonly to see some poorunfortunate thrashing aboutat one end of a swimmingpool as if in mortal combatwith a shark whilst all theother competitors weresitting on dry land-or ratherdry concrete-at the other."So and so has created anew British record" shriekedDavid Coleman withobvious glee, completelyfailing to point out that"so and so" was 30 yards -I'm sorry, metres - behind

the winners. I mention TheOlympics because it was thatwhich drove me to drink.Not that I was exactlyteetotal before but withnothing much else on "thebox" I sallied forth to mylocal tavern. Alas I foundlittle joy there either. Sogreat was my need for peaceand quiet that I sallied stillfurther; ten whole restfuldays in the Highlands ofScotland. Of what joy to beable to sip a large scotchwithout the recordedcompany of Little Eva, TheNew Seekers or Doctor Hookand Medicine Show. Thethrill of knowing that I hadoutwitted "Sylvia'sMother" and left hersomewhere stranded in theEdgware Road; that ifanyone "Knocked threetimes on the Ceiling" itwasn't "Dawn" but eveningand a timely reminder thatthe bar was open. Thenearest we got to pop musicwas when a wee Scots laddieof about three summersstood on a table and sang -of all things - "I Wouldn't

Leave My Little WoodenHut For You"!

You will by now havegathered that there is in myLondon local one of thoseso-called improvements,one of the "addedpleasures" for the presentday drinker -A JUKE BOX.Why, oh why do we allowit? Why will 30 or so grown,intelligent men and women,none of whom can standthe noise, permit somespotted youth to make ourlives a sheer misery forthree minutes or so simplybecause he has five pence tothrow away? I'm not aspoilsport, a killjoy. Live andLet Live is my policy butnot to the extent of allowingsomeone to make conversationimpossible. If I were to standup in my pub and play atrumpet for three minutesI'd be out of the door inless time than it takes to say"a pint of bitter". Quietbackground music can addto the enjoyment but ifanyone puts "Beg, Steal orBorrow" on just once again,"come what may" I'll rip

the bloody thing off the walland to hell with VickyLeandros! And don't thinkI won't. Cost me £5 the lasttime; causing wilful damageto another person's property.Got a round of applausefrom my fellow tiplers anda round of drinks. Well, doyou blame me? Not once,not twice did Tom Jonessing "It's Not Unusual".He sang it SEVENTEENtimes, consecutively. As themagistrate pointed out"Mr Moffat, I agree It'snot unusual for a person toreact when subjected to thatsort of noise for so longbut it is to resort to your sortof measures!". Witty fellowhe was: He'd been thinkingthat remark up all night.Anyway, if the landlord of"The Alliance" in WestHampstead reads this"MR O'REILLY. TAKENOTE. YOU HAVE BEENWARNED."

roger moffat26

sounds on stage Philip milnerSLADE ATTHE SUNDOWN

Not long ago, the criticssaid that Slade could nevermake the grade with theirline up as it was. Tonightthe critics had come fromfar and wide to drink ofSlade's wine and to eat oftheir bread, and perhapsswallow a few words aswell.

They were out in force,ploughing their waythrough roast chickenlegs and ham sandwiches.

They even brought alongtheir Maid Marians and theirPenthouse Pets, sophisticated,decorative and stunning.Fat fists clutched tumblersof scotch, of gin and tonictoo. While others drownedin ale would say "Thesewounds I had on Crispinsday", and maybe as a fondafterthought "this booze Ihad on Sundown day".

Sundown is a newcomplex of rock venues.There are four in Londonand soon they will be

opening in other towns.Slade who were chosen toopen the Mile End Sundownresponded by filling it tocapacity. They had to fly overfrom LA specially forthe concert and then flyback again the next day tocontinue their first Americantour.

The capacity audience isalmost hysterical even beforethe group has started.Waves of humanelectricity buzz around thedarkened auditorium. Sladeis announced and the crowdpushes dangerously closer tothe front of the stage. Theslow handclap breaks into anenthusiastic ovation as Jim,Don, Dave and Noddy comeon stage and plug in. Daveplays the guitar intro toAlvin Lee's "Hear mecalling" a number whichsteadily gathers momentum.The delayed crashing chordsat the end build and builduntil the tension is almost

unbearable.Noddy Holder's voice is a

bit like early John Lennon,cracked and brooding, theperfect Juke Box Voice. Aslead singer and self -electedleader of the group it'sNoddy who shapes the stageact. With his top hat andbraces and his Dickensianside -burns, he looks like thearchetype dirty old man -leering up at all the youngladies who pass by. Healmost bullies the audienceinto losing their inhibitionsand just having a good time.Indeed it's rare for a Sladeaudience not to obeyNoddy's requests. He getsthe blokes on his sidethrough his jokes, hisdown to earth style and hisfruity language. "Hands upall the young ladies thathave got RED knickers on.""Hands up all the youngladies that have got whiteknickers on." "Hands up allthe young ladies with NO

knickers on." There is aunanimous roar of delightand most chicks wave bothhands in the air.

"In this one we alwayssay this but - we want allthe fellas - we want all theyoung ladies very closetogether for this one - andhaving a quick feel of oneanother." Then follows avery average version ofSebastians "Darling be homesoon", no one is quite sureif there is any feeling goingon, but a bra is thrown on tothe stage at the end of thisnumber.

They pump more oil on tothe flames, playing hits fromtheir mis spelling era.Saving the best till lastthey burst into "Get downand Get with it", playedwith piles of gusto and asmuch subtlety as ahurricane. Noddy who isanchored to his mike standjust screams, "Get down andGet with it".

Each month I shall betelling you what's going onin America on radiostations FM and AM -telling you what's happeningregarding British acts in theUSA - as well as whichAmerican acts are coming tothe UK. Also each monthI shall give you the addressesof some of the major marketstations for your reference.Finally I shall let you knowthe hit picks and albums ofthe month I include on myradio show in the USA.

Coming to the UK in thenext few weeks are theJackson 5, including theirnew member, who will,

however, not be playing ashe is too young. Also ThelmaHouston, now signed toMotown from ABC will bedoing an extensive tour withthe Four Tops, who havesigned from Motown to ABCworld wide.

Also on tour the John KayBand and Steppenwolf aswell as Three Dog Night,who have just had a NumberOne in the States with"Black and White" - thereggae hit of last year. Listento the Three Dog's new albumcalled "Seven SeparateFools" - it's the best yet!

