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2 RECORD MIRROR, Week ending January 4, 1969

WHAThas happened to Brian Wilson - one time un-

disputed leader of the Beach Boys? Bruce Johnsonhas appeared from nowhere over the last year to becomethe group's spokesman. He has changed the group's styleto such an extent that they are in danger of losing theirimage. The group's music has changed with his influence- does he not know that there are hundreds of 'blues'groups around (the majority a great deal better thananything the Beach Boys could do in that field) and yetthey bring out 'Bluebirds over the Mountain'. It's a fairenough sound, but compared to the class of 'Good Vibra-tions' and 'God Only Knows' it's just nowhere to beseen!

Al Jardine admitted in last week's RM that he was sorryto see the gradual exit of Brian from the group's work -and he's not the only one. There must be many more likemyself who have followed the Beach Boys' career fromthe early days, and have seen how Brian's genius carriedthem to the top.

Are these golden days gone forever just because Brianis going through a transitional period in his writing. BruceJohnston is taking advantage of this situation - tryingto take over a throne which belongs to one man alone. -Carl Michael Forster, Paignton Avenue, Whitley Bay,Northumberland.

SAM COOKEWHAT a surprise it was to see

the name of Sam Cooke inYour letters page, Everybody

seems to have forgotten this greatartiste since his death, while OtisRedding has been over -exalted.

It must be remembered that Samwas the originator of such greatsongs as "Only 16", "WonderfulWorld", "Cupid", and "Chain Gangto name a few. At this momenttwo of his songs are in the U.S.A.Top 50-"Shake" and "Bring It OnHome To Me".

Incidentally, before irate Otis fansstart writing in, I'd like to pointout that I bought his single of"Pain In My Heart" within a fewweeks of its first release back in'63 - how many other people canclaim this?-John Evans, Ma r k e tSquare, Holyhead, Anglesey, N.Wales.

FREEDOM

I THINK artistes should be freeto express their feelings to-wards the world events, when-

ever and wherever they can. Ofcourse, they have no other channelavailable than the stage, where theycan communicate to the world.Never on Panorama or 24 Hourswould you see any of them.

Give them their own freedom too,as everyone has under the law ofthe country. Despite the criticismsof the Supremes on the RoyalVariety Show, they were givenwarm applause from the Royal Box.-Tunde Eniola, Shoot Up Hill, Lon-don, N.W.2.

HAWK 'FIRST'WELL -informed RM readers

must have been puzzled toread the Hawk's contention

that Elvis Presley's open acknow-ledgement of R B and gospelas his influences is a recentdevelopment.

He has never made any secretof this fact. In 1956 he made awidely publicised statement to theeffect that his style of rock 'n' rollwas nothing new, as it had beenaround for many years under thename of rhythm 'n' blues. And,right from the start Elvishas named gospel as his favouritekind of music.

Incidentally it has been statedby Tom Parker on behalf of Elvis,that the rumours that Elvis backedGeorge Wallace in the presidentialcampaign are completely false. -Vera Nicholls, Queens Road, Burn-ham -on -Crouch, Essex.

For the largest selection ofAmerican R&B and Soul music inEurope visit the only shop inEurope that sells nothing else butmusic in the R&B and Soul groove.

17 MONMOUTH STREET.LONDON, W.C.2.

BUBBLEGUMWHEN bubblegum music first

emerged it was a pleasantnovelty, with records like

"Simon Says" and "YummyYummy", but now record com-panies are churning out bubblegumrecords by the score and the stan-dard of them is steadily deteriorat-ing. Anyway, let's all hope, for thesake of the music profession, thatsomebody soon bursts the bubble.-Colin R. Fenn, Bradgate, Cuffley,Herts.

ANSWERED!ONE of your readers wrote in

asking if anyone knew the realcomposer of "Baby Let's Play

House".Well, I have the Elvis Presley

version on the "Date With Elvis"LP, which states Gunter as thecomposer. But, to prove he's thecomposer, I have the original ver-sion by Arthur Gunter on the State-side-Excello label, titled "The RealR & B" - which, by the way,is a. great LP, now I think un-available in this country. - RoyWinch, Hopkins Crescent, Sandridge,Herts.

THE REAL

MORRICONEIHAVE discovered by chancesomething that will greatly in-terest people who dig the music

of Ennio Morricone's "Dollar"movie soundtracks.

The Harlequin record shop in Ber-wick 'Street, has got imported LPsof "A Few Dollars More" byEnnio Morricone, who wrote theoriginal soundtrack for "Fistful OfDollars" and "The Good, The BadAnd The Ugly" as well.

Be warned against poor coverversions of the LP by LeroyHolmes and others; where Morri-cone's "Dollars" music is concernedit's excitement all the way.-C. M.Blomfield, Wells Wood, London Rd.,Ascot, Berks.

AD-VANCEIN

your letters page recently.Stephen Robinson asked what-ever happened to Radio Caro-

line's Tommy Vance?. A goodquestion - and what also has be-come of the following Caroline DJs?Johnnie Walker, Bub Balton, SteviMerike, Carl Mitchell, Don Allen,Andy Archer, Henry Morgan,Spangles Muldoon, Steve Young,Jerry Leighton, Ross Brown, MikeAhern, and dozens more?

With Caroline's sad departurefrom the scene these men, for-merly household names, have beenleft out in the cold, with the onlyprospects of work on the BBC's

want to let off steam?Any questions on the scene?Any problems? Then drop a

line to VAL or JAMES,letters dept.

RECORD MIRROR -EVERY WEDNESDAY -116 SHAFTESBURY AVE, LONDON, W.1. GER 7942/3 4

BRUCE, TAKING OVER

BRIAN'S

THRONE?Radio One: However, it is verypleasing to see that not one of theCaroline DJs who worked on theships after the August 15 ban hasjoined the BBC since their stationclosed down in March. They aresticking to their principles, and we,the listeners should do all we canto support these DJs. - PatrickHeeley, Eastwood Road, Rayleigh,Essex.

DOORSRECENTLY a great deal has

been said about the Doors,most of it in their favour, I

am pleased to say. I am not sopleased that all the credit has goneto Jim Morrison and Ray Manzarek.

Admittedly these two offer a greatdeal of talent within the group,but one has only to listen to thegroup's three marvellous albums toappreciate the excellence of RobbyKrieger's guitar work and JohnDensmore's drumming. So, pleasegive these two the praise they de-serve, after all they are a group,not a duo.-Rog and Dave, c/o"Farthings", Pinn Lane, Pinhoe,Exeter.

HEY JENNIFERAFTER reading what Jennifer

Haynes and Colin Brintonthought of "Hey Jude," we

have come to the conclusion thatthey can't have listened properly,to some of the so-called "hit tunes"of today, and compared them withthe Beatles' work.

Sure the Beatles only release arecord every blue moon, but ittakes time to think and preparea good record like "Hey Jude,"and when they do it usually endkup as No. 1.

Surely all the Beatles followersaren't mad, so sit down and listento "Hey Jude" again! - GlendaWard and Denise Hunt, 36 Pine-wood Drive, Binicy Woods, Nr.Coventry.

BRUCE-New spokesman

AL-Sorry

Fiavell, 45 Sanderstead Road,S. Croydon, Surrey. - 1 have aBeach Boys' Party LP in stereowhich is brand new, and I wouldlike to exchange it for either BuffaloSpringfield Again LP, or any Jeffer-son Airplane LP.

Mr. Ord, 15 Montpelier Gardens,Chadwell Heath, Romford, Essex.-Would any James Brown fan pleasecontact me at the above address.

Peter Morgan, The Eddie CochranA.S., 85 Kingsway, Kingswood, Bris-tol, BS15 2AJ. - I'd like to hearfrom anyone who has any oldscrapbooks, photographs and pro-grammes for sale on the lateEddie Cochran. I am very in-terested in American news-paper clippings featuring this sing-ing guitarist.

BRIAN-Gradual exitS. O'Keefe, 13 Blandy Avenue.

Southmoor, Nr. Abingdon, Berks.-1 have several copies of the pub-lication "Meet Billy Fury". Theseare in mint condition and now outof print, I also have a couple of"Beatles at Carnegie Hall" souvenirbooks. Both these items are pricedat 5s. each plus 6d, p. & p., orwill swap for early Elvis monthliesor books.

Christine Lindley, 17 Clive Green,Easthampstead, Bracknell, Berks.-I have two of the Monkees LPsfor sale, "More Of The Monkees",and "Pisces, Aquarius, CapricornAnd Jones Ltd.". Will sell to highestbidder.

Robert Parks, 125 Dinas Lane,Huyton, Nr. Liverpool. - I havean LP of Otis Redding which I

will sell for fl (only one week old),or in exchange for any LP byAretha Franklin, except "ArethaNow".

David Holmes, 44 HfichsandsAvenue, Rufford, Ormskirk, Lancs.-Due to a shortage of storagespace I am having to. reluctantly,Part with many of my music papersincluding Record Mirrors, MerseyBeats and Music Echoes from late1963 onwards. If any readers wouldlike to purchase any, please sends.a.e., I will send details.

Jonathan Morley, 2 GlendaraghRoad. Telgnmouth, Devon. - I willaccept offers (cash or record) forrare, deleted Tamla LP, "I LikeIt Like That" by the Miracles. Inexcellent condition.

Michael Spicer, 24 Douglas Road.Chingford, E.4. - Would anyoneinterested in exchanging the Fleet-wood Mac LP (mono) in mint con-

,clition for "Forty Blue Fingers" or"Bare Wires" contact the aboveaddress. Mono or stereo welcome-must be in good condition.) Otheroffers will be considered.

TO ALL OUR FRIENDSON BOTH

SIDES OF THE MIRROR . . .

SEASON'S GREETINGSAND

SINCERE THANKSMUSICLAND

44 Berwick Street, London, W.I.230 Portobello Road, London, W.I.

classified

SMALL

The price for classified ad-vertisements is 9d. per word

pre-pald for all sections.Advertisements should besubmitted by Thursday of theweek proceeding publication.All advertisements are subjectto approval by the publishers.

Please be sure all postalorders are crossed and madepayable to Record Mirror.

records for sale1956-68 45s, LPs for sale. Manyrare deletions included, Send s.a.e.for list to: Moore, 73 Mill Road,Leighton Buzzard, Beds.THE FRENCH C.B.S. Company ispublishing exclusively for the Buddyholly Memorial Society a fantasticalbum of Screaming Jay Hawkins,including "Hong Kong" and 11 veryrare EPIC/OKEH titles. Send f2Per copy to Georges Collapse, 10Ave P. Delorme, Sathonay Camp,France.

Continued on page 11

from NEWYORK

the,, Al REPORTNA%RECENTLY a magazine, Rolling Stone,

did an article that took a long look atthe blues scene in Texas, including every-thing from Lightnin' Hopkins to the lategreat Buddy Holly. Mentioned in the piecewas a 23 -year -old blues guitarist, JohnnyWinter's.

Mr. Winters is an aibino. Probably theonly albino blues singer. Steve Paul, ownerof the Scene Club in New York, read thepiece of information and got what he de-scribes as "good vibes" (that is, vibrations,or a hunch) about Mr. Winters.

Whereupon Paul (as they say) planed toSan Antonio, Texas, and rushed down theairplane steps yelling, "Take me to youralbino blues musician."

Incredibly Steve Paul found JohnnyWinters and brought him to New Yorkwhere last week he appeared for the firsttime, at the Fillmore East, and as a guestof an Al Kooper-Mike Bloomfield "SuperSession" i.e. a jam session involving theirfriends.

I report that Mr. Winters is no freak. Infact he is incredibly good. He could dye hishair black and make it . . . Still, an albinoblues player!

Julie Driscoll is mentioned in this columnseveral times this week. Firstly because shehas been in New York, cropped hair, eyeshadow, health food and all.

As mentioned previously, she came inwith the Auger Trinity from Los Angelesand the Monkees. In music Julie is verymuch a member of the underground sceneand despite having made no personalappearances in America, or having not onehit record, is really quite well known amongthe undergrounders.

However, the other world of Miss Driscollwas well covered in New York. She spent aday being photographed by the extra-ordinarily famous photographer Richard

Avedon for Vogue magazine, no less. Shealso did a photo spread for Look magazine.

She also attended the Fillmore for aKooper-Bloomfield Super Session and Samand Dave topping the bill (incidentally thefirst soul act to appear at the Fillmore-they included their own tremendous, allsinging, all dancing, all playing 12 -pieceband).

Originally Julie was set to perform "Sea-son of the Witch" unannounced on stage.Al Kooper is an unabashed admirer of theDriscoll -Auger team. Kooper admits thathe got his hit "Season of the Witch" fromthe Driscoll -Auger version. "Our version wasreally sort of putting them on, like 'OkayEngland, here's America', but with tonguein cheek," he says.

But the Driscoll -Supper Session didn'tcome off. Permit prudence and lack of anyrehearsal time made it impossible.

Lionel Bart (who is hardly a namereferred to with reverence by the hippies)also mentioned Miss Driscoll this week,when the "Oliver" composer was in for thepremiere of the film.

Mr. Bart, who is really into pop thesedays, professed that one of the many ideasfor the future he has is a film with Juliebased on St. Joan. . .

If the Smothers Brothers television showfeaturing the Jefferson Airplane gets shownon British television, take a look at singerGrace Slick with the group. She appearssinging two songs in black make-up andat the finish of one of them raises her blackgloved fist in the Black Militant salute (ala Olympic Games).

Grace explained her action by saying thatthe words fitted the idea, that women woremake-up all the time and why not black?She didn't think it was strange to haveblue eyes and black faces and there weren'tany Negroes on the show and she thoughtthat needed adjusting.

RECORD MIRROR, Week ending January 4, 1969 3

ENGEL tells of his Americantrip, and whyhe Prefers England . . .

ENGELBERT HUMPERDINCK-Really a merry fellow

WITH those slightly glowering good looks and those(mostly) moody ballads, the public Engelbert H.is a rather serious, dignified fellow.

In off-stage, away -from -it -all conversation youare likely to meet someone quite different - huge

grins, merry laughs and ribald humour. He was sitting behinda fairly imposing, executive -type desk (his publicist's) whenI walked in. Immediately, he went into a mock -pompous busi-ness interview routine, demanding to know my qualificationsfor the job I was supposedly applying for.

Well, as soon as I showed him my testimonials all waswell and Engelbert (though recovering from a throat -damag-ing illness caught in Hollywood a few days before) relaxedand talked about the problems of appearing relaxed whenappearing in front of audiences.

"It's an art, and a technique you pick up as you go along.

