on the new . on the `mersey beat' mark peters and the … · 2019. 7. 18. · inside. the...

INSIDE . THE MANCHESTER BEAT SCENE SPECIAL. . . . on the

`MERSEY BEAT'

MARK PETERS andTHE SILHOUETTES

FRAGILEc/w

JANIECB 1836

NEW

DMIRROR

116 SHAH E,SBURY AVENUE, LONDON, W.1.

Doi . . . . on the

`MERSEY BEAT'

FARON'SFLAMINGOS

SEE IF SHE CARES

DO YOU LOVE MECB 1834

No. 118 Registered at the G.P.O.as a newspaper. WEEK ENDING JUNE 15, 1963 EVERY THURSDAY

BANG ! IT'S JOE'S NEW LOOK !

* BANG! - The HOLLIES are right on target as they "shoot up" the charts with "JUST LIKE ME" onPARLOPHONE. They are at No. 26 this week. You can read more about them on the centre pages.

(NRM Picture by DAVID MAGNUS.)

* IT'S JOE'S NEW LOOK!-Yes, it really is your old mate JOE BROWN as he appears in the upcomingfilm "WHAT A CRAZY WORLD". But that seems to be the only change in Joe, as the NRM DiscJury tip his new single for the top on Page 9. It is "NATURE'S TIME FOR LOVE", and is released on

PICCADILLY, as always.

Elgitr,iffN YELLOW ROSES

BoE.M.I. RECORDS LTD., E.M.I. HOUSE, 20 MANCHESTER SQUARE, LONDON, W.1

1CAPI TOL CO RECORDS CL/5306

Page Two NEW RECORD MIRROR, Week -ending June 15, 1963

NEWRE

EVERY THURSDAY

EDITOR: JIMMY WATSON

ASSISTANT TO THE EDITOR: NORMAN JOPLING

FEATURES: PETER JONES

ADVERTISING & CIRCULATION: ROY BURDEN

116, SHAFTESBURY AVENUE, LONDON W.I.Telephones: GERrard 7460, 3785, 5960

PAT JOYWER and MOE MOULDER with top pop star DELSHANNON.

WHEN WE METDEL SHANNON

IT was June 3rd, Whit -Mondaythis year, and we were excited.

Why? Because there was a chanceof us meeting our favourite star,Del Shannon, at a "Pop Festival"in Hayes, Middlesex. But when weasked the organiser of the festival,whom we knew prior to the greatday, if we could meet Del, heseemed a little vague about it.

After seeing Del's stage per-formance, we spotted the organ-iser. We ran over to him but beforewe could utter a word, he hadwhisked us through six bodyguardsinto a large hall studded with suchstars as Gerry and the Pacemakers,Eden Kane, Freddie and theDreamers, to mention only a few.

STAIRCASEThen we climbed a small winding

staircase leading to a smaller hall.We were in a daze, was this reallyhappening to us? In the corner wasa small group of men, and one ofthem was Dd. The organiser wentup to him and said, "Would youlike to meet two young ladies,Mr. Shannon?" "Sure, I'd love to,"was the reply.

The time had come and we stillcouldn't believe it, but here was Delcoming towards us. We all shookhands and he said, "Gee, it's niceto meet you." He then signed ourautograph books and pictures, whilewe had a short chat. We noted thathe was very good-looking and agreat person to talk to. After, heagreed to have a photograph takenwith us. We were so thrilled whenhe put his arms around us while theorganiser took the picture. Wereally don't see how the photo cameout, as we couldn't stop shaking.

NEVER FORGETMeeting Del was marvellous, but

he was very busy so very reluctantlywe said our good-byes to a reallygreat person with a resolution totry to meet him again in the future,when he returns to Britain. But weknow that as long as we live weshall never forget the day that wemet Del Shannon.

PAT JOYWER AND MOEMOULDER, 86 Chesterfield Road,Manor Park, London, E.12.

`1111ASIt AND TIE MARTSIT seems that every time I pick

up a trade paper in this countrythere is always some comment bysome clown either comparingBritish recording artists withAmericans or knocking the "trash"that America sends over to Britain.I can't, for the life of me, see thecomparison. First of all I wasunder the impression that certainrecord companies issued the recordson the strength of possible salesand that these records are requestedby the companies and not "forced"on them as so many people seemto think. The thing that amazesme most is that one person willcut-up the "Yank" version of adisc and turn right around andbuy a cover copy by a Britishartist even though it sounds nearlythe same. I don't suppose too many"Yanks" are going to starve if theydon't sell in Britain as certainDJs seem to think. Send me backto the States where they listen to"trash" like the Shirelles, Dee DeeSharp, Johnny Thunder and the restof those poor artists. After all, wedon't have Billie Davis, FrankieVaughan, Mark Wynter and Freddieand the Dreamers but we manage tomake do with the original artistssinging the original songs. -" YANK ", R.A.F. Alconbury,Hunts.

COME ON D.J.sDESPITE the so-called Rhythm

And Blues revival my friendsand I still have great difficulty inhearing, or getting played ourfavourite type of music outside ourown homes. Dee -jays constantlyignore some really great R & Bdiscs that are issued thus prevent-ing the general public from catch-ing on to this form of music.

It seems to me that the only placewhere Rhythm And Blues are notregarded as dirty words are in thecolumns of the NRM and at Lon-don's "Scene" Club on Mondaynights. where I must confess I never

AN AMERICANREADER TELLS

THE OTHER

SIDE OF THE

STORY ...

DEE DEE SHARP-see lead letter.

expected to hear such an amount ofmy kind of music played at once-Dee -jay Guy Stevens has in myopinion the finest collection ofR & B I have heard-and hedoesn't mind playing it.

The fact that the place isgetting more and more populareach week proves that there IS ademand for this kind of music-socome on Luxembourg and BBCDee-Jays-let's hear more of thereal thing.-R. WOODWARD, 41,Station Road, N.21.

THE MYSTERY-ISN'T it about time someoneI cleared up the mystery surround-ing the two hit groups on thePhilles U.S. label? When "He's ARebel" was a hit, I read that theCrystals consisted of six girls whowere also Bob B. Soxx and BlueJeans. But then your magazinegave some pictures of them (Bob B.Soxx, etc.) as a boy and two girls.Obviously Bob B. Soxx were notthe same group.

Then last week Decca group discjockey Jimmy Saville introduced theCrystals on his programme as"FIVE belteroos". To top all this.your magazine showed a new photoof FOUR girls called the Crystals.

The only solution I can see isthat two of the Crystals left thegroup to form Bob B. Soxx andBlue Jeans, leaving four girlsremaining.-NEIL GOSNEY, 28,York Road, Paignton, Devon.

NEW HALEYAT last we have a great new

release from Bill Haley and hisComets. It's been over a year since"Spanish Twist" was released andthis is the first single since then. Iam overjoyed to see that Bill andthe boys are really ripping it upagain; it's great to hear RudyPonyielli giving us another doseof his rockin' sax. This recordshould make the charts and bringback the name of the greatest butmost neglected rock group in thebusiness. If Little Richard andJerry Lee Lewis can have toursarranged here it's about time Billand the Comets returned.-TONYLAVERICK, 79 Broadway West,Gosforth, Newcastle-upon-Tyne.

READERS' LETTER BAG

HOW TO GET THE

LIVERPOOL SOUND

IN LONDON . . .AND THE LATEST A & R IDEA

IT'S not very often that new innovations appear on the disc scene.-" But one just has. Admittedly this particular innovation has beenthe thing for some time over in the States. But here Baton music,one of the up-and-coming music publishers has just started makingits own records. But they are not the only ones. Some of themajors are also in this field.

Now of course things are only moving in a minor sort of way.But later the two chief executives of the music company, GeoffreyHeath, and Irving Martin hope that things will keep snowballing-like they are already beginning to do.

Of course, the company doeshandle other songs apart from theirBritish stuff-"Bo Diddley" is oneof them.

"We hawked that particular num-ber around all the disc companiessome time ago" said Geoffrey."None of them was interested. Butlater we learned that Buddy Hollyhad recorded it-and we knew wehad a dead-cert hit. Mind you we'vegot a lot of Bo Diddley's compo-sitions lying around-except thatthe copies we've got say they'repenned by Ellas McDaniel; Bo'sreal name. -

ROCKERBoth Geoff and Irving are young

-Irving in fact is not yet twenty.Already though they are beginningto make a sizeable impression onthe pop music scene. So far theyhave only recorded a few artists-one of them is dancer Lionel Blair,they also record Gary Marshall andof course Rey Anton.

Rey's last disc was a goodly sellerin the shape of "Peppermint Man"-the throaty rocker. Now he's justcut a new disc-a catchy beatballad with a difference-that looksall set for the charts. It's called"How Long Can This Last" andwas penned by Tom Springfield.

REY ANTON - a strong sellerwith "Peppermint Man"-now afollow-up which looks and sounds

like being stronger still.

BOBBY SANSON, a number by the BEATLES for the top side and aformer LITTLE RICHARD hit for the flip-"Lucille".

Rey, an Oriole artist, is of coursemightily pleased with the set-up asthe tapes are later sold to anyinterested disc company.

Said Geoff : "In five or six yearstime small independent studios willhave taken over completely fromthe big disc companies-they willonly be used for issuing and plug-ging the disc-they won't have thebother of making their own tracksthen. Already this practise isspreading and many new releasesare cut this way."

But perhaps the chief interest ofthe Baton Music Co. at the momentis in the shape of a boy namedBobby Sanson with his group theGiants. They've recorded theBeatles number "There's A Place"-and made an extremely good jobof it. The rare thing is that Batonmusic who of course recordedBobby have actually managed to getthe Liverpool sound in a Londonstudio. The disc is a plaintive semi -rocker with a very very commercialsound to it.

Bobby is a Brighton boy who isvery big indeed there. He plays at

by

WESLEY LAINE

the well-known Starlight Rooms,and ex -wine cellar. And all the oddsare that this disc will be the firstBaton -produced hit. The flip is agreat rockin' version of the LittleRichard number "Lucille".

That's the set-up then on one ofthe most astonishing - and com-mercial-schemes of late. The oddsare that the new techniques snouldhelp a lot on more than just theproduction difficulties that arefaced already.

For one thing there's a load ofatmosphere that can be canned intothese independent sessions.Secondly the artists themselves pre-fer this sort of informality to thedisc studio at the big record com-panies.

That's it then-a new idea from acouple of young A & R men wholook like going the whole way withtheir ideas.

,11HEhOHNolUIDSUIDIHIfilhafilenS.SWIU4HOW:i

NEW

RECORD MIRROR

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NEW RECORD MIRROR. Week -ending June 15. 1963 Page Three

BUDDY HOLLYDISCOGRAPHY

By NORMAN JOPLINGTHE main talking point about Buddy Holly has been that he was

so far ahead of his time. Even some years after his death hisdiscs still didn't sound dated. Now the almost impossible has hap-pened. The full circle of beat has turned, and rock seems to bemaking a comeback into the charts, and into the public eye. ExceptR & B is the tag this time -and guess who is having two hits inthis vein. None other than Buddy Holly. With a Chuck Berry anda Bo Diddley number, Buddy has done a tremendous amount ofgood for both of these artists -and for R & B in general.

Buddy's name is probably the most evergreen of all those cur-rently on the music scene. He is as popular now as he ever wasbefore his death and he is doing as well chartwise. No one knowshow big Buddy would have been had not his untimely death inter-rupted his career but we can be sure that he would be leading theway -just as he is now.

Here's Buddy's complete discography with NRM Chart positions.Discs may be with or without the Crickets.

That'll Be The Day/ I'm Look-ing For Someone To Love -CoralQ 72279 -No. 1 -Nov. '57.

Listen To Me/I'm Gonna LoveYou Too -Coral Q 72288 -No posi-tion.

Peggy Sue / Everyday - CoralQ 72293 -No. 3 -Jan. '58.

Oh Boy/Not Fade Away -CoralQ 72298 -No. 3 -Feb. '58.

Maybe Baby/Tell Me How -CoralQ 72307 -No. 4 -April '58.

Rave On/Take Your Time -CoralQ 72325 -No. 4 -Aug. '58.

Think It Over/Fool's Paradise -Coral Q 72329 -No. 12 -Aug. '58.

Early In The Morning/Fool's

Paradise -Coral Q '72333 -No. 15-Sept. '58.

It's So Easy/Lonesome Tears -Coral Q 72343 -No. 19 -Nov. '58.

Heartbeat / Well Alright -CoralQ 72346 -No position.

It Doesn't Matter Anymore -No. 1 -April '59.

Midnight Shift / Rock AroundWith 011ie Vee-Brunswick 05800-No position.

Peggy Sue Got Married/Crying,Waiting, Hoping -Coral Q 72376-No. 14 -Sept. '59.

Heartbeat / Everyday - CoralQ72392 -No position.

True Love Ways/Moondreams-Coral Q 72397 -No position.

Learning The Game/That MakesIt Tough -Coral Q 72411 -Noposition.

What To Do/That's What TheySay -Coral Q 72419 -No position.

Baby I Don't Care/Valley OfTears -Coral Q 72432 -No. 13 --

July '61.Look At Me/Mailman Bring Me

No More Blues -Coral Q 72445 -No position.

Listen To Me/Words Of Love -Coral Q 72449 -No position.

Reminiscing/Wait Till The SunShines Nellie -Coral Q 72455 -No.17 -Oct. '62.

Brown Eyed Handsome Man /Slippin' And Slidin' - CoralQ 72559 -No. 3 -April '63.

Bo Diddley/It's Not My Fault -Coral Q 72463 -Coming up.