Also over the next fewmonths I shall be going intosome detail about themanagement and running ofUS Top Market stations. Atthe last count in the USAthere were about 4288 AMStations, and 2,889 FM. Outof these are of course thenetworks, ie ABC and CBS -these are the most powerfulnetworks in the USA, as theyprogramme a large quantityof the other stations. New onthe scene are the collegeradio stations which arebecoming a very powerfulselling market for recordcompanies, as they reach45 per cent of the youth of

thetony

mercercolumn

the US each day.Unlike the BBC each

station has a set formatwhich it runs to. Formatslike "Top 40", which meansthat they play only the Top40 singles and albums, aswell as the best of the newreleases and "revived 45's".Then there is "Middle OfThe Road", your Tom Jonesand Sinatra stations. Youalso have a few Country andWestern and religiousstations, as well as othertypes of music stations. Ishall deal with each of thesein more detail in the month'sto come.

Now for my shows forthis month in the USA . . .

the featured album is byMark Radice. It's on

Paramount and is out in theUK. Mark is only 14 andwrote all the tracks himself.Outstanding track is "HeyMy Love" which is also hisUK single. The album wasproduced by Jerry Ross - oneof the top US producersoutside of Motown.

Hit pick singles for thismonth include "Sailing" bythe Sutherland BrothersBand on Island - just out inthe USA. This was verynearly a UK hit. Island havejust opened a US office, andI am going all the way withthis one as it could be a bigTop 40 hit by early December.

I am also including TheSweets' "Little Willy" - outon the Bell label in the USA.For months I have beencertain that they will havechart success in the States,and I think that this is theone that will do it. Bell arecurrently the major recordlabel in the USA forbreaking British acts.

Next month I shall explainhow a US Top 40 stationworks . . . and where youcan obtain radio style jinglesmade for your disco at a lowcost.

tony mercer27

disco -picks of the monthThis month once again our tame disco DJ selects those singles from the ones received at this office, which he feels are of particular

interest to all you discotheque DJ readers, and of course, to those of you who just like good dancing records.So here we go with this month's selection - which once again are not in any order of merit:

BOBBY HEBBJIM CROCEGARY GLITTER

JERRY BUTLERCURTIS MAYFIELDCHARLIE JONESSTEVIE WONDERCHRIS MONTEZFREDDIE SCOTTTHE ANIMALSTHE DOOBIE BROTHERSTHE SISTERS LOVEJACKIE DE SHANNONJOE SIMONTHE INVITATIONSMEL AND TIMSHA NA NATHE JB'sBOBBY NEWSOMEBOBBY BYRDJACKSON 5THE FOUR TOPSCHAIRMEN OF THE BOARDDAVE COLLINSTHE STAPLE SINGERSJOHNNY JOHNSONBARRINO BROTHERSTHE CAPITOLSALICE COOPERTRAMPPSLESLEY GOREBILLY STEWARTLAURA LEEXITNAZARETHFREDERICK KNIGHTMILLIE JACKSONTHE OLYMPICSBOBBY WOMACKBOMBADILROOT & JENNY JACKSONFRANKIE VALLI & THE 4 SEASONSTHELMA HOUSTONCREAMBETTY WRIGHTTHE DETROIT SPINNERSBLACK SABBATH

Love, Love, LoveYou Don't Mess Around With JimI Didn't Know I Loved You(Till I Saw You Rock and Roll)One Night AffairFreddie's DeadDon't Want To Lose YaSuperwomanThe More I See YouThe Great IfHouse Of The Rising SunListen To The MusicMr Fix It ManOnly Love Can Break Your HeartPower Of LoveWhat's Wrong With My BabyStarting All Over AgainBounce In Your BuggyGivin' Up Food For FunkJody Come Back And Get Your ShoesNever Get EnoughLittle Bitty Pretty OneI'll Turn To StoneElmo JamesRide Your PonyThis WorldHoney BeeI Shall Not Be MovedAin't That TerribleElectedZing Went The Strings of My HeartIt's My PartySittin' in the ParkTo Win Your HeartI Was RaisedIf You See My BabyTroubleMy Man A Sweet ManThe Same Old ThingWhat Is This?BreathlessLean On MeThe NightNo Ones Gonna Be A Fool ForeverBadgeBaby SitterI'll Be AroundTomorrow's Dream

Special MentionJOHN BALDRY Everything Stops For Tea(for the right sort of places and occasions!!)

Philips 6051 023Philips 6000 069Bell 1259

Mercury 6052 168Buddah 2011 141Columbia DB8925Tamla Motown TMG827A & M AMS7027Upfront UPIRAK RR1Warner Bros K16208Tamla TMG 828Atlantic K10241Mojo 2093 023Mojo 2092 055Stax 2025 125Kama Sutra 2013 048Mojo 2093 021Mojo 2093 018Mojo 2093 020Tamla TMG 825Tamla TMG 829Invictus INV 524Rhino RNO 105Stax 2025 129Stateside SS 2207Invictus INV 523Atlantic K 10205Warner Bros K 16214Buddah 2011 140Mercury 6052 179Chess 6145 017Tamla TMG 831Rare Earth RES 107Peg PGS5Stax 2025 133Mojo 2093 022Jay Boy BOY 74Jay Boy BOY 75Harvest HAR 5056Upfront UP2Mowest MW 3002Mowest MW 3001Polydor 2058 285Atlantic K 10250Atlantic K 10243Vertigo 6059 061

Warner Bros K 16217

Wow, quite a list this month! All real toe -tapping, foot -stomp goodies for discos - so if you have missed out on any of these titles -POW - zoom off down to your local record shop AT ONCE.

Cheers for now, remember keep swinging, and see you all next month.

REMEMBER

de.elCiy IS READ BY THE DJ'sWHO MATTER

28

"If I can win one new fanevery week - I'm happy"

Pat Campbell talks to Larry Adams aboutcountry music on the radio

`Four In The Morning" is avery good number. But thereare a lot of other goodCountry songs around whichgiven the same promotion,could also make the charts."If the record companiespromoted their Countryproduct in the same way aspop, there'd be a lot moreCountry Music in the charts.The success of 'Four In TheMorning' was due mainly tothe promotional work ofPat Campbell and BurlingtonMusic, who published thesong over here."

So spoke Bill Bebb,producer of BBC's 'CountryStyle' programme, puttinghis finger on one reason whythere are very few Countrysongs on the British Charts.But not only is thereinsufficient promotion by therecord companies, the grosslyinadequate time allocated tocountry music on the BBC isanother vital factor in thelack of exposure of thismusic in Great Britain. Theonly nationally broadcastcountry music show is PatCampbell's weekly 'CountryStyle' programme..

