Inside: FACES'RONNIENaking our newalbum bored me stiffp9

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A BILLBOARD PUBLICATION APRIL 14 1973 STILL

LOOK OUTDavid and Donny...

...here comesSIMON TURNER!See page 14.

2 RECORD MIRROR, APRIL 14, 1973

!CORD MIRROR

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1 1 ')Ir GET DOWN Gilbert O'Sullivan MAM 962 3 A TIE A YELLOW RIBBON Dawn Bell 12873 5 4 I'M A CLOWN / SOME KIND OF A SUMMER

David Cassidy Bell Mabel 44 2 6 TWELFTH OF NEVER Donny Osmond

MGM 2006 1995 17 NI HELLO HELLO I'M BACK AGAIN

Bell 1299Gary Glitter6 6 2 TWEEDLE DEE Jimmy Osmond MGM 2006

1757 4 4 POWER TO ALL OUR FRIENDS

Cliff Richard EMI 20128 8 7 NEVER NEVER NEVER Shirley Bassey

United Artist UP 354909 9 7 LOVE TRAIN O'Jays CBS 1181

10 13 6 PYJAMARAMA Roxy Music Island WIP 615911 21 4 ALL BECAUSE OF YOU Geordie EMI 200812 12 7 HEART OF STONE Kenny RAK 14413 7 7 CUM ON FEEL THE NOIZE Slade

Polydor 2058 33914 18 6 CRAZY Mud RAK 14615 14 8 WHY CAN'T WE LIVE TOGETHER

Timmy Thomas Mojos 2027 01216 DRIVE-IN SATURDAY

David Bowie RCA 23521.7 15 6 20TH CENTURY BOY T. Rex EMI MARC 418 11 10 FEEL THE NEED IN ME

Detroit Emeralds SANOS 614602019 10 ,so KILLING ME SOFTLY WITH HIS SONG

Roberta Flack Atlantic K 1028220 20 2 AMANDA Stuart Gillies Phillips 6006 29321 22 2 DUELLING BANJOS Soundtrack

Eric Weissberg / S. Mandel Warner Bros.K16223

22 16 8 NICE ONE CYRIL Cockerel ChorusYoung Blood YB 1017

23 19 10 HELLO HURRAY Alice CooperWarner Bros. K 16248

24 32 2 GOOD GRIEF CHRISTINA Chicory TipCBS 1258

46 43 1 MY LOVE Wings Apple R 598526 27 7 BY THE DEVIL Blue Mink EMI 200727 23 7 LOOK OF LOVEGIadys Knight ft The Pips

Tamla Motown TMG 84428 24 -IL GONNA MAKE YOU AN OFFER YOU CAN'T

REFUSE Jimmy Jelms Cube Bug 2729 28 \ GOD GAVE ROCK AND ROLL TO YOU

Argent Epic 1243Roger Daltrey Track 2094 110

32 44 1 WAMBAM Handley Family GL 1003' ..<" BROTHER LOUIE Chocolate RAK 149

Roger Daltrey (Track 2094110)32 44 1 WAM BAM Handley Family GL 10033 BROTHER LOUIE Chocolate (RAK 149)34 49 1 NEVERTHELESS (I'M IN LOVE WITH YOU)

Eve Graham / New Seekers (Polydor 2058 340)35 26 20 LONG HAIRED LOVER FROM LIVERPOOL

Little Jimmy Osmond MGM 2006 10936 36 5 BREAK UP TO MAKE UP Stylistics

Avco 6105 02037 39 4 I DON'T KNOW WHY Andy Er

David Williams MCA MUS 118338 41 13 BLOCKBUSTER Sweet RCA 230539 25 8 THAT'S WHEN THE MUSIC TAKES ME

Neil Sedaka RCA 231040 40 2 SWEET DREAMS Roy Buchanan

Polvdor 2066 30741 34 6 HEAVEN IS MY WOMAN'S LOVE

Val Doonican Philips 6028 03142 HEY MAMA Joe Brown Ammo AMO 10143 29 13 BABY I LOVE YOU Dave Edmunds

Rockfield ROC 144 MEAN GIRL Status Quo Pye 7N 4522945 30 9 DOCTOR MY EYES Jackson Five

Tamla Motown TMG 84246 EVERYDAY Don McLean(United Artists UP

35519)47 33 8 PINBALL WIZARD/SEE ME FEEL ME

New SeekersLETTER TO LUCILLE Tom Jones

(Decca F 13393)49 31 9 CINDY INCIDENTALLY Faces

----

50 42 L'' STEP INTO A DREAM

Polydor 2058 33848

)S

Warner Bros. K 16247White Plains

Deram DM 371

8

1

2 1 3

3 2 2

4 7 2

5 3 4

6 5 3

7 4 38 29 29 10 21

10 8 8

11 6 10

12 9 38

13 11 10

14 14 1815 12 66

16 21 1317 19 1318 16 1319 25 420 30 2

21 17 7

22 15 13

RM/BBC chart chart chatter

HOUSES OF THE HOLYLed Zepplin Atlantic K 5001420 FLASH BACK GREATS OF THE SIXTIESVarious K -TEL NE 49440 FANTASTIC HITS FROM THE 50's Er 60'sVarious Arcade ADEP 3/4FOR YOUR PLEASURERoxy Music Island ILPS 9232BILLION DOLLAR BABIESAlice Cooper Warner Brothers K 56013DARK SIDE OF THE MOONPink Floyd Harvest SHVL 804TANX T. Rex EMI BLN 5002TOGETHER Jack Jones RCA Victor Sf 8342BACK TO FRONT Gilbert O'Sullivan MAM 502ROCK ME BABY David Cassidy Bell BELLS

