and Radio m ecember 1972 flo 3. II 20p

WHOSse

0 Insides"-Johnnie WalkerBob StewartFree Radio -Special LP OfferDisco Equipment, Record Reviews, e

14

41111111MENIMIL

. 00 Se S . . . . S.

. * e S featuringWilson PickettOtis ReddingSam&DaveArchie Bell&the DrellsOtis&CarlaPercy SledgeAretha Franklin 1111k.kBar -KaysArthur ConleyThe DriftersBooker T& the MGsClarence Carter

THE SNOW*LW* ,-.KE.1 Akice.1477Tmai', A4,350111.E.1*-4alatteEj

editorialHello there once again - here we are with the third and Christmas issue of "DEE JAY AND

RADIO MONTHLY".I would also like to say a big welcome to the thousands of new readers, who will be

reading "DEE JAY AND RADIO MONTHLY" for the very first time this month. I sincerelyhope you like it.

This month in "DEE JAY AND RADIO MONTHLY" you will find features on discjockeys Johnnie Walker, Bob Stewart and Steve Jones. Douglas Muggeridge concludes histwo-part feature with some sound advice to all you would-be radio DJs, Mike Cook looksat the reasons behind the current boom in golden oldies, and Karl Dallas reviews somemore disco gear.

In addition this month sees the first of our regular features on the world of the hospitalradio stations - and here I would like to say a special 'hello' to Roy Mack - who will beediting this particular section.

Plus of course, record reviews, charts and all the usual features.Be sure not to miss our exciting 'History of Offshore Radio' LP offer on page 9. This

really is a dramatic and extremely interesting album, and well worth £2.00.

Well that's all for this month, so I'll just say 'See you all in 1973' and have a real goodswinging Christmas.

BEN CREEPUBLISHER

FRONT COVER - Radio One Santa -D LT

t) B.C. Enterprises 1972IDee Jay and Radio Monthly is published by B.C. Enterprises, Willmott House, 43 Queen Street, Hitchin, Herts. (0462-54399).Typesetting by Leagrave Press, Luton (Luton 51525).Printed by George Pulman & Sons Ltd., Watling Street, Bletchley, Bucks. (Bletchley 4921).Distributed by New English Library, Magazine Division, Barnards Inn, London WC2 (01-405 4614).

contentspage

4 news and views

6 JOHNNIE WALKER

9 Offshore Radio LP offer

xi) Steve Jones

III DOUGLAS MUGGERIDGE - Part 2

14 Hospital Radio

17 Why Golden Oldies?

20 beatwave - free radio pages

page

23

27

30

31

32

34

35

38

39

BOB STEWART

More Disco Gear - Karl Dallas

disco picks of the month

sounds of the month - JOHN PEEL

musing with moffat

sounds on stage and dee jay diary

dee jay album sounds - LP reviews

"Record World" US charts

Radio Luxembourg charts

3

"DEE JAY AND RADIO MONTHLY" tosponsor 'Live' Luxembourg programmesAfter only three months in existence, "Dee Jay and Radio Monthly" will be sponsoring a week of 'live' programmes on RadioLuxembourg in January of next year. The programmes which will open the English service of 208 will be transmitted from a specialstudio in the South of France, during the MIDEM International Music Festival."We are delighted at this splendid opportunity to present our magazine to the whole of theCree, editor and publisher of "Dee Jay and Radio Monthly".

The programmes will beintroduced by 208 DJ PaulBurnett, and will include"on -the -air" interviews withthe many personalities whowill be attending this event,considered by many to be thekey event in the musicalcalendar. Personalities whohave attended in the past twoyears include Elton John,Eric Burdon, Cat Stevens,Richie Havens, Al Green,Helen Reddy, CurtisMayfield, Middle of theRoad, Tom Fogerty andBilly Preston.

"The artists have not yetbeen finalised for this year'sshow", said Ben, "but wewill have more news in ourJanuary issue."

'rockpresent -roll past'The new 208 Friday eveningshow called "Rock Present -Roll Past" startedtransmissions on Friday,November 10. The show,which features a mixture ofrock'n'roll from the pastand the very latest inprogressive music, is jointlyintroduced by 208 DJs TonyPrince and Kid Jenson, andruns from 1.00 am until2.30 am.

all dayseparateradio 1 onboxing dayAmong details of the BBCplans for Radios 1 and 2over the Christmas period, isthe news that for the firsttime ever Radio 1 willoperate as a separate networkfor the whole of Boxing Day.The schedule reads asfollows: 5.0 am PeteBrady, 8.0 Tony Blackburn,10.0 Jimmy Young, 12.0Dave Lee Travis, 2.0 JohnnieWalter, 4.0 Alan Freeman,6.0 Noel Edmonds, 8.0Rosko, 10.0 John Peel.

Christmas Dayprogrammes include a twohour Junior Choice (8.0 to10.0 am), a three hour DJ'sChristmas Party (5.0 to 8.0pm), and a three hour special"Ray Moore's ChristmasNight" (9.0 pm to midnight),plus programmes fromJimmy Young, JohnnieWalker and Tony Blackburn.

Over the Christmasholiday period there will bethree days of non-stopbroadcasting on Radios 1and 2 with extended "NightRide" programmes throughto 5.0 am.

Seen judging the many hundreds of entries received for the "Dee Jay andRadio Monthly" Weekend -in -Luxembourg competition are L to R: JimmyParsons, Tony Churcher (Radio Luxembourg), Ben Cree (EditorlPublisher -' Dee Jay and Radio Monthly') and 208 DI Mark Wesley. The winner, SteveBane of 107 Woodland Way, Kingswood, Bristol will be visiting the GrandDuchy and Radio Luxembourg early in December.

European music industry", said Ben

brandonchristmassong frombehind theiron curtainRadio 2 DJ Tony Brandon'snew Christmas record "SleepLittle Children" is in fact asong from behind the IronCurtain - it was written byMojmir Balling, a youngCzech composer.

The song was brought tothe UK by Les Reed, who hasalso produced Tony's record.

Tony Brandon's last record"Candy Kisses" released in1968 made the charts!

more testsfrom'mi amigo'During the past few weeksfurther test transmissions havebeen heard from the MiAmigo (Radio CarolineInternational). These haveusually taken the form ofcontinuous taped music, withthe odd jingle interspersed.No regular programmes haveas yet appeared, although"Dee Jay and RadioMonthly" understands thatChristmas Day has been setfor the opening of this newoffshore station.

davegregoryreturnsDave Gregory who stood intwice for Tony Blackburn onthe morning show returns tothe air with a series of fiveSaturday afternoon showsbeginning on December 3(2 to 4 pm). This is Dave'sthird session in the Saturdayspot - he kicked theprogramme off in October1971 and then returned inJanuary this year.

free emidisco showon the roadDuring the past two monthsa new service from EMIRecords -a free mobilediscotheque - has been busyvisiting colleges anduniversities up and down thecountry.

An EMI spokesman said"Basically, EMIDISCO, aswe call the unit, entailsmembers of our SpecialPromotions team humping100 -watt hi-fi stereoequipment around thecountry, setting up in halls orcollege bars to spin newreleases and album tracks toaudiences ranging from 200 to1,500 people."

Among the areas so farvisited are London, Keele,Cardiff, Bristol, Sheffield andSouthampton.

The fee charged for thisservice is a supply of beerand sandwiches!!! A greatidea, and more power to theelbow of those at EMI.

saville obetv showThe recent BBC TVdocumentary "The World ofJimmy Savile OBE" showedonce more the many facets ofthis popular DJ. Jim wasseen with his family, on acruise, during his marathonLand's End to John O'Groatscycle ride, in church, with alifeboat crew, plus, of course,his work at such places asBroadmoor, where he isHon. AssistantEntertainments Officer.

WHO ARETHE

"BIG 3"?

4

"Bing" story forRadio 2Following the success of their series on The Beatles, and tieingin with the current boom in nostalgia, the BBC are currentlypreparing a 13 part series on Bing Crosby. To be broadcast onRadio 2 in stereo, the one -hour programmes will be called"The Bing Crosby Story", and will trace again with a mixtureof interviews and recorded music the career of "the old *.

groaner".The programmes set for transmission sometime in the spring

will be produced by Brian Willey. A narrator for the series hasnot yet been finalised, but among the names mentioned so farare Bryan Matthews, who narrated the Beatles story, Alan Delland Kent Walton.

The BBC also intend to repeat the Beatles series in thespring, again in stereo.

rni englishservicebackThe English languageprogrammes on RNI whichwere suspended on MondayOctober 23rd, returned to theair on November 3. Theschedule is now 7.00 to9.00 pm Mike Ross, 9.00 to12.00 Don Allen and 12.00to 3.00 am Brian McKenzie.

'disneytime' forradio 2Boxing Day sees the start ofa two week series of halfhour programmes on Radio 2,devoted to the soundtracksof the Walt Disney films.Called "Disney Time" theprogrammes will go out from1.30 to 2.00 pm every day.

Radio Lu embourg DJ I onj Prince and lovely singer Lynsey de Paul posingwith 208 boss Alan Keen's Daimler Sovereign which must have the mostappropriate number plate ever.

'in concert'to gostereo?"Dee Jay and RadioMonthly" understands thatRadio 1 is consideringturning the ever popular"In Concert" series intoStereo broadcasts on VHFearly in the new year.

The series is at presentonly transmitted on 247 mmedium wave, with itsinherent reception problems,and this move wouldnaturally be very welcome tothe show's many listeners.

radio oneswop roundSteve Jones will be takingover the Thursday evening"Radio One Club" spot fromEd Stewart after Christmas,while Ed appears inPantomime. Steve also sitsin on Saturday mornings forStuart Henry who isnaturally taking a New Year"Hogmanay" holiday.Stuart Henry's "Radio OneClub" spots will be filled byJohn Peel.

YOUR

CHANCE

TO

VOTE

IN THE1973

dee-jayPOLL

SEE

NEXTMONTH'S

ISSUE

TONY BRANDONSleep Little Children

SCH 178A Christmas song from the

popular Radio 2 DJ.

r DECCA RECORDED SOUND MONO & STEREO RECORDS . MONO/STEREO MUSICASSETTES STEREO 8 CARTRIDGES"Chapter One Records Dec. House Albert Embankment London SE1 /SW

"I still live in hope of gettingback to a late -night show"

says popular Radio OneDJ JOHNNIE WALKER

Mention "Johnnie Walker"to the average man in thestreet, and the likelihood ishe'll think of the whisky ofthat name. Mention "JohnnieWalker" to the averagewoman in the street, and it'smuch more likely that she'llthink of Radio 1 DJ JohnnieWalker. For when Johnniewas running his "HousewifeOf The Day" spot he wasgetting over 1,000 letters aweek from housewives whowould literally pour out theirhearts to him. This meant toJohnnie, ex -public schoolboy,former pirate disc jockey andlorry driver that he had begunto reach the top - he had infact made it.

One thing is certain - ithasn't all been easy on the wayup for Mr Walker!

He was born on March 30,1945 in Birmingham - one ofa family of five children. Hewent to Solihull Public Schooland left at 16 having failed alleight '0' levels.

He then began work as agarage mechanic, first in theCheltenham area, laterreturning to a garage in theSolihull area. Here he waseventually made car salesman.

But it was about this timethat music was beginning totake a more important role inJohnnie's life . . .

"Really, discos were juststarting up then, and I used togo to one called TheNavigation. I couldn't believeit at first - hearing the musicso loud - and it was reallygood. Before that you hadonly played records at home,and then you had to thinkabout your Mum and all that.That was where I first got

6

turned on to soul music -hearing Otis Redding's"Respect".

"So I started going along tothese discos, first of all as acustomer, then I thought itmight be nice to do some DJwork just for a hobby. So Iwent along to the LocarnoBallroom in Birmingham -and really just made themanager's life a misery bypestering him. I used to go andsee him every week, and afterabout 15 visits he relented andsaid 'alright we'll start you on aFriday night'. The sessionswas from 7 pm to 2 am, and Iwas paid 28 shillings, I think.

"Then it all began tosnowball. At that time I was asalesman, and I had acompany car, which I wasusing to dash about all overthe place to clubs, and then Iwould get in pretty tired towork the next morning. I knewthat sooner or later I wouldhave to make a decision, and itwas forced upon me by themanager of the garage whosaid 'you can't go on like this,it's affecting your work, andyou're travelling too manymiles in the car.' So I packedthat sales job up."

That was on a Fridayevening and the following dayThe Daily Mirror ran a featureon Radio England - one of themany pop 'pirate' stationsthat were springing up aroundthe coasts of Britain at thattime. This interested Johnnieenormously.

"I called The Mirror onMonday and found out theiraddress in London, got intouch with them, made up atape at a friend's place, andtook the tape down toLondon on the Wednesday. Itook it down, instead ofposting it, to make it harderfor them to say no."

In fact, they obviously likedwhat they heard, said "Yes",and Johnnie Walker - radioDJ was on the way. He spentalmost 18 months aboard theMV Laissez Faire, anchoredoff the Essex coast - andremembers the time very well.

"I started off doing themidnight to 6 am spot. Mindyou it was months before weactually got on the air - andthe living conditions wereterrible on that ship. InOctober 1966 I heard awhisper that they were goingto change the station over to aDutch format, and I thoughtit's not going to be BritainRadio (which also shared theMV Laissez Faire) - it's more

likely to be Radio England. Sobearing in mind that it'salways harder to get a jobwhen you haven't got one thanwhen you have I dashed roundto Radio CarAine and joinedthem. Roger Day, who hadalso been on Radio Englandwith me, was a day behind!"

And so started wha4,was tobecome a famous partkohipin the history of "off shore"radio - JW and RonanO'Rahilly's Radio Caroline.

"The great thing about thosedays really was that theyhappened. I don't think theywill ever happen againthings don't repeat themselves- and it's no good living in thepast. I think a lot of piratememories are more glamorousbecause you are looking backiltin them.

"It was great being basicallyin sole charge of what youwere doing on the air. Forinstance if you wanted to youcould stay up all night in theproduction studio doing newjingles, and getting up ideas.It was very good from a radiopoint of view because that wasreally all there was to do onthe ship, apart from sleep, eator watch TV. So from thestation point of view all theDJs put everything they hadinto it, which, of course,

doesn't happen on landbecause you have other thingsto take up your time."

By now Johnnie was fastdeveloping as a radiopersonality. His motherstarted a "Johnnie Walker FanClub" and within a few weekshad over 4,000 members. Buthis real success story was theJohnnie Walker "Kiss -In -The -Car" spot on his late -nightprogramme. During this showJohnnie would play a longrecord and invite all coupleslistening in their cars to kissfor the duration of the record.Many thousands of hisspecial "Kiss -In -The -Car"licences were issued.

In August 1967 The MarineOffences Act became law andmost of the pirate stationsclosed down. One, however,remained on the air - RadioCaroline, and with it -outlaw Johnnie Walker,together with DJ colleagueRobbie Dale.

"We were lucky, Robbieand myself, in that we had ourleave period just prior toAugust 14 - and we got anenormous morale boosterfrom the people. We didregular Caroline nights at the`Bal Tabarin' and there werequeues three miles longoutside on the final night.