Campbell, a genial Irishmanwith more than his share ofthe traditional blarney, hasbeen in and around theShow Biz scene for manyyears and his love of Countrymusic goes back to hisyouth.

"Well it was like a heritageto me. I was born in Irelandand Ireland is the source of alot of Country Music. One of

the most famous songs inAmerican history is 'TheStreets of Laredo'. Theoriginal melody is from anIrish song called 'The Bandof Armagh'. The Irish settlersbrought their own songs tothe States and that's one of'em.

"But you're talking aboutme and my involvement inCountry Music. It startedwhen I was very young -Iwas weaned on it, because thekind of music I appreciateand love is Country Music -and I got plenty of it fromthe country of my birth -Ireland!

"I used to sing with a groupknown as the 'Four Ramblers'- and incidentally otherfellow members of the groupwere Val Doonican,Dermot Buckley and TommyByrne - and I used tosing a lot of Country songs.We had a very modernapproach to the singinginvolvement of our team andalways I noticed the Countrysongs went over better, youknow."

Campbell left active Showbusiness around 1957 andbecame the promotionsmanager for RCA Victor,who boast one of thebiggest stables of Countrystars in the world.

"People like Eddy Arnold,Jim Reeves, Hank Snow,Hank Locklin - you namethem, RCA seem to havethem.

"And when I joined RCA,my immediate involvement

was to pick out an unknownsinger called Jim Reeves -aman who wasn't even a bigname in his own country -just a 'middle-of-the-road'country artist - and, thankGod, with some help andsupport of some very goodfriends in braodcasting - wehit Jim Reeves in! And Jimbecame a very, very big starover here long before he wasever recognised in America.

"Following him I hadpeople like The Browns,Floyd Cramer, Hank Locklinand Eddy Arnold. I got theminto the top 20 charts here inBritain and, quite frankly, asfar as I'm concerned, what Idid then could just as easilybe done today - if there wasany kind of dedication,enthusiasm or involvement inCountry Music, or knowledgeof Country music,' by the so-called executives of these

record companies at themoment - and this is what'smissing!

"Just recently, I wascompere of the Charley Prideshow, and RCA, who releasehis records, said 'Oh,nobody knows Charley Pride'.And I ask you the question,Larry, like you've askedmany people yourself, whydon't people know CharleyPride? - because there's noreal promotion behindCountry music.

"When Larry Cunninghamwas on the Charley PrideShow, he brought with himhis record manager anddistributor and they broughtthe records to where Charleyand Larry were appearingand they sold over a periodof 10 days, 5,000 LarryCunningham LPs! Larry is avery good friend of mineand a very fine artist, but,

29

please God, you cannot atthis particular momentcompare him with the greatCharley Pride, who at themoment has 18 albums outin America and seven overhere! And I'd like to see thesales figures of those!"Still, there's a little ray ofsunshine, though, in thesuccess of 'Four in theMorning'. When it first cameout, I said to Faron Young,that I thought it was a No 1hit. And I was right. Now it'shitting the top over here."

The hardest thing whentalking to Pat Campbell is toget him to talk about himself.Every time the questioningwas steered round to thesubject of Pat Campbell, he'dduck and run.

"I'm a shy type of a fellow.I shy away from publicity,from personal promotion.I'm trying to promoteCountry music. Countrymusic is bigger than I everwill be, and I love it!"

" 'Country Style' is so verysuperficial and doesn't go toodeeply into the music andthere are many who find theconstant sugary references to`Jim' - Jim Reeves - slightlynauseating.

"Frankly, I haven't gottime for the dedicated,fanatical Country fans,because they're trying to`preach a gospel' and whenyou start preaching to people,they don't want to listen.What I'm trying to do is winnew-found devotees toCountry music and I won'tdo that by playing the ethnicsounds of Country music, ortoo many Bluegrass records.I love Bluegrass, but that is aspecialist sound and I try topresent a 'middle-of-the-road'programme.

"Start with a bright -and -breezy number. 'Here we are -Hap-py Country Music!'. I'monly trying to win newpeople - if I can win one newfan every week, I'm happy!And the small amount ofair -time on the BBC andlocal radio that's given overto Country Music doesn'thelp - yet the audience is outthere! The Charley Pridetour was a sell-out and onlya couple of weeks after that,I had a big show at LewishamTown Hall, and the Managercongratulated me that we'dpacked the theatre forCountry Music when severalbig stars - and he namedthem - had failed to fill thetheatre on better nights of theweek."

Pat Campbell -"Country music is bigger than I ever will be"

I mentioned I'd had thesame kind of result with a`live' show put on at theCentral Hall, Chatham, aspart of the BBC RadioMedway 'Local RadioWeek', when nearly 1,000people turned up for mylocal radio show 'KentCountry Scene' and drew fourtimes as many people as`Pop' DJ Emperor Rosko atthe same venue three dayslater!

"Country music has to bepresented properly, though,and that include a certainamount of eye catchingappeal. This, to me, includethe appearance of the groups.Some of the most famous ofour British Groups arefrankly a disgrace - and I'vebeen in shows where groupshave looked downright filthyand scruffy, and that is an

insult in my eyes to anaudience!"

I asked Pat what the fanscould do to help get moreCountry music on the air?

"The only way they cando it, is to write, write andkeep writing. Write to me,here at the BBC, CountryStyle, London, W1A 4WW.Let them send in their lettersand say how much they wouldlike more Country Music onthe air, and I promise I'll putit to the BBC programmeplanners and see what theyhave to say - and they areinfluenced by listeners letters,believe me! So, as TexRitter said, 'Vote, vote often -and vote Country'."

Commencing October 5,'Country Style' moves toThursday evenings from9.15 pm to 10 pm -acut -back of 15 minutes over

the previous Monday edition,so the letters Campbellrequested are important ifthis lost time is to beretrieved. I'm sure Pat isn'tat all happy about thereduction in time, although,as Bill Bebb says:

"Pat would do 'CountryStyle' for nothing. I can'tthink of a man who couldcompere the programmebetter than Pat Campbell -he really loves CountryMusic - he eats, sleeps,drinks Country day andnight - but the only snag isI never get to hear any newCountry discs because Pattakes my copies before I getto hear them -I must ringhim up and ask him if I canborrow some of my records!"

larry adams30

there's lots 'in store' forD.J. James . . .

