ransports his · 1980. 4. 19. · ERIC CLAPTON,"JUST ONE NIGHT." Eric Clapton is the original...

of 56 /56
SINGLES ALICE COOPER, "CLONES (We're All)" (prod. by Roy Thomas Baker) (writer: Carron) (Mount Hope, ASCAP) (2:50). Alice has a new image, producer and sound on his first release in almost two years. It's an electronic dancer with a catchy keyboard riff that's a multi -format cinch. WB 49204. THE TEMPTATIONS, "POWER" (prod. by Gordy -Bond) (writers: Gordy - Bond - Mayer) (Midnight Sun, ASCAP/Book, BMI) (4:05). The Temps celebrate their label re- turn with this funky vocal exhibi- tion from their upcoming LP. The soulful a cappella interplay is vintage. Gordy 7183 (Motown). CHAKA KHAN, "CLOUDS" (prod. by Mar - din) (writers: Ashford -Simpson) (Nick - 0 - Val, ASCAP) (3:49). Chaka explodes with an exuber- ant, exciting dancer from her up- coming "Naughty" LP. A gospel chorus, jaunty rhythm & slick guitar are all part of the action. WB 49216. ROCKETS, "SAD SONGS" (prod. by Sand- lin) (writer: Badanjek) (Gear, ASCAP) (3:24). From the "No Ballads" LP comes this pop - rocker that's destined to hit on several formats. Dave Gilbert's lead vocals ride a crack rhythm section with Donnie Backus' key- boards adding color. RSO 1028. SLEEPERS OZARK MOUNTAIN DAREDEVILS, "TAKE YOU TONIGHT" (prod. by Boy- lan) (writers: Cash -Dillon) (Lost Cabin, BMI) (3:09). The Dare- devils make their label debut with this mid -tempo rocker. The harmony vocals & mouth harp are OMD trademarks that should spell hit. Col 1-11247. SPIDER, "NEW ROMANCE (IT'S A MYS- TERY)" (prod. by Coleman) (writ- ers: Knight - Fig) (Land Of Dreams/Arista, ASCAP) (3:06). The NY -based quintet debuts on this initial label release with a stunning pop -rocker. A power- house rhythm drives the female vocal duo. Dreamland 100 (RSO). ROOKIE ROBBINS, "YOU AND ME" (prod. by Martin) (writer: Pennington) (Chinnichap / Careers, BMI) (3:49). This title cut from his up- coming LP is a multi -format blockbuster. Robbins delivers the irresistible hook with his soothing tenor while sparkling keyboards adorn. A&M 2231. KWICK, "LET THIS MOMENT BE FOR- EVER" (prod. by Jones) (writer: Jones) (Cessess, BMI) (3:44). Cavorting in harmony and lead throughout the upper registers, this vocal quartet interacts with amazing grace and control. A soulful ballad with crossover in the grooves. EMI -America 8037. ALBUMS VAN HALEN, "WOMEN AND CHIL- DREN FIRST." In this case, the metal is pure platinum. Van Halen in a few short years has become one of the industry's hottest acts and this album is lean and power- ful-perfect for their already mas- sive audience. Warner Brothers HS 3415 (8.98). DOLLY PARTON, "DOLLY, DOLLY, DOLLY." Dolly Parton has not only crossed over from the country field to pop but has, in the past few years, become a figure of national stature. With the unwavering atten- tion of print and television media, she is a superstar. RCA AHL1-3546 (7.98). ERIC CLAPTON, "JUST ONE NIGHT." Eric Clapton is the original guitar hero, the man who inspired countless musicians, professional and amateur, to pick up that instru- ment and consider the power of virtuosity in the rock field. A double -pocket live album. RSO RS -2-4202 (13.98). STEPHANIE MILLS, "SWEET SEN- SATION." Following her exceptional performance in the Broadway ver- sion of "The Wiz," Mills hit the dance floor solidly last year with "Put Your Body In It." The title cut here is already rocketing up the charts. 20th Century Fox T-603 (RCA) (7.98). \N HAI 1.\ AmericanRadioHistory.Com

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Transcript of ransports his · 1980. 4. 19. · ERIC CLAPTON,"JUST ONE NIGHT." Eric Clapton is the original...


    ALICE COOPER, "CLONES (We're All)"(prod. by Roy Thomas Baker)(writer: Carron) (Mount Hope,ASCAP) (2:50). Alice has a newimage, producer and sound onhis first release in almost twoyears. It's an electronic dancerwith a catchy keyboard riff that'sa multi -format cinch. WB 49204.

    THE TEMPTATIONS, "POWER" (prod. byGordy -Bond) (writers: Gordy -Bond - Mayer) (Midnight Sun,ASCAP/Book, BMI) (4:05). TheTemps celebrate their label re-turn with this funky vocal exhibi-tion from their upcoming LP.The soulful a cappella interplayis vintage. Gordy 7183 (Motown).

    CHAKA KHAN, "CLOUDS" (prod. by Mar-din) (writers: Ashford -Simpson)(Nick - 0 - Val, ASCAP) (3:49).Chaka explodes with an exuber-ant, exciting dancer from her up-coming "Naughty" LP. A gospelchorus, jaunty rhythm & slickguitar are all part of the action.WB 49216.

    ROCKETS, "SAD SONGS" (prod. by Sand-lin) (writer: Badanjek) (Gear,ASCAP) (3:24). From the "NoBallads" LP comes this pop -rocker that's destined to hit onseveral formats. Dave Gilbert'slead vocals ride a crack rhythmsection with Donnie Backus' key-boards adding color. RSO 1028.


    OZARK MOUNTAIN DAREDEVILS, "TAKEYOU TONIGHT" (prod. by Boy-lan) (writers: Cash -Dillon) (LostCabin, BMI) (3:09). The Dare-devils make their label debutwith this mid -tempo rocker. Theharmony vocals & mouth harpare OMD trademarks that shouldspell hit. Col 1-11247.

    SPIDER, "NEW ROMANCE (IT'S A MYS-TERY)" (prod. by Coleman) (writ-ers: Knight - Fig) (Land OfDreams/Arista, ASCAP) (3:06).The NY -based quintet debuts onthis initial label release with astunning pop -rocker. A power-house rhythm drives the femalevocal duo. Dreamland 100 (RSO).

    ROOKIE ROBBINS, "YOU AND ME" (prod.by Martin) (writer: Pennington)(Chinnichap / Careers, BMI)(3:49). This title cut from his up-coming LP is a multi -formatblockbuster. Robbins deliversthe irresistible hook with hissoothing tenor while sparklingkeyboards adorn. A&M 2231.

    KWICK, "LET THIS MOMENT BE FOR-EVER" (prod. by Jones) (writer:Jones) (Cessess, BMI) (3:44).Cavorting in harmony and leadthroughout the upper registers,this vocal quartet interacts withamazing grace and control. Asoulful ballad with crossover inthe grooves. EMI -America 8037.


    VAN HALEN, "WOMEN AND CHIL-DREN FIRST." In this case, themetal is pure platinum. Van Halenin a few short years has becomeone of the industry's hottest actsand this album is lean and power-ful-perfect for their already mas-sive audience. Warner Brothers HS3415 (8.98).

    DOLLY PARTON, "DOLLY, DOLLY,DOLLY." Dolly Parton has not onlycrossed over from the country fieldto pop but has, in the past fewyears, become a figure of nationalstature. With the unwavering atten-tion of print and television media,she is a superstar. RCA AHL1-3546(7.98).

    ERIC CLAPTON, "JUST ONENIGHT." Eric Clapton is the originalguitar hero, the man who inspiredcountless musicians, professionaland amateur, to pick up that instru-ment and consider the power ofvirtuosity in the rock field. Adouble -pocket live album. RSORS -2-4202 (13.98).

    STEPHANIE MILLS, "SWEET SEN-SATION." Following her exceptionalperformance in the Broadway ver-sion of "The Wiz," Mills hit thedance floor solidly last year with"Put Your Body In It." The title cuthere is already rocketing up thecharts. 20th Century Fox T-603(RCA) (7.98).

    \N HAI 1.\


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    FCC Directs Broadcast IndustryTo Use Magnavox AM Stereo System

    By BILL HOLLAND11 WASHINGTON - In a tug ofwar between the desire of theFederal Communications Com-mission to reduce regulation anda need to insure the public cer-tainty, the FCC this past weektold the broadcast industry touse an AM stereo system devel-oped by the Magnavox Con-sumer Electronics Company.

    The four to two decision bythe commissioners rejected theproposal by the commission'sbroadcast bureau to okay all ofthe five systems developed andtested-a proposal that wouldhave left the choice up to thebroadcast industry.

    RIAA Survey FindsTotal Disc ReleasesDown 5% from '78 NEW YORK-Nearly 7000 newsingles and long-playing albumswere released by the U.S. recordindustry in 1979, according tothe second annual survey of theRecording Industry Associationof America. The total is about

    (Continued on page 41)

    CBS/Records Group

    Reports ProfitsFor First Quarter NEW YORK-The CBS/RecordsGroup posted profits and a newfirst quarter earnings high for thefirst quarter of 1980 while theparent company, CBS Inc., re-ported a new first quarter high

    (Continued on page 43)

    The Magnavox system, accord-ing to the science and tech-nology section of the FCC, hada slight but not overwhelmingtechnological edge. Each of thefive systems had incompatible

    (Continued on page 18)

    Harvey Schein Named

    PolyGram Corp. Pres. NEW YORK-Harvey L. Scheinhas been appointed presidentand chief executive officer ofPolyGram Corporation, it was an-nounced by Coen Solleveld,president of PolyGram Group.

    Schein will be in charge of all(Continued on page 27)

    Harvey Schein

    NEW YORK-The U.S. Court ofAppeals for the Second Circuithanded down a decision lastweek stating that the blanketlicenses offered by ASCAP andBMI to television networks arelawful and not, as CBS hasclaimed, a restraint of trade. Thedecision could end an 11 -yearbattle between the televisionnetwork and the two performingrights organizations.

    CBS does not have an auto-matic right of appeal in the casebut the network may, through awrit of certiorari, request theright to appeal the case to theSupreme Court. A spokesman forCBS would not comment on thenetwork's intentions, saying only,"we're studying the decision ofthe court to determine our fu-ture course of action."

    Edward Cramer, president ofBMI, who precipitated the actionon December 31, 1969 by can-celling CBS's contract with BMIafter the network had refused torenegotiate the terms, called thedecision an "ultimate victory. Af-ter 10 years it looks like the end

    APRIL 19, 1980

    Blanket ASCAP and BMI LicensesTo Networks OK'd by Appeals Court

    By JEFFREY PEISCHis in sight, and maybe now CBSwill start paying writers and pub-lishers what they're reasonablyentitled to." And in a preparedstatement Bernard Korman, gen-eral counsel for ASCAP, remarkedthat the decision is a "completevindication of ASCAP's televisionnetwork licensing practices. Forcreators of music, this is the mostimportant decision in many dec-ades."