218

DON'T SHOOT ME I'M ONLYTHE PIANO PLAYER Elton John

DJM DJLPH 427SIMON Er GARFUNKEL'S GREATEST HITS

CBS 69003CLOCKWORK ORANGESoundtrack Warner Brothers K 46127SLAYED Slade Polydor 2383 163BRIDGE OVER TROUBLED WATERSimon Er Garfunkel CBS 63699NO SECRETS Carly Simon Elektra K 42127MOVING WAVES Focus Polydor 2931 002PILEDRIVER Status Quo Vertigo 6360 082COSMIC WHEELS Donovan Epic 65450LARK'S TONGUES IN ASPICKing Crimson Island ILPS 9230

BURSTING AT THE SEAMSStrawbs A&M AMLH 68144THE STRAUSS FAMILY Cyril Ornadel/London Symphony Orchestra

Polydor 2659 01423 32 6 OVER AND OVER

Nana Mouskouri24 20 52 SLADE ALIVE Slade25 28 2 LIZA WITH A Z'

Liza Minelli26 27 2 HOT AUGUST NIGHT

Neil Diamond27 13 29 PORTRAIT OF DONNY

Donny Osmond28 22 8 SIX WIVES OF HENRY VIII

Rick Wakeman29 26 3 CHERISH David Cassidy30 45 3 BIRDS OF FIRE

Mahavishnu Orchestra

Fontana STL 5511Polydor 2383 101

CBS 65212

Uni ULD 1

MGM 2315 108

AEtM AMLH 64361Bell BELLS 210

CBS 65321

31 BYRDS Asylum SYLA 875432 33 13 FOCUS 3 Polydor 2659 01633 39 2 BRITISH CONCERT

Nana Mouskouri Fontana 6651 00334 34 2 EAT IT Humble Pie A&M AMLS 600435 36 14 THE RISE AND FALL OF ZIGGY STARDUST

David Bowie RCA Victor SF 828736 1 SPACE ODDITY

David Bowie RCA Victor LSP 481337 49 5 GILBERT O'SULLIVAN HIMSELF MAM 50138 48 2 TEASER AND THE FIRECAT

Cat Stevens Island ILPS 915439 1 GREATEST HITS VOL. II

Andy Williams CBS 6515140 35 9 WHO DO WE THINK WE ARE

Deep Purple Purple TPSA 750841 23 17 TOO YOUNG Donny Osmond MGM 2315 11342 46 2 TAPESTRY Carole King AErM AMLS 202543 1 SOUND OF MUSIC

Soundtrack RCA Victor SB/RB 661644 24 3 CLOSE TO YOU

Carpenters AErM AMLS 99845 LOST HORIZON Bell SYBEL 800046 1 NEVER A DULL MOMENT

Rnd Stewart Mercury 6499 15347 1 Tl.c OSMONDS LIVE MGM 2315 11748 1 THE MUSIC OF JAMES LAST Polydor 2683

01049 43 5 AMERICAN PIE

Don McLean United Artists UAS 2928550 1 SUPERFLY

Curtis Mayfield Buddah 2318 065

NO change at number one butDawn moving up to two, Cas-sidy to three and strong chal-lenges to this trio from JimmyOsmond and Gary Glitter.Roxy Music go into the 10 andGeordie almost there with ajump of 10 places.

Bowie hits the 20 at 16 butotherwise a pretty dull scenefrom 10 to 20. Everyone seemsto be on the move down in faceof the strength shown by re-cent entries.

Chicory Tip show promisewith an eight place more from32 to 24. Wings zoom 18 placesto 25 from 43.

Just outside the 30 is the firstsolo outing from Roger Dal -try. The Handley Family arenow really moving. This weekthey're at 32. Carly is alsodoing well having moved eightpositions. Hot Chocolate withtheir insistent cry of Louiemake first entry at 33.

Up to 15 go The New Seekersfeaturing Eve Graham. AndJoe Brown is back! Take alook down at the breakers!Don McLean is in with the flipof the old Buddy Holly hit,Everyday. And not surprisingto see Tom Jones making 48with Letter To Lucille.

And what are the week'ssurprises? We expected StuartGullies to go higher than 20.Reports, though, suggest plen-ty of interest in his single. Itshould go up next time. Su-premes were expected in withBad Weather. It's been collec-ting lots of air -play. Reallythought David Bowie would gointo the Top 10 with no delay.Doubtless it will happen nextweek.

No surprise to see StatusQuo entering at 44. This singlebelongs to their days withPye. Now they're on the crestof the wave obviously lots ofpotential with their oldies.Surprising not to see a quick

follow-up from their presentcompany.

Talking of companies bringsone to this week's Chart Pa-rade Company of the Week. Ithas to be Bell. They havethree in the top five. Thesecome from Dawn, David Cas-sidy and Gary Glitter. So awell-done to them. As Jan ofBell says, "we're knockedout. "

And disappointments?Shouldn't Argent have gonehigher? Stylistics still static at36 and they should at least bein the 30. And no move for RoyBuchanan. Pity that.