HITS -AND FLOPSThat's the list of singles then. A

list of huge hits and huge flops -most of the latter category being re-issues. Nevertheless such originalsas "Listen To Me" and "Heart-beat", "True Love Ways", etc., didflop, and re -issuing did not bringsuccess to them. "Heartbeat" wasonly re -issued because of a versionby the England Sisters that EMIissued of the song.

Extra singles were issued in theStates -but they are all includedon album tracks here. The mysterytrack "You're The One" and thecoupling WERE issued in the Statesbut never released to the generalpublic because of copyright difficul-

ties with Buddy's wife. Many copiesit is reputed are in the hands ofU.S. Dee -Jays.

The disc career of the truly fabulous BUDDY HOLLY is spotlightedby NORMAN JOPLING. Picture is by courtesy of the BUDDY

HOLLY APPRECIATION SOCIETY.

STARR'S MIDNIGHTERSWHEN I tell you that

Freddie Starr, who teamsup with the Liverpudlian Mid -fighters, nominates "orangejuice AND Andrews' liversalts" as his favourite drink,you'll appreciate that this is amost unusual young Freddieindeed!

Right now, he is attackingthe charts with his debut disc"Who Told You", b/w "PeterGunn Locomotion". But thoughthe group has been professionalfor only a few weeks, Freddie'shistory goes way back.

To when he was only eight yearsold. He's done pantomimes, charityshows, had his own song and danceact, worked in a miming duo, doesimpressions, was offered a part ina major Sam Wanamaker produc-tion (called off because of lack ofloot) and won praise for his star-ring portrayal of a 15 -year -old inthe Rink m0 \ ie "Violent Play-ground".

BackgroundExperienced, then. And ambitious.

And determined to play a big partin the new R and B field.

I met Freddie and the massedMidnighters in the office of Pressrep Tony Barrow. I listened to theirbackground. How the Midnightersused to have one Gus Travis as alead vocalist. How they teamed upwith Freddie and one evening ven-tured south to the ice rink atStreatham.

There, David Adams, assistant tothe indefatigable Joe Meek, took aquick look at the group and rushedto a phone, bubbling over withenthusiasm, to ring Joe. It wasmidnight . . . the right time to talkabout the Midnighters.

Joe auditioned them. And saysnow: "I just couldn't believe thatnobody had snapped them' up be-fore. I got on to all the publishersto submit material for them -and Imust say it wasn't easy choosing theright songs.

"I'll never forget that recordingsession. Freddie was one bundle ofenergy, impersonating many other

Experienced Freddie Goes A BombOn Orange Juice And Liver Salts

FREDDIE STARR and the MIDNIGHTERS are no less thansensational as a visual act. That they sound pretty good, too, willsoon be general knowledge, as their JOE MEEK -produced disc for

DECCA gets the air plays. (NRM Picture.)

artistes, cracking gags, making withthe funny gestures all round thestudio.

"Freddie genuinely is a show -stopper. But all the boys are in-dividual personalities as well as be-ing great musicians."

The boys say of Joe: "He's afine recording manager. Strict, yes.He knows what he wants and makessure he gets it. But he's strict inthe sort of way that encourages

Said Freddie: "Nowadays we'refinding we work at least six nightsa week. We all had to turn pro-fessional to cope. Of course, a lotdepends on whether the disc is ahit.

"On stage, we concentrate mostlyon the rhythm 'n' blues field. Thatgoes down best. We usually closewith 'What'd I Say' but other bigones for us are 'Lonely Boy' and'Good Golly Miss Molly'. Comedy?Well, if the audience is pretty seri-

ous we keep it that way. But wefind our comedy is impromptu stuff-it just Sort of comes to us.

"We don't want to harp on aboutthis so-called Liverpool sound.There's maybe a danger that peoplewill get fed up with hearing aboutit. But there's no doubt it is moredown-to-earth than elsewhere. Thegroups seem to feel the music muchmore than down south. And youdon't get a lot of 'em wearing horn -rimmed spectacles and doing allthose together -movements."

BY

PETER JONES

Freddie and the Midnighters arenow with the Brian Epssein organ-ization and their personal manageris Alan Watts, now an associateof the Liverpool star -finder.

The boys in the group -a groupwith a surprisingly low average age:

Dave Carden: lead guitar andvocals, 19, a fanatic for the R andB field. He was, until recently, anadvertising agent.

Johnny Kelman: rhythm guitar,19, a one-time clerk. Names theTornados as his favourite disc group.

Brian Woods: bass guitar andvocals, 19, another ex -clerk, Hismusical tastes swing from R andB to the classics.

Ian Broad : drums, 18, formerlyan electrical salesman. An ambi-tious drummer who wants to be-come a top star.

And, of course, Freddie Starrhimself. The fiery, fair-haired youngman who's been in show businessever since he was just eight yearsold.

There are still many Buddy Holly tracks to be issued. A perfect tapehas just been found by some U.S. dee-jays of Buddy singing 20 R&Bstandards. This will in due course be sold to Brunswick records (Coralhere) and issued after backing has been dubbed by Norman Petty.

Also Mr. Norman Petty himself has many tracks to be issued -includingsome originals made with the Crickets. So there will no shortage oftracks it seems for many years at least.

Here's a list of Buddy's L.Ps and E.P.s . . .E.P.:LISTEN TO ME: I'm Gonna Love You Too; Peggy Sue; Everyday -

Coral FEP 2002.THE CRICKETS: Oh Boy; Not Fade Away; Maybe Baby; Tell Me

How -Coral FEP 2003.RAVE ON; Take Your Time; Early In The Morning; Now We're

One -Coral FEP 2005.IT'S SO EASY; Lonesome Tears; Think It Over; Fool's Paradise -

Coral FEP 2014.THE BUDDY HOLLY STORY: Raining In My Heart; Early In The

Morning; Heartbeat; It Doesn't Matter Anymore -Coral FEP 2032.THE LATE GREAT BUDDY HOLLY: Look At Me; Ready Teddy;

Mailman Bring Me No More Blues; Words Of Love -Coral FEP 2044.FOUR MORE: Send Me Some Lovin'; Last Night; Rock Me My

Baby; You Got Love -Coral FEP 2060.THAT'LL BE THE DAY; I'm Looking For Someone To Love; An

Empty Cup; It's Too Late -Coral FEP 2062.BUDDY HOLLY NO. 1.: You Are My One Desire; Blue Days,

Black Nights; Modern Don Juan; Ting -A -Ling -Brunswick OE 9456.BUDDY HOLLY NO. 2: Girl On My Mind; Love Me; I'm Changing

All Those Changes; Don't Come Knockin'-Brunswick OE 9457.

SEVEN LPs - TWO IN CHARTSNow the L.P.s:THE CHIRPING CRICKETS: Oh Boy; Not Fade Away; You Got

Love; Maybe Baby; It's Too Late; Tell Me How; That'll Be The Day;Lookin' For Someone To Love; An Empty Cup; Send Me Some Lovin';fast Night; Rock Me My Baby -Coral LVA 9081.

BUDDY HOLLY: I'm Gonna Love You Too; Peggy Sue; Look AtMe; Listen To Me; Valley Of Tears; Ready Teddy; Everyday; Mail-man Bring Me No More Blues; Words Of Love; Baby I Don't Care;Little Baby -Coral LVA 9085.

THE BUDDY HOLLY STORY VOLUME ONE: Raining In MyHeart; Early In The Morning; Peggy Sue; Maybe Baby; Everyday; RaveOn; That'll Be The Day; Heartbeat; Think It Over; Oh Boy; It's SoEasy; It Doesn't Matter Anymore -Coral QLVA 9105.

MILLION -AIRS (with other artists) Peggy Sue -Coral LVA 9126.THE BUDDY HOLLY STORY VOLUME TWO: Peggy Sue Got

Married; Well . . . All Right; What To Do; That Makes It Tough;Now We're One ; Take Your Time; Crying, Waiting, Hoping ; TrueLove Ways; Learning The Game; Little Baby; Moondreams; That'sWhat They Say -Coral LVA 9127.

THAT'LL BE THE DAY; You Are My One Desire; Blue Days,Black Nights; Modern Don Juan; Rock Around With 011ie Vee; Ting -A -Ling; Girl On My Mind; That'll Be The Day; I'm Changing AllThose Changes ; Don't Come Back Knockin' ; Midnight Shifts -Bruns-wick Ace of Hearts 3.

REMINISCING: Reminiscing; Slippin' And Slidin'; Bo Diddley;Wait Till The Sun Shines Nellie; Baby Won't You Come Out Tonight;Brown Eyed Handsome Man; Because I Love You; It's Not My Fault;I'm Gonna Set My Foot Down; I'm Changing All those Changes; RockA -Bye Rock -Coral LVA 9212.

Page Four NEW RECORD MIRROR, Week -ending June 1 1963

COME ON

The Rolling Stones

F 11675 45 rpm

The BatchelorsFaraway places

F 11666 45 rpm

WHO TOLD YOU

Freddie Starr &

The MidnightersF 11663 45 rpm

In memory of thegreatest Lancashire lad of them all

George FORMBYand his ukelele

IT'S TURNED OUT NICE AGAIN!

Sitting on the ice in the ice rink If youdon't want the goods, don't maul 'emThe wedding of Mr. Wu John Willie'sJazz Band The old kitchen kettleLevi's monkey Mike The fiddler kepton fiddling In a little Wigan gardenI went all hot and cold and five others

sts ACL 1145 12" LP

Now only 19,4

DECCA

The CRYSTALS

Da doo ron ronHLU 9732 45 rpm

Ned MILLERMona Lisa

HI 9728 45 rpm

TEENAGE HEAVEN

Johnny Cymbal

HLR 9731 45 rpm

Jerry Lee LewisTeenage letter

HLS 9722 45 rpm

Recorded live from Heights University, New York

THE HEIGHTSMEN

IN CONCERT

0 SHP 8067 0 HAP 806712" stereo or mono LP

Duane EDDYLonely boy, lonely guitar

RCA 1344 45 rpm

Jim REEVES

Welcome to my worldRCA 1342 45 rpm

Della REESEMore

(from the film 'Mond° cane')

RCA 1348 45 rpm

The little gal with the hillbilly heart

ROSIMON

CitIONEY

kacs0. tom

Rosemary CLOONEYsings

COUNTRY HITS

FROM THE HEART0 SF 7554 0 RD 7554

12" stereo or mono LP

RCAVICTOR

Buddy HOLLY

Bo diddley

Q 72463 Coral 45 rpm

Brenda LEE

losing you

05886 Brunswick 45 rpm

ROAD

RUNNER

The Count Victorsfeaturing

Danny HarrisonQ 72462 Coral 45 rpm

ffnumwick

NEW RECORD MIRROR, Week -ending June 15. 1963 Page Fivd

U.S.A. &

THE

SHADOWS

BY A

DEE-JAYRAY NORTROP is a young

man on his way up in thefield of pop music. He hassigned to be disc -jockey on aseries of programmes to be putout by C.B.S. He has met all thetop stars. And here he relatessome controversial views about

. American teenagers; and theShadows.

"Some say the Shadows neverworry; others who are closersay they DO worry. Most oftheir fans, after seeing howpopular the Shads are through-out the world, are beginning tohave doubts about theirability on record after seeingthe tremendous success of theTornados' Telstar ' in theUnited States.

"Unless the Shadows are reallysuper -human and completely care-free, it must be a safe bet thatthey are having doubts themselvesnow about their success chancesacross the Atlantic. Which bringsme straight to the point . . .

"Why isn't a fabulous group likethe Shadows good enough for theAmerican Top Hundred or, forthat matter, Top Five Hundred?There IS a 500 listed, by the way,in one States -side magazine.

Potential"The best group in Britain, with

fantastic potential and tremendouspersonality. Yet American disc -buyers do precisely NOTHING.

"In any other record -buyingcountry, the Shads are feted asTHE group. The group not onlybacking Britain's top popster, CliffRichard, but which never missedthe charts with any one of theirsingles, EP's or albums ever sincethe days of 'Apache'.

"Yet the States, biggest -buyingcountry of them all, appear to pre-fer one -hit artists rather than con-sistent best-selling artists who arenot only talented on playingability but can also read music,compose their own tunes and evenA and R their own sessions.

"Naturally one cannot crib atthe success the Tornados have hadin the States. But I think it ishigh time that the pop fans overthe Atlantic woke up to the factthat we have a group who are nota one -hit outfit but who couldkeep the Top Twenty alive andbuzzing every few weeks with newrenditions.

"Far be it from me to say thatthe United States' fans have nosense. But a goodly percentage ofthem have had the opportunityof seeing and hearing the Shadowsat their best.

Superiorthe Americans so superior

that hey can give the cold-shoulc .r to such talented boys. Or,conversely, is it because theShadows are so superior to theAmerican groups? It can only beone thing or the other. And Britaincan't do anything much to put itright.

"What can America do about it?Plenty. But the dee-jays over therejust cannot be as forceful as theslicker British disc pluggers.

"In my own hour-long showswhich are to be taped here butwhich will be broadcast throughoutthe United States and Canada bythe Canadian Broadcasting System,I am giving the Shadows a reallybig build up. I intend playing twoof their discs each week in my firstsix programmes.

Let's hope it pays off gooddividends.

"It's time the Shadows reallygot through to the American fans."-RAY NORTROP, 5 RileyAvenue, Balby, Doncaster.

SAM COOKE back in the charts again. He is an unpredictable best-seller here-but automatically clicks in America.

GRAHAM JAMES - an actor by profession. Now he enters therecording field under the management of ROBERT STIGWOOD.