    If CBS does apply for a writ ofcertiorari, the Supreme Court willprobably not rule on it untilsometime next fall. If the writ isdenied ASCAP and BMI will thengo to the district court and nego-tiate an adjustment of the ratesthat CBS has been paying. Cra-mer said that he feels that BMIis due a "substantial sum ofmoney, millions," in retroactiveadjustments. Since 1970 the net-work has been paying ASCAP andBMI a static amount under an in-terim agreement. After this pointis settled, the performing rightsorganizations will then renegoti-ate their contracts with CBS.

    (Continued on page 40)

    Dealers Set Year 'Round PromotionsIn Support of NARM Gift -Giving Push


    NEW YORK-Although littlemore than two weeks havepassed since the close of the1980 annual convention of theNational Association of Record-ing Merchandisers (NARM), the

    Record WorldL:- IL L' F

    Albums220.0220.0 -200.0 -180.0 -160.0 153,6140.0120.0 -100.0 -80.0 -60.0 -40.0

    3/8 3/15 3/22 3/29 4/5 4/12


    -1/8 315 3/122 3)29 41/5 4)12

    The Record World Sales Index is based on a broad cross-section of quantitative sales data reportedto Record World from retailers. rack jobbers and one -stops across the country. The base figure for boththe singles and album indices is a smoothed average of these quantitative reports during periods inJune, 1979. with each weekly figure being a percentage increase or decrease on the base. The basefigure for both singles and albums is 100.0.

    trade organization's ambitious"Give the Gift of Music" cam-paign unveiled there has alreadymet with enthusiastic and, moreimportantly, active support inthe retail and rack communities.

    Bolstered by statistics show-ing 12 percent of annual recordsales to be for gift -giving pur-poses, NARM executive vicepresident Joe Cohen hailed thetrade -wide campaign as themost important endeavor inNARM history. In private,though, he worried that it

    might founder should merchan-disers be content to merely dis-play the stylized logo develop-ed for NARM in print andtelevision advertisements.Cohen, as well as a number oflabel representatives quoted re-cently in Record World (April12), felt the key to success wouldbe merchandisers' willingness todevote in-store space to tie-inthe "Give the Gift of Music"theme with special occasionssuch as Valentine Day, Mother's

    (Continued on page 47)

    N.Y. Feels Effects of Transit StrikeBy DAVID McGEE & PHIL DIMAURO

    NEW YORK-As the New YorkCity transit strike neared the endof its second week, record sales,club and theatre attendance be-gan to reflect urbanites' rapidly -diminishing love affair with thejoys of foot and pedal power.Sales in many instances dippedas much as 20 percent; and whilesome Broadway musicals fared

    well, straight dramatic plays suf-fered. At that, Broadway businesswas reported off by nearly 25percent, with advance ticket salesdown considerably. Off-Broad-way has been seriously affectedby the strike, as theatres there re-port attendance drops of as muchas 50 percent.

    (Continued on page 41)



  • (I;411 2-fL Lo Page 8. An increasing number of blackartists such as A&M artist Jerry Knight(shown at left) are exploring rock music andincorporating it with black musical forms.In this week's RW, artists and record execu-tives discuss "black rock," its implicationson the marketplace and its possible advan-tages on the artists' appeal to a largeraudience.

    Page 10. With Sylvester now an estab-lished artist, and his backup group, TwoTons 0' Fun, gaining favorable response toits debut LP, Harvey Fuqua's Honey Produc-tions is slanting future projects towardsimilar "spin-offs." In an exclusive interviewwith RW, Fuqua discusses his company'sgame plan for the future.

    departmentsA/C Chart Page 32

    Album AirplayReport Pages 24-25

    Album Chart Page 34

    Album Picks Page 16

    Black OrientedMusic Pages 36-37Picks of the Week Page 36Black Oriented

    Singles Chart Page 37Black Oriented

    Album Chart Page 36Black Music Report Page 36

    Classical Page 39

    Coast Page 19

    Country Pages 48-55Country Album Chart Page 52Country Hot Line Page 50Country Picks of the

    Week Page 48Country Singles Chart Page 54Country Singles Picks Page 50

    Cover Story Page 19

    DiscoDisco FileDisco File Top 50Discotheque Hit


    Pages 20-21Page 20Page 21

    Page 20


    Pages 42-43Page 42Page 42Page 42

    JazzJazz LP Chart

    Page 38Page 38

    Latin AmericanAlbum PicksHit ParadeRadio Action

    Pages 44-45Page 44Page 45Page 45

    Nashville Report Page 32

    New York, N.Y. Page 17

    Radio World Page 18

    Retail Report Page 33

    Singles Chart Page 23

    Singles Picks

    Uttal Launches Earlobe Label LONDON - Private Stockchief and former Bell Recordsboss Larry Uttal has formed anew label based in London.

    Uttal has set up a licensingdeal for his label, Earlobe, withPye Records, and its first releasewill be "Mind Made" by ThievesLike Us. Uttal said he is delightedto be able to launch Earlobe witha British act, and by signing toPye he renews a long profes-sional association with chairmanLouis Benjamin.

    Uttal has been in London forsome months setting up hislabel. He closed down thePrivate Stock UK office late in

    Page 14

    1978, and the label is now inlimbo pending the outcome oflitigation.

    LaunchThe Earlobe launch will be on

    April 25, and the Pye deal is forthe UK only. International terri-tory deals are expected to be an-nounced soon.

    Uttal founded Bell Records inthe sixties and signed artistssuch as the 5th Dimension, Re-perata, Tony Orlando andDawn, Del Shannon, the BayCity Rollers and Gary Glitter. Heset up Private Stock in 1974with acts such as David Soul,Frankie Valli, and Blondie.

    Stevens/McGhee Corp.

    Plans 35 LP ReleasesBy JEFFREY PEISCH

    II NEW YORK-Rick Stevens, for-mer VP of A&R for Polydor Rec-ords, and Doc McGhee, a real es-tate and automobile industryentrepreneur, have announcedthe formation of the Stevens/Mc-Ghee Entertainment Corporation,an independent production com-pany with a film, theatre andmanagement division. The com-pany will have offices in NewYork and Miami.

    As a production company theStevens / McGhee Corporationwill supply record labels with fin-ished masters by artists in "everymusical area," according to Ste-vens. The corporation hopes tosell 35 LPs to labels this year andis currently involved with nineprojects in various stages of pro-duction. With these goals thecorporation could become thelargest independent supplier ofproduct in the country.

    Projects currently in somestage of production are: an LP bya "straight -ahead" rock groupcalled Bait, produced by BarryMraz, to be released in June; anLP co -produced by James Brownby the Funky Men; the second LPby Australian singer Christie Al-len, who is also managed by Ste -

    (Continued on page 27)

    CBS Names Jamieson

    To Vice Pres. Post NEW YORK - Dick Asher,deputy president and chiefoperating officer, CBS/RecordsGroup, has announced the ap-pointment of Bob Jamieson tothe newly created position ofvice president, marketing crea-tive operations on the staff of thedeputy president and chiefoperating officer, CBS/RecordsGroup. He will report directly toAsher.

    Bob Jamieson

    In this new capacity, Jamiesonwill be responsible for coordinat-ing worldwide marketing andA&R activities of the CBS Recordsand CBS Records InternationalDivisions. He will be involved indeveloping marketing strategiesfor product released by bothdivisions and will furtherstrengthen worldwide interactionbetween the divisions concerningthe release and marketing of all

    (Continued on page 41)


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





    STEPHEN KLING/ART DIRECTORDavid McGee/Associate Editor

    Doree Berg/Associate Research DirectorSophia Midas/Assistant EditorJoseph lanello/Assistant Editor

    Steven Blauner/Assistant EditorJeffrey Peisch/Assistant Editor

    David Skinner/Associate Art DirectorKen Smikle/Black Music Editor

    Carl Skiba/Assistant EditorJoyce Reitzer Panzer/ProductionGreg Brodsky/Assistant Editor

    Speight Jenkins/Classical EditorBrian Chin/Discotheque Editor

    Marc Kirkeby/Contributing EditorBill Holland/Washington Correspondent

    Stan Soifer/Advertising SalesWEST COAST


    Samuel Graham/Associate EditorLaura Palmer/Assistant Editor

    Terry Droltz/ProductionLouisa Westerlund/Research Assistant

    6255 Sunset BoulevardHollywood, Calif. 90028Phone: (2131 465-6126




    Marie Ratliff/Research EditorMargie Barnett/Assistant Editor

    49 Music Square WestNashville, Tenn. 37203Phone: 1615) 329-1111


    3140 W. 8th Ave., Hialeah, Fla. 33012Phone: (3051 885-5522, 885-5523


    ManagerSuite 22/23, Langham House

    308 Regent StreetLondon WI

    Phone: 01 580 1486JAPAN


    18.12 Roppongi 7-chomeMinato-ku, Tokyo


    Liebherrstrasse 198000 Muenchen 22, Germany

    Phone: (089) 22 77 46Telex: 05-216622


    P.O. Box 678, Crows Nest, N.S.W. AustraliaPhone: 2.92.6045


    8, Quai de Stalingrad, Boulogne 92, FrancePhone: 527-7190


    Res. Madrid-Parcela APortal 2A-410 AMajadahondaMadrid, Spain


    Apartado Postel 94-281Mexico 10, D.F.

    Phone: (905) 294-1941


    1697 Broadway, New York, N.Y. 10019Phone: (212) 586-0913


    Copyright () 1980 byRECORD WORLD PUBLISHING CO., INC.

    VOL. 36, NO. 1708

    4RECORD WORLD APRIL 19, 1980



    30"7 51 IA= I

    I II II I



    4 5 4 12 4 5 4 12 45 4 12

    \s-vHIS LOV,y

    N, crashing intothe playlists






    rPr.MrI4/14 HOT CHART ;t11

    As hard to believe as it may seem,there have been reports of a few sight-ings of wooly -headed non -believers.Face the facts (as indicated above)woolies: you're a vanishing breed.

    The whole country is abuzz over"Crash and Burn," which not so coin-cidentally follows the success of PTB'slive, ass -kicking, "Go For What YouKnow." Every radio station worth itswattage is firmly convinced, with some


    c 19oo Pow« Imo,porated

    RADIO & RECORDSAOR Airplay List, 11 to *8

    4 4 4 11







    Pat Travers BandHeadline Tour:Apr 9 Schnectady, NYApr 10 Rochester, NYApr 11 Cleveland, OHApr 12 Pittsburgh, PAApr 13 Toronto, CANApr 14 Montreal, CANApr 16 College Park, MDApr 17 Fitchburg, MAApr 19 New York City, NYApr 21 Rockford, ILApr 22 Des Moines, IAApr 23 St. Louis, MOApr 25 Milwaukee, WIApr 26 St. Paul, MNApr 27 Peoria, ILApr 29 Grand Rapids, MIApr 30 Royal Oak, MIMay 2 Chicago, ILMay 3 Davenport, IAMay 4 South Bend, INMay 5 Dayton, OHMay 6 Indianapolis, INMay 9 Kansas City. MOMay 10 Omaha, NEMay 11 Wichita, KAMay 13 Mesa, ARMay 14 Phoenix, ARMay 15 Albuquerque. NMMay 16 Tucson, ARMay 17 San Diego, CAMay 20 Santa Monica, CAMay 21 Fresno. CAMay 22 Reno. NVMay 23 San Francisco, CAMay 24 Santa Cruz, CAMay 25 Oakland, CAMay 26 Sacramento, CAMay 28 Eugene, ORMay 29 Portland. ORMay 30 Spokane, WAMay 31 Seattle, WAJun 3 Victoria, CANJun 4 Vancouver, CANJun 6 Calgary, CANJun 7 Edmonton, CANJun 12 Oklahoma City, OKJun 13 Dallas, TXJun 14 San Antonio, TXJun 15 Beaumont, TXJun 17 McAllen, TXJun 18 Austin, TXJun 19 Houston, TXJun 20 Wichita Falls, TXJun 21 Lubbock, TXJun 22 Midland, TXJun 23 Corpus Christi. TXJun 25 New Orleans. LA

    even urging us to release three singles,simultaneously. (Patience, we say. All ingood time.) And the insatiable hordes ofPat Travers Band fanatics continue togrow at a pace, which, were we not therecord company, could be calledfrightening.