So, next to the breakers.There are seven just waiting tocome in apart from the goodshowing of those we namebelow.

Whatever Happened To You- the theme from The LikelyLads, Supremes and BadWeather, Gene Pitney and 24Sycamore, Free with Tray -ellin' In Style, Perry Comowith And I Love You So, Hurri-cane Smith and Beautiful DayBeautiful Night and Sing fromThe Carpenters make the list.

Next week? Gilbert to re-main at one? will Geordiesurprise us even more by mak-ing at least the Top five? CanJoe Brown stage a really bigcome -back and hit the 30?What will be the chart placingfor Roger Daltry? Are HotChocolate at last to regainfavour here after so muchsuccess in the States? Has theend come for Slade and CumOn Feel The Noize plus NeilSedaka and That's When TheMusic Takes Me?

And will Andy & David Wil-liams cling on to life in the 50?Is there to be no entry fromRicky Wilde and Simon Turn-er?

Look to next week's Top 50and Record Mirror for theanswers.

album for the charts

Roxy MusicRoxy Music - For Your Pleasure (Island)Record cover to sound, one gas of an album. A Roxy hit to killthe critics. Really storms along. What a piledriver the firsttrack Do The Strand is with sax, piano and seeminglyeverything else taking -off. A classic is In Every Dream Home AHeartache. Spent half Saturday morning playing it. Same onSunday evening. A real beaut.NOW AT No. 4.Lynsey de Paul - Surprise (MAM)Surprise for many. They said she was a Top 50 single -maker.Album with many goodies. Not a dull track. Sexy as well.

breaking throughJoe BrownHey Mama (Ammo -James)He's back on the chart trail.Ten years back he had That'sWhat Love Will Do. Now it'shappening with this slow, emo-tion packed Hey Mama.

Neil Diamond

David BowieDrive-in Saturday (RCA)A Bowie monster. He's gettingvery commercial these days.Question is how high will itmake first entry?Neil DiamondCherry (UNI)A raver of an opening. Attack-ing Diamond vocal. It's whatthey call commercial. Could -do him a lot of good. It'sselling.The Bee GeesSaw A New Morning (RSO)The Peter Jones Chart Certand it's making impact, rightnow.Heads, Hands And FeetOne Woman (Atlantic)This is our disco man JamesHamilton's rave of the week.And what a thumper. Up withthe knees and down with thefeet. Yea, should bechartbound.

RECORD MIRROR, APRIL 14, 1973 3

new releasesSingles out on April 19-20include:Parchment - You Were OnMy Mind (Pye), Vernons -Getting Together (Pye):Starbuck - Would You LikeIt (RCA): Lorna Bennett -Chapel Of Love (Island), Ad-ina Edwards - Gonna WriteMe A Letter (Island): Amer-ica - Don't Cross The River(Warner), Gordon Lightfoot- Can't Depend On Love(Reprise): Melanie - NickelSong/Close To It All/LayLady Lay (Polydor): DorisTroy - Baby I Love You( Polydor 1: Ray Stevens -Losing Streak (CBS), Bren-ton Wood - Another Satur-day Night (Epic), EdgarWinter - Frankanstein(Epic): The 1DeIriot Emer-alds - You Want It, You GotIt (Westbound), Tony Ben-nett - Tell Her It's Snowinglighthouse Vanity Fair -Take It (Philips); SunnyDays (Mooncrest): Glencampbell - One Last Time( Capitol) , Jan A kerman -Blue Boy (Harvest), KevinAyres - Caribbean Moon(Harvest), Desmond Dekker- Sing A Little Song(Rhino): Brotherhood OfMan - Happy After (Dec -ca): Temptations - Master-piece (Tamla).

Melanie

Desmond Dekker

all time top20 chart hitsAmazing! Over the centurymark we go in receiving yourfabulous Top 20. A whole pageof them soon! TESSA SAW-YER, you've come out of thehat, so here goes:

I. Summer Holiday - CliffRichard. 2. Lucky Lips -Cliff Richard. 3. Visions -Cliff Richard. 4. I'll Be Home- Pat Boone. 5. Teddy Rear- Elvis Presley. 6. WoodenHeart - Elvis Presley. 7.Handful Of Songs - TommySteele. 8. Diana - PaulAnka. 9. Hard Day's Night -Beatles. 10. All I Have To DoIs Dream - Everly Brothers.II. Pretty Flamingo - Man-fred Mann. 12. Morning HasBroken - Cat Stevens. 13.Apache - Shadows. 14.Breaking Up Is Hard To Do -David Cassidy. 15. BridgeOver Troubled Water - Simon'& Garfunkel. I & RamblingRose - Nat King Cole. 17.Telstar - Tornados. 18.

- Tom Jones. 19. LittleArrow - Leapy Lee. 20. GoodTiming - Jimmy Jones.

Sorry, Tessa, that Cliffdidn't win the Euro song con-test!!