MR. COOKE'S

UPS & DOWNSBy Norman Jopling

AilereereersWenVeriVe.WWWW.V.W.V.V.WifislWIN England Sam Cooke is one of the few singers who is accepted

by all types of pop music fans. Hit parade buyers, swing fans,and R & B fans all like Sam. Yet he isn't an artist with anenormous following-or one who manages to make regular chartentries. Some of Sam's best discs haven't made the charts-buthis most commercial have. The current favourite is the swinging"Another Saturday Night", already a big hit in the States, andheading in the same direction here.

His last hit was "Twistin' TheNight Away", one of the twist clas-sics. Believe it or not, there aretwist classics they are the tunesthat orchestras play when demon-strating strict tempo twisting -"The Twist" is not one of them-not enough tune-but "Let's TwistAgain" is. Before then Mr. Cookehad a number of hits, all widelyspread apart with discs like "YouSend Me", "Chain Gang", and"Cupid". His first "You Send Me"was issued on the Speciality label(London here) after quite a numberof misses.

GershwinAlthough this disc isn't currently

available-three of Sam's Specialitywaxings can be obtained on thecurrent London L.P. "Our Signifi-cant Hits"-which contains the fol-low-up to "You Send Me" called"I'll Come Running Back To You".But the surprising thing is that thelatter title was recorded before theformer. After Sam had this firstU.S. hit, made it in Britain too.That was Sam's last success inBritain for a long time. It wascoupled with a first-rate version ofthe George Gershwin number"Summertime" which was badlyrun down in disc reviews here. Itwas lucky the reviewers hadn't thenheard the Marcels version of thesong!

"You Send Me" was sent into theBritish charts through a lot of plug-ging, particularly on the 12-5 Special-a late night screening of the 6-5Special pop show then being shown.

"That's All I Need To Know"was Sam's last Speciality recordingbefore he contracted with Keen inthe States. Then issued on HMV,Keen issued many recordings ofSam's with huge success in theStates but not here. "Love YouMost Of All", "Everybody LikesTo Cha Cha"/"Little Things You

Do" were all big hits in the States.Sam's next disc made our toptwenty-but was completely over-shadowed by the Craig Douglascover version of the song. It was ofcourse "Only 16"-and like all ofSam's discs it reached the top fortythere. Here though, one of Sam'sbest discs lost out-and Sam was tohave a long wait before his nexthit.

Sam switched from Keen to RCAafter his latest single "There I'veSaid It Again"/"One Hour AheadOf The Posse".

MillionsWhile he was changing labels, all

of Sam's disc companies decidedto issue sides by him. The resultswere "Happy In Love" on London,"Teenage Sonata"/"If You WereThe Only Girl In The World" onRCA and the wonderful "Wonder-ful World" on HMV, probably hisbest disc. "Wonderful World" wasa huge hit in the States but didn'tmean much here. Then cameanother big hit for Sam on bothsides of the Atlantic on RCA. Itwas his "Chain Gang" success -which reached the number two spotin the States giving Sam his fourthgold disc-or so his disc companiessaid. The others were reputedly"You Send Me" (later a confirmedmillion -seller), "I'll Come RunningBack To You" and "WonderfulWorld". And despite a cover ver-sion by Ronnie Carroll, Sam stillmanaged to make the top ten herewith it.

Swing"Sad Mood", "That's It I Quit

I'm Moving On" followed, allflopped here-hit it in the States.

"Cupid" was a huge hit here andin the States, and Sam's L.P. out -

Another Actor Turns SingerTHERE are two ways of breaking into the recording business.

Either you go on banging your head against the proverbialbrick wall until mates call you "flat top" . . . or: you have ashattering slice of good luck.

Like Graham James. Twenty-two, lucky, fair-haired, lucky, blue-eyed, lucky. The young stage star described by Caroline Maudling,actress daughter of the Chancellor of the Exchequer as "my idealman".

How lucky? Well, Graham wasunderstudy for the leading man in aLondon revue called "Not ToWorry". The leading man had abad throat on dress -rehearsal night. . . so Graham stood, hidden by ahunk of scenery, in the wings andsang all the songs while the leadingman mimed the words.

No, Graham did NOT take overthe lead. But . . . in the audiencewas London producer looking fora juvenile lead for Lionel Bart's"Blitz". He couldn't see Grahambut he liked what he heard. was that show 'Not To Worry'

And Graham was IN. He's been folded in two weeks! Now I'm com-with "Blitz" since the opening night. milted to 'Blitz' until the end of theBut hang on! There's more luck on run but I'll be able to do televisionthe way ... and radio shows, plugging the disc."

The astute Robert Stigwood Graham is a very experiencedturned up to see "Blitz"-his main artist. He attended the Corona stageinterest being that Grazina (Frame), school, joined the repertory circuitone of his artists, was making her played straight drama in the Westfarewell appearance in the show. End in "The Diary of AnneHe, Mike Same and Grazina were Frank", toured in "The Boyplanning to have a meal afterwards. Friend", did television with Caterina

Bob rated Graham's performanceand voice highly. He signed himand added him to the dinner party.A few weeks later, Graham cut thehighly interesting debut disc "(IfYou Would) Only Say You Care",along with his own composition"I'm Gonna Make It With You".

Now, disc -success -wise, it's up toyou...

DRAMASaid Graham: "The ironic thing

Valente in Italy and with CharlieChester in Britain.

So if luck has played a huge partin his disc debut, he's worked hardenough to earn it.

By PETER JONESSaid Graham: "The odd thing

about Britain is that the bookersfind it hard to believe you can beboth actor and a singer. They expectyou to do one or the other . . .

though there's a much more reason-able attitude about it all in America.

"But John Leyton has made thebreakthrough here on behalf of theactor -singers. His role hi 'The GreatEscape' is absolutely straight. Nosinging. He's accepted as . . . anactor. And Mike Same is followingup the break -through with his per-formance with Rita Tushingham in'A Place To Go'."

Graham's own tastes in music runfrom Ray Charles, through BuddyGreco, Ella, Eydie Gorme and DellaReese. His own ambition, musically:to make an L.P. of standardspeened by the great composers ofthe 1940's. With either a huge bigband backing or a small combo.

And he'll soon be polishing up astage act ready for his first forayinto the word of one-nditers.

put began to grow. "Cooke'sTour, Two", "Hits Of The Fifties",etc. followed, after the success ofhis "Encore" L.P. of swing stuff onKeen.

Sam himself came from a religi-ous family-his father was a gospelpreacher and Sam still has the gos.pet feel in his voice. It was actuallyhis father that helped Sam make uphis mind about going into ShowBiz.

Said Dad "It isn't so importantwhat you sing. What matters is thatGod gave you a good voice-andthe reason must be to make peoplehappy by your singing. Go rightahead".

That was four years ago whileSam was singing with the SoulStirrers at the Los Angeles shrineAuditorium. But in 1960 Samsuffered a serious setback to hiscareer. He was involved in a roadaccident while travelling to a showin Arkansas, and one of his bestfriends was pulled dead from thewreckage.

For hours surgeons fought tosave Sam's eyesight-they took sixslivers of glass from one eye . . .

and it was touch-and-go. FinallySam pulled through and now,happily, his eyesight is unimpaired.

As he puts it: "The shock set meback. Then I got to thinking thatGod had, in his infinite wisdomdecided to let me stay around for awhile. But believe me I'm a wiserperson as a result of my brush withdeath".

PopularOne of Sam's ambitions was con-

solidation on the disc side. That hehas achieved. For every Sam Cookedisc makes the U.S. charts-andmany make the British charts. After"Cupid" came the flop "Feel It"considered to be his worst disc butit was followed by "Twistin' TheNight Away"-his biggest hit, here.Album's like "My Kind Of Blues",and "Twistin' The Night Away"followed.

Sam Cooke it seems then is prob-ably one of the inconsistent consis-tents on the scene. For in the Statesthe great Sam Cooke double-sider"Havin' A Party"/"Bring It OnHome To Me" was another majorhit but it flopped here. And follow-ups like "Nothing Can Change ThisLove" and "Send Me SomeLovin'" flopped. But now of course"Another Saturday Night" hasmade the charts much to every-body's pleasure.

Which can't be bad for the guywho in the long run is probablyone of the most popular U.S.singers here .

`THERE'S A PLACE' in theHIT PARADE for this record

BOBBY SANSOMand the GIANTS

ARE BOUND FOR SUCCESS WITH

There's A Place'ORIOLE CB1837

BATON PRODUCTIONS39 NEW BOND ST., W.1 HYD 1251

NOTE: READ ABOUT BOBBY ON PAGE TWO

Page Six NEW RECORD MIRROR, Week-ending June15, 1963 NEW RECORD MIRROR. Week -ending June 15, 196h Pam Cm.

The HOLLIES, currently riding high in the charts, are pictured highabove a hometown swimming pool. But there Mould be no "diving

M at the deep end" for them now that success is theirs.

filOWES

t We would like to take thisG opportunity of thanking every-

one concerned for the wonder-ful help and co-operation givento them, and us, on their firstrecord.

(AIN1 THAI)

JUST LIKE ME

HEY WHAT'S WRONG WM MEParlophone R5030

THE WILSONENTERTAINMENT AGENCY LTD.

142 Charing Cross Rd., London, W.C.2

The HOLLIES again-this time in action on stage. Their PARLOPHONE recording of "JUST LIKE 24is currently at No. 26 in only the third week of release. Recording manager is RON RICHARDS.

Spear -heading the Manchester challenge to Liverpool are FREDDIE and the DREAMERS, whose liltingand catchy "IF YOU GOTTA MAKE A FOOL OF SOMEBODY" is resting solidly at No. 7 this week.COLUMBIA is the label in their case. A really talented and well -dressed team -az are the HOLLIES.

THE HOME OF,THE MOLLIESFREDDIE AND THE DREAMERSWAYNE FONTANA AND THE MINDBENDERS

©AM45,47, LLOYD STREET, MANCHESTER, 2 Tel.: BLA 6363

th

Congratulations to

THE HOLLIESon a great first record

from

MAY MUSIC LTD.138 Charing Cross Road, London, W.C.2

THE MANCHESTER BEAT SCENE

Another shot of the HOLMES, this time ma bridge over the famous MERSEY-but atthe Manchester end, The boys seem to be contemplating their current success, or else

working out a follow-up numbed

An action shot of the HELLIONS, who are to be tested by DECCA. Local fans ratethem highly and their manager. GEOFF MULLINS, reckons that the big provincial

breakthrough has encouraged the group and benefited their .

AnoMer fast -rising team are the WHIRLWINDS who, like most Northern teams, makea speciality of the ROB style. With just a very few of Manchester's groups listed hereit looks like another Liverpool scene all over again. Where next? GLASGOW?

BIRMINGHAM? - YOU TELL USI

NRM Noving atePori

A CONDUCTED TOUR BY THE HOLLIESHALF ao hour's fast drive from Liverpool lies a bigger and feel the benefits of the big Pmsim

smokier city. Home of a ship canal, a test cricket ground, and the Mal Meek -through.a forgotten city when it comes to beat music. Another up -and -conning team

A city submerged by the publicity that has come from Liverpool Me Whirlwinds, p.m. here. Theymake

And now, only now, is Manchester beginning to shine through ° - &the Liverpool -dominated cha.s, to bring some of its own groups oThe list of the groups micas on.to national prominence. Names like Freddie And the Dreamer, And all of them play et the Oasis,The Dollies etc. are currently sharing the charts with The Beatles which is Manchester's equivalent toand the Pacemakers. the Cavern, a Dance -Hall cum

on a conducted musical tour of the big one-mithon plus city-the ca,':.2%"Zg'ajg'-It was the Dollies ?hough, who look NRM's Roving Report Team Coffee Bar, they loon produce their

beaicity of smoke, grisne-and hidden away in corners mine fabulous `,,,7,77 The

music. Musk like "Just Like Me"-the great NAB styled numbers f,-w;r ,;",;; ;ie and The

that the Mollies are pushing up the charts, and "If You Gotta Make where discs are °also played. ""A Fool Of Somebody" by Freddie And The Dreamers.Our hosts THE HOLLIS, pictured with the owner of the fabulous

Btbf I k th

groups a, ex, OASIS and his wife. Looks like a planning conference going on,

Chester scene lees take a look atthe Rol There are five of them-and they've been playing to-gethe.r h6 oE

Atklast n mun Clarke, while lead guitar and

vocal support comes from .0.3,Ricks, rhyMm guitar and vocals:p.po.art,

Eric ploysEric Haydock plays

noguithr. The

thing i tiltsix.string ham, which enables himto play 'solos

0t1

bass-especially down. They're a fantastic team but the scene. Danny and the Demi-Jet Harris numbers. I reckon some of thr home-grown "store have worked out a new actgroups can hold their own against "The Rocking Slay. Of Baby.,

Don Rathbone. the Liverpudlians any time." complete with slave -type clothes,

Story byNORMAN JOPLINGNRM Pictures byDAVID MAGNUS

The boys themselves were all partof the Deltas beet group-exceptfor Tony Hicks. When the Deltasdisbanded the boy.Tony, and the Mollies wernformed.Their recording contract was got forthem by their persona/ managerTommy Sanderson who broughtthem down to London for a re-cording session with Parlophone'sRon Richards.

They record. several numbers,most of Mein R K B 131e thingsand it is thought that one of thesemay be used for a follow u totheir "Just Like Me" hit. The latterlith was chosen by EMI-but theboys didn't really think it wouldgm

"We quite liked the number"they told me "But we didn't thinkit would be issued as a single, letalone reach the charts . ." Theboys themselves think a lot of theLiierpool groups - but more ofthe Manchmler scene. They applaudthe Beatles but try fora distinctivesound.

think that many people tendto say that evert HOOP that ft...Nsa vocal these days is trying copythe Beatles" said Eric. "But it's

;viously not so. IFF Beatles areGob d vocally - but aMrumentally

there are better groups on the scene.Mind you I'm not running them

Like a lot of other new chart

th:Tfte,"fti'07,;: irpOptliCkfuisiT.Their repertoire includes much ofthe

Ca-Mrs material-their version

of "Sthrebint " very good indeed-and songs by Arthur Alexander,Chuck Berry and Bo Diddle? aodthe Islet' Brothers.