    Our thanks and appreciation go outto you who have supported Pat TraversBand's slashing attack from the begin-ning. And should you happen across a

    BILL HARD'S FMQBAlbum Report 14 to 11




    13 12


    "Snortin'Whiskey"11 to 10

    "Is ThisLove"





    "Crashand Burn"

    10 to 9

    0 0AOR RADIO 0

    On everywhere, coast to coast

    PD -1-6262


    stray wooley in your travels, don't be toohard on them. Remember. They're prac-tically extinct.Pat Travers Band. "Crash and Burn:'Was there ever any doubt?On Polydor Records and Tapes.

    Give the giftof music.Write or call your Polygram Distribution office for displays or other promotion items.


  • CRT Receives RIAA Economic Study;

    Report Highlights Industry Difficulty NEW YORK - The RecordingIndustry Assocation of Americahas released to the CopyrightRoyalty Tribunal in Washingtonan "Economic Study of the Re-cording Industry," compiled forthe forthcoming mechanicalroyalty rate -making proceeding.The report, prepared for RIAA bythe Cambridge Research Institute(CRI), covers a wide-rang:ng con-solidation of recording companyeconomics from 1977 through

    'Gideon' & 'Gambler'Score for Rogers Kenny Rogers enjoyed a multi-media week with the auspiciousdebut of his new album "Gid-eon" on the Record World Al-bum Chart and the success ofhis CBS -TV Special "The Gam-bler."

    Premiering at #18 bullet andjoining Rogers' two albums al-ready in the top 30 - "Kenny"and "The Gambler"-is "Gideon."Bolstered by the pre -album re-lease of his single with KimCarnes, "Don't Fall In Love WithA Dreamer," which entered theRW Singles Chart as Chartmakerand is currently at #16 bullet,"Gideon" combined strong re-tail especially in the south, withexceptional rack activity in thefirst week. "Gideon" shippedplatinum while "The Gambler"and "Kenny" are nearing quadru-ple platinum.

    Meanwhile, Rogers' profile ontelevision matched his chart ac-tivity with Tuesday's (8) CBS -TVairing of "The Gambler," a made -for -TV feature developed from hishit song of the same title. Ifmusical shows have generallyfared poorly in the ratings wars,the dramatic feature used as Rog-ers' acting debut vehicle swept itstime period in both ratings andaudience shares.

    Average rating over the two-hour period was 31.2, as com-pared to second -placed ABC pro-gramming averaging 16.5. Audi-ence share averaged 49.7, ac-counting for an estimated 70 mill-ion viewers, according to sourcesat Kragen & Co., Rogers' man-agement and producers of thefeature.

    Overall, CBS programming staf-fers reportedly predict "TheGambler" could prove top -ratedshow for the week, and has al-ready outstripped all other TVfilms aired thus far this year.

    That success has led managerKen Kragen to plan a sequel, butrather than follow with anotherTV project, the followup is nowbeing eyed as a major featurefilm for theatrical release.

    1979.The comprehensive analysis

    highlights the period of recenteconomic difficulties as reflectedin questionaires submitted bycompanies representing 70.9 per-cent of 1979 industry sales.

    In submitting data for thatperiod, CRI concluded, "Onefact is strikingly evident fromthese exhibits: In terms of pre-tax profits (and losses), 1979 wasthe worst year for the recordingindustry in recent history." TheCRI report shows a 1979 loss of11.5 percent on net sales.

    CRI's report also highlightedescalating costs and risks by re-vealing sharp rises in the break-even point on popular LPs. Basedon 1979 statistics, approximately140,500 albums must be sold be-fore a popular LP can recover itscosts. This figure is more thandouble the last available statisticsfrom 1972, when the breakevenpoint was 61,000 albums.

    The CRI figures cite that in1963, 61 percent of all popularLP's failed to break even. Thisnumber grew to 77 percent in1972, and in 1979 84 percentsimilarly failed to reach thebreakeven level.

    As part of its submissions tothe Copyright Royalty Tribunal,RIAA also presented its "AlbumContent and Tune Length Study"which analyzed music content of150 chart LPs. The report showedthat the average song content ofthese albums was now 9.14 tunescompared with 12 tunes in 1965

    SinglesEast:Boz Scaggs (Columbia)Linda Ronstadt (Asylum)Anne Murray (Capitol)Red Rider (Capitol)

    South:Linda Ronstadt (Asylum)Whispers (Solar)

    Midwest:Paul Davis (Bang)Ambrosia (Warner Bros.)Linda Ronstadt (Asylum)Bernadette Peters (MCA)Anne Murray (Capitol)

    West:Lipps, Inc. (Casablanca)Mac Davis (Casablanca)Red Rider (Capitol)


    CBS, Precision Pact

    Don Dempsey, senior vice president and general manager, Epic/Portrait/CBS AssociatedLabels has announced that Precision Records, headed up by Tom Cossi. has joined theCBS Records family of Associated Labels. Precision's first release will be an album byThe Silencers, produced by Bob Clearmountain and slated for June release. Precisionis headquartered in New York City at 1500 Broadway. Pictured at E/P/A's New Yorkoffices are, from left: Ron McCarrell, VP marketing, E/P/A; Dennis Katz, attorney;Chuck Cossi, Precision Records; Don Dempsey, senior VP and general manager, E/P/A;Gordon Anderson, director, national promotion, CBS Associated Labels; Tom Cossi,president, Precision; and Tony Martell, vice president and general manager, CBS As-sociated Labels.

    and 10 tunes in 1973. Albummusical content, however, has in-creased, the study showed, withthe average album now contain-ing 38:31 minutes of music. Thisis up from 33 minutes in 1965and 37:28 minutes in 1973. Aver-age playing time per tune hasgone up to 4:13 minutes from2:45 minutes in 1965 and 3:45minutes in 1973.

    The Copyright Royalty Tribunalon May 6 will commence pro-ceedings to review the mechani-cal royalty rate on compulsory -licensed recordings. Confrontingthe complex issues before theTribunal will be RIAA in behalfof recording companies, NMPAfor music publishers, and AGACrepresenting composers.

    L LPLAlbums

    East:Van Halen (Warner Bros.)Isley Brothers (T -Neck)Kenny Rogers (UA)Boz Scaggs (Columbia)Genesis (Atlantic)

    South:Van Halen (Warner Bros.)Isley Brothers (T -Neck)Kenny Rogers (UA)Boz Scaggs (Columbia)Beatles (Capitol)

    Midwest:Van Halen (Warner Bros.)Isley Brothers (T -Neck)Kenny Rogers (UA)Boz Scaggs (Columbia)Joe Perry Project (Columbia)Genesis (Atlantic)

    West:Van Halen (Warner Bros.)Islay Brothers (T -Neck)Kenny Rogers (UA)Boz Scaggs (Columbia)Beatles (Capitol)Firefall (Atlantic)

    Zappa, Columbia Set

    Pact for New Single LOS ANGELES-Following thereported dissolution of a U.S.distribution deal between Phon-ogram/Mercury and guitarist/composer Frank Zappa's ZappaRecords label, Columbia Recordslast week agreed to distributeZappa's latest single, "I Don'tWanna Get Drafted."

    Terms of AgreementAlthough the Zappa-Columbia

    arrangement is for this singleonly, sources indicate that nego-tiations are currently underwaywhereby Zappa and his labelwould be signed to Columbiafor future releases as well; CBSalready handles Zappa productthroughout the world, except forthe United States and Canada.

    The Zappa Organization hadpressed and distributed (to radioonly) some six thousand copiesof "Drafted," including one thou-sand 12 -inch singles. AlthoughColumbia will now take over dis-tribution chores, Zappa will con-tinue in charge of promotion andpublicity for the record.

    Carly Simon To WBLOS ANGELES - Carly Simon

    has been signed to an exclusivelong-term worldwide recordingcontract by Warner Bros. Records.The announcement of the signingcame from Warner Bros. boardchairman and president Mo Ostinand Arlyne Rothberg, Simon'smanager.

    New AlbumThe first album under the new

    agreement, "Come Upstairs," hasbeen completed and will be re-leased some time next month;the title cut will be released asthe first single. The sessions wereproduced by Mike Mainieri, whois also a recent Warner Bros.signee.

    6RECORD WQRLD APRIL 19, 1980




    "Ozark Mountain Daredevils. Features the singleTheir Columbia debut. 'Take You Tonight:.

    Produced by John Boylan.Management: Stan Plesser/ Paul Petersongood karma productionsAgency: ICM J( 16819

    Also available on tapes.

    On their new album,"Ozark MountainDaredevils;' theOzarks play fullscale rock 'n' roll.

    The songs-allof them Ozarkcompositions-aresure to reach theheights of "If YouWant to Get toHeaven"andlackieBlue.

    Producer JohnBoylan's convincedof that.And he

    Boston andCharlie Daniels.

    So don't let thisrock slide by!

    Buy it once. Enjoy it a lifetime. Recorded music"Columbia" is a trademark of CBS Inc. is your best entertainment value.

    © 1980 CBS Inc


  • Black Artists' Use of Rock on the RiseBy KEN SMIKLE

    NEW YORK - While othercategories of music have sufferedfrom the ups and downs oftrends, black music has alwaysmaintained a steady growth,gathering more and more listen-ers each year. One of the ex-planations for the growing ap-peal of black music stems fromthe efforts of black musiciansto constantly create new soundsthat are built on a solid found-tion of R&B. Black artists havethroughout history borrowedfrom other musical forms and,in the process, created new anduniversally accepted sounds.These new trends are oftenpicked up by white artists andpopularized without properlyplacing the credit where itrightfully belongs.

    There is apparently a renewedinterest among black artists inexploring the use of rock musicwith R&B. In talking with someof these artists, there is a com-mon reference to Jimi Hend-rix, who pioneered the blendingof the two musics in the latesixties. Also mentioned as asource of inspiration is Sly Stone,who created a music that be-came one of the most widelyimitated forms of the last decade.Miles Davis fathered fusionmusic in the late sixties by com-bining the elements of rock withjazz.

