RECORDMIRRORLargest selling colour pop weekly newspaper.Price 6d. No. 443. Every Thursday. Weekending September 6, 1969.

'Dylan's

Dylan festival news

Move colour Jeff Beck

Sammy DavisBee Gees

James Brown interview

aura stays intact'for biggest-ever festivalrOLLOWING the appearance of Americanf singer Richie Havens, Rikki Farr, Festival

compere, announced the big moment hadarrived. Dylan and the Band were next.

The huge searchlights from the lightingtower shone like prison towers in the dark-ness and the tension in the air was easilyfelt as the 180,000 expectant fans, packedtight as sardines, squinted to see the stage.From the expanse of seated campers camesporadic calls for doctors and Farr read outfrantic messages for people who had lostfriends, money, possessions or their minds.

Inside the press barrier, restrained chaosreigned as unofficial persons infiltrated andtried to lose themselves in cameramen andreporters. We huddled in space fit for achild somewhere between Jane Fonda andJohn & Yoko. Jane had arrived early andstayed most of Saturday and Sunday, display.ing great enthusiasm for the event, whilenames like Keith Richard, the Lennons,

George Harrison, Stevie Winwood, PeterWyngarde and others arrived just beforeDylan's spot and made their hasty escapesjust before he did his encore.

Dylan strode onstage to an uproariouswelcome after the Band's hour-long set andwent immediately into "She Belongs To Me",backed by the Band. The tumult of applausebefore and after each number continuedthroughout his performance, which alsolasted an hour as opposed to the expectedtwo or three. He still maintained that shy,apprehensive suggestion about him andmanaged to get through only two encores,"Who's Gonna Let It Roll" and "Rainy DayWomen Nos. 12 & 35". The strange andvery rapid disappearance of Dylan shouldreally have been anticipated, but it neverthe-less left all nine acres of listeners gaping inamazement at the sudden end. Chantsbegan, pleas of "More" rang out in greatvolumes. Disturbed, the crowd went up on

its feet, but Rikki Farr returned to the stageand said, "He's gone . . . He's gone" in hisnow tired voice. "He came here to do whathe had to do, he did it for you and nowhe's gone. Really, there is no more . . . ."And so, tent pegs were pulled out of theground, sleeping bags rolled up and packspacked. Like lava down the sides of asmouldering volcano, the people poured outbetween the hundreds of bonfires and startedthe long series of queues that lay betweenthem and home.

Many a night of love, a moment of freakand an hour of good music had beenshared at the biggest, most elaborate festivalin history. Dylan had returned, but maintainedhis mystic aura and once again, a generationproved itself worthy of its ideals. A big handfor Fiery Creations' magnificent gesture andanother for those countless thousands whosunk the Isle of Wight not with a bang, butwith a respectful note of thanks.

ON Thursday, August28, the Absolute

Truth hit 16, SydenhamHill, London, a derelicthouse in the process ofconversion to luxuryflats for the GreaterLondon Council.

The Absolute Truth,according to the Inter-national Society forKrishna Consciousness.is contained-not in theBible - but in theBHAGAVAD GITA, aliteral record of God'sactual words.

And a paraphrasingof HIS actual words isobviously worth having.So Apple - more par-ticularly John Lennonand George Harrison -have decided to issue arecording to of HareKrishna Mantra, thesect's chant.

It is certain to be ahit. Which is a lot morethan can be said forwhat was billed as amagical mystery tour tointroduce pundits, suchas myself, to the sect,the record and SouthEast London.

LULLIt began quietly, in

Apple's Savile Row offi-ces. But, then there isoften a lull 'before astorm. Unfortunately,owing to a misunder-standing, the coachturned up late. By thistime the core of thepublicity staff had or-ganised a fleet of mini-cabs.

The minicab I was inarrived at the house tofind the twelve mem-bers of the sect midwaythrough their chant in ahuge blue and yellowtent erected in thegrounds.

It was quite fascinat-ing. They had shavedtheir heads, no pun -to qualify for member-ship you have to prom-ise not to eat meat.drink alcohol, coffee ortea and refrain fromillicit sex (their words)and gambling - andwere, dare I say?, danc-ing around.

MILKThat ended. The

people arrived. And wewere all offered glassesof milk containingbananas and brownlumps. Next came a buf-fet meal, such as youmight expect to eat inan Indian restaurant.And I LIKE Indian food!

None of this is im-portant to members ofthe sect however. Theymaintain that their mainaim is to - and I quote- "train up men andwomen in the process ofself -purification".

Such is their phrase-ology that nobody canargue with it. And it isgood to hear music likethis fragmenting thecharts. For it will un-doubtedly clap its wayinto the top ten soon.

One can only hopethat the monetary re-wards from the recorddon't drive a fire enginethrough the stated aimsof the sect. - DS.

2RECORD MIRROR, Week ending September 6, 1969

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

line to VAL or JAMES,letters dept.

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

The 'Wet (BBC)Dream' saga

continues...THE B.B.C. reached the peak of hypocrisy

during "Twenty Four Hours" on B.B.C.-1(Wednesday, August 13) whilst reporting onthe latest "heavy" mob to emerge.

During a sequence filmed at a dance thecommentator boldy remarked, "This is theirfavourite record, it's called 'Wet Dream' andis by Max Romeo." And sure enough, in thebackground, the repetitive strains of "pushit up" could be plainly heard.

Here is the BBC playing a disc on TV thathas not even had its title mentioned on radio!- Ron Appleby, Flat 1, 23 Baveney Road,London S.E.23.

In BriefJohn Riling, 98 Greenbank Ave.,

Easton, Bristol 5. - Early BobDylan numbers wanted, also Dylancompositions recorded by JoanBaez.

Patrick Thwaites, 12 KirkgateLane, South Hiendley, Nr. Barnsley,'Yorkshire. - I will pay n for acopy of "When You Walk in theRoom" by Jackie de Shannon.Also swop pies. of most stars forpies. of Nancy Sinatra, Status Quo,Peter Frampton.

Madeline Ortega, PO Box 433,Tombstone, Arizona, 85638, U.S.A.-Will swop pies. of any pop groups,actors, etc., for pies. and articleson the Byrds (present and formermembers) and Donovan.

J, Baxter, 38 Stonehlll Road, Gt.Shelford, Cambridge. - I have theLP "As Safe As Yesterday" byHumble Pie. It is an unwantedgift and I am willing to exchangeit for any' early Dylan, Cohen, Beckor heavy group album in goodcondition.

Bente Ostergaard, MaageveJ 20,5000 Odense, Denmark. - Please.could someone help me get "Lin-coln County" by Dave Davies, Alsoany pies., info, etc. on GeorgieBest, Please state price.

MORBID?TIER/TAPS your columnist Charlie

Gillett didn't see the press re.lease we sent you the other

week, but we had already scheduledthe late Roy Hamilton's record of"Dark End of the Street" beforehis untimely' death for our "DeepSoul" label, but withdrew it toavoid any possible charge that wewere exploiting this sad news.

As the lyrics of this song could,in the light of what has happened,he given a morbid interpretation,we thought it would be tastelessto issue a week after he had died,and so it has been postponed untilthe time is more appropriate.

We hope people will buy and en-joy the record for its own merit,and not for the wrong reasons,because we don't dig that deathcult bit that pops up in the recordscene from time to time, and justas we didn't issue the Billy PrestonLP to cash in on his deservedsuccess at Apple (although peoplesaw it that way), so we will noteventually issue the Hamilton discbecause of his death (althoughprobably the same people who wantto interpret it that way' will, nomatter how many press statementsone issues prior to the event.)

As long as. "Record Mirror" fansand readers know the truth - thenthe majority of true Soul fans willalso know the truth. - Dave Godin,Soul City, 17 Monmouth Street,London, W.C.2.

IN your issue dated June29, 1968, you published

an article on Julie Driscoll. I

myself am a great fan of`Jools', but feel I must pointout a quote that does notseem to ring true.

Eve Holroyd said, and I

quote: ". . . she gets fewdays off. Even when onedoes come along, she is al-ways willing to skip it tofulfil the smallest commit-ment."

If this is true, and I wouldlike to believe it, how is itthat Julie failed to turn upfirst for the Oxford UniversityDance, and then for the Ox-ford College of Technologydance? Are universities, orOxford, one of Julie's 'petpeeves', or does she feelthat now she has "gained atremendous amount con-fidence", that our universitydances are too low for her?-Sarah K. Johns, 27 KingsDrive, Bishopston, Bristol,BS7 8JW.

EP DEMISEMAY I on behalf of the record

buying public of Britain askwhatever happened to EPs.

They seem to have disappearedover the past few years, with thearrival of longer singles and budgetalbums. But surely the sales ofEPs by the Beatles, Stones andSimon and Garfunkel have shownrecord companies there Ls still amarket for them.

Many people, like myself, wouldrather pay a few bob for an EPthan a couple of pounds for analbum. - Jim Doyle, 368 !Ades -dale Road, Glasgow, N.2.

VAL: I personally' can see severalreasons both for and against theproduction of EPs, but let's hearwhat other readers think.

JULIE - Skipped College . . .

NOVEAU ROCKALTHOUGII many people say

that rock music as put downby Berry, Vincent and Haley

etc. is finished, after studying theRM Top Fifty it appears to be stillin evidence.

Records like "Hello Susie" featureing a rocking sax, "Bad MoonRising" with a heavy rock beatand echo chamber effect, "NaturalBorn Bugie" with an over all rock

sound, all point to the fact thattoday's music, whether it be teeny-bopper or progressive, has in thelong run many thanks to offer tothe real rockers of ten years ago.

It's good to see today's groupsreturning to the popular sound ofdays gone by. when rock wasKing.-Ernest Fullman, 673 SewallHighway, Courthouse Green, Coven-try, Warwicksehire.

IN the August 16th issue ofRecord Mirror was an

article by Lon Goddard onthe Plumpton festival. Hementioned that Jo Ann Kellywas the best female guitaristhe'd ever seen and went onto say that most women areclumsy players or awkwardin what they can do.

Well, it is obvious that hehas never heard the leadguitarist with the all -girlAmerican group named TheLight -Fingered Ten MinusThree! ! This 24 -year -olddark haired beauty by thename of Carol Phtury wouldput Eric Clapton, Jeff Beck,Hendrix and all the rest toshame. Her style is un-approachable by not onlyother girls_ but by most mentoo.-Miss "Hey Bird" Walker,Bartow, Fiordia 33830, U.S.A.

COWGIRL DIANA?I WOULD like to offer some re-

lease suggestions to EMI. Sincethe relatively poor sales of

"Livin' In Shame". "Love Child"and the newer "No Matter WhatSign You Are" it should be ratherobvious that we are looking fora new Supremes' style.

I suggest that EMI release"Tumbling Tumbleweeds" fromtheir "Country and Western" LP.It is the beautiful classic giventhat special Supremes' touch. Ifthis does not seem agreeable, I

suggest the absolutely stunning"You Need Me" from the sameLP. This captures every facet ofDiana's vocal range. Her voice onthis is deliciously seductive.

Might I also suggest that this LPbe re-released as it was by fartheir best. - Mark Griffiths, 18Queensway, Shotton, Flintshire.

r THE three members of Magna Carta have been compared-and somewhat unfairly-to Simon and Garfunkel. The

comparison, I hope, was a compliment on their extremelywell synchronised harmony patterns and not a commenton their ability to copy the duo, In fact, they do only oneS & G number "Mrs. Robinson" and dislike doing that, be-cause audiences tend to feel that is chief purpose of thegroup. The song is rarely performed and only whenrequested, since the group are subject to that unfortunatenatural law demanding that musicians shy away from otherpeople's songs, lest they be branded imitations.

This is a great pity in that Magna Carta's own styleinvolves original writing and music so strong in appeal, theydon't resort to the occasional cover, but sing it becauseit's a nice song to do. Chris Simpson writes all the materialfor the three with character and wit as well as taking themusical lead with steel strung acoustic guitar. His tremen-dous finger picking, combined with classical guitar trainedLyell on nylon strung acoustic, comprises a wall of stringsthat cradles the projecting harmonies of singers Glen andChris,

MAGNA CARTA-good harmonies and acoustic work

"By the time I've written a song and Glen and Lyell dothe arrangement, the thing has grown into something totallydifferent-a product of the whole group," says Chris. "Accord-ing to most people in the music business, steel and nylonstrung guitars don't ever mix well. For us, they somehowdo. The group is full of things that normally are considerednot possible, but have fit together well. We have an actor,an ex -priest and an advert exec. here and that sounds like. alosing combination-but it works. I'm kind of folk influenced,I suppose, but Lyell is interested in jazz, so the end resultisn't exactly in any definite category. There appear to be alot of little things we do in the music that are done withoutthinking, but we have put a lot of thought into everyaspect of what we do, so it will be as good as possible."

WE GET SCARED"Being a three-piece group, we naturally play a lot of

clubs throughout the country. Occasionally, usually in thenorth, we hit a club that ordinarily relies on traditional andsing -along music-that's the point when we get scared. Aftera while though, we found it wasn't hard for us to hold theirattention with our new material and things became a loteasier. In the north, they express themselves very subtlyor not at all, so we met with what we figured totally in-different receptions until we got to know the people a littlebetter and discovered they were more reserved. Once wecame into one of those clubs with our amps and otherequipment and there was a marked show of alarm on thefaces of the quiet folk club members. They thought we weregoing to blast the place apart with loud electric pop; no oneseems to realise that amps can be turned down as well. Allour equipment was specially made for the sensitive soundbalance we wish to achieve."

The sound is unique and their capabilities are enormous.Magna Carta reflect brilliantly as a rich vein of gold in thegranite world of contemporary music. Their album isreviewed this week

MAGNA CARTA: MagnaCarta - Times Of Change;Daughter Daughter; Old JohnParker; I Am No More; Ballad OfFrancis Alabadalejo; SpinningWheels Of Time; Romeo Jack; MidWinter; Shades Of Grey; EmilyThru' The Window Pane; Sea AndSand (The Isle Of Pabay); 7O'Clock Hymn (Mercury Stereo20166SMCL).