James Whale at 21 is uniquein being London's onlybig -store dee-jay.

Daily, at lunchtime and inthe early evening he playsrecords and chats to theyoung shoppers in PeterRobinson's Top Shopboutique at Oxford Circus.

He is the office girls' delightperched on a high stool,wearing earphones, in hiscircular glass box reading outrequests for Mary of Brixtonor Sue of Catford anddrawing their attention to anew line in dresses orblouses.

"And the nice thing is,"says London -born James,"I'm only a stone's throwaway from BBC. I live inhope of a producer poppingin and liking my voice. Afterall itis the ambition of anydisc jockey to have his ownradio show.

"I'm not an undergroundman. I like commercialsounds."

James organises personalappearances at the store andhas recently had lunchtimechats with Johnny Nash,Design, Lindisfarne andprincipal members of theJesus Christ Superstar cast.

A former actor who trainedin repertory at the NewTheatre, Oxford, he has beenseen on the box in "SoftlySoftly", "The Man fromHaven" and the "Crimes ofPassion" series.

"Being a disc jockey is abit like playing a part in along -running play", he says.

"My real name is MikeWhale, but reluctantly I hadto change it recently,because there already is abroadcaster/journalist calledMike Wale, and this shouldavoid any confusion."

James Whale seen here talking to Gabrielle Field, Barry Alexander, and Kathy

Manuel of "Design" at the Top Shop

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31

bootwovefree radio news, comment and features-compiled

each month by the fra

Just as we were going topress last month, we learntthat the Mi Amigo hadjoined the other two radioships anchored off the Dutchcoast.

Readers of "Dee Jay andRadio Monthly" alreadyknow the background to thisdramatic news. In lastmonth's "Beatwave", ourspecial reporter described hisvisit to the ship in Zaandamharbour, and the owner'splans to convert the vesselinto a floating hotel,restaurant, discotheque andFree Radio museum. Thisproved to be a clever "coveroperation", designed to foolthe authorities. And foolthem it did! They gavepermission for the ship tobe moved to its "finalposition" - little knowingthat this would be justoutside the territorial "threemile limit".

Nothing more is known forcertain, although we havereceived unconfirmed reportsthat a company has beenregistered in Amsterdamcalled the Bell BroadcastingCompany, that this companynow owns the ship, thatshares in the company areheld by Gerard van Dam(who purchased the ship atan auction last May for£2,500) and that shares havealso been bought by RonanO'Rahilly. We have alsoreceived reports that thestation is to be called RadioCaroline International, and

that it is to broadcast anEnglish pop service on259 metres (the wavelengthused by Radio CarolineSouth) and "middle-of-the-road" Dutch music on270 metres. We telephonedRonan O'Rahilly's office inLondon to check thesereports, but they wereneither confirmed nordenied.

The Mi Amigo has afascinating history. She wasbuilt at the Deutsche WerkeAG in Kiel in 1921.Originally a three -mastedschooner, she was rebuilt as amotor vessel in 1927. Heroriginal name, theSS Margarethe, was changedto the Olga, from the nameof one of her owners, OlgaKoppleman. For more than30 years she plied betweenthe harbours of the Balticand the North Sea. In thebook, The Radio Nord Story,there is a photograph ofwood being unloaded from theOlga at Hamburg. She looksnothing like the Mi Amigo,and you would hardly believeshe is the same ship.

Jack Kotschack, of RadioNord, described his firstimpression of the ship inthese glowing terms: "I hopenever to see anything so uglyagain . . . she was surroundedby an overpowering stenchof rotten herring which hit youat a distance of 20 metres".He must have managed toovercome the smell, because

the Olga was bought by theRadio Nord organisation,and converted into a floatingradio station!

The name was once againchanged, this time to Bon Jour.The logic behind this changewas impeccable. The shiphad been built in Germany.She was registered inNicaragua and chartered in .

Liechtenstein. She was to beused for broadcasting toSweden. So the new ownersdecided she had to have aFrench name!! It was left to anAmerican to make the finalchoice. The only French wordshe knew were "ooh la la","garcon", and "bon jour".Bon Jour it was!

The conversion to a radioship was completed inSeptember, 1960, and theBon Jour was used byRadio Nord until the stationwas closed by the Swedish

government.The ship was then bought by

Allan Crawford for RadioAtlanta, and renamed theMi Amigo. She was movedto the British coast, offHarwich. Transmissionsrecommenced in April, 1964.

Three months later,Radio Atlanta and RadioCaroline decided to merge, butthe Mi Amigo stayed inposition to become theCaroline South ship. Shecontinued in this role (apart .

from a brief period in 1966,when she ran aground)until March, 1968. It wasthen that the Offshore Tenderand Supply Company tookthe law into its own handsand towed both Caroline shipsto Amsterdam.

For the technically -minded,the aerial mast is 168 feat in *height, quarter wavelength.The broadcasting equipment,

32

The full view picture of the Mi Amigo was taken while shewas broadcasting as Radio Caroline South. The two close-upshots show the ship in dock after being towed into harbourby the Offshore Tender and Supply Company.

In view of the enormous amount of interest being shown in theMi Amigo and the possibility of a new offshore radio station,we have held over our article about the political situation inHolland, and the future for RNI and Radio Veronica. Thearticle will be included in "Beatwave" as soon as space permits.

g`TC)LP ZAggOnce again, exciting late developments as we

go to press. On September 30 Radio Veronicaclosed broadcasting on 192m, and re -opened onehour later on 538m. At five minutes past midday,RNI commenced a test transmission on 192m!The service called RNI 2 was in English until5 pm and then in Dutch until testing ceased at7 pm.

Also from midday a test transmission waspicked up from the "Mi Amigo". There wereno announcements but continuous pop music wasplayed during the afternoon and evening.

as used by Radio CarolineSouth, were a crystal -controlled50 kW Continental Electronicstransmitter, a 10 kW standbytransmitter of the same make,two generators, a modulationmonitor and a limiter toprevent over -modulation.Studio equipment included aten -channel mixer unit, aGates Studioette mixer unit,two Garrard and two Gatestranscription turntables, fourAmpex tape decks andamplifiers, and five Spotmastertape recorders.

More information aboutthe history of the Mi Amigo,and the radio stations whichused her, will be found in thefollowing publications: TheRadio Nord Story (£3.50),Radio Caroline (60p), WhenPirates Ruled the Waves(paperback 95p, hardback£1.95) and Spotlight. Theseare all available from the FRAat the prices shown, whichinclude postage and packing.Spotlight cannot be bought,but is sent to all full membersof the Association. Fullmembership costs £1, andthis can be sent by cheque orpostal order (made payable toFRA). The address is FreeRadio Association, 339Eastwood Road, Rayleigh,Essex, SS6 7LG.