Look at Dean Martin, he gives out the impression of beingso relaxed but he isn't. I've seen him work and I know. Maybesomebody not in the business couldn't spot the tension butany performer who know about relaxation can see it.

"However relaxed I may look, underneath I'm quite tense.It's valuable, keeps you uptight,, helps you give your best.When I'm on stage working my hands are like ice, absolutelyfreezing. I was doing one show and went over and shookhands with a lady in the audience. She said `Oooh! yourhand are cold!' I replied 'Ah yes, but there's one part of mybody that's really warm.'

"She looked interested so I tapped my chest and explained- 'My heart.'

"I like meeting people - fans, journalists, anybody. Butjust before or just after a show I can't think about anythingexcept the show. If I'm asked questions I find myself stutter-ing and blustering out replies. And I hate being asked to signautographs just before I go on - my hands are too shaky."

PREFERS HOMEHumperdinck, who - in his last few months when he was

known as Gerry Dorsey - was seriously considering emigrat-ing, has lately been touring around the world and has morejourneys coming up. One thing he's sure of now: "I preferEngland to any other country in the world. Two weeks ago, inLos Angeles, I sprained an ankle. The doctor took two orthree hours to arrive, then he said my foot would have tobe X-rayed at the hospital. There, the technicians who handledthe X-ray machine weren't on duty and I heard somebodyask 'Is the patient going to pay immediately'. I said that inmy country medical people see what they can do for thepatient first and think about the fee later on.

"Still, if you have hits all over the world it's only fair tothe people who've bought your records to go and let themhear you live, if they want to."

During his career, E.H. has had backing group musicianscome and go but two have stayed with him. "I have myown drummer, Eric Dillon, and bass player, Jimmy Leverton,who've been with me three years. Now I'm looking forwardto forming a big band, think that's the coming trend. TomJones has used the big sound with great succes. And Probymust have credit for paving the way. I'm trying to find some-body to run the band for me. There are a lot of greatarrangers but they don't want to leave town and tour. I haveto finda man who is on the same wavelength as myself, nohang-ups because there has to be rapport between singerand bandleader."

DAVID GRIFFITHS

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THE CASUALS-Working with Spike Milligan

SUDDENLY it was a dream come true forCasuals. The Goonish group were work-

ing on the same show as arch -goon SpikeMilligan. Alan 'Plug' Taylor decided not tolet the opportunity slip by. .

He roared up to Spike and said, casually:"Hello, Milligan".

And the Great Goon replied in one ofhis famous voices: "Hello man".

'Plug' told me: "I was completely knockedout seeing the Great Man, and couldn'tthink of anything else to say."

John Tebb, another Spike devotee,approached him for his autograph and said,again casually: "Hello, Milligan".

MR. MILLIGANThe Goon extraordinaire replied in another

of his famous voices: "It's MISTER Milli-gan to you. But down my street peoplecall me 'STOP THIEF'."

When we met in the Record Mirror's "outer office",only three of the group had arrived. "John Tebbis missing because he's lazy and still in bed." BobO'Brien informed me.

Had chart success changed the group's outlook?"If anyone did get big-time in the group, the

other three would jump on him so hard." Howardsaid. "Even if anyone says anything slightly big-time the rest of us would say 'oh yes' and put a

stop to it." Knowing Casuals before they had ahit, believe me, they are still the same.

"The reason why the kids think groups are big-time comes not from the groups themselves," Howardcontinued. "It's nearly always from the dance hallmanagers. We always ask in every place: 'If thereis anyone who wants to see us, can you send themin, but try and make it four or five at a time-don't just open the door and let 800 pour in!' Youknow, I love to talk to the kids and really enjoymeeting them-it knocks me out. We might getbranded by the fans because the hall manager hassaid: 'No fans'. Then the fans slam us becausethey think we don't want to see them. But it isn'ttrue."

Howard was in fine voice and went on to speakabout pop music.

"I don't care for progressive music, but that'sMY own taste. I admire a group like Dave Dee whocan go on stage and knock everyone out. Eventhough all the blues crowd go around saying he'srubbish and uses all the same silly jokes-but he'sso popular. Then YOU get groups like 10 Years After.Probably the best guitarists in the world. I've heardthem on radio and records and they are so good.But you put them in front of kids who've paid theirmoney and they don't really mean that much.

"Some of these American groups really sickenme. Groups like the Doors who come over here andthink they are God's gift to music When you seethem in clubs they're nothing. Ydu get this fan-tastic build from their publicity agents, yet whenthey arrive they ignore journalists. If either theDoors or Jefferson Airplane could put on a showhalf as good as the Hollies then they would havesomething to brag about. These are only myopinions, mind."

Bob suddenly came to life and said: "Pop musichas got simpler but more effective. You have to

CASUALS SPIKEDworry so much about records-whether the next oneis going to be a flop. Because it's records that makepeople. So you obviously make better records. Tome the progressive bit is nothing at all-I can't twigit. You can play progressive pop or blues and stayat home on the dole. Or you can play straight popas we do and make money. Out and out pop issomething the kids can understand. A lot of peoplereckon they're blues or progressive fans and goaround saying love this group and I love thatgroup' because they're great and progressive anddoing all this new stuff that Dave Dee can't do andthe Tremeloes are rubbish. But it's the music thatthese two groups play that the kids buy. They canfill a hall with a thousand or more people but someof the blues groups are lucky if they can get twohundred."

LUNATICHoward recalled the tours when he was younger.

'In the old days, tours used to be a bit lunatic-now all the fun has gone out of it. I can remembergoing to see stage tours when you had the Animalson-there would be some lunatic group running back-wards and forwards with a huge tin bath like acaterpillar. Nowadays things seem to have gone downthe nick. It's all so serious and cut-throat-the bands

are trying to be better than each other instead ofbeing friends."

Throughout most of the interview. 'Plug' was doinghis Spike Milligan impersonations and recalling-to a gentleman known as 'the pill'-his looning daysin Germany.

He came back to earth at this point and explainedthe goings on at- Coventry-the last night of theScott Walker tour.

"At the theatre they've got a big props roomand I found this wheel chair. We got it to the sideof the stage and I sat in it with a big Yale key. Assoon as the Love Affair were on, the Gun's drummerpushed me right across the stage between them.Then Mike Quinn was introducing the Paper Dolls.Saying 'this mike's for Tiger. this one is for Copperand this one is for Spider'. He turned round andthere was Bob with a gorilla suit on. Seeing thishe just broke up and couldn't do any more-hecollapsed.

"The Love Affair are looners as well. When wegot on stage, suddenly a huge string of carrots comeshurtling across the stage and there were grotty oldcarrots lying everywhere. What I know of the olddays, this is what tours were all about."

Watching out for any booby traps, we eventuallyleft the hostelry

If If anyone is going to bring back the fun to stagetours it will undoubtedly be the Casuals.

IAN MIDDLETON

111-4111-11-441-41411441-411-1-4441t4l-41

V[2YAM nAh6T©

-The RM staff

11-11-4-4- 4-444 1-1-4-44-444-11-4-4-44-1-4-444-4

RECORD MIRROR, Week ending January 4, 1969

DES O'KNOCKER'SSOLUTION -SOLVED?

DES O'Connor has sold something in excess of 1,500,000copies of his last three singles. Yet there are thosemostly in insecure groups, who deny that he evenhas a right to be in the charts. Well, here is news

for the insecure ones. Des says: "Comedians and entertainershave had musical associations for years . . . so would thegroups mind getting out of OUR charts."

Okay, so Des was kidding. Up to a point. But he mostcertainly does have a point to make. And here he comes,making it most forcibly . . .

"I've had fifteen years learning my job. My job is an enter-tainer and I've never had so much fun as I have in the pastyear. Look at it . . . . one single in the charts for more thanforty weeks. An LP, my first, doing well. And the reasonfor the sales? Simply that I'm picking the right song to singat the right time.

"Look at Val Doonican and Ken Dodd. Hardly your soulbrothers, are they? But then consider how well they areselling. The fact is this. Pop music means popular music. Andbeing popular means that you are selling to the public. Notjust one small section of the public - the whole public.

"I read the views of the knockers, all about my moaningand dreary songs and so on. I'm not saying I'm a good singer.I'm simply saying that I am able to sing in tune and myexperience has led me to be able to pick the right materialfor my voice and ability.

"I like a lot of pop music and I like to listen to records.If I'm alone at home, then I'll probably listen to Sinatra orBennett, or one of the class singers. But if there's a partygoing on, then it'll be one of the groups,

"But all this business about there being a separate chartfor the corny -type singers, if that's the right description -well, it's rubbish. I've even seen it said that there should bea major chart and and a minor one . . . one for the groupsand the pure pop things and the lesser one for the sort ofstuff I do. That simply ruins the whole idea of the chart,which is to tell people what is selling.

"Some of the groupies who have a go at me, and my kindof singers, have this insecurity. They rely on the charts but

I have other things going. I don't essentially blame them -I might even feel the same way if my future rested purelyon whether I was in the charts or not. But it's silly to thinkof comedians or entertainers being in a different mould tothe ones who make records.

"Every top comedian has something that is instantly recog-nisable in a musical sense. Well, most of them, Bob Hopeand 'Thanks For The Memory' . . Chaplin and 'Limelight',Maurice Chevalier and 'Louise', Norman Wisdom and 'Don'tLaugh At Me'. That sort of instant recognition is what weall want and now it's happening for me.

"My mum and dad are very sweet people, certainly notswingers, but they know what they like to hear. Somethingthey can sing along with and recognise. Now surely they mustbe given the choice.

"Don't forget that this thing works the other way. I'vebeen in the position, of playing second top on bills - andthe top star has been someone who has just one hit record.I've had to accept it. They've filled the theatres at thatmoment, but how long does it go on for them?

"I'll tell you this matey, I've been having a ball since therecords started selling. Suddenly there are things for SouthAfrica, Australia, America . . . doors are opening whichwouldn't have opened for a Cockney comedian. Whateverthe knockers say, I'm having a ball . "

As far as I'm concerned, Des is dead right. I've quoted himat length on this subject-and alas! it's a subject that he'soften drawn into.

I remember Des when he started as a bit of a name invariety. He'd end his act with a song. But then he was doingtwelve minutes-now he can do an hour and twelve minutes,and the singing is being well worked in with the otheraspects of his performance.

This old balderdash about the charts being for one kindof music only really doesn't carry any weight. Ask the recordcompanies .

Des has grafted his way to the top and the fact thathundreds of thousands of people now can buy and enjoyhis records is merely an added satisfaction.

DES O'CONNOR-Comedians and entertainers associated

Singing is merely part of his act. One gets the impressionthat if he joined some cof the groups and made way-out soundsthat didn't sell at all . . . then, perhaps, they'd think what agreat fellow he was.

But he sells. Often, his severest critics don't.And therein, I think, lies the answer to the whole thing.

P.J.

PETULA JULIEANDRE WS,SEX, ELVISpETULA CLARK, that world -travelled

British export, travelled home for a spellto talk about this '11' that . . . cabaret, aprojected Elvis movie, sexiness, JulieAndrews.

"One film producer followed me roundfor weeks trying to convince me that I wassexy enough to play a Carroll Baker -night-club -singer lead in one of those popping -into -bed X -certificate movies. I didn't wantto know-it's not that I'm a goody-goody,just that I swing in a very different way tothat.

"That was one of four Hollywood offersI turned down before I accepted 'Finian'sRainbow'. There was also the Susan Hay-ward role in 'Valley Of The Dolls', a West-ern-and a thing with Elvis Presley.

"I'm afraid if I don't feel the part I justcan't portray it truthfully. I once tried play-ing a witch in a television version of'Stranger In the House' but it just didn'tcome off and I swore 'never again'.

"I think it is important to find out whatyou CAN'T do. Recently I rejected the titlerole in the big screen version of 'Peter Pan',but I honestly don't think I am right forthe part.

"Who is right for it?-Mia Farrow. Theywere very persuasive, even the costumeshave been made to fit me. But the rolecalls for a certain `wierdness' and I don'tthink I'd be convincing.

"I think that a lot of people misinterpretthe term 'swinger'. I always thought itmeant being aware and doing just whatyou want to do. If people want to go aroundin the nude, smoke pot, or go to bed withanybody they fancy, then that's their prob-lem. But they are no more swingers thanI who also do exactly what I want to do..

"Do you know that, except for one scriptthat was so bad I don't know how the pro-ducer had the nerve to offer it to anybody,I haven't had one British film offer in thepast 10 years? So you see, British film pro-ducers don't dig me.

"I haven't appeared in person over herefor years, although I have done Americancabaret and concert tours and will be doingmore in 1969. The fact is that I'm scaredto death that nobody would come to seeme sing in Britain.

"I've done successful shows to some ofthe toughest audiences in the world, butthe thought of playing over here makesme come out in a cold sweat.

"It's just that I fear they wouldn't dig me. . and I HATE these ever-increasing com-

parisons being made between me and JulieAndrews.

"There are a lot of things she can dowhich I can't. And I'm equally sure thereare a few things which I can manage butshe can't." P. J.

SHOWSTOPPERSTHE Showstoppers, ladies and gentle-

men; five fellows from Germantown,Pennsylvania, U.S.A.

You could call them quite a brotherlyact: Elec and Laddie are brothers, Earland Timmy are also brothers and Johnis their cousin.

John is the guitarist while the otherfour sing. Tommy sings lead vocalsalthough Earl previously fulfilled thisfunction on recordings. "This is going tobe all changed," Timmy told me. "Infuture, I will sing lead on everything."

The fivesome got together in theirhome town about two years ago. "Firstof all we used to just mess around,"Timmy said. "Then we got things to-gether. I suppose in the beginning wewere influenced by groups like the Temp-tations and the Artistics. But right nowwe have more of our own thing going.

"The group has been professional forover a year now, In that time we'veplayed the usual colleges and theatresin the States as well as coming to Britainearlier this year."

Brother Earl told me the group ismuch happier than the last time theywere in Britain. "About six months agowe switched managers and labels. I wouldlike everyone to know that we're verysatisfied with our present management-Jerry Ross Productions. Now thingsshould be the way they should have atthe beginning.

With their chart entry with "EenyMeeny", the Showstoppers probably dida very wise thing.

IAN MIDDLETON

IDLE RACE BEATLESBEE

GEESKICK?AT the end of three weeks

Jeffrey Lynne KNEW hedid not like work. He hadjust left school and walkedout of a series of 14 jobsranging from builder'slabourer to clerk in a coun-cil office.

He hated each one. So hejoined Roger Spencer, DavidPritchard and Gregory Mas-ters and formed a group.And they called themselvesThe Idle Race.

"We had to: we were allunemployed at the time,"joked Jeffrey. But that was ayear, three singles, an LPand a lot of radio plugs ago.