A 12100

JAN 68RADIO CAROLINE 259 m.

Yobnute wooAAP atkrr

OFFICIALKISS -IN -THE -CAR

LICENCE

This licence is valid

until January, 1968 andentitles the holder(s) to

kiss -in -the -car providing the

occupants are listening tothe Johnnie Walker Showon Radio Caroline South

NOTTRANSFERABLE

The Johnnie Walker 'Kiss In The Car' Licence

They had Procul Harum,whose record 'Whiter ShadeOf Pale' was at number one -and they had the wholeballroom covered in flowers -it was an incredible night!

"Then we got a great -

send-off from Ipswich andFelixstowe. When we got tothe ship a lot of the other DJswho had said that they wouldstay decided to leave and weended up with myself, Robbieand a guy from Radio City toread the news. Sort of twoand a half DJs to run a 24 -hourstation - it was' a bit dauntingthen."

After deciding to stay onand defy the might of theBritish Government didJohnnie ever experience anymajor problems legally?

"Never had any hasslesfrom a legal point of view. Idon't think they ever reallythought they would implementthat part of the act - I thinkthey just included it along witheverything else to make it allmore fearsome. It was aterrible law - nobody knewwhere they were. Thenewspapers, for instance,weren't sure whether theywere allowed to write about usor not - they didn't for agesand then they all graduallystarted to. TV was the same -Granada did thatdocumentary and they spentabout three days bobbing upand down about a mile awayfrom the ship while theirlawyers sorted out whetherthey would be able to go on ornot. What Robbie and Iwanted to do for our first leavewas to throw down thegauntlet at the authorities -you know announce 'we arecoming back to London onflight XYZ landing at such andsuch a time' - and that wouldhave been incredible - becausethe airport would have beenpacked with people and Idon't think they would havedared arrest us. However, oneor two of the directors didn'treally like that idea, althoughRonan was all for it, and so theidea was scrapped. As I say Idon't think they would havedone anything, because Ithink they knew, and we allhoped it wouldn't happen -but I suppose that it wasinevitable - that we wouldeventually be forced off the air,by lack of advertising revenue,etc."

As is by now commonknowledge the Caroline shipswere eventually forced off theair. For someone who was

7

there at the time it allhappened - what wereJohnnie's thoughts?

"The way we went off the airwas very sad - nobody got achance to say 'goodbye' oranything - although perhapson reflection that wasn't a badthing, becase we wouldprobably have got overemotional.

"As far as I can rememberRobbie was off at that time,and I was semi in charge. Iwent to bed about 3 am, andwas woken by the engineer at5.30 am who said 'there's a tugoutside and they are going totow us to Amsterdam'. So Istaggered out of bed halfasleep and was confronted byabout ten burly seamen sayingyou have ten minutes to getyour things out of the studioand then it will be sealed.Then when they cut the anchorchain I knew it was for real.

"It was a very well runoperation -a tug arrived atthe North ship at exactly thesame time. It was all done bya Dutch company who wereowed a lot of money byCaroline, I think, and thatwas really the only way theycouIdliet back their losseswas to capture the ships andsell what they could. So wewere towed right back up thecanal into Amsterdamharbour. Nobody in theCaroline office knew what wasgoing on, so I hung round fora couple of days and thencame ba,ck to London."

So Johnnie Walker returnedto the capital city - but in a fardifferent way to thatexpressed on his morale -boosting "man's fight forfreedom" trailer broadcast sooften after August 14.

"I made that hoping thatone day Caroline would sailvictoriously up the Thames -it really was outrageous, but Ithink we perhaps had the fainthope that we would be closeddown and then offered alicence to broadcast on land."Really the whole thing wentwrong for the pirates at thetime of the shooting of RegCalvert - the governmentseized on the opportunity toact while to some extentpublic opinion was againstthe stations. I don't thinkthey could have done it whilethe pirates were 'in'. Youknow I used to get lettersfrom a girl who said if hermother ever caught herlistening to Caroline or anyof the other pirates - then herradio would be confiscated.

`Don't you listen to thosenaughty criminals out there'and all that business."

Did Johnnie feel that tosome extent people listened tothe pirates because they feltthey were being a little bitdaring - flaunting theauthorities?

"Yes, probably to someextent. But really everythingwas timed beautifully. Wehad The Beatles, 'ReadySteady Go', Carnaby Street -it was the whole youthrevolution, and for the firsttime it was good to be young,instead of being told to 'shutup and wait until you growolder, because you don'tknow what you're talkingabout'. It was great to beyoung - we had our ownclothes, our own music andat last we had our own radiostations. People would sit onthe beach at Clacton and see

us out there, and know thatit was something purely forthem. And I suppose the factthat people thought we leaptabout with cutlasses betweenour teeth - added somethingto the glamour of it."

In fact, as any reader ofPaul Harris's excellent bookson the offshore stations willknow, this was often nearerthe truth - had Johnnieencountered any problems ofthis nature?

"Inevitably with somethinglike that you do get theslightly criminal elementcoming in - but no morethan you do on say the stockmarket. I mean they pullstrokes far worse than thepirates ever did - but ofcourse there it's big businessso it's all right. We did hearat one time that Roy Bateswas trying to hire a boat tocome out to Caroline and do

a raid on us and shoot thetransmitter up. So we wentround the ship putting upfalse arrows 'to the transmitterroom' - which actually led tothe gents' loo!!!"

So the days of the pirateswere over, Caroline wassilent, and so was JohnnieWalker.

"I was in the strangesituation of being votedpretty high in all the DJpolls - but not being able toget any work. So I drovetrucks for a year. A lot ofpeople were afraid of offeringme work to start with. Theywere afraid of me beingarrested on stage and all that.I also thought it was best tolie low for a time and takestock of the situation. Butthen after a year I realised itwas going to be quite sometime before we got any landbased commercial stations,

and if I wanted to continueearning a living in radio itwould have to be with theBBC. So I started with aSaturday afternoon show inApril '69."

What prompted the BBCto offer work to this ex -piratewho had dared to defy theBritish Government?

"Well I had my pride, andthey had theirs - and theywouldn't employ anybodywho had been with Carolinefor At least a year to sort oflet the 'naughty boy' imagedie down a bit. DouglasMuggeridge had just takenover as Controller of Radios1 & 2, and said in an interviewin Melody Maker that hewould be seeking new talent.So I sent him a letter saying`here I am' - he called me infor a chat, and away wewent.

"After the Saturday spot it

all started snowballing quitenicely. They put me on the`What's New' rota, and I wasalso doing Radio One Club, soI was getting more and morework. Then in April '70 theyoffered me a daily show whichwas an hour from 9 to 10 am.I did that until October of lastyear when in the new Autumnschedules I moved into thepresent 1 to 3 pm slot."

Of course on the piratesJohnnie's big thing was hislate -night shows. Did he hopethat one day the BBC wouldoffer him this type ofprogramme?

"I was hoping that one dayit would come about. I was abit disappointed when theystarted broadcasting from10 pm to midnight, but that itwas all progressive. I still livein hope really. I think that if Ihave a gift, it is communicatingwith an audience that is

listening. During the day it'sjust a background to helppeople with their work - andit is very satisfying being on theair in the evening, knowingthat you have an audiencethat is really listening. Theproblem of course at themoment is that Radio 1reception is so bad in theevening."

Who knows, one day wemay well have the return of thelate -night Johnnie Walkershow..One thing is certain theday that happens the BBC willalmost certainly be inundatedwith calls from iratehousewives - who willcomplain bitterly if theircurrent lunch-time and earlyafternoon idol is moved.

ben tree8

vdcecelaThe historw of

Offshore RadioMONO LP 33 I

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THE HISTORY OF OFFSHORE RADIO

IncRadio C.o.., Rad., Lon.HCapital MEM REV Radso HoRraR.Radio Gry RacRo Scotland nacho 779RIM island VEHRHot Rod,o Nordarkt 'luny whom

A SELECTION OF UNIQUE ANDHISTORIC RECORDINGS

SUM told by Peal Harrisauthor "WHEN PIRATES RULED THE WAVES"

i

RECORDINGS FROM OFFSHORE COMMERCIAL RADIO STATIONS 1958 - 1970

This dramatic record is an IDEAL Christmas present.Hear the sound of a ship crashing against the rocks asRadio Hauraki runs aground. Hear how Radio Nordseerepels an attack by boarders. Listen again to the jinglesand recall the spontaneity of living radio.See the ships and forts pictured on a glossy outersleeve. But BUY NOW because we cannot obtainfurther supplies once the current stock is exhausted.

normal price £2.25special deejay price £2.00

Available by post only fromB.C. Enterprises (LP Offer), Wilimott House, 43 Queen Street, Hitchin, Herts,

"Commercial radio is goingto be very good forlocal groups" saysSTEVE JONES, theplugger who became a DJ

Twenty-four year oldSteve Jones must be the onlyperson to have visited theBBC to get his record played,and then give up to join thenetwork . . . as a disc jockey.

It was last summer thatbass -guitarist Steve came tothe BBC to see producer RonBelchier to promote therecord by his group "Hunt,Lunt and Cunningham".

"Ron said 'No, I'm still notgoing to play it - we'veplayed it once as a sort ofreview, and we can't use aname like that all the time. Solet's forget about the recordand talk about you. With yourvoice you should be a DJ.' So Icame down to Radio 1 andmade a few tapes. DLT showedme how to use the panel, andI made my final tape about afortnight after meeting Ron. Itwent before the committeethat chooses the DJs and thefollowing week I got acontract, and that was it."

The result was a four weekstint on the Saturdayafternoon spot, which he hasrecently repeated, plusappearances on such shows asRosko's "Round Table". Infact he has the distinction ofbeing the first DJ to appear onthat sllow before having hisown series.

Steve is also one of the fewDJs who can also play amusical instrument, so thisenables him to appreciate howmuch work goes into therecords he plays. An ex -pupilof Crewe Grammar School,Steve somehow found time toplay in a group betweenstudying French, History,English and Education at theCollege of St Mark and StJohn, Chelsea.

On leaving college heimmediately set off on two

years of "round -the -world"tours, cabaret and summerseasons" with LonnieDonegan, following a meetingwith him at a music publishers.

"We did Australia - theTalk of the Town. The firstgig we did there was theill-fated Judy Garland session,and she kept on turning up lateand they didn't extend herseason. So we did an extra twoweeks for her, and then wewent back and did another fourweeks later in the year. Whenit got to the second summerseason with him I'd hadenough of that scene so I leftthem and messed aroundtrying to get bands together,or anything really to do withthe music business."

Steve then spent a yearteaching French in Battersea,song -writing and playing withhis group. This led to therecord, and that meeting withRon Belchier . .

So, one Saturday afternoon,bass -guitarist Steve Jonessuddenly found himself "onthe air" to an audience ofmillions of listeners. Did hefind it frightening?

"Incredibly frightening, yes.Particularly as it came up to2 o'clock, and I sat therewondering what Rosko's tagline was going to be. I reallywas in two minds whether tosay 'Well that's it folks -Ican't do any more - here's twohours of records', whichwould probably be morepleasing to them. The. biggestthing that happened wasduring the programme I puton the record `Layla', and Iwas grooving away thinking`yeah this is a piece of cakereally', and the guy through theglass in the control room

iptbouts that its gone off. So I'Wok round and it was a duff

copy which had only played10 seconds instead of threeminutes. But then these thingshappen."

He recently formed theSteve Jones Band, playing ashe puts it "1972 Rock and RollMusic", and as well asappearing with the group doeslive disco dates, makes manyof the Radio 1 PromoJingle Tapes, and writekoccasional piece for the musicpapers. Quite a busy life!

Steve also has someinteresting thoughts on theupcoming commercial radioscene.

"I don't think that thecommercial stations will be allthat different to Radio 1, infact. They are obviously not%Ong to,be able to achieve the

otsity 'Sounds of The70's' - purely on financialterms. But I think it's going tobe very good for local groups,because these stations willstill have some problem with

needle -time. For instance, thebiggest response I had on theSaturday afternoon shows wasthe spot for groups on theroad. Groups who aren't verywell known, but who deserve amention at least. I think localcommercial radio can do muchmore for the - possibly by-Waving a slOVeach day for localbands. I hope that they willget into that side of things andit could be very interesting. Ithink it's exciting - but it's notgoing to be 24 hours a dayrock radio."

t present it all seems tobe ng for thisex -plugger, bass guitarist, wholists as one of his ambitions"to be known for playinggood pop music". Another isto broaden his scope in termsof broadcasting, including TV.We'll just have to wait andsee - but maybe if he had arecord to take to JohnnieStewart or Stanley Dorfman?

10

"Here is a new generationto whom radio is moreimportant than TV"

In this second part of a two part feature,DOUGLAS MUGGERIDGE, Controllerof Radios 1 and 2 looks ahead to the futuredevelopments for these networks, the adventof commercial radio, and gives advice towould-be radio disc jockeys

With Radio 1 now five yearsold, how does DouglasMuggeridge see its futuredevelopment?

"Well, as you know, sinceOctober, Radio 1 has been onthe air as a separate networkfor 14 hours every weekday.It runs from 7 am to 7 pm,plus the two hours of 'Soundsof the Seventies', and it is withthis programme that we willhave our first stereo broadcastson Radio I. It is now almosta year since we startedswitching the VHFtransmissions for thisprogramme from Radio 2,which has meant that peoplelistening have been gettinggood quality sound, becausewe are obviously aware thatthe medium wave bandreception in some areas isextremely bad at this time ofnight. It was pretty obvious tous that if we were going toprovide a really validprogramme then we wouldhave to do something aboutthe reception.

"This has, of course, workedvery well, and has not resultedin any drop in the Radio 2audience, because most ofthem listen on the Long Wave.And now the progressive pop

- enthusiast who really likes tolisten to his music, will be ableto hear it in stereo. I think,therefore, that Radio 1 is nowwell placed, and I'm fairlysatisfied. Of course, there are

a lot of things still to do, andthe first thing we mustimprove is reception if wepossibly can. There are plansfor it, but it is extremelycostly and it isn't easy.

"I think that the answerreally lies in a new VHFwavelength devoted entirely toRadio 1, but that is certainlyout for the time being as anew VHF network would costsomething like five or sixmillion pounds to set up. Sopossibly we will think in terms

of switching more VHF fromRadio 2. The other point,apart from reception, is thisquestion of stereo. The reasonRadio 1 only gets two hours,and I think it gets it in theright area - the progressivemusic area - is for severaldifferent reasons. Firstly, ofcourse, it is because Radio 1during the day has largelywhat I call `a transistor typeaudience' - they like to taketheir music with them. By thatI don't mean that they carry it

round the streets with them,but they do take it from roomto room, it's a mobile thing. Iam doubtful, therefore, of thenumber of people who wouldreally be able to appreciatestereo pop during weekdays.

"The second point is thequestion of records. Radio 1obviously uses a lot of singles,and the number of stereosingles produced in thiscountry is still very limited.