PARCompiled and edited by TONY JASPER

Gilbert keeps the bignames out of the top

yesterplaysfrom the rm charts

5 years agoApri113, 1968

1 Congratulations - CliffRichard (Columbia)

2 Delilah - Tom Jones(Decca)

3 Wonderful World - LouisArmstrong (Stateside)

4 Lady Madona - Beatles(Parlophone)

5 If I Only Had Time - JohnRowles (MCA)

6 Dock Of The Bay - OtisRedding (Stax)

7 Simon Says - FruitgumCo. (Pye)

8 Step Inside Love - CiliaBlack (Parlophone)

9 If I Were A Carpenter -Four Tops (Tamla)

10 Jennifer Eccles - Hollies(Parlophone )

10 years agoApril 13, 1963

1 How Do You Do It -Gerry & The Pacemakers(Columbia)

2 From A Jack To A King -Ned Miller (London )

3 Foot Tapper - The Shad-ows (Columbia)

4 Brown Eyed HandsomeMan - Buddy Holly (Cor-al)

5 Rhythm Of The Rain -The Cascades Warner )

6 Summer Holiday - CliffRichard & The Shadows(Columbia)

7 Say Wonderful Things -Ronnie Carroll ( Philips)

8 harmaine - Bachelors(Decca)

9 Like I've Never BeenGone - Billy Fury ( Dec -ca )

10 The Folk Singer - Tom-my Roe (HMV

The Hollies in with hit number 16! Their first was Searchin' inSeptember, 1963. Among the others were Here I Go Again, Yes IWill, Bus Stop, Carrie Ann. Indeed, they're still going strong.John Rowley in charts with first of two hits. Next for him is Not AWord To Mary. Can't even remember the tune to the Tommy Roehit. Everybody and Dizzy the next two. Keep reviving!

He has fought them all off.Gilbert O'Sullivan has de-nied the top spot to aler ion of big names.

This week David Cas-sidy, Donny Osmond,Gary Glitter, Little JimmyOsmond and Dawn couldhave made the top spot.They have not.

The top position hasbeen changing pretty ra-pidly the last few weeks.It's quite a feat to remainthere. Gilbert O'Sullivanstays for at least anotherseven days. They alllaughed at Gordon whenhe first started. Then hewore a cloth cap andsawn-off trousers.

Soon people had thesmiles wiped off theirfaces. People realised hehad talent lots of it. Thecritics admitted he writessome beautifully originalsongs. His concerts drawpacked audiences.

Around the world hisname appears in thecharts, even Japan. FewEnglish speaking artistsconquer the Japanese popmarket.

you writeLotsa thanx for sooper letters,as m'old mate Waxie Maxiefrom regency Harlesdenwould say.

Love your chart parade sec-tion.Keep up the good work.

Tom Sheridan,Westminster Road,

Eccles,

Lanes.

Great guy Tom, great guy!I read the charts avidly everyweek. I still think most of thesongs of yesterplays are stillbetter than some of today's.

David Morgan,Warden Ave,

Romford,Essex.

Can go back to 1894, Davidso not too sure: think 1907 wasa good 'un.

I took down the chart onMarch 13. When I did thesame on March 20 I foundthings didn't tally up from theweek before. One week RosyMusic was listed at 30 but nexttime the last week placing was31.

George Caine,St Albans Rd,

Kingston,Surrey9

Several letters received onthis. The Railways strike onthe Sunday meant late returnof charts. We had a provision-al chart on the Tuesday, theday we go to press. On theWednesday the approvedchart came in. It was used bythe BBC. Too late, of course,for, us. We had then to correctthe 'Last Week' placing on theMarch 20 issue. Sorry for theconfusion George and every-one else.

disc newsWarner Bros have introduceda new label design. Amongtheir artists is Alice Cooper.Quality all the way with newDusty Springfield single. Dus-ty's record is titled Who GetsYour Love. (Philips). Fanny,the all-American, all -girlgroup, are back with a brandnew Todd Rundgren producedsingle. I Need You Need Me(Reprise). Track is deletingall its Jimi Hendrix material.However it will be re-releasedat a future date through Pol-ydor. An American Top 10 hitfeaturing music from 2001 ASpace Odyssey and calledAlso Sprach Zarathustra hasrun into release trouble. Itwas to have appeared someweeks back on a new CTIlabel. Objections from theheirs of composer RichardStrauss to the music's treat-ment have been received. TheSpencer Davis group intend tokeep playing all the old hits.Some of them will be on aforthcoming Vertigo album.Trojan records say the newJudge Dread album has ad-vance orders of 80,000. Thenew Joan Baez album, WhereAre You Now, My Son, is setfor May 18 release. A&M havesecured the album for its cata-logue. They released last Baezalbum, Come Out Of The Shad-ows. Previously Joan hadspent 12 years with AmericanVanguard, now distributedhere by RCA. Quite a drop on1972 in last week's singlesreleases. They totalled only(9, down 24.

world charts

chart folkAn RCA -Vanguard double -record album, The Best OfBuffy Sainte -Marie, tells youwhat a great lady she is. 24fine tracks, more than enoughto say Buffy is not just thesinger of Soldier Blue but aright good artist. Just try thepowerful, My Country 'Tis OfThy People You're Dying orGod Is Alive, Magic Is Afoot.She did write Universal Sol-dier and not Donovan. Buffy isthe writer of The Circle Gameand not Joni Mitchell. Thosesongs are on the album butthen there's the original ver-sion of Until It's Time For YouTo Go and Little Wheel SpinAnd Spin. And much more.Three British releases alreadydoing well on the folk marketare Dave Goulder's, RequiemFor Steam (Big Ben); SweetWilliam's Ghost from GeorgeDeacon and Marion Ross(Xtra) and Death And TheLady from Michael Raven andJoan Mills. (Folk Heritage).Goulder used to work on therailways and so his lyrics arebang -on. Nice sound too.George Deacon and Marionhave been working togetherfor three years or so. Theyplace emphasis upon Marion'sharmonium arrangements us-ing the instrument as a secondvoice. An interesting recordthough somewhat long. Mi-chael Raven is a good guitar-ist. Joan does sound a bit likeJoan Baez but a pleasantenough album.