    The reasons that artists givefor using rock music in theirown sound are as varied as theresults each has received withthe music. A&M artist JerryKnight, whose debut single,"Overnight Sensation," is prov-ing to be just that, said "I've al-ways had an interest in rockmusic, as far as listening topeople like Hendrix and Sly. But

    I basically think that rock 'n' rollis the foundation of R&B, com-ing from folks like Chuck Berryand Little Richard. When youhear Elton John you hear thestuff that Little Richard used todo. So black artists really startedrock, and being creative theyjust went on into somethingelse and rock 'n' roll stampedits own label like disco did. Ifeel like I'm just reaching backand getting the roots of R&Bmusic and trying to put it in aform which everybody canidentify with."

    Herbie Hancock, who waswith Miles Davis in those earlyyears of fusion, has built hisreputation on creatively doingthings with jazz music. On hisnew Columbia album, "Mon-ster," Hancock, who has playedalmost every other form ofmusic, tries his hand at rock."What I wanted to do was en-ter into some areas that Ihadn't gotten into before, and

    at the same time broaden mybase," he said. "I never hadanything that was suitable, ac-cording to the pop stations, forpop airplay. I wanted to find outfor myself what I could comeup with, to open up the albumand spread out a little bit." Todo that he brought in such talentsas Devadip Carlos Santana onguitar.

    Also coming out of a jazzbackground are Columbia artistsJohn Lee & Jerry Brown. Theirdebut LP, entitled "Chaser,"demonstrated that they not onlyknow the fusion territory, butare equally skilled in the lan-guage of rock. In fact, as Lee ex-pressed it, their experience play-ing with artists like Max Roachand Larry Coryell can be heardeven when they're playing musicinspired by Hendrix. "Like a lotof people, I grew up listening toall kinds of music, includingrock," said Lee, "and I love itall."

    Seeking a larger audience isusually not the reason thatthese artists have added rockto their repertoire. They aremore concerned with pursuinga creative idea or challengingthemselves to do something dif-ferent. "I'm just crazy about thesound of guitars," said Knight."I never really gave muchthought to what kind of marketit would appeal to. It was just akick to me to get into the studioad finally play what I wanted toplay. So if somebody calls itrock that's their interpretationof it. I think of it as being me."

    Even if these artists hadcreated with the intentions ofappealing to both black andwhite audiences, they wouldhave found it difficult to achieve.Artists such as Prince, whose

    Bedell Forms Newmusic blends equal parts of Irock and R&B that appealsequally to both black and whiteaudiences, are the exception, notthe rule. For the most part, theseartists have relied on the basesupport of one market, usuallyeither jazz or R&B. This supportis generally hard to broaden.For while they are performingmusic that appeals to a whitemarket, pop radio has yet togive them proper exposure.

    "Some people feel that theway to approach the marketingof these artists," offered VernonSlaughter, VP of marketing,jazz/progresive at Columbia, "isto take these artists out of theirbase audience and try to de-velop a new audience. I don'thappen to agree with that.Rather than leave the base thatyou have, you should try tobroaden the appeal in all direc-tions. There are very few artiststhat can be called universalartists, like Stevie Wonder, andmost artists will never achievethat level." When asked aboutthe feasibility of being able tore -position an artist by simplychanging his music Slaughteranswered, "I think that it's pos-sible but it depends on themusic. The music has to be sin-cere and we feel our artists are.Regardless of what area of musicwe're talking about, if it soundslike just an attempt to broadenthe audience, then I think itcomes off as being fake and itdoesn't succeed for that reason.

    "The main reason that it'sdifficult," he continued, "is be-cause of the categorization.Stanley Clarke went on a tourlast year with Ron Wood andwas the surprise hit of the tour.But we still have problems get -

    (Continued on page 43)

    ASCAP Congratulates McDonald

    ASCAP's west coast representatives recently extended their congratulations to multi -Grammy winning ASCAP member Michael McDonald of the Doobie Brothers, at Mc -Donald's PR offices of David Gest & Co. in Los Angeles. McDonald is a writer andpublisher (Snug Music) member of ASCAP. From left: Michael Gorfaine (ASCAP westernregional director for repertory); McDonald; Julie Locke, (ASCAP membership representa-tive) and Todd Brabec (ASCAP western director of business affairs).

    Pub., Prod. Co. LOS ANGELES - Steve Bedell,formerly vice president / musicpublishing for Casablanca Rec-ords, has announced the forma-tion of a new company, MusicConcepts International. In part-nership with Evan Pace, formerprofessional manager for Rick'sMusic/Cafe Americana, Bedell in-tends the company to be in-volved in creative music publish-ing, executive production for se-lect artists, and comprehensivemusic packaging in the televisionand motion picture media.

    BackgroundPrior to the Casablanca posi-

    tions, Bedell and Pace were ex-ecutive vice president of the WesFarrell Organization and profes-sional manager of Arista Music,respectively.

    Music Concepts Internationalwill be temporarily headquar-tered at 257 Ashdale Place, LosAngeles, CA 90049. The tele-phone number is (213) 472-6153.

    20th Finance Lineup LOS ANGELES - MontyHoudeshell, vice president,finance and administration hasannounced the following staffpositions and additions for 20thCentury -Fox Records:

    Dianne Leedy was promotedfrom manager to director ofaccounting. Leedy was staff as-signments director at the ac-counting firm of Haskins & Sellsprior to her appointment at 20th.Curtis Yew, formerly with Mc-Culloch Corp. in the internalaudits section, will serve asroyalty manager.

    Susan Fickenscher, senior ac-countant, recently joined 20th.Fickenscher previously worked inthe international department atWarner Brothers Films. ArleneSlotnick, royalty accountant, andLauralee Phillips, junior ac-countant, are additional newappointees to the 20th account-ing staff.

    ATI Taps Thayer NEW YORK - Jeff Franklin,president of American Talent In-ternational, has announced theappointment of Doug Thaler tothe position of vice president andgeneral manager of publishingoperations for ATI Equities.

    Nonesuch Releases Two LOS ANGELES - NonesuchRecords has released two recordsin March, the "Organ ChoralePreludes Of Bach And Brahms AsTranscribed by Ferruccio Buso-ni," performed by Paul Jacobs,end "Handel Concerti Grossi Op.3," performed by George Mal-colm and the Northern Sinfonia.




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  • Harvey Fuqua:111111111111111111111111111111,1111IIIIIIIII, ,11111., .,11

    'Spin-offs' Key Future of Honey ProductionsBy SAM SUTHERLAND

    LOS ANGELES - With singerSylvester established with bothblack and dance music audi-ences, and his backing vocal duo,Two Tons O'Fun, breaking ontoblack -oriented charts, producerHarvey Fuqua is slanting futureprojects for his Fantasy -distribut-ed Honey Productions roster to-ward similar "spin-offs."

    That plan is the culmination ofa radically revised Honey roster,set by Fuqua several years agoafter first hearing Sylvester'svaulting, gospel -edged singingand feverish backing group."When I saw Sylvester and thegirls," recalled Fuqua in a recentinterview with RW, "I said,'That's it.' I cut the roster downto just one act, Sylvester."

    Varied ProjectsThe long-range outlook al-

    ready called for separate projectsinvolving Two Tons' Izora Arm -stead and Martha Walsh. "Thatwas the plan. I heard the firstsong, and it just freaked me out.I saw these different elementsthat could eventually be solo actson their own," explains the ve-teran producer. "There was hisguitarist, then there was Sylves-ter himself, of course, and thenthe two girls."

    Early acceptance for Two TonsO'Fun's eponymous debut al-bum, which enters this week'sRW Black -Oriented Album Chartat 48, and the duo's first single,"Just Us," making its BOS Chartdebut at a bulleted 64, are mak-ing Fuqua understandably bull-ish. Yet another permutation,calling for separate solo projectsby both Walsh and Armstead,has been under considerationfrom the outset, according toFuqua.

    "If this record happens," hesays of the duo's current titles,"and it looks like it will, we'lldo it all: solo things, duo pro-jects and duets with Sylvester."

    For Fuqua, this emphasis onreaping multiple recording en-tities from a single act isn't new.If anything, Honey's new regimemarks a full circle in talent de-velopment strategy for Fuqua,who attempted a similar spin-offwith RCA's New Birth, the pro-ducer's major assignment priorto signing with Fantasy in themid -'70s.

    For that act, Fuqua envisionedthree additional recording pro-jects beyond New Birth's hit sin-gles and albums, including a in-strumental group, The Night -liters, and two different vocalquartets, one female (The MintJuleps) and one male (The FourGuys).

    "Honey Records was set up

    around '75," Fuqua explains ofhis next step. "That's when wemade our first deal with Fantasy,under which we would produceacts for them. We started withthree acts, one from North Caro-lina named Janus, and two fromLos Angeles, Water and Powerand Jean Shy."

    Seeking more of a regionalfocus, Fuqua then says he beganworking with Bay Area acts inthe hope of developing a localcommunity. "That went on forabout a year, without much hap-pening, and then I saw Sylves-ter."

    Industry veteran Nancy Pittsintroduced Fuqua to Sylvester'slive show, taking him to a localclub performance. Recalls Fuqua,"He'd been working in variousclubs in and around San Fran-cisco, and I was still trying todevelop those acts I'd alreadyspent two or three years workingwith. It was taking too long."

    Sylvester, on the other hand,immediately captured Fuqua's at-tention, leading to the decisionto jettison Honey's other actsand focus solely on Sylvester.

    Fuqua is quick to stress thathis own involvement with suchspin-offs indeed recalls song-writer -producer George Clinton'sHydra-headed success with theP -Funk entourage and its initialsuccess at sustaining separatecareers for Parliament and Fun-kadelic, leading to subsequentadditional spin-offs. But whilehe's now determined to exploreany promising new variants onthe Sylvester/Two Tons combi-nation, he'll also remain open toother, outside artists.

    "There are members of Sylves-ter's band who have alreadygone on to other things, writingor producing," he says, alludingto songwriter Chip Wirreck,who's already penned materialfor Two Tons O'Fun.

    Fuqua is meanwhile workingseveral other fledgling groups,including a New York -basedquintet he describes as "fiveChinese guys playing rock andfunk," named Amerasia. Theproducer has also handled ses-sions with vocalist G.C. Cameronand Gideon Power, completedSylvester's next studio album,and is readying upcoming datesfor Two Tons' follow-up.

    With Nancy Pitts, manager forboth Sylvester and Two Tons 0'Fun, also handling administrativechores for Honey, Fuqua himselfis free to concentrate on produc-tion.

    As for Fuqua's Fantasy part-ners, they, too are enthused bysigns of Honey's most fertile pe-riod yet. Label marketing vicepresident Phil Jones, who firstworked with Two Tons' Arm -stead and Walsh during varioussession dates on other Fantasyprojects, says early response hasbeen "phenomenal."

    Ralph Kaffel, label president,meanwhile terms Honey's cur-rent lineup promising indeed."The relationship has been very,very good," says Kaffel. "We'rebatting a thousand so far, sincethe Two Tons album is reallythe first to be on the Honeylabel itself. Sylvester himself willstay on Fantasy, but the Honeyconcept gives Harvey the identityhe and his artists feel he needs."