"The third point is atechnical one. At the momentwe are only able to switch theVHF from Radio 2 once a day.This also demands a period ofsimultaneous transmission,that is Radio 1 and 2 join for atime before we can split them.The engineers are obviouslyworking on this, and I hope inless than 12 months that wewill have solved this and beable to switch at any time.

"My ultimate aim assumingthat the resources are right,and there is enough stereoavailable both from our ownstudios and on record, is toachieve a music stereo service.To do this we would need todetach the VHF entirely fromRadio 2 and use it as aseparate channel. One couldthen take programmes fromboth sides throughout the dayand one can envisage sayTony Blackburn in stereo,followed by Pete Murray andthen DLT, etc. This is onepossibility we have in mind -

11

whether it will work dependson resources, needle -time, andhow the industry reacts interms of producing the rightsort of stereo records."

Douglas also added thatanother aim was as soon aspossible to fill the gap from7 to 10 pm, in other words toachieve complete separationall day for Radio 1.

"Let's face it if we fill thisgap, it's not going to give us agigantic audience - the sort ofaudience we get for JimmyYoung or Tony Blackburnduring the daytime - but it isgoing to give us a substantialaudience. It is the time whenall the younger people are athome. It will in fact allow usto put on more heavy music.It is likely that we would leavethe sort of Top 40 format andprogrammes would get moreserious as we went on up tomidnight.

"We would have in mindyoung people for this above all

y, because I think you canthat whereas older people

are happy and enjoy Radio 1Vithe day - they becomechers by night. The

younger people, although theywere born with a TV set it isno novelty to them, and it istheir interest in radio which iswhy Radio 1 has had such acome -back. Here, is a newgeneration to whom radio ismore important than TV."

Coming round to thequestion of personalities, theBBC are currentlyexperimenting with newtalent, particularly with the"Solid Gold Sixty" show withnewcomer Tom Browne. DidDouglas think this wouldbecome the trend for thefuture?

"We are sometimes blamedfor holding on to the samepersonalities for such a longtime, but the truth isfamiliarity is a very importantfactor in success. We all knowthat if we like a particularprogramme on radio or TV weare really very upset when itgoes off. There is a tendencyon the part of the listener oncehe or she becomes used to aperson that they tend tobecome a part of their lives.

"There has, in fact, been avery considerable turnover inour DJs. At first many of themcame from the pirates, nowthere are not all that many. Ittakes some years to really sortthem out and build up the bestpossible team. The fact is thatthe changes we made about ayear ago on Radio I wereimmensely successful - they

Jimmy Young and Rosko -"bothcommunicators".

put the audience up by anaverage of half a million at anyone time during the day, whichis a lot.

"I think the team we havenow are very successful indeed.They are a nice bunch ofpeople, they are popular andloyal, and they work very hard.I don't think the publicrealises just how hard a DJworks. I think they believethat they just come in, sitdown, grab a few records andoff it goes. No good DJ wouldever do that - but the abilityto sit down and talkimmediately is a tremendousart. They all have a differentway of doing it. Take Rosko,John Peel and Jimmy Young,for example, three totallydifferent types of microphonepersonality, but they all haveone thing in commoil and thatis they are communicators.Now this ability tocommunicate is somethingthat is very difficult to define,almost impossible, but when

you've been in this sort of joblong enough you do build upan expertise in this. When youhear a tape sent in then youimmediately know whetherthat person has got somethingbeyond the ordinary person.We get thousands of tapes andthere's only about ONE inevery THOUSAND that youfeel has got something slightlydifferent.

"It's not even the type ofpresentation - although theone big fault that all discjockey's make is to copysomebody else. They are aminiature Rosko or aminiature Tony Blackburn,and this is hopeless, they'vegot to be themselves. This isthe essence of communication,and if they can't communicatewhen they are being themselvesthen they certainly won't bytrying to be someone else.

"Of course it is vitallyimportant that you discovernew talent and that you dogive new people a trial for atime. We have been doing thison the Saturday afternoonshows. Then there are ouraudition panels who listen tothe many tapes that are sent inand out of these possiblyemerges one in a thousand,and then occasionally thereemerges a Tom Browne, whoI think is quite unique. Ilistened to the tape he hadmade, and I was certain thathe would be a success."

With Tom Browne theBBC obviously took atremendous risk. Here was atotally unknown quantity

taking over a three hour show,and following what wasprobably one of the mostestablished programmes onradio.

"Of course it is perfectlyright to say that we took agamble - and sometimes theycome off, sometimes theydon't. In the last resort youcould sit and listen to tapes,you could make pilot shows -and really there is only everone way to test a man out, andthat is to put him on the air."

When one of the new DJstakes the air on a Saturdayafternoon spot, is it likely thatDouglas would be listening?

"Oh yes, most certainly. I'venever missed one, becausethere are the people fromwhom one hopes will emergethe great DJs of the future. Ifthey make a success of thisand a gap appears, then theystand a very good chance ofgetting in. You know theunderstudy that makes good.I can think of many examplesof DJs who have becomefamous who went on the air asholiday replacements."

From this position ofcontrol of two of Britain'smajor radio networks doesDouglas Muggeridge have anyadvice to offer to the manythousands of hopeful would-beradio disc jockeys?

"The main lesson firstly is alot of practice, at home justplaying about with taperecorders - this is an essentialpart. They will learn an awfullot by listening to themselvesand getting their friends tocriticise. Then when they thinkthey've got something to offer,put it on tape and send italong - we can tell very easilywhether they have any abilityor not.

"I think the second lesson isthat above all else they must bethemselves. If they think theymake a marvellous imitationRosko or Jimmy Young thenthey might just as well throwthe tapes away. Thirdly interms of presentation and thestyle of the show, the moreoriginality they can get intothis aspect the better. Even if avoice is not all that catchingon tape but there is a good ideaor some clever way ofpresentation, maybe asuccessful new jingle that theyhave made themselves, thenyou are able to listen further."

Apart from AnneNightingale there has alwaysseemed to be a problem at theBBC for women disc jockeys.What is his reaction to thisfact?

12

"It's a strange thing really.There is an answer to this, Ithink, and it applies to bothnetworks. Women DJs dohave a problem because for alarge part of the time themajority of listeners arewomen, and the fact is thatwomen don't want to listen towomen, they want a man -which I suppose is quitenatural. Anne Nightingale hassucceeded because she has anice easy style, a bigpersonality - but also, andmore important, she has atremendous expertise in pop.She knows pop inside out, andthis comes through. Peopleappreciate her and respect herfor that. The other kind ofwoman that can succeed is apersonality like Joan Turner. Iknow that she is famous as anentertainer, as a comedienne,and she can appeal to thehumour in women."

Finally what are Douglas'thoughts on the impendingarrival of commercial radio inthe UK?

"I am watching intentlyevery move that is being made,and I shall be very interested tosee who gets the contractswhen they are awarded. Ithink it would be wrong of me

"We have neveropposed theadvent ofcommercial radio"

and the BBC to comment onhow I see commercial radioemerging. All I would say fromour point of view is that wehave never opposed the adventof commercial radio. I thinkwe welcome it because it'sgoing to create a radioindustry. This will help thevarious individuals connectedwith radio as well -I mean theDJs, the producers, etc. Withthe present set-up one has tothink very carefully aboutgetting rid of a DJ, even if theyhaven't done very well. Onetries to act like a human being,and it's a very hard thing tosay to a DJ 'well, I'm sorry butit's the end', because wheredoes he go? If you have anindustry situation and you

don't want someone you cansay 'go and have a shot at theother station up the road', andyou feel pretty certain thatyou're not throwing him outon the streets. Of course it canwork the other way. If a DJ orproducer are kd up with you,then they can' go somewhereelse."

Those then are the views ofthe man in charge of Radios 1and 2, and he ended by payingtribute to the DJs of today.

"A lot of people look uponthe DJ as a chap who is hiddenaway in a studio by himself,with his records, and a fewbuttons. He's in his own littleworld. There's obviously ahuge world outside listening,but he's there in his nice own

little cosseted world. Welltoday's DJs have got to bemuch more than that. He's gotto come out of the studio, notonly to meet the fans, berecognised in the streets,supermarkets and all the restof it which is part of the job,but he's also got to be capableof taking the stage as anentertainer - and he's got to bea pretty average all-rounderto be able to do all that."

ben cree

Next month, in this series ofinterviews with the heads ofradio stations we talk toAlan Keen, General Managerof Radio Luxembourg.

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13

Well, have you everlistened to Radio St Helier?

"Stand by!" mutters theman behind the controls asthe clock ticks round to thetop of the hour. "Coming upin five seconds."

The dee-jay gives a quickcough, glances at hisrunning order and waits forthe red light to come on.Then he announces proudly:"You're listening to RadioSt Helier." A jingle rings out,the music starts - and thestation is on the air onceagain.

But if you've never heardof Radio St Helier, it's notsurprising; its total audienceis less than 800. In fact,you probably won't haveheard of the station unlessyou've been a patient inSt Helier Hospital atCarshalton in Surrey. ForRadio St Helier is aninternal broadcastingservice - one of the manynow operating in hospitalsthroughout the country.They're all very small andsome are quite insignificant.

But if you have anyaspirations for becomingBritain's top disc -jockey,here undoubtedly is the placeto start. Because theexperience you can gain frombeing an amateurbroadcaster at a hospitalis enormous - far greater,in my opinion, than the oddbits of expertise you mightpick up by running a mobiledisco.

Just over two years agoI joined Radio St Helier as acomplete amateur; I wasreally the ultimate inuselessness! Today I present

a weekly programme for theBBC World Service. That'swhat I owe to hospitalradio.

Not that I'm sayingeveryone who joins ahospital station is going toend up working for the Beeb;most of them do not want toanyway. Indeed, in my owncase Radio St Helier in itselfwasn't much of a reference -professional broadcastersand producers are oftenrather sceptical and cynicalabout such stations.However, I know in my ownmind that I would not evenhave been capable ofcompering a World Serviceprogramme had it not beenfor the practise I got in thetiny studio on the first floorof St Helier Hospital.

Radio St Helier, like mostof its counterparts, is entirelyvoluntary. Therefore, if youwant to become an instantpro and get rich quick, don'tjoin! The aim of the stationis to brighten people's liveswhile they convalesce soobviously you have to bevery dedicated. And thatmeans doing things youdon't want to do, liketrudging round the wardsto meet the patients andcollect their requests, writingPress releases for the localpapers and attending boringhospital functions - essentialfrom the public relationspoint of view. There's moreto being a disc -jockey thanjust playing records when youwork for a hospital station!

But this is what I mean by"experience". For a start,

Colin Marchant looksat life with ahospital radio station

you get to meet youraudience; find out what theythink of you and yourprogramme; discover whatthey want to hear - not whatyou want to play.

Then there is variety in theprogrammes themselves.When I first joined thestation, all I could do wasspin records and introducemagazine items. Since thenI've produced and presentedlocal news programmes,disc shows, discussions,

"audience participation"spots, documentaries, even agargantuan Christmas showrecorded in front of a500 -strong "live" audienceat a local bingo club! Someof the programmes have beenbig successes; others havebeen absolute flops. Butthey're all excellent practise.

This is why I feel that youachieve much more by workingfor a hospital radio servicethan merely touring with alive discotheque. Admittedly,

Mike Button, Station Manager, presents his Monday evening show from thehospital studio.

14

the guy who does thedee-jaying for a dance orparty has the big problemof keeping his audiencehappy and the even biggerproblem of knowing thatthey are right there in frontof him if he's not keepingthem happy. That really canbe frightening. But at thesame time his audience is notparticularly listening to himas a disc -jockey; they'remostly concerned about themusic.

For a hospital dee-jayit's different. Picture thescene: a patient with abroken leg is lying in WardB5. He's bored, missing hisfriends and family and out oftouch with what is going onoutside the hospital. To him,the hospital is a strange placewith unfamiliar and sometimesunfriendly faces.

He wants to listen to theradio but wants to hear morethan just music, in other

words some friendly chat.He could, of course, tuneto Radio 1 or 2 but thatwouldn't give him a localservice. So he tries thehospital radio station. Thereit is essential that he hears adisc -jockey who appears tobe talking just to him. Andif this does not come across,the station is failing in itsmost important function.

But in addition to this verypersonalised approach, thehospital dee-jay must alsosound extremely professional.Remember, in most hospitals,the patients listen throughheadphones, which meansthat all other sounds in theward are almost completelyblanked out. Therefore, theyare listening undistracted andattentively to every word thatis being uttered. It's aformidable thought whenyou're actually on the air toknow that your voice is goingdirectly into the listener'searholes!

The other greattension -maker about hospitalradio stations is theirtendency to break down.Because most of them arebeing run voluntarily and ona shoestring budget, invariablythe equipment is cheap,sometimes home-made -and prone to blowing uphalfway through a request!In my view there's no betterexperience for a disc -jockeythan having to cope withsuch an emergency andwaffle through the goofwithout making his entireaudience feel so embarrassed

for him that they have toswitch off!

It is for these reasons thatthe butterflies that flutteraround my stomach before aprogramme are far greaterwhen the broadcast is goingout to my little hospitalaudience than when it's beingbeamed to millions of WorldService listeners.

In fact, for one Radio StHelier newsreader it allproved a little too much onone occasion. Halfwaythrough a six -minute bulletinhe suddenly got up and racedout of the studio to be ill.The nerves had apparentlygot the better of him.Fortunately, thequick -thinking engineer hada record cued on one of theturntables and pressed thebutton immediately. Thenewsreader was back in timefor the end of the record andhe casually launched intopart two of the news bysaying: "The next time I sitdown to read the news I'llmake sure I have the fullscript in front of me - myapologies." And no one eversuspected what had reallyhappened. There'sprofessionalism for you!

Radio St Helier has beenon the air for two -and -a -halfyears. It started as aSaturday service butprogrammes now go outevery day of the week.

This article is the first of what we intend to be a regular featurein 'Dee Jay and Radio Monthly'. This magazine is not onlyaimed at the professional disc jockeys. Our intention is to bringto you the news and views of EVERYBODY connected withradio broadcasting - and that includes the hundreds of peopleup and down the country who, as amateurs, work in the worldof radio.

All over Britain, hospital patients are entertained and (we aresure) helped in their recovery by the many people who, in theirown time, work together to provide a SPECIAL radio serviceof music, plays and local news through closed-circuit radiobroadcasts.

If YOU are connected with a hospital radio service, or if, asa grateful patient you have something to say about YOUROWN hospital radio enthusiasts and the programmes theyprovide, please write to:

ROY MACK (Hospital Radio),`DEE JAY AND RADIO MONTHLY',Willmott House,43 Queen Street,HITCHIN, Herts.

Predominantly they arerecord shows, with theemphasis on pop and lightmusic.

The disc jockeys arechosen from audition tapes,which are now demandedby the station before anyonenew is taken on. In the earlydays the main concern was tofind enough dee-jays to keepthe programmes going;nowadays much moreimportance is attached to thequality of the dee-jays andeven though the station isvoluntary and the "staff"unpaid, not everyone isaccepted. In fact, disc -jockeyshave even been asked to

leave the station if theirprogramme standards havedropped. Like the one dee-jaywho appeared to be soobsessed by lavatories andarmpits that he madefrequent humorous (?)references to them on histop ten show. He wasfinally told: "Tone it down -or go." He went.