Buffy Sainte -Marie

Denmark: 1. Mama Loo - Les Humphries Singers; 7. Rock 'n'Roll Band - Walker Bros; 9. Part of the Union - Strawbs; 10.Blockbuster - Sweet. West Germany: 1. Mama Loo - LesHumphries Singers; 2. Blockbuster - Sweet; 6. Dreams AreTen A Penny - Kincade. Sweden: 2. Billion Dollar Babies (LP )- Alice Cooper; 3. Who Do We Think We Are (LP) - DeepPurple; 4. Don't Shoot Me, I'm Only The Piano Player (LP) -Elton John. Japan: 6. It Never Rains In Southern California -Albert Hammond; 8. You're So Vain - Carly Simon. HongKong: 1. You're So Vain - Carly Simon; 2. I Won't Last A DayWithout - Carpenters; 3. Relay - The Who; 4. It Never RainsIn Southern California; 5. Crazy Horses - The Osmonds. Rio DeJaneiro: 1. Listen To The Music - The Doobie Brothers; 2. YouAre The Sunshine Of My Life - Stevie Wonder; 3. You're ALady - Peter Skellern; 4. Hey Girl - Lee Jackson. Spain: 1.Hi, Hi, Hi - Wings; 2. It Never Rains In Southern California; 5.Clair - Gilbert O'Sullivan; 6. Your Mama Don't Dance -Loggins & Messina.

cruisin' flashbacksOK, then, backwards it is! 1963 and the high speed chatter of BMitchell Reed, WMCA, New York. He did the seven -to -elevenevening shift. A year for girl groups, the Murmaids, the Angels,Cookies, Crystals, Bobbettes, the Ronettes and the side one,track two sound of luverly Jaynettes and Sally Go Round TheRoses. Take in to the Chiffons with He's So Fine. For me it'sDenese from Randy & The Rainbows or the Kingsmen andLouie, Louie that stand out. More from Jan Bradley, Paul andPaula, Lesley Gore, Rooftop Singers, Freddie Scott, Shirelles.Ah. '63 Chubby Checker abandoned twist for limbo, MartinLuther King said, "I Have A Dream", nucleur test ban treatysigned, President Kennedy shot, smoking and cancer linked forfirst time. Send a s. a. e. and we'll tell you where you can getCRUISIN' 1963.

lames" hamilton's disco picksTHE ROUTERS: Let's Go ( Warners K 16156) Rave.THE SURFARIS: Wipe Out (Paramount PARA 3034 ) Rave.HEADS, HANDS & FEET: One Woman (Atlantic K 10292)Modern/Pop/Rave.JAMES BROWN: I Got Ants In My Pants (Polydor 2066296) R &B.STEELY DAN: Only A Fool (Probe PRO 587) Modern.DAISY DYNAMITE: Botch -A -Me (Polydor 2001 4 31 )MoR/Easy.JUDGE DREAD: Big Eight (Big Shot BI 619) Pop.GRUDGE: When Christine Comes Around (Black Label BL 002)Shock-Rock/Bubble gum.MATATA: I Need Somebody (President PT 400) R & B/Jazz.SYLVIA: Pillow Talk (London HLU 10415) Sexy Soul.JERRY LEE LEWIS: Rock And Roll Medley (Mercury 6052260 )Pop.

4 RECORD MIRROR, APRIL 14, 1973

live!

Status QuoONE Status Quo gig is muchlike another, but after seeingtheir show at the Rainbow onFriday I should make it clearthat they get better with eachperformance.

I saw the opening night oftheir British tour three weeksago and their set at the Rain-bow was much tighter than onthat windy evening in Chat-ham.

For so long the band hadpromised, through their songs,to become one of their mainattractions on this side of theAtlantic, but there alwaysseemed to be something whichwas holding them back. Thesuccess of Paper Plane un-doubtedly helped to solve afew of those mysterious prob-lems, but this tour has prob-ably done more to establishthe band than any other singlefactor over the past year.

They came to the Rainbowwith a string of sell-out con-certs behind them and theirnew found confidence - whichwas much more evident fromwhen they last played theRainbow in January - gavethat extra bit of sparkle whichmay have been missing in thepast.

The audience rose to a manas soon as the band appeared,after the central aisle in thestalls had been blocked withpeople making their way to thefront during the interval.Once they were on their feet,they didn't sit down, and allthrough the set, which needsan injection of one or two newnumbers, one could see sev-eral members of the audiencemimicking the Rossi-Parfitt-Lancaster guitar stance.

As for the band themselves,which is what I should betalking about anyway, theywere in excellent form. StatusQuo don't hold the horses whenthey play, and it had been ahard tour, but they still gaveeverything they had, which.was considerable, throughouttheir act.