THE beginnings of a very tightharmony pattern are evident onthis first album, which will he

released in a few weeks. Some ofthe best folk (it is folk) music I'veever heard and all original is donewith expert form, The combinationof classical nylon -strung and steelstrung guitar that the three ex-plained wasn't usually consideredworkable, is as sharp, clear andtuneful as could be desired withexquisite fingerpicking. The voicesblend exceptionally well and havebeen compared to Simon and Gar-funkel. They aren't that close uni-versally, but are already far be-yond the normal standard of folkOR pop groups, containing thatrare punctuality and mastery ofscale that marks clever andconscientious singers, Chris' writingability fits the style with perfec-tion and completes a very polished.sensual product. Danny Thompson(Pentangle) renders assistance tothe tracks on string bass, withbowed and plucked, as well asHarold McNair on flute and TonyCarr and Frank Hodges on percus-sion. A variety of types. rangingfrom jolly minstrel to wistful long-ing ballads place this at the top ofmy own charts. A beautiful collec-tion.

LON GODDARD

RECORD MIRROR, Week ending September 6, 1969 3

Transfer fees for musicians?Jeff Beck and the remnants of his group talk to

RM about their future plansHAVING had a hit with Donovan and a new LP just re-

realsed, it is strange that Jeff Beck should disbandhis group. But he's done just that. Why throw away asuccessful formula?

Well I'm forming a new group with a bass player anddrummer who come from a big name group in America,"Jeff admitted. "They are people I really want to haveplaying with me. Even if I'd had to go somewhere likeSouth Africa or Japan, for someone I wanted. I'd havedone my utmost to get the musicians if they were right.

"Now I'm looking for a good singer but the trouble isthere's a terrible shortage of them."

Did this mean Jeff was uphappy with his past group atall? After all they've now all departed. Ron Wood to therejuvenated Small Faces and a possibility of Rod Stewartjoining them as well.

"I wasn't dissatisfied with them at all," Jeff stated. "I'vealways had good musicians with me in the past, but thistime I'm going for something different.

"The step I'm taking with the new group is so drastic, I can'treally think of the outcome with this bass player and drummer. Idon't even know what sort of music we'll be playing.

COMPLETE SWOPA great mystery who the two musicians might be, but Jeff wasn't

ready to say. "They're guys from a real NAME band in Americaand I can't tell you their names or which group they're with untileverything is settled." said Jeff.

So there you are, yet another group that's changing the personnelaround. In future, the group scene could quite easily become likethe professional football bit with musicians going on a transfer listto join other groups.

"Yes," Jeff agreed. "I think there will come a stage where they'llbe a complete swop around within the groups. Something like aguitarist might be transferred to another band for a fee comparableto the fees you get in football. It's happening to a certain extentwith the so-called 'super groups' although no great money is involved

"Can you imagine it? Groups put into something like the footballleague, plus the individual musicians - there would be a few redfaces if they found themselves in the Fourth Division! A sort of:'I'll swop you George for Jim and Freddie' managers might say.

But WHY are there so many personnel changes going on. Britishmusicians leaving to join American groups and vice versa?

"First of all, the standard of musicianship has improved so much

Linda McCartney gave birth last week to ababy girl, weighing 61b. 8ozs. The baby wasnamed Mary after Paul's mother who diedwhen he was 14. Linda, aged 28, has anotherdaughter, Heather, who is spending this weekwith friends in Surrey.

NEXT WEEK:

Souvenir

picture of

Paul, Linda

and Mary

and the musicians want to better themselves. Another reason is theold question of money and management.

"Now every group has to have some sort of management. This isso they can go out of their front door and not have to worry aboutanything. I've been happy with my management so far Today. withPeople dealing with huge sums of money, some people think they'regoing to be conned. Let's fact it, it's not Ike the old days whenmembers of a group only earned £40 a week. Then everyone knewwhere the money went.

"It's possible that you'll have co-operative groups in the futureso that they'll take care of all the business and everything. Butcoming back to music, as long as the public like what is beingplayed, I don't think it matters who's playing it. Some people saythat Traffic was better than Blind Faith, but what does it matter?"

MORE MONEYJeff works more in America. because like he says: "There's more

money there. The American teenager seems to be at leisure all thetime whereas the British teenager seems to be working."

Inevitably the subject of groupies came up, and Jeff has definiteviews on this topic.

"Groups are always complaining about slags being slags." Jeffsaid. "But they're the ones who cause this sort of thing to happen.If the groups went to bed early and locked their bedroom doors, thenyou probably wouldn't have the groupie scene."

Having heard what Jeff has to say, I later spoke to Tony Newman,Beck's dismissed drummer.

"Jeff's group has always been unstable, ever since I joined it."Tony maintained. "There were always under currents going on anddisputes happening all the time.

"We never rehearsed. In the eight months I was with the groupwe rehearsed about twice which is ridiculous. This is one of thereasons why small jazz groups didn't really make popularity -wise.They were mainly pick-up groups and once again there was this lackof rehearsing."

What was Tony going to do now?"I still want to carry on playing," he stated. "I've got business

interests, so I don't have to worry. But I'm a drummer and wouldlike to work with Billy Preston who's an old friend of mine.

"No. I wouldn't go to the States to live and work, because I hateliving over there. It's like Henry Miller said, 'an air-conditionednightmare'. The music scene is all right though.

"At the moment, I'm trying to find what suits me best."We're looking forward to seeing and hearing Jeff's new group. And

he says he had fun with the old one: "The group as it was, was atouring band of lunatics!

"I want to be in this business as long as possible I don't want togo back to work - I want to play guitar as long as I've got hair onmy head."

If you're wondering who the mystery musicians are, try an eachway bet on the Vanilla Fudge!

TAN MIDDLETON

FREE POP - BUT

SOMEONE PAIDWOODSTOCK, which deposited an under 30 population

the size of Liverpool into an area the size of Stone-henge (with appropriate facilities) is over. The festivalof love and peace (and incidentally music that went unheardby the great majority) ended as usual with the promotersless than friends with each other, lawyers being visited andall the rest of it that goes with large festivals these days.

Woodstock, of course, was phenomenal in terms of crowds-half a million all sitting on Max Yasgur's dairy farm inSullivan County. It was also incredible in the amount ofmoney it lost-truly the promoters put principles beforemoney when they made it open house, and started askingfor donations.

Such is the life style of thepeaceloving rock fans that nodonations were forthcoming frontthe avid diggers of peace -through -rock.

And the expenses went up andup: 500 dollars an hour for heli-copters with more brought in toact as hovering ambulances, ex-tra security guards, more garbagetrucks. Expenses began to increaseearly Friday morning, hours beforefestival - start, when 30,000 fanswere already in the concert area.When asked to leave they didn't.The fence had been trampled downand from then on, with the policeguards being pulled out at the lastminute, the question of tickets forthe festival was a laugh. A short,bitter one from the promoters whofound themselves halfway throughfacing debts of one and a halfmillion dollars.

MORE LOOTOne of the producers helicoptered

into Wall Street, still in festivaldrag, to raise more loot, throughloans to prevent bankruptcy andPossible riot from the groupsscheduled to play at the festival.

The artistes were huddled in ahotel, wondering about money andrumours of lack of food, travel,facilities - all needless, althoughWho roadie did have a little shoutup with the management beforehe got his group's 11,200 dollarsfor performing. But John Wolffreally knows his job and does itwell, it shows the benefit of havinga well trained well managed roadie.

But everybody in the audiencewas happy, going around with Wins-ton Churchill peace signs and say-ing to the myriad reporters fromall over, "Like, Wow. I Mean.man, Phwew. Like, a groovy scene,Beautiful, Even the cops, man.like well. you know."

The local underground papers whocontinually hammer out stories

about how peaceful the new genera-tion is, not uptight at all, wereecstatic after the festival becausethey found out how peaceful thenew generation were I don't reallyknow why they were so surprisedbut they were. Maybe they didn'tbelieve it.

Actually the promoters of Wood-stock claimed that undergroundPress support was responSible forbringing all these people together.And for keeping everything cool,via security work and a newsletter(daily).

Another surprising thing aboutWoodstock was the amount ofcoverage it received in the politicalcolumns of the papers.

Headlines from Washington read-ing "Sound of Rock Reaches Presi-dent" were printed and the festivalthe crowd and the youth market assource of votes for politicianssolemly discussed.

SUN SOUNDSam Phillips, Sun Records foun-

der and the man who discoveredElvis Presley, Jerry Lee Lewis.and Johnny Cash, is back in therecord business.

He is forming Midnight Sun, alabel devoted to black blues andmainly culled from old masters inPhillips' collection, Bluesnames tobe released include early materialfrom Rufus Thomas, Nowlin' Wolf.Little Walter, B. B. King, LittleJunior Parker, Little Milton, Doc-tor Ross, R. B. Stidham, RoscoGordon and Ike Turner. First re-lease is a single by Cliff Jackson.

Phillips say he is releasing thisproduct because of the reactionblues is getting all over the world.

Sun International recently re-issued the first sides by Jerry LeeLewis and Johnny Cash in twoalbums.

WANTED!

by public demand...

CLYDE

MTHATTERwith his new single

DENVER,(CB 106)

37 SOHO SQUARE, LONDON,W.1.(01734 3932)

4 RECORD MIRROR, Week ending September 6, 1969

OB DYLAN - your friend andmine - did what was expectedof him (his new thing, and lessthan he was purportedly paidfor) and left the Isle of Wightin a privately hired hovercraftwhich took him to a fleet ofprivately hired limousines:Rolls-Royce for the Dylan family

and Daimlers and Austin Princesses for The Band.The night before he delighted lots of people with

his new versions of his old songs done in his newmarshmellow voice with gutsy blues backings,sparse and effective, by the Band who also ten-dered strong vocal support.

After the event different sections of the presssaw the event from opposing sides of the fence"Dylan Cuts It Short After Midnight Flop"screamed the Sketch with appropriately deroga-tory story, while the Telegraph claimed "150,000Go Wild As Dylan Rocks Isle" with appropriatelove 'n' peace copy to follow.

Neither was accurate, but both were picturesqueas were the faces of Sketch reporters when com-pere Rikki Farr on the previous day had said: "You

Wesley laine & Lon Goddard

report from the Isle of Wightpeople from the press, some of you are doing agood job writing about the music, but you peoplefrom the Sketch and Mirror, and the People, youshould be ashamed of yourselves, you write a lotof shit." So some got offended and the others gotsmug.

The crowd became impatient after waiting a couple ofunscheduled hours for Bob. When he appeared after TheBand's spot someone sent a rocket up. a gesture of joy ratherthan analogy. We all cheered and we were all happy especi-allly when he broke into "She Belongs To Me" which wasthe same song that he started his last concert here with atthe Albert Hall some three years ago. That time he sang itvery differently to the record, no less this time. His new"Nashville Skyline" voice was used throughout the show, andcombined with his well -scrubbed clean wholesome physicalappearance (comfortable white suit, open -neck pea soupcoloured shirt, trim beard) he seemed the very essence ofthe ungimmicky entertainer. He was as different from thewild, brightly dressed, freaky haired and tortuous poet ofthree years ago as the new post -Army Presley was as differentfrom the sensual stuttering rocker.

Bluesey "heavy" (is that the right word?) guitar punctuatedthe first song and Dylan glided smoothly through the lyrics.The song was smooth on record - this time it was smoother,last time it was drawn out.

From behind a forest of microphones, more than AdolphHitler EVER had Dylan became more solemn and sang "IThrew It All Away", putting even more feeling into it thanon the LP. It was beautiful. "Love is all there is, it makes theworld go 'round" he sang it and I naively believed he meantit.

The Band came in vocally for "Maggie's Farm" which hadearlier been folk-bluesed by Richie Havens: Dylan rocked itup and shouted the crushing lyrics while the Band echoed'no more' again and again, thrusting their faces towardsDylan's at the barrage of mikes and the three vocalists ex-changed grins and contractions of facial muscles towardseach other. Dylan seems to evolve a close relationship withhis backing groups: at the Albert Hall during the electrichalf of the performance he strutted around with his group'slead guitarist (Al Kooper T think) thrusting their guitars ateach other and doing some kind of primeval war dance.

"Wild Mountain Thyme" is a beautiful tune that Dylandidn't write but surprisingly sang as he launched into theunaccompanied section. It was followed by "It Ain't MeBabe" which wasn't suited to his new vocal phrasing andvoice. The song can only be bitter and cutting and doesn'tsuit his latest image.

"To Ramona" was the closest he came to the original BobDylan version. He tried to change bits but couldn't help fall-ing back into the phrasing, if not the poignant cadences thatmarked the song as it appeared on "Another Side".

Claps, shrieks, cheers, whistles greeted the first bars of"Mr. Tambourine Man".

The song that was probably the first hippy anthem, thatwas sung when the word hippy hadn't even been coinedwould have brought the house down had there been a house.Bob kept near the original feeling of the song - a lovingwistfulness pervaded the atmosphere and we all felt, here isBob Dylan, in front of us, flesh and blood, really here, sing-ing his most famous song, the song that told us before any-one else that something was in the air, and it was happeningto us all.

After that came "I Dreamed I Saw St. Augustine," - it madethe "John Wesley Harding" version seem dated and TheBand came back on and someone played a nice guitar solo inthe middle. The audience and the press were in a state ofrapt attention, only the photogs externally buzzing down andaround and up and down weren't quiet.

Faces were still alight when he sang "Lay Lady Lay" without the subtlebeautiful backing that the record has, and it didn't particularly inspire orexcite. Nevertheless the atmosphere kept up, people high and low weredigging everything and somehow the vibrations from the stage broughtthrough memories that not even the re -playing of his record managed toevoke.

The next number was for me the best. Dylan rocked his way through"Highway 61 Revisited". Grins and smiles and laughs of delight pervadedthe starry faces in the press stands as The Band provided a sensationallyrocking country backdrop, loudly yelled "down on Highway Sixty One",and the fingers of the bass man flapped incredibly, like no other bassistI've seen. They even threw in a Saturday morning Granada organ solowhich lay nicely behind the pounding cowboy rock. It was all too much.

After that, "One Too Many Mornings" was an anticlimax Dylan set

it to the beat of "It Takes A Lot To Laugh, It Takes A Train To Cry"and freaky guitar stuttered throughout but nothing really fell together.The next one "I Pity The Poor Immigrant" was also disappointing - butmainly because the backing drowned out the vocals from where I wassquatting. There was an amusing break for a piano accordion however,which one of the band sported.