The FRA produces veryhigh quality car stickers,window posters,calendar posters andpictorial posters. Peopleuse these to show theirsupport for Free Radio,to publicise the off -shorestations and to turn adull bedroom wall into away-out blaze of colourand interest! Here is thecomplete range:

CAR STICKERSFight for Free Radio sticker,

black on white. 8p for three.Support free enterprise radio

sticker, black on white. 8p for three.Day-glo Fight for Free Radio

sticker. 15p for three (differentcolours).

Radio Nordsee Internationalsticker, flame red and white onblack. 20p for three.

WINDOW POSTERS"Broadside" window posters.

Long, thin posters, black on whitewith red gull symbol. 25p for three(different slogans).

Fight for Free Radio poster,black on white. 7p.

Radio Nordsee Internationalposter, flame red and white onblack. 25p.

Day-glo Fight for Free Radioposter. 30p for three (differentcolours).

Important: These window postersare designed for house windows,discotheques and outdoor sites.Please do not use them on cars,as they would restrict your vision.

CALENDAR -POSTERS1971 calendar -poster (our first),

with silver armoured knight onbrilliant red background, strikingartwork and old English lettering.Special offer to "Dee Jay andRadio Monthly" readers only:30p (normal price 50p).

1972 calendar -poster. Beautifulfull -view silhouette of the RadioVeronica ship by moonlight.Special offer to "Dee Jay andRadio Monthly" readers only:this will be sent with a 1972 FRAdiary packed with technical radiodata, for only 50p (normal pricefor the calendar alone is 65p, andnormal price for the two is £1.30!).

We are making these specialoffers so that readers who laterbuy the 1973 calendar -poster (whichis now being printed) will be ableto have a complete set.

PICTORIAL POSTERSRadio London memorial poster.

Symbolic design which only Big Lfans will fully understand. 40p.

Twins poster, humorouslyfeaturing Caroline and Veronica.60p.

Capital Radio poster. A hugeand dramatic picture of theKing David riding out a North Seastorm. Capital Radio peel -offsticker enclosed free. 70p.

Please send details of any of theabove which you would like toorder, with your name andaddress, and cheque or postalorder(s) for the total amount, tothe Free Radio Association,339 Eastwood Road, Rayleigh,Essex, SS6 7LG. Please makepostal orders, cheque, etc, payableto FRA.

a b.c. enterprises publication

33

on the road with the 208/tamla showFollowing reports of fantastic scenes at the Radio Luxembourg/Tamla nights at the Top Rank suites, "Dee Jay and Radio

Monthly" decided to investigate. Here are the random (rambling) jottings of our mobile reporter who accompanied 208 Press Officerand DJ Paul Burnett to Liverpool:"Met Jimmy Parsons at Hertford Street . . . "glorious day for flying" . .. drove to Heathrow where we almost ran down Paul

Burnett . . . one hour wait and the bar was closed! .. . pleasant flight but very abrupt landing . .. taxi to hotel . . . few drinksat the hotel . . . over to Top Rank Suite to meet manager and resident DJ's Dave Griffiths and Ricky Van Dyke . . . Paul to dotwo hours (8.30 to 10.30) . . . few fans already queueing outside . . . usual Tuesday attendance already in by 7.45 so it looksgood . . . 8.20 Ricky Van Dyke hands over to Dave Griffiths to get the audience really warmed up . 8.25 girls all round thestage now (which is well decorated with 208/Tamla material) . . . screams as Paul goes through backstage to get ready . . . 8.40 Paulgoes onstage to earshattering screams which rise to deafening level as he tosses out a Tamla T-shirt, a poster, some records and somephotographs. . . all interest in dancing lost for the time being as hands grab for records, pictures, posters, Paul (!) . bouncers nowappear each side of the stage . . . the record playing equipment (hopelessly inadequate for a venue such as a new Top Rank suite) isconstantly knocked and another few Tamla grooves are lost forever . . . Paul now produces pictures of himself and the reaction isalmost total hysteria . . . competition - three in a T-shirt . . . one of the winners Karen Geoghegan (16 tomorrow) admits shedoesn't usually come to the Top Rank on Tuesdays - but heard about it on the radio and came really to see Paul - "I Think He'sGreat" . . by now almost impossible to see the stage from the back of the ballroom . . . more competitions . . . more problems withequipment brings moans from the back of the room where people are still interested in dancing . . . the whole event is really goingdown well . . . by now girls in the front are in real danger of being crushed, and the bouncers are having a job to keep the stageclear . . . Paul by now sweating profusely and working very hard . . . crowd reaction to anything connected with Jackson 5 orMichael Jackson is fantastic . . . 9.30 grabbing hands and screams are still there even for copies of "Dee Jay and Radio Monthly"! . . .

Dave Griffiths trying in vain to keep the records going, but is fighting a losing battle . . . "stripper" competition gets great reaction. . . just after 10.0 Paul hands back to Dave and is immediately inundated by autograph requests . . . eventually we take an escaperoute through the back of the hall via the roof to the Manager's office . . . the usual attendance has been quadrupled . . . anothersuccessful Radio Luxembourg/Tamla evening has been and gone.""Don't forget these special nights continue well into 1973 so watch out for details at your local Top Rank Suite, listen to 208 orread "Dee Jay and Radio Monthly".

in the studio with roger squire

As promised in our firstissue "Dee Jay and RadioMonthly" have beenattending one of the RadioDJ courses held regularly atthe Roger Squire Studios inNorth London. Here is thefirst report from ourwould-be hopeful radio DJ:

"On arriving at thestudios for the very first timeI was immediately struck bythe friendly relaxedatmosphere, as a cup ofcoffee was handed to meand together with Roger andmy 5 records I retired to thecompact but well laid outradio studio. (For fulldescription see Issue 1 -"Dee Jay and RadioMonthly"). Here Rogerexplained that the mainpurpose of the first lessonwas to familiarise me withthe various items of

equipment and to deal withthe basic techniques andplanning necessary to make agood radio programme.There would, in fact, be littlepractical content to today'slesson. After a brief chat onmy previous radio and/ordisco experience (actuallyvery little), we moved to theconsole panel, where Rogerdemonstrated the instantstart turntables, the fadercontrols and the"Spotmaster" jinglemachines. It very soonbecame apparent that aradio DJ has a lot to thinkabout.