    Arrell's Album Debut

    MCA Records recording artist Gregg Arrell recently debuted his album "Gregg Arrell"at Donte's for MCA personnel and press. The first single off this album, written andproduced by Arrell, is "Be My Lady Tonight." Pictured, from left, are: Al Ross, Arrell'smanager; Arrell; Bob Siner, president of MCA Records; and Rick Frio, president ofCarousel Records.

    CBS Establishes

    Developing Artist Plan NEW YORK - CBS Recordshas announced the establishmentof its new developing artist plan,effective with those developingartist releases scheduled to be instores on April 14.

    The plan provides that all "N"prefixed product will carry a sug-gested list price of $5.98. Theseselections will continue to carrya suggested list price of $5.98until such time as the companyseems it appropriate to raise theprice to the level customarilycharged for new releases by es-tablished artists on CBS Recordslabels. Two weeks prior to thatpoint in time, accounts will begiven the opportunity to placeone final order at the $5.98 price.The "N" will then be droppedfrom the prefix and the selectionwill carry a suggested list priceof $7.98.

    All "N" prefixed product willbe 100 percent exchangeable.These returns will not affect the20 percent exchange allowance.All billing of "N" prefixed prod-uct will be over and above es-tablished credit lines. All initialorders for "N" product placedprior to the Thursday before theshipped date will carry 120 daysdating. All initial orders of "N"product will be exempt from boththe pick pack and ship chargesand the minimum order require-ments. In addition if an accountagrees to take a minimum speci-fied quantity of each new de-veloping act, they will earn anadditional 10 percent discounton the initial order.

    Stiff Names TwoTo Sales Positions NEW YORK-Stiff Records hasannounced the realignment of itssales department for the distribu-tion of its independent label withthe appointments of MichaelMartucci and Stephen Bonannoto key sales posts, according toBarry Taylor, general manager,U.S. Stiff operations.

    Martucci has been named di-rector of the newly formed StiffRecords Distribution. Stiff Rec-ords Distribution will be respon-sible for the national distributionof all records released on the in-dependent Stiff label. Addition-ally, it will make available se-lected imported and domesticallyreleased records and books. Mar-tucci was most recently nationalaccounts manager at Arista Rec-ords.

    Bonanno has been named di-rector, Stiff sales. His responsibil-ities will include the coordina-tion and solicitation of all rec-ords handled through Stiff Rec-ords Distribution. He was mostrecently an agent at ICM.

    10RECORD WORLD APRIL 19, 1980


  • Roddy S. ShashouaPresident and Chairman

    USA HEADQUARTERS:International Music Industries, Ltd.1414 Avenue of the AmericasNew York, New York 10019 U.S.A.Tel: (212) 489-9245Telex: 234107

    Anne StephensonDirector of Operations

    AUSTRALIA:General Public Relations Pty. Ltd.PO Box 451Neutral Bay function 2089 AustraliaTel: 9082411Telex: CLAUS AA26937

    Harry PlantAustralian Representative

    UNITED KINGDOM:International Conferences &Expositions Ltd;5 Chancery Lane, 4th FloorLondon WC2, EnglandTel: 404 0188/4567Telex: 896217 Roger G

    FRANCE:18. avenue Matignon75008 Paris. FranceTel: 622 5700

    Charles lhgui.French Representative

    ITALY:Via Correg,gio 2720149 Milan, !tabTel: 482 456

    Aldo Pagani.Italian kepicscntanvc


    9p j\0,-9p,51.


    30, A9B


    6th AnnualInternationalRecord & MusicIndustry Market



  • RIAA Bows 'Hitline' Alert Plan NEW YORK - The RecordingIndustry Association of Americais setting in motion a new "Hit -line" Alert plan to enlist manu-facturers and merchandisers in amore active role in the war oncountefeithers, according toRIAA president Stanley Gortikov.

    Conceived by the RIAA execu-tive director Stephen Traimanand endorsed by Jules Yarnell,RIAA special counsel, anti -piracy,the plan has the full cooperationof the National Assocation of Re-cording Merchandisers and itsnewly formed anti -piracy taskforce.

    Simply described, the "Hitline"Alert will provide instant infor-mation on all album or singletitles "hit" by counterfeiters, andconfiscated in raids by lawenforcement officials. Completedescriptions of the product willbe provided to help manufactur-ers and merchandisers identifythe suspect units.

    The detailed steps of the RIAA

    Rudin Named PDI VP NEW YORK - Jack Kiernan,vice president/sales of PolygramDistribution, Inc., has announcedthe appointment of Shelly Rudinas regional vice president. Rudinwill be responsible for oversee-ing the Boston, New York, Phila-delphia and Washington branch-es, with respective branch man-agers reporting directly to him.

    Shelly Rudin

    Rudin was most recently NewYork branch manager for Poly-gram Distribution. Prior to thathe was with ABC Records asNew York and Boston branchmanager. Rudin was also NewYork branch manager for Phono-disc.

    "KARLA"I RDA -586

    Produced and arranged by

    Donn Larson

    Easy Rock

    Incoranotas Records

    "Hitline" Alert are: After each raid or confisca-

    tion of any significance, theRIAA anti -piracy intelligenceunit will immediately supply alist of all such counterfeit orbootleg product by title andlabel to the manufacturing/dis-tribution company.

    Wherever possible, anactual sample of each confiscatedtitle-single, LP, cassette or 8-track-will be supplied to thelegitimate manufacturer for in-ternal inspection. If product isunavailable, a complete descrip-tion of the counterfeit will beprovided.

    A similar list of all "Hitline"product, along with descriptions,will be provided to NARM head-quarters, with NARM taking theresponsibility for alerting all ofits members.

    Only exceptions to theabove information will be prod-uct that is the subject of a confi-dential investigation, as deter-mined by the FBI, other lawenforcement officials or the RIAA.

    The new RIAA "Hitline" Alertunderscores the recording in-dustry's concern on all levelsover the cancer of counterfeiting,with a conservative estimate ofsome $400 million in lost industrysales in 1979.

    Smokey Visits RW

    Smokey Robinson recently stopped by Record World's west coast office to present staffwith a gold token of appreciation for his album, "Where There's Smoke." On hand forthe presentation were (from left): Gary Davis, senior vice president of promotion atMotown; RW's Sam Sutherland; Smokey; RW's Spence Berland; Bonnie Goldner andMiller London of Motown, and (back): Skip Miller, vice president of promotion forMotown.

    CBS Launches Billy Joel Campaign NEW YORK - Columbia Rec-ords has launched a marketingcampaign in support of Billy Joel'slatest album, "Glass Houses." Thecampaign features over 300 10 x22 foot billboards which will beposted for one month beginningApril 15 in 23 major marketsacross the country. This will beaugmented by a concentrated10 -day TV advertising campaignas well as continued radio andprint advertising.

    This campaign willsix weeks after the

    WEA Catalogue Price Hikes LOS ANGELES - WEA Corp.has hiked suggested list pricesfor 113 catalogue titles, all mul-tiple disc or tape packages andencompassing both specially -priced and higher ticketed items.

    The current increases, whichwent into effect March 31, arebeing linked to the latest waveof cost increases to manufac-turers, spotlighted by a majorjump in PVC resins (RW, March29, 1980) and now impacting onthe music trade.

    While the actual increases inlist prices in some cases nears40 percent, adjustments to thecorresponding suggested list fortape configurations has yieldedsingle lists for both tape and discin most instances.

    Among the affected items,double packages formerly carry-ing a $9.98 LP list and $10.98tape list, now hiked to $11.98 forboth formats, include Peter, Pauland Mary's "In Concert;" "Grate-ful Dead" and that group's "LiveDead;" "Another Time" by Earth,Wind & Fire; Black Sabbath's"We Sold Our Soul To Rock 'n'Roll;" Frank Sinatra's "Sinatra: AMan And His Music" and "Sina-tra At The Sands;" Jimi Hendrix's"Electric Ladyland" and "JimiHendrix" original film sound-track packages; "Made In Japan"by Deep Purple; The Mothers ofInvention's "Roxy and Else -

    commencerelease of

    where;" "Sweet Child" by Pent-angle; "Gordon Lightfoot's Great-est Hits;" Genesis' "The LambLies Down On Broadway;" andthe original cast package from"Jacques Brel Is Alive."

    Titles formerly listed at $7.98(disc) and $10.98 (tape) now car-rying a suggested list of $11.98include Deep Purple's "PurplePassages;" "Uncle Meat" by TheMothers of Invention; and Cap-tain Beefheart's "Trout Mask Re-plica."

    Increased from $7.98 (disc) and$9.98 (tape) to $11.98 are "TheKink Kronikles" by The Kinks;Neil Young's "Journey ThroughThe Past;" "We've Got A LiveOne Here" by CommanderCody; Todd Rundgren's "Some-thing/Anything;" "Live" by thePaul Butterfield Blues Band; "TheCompleat Tom Paxton;" The In-credible String Band's "U" and"Relics;" "Nighthawks At TheDiner" by Tom Waits; HerbieMann's "Evolution Of Mann;"Duke Ellington's "The GreatParis Concert;" "The Art Of TheModern Jazz Quartet;" ChickCorea's "Inner Space;" "The Artof John Coltrane;" "The Art ofDave Brubeck;" Les McCann's"Live At Montreaux;" WilsonPickett's "Greatest Hits;" "RayCharles Live;" "Blow Your FaceOut" by The J. Geils Band; Ray

    (Continued on page 26)

    "Glass Houses," Joel's sixth albumon Columbia. The label has de-signed this campaign in order toreach the broadest possible dem-ographics. The strategy targetsrepeated exposure of the bill-boards, each market containinganywhere from five to 50 bill-boards. The locations, whichwere hand-picked by local CBSRecords branches, are positionedon highly visible thoroughfaresnear shopping malls, major accounts, campuses and other keysites. Many billboards will als(

    willhighlight local accounts. Colum-bia Records has ordered a sub-stantial overrun of the billboardswhich will be used in conjunctionwith radio station and in-storegiveaways around the country.The CBS college promotion de-partment has also planned pro-motional tie-ins for the posters atmany campuses.

    Columbia Records' marketingcampaign in support of "GlassHouses" was designed by LindaBarton, vice president, advertisingplanning; Morris Baumstein, ad-vertising consultant to CBS Rec-ords from Young & Rubicam; JoeMansfield, vice president, market-ing, Columbia Records; andBarbara Cooke, director, mer-chandising, Columbia Records.

    MCA Music TapsRick Shoemaker NEW YORK-Leeds Levy, vicepresident of MCA Music, hasannounced the appointment ofRick Shoemaker to director ofcreative services for MCA Musicat the company's Los Angelesoffice.

    Prior to joining MCA Music,Shoemaker was with InfinityMusic where he was nationaldirector of music publishing. Hewas also with ABC Music wherehe served as vice president forthree years.

    12RECORD WORLD APRIL 19, 1980


  • Record World PresentsA Salute to

    Creative Workshopand

    Southern Writers Group

    Through the work of Buzz Cason and his asso-ciates, Creative Workshop recording studiohas been a pacesetter in the music industry inTennessee. Record World is pleased to an-nounce the publication of a special issue com-memorating the tenth anniversary of CreativeWorkshop, the development of SouthernWriters Group, USA into the innovative sourceof creative talent it is today, and the excitingprospects for the future with the new secondstate-of-the-art Creative Workshop Studio.