The group turned professional inMarch this year t, rind all Of 'them

"Z.'ty"rot2e'therTOT Zrridand the songs they sing-and theyall share the mine musical astes.

On Saturday though, }he five.

boys showed us around Manchesterand soe of thegroups who OWmM the clubs. Apart from Freddieand the Dreamers, the chart grout,who have now made the top ten

WBeP.,wro'er-'=,,"t theying

down the Twisted Wheel club.This am arc

theyfora Hst"i'o"r Dects,"sdnid

they hope they will be third goodenough to cut a disc. Line-up Ean Walker, buss, Derek Leaman.

lead guitar, plus Barry Whit ainand Malcolm the twoother members of the

Roberts,teum.Mana-

ger Gthli Mullins sold me that thegroup has been playing in a.around Manch.er for some time-they were now hat beginning to

a cuss Mt M3LE MAIL MM XD

CRY BABY

Mal Ryder

WE HAD A DREAMWendy Richard& Diana Berry

US KIDS HAVE GOTTA

MAKE UP OUR MINDSSonny Parks

FATS DOMINOYou always writhe one you love

,

DECO DECO JO th0

MY ONE AND ONLY ONE BOYS WILL BE BOYS TRUE LIPS I KNOW, KNOW, KNOW

Roy Hastings Wendy Walker Cliff Rivers The Cardigan Brothers

DECOR DECOR 40 901 JO IV

THE DECCA RECORD COM L1,111 -F0 DEOCA DOUSE ALBERT ENBANNNI LONDON SEI

chains and whips. And they cer-tainly don't go unnoticed Clothes -wise thme of the Manchester groupsdon't bother. Others - Mce theHollies-are the complete opposke.They dress in immaculate casualclothes, Tab -collar shirts, boots,and leather and suede gear. Muchof this is hought"from a Stockportshop called The Tome., probablythe most modern and hest -knownclothes shop for miles around.

Stage -wise most of the Manchethr groups are slick andpolithed. We saw the Hollim per-form some way out of Manchesteron a date-and the kids went wild.Numbers like "Twist end Shout","A Taste Of Honey", "I CanTell", "Roll Over Beethoven" allwent down tremendously well.

Other Manchester groups thatseem to be bitting Me log-tme arePete Maclaine and Me Clan-whosedisc "Y. I Do"C"Ii.S. Ms."be hauetl o Dee a on tuts 19th.Shaun and"game People, WayneFontana uM the Mindbendem, me

FREDDIE AND THE DREAMERSSay, Thanks A Million For Putting Our Record

"IF YOU GOTTA MAKE A FOOLOF SOMEBODY"

Into the Top Ten

crlKENNEDY STREET ENTERPRISES LTD.,

Kennedy House, 14 Piccadilly, Manchester, 1

bat a few of the Manchester groom1,,,am,t agoirB,IlliLL.venties like The

That's just about it then" the

MmisTInhe"ailialA'v'' there' "fortsosne of ,e beat gam. to mbig as the Liverpool ones are now.

It's our mem that Ihey won'thave to wait too long...

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Page Eight NEW RECORD MIRROR. Week -ending June 15. 1963

AAT KING COLE'S FIGHTSHow Nat battled against prejudice and ill -healthNATHANIEL ADAMS

COLES, son of a Baptistminister, played piano in aHollywood bistro and an over -imbibing customer placed a goldpaper crown on his head andcalled him Nat "King Cole".That was 25 years ago.

The "King" wrote a songcalled "Straighten Up And FlyRight" and recorded it. It's stilla big hit. But it was made 20years ago.

Nat Cole last visited theBritish Isles in 1954-though heis returning to start a new touron Saturday, July 13. 1954 wasnine years ago.

byPETERJONES

Few major stars have stoodthe test of time so well. Few havemade more money over such along period of time. He owns apaper cup factory; a prize fighter;his own film and television com-pany; and a record -making set-up, sponsoring particularly thecareer of America's Frankd'Rone.

Estimate his earnings at £500 aday and you're not far out. Hisvoice does the trick, in the main,these days-but remember he waspreviously consistently voted topjazz PIANIST before the million -sellers like "Nature Boy", "TooYoung", "Rambling Rose" and soon came so -smoothly into thecharts.

Nat recalled the early days. Thebad old early days. At twelve, hewas a church organist. He alsoorganised a 14 -piece high schoolband, charging a top whack perman of sixpence a head. By 1937,he joined a revue "Shuffle Along"which was a Californian "smash". . . except that somebody disap-peared with the takings.

He formed a seven-piecer whichflopped. He ate at a soup kitchen.He refused to go home and admitfailure and found himself workingthe sleazy clubs and clip -joints.

Then, in 1937, he formed a quar-tet at the Swannee Inn, for 75 bucksa week for all four of 'em. Thedrummer didn't turn up. THE NATKING COLE TRIO WAS BORN.

NERVOUSNat recalls: "One night, we had

this portly lush in there. He weaveda shaky way right up to the standand demanded I sang `Sweet Lor-raine'. He kinda bawled at me. Itwas made clear I couldn't refuse.So, feeling very nervous about itall, I agreed to make my vocaldebut. I was offered a 15 cent tip.Couldn't take it because of thehouse rules . . .

"But such gratitude failed tomake me think there was anythingspecial about my singing voice.

"It was quite a while later thatJohnny Mercer set up a recordingcompany and wanted me to sing mysong 'Straighten Up And Fly Right'-I'd sold the number for 50 dollarsto pay the rent.

"Even when that went O.K., Istill thought of myself as full-timemusician, part-time singer."

Nat married in 1947. The second-

largest wedding in Harlem's history.His wife: Maria Ellington, singerwith Duke Ellington's band, thoughno relation. A 21,000 -dollarwedding.

FIGHTSThat caused trouble. Nat and

Maria bought a Tudor -styled housein Hancock Park, an exclusive areaof Los Angeles. The locals didn'tlike the "invasion of Negroes".

A lawyer representing the localscalled to say : "We don't want un-desirable people coming here."

Replied Nat : "Neither do I . . .

and IF I see anyone undesirablecoming into the neighbourhood,I'll be the first to complain."

The Coles won.Except over income tax. Nat was

faced with a huge bill for backtaxes. To repay, took years ofheavy work, of worry, or frustra-tion. And it took toll of his health.

It was at the Easter recital atCarnegie Hall in 1953 that he col-lapsed. He had acute ulcers andinternal haemorrhage.

Nat won this terrible fight, too.But with the loss of half of hisstomach.

WISELY -He had to take it easier. He in-

vested his money wisely. He workedless. He built an organisation onwhich he could lean. He forcedtime off to look after the loyalMaria, their children Carol,Natalie, Nat Kelly, Casey andTimolin. And to watch the Dodgersplay baseball.

The Nat "King" Cole we'll meet

I Broken Date IONE of the many foreign record-

ings of Don Phillips' BritishInstrumental-"Broken Date"(Publishers-Lawrence Wright) isbeing released here on MGM, week-end of June 21. It is by LalaSchifrin, one of America's leadingBossa Nova figures from Brazil,and was given a B -plus (very good)rating in U.S. "Cash Box". Thenumber was also recorded in theStates as a double -sided single byFrank Hubbell-a singular honourfor a British tune.

Originally recorded here by GerryBrown on Fontana, there have alsobeen two releases in France andtwo in Spain and local recordingsalready taped are due to be releasedat any moment in Germany andItaly.

Don's latest Instrumental "Mer-maid" received its first broadcastrecently by the Bob Miller Orches-tra in Parade of the Pops.

MERSEYALBUMS

Due for release soon : Two LP'sfrom Oriole entitled "This Is Mer-sey Beat." John Schroeder andJeff Frost recorded numerousgroups on Merseyside, and nine ofthem will feature on the records.Volume one will have twelve num-bers by such groups as Faron'sFlamingos, Earl Preston and theT.T's, Sonny Webb and the Cas-cades, The Mersey Beats, DerryWilkie and the Pressmen, RoryStorm and the Hurricanes, The DelRenas, Ian and the Zodiacs, andMark Peters and the Silhouettes.

The Merseyside sound has defi-nitely been captured here, andrecord buyers all over the countrywill have the opportunity to decideonce and for all whether they con-sider that all Liverpool groupssound the same.

My opinion is that all the per-sonalities of the individual groupshas been maintained. When youbuy the LP, compare such groupsas The Hurricanes and The Cas-cades, The Silhouettes and TheT.T's, and you will find that,although there is a basic Mersey-side sound, each group has a styleof its own.

KENNY BALL'SJAllMEN v. GNATSKENNY BALL appears on Thank

Your Lucky Stars this Saturdayand has already been rebooked forthe August 3 show, when he'll beplaying on Saturday Club the samemorning.

Kenny and the Jazzmen are con-centrating on holiday resorts dur-ing July: Grimsby on the lst,Bexhill (3), Margate (6), Southsea(7), Bournemouth (10), Torquay(12), St. Austell (13), Weymouth(14), Douglas, Isle of Man (18),Clacton (26), Brighton (27) andFolkestone on August 1. In Augustthe Ball band go to Ireland fortheir fourth tour of the EmeraldIsle.

Last Saturday the band playedfor 3,000 young Conservatives atMeriden, near Coventry. The even-ing was almost ruined, not byLabour but by the fact that theyonly had one mike (they used loudhailers for vocals and announce-ments) and by gnats. When thelights were put on the bandstandin the late evening a swarm ofgnats descended and the boys hadto blow in a cloud of insects.

GLENDA'S GLADGLENDA COLLINS, singing at

Accrington and Bury clubs lastweek, discovered that her HMVrecording of I Lost My Heart AtThe Fairground is getting plenty ofspins - at fairgrounds! And thenumber seems to be having aneffect.

Visiting a fairground near Buryto thank the fair's deejay, Glendabecame embroiled with a gang ofyoungsters aged between six andten. They attached themselves toher and followed her around,eagerly accepting ice creams, rideson the dodgems, etc.

Then Glenda returned to herhotel to change for her first show.When she came out one of the kidswas waiting for her. He waited forher outside the club and followedher back to the hotel when shereturned long after midnight. Ittook some persuading to get himto go home.

It seems he too "lost his heart atthe fairground."

MANDY MASONFOR I.O.M.

PARLOPHONE recording starMandy Mason starts a nine

week season singing with the NatTemple Orchestra at the VillaMarina Ballroom, Douglas, Isle ofMan, this weekend.

Mandy has also been booked fora month at the Top Ten Club,Hamburg, in September.

The Temperance Seven play aone night stand at the Villa Marinaon July 21.

R & B NEWSGOOD news for all R & B fans

is that Pye are issuing ChuckBerry's "Go -Go -Go" on June 18th.Rated by many as one of his bestdiscs it was Chuck's last hit in theStates. Also Chuck is very likelyto tour here next autumn.

A probable new release from BoDiddley-plus the great news thatPye are to bring Bo over here nextmonth for 'promotional purposes'.But can anyone imagine Bo onSaturday Club?

Five Jerry Lee Lewis L.P.'s willprobably be issued in the States,and later here. Three of them willbe series L.P.'s-Jerry sings HankWilliams, Al Jolson, and JimmyRogers. The details of the othertwo are not known.

on this long-awaited return trip toBritain is a slowed -down man,except on his personal appearances.He's a happy man, but taciturn.Merely to list his background of hitalbums and singles would take afull column of this magazine.

His previous British visits were in1950 and 1954, when be played theLondon Palladium . . . and heflashed in for the Royal CommandPerformance of 1960 at the VictoriaPalace.

IN TOUCHNow he comes in with a fast -

rising disc, "Those Lazy -Hazy -Crazy Days of Summer", lookingforward to working on tour withthe Ted Heath Orchestra, a set-uphe admires greatly.

But through the tour, he'll bekeeping in touch with his businessesin the States. Especially the careerof potential champion middle-weight boxer Gene Johns.

The tour dates?July 13, Finsbury Park Astoria ;

14, Odeon, Hammersmith ; 17,Odeon, Glasgow ; 18, Odeon,Leeds; 19, Odeon, Birmingham;20, Odeon, Manchester ; 21, Odeon,Liverpool; 26, Capitol, Cardiff ; 27,Odeon, Lewisham; 28, Odeon,Hammersmith.

And what I say is: "You're morethan welcome, Your Majesty."

NAT KING COLE: A thoroughly charming gentleman, as you willdiscover if you are fortunate enough to meet him on his forthcoming

tour. Above he is pictured with one of his countless awards.

RICK ROUTED!

Current FailureWHAT do modern beat

groups need most of all?Electricity!

The act of Ricky Bowdenand the Escorts fizzled out atthe Kiosk Ballroom, Castleford,Yorks, on Saturday night whena power failure plunged thetown into darkness and dead-ened the amplifiers. So drummerRocky Ford and the drummerof the supporting group staged adrum battle for 90 minutes untilthe power surged back.

JAZZ STARSBBC SHOWAT last week's party-held at the

Hon. Gerald Lascelles' pad,Fort Belvedere-in honour of theAmerican stars who appeared overthe weekend at the Bellevue, Man-chester, Jazz Festival the threestars were lined up by BBC pro-ducer Steve Allen for the Mondaynight radio series The Jazz Scene.Dizzy Gillespie, Buck Clayton andBud Freeman will be heard incoming weeks in the programme's"Hear Me Talking" spot.