"Like A Rolling Stone" was given a jerky vocal treatment, The Bandyelled out "how does it fell" but it had shades of the single hit all over it.It was good and words sounded as good as ever.

"I'll Be Your Baby Tonight" followed given a less mellow treatmentthan the single, with considerable beat added. The charm remained evenfor a bubbly version of "Mighty Quinn".

"This is a song that was a big hit in England for Manfred Mann. Agreat group, great group," said Bob. Good to hear him sing it.

He went off and was called back.But he didn't return for a couple of minutes. The people behind me who

had partially succeeded in getting me contact high said some prettynauseating comments. "Dylan's too big to do an encore man," said one,profoundly seriously.

The next song I didn't know. "Whose gonna throw that Minstrel a coin"he started. It was a gospel -tinged number with good lyrics that soundedlike Bob's. Rolling beat backed it up and The Band featured heavily.

The last number was "Rainy Day Woman Nos. 12 & 35" without therollocking stoned beat of the original. Bob removed the high atmosphereand gave it to us straight. In country -rock, well -sung, straight-faced.

There were no new songs as such and the event was predictable. Butit was a big success. Dylan had appeared, he had been there and he hadentertained.

The show had been a good one, and Dylan's act had been thoroughlyprofessional and musically near -perfect.

"I think I prefer the new Dylan you know" someone said on the wayout as passed a portable record player playing "Masters Of War".

To the kids: 'Take it easyand do your work well'TEN minutes on the Isle of Wight would be fun if theplace was just around the corner, but it isn't. Bob Dylan'spress conference was announced at the last possibleminute and every journalist, photographer and promoterin creation scrambled to the isle to get valuable crypticsfrom the prophet of the proletariate.

What were Dylan's views on the current drug situationamong young people, asked a faceless berk from thepeanut gallery. "Great," replied Dylan, pixilated. "Nocomment," he said when pressed further on the subject.Who are you really looking forward to meeting whileyou're here, came another query. "Well," he stated,"I'm hoping to meet anybody who's around. I'd like tomeet the Who and maybe Georgie Fame. It's true I'mmeeting George Harrison too." Twitching a whisker, Bobgave me the impression he was wondering what the wifeand kids were up to back in the 16th century mansionthey were staying in on the island. So I blurted out, doyou feel this change that has come over you and yourmusic is due to domestic effects? Are you chiefly a familyman now? After such beautiful phrasing on my part, I wasbrought down to get, "I would think so," from his causticwit.

I then inquired as to the dubious accident that put himout of commission for so long: "It's true I suffered abroken neck. It's awful hard to explain. I have to take iteasy sometimes." Bob was asked what his personalmessage to the kids was. "Take it easy and do your workwell," he said with watery intent. "I'd like to get togetherwith the Beatles," he admitted, regarding the possiblelink -up rumour that was circulating, "I love the Beatlesand I think it would be a good idea to do a jam session."

Why have you never released a record backed by theBand if they are your certified backing group? BertBlock took over the answer to my question. "The Bandand Dylan are on separate labels, but it is possible thatthey might do a record together in the future. The acetatesthey did were only for other artiste's benefit." Where wentyour flamboyant clothes and wild hair style, asked anotherinterested writer. "That stuff was all for publicity," heannounced, "I don't do that kind of thing any more."

The fantastic series of heavy quotes had inspired thethree rows of busy pressmen to the point where someonefinally quibbled, exactly what is your position on politics,music, etc.? "My job is to play music," Bob pontificated.The ten minute ordeal was then brought to an abruptend and cameramen marched down to the beach withBob, where he picked his fingernail in boyish fashion fora fraction of a second and then led his string of admirersand inquirers to the door of his limousine. Withoutwaving, he disappeared, leaving scores of extended micro-phones and cries of "would you comment on .. . ?"

We can't say Bob doesn't like the press or presentinghis opinions, only that it wasn't any Sunday clam bakefor the "shy" super star and that under severe "pressure",the story he gave his fans was about as startling asreading the tube map. Dylan, however, holds the cards.If he says his only job is to play music and not to be

funny and freaky any more, we'll just have to be contentwith half the man. A great pity, but half the man is stillvery palatable.

LON GODDARD

RECORD MIRROR, Week ending September 6, 1969

IF you go and see Sammy Davis perform these days, you'll find he's notrestricting himself to his standard material. Sam's included a coupleof numbers from the Blood, Sweat and Tears' current album.

"I wouldn't have done something like 'Spinning Wheel' a while ago,"Sam confessed. "It's only been during the last year and a half whereI've found myself musically, so I could say I'm going to do this and it

won't be an impression of whoever recorded it first."What I'm trying to do is my thing and borrow other numbers and

make them in essence a fun part of the show. Then when I get throughdoing that, I go back to singing 'Birth Of The Blues'. You don't want tolet anybody know you're gonna live in the park. They won't buy it becausethey know it's not kosher. 'That's not his thing' they'll say.

"The people who come to the Talk of the Town want to see theimpressions and the things I normally do. If I do 'Spinning Wheel', 'YouMade Me So Very Happy' or a Ray Charles number - then that's extra. It'snot what they come and see you do.

"You see somewhere along theline you've got to do your thing,and then go back and do other stuff.

"George Rhodes, my musicaldirector, has done a great job withthe arrangement on 'SpinningWheel'. He took the flavour of therecord and transposed things fromthe nine -piece to the full orchestra.It's not just riff for riff - he hadto get the harmonics sound right.And I'm also lucky with the drum-mer I've got. He's not today-he'stomorrow. He's so brilliant andreally is a good drummer, and hasgot the 'now' sound."

BEATLES 'PEPPER'Talking of the "now" sound, Sam

referred to the Beatles and "SgtPepper". "They had things goingwhich you could not believerhythmically," he said. "They didthings which shouldn't have worked,but they did.

"The same sort of thing is happeningwith Blood, Sweat and Tears. In 'Spin-ning Wheei' they have a cow bell going fortwo bars of the number, then you don'thear it no more after that. And you think,'what happened to the cow bell?' They putit in the right place which to me is greatarranging.

"They have the most exciting new soundI've heard. They're doing something whichis totally their own. I don't know any ofthe guys. And the funny thing is when Ifirst heard 'Spinning Wheel', I didn't knowif the group was white or black - I didn'tcare. Because the lead singer's voice istotally neuter. It has no colour. Like a trueartiste, it's difficult saying he's neitherwhite or black; he's just good.

"It's like Ray Charles. He can sell countryand western records because he has nocolour."

The rock rhythm which Blood, Sweat andTears employ is even getting into sacredmusic in the States. Sam agreed whole-heartedly.

"Now if you get a good gospel groupman, they'll swing you into bad health! Iwent to a Baptist meeting in Florida. They

Ian Middletontalks toSAMMY DAVIShad a fifty voice choir of women andchildren from the neighbourhood and whenthey started to sing, it took you back tothe stone roots. They had a four -piece bandof drums, piano, bass and guitar and theywere really swinging. If you'd made arecord of it, it'd have to be a number onepop seller.

"When I hear the opening of 'Sgt.Pepper' with that certain rhythm, then itgoes into more of a straight four, I thinkit's brilliant. I don't know if it's Ringo ornot but as a drummer you say, 'he ain'tsupposed to do that!'

"To me everybody has to start behindthe Beatles and I don't care what anybodysays."

Having praised Blood, Sweat and Tearsso much, were there any other groupsSam dug?

"I love the Buckinghams, but I don'tthink any group has got near B,S&T," hemaintained. "I thought the Union Gap wasgoing in a good direction and they werecooking. But what happened was they blewit somewhere along the line. They gothung up with their problems."

NOT TOGETHER ENOUGHSammy agreed the group scene both in

America and Britain was changing all thetime - similar to the number of changesin personnel one had in the jazz days. Butthere is a difference he maintained:

"When you had guys like Zoot Simmsand Stan Getz playing in a band theystayed long enough to create a particularsound before they went to another band.But when they split the sound stayed thesame. Today, when a cat leaves a pop group- the sound changes. They're not togetherlong enough.

"The Mamas and Papas split up after twoyears. Why? Because 'we've got to findanother thing to do'. I don't understandthat. I can understand there might havebeen problems within the group, but gee, Iwish they'd stayed together because theyhad great taste and were such a goodgroup."

5

SAMMY DAVIS - tells about his opinion of the Beatles, especially "Sgt -Pepper",and Blood, Sweat and Tears, another group he admires.

NEWS SHORTSRay Charles PAXTON HERE! Grass for Canada

-tour datesRAY Charles, his Orchestra

and the Raelets arrive inSeptember for their English

tour. Dates set are: Friday, Sep-tember 26, Bristol, Colston Hall.Saturday, 27, London, RoyalFestival Hall, Sunday, 28. Ham-mersmith, Odeon. Wednesday.October 1, Wakefield, Theatre Club.Friday, October 3, Newcastle,City Hall. Saturday. 4, Birming-ham, Odeon.

Blodwyn Pig had to cancelseveral dates last week asdrummer Ron Berg collapsed dur-ing a Marquee performance andwas advised to rest on doctor'sorders. The group have resumedwork this week. During September,the group enter the recordingstudios to complete their secondalbum and in October commencetheir first American tour. "WalkOn The Water", their forthcomingsingle, is scheduled for release byIsland records in mid -September.

Billie Davis leaves this Sunday(August 31) for Spain for TVwork in Madrid and Barcelonaas well as concerts and cabaretthroughout the country. Asnumber one pop personality inSpain, she has two records intheir charts. "I Want You ToBe My Baby" is the longestrunning single hit for the pastten years.

Billie returns to Britain forNovember 1 to appear in aspecial concert with the Holliesand to prOmote her album. Be-fore she returns, she visits Ger-many, France, Switzerland andHolland for major TV showsand concerts.

Leslie Gould and Dick James.respective heads of Philips RecordsLimited and Page One are pleasedto announce a new contract withPage One has now been agreed fora period of three years.

Page One will be developing newartistes and products, some ofwhich they will launch this Autumn.

POPULAR American folk singer,guitarist composer Tom Pax-ton, makes a return visit to

Britain in September and October.Dates fixed so far are; Friday,September 26, London, Royal AlbertHall. Saturday, September 27.Brighton. Dome. Sunday. Sep-tember 28, Manchester, PalaceTheatre. Thursday, October 2,Croydon, Fairfield Hall. Friday,October 3, Birmingham, TownHall. Sunday, October 5, Liverpool,Empire. Monday, October 6.Bristol, Colston Hall. Wednesday,October 8, Hemel Hempstead,Pavilion. Friday, October 10,York, University. Sunday, October12, Sunderland, Empire. Monday.October 13, Glasgow, City Hall.

New material from existing artistescan also be expected during theAutumn.

After the tremendous success inthe pantomime "Queen Pas-sionella" Danny La Rue is to starin the 1969 Birthday Show at theCoventry Theatre.

This lavish and spectacular revueopens for an eight -week seasonon Tuesday. October 14. It will bestaged once nightly on Monday,Tuesday, Wednesday and Fridayat 7.30 p.m., with two performancesevery Thursday and Saturday at5.00 p.m. and 8.00 p.m.

The 1969 Birthday Show will beDanny La Rue's first revue inCoventry and is presented byBernard Delfont.

Clouds embark on their firstmajor tour of America on October14 following a short Continental tourwith Blodwyn Pig.

The Scottish trio, currently writingthe film score for a major Americanmovie "The Groupies", concernedwith the American rock scene, havecompleted all material for theirt.ew album which they commencerecording in September.

Their first album, "Scrapbook", ison current release.

Norman Rubin, 37, formerly withUnited Artists publishing depart-ment and assistant to the Vice Pre-sident, and who was also with

A promotional visit to Canada inSeptember has now been confirmedfor Harmony Grass, who are alsomaking their first visit to Copen-hagen from September 29 to,October 1.

The group are in the studio thisweek recording their next single,and their first album, featuringmuch original material written byTony Rivers, including a dedicationto their roadie "Michael", is duefor release shortly.

Following their great success atthe Marquee recently, HarmonyGrass have been offered a returnhooking in a special Christmas slot.

Atlantic Records, takes over as theRobert Stigwood Organisation's pub-lisher in the United States.

Based in New York, Rubin willhandle all current Bee Gee'smaterial and a large percentageof material from the London office.including that of Eric Clanton.Ginger Baker, Jack Bruce andmany others. Norman Rubin willhead a publishing house coveringthe whole of the U.S.A., and a newpublishing company for Americanmaterial will be set up.

Pat Arnold's next single, whichis to be released on the Polydorlabel is a Barry Gibb composition"Bury Me Down By The River".The single will be released first inAmerica, and then in Britain onSeptember 12. To coincide withthe release in America P.P. willundertake a ten day tour of theStates. The chorus used on thesingle includes top artistes DorisTroy. Madeline Bell and RosettaHightower.

This Thursday (Aug 28) MightyBaby take part in a new style POPprogramme at the Country Club.Haversham Hill, a famous Londonvenue which features progressivegroups. Instead of support acts,the club will now be promotingone main act and the supports willbe of an "unusual variety". MightyBaby will be supported by astripper and in future, jugglers. fire,eaters, drag acts and such havebeen lined up

6 RECORD MIRROR, Week ending September 6, 1969

CARL WAYNE on the iTi OVERoy and I disagree constantly . . . he looks like a junkie or the undergroundpersonality of the year . . . the group is in a horrible position . we aren'tfor the States at all . . .

IKE the Who, allriots inside the Movecame out into theopen," he said."They were madepublic and the pub-

lic should know about them."The plight of Carl Wayne is an

intricate professional clash with-in the Move. It has no bearing onthe personalities in the group,but one-way policies have placedCarl before the firing squad ofhis own standards.

"I personally consider theMove to be in a horrible posi-tion," confessed Carl. "We had,as a band, achieved remarkablesuccess and I admit to beingslightly embarrassed about thecommercial trend of that suc-cess. In our infancy, we were oneof the biggest undergroundgroups going. Our initial releases'Night Of Fear' and 'I Can HearThe Grass Grow' could havebeen viewed as either under-ground or straight pop-so wewere in a good middle of theroad position.

COMMERCIAL HITS"Later, there developed a vast

number of underground groupswho were playing exactly whatthey wanted, but with no hope ofever making it economically, sowe came out with a string ofcommercial records whichestablished us well outside theunderground category.