"We have gone through acomplete cycle since then.We are now working almostevery night of the week," headded. During December thegroup had only one day off-Christmas Day.

C&WBut Jeffrey - who looks

very like "CW" of Bonnieand Clyde fame-emphasisedthat during the past hectic12 months the word workhad taken on a completelynew meaning. ..._

"For most people work isdoing something you don'tlike for somebody you don'tknow so that they'll buy youfood to do more ofit tomorrow.

"That's just not on for usany more," he said. Twentyyears old Jeffrey composesalmost all the songs thegroup record in the frontroom of his parent's homein Birmingham.

Dark haired guitaristDavid Pritchard does therest. Jeffrey explained:"Writing songs is not workbecause we like it. It reallygives us a big kick."

And the songs give other

IDLE RACE-Once unemployed

people a kick too - judgingby the massive airplay - 125plugs on Radio One for thegroup's LP, The BirthdayParty in four weeks.

Even so the LP did notget into the Record Mirror'stop album charts. It bubbledunder "and did very nicely,thank you" as the gentlemanfrom Liberty Records put it.

BUILDINGSaid Jeffrey: "We are not

the sort of group whichleaps out of the darkness in-to the spotlight. Weare building up a followipgamong people who really likeour music.

"They actually come up tous on gigs and ask aboutour plans. They're not justan audience, a blank sea offaces gaping at us they arereal people, really interestedpeople."

His involvement with hismusic - he doesn't soundoff about drugs, parents orthe church - is so greatthat he couldn't bring him-self to sing one number untilsix weeks after he wrote it.

PERSONAL"It was so personal that I

felt I could never performit in public. But then wefound we were building upa special relationship withpeople who see us and theyunderstood."

He believes that sort ofcommunication with peopleis vital to the survival ofgroups in the comingmonths. He explained:

"People are fed up withthe 'we don't like this, weknow you don't and we don'tcare' attitude that so manyPop singers adopt nowadays.

"Consequently people stopbuying hardpop records andit's left to mums and dadsto top the charts up withmush music. The reasonthat's so popular is that atthe moment most pop musicis so bloody terrible."

His own songs - the ideasare culled from the libraryof newspaper cuttings hehoards - have been des-cribed as "perceptive" byJohn Peel and "superb" byKenny Everett.

"They are based on every-day experience. They arevery personal and I thinkthat is why so many peoplefind it quite easy to identifywith them," he said.

DIVERSEIn fact the style of the

songs is so diverse that somecritics have attacked thegroup for sometimes sound-ing like the Bee Gees andsometimes like The Beatles.

"It depends entirely onhow I feel when I write thesong; what mood I am in,what I had for breakfast,where I am and what theweather's like.

"People who say thesethings must understandthat - to say we deliber-ately copy other grcoms isrubbish. If people had heardmore of our music theywouldn't say that sort ofthing."

RECORD MIRROR, Week ending January 4, 1969 5

NOW IT'S

SOUTH AFRICA

FOR SOLOMONSITTING down minding my own business when

suddenly a burst of song from the corridorbroke in upon my little reverie. A heavy ballad

accompanied by heavy footsteps heading in my direc-tion - "now who could this be" I asked myselfneedlessly, for I knew it was - and recognisedthe voice of - Solomon King.

The genial giant peered round the door and we saidhello, hello and hello to his charming wife and allwent out for a mid -morning coffee.

Solomon has a new record out, in a lot of people'sopinions the best he's done, a country and westerntinged number called "Goodbye My Old Gal".Unfortunately Solomon will be in South Africa fora couple of months touring while the record'sspinned in this country - nevertheless the disc doeshave merit enough to make it in the charts evenwithout his presence to give it a boost.

And his presence in this country is now guaranteedon a more permanent basis. "We've just bought afourteen -roomed house up in Manchester," explainedSolomon's wife Henny. "We were looking aroundfor a place for a while - it had to be large forour four children - and then we found this placeand just fell in love with it. I think Solomon plannedthis South African trip perfectly - for himself thatis - it means he'll miss all the aggravation ofmoving in. I'll have to do everything."

Mr. King looked smug - can you blame him?"You're so much better at that sort of thing, dear."Very diplomatically said, I thought.

But why Manchester? That's up north somewhereisn't it?

"Well I'm working a lot in the north at the moment.In the clubs doing cabaret - Batley Variety Clubgave me a return booking immediately after my lastappearance there. That's such a fantastic place -they get all the big names, international stars.And places down south just can't afford to keep up.I've been working at the Talk of the North as well-that was great," said Solomon.

"It's a completely different audience up there.They're friendlier - not to start with though. Youmay have to work a bit harder to get through whenthey first see you." continued Solomon, "but oncethey accept YOU, you couldn't ask for a betteraudience. I think they identify a lot more thanaudiences do down south - when you're up thereon stage YOU know everyone's rooting for you.

"The only place I really want to work in thesouth of England is the Talk of the Town, I'vealready had an offer to appear there, but I hadto refuse it. I don't want to work at the Talkuntil I'm ready for it - and I'm just not readyyet. It is, as far as major cabaret appearances go,

the showcase of this country - the top venue.So I don't want to waste an appearance there byit not being at exactly the right time - and I

'don't yet know when I'll be ready. When I am,and if they offer it to me again. I'll work there."

The way things are going for Solomon at themoment, it shouldn't be too long before he is readyto do a season at the top night spot in the country.Plenty of success up north, a disc that should reachthe charts with no difficulty whatsoever, and a tourof South Africa as their number one singer. A yearsince "She Wears My Ring", and now the concreteroots of success are being firmly planted.

"I'm just so knocked out by it all-and I'm verygrateful to this country for giving me the chanceit has. You know, before I came over here I wason the verge of giving up-I'd promised my wife'sparents that if I couldn't make it as a singer thenI'd give it all up and take a regular job or some-thing. And that would have been such a terriblething to do-it would be a direct admission of failure.It would have broken me up.

"And then one day I heard an Engelbert Humper-dinck record-this was while I was still in Americaof course. And I thought to myself I want thatset-up'. I had the self-confidence, if not the success-I knew I had a better voice than Engelbert, so I

decided on the spot that I wanted to work for thesame organisation-I wanted the same manager,producer, arranger, publicist. Everything. Everyoneback home thought I was crazy-but I knew it wasmy last chance to make it in the business. So I

came across here, met Gordon Mills, and it allstarted.

"It didn't happen immediately-we made 'SheWears My Ring', and waited. It didn't move-andI was on the verge of giving up again. Then sud-denly people started buying it-it started up north,and just spread. And I've never felt so grateful topeople before-and I'm still very grateful to thiscountry for all it's done for me."

And one last thing-delicate point this-isn't Solo-mon a bit worried about the political aspects of hisSouth African tour, and the fact that it may upseta lot of his fans?

"As far as I'm concerned the politics of the situa-tion just don't enter into it. I'm a singer-and I'mgoing out there to sing. If by doing that I can helpto ease the situation-because singing is the greatestleveller, the greatest thing for people of any raceor colour to identify with-then obviously I'll bePleased. But if not I'll be doing my job, and pleas-ing my fans. Whatever their beliefs are-they arestill people."

DEREK BOLTWOOD

CARAVELLESWANT TO PLAY

CARNEGIEHALL !

WHEN you have feastedyoui- eyes on the pic-

ture lads, let me tell youthat the two lovely dollybirds are the Caravelles.The dark lass is Andreaand the delicious blonde isLynne.

The original Caravelleshad a smash hit a few yearsback with "You Don't HaveTo Be A Baby To Cry"."After the hit we toured theContinent," Andrea said."Then we made two morerecords one of which,"Have You Ever seenLonely", did well. I brokewith Lois Lane about twoand a half years ago. Wesplit because I wanted to dobread and butter materialand Lois didn't." (Lois beingthe other original member)."I then went to Germany fora while and on the way backstopped off in Paris where Ifound Lynne. I was sorelieved to find someonewho was English!"

So the Caravelles werere -born after a three monthsgap. The two girls workedout a completely newcabaret act and also alteredtheir singing style. Pre-viously the voice were highand whispery - now theyare stronger and meatier.As Andrea said, "We nowsing in an earthier fashion.In cabaret, we usually startwith a Peggy Lee numberand include things like "YouDon't Have To Be A BabyTo Cry", a Ray Charlesnumber but mainly up anddown material. In clubs youcan do fabulous numbers

but the audience doesn'talways appreciate them.What we'd love to do isappear at somewhere likeCarnegie Hall and have thechance to do what we wantto - rather than do it athome."

"Five years ago," Andreacontinued, "It was mainlygroups playing when westarted. Audiences seemedto prefer groups. Femaleaudiences used to be badbut we've learnt to win themover. If you concentrate toomuch on the men, thewomen get jealous."

"Dress has changed fan-tastically since I started sing-ing," Lynne said. (You haveonly to see them in theirfuturistic dresses to believethis). "Music has advancedso much from when Istarted. It is much cleverernow. We would like to pro-gress in our music but aslong as people accept whatwe sing we do it. If weplayed somewhere likeRonnie Scott's Club, wewould do the same numbersbut in a different manner.You just have to give theaudience what they want.

We could be more originalin our work if given thechance. But in most casesone has to have a big nameto get away with it - if youhave the name you can getaway with anything."

The girls work mainly innorthern clubs and arebased in Manchester. "In thenorth, they appreciate simplesongs," Andrea informedme. "Very sentimental songs

THE CARAVELLESgo down well too. In theclubs things like "SimonSays" goes down well be-cause the audience joins inand at the end the audienceclap themselves! We appealto the Mums and Dads whosay . . 'aren't they sweet'but you have to adapt your-selves especially for Satur-day nights when the blokesare in with their girl friends.

As Andrea lit another"snout" I asked her ifsmoking interfered with hersinging but was assuredit didn't. From the topic ofsmoking we went on todrugs. "I don't think it isworth it," Andrea statedemphatically. "I 'supposeit depends on the number ofshows and the number ofhours you do. But it'sdefinitely not for me." Lynnecommented thus, "If youwere in a situation whenyou were so tired and sickof working, it must be niceto take something to helpyou get through the night. I

haven't done it but I don'tblame people who do - Iunderstand it. However, Icondemn those who takedrugs for effect."

The delectable duo have anew record on release, en-titled "The Other Side OfLove", IAN MIDDLETON

THEJOSEPHCONSORTIUMJoseph and the AmazingTechnicolour Dreamcoat

0 SKL 4973 (2) LK 4973 Decca

A brilliant musical interpretation ofthe greatest success story ever told!

In concert at the Central Hall, Westminsteron January 28th. Tickets available from Ibbs & Tillett

124 Wigmore Street Wl. 01-486 4021

DECCA1 2- Stereo or Mono LP

The Decca Record Company LimitedDecca House Albert Embankment

London SE1

I

6 RECORD MIRROR, Week ending January 4, 1969

GEORGIE FAME-Now back with the band

"ALL I WANTED TO

DO WAS PLAY IN A

BAND, ANYWAY!"HAVING SPLIT UP TO GO SOLO,GEORGIE FAME IS NOWRE-FORMING HIS BAND . . .

WHILE various chart topping groupsscurried round to record their spotsfor the "Top of the Pops" ChristmasDay special, Georgie Fame settled

himself in a BBC -2 viewing room to watcha Wigan v St. Helens rugby match.

After seeing his team, Wigan, achieve theirvictory Georgie settled down to talk: "I'mcurrently re-forming my band," he told me."We had to split before because I hadtoo many commitments as a solo artiste,mainly due to 'Bonnie and Clyde'. I madea lot of trips abroad, and instead of goingout with the band the idea was to promoteme as Georgie Fame the singer. It wasdesigned so that I shouldn't have the bandto worry about, and so that I'd be free todo all kinds of things. After we split thoughI realised that all I wanted to do was toplay in a band anyway!"

PORTUGAL TRIPFor the many cabaret dates he has ful-

filled - and for his recent trip to Portugal-Georgie has employed a small rhythm sec-tion consisting of Rik Brown on bass guitar,Colin Green on lead and Ron Berg ondrums. Georgie hopes to keep a similar line-up for his new band.

"The more instruments you use, the moreinvolved it gets," explained Georgie. "Imight augment the band with brags later,but the players I'm using now can all playorgan, guitar and drums. I'll continue toplay organ, but I wouldn't like to be rootedbehind it all the time. I'll probably playguitar as well. I don't want to be theworld's greatest guitar player, I just wantto play music on guitar as well as organ."

Georgie has been proclaimed as a promis-ing jazz singer, and I asked him if he wouldlike to devote himself to this type of music.

IMPORTANT"It's important to me to do things that

really mean something - whether they'repop or not. Some people think I'm a jazzsinger, but others who may only have heard

'Bonnie and Clyde' think I'm a pop singer!I love to sing with Count Basie and JonHendricks - it's really my big hobby. Idon't think I'd like to do only that kind ofthing though. I like to play gutsy, roughmusic.

BRAZILIAN SONG"I have a couple of songs for my new

single in the can," Georgie continued. "Oneof them is a Brazilian song 'San Marina'that I picked up while I was over in SouthAmerica. It's a terrific country and the musicis fantastic. I represented Britain in theSong Festival in Rio in 1967, and when Ireturned this September I was invited tomeet some visiting artistes, including HerbAlpert. Unfortunately," lamented Georgie, "Ihad to do a gig in Sweden and so I hadto sacrifice some time in South America. I'vebeen invited to return shortly though.

"But, to get back to the single. Anothersong under serious consideration is a com-position by my long-standing friend MikeO'Neill called 'Am I Wasting My Time OverYou'. I've also written a number myself.I'm not consistent in my songwritingthough," continued Georgie. "I think I'vewritten some very good tunes, but even atthe moment I've got three compositionslying around without lyrics!"

SEBASTIAN NUMBERGeorgie is also busy recording a new LP

with producer Denny Cordell. Among thetracks is a John Sebastian number, "Re -spoken"; a happy song called "Tempo Feliz";a couple of songs composed by Tony Colton,and a track "Conquistador", which was writ-ten by Keith Reid, the composer of "AWhiter Shade Of Pale".

Which all sounds a very interesting mix-ture. And this LP from an artiste likeGeorgie must surely be well worth waitingfor.

VALERIE MABBS

BRIAN VISITS THEMONKEESAND FINDS PETER

TORK ISLEAVING .

pETER Tork, the flop haired "slapstickinnocence" element in the Monkees, hasleft the group. Lovable, but far fromsimple, Peter was known for his folk

background and excellent banjo playing as wellas his zany antics in the Monkees' televisionseries. Just back from a brief visit to America,Julie Driscoll, Brian Auger and the Trinity metall four Monkees in Los Angeles and later,Brian revealed the story to RM.