AA OWStatus Quo new-found confidence

Quo are now in the bigleague, but they haven'tchanged in their attitude fromwhen they were playing thetiny clubs and zooming up anddown the Ml. Let's hope they

C. W.don't.

SpencerDavisA JAM packed London Mar-quee club welcomed back tothe British scene the new, or isit revived, Spencer DavisGroup, and what a return itwas.

Doubts about whether thegroup are going to be in the topbracket should have been welldispelled by one hell of a set.Drive, fire and pace were theorder of the night in vocal andinstrumental work.

The togetherness was fine.Eddie Hardin revealed a key-board standard above any-thing I've heard him do be-fore. His work on I'm A Manwas really something. PeteYork on drums, what can onesay, great. Ray Fenwick,Charlie McCracken andSpence, right on.

They opened up with Let'sHave A Party which fairlyrocked along, then there wasKeep On Running, I'm A Man

SUN ROCKABILLYS PUTYOUR CAT CLOTHES ON

O-r6k--, 6467 025ft 43

Ongtnal New VotRock &

ORIGINAL NEW YORKROCK AND ROLL VOL.1

6467 026R R P f1 43

rn From Phonogram-L.4 the best sounds around

(a new arrangement), GimmeSome Lovin' from days pastbut sounding of today.

The group did some bluesnumbers with Spence takingmany of the vocal leads, somenewies. Catch Me On TheRebop the group's new singlewent down a bomb. M'earsare ringing a bit this morning.

This was one great returnfor the Spencer Davis Group.Let's hope the third formationmakes it, big. T.J.

BeefheartTHE: first date of their Britishtour at Manchester FreeTrade Hall last Thursday mayhave left the audience de-lighted, but Captain Beefheartand the Magic Band wereconsiderably less satisfied.

Though the band were onexcellent form on a set thatincluded such classics asAbba Zabba and Electricity aswell as songs from Clear Spotand the Spotlight Kid, thesound quality was muddyenough to fetch Beefheartdown from the stage in mid -setto confer with the sound engi-neers.

Even if the august FreeTrade Hall presented acousticproblems, the visual presenta-tion of the band was superb -the strange clothes, the per-petual motion dances of Rock-ette Morton, the inspiredclowning of the Captain andEd Marimba on drums, quick-ly established a good-time at-mosphere among the fans.

Paper planes flew, whoopsof delight greeted the firstbars of each number, and solong as the sound can be sortedout, Beefheart's tour will sure-ly be a highlight of the year forprogressive enthusiasts. R. S.

Steve MillerTHE STEVE MILLER Band,judging from recent albums, isin a rut. But in concert atLondon's Rainbow on Satur-day the Band completely over-came any difficulties encoun-tered in the studio to give oneof their most dazzling - andexciting - performances seenat the theatre.

After a long acoustic set,Miller's electric guitar play-ing, with constant blues under-tones, was fluid and imagina-tive, taking the band from onepeak to another.

He was ably helped by theband which proved to be acohesive unit with tremendousmusical understanding be-tween its members.

The highlights of the eve-ning were two well -establishedMiller classics, Gangster ofLove and Living In the USA,with its long harmonica in-troduction and its climaticbuild-up.

It was an evening to remem-ber - and hopefully it signalsa return of the Steve MillerBand to its highest standards.

R. P.

GrimmsIT was April Fools Day at theVictoria Palace - somethingof an apt setting - whenGrimms took the stage. Thegroup consists of the Scaffold(Roger McGough, John Ger-man and Michael McGear)and other Liverpudlian poetsand musicians - notably Adr-ian Henri, Brian Patten andNeil lnnes, and a very talentedcollection of people theyproved to be.

The latter names were al-ready familiar to me via theirpoetry book The MerseySound, but even so it wassurprising tosee the authors inaction . . . especially AdrianHenri who turned out to be asort of rock 'n' roll PeterUstinov, complete with pink t -shirt, white jeans and anenormous studded belt.

Brian Patten aired some ofhis poems in an appealingfashion, Andy Roberts pro-vided guitar and vocals; MikeMcGear played ventriloquist,and Neil lnnes played finepiano.

As McGear said, Grimmsdon't aim to reach intellectualheights . . . only to entertain.That they certainly did. -.1. P.

Joan BaezTHE 12,000 -strong audience atthe Empire Pool, Wembley,greeted Joan Baez with tu-multuous applause and stoodto pay their respect at the endof a fantastic concert.

I've heard Joan on countlessoccasions. Sometimes I havebeen slightly disappointed. Onthis evening I was thrilled tothe core.

Help Me Make It ThroughThe Night, Joe Hill, FarewellAngelina, Love Is Just A FourLetter Word and Kumbayahwere familiar items. So too isAll My Trials but here withlyric adaptation she related itto the torture of children inVietnam.

She sang Freedom Landwith power. Her Sad Eyed

Lady Of The Lowlands wouldsurely have delighted Bob Dy-lan if he had been there. Tomake up for his absence Joangave a pretty effective vocalimitation of You Aint Goin'Nowhere.

Joan revealed voice qualitypar excellence in a Spanishsong, sang Mary Hamiltonand after saying "Jesus, I feelclose to the dude" sparkled on0 Happy Day.

Unaccompanied she sangSwing Low Sweet Chariot forher encore, and that got themstanding - the audience wentwild. Yea, a night to be re-membered. T.J.