"Then the Cream crackedAmerica wide open and createda market for undergroundgroups that was large enoughand receptive enough to make itpay for those who had stuck itout. We were between the deviland the deep blue sea, havingbeen affected by commercialrecords and seen the rewards ofhits, so we pushed along in thesame line, not wishing to endsomething that was going sowell.

"We could have gone to theStates three or four times, but itis now my opinion that we aren'tfor the States at all. We are,however, an adaptable groupand the States audiences haven'tseen us yet, so we might wellbegin with a fresh outlook whenwe do get there.

DIFFERENCES"A partnership is the hardest

thing to make work. Keepingtogether in the Move is often adicey business. Roy and I areon opposite sides of the fenceand disagree constantly. I amanxious, irritable and I getfrustrated, while Roy tends to bepleasant, lazy and lethargic.

"I dig Roy as a person and heis about the best commercialwriter in the country today. Headds a lot to the Move, but hisway of formating each recordand his writing gets embarrass-ing for me.

"What's worse is that he iscontented to work this way and

so are Rick and Bev. There is a.rift between me and the rest ofthe Move, but I am only thesinger and Roy is recognised asthe main part of the band.

"He looks like a junkie or theunderground personality of the year andeven acts the part by raking com-mercialism over the coals if he is askedabout it, but he cannot be swayedwhen he writes a number.

"The Move are not about to splitup, but we could be together for ayear, a week, or three years. When wefinish the live appearances together,we will stay on recording as a group,but I might well do what Frampton andMarriott did in seeking people whoagree musically and forming a group.

"No more of the four and five manequal -status things - I will have todominate. America is where theopportunity is and like Graham Nash,I would like to live there. I would hateto end up in the position of Dave Dee,although I like him very much.

"So I have to be true to myself andtry to find those things I really want todo. I tell you all these things becauseone should say what he feels; if a guyenjoys a lot of women, it's no gooddoing an interview and telling peoplehow much he digs drinking milk."

LON GODDARD.

inf from DeccaTANDEM are two frtheir own number, 'Ssad ballad, sung withproduced. There are stoo, and a highly emcsentimentalists. It's or

lAt the time of writirktPRISE are packing tIshould soon be over Inew record, 'Sad ancthis along with no lemood, this is for youThis is on Deram DM

'A whiter shade of palday-the first time I

The Decca Record Compar

RECORD MIRROR, Week ending September 6, 1969 7

THE PEDDLERS-excited about their hit

THEORY:Don't worry about the Peddlers not getting hit

singles - they don't care about that kind of thing be-cause they're working non-stop and earning fast, breakingbox-office records in cabaret.

FACT: "That's so much rubbish. We're worried about nothaving hits. We've always aimed at the charts. And we're veryexcited about the way 'Birth' is selling."

The fact -purveyor is Roy Phillips, organist and singerwith this tremendous trio. And writer of "Birth".

"We've never had a hit, right from 1965, though 'Let TheSunshine In' just about brushed the charts. Yet we holdthe attendance records in so many halls. People seem to likeus . . ."

Seem to? Avowed fans of the Peddlers include the RollingStones, Richard Harris, the Beatles, Tony Bennett, Liz Tay-lor, Princess Margaret and Lord Snowdon.

But the boys - Roy Phillips, drummer Trevor Morais andbassist Tab Martin - make progress on albums. "About80,000 sold so far." said Roy. Those albums: "Peddlers Liveat the Pickwick", "The Fantastic Peddlers", "Freewheelers","Three In A Cell".

A new one, a double album, ready for the end of October.Sleeve pictures by Terence Donovan - and a lot of originalmaterial.

And there is the current single which looks like breakingthrough. Says Roy: "I was listening to the news - aboutpeople killing each other, the whole sad sick scene. So Iimagined this family, pouring out their feelings. There's nobloody message, but there is a little bit of religion. That wasintentional .

"The song just flowed. I wrote it at tea -time and we re-corded it a few hours after. Funny what a mixed receptionit got from the critics."

The Peddlers have a built-in togetherness, musically andmatily. It all started in a Manchester music shop - "a littleJewish guy who ran it was responsible for us meeting," saidRoy.

"I used to go into the shop and try out different instru-ments. And one day I met up with Tab, who was doing thesame thing. You know how musicians get talking aboutwhat's happening - which way they want to go. And wereally began on the day that Trevor Morais came into thesame shop and pounded away on his brand-new drum kit."

Then they were avant-garde. For those days anyway. Theyall kicked in ideas, put them into a communal hat - andrehearsed. "We rehearsed virtually every day for twelvemonths. Just a few gigs. enough to pay the rent. There wasa lot of experimenting going on, like we were feeling outeach other's inhibitions, kicking around arrangements bypeople like Teddy Randazzo and Jackie Wilson."

Now Roy is 26, Trevor 25, Tab 24. And they are matureenough, musically, to be able to tackle any kind of gig -from the Flamingo in Las Vegas to a pub in Camden Town.

But drummer Trevor is one-up on the others, in terms ofpast experience. He claims to have played the psalm oncymbals in Coventry Cathedral. To prove it, his picture nowhangs on the cathedral wall, alongside that of Duke Ellington,who also played a concert there.

The mind boggles . .

PETER JONES

THE 'BIRTH' OF ATEA -TIME HIT

R.M'S Rodney Collins' spent a

week in New York and decided

ANYTHING GOEShere is his report . . .

NEW YORKHarper's Bizarre once sang 'Anything Goes' and this could well be NewYork's signature tune at the moment where, musically, it does seem thatanything goes.

In this vast, bustling city, ruled by Broadway musicals and 'rock' music,the scene ranges from Neil Diamond to Led Zeppelin, and from Cree-dence Clearwater Revival to Lou Christie. Their music can be heard in all

the bars on First Avenue, and at many of the clubs in the 'Village'.New York, it seems, is a mass of tall buildings, cinemas of all varieties, theatres, pop groups and yellow taxi cabs. British

groups are still hitting big, with Spooky Tooth and currently Jethro Tull breaking into the market there.Appearing at the 'Village' currently is jazz musician Les McCann, one time rock idol Ricky Nelson (now on the folk kick),

and Atlantic artiste Gary Burton, who opened his sessions at the Village Vanguard with a party thrown by his disc companyAt the Fillimore East, a tremendously popular music centre, Crosby,Stills and Nash are billed above the Move for Septemberappearances. Fillimore has also been offering tickets for Dylan's Isle of Wight concert, but, according to a club informationtape "you will have to arrange your own transport from New York" . . .

On New York's 'easy listening' stations, Tom Jones, Engelbert, Petula Clark and Dusty Springfield are polling airtime,along with Dean Martin, Sinatra, Glen Campbell and Johnny Cash.

New York does, of course, have the 'top 40 rock' stations, but less emphasis is put on the charts now.WMCA's Joe Bogart told me: "I don't believe in a list of of chart material, I believe in the right list. Attitude of this

station is- 'if it is good we'll play it', We are in a 23 -station market and the music must be good to catch listeners."At one time this used to be a top station, it is now losing ratings, but this is a very competitive market," added Bogart.On most of the major

stations in the city, the discjockey is concerned with an-nouncing the records only,an engineer plays the discs.All the New York stationsrely upon the dee-jays aspersonalities, and this is howthey build up good audienceratings.

DISCOUNT LP'SBut, as with the British

scene, the trend is going to-wards albums, and a new LPby a top artiste, althoughoriginally priced at $4.95, willseldom cost more than $3.95(that's about 32s) in one ofthe discount stores.

While in New York, on atrip organised by Mike Halesof Paragon Publicity forAtlantic, Buddah and Elektra,I have met Wilson Pickett,the Impressions (currentlyon Billboard charts with'Choice of Colours'), LouChristie, David Peel, Sonnyand Cher and Elektra new-comers the Wild Thing.

In the coming weeks, theinterviews will appear inRecord Mirror, beginning thisweek with . . .

THEWICKEDPICKETT

lends who got together to writeong of my life'. It's a touching,great tenderness and beautifullyome interesting tempo -changes'bona! piano-this one is for the

Chapter One, number CH 109.

GARDEN ODYSSEY ENTER -tern in at Continental clubs, butiere to promote their compellinglonely' An insistant beat drives

t -up, and if you're in a partying-catch the soulful undertones.267.

covering I had ears-and it hasn't lost any of itsimpact or any of its haunting beauty. Listen to J. J.WORTHINGTON singing this modern classic in frontof a full orchestra, and you'll hear what I mean. OnDecca F 12961.

e' was a real mind -opener in itsheard it was like suddenly dis-y Limited Decca House Albert Embankment

CATHIE HARROP is a very attractive young ladyfrom New Zealand, with a great voice and matchingpersonality. Must be something to do with growing upin good fresh air-anyway, her single, 'Bring on thedancing girls' is very promising, and we'll probably behearing a lot more from Cathie in the future. This is onEmerald MD 1131.

45 rpm records

London SE1DECCA group records

WILSON'SGOT TO HAVEHISF N

T is now almost threeIyears since Wilson

Pickett toured Britain."Man am I looking for-ward to getting overthere again. It is reallygoing to be great."

From this comment,you might gather thatWilson really enjoyspersonal appearances."Well, no, not really. I

get a little fed up withthe one-nighters. Afterall, this is my 11th yearin the business and theycan become a littlewearing. Usually I cantake them or leave them,but I do realise theimportance of keepingin touch with the fans.It is an artiste's duty,really."

I met Wilson in hisNew York office, wherehe works with hismanager and somefriends. At that momenthe was planning a newalbum.

"It has been abouteight months since I lastdid any recording. I

don't usually leave itthat long, but it justhappened that way. Weare now going to getworking on a newalbum.

"I have been workingall the time though. I

find it very difficult torelax anyway and am

determined to get whatpleasure I can out ofthis business - God itcan be frustrating some-times!

"I enjoy working forEuropean audiences.People in England arereal music lovers."

Wilson talks en-thusiastically about hislast British hit, 'HeyJude'.

"It was funny. Manypeople advised meagainst recording 'HeyJude' after the Beatles.In fact, the song wasrecorded for an album

and it was not reallyintended to be a singlein the beginning, but itsure sold a few copies!

Since he signed withAtlantic Records in1964, Wilson has pro-duced a string of hitsfor the label, including'For Better Or Worse','Land Of 1,000 Dances','In The Midnight Hour','Mustang Sally' and hislatest 'Hey Joe'.

"We are coming overto Britain on September5 to promote this newdisc," he added. "I likethat one,"

8RECORD MIRROR, Week ending September 6, 1969

THEcW014,6111AkTAITHRI

as tears gothis little bird

summer nightsscat -borough fairmonday monday

come and stay with meis this what I get for loving you?

yesterdatomorrows callingmy time of sorrow

away from my world

DECCR

as tears goby yesterdaythis little bird monday monday

summer nights tomorrow's calscarborough fair in my time of sorr

come and stay with meis this what I get for loving you?

go awayfrom my worldA BEAUTIFUL ALBUM

1/ 1 recommended price U.K. only,

The Decca Record Company LimitedDecca House Albert Embankment London SE1

12" LP DECCA

NEW ALBUMS REVIEWED BY R.M

REVIEWING PANEL NEW ALBUMS

Almost any track isa single on Cliff's

'SINCERELY'

CLIFF RICHARD "Sincerely" -In The Past; Always; Will YouLove Me Tomorrow; You'll WantMe; I'm Not Getting Married;Time; For Emily Whenever I MayFind Her: Baby I Could Be SoGood At Loving You; Sam; Lon-don's Not Too Far; Take Action;Take Good Care Of Her; When I

Find Her; Punch & Judy (Colum-bia SCX 6357 stereo).

A WELCOME LP from Cliff -±1. as usual a lot of care has gone

into it. His voice is unchanged,but his style is generally morefolksy - although of course any'touch of ethnic has been smoothedwell out by the slick arrangementof Mike Leander, Mike Vickers.Alan Hawkshaw, Brian Bennett andBernard Ebbinghouse. The generalstandard of the L.P. is high-anytrack could virtually be Cliff'snext single - but he does sing theold Poco Seco item "Time" sonicely that it is my favourite track.No disappointment, although perhapsa little more adventure might beappreciated on his next outing.

* * * *OTIS RUSH "Morning In The

Morning" (Atlantic 588 188 stereo).OPHISTICATED and BIG blues

S Sounds from Otis Rush, andincredibly the sleeve notes say

this is his first album, afterfourteen years of cutting singles.Ills powerful voice dominates thePounding organ, the freaky guitars,the Bloomfield songs and the jazz -based arrangements. Vocally, hisvoice is so terrific that it seems tomatch the kind of guitar that B.B. King plays - this is probablythe best modern blues LP sometime. The voice is all that whitesingers aspire to, and none canreach. A pity Otis has been soneglected.* * * *

JOE TURNER "Sings The Blues"Vols. 1 & 2 (CBS Realm Jazz series52207-52229).

NICE sleeve notes from ChrisWhent on this set, retailing at25/11d. The big -band accom-

paniments, the solid soul deliveryand the terrific jazz -pop welding ofthe elements comes across verystrongly on both LP's, recordedbetween 1945-7. Like the CharlieParker set, these are well pack-aged and well re -mastered.* * * *

LALO SCHIFREN: "Che" (Poly-dor 583 736 Stereo).

AS YOU might expect, an LPfull of drama, power, violence.latin, rhythms and an under-

tone of sexual excitement. Lalogets everything in, and this albumshould be a consistent seller.

* *ARS NOVA: "Sunshine & Shad-

ows" (Atlantic 588 196 Stereo).THE six -piece group, much -

vaunted, on a beautifullyrecorded album that has a

general sincere approach to every-thing they do. The plaintive appealon "I Was Once" has brass addinga lot to the arrangement, while"Well Well Well" is a hard slabof guitar -based rock. They puttogether a good LP that needssome careful listening to reallyget Into.

VARIOUS ARTISTS "The WorldOf Progressive Music (Decca SPA34 stereo)

CONSIDERING the very limitednumber of progressive materialat their disposal (as compared

say, with Polydor, Pye or EMI),Decca have made a pretty goodjob of this album. Tracks havebeen culled - carefully, too -from LP's by Touch, Moodyblues,John Mayall, and several otherscreating a nice easy -listeningeffect, A good introduction to somegood, if not the best, British pro-gressive pop. Full marks for thecover, too.* * * *

HARRY SECOMBE "Showcase"(Philips SBL 7387) stereo).