But it would be misleadingto say that there wassweeping censorship on thestation. The dee-jays aremerely asked to rememberthat they are broadcastingto an audience of people whoare ill and to respect the factthat some comments that

Radio St Helier staff (1 to r Dave Wright, Mike Button, Christine Wimmer and Colin Marchant) provide the music for elocal carnival.

15

might ordinarily be quiteacceptable would offendpeople while they are inhospital.

This very general ruleapplies to most hospitalbroadcasting stations andapart from this dee-jays aregiven a good deal offreedom.

I personally would like tosee less freedom for thedee-jays - and more freedomfor the patients! Too oftenthe disc -jockeys play theirown kind of music when it'squite obvious that thepatients would prefersomething else. Geriatrics, forinstance, hardly want to hearcontinuous Alice Cooper andSlade!

A survey was recentlycarried out among thelisteners at St Helier to findout what they really wantedto hear. In fact, it was notmusic but local news thatcame out on top, althoughpop came a close second.

The hospital dee-jay hasto be very versatile: playingrecords one moment, readingnews the next, possiblyinterviewing people, chairingdiscussions and so on. And ifhe doesn't gain confidenceafter all that, he never will!

So if you're sold on theidea of becoming a hospitaldee-jay, how do you setabout it? Simply contact the

hospitals in your area andfind out first of all if theyhave their own broadcastingservice. If they do, there

DJ June Dwelly chats to a patient for her popular programme "Down YourWard".

might just be a vacancy and- depending on how desperatethe station is for staff -you'll either be auditioned ortaken on straight away.

If there isn't a hospitalradio station locally, whynot set one up yourself?That's what Mike Button did.He's founder and stationmanager of Radio St Helierand his only qualification tostart the service wasenthusiasm.

Providing you can afforda couple of turntables, amicrophone or two and amixer, and you can get theconsent of a hospital to goahead with the idea, you'revirtually on the air. And younever know, it could evenbe your first step into abroadcasting career. It wasfor me.

If not, well, it still happensto be great fun and also veryrewarding, especially whenyou know how much yourbroadcasts are helping tocheer up people who mightotherwise be miserable anddepressed.

That is why, althoughbroadcasting is now myfull-time job, I still spendnearly all my spare time inthe studio of Radio St Helier.

This month I shall explainhow an American Top 40Station operates. They in themain run 24 hours per day,with a maximum of sevenDJs, one programme directorand a full news staff of aboutten. The stations are mainlylocal with a range of about100 miles on AM, and 30 mileson FM.

Let's take a typical day on astation and explain how thework takes place. We'll gofrom midnight to midnight .. .

At midnight you would geta news programme which islive and runs for about30 minutes. Following that

would be the Night Drive (inAmerica all shows are called"drives"), which is made upfrom taped music and LP'swith a DJ to link them -usually one of the news staff.He inserts the necessarycommercials and news flashes.This show goes on until 5 am,when the first of the DJs takesover. This is the MorningDrive, which goes through till10 am. It will include trafficreports and topical interviewswith people of interest in thecity. At 10 am - the maincommercial selling time of theday - you get one of thestation's top DJs. He goesthrough until 2 pm, andincludes all the Top 40 singlesand albums. He also has atelephone link so thatmembers of the public can callin "live" on the air. He alsoprogrammes his owncommercials.

Two pm sees the start of theAfternoon Drive, throughuntil 6 pm which is basicallythe same as the 10 am to 2 pmshow, but also includes trafficreports on "home bound"conditions.

Finally there is the six tomidnight Drive, which ismainly topical with some taped

thetony

mercercolumn

shows included.The programme director is

in charge of the running of thestation, but the DJs have somecontrol on what they play, andthey can also include whatlive interviews they like ontheir shows. He is alsoresponsible for sellingcommercials for the station,and sometimes additionallygoes out and runs live showsfrom places in town, such asparks or supermarkets. Eachstation runs to a budget, whichif they go over cuts down thelive shows. Hence thewidespread use of taped shows.My own syndicated show isbroadcast at 12 noon onSundays.

Talking of my own show,this month the Album of theMonth is The Partridge

Family's "Christmas Album"on Bell - the best tracks being"White Christmas", "RockingAround the Christmas Tree"and "Have Yourself a MerryLittle Christmas", and it willbe out here at Christmas.

Single of the Month is"Keeper of the Castle" by the

Four Tops, with whom I havejust finished a special one hourprogramme. The single andalbum of the same name areon Probe.

Other good singles are thenew one from David Cassidycalled "Rock Me Baby" (Bell),and a re-release on Deram of"Nights in White Satin" bythe Moody Blues, which hasjust been at No 1 in theStates.

Finally, if you run a discoand would like custom-madejingles write to Haune Davis,Mother Cleo Productions,PO Box 521, HWU, 76,Newberry SC 29108, USA. Saythat I told you to write. Thecost is very low. If you requireany information on AmericanRadio Stations, please dropme a line.

tony mercer16

Why do the 'oldies'continue to be 'goldies'? orthe "boom from the tomb"!

Gone are, the days whenmemories were made of hits.Today, it seems, hits aremade of memories.

Like most musical trends,the oldies revival beganquietly enough with only theodd records - Elvis Presley's"Jailhouse Rock", theChiffons' "Sweet TalkingGuy", and B. Bumble andThe Stingers' frantic "NutRocker" - hitting the jackpot.

Since then, however, thingshave really been buzzing inthe archives. And the presentsuccess of the ReboundSound - past hits that havereappeared in the best-sellingcharts - proves without doubtthat thar's gold in them tharoldies.

The fact that chartriderslike the Shangri-Las'"Leader Of The Pack",Chris Montez's "Let'sDance", Neil Sedaka's "OhCarol", Jeff Beck's "Hi HoSilver Lining", Cream's"Badge" and The Animals'"House of the Rising Sun"are selling like hot cakesobviously begs the question:Is Britain on a nostalgiakick?

When you also considerthat the album chart -topper,at the time of writing, is 20All Time Greats Of The 50's -which has sold a phenomenal500,000 copies - brings totogether such stars ofyesteryear as Frankie Laine,Johnny Ray, LouisArmstrong, Guy Mitchell,Patti Page, Mitch Miller andLes Paul and Mary Ford,the logical answer can onlybe an emphatic Yes.

Some people argue that theoldies revival revolves

around the fact that a vast,untapped market has beencreated by a whole newgeneration which has neverheard this kind of music.This must be true to someextent, but I do not agreethat this is the prime factor.

Why, for instance, dosome oldies take off againwhile others go under withouta flicker of interest?For someone weaned onWinnie Atwell's "CrosshandBoogie", Kay Starr's "WheelOf Fortune," Johnny Ray's"Such A Night" and thenliving through those euphoricyears when rock'n'rollbrought a new dimension toliving, I am glad the oldiesare coming back.

Many had that all -too -rare ingredient - simplicity.And I reckon they were' alsobetter produced than a lot oftoday's records, despite thehuge technological advancesthat have been made. Someof today's reissued oldieshave been electricallyrechanelled for stereo, thusrobbing them of much oftheir original charm whichrelied on the mono sound.But many of those blastsfrom the past still retaintheir original impact,a key factor in their presentpopularity. The huge successof the Drifters' records bearsample witness to that. Theirsound - like many others - isundated.

Brilliant as some of theoldies are, my own theoryis that the revival is only asymptom of a maladyaffecting the record industry.

There's no denying thesteady decline in the standard

Mike Cook looks atthe question of revived45's in the charts today

of pop records since theBeatles quit the scene. Today,it has reached an all-time lowand even some of the recordcompanies admit there is alack of good new materialaround.

But don't get me wrong.There are still plenty ofexcellent records beingreleased, but about 20 in thepast two months is anabysmally low percentage ofthe actual number of discsissued.

The one that really turnsme on at the moment isKoko Taylor's "ViolentLove", which must turn outto be A monster.

However, one cannot live

on Violent Love alone.Demand for good dancediscs is growing all the time.

So, are the recordcompanies trying to plugthe gaps by releasing triedand tested hits? That is,golden oldies.

They tend to be a littlecagey on the subject, but Ivery much doubt if thatshrewd wizard of pop,Jonathan King, would havebothered to go to the troubleof securing the exclusiverights to Roy C's fabulous"Shotgun Wedding" - anoriginal Sue recording forreissue on his highlysuccessful UK label if hedidn't think today's boom

The Shangri-Las, Jeff Beck and The Animals - current 'oldie' chart successes

17

from the tomb was really on.Much as I admire Mr

King's astute reading of thepop market, I think he mighthave done better by gettinghold of Derek Martin's"Daddy Rollin' Stone",another Sue original,eminently suited to today'smarket. Whoever has thislittle gem hidden away issitting on a goldmine.

Decca, with their variouslabels, have been riding onthe crest of a wave for sometime now, but they are notaverse to boosting sales viathe oldies boom.

The company has beendigging into its LondonAmerican locker and pullingout some real plums. So far,they claim to have an all -hitrecord with Little Eva's"Locomotion," ChrisMontez's "Let's Dance",and Carole King's "ItMight As Well Rain UntilSeptember."

Decca's Gerry Halliday,who freely admitted that theoldies were enjoying a newlease of life because therewas not enough good newmaterial around, is confidentthat if the demand lasts,Decca is fully equipped tomeet it.

"We have lots of goodsounds on the Londonlabel. The possibilities areendless, "he said.

The man responsible for atleast one of Decca's mouldyoldie hits - "Let's Dance" -is radio plugger RogerHoward. He'suggested thedisc be reissued and, after aconference to determine thecommercial potential and theequally important legalaspects, label chief GeoffMitchell gave the go-ahead.

Although the disc took offin the discos, it wasn't longbefore it was dancing its wayup the charts.

The company has no realpolicy about reissuing pasthits, "It just sort of happens,"said Gerry.

It you collect oldies, atleast those you may havemissed first time round, youcould do worse than delvein to Decca's "World OfHits" LP's, which now runto six volumes.Among the tracks includedon these albums are monsterssuch as the Tornados'"Telstar", "Sha La La LaLee" by the Small Faces,Unit Four Plus Two's"Concrete And Clay",Dave Berry's "Crying.Game", "Go Now" by the

Johnnie Ray and Frankie Laine`Hits of the 50's'

Moody Blues, and "Matthew& Son" by Cat Stevens. Alltop notch nostalgia.

The Shangri-Las' "LeaderOf The Pack" took thePolydor people by surprise.The disc was released lastyear on one of the company'sAction Replay series.

Polydor's David Hughes:"Apparently, the record hadalmost been forgotten untilit was discovered that,although it had made nochart impact, it was sellingconsistently.

"The promotion boys gotto work and got it theairplays needed to push itinto the chart. Of course, thefact that it had been sellingsteadily since its release wasdue to disco plays. That'swhere the kids heard it and

liked it," said David.The Derek and the

Dominos' hit "Layla" was adifferent story. The originaldemand for the release ofthat track started in Americawhere it became a smash.It was quickly released inBritain where it had a similarsuccess.David Hughes again: "Ithink the success of "Layla"had something to do with thechart entry of Cream's"Badge". It seemed a naturalto follow "Layla" and weprobably caught the samemarket." What he didn't saywas that they are bothbrilliant records, goodenough to knock today'simpotent rock for six.

Polydor have no plans tojump on the nostalgia

bandwagon. But if a suitableold record crops up, they'llrelease it.

So how about giving theRighteous Brothers' "LittleLatin Lupe Lu" anotherwhirl ? I reckon this wouldgo down a bomb, especiallyin the discos.

Now to the daddy of theoldies revival - "20 All TimeGreats Of The 50's". I didn'tso much get an answer as toits success, more an ear -bashing from.a friendlyAmerican voice at K -TelRecords' London office.

How on earth did thisalbum get to the top of thecharts?

Said the Voice: "We don'tgamble. We test -marketedthe album before releasing it,so we more or less knew thatwe had a hit on our handsbefore it hit the record shops.

"Of course, we didn't aimthis one at the kids, more the25-35 age group. That's aneglected market you know.But even we were knockedout by the half million salesfigure. That's really issomething, isn't it ?"

I had to agree it was.Any thoughts on the

oldies revival?The Voice answered:

"People are sick of thisheavy rock stuff. It's justabout finished. What thekids want now is simplemusic, something they canenjoy without having to findreasons why they like it."

However, what they wantand what they'll get is adifferent matter. I can tellyou this for nothing -rock'n'roll is going to comeinto its own over Christmasand the New Year.

1 know there have been anumber of manufacturedrock'n'roll "revivals" recently,but this time it's really on.

For a start, Decca arebringing out two great.albums of rock oldies, andUnited Artists' "Four Sidesof Rock'n'Roll" is a realcollectors' item.

I'm confident that withinfew weeks legendary nameslike Bill Haley, Little Richard,Fats Domino, Eddie Cochran,Johnny Kidd, and LloydPrice will be joining otherpast stars in the charts.

Just watch the smiles onthe rock fans' faces when"25 Rock'n'Roll Greats"tops the album chart.

Believe me, it can't fail!

mike cook18

boo -Wovefree radio news, comment and features -compiled

each month by the fra

As promised, we are inthis issue taking a close lookat the political situation inHolland, and assessing thefuture for the Dutch FreeRadio stations. But to getthings in perspective, we needfirst to define Free Radio andto review briefly the struggleto establish really freebroadcasting in differentparts of the world.

What, then, do we meanby Free Radio? Theestablished definition,recognised by the FRA,reads as follows: "FreeRadio is radio which isneither owned nor controlledby central or localgovernment, nor by anygovernment -appointedauthority."

It will be seen from thedefinition that the word "free"means "free enterprise".Free Radio is simply theprinciples of the Free Pressapplied to radio. The newcommercial radio programmecontractors do not fall withinthe definition of Free Radiobecause they will becontrolled by the government -appointed IBA.

No government has everwelcomed Free Radio. Anymarxist government (i.e. anygovernment which sets out toextend state ownership at theexpense of free enterprise)will crush Free Radio. Anynon-marxist government willtolerate Free Radioproviding the stations behavein a responsible manner.

It is ideologicallyimpossible for anygovernment (or any personfor that matter) to supportthe Free Press in principle,yet oppose Free Radio in

principle. The Free Presssurvives marxist governmentsonly when it is very wellestablished and powerful.

The three ScandinavianFree Radio stations (RadioMercur, Radio Nord andRadio Syd) were closed bygovernment action. RadioHauraki, off New Zealand,was tolerated and eventuallygranted a licence to broadcaston land. The British off -shorestations were deprived oftheir advertising revenue in1967 by the last Labourgovernment, and therebyforced to close down. Thesame government,incidentally, also succeededin restricting the freedom ofthe press through its RaceRelations Act and otherlegislation.