    Advertising Deadline: May 2Editorial Deadline: April 28

    For further information contac7 our marketing specialists:Nashville-Tom Rodden -(615) 329-1111

    Los Angeles Spence Berland (213) 465-6126New York-Stan Soifer-(212) 765-5020


  • 1.... Record World L.

    © L`kilias:11. 1 L7 ...._\,.........,NICOLETTE LARSON-Warner

    Brothers 49172DANCIN' SHOES (prod.

    by Templeman)(writers: Leiber-Stoller-Sembello-Dino)(Yellow Dog, ASCAP)(3:15)

    Larson has become a top 30 staplewhile representing the finest ofthe west coast soft -rock school.Culled from her "In The Nick OfTime" LP, this cut is a happy-go-lucky pop -A/C sureshot with aperky rhythm clad in multi -per-cussion colors. Larson is appro-priately cute and Michael Omar-tian's keyboards extend the smiletheme with a light melody line.

    PAT TRAVERS-Polydor 2080IS THIS LOVE (prod. by

    Mackay -Travers)(writer: Marley) (BobMarley/Almo, ASCAP)(3:50)

    Travers wears a new face withthis Bob Marley cover and itlooks/sounds great. The hardrocker adapts well to reggae onseveral levels: his guitar andorgan work, and vocals. DawnShahan is perfect with her backingvocal help, but most important isthe fact that this popular artist'sexpansion in style is a success thatwill introduce his fans to a new& important genre.

    RACHEL SWEET-Stiff/Columbia1-11245

    LOVER'S LANE (prod. byRushent-Winstanley)(writer: Sweet)(Participation, ASCAP)(3:33)

    Sweet shows impressive matura-tion as a songwriter and vocaliston this first single from her latest"Protect The Innocent" LP. Thepower ballad is far from deriva-tive, yet is reminiscent of PatsyCline or an early Ronstadt giventhe robust pop production treat-ment. Raphael Ravenscroft (ofGerry Rafferty fame) ignites theheartfelt theme with a sax burn.

    THE LAMBRETTAS-Rocket41216 (MCA)

    POISON IVY (prod. byCollins) (writers: Leiber-Stoller) (Intersong/Quintet/Bienstock,ASCAP) (2:41)

    The British quartet debuts withthis update of the Coasters '59top 10 classic which has alreadyreached best-seller status in Eu-rope. The contemporary dancesound has shades of the recentlypopularized island dance beatsbut in a more commercializedoffering. A hot item for danceclubs and certainly plausible onradio.


    PopAPRIL WINE-Capitol 4859TONIGHT (prod. by Goodwyn-Blagona)

    (writer: Goodwyn) (Goody Two -Tunes,BMI) (3:49)

    With each raucous single theyrelease, April Wine expands itsaudience of heavy metal fanatics.This cut, from the "Harder . . .Faster" LP, unwinds a murderousguitar solo that may just ODevenDUKE JUPITER-Mercury 76057IF YOU LOVE HER (prod. by Katz)

    (writer: Styler) (Powerglide, BMI)(3:10)

    The Rochester, NY quintet hasenjoyed regional success thus farand this first single from the new"Band In Blue" LP might make anational impact. Simple chordprogressions provide a backdropfor lyrical guitar solos and thesmart hook.ANN-MARGRET-MCA 41223FOR YOU (prod. by Sabu) (writers:

    Sabu-Kreiner) (Kreimers/Six Continents,BMI) (3:36)

    Ann -Margaret is soft and sensuouson this dreamy ballad from herlatest LP. A slick percussion flowand flute/choral punctuationsgive the track an instantly con-sumable A/C sound.THE PLANETS-Motown 1485BREAK IT TO ME GENTLY (prod. by

    Lindsey -Charles -Gallagher -Turnbull)(W.B., ASCAP) (3:05)

    The British quartet issues it's firstsingle from the self -titled LP.Multi -talented Steve Lindsey (for-merly with Deaf School) takescharge with his tough vocals andeconomical guitar lines.LAUREN WOOD-Warner

    Brothers 49213SAVE THE MAN (prod. by Jackson)

    (writer: Wood) (Creeping Licking,BMI) (3:33)

    Wood made a big impact on thecharts last year with her top 30"Please Don't Leave." Culledfrom the same self -titled LP, thisis a buoyant pop -A/C delight.

    MADNESS-Sire 49205 (WB)MADNESS (prod. by Clanger Winstanley)

    (writer: Campbell) (Nutty Sounds Ltd.)(2:39)

    Probably the most accessiblecut from its "One Step Beyond"LP, at least for American radio,this fun -filled tune translates intodance, hop or bounce. The Farfisaand horn bring to mind an ethnicwedding, and the whole song isgreat for pop -A/C or even clubs.SHEILA & B. DEVOTION-

    Carrere 7209 (At))SPACER (prod. by Edwards -Rogers)

    (writers: Edwards -Rogers) (Chic,BMI) (3:51)

    The French songstress is alreadya multi -million seller in Europeand this single tells why. Writtenand produced by the Edwards -Rogers gol'dmakers, it's a smoothdancer that showcases Sheila'ssensuous vocal. A real sleeper forradio & clubs.ROBERT FRIPP-Polydor 126UNDER HEAVY MANNERS (prod. by

    Fripp) (writer: Fripp) (E.G., BMI)(2:43)

    A rewarding experience forthe adventurous programmer ordance -rock enthusiast, this ten-sion -filled, modified guitar cutfeatures the vocals of TalkingHeads' David Byrne. A captivatingsingle from Fripp's latest LP.


    Holman) (writers: Herbstritt-Thiele)(Special, ASCAP) (3:15)

    From her upcoming, self -titledand label debut LP, this gorgeousballad will easily find a slot atthe top of A/C lists with plentyof pop to follow. Jai Winding'skeyboard decorations are superb.

    LAZY RACER-A&M 2230HEART OF HEARTS (prod. by Johns)

    (writers: Morley -Harland) (Maverick,ASCAP) (3:11)

    Yet another new band fronted bya talented female vocalist, LazyRacer is one of the finest. KellyHarland's vocals are emotionallymoving and the band plays po-tent rock 'n' roll.

    B.O.S./PopPATTI LABELLE-Epic 9-50872I DON'T GO SHOPPING (prod. by

    Toussaint) (writers: Allen-Lasley) (Almo, ASCAP/Irving/Woolnough, BMI) (3:52)

    Labelle's torchy vocals fan theflames on this knockout ballad.Patti delivers the dynamite lyricsas if she's lived them.PRINCE-Warner Brothers 49226

    (writer: Prince) (Ecnirp, BMI)(3:48)

    The young, one-man show con-tinues to impress with this won-derful little seduction from hisself -titled LP. Prince's trademarkfalsetto stays intimate while thekeyboard does the flirting.MANDRILL-Arista 0507GETTING IN THE MOOD (prod. by

    group) (writers: group -Summers)(Mandrill, ASCAP) (3:46)

    Multi -octave vocal interplay, bothin chorus and lead, provides anenthralling centerpiece on thisexotic ballad. The synthesizertextures and medium pace set theappropriate backdrop.ADC BAND-Cotillion 45014

    (At))IN THE MOONLIGHT (prod. by Mass

    Production) (writer: Williams)(Two Pepper, ASCAP) (4:45)

    Audrey Matthews swirls over arecurring buxom bassline with heragile soprano while foxy keyboardand guitar lines add spice onthis first cut from the upcoming"Renaissance" LP.

    RANDY CRAWFORD-WarnerBrothers 49222

    SAME OLD STORY (SAME OLD SONG)(prod. by Felder -Hooper -Sample)(writers: Sample -Jennings) (FourKnights/Irving, BMI) (4:04)

    Crawford's soulful vocals aremarvelous on this initial cut fromher upcoming "Now We MayBegin" LP. The Crusaders produceand provide some tasty NewOrleans R&B backing with WiltonFelder's sax stepping out.


    (prod. by Wade -Brown) (writers:Brown -Bans) (Sherlyn/Decibel/PatrolBird, BMI) (3:40)

    Brown will score big with thedancers here as he offers a simple,recurring vocal chorus over theinfectious synthesizer line. Itshould crossover via the clubs.LOVE COMMITTEE-T-Electric

    41189 (MCA)I MADE A MISTAKE (prod. by Stubbs -

    Jackson -Tyrrell) (writers: Levert -Williams -Jackson)

    The male quartet debuts on thislabel premiere with a soulfulheartache that's reminiscent ofthe finest of the Four Tops work.The multi -vocal blend is preciseand the keyboard lines flow.GENE CHANDLER -20th Century

    Fox 2451 (RCA)DOES SHE HAVE A FRIEND? (prod. by

    Davis -Chandler) (writers: Stone -Gibbons) (Rock Garden/Los AngelesBullet, BMI) (3:34)

    The veteran soul man hasn't losta step on this medium -pacedballad. His soothing vocals aregraced with a beautiful femalechorus that's intelligently ar-ranged for maximum effect.

    Country/PopBOBBY BARE-Columbia

    1-11259TEQUILA SHEILA (prod. by Bare -

    Foster & Rice) (writers: Silverstein -Davis) (Horse Hair/Evil Eye, BMI)(4:21)

    The easy beat and jovial guitarare a perfect setting for, as thetitle indicates, some heavypartyin'. Audience participation isincluded and, naturally, expected.DIANE PFEIFER-Capitol 4858ROSES AIN'T RED (prod. by Butler)

    (writer: Pfeifer) (Brightwater/MCA, ASCAP) (2:56)

    Pfeifer's already earned numerousawards for her songwriting skill's.She is an equally talented singeras evidenced here on this poig-nant ballad.

    14RECORD WORLD APRIL 19, 1980



    In just three weeks,"Let's Get Serious,"the new single album,from Jermaine Jacksonis bulleting to Top 20everywhere!



    Record World

    The Single: The Album:N.. I 7 (I Nik I


    60 18 70 13





  • Record World

    /1....1 Li 1 1- LL -L71


    AL 951 5 (8.98)

    There is something almost un-bearably seductive about the wayRay Parker Jr. sings a song in thesetting provided by his groupRaydio. With an unerring senseof what belongs in a song andwhat doesn't, Parker zeroes in onthe crucial elements of a ballador dance tune. The title cut issmashing stuff.

    THE ORCHIDSMCA 3235 (7.98)

    The last time Kim Fowley col-laborated with an all girl group,he gave the world the Runaways.Obviously, people are finallycoming around to the idea ofwomen as rockers and this albumis going to appeal to a lot offolks, mixing Los Angeles wit withsolid pop hooks and highly en-dearing vocal performances.


    (CBS) (7.98)

    Rock 'n' roll in the last year hasbecome a phrase that refers tojust about anything, but the Sor-rows' hearts and minds are inexactly the right place. This isrock 'n' roll that knows its historybut is not condemned to repeatit. R&B, rockabilly, pop andMerseybeat, it's only rock 'n' rollbut you'll' like it.


    JC 36348 (7.98)

    1978 saw Michael Zager's "Let'sAll Chant" selling three millionunits. He led the ground breakingTen Wheel Drive and has pro-duced Cissy Houston, AndreaTrue and the Spinners. A soloalbum (this is his second releaseon Columbia) featuring his pro-ducing, arranging, conducting andperforming talents is a record ofgreat importance.