A REVERENT hush descendsover the RM as Harry'smighty and loveable voice

booms out with "On With TheMotley", the opener on this bound -to -be -big album. A very powerfulrecording indeed with Wally Stottsurpassing himself in arrangementand orchestration - other tracksinclude the oft -cut "0 Sole Mio"."Granada" and "We'll Keep AWelcome".* * * *

JOHNNY ALMOND: "The JohnnyAlmond Music Machine PatentPending" (Deram SML 1043 Stereo).

ANOUVEAU jazz group, Britishwith plenty of experience withneo-jazz units like Zoot Money.

Paul Williams. Alan Price. etc.The album has a cool continuityand could turn people on to a verysatisfying form of music. They'reyoung and hip and make goodmusic, for a British jazz group a'least.* * * *

THE GODZ: "2" (ESP FontanaSTL 5512 Stereo).

PLENTY of tribal rhythms onthis freaky, primitive thing,Ibts of good stereo work-outs

and it needs to he listened to underoptimum conditions. Not a bigseller, but an interesting and quitesatisfying freak disc.* * *

JAMES BROWN: "Say It LoudI'm Black and I'm Proud" - SayIt Loud I'm Black And Proud Pis.1 and 2; I Guess I'll (lave To CryCry Cry; Goodbye My Love Pts.1 and 2; Shades Of Brown; LickingStick; I Love You: Then You CanTell Me Goodbye; Let Them Talk;Maybe I'll Understand; I'll LoseMy Mind (Polydor 583 741 Stereo).

APOWERFUL album - andstrange too. He sings someridiculous non -songs like

"Licking Stick" and the feeble"Black and Proud", then showsan incredible amount of real soulon the beautiful "Then You CanTell Me Goodbye". James is doinga lot of good things now, butwhether this LP is one of them.

not sure.* * *VARIOUS ARTISTES "The Sue

Story" - I Can't Stand It - SoulSisters: Mockingbird - Inez &

Charlie Foxx; That's How Heart-aches Are Made - Baby Washing-ton; I got A Woman - Amin),McGrlff; I Know - BarbaraGeorge; It's Gonna Work Out Fine:A Fool In Love - Ike & Tina Tur-ner; Stick Shift - Duals; She PutThe Hurt On Me - Prince La La;Itchy Twitchy Feeling - BobbyHendricks; Don't Start Me Talking- Johnny Darrow; Vengeance -Matadors (United Artists UAS29028 stereo/en)d'ANE for the nostalgia set, cer-

tainly most of these trackssound pretty dull nowadays.

With the exception of "Work OutFine" and "I Got A Woman", every-thing is dated, and certainlywouldn't turn anyone on this typeof pop -R & B that Sue were onceso successful in producing andmarketing.* *

BILLY PRESTON "The Apple OfTheir Eye.. ." - You've LostThat Lovin' Fealty; Eight Days AWeek; Down Town; Ferry CrossThe Mersey; My Girl; Go Now:Goldfinger: Shotgun; Stop! In TheName Of Love; King Of The Road:The Birds & The Bees; Can't YouHear My Heartbeat (PresidentPTLS 1034 stereo)

ILLY pulls out all the stops"D(oops, sorry!) for this LP,which is a slab of organ back-

ground music, rather like just be-fore the big show at the Odeon,when you're sitting there lookingto see if there's anyone you knowin the cinema. Not very inspiringand with a number of near -forgot-ten old pop hits given clevertreatments. Cheeky title with a pic-ture of Billy singing "That's TheWay" etc.. .* * *CASHMAN, PISTILLI AND WEST"Cashman, Pistilli and West"(Capitol EST 211 stereo).

THE gentle vocal harmonies ofthis folk -based group are half-way between Simon and

Garfunkel and the Lettermen, ButC, P & W have a distinctive edgeto their voices, their harmonies aresubtle and their songs gently mean-ingful. Folk fans should try this.* * * *

IND LUES fans will dig the modern stuff that's going on with113 "Slim's Got His Thing Going On" (Liberty LBS 83237E

stereo) by SUNNYLAND SLIM - an oldtimer who is stilldoing good things. "The Best Of FRANCIS LAI" (United ArtistsUAS 29007 stereo) obviously has "A Man & A Woman" containedon it, plus selections from "Life, Love & Death", "Vivre PourVivre", "Hannibal Brooks". A selection of music, some of itbeautiful, all of it memorable. In the same UA series, "The BestOf Bond" (UAS stereo 29021) has most of the familiar themesfrom those playboy flicks, by JOHN BARRY and MONTY NOR-MAN. The original Broadway cast album from "Promises Promises"(United Artists UAS 29011 stereo) features some brilliant song-writers and some pleasant songs. Try it. NILSSON features on"Midnight Cowboy'", the new Dustin Hoffman flick with the sound-track on United Artists UAS 29034 stereo - JOHN BARRY com-posed most of the score. For big band jazz addicts, who dig themodern stuff - "Monday Night" with THAD JONES & MELLEWIS VILLAGE ORCHESTRA (United Artists UAS 29016 stereo)

RECORD MIRROR, Week ending September 6, 1969 9

reviewed by Peter Jones new tingles reviewed by Peter Jones new singles reviewed by Peter Jones new singles reviewed by Peter Jones new sin.

DUSTY -vocal version of the Young -Holt hit "Soulful Strut"

THE ISLEY BROTHERS:I Turned You On; I Know Who

You Been Socking It To (MajorMinor MM 631). Before hearingthis, I thought that "It's YourThing" was about as good as theIsleys could get, So, I waswrong! As Roscoe frequentlyproves, the two are virtuallyinterchangeable - why, then, isthis better "Sock -it -to -me","Sock -it -to -me" "Sock -it -to-me", "Sock -it -to -me" is theanswer! The beat is slow, thesound funky, the groove terrific.the sax yakkety, the effectmesmeric. The flip is eventrickier! Not a smash here. butlet's hope It sells.

CHART PROBABILITY.

Soul'n'velvet from Dusty Etbluesy Hank -Cliff single

DUSTY SPRINGFIELD:Am I The Same Girl; Earthbound

Gypsy (Philips BF 1811). Oh yes.Thanks very much, Dusty, for thisvocal treatment of "Soulful Strut".It's all velvet Dusty, with this in-stinctive phrasing and that insistenthacking of beat -plus -chorus, andsome lovely crisp brass figures.Difficult to know whether It'll be ahit, or a smash. I loved ft.Alas not here at press time.

CHART CERTAINTY.

THE SWEET:Lollipop Man; Time (Parlophone

R 5803). This is in for prettyimmense plugging and though thereis a waif -like sort of feel to it,it could easily make the grade.The use of deep voice is prettyhammy, but the basic feel is com-mercial and direct and staccato. It

WARWICK PETERSEN handles"Let Me Love You" (PresidentPT 255) in romantic mood -

okay but no hit sounds here. Icommend for the off -beat origin-ality: "Harekrishna", by THE NEWFORMULA. (Pye 17818), a moodyatmosphere -changing piece whichcomes off uniformly well. Tellytheme from "Who Dun It" (Pye17814), by the TONY HATCH OR-CHESTRA - crisply laid -down workby full orchestra. From THEWAKE "Angelina" (Pye 17813),an okay sound without reallycoming to full impact or originality.Sweetly done: "Bring On TheDancing Girls" (Emerald MD1131), by CATHIE HARROP -extremely easy listening.

Group called GARDEN ODYSSEY

opens up no new musical frontiers,but it certainly hits home. Don'tbe surprised to see it in the charts.Straight group vocal scene. Flip:Pretty routine, but powerful enough.

CHART POSSIBILITY.

CLIFF AND HANK:Throw Down A Line; Reflections

(Columbia DB 8615). This isactually something special. Mr.Richard and Mr. Marvin joinforces again on a Marvin numberand there's a strongly bluesy-soul,earnest -yearning sort of feel to it,and Cliff really tackles this"different" kind of song withimmense style and verve. Excellentlyrics - kindly listen closely. Anda lot of good guitar. This must bevery big. Flip: Just Cliff here,apparently, on a reflective piecewith some more good lyrics.

MASSIVE SELLER.

REVIEWS BY JAMES HAMILTONBOB DYLAN:

Lay Lady Lay; Peggy Day(CBS 4434). No need to gambleabout predicting success for this!From the outset, this tenderslowie was THE most populartrack from the "Nashville Sky-line" album, and Just cried outfor release as a single much(more than Bob's last, "I ThrewIt All Away"). Well, with per-fect timing as Dylan publicityreaches a peak, it's finally out

. . . need I say more (Yes -pert 'n' perky "Peggy Day" ison the flip, Elvis -inspired slowed -down finish and all.)

ZIMMERMAN ZOOMER,

HAROLD SMITH'S MAJESTIC CHOIR: We Can All Walk A Little BitProuder; Why Am I treated So Bad (Chess CRS 8101). With brilliantGospel groups such as the Violinaires to draw from, why do Chesschoose to release this mediocre record here? Because it's got a big -voiced ''Happy Day" choir, that's why. * *

SAMMY DAVIS JR.: I've Gotta Be Me; Rein' Natural Bein' Me(Reprise RS 20779). Reprise re -service this big U.S. hit of severalmonths back - it's got the same message as Frankie's "My Way".and is a good if overly chest -thumping dramatic slowie. ShirleyBassey would dig. Funky flip. Somehow the sentiments expressed inboth seem incongruous coming from the master -mimic, who neverseems to know who he is himself. * * * * *

ANDY WILLIAMS: Live And Learn; You Are (CBS 4462). Andy'scustomary quality outshines the actual song on this lurching brassylitter, which gets unnecessarily raucous. Dreamy flip. An "easy -listening" radio hit, for sure. * * * *

SPANKY & OUR GANG: And She's Mine; Leopard Skin Phones(Mercury MF 1123). This easy semi -slow harmoniser starts with thepromise of brilliance, but doesn't maintain the inital interest. Theflip is fun, about some luxurious stereo headphones . . . a shameit's not IN stereo here. * * * *

HANK SCHIFTER: Long John; How Or When (Liberty LBF 15244).A well produced exercise in tedium, which has unaccountably earnedMike Raven's love and devotion. Gruff bloke, pseudo -Gospel chix.trendily moody sounds, all getting nowhere. * * *

DEL SHANNON: Comin' Back To Me; Sweet Mary Lou (Stateside/Dunhill SS 8025). Another of those slow -beat "Weight" -influenceddrum -rumblers - all rather pointless. Gutsier flip. * *

JOHN BOMLEY: Kick A Tin Can; Wonderland Avenue, U.S.A.(Atlantic 584289). Undeservedly well -backed. sub -'teen beater, witha taste of "Mendocino". * *

Bruce bridges the

jazz -pop gap....JACK BRUCE: "Songs For A Tailor" (Polydor). Never Tell

Your Mother She's Out Of Tune; Theme For An ImaginaryWestern; Tickets To Waterfalls; Weird Of Hermiston; RopeLadder To The Moon; The Ministry Of Bag; He The Richmond;Boston Ball Game, 1969; To Isengard; The Clear Out.

WITHOUT everyone talking too much about the fact, this isthe L.P. that really does seem to bridge the gap between

pop and jazz -but in a transcendental way, rather thanmerely a hotch-potch of both musical forms crudely fused. Witha minimum of accompaniment, Jack accomplishes some raremusical tricks here, and unlike the Blind Faith album, thisL.P. really is a genuine step forward from the Cream. Line-upis: Jack on vocal, bass, organ, piano, cellos; Harry Beckett andHenry Lowther on trumpets; Dick Heckstall-Smith and Art Themanon soprano and tenor sax; Jon Htseman on drums; ChrisShedding on guitar: Felix Pappalardi on percussion and vocal;John Marshall on drums. The sound is very big. There's a lotto follow, a lot happening, and this Is really a musician's album,but doubtless it will turn a lot more people on to real progressivepop. * * * *

ENTERPRISE come up with "SadAnd Lonely" (Deram DM 267), anevocative piece with some interest-ing moments but not a sustainedperformance. From THE CUPS:"Good As Gold" (Polydor 56777),okay vocal sounds but a song whichdoesn't sound hit -worthy, thoughbeaty. PATSY MCLEAN sings"When You Love Me" (Poly'clor56349), punching home the lyricswith a professional approach -sounds quite a girl! Danceablerhythms from THE REGGAE BOYSon "The Reggae Train" '(Amal-gamated Records 843), thoughrather out of the usual pop routine.American team THE AEROVONScome up with "World Of You"(Parlophone 5804), which gets goodsounds going but is rather dis-jointed.