Holland can be describedas the haven for Free Radioin Europe. Radio Veronicabegan broadcasting in 1960,and is still going strong onher new wavelength of 538metres. During her twelveyears of broadcasting, shehas seen the launching andthe closing of two otherDutch off -shore stations (theoriginal Radio Noordzee onthe REM island and CapitalRadio), one Belgian off -shorestation (Radio Uilenspiegel)and all the British off -shorestations. In July 1970, shefound herself in competitionwith Radio NordseeInternational. And as regularreaders of "Dee Jay andRadio Monthly" will know,there is now a third radioship anchored off the Dutchcoast - the Mi Amigo.

The last general election inHolland was held in April,1971. There are 150 seats in

the Dutch second chamber(equivalent to our House ofCommons) and these areheld as follows:Labour PartyCatholic People's PartyParty for Freedom and

DemocracyAnti -Revolutionary

Protestant PartyDemocratsChristian Historical

UnionDemocratic SocialistsCommunist Partyminor parties

39 seats35 sears

16 seats

13 seats,11 seats

10 seats8 seats6 seats

12 seats

As a result of the 1971general election, a coalitiongovernment was formed fromthe Catholic People's Party,the Party for Freedom andDemocracy, the Anti -Revolutionary ProtestantParty, the ChristianHistorical Union and theDemocratic Socialists.

The Party for Freedom andDemocracy has lived up to itsname by consistentlysupporting Radio Veronica.The Labour Party, theCatholic People's Party, theAnti -RevolutionaryProtestant Party, theDemocrats, the Christian

Historical Union, theDemocratic Socialists andthe Communist Party are ingeneral opposed to FreeRadio, although individualmembers of some of theseparties are in favour.

The odds would appearfrom this to be stackedagainst Free Radio, but sothey have been for years -and Radio Veronica hassurvived. The politicalsituation in Holland is sodelicately balanced, and thestation so popular, that anyaction against RadioVeronica could bring agovernment down.Alternatively, a governmentwhich decided to legislateagainst off -shore radio couldwell find itself out of officebefore it had the chance -for reasons which had nothingwhatsoever to do with radio.This is precisely whathappened recently. Thegovernment formed after thegeneral election in 1971prepared a Dutch equivalentof our Marine Offences Act,which they hoped would

20

become law by January, 1973.But in July, this year, twoministers resigned over adispute concerning the Dutcheconomy. This brought aboutthe fall of the governmentand saved the off -shore radiostations. There is to beanother general election onNovember 29.

Another reason for hersurvival is that apart fromone bitter and violent disputewith RNI, Radio Veronicahas avoided controversy, andbeen very careful not toannoy the authorities. Signalstrength has been kept as lowas possible to minimise therisk of interference with otherstations.

But what of the future?This depends to a largeextent on RNI and the newstation. The Dutch are atolerant, freedom -consciouspeople, and off -shore radiocan survive if the stationsbehave responsibly. There mustbe co-ordination between theoff -shore stations so that theycan present a united front tothe politicians. In a nutshell,they must behave like ourstations didn't!

Above all, there must beno more new stations off theDutch coast during thepresent period of politicaluncertainty. This will soundvery strange, coming from theFree Radio Association. Butwe know in our hearts thatthe Mi Amigo could be thefinal straw which breaks theback of the Dutch camel. Ifthe broadcasts from the MiAmigo are in English, theBritish government may putpressure on the Dutchgovernment - pressure whichcan be applied more firmlynow that we are joining theCommon Market. If thebroadcasts are in Dutch, thepolitical parties opposed toFree Radio in Holland couldclaim that the situation isbordering on anarchy.

We are suggesting to theowners of all three stationsthat Radio Veronica andRNI jointly buy the MiAmigo, and maintain it foruse only as a standby. Oneof the transmitters on boardcould be tuned to 220 metres,and the other to 538 metres.Then if either RNI orVeronica have to go off theair temporarily for repairs,their services could continueuninterrupted from theMi Amigo. If this were tohappen, the third radio shipwould strengthen Free Radioinstead of weakening it.

FREE RADIO ARCHIVESince 1967, the FRA has

been collecting anything ofhistorical interest connectedwith off -shore radio. We havethe use of an undergroundsafe, and can thereforeguarantee complete securityfor important documents. TheArchive contains the followingtypes of material - stationery,forms, magazines and otherpublications, rate cards,surveys, press releases, hitparade charts, QSL cards,car stickers, tee shirts, and anyother publicity materialproduced officially by anyship -based or fort -based freeenterprise radio station,photographs of the ships,forts, offices and personnel,tape recordings, all listener -club membership cards,newsletters and otherpublications, and all materialproduced for joint station!advertiser promotions. Nearlyall this material is stillaround somewhere, yet only asmall fraction has found itsway into the Archive. Mostof it is gathering dust in atticsor cupboards, and unlessfound will eventually bedestroyed. May we pleaseask all readers of "Dee Jayand Radio Monthly" to "turndetective", and hunt out anyArchive material still in theirpossession, and.send it to us.for preservation. Would you alsoplease ask your friends whetherthey supported the Britishoff: shore radio stations. If so,they will probably be able tofind something of historicalvalue which they might bewilling to let you send us forthe Archive.

DEFINITIVE STATISTICALHISTORY OF OFF -SHORERADIO

In addition to acting asarchivist for off -shore radio,we are collecting together allknown facts about the freeenterprise off -shore radiostations throughout the world,and publishing them all in amassive reference book. ThisThis book, tentatively titled:"Statistical History ofOff -shore Radio," will notmake good bedside reading -in fact it will be the mostboring book on Free Radioever published! But, like theArchive, we regard thepublication of this book asvital. The free enterpriseoff -shore radio stations havemade - and are still making -atremendous contribution to thecause of individual freedom.They have proved that FreeRadio is possible and theymust never be forgotten.Although we already havemasses of statistical data, thisrepresents only a smallproportion of the informationavailable. We need presscuttings, technical data, allmonitored data compiled byDX-ers, and even notesscribbled down by engineersworking on the equipmentinstalled in the forts and ships.DJs who have been working onany off -shore station can helpby supplying their life -linesand by letting us have thenames and last -knownaddresses of as many of theircolleagues as they canremember. Former advertiserscan also help by providing uswith the wording of theircommercials and with details

of the amount of time booked,the cost, and the responseobtained. Again, we ask allreaders to "act detective" andhunt out those old presscuttings and every bit ofstatistical information stillavailable. FOR CHRISTMAS - ANDTHE NEW YEAR

Every year, the FRA publishes aFree Radio calendar and a radiodiary. The 1973 calendar is blueand green, and the design featuresRNI. The size is approx. 24in xI7in, so it is as much a poster asit is a calendar. Like all our largeposters, we mail the calendar in atube so that it arrives undamagedand unfolded. Price 65p.

Our 1973 radio diary is printedby Collins. For readers whohaven't yet seen an FRA diary,they are made to a very highstandard, bound in quality "nigergoat grain", with gold lettering.There is a pencil in the spine. Thediary contains over 150 pages oftechnical data, as well as the usualdiary information and dated pages.It is therefore something you canbe proud to own - as well asmaking the perfect gift for anyradio enthusiast. Price 70p.

Also available, and suitable forChristmas presents: the FRA carplaque (£1.25) and the RadioLondon EP record (75p).

Please send details of any of theabove which you would like, withyour name and address, andcheque or postal order(s) for thetotal amount, to the Free RadioAssociation, 339 Eastwood Road,Rayleigh, Essex, SS6 7LG. Pleasemake postal orders, cheque, etc.,payable to FRA.

And don't forget that associatemembership is free, so if you arenot already a member just enclosean SAE which will be returned toyou bulging with Free Radioinformation and, of course, yourmembership card.

21

this month, dee jay'seditor ben tree talksto 208's bob stewart

"Radio Caroline wanted aDJ with a mid -Atlanticaccent. I gave them oneand got the job"

Popular 208 DJ BobStewart first saw the light ofday on July 30, 1939 in . . .

wait for it . . . Liverpool, thecity which some 23 years laterwas to give birth to theBeatles, the Mersey boom andwas to completely alter the faceof the music scene in the mid tolate 60's. Bob's early daysthere, however, were not quiteso glamorous . . .

"I went to two schoolsinLiverpool, both of themelementary because they werepretty much on the dump sidewhen it came to the nittygritty. So I left school andwent to a furniture store - itwas about the time that"Doggie in the Window" wasa big hit. Well, I had a tiewhich was very wide, andwhich recently came back intofashion. My cousin who was atsea had brought it back fromNew York. So I went for thisjob at the furniture store,having recently left school, andthe first thing this fella saidwas 'you know you can't weara tie like that in the shop' -and that's how I didn't becomea furniture salesman.

"From there I went to a carshowroom where I wassupposed to be taken on as anapprentice - but I had to waitfor a year, so I went to aprecision engineering shop forcar engines where they wouldtake an old engine and

completely re -vitalise it fromthe bottom up. One was quitenaturally expected to start atthe bottom, and so my jobwas to de -grease these thingsand then break them down. Itwas a foul smelling operation,and, it ruined clothes withintwo weeks - so I left thereafter about six months andwent into what I thought was

the smooth clean business ofselling TV's and washingmachines.

"I did that until I wascalled up for the army in 1960,and went to Kenya and thento Kuwait in the Persian Gulfto repel attacks from theIraq Army which nevermaterialised."

I assume that it was after

your time in the army that youwent to Canada?

"No I never did - that wasa fabrication story put out byRadio Caroline."

How then did you acquireyour mid -Atlantic accent? Is itsomething you've developed?

"Yes. Radio Carolineoffered money for somebodywho could do the job of a DJ -and they wanted somebodywith a mid -Atlantic accent. SoI gave them one and got thejob. Unfortunately it stuck.Usk taken elocution lessonsbut it's still there. Basicallymid -Atlantic speech is asloppy form of speech -consequently it's pretty easy toadopt, and very hard to get ridof."

Your first radio post thenwas with Radio Caroline?

"Yes, Radio Caroline South.I did just a month with theSouth ship and then theyshipped me up North. I wasthe first one on the Northship to get a title show. I justwalked on board, and theprogramme director said`This is Bob Stewart and hegets the Bob Stewart Show'.And there was Tom Lodge andMike Ahearn - all very nicepeople who were ratheruptight at the idea of thisnewcomer walking on to theship and getting a title show."

Going back just a little, whatactually gave you the urge to

23

become a disc jockey?"Actually it was all down to

Pete Best - you know thedrummer who was with TheBeatles before Ringo. He putmy name forward at one of thelocal clubs to be a DJ, and Ididn't know anything about it.It was completely out of theblue, so I said I couldn't do it,and I phoned the guy up to say`sorry there's been amisunderstanding, and it wasvery kind of Pete and you toconsider me' - and that wasabout as far as I got, becausethis chap said 'if your voicesounds live as it does on thetelephone then the job'syours'. So I thought if there'smoney to be made that easy -to hell with it I'll take the job."

So you actually started in aclub?

"Yes, with Mike Ahearn,who's from Liverpool as well,and is now in Australia."

Have you, in fact, kept intouch with any of the otherCaroline DJs?

"No. It's much like theforces. When you leave yousay it's been a great time andlet's keep in touch - and youall fade away. I think thatMike did come back toLondon about a year ago,because he phoned me fromLondon. I picked up the phoneand said 'Hello, Bob Stewart',and he said 'Hi, this is Mike'.Well at the time of Carolinefolding up there were so manyfraudulent DJs going roundusing the names of myself,Tom and Mike, so that whenthe phone rang that particularnight and said it was Mike, Ijust said 'Oh yeah, well whatdo you want ?', and the guyhad just come back fromAustralia after maybe nearlytwo years, and he said 'I justrang to say hi and how youdoing?', then I realised itwasn't somebody faking, andthat it was Mike back on aholiday trip."

Bob, did you leave Carolinebefore the Marine OffencesBill took effect?

"Yes I left six weeks before.The thing was I was offered ajob in a disco on a permanentbasis, and this is what reallymotivated me. I regretted itafterwards and wished I hadstayed on."

You then got involved withTV, I believe, in theManchester area?

"Very briefly. Granada TVran a contest called 'The FirstTimers'. It was basically videotapes of various artists on TVfor the.first time and at the endof a certain number of weeks

"To be veryhonest I ignoredLuxembourgfor a long time"

the panel of judges would votefor, say the best male singer,the best comedian, the bestgroup and the best announcer,etc. As far as I can recall justabout everybody who was onthe Caroline scene took partplus a few from Radio 270. Ican't remember all the namesbut the competition was quitestiff, and the outcome was thatsome kind soul who was one ofthe judges told me thateverybody was slightly high onbooze at the time - and that Iwas the winner!"

So how did you come to makethe move over to Luxembourg?

"To be very honest Iignored Luxembourg for along time. I figured that itmeant moving over toLuxembourg to live and on thetwo or three occasions I hadword passed to me that therewere vacancies arising Iignored them. Eventually I was

told again that anothervacancy was coming up and Ithought what the hell I'll havea go, and got the job."

Before getting on toLuxembourg and other thingsany more thoughts on theCaroline days? For instance anyincidents with Tony Prince whowas also on Caroline in thosedays?

"Tony came to Luxembourgabout a year before me and itwas in fact Tony who keptringing me about thevacancies and I kept saying`no, no, no'. In the end Ithought I was perhaps beingrude to Tony because he hadbeen very kind in this respect.

"As far as Caroline days areconcerned it was mainly a caseof fairly vicious pranks on oneanother - bashing upfurniture, destroying roomsand throwing peopleoverboard - things like that.

Bob in the 208 studio

It was a good life!"What about life in

Luxembourg?"Basically it's also very

good. I think we have a goodteam now. Obviously we haveour differences from time totime - but really we get onpretty well. Life here is quitepleasant when you get used toit."

Bob, what thoughts do youhave on the forthcomingcommercial radio scene inBritain?

"Really I feel the same asmost other people I've spokento. Very pessimistic about thewhole thing. It's not going tobe competitive. It's going to belocalised to the point where itwill be pretty boring, I think.It's really going to take anawful lot of work on the partof the station staffs to make itsound decent. I don't reallyknow the full details of whatthey are going to allow - butI do know that if you are goingto have commercial radio on alocal basis then it must becompetitive - you must have achoice of stations. I see thatthe Government has acrackpot idea of putting twostations in London becauseit's eight million people, andyou can take equivalent citieslike New York or LA andfind that New York has 40 andLA 54 - all of which are

24

making a living. None ofthem overlap they are allclear cut stations. They havenews all day, rock all day,classics, middle of the road -everything.

"No, competition is theonly thing that will really makeit go for me. I just feelpessimistic about the wholething. I think it's going to bethe case of local stations muchlike the BBC ones - but

"I'm sold on Michael Jackson-knows how to handle a song,"

e

possibly with the local Mayorcoming on and saying `ee bygum you've got a luvverlystation' - housewives knittingcompetitions, and all that."

One last question Bob. Whatabout your current favouriteson the music scene?

"Well, I'm sold on Michael

Jackson. I don't care if I amover 30 and he's teeny boppermusic - he does a damnedgood job, he knows how tohandle a song and I think -not a case of beinganti-British or anything likethat - but Neil Reid who is theBritish equivalent as far as Ican see, has got to be a joke.He's got an excellent voice.Mind you this is the differencein transatlantic trends - oneside does one thing one way,and the other does theopposite. But I think thatMichael Jackson and DonnyOsmond turn out songs withall the feeling and capabilitiesof any of the big names youcould give the songs to.