I was then allowed tohave a go at achievingCONTINUITY - betweenone record and a jingle andvice versa. Obviously a goodDJ must make this as smoothas possible and avoid whatRoger termed "pregnantpauses". This part of thelesson seemed to go fairlywell, but you really have toconcentrate all the time.

It was then back todiscussion as Roger

explained the importance ofplanning, the lack of whichwas, next lesson, to becomemy undoing, but more ofthat next month. The areasdiscussed included theplanning of the programmein terms of record content,and here it is important tokeep away from disco -typerecords. Roger's key phrase,and very appropriate is"remember listeners don'tdance, particularly if they'remotorists!"

As far as the course goesand to help with yourplanning you decide whatradio station you are on(i.e. Radio 1, 208, etc),what type of show and whattime segment. I selected aweekday afternoonprogramme on Radio 1beginning at 3.0 pm - inother words the AlanFreeman spot. This will nowcolour my choice of records,words, jingles, etc for therest of the course.

It was then stressed thaton these courses one is notreally concerned with the

music - only the linksin-between. Which, of course,is what disc jockeying is allabout. A typical link mightinclude:

Back announce last recordMention the act'sforthcoming concert tour.Time Check.Jingle.Introduce next record.Other items could include

listeners' requests, trafficand weather reports, etc.

For my second lessonRoger asked me to prepare aminiature programme offive records, to select atheme tune, to prepare notesfor each link, and to allowfor two jingles, tworequests and a motoringflash.

It was all over so veryquickly I couldn't believethat a whole hour had gone,but I realised as I steppedout into the sunshine ofCharlbert Street that I stillhad a lot to learn before Iwould present a seriouschallenge to TonyBlackburn."

34

dee jay album sounds

THE MOST COLLECTIONVolume 1Music for Pleasure MFP 50015Fantastic bargain pricecollection of Mickie Mostproduced goodies. Withtracks by such artists asCCS, Rod Stewart, JeffBeck, The Animals, TheYardbirds and Terry Reidthis must be a good one.For me the stand out track,and a very welcomere-release is Jeff Beck's 1967hit "Hi Ho Silver Lining".The two 1969 -vintage RodStewart tracks are also veryinteresting, listenparticularly to his originalinterpretation of Elvis' "AllShook Up".

Really very highlyrecommended.(DEE JAYMICROPHONE AWARD)

,110.6 Cw

EDWIN STARRThe Hits of Edwin StarrTamla Motown STML 11209Headline News/MyWeakness Is You/Stop HerOn Sight (SOS)/I Want MyBaby Back/Time/I'm Still AStruggling Man/AgentDouble 0 Soul/25 Miles/Soul Master/Way OverThere/War/Stop The War

Now/Funky Music Sho'Nuff Turns Me On/Take MeClear From Here.

Incredible discothequealbum this containing as itdoes the "Greatest Hits" ofpopular Motown artist EdwinStarr. From his early hits like"Headline News" and "StopHer On Sight" through"War" to the more recent"Take Me Clear From Here"the album traces not only thedevelopment of Edwin's style,but also the changes whichhave taken place in this typeof music within the last fouror five years. From apersonal point of view Iprefer the earlier tracksmyself - but give this one alisten and make up your ownmind. Not a dud track insight, fantastic dancingrecord, and, therefore,highly recommended.(DEE JAYMICROPHONE AWARD)

BRUCE RUFFINRhino Records SRNO 8001Mad About You/Save ThePeople/Songs of Peace/WhileThere Is Life/Heaven Child/You Are The Best/Rain/WeCan Make It/One Big HappyFamily/Colourless World/ALittle Today A LittleTomorrowBruce Ruffin has for sometime now been one of thebrightest stars on the reggaescene, and the recent chartsuccess of "Mad AboutYou" has no doubtprompted this album,incidentally the first onEMI's new Rhino label. Thehit is included and also a

nice version of Feliciano's"Rain". The majority of theremainder of the tracks arecomposed by Bruce himself -and many of them arestronger in the lyricdepartment than mostreggae numbers.

If one was to make anycriticism of this album itwould be that for an albumcompcsed of 1971 and 1972recordings - why so manymono tracks electronicallyreprocessed? Neverthelessthis is a very minor criticism -if you like the good soundsof commercial reggae, thenthis one must be for you.

t

THE SUPREMESFloy JoyTamla Motown STML 11210Your Wonderful SweetSweet Love/Floy Joy/AHeart Like Mine/Over andOver/Precious Little Things/Now The Bitter Now TheSweet/AutomaticallySunshine/The Wisdom ofTime/Oh Be My Love.

Several firsts for thislatest Supreme's album -it's the first featuring newmember Lynda Laurence (shereplaced Cindy Birdsong)and it's also the firstproduced for them bySmokey Robinson. He alsolargely wrote the material forthis LP and really it is verygood - what little there is ofit! At today's prices onereally expects more than 28minutes, 26 seconds of playingtime - particularly when twoof the tracks are recent chartsuccesses. This criticism apartthis is a good album, with the

bossa-styled "Precious LittleThings" probably the besttrack.

THE SHIRELLESRemember When Vols 1 and 2Wand WCS 1009/1010Two budget albums of sheernostalgia for the beginningsof rock - in other words themid -to -late 50's. The popularUS girl group The Shirellestackle them all from ThePlatter's "Only You" to DelShannon's "Runaway" -taking in Phil Spector's "ToKnow Him, Is To Love Him"and such other goodies as."Twist and Shout", "MyPrayer", "Hey Baby" and"Zip-A-Dee-Doo-Dah" onthe way. On odd occasionsthe lead voice becomes a littleharsh - but if like me, yourearly days in pop music camewith this era - then you willenjoy this set.

dee jayalbum reviews

byBEN CREE, ROY MACK

AND BOB CALLAN

35

PARDON MY BLOOPERLondon LGU 124

The broadcaster's gaff hasfor long provided humouristswith the basis for laughs.On this record, veteranproducer (radio, tv, film andrecords) Kermit Schaferhas pulled together acollection of the mostnotorious and funny ofthem all.

If you're a collector of thelaugh -a -minute type of disc,this one is for you. R.M.

BUBBLE ROCK IS HERETO STAYUKA 1

Latest venture from theincredible Monsieur J. King!Here Jonathan has takenseveral multi -million sellingtunes, and given them farfrom usual treatments.