SLY & THE FAMILY STONE: Hot Fun In The Summertime; Fun(Direction 584471). O.K. - it stays hotter longer in the States, sothat this 'nay be a bite late here . . . who cares? Sit back, relax,pat your feet, click your fingers, and DIG! A complete break fromthe group's rapidly palling "freaky" style, this pretty semi-slowieseems fairly "straight" . . . until the guys and gals let rip (butgently, mind). Great! Not much "fun" flip -side, the dullest track ontheir "Life" elpee. * * * * * *

THE DELFONICS: You Got Yours And I'll Get Mine; FunnyFeeling (Bell BLL 1073). Soul Group Freak.; - Red Alert! It's a

beauty, AND it's from Bell! What's more, it's Mi.) hits for the priceof one, the faster flip being the boys' previous outing. Go 'head on,do your duty - you'll dig it! (Now, can scmeone charitable pleaserelease the fabulous U.S. hit by the Intrigues. "In A Moment", onthe Yew label?) * * * * *

TYRONE DAVIS: All The Waiting Is Not In Vain; Need YourLovin' Every Day (Atlantic 584288). The title is right for Tyrone'sfew faithful fans! There's a beautiful "Sculful Strut" backing, but,morei.s the pity, the song is no "Can I Change My Mind". Busy,beaty flip. * * * *

JOHNNIE TAYLOR: I Could Never Be President: It's Amazing(Stax 129). All Johnnie needs is a good slow hit and he could captureOtis Redding's crown, vacant still in the popular imagination. Hecertainly has the credentials, having replaced Sam Cooke in theSoul Stirrers Gospel group, and more recently having racked up anarray of bluesy and now beaty hits. Unfortunately, his promisinglytitled newie is just more "Who's Making Love" stomp 'n' scream,but indistinct and less good. New -style freaky Soul on the betterflip. * * *

BOBBY BLAND: Share Your Love With Me; Honey Child (ActionACT 4548). The normally superb Bobby "Blue" Bland first hit with thisdreary string -backed slewie five years ago exactly. Right now itmerely serves as an interesting comparison for Aretha Franklin'scurrent version. Brassy mover on flip is better. * * *

BILLY JOE ROYAL: Cherry Hill Park; Helping Hand (CBS 4470).This catchy mid -tempo brassy beater tells a variation on the old"up Primrose Hill" school -boy joke. Billy ("Boondocks") Joe("Hush!") Royal :s from the Bill Lowery talent stable, so he can becounted on to be O.K. Inconsequential maybe, yet this is reallyrather good. * * * * *

SIR DOUGLAS QUINTET: Dynamite Woman; Too Many DociledMinds (Mercury MF 1129). The joyful beat and spirit follow on fromDoug Sahm and the boys' recent bouncy, happy "Mendocino" U.S.biggie, with the addition here of some Country fiddle. The similarflip has some listen -worthy lyrics, about "the toilets of your head".A simple good time will be had by all! * * * *

BUTTERFIELD BLUES BAND: Where Did My Baby Go; In MyOwn Dream (Elektra EKSN 45069). Fairly routine all -happening jerkybeater, with wailing vocal and harmonica and good instrumentation- Jerry Ragovoy wrote and produced, so it could have been better.It's the Gospel -influenced relaxed and subtle pulsater, with nice tenorsolo, on the flip (from L.P. of same name) that earns this'5 * * * * * 5 -

NEW SOUL ALBUMSEDDIE FLOYD "Knock On

Wood" - Knock On Wood: Some-thing You Got; But It's Alright; IStand Accused; If You Gotta MakeA Fool Of Somebody: I Don't,Want To Cry; Raise Your Hand;Got To Make A Comeback; 624-5789; I've Just Been Feeling Bad;Hi -Reel Sneakers; Warm & TenderLove (228 014 Atco stereo)

RE -ISSUE from 1967, the goldendays of soul music. The LP,unfortunately, doesn't live up

to the title track. Some things arenice - but then anyone soundsgood on the oldie "I Stand Accused"although Eddie DOES handle itsensitively. The backings and ar-rangements are weak throughout.compared with "Raise Your Hand."Still, it should do well with theones who missed it first timearound.* *

ALBERT COLLINS "Love CanBe Found Anywhere (Even In AGuitar)" (Liberty LBS 83238Estereo)

THE best of the Texas bluesguitarists" says Bob Hite of

Canned Heat . . Albert's LPis certainly a guitar showcase, andhe really lays it down. Althoughit does tend to sound like some-thing from the Appletree TheatreLP at times (This is perhaps thebits of sock it to me included) itis nevertheless a blues treat.* * *CLARENCE CARTER "Testifyin' "

- Bad News; Snatching It Back;Soul Deep; I Smell A Rat; Doin'Our Thing; You Can't Miss WhatYou Can't Measure; InstantReaction, Making Love (At TheDark End Of The Street); TheFeeling Is Right; Back DoorSanta; I Can't Without You(Atlantic 588 191 stereo)

RICE Hall produced this brilliantsoul LP - certainly no dis-appointment after his last

album, The arrangements are care-ful, subtle, but exciting withoutbeing corny. There is an unfortunateversion of "Dark End Of TheStreet" but soul freaks may welldig. If his voice was a little moredistinctive (or musically worse)could be the next Redding.* * * *

CLYDE MCPHATTER: Denver; Tell Me (II and C 106). Yet anotherRecord of the Week. A sensitive and interesting reading a of good songby one of the more loved voices. He tugs deep here, specially at thistempo. A nice, nice record.* * * * *

MIKE KENNEDY: Johnny Rebel; Golden Memories (Major Minor MM629) Really catchy and a success at the Antibes song festival. MikeTackles it with a lot of spirit, a swirling sort of sing -along.* * * *

DOMINIC KING: The Happiness You Bring Me Makes Me Sad; See If I

Care (Bell BLL 1072). Talented young writer -singer - and here on asong for himself. A fair enough debut disc, though not a hit, I think.Voice is a bit submerged here and there.* * * *

JACK HAMMER: What Greater Love; The Mason Dixon Line (UnitedArtists UP 35029). One of those splendiferous arrangements with theexperienced Mr. H. making suitable impact on the vocal front line. Agood song, this. Never know, could make it.* * * *

JOYCE BOND AND LITTLE JOHN: Mr. Pitiful; Let's Get Married(Pama 771). Very pleasant duo, with a nice exchange of voices, but prob-ably not the sort of song to make it. Nice simple arrangements.* * * *

THE VIRGIL BROTHERS: When You Walk Away; Good Love (Parlo-phone R 5802). A Record of the Week. The Aussies get a RighteousBrothers' vocal build-up going here and with hefty piano and boomingtympani, this is a tremendous record, if an outsider,* * * * *

ADGE CUTLER AND THE WURZELS: Ferry To Glastonbury; SaturdayNight At The Crown (Columbia DB 8614). Variously described as "Somer-set country music" - this is an amiable romp, at mid -tempo, from one ofme own favourite teams. Do hear it.* * * *

THE CALIFORNIANS: Sad Old Song; Weep No More (Fontana TF 1052).A Mike D'Abo song and a Record of the Week - on the strength ofthe vocal directness and the power and the Isheer catchiness of the wholething, Justice would be done if this made it.* * * * *

J. J. WORTHINGTON: A Whiter Shade Of Pale: Riding Down FromBangor (Decca F 12961). Interesting to hear this by somebody other thanProcol Harum, and it's given a right old classical and super -smoothtreatment. Vocal comes through very well.* * * *

RUBY JAMES: Getting Mighty Crowded; Don't Play That Song (Fon-tana TF 1051). Betty Everett song, I think, and a busy, hectic sort ofPerformance from this extremely promising girl. She gives more thansomewhat. Nicely done.* * * *

HARRY SECOMBE: Shadows Of The Night; I Believe In Love (PhilipsBF 1808). Must sell well - big tenor voice on a big ballad with someinteresting lyrics. But for older tastes.* * * *

TANDEM: Song Of My Life; Shapes and Shadows (Chapter One CH109). Something reminiscent about the build-up of this one - could bea Beek Gee influence. But it's plaintively done and nice. Record of the

* * * *ARK*PETULA CL: Look At Mine; You And I (Pye 17779). Could do

it, of course. Pet has a faintly in -and -out career right now, chart -wise.but this a strongly commercial Trent -Hatch song which is worth tryingand probably buying. Excellent arrangement.

BREAD

LOVE andDREAMS

THE NEW

FOLK0 SK 008 0 K 008

12" Stereo or Mono LPThe Decca Record Company LimitedDecca House Albert Embankment London SE1

DECCA

10 RECORD MIRROR, Week ending September 6, 1969

JAMES BROWN:Telling thenatural truth Ia A Y It Loud-I'm Black and

I'm Proud" sold 20,000 copiesin Britain, although the BBCplayed it only once. Is JamesBrown surprised?

"No. Because it's the original sound, it'sauthentic, can't be duplicated."

There was nothing boastful in the answer.Just a straightforward explanation of how hisrecords sell without the usual radio exposure.

For half -an -hour James Brown gave gentle,modest, and carefully considered answers toquestions put to him across a few thousandtelephone miles by Richard Williams of theMelody Maker," and, when I got used to thestrange method of communication, me.

FIRST GOLD DISC IN 1956Was there any problem getting radio and

television coverage in the States?"Well this is the original black sound, and it's

what the people want to hear. There's still someproblems with some of the big stations, yes."Television? "Well, they know every time they putme on, their ratings go up." How many timesis he on TV in a year? "I can't count them all."

James Brown has been one of the mostadmired black entertainers since he cut his firstrecord, the million -selling "Please, Please,Please" in '56. Recently he has begun to makespeeches and records with political messages.Does he see himself as a leader, and does hethink he has much influence?

"If I can use my position to bring about betterunderstanding, I should take advantage of theopportunity. I want people to respect otherpeople, to see that all kinds of different people,yellow, black, are people! To see that there areall ways of living, and they can exist side byside. I hope I can help to bring people closertogether."

How does he feel about young black politicalleaders like Eldridge Cleaver and StokelyCarmichael? "I admire a man who tries to bringabout awareness." Has he met either of them?"I haven't had the pleasure of meeting Mr.Cleaver or Mr. Carmichael. But I respect whatthey are doing."

In "Say It Loud-I'm Black and I'm Proud"James Brown encourages black people to startup their own businesses, instead of working toput money in the pocket of "the man." He isone of the few black singers who runs his ownbusiness. He manages the administration of his

own show, has his own record productioncompany (although his records are thenreleased on the King label), owns radio stationsand land. But still he keeps up the one-nightstand tours.

"I tour with a 15 -piece band. I had violins fora year and a half, but I've dropped them now,because I just want that hard-core sound." Whois his Music Director now? "I don't have onenow. I did for many years; Nat Jones was withme, and we worked well together. But now I

find, what I'm after, the primitive, the hard sound,I can arrange myself. It came to the point

where I didn't need an extra Director any more."Has his show slowed down at all over recent

years? "You might be surprised, its getting faster!"His last two records have -been "The Popcorn"and "Mother Popcorn"; is "the Popcorn" a

dance? "Yes, it's a little slower than some ofthe recent dances, more groovy, something likethe Jerk."

Does he still feature slow songs? "Yes. 'Nightand Day', 'I Wanna Be Around', 'All The Way',`Chicago'." Some of those are Sinatra songs-does he admire Sinatra? "Yes, I like Sinatra,but I sing the songs my own way. I think thatif a singer does somebody else's material, hemight be able to do something different with it."

Over the years James Brown's audience hasextended from being mainly black people tobeing an international audience of manynationalities and races. Does he value hisoverseas audience?

LOOKING FORWARD TO TV"Yes, very much. The audiences in Europe are

more dedicated to the art of music, they under-stand it. I enjoyed playing for them, and had afantastic time on 'Ready, Steady, Go'! and 'Topof the Pops'. I'm looking forward to going backthere."

When he started recording, James Brown wasthe only singer to emphasise his gospelinfluences so strongly; now that so many singershad caught up with him, does he think that soulmight become less popular, and give way tosomething else?

"No, because this is the natural truth, andit's what young people everywhere want to know.Before, it wasn't available to them, but now theywill always want it. Young people feel differently.Before, they didn't have the chance to know.They were kept separate, in ignorance, andthey didn't understand." CHARLIE GILLETT

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RECORD BAZAAR. 50,000 from 2s.Write for lists: 1142-6 Argyle St.,Glasgow.COLLECTORS Wants Service-Letus search for all those hard tofind discs you need to completeyour collection. Send s.a.e. to:Disc Deletions, 16 Leighton Road,LinSlade, Leighton Buzzard, Beds.SEND is. plus large s.a.e. for listof past U.S.A. imported 45s. Manyrare deletions included, R & B.R & R, etc. Moore, 16 LeightonRoad, Linslade, Leighton Buzzard.Beds.

1956.1969 past hits for sale. Thou-sands of rare deletions available,both 45s and LPs. Send Is. pluslarge s.a.e. to: Moore, 16 LeightonRoad, Linslade, Leighton Buzzard.Beds.DONOVAN 'sturdy Gurdy Donovan'LP for sale. Offers: Ben Derksen,Talmastil, Winterswyk, Holland.RECORD COLLECTOR has AuctionSales, Wants, etc. Send 2s. blankpostal order to: Top Flat, 5Coronation Road, Sheerness, Kent.FABULOUS Soul Sounds in stocknow: Contours, Just A Little Mis-understanding 40s., Can You JerkLike Me 30s., Elgins-Heaven MustHave Sent You 15s., Put YourselfIn My Place 15s., Gypsies Jerk It30s., Esquires Get On Up 12s 6d.,Brooklyn Boogaloo - Flamingoes17s 6d., Out On The Floor DobiGray 17s 6d., C'mon and SwinBobby Freeman 30s., Skate TheLarks 40s., Shotgun and DuckJackie Lee 30s., She Blew A GoodThing Poets 40$., That's Enough,Roscoe Robinson 17s 6d., Girl Don'tMake Me Wait Bunny' Siegler17s. 6d., Make Me Yours BettySwanne 175, 6d., I'll Always LoveYou Spinners 30s Plus thousandsof others. Disc Deletions, 16 Leigh-ton Road, Linslade, LeightonBuzzard, Beds.BRAND NEW Singles 6s. or 4 for11, Rare deleted soul/Ska/Pop/Pro_gressive etc. Early' Beatles -ChartDiscs -100s to choose from. LP's at25s. Used singles from is 6d.,LP's from 12s 6d. wide variety.Send ls, stamp plus large S.a.e, -"Music Mart", 79a High Street,East Grinstead, Sussex."REWARD" Record Auction. Over500 45's /LP's/EP's covering R & R/R & B/POP/C & W/Progressive.Rare London deletions: The Halos,The Statues, The Videls etc. Manyrare Br. oldies, The Outlaws, ThePlanets, Cuddly Duddy etc. Authen-tic U.S. C & W discs: Bobby Bare,Claude King etc. Mint "JohnnyHorton On Stage" LP etc Pro-gressive Import LP's: Doors,. In-credible String Band etc. Send nowfor free list to: "Reward", c/o 40'Charterhouse Avenue, Wembley,Middlesex. NB. - Closing date Sept.21, 1969.

"ELVIS" Jailhouse Rock. Easycome -easy go LP's. Mint offers?'Nanik, 53 St. Thomas Road, Fins-bury Park. London, N.4.GOLD LIKE TAYLOR: Lynn; Con-tours; Vibrations; Lee; Sheen;Blazers; Valli; O'Jays, and millionsmore going for a song. It's in ourbag, we dig too, for an S.a.e. Socan you.-Tony Brown, 75 Harring-ton Street, Cleethopes.LITTLE HANK. American poetsand many other soul classics forauction. Send large S.a.e. to: M.Carswell, 86 Carrs Road, Todmod-den, Lancs.

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PENFRIENDS at home and abroad,send S.a.e. for free detalls.-Euro-peen Friendship Society, Burnley.

504

INTRODUCTIONS to new friendsof the opposite sex arranged bypost. Members aged 16 upwardseverywhere. Write for details, stat-ing age: Mayfair Introductions (De-partment 9), 60 Neal Street, Lon-don, W.C.2.