"Another top runner for meis Christopher Neil, who 1think is from the Manchesterarea. He's very talented. Butother than that it's theestablished names I go for -and I like a piece of musicbecause I like it."

ben creeBob and Tony Prince-together on Caroline and 208.

nextmonth's

O

interviewis with"wildand

woolly"Mark

Wesley

25

"dee jay" at the Luxembourg Grand Prix

It is usually an excitingoccasion - The RTL GrandPrix International - and"Dee Jay and RadioMonthly" were delighted tobe invited as guests for the1972 event. This year,however, was a completetriumph for the British team -who took the first, secondAND third places - and leftour continental cousinsamazed and somewhatstunned.

Not that things had beenexactly quiet before that -but once the result had beenannounced there was just noholding the entire Britishparty, made up of journalists,composers, arrangers,publishers, record companyexecutives, and members ofthe Radio LuxembourgLondon Office. Plus of course,all the 208 DJs! Muchchampagne flowed on thatparticular evening, but noteven the odd hangover thefollowing day could restrain

(Above) Members of Slade join the 208 celebrations after the gala.(Below) Winning group - The Bay City Rollers.

the party - and the flighthome was particularlyhilarious, thanks largely to theefforts of songwriter RogerGreenaway, and RAK'sDavid Most.

First prize went to the BayCity Rollers with theirrecord "Manana", writtenby Ken Howard and AlanBlaikley. Second wereSteve n' Bonnie with "Eyesof Tomorrow" and 'third'were Yellowstone and Voicewith "Days To Remember".

Also appearing were Slade,who collected a specialtrophy for Act Of The Year,selected by the EnglishService DJs. Theirperformance at the gala wassuperb - with Noddy andDave really looning it up infront of the TV cameras.

Truly those three days weredays to remember! A millionthanks to the very efficient208 staff - and we lookforward to 1973!

Luxembowsu

RADIO LUXEMBOURGpresents

ROCK PRESENT -ROLL PAST

EACH FRIDAY NIGHT/SATURDAY

MORNING I am to 2.30 amHosted by KID JENSEN (Rock Present)

and TONY PRINCE (Roll Past)

Featuring the best oftoday's and yesterday's

Rock 'n' Roll Music

ROCK PRESENT -ROLL PAST

26

Getting quality as well asquantity in your sounds

Up to now, we've beentalking as if the mobile discowas the only gad of music -maker worthconsidering,and that it is the the naturalambition of every mobiledisco man to become a radioDJ. It's not necessarily true.

For instance, PeterStringfellow who runs thehighly successful "Cinderellas"and "Rockerfellas"discotheques in Leeds has noambitions for radio fame."If you stuck me in front of amicrophone to perform onthe radio I'd be chronic," hetold me in the break betweensets at his luxurious club."That's the mistake a lot ofDJs make, they try to act asif they are radio disc jockeysand it's not the same thingat all. In this business you'vegot to be a bit of ashowman."

And since he actually ownsthe two clubs where heperforms, he finds that anadequate outlet for hisambitions.

When he first started aboutten years ago, his first pieceof DJ equipment was hismother's radiogram, which helugged down to a churchhall youth club. Even therecords were not his own -he borrowed them from hisbrother.

A week later he wired uptwo 9in speakers to it. "Myfirst stereophonic system," hejoked. "For four years I livedwith distortion because Ididn't know there was anyother system. Then I savedup £120 and bought aLinear Concorde amp and

Karl Dallas continues hislook at the world of thedisco DJ and theequipment available to him

three 12in RCA speakers.It was a bit of animprovement, but it was stilllike shouting in at the otherend of a tin can."

In 1964, he opened hisfirst club, the Mojo inSheffield, and gave upmobile DJ-ing for a static life.He was close to a residentialdistrict and after years ofcomplaints he sold out toopen Cinderellas in Leeds.

"Now I know never toopen where people are livingnearby, " he recalled wryly."There are enough problems

in this business without thoseproblems. Still, you live andlearn."

Cinderellas opened twoyears ago, and five monthsago he opened Rockerfellasnext cloth-. Next summer he'llbe opening a new club inManchester's Piccadilly.

"I could open it earlier,but not in time to have itreally going. An establishedclub can go through thesummer but to open a clubin the spring is a bitdiabolical. I know, I did itwith Rockerfellas."

Leeds DJ Peter Stringfellow at the console of his Rockerfellas club: it hasThorens turntables, SME arms, Shure cartridges, and Millbank Electronics'Disco 3 mixer with switchable compression and automatic voice -actuatedmike fade to any preselected level.

Today his equipment israther more sophisticatedthan his mum's radiogram.He has abandoned the front -facing speakers that most'DJs use and instead usesoverhead speakers all over theclub, 12in speakers over thedance floor and 10in overthe club tables - 49 of them,all of them Goodmans. They

from four amps.He plays records on

Thorens decks with SMEpickup arms and Shureheads, going throughMillbank's Disco 3 mixer.This is all pretty sophisticatedgear, and in fact Killbank isprobably the Rolls Royce ofthe disco equipment scene.

The Disco 3 specificationreads like something from aCape Kennedy space rocket -or from the latest recordingstudio. Besides provision fortwo record inputs, it takes atape recorder plus a secondrecorder (eg cassette) forjingles, and has twin pealreading VU meters. It ispossible to monitor withearphones either turntable ortape, whichever is actuallyplaying over the publicloudspeakers. Most of thesefeatures, of course, one mightexpect in a high quality unitlike this.

What one might not expectto find, however, would besomething like switchablecompression for controllingthe dynamic r ?age of themusic played. What thatmans, in plain language, isthat if you are playing amixture of very quiet and veryloud music, the compressor

27

equalises it all out, so thatthe volume never falls so lowthat it can't be heard - nordoes it blow the people outof their skins when a loudbit comes unexpectedly.

Another remarkable featureis an automatic music fadewhich operates as soon as youstart speaking. So talkingover the opening and endingof records becomes simplicityitself. There's a manualoverride, so it you prefer tofade the music down yourselfbefore launching into yourchat you can do so.

The entire unit is stereo,though of course it can alsobe used mono.

I was interested to findPeter Stringfellow using thisaristocrat of disco equipmentin his club, for I had justbeen looking at the entirerange of Millbank Electronicsequipment literally across theroad in Leeds' plushMerrion Hotel, where theyhad staged a week'sexhibition.

Incidentally, the people ofLeeds got an unexpectedinsight into the soundsavailable with the latest highoutput disco equipment, bycourtesy of the local BBCRadio Leeds, which justhappens to be in thebasementof the same

=.

DISCO III

building as the MerrionHotel. No, Radio Leedsdidn't organise a free plug;it's just that the sounds fromthe new Millbank equipmenttravelled through the floor ofthe room where they hadtheir exhibition, down thesupporting girders of thebuilding and into thefoundations - so that theycould be heard, loud andclear, in the BBC studios.

Eventually, the BBC peopleworked out a series of timeswhen they would betransmitting live, and theMillbank people veryobligingly agreed to suspendtheir activities for the mean-while each time.

I must say, however, thateven when they adopt thisself-imposed silence, Millbankstill had something they couldteach manufacturers of otherequipment, for I have rarelyseen electronic gear that is sovisually attractive. Theirconsole looks like somethingout of a space station, withits stainless steel front andmodernistic satin chrome legassembly. The rest of thecase is aubergine laminatedplastic.

There are two transcriptionturntables and stereomagnetic cartridges, theDisco 3 mixer, a high quality

REl 01 D2

) ,)

The Millbank Disco 3 mixer operates in stereo throughout, has cross -fadeslide controls, manual and automotive mike fade, inputs for twoturntables and two tape recorders, and the opportunity to monitor eitherdeck or tape recorders, before or after fade.

The Millbank console includes the Disco 3 mixer, two heavy-dutytranscription turntables and magnetic cartridges, cardioid mike, and hasstainless steel front.

cardioid microphone,prismatic turntableillumination, auto -stackstorage for 7in records, andeven a stainless steel ashtray,for those who haven't givenit up yet!

Of course, this is a prettyheavy unit, and it isn'tintended for mobile use -though a version they'redeveloping will break downinto three units for easiertransport. Nevertheless, it'sstill pretty heavy. And it's notcheap - £1,055, but worthevery penny, I assure you.I don't think I have everseen a piece of equipmentthat impressed me so much.

Simultaneously, Millbankhave introduced a newloudspeaker with integralamplifier capable ofdelivering 100 watts.Actually, this is aconservative estimate of itspower, because while it iscapable of handling 100watts of continuous power itwon't jib at another 50watts on the peaks.

By integrating the amplifierin this way, they havesimplified the task ofincreasing the total output,for each additionalloudspeaker incorporates itsown power. Since the pre-amplifier is in the Disco 3unit in the console, there is norisk of excessive hum. Andthough to combine theloudspeaker and amps in thisway would have createddistortion in valveamplifiers, in the solid-stateage of transistors this is nolonger a risk.

The bass drive unit isdecorated with a grille ofrolled punched steel with ascratched satin chrome finish,but in these unhappy days ofincreasing vandalism it's goodto know that this grill is so

tough that Millbank havebeen inviting people to tryand kick it in. So far, theyhave a lot of customers withbruised toes, and the grillesdon't look as if they've beentouched!

The mid and upperfrequences are handled bysome acoustic pressure unitsabove the grille, and inbetween them is somethingwhich - like the grille -doubles as a visual gimmickand a functional feature -apeak -reading VU meterwhich indicates the amountof power developed to boththe audience and theoperator.

There are side -mountedrecessed carrying handles andcastors for moving the unit,which weighs about 180 lbs.

Again, it's not cheap -£350.

But I think it's worth it.The thing that struck meabout the whole set-up wasthat, although it was loudenough to force its way intothe local radio transmissions,it never seemed so "loud" assome of the 50 watt unitsI've heard in some discos Icould mention. The reason issimple: there was virtually nodistortion.

Usually when people in adisco complain that themusic is too loud, it is notreally volume as such theyare complaining about.What makes loud soundreally unpleasant to listen tois not the actual volume -it's distortion. And there'sstill far too much distortionaround.

Running a disco at theMillbank exhibition I foundmobile DJ Paul Stanwick,who's particularly wellremembered in Glasgow andin Essex, where he now livesand operates.

28

As a mobile man, ofcourse, Paul can't totearound the sort of heavygear Millbank make, so heappreciated the chance towork with it for a fewweeks, but nevertheless hestill emphasises the falseeconomy of not working thevery best you can managewhere mobile equipment isconcerned.

"I learned very early onnever to use cheap equipmentbecause it will always let youdown," he said.

Paul is another guy whogot into DJ work as a resultof running a youth club. "Ihad noticed a terrible lull inbetween the bands we usedto book for our weeklyhops, so I started playingrecords in the interval. ThenI gradually started doing itfor other people's dances andafter about eight months Igave up my job as a windowdresser to do it full time."

Three and a half yearsresidency at a local Meccafollowed, which was reallygood basic training, and thenhe began running his ownmobile disco.

"The biggest mistake lotsof people make is to play onlywhat they like. People arepaying you to entertainthem, so you must play whatthey like. If someone comesup and asks for a request youshouldn't refuse to play it

just because, it's not yourscene.

"That's why I carry somany records - about2 to 3,000 singles, though youcan get by with only 200.I'm afraid it's a bit of athing with me, always beingable to play a request.

"There is more to being aDJ than just working yourway through a list of records,you know. I look at thewhole thing as a sort ofconversation between meand the audience, enlivenedwith things like competitionsin which I give away freerecords and so on.

"But I have one rule:never tell a joke. There'sbound to be someone therewho's heard it, and you canfall terribly flat if thathappens.

"I always think that newrecords are very important.These days, a DJ can put asong in the charts quickerthan the BBC, and if I was aresident DJ I would definitelyhave one night a week givenover entirely to new records.

"The really importantthing is quality rather thanquantity. That goes for therecords you play, the volumeyou play at - and theequipment you use."

karl dallas

41,, 414/64)4141 141V" 4

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29

disco -picks of the monthA pre -Christmas selection of disco goodies from our tame disco DJ. These are picked by him from the records received at the

"DEE JAY" offices as being of particular interest to disco DJs, and those who like a good dancing record or two or more . . .As before these are not in any particular order of merit:

IKE & TINA TURNERMARY WELLSSTYLISTICSGARY "US" BONDSTROGGSELTON JOHNSAM AND DAVESUPREMESHOOKFOOTHOT BUTTERCARLA THOMASTHE TEMPREESFOCUSBILL WITHERSISAAC HAYESHELLOHOT ROCKSSTONE THE CROWSTHE OSMONDSJACKSON FIVETHE BRIDGEB. J. ARNAURAY CHARLESDRIFTERSBRUCE RUFFINTEMPTATIONSEAST OF EDENBLACKFOOT SUEWINSTON FRANCISEDDIE HOLMANBARCLAY JAMES HARVESTDESMOND DEKKERJEFF BECKB. B. KINGMATATA Air FiestaMICHAEL JACKSONIKE & TINA TURNERPARKINSON'S LAWTHE JOOKSTRING DRIVEN THINGSLADEDETROIT -EMERALDSEARTH BANDSTATUS QUOCCSDAVID CASSIDYGREYHOUNDSTAMPEDERSFOUR TOPSMARDI GRASTHE COASTERSBOBBY HEBBTHE INTRUDERSTHE CRICKETSTHE DRIFTERSBOBBY WOMACKDE -HEMSSUPREMES & FOUR TOPS

Let Me Touch Your MindDear LoverI'm Stone In Love With YouQuarter To ThreeWild ThingCrocodile RockSoul Sister, Brown SugarYour Wonderful, Sweet Sweet LoveFreedomApacheSugarExplain It To Her MamaHocus PocusUse MeTheme from "The Men"C'MonPut It Where You Want ItGood Time GirlCrazy HorsesLookin' Through The WindowsI Feel FreeJubilationWhat I'd SayEverynightComing On StrongSmiling Faces SometimesBoogie Woogie FluSing Don't SpeakBlue MoonMy Mind,Keeps Telling MeThank YouBewareHi Ho Silver LiningSummer in the CityWanna Do My ThingBenRiver Deep, Mountain HighDaughter of Thunder and LightningAlright With MeEddieGudbye T'JaneFeel The Need In MeMeatPaper PlaneSixteen TonsRock Me BabyDream LoverJohnny LightningKeeper of the CastleGirl I've Got News For YouPoison IvySome Kind Of MagicCowboys To GirlsDon't Ever ChangeI'll Take You HomeI Can Understand ItLover Let Me GoReach Out and Touch(Somebody's Hand)

DAWN Knock Three Times/Candida/ Bell MABEL 2What Are. You Doing Sunday

Wowee, quite a list again! These are all real good disco material - some you will already have - some you may have missed. If you did,then - ZONK - down the old record shop LIKE NOW ! !