Can you imagine "RockAround The Clock" playedas a waltz, "Twist andShout" backed by a StringQuartet, or "Satisfaction"played in good old Countrystyle? Well they're all hereand more. It's certainlydifferent, but give it a listenbefore you buy - it may notbe your cup of tea at all.

THE NEW SEEKERSCirclesPolydor 2442 102

Full marks to Polydor

for what must undoubtedlybe the LP sleeve of the year.Circular in design it opensout by stages to reveal atlast -a great LP. Yes, theNew Seekers have done ityet again with a real bag ofgoodies. From HarryChapin's title track (theirrecent hit single) through thebeautiful "Day by Day" from"Godspell", Cat Stevens'"Morning Has Broken",Dylan's "Blowing In TheWind" to Neil Diamond's"Song Sung Blue" it's allgood stuff. Their owncompositions are not yetquite up to the standardof the above alumni - butare still pleasant enoughmelodies. A nice album.

The BBC are celebratingthe 50th anniversary of itsfoundation. Besides thegeneral high-jinks of specialprogrammes, they havemarked the occasion with aspecial issue of 12 LPs -ranging from humour andpop to one of religiousmusic.

Here 'Dee Jay and RadioMonthly looks at three of

I them.

BBC 1922-197250 Years of BroadcastingBBC Records BBC 50 A/B

Special double albumreleased by the BBC as partof their 50th Anniversaryprogramme. This is a mustfor anyone with more thanjust a passing interest inradio. In a series of 127linked excerpts you aretaken on a journey throughthe history of broadcastingfrom its very early days tothe present. Includes newsitems, musical interludesand excerpts from popularBBC programmes.

Very. highly recommended.

* * *50 Years of Popular HitsBBC Records REC 1365

Another of the 12 LPs tomark the 50th anniversary ofthe establishment of theBBC.

This one, featuring theRadio Orchestra, andconducted in turn by EricRogers, Malcolm Lockyer,Norrie Paramor, RolandShaw and Ronnie Aldrich,takes a 25 -number peep overthe past five decades.

It's great late -nightlistening. And (dare I say

it?) especially for the olderlisteners .. .

When one considers thetremendous outpouring ofpopular music during thesepast 50 years, the BBC haveproduced a finely -balancedprogramme (the record wasmade from a Radio 2broadcast) in this disc.

So many memories - manyfrom the days before thecompelling TV set - swiminto mind. The first number -"Among my souvenirs" -sets the tone for the rest ofthe record. But it's not allolde worlde. There's a properplace for numbers like"Living Doll", "Stranger onthe shore" and "My sweetLord", too. A great galleryof what I guarantee will haveyou awash with nostalgiabefore the first number isthrough. R.M.

50 Years of Radio ComedyBBC Records REC 138M

There was little recordingof shows before the last war,so, as a history of radiocomedy it remains incomplete.

The 18 extracts that thereare from stars and shows thattake us through SandyPowell and Max Miller,through "Hi Gang" and"ITMA" of the war years tothe more recent "Hancock'sHalf Hour", "Round theHorne" and "The NavyLark" series give us a fun-packed view of how comedyhas developed over the years.

These were the days beforethe telly, when old-fashionedsteam radio held pride ofplace in the sitting room.And, as a record of thosedays, this disc is a worthytribute to the artists whohave played so big a part inthe establishment of the highreputation of British humour.

R.M.

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36

bigbob ca Ilan'scolumn

LP Reviews from Radio 1 DJ Bob Callan

BO DIDDLEYBo Diddley's Golden DecadeChess

At the present momentall the record companiesseem to be reviving theirgolden oldies, so either theymust feel that there is a needfor it, or else they arere -vamping their recordedmaterial so that all the capitalpossible can be gained fromit! Here Chess Records areno exception, with all BoDiddley's hits collectedon one album. Theproduction is good, and Ifound most of the albumenjoyable, but there wereodd sections that I found alittle wearing. So if you area fan of Mr Diddley and youwant to bring your collectionup-to-date, then this LP iscertainly worth a listen.

LINDISFARNEDingly DellCharisma

The third album from"Lindisfarne", anotherobvious success. I like theway that the album moves

from track to track, withsuch ease as onlyLindisfarne know how.The album will sell likehot -cakes if only for thereputation that Lindisfarnehave earned themselves inthe past. To add more atthis stage to the LP,Lindisfarne are on tour withGenesis and Rab Noakes,so I am sure that they willattract even more fans thanthey have already. It seemsat this time a littleridiculous to be reviewing analbum which is probablyalready amongst yourrecord collection, but thereyou go, for those whohaven't already bought thismasterpiece - I advise youto do so.

XITPlight of the RedmanRare Earth

The first album from aninter -tribal American Rockband from New Mexico,XIT (pronounced Exit). Thealbum contains theirinterpretation of the storyof the American Indian,with the life of the Indianbefore the coming of thewhite man. It must havebeen very difficult to adaptsuch a story into this albumof words and music - butto my mind they have madea great success of it. Allthe tracks are lively,sentimental but above allinteresting to the listener.Some parts are a little

repetitive, but it doesn'tseem to matter as the vocalsovercome it all. MichaelMartin, the lead vocalist,has a great voice which inturn makes the whole albumexciting. I really enjoyedlistening to it, as I hope youwill as well. It makes a greatchange to most of the materialon the market today.

BARCLAY JAMESHARVESTEarly Morning OnwardsStarline

Barclay James Harvest isat last getting the welloverdue recognition hedeserves, and this budgetalbum is a sheer knock -out."Mocking Bird" is a verygood example of theproduction on this low -price,high quality label. All thatis left to say is that it is afantastic album.

taf,--;.4'..:4"`"'"4,kio

kh4^

,4+

a

THE GROUPFunny Game FootballCharisma

An effort by a team ofbroadcasters and journalistsnamely "The Group", on

the football mania that hasswept this country over theprevious few years. Aparody of football comedy"Monty Python" style - withone particular track"World War III" bearinga similarity to "Spam"from the Monty Python LPpoking fun at David Coleman.Some parts of the albumare hilarious, and othersare mediocre attempts atfootball comedy, some of thejokes are overworked. Thewhole album is neatlyconceived and highlyamusing, and if you areinterested in an unbiased (?)view of football the albumis just your cup of tea.