"We were filming a Monkee special with Mad-man Jack Good producing and it was there wewere told that Peter was leaving the others toinvolve himself in recording and producing otherpeople. Mike, Mickey and Dave gave him anexquisite gold watch with the inscription "FromAll the Guys Down at Work", which I thoughtwas a rather amusing anecdote. When the film-ing began, the Monkees wandered in one byone, .picked up their instruments and beganplaying this simple melody, "Listen to the Band".Then the Buddy Miles Express, another U.S.group and ourselves descended on them andstarted a disconnected jam session all roundthem. We kept this up while they, undaunted,continued with this simple tune. Eventually, wedwindle our music down and into their songuntil everyone is raving away at "Listen to theBand". At that point it becomes a completeexplosive jam session built around that tune.

MIKE'S HOMEMike Nesmith invited us to his Bel Air home

afterwards. This being our first trip to Americawe were already stupefied by the scene there andwe had no idea what to expect from the homeof a Monkee. Julie wandered off somewhere inthe depths of Los Angeles, so I pulled Lobs(bassist Dave Ambrose) from hiding in his roomand we all boarded the Rolls Mike ordered tofetch us. After a rather scenic drive throughthe millionaire section we pulled up to a hugeiron gate, which at the driver's touch of a con-trol panel in the car, swung open with myster-ious ease. The door to this huge house was ofcourse equipped with a monitor into which weannounced our arrival. The inside was indescrib-able. Mike had his own recording studio withtwo Hammond organs and all the necessarysound fixtures. We immediately lurched intoanother jam session. I went mad on the organwhile Dave looned furiously on his bass.

Later Micky Dolenz and Davy Jones arrived.Micky went into the drums and Davy sat goggle-eyed throughout. When we finished and the fuseswere nearly all blown, we all felt like we'djust ploughed the North forty. It was then turkeytime. From Mike's actual radar oven, came agolden brown bird (fowl type) with all the trim-mings. We ate as much as thirty people wouldand sank back into a little digestive hibernation.

A few days later, we had a press receptionand played for the journalists and guests. JeffBeck, Arthur Brown, Buddy Miles and a loadof others showed up, plus all four Monkees.

JULIE DRISCOLL, BRIAN AUGER and the TRINITY

PETER TORK-Leaving the Monkees

Davy was still goggle-eyed and told us he'd neverseen anything like it. Of all the Monkees though,Mike is the one who really has it all together.We had gone over expecting to find four rum-bustious teeny hoppers and found instead four-and particularly Mike - switched on musicianswith valid things to say about music and thepresent scene. We look forward to our returnfor a tour some time early this new year.

in on this week's new re

bouncy numbercalled 'Baby you've got it. It's a strong,up -tempo sound with super strings in theback and an infectious chorus. Thenumber is DM 223.TOM DOOLEY is a new name here

Six great new singles to start the NewYear with a bang !First of all, on theDeram label, wehave the newouting fromCLYDEMcPHATTER.There are fewpeople with sucha solid musicalbackground asClyde, and hedoes great things with a

but causes a pretty big sensation in theStates, where his stage act has beencompared to that of James Brown. He's abit of a sensation on record too, as you'llagree when you hear 'My groovy baby'.A mid -tempo number with bags of organand a very powerful vocal from Tom, thisshould be grooving up the charts in notime. On the London label, numberHLE 10236.THE JOSEPH CONSORTIUMmay not mean too much to you now, butit's going to be a name in the news. Anabsolutely brilliant album has Just beenmade, based on the story of Joseph andhis brothers, and featuring as lead vocal ahighly talented young man called DavidDaltrey. One track from this album hasbeen released as a single. The title is

"C4

thi:kn(abtnui

BCin fis i

lea,voto i

treimeThestranunfirstan

RECORD MIRROR, Week ending January 4, 1969

AL DEXTER GENE AUTRY

DEATH OF THEHILLBILLY . . .

ON OCTOBER 4, 1943,TIME Magazine (Vol. 42

No. 14) had the followingto say about the then currenthillbilly boom: -

"The dominant popularmusic of the U.S. today ishillbilly. By last week theflood of camp-meetin' mel-ody, which has been risingsteadily in the juke jointsand on radio programmes forover a year, was swampingTin Pan Alley. Big names in,[he drawling art of countrybowboy balladrj like GeneAutry, The Carter Family,Roy Acuff and Al Dexterwere selling on discs as neverfore. Top-flight songsters likeBing Crosby and Frank Sin-atra were making their big-gest smashes with hillbillytunes. A homely earful of thepurest Texas corn, Al Dex-ter's 'Pistol Packin' Mama,'had edged its way to firstplace among the nation'sjuke - box favourites. Evenmany of Tin Pan Alley's best-sellers, such tunes as 'You'llNever Know', `Comin' In ona Wing and a Prayer','There's a Star SpangledBanner Waving Somewhere',were fragrant with hillbillyspirit. All over the countrywere the Appalachian accentsof the geetar and the countryfiddle.

REVOLUTION"All this constituted the

biggest revolution in U S.popular music taste since the"swing" craze began in themiddle 30's. Public demandwas shifting from Afro-American stomps andblues to a much simpler(and often monotonous)musical idiom that was oldwhen nostalgic `Fortyniners'were singing 'Clementine.'Hillbilly music is the directdescendant of the Scottish,Irish and English ballads thatwere brought to NorthAmerica by the earliestwhite settlers, Preserved inthe U.S. backwoods by gen-

erations of hard-bitten coun-try folk, the old hillbilly bal-lads are sometimes of raremelodic beauty. But most ofthem hew closely to a fewhomely, four-square formu-las. The songs get theirquality, if any, fromtheir words - long narrativepoems evolved by genera-tions of backwoods min-strels."

COMMERCIALThat article could hardly be an -

plied to the "country music" of to-day. with its lush orchestral ar-rangements and highly commerciallyrics. Has "commercialisation"killed off the hillbilly performer ofyesteryear, or does he still have aPlace in the highly competitive fieldof country music? To answer sucha question we must first face thefact that performers who rely solelyon material "preserved in the USbackwoods", are a dying breed andcountry music has no young bloodcapable of replacing them. CountryRecords, a label specialising in clas-sic re -issues from the early stringband era. are enjoying healthy saleswith a series of albums comprisingsuch notables as: Charlie Poole.Riley Puckett, Clayton McMichen.Leonard Rutherford, The Blue RidgeHighballers, The Leake CountyRevellers and Lowe Stokes - butmost of these artistes have beendead for a number of years. NewOrleans Jazz is experiencing a simi-lar crisis. with many of its"originators" dying off at an alarm-ing rate. No one is interested inplaying the "raw" music any longer-and if they are. no one wants torecord them. These are the prob-lems facing the country music in-dustry today. The accent now is nnthe hit parade where quick profitscan be made. Only amongst staunchcollectors and a few surviving per-formers does any interest lay inthe authentic "backwoods" soundsof America.

Of the few modem groups to suc-cessfully re-create the earthy sound,of the 20's and 30's, the New LostCity Ramblers are perhaps the bestknown in the UK - but even theyhave been forced to disband due toa slump in bookings and generaldis-interest in "old time" countrymusic. To the record company ex-ecutives. who are ever consciousof past, present and sometimesfuture trends, "hillbilly" music, asapplied to artistes in the vein ofRoy Acuff. Grandpa Jones. String -bean. The Stanley's, Elton Britt.Ernest Tubb, The Louisiana Honey-drippers and The Lonesome PineFiddlers, is strictly "out" and com-nletely unworthy of further exploi-tation as a future best selling com-modity.

At this stage we can now returnto the question of commercialisa-tion and its effects on the old timehillbilly performers. Yes, commer-cialisation, combined with the usualhigh morality rate amongst suchmembers of the community, is kil-ling off old time canary music -The process of time alone deems itto remain a "specialist" style.

UNRELEASEDThe purists need not however.

mourn the total passing of authenticcountry music. Two recording com-panies, RCA Victor and Columbia.alone, possess massive collections ofhitherto un-released material.Enough in fact, to satisfy the bonafide collector for many years tocome. Other much smaller labelsoperating from the United Statesare currently building up a wealthof valuable material for eventualrelease to specialist collectors.

We may mourn the passing ofthe "hillbilly" as a "live" entitybut his recorded music. at least.will live for ever. And, who (nows.maybe one day in the far distantfuture, musicians may re -discoverthe secrets of the raw musicalcharm of Charlie Poole and hislegendary contemporaries. Untilsuch times we must be content towait and accept that the "live"country music presented to audi-ences in the United Kingdom willbe that performed by such artistesJohnny Cash. Charlie Pride. SlimWhitman, Hank Locklin and Bill An -demon.

Brian Chalker. 1MS

leases from Deccarose every door' and it's really some-ng. Make sure you're among the first to)w what The Joseph Consortium is all)ut. The single is on the Decca label,Tiber F 12866.AYNE FARO'S SCHMALTZ\ND sound very un -schmaltzy indeed,act their new single on the Deram labelquite a groove. The fuzz guitar introds into some crazy organ and a funky:al. 'There's still time' has a messagedeliver, and makes use of the currenttd towards longer records to get this;sage across. DM 222.

new TOBY TWIRL single is a

tghtforward, basic, down-to-earthiber, with more to it than meets the eartime. 'Movin' in' is very strong, withnfectious chorus and some amazing

things happening with the guitar. Shouldcatch on in a big way. On Decca, numberF 12867.THE GOOD RATS have a style asdistinctive as their name, and their newsingle on the London label is worth aclose listen. The title is 'The hobo' andit's a racey bit of ravery. Number isHLR 10237.Don't miss next week's info.

DECCA group records

45 rum recoots

The Decca Recciit C . LimitedDecca House Albert Frobarirment I-Indult SE I

7 i

[PM1119/00D0 MAC [rnOM,ANhICA 0 0

FLEETWOOD MAC are number 4 inRecord Mirror's chart this week. Fore-

runners of the British Blues Boom, they arefirst again to have a single in the charts.

Currently on a two and a half month topline concert tour of the States, Peter Greentook time out to ring RM and chat abouttheir hit single.

How did he come to pick "Albatross",their first instrumental single, as a conten-der for the charts?

LP TRACK"I didn't write it with the charts in mind,"

replied Peter. "We booked the studio to cuttracks for a new album. "Albatross" wasone of the first ones recorded and on hearingthe first play -back, Mike Vernon our pro-ducer and Clifford Davis, our manager, andthe rest of the group were knocked out.We decided then and there to release it asa single, before we left on our Americantour. Actually I'd like to say that any creditfor its success goes to Mike and RichardVernon at Blue Horizon and our Manager."

What we;e his comments on the fact thatonly Hugo Montenegro and Love Sculpturehad instrumentals in the charts, besidesthem?

WHY "ALBATROSS"?"Obviously lyrics are important. But I

think that with an instrumental, you canmake your own story-I called it "Albatross"because that's what it meant to me. It canmean something entirely different to eachindividual. Like some modern paintings. thatdon't have titles because you see what youwant to see in them. "Albatross" is verysimple and I think that's it's appeal. Afterour Dee Time appearance, people wrote infor the sheet music - one was a concertviolinist."

They have been referred to as an under-ground group, did Peter agree?

"I definitely disagree, we don't categoriseourselves, the way everybody else does. Weplay what we enjoy doing. When we record,we have no preconceived ideas about whatwill be an album track and what will be asingle, except in the case of the single be-fore last which was "Black Magic Woman."We just go into the studio and work on ourideas. If that makes us underground, thenokay. But I don't like being called an underground group."

I ventured to suggest that as a blues group,Fleetwood Mac was a pale imitation of the

PETER GREEN'S FLEETWOOD MAC

American Negro Music. Did Peter feel thatwhat they were doing was musically valid?

"We're not a pale imitation of anything. We are agroup of five musicians, each with a definite approachto his own thing. Jeremy does his thing and we backhim. The same with Danny Kirwan and myself. Havingthree lead guitarists gives us this variety. I agree thatwe were influenced by American blues to begin with.But why do we have to be categorised? We are knownas a blues group because some of the music we playis blues. But we play mainly our own compositionsand some rock and roll too. I would never call DannyKirwan a blues man. And "Albatross" isn't blues.You'll see what I mean when you hear our new album.It should be released in mid -February."

What in Peter's opinion, was the difference oetweenthe American and British blues scene today?

"With respect to people like Canned Heat, they areblue influenced pop groups. As far as real Americanblues is concerned I would give you one name andthat is the B. B. King Band. The American conceptionof contemporary blues is very different to ours. Forinstance. they regard Jeff Beck as a blues group. Thisis why I think we go down well out here. The Amen -cans thought British Blues was a wailing guitar be-fore."

What did Peter feel about out-and-out pop groups likeDave Dee etc., The Casuals and Sly and The FamilyStone?

"I appreciate that it takes all sorts of music to pleaseall sorts of people. I am not involved with pop music.but I've got nothing against it. I live and let live."

And finally, how had the first part of their Americantour, the second this year, gone?

BRIAN AND JULIE"So far we've played New York and Texas. After a

night at the Fillmore East in New York, Brian Augerand Julie Driscoll called round after the show. Ourfirst night was a drag because our equipment wasplaying up. But it seems okay now. Slim Harpo cameto The Scene in New York to see us. And Lightnin'Slim, who was on the same bill. requested"Walk On The Water" again, which knocked meout. Jimi Hendrix came down and sat in with us fora bit. After the first show in Houston. Texas - youknow Texas. is really as big as they say - about athird of the audience came round to the stage door andwe all chatted. There were lots of them with importedcopies of our "Mr. Wonderful" album, which isn'tavailable over here. We all got cramp signing them.Arthur Brown was with us in Houston."

Peter then had to gO, as they were about to leave fortheir night at the Boston Tea Party. "Send everyoneour love and thank them for making Albatross a hit.Merry Christmas, Happy New Year and see ynu all inFebruary." he said.

IAN MIDDLETON

8 RECORD MIRROR, Week ending January 4, 1969

Derek Boltwood andAmerica Awake

MASON WILLIAMSSaturday Night At The World;

One Minute Commercial (WarnerBros. 7248). You have to listento this a few times before realis-ing that it's a great song.There Is so much more to itthan would appear at first. Noth-ing like Classical Gas - this isMason singing, sadly, gently andbeautifully. And a very tastefulproduction. Has that same appealas Gas - don't know what it is.but I like it, I like it. I hopeit's a monster hit. FLIP: Prettylittle tune that lasts for oneminute - and in fact does soundlike the background to a T.V.commercial. But it's good.