Back again with more goodies next month, until then, bye for now, and have a swinging yuletide season !

UA UP 35429Atlantic K10254Avco 6105 015UA UP 35437JAM 25DJM DJS 271Atlantic K 10240XTamla TMG 835DJM DJS 272Pye 7N 25598Stax 2025 147Stax 2025 148Polydor 2001 211A & M AMS 7038Stax 2025 146Bell 1265Bell 1264Polydor 2058 301MGM 2006 113Tamla TMG 833Buddah 2011 146RCA 2284Atlantic K 10239XBell 1269Rhino RNO 109Tamla TMG 832Harvest HAR 5055JAM JAM29Rhino RNO 108GSF GSZ 1Harvest HAR 5058Rhino RNO 107RAK RR3Probe PRO 573President PT 380Tamla TMG 834A & M AMS 7039RCA 2291RCA 2279Charisma CB 195Polydor 2058 312Janus 6146 020Philips 6006 251Vertigo 6059 071Rak 141Bell 1268Blue Mountain BM - 1016Regal Zonophone RZ 3069Probe PRO 575Bell 1270Atlantic K 10258Philips 6051 025Ember EMBS 325UA UP 35457Atlantic K 10260UA UP 35456President PT 388Tamla TMG 836

disco -picks of the month30

sounds of the month

albumof themonth

FLYING BURRITOBROTHERS"Last of the Red Hot Burritos"A & M AMLS 64343

The Faces and our Rodnotwithstanding, this is, forme, the LP of the year. Asyou may guess from the titleit's the last record the bandmade before breaking up andit was recorded live at whatmust have been one hell of afine concert. The best partsof an exemplary record comewhen steel guitarist AlPerkins, now with Manassas,takes his solos. He takes thelast 40 seconds or so of theopening track, "Devil inDisguise", and I know of noother recorded guitar playingthat excites me as much.Three of the tracks are takenfrom the "blue -grass"section of the Burrito'sshow and the speed andaccuracy of their playinghere is electrifying. FromSide 2 "Ain't that a lot oflove" would make a finesingle and Al Perkins takesanother blistering solo on"Hot Burrito No. 2". Thebest rock should make youfeel good and make thesmall hairs on the back ofyour neck creep. This is thebest "live" LP since "FiveLive Yardbirds" played at theMarquee and the hair on theback of my neck hasn't hadas much exercise in years.

next bestMATCHING MOLE"Little Red Record"CBS 65260

Contrary to what you maybelieve, a great deal of thebest and most creative rockmusic comes from withoutthe Anglo-American axis.Bands like Can, Amon DuulII, Faust and Neu fromGermany, Komintern fromFrance, Supersister andFocus from Holland areexperimenting to a greater orlesser degree with a wholenew range of sounds andexperiences.Because of their experimentsthey seldom achieve muchpopular stature in their owncountries and the same fatemay well befall MatchingMole in this country - and forthe same reasons. As withnearly all experimentalrecords this LP is notwithout flaws, but thesuccesses that there are areremarkable - and they arenot academic andunapproachable successeseither. There's power, witand skill involved throughoutand drummer Robert Wyatt,keyboards man Dave McRae,guitarist Phil Miller and bassplayer Bill MacCormick have,with producer Robert Frippof King Crimson andsynthesizer star Eno, ofRoxy Music, made an LPwhich is more accessiblethan a lot of the fashionablenonsense that makes thealbum charts.

MN NIIIIWTHEIME11017%TUE. win MI .11111, RAY. WI VIM O*4 1111,

THE CHEVIOT RANTERSCOUNTRY DANCE BAND"Sound of the Cheviots"Topic 12T214

It was my job at this year'sLincoln Festival to play

this month's selectionby JOHN PEEL

records and makeannouncements of the "willBill and Ben fromCowdenbeath meet Lornaand Jeannie?" type inbetween the groups. Afterseveral days of cold andrain the crowd was justbeginning to come to life andthere was a feeling of elationbuilding. So I played a trackfrom this LP. When it endedthere was such a cheer that Ireckoned some famousguitarist must havewandered modestly on-stageand went to investigate. Itturned out to be the musicthat was pleasing everyoneand several tracks latersomething like twenty -thousand people weredancing and throwing strawinto the air and at each other.It made for one of the mostextraordinary and exhilaratingsights I can remember. TheCheviot Ranters are apart-time band from theNorth-East. One is a printer,another a retired joiner. Athird is a railwayman andyet another is a gardener.Between them they playsome of the best dancingand prancing music you'llever hear.

HOME"Home"CBS 64752

It's not easy out of themounds of LPs released eachweek to pick four that you'dlike other people to knowabout. For that reason I'vechosen four that you mighthave overlooked because theyare not by currentlyfashionable musicians. Thelast of the four is by one ofthose bands who have donemore than their fair share ofpaying their dues on themotorways and in grubbyclubs without ever reallybreaking through. It canonly be a matter of timethough, because Home areone of the best bands in thecountry and guitarist MickStubbs writes songs whichhang in your head for ever

in thissectioneachmontha top djselectstheirtoprecordsfromrecentmonths

after. There's a song on thisLP called "Knave" and itmakes me feel good wheneverI sing it to myself - and Ican't sing worth a damn.So whenever I play the LPI have to have a nurse inattendance - at least that'smy story. It could easily havethe same effect on you if youget hold of the LP.

next month'sselection

by

ALANFREEMAN

31

Is he the world's tiniest dee-jay ?

Meet 20 -year -old dee-jaySammy Sant. SwingingSammy claims to be thetiniest dee-jay in the world.

Just three -feet one -inch tall,from the tip of hishigh -heeled cowboy boots tothe top of his enormous Afrohaircut.

Sammy works six nights aweek at the Hyperion Stabledisco at beautiful St Paul'sBay on the holiday island ofMalta in the blueMediterranean.

Holidaymakers from as farapart as Sweden andSardinia - as well as all thelocal dolly -girls - flock tolisten to his non-stop streamof disc -patter and his choice

of music. But a lot of thetime they just stand by andwatch him work -a certainlook of adoration in theeyes.

Says Sammy: "When theStable's manager Sam Falzonasked me to take over hereas dee-jay, I was scared stiff.I thought my size might putthe customers off. Butfortunately it's turned out tobe the other way round."

Says manager Falzon:"He's the rage of the island'syoung set."

And the reason for

Sammy's success?According to one lovely

Norwegian blonde girl:"Apart from my husband,

he's the sexiest man on theisland."

Any questions?

a b.c.enterprisespublication

musing with moffat

Americans are quoted assaying that British policemenare wonderful. I cannot saywhether our British policementhink all Americans arewonderful but I don't. Infact I'm beginning to dislikethem. Not all of them, ofcourse. For instance, there'sa Mr Peter A. Marino wholives at 249 East 115 Street,Manhattan, New York whomI'm sure is as wonderful asany British cop. I've nevermet him mind you. Lookedhim up in the New Yorktelephone directory. Page1039. Telephone number212 472 8601. For God'ssake don't waste your moneyringing him though. Take myword for it. I'll tell yousomething else for nothing.Ring him and he'll answerby saying "Who is THIS?".They all do it. Haven't younoticed it on films and thetelly? Not "Who is THAT?"."Who is THIS?". Where theAmericans have picked upthat terrible habit from Ijust cannot think. Farbeit forthe English to criticise theAmerican way of speech fornobody speaks English"worst than what the averageEnglishman do, ain't thatso?" But really, "Who is

THIS?". Even the mostilliterate of us known thatwhen enquiring the identityof a person in the distancewe say "Who is THAT".Even Eliza Doolittle said"This 'ere" and "Thatthere", didn't she?

And that's not all, We'rebeginning to copy it. Twicethis week I heard it over myown telepnone. Americans,keep your grammatical errorsto yourselves!

And that is not the onlyinfluence they are having onour way of speaking.Haven't you seen thatdelectable air stewardess onITV singing the praises ofNational Airlines. "I'mCheryl", she croons, "FLYME to Miami in theSunshine States. Fly Cheryl,Fly National". Whateverhappened to the word"with"? I will have to"write them" about it!

And I don't like Doris Daytrying to shove our ownmargarine down our throats. . . and I don't see whyKatie has to go all the wayto The States to prove - withthat idiot husband of hers -that some BRITISH beefcube is better than any other.If I'm meant to be impressed

by the fact that some fatexecutive over there thinksits "real great," well I'm not.And why (there's no stoppingme now!) why do British TVshows have to use Elevator(instead of Lift), sidewalk(for Pavement) and Gas(when we always say Petrol)?I'll tell you why. Because wewant to sell the shows toAmerica.

OK but we don't have tocrawl to them, do we? Ienjoy watching Chief Ironsidehurtling about in his wheel-chair. I don't expect him tosay to one of his colleages"I say old chappie, be asport. Take the lift down tothe pavement and fill thejolly old car with petrol". Itsjust as well - because hedoesn't!

And coming back to thesubject of Americans onPhones, have you watchedthem? Bloody show-offs,that's what they are, the lotof 'em.

SCENE FROMAMERICAN FILM.Telephone rings. Mananswers. Starts talking.Walks with receiver intolounge. Mixes highball. Thenonto bathroom. Takes shower.Still in conversation. Dries,

dresses. Finally back intoLounge. Rings off. My phonerange the other day. Ianswered it and, in truetransatlantic manner, off Isauntered, receiver in hand,to make some cocoa. Themilk bottle was jerked out ofmy land, fell on the dogwhich flew out of the door .and the phone cable came outof the wall. And I only livein a bedsitter!

Oh no. You won't catchme being influenced by thoseDam Yankees, no siree,bettcha bottom dollar, youwon't.

roger moffatSince writing his piece,Roger Reports:

I had occasion to ring thePress Office at BuckinghamPalace recently. Theswitchboard answered, Iasked for the Press Office andthen there followed clicks . . .

and after that silence."Hello" said a female voiceafter a pause. "Is that thePress Office?" I enquired."No, this is The Queen" thethe voice replied. "Who isTHAT?" Long Live TheQueen!!!Note: It's true!!!

32

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sounds on stageJACKSON FIVEWEMBLEY

It was an appalling day.Those poor unfortunates outin it were lashed by gale -forcewinds, driving rain, andfrozen by the bitter cold. ButI doubt if many of thethousands of fans gathered atWembley even noticed. Theywere there to meet their idols-the Jackson Five.

Supporting such an act isnot an inspiring task, but thetwo Motown acts brought infor the purpose performed itadmirably. First came arelatively new act to thestable, the Sisters Love. Fourincredibly energetic ladieswith powerful voices, theyperformed every song as ifthey really meant it, and theaudience were generous inshowing their approval -especially after the Sisters'latest single "Mr. Fix -it Man".This new Motown groupgained themselves a lot offans that night.

Then we were treated tohalf an hour of Junior Walkerand the All Stars. I havenever heard anyone get sucha variety of clear and accuratenotes from a tenor saxophoneand the fans really warmedto him. After a selection of

numbers, including his lasthit "Walk in the Night", theaudience demanded, and got,several encores. It was aremarkable ovation for a"supporting" act - and onethat certainly bodes well forMr. Walker's future recordreleases.

"The Jackson Five" - thatwas all the man had to say,to cause the whole ofWembley's Empire Pool toerupt. And there they were. . . the five brothers who cancause so many young femalehearts to beat faster. Theyburst into a selection of theirhits which I hardly have tolist - you've all heard themso often in the discotheque,on the radio or on your ownturntable. "I'll be there","Rockin' Robin", "ABC".

The numbers which evokedthe greatest response were thenewest ones "Lookin' throughthe windows", Michael's"Ain't no sunshine" - andwhen the time came for"Ben", Michael's latest single(and a recent number one inthe U.S. charts) the uproarwas such that one expectedthe roof

I defy anyone to criticisethis group on theirprofessionalism - they aresuperb, their choreography is

excellent, their dancingenthusiastic, and above alltheir charisma is of an almostmesmeritic quality. In factthey make the Osmonds andothers of that ilk look likeamateurs!

One high spot came whenthe latest Jackson, brotherRandy, took the stage. Forten years old, this is anamazing little boy. He dancesas well as the best of hisbrothers, and his handling ofthe conga drums was master-ful. What's more, he com-manded almost the adulationaccorded to brother Michael.Think what might happen inten years time.

As a hardened veteran ofmany concerts, I have toadmit to having thoroughlyenjoyed the Jackson Six.Perhaps it's just my memory,but I don't think the welcomewas quite as fanatical andfervent as that which theBeatles used to get, but it wasnevertheless amazing. Andany group that can makethat many girls so happy hasmy wholehearted approval. Byall means lets bring a bit moreenjoyment into music.

rosemaryhoride

Peter Harris who ownsLondon's Marbles Arcade,Oxford Street and theIncredible Department Store,Knightsbridge, is all forhaving disc jockeys in fashionstores, boutiques and arcades.

Says Peter: "I wasinterested to read in the firstissue of "Dee Jay and RadioMonthly" of James Whalewho spins discs and chats tolunchtime and after -officeshoppers in Peter Robinson'sTop Shop boutique.

"I have had dee-jays makepersonal appearances in mystores over the past two years.They do down well. Mostboutiques have records play-ing for their customers. Butthere's nothing like thepersonal touch. More peoplein the rag trade should takeheed. I think they will."

Proving popular at MarblesArcade now are the regularThursday night appearances(between 7 and 9 p.m. for latenight shoppers) of BBC RadioLondon's Robbie Vincent.

Harris is currentlynegotiating with several Radio

DJ Robbie Vincent.

One DJs for appearances at hisIncredible Department Store.

Following our successfulvisit to Liverpool with the208/Tamla Disco Show, wesent our photographer alongto the recent session held at theTop Rank Suite, Croydon. Asyou can see from thephotos of Mark Wesley andthe crowds - it was anothergreat success. The bottompicture shows Mark runningone of the many competitions -getting two young ladies intoa 208 T -Shirt!

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34

dee jay album sounds

MOTOWNCHARTBUSTERSVolume 7Tondo STML 11215

With tracks from artists likeThe Supremes ("AutomaticallySunshine" and "Floy Joy"),Michael Jackson ("Got To BeThere", "Rockin' Robin" and"Ain't No Sunshine"), MarthaReeves and the Vandellas("Bless You"), Mary Wells("My Guy"), and JuniorWalker and The All Stars("Walk In The Night")included - what more does oneneed to say about this album,except to add thetime-honoured phrase "don'tmiss it!"

One minor point on the copyreceived at this office, therather novel revolving sleevedesign didn't work.("DEE JAY"MICROPHONE AWARD)

GARY GLITTERGlitterBell S216

Both of Gary's recent charthits are included on this debutalbum. Producer is MikeLeander, who also co -wrotethe hits and four other titles.These, together with several"rock" standards like

"Donna", "Baby Please Don'tGo" and "School Day" go tomake up a very enjoyablealbum - what's more it's greatfor dancing.