LEON. RUSSELLCarneyA&M Records

I find it hard to describethis album - heavy,original (very), but traumaticto listen to. At the start ofside two I wondered what Ihad let myself in for, allof a sudden there was aneerie noise, followed byhumming and dogs barking,a very good soundtrack for ahorror film. I feel at this timethat the album is completelyand utterly beyond anymusical boundaries that Ihave ever heard before, orwhich Leon has done before,and certainly different tosay the least, not my typeof music at all. (I hope forhis sake that it is someone's.)

37

u.s.chartstop 30singles

Week ending October 14, 1972

u.s.chartstop 30albums

1 Everybody Plays the Fool Main Ingredient RCA 1 Never a Dull Moment Rod Stewart Mercury

2 Back Stabbers O'Jays Phil Int 2 Carney Leon Russell Shelter

3 My Ding -A -Ling Chuck Berry Chess 3 Super Fly Curtis Mayfield Curtom

4 Go All The Way Raspberries Capitol 4 Seven Separate Fools Three Dog Night Dunhill

5 Big Bambu Cheech & Chong Ode5 Ben Michael Jackson Motown6 All Directions The Temptations Gordy6 Black & White Three Dog Night Dunhill7 Himself Gilbert O'Sullivan MAM

7 Use Me Bill Withers Sussex8 Chicago V Chicago Columbia

8 Popcorn Hot Butter Musicor9 Long John Silver Jefferson Airplane Grunt

9 Good Foot, Part 1 James Brown Polydor10 London Chuck Berry

10 Nights in White Satin Moody Blues Deram Sessions Chess

11 Burning Love Elvis Presley RCA 11 Trilogy Emerson, Lake &Palmer Cotillian

12 Baby Don't Get Hookedon Me Mac Davis Columbia Review Van Morrison WB

13 Rock of Ages The Band SVBB13 Saturday in the Park Chicago Columbia14 Days of Future Passed Moody Blues Deram

14 Speak to the Sky Rick Springfield Capitol15 Moods Neil Diamond UNI

15 You Wear it Well Rod Stewart Mercury16 All Together Now Argent Epic

16 Why Donny Osmond MGM17 Ben Michael Jackson Motown

17 Starting All Over Again Mel & Tim Stax18 Jermaine Jermaine Jackson Motown

18 Freddie's Dead Curtis Mayfield Curtom 19 Too Young Donny Osmond MGM19 Garden Party Rick Nelson Decca 20 Son of Schmilsson Nilsson RCA

20 Don't Ever Be Lonely Cornelius Brothers 21 You Don't Mess Around(A Poor Fool Like Me) & Sister Rose UA with Jim Jim Croce ABC

21 City of New Orleans Arlo Guthrie Reprise 22 The Partridge Family'sGreatest Hits Bell

22 Tight Rope Leon Russell Capitol23 Brother, Brother, Brother Isley Brothers T -Neck

23 Listen to the Music Doobie Brothers WB24 The Slider T. Rex Reprise

24 Good Time Charlie's Gotthe Blues Danny O'Keefe Signpost 25 Beginnings Rick Springfield Capitol

25 Play Me Neil Diamond Uni 26 Baby Don't Get Hookedon Me Mac Davis Columbia

26 If I Could Reach You Fifth Dimension Bell27 Carlos Santana and

27 I Can See Clearly Now Johnny Nash Epic Buddy Miles Live Columbia

28 Honky Chateau Elton John Uni28 I Believe in Music Gallery Sussex

29 Back Stabbers O'Jays Phil Int29 Witchy Woman Eagles Asylum

30 Cornelius Brothers &30 Rock Me Baby David Cassidy Bell Sister Rose UA

38

I

chartssingles

top 301 Mouldy Old Dough

2 You're a Lady

3 I Didn't Know I Loved You(Till I saw you Rock &Roll)

4 How Can I Be Sure

5 Burning Love

6 In a Broken Dream

7 Wig Warn Bain

8 Donna

9 John I'm Only Dancing

10 Elected

11 Back Stabbers

12 Children of the Revolution

13 Guitar Man

14 Come On Over to My Place

15 There Are More QuestionsThan Answers

16 Burlesque

17 Elmo James

18 Suzanne, Beware of theDevil

19 Too Young

20 Goodbye to Love

21 Mama Weer All CrazeeNow

22 America

23 All Fall Down

24 House of The Rising Sun

25 Virginia Plain

26 Leader of The Pack

27 Oh Carol

28 You Came, You Saw, YouConquered

29 Hallelujah Freedom

30 New Orleans

Week Commencing:Tuesday, October 10, 1972

Lieutenant Pigeon Decca

Peter Skellern

Gary Glitter

David Cassidy

Elvis Presley

Python Lee Jackson

Sweet

10 CC

David Bowie

Alice Cooper

O'Jays

T. Rex

Bread

Drifters

Decca

Bell

Bell

RCA

YB

RCA

UK

RCA

WB

Epic

T. Rex

Elektra

Atlantic

Johnny Nash CBS

Family

Chairman of TheBoard

Dandy Livingstone

Donny Osmond

Carpenters

Slade

Simon & Garfunkel

Lindisfarne

Animals

Roxy Music

Shangrilas

Neil Sedaka

Pearls

Junior Campbell

Harley Quinne

Reprise

Invictus

Trojan

MGM

A & M

Polydor

CBS

Charisma

Rak

Island

Kama Sutra

RCA

Bell

Deram

Bell

chartsalbums

hot heavy 201 Catch Bull At Four

2 Chicago V

3 Continuous Performances

4 All The Young Dudes

5 Bandstand

6 Close to the Edge

7 Squawk

8 Dingly Dell

9 Sandy

10 Boz Scaggs

11 Rock & Roll Music to theWorld

12 Glorified, Magnified

13 Queues

14 Vol IV Black Sabbath

15 Byzantium

16 Foxtrot

17 Daydo

18 Carney

19 Turkey

20 Below the Salt

Cat Stevens

Chicago

Stone The Crows

Mott The Hoople

Family

Yes

Budgie

Lindisfarne

Sandy Denny

Boz Scaggs

Island

CBS

Polydor

CBS

Reprise

Atlantic

MCA

Charisma

Island

Atlantic

Ten Years After Chrys

Manfred Mann'sEarth Band

Vigrass & Osbourne

Black Sabbath

Byzantium

Genesis

Alun Davies

Leon Russell

Wild Turkey

Steeleye Span

Phillips

UNI

Vertigo

A & M

Charisma

Asylum

A & M

Chrys

Chrys

NOTE

THESE CHARTS AREINCLUDED AS A GUIDETO THE BEST SELLINGSOUNDS IN BOTH THE

UK AND USA

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