JIM'S ROBBERYHAPPY ENDING

THE NRM news deskfrequently receives sad stories

about stars having their equip-ment, cars and clothing stolen.But here's one with a happyending:

Northern beat singer JimmyCrawford's car was stolen whilehe was visiting his agent's officein Sheffield on Sunday.

Twenty minutes later thepolice had found the car half amile away. £30 in notes, Jimmy'selectric shaver and his amplifi-cation system were recoveredintact.

Said Jimmy: "The policeround here really are as mar-vellous as they look on thetelly."

ANOTHER CLASSIC

GOES A -POPPINGFOLLOWING the current vogue

for popping the "classics" MikeFord and the Consuls offer Jere-miah (a version of the TrumpetVoluntary) on Piccadilly. It's dueout on June 18.

The same day sees release onPye of Petula Clark's Valentino, anumber that Pet started to recordon February 13 but the session ranon after midnight and into St.Valentine's Day! The number waswritten by the a & r man, TonyHatch (whose wife presented himwith a second daughter-namedAmanda-on Sunday).

June 21 is release date of HelloJosephine by a debut group, WayneFontana and the Mind Benders.

No prizes for guessing the label.

THE AMERICAN SOUND

BY 1110 AMERICANSWAYNE GIBSON and the Dynamic Sounds will become

Decca's answer to Cliff Richard and the Shadows. A con-fident prediction put forward by two young American independentdisc producers, Shel Talmy and Mike Stone, now working inBritain.

These two 25 -year -olds recorded the Gibson sound. Back in theStates, they produced the "Alley-Oop" hit. Here, they scoredbiggest with the Bachelors' "Chartnaine". Two outspoken men.Knowledgeable men.

Listen to Shel: "All that talk about a Liverpool sound is amyth. There isn't such a thing. What has happened merely is that

came out with good numbers onthree groups from the same areagood records.

"Out of the 300 alleged groupsin Liverpool, only half a dozen ofthem stand any sort of chance.Now everybody is trying to get inon the act and agents are rushingaround signing singing streetcleaners."

Latest released disc by the Talmy-Stone partnership is by the Dixie-landers, a seven -piece Irish group. "We read about the Rhythm 'n'Most reviewers heard it and Blues cult here. Well, we don't digassumed it was an American record- this. We haven't heard anythinging by an American group. They like authentic R and B-except withalso assumed the lead sound was this boy Wayne Gibson and thean organ, a la Tornados. It wasn't. Dynamic Sounds.It was a cunningly recorded mixture "Anyway, look out for Wayneof flutes and soprano sax. Gibson when his disc comes out on

July 5. We hope you'll agree withus. And they are a London group.

"What we'd like to do is get moreof the American R and B stylistsknown over here. There's a guycalled Danny Rawles, for instance.A fantastic singer, but you've neverheard of him in this country. Thereare others.

to be perfect, musically. The oddstrange note doesn't matter.

"Really, it's the fault of theBritish producers. They've been in-fluenced by this search for a soundwhich comes from another countrymiles away.

byPETER JONES

But the essential thing about"Cyclone"' was its American-ness.

Said Shel: "That's the wholepoint. I used to be a recordingengineer and Mike was on the salesside of an American company. Weknew that British producers weretrying to get that American soundin their own studios-and were find-ing it hard. We wanted to seeEurope anyway, so we packed upand came here.

"We figured the best way wasfor Americans to get the Americansound in Britain.

"What's the difference in thesound? Well, the American soundgoes more on `feel'. That's the basis.The musicians get together, have acoupla run-throughs and get to`feel' the number. It doesn't have

AUTHENTIC

"We'd like to see Brook Bentongetting away here, for instance.He's another great singer."

Next effort by Talmy and Stoneis on the folksey kick-they thinktremendous interest was caused hereby the visit of the Limeliters. Twoboys called John and Alan arelined up.

"We plan to stay on quite a whileyet," said Shel. "There's a wholelot of scope here in Britain forAmericans who can get away fromthe British sound."

Well, their remarks have con-tained a few pretty po:nted barbs.Especially where the Liverpool sceneis concerned.

But from all reports, the YoungAmericans could be on a decidedwinner with the Dynamic Soundsof Wayne Gibson.

NEW RECORD MIRROR. Week -ending June 15. 1963

ANOTHER BEATER FROM Joi

A cheery grin from

JOE BROWN

Pop star JOE BROWN whose latest is tippedfor the top.

Nature's Time For Love; TheSpanish Bit (Pye Piccadilly35129)

CTRAIGHT in goes Joseph" . . . straight into a catchylittle song that seems a dead -sure bet for high chart ratings.Rock -along pace, with a slightlythrown -away vocal but a mostdetermined beat behind him.He has the Breakaways on thevocal background, as per usual,and the whole thing is happy-go-lucky and compelling. Yes,must be a hit. "The SpanishBit" is Joe's way of describingsome excellent, meanderingguitar work. it shows once againthat he has few betters on guitartechnique-something some fanstend to forget.

FOUR USSW

TOP 20 TIP

THE CARDIGAN BROTHERSI Know Know Know; Let's Go ToThe Movies (London HLU 9740)

RATHER unusual piano lead inthe boys' delicate harmonising.

It's a happy little tune but there'ssomething old-fashioned about thetreatment. The brothers show someuseful ideas of voice -blending butin parts the piano takes chiefhonours. One of those in-betweendiscs that are hard to assess. Old-time silent movie piano for theflip before a crack of drums getsthe boys into a lively up -temposong. Again, it's not in the mostmodern idiom but may stand astronger chance than the advertisedtop side.

THREE S SWENDY RICHARD AND

DIANA BARRYWe Had A Dream; Keep 'EmLooking Around (Decca F 11680)

WENDY was the young lass whowas with Mike Same on his

mammoth "Come Outside"This one is a dual -girlie numberwith a touch of the Vernons Girlsabout it. It's a medium paced beatsort of thing with the girl singingattractively out -of -tune about thestars who they saw in their dream.Fair old lyric with a certain amountof commercial appeal. But notenough for the charts we imagine.

Flip jogs along at a fast pace-with the girls sounding prettyauthentic on this side which dealswith the dance hall scene. Theirvocalising isn't perfect but it's nottoo bad.

THREE S

MAL RYDERCry Baby; Take Over (Decca F11669)

SIMPLE, strummy guitar only asMal sets the pace of this happy

little piece. Something of a yodel-ling effect in parts, wits somedual -tracking. It's one of thoseover-all pleasant offerings withmoments of dynamism. Given theright sort of exposure it could catchon in a hurry. Certainly it's aboveaverage. A swoopy sort of back-ing for the mid -tempo flip. Morerecording gimmicks and anotherslab of inoffensive listening. Topside's the one to watch.

THREE

JOHNNY MATHISEvery Step, Of The Way; No ManCan Stand Alone (CBS AAG 152)THIS one is a current U.S. hit

for Johnny who sings his waygently through this pretty songwhich has an immense amount ofappeal. It could, and may well be abig hit. He performs the tunefulballad in his inimitable style-andthis one could be a hit for Johnny.Strings and chorus back him up.

Rather a hymnal quality aboutthe flip, probably a deliberateattempt to create atmosphere whichconies off well. We liked themedium paced ballad. Nothing newfrom Johnny here though.

FOUR SSSS

MATHIS -A hit?

THE JAYSShocka-Boom; Across The Sea(Fontana TF 402)

GIRL group on a boom -alongsong with an Oriental sort of

atmosphere. A bit over -chanty,perhaps, and it's a wee bit difficultto pick up the lyrics in pants. Butit's also rather exciting and couldprove a favourite on the jukes. Notreally chart potential. Flip is lessfrenzied and the gals emerge as acoolly efficient group. Song has alot to commend it, though againis not in the usual chart -enteringidiom:

THREE SSSi

DAVE CURTISYou Don't Love Me Anymore;Sweet Girl Of Mine (Philips BF1257)SUPPORTED by the Tremors

Dave gives out on this profes-sional polished beat number. Repe-titive beat on the rock number,which has a run-of-the-mill flavour.Good lyrics on the disc-but thetune :sn't there really. Well per-formed with some good choralwork, and a fair guitar solo.

Flip is a fair number with a busybacking and again fair lyrics witha better tune. More commercialthough.

THREE S SCLIFF RIVERSTrue Lips; Marsha (London HLU9739)

APRESLEY take -off on this one-a disc with a fastish beat and

some Presley type singing on thedisc which hasn't much to offer.Not bad but without the appeal ofa Presley disc. We don't rate itmuch-and there's a lot of unneces-sary gimmickry on this one.

Flip is a slow ballad withoutmuch appeal. There's a fair oldlyric but it won't do very well.Still, you never can tell can you.

TWO SS

JENNY MOSSHobbies; Big Boys (ColumbiaDB 7061)

ANOTHER birdie from the EMIstable gets the benefit of the

harmonica on this commercial dual -tracked number with the usual teenappeal-namely the Shapiro sound.Busy backing with everythingthrown in-not bad but not toogood either.

Flip isn't so much in the samevein-instead it's a sort of slowercommercial beat ballad with hersinging in a fair old way. Not hadbut not a hit disc.

THREE S S

JOHNNY KIDD ANDTHE PIRATES

I'll Never Get Over You; Then IGot Everything (HMV POP1173)FROM the hitmakers comes a

rather powerful number withthe familiar Kidd sound. It's amany tracked vocal with a fairlyric and tune from the "Shakin'All Over" gent. He's gota good voice, and this one maybe a hit for him. Appealing,medium tempo, big beat sound.Again well performed.

More of the distinctive guitarsounds on the flip, it's a rathergospelly number with a lot ofappeal and it's probably the betterside. Turn it over fans.

FOUR SSSWCARTER, LEWIS AND

THE SOUTHERNERSSweet and Tender Romance; WhoTold You (Oriole CB 1835)POUNDING backing for the duoa who get such a consistentlygood sound to their work. It fairlypulsates as the boys sing outdeterminedly on a fast opus whichinvolves some first-rate harmonicwork. There's a stock of excitementhere and it could break pretty bigfor the talented outfit. "Who ToldYou" is another first-rate numberand in some ways is stronger, moremelodic, than the top side. Theboys get that full-blooded vocalsound again. Possibly their bestyet.

FOUR 44-isi

NRM POP DISC

JURY

SAMMY DAVIS JNR.Smile; This Was My Love (Re-prise R 20187)RIG orchestral backing for the

oldie; and Sam makes a first-class show on the vocal test -piece.He really wrings the maximum fromthe lyrics and a sharp jerky sort ofbacking somehow adds to thedrama. It's a good enough songto make the charts, but his personalpull on singles is still dubious. Let'sjust sum up by saying: first-classjob on a great old song. Now it'sup to you. Ballady flip and againSam sings with all the feeling hecan muster. At mustering, he's mus-tard. Lacks the impact of the topside, single -wise, though and his suc-cess hinges on how "Smile" is re-ceived by the fans.

FOUR S S S

S

SAMMY DAVIS-Good, but maybenot for the charts.

LITTLE ESTHER PHILLIPSI Really Don't Want To Know;Am I That Easy To Forget (EmberInternational EMB S 174)

THISdynamic little gal missed

out on her first here but thisjury is rooting for her on this Nash-ville -based performance. She singswith great power and feeling andsomehow gets a touch of the RayCharles emotion into it all, girlie -style of course. This track coniesfrom a big selling album ofEsther's in the States. Choir helps ;backing is excellent. Given topplugging, this could make it. Slowpiano lead in for the flip. Strings,too. Then another fine performancefrom the "Little Miss." Slower all-round.

FOUR SSSS,SONNY PARKSUs Kids Have Gotta Make UpOur Minds; New Boy In Town(Warner Brothers WB 100)THE kids have gotta make up

their minds about what dancethey want to do. Sonny outlinessonic of the recent crazes and whatreplaced them. The music reflectsthe different styles. It's rathergood-humoured and strong on thenovelty side. Maybe risky topredict a hit for it-but the discis good for dancing. Might makeit. Lots of echo for the flip whichis delivered in dramatic but beatymanner. Sonny has a voice of use-ful range and flexibility.

FOUR 44,DANNY WILLIAMSThe Wild Wind; Once Upon ATime (HMV POP 1172)

NOT of course the same title astook John Leyton to the number

two spot once-this one is a gentleballad sung extremely well by Danny-seems to have his most commer-cial song here for a long while.Good song with a fair old lyric-and a lilting kind of tempo. Couldeasily make the charts once it hashad the initial plugging.

More strings sounded on the flip-a number with a lot of smoothsinging from Danny-this one is afair old ballad without as muchchart chance as the top side. But itmakes for a good double -Sider.

FOUR SSSS.

MARK PETERSFragile; Janie (Oriole CB 1836)SUPPORTED ably by the

Silhouettes, Mark makes a finejob of this tuneful beater withplenty of what it takes. Rather thesame as all the others though-butwith a bit of a hit quality aboutit. There's a good backing on thedisc which should make it in asmall-ist way. We liked it.

Gentler stuff on the flip, a bal-lady number with quite a bit ofwhat it takes. But maybe notenough-the backing is good butthe song isn't much in the com-mercial vein.

THREE S S%ANNE SHELTONWhere Were You When I NeededYou; How Green Was My Valley(Philips BF 1258)FROM the ever -popular Miss

Shelton comes anothersmoothie with loads of adult ap-peal. It's a disc loaded with senti-mentality and a dual trackingflavour with a simple backing.Slower than most of hers-butwithout the appeal of many ofher efforts. Should do quite wellhowever.

Flip is another slowie with somefair backing sounds, and a bigballad sound on this end. It's agood commercial song that's prob-ably better than side one. She singswell, of course.