    . .. , :It - lip

    bs ..,-

    Something verygood hashappened forBilly Falcon.Maybe it's thenew producer(Jimmy Miller

    of Rolling Stones, Traffic fame).All of a sudden, this New Yorkboy has surfaced as a dynamitevocalist. Try it.

    FRONTLINETHE ELEVATORS-Arista AB 4270 (7.98)

    There issomethingabout thisrecord thatinspires thesame kind ofgiddiness as

    the first Cars album. Clevernessand catchiness of lyrics ("Girl-friend's Girlfriend"), music andarrangements put this above thecompetition.


    1270 (7.98)

    This band pullsno punches-fast, loud andraw-theperfect soundfor a quartetborn in the

    center of a storm, Belfast. TheFingers create a wall of soundand emotion that is striking anddistinctive.


    Two boys andtwo girls playirrepressiblyfun tunes forteenagers of allages. Humor-ous lyrics (a

    self-explanatory song called'Missionary Man" stands out)combine with youthful energy fora delightfully unserious offering.


    Epic JE 36377 (7.98)

    You've got tobe careful withthese jazzmusicians whowork in anR&B context.With the chops

    they bring to the job, they can bedownright dangerous. Ndugugives Andy Gibb's "ShadowDancing" an exceptionalfunkiness.

    RUSSIAWarner Brothers BSK 3414 (7.98)

    The success ofSupertrampand Styx hasshown thepower ofmating pro-gressive key-

    boards and meticulously arrangedvocals with golden pop hooks.Russia makes music that fits intoevery AOR format.

    BARTZGARY BARTZ-Arista AB 4263 (7.98)

    Gary Bartz hasbeen a majorforce in therecordingstudio for longenough. Work-ing with the

    biggest names in jazz over the lastten years, Gary Bartz is ready tobe a star. "After The Love HasGone" is stellar.

    THE KINGBEESRSO-RS-1-3075 (8.98)

    The Kingbeesdebut album,in which apower triotakes onBuddy Holly -influenced new

    wave music and makes it work.Guitarist/founder Jaimie Jameswas a member of Steppenwolffrom '76-'78 and is splendidin this context.



    MANDOLAYLA FLAVOUR-Sweet City 7861 (7.98)

    The title cut isburning themup at the danceclubs and it'snot hard to seethis recordbecoming a

    real favorite for the crowd thatlikes to move. Horns and massedvocals add that special sauce.


    3438 (7.98)

    This is a recordthat not onlyrepresentssome of thebest qualitiesof non -rockdance music, it

    is put together w'th the kind ofcare that will allow it to survivethe mercurial changes of musicfashion.


    Rockabilly, asin the musicElvis Presleymade while hewas still on theSun label.Rockabilly, as

    in the other root of rock 'n' rollbesides R&B. Matchbox, anEnglish quintet, lovingly recreatethat sound.

    PARTYTHE TAPES-Passport PB 9842 (JEM)


    The Dutch donot make allthat manycontributionsto global rock,but when theydo, the results

    are inevitably interesting. Sound-ing (vocally and instrumentally)like British progressive rockers,the Tapes offer a unique record.

    16RECORD WORLD APRIL 19, 1980


  • By DAVID McGEE A TRIBUTE TO RED: Country music lost one of its most distinctiveartists last Friday (4) when Red Sovine died in a car wreck in Nashville.Sovine. who seldom drove, was behind the wheel of a van when heallegedly ran a red light, rammed a car on the other side of the street,bounced off, traveled another 100 feet and crashed into a tree. Hewas found dead at the wheel. An autopsy revealed severe internalinjuries, and reports have it that Sovine suffered a heart attack whiledriving and was likely dead when he ran the light, an assumption thatwas lent credence by a lack of skid marks at the scene of the crash.

    Born in Charleston, West Virginia on July 17, 1918, Sovine per-formed on local radio stations for several years before joining theLouisiana Hayride in 1949 as a replacement for Hank Wlliams. In1954 he and his good friend Webb Pierce left the Hayride to join theGrand Ole Opry. Sovine's first two hits were duets with Pierce, "LittleRosa" and "Why Baby Why" (the latter was also a hit for Pat Boone).

    But it was in the mid- to late -sixties that Sovine really began ocook, at least to this taste (if you will), with a series of heavily melo-dramatic recitations -on -record that even then sounded unlike any-thing else on the air. Ghosts, death, broken homes, old time religion-all were prime subject matter for Sovine; and although there wasalways a moral to his stories, and although he came off every bit asreligious and patriotic as any of his peers, Sovine was distinguishedby a singular lack of stridency in his approach, by his ability to espouseopinions persuasively but subtly. Believability is one of the marks ofa talented, if not great, artist; and Red Sovine was nothing if notbelievable. "Giddyup Go," "Teddy Bear," "Daddy's Girl" and thebrilliant "Phantom 309": we'll not hear their likes again. Red will bemissed.

    ANOTHER TRIBUTE TO RED: When one legend dies it's not likeanother legend to allow the event to pass unnoticed. So it is thatMajor Bill Smith checked in with New York, N.Y. this week with newsof his latest "last record"-that makes at least four "last records" forthe Maj over the years.

    As he explained it, "Last Saturday I got out of my king-size bed,got me some coffee, went out and picked up my morning paper andsaw there on the front page a picture of a gal sitting in front of abuilding in Fort Worth showing off her legs, and all the guys arelooking at her and running into buildings-you know how it goes.

    thought that was pretty good for page one. Then I open up thepaper, and there in the middle of the thing is a notice about RedSovine dying.

    "Well, I want to tell you, Mr. McGee, it made the ol' Maj prettymad to see that Red, a worldwide legend who had a worldwide smashwith his great recitation of 'Teddy Bear,' gets the middle of the paperand some gal with good legs makes it onto the front page."

    Post-haste the Maj took action. Without any notes, without anylyric sheet, he went into hit recording studio and cut, for his ownLeCam label, "Red," his own small tribute to a man he says was a"giant." Originally intended only for Sovine's family, "Red" beganto pick up a lot of requests after the Maj allowed, shall we say, a localdisc jockey to air the song. Now the Maj is contemplating releasingit to the general public. A sample verse: "I'd like to say it like Merlewould put it/you may not have been famous/you may not have TVshows made about your life/you may not have been a star, hoss/butyou sure rode tall in the saddle/we're going to miss you, Red."

    "Man!" exclaimed the Maj in exasperation. "When I saw thatchick's legs on the front page in a four -column picture, and then findRed stuck way back in the middle . . . well I tell you, I've been injournalism since 1936 when I was a ninth grader in Checotah, Okla-homa, and I knew that wasn't right."

    A BENEFIT for the Myasthenia Gravis Foundation will be held atMadison Square Garden's Felt Forum on May 9 and will honor CharlieDaniels as the Foundation's Man of the Year. For $15 a ticket, you'llget a two -and -a -half hour revue featuring the Charlie Daniels Band,Jerry Jeff Walker, Johnny Paycheck, Bobby Bare, Robert Gordon, NewRiders and Melba Moore. The American Ballet Theatre is scheduledto perform a piece choreographed to a Charlie Daniels Band song.Tony Randall will be the host for the event. Other stars on hand willinclude Jack Klugman, actress Nancy Dussault, Kitty Carlisle -Hart,principals from the Metropolitan Opera Company, and Iron Eyes Cody(the Indian in the anti -pollution commercials).

    The benefit is being dubbed "Tony Randall's Celebrity RoundupCelebrating How The West Was Won in the East." Madison SquareGarden's 100th birthday will be celebrated at the same time.

    (Continued on page 27)

    Bay Area Awards

    At The Bay Area Music Awards on March 25 at The Fox Warfield Theatre in San Fran-cisco, from left, Francis Coppola, Boz Scaggs, Howard Hesseman, Jerry Garcia ("Musi-cian of the Year"), and Bill Graham chat backstage. A benefit for the Bay Area MusicArchives, San Francisco Mayor Dianne Feinstein also proclaimed the day of the awardsshow as "Bay Area Musicians Day."

    ECM Mrktng. Campaign LOS ANGELES - ECM Recordshas announced a special market-ing campaign to commence literthis month in 14 major U.S. citiesto call attention to the label'sApril album release. Albums thespring campaign will highlightinclude Keith Jarrett's "NudeAnts," Barre Phillips' "JournalViolone II," Bill Connors' "Swim-ming With A Hole In My Body,"the Steve Kuhn and Sheila JordanBand LP and the "AbercrombieQuartet" from the John Aber-crombie Quartet.

    Additionally, special consumercatalogs featuring all ECM re-leases (with special attention onLPs by Keith Jarrett, Pat Metheny,John Abercrombie, Art Ensembleof Chicago, Jack DeJohnette andthe 1980 Grammy Award -winningalbum "Duet" by Chick Coreaand Gary Burton) will be distrib-uted nationwide to key jazz re-tailers as well as all WEA branchoffices.

    Coinciding with the specialmarketing campaign, ECM will bereleasing its first consumer sam-pler, a specially priced two -rec-ord set available by mail only.Featuring a cross-section of theECM artist roster, the samplerpackage may be ordered by send-ing in coupons available in thespecial consumer catalogs as wellas selected consumer print ads.

    CBS Ups Einczig NEW YORK-Steven Einczighas been appointed to the posi-tion of associate director, productmanagement, west coast, E/P/A.The announcement was made byLarry Stessel, director, merchan-dising, west coast, E/P/A.

    Steven Einczig

    Einczig's new responsibilitieswill include advising E/P/A'swest coast product managers inthe preparation of marketingplans, advertising, album covers,point - of - purchase materials,budgets and all other productmanagement related responsibi-lities.

    Einczig's ten years in the musicbusiness has included experienceas a buyer and general managerof various retail outlets in theNew York City area. He joinedCBS in 1976 as an inventory clerkin the New York branch and waspromoted to the A&R departmentof the CBS Associated labels.

    Congrats for Teddy

    Teddy Pendergrass is seen being congratulated by Leon Huff and Kenneth Gamble,heads of Philadelphia International Records, at his recent 30th birthday party. Theparty, an elaborate affair held at New York's new Magique disco, featured a dancingTeddy Bear and a special birthday treat from Pendergrass' manager Shep Gordon.Gordon hired a dozen of the New York Cosmos' cheerleaders to give Teddy a specialcheer and to sing him happy birthday.

    RECORD WORLD APRIL 19, 1980 17


  • RedlioMforldRadio Replay

    By MARC KIRKEBY GOD BLESS YOU, MR. MEYROWITZ: DIR Broadcasting, never acompany to let the grass grow under its tape duplicators, will experi-ment with a "magazine" -style public affairs series patterned upon "60Minutes," and will try to fund it through a station cooperative withoutany national advertising. "Hour Time," as the series will be called, isdue to bow July 1, assuming DIR can get enough stations to kick in$50 a week for the programs. The company anticipates a weekly bud-get of $5000. The series will combine detailed news stories with softer,"lifestyle" pieces and coverage of special events by famous people.The first such celebrity -reporter to be signed is Kurt Vonnegut, whowill cover this summer's Republican and Democratic conventions (towhich Trafalmador is sending slates of uncommitted delegates). DIRsays any station, AM or FM, is welcome to join its cooperative; thecompany hopes that stations will use "Hour Time" to help fulfill theirpublic affairs programming commitment, and will find it appealingenough to retain even if the FCC deregulates radio and such commit-ments go the way of the passenger pigeon. Since this column hasbeen haranguing its readers about creative public affairs programmingin recent weeks, DIR's announcement seems especially timely: if acompany that has made its money presenting so-and-so live in con-cert now deems public affairs fertile ground, could it foreshadow arethinking by radio of the role of this kind of programming? Stay tuna.

    MOVES: Al Brady has resigned as program director of WABC/NewYork, to return to Boston for personal reasons. He will be rehired asPD by WHDH there. Brady's announcement came as a shock to 'ABC,which had not even begun to interview candidates for the PD joblate last week. Station VP/GM Al Racco was overseeing the program-ming . . . Randy Lane, from WTMA/Charleston, is named PD atKBEQ/Kansas City, replacing Bobby Kline . . . Don Murray resigns asPD of KFXM/San Bernardino to take the 10 p.m. -2 a.m. airshift atKIQQ/Los Angeles. Craig Powers is the new program director atKFXM . . . Jeff King, from KSEL/Lubbock, is named PD of KPLZ . . .Lee Armstrong, who was operations manager at WNOE/New Orleans,is named PD at WVON/Chicago . .. Changes at Arbitron: Michael T.Membrado is appointed VP/GM, Arbitron Radio, replacing A.J. "Rick"Aurichio, who moves over to be VP/GM of Arbitron Television. Mem-brado has been with Arbitron for three months, and is a veteran ofAdam Young and Katz Television . . . Clark Davis, former presidentof Shamrock's broadcast division, becomes corporate VP of GreatTrails Broadcasting, which owns nine stations . . . Two appointmentsat W4/Detroit: Howard Stern from WCCC/Hartford takes over the6-10 a.m. show, and Les Cook becomes music director and assumesthe midday shift . . . Bob McClay joins the KCBS-FM/San Franciscoair staff . Gregg Hall, morning man at WCAU-FM/Philadelphia, be-gan his own television series, "The Music Makers," on Channel 6April 5. The potential series looks behind the scenes at the musicindustry . . . Johnny Mars, formerly with KPAS/EI Paso, joins WXRT/Chicago late nights . . . Jimmy Mack (no, not the singer) is namedassistant music director at WBCN/Boston.

    THE ABRAMS EMPIRE: Must reading in the new issue of Musicianis the indictment by the estimable Dave Marsh of the increasingly di-versified Lee Abrams, who is now producing albums as well as pro-gramming radio stations. Marsh concedes that Abrams has the sameright to branch out as, say, CBS or RCA, which own radio stations aswell as record companies, but questions whether Abrams' 65 -odd"Superstars" music directors will show the same disinterest in Abrams'records (Gentle Giant's "Civilian" on Columbia is the first) as, say,WNBC/New York does in RCA releases. "Should record companies,and by implication the audience, be dictated to by a 'consultant' whoboth makes the records and decides which records should be playedon the air?" Marsh asks.

    Although Abrams' record -production sideline is a relatively recentone, he has trod a fine line for some time. One of Burkhart/Abrams/Michaels/Douglas & Associates' less -publicized consulting serviceshas been advice to artists on tailoring their music to reach the mostlisteners; the resulting albums are obviously serviced (by record com-panies. not by B/A/M/D) to Burkhart/Abrams' client stations. Abrams

    (Continued on page 36)

    Magnavox for AM Stereo(Continued from page 3)

    designs, so that if radio stationsin one city used a system differ-ent from stations in another city,visitors would not be able topick up the stereo signal of theother.

    The four other systems includ-ed ones developed by the Har-ris Corporation, Belar ElectronicsLaboratories, Inc., Kahn Com-munications, Inc., and Motorola,Inc.

    At the openings hearings thisweek, the move came as a sur-prise. The Broadcast Bureau, inbringing its "accept all" propo-sal to the commissioner, foundFCC chairman Charles Ferris andseveral other commissioners un-sympathetic to the notion ofleaving the choice up to the in-dustry-at the possible expenseof the public. The still -presentdilemma of video tape recorderhardware choices must have hadsome part in the decision to havethe Broadcast Bureau "rewrite"their proposal to approve onlythe Magnavox system.

    However, several of the com-missioners, notably Tyrone Brownand Anne Jones, still felt it was

    inappropriate for the Govern-ment to make such business de-cisions by choosing a particularsystem.

    Chairman Ferris explained thatthe issue of AM stereo was a spe-cial case, one that had beendeadlocked for several years, andthat further technical questionsconcerning the changeover of

    enuinment to stereo couldbe left to the industry.

    The National Association ofBroadcasters, no doubt happierabout the "drawing card" issueof AM stereo beginning to be re-solved than upset over the ap-parent Government encroach-ment, applauded the FCC deci-sion.

    Reactions to the FCC decisionamong individuals in the broad-cast industry were not totallypositive. Ray Quinn, program di-rector of WFIL in Philadelphia,one of the first stations in thecountry to test AM stereo, ex-pressed "surprise" at the Com-mission's move.

    "Everyone I've talked to thismorning has said the same

    (Continued on page 19)


    "Wasn't she in 'Carrie'?"

    18 RECORD WORLD APRIL 19, 1980


  • By SAMUEL GRAHAM & SAM SUTHERLAND BEBE LE WEIRD: Since kissing and telling seems to be verypopular these days, it comes as little surprise that the May issueof Oui magazine features an interview with Bebe Buell, model,former Playboy playmate and constant companion to the stars, whohas apparently done a good deal of kissing (beginning with one ofthe Cowsills and continuing with Todd Rundgren, Jimmy Page, IggyPop, Rod Stewart, Elvis Costello, current flame Stiv Bators) and has alot to tell about it.

    Enough of the introductory remarks-let's get right to the goodstuff. Here's what Ms. Buell has to say about some of her boy-friends.

    Page: She calls him the rock star most like King Henry VIII, "ex-cept he's a lot prettier and he's not overweight. I always thought ofJimmy as a person from another century. He's very medieval-notmacho, but manly."

    Iggy: "It was never a mad affair but, yes, I'll admit that I had ahuge crush on Iggy. My mother met him and thought he was smart.She thought he was waird-looking, but she thinks everyone I bringhome is weird -looking," Oh, c'mon-she thought Rundgren's tech-nicolor hairdo was weird -looking? Can't undersand it.

    Stewart: "Our personalities just don't mix. I don't want to slagRod off, but there's no way I can butter it up. I think he's phonyposh, and I hate that."

    Costello: This unlikely match was apparently made possible byPam Turbov, a former RW staffer and Ariola publicist, who intro-duced her by saying, "Elvis, I'd like tyou to meet Next Year'sModel." Says Bebe, "He was probably the most romantic thing thatever happened to me ... He reminded me of Humphrey Bogart-that same sophistication and sweet meanness about him-the kindaguy you'd never expect to fall in love with a girl and be delicate,but we was" (El this is going to do nothing for your hard -guyimage, pal). "When Elvis smiles, you know he really means it, be-cause he doesn't crack one very often. He's real surly. He's justgot a lot on his mind." Oh, that explains it.

    There's more, too, including this little revelation about Patti Smith:"She never treaded on anybody's turf, and she was one of the firstpeople to give me confidence. She said, 'Bebe, you've got a reallyrisque mouth." And finally her choice for "sexiest rock star:" "RickNielsen, but he's unavailable."

    TWO-STEP PREVIEW: Trendy types eager to trade in their discothreads, but unmoved by torn T-shirts and black leather, may findtheir alternative later this spring when John Travolta is reincarnatedin jeans, boots and cowboy hat.

    That's the prospect raised by last Monday's (7) peek at "UrbanCowboy," the forthcoming feature developed from journalist AaronLatham's Esquire piece of several years back. With co -producer IrvingAzoff sharing the podium with Elektra/Asylum's Joe Smith and VicFaraci, invited press, radio and retail reps saw the 15 -minute prod-uct reel-a sampler of key scenes used by Paramount to plug thefilm to exhibitors-and heard a specially -edited version of the FullMoon/Asylum soundtrack package, both previewed in private ses-sions during NARM.

    Smith himself avoided promises of another "Fever," both in hisintroductory comments on the project and subsequent conversa-tions with guests during a reception afterward. Yet it's clear thefilm's backers see the potential for a new movie/music blockbusterthat could assume a high profile when it hits general release inJune.

    The notion of a rock/country hits package might have seemeddecidedly left -field a few years ago, but the current market, andthe specific artists and songs included in the presentation, now seempoised for considerable impact. Rockers like Joe Walsh, Bob Segerand Bonnie Raitt are featured in appropriately country -tinged per -

    (Continued on page 40)

    Cover Story:111111111111111111/11111111111111111111111111111111111111111111If

    Having Fun with the Knack The Knack - lead singer/rhy-thm guitarist Doug Feiger, leadguitarist/vocalist Berton Averre,drummer Bruce Gary and bassistPrescott Niles-returned to theStates at the end of March afterwinding up the successful Japa-nese and European legs of theirongoing 1980 World Tour, andwon quite a homecoming fromtheir fans back home.

    New Single"Can't Put A Price On Love,"

    the new single from The Knack's". . . but the little girls under-stand" album had just begun itsrun on the RW chart (this week,it's bulleted at #77). And onMarch 30, an exuberant, capa-city audience gathered at thehuge Inglewood Forum near LosAngeles to welcome the foursomeback to their Southern Californiahome.

    The Forum show indicates thata great number of today's rock'n' roll fans and concert -goershaven't lost touch with what hasbeen rock 'n' roll rule #1 forthe last two and a half decades:"Thou shalt leave thy troubles

    'Cowboy' Preview

    outside the concert hall, andthou shalt have fun!"

    Hedonism vs. NihilismBenign hedonism is infinitely

    more fun than dissonant nihil-ism, and for The Knack's mem-bers, having hit records is almostas much fun as playing live forthe people who bought the re-cords and made them hits. Dur-ing the last year, playing fortheir record -buying fans hasmeant an enormous amount ofglobe-trotting (and the currenttour isn't over yet by any means).

    The success of "Get TheKnack" and the singles "MySharona" and "Good Girls Don't"in North America continuesthroughout the world, so muchso that release of " ... but thelittle girls understand" has beenheld up in many countries until"Get The Knack" runs its course.

    Take another look at Bob Jen-kin's photo on RW's cover: theimage it conveys is simple and di-rect-the real spirit of rock 'n'roll is to have a good time. Andthat's something you really can'tput a price on.

    The Elektra/Asylum contingent at the NARM Convention promoted the "Urban Cowboy"soundtrack album, set for April release, by offering a sneak preview of the LP andshowing a fifteen -minute sample reel from the film, due in June, to retail reps, includingstaffers of Pickwick International. Pictured from left: Scott Young, Pickwick vice presi-dent/retail division; Vic Faraci, E/A vice president/director of marketing; Freddie Traub,Pickwick vice president/merchandsing pr