ROMANCE OR PENFRIENDS.England / Abroad, Thousands ofmembers. Details World FriendshipEnterprises, MC74, Amhurst Park,

fan clubsKENNY BALL APPRECIATIONSOCIETY. - S.a.e. to Miss PatSanders, 18 Carlisle Street, London,W.I.INTERNATIONAL CLIFF RICHARDFAN CLUB (Holland). S.a.e. to:British Branch, Marian Webb, :3

Town Hall Approach. StokeNewington, London, N.16.

records wantedALL YOUR UNWANTED 45s, LPsbought. Any quantity. Send forcash by return to: More, 16Leighton Road, Linslade, LeightonBuzzard, Beds.ROCK records. Domino. Lewis etc.- Badley, 58 Holmefield Road,Ripon, Yorkshire, or Tel.: 2944with offers. No. 78's.

personalEXCITING DATES BY COMPUTERFOR EVERYONE EVERYWHERE- SEND TODAY FOR FREEQUESTIONNAIRE WITHOUT OB-LIGATION - DATELINE (DEPT.R), 16 STRATFORD ROAD, LON-DON W.8. TELEPHONE 01-9370102.

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

announcementsBLUSHING, shyness, nervesquickly overcome by my famous40 -year -old remedy.-Write now to:Henry Rivers (RM12), 2 St. MaryStreet, Huntingdon, Hunts.

for saleBARE WALLS Cure your blues bysending for our illustrated cataloguelisting over 300 different, way-out,posters. Send is 6d, to: CauldronPromotions, (Dept. R), 31 Mill Lane,London, N.W.6.

mobile discothequesSOUND AND AROUND MobileDiscotheques for all occasions.Stobe, Kinetic and UltravioletLighting. 01-286 3293.

BIG City Stereo Discotheque. - 9Birchgate Road, Middlesbrough(89974).

publicationsCOLLECTORS SOUL R & B maga-zine. Many interesting features.Rare deletions reviewed. 2s 6d. -29 Westfield Road, Brockworth, Glos.

ORDERS PLEASE! For "Earshot"No. 2, the progressive soul maga-zine. Features on King Curtis,Walter Jackson, Roy Hamilton,Edgar Broughton, plus NormanJopling column plus much more.Send 2s. 6d. to Peter Burns, "Ear-shot", 20 Bulwer Road, London,N.18.

situations vacant

GIRL, 18-30 YEARSrequired to organise music,cabaret entertainment andpublicity for Hotel havingballroom and two luxurylounges with dance floors

and stages.Must have strong person-ality and ability to get onwith entertainers. Good

salary and conditions.

Apply in writing to:YORK HOUSE HOTEL,

PERTH, SCOTLAND.

songwritingLYRICS WANTED by Music Pub-lishing House - 11 St. Alban'sAvenue, London, 6V.4.

AMONG the new releases forSeptember 12, are singlesfrom Sandie Shaw. Dionne

Warwick, Kinks, Melanie, BarryRyan, P. P. Arnold, Four Tops,Lee Dorsey, and B. B. King.

The list of records is DECCA:J. A. Freedman - "When YouWalked Out Of My Life"; EMI,TAMLA MOTOWN: Four Tops-"Do What You Gotta Do'::CAPITOL: The Lettermen -"Hurt So Bad"; BELL: LeeDorsey-"Everything I Do GonnaBe Funky"; STATESIDE: ThelmaHouston - "Jumping JackFlash':; POLYDOR ATCO:Arthur Conley - "Star Revue'::Billy Vera and Judy Clay -"Reach For The Moon";BUDDAH: Melanie - "TuningMy Guitar"; MARMALADE: FlabJoy and Runcible Spoon - "I'mBeside Myself':; POLYDOR:Barry Ryan - "The Hunt", Y.P. Arnold "Bury Me Down ByThe Riverv; Cat, Mother and theAll Night News Boys - "GoodOld Rock and Roll; PYE SandieShaw - "Heaven Knows I'mMissing Him Now"; Kinks -"Shangri-La"; Dionne Warwick"Odds and Ends':; CBS: MaryKent - "Lost Generation; Spirit- "Dark Eyed Woman"; NRBQ- "C'mon Everybody':; NEMS:Hayden Wood - "The LadyWants More"; BLUE HORIZON:B. B. King - "Every Day I

Have The Blues".

PROFESSIONAL MANUSCRIPTSfrom tape. Photostats. Demonstra-tion Records by Recording Stars.-Morgan Jones, 27 Denmark Street.London, W.C.2. 01-836 1186.

EARN MONEY SONGWRITING.Amazing free book tells how. -L.S.S., 10-11 R. Dryden Chambers,119 Oxford Street, London, W.1.4d. stamp.LYRIC -WRITERS required byrecording company. Write: 3 Coal -way Road, Bloxwich, Staffs.SONGS (words or music) requiredfor publication and/or recording.Submit MSS to: Kingfisher Record-ings (Music Publishing DepartmentRM1), Suite 1, 8 Foster Lane,London, E.C.2.

RECORD MIRROR, Week ending September 6, 1969

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HONKY TONK WOMEN.1 (7) Rolling Stones (London)A BOY NAMED SUE2 (7) Johnny Cash (Columbia)SUGAR SUGAR3 (5) Archies (Calendar)GREEN RIVER7 (5) Creedence Clearwater Revival (Fantasy)GET TOGETHER*6 (7) Youngbloods (RCA)PUT A LITTLE LOVIN! IN YOUR HEART4 (8) Jackie de Shannon (Imperial)LAY LADY LAY*9 (6) Bob Dylan (Columbia)EASY TO BE HARD*13 (4) Three Dog Night (Dunhill)SWEET CAROLINE5 (10) Neil Diamond (UNI)I'LL NEVER FALL IN LOVE AGAIN.14 (5) Tom Jones (Parrot)I CAN'T GET NEXT TO YOU30 (3) Temptations (Gordy)LAUGHING12 (7) Guess Who (RCA)I'OLK SALAD ANNIE*11 (7) Tony Joe White (Monument)GIVE PEACE A CHANCE*15 (6) Plastic Ono Band (Apple)HURT SO BAD19 (6) The Lettermen (Capitol)I'D WAIT A MILLION YEARS*17 (8) Grass Roots (Dunhill)CRYSTAL BLUE PERSUASION10 (12) Tommy James & Shondells (Roulette)SOUL DEEP*18 (6) Box Tops (Mala)IN THE YEAR 2525*8 (11) Zager & Evans (RCA)SHARE YOUR LOVE WITH ME*23 (5) Aretha Franklin (Atlantic)JEAN33 (3) Oliver (Crewe)KEEM-O-SABE28 (3) Electric Indian (United Artists)NITTY GRITTY24 (5) Gladys Knight & The Pips (Soul)WORKIN' ON A GROOVY THING*20 (7) Fifth Dimension (Soul City)BABY I LOVE YOU*16 (13) Andy Kim (Steed)BIRTHDAY27 (4) Underground Sunshine (Intrepid)OH WHAT A NIGHT29 (3) Dells. (Cadet)EVERYBODY'S TALKIN'44 (3) Nillson (RCA)HOT SUN IN THE SUMMERTIME36 (3) Sly & The Family Stone (Epic)YOUR GOOD THING*31 (4) Lou Rawls (Capitol)CHOICE OF COLOURS25 (10) Impressions (Custom)DID YOU SEE HER EYES34 (5) Illusion (Stead)MARRAKESH EXPRESS*32 (6) Crosby, Stills & Nash (Atlantic)LITTLE WOMEN- (1) Bobby Cherman (Metro Medra)COMMOTION35 (5) Creedence Clearwater Revival (Fantasy)GOO GOO BARABAJAGAL*39 (4) Donovan & The Jeff Beck Group (Epic)MOVE OVER42 (2) Steppenwoll (Dunhill)THIS GIRL IS A WOMAN NOW43 (2) Gary Puckett and the Union GapWHAT'S THE USE OF BREAKING UP- (1) Jerry Butler (Mercury)IT'S GETTING BETTER*40 (7) Mama Cass (Dunhill)THAT'S THE WAY LOVE IS49 (2) Marvin Gaye (Tamla)WHEN I DIE47 (2) Motherlode (Buddah)ODDS AND ENDS48 (2) Dionne Warwick (Sceptre)WHAT KIND OF FOOL DO YOU THINK I AM- (1) Bill Deal and The Rhondells (Heritage)NOBODY BUT YOU BABE45 (3) Clarence Reid (Alston)SUGAR ON SUNDAY- (1) clique (White Whale)I'M GONNA MAKE YOU MINE- (1) Lou Christie (Buddah)I COULD NEVER BE PRESIDENT- (1) Johnny Taylor (Stax)CHANGE OF HEART- (1) Dennis Yost and The Classics IV(Imperial)SIMPLE SONG OF FREEDOM50 (2) Tim Hardin (Columbia)

Stevie Wonder

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STAND-UP2 Jethro Tull (Island)FROM ELVIS IN MEMPHIS

1 Elvis Presley (RCA)ACCORDING TO MY HEART3 Jim Reeves (RCA International)Ills ORCHESTRA, HIS CHORUS,HIS SINGERS, HIS SOUND5 Ray Conniff (CBS)JOHNNY CASH AT SAN QUENTIN- Johnny Cash (CBS)WORLD OF MANTOVANI7 Mantovani (Decca)WORLD OF VAL DOONICAN4 Val Doonican (Decca)OLIVER9 Soundtrack (RCA)FLAMING STARG Elvis Presley (RCA International)BEST OF THE SEEKERS13 The Seekers (Columbia)WORLD OF THE BACHELORS (Vol. II)17 Bachelors (Decca)SOUND OF MUSIC12 Soundtrack (RCA Victor)UNHALFBRICKING- Fairport Convention (Island)1VORLD OF BACHELORS16 The Bachelors (Decca)NASHVILLE SKYLINE- Bob Dylan (CBS)WORLD OF HITS VOL. II- Various Artistes (Decca)THIS IS TOM JONES10 Tom Jones (Decca)IIAIR8 London Cast (Polydor)200115 Soundtrack (MGM)LOOKING BACK14 John Mayall (Decca)

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HAVE I THE RIGHT1 The Honeycombs (PYe)YOU'VE REALLY GOT ME4 Kinks (PYe)I WON'T FORGET YOU3 Jim Reeves (RCA Victor)DO WAH DIDDY DIDDY2 Manfred Mann (HMV)THE CRYING GAME12 Dave Berry (Decca)A HARD DAY'S NIGHT5 Beatles (Parlophone)IT'S FOR YOU8 Cilia Black (Parlophone)I WOULDN'T TRADE YOU FOR THE WORLD

11 Bachelors (Decca)I GET AROUND7 Beach Boys (Capitol)IT'S ALL OVER NOW9 Rolling Stones (Decca)CALL UP THE GROUPS10 Barron Knights (Columbia)I LOVE YOU BECAUSE14 Jim Reeves (RCA Victor)SUCH A NIGHT20 Elvis Presley (RCA)TOBACCO ROAD6 Nashville Teens (Decca)AS TEARS GO BY16 Marianne Faithfull (Decca)SHE'S NOT THERE- Zombies (Decca)RAG DOLL- Four Seasons (Philips)I'M ON TO SOMETHING GOOD- Herman's Hermits (Columbia)THE WEDDING- Julie Rogers (Mercury)I JUST DON'T KNOW WHAT TO DOWITH MYSELF13 Dusty Springfield (Philips)

R & B SINGLES!(CP CLOUD NINE

3 Temptations (Tamla Motown TMG 701)2 MY CHERIE AMOUR

1 Stevie Wonder (Tamla Motown TMG 690)TOO BUSY THINKING ABOUT MY BABY2 Marvin Gaye (Tamla Motown TMG 705)

4 SOUL CLAP '697 Booker T. & The M.G's (Stax 127)WET DREAM4 Max Romeo (Unity UN 503)RED RED WINE5 Tony Tribe (Down Town DT 419)DON'T TELL YOUR MAMA8 Eddie Floyd (Stax 125)LOVE IS BLUE (I CAN SING A RAINBOW)6 Dells (Chess CRS 8099)SHARE YOUR LOVE WITII ME13 Aretha Franklin (Atlantic 584 285)IT MEK9 Desmond Dekker (Pyramid PYR 6068)NO MATTER WHAT SIGN YOU ARE12 Diana Ross & The Supremes(Tamla Motown TMG 704)WAKE UP!18 Chambers Brothers (Direction 58 4367)KIND WOMEN14 Percy Sledge (Atlantic 584 286)PUT YOURSELF IN MY PLACE17 Isley Brothers (Tamla Motown TMG 708)FREE ME- Otis Redding (Atco 226002)I'VE PASSED THIS WAY BEFORE10 Jimmy Ruffin (Tamla Motown TMG 703)HOW LONG WILL IT TAKE11 Pat Kelly (GAS 115)MOODY WOMEN16 Jerry Butler (Mercury MF 1122)AIN'T IT LIKE HIM- Edwin Hawkins Singers (Buddalt 201059)REACH FOR SOMETHING I CAN'T HAVE19 The Marvelettes (Tuttle. Motown TMG 701)

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AT SAN QUENTIN.1 Johnny Cash (Columbia)BLOOD. SWEAT AND TEARS*2 Blood, Sweat and Tears (Columbia)BLIND FAITH5 Blind Faith (Atlantic)BEST OF4 Cream (Ate())HAIR*3 Original Cast (RCA)SOFT PARADE6 Doors (Elektra)ROMEO AND JULIET7 Original Soundtrack (Capitol)THIS IS TOM JONES8 Torn Jones (Parrot)IN-A-(:ADDA-DA-VIDA10 Iron Butterfly (Atco)BEST OF12 Bee Gees (Afro,SMASH HITS*11 Jimi Hendrix Experience (Reprise)CROSBY-STILLS-NASH9 Crosby-Stills-Nash (Atlantic)BAYOU COUNTRY.17 Creedence Clearwater Revival (Fantasy)LED ZEPPELIN.15 Led Zeppelin (Atlantic)NASHVILLE SKYLINE13 Bob Dylan (Columbia)SUITABLE FOR FRAMING16 Three Dog Night (Dunhill)THE AGE: OF AQUARIUS14 Fifth Dimension (Soul City)A WARM SHADE OF IVORY19 Ilenry Mancini (RCA)ARETHA'S GOLD- A re tha Franklin (Atlantic)TOMMY18 Who (Decca)