CHART CERTAINTY.

WILSON PICKETTHey Jude; Night Owl

(Atlantic 584236). Here comesde jude. here comes de lode

. . nice. I believe this SOW:was originally a hit for aBritish group (aside: who doeshe think he's foolln'?) Needlessto say it's a great song, andWilson tells it like he feels 4l-

full o'soul and frantic. And thisversion is just so good-thoughmany a true hippy would dis-agree with me, ah'm sure. Butit's nice to have Jude socked tome by a soul great. FLIP:Wilson Pickett must have beenfeeling great at this session -even the flip's fantastic. Forgetthe song-it doesn't matter whathe's singing. It's HOW he'ssinging.

CHART PROBABILITY.

BROOKLYN BRIDGEThe Worst That Could Happen;

Your Kite My Kite (Buddah 201029). A Jim Webb song, andnicely done by this singingbridge. A hit in America I be-lieve, and could be here aswell. A big sound, and all theway through I can't help feel-ing that it could have been donebetter. But the song's goodeven though the production onthe whole is a bit uninspired.I can see it getting a lot ofPlays-and so to the charts.FLIP: Vocally interesting -but Brooklyn Bridge just aren'tanother Fifth Dimension. Isthere another Fifth Dimension?

CHART POSSIBILITY.

THE TYMESPeople; For Love Of Ivy.

(Direction 58-3903), Productiongood'n'big on this song from thefilm "Funny Girl". Not one ofthose records that's a definitehit - but it's a great song any-way, and the Tymes do it sowell, and I'd like to see it inthe charts. What's more I havea feeling that it could be a bighit - an' when of gets er. . . - FLIP: From the film ofthe same name, and beautifullydone. Powerful big -voiced ballad,and I like it. Must be getting old(?).

('HART POSSIBILITY.

THE RUBAIYATS: Omar Khayyam; Tomorrow (Action ACT 4516).Omar goodness, I don't believe it! Original, I suppose-c'mon baby, dothe Rubaiyat yeah. Terrible. Or else a joke.

FIVE STAIRSTEPS & CUB1E: Stay Close To Me; I Made a Mistake(Buddah 201 026). Nicely done, but not a lot to the song-so can't seeit doing much. Just very ordinary Tamla-ish sound. * * *

CHUCK TROIS AND THE AMAZING MAZE: Call On You; Woods-man (Action ACT 4517), Beaty, powerful intro with a strange wailingthat is weirdly appealing. Voice comes in nicely, and though the songisn't distinguished the production is really very good-as are ChuckTrois and the Amazing Maze. *

THE GOOD RATS: The Hobo; The Truth is Gone (London HLR10237). There is something about the way this is done that remindsme of the Herd. The song isn't particularly strong, but it's a nicesound - and one of those records that could just make it, given theplays. I like it, don't know why. *

ANTHONY AND THE IMPERIALS: Let the Sunshine In (the FleshFailures); The Gentle Rain (United Artists UP 2260). Something elsefrom Hair-O.K., but it really sounds like someone's sockin' "Rawhide'.to me. Somehow doesn't quite click. *

TOM DOOLEY: My Groovy Baby; You'd Better Stop (Let My LoveShine On You) (London HLE 10236), Sounds like a lot of things I'veheard before-but. can't quite place. Apart from that quite good-nothing to hang your head down in shame about Tom Dooley. (ohclever). ** *

B. J. THOMAS: Hooked On A Feeling; I've Been Down This RoadBefore (Pre International 7N 25481). Pleasant sitarish intro, andthen a pleasant voice on a pleasant song. In other words, verypleasant - though neither the song nor the voice are particularlydistinctive. *

JAMES AND BOBBY PURIFY: Untie Me; We're Finally GonnaMake It (Bell BLL 1043). Sounds a bit dated - but not strongenough to really appeal, Ordinary song and a production full ofcliches - just the Purify brothers to hold it together. And that's notenough. Pity. *

THE DELFONICS: Ready or Not Here I Come; Somebody LovesYou (Bell BLL 1042). Dramatic intro that blends nicely with thewhispering almost Delfonic voices-excellent arrangements. sounds likea film score at times, and makes quite an original sound. Catchy tunetoo. *

HE GRASSROOTS: Bella Linda; Hot Bright Lights (Stateside Dun-hill SS 8006). Bouncy song that sounds a bit Beatlish in places-butnowhere near where the Beatles are at now. Well done though, andquite catchy. If it gets the plays it could easily make the charts.* * * *

NINA SIMONE: I Put A Spell On You; Don't Let Me Be Misunder-stood (Philips BF 1736), Beautiful. The only reason I'm not tippingthis is it's an old recording being released to make the most fromMiss 'Simone's current success. Not that that's a deterrent, obviously,if people are going to buy it. But this I don't think is chart material,excellent as it is Not quite at where "Ain't Got No" is, but aquality record that just proves that Nina Simone IS High Priestessof Soul. *****

FAMILY'S

CHANGED

IDEASTHESE days pop groups contain more and1 more multi -instrumentalists. Take Familyfor example. The five members can performon ten different instruments thereby obtain-ing some very interesting sounds. Popmusicians now have better techn:cal controlover their instruments - something thatdidn't happen a few years ago. Also pophas become much more creative.

Family consists of Roger Chapman leadvocalist (he ussd to play tenor sax and har-monica), Ric Grech on bass, violin and'cello. John Whitney plays twin -neck guitarand piano. Jim King plays tenor and sopranosaxes plus harmonica. Drummer Rob Towns-end alSo plays percussion. Ric and Jim dothe backing vocals.

I met Roger and Ric in our "outer office"recently and over a few glasses of "medi-cine" they told me about the group. "Thepresent personnel has been together for ayear," Ric said. "We used to be based lnLeicester and made incredible day trips togigs. We would set off with packed sand-wiches and a thermos! When Roger joinedus, we couldn't afford to have just a singer-we needed someone who could play tenorand things. So he had to learn how toplay." "I would liked to have played guitar,"Roger stated. "Some of the group like jazzbut I don't - I don't understand it. I preferJohn Patton and the country blues."

Ric is the jazz lover of the group. "Foryears you listen to something but don't getinto it. Then all of a sudden you hear some-thing and you go for it. This happened withme - I took to jazz," he explained. "Youdon't realise you're influenced until youget onstage and it all comes out. Everyoneis doing their own thing. Family is a sort ofjazz influenced pop group. We were origin-ally influenced by classical music but it isdifficult to put over a classical feeling. It'seasier to get a jazz feel."

"Our single, 'Second Generation Woman'only shows one facet of what we're doing,"Ric said. "We're trying to reach a largerpublic. But we didn't go into the studio justto make a commercial record - it just hap-pened."

"I don't think it matters if people do writesomething that is commercial," Roger inter-jected. "It's all a matter of feeling. I don'tput someone down if they do something outand out commercial. If it pleases the publicthen it's fine with me. I used to be a snobin music, like I didn't like the pop scene.I went for R 'n' B and blues when I was14 or 15. If people enjoy what I do now-fine. I'm 26 but I don't think age matters

any more. It's a question of what you doand how you do it."

When Family first came to London, theywere looked on as "underground". This wasbecause the "underground" clubs were theonly ones to book them. Ric bemoaned theirfate, "When we first came to London theonly people who accepted us was The MiddleEarth. After a while the word got aroundthat people dug us. Then we began to appealto the 'straights' as well as the `heads'.""It was the first time we were reallyaccepted by anyone," Roger continued."Originally we played three-quarters of ourown material then we began to play freerthings. Nowadays, we mainly play our ownmaterial.

"Pop musicians have learnt to communi-cate with each other on stage," Roger stated."Years ago they didn't have the knowledge.We've become simpler in our music. Insteadof doing complicated arrangements we leavethem out but the music still works. It's likeicing on a cake. If the cake is good enoughyou don't need the icing. Groups now jamtogether lice jazz groups did. This didn'thappen say three years ago. It's a questioncf musical improvement."

Ric gets rather incensed over certainthings in pop music. For example - "Itannoys me when musicians in the businesslike Dave Dee start blagging the under-ground. Just because groups such as 10

Years After and Cream have made it inthe States and he can't because of his ownincapabilities to produce his own musicalidentities. Tich started to play blues andDave Dee put him down because it didn'tfit. But at least he was trying to do some-thing which is more than can be said forDave Dee Let him stick to his own bitwithout spouting about other people."

After that outburst, we got down on aneven keel and Roger told me about theirnew LP. "Our new album will be out aboutJanuary and is completely different to ourfirst one, 'Music In A Doll's House'. We pro-duced it ourselves and it has all originalmaterial. At one time only John and I wroteour material - now everyone in the groupwrites. Our ideas have all changed. There'sa jazz progression from our first album toour second one. We've even got solos in it.'Second Generation Woman' is really whatwe're all about. It's about people who'vegrown up from the rock era."

Family's appeal is not limited to the"underground" fans. bike Roger says, "Re-cord Mirror is something of a rockers' paper,but the rockers dig us." I wonder if DaveDee & Co. fans dig them as well?

IAN MIDDLETON

new singles reviewed by Peter Jones new sing

SHANE MARTIN: You're So Young; I Need You (CBS 3894). A JimWebb song, done with a sure sense of style plus a building sort of backing.But not really notably different in any way and therefore a predicted miss.* * *

BARBRA STREISAND: Funny Girl; I'd Rather Be Blue Over You (CBS3705). Superlative performance of two songs from the movie - and inwith chart chances, what's more. Moody, variable, every word crystalclear and a sure bet had the tempo been that bit faster. *

BLUE RIVERS AND HIS MAROONS: Take It Or Leave It; I've BeenPushed Around (Spectrum SP 105). Interesting rhythmic contents here,even if it is sometimes a bit involved. The basic theme is very catchy andit could register, given air support. *

WAYNE FARO'S SCHMALTZ BAND: There's Still Time; Give It Time(Deram DM 222), Nothing actually schmaltzy here . - some progressivesounds and some mournful sort of lyrics and some exciting guitar figures.Rather good, taken all round. *

TOBY TWIRL: Movin' In; Utopia Daydream (Decca F 12867), A RecordOf The Week, with a tremendous orchestral backing and the group, verypromising by the way, doing a strong job with a repetitive sort of songthat seems to have instant impact. Very strong indeed, in fact.* * * * *

WASHINGTON D.C.'s; I've Done It All Wrong; Any Time (Domain D9).Pretty good this, with an insistent sort of chorus line, nice bass -y effects,and the odd bluesy moment which comes through well. *

JOSEPH CONSORTIUM: Close Every Door; The Coat Of Many Colours(Decca F 12866). Tracks from the album "Joseph and the Amazing Tech-nicolor Dream Coat", featuring David Daltrey, and the top deck becomesa Record of the Week and induces an urge to go out and buy the LP.Tremendous mood material and very well performed. Norrie Paramor,Tim Rice. *

DAVY CLINTON: Can I Bring Back Yesterday; The Girl With TheSun In Her Hair (Nembs 3855). A very good ballad indeed-a Record ofthe Week on the scores of the song quality and the performance style.Great arrangement, too. * * * * *

JOY MARSHALL: And I'll Find You; I'm So Glad You're Back(Toast TT 512). Very good performance as is to be expected, but thesong may not really be quite direct enough to click. However MissMarshall is a "joy" to listen to. * * * *

SAMANTHA JONES: And Suddenly; Go Ahead And Love Me (UnitedArtists UP 2258). One of those bubbling -bird performances that registerwith me but don't regularly make the charts. This one is well aboveaverage. Samantha sings out nicely. *

RICHARD HENRY on "Oh Girl"(Regal Zonophone RZ 3014)sings out with power but it

rambles on a bit. "Treat Me Nice"(Jolly JY 005) by DIANE LAW-RENCE is a bit minor key but hasa pleasant beat. From DERMOTO'BRIEN AND THE CLUBMEN:"The Rocks Of Bawn" (Pye 17648).an Irish story - line piece, but fullof charm. THE BELOVED ONE,alias Les Irresistibles, tackle "LandsOf Shadow" (CBS 3600) with Frenchenthusiasm but it doesn't soundmuch like a hit here. "TomorrowManyana" is by LOS AVENTURE-ROS (Fontana TF 981). English -language but very much Spanish -flavoured.

SIR HENRY AND THE BUTLERSre-emerge with "Camp" (ColumbiaDB 8497), a kazoo -type noveltywhich is fair enough. Lovely ar-rangement and presentation: "Moon-light Clair De Lune", (Deram DM218), played by the ROBERTOMANN ORCHESTRA AND CHORUS.Very odd and don't really know

what to make of "People Get To-gether" by CARL AND TOM (CBS3845). Two girls from America: THEBEAS and "Dr. Goldfoot and HisBikini Machine" (Pama PM 744),bouncy teeny -hopper stuff. FromTHE CROWNS: She Ain't GonnaDo Right" (Pama PM 745), bolincYbluesy and okay. but nothingspecial.

TWISTED Nerve" is the theme1 from the film of the same

name-a controversial movie-and it's recorded by THE LIONS(Polydor 56757). From MISSALUBA: "Sanctus", a churchy pieceof considerable imagination fromthe also controversial "If - . . "(Philips BF 1732). From "ZOKKO'SBAND: "Zokko Band Parade"(Columbia DB 8520), a bouncypiece featuring a sort of march -along approach-a real foot -tapper.The familiar "World Of SportMarch" comes up by THE DONHARPER ORCHESTRA (ColumbiaDB 8519)-another tuneful piece.

lodati

the New gaced

coat you ate 365 claw

fitted with hap/pined45

and good heath.

and tentemice%

EDUSW out 041. Decca

RECORD MIRROR, Week ending January 4, 1969 9

new albums reviewed by RM reviewing panel new albums reviewing panel new albums reviewed by RM reviewing panel new albums reviewed by

`SEXY' JEANNIE'S FIRST LVARIOUS ARTISTES: "The

Country Style Of Life".-(UnitedArtists Stereo SUX 1215).

THE artistes concerned areJohnny Darrell, Bobby Lewisand Del Reeves, and Marvin

Rainwater, Bill Wilbourne andKathy Morrison. Buddy Know.Tommy Cash (Johnny's brother).and the songs have mostly ap-peared on the Country music chartsin America. Sixteen altogether.essentially a specialist sort of al-bum but a valued contribution tothe countryman's library.* * *

AYNSLEY DUNBAR RETALIA-TION: "Doctor Dunbar's Prescrip-tion". The Fugitive; Till YourLovin' Makes Me Blue; ISM Thal

I've Lost You; I Tried; ChangeYour Low Down Ways; Call MyWoman; The Devil Drives; LowGear Man; Tuesday's Blues; MeanOld World (Liberty LBL 83177E).