THREE S S

ANNE -A smoothie.

BOBBY SANSOMThere's A Place; Lucille (OrioleCB 1837)A BEATLES composition pro-

duced by Baton Discs this is aLondon disc with the Liverpoolsound. It has the usual groupchoral vocal with a fair amount ofchart potential - with enoughplugs it will make it. They singvery well, do Bobby and theGiants who support him ably. Welike it-and think the record -buyerswill too.

Flip is a Little Richard numberwith a solid pounding beat and alot of appeal, including the familiarinstrumental bit at the beginning.Frantic with a load of appeal.

FOUR SS S'

DANNY - Could click.

SCOTT LAINETearaway Johnny; John Silver(Windsor WBS 114)SCOTT tacklesa gimmicky piece

about the motor -bike. a power-ful job, outside his door. Youhear the bike revving up early on.One of those burn-up songs whichmay earn some controversy. Noth-ing wrong with Scott's perform-ance, with his tendency to growl.Backing, too, has been well -recorded. Horse -hooves intro theflip. Scott sings how he dreamsthat he is a highwayman, riding tothe arms of his gal. It's a story -line offering, well sung.

THREE SPATSY ANN NOBLEI was Only Foolin' Myself;Ordinary Love (Columbia DB7060)

FLUNKY guitar heralds Patsy.This Aussie lass has built a big

following for herself on the DaveKing telly -series. But even so thisone is unlikely to crash her intothe charts, despite the fact that sheturns in a vivacious performance ona rather ordinary sort of song.Catchy, to a point: but not dyna-mic enough. Sorry, Patsy Ann. Flipis slower and less effective, thoughPatsy Ann sings in a little -girl voicewhich just grows and grows on you.

THREE S

WENDY WALKERBoys Will Be Boys; Casanova(Decca F 11671)MOODY ballad for Wendy on

this well -performed numberwith a jaunty little string backingand some good lyrics from Wendy.But we ask her to remember-notALL boys are as bad as this. How-ever, everything works out O.K.in the end. Fair old thing-but nota hit we think.

Flip starts off slowly and thenlivens up a bit with some usualtype ballad sound from all con-cerned. It's not the Pet Clark bitand won't sell like that one.

THREE S S S

FATS DOMINOYou Always Hurt The One YouLove; Trouble Blues (LondonHLP 9738)

THIS one comes from the stock-pile of Fats Imperial label

which he has now left for Am -Par.This one is a tender version of theoldie but with far too many stringsfor the fans to go for this treat-ment of the song. Better byClarence 'Frogman' Henry by far.But Fats sings well even if thebacking lets him down on theslowie.

Flip is far more bluesy and hasa lot of appeal. It's an old bluesnumber with loads of appeal. Quitegood but entirely uncommercial.

THREE SS S

NANA MOUSKOURIMy Heart Won't Listen To Me;Don't Go To Strangers (Fontana261365)

FROM the very popular con-tinental songstress comes this

pretty ballad with appeal and charmrolled up. It's a little sad but hasgot what it takes. Not a hit buta biggish seller.

From her "In New York"album comes this smooth piece withNana singing more powerfully thanon the top side. It's good, andshould garner a lot of radio plays.

FOUR USSLESLEY DUNCANI Want A Steady Guy; MovingAway (Parlophone R 5034)FROM the latest on the birdie

scene comes this fair -to middlin'number with a sort of countryflavour about it. Dual tracking anda heavy femme chorus help thingsalong-but it isn't particularly out-standing. Sort of square danceflavour with good piano work.

Flip isn't the Ricky Valance num-ber of some time back-but a newballad which suits Les's voice prettywell. Not badly performed but againwith the chorus. Likeable stuff.

THREE 444.

rage Ten NEW RECORD MIRROR. Week -ending June 15. 1963

AND

JOHNNY

CYMBAL

DIDN'T

SING

THAT

SONG!AT Birmingham's Ritz ballroom

last Friday night, "Mr. BassMan's" young friend Johnny Cym-bal embarked upon his first Britishtour with twenty minutes of livelyvocalising.

It was clear judging by the ratherthin audience that nobody hadexpected much entertainment fromJohnny who, after all, was "justanother of those American singerstouring here on the strength of onehit record". This is a pity becausemost of the people who did attendwere pleasantly surprised by hisrepertoire.

CLEAR VOICERattling off his opener, "Johnny

B. Goode", in a hard, clear voice.he soon settled in and kept thejivers happy. "Bony Moronie" fol-lowed in similar style, and thenJohnny introduced us to the first ofhis impersonations. These were un-doubtedly the highlight of his actand, performed so brilliantly, quitea novel touch by any standards.

Using the old C & W number,"Walking The Floor Over You", hebrought to our ears the voices ofErnest Tubb (who wrote the song),Fats Domino, Buddy Holly andElvis Presley. These vocal cameoswere surprisingly vivid, as werethose in his next set, the tunes ofvarious artists supplied with apt andwitty lyrics. The Platters, RoyOrbison and Paul and Paula (yes,both!) got the treatment here.

by

Next came the old Presley ballad,"Love Me", which Johnny sangstraight, and then he did "WholeLotta Shakin' Goin' On". Thissimply had to fall on deaf earsbecause the whole audience had byno means recovered from the visitof Jerry Lee Lewis just nine daysearlier. The finale was "Mr. BassMan" turned into a full-scalecomedy number with Johnnygetting plenty of help from hisbacking group, the Premiers, whohad been more than adequatethroughout.

So ended Johnny Cymbal's first -ever public appearance in England.THAT number, "Teenage Heaven",was conspicuous by its absence, andJohnny, admitting that he was con-cerned by all the controversy, com-mented: "If the audiences don'tspecifically ask for it, I won't singit".

Coming soon:DISCOGRAPHIES on

Frank SinatraBo Diddley

JOHNNY CYMBAL in action at BIRMINGHAM'S RITZ BALLROOM.NRM correspondent Alan Stinton reports that the young American

put on a very polished and entertaining act.

BIRMINGHAM BEAT

N.3 THE ROCKIN'

BERRIES . . .

IUST about the toughest training-1 ground for an up-and-comingpop group today is Germany'sclubland where, in exchange furanything up to 50 hours a week infront of the MOSa demanding audi-ences anywhere, groups can earnfor themselves not only a decentliving wage, but also a wealth ofexperience; provided, of course,that they can stand the pace. ManyBritish groups in fact look uponGermany as the ideal place for per-fecting an act and building up thestamina. Groups, for example, likethe Rockin' Berries, five young menfrom Birmingham who have beenout there for a year playing at clubsin the major cities. During this timethey have acquired a tremendous re-putation with the German fans andhave emerged as bop line enter-tainers.

Needing a break after their 12

months of hard slog, the groupcame home in May to spend a fewweeks with their families, and foundthat an audition with Decca hadbeen arranged for them. A coupleof days before this was due, I sawthem practicing, and although theywere breaking in both their bor-rowed equipment and their new bassguitarist, what I heard convincedme that my first really big search

A Series ByAlan Stinton

was over. Here was the group tospearhead Birmingham's attack onthe charts, the group who wouldshortly have the nation by the ears.

PERSONNELMay I be the first to introduce

them to you. Eldest first, we havelead singer Clive Lee, 21; drummerTerry Bond, 20; and the othermembers, all 19 years old, areChuck Botfield, lead guitar andvocal; Geoff Turton, rhythm giitarand vocal; and Roy Austin, bassguitar,

The Rockin' Berries were formedabout three years back and theirname was born out of directadmiration for Chuck Berry whosenumbers they perform. For a timethey were one of the countlessgroups playing Midlands dates andlearning the business. They workedat it harder than most, however andbefore long were invited to backJimmy Powell. This they did andeventually wound up in Germanywhere, when Jimmy got his record-ing contract, they were offered workon their own.

In the clubs where they now per-form seven nights a week, theychoose their numbers from a reper-toire of over two hundred songs.

RoyTheJokerWins'Em OverAND HE'S GOT 4 DISCS IN THE CHARTS TOO!Roy ORBISON, the man with the huge hornrimmed spectacles

and the so -shy grin, has a hat -full of some twenty hits backhome in the States-and he's a regular chart entry in Britain. Disc -wise, then, there's no doubting his ability.

But long after he has returned to the States from his British tour,his impact as a stage performer, an in -person sight, will stay withour own artists. Why? Simply beciuse Roy doesn't have an act!

Not in the accepted sense, anyway.There's no movement about him.He just stands and sings. Evenwith beat -happy audiencesdigging the Beatles and Gerryand the Pacemakers, he's hushed'em, won them over-and left'em shouting for more.

This, to most of our singers, isrevolutionary. They are realisingthat sheer artistry, vocal artistry,is quite enough on its own. Noneed for the flailing arms, thegyrating body, the anguishedexpression, the so -predictablehand movements.

PIN DROPThere are times when it seems that

Roy Orbison is carved out ofstone.

Even his between -songs gags aredelivered quietly. He hardlysmiles. You actually have tolisten, otherwise a joke whistlesby. "I flew in from America", heobserves, "and boy, are my armstired". Old, yes. But beautifullytimed.

"Excuse me, please", he says later."I've a frog in my throat. It'sthe first square meal I've had indays". Dead -pap. Effective.

Says Roy, of himself : "I'm notmuch of a one for movingaround. That sort of thing looksall wrong on me. Really, I guess,my sort of presentation is betterfor the older folk. But I find theyounger fans are quite ready tolisten. I just get up and sing. Nosense in getting frantic about it."

Say most of the British stars who'veworked with him: "The bloke isfantastic. We didn't think itcould be done, this quiet -mansort of stuff. But you can some-times hear a pin drop when he'ssinging."

So many of our own artists learnto fling themselves around beforethey bother to learn to sing. Niceto think that at least one inter-national star has done it the otherway round!

ROY ORBISON: No glasseshere. The quiet man of musk,currently making a big tour

success.

Roy now regards himself as a Cand W singer. But even in hisrather wilder days of rock -discmaking, he held his body incheck and let his voice do thework.

He admitted: "Real Country musicstems basically from folkmaterial. Things I do like inDreams' have been commercial-ised, obviously, but I guess thatis inevitable. However, most ofmy material stems from tealCountry music, I hope. The influ-ence is there . . ."

Roy is quiet, too, about his com-posing career. He doesn't find itperpetually easy as do some ofthe pop fraternity. "1 sometimesget an idea that I believe is a

good one and then nothing elsehappens. I just can't develop it.I sit around racking my brain forhours on end but the songremains just an idea. Other times,the material seems to rush

through my brain so fast I can'tget it down on paper quickenough."

But the quiet man speaks out abouthypocrisy in Country music. Hedoesn't believe that you have tobe born and bred in Nashville,Tennessee, in order to sing thegenuine gear.

:211111111111111111111111111111111111111111111111111111111111

by

Langley JohnsonU111111111111111111111111111111111111111111111111111111111g

"What you need, basically, is a feelfor the music. This involves heart-yes, heart is the right word. Ithas to come from there. Sure, alot of The top stars in the Countryfield are centred round Nashville,but that's because the musiciansthere have this `feel'. In a sense,though, it's co -incidental. A guycan get this feel and be success-ful despite coming from NewOrleans or Newcastle, England.

"Even on this short trip, I've foundthat there are British singers whoare every bit as good as some ofthe big American names. There'sno point in saying it isn't authen-tic. What does that mean, any-way?"

The same feelings about heart standfor his views on guitarists. Youcan play highly -amplified guitarand not offend Roy . . . not iiyou have HEART!

RETURNRoy's success on this current tour-

he was here in June, 1%2, withhis old buddy John D. Louder-milk-has been so big that he'salready booked to return in theautumn, probably to tour withBilly J. Kramer and the Dakotas.By then, he'll probably havechalked up at least two more hitsingles . . .

And in the meantime, a lot ofBritish performers are thinkinghard and long about how Roygrabs an audience with appar-ently so little effort. We'll be see-ing some toned -down routinesbefore long.

But the real secret lies in that short,simple word.

"Heart"-that's the word.

About half -a -dozen of these areoriginal compositions, and it isthese which really made me takenotice when I heard them, for theyare all perfect teen meat and"cinches" for the charts. I was de-lighted to hear that the boys in-tended trying them out on the Deccaexecutives, because there were nooriginal numbers at all on the tapewhich won them the audition. Itwas a safe enough prediction thatthere were going to be some sur-prised and delighted people at thatsession.

EXPERIENCETo sum up the attributes of the

Rockin' Berries, one has to considertheir vast experience; the way inwhich they mingle personality withpolished perfection ; their sheertalent and songwriting abilities, andcome to the only possible conclu-sion-that the Rockin' Berries havegot precisely what it takes. It isnow clearly just a matter of time.

FOOTNOTE: I later contactedthe Berries the day after the audi-tion, and to quote spokesman ChuckBotfield, "The whole thing was agreat experience. We had threehours in the studio and they wereoverjoyed with our originalmaterial. Two of our own numberswere taped and we did ten takes ofeach. They have asked us io godown again in July."

Another rehearsal shot of CLIFF RICHARD with "THE YOUNGONES" leading lady CAROL GRAY-they were rehearsing for the big,big BLACKPOOL show "HOLIDAY CARNIVAL" at the lavish new

ABC THEATRE.