RINGO FILMRELEASEDTHIS WEEK

Yes getanother

GoldYES have earned their thirdAmerican gold record withtheir Yessongs triple album,two weeks before its release,on the strength of advanceorders. They also earned golddiscs for Fragile and Close tothe Edge albums.

The band are due back inBritain on April 24, when theywill take a fortnight's holidaybefore preparing material fora new double studio album. Nolive dates are expected beforeOctober.

THE David Essex -Ringo Starrfilm, That'll Be The Day, isbeing publicly screened for thefirst time at the ABC 2 cinemain Shaftesbury Avenue today(Thursday). It is expectedthat many celebrities, and Ra-dio One disc -jockeys will at-tend the premiere. A half-hourdocumentary about RadioOne, titled Radio One-derful,is being screened with thefilm.

That'll Be The Day - whichtells the story of youth revolu-tion in the 50's - has beengiven an AA certificate toenable teenagers to see thefilm. It was feared that a sexscene featuring David Essexand Deborah Watling, andsome of Ringo's language,could cause the film to begiven an X. Minimal cutshave been made to the film -the removal of two swearwords, and a small part of"the copulation scene. "

Billy Fury and Keith Moonalso make guest appearancesin the film.

T -Rex fans will get a sec-ond chance to see Ringo's firstfeature film, Born to Boogie,starring Marc Bolan and thegroup, which is to be screenedat 57 ABC and selected othercinemas over Easter.

The film, originally releasedat the beginning of the year, isre -shown "for the benefit offans unable to see it because ofthe school term. "

SWEET DATESConcert dates announced for

the Sweet during May include:Newcastle City Hall (May 17),Doncaster Top Rank (18),Peterborough Drill Hall (19),Birmingham Top Rank (20),Sheffield City Hall (21), Not-tingham Mecca Palais (24),Banbury Winter Gardens (26)and Barrow Civic Hall (29).

Blue Mink addAnn on organ

ANN ODELL, one of the mostrespected session musicians inthe business, has joined BlueMink to replace Roger Coul-han on piano and organ, whorecently left the group. Shemade her first public appear-ance with Mink last week atthe Batley Variety Club.

Over the last few months,Ann -a former student at theRoyal Academy of Music -has been in great demand forstudio work as a musician,arranger and composer. Shehas worked on albums withClive Westlake, JonathanSwift and Shawn Phillips, and

with arranger Paul Buckmas-ter, and played on LeonardCohen's Songs Of Love AndHate LP.

In recent weeks she hasbeen working on arrange-ments and orchestrations forBlue Mink and the forthcom-ing Roger Cook/Herbie Flo-wers album. She has alsocompleted her first solo albumwhich DJM will release laterthis year.

Blue Mink are currently atNumber 27 in the charts withtheir latest EMI single By TheDevil.

Newcastle gig BLACKFOOTWings cancel SUE

ALTERATIONS to the tournext month by PaulMcCartney's, Wings, havebeen announced this week.The band will not be playingNewcastle City Hall on May 23and will now be playingEdinburgh Odeon on thatdate, and playing GlasgowGreen's Playhouse on 24 May.

McCartney's VS TV spec-tacular, James PaulMcCartney, is to be shownhere on ATV on June 7.

AN English -lyric version ofthe Eurovision Song Contestwinning entry, Tu Te Recon-naitrais, is to be rush -releasedby Epic this week. The Eng-lish title is Wonderful Dream,written by Shaun Lawton, andis performed byLuxembourg's winning sing-er, Anne -Marie David. Origi-nal date set for release wasApril 20.

BLACKFOOT SUE are tomake a tour of British clubsand colleges during April andMay to promote their newsingle, Summer, released onApril 27, and album, Nothingto Hide ( April 20 release ).

Lonely Joanand Jose

JOAN Armatrading, who hasjust finished a season at Ron-nie Scott's, has been booked toappear in Germany on alldates of the Jose Felicianotour, ending on April 18. Onher return she will embark ona 22 -day college tour of Britainwith Jonathan Kelly and willhave a new single, LonelyLady, ready for release inMay.

RECORD MIRROR, APRIL 14, 1973 5

DALTREY OUT NOW

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ROGER DALTREY of the Who has his first solo albumreleased this week. Entitled Daltrey, it was recordedentirely at the private studio in Daltrey's farmhousehome. Adam Faith produced and Leo Sayer and DaveCourtney wrote the songs for the album, released on theTrack label.

Gilbert getsdown to ahard tour

LENNONDENIESBEATLESRUMOUR

JOHN LENNON deniedthat the Beatles were toreform, in a television in-terview recorded in Los An-geles and broadcast onLondon Weekend's, Week-end World, last Sunday."Just because three of usgot together in one placedoesn't mean that we'll re-form," he said, adding thatthe other three ex -Beatleshad been invited to Amer-ica by him for a businessmeeting.

He said it was possiblethey might someday gettogether to play, but theproblem was that "every-body has an image of theBeatles which is much big-ger than the group actuallywas."

GILBERT O'SULLIVAN, currently topping the chartswith Get Down, starts a gruelling 30 -date concert tour ofBritain and Europe on May 9 at Zurich.

After 11 European con-certs on consecutivenights he takes a five-daybreak before kicking offthe British half of the tourat the Festival Hall, Lon-don, on May 25.