CHAIRMEN OF THEBOARDBittersweetInvictus SVT 1006

This group need nointroduction to anyself-respecting disco DJ, astheir many successful singlesare constantly requested upand down the country. Two oftheir recent hits "Working ona Building of Love" and"Elmo James" are includedhere, together with seven otherreally good sounds, all ofwhich are guaranteed to geteven the most stubborn feetmoving. Not all the tracks are"up -tempo" ravers - grab alisten to the bluesy "WearyTraveller" which closes sidetwo, it's very good indeed.

JAMES BROWNThere It IsPolydor 2391 033

Presenting yet anothersuperb collection from "TheKing Of Soul" himself,including unbroken versions ofthe title track, "I'm A Greedy

Man" and "Public Enemy".Also included is the

somewhat controversial"King Heroin". As alwaysgreat disco music andtherefore highly recommended.

BREADThe Best Of BreadElektra K 42115

Self explanatory selection ofthe most popular tracks fromthis very talented group.Included are their chartsuccesses "If", "Baby I'm AWant You", "Everything IOwn" and "Make It WithYou", but in fairness not allthe tracks included have beenhits over here.

A nice one.of HITS VOL°

ywo# OW). SOW

WORLD OF HITSVolume 6Decca SPA 258

Sixth volume of this verysuccessful series contains theusual mixture of recent andnot -so -recent chart hits.

How many can remember"Mirror Mirror" byPinkerton's AssortedColours or the Flower PotMen's "Let's Go to SanFrancisco" from those headyfloral days of 1967? Both areincluded here alongsideofferings from The

Marmalade, Jonathan King,Lulu, Amen Corner,Unit 4 + 2, White Plains,Brotherhood of Man, ValDoonican, Dave Berry andThe Fortunes.

A great selection and agreat album.

THE ROLLING STONESRock 'n Rolling StonesDecca SKL 5149

Vintage Stones plus vintagerock equal a greatcombination. The best tracksfor me are "Route 66","Down The Road Apiece","Carol", "Little Queenie" and"I Just Wanna Make Love ToYou".

The whole album revives allthe excitement of pop in theearly 60's - "Ready, SteadyGo" etc.

Great stuff- if you don'thave these tracks already - goand get 'em.

THE JACKSON 5"Lookin' Through TheWindows"Tondo STML 11214

This album from the verypopular Tamla group againhighlights the vital roleMichael Jackson plays withinthe group. His singing on all

35

tracks is, to say the very least,outstanding with "Don't LetYour Baby Catch You" andthe title track really superb.

As with so many Tamlaalbums this one's a must,particularly if you are a busydisco DJ.

THE BIG ONESVarious ArtistsPhilips International 6436 010

One of the major labelstrying hard to emulate thetremendous success of thehit compilation albums ofK -Tel, Arcade and Ronco.

However this slightlycomes unstuck on twocounts. Firstly there are only12 tracks on this album, andsecondly with oldies likeSusan Maughan's "Bobby'sGirl" and Frankie Vaughan'i"Hello Dolly" the currentaspect of the othercompilation sets is obviouslymissing.

Nevertheless this is apleasant enough selection,including artists like BlueMink, Dusty Springfield,the Walker Brothers andRoger Miller. At £1.35 anobvious gift choice for many.

THE SWEETThe Sweet's Biggest HitsRCA SF 8316

Side one of this album livesup to the title with tracks like"Wig Warn Barn", "Co -Co","Poppa Joe", "Little Willy"and "Funny Funny" - allmassive chart successes.

Side two, however, is a littlelight on big hits to say theleast - only'including theirnear hit "Alexander GrahamBell".

This criticism apart a goodalbum and likely to be verypopular over the Christmas

period. Also useful to DJs toreplace all those old singles.

THE ROSKO SHOWAtlantic K 40432

Tremendous idea from thepeople at Atlantic of collectingtogether some dozen classicsoul tracks and allowingEmperor Rosko to link themtogether in his unmistakeablestyle.

With tracks like PercySledge ("When A Man LovesA Woman"), Aretha Franklin("I Say A Little Prayer"),Booker T ("Green Onions"),Sam & Dave ("Soul Man"),Otis Redding ("Satisfaction"),Arthur Conley ("Sweet SoulMusic"), plus recent chartcontenders like The Drifters("Come On Over To MyPlace") and Archie Bell andThe Drells ("Here I GoAgain") this one has got to bean absolute monster and aMUST for any self-respectingSoul DJ. Don't miss thiswhatever else you do - this islikely to be my RAVE albumof the year.(DEE JAYMICROPHONE AWARD)

BILLY STEWARTGolden DecadeChess

A man who sanghumourous and sensitiveSoul with a tremendous,high-pitched voice, until hisdeath in 1970, and this albumis a tribute to him - BillyStewart, the one time pianistto Bo Diddley! The first trackon side one is an amusingapproach to Gershwilfs"Summertime", which was ahit back in 1966, as Billy rollseach lyric around his tongue inan effort to express a differentand exciting sound - which he

did with great success.Certainly an impressive way tostart an album. The soundslike - "Cross My Heart", "IDo Love You" and manymore are all here on thissuperb collection of thesounds of Billy Stewart - 16wonderful tracks, ending withthe instrumental "BillysBlues". B.Cal.

CURTIS MAYFIELDSuperflyBuddah

Out of the whole stack ofalbums I have reviewed thismonth, this is undoubtedly thebest offering. Superfly is thesoundtrack from the lowbudget film by the same namecurrently sweeping the States.All the songs on this LP areabout a Harlem cocainedealer, who at the height of hiscareer finds difficulty in gettingout of this scene. I won'trecommend any particulartracks, because they're allsuperb and sung in a way onlyCurtis Mayfield knows how.

B.Cal.

MOTT THE HOOPLEAll the Young DudesCBS

The end result of a group'sstruggle for survival apartfrom the stresses and strains ofthe constant travelling up anddown the country to gigs, andthe hassles that go along withall this, is a hit record. MottThe Hoople can boast havinggone through everything Ihave just described, includingthe hit record "All the YoungDudes", after which this albumis entitled. This LP is typical ofMott The Hoople withtracks like "Sweet Jane","Jerkin", "Crocus" and"Ready for Love". B.Cal.

the

ROCK AND ROLLALL STARSVolume 4Joy Special

Boy do I feel young afterlistening to this album. Mindyou, I wouldn't be surprised ifit doesn't make you old timerockers feel very sentimentalespecially when you listen totracks like "Nutrocker" byBee Bumble and The Stringers,"Shout Shout" by ErnieMaresca, "Jeanie" by WilbertHarrison, "Night and Day" byCharlie Gracie. My onlycomment for these old tracksis that in the very near futurethey will not be allowed to restin peace. B.Cal.

RAY McVAY ORCHESTRAAND SINGERSBig Party HitsPhilips 6414 313

With all those Christmasand New Year parties comingalong this album containingsuch party favourites as"Knees Up Mother Brown","Simon Says", "March of theMods", "The Cokey Cokey"and "Conga" must be a usefuladdition to any DJs collection,or just to liven up your ownparty.

MIKE HUGGSomewherePolydor

The first album by Mike,

36

who's most recent singlesuccess was "Blue SuedeShoes Again", which isfeatured on this album. Thealbum consists of combinedgentle ballads and rock, withManfred Mann at the organ.Mike himself plays the electricpiano, and the track"Bonnie Charlie" hasfantastic string arrangements.The instruments as well as thevocals are excellentlyexecuted. B. Cal.

DIANA ROSSGreatest HitsTamla STMA 8006

Diana has had prettyregular chart success sinceleaving the Supremes for asolo career - but not reallyenough to fill both sides of a"Greatest Hits" album!

Obviously includes her hitsto date, together with a greatversion of The Carpenter's"Close To You".

Very nice album indeed.

l I

\I Al,1

SEARCHERS HIT TOP SPOT THET;-",,,j,

IN THREE WEEKS! ---dads di - *ausw PIA

tut & aft Search(

Ix Aa eart i take r

goft', Searrho, Nh

THE SEARCHERSGolden Hour Of TheSearchersGH 541Second TakeRCA SF 8298

Very interestingcomparison possible with thesetwo albums. One contains theoriginal '63-'67 recordings ofthe groups many hits - the

other brand new recentre -recordings of the samenumbers.

Frankly, on this showing,the originals come off the best,particularly on their big hits"Sugar and Spice" and"Sweets For My Sweet",which both have more pace,attack and excitement.

Perhaps by 1972 it's allrather "old hat" for the groupto play the same old numbers!

THE PARTRIDGEFAMILYPartridge Family ChristmasCardBell S214

Seasonal offering fromShirley Jones, David Cassidy,et al. Nice versions of "WhiteChristmas", "Jingle Bells","Rocking Around TheChristmas Tree" and "HaveYourself A Merry LittleChristmas".

Will doubtless find its wayinto many youngstersChristmas stockings. A niceone.

OTIS REDDINGThe Best of Otis ReddingAtlantic K 60016

Great double albumcontaining no less than 25tracks from one of the Kingsof Soul - Mr Otis Redding.

"Satisfaction", Sam Cooke's"Chain Gang", "(Sittin' On)The Dock Of The Bay" and agreat "Try A LittleTenderness" are my personalfavourite tracks, but it's allgreat stuff, and superb discomaterial.

Recommended.

DEE JAY ALBUMREVIEWS by BEN

CREE Er BOB CALLAN

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DON'T MISS IT

37

u.s.chartstop 30singles

Week ending November 25, 1972

u.s.chartstop 30albums

1 I'll Be Around Spinners Atlantic 1 Catch Bull At Four Cat Stevens A & M

2 I'd Love You To Want Me Lobo Big Tree 2 Super Fly Curtis Mayfield Curtom

3 I Am Woman Helen Reddy Capitol 3 All Directions The Temptations Gordy

4 I Can See Clearly Now Johnny Nash Epic 4 Rhymes and Reasons Carole King Ode

5 If You Don't Know Me Harold Melvin & 5 Days Of Future Passed Moody Blues DeramBy Now The Blue Notes Phil. Int.

6 Close To The Edge Yes Atlantic6 Papa Was A Rolling Stone Temptations Gordy

7 Phoenix Grand Funk7 Nights In White Satin Moody Blues Deram Railroad Capitol

8 Witchy Woman Eagles Asylum 8 Ben Michael Jackson Motown

9 If I Could Reach You 5th Dimension Bell 9 Caravanseri Santana Columbia

10 Burning Love Elvis Presley RCA 10 I'm Still In Love With You Al Green London

11 You Ought To Be With Me Al Green Hi 11 Baby Don't Get HookedOn Me Mac Davis Columbia

12 Summer Breeze Seals & Crofts Warner12 Black Sabbath Volume 4 Warner

13 Operator Jim Croce Dunhill13 Rock Of Ages The Band Capitol

14 Thunder & Lightning Chi Coltrane Columbia14 Summer Breeze Seals & Crofts Warner

15 Venture Highway America Warner15 Chicago V Columbia

16 Elected Alice Cooper Warner16 Never A Dull Moment Rod Stewart Mercury

17 It Never Rains InSouthern California Albert Hammond Mums 17 Toulouse Street Doobie Brothers Warner

18 Convention '72 The Delegates Mainstream 18 Seventh Sojourn Moody Blues Threshold

19 Clair Gilbert O'Sullivan MAM 19 Liza With A 'Z' Liza Minelli Columbia20 Garden Party Rick Nelson Decca 20 Back Stabbers O'Jays Phil. Int.21 Sweet Surrender Bread Elektra 21 Greatest Hits On Earth 5th Dimension Bell22 Funny Face Donna Fargo Dot 22 Class Clown George Carlin Lit. David23 I'm Stone In Love

With You The Stylistics Avco 23 Carney Leon Russell Shelter

24 Rock 'n Roll Soul Grand Funk 24 Living In The Past Jethro Tull ChrysalisRailroad Grd. Funk.

25 The Partridge Family's25 Something's Wrong Greatest Hits Bell

With Me Austin Roberts Chelsea26 Crazy Horses The Osmonds MGM

26 Crazy Horses Osmonds MGM27 London Chuck Berry

27 Rockin' Pneumonia & The Sessions ChessBoogie Woogie Flu Johnny Rivers UA

28 The Slider T. Rex Reprise28 Corner Of The Sky Jackson 5 Motown

29 Rocky Mountain High John Denver RCA29 Dialogue (Part 1 & 2) Chicago Columbia

30 I Miss You Harold Melvin &30 I Believe In Music Gallery Sussex The Blue Notes Phil. Int.

38

charts'singles

top 301 Clair

2 My Ding -A -Ling

3 Why

4 Crazy Horses

5 Loop Di Love

6 Leader of The Pack

7 Crocodile Rock

8 I'm Stone in Love with You

9 Let's Dance

10 Elected

11 Here I Go Again

12 Mouldy Old Dough

13 Donna

14 In A Broken Dream

15 New Orleans

16 Goodbye To Love

17 Hi Ho Silver Lining

18 You'll Always Be a Friend

10 Lay Down

20 Hallelujah Freedom

21 Angel/What MadeMilwaukee Famous

22 Lookin' Thru the Window

23 Oh Carol

24 Stay With Me

25 Why Can't We Be Lovers

26 Only You

27 Baby Don't Get HookedOn Me

28 Burlesque

29 I Don't Believe in Miracles

30 Keeper of the Castle

Week Commencing:Tuesday, November 14, 1972

Gilbert O'Sullivan MAM

Chuck Berry Chess

Donny Osmond MGM

The Osmonds MGM

Shag UK

Shangri-las

Elton John

Stylistics

Chris Montez

Alice Cooper WB

Archie Bell &The Drell

Lieutenant Pigeon

10 CC

Kama Sutra

DJM

AVCO

London

YBPython Lee Jackson

Harley Qui nne

Carpenters

Jeff Beck

Hot Chocolate

Strawbs

Junior Campbell

Rod Stewart

Jackson Five

Neil Sedaka

Blue Mink

Holland, Dozier

Jeff Collins

Mac Davis

Family

Colin Blunstone

Four Tops

Atlantic

Decca

UK

Bell

A & M

RAK

RAK

A & M

Decca

Mercury

Tamla

RCA

RZ

Invicta

Polydor

CBS

Reprise

CBS

Probe

hot h1 Seventh Sojourn

2 Caravanseria

3 Focus Three

4 Mar Y Sol

5 Home

6 Foxtrot

7 Heads

8 New Blood

9 Who Came First?

10 Lifeboat

11 Bandstand

12 Magician's Birthday

13 Stealers Wheel

14 Rock of Ages

15 String Driven Thing

16 New Magic in a DustyWorld

17 Boz Scaggs

18 Continuous Performance

19 Sandy

20 Roll' Em, Smoke 'Em

chartsalbums

eavy 20Moody Blues

Santana

Focus

Various Artists

Home

Genesis

Osibisa

Blood, Sweat andTears

Pete Townshend

Sutherland Bros

Family

Uriah Heep

Stealers Wheel

The Band

String DrivenThing

Various Artists

Boz Scaggs

Stone The Crows

Sandy Denny

Patto

Thres

CBS

Polydor

Atlantic

CBS

Charisma

MCA

CBS

Track

Island

Reprise

Bronze

A & M

Capitol

Charisma

Elektra

Atlantic

Polydor

Island

Island

NOTE

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

UK AND USA

39