NEW RECORD MIRROR. Week -ending Tune 15. 1963Page Eleven

CASHBOX TOP 50AIR MAILED FROM NEW YORK

1 SUKIYAKI"'2 (4) Kyu Sakamoto

2 IT'S MY PARTY*1 (6) Lesley Gore

3 I LOVE YOU BECAUSE*4 (8) Al Martino

4 DA DOO RON RON5 (7) Crystals

5 YOU CAN'T SIT DOWN*6 (7) Dovells

6 IF YOU WANNA BEHAPPY*

27

28

29

30

31

3 (10) Jimmy Soul 327 STILL* 339 (8) Bill Andersong THOSE LAZY, HAZY,

CRAZY DAYS OFSUMMER*10 (5) Nat Cole

9 TWO FACES HAVE I*7 (9) Lou Christie

10 HELLO STRANGER*19 (4) Barbara Lewis

11 BLUE ON BLUE*17 (3) Bobby Vinton

12 SURFIN' U.S.A.8 (11) Beach Boys

1318 YELLOW ROSES*21 (4) Bobby Darin

14 LOSING YOU*13 (13) Brenda Lee

1;OTHER

SATURDAY" N

ANOTHER

4115 (8) Sam Cooke

16 PRISONER OF LOVE*

34

35

36

37

38

39

40

20 (6) James Brown42

17 BIRDLAND* 4324 (4) Chubby Checker

g I WILL FOLLOW HIM*" 11 (13) Little Peggy March 44

iq IF MY PILLOW COULDTALK*26 (4) Connie Francis 45

WILDWOOD DAYS32 (4) Bobby RydellTHE GOOD LIFE28 (4) Tony BennettSTRING ALONG*37 (2) Rick NelsonMY SUMMER LOVE*41 (2) Ruby & RomanticsTAKE THESE CHAINSFROM MY HEART*16 (8) Ray CharlesEL WATUSI*18 (7) Ray BarrettoON TOP OF THESPAGHETTI48 (2) Tom GlazerPUFF (THE MAGICDRAGON)*14 (12) Peter, Paul & MaryHOT PASTRAMI*29 (8) DartellsFIRST QUARREL- (1) Paul & PaulaREV. MR. BLACK*27 (9) Kingston TrioSO MUCH IN LOVE- (1) TymesSHUT DOWN*38 (3) Beach BoysSHAKE A HAND- (1) Jackie Wilson &Linda HopkinsPOOR LITTLE RICH GIRL*- (1) Steve LawrenceEVERY STEP OF THE WAY*- (1) Johnny MathisCAN'T GET USED TOLOSING YOU*30 (14) Andy WilliamsOLD SMOKEYLOCOMOTION*- (1) Little EvaFALLING*

20ONE FINE DAY - (1) Roy Orbison40 (2) Chiffons 46 I'M MOVIN' ON

91 EASIER SAID THAN DONE - (1) Matt Lucas" 50 (2) Essex 47 PIPELINE*22 IF YOU NEED ME* 31 (12) Chantays

23 (5) S. Burke/W. Pickett 4823 COME AND GET -THESE

MEMORIES'33 (6) Martha & Vandellas

24 PUSHOVER*25 (7) Etta James

25 FOOLISH LITTLE GIRL*12 (7) Shirelles

26 THE LOVE OF MY MAN22 (7) Theola Kilgore

WHAT A GUY*36 (6) Raindrops

49 LET'S GO STEADY AGAIN*35 (10) Neil Sedaka

50 SURF CITY- (1) Jan & Dean

(First figure denotes position lastweek; figure in parentheses denotes

weeks in chart)Asterisk denotes a record issued in

Britain

BRITAIN'S TOP TWENTYFIVE YEARS AGO...

1 (1) WHO'S SORRY NOW, Connie Francis2 (5) ALL I HAVE TO DO IS DREAM/CLAUDETTE, Everly Bros.3 (2) TOM HARK, Elias and his Zig Zag jive Flutes4 (9) ON THE STREET WHERE YOU LIVE, Vic Damone5 (3) WONDERFUL TIME UP THERE/IT'S TOO SOON TO

KNOW, Pat Boone6 (4) WITCH DOCTOR, Don Lang7 (10) TULIPS FROM AMSTERDAM/HANDS, Max Bygraves8 (6) STAIRWAY OF LOVE, Michael Holliday9 (12) THE ARMY GAME, TV Cast

10 (14) TWILIGHT TIME, Platters11 (7) GRAND COOLIE DAM/NOBODY LOVES LIVE AN

IRISHMAN, Lonnie Donegan12 (8) WEAR MY RING AROUND YOUR NECK, Elvis Presley13 (16) BOOK OF LOVE, Mudlarks14 (13) KEWPIE DOLL, Frankie Vaughan15 (-) BIG MAN, Four Preps16 (17) WITCH DOCTOR, David Seville17 (-) PURPLE PEOPLE EATER, Sheb Wooley18 (-) ON THE STREET WHERE YOU LIVE, David Whitfield18 (11) LOLLIPOP, Mudlarks20 (18) I DIG YOU BABY, Marvin Rainwater

NRMChorlSurveilA LOOK AT THE U.S. CHARTSFAST rising hits include "Memphis"-Lonnie Mack ; "Tie Me Kan-

geroo Down Sport"-Rolf Harris; "1 Wish I Were A Princess"-Little Peggie March; "Swinging On A Star"-Big Dee Irwin; "RatRace-Drifters

'"Don't Say Goodnight And Mean Goodbye"-

Shirelles ; "Tips Of My Fingers"-Roy Clark; "My True Confessions"-Brook Benton ; "Be True To Yourself"-Bobby Vee ; "Come Go WithMe"-Dion; and "Harry The Hairy Ape"-Ray Stevens.

Some recent U.S. releases include-"Hopeless"-Andy Williams;"Like The Big Guys Do"-Rocky Fellers; "Love Is A Once -In -A -Life-time Thing"-Dick And Dedee; "Come Blow Your Horn"-FrankSinatra; "And Then"-Ral Donner; "Where Can You Go"-GeorgeMaharis; "Without Love (There Is Nothing)"-Ray Charles; "I WannaKnow"-Kenny Dino ; "Torquay Two"-The Fireballs; "Light TheCandles"- Bobby Goldsboro ; and "Buzz Buzz Buzz"-Bobby Day.

R & B Top Ten five years back-"Dream"-Everly's; "Witch Doctor"-David Seville; "Looking Back"-Nat Cole: "What Am I Living For?"-Chuck Willis; "Do You Wanna Dance?"-Bobby Freeman; "TwilightTime"-Platters; "Johnny B. Goode"-Chuck Berry : "Jennie Lee"-Jan And Arnie; "Yakety Yak"-Coasters; "For Your Love"-EdTownsend. And coming up-"Big Man"-Four Preps; "Purple PeopleEater"-Sheb Wooley. N.J.

BRITAIN'STOP LP's

1 PLEASE PLEASE ME(1) The Beatles(Parlophone)

9 SUMMER HOLIDAY(3) Cliff Richard &The Shadows (Columbia)

" REMINISCING(2) Buddy Holly (Coral)

A IT HAPPENED AT THE-I- WORLD'S FAIR

(4) Elvis Presley(RCA -Victor)

"I'LL REMEMBER YOU(7) Frank !field (Columbia)

"BILLY(6) Billy Fury (Decca)7 WEST SIDE STORYI (5) Sound Track (CBS)g SINATRA-BASIE" (8) Frank Sinatra with

Count Basie (Reprise)Q HATS OFF TO

DEL SHANNON(9) Del Shannon (London)

n SOUTH PACIFICI"' (12) Sound Track

(RCA -Victor)

11ALL STAR FESTIVAL(11) Various Artistes(UNO)

12 OUT OF THE SHADOWS(16) The Shadows(Columbia)

12 ALL ALONE AM I(10) Brenda Lee (Brunswick)

14 LONELY AND BLUE(19) Roy Orbison (London)

15 GIRLS! GIRLS! GIRLS!(14) Elvis Presley(RCA -Victor)

16 BOBBY VEE'S GOLDENGREATS(-) Bobby Vee (Liberty)

17 BUDDY HOLLY STORYVol. 1(20) Buddy Holly (Coral)

18 JOE BROWN-LIVE!(15) Joe Brown (Pye)

19 EDDIE COCHRANMEMORIAL ALBUM(18) Eddie Cochran(Liberty)

20 JUST FOR FUN(-) Sound Track (Decca)

BRITAIN'STOP EP's

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

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18

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20

FRANK !FIELD'S HITS(2) Frank !field (Columbia)HOLIDAY CARNIVAL(1) Cliff Richard (Columbia)KID GALAHAD(5) Elvis Presley(RCA -Victor)DANCE ON WITHTHE SHADOWS(3) The Shadows (Columbia)JUST FOR FUN(6) Bobby Vee &The Crickets (Liberty)ON THE AIR(4) The Spotnicks (Oriole)BILLY FURY &THE TORNADOS(7) Billy Fury &The Tornados (Decca)TELSTAR(10) The Tornados (Decca)OUT OF THE SHADOWSVol. 1

(-) The Shadows(Columbia)HITS FROM THE FILM"SUMMER HOLIDAY"(-) Cliff Richard &The Shadows (Columbia)THE BOYS(8) The Shadows (Columbia)THE BLACK & WHITEMINSTREL SHOW(11) The George MitchellMinstrels (HMV)BILLY FURY HITS No. 2(13) Billy Fury (Decca)FACTS OF LIFE FROMSTEPTOE & SON(19) Wilfred Bramble &Harry H. Corbett (Pye)DEL SHANNON No. 2(9) Del Shannon (London)SOUNDS OFTHE TORNADOS(-) The Tornados (Decca)SHADOWS TO THE FORE(12) The Shadows(Columbia)RAVE ON(-) Buddy Holly (Coral)ONLY THE LONELY(15) Roy Orbison (London)I CAN'T STOPLOVING YOU(16) Ray Charles (HMV)

BRITAIN'S HIP 50COMPILED BY THE RECORD. RETAILER

HOLLY HITS THE HEIGHTSAND the fastest -rising honours this week must of course go to the late

great Buddy Holly with his version of the R & B standard "BoDiddley". A fantastic jump by a fantastic artist. For some interestingnews about Bo himself see the R & B news paragraph. The Shadows,The Tornados, The Hollies, Mark Wynter, Duane Eddy and theCrickets, all constitute fast -rising hits, while the Everly's make an appear-ance with their "It's Been Nice" disc. Neil Sedaka re-enters the chartswith "Let's Go Steady Again" while Don Spencer does the same withhis evergreen "Fireball". Three firm favourites in the shape of KennyBall, Jim Reeves and Karl Denver make the lists.

No sign yet of the new Four Seasons disc-but it should make thecharts next week-together with, we suspect, some unexpected arrivals.Six provincial discs in the top part of the charts-including the topthree spots for Liverpool and NEMS Enterprises, all recorded by A & Rman George Martin. Liverpool -born Billy Fury at No. 4, too!

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

FROM ME TO YOU1 (9) The Beatles(Parlophone)I LIKE IT7 (3) Gerry & ThePacemakers (Columbia)DO YOU WANT TOKNOW A SECRET?2 (7) Billy J. Kramer &The Dakotas (Parlophone)WHEN WILL YOU SAYI LOVE YOU?3 (5) Billy Fury (Decca)SCARLETT O'HARA4 (8) Jet Harris &Tony Meehan (Decca)LUCKY LIPS8 (6) Cliff Richard(Columbia)IF YOU GOTTA MAKE AFOOL OF SOMEBODY12 (6) Freddie &The Dreamers (Columbia)TAKE THESE CHAINSFROM MY HEART5 (5) Ray Charles (HMV)DECK OF CARDS9 (9) Wink Martindale(London)IN DREAMS11 (16) Roy Orbison(London)YOUNG LOVERS13 (8) Paul & Paula (Philips) 37ATLANTIS27 (2) The Shadows(Columbia)TWO KINDS OFTEARDROPS6 (8) Del Shannon (London) 39CAN'T GET USED TOLOSING YOU10 (13) Andy Williams

25

26

27

28

29

30

31

32

33

34

35

36

38

(CBS)40

NOBODY'S DARLIN' BUTMINE14 (10) Frank !field

41

(Columbia)BO DIDDLEY35 (2) Buddy Holly (Coral)

42FALLING19 (3) Roy Orbison(London)FORGET HIM21 (4) Bobby Rydell(Cameo -Parkway)PIPELINE16 (9) The Chantays(London)HOW DO YOU DO IT?

43

44

45

4615 (14) Gerry &

47The Pacemakers (Columbia)LOSING YOU18 (12) Brenda Lee 48(Brunswick)

22 FROM A JACK TO A KING17 (18) Ned Miller (London)

22 HE'S SO FINE20 (10) The Chiffons(Stateside)

24 HARVEST OF LOVE23 (5) Benny Hill (Pye)

49

50

ICE CREAM MAN34 (2) The Tornados (Decca)JUST LIKE ME31 (3) The Hollies(Parlophone)ANOTHER SATURDAYNIGHT25 (5) Sam Cooke(RCA -Victor)CASABLANCA28 (8) Kenny Ball (Pye)LITTLE BAND OF GOLD29 (7) James Gilreath (Pye)SHY GIRL50 (2) Mark Wynter (Pye)MY. WAY26 (8) Eddie Cochran(Liberty)BROWN EYEDHANDSOME MAN24 (14) Buddy Holly (Coral)SAY I WON'T BE THERE22 (12) The Springfields(Philips)SUMMER HOLIDAY36 (17) Cliff Richard(Columbia)LONELY BOY, LONELYGUITAR44 (2) Duane Eddy (Liberty)FOOT TAPPER33 (15) The Shadows(Columbia)DON'T TRY TOCHANGE ME43 (2) The Crickets(Liberty)FOOLISH LITTLE GIRL47 (4) The Shirelles(Stateside)WALK LIKE A MAN30 (13) The Four Seasons(Stateside)IT'S BEEN NICE- (1) The Everly Brothers(Warner Bros.)WELCOME TO MY WORLD-(1) Jim Reeves(RCA -Victor)HEY PAULA37 (17) Paul & Paula(Philips)LET'S GO STEADY AGAIN- (1) Neil Sedaka(RCA -Victor)CASANOVA/CHARIOT49 (7) Petula Clark (Rye)RONDO- (1) Kenny Ball (Pye)INDIAN LOVE CALL- (1) Karl Denver (Decca)THE FOLK SINGER32 (13) Tommy Roe (HMV)RHYTHM OF THE RAIN38 (16) The Cascades(Warner Bros.)FIREBALL- (12) Don Spencer (HMV)HE'S THE ONE40 (3) Billie Davis (Decca)

(First figure denotes position tastweek; figure in parentheses denotes

weeks in chart)

VOCAL

3 GREAT SINGLES

MILLICENTMARTIN

Parlophone R5033

INSTRUMENTAL

STEVEALLEN

London HLD 9723

KEITH PROWSE, 21 DENMARK ST., W.C.2

SMILE

KPMMUSIC

ON REPRISE R20187

BY

Sammy DavisJnr.