The rest of the Britishdates are: BournemouthWinter Gardens (26), Cov-entry Theatre (27), Pre-ston Guildhall (28), Ox-ford New Theatre (31),Sheffield City Hall (June1), Newcastle City Hall(2), Glasgow Kelvin Hall(3), Liverpool Empire (4),Ipswich Gaumont (7),Portsmouth Guildhall (8),Birmingham Odeon (9),

JAN TO

New Partridge AR LE BL E

disc from DavidThe new single by the

Partridge Family, featur-ing the voice of DavidCassidy, is now set forrelease on April 20. Title isWalking in the Rain, writ-ten by Phil Spector, BarryMann and Cynthia Weil,and produced by Wes Far-rell.

The single was originally tohave been released on March16, but was held back to makeway for the I'm a Clown maxi -single, currently at numberfive in the charts.

David Cassidy is expected togo into the studios next monthto record a follow-up.

David recently announcedthat he was to do no more workunder the Partridge Familytag.

Bell Records, however, sayhe will be recording "at leasttwo more" Partridge Familyalbums.

Camel go

to StatesPETER FRAMPTON'S Cam-el, whose first album is re-leased on A & Mon May 18, flyto the US next Wednesday fora two month concert tour,opening in New Orleans onFriday, their second Ameri-can tour since the band formedlast year.

A new single is scheduled forrelease in Britain in late June.

EMI ARE to release a soloalbum by Focus' guitarist,Jan Akkerman, called Profile,on the Harvest label, on May4. A single from the album,Blue Boy, will be released onApril 19.

The album features, Akker-man on a variety of in-struments including lute, and,recorded last year in Holland,was previously available onlyas an import.

The album release coincideswith the opening of Focus' tourat the Rainbow on May 4 and5. Other dates include Leices-ter (6), Sheffield (7), Preston(8), Dublin (9, 10), Edinburgh(11), Glasgow (12), Manches-ter (13), Birmingham (14, 15),Hanley (16) and Croydon (17).

Strawbs for RainbowTHE STRAWBS top the bill atthe Rainbow theatre on Fri-day, 13 April, as the final showof their concert tour which,over the last six weeks, hastaken the band to 48 appear-ances at 35 major halls to anestimated 200,000 people.

The Rainbow concert her-alds the band's second concerttour of the US which begins inlate April and lasts until theend of May and will be theirlast British appearance for theremainder of 1973 - though itis possible that they will play afestival during the summer.

THE Mixtures, the Australiangroup who had a No. 1 hit withThe Pushbike Song two yearsago, return to the recordingscene with Slow Train, theirfirst single for United Artists,to be released on Friday April13.

FumbleUS tourFUMBLE have been added tothe massive David Bowie tourafter touring with him inAmerica - the third Bowietour the band have played thisyear.

Meanwhile, Fumble haverecorded two tracks for asingle at Olympic Studios,scheduled for release throughSovereign Records on May4th. The "A" side is, MillionSeller, written by pianist SeanMayes, backed by Get Up.

Forthcoming Fumble datesinclude: University, Aberdeen( April 18), College of Ed.,Dundee (19), University,Edinburgh (20), University,Strathclyde (21), Clouds Dis-co, Glasgow (22), RegencySuite, Derby (27).

Dylan seriesTHE first programme of a six -week series entitled, The Mu-sic of Bob Dylan, is to bebroadcast on Radio One fromWednesday, May 23, at 10p. m. , taking up the first hourof Sounds of the Seventies.The programmes will featureAnthony Scadu to, Dylan's bi-ographer, and will be broad-cast in stereo.

Manchester Odeon (10),Bristol Colston Hall (12),Cardiff Capitol (13), Croy-don Fairfield Halls (14),Cork Savoy (18), and Dub-lin Carlton (19, 20).

Appearing on the samebill at all dates will beMud, who are presently atnumber 18 in the chartswith Crazy.

SLICEDBREAD?

BREAD'S concert tour of Brit-ain, which was to have takenplace in late May and earlyJune, has been cancelled.

Rumours concerning thegroup's break-up have beencoming from America. Astatement issued by Elektra'sSteve Dukes said the reasonfor cancelling the tour was"internal difficulties."

Both James Griffin and Da-vid Gates, who last yearplayed solo dates and a BBCIn Concert, are signed per-sonally to Elektra as well as tothe group, said Dukes, so eveif the band should break up -which could not be confirmedor denied - both Gates andGriffin will continue to recordas solo artists for Elektra.

Esperantoalbum debutESPERANTO, the twelve -piece rock orchestra led byRaymond Vincent, have theirfirst album and single re-leased by A & M on April 27,respectively titled Rock Or-chestra, and Black Widow.Ken Scott, who is also DavidBowie's producer, produced.(

Dandyfififivingsione

( OME BACK LIZAHOSS 28

One of the main songwriting forces to haveLcome out of Reggae music is Dandy Livingstone.

He used .a moog synthesiser on his last chartsingle Big City, but on this new one he takes a

traditional Caribbean song and gives it anamazing treatment.

The PioneersAT THE DISCOTHEQUE"At The Discotheque"- Chubby Checkers' hit

single of the 60's is given the Reggaetreatment by The Pioneers. This song is muchin demand and is guaranteed to be a smash hit

in the discos.

Judge DreadBIG

EIGHTBI

Following hot on the heels of Big Six &Big