IMUST say this album has beenwell worth the wait. Led byAynsley Dunbar on drums the

quartet play some really greatblues - going from hard -drivingnumbers like "Call My Woman" tothe slow " Till Your Lovin' MakesMe Blue". Aynsley is accompaniedby Victor Brox on organ, vocalsand twelve -string guitar, JohnMoorshead on vocal and leadguitar; together with AlexDmochowski on bass guitar.

It is difficult to sort out any oneparticular track to play - becausethey are all very good. But what

did grab my attention was numberslike the two already mentioned and"I Tried", "The Devil Drives"and "Low Gear Man". "I Tried"is a fast-ish number with JohnMoorshead playing guitar a laFreddie King. "The Devil Drives'belongs to Victor Brox - hecomes across like Big BillBroonzy both in his vocal andtwelve -string guitar playing. "LowGear Man" is a lovely, slow,moody blues - it is almost blackin texture. Probably the mostexciting track is the final number,"Mean Old World". This one hasVictor playing pocket cornet togreat effect and it could quiteeasily be a hit single. Definitelyrecommended to one and all.

* * * * JEANNIE C RILEY

D ON THE LINESOF "HARPER

"11 VALLEY P.T.A."

GRIFFITH'S GOLDEN ALBUMSTHE BEATLES (Apple PCS 7067 & 8)

Last year's obvious standout LP was "Sergeant Pepper"and now we have its unbelievable, impossible, out -of -sightsuccessor. It's no feat of critical perception to pick thisdouble album as the year's most magnificent collection ofrecorded sounds; the choice is unavoidable. For so manyreasons and here are just a few of them:

First, the packaging. I wrote at some length last year aboutmy disappointment with the presentation of "SergeantPepper." This time, good taste has prevailed - quietlyostentatious plain white with black and white photos of TheBeatles, plus - inside the sleeves - the same photos re-produced in colour and a collage poster. Don't see the pointof duplicating the photos and my first reaction to the colourones was to think them fan -fodder, rather unworthy of, andirrelevant to, The Beatles' present stature. Upon reflection:maybe they were a good idea, part of a marketing policy ofreaching customers on all levels. Certainly, there is a directopenness of expression on each Beatle face that helps theviewer -listener to enjoy and understand their music all thebetter. They offer THEMSELVES, without much show -bizartifice. The vibrations are largely good.The poster is quite interesting and amusing, though no

masterpiece of modern art. Still, I'll always be grateful tothe artist, Richard Hamilton, because it was at his home andthrough the courtesy of his daughter that I heard, back inOctober, unedited acetates of about half the numbers onthis album. Thus, I've been able to compare some roughversions with the finished, properly mixed product. You mayfeel free to believe me when I tell you that this set has beenexquisitely well put together. There's a delicious balancebetween the carefully worked -out, orchestrated effect, andthe capricious "happening" (such as Lennon screamingabout his blistered fingers).

I'd say it's basically a comedy album: there's a spoofelement in most of the tracks but the parodying of past andpresent pop styles is never over -strong. When The Beatlesrock, for instance, they REALLY rock. They take a style,perform it in just about the best way it can be done, andthen on top of that they add their own distinctive twists;very little is done straight. However, some of the finestmoments are absolutely serious. I especially love the veryloving "I Will" followed by the emotional, yearning "Julia".

The choice of opening number is perfectly ingenious. It's"Back In The USSR" and it serves the purpose of dis-orientating (both politically and socially) the "average"listener whose mind is likely to be thoroughly confused bysuch lines as "Back in the US, back in the US, back in theUSSR," and the use of rock and Beach Boy effects to praiseRussian chicks. With both Georgias on his mind, perhapsthe listener is rendered more receptive. The message comesacross that nothing is as simple as it seems. And theviolence of the beat effectively demonstrates that TheBeatles have not gone soft, or too arty, or too far away from

the basics, despite their fame and riches.The breadth of their conceptions is impressive. There are

glimpses of profound philosophy mixed up among the fun.And so many of the lines are so ambiguous that they offerthe imaginative idler plenty of scope for fantastic, personalinterpretations. I'd be interested to hear from any readerabout the "meaning" of any lyric, the wilder the better, ofcourse. My own favourite "interpretation" concerns the two-line song "Why Don't We Do It In The Road? No One WillBe Watching Us." Obviously, this refers to Ouspensky's book"The Fourth Way". And The Beatles have realised, aftertheir painfully over -publicised experiences with the Maharishi,that their further philosophical and religious adventures arebetter conducted away from prying eyes. Just kidding, folks,though it wouldn't be too startling if a future Beatle opuswere to be titled "All And Everything".

But enough of esoterica, let's hear a big hand for themagnificently authentic arrangements of George Martin.Let's hear it, too, for that astonishing vocal chameleon PaulMcCartney. He's developed into a marvellously versatilesinger, capable of switching from brutish r & b hollerer totender balladeer, from modern to Twenties styles. Musician-ship from every Beatle is excellent throughout, ranging fromthe impassioned, technical guitar feats of Harrison to themore limited, but very personal, very swinging, Starrdrumming.

In the hope of avoiding vicious charges of grovellingsycophancy I suppose I'd better raise a stern objection ortwo. Let's think ..

Ah, well, the arrangement of Ringo's song "Don't PassMe By" has quickly palled on me and I do tend to jumpthe needle here. And "Revolution No. 9" doesn't strike meas half inventive or exciting enough to justify its inordinatelength. I practically always skip that one. Apart from thosetiny whines, deepest thanks to every Beatle. Every Beatle,everywhere.

THE MOODY BLUES IN SEARCH OF THE LOST CHORD(Deram SML 711).

There are some sumptuous sounds on this LP, all of themmade by just the five Moodies. No session musicians, simply(?!) the group's instrumental versatility, adroit use of themellotron, and brilliant sound engineering.

Their determination to do it all themselves, though ad-mirably self-reliant, does have one unfortunate consequence:there are moments of narration, rather poetic stuff, spokenby Graeme Edge and he's no sonorous -voiced actor. Rightat the beginning he pronounces "something" as "somethink",which is a bit sloppy and inappropriate.

However, the music's often positively beautiful, and thealbum is based on a good idea-a trippy quest that endswith God and "OM". It is for that last "OM" track (highlyatmospheric) and for the daring and effort that went intothe Search that I have picked this LP.

JEANNIE C. RILEY: "Harper Valley PTA"-Harper ValleyPTA; Widow Jones; No Brass Band; Mr. Harper; Run JeannieRun; Shed Me No Tears; The Cotton Patch; Sippin' ShirleyThompson; The Little Town Square; Ballad Of Louise; SatanPlace (Polydor 583 716).QHE'S got a sexy face, has Jeannie. She's got a sexy voice,", has Jeannie. She's also got a sure-fire big -selling album onher hands, has Jeannie.

This is a uniformly strong selection, mostly narrative -typesongs very much on the lines of that hit single of hers, withthe odd use of chorus and some very good guitar work goingon behind. At rather fast paces, Jeannie nevertheless punchesacross the lyrics with an innate sense of style . . . each wordgets the right amount of stress and strain. What's more, someof these songs have outstanding lyrics-centred round thesmall-town sort of life, and on some use of dobro comes offwell.

Jeannie is a most attractive new talent. Capable of purringwhen required, but also capable of barbed shafts which reallyhit home. On "Shed Me No Tears", she works over a gently -rolling melody line and sounds for once uncluttered by thesocial griefs and woes . . it's all personal sadness hereabouts.

Certainly a good album, full of good moments. If anythingstands out more than the other attributes, it is the sheerstrength of personality of Jeannie. * * * * *

STRICTLY PERSONAL. CAPTAIN BEEFHEART AND HISMAGIC BAND (Liberty LBS 83172E).

Aptly titled. The unique Beefheart outfit have thoroughlyfulfilled the promise of their first album. The music isstrange, oddly stimulating, with spacey, futuristic soundsblended with frenzied, gutsy blues shouting. This album isnot merely an avant-garde curiosity (plenty of THOSEaround), there is something superior and satisfying aboutit. A lot of creative heat has been poured in. Don Van Vliet-you made it baby.

Here is a suitable moment to say a word of thanks toman -about -the -pop -scene Peter Meaden. Peter has not beenwell or active lately and one reason for this is that hewore himself out-to no personal, financial -type avail-promoting Beefheart and related artists in Britain. The high-and I mean HIGH-esteem in which the Magic Band isheld among John Peel and the rest of the undergroundin -crowd is directly attributable to Peter's enthusiasticefforts. Last January, when Peter dragged me along tomeet Don, the Beefheart mastermind, I was a trifle scepticalbut now, after this great, bizarre LP, it's all clear. Clear asmilk, and as nourishing.

THE DOUGHNUT IN GRANNY'S GREENHOUSE. BONZODOG BAND (Liberty LBS 83158E)

Only just received this one, so can't claim much famili-arity, but I like it well enough already to want to includeit anyway. The packaging is ridicuously terrific. The Band'slast LP (incidentally, they're beginning to drop the Doo-Dahbit) was "Gorilla" (a visually undistinguished effort) and toemphasise the fact that this is "Son Of Gorilla" there'sa mind-blowing photograph included in the "info -packedpamphlet" of a luscious lady gorilla with infant on herbreast.

This set is, if anything, too gratuitously inventive, too re-liant on tired goon humour. Concepts such as "TheDoughnut In Granny's Greenhouse" and lines such as "InSeptember 1937 I bought my wife a new electric iron foreight -and -sixpence. She's still using it every day and it'snever needed repair" are doubtless creditably imaginativeor cute but when you get right down, nitty-gritty-wise, allthey do is clutter up the mind.

Still, if you forgive the twee smugness, the strainedsmartness, there's plenty left to lap up. Especially if you'rea trouser fetishist (see page 14 of Peter Laurie's PenguinSpecial, "Drugs"). Also if you're cheered by comic tales,like sound effects to be used craftily, and relish musicalpastiche. They're a funny lot.

DAVID GRIFFITHS

BARRY RYAN'11 11 it\ MKS ALL

RECORDMIRROR

READ ERS

FOR THEIRKINtOIESS

IN '68AND IreTHEM EVERY

APPIN ESSIN '69

ROOT& JENJACKSON

Beacon Records

10 RECORD MIRROR, Week ending January 4, 1969

'69

UNDERGROUND SURVEYONE of my main regrets of 1968 was that I ever

decided to refer to my column as being "under-ground"-or to do with "underground groups". Iunderstand what the word means-but as I use it

it's a personal term of reference for groups, people and thingsof a certain type that I like. But there seems to be no oneaccepted definition of the word, though most definitions tendto put it down as a plastic neo-flower power hippy thing fortrendies only. A fashionable cult.

There is, however, more to it than that. A lot of the peopleI've written about do tend to fall into the category of whatis generally accepted as being underground-so as a termof reference it has been useful. People have a vague ideaof what I'm talking about before I start, so they can adjusttheir wavelengths to fit-never quite to the same frequency,often to an anti -frequency, and sometimes to that little.plastic frequency that runs alongside. (You know, the onethat ends before it becomes interesting). But at least we allknow roughly where we're at.

Still (he said sincerely and heroically, clutching his browwith the air of a Shakespearian martyr) as long as I'm doingmy bit to promote good music . . . what do definitionsmatter?

And one of the nicest things about last year was that itwas a good year for good music. Or, rather, for the apprecia-tion of good music. It was often reflected in the charts-towards the end of 1968 more and more really good soundshit the Top Twenty (unfortunately, there seemed to be twiceas many trivial and boring records around to offset this). Itwas good to see that people were actuallrbuying in largequantity, records by the Nice, Jose Feliciano, TyrannosaurusRex, Mason Williams, Fleetwood Mac, etc., etc., in a year inwhich Des O'Connor, bless his little cotton socks, neverseemed to be without a hit disc. And although the worldstill seems to be overrun with teeny-boppers, chewing bubblegum, boppin' soulsters and afficionados of the schmaltz, theever-growing band of lovers of good music is ever-growing.

John Peel regards "Top Gear" as a forum for goodmusic. And on the whole it is. So what better proof canthere be that there is a very large section of the communitythat is aware, that wants to know about good sounds? Be-cause "Top Gear" is one of the most widely listened -toprogrammes on Radio 1, and John himself has been votedTop DJ of the year.

"Underground"-I think I'll have to change that word tosomething like "rumplestiltskin" or "garibaldi" (chosen atrandom from a dictionary of thousands) so as to avoid evilconnotations and further confusion. Anyway, "that word"refers to people who are genuinely trying to do somethingwithin the realms of pop music. Trying to create the sortof music that they want, and then trying to better it. Notnecessarily "art for art's sake", but trying to create for-rather than cater for-the public.

Why did rumplestiltskin/garibaldi emerge in 1968?It's been growing for some time-so as the fame of certain

groups and people spreads in the end aided by mass mediarather than word of mouth, so more and more get to knowthat something worthwhile is happening. And it's not justhappening in one form of pop music-all the differentscenes are becoming alive. Sometimes merging, drawing onone another for inspiration, there's a sort of eclecticism ofmusic, combining folk, blues, classical, jazz, and all seeingthe light of day through the wunnerful wunnerful mediumof pop.

The musicians in pop are taking their job more seriouslynow-not a fun job any more as such, more a sort of ar't.Standards have risen-at the top end there's a select bandof minstrels who've been playing for five years or more. So'it's natural that they should not only play better but alsowant to do more with their talent-progress musically. Inthe last year or two they've been trying to find themselves,find a direction-and it's been confusing for a lot of uspunters, not knowing quite what has been happening. Butnext year . . . an end to confusion. At the pinnacle of popthere'll be a workshop atmosphere comprising the creamof the musicians-and this is where some of the nicest ideasar'e going to come from. The gap between charts and other-wise will become wider-though the more progressive soundswill still be reflected in, and will influence, the Top Twenty.And remember -1969 is also the year in which we'll see livetours by the Beatles, the Stones and Bob Dylan.

(Cries from the stalls of mah goo'ness ain't dis guy atruly great philosopher and all-time predictionist. Yay).

And of course albums, the making of and the sales of, willbecome more important. This is a trend that's becomingbigger and bigger ever since the release of "Sgt. Pepper"-the whole attitude to making LP's has changed. And to buy-ing them. 1968 saw not only a massive increase in the salesof albums, but more people were making-in a lot of casestrying to make and not really succeeding-records with alasting rather than a throwaway quality. And some verynice things have happened. The Moody Blues spring to mind-the Pink Floyd too. And the Pretty Things' "S. F. Sorrow"is another excellent example-a good case of a group that'sgrown up and matured in pop, and now producing very goodmaterial.

John Lennon's art exhibition may not have been world -shattering, but it showed a pop mind that had opened up-that was genuinely trying to create as an artist. No longera popster. Marc Bolan's poetry may not be brilliant. But it'sthere, it's sincere, it's good. And Mason Williams the same.And so on. In other words there's a mature, and maturingawareness among the people who are really trying to dothings in pop. Not the teenybopper kings-they'll be comingand going as long as there's pop music-but the people whoare taking their pop as seriously as jazzmen or classicalmusicians take theirs.

Let's not be too embarrassed about pop being an art -1968 saw a change in attitude. 1969 will see, I hope, thatattitude established. The grand folk -art rennaissance of alltime? DEREK BOLTWOOD

I'm using this picture simply because I likePeaches and Herb, one of the most popular R.and B. attractions in the States. Lots of work

going on over their latest CBS Direction release"Let's Make A Promise". Peaches is actually 24 -year -old Marlene Mack, from Virginia. She waswith the Joy Tones vocal group, working onrecords with such as Chuck Jackson, the SoulSisters and the Foxx's. Herb is 23 -year -old HerbFame, and together their US hits include "Let'sFall In Love". "Close Your Eyes", "For YourLove" . . . during which time they were dubbedthe Sweethearts of Soul. They really do makepretty music together.

KRIS IFE'S first solo record for Porto-phone introduced the new form ofpopular music . . Satangelic,

described by producer -writer Mark Wirtz as"the essence being an amalgamation ofconflicting emotions and impressions trans-lated into coresponding musical composition".Be that as it may, the record is called"Imagination". Kris was once with Parlo-phone's group The Quiet Five, then switchedon his own to MGM. This Satangelic busi-ness could be quite a major influence.

BIG MAN" sings Ronnie Corbett onColumbia-and big man is what hemost certainly is not, though he's very

big indeed on comedy. The Edinburgh -bornentertainer has already performed the songto riotous receptions on various sessions ofD. Frost. He's actually 5ft. llin. tall andhas often been seen at Chelsea FootballGround, which underlines for me his innategood taste.

PRECIOUS few groups start from scratch and then come throughto hit parade status. So there are good grounds for one of thosegroups coming up with the name, Precious Few. Here is a

picture of this Norwich -based outfit-reading from left to right:Chris Bell, drums and vocals; Peter Reynolds, singer; Brian Crook,lead guitar; Roger Pymer, bass and vocals. They're on the way,recording -wise . . their record on Pye, "The Pleasure Of You" washandsomely reviewed.

iiti

LAURA LEE may not have had bit records yetbut she is certainly one of the best-knownnames in the pop business. With the Johnny

Howard Band, she has made countless numbersof broadcasts including at least 200 airings of"Easybeat". Her first record for Columbia is anew song "Love In Every Room". Bits of thebasic Scottish accent come through even now,despite her years of being based in London. Shelives with her husband and the pictured two Alsa-tians in Woodford Green, In Essex.

Tlean and hungry looks belong to1 Martin Hummingbird who steps from

a group line-up into the solo limelightwith his new Decca release, "You ReallyKnow How To Hurt A Guy". Martin, whoalso writes songs and is something of anauthority on gospel music, currently worksin the contract department of a West Endstore, but is keeping his fingers crossedfor success with the new disc.

THE Memories hail from Dublin and two releases on the Rexlabel along with personal appearances have made them one ofIreland's most in -demand groups. They specialise in close

harmony and a lively approach to pop-all devised by Mike Swan.who Is hoping that their third release "Indian Lake" is going tbring them popularity on these shores.

SPANISH group the Pop Tops who've hit number one spot withtheir record, "Oh Lord, Why Lord" back home, are in Londonsoon for a short promotional tour. The record was released

here on Major Minor in October and was hailed for the beauty ofthe lyrics and melody-and for the extremely strong lead vocal bythe group's coloured singer Phil Trim. Incidentally, the Pop Topsare managed and recorded by Alain Milhaud who also records andmanages Los Bravos, erstwhile hit -makers here . . a man with asharp eye for talent.

RECORD MIRROR, Week ending January 4, 1969 11

RECOR

AIR MAILED FROM AIEW YORKI HEARD IT THRUTHE GRAPEVINE

1 (6) Marvin Gaye(Tornio Motown)

2 WICHITA -LINEMAN3 (9) Glen Campbell (Capitol)

3 STORMY2 19) Classics IV (Imperial)

I LOVE HOW YOULOVE ME*5 (9) Bobby Vinton (Epic)

I'M GONNA MAKE YOULOVE ME9 (4) Diana Ross & theSupremes & The Temptations(Motown)

ABRAHAM, MARTINAND JOHN4 (9) Dion (Laurie)

LOVE CHILD*6 (II) Diana Ross andSupremes (Tamla Motown)

CLOUD NINElo (2) Temptations (Gordy)

FOR ONCE IN MY LIFE'7 On Stevie Wonder (Tondo)

CINNAMON11 17) Derek I Bong )

SOULFUL STRUT22 (3) Young Holt Unlimited(Brunswick)

4

5

6

7

8

9

10

11

12

13

14

15

16

17

31

32

33

34

35

36

37GOING UP THECOUNTRY* 3817 (5) Calmed Heat (liberty)HOOKED ON AFEELING16 (5) B. J. Thomas (Scepter140

BOTH SIDES NOW8 (7) Judy Collins (Elektra)

TOO WEAK TO FIGHT`18 (8) Clarence Carter(At/antic)

WHO'S MAKING LOVE*12 (10) Johnny Taylor (Slag)

SON OF A PREACHERMAN'21 (4) Dusty Springfield(Atlantic)

18 IF I CAN DREAM'23 (4) Elvis Presley (RCA)

SEE SAW°13 (7) Aretha FranklintAtlantle) 45

20 I STARTED A JOKE*29 (3) Bee Gees (Ater)

CRIMSON AND CLOVER33 (I) Tommy James and theShondells (Roulette)

BELLA LINDA*26 (4) Grassroots (Dunhill)

LO MUCHO QUE TEQUIERE'30 (4) Rene & Rene(White whale)

24 PAPA'S GOT A BRANDNEW BAG*32 (5) Otis Redding (Ater))

19

21

22

23

25

41

43

46

47

A RAY OF HOPE 5014 (5) Rascals (Atlantic)

26 TILL19 (6) Vogues (Reprise)

27 CHEWY CHEWY.20 (10) Ohio Express (Buddah)

EVERYDAY PEOPLES38 (I) Sly & the Family Stone(Epic)

THE WORST THATCOULD HAPPEN*AU (3) Brooklyn Bridge(Buddah)

30 SHAME, SHAME*22 18) Magic Lanterns(Atlantic)

SHOWDOWN43 (1) Archie Bell & Drells(Atlantic)

THIS IS MY COUNTRY41 (3) The Impressions(Curtolm)

STAND BY YOUR MAN44 (1) Tamnty Wynelte (Epic)

SCARBOROUGHFAIR.24 (6) Sergio Mendes &Brasil '66 (A. & M.)HEY JUDE46 (1) Wilson Pickett (Atlantic)MY FAVORITE THINGS42 (1) Herb Alpert (A & M)MAGIC CARPET RIDE*25 (12) Steppenwolf (Dunhill)

HEY JUDE*27 (17) Beatles (Apple)

TOUCH ME- (I) The Doors (Eleklra)I CAN'T TURN YOULOOSE39 (4) Chamber Bros.(Columbia)

THOSE WERE THEDAYS'31 (141 Mary Hopkin (Apple)

READY OR NOT, HEREI COME- (I) Delfonics (Phillygroove)BABY LET'S WAIT47 ID Royal GuardsmenLaurie)

CALIFORNIA SOUL- (1) 5th Dimension(Soul City)THE GIRL MOSTLIKELY TO48 (1) Jeannie C. Riley(Plantation)

CROSSTOWN TRAFFIC36 (3) Jimi HendrixExperience (Reprise)

ISN'T IT LONELYTOGETHER50 (I) 0. C. Smith (Columbia)ELECTRIC STORIES- (1) Four Seasons (Philips)I'VE GOTTA BE ME- a) Sammy Davis Jr.(Reprise)

KENTUCKY WOMAN3i (8) Deep Purple(Tetragrammaton)

28

29

Aa asterbk denotes record released in Britain.CASHBOX BUBBLING UNDER

ARE YOU HAPPY - Jerry Butler (Mercury)A MINUTE OF YOUR TIME - Tom Jones (Parrot)VANCE - Roger Miller (Smash)BLUE BIRDS OVER THE MOUNTAIN - Beach Boys

(Capitol)BUILD ME UP BUTTERCUP - Foundations (UNDROCKIN' IN THE SAME OLD BOAT - Bobby Bland

(Duke)THIS MAGIC MOMENT - Jay & The Americans (U.A.)FEELIN' SO GOOD - The Archies (Calendar)RAINBOW RIDE - Andy Kimm (Steed)YOU GOT SOUL - Johnny Nash (JAD)

THE BEATLES1 Beatles (Apple)BEST OF THE SEEKERS2 Seekers (Columbia)GOOD, THE BAD &THE UGLY6 Soundtrack (United Artists)SOUND OF MUSIC3 Soundtrack (RCA)THE GRADUATE4 Simon & Garfunkel (CBS)VAL9 Val Doonican (Pye)ELECTRIC LADYLAND12 Jimi Hendrix (Track)TOM JONES LIVE ATTILE TALK OF THETOWN

7 Tom Jones (Decca)BEGGAR'S BANQUET- Rolling Stones (Decca)HOLLIES GREATESTHITS5 Honks (Parlophone)HELP YOURSELF- Tom Jones (Decca)LIVE AT THE TALKOF THE TOWNU Seekers (Columbia)DELILAH17 Tom Jones (nieces)

14 BRITISH MOTOWNCHART BUSTERS23 Various Artistes(Tamla Motown)JUNGLE BOOKis Soundtrack (Walt Disney)I PRETEND8 Des O'Connor (Columbia)BEST OF THE BEACHBOYS VOL. 311 Beach Boys (Capitol)

18 FELICIANO13 Jose Feliciano (RCA)

19 IDEA14 Bee Gees (Polydor)

20 PARSLEY, SAGE,ROSEMARY & THYME22 Simon & Garfunkel (CBS)

21 A MAN WITHOUT LOVE15 Engeibert Humperdinek(Decca)BOOKENDS20 Simon & Garfunkel (CBS)

23 GENTLE SHADES OFVAL DOONICAN30 Val Doonican (PVC)

MIRROR CHARTS PAGETOPL.P.'s

NATIONAL CHART COMPILEDBY THE RECORD RETAILER

1

2

3

4

5

6

7

8

10

12

13

15

16

17

22

24 GREATEST errs24 Supremes(Tamla Motown)

25 FRANK SINATRA'SGREATEST HITS21 Frank Sinatra (Reprise)GREATEST HITS25 Four Tops (Tornio Motown)SOUNDS OF SILENCE26 Simon & Garfunkel (CBS)

28 BEST OFNAT KING COLE27 Nat King Cole (Columbia)BEST OF CILLA BLACK36 Cilia Black (Parlophone)GOLDEN HITS OFSHIRLEY BASSEY32 Shirley Bosse), (Columbia)

31 BEST OFFRANK SINATRA35 Frank Sinatra (Capitol)

32 BEST OF THEBEACH BOYS VOL. 116 Beach Boys (Capitol)

33 THIS OLD HEART OFMINE38 Isley Brothers(Tamil. Motown)WHEELS OF FIRE(Double LP)40 Cream (Polydor)

35 THIS WAS19 Jethro Tull (Island)

36 COME THE DAY31 Seekers (Columbia)

37 JOHNNY CASH ATFULSOM PRISON29 Johnny Cash (CBS)DEFINITELY DUSTY- Dusty Springfield (Philips)SONGS OFLEONARD COHEN37 Leonard CohenIN SEARCH OF THELOST CHORD38 Moody Blues (Deram)

2627

2930

34

39

40

7

8

9

10

11

12

15

UP AND COMING Ll's 16Man & A Woman

- Soundtrack (UA)Blues From Laurel Canyon

-John Maxall (Decca)Hair-Soundtrack (RCA)Mrs. Mills Party Pieces

-Mrs. Mills (Parlophone)The Doughnut In Granny'sCreamhouse

-Bongo Dog Do Dar Band(Liberty)

Sweet Child-Pentangle (Translantic)

5 YEARSAGO

1 I WANT TO HOLD YOURHANDI The Beatles (Parlophone)

2 GLAD ALL OVER6 Dave Clark Fhe(Columbia)

3 SHE LOVES YOU2 The Beatles (Parlophone)

4 YOU WERE MADE FORME3 Freddie & The Dreamers(Columbif )

5 24 HOURS FROM TULSA9 Gene Pitney (United Artists)

6 I ONLY WANT TO BEWITH YOU3 Dusty Springfield (Philips)DOMINIQUE7 The Singing Nun (Philips)MARIA ELENA10 Los Indlon Tabharos (RCA)SECRET LOVE4 Kathy Kirby (Decca)

DON'T TALK TO HIM3 Cliff Richard & Shadow,(Columbia)SWINGING ON A STAR15 Big Dee Irwin (Colpix)GERONIMOII The Shadows (Columbia)

HIPPY HIPPY SHAKE- Swinging Blue Jeans(HMV)KISS ME QUICK- Elvis Presley (RCA)I WANNA BE YOUR MAN14 Rolling Stones (Decca)

YOU'LL NEVER WALKALONE12 Gerry & The Pacemaker,(Columbia)STAY17 Hollies (Parlophone)

18 NOT TOO LITTLE, NOTTOO MUCH18 Chris Sandford (Decca)

19 MONEYIf Bern Elliot & The Fenmen(HMV)WE'RE IN LOVE- Adam Fallh (Parlophone)

17

1

2

3

4

5

6

7

8

9

10

BRITAIN'S TOPR&B SINGLES

LOVE CHILD1 Diana Ross & Supremes(Tombs 677)I GOT LIFE4 Nina Simone (RCA 1743)BREAKING DOWN THE 12WALLS OFHEARTACHE3 Bandwagon (Direction)THIS OLD HEART OFMINE 142 Isley Bros.(Tanga Motown TMG 555) 15I FOUND A TRUE LOVE9 Wilson Pickett(Atlantic 584221)WITH A LITTLE HELI'FROM MY FRIENDS7 Joe Cocker(Regal Zonophone RZ 3013)I'M IN A DIFFERENTWORLD5 Four Tops(Tornio Motown 675)ALL ALONG THEWATCHTOWER6 Jim! Hendrix (Track 604025)SAY IT LOUD (I'MBLACK AND I'MPROUD)12 James Brown(Polydor 56752)FOR ONCE IN MY LIFE19 Stevie Wonder (Tornio 670

13

16

17

18

19

PAPA'S GOT A BRANDNEW BAG- Otis Redding

(Atlantic 584234)YOU GOT SOUL15 Johnny Nash(Major Minor 586)UP HARD19 Willie Mitchell(London BL 10224)CHAMPAGNE & WINE8 Otis Redding (Stag 584-220)BABY I NEED YOURLOVEII Bobby Williams(Action ACT 4508)TIME HAS COMETODAY13 Chamber Bros.(CBS 58-3760)

SWEET YOUNG THINGLIKE YOU17 Ray Charles(Stateside SS 2132)PRIVATE NUMBER20 Judy Clay and William Bell(Star let)JUDGE, BABY, I'M BACKis Cliff Nobles(Capitol CL 155401

BRITAIN'STOP RALBUMS

1

2

4

5

6

7

8

9

SOUL DIRECTION2 Arthur Conley(Atlantic 588-120)

ELECTRIC LADYLAND1 Jimi Hendrix (Track)OTIS REDDING INPERSON AT THEWHISKY AGO GO- Otis Redding (Allant)ciTHIS IS SOUL5 Various Artiste,(Atlantic 643301)THE IMMORTAL ...3 Otis Redding(Atlantic 588113)QUEEN OF SOUL4 Aretha Franklin(Hallmark SHM 591)GREATEST HITS5 Stevie Wonder(Tamla Motown STMT. 11075)

WILLIE MITCHELL LIV6 Willie Mitchell(London 8365)SOUL SERENADE10 Willie Mitchell

Due to the Christma; holidays, no new R &chart was compiled by retail dealers, so wehave re -printed the survey from our Christmasissue.

anew MST COMER in a I I 10.011 WAWA

1

2

3

OB-LA.D1-013-LA-DA9 (4) Marmalade (CBS)LILY THE PINK1 (8) Scaffold (Columbia)BUILD ME UPBUTTERCUP3 (6) The Foundation (Pyc)

4 ALBATROSS13 (4) Fleetwood Mac(Blue Horizon)THE URBAN SPACEMAN5 (8) Bonzo Dog Doo Dah 30 TOYBand i Liberty) 35 (4) Casuals (Decca)

5

6 SABRE DANCE 317 (5) Love Sculpture(Parlophone)

7 AIN'T GOT NO-I GOTLIFE/DO WHAT YOUGOTTA DO2 (11) Nina Simone (RCA)

8 ONE TWO THREEO'LEARY4 (6) Des O'Connor(Columbia)

9 SON OF A PREACHERMAN20 (4) Dusty Springfield(Philips)

10 SOMETHING'S 35HAPPENING33 (2) Herman's Hermits(Columbia) 36RACE WITH THE DEVIL8 (6) Gun (CBS) 37 HELP YOURSELF

12 FOR ONCE IN MY LIFE 37 (24) Tom Jones (Dec.)

1 1

26 HARPER VALLEY P.T.A.17 (11) Jeannie C. Riley(Polydor)

27 QUICKK.sJe.tz KatzOEYS (BLudL

28 A26T(LoADN.T.olySan

29 THOSE WERE THEDAYS23 (16) Mar, Hopkin (Apple)

33

S.O.S.-HEADLINENEWS25 (3) Edwin Starr (Polydor)

32 FOX ON THE RUN44 (2) Manfred Mann(Fontana)ON MOTHER KELLY'SDOORSTEP36 (2) Danny La Rue(Page One)

34 I'M IN A DIFFERENTWORLD27 (7) Four Tops(Tamla Motown)

ELOISE18 (10) Barry Ryan (MGM)

I SHALL BE RELEASED29 (3) Tremeloes (CBS)

32 (2) Stevie Wonder 38(Tamla Motown)13 I'M A TIGER

12 (7) Lulu (Columbia)14 ,P4R(I6V) Ajundy NUMBER

ClayWilliam Bell (Stan)

15 THE GOOD, THE BAD, 40AND THE UGLY

6( (16)Hugo Montenegro(RCA)

16 MAY I HAVE THE NEXT.DREAM WITH YOU

(i oIS(Maier -Minor)

),_ Malcolm Roberts

17 A MINUTE OF YOURTIME16 (5) Tom Jones (Decca)

18 LOVE CHILD19 (6) Diana Ross & TheSupremes (Tornio Motown)

19 BREAKING DOWN THE 44WALLS OF HEARTACHE11 (11) Bandwagon (Direction)

20 013.1A -DI OB-LA-DA34 (2) Bedrocks (Columbia)

21 DON'T FORGET TOCATCH ME28 (5) Cliff Richard (Columbia)

22 THIS OLD HEART OF 47MINE11% tit% wnBro)ther,

23 IF I KNEW THENWHAT I KNOW NOW24 (10) Val Doonlcan (Pye)

24 PLEASE DON'T GO46 (2) l'eers

25 ELEANORE21 (91 Turtles (London)

39

46

SOUL LIMBO42 (3) Booker T & M.G',(Sfax)

I PRETEND45 (27) Des O'Connor(Columbia)

YOU'RE ALL I NEED TGET BY41 (13) Marvin Gaye &Timm' Terrell(Tamla Motown)BLUE BIRDS OVERTHE MOUNTAIN- (1) Beach Boys (Capitol)

BLACKBERRY WAY- (1) The Move(Regal Zonophone)

LOVE STORY- (1) Jethro Tull (Island)LIVE IN THE SKY39 (11) Dave Clark Five(Columbia)GOING UP COUNTRY- (1) Canned Heat (Liberty)ALL ALONG THEWATCHTOWER31 110) Jimi Hendrix (Track)

YOURS UNTILTOMORROW38 15) Gene Pitney (Stateside)

48 LIGHT MY FIRE43 (14) Jose Feliciano (RCA)

49 LES BICYCLETTES DEBELSIZE40 (14) Engelbert Humperdinck(Decca)

50 LITTLE ARROWS49 (191 Leapy Lee (MCA)

A blue dot denotes new entry.

Since Record Mirror was not published lastweek, numbers refering to the precedingweek's chart positions will not correspondwith our Christmas issue. They are, however,accurate and are taken from the chart of theweek not published.

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504

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SAFE from the Warden, PARKINGLOT fan club, S.a.e. Avril, 62 Wens-leydale Avenue, Clayhall. Barking -side, Essex.

for salePOSTERS, POSTERS, POSTERS.For the greatest and grooviestselection send 1/- (stamps) to BOBSTEVENS. Dept. AM, 30 BAKERSTREET, LONDON, WIM 2DS.

MiscellaneousFLYING SAUCER tapes, publica-tions. Catalogue 6d 87 SelseaAvenue, Iterne Bay.

0 records wantedALL UNWANTED 45's, EPs, LPs

required. Any quantity, Iligh pricespaid for your rare, R&R, R&B discsin good condition. Send for cash byreturn to: Moore, 16 Leighton Road.Linslade, Beds.

WE BUY LP's 455 Write or call,176 North End Road, Kensington.London, W.14 .

GUARANTEED used LPs from 12s.6d. Send few stamps for catalogue.Cob Record Centre. Portmadoc.Caerns.

personalJANE SCOTT for genuine friends.introductions opposite sex with sin-cerity and thoughtfulness. Detailsfree, 5d. stamp to Jane Scott, 50/RMMaddox Street, London, W.1.

BOY, 21, dark, handsome, seeksgirl -friend (London). Photo appre-ciated - thanks. Box 0052, RecordMirror. 116 Shaftesbury Avenue.W.1.

discothequesFLAT BATTERY mobile discothequehas the greatest sounds and lighting- 32 Holland Park. W.11. 01-229-0455.

12 RECORD MIRROR, Week ending January 4, 1969

FACE'S PREDICTIONS FOR '69l'ANUARY: Inspired by New Year being '69, certainJ members of pop business form new swinging "in" dis-cotheque called "The Soixante Neuf Club" . . . respectabilityreturns to pop with entry of Danny la Rue in Tim Twenty. . . the Oxford English Dictionary considers the phrase"ob-la-di ob-la-da" for inclusion in its New Revised Vocabu-lary . . . Jimmy Scott considers the Oxford EnglishDictionary for inclusion in his new revised vocabulary . . .

Pudding Chair Sometime make pop history by being thefirst group to play "Auld Lang Syne" under a 23 foot psy-chedelic snowdrift and the Cairngorms . . . membership ofthe Soixante Neuf Club is closed.

FEBRUARY: Rumours of a Rock'n'Roll Revival Revivalbegin to circulate . . Apple plans sell-out Beatles' concerton the Moon for autumn . . .

MARCH: Underground moves overground . Britain'sfirst National Blues Orchestra is formed and recorded livein Hyde Park . . Apple makes a takeover bid for England

. Pudding Chair Sometime makes a takeover bid forApple . . . John Lennon and Yoko Ono appear in public -fully clothed.

APRIL: National Nudity Week is established by a well-known Sunday paper . . . the Face receives his first Christ.mas card - from Double R Productions . . . BernardBraden, Eantonn Andrews and Dave Allen appear on theDavid Frost Show . . . an unknown pop group appears ontelevision without ever having had a record in the charts.

MAY: Tiny Tint admits a secret desire to appear in concertwith Pudding Chair Sometime . . a 52 -year -old drop -outrefuse collector from Grimsby reaches the top of the chartswith a 45 minute single of poetry readings, and buys hisfather a fall -out shelter with the profits . .

JUNE: Big bands are rumoured to be returning . PaulMcCartney admits he may have been influenced by his oldschoolteacher Cyril Plith in his formative years . . . CyrilPlith is very happy . . for the first time in Britain a seriesof open-air pop concerts are held in the Albert Hall.

JULY: Violence and destruction the theme of this year'sLove -In at Woburn Abbey . . . seventy-three aircraft ferrythe National Blues Orchestra across to the States for theirtwo-day concert tour there . . . Frank Zappa buys the Isle ofWight.

AUGUST: The Face's birthday is on August 14 . . FrankZappa attempts to cross the Atlantic on the Isle of Wight

. . Beach Boys bring out new single called "Do It Yet Again". . the 9th National Jazz and Blues Festival, it is announced,will not be held in the garden at Buckingham Palace.

SEPTEMBER: Apple advance parties land on the Moon andprepare for the Beatles sell-out concert there ... three out -of -work American astronauts form a pop group . .

OCTOBER: Unknown British pop group go to America.NOVEMBER: Unknown British pop group in America be-

come millionaires overnight.DECEMBER: The British pop industry moves to America.

talkabout? What is supposed to be underground any-way?To some people it is pop music which has a cer-tain amount of popularity, but appreciated by the

'in' few. If a so called underground reaches the charts, doesit cease to be an underground group?

To be fair, some of the new acts have instilled a certainamount of creativity into pop music. But are not someputting a lot of people on?

There seems to be a crowd of fans who think it is invogue to listen to weird sounds and say it is great andnot really understand what is happening. You can ask afan to describe the music of a progressive group and theusual answer is "it's great" and that is all you will getout of them. Granted there a few who know the score:but they are a very small percentage.

It is good to have experimentation in all types of music.Without it, music would become very stale and mundane.Pop music has become more interesting simply becauseof experimentation by some in this field of music.

But own up fans.What is happening on the underground scene today has

been going on for yonks in other forms of music; Classical,Jazz, Indian, Chinese, Spanish, etc.

JAll & POPOne of the biggest influences on contemporary pop is

Jazz. True, Jazz has also absorbed many styles and in-fluences - but many moons ago. Nowadays, pop hasrealised what the higher forms of music are about andis assimilating them. One finds people in the pop businessresorting to what has gone before. So what you get isfans of underground groups applaud the watered-downversions of the real thing.

Groups like the Nice (although they might not be con-sidered underground any more by some people), utilise asemi -classical approach. Jethro Tull, mainly a blues group,have a great deal of Jazz feeling for example.

But what about the current popularity of blues bands?Bands like: Aynsley Dunbar Retaliation, Savoy Brown

Blues Band, Peter Green's Fleetwood Mac, John Mayall,Chicken Shack and so on. Do the fans regard them asunderground groups or simply as blues bands?

We've been through a period of psychedelia with the

WHAT IS

UNDERGROUND?R.M.'S, IAN

EXPLAINS. . .

JOHN MAYALL

MIDDLETON

NICE'S LEE IACKSON

whole light show bit - lending an aural and visual depthto the whole conception. Now it is the turn of the poeticaland Jazz influenced pop musicians, People like Tyran-nosaurus Rex, Clouds and Family. With some other groupsit is a question of other well established forms of musicbeing an influence. Ten Years After is a fine band. Somepeople mignt say they are uouergrouna oecause tney navegot away from the stylised format of pop music. The pointis they have good ears-they can incorporate what has

in their playing. This in itself makes theirmusic more interesting. But are they really underground?

Modern Classical and Jazz musicians have really openednew frontiers in music. People like John Cage who hasincorporated 'sounds' into his music. Likewise RolandKirk. At one time dismissed as a phoney by many critics.Kirk has utilised sound effects in his music. Apart fromhis playing occasionally three instruments at once, Kirkthrough his horns, uses the sounds of everyday life.

In his playing you hear sounds from the street, thehome - in fact wherever you might be. Kirk has thecomplete emotional thing going - cries, shouts, moans,groans and laughter are all depicted.

'STABBINGS'Classical and Jazz musicians were involved with 'happen-

ings' long before Keith Emerson of the Nice startedstabbing his organ. It is a case of pop musicians takingsome time to catch up with what has already been donein other spheres of music.

Pop lovers not knowing what has gone before thereforeherald their favourite group as the originators: If theylistened to a wider field of music they would realise thatthis is not so. Their favourite groups are seldom completelyoriginal.

You might say . . . "what about the Beatles then?" Truethey have done a fantastic amount for pop music, butoriginally they were just a rock group. It is possible thatif they had not appeared on the scene until now andplayed the music they are doing today, the Beatles toowould be termed underground.

The Mothers Of Invention, possibly the first of theunderground groups, used a great deal of Jazz in theirmusic and owned up to being influenced by many Jazzmusicians - in particular Roland Kirk.

Groups who use electronic effects in their playing arenot doing anything really new. It has been done in thepast by people who experimented with 'music concrete'.

To a certain extent, underground groups have becomeaware of improvisation (one of the basic principles inJazz) and it is this quality that makes the music interest-ing. But the thing to remember fans is because a groupdoes something you hate not heard before it does notnecessarily mean it is original.

SHAME SHAMERecorded by

MAGIC LANTERNSon Camp 602007

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