PETER MAURICE MUSIC COMPANY, 21 DENMARK ST., W.C.2

Page Twerie NEW RECORD MIRROR. Week -ending June 15. 1963

WHY I CANNOT SING HEREJIM REEVES EXPLAINS TO PETER JONES WHY HE CANNOT PERFORM IN BRITAIN .

WITH "Welcome To My World" latest of a chain of chart entries,Jim Reeves arrives in London. Umpteen thousand fans want

to see him, hear him delivering his gen-u-ine Country stylings. Butthey won't get a chance. Nor did they on either of his two previoustrips ...

This is because of a Musicians' Union ruling. For Jim travelswith his own group, the Blue Boys-and, unless a reciprocal arrange-ment is made, they cannot accompany him before British audiences.He plays only U.S. bases, or Northern Ireland dates.

Politically, "Gentleman Jim" regards this as being quite rightand proper. Musically, I regard it as a drag.

Said Jim, sipping at a glass ofScotch on the large rocks: "Sure,I could work by myself. Leave thegroup out of it. That's for televisionand concerts. But I've had theseboys round me for a long time now.We are a team. We like to put inspontaneous bits and pieces and,though I have the highest regard forthe British musicians, I wouldn'tfeel happy without my own boys.

"I hope my fans will understandthis. Certainly, I'm not cribbingabout the Union regulations. Ithink they're quite right, eventhough it affects me this way. AndI do think that more British artistsshould he allowed into the States "

That dealt with and explained,Jim sipped some more and talkedabout his film, just completed inSouth Africa. "It's a real good rolefor me'', he said. "And it made memore sure than ever that I enjoyacting even more than singing. I'm

one of a couple of gamblers and,boy! do we get into some scrapes.Film should be out around the earlyFall.

"This acting career has beendelayed a bit. Maybe I've been abit too careful, but it's been tenyears now since I was first offereda part. The roles didn't appeal tome and I've waited, patiently I

hope, all that time. Now I'm hopingto do more and more acting . . .assuming the parts are right.

SONGS"This particular film has a lot of

songs in it, with about ten goingmy way."

Jim's career, one of the mostsuccessful in the huge Country field,has been a weird old mixture ofups and downs.

He lost his father when only ten

months old. Jim was the youngestof nine children. Later in child-hood, he saw an older brotherkilled by a flash of lightning.

Then, in his teens, Jim took upa football scholarship in Texas andset off fast for a big career in ath-letics. Only to be halted by a heartcondition which knocked him outof the all-star team.

He turned to baseball, a lessstrenuous sport. St. Louis Cardssigned him and he again looked setfor a top pro. career. One Julynight, he was pitching on a wetfield, rushed to field a ball-andslipped. He badly damaged asciatic nerve . . . and had to goout of baseball for ever

MARRIAGEThen Jim married - his wife's

name is Mary. September 3, 1947,was the date. "I'd been singingaround at that time and spent fiveyears at a local radio station as adirector.

"We kinda got an Itch to dosomething different. So we sold upthe house, stored the furniture, gotinto the old buggy and took off.Got some radio spots and smalljobs.

"Then one day, something oddhappened. I remember it well. Maryand I stood at the crossroads onHighway 80 in Texas. We didn'tknow which way to go. So we spun

a coin .. . heads we go to Shreve-port, tails to Dallas. Heads won."

And Jim joined the Shreveportradio station. As an announcer.Even when he recorded "MexicanJoe", in February, 1953, for a smallfirm, and even when it hit the topof the charts down South, he wasstuck with his job as a dee-jayand announcer.

"Again, we tossed a coin anddecided that I should break awayand go on a six-month appearancetour. Next year I was on the GrandOle Opry, and toured with HankSnow and his Rainbow RanchBoys. That Opry show . . . it wasthe fulfilment of twelve years striv-ing. 'That's the tops in Countrymusic anywhere in the world "

By 1957, the Country star hadgot pop acceptance. "Four Walls",that year, was one of the world'sbiggest hits. Now, six years later,he's still getting the hits.

Said Jim: "I'll be honest. Oneday I want to come to Britain andsing for the fans who've been kindenough to buy my records. But I'vereally got to have that great bunchof guys working with me."

That's the point about JimReeves. He's by way of being aperfectionist, musically.

Even if so many other things inhis life have been left to old LadyLuck, via a toss of a coin.

THE GREAT UNKNOWNS Na S THE

1RONALD GATHERS, FRANK TROUT, EUGENE GLASS, IDELLAMORRIS and RICKY CORDO - THE MAJORS.

LAST summer a U.S. hit entitled "A Wonderful Dream" shot upthe charts into a high spot where it remained for several

months. Issued on Imperial records, it was by a group called TheMajors, who had managed to achieve a very original and freshsound with their disc. But trade papers, and Dee -Jays tended tothink that "Wonderful Dream" was only a flash -in -the -pan for theteam.

Imperial records answered by issuing the next Majors disc "She'sA Trouble -maker" which also shot up high in the charts. And tomake things even more astonishing, after "Trouble -maker" hadfallen down chart -wise, the flip "A Little Bit Now" leapt in totake its place.

These two releases established theMajors as one of the most popularof the new U.S. groups. Since thenthey have had big sellers in theStates with discs like "What In TheWorld", "Anything You Can Do",and "Tra-La-La".

Plus of course an L.P. "Meet TheMajors" which has been resting inthe U.S. L.P. charts for quite sometime-and has been issued thismonth over here. Apart from allthe Majors singles, it contains somebrilliant originals such as "Ooh WeeBaby", "Don't You Lose YourCool", and "Come On Come On".Plus a great rendition of the Isley

Brothers' R & B hit "Twist AndShout" ----,which they do in a spiritequalling the frantic tempo of theoriginal.

And the Majors themselves? Theyconsist of four boys and a girl. Andunlike a lot of groups, they havehad considerable experience beforecutting their first disc. They havebeen appearing in clubs in andaround New York for a long longtime now, and have a considerablefollowing established out of the re-cord scene-as well as many fanclubs scattered about the country.

The unique thing about theMajors is the lead voice of Ricky'

MAJORSCordo, first tenor, who hits someof the highest notes that today'ssingers can manage. Many peoplethink that the lead singing on theMajors' discs are done by a high-pitched GIRL, but the fact is that23 years old Ricky, born in Balti-more is the one who produces theunique Majors sound.

by7.: NORMAN

JOPLING,ClenVielinWorieVAANWEV:

The very harmonious backing toRicky is supplied by the four othermembers of the group. They areRonald Gathers, a 21 -year -oldPhiladelphia youth and a veteran oftwo years in the Marine Corps.Ronald is the Athletic member ofthe bunch, and is intensely interestedand active in a variety of sports.

Eugene Glass like Ricky andRonald is unmarried, but being ahandsome six -foot -one at 177pounds, he has a host of female ad-mirers. During the four years hewas serving Uncle Sam in the U.S.Air Force he won the first place inthe `Tops In Blues' singing contest.

Only married man in the group

CHEVALIER SHOWSFRANK'S S.N.A.P.ATV are screening the first of two

Maurice Chevalier shows onJune 30. His guests includeWinifred Atwell and Joan Regan.

The following week, on July 7,Mark Wynter will sing a Chevaliermedley during his performance inthe Bob Monkhouse Show, whichalso stars Diana Dors.

Frank Ifield tops the Palladiumbill this Sunday. Marion Ryansupports.

A new Morecambe and Wiseseries starts this Saturday with JoeBrown and the Bruvvers on the bill.Coming weeks will feature girlsingers. including Sheila Southern,Susan Maughan, Rosemary Squiresand Cathy Kirby.

is Frank Trout, and like Ronaldand Eugene is a native of Philadel-phia. Twenty-two, he is the fatherof two fine sons-and he also spenttwo years in the Marines.

FRESHThe remaining member is Idella

Morris, a pretty 19 years old un-married Philadelphia girl who addsglamour to the group as its onlyfemale member. Idella in fact gaveup a dancing career to sing withthe Majors.

That then is the low-down on thegroup that looks like being estab-lished on the U.S. disc scene formany years to come. In Britainthough, only a few have heard ofthe Majors-less still have boughtany of their discs. Which is a pity,because it is not alien one hears afresh -sounding record group in thesetimes of the jump -on -the -bandwagoncrazes . .

DIZZIE GILLESP'E

NEW WAVE: In A Shanty In Old ShantyTown; Careless Love; Chega De Saudade;Taboo; Gee Baby Ain't 1 Good To You;One Note Samba; Morning Of TheCarnival (Theme From Black Orpheus);Pergunte Ao Joao. (PHILIPS 652021BL.)

THE great trumpeter in greatform. The bossa nova rhythms

which predominate in this albumare ideally suited to Dizzy's styleand he plays some of his most gor-geous solos. Relaxation and jauntyabandon in abundance. Jazzwise,Gee Baby contains some of hisbest -ever blowing. The accompany-ing musicians are generally goodthough there are a couple of roughspots and the recording quality isimperfect.

But New Wave! is the kind ofalbum that appeals to anybody wholoves music. Dizzy's work here iseasy to appreciate and full of anenchantment that annoints thelistener no matter how often thedisc is played. In short, it's theproduct of a musical mastermind.Run-don't walk-to your nearestrecord store. D.G.

FOUR

IN PUBLIC !

JIM REEVES: He cannot sing for his British fans but he is appearingat American military bases during his trip. (NRM Picture.)

NORTHERNROUND -UP

By BILL HARRYTWO recent Merseyside signings

for Fontana-Earl Preston andthe T.T.'s and The Mersey Beats(they have not signed with Decca,as was stated in a recent issue) . . .

"Fragile", the self -penned numberby Mark Peters is due for releaseon June 14th . . . Release date ofthe first disc by Earl Preston andthe T.T.'s-June 28th, they alsohave some tracks on the Oriolealbums "This Is Mersey Beat" tobe released on July 1st . . Firstdisc by Faron's Flamingos in IbeMerseyside Top Five within oneday of release . . . First Deceitdisc by Dennisons to be releasedmid -July . Great interest in folkmusic on Merseyside . . . TheSearchers for "Thank Your LuckyStars" on June 29th . . . Billy J.Kramer enthusiastic about newvocalist with former backing groupThe Coasters-Chick Graham . . .

Lee Hallyday, brother of Frenchpop idol Johnny Hallyday was itLiverpool last week seeking a back-ing group for Johnny . . . Due toillness, Colin Hicks could not ful-fil commitments of a week's workon Merseyside-he has been re-placed by The Golli-Golli Boys

. . Local agent Jim Gretty seek-ing Merseyside groups for the con-tinent . . . Catchy "It's Too LateNow" number by The SwingingBlue Jeans is self -penned by thegroup . . . lihe Undertakers discdue for release on July 16th . .

The Chants recently appeared onBlackpool's South Pier and receivedacclaim from several top -line showbiz personalities-agents from Lon.don wish to represent them downsouth-and they will be recordingwith Pye in July . . . Group mostin demand for riverboat trips onthe Mersey-Johnnie Sandon andthe Remo 4 . . . Merseysippi Jazz -boat on June 23rd has 11 top jazz -bands . . There are feW topgroups in Liverpool who do nothave recording oontracts.

BRIAN EPSTEIN (NEMS) tobe congratulated-and envied.His group are 1, 2 & 3 in theTop 50 this week. (NRM Pic.)

Freddie Starr and the Mid-nighters have joined the NemsOrganisation - so have The FourMosts . . . Britain's most -public-ised rock venue-The Cavern . . .First-class Merseyside songwriters-Ralph Bowdler, Adrian Wilkin-son and Stuart Slater of TheNomads, Chris Curtis of TheSearchers, Paddy Chamber of TheFlamingos and Norman Beaton. . . Chick Graham, 15 last Fri-day . . . New group in St. Helens-The Incas . . . Being consideredas a backing group for Beryl Mars-den - The Renegades . . Liver-pool's BEST showman on stage-Rory Storm .. . Chester groupSome People do not wish to beconfused with Manchester's SumePeople . . . Kingsize Taylor andThe Dominoes interested in HowieCasey . . . Liverpool groupsfeatured each week at The OutlookClub, Middlesbrough . . . StarClub, Hamburg, still Liverpool'smain Continental showcase .. .

Printed by Merritt & Hatcher Ltd., High Wycombe and London. for Cardfont Publishers Ltd., 116 Shaftesbttry Avenue, London. W.I. (Telephone: Gerrard 7460, 3785 & 5960.)Sole Distributing Agents for Great Britain, Surridge, Dawson & Co. Ltd.. 136-142 New Kent Road, London. S.E.I.

on the new . on the `mersey beat' mark peters and the … · 2019. 7. 18. · inside. the...

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