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ONLY SIXTEEN1 Craig Douglas (Rank)LIVIN' DOLL2 Cliff Richard (Columbia)LONELY BOY3 Paul Anka (Columbia)LIPSTICK ON YOUR COLLAR4 Connie Francis (MGM)CHINA TEA8 Russ Conway (Columbia)HEART OF A MAN7 Frankie Vaughan (Philips)BATTLE OF NEW ORLEANSS Lonnie Donegan (Pye)SOMEONE10 Johnny Mathis (Fontana)HERE COMES SUMMER

12 Jerry Keller (London)DREAM LOVER6 Bobby Darin (London)MONA LISA16 Conway Twitty (MGM)FORTY MILES OF BAD ROAD- Duane Eddy (London)BIG HUNK OF LOVE9 Elvis Presley (RCA)SWEETER THAN YOU- Rick Nelson (London)ROULETTE14 Russ Conway (Columbia)I KNOW- Perry Como (RCA)A TEENAGER IN LOVE11 Marty Wilde (Philips)RAGTIME COWBOY JOE- Chipmunks (London)PLENTY GOOD LIVING- Connie Francis (MGM)ONLY SIXTEEN13 Sam Cooke (HMV)

R & B LP's

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IN EUROPE1 Otis Redding (Atco 228 017)TCR2 Diana Russ & The Supremes and TheTemptations (Tamla Motown STML 11110)GREATEST HITS3 Stevie Wonder (Tamla Motown STML 11075)THAT'S THE WAY GOD PLANNED IT6 Billy Preston (Apple SAP COR 9)rills is SOUL5 Various Artistes (Atlantic 643301)THE ISRAELITES7 Desmond Dekker (Pyramid DLN 5013)TIGHTEN UP4 Various Artistes (Trojan TTL 1)THIS IS . .. DESMOND DEKKER9 Desmond Dekker (Trojan TTL 4)LIVE AT THE APOLLO, VOL. ONE10 James Brove (Polydor 583 729 30)LOVE MAN3 Otis Redding (Atco 228 025)

RED NUMBERS DENOTENEW ENTRY

*AN ASTERISK DENOTESRECORD RELEASED INBRITAIN

We are unable to publish a British top fifty this week owing to printing difficulties over the Bank holiday.We apologise for any inconvenience caused to readers.

The atmosphere

is much nicer,

ince Rik left'"WE'VE always had a responsibility

as a group," Roger Chapmantold me, while squatting on a mattresson the floor of his flat. "But we'vealways worked with someone elsetopping the bill, and so the greatestresponsibility has fallen on them."

So Family have now devised theirown evening of entertainment, set forSeptember 15 at the Royal FestivalHall. Family have always stood upremarkably well in the face of greatcompetition, take even perhaps theirfirst major concert alongside TimHardin at the Albert Hall. AlthoughMr. Hardin was probably responsiblefor well over 80 per cent of theaudience's attendance, by the end ofthe evening Family had won them allover.

"Good reactions have given us moreconfidence," Roger told me. "And nowthat John Weider has joined us, alot of new ideas have arisen. There'snothing specific in it, simply that heis enthusiastic about certain things,and he can help draw us out, Theatmosphere within the group has beenmuch nicer personality -wise andmusic -wise since Rik (Grech) left,and he wanted to leave, so it wasgood."

CIRCUS ACTS"An Evening of Family Entertain-

ment", as Family's concert has beendubbed, is an even more apt titlethat it seems, since Family will befeaturing circus acts throughout. Theyinclude Rex Roper, a bullwhip artist,011ie Grey, champion plate spinner,and-what show would be completewithout one-a drag act.

"Each of us has chosen a piece ofmusic that they would like to featureon their own," Roger added.

Apart from planning for the con-cert, Family have already recordedseveral tracks for their next album.

"We've not really been pleased withthe last two albums," Rob told me."After they were recorded we didn'teven know the mixing was beingdone, and it's as important a part ofthe finished sound as the originalrecording. This time, since our changeof management, we'll have more say,though. With our 'Music In A Doll'sHouse' album, it was the first timewe'd ever been in a studio and wewere worried by it all. We featuredDave Mason on the record, and un-intentionally we felt it came outsounding a bit like Traffic."

OWN SONGSAll the tracks to be featured on

the new album are Family's own com-positions, and although John Whit-ney and Roger Chapman are usuallyresponsible for the writing, it is pos-sible that some of Rob's compositionswill be featured. Track titles include"Wheels", "The Cat And The Rat","The Idiot Boogie" and "Drowned InWine", which Roger kindly allowed meto hear.

Written by John and Roger. it's a punchynumber, with a gentle guitar intro, a soundwhich crops up in breaks throughout. At onepoint the number fades out completely, butcomes hack with full force again. Four minuteslong, strongly featuring the fascinating warbl-ing vocals of Roger Chapman. From the twotracks I heard "Drowned In Wine" standsout as my personal favourite.

But Family refused to reveal any secretsabout their next single "No Mule's Fool",which is due for release on October 3, exceptthat it will probably be a gentle sound, andWILL NOT be featured on their album.Their previous singles "Me My Friend" and"Second Generation Woman" were, of coursetaken from "Music In A Doll's House", and"Family Entertainment" respectively.

"We sold fifteen thousand singles, andnineteen thousand LPN", Roger explained,"So . . . this time we would like to maket clear that the single won't be featured.because people might wait until we get backfrom our American trip when the album willbe released!"

VALERIE MABBS

12 RECORD MIRROR, Week ending September 6, 1969

COLIN - "I don't think I could face another group"

VICDAMONE plays his

first ever cabaret inBritain at London's Talk ofthe Town, starting this Fri-day . . . Noel Redding issuesa vodka drinking challenge. A33: No 4 (the keywasn't in the lyrics) . .

surprisingly, no revival ofthe Beatles' "Ticket ToRyde" . . . who said, "whileFAITH itself is managing,why HOPE to go back toCHARITY?" . . isn't itstrange that a group of theCrystals' stature can tourhere with so little publicity

. Roger Chapman ofFamily adorns his flat witha collection of "horribles",one of which he kindlydonated to RM's Val Mabbs

. none of this droopymoustache bit for GeorgieFame - he's now sportinga full beard . . . VanillaFudge and Hard Meat top -

A bolt from theblue for Colin....But the Bee Gees willTHE Bee Gees continue! That's the news from Robert

Stigwood's office despite the dismissal of the group'sdrummer, Colin Peterson.

Maurice and Barry Gibb--the only remaining members ofthe hit making group-intend to go on making records asthe Bee Gees, backed by an orchestra.

And they are determined to make it work. But Colin hashis doubts. He said: "I can't see how they'll get across tothe public on their own.

"I still feel part of the group because I've been a Bee Geefor so long. It's a question of being Colin Peterson orMaurice Gibb. You have an identity as a Bee Gee afterworking seven days a week."

Of his overnight dismissal, Colin said: "I'm still verybewildered by it all ...

"After the Bee Gees did the 'Top Of The Pops', everythingwas fine. Then I suddenly get this letter delivered by RobertStigwood's chauffeur saying I'm out of the group. Just likethat. No phone call or anything.

"From the other week backwards, we all got on well. Andthis really came like a bolt from the blue-a real shock. It'snot as if I hadn't been pulling my weight. I believe if you'rein a group, it's a business partnership.

"Apart from the odd illness, I've always turned up for gigs

thefacethefacethefacethefaceping the bill at the Lyceum'sMidnight Court in London,Friday, September 26 . . .

when a crowd of skinheadsthrew glasses and beer -glasses at Clouds, theirroadie Pepi chased themaway, brandishing a hammer. . . Orange equipment hasbeen asked to representBritain at the World Fair,Tokyo, with Emperor Roskodemonstrating it . . . GeneLatter having a TV show inthe window of CarnabyMarket, Carnaby Street to-day (Thursday) with guestartistes . . . Steve Dolan ofHard Meat has bought astring base guitar previouslyowned by Charlie Mingus. . . after rehearsing a newbass player in their EarlsCourt home, Magnet having

to throw a party for thebenefit of irritated neigh-bours - their debut disccalled "Let Me Stay" . . .

Q34: Which Radio 1 DJs arecurrently associated withthe following "spots", a)Hit for the road: b) Carwash time; c) Send us yourdream; d) Disastrous holi-days? . . . wouldn't Z & E's"2525" have made a superbcomeback vehicle for theEverley Brothers? . . . "IF. . . No. 13": if Robin Gibbhad considered quitting theBee Gees much earlier thanhe did, would he have deci-ded against it because ofthe old adage "You can'tcross your brothers up inMassachusetts"? . . . SammyDavis Jr. took over London'sRevolution Club Tuesday

and Wednesday this weekfor recording . . . Ten YearsAfter's "Sssh" album sched-uled for September 12release here . . . great thatHerb Alpert's "Without Her"should have brought aboutthe reissue of Jack Jones'superlative version - like-wise Aretha and BobbyBland's "Share Your LoveWith Me" . . Warner Broslaunching Beatle-style cam-paign for the Kinks U.S.tour . . Groundhogstour Scandinavia with JohnLee Hooker end of Novem-ber . . .

Simon Dee returns to radioto introduce Family Choicestarting September 8 .

"Jet' aime" denounced bythe Vatican as obscene -sour grapes perhaps ! ! !

carry on as a duo

and things, and I've always put the group first and fore-most. Because that's my bread and butter-I've even can-celled things which would have brought me money fromoutside so I could appear with the group.

"In the two and a half years I've been with them, it'sbeen like being a member of a family-and now I've beenthrown out.

"We originally met in Sydney, Australia. I saw Mauricein a sound lounge"-the equivalent of a discotheque-"andafter a talk, he asked me if I'd like to sit in on one of theirsessions. You know, I put them and Billy Thorpe as the onlytalent in Australia which could possibly make it inter-nationally.

OUT OF FRIENDSHIP"I moved to Melbourne with my group but used to fly to

Sydney for sessions with them. That's quite a distance-over 600 miles. I used to be out of pocket, but I did it outof friendship.

"When I decided to come to Britain, I stopped off in Sydneyto see the Gibbs. Barry asked me to be their drummer whenthey came over. I arrived and was interested in films. ThenI had a letter from Hugh Gibb and sorted somewhere outfor them to stay and stored their equipment in my flat."

What plans for Colin now?"I don't think I could face another group in spite of what

some national papers have printed," he confessed. "Youwork and work and put yourself out to be a success thesame as you do in films. On a- short term basis, I'm goingto concentrate on record productions. But on a long term,I'd like to get back into films. But I wouldn't want bigpublicity like 'Bee Gee gets star role in film'. I'd do a courseof acting first. I won't do anything if I don't feel I'm notgiving the public their money's worth."

In the short term, Colin is producing composer/singerJonathan Kelly. His first single for EMI, titled "Denver", isreleased on September 12.

HAND OVER THE NAME"I have great faith in Jonathan," Colin said, "I'm pre-

pared to put all my efforts into him for the immediatefuture. I think he's the biggest songwriting talent in thiscountry. The variety of his work is incredible. Jonathancan draw from so many different types of music and issuccessful in interpretating these different forms.

"Ken East"-the managing director of EMI Records-"came to my place and heard him, and after the second song,said 'that's fantastic'. And everyone's said the same since."

Back to the Bee Gees, Colin said: "Robin left because hecouldn't get on with his brothers. He wasn't really suitedto the group. Then the brother trouble was felt by Vinceand this forced him to leave. But I can't quite understandwhy this has happened to me. We were a successful groupand got on well and were making money. I feel I've donejust as much performance and image wise for the group. Idon't see why I should have to give it all up and hand thegroup name over to the other two.

"Besides, the Bee Gees is a business partnership, and ifone partner goes, the partnership dissolves. My attorneyis coming in from New York, so he'll sort it all out."

Colin Peterson knows where he's going. It'll be interestingto see what Maurice and Barry Gibb come up with.

IAN MIDDLETON

Beautiful new JoniMitchell LP -but it'san acauired taste

JONI MITCHELL: "Clouds" Tin Angel; Chelsea Morning; I

Don't Know Where I Stand; That Song About The Midway;Roses Blue; The Gallery; I Think I Understand; Songs ToAgeing Children; The Fiddle And The Drum; Both Sides Now(Reprise RSLP 6293),

HERE'S an extra -special Joni Mitchell review to make upfor not mentioning her last album. Most people haven'theard Joni Mitchell, and those that have always compare

her one way or another with Joan Baez but forget that. She isone of the few popular singers (I think that's the right term)who doesn't bother too much about the pop industry rat -races,the only other one I can think of off -hand is Dylan. Joni's lyricscombined with her voice-an extraordinary voice-manage toscrape something from her soul and bring it to the surface andcommunicate it to those who listen long enough and openlyenough. Don't expect to like Joni first time around, or evenfifth time around, it's not like that. When you find yourselfplaying her records and her songs, and realising just how phoneyand keeping-up-with-the-Joneses everyone else is, then you'll beturned on, too, and a healthier if not happier person.

Joni isn't very bubbly, although she managed "Night In TheCity" nicely. Men who don't understand Joni will play this totheir lady friends who, if sensitive enough, will understand andrush out and buy the record and have Joni as their friend-she says things to innocent girls caught up in the life machinethat they can identify with. On this L.P. she sings "Tin Angel"which Tom Rush did well, but Joni beats him, and she alsosings her biggest song, "Both Sides Now"-but Dion did it betterthan anyone, the song itself is just this side of being esoteric.Her unaccompanied indictment of American foreign policy, "TheFiddle And The Drum", is poignant, but you can smile at "TheGallery", a pertinent piece of analogy and observation. ThankYou, Joni, and this L.P. review isn't too objective either, as I

am still in love with Joni and worship her from afar. W.L.* * * * *

Printed by Papers and Publications (Printer:0 Ltd. (T.U.), Swan Close, Banbury. Oxon, for Cardfont Publishers Ltd., 116 Shaftesbury Avenue. London. W.I. (Telephone')le Distro-oiting Agents for Great Britain. Surridge, Dawson & Co. Ltd., 136-142 New Kent Road, London, S.E.1.

Gerard 7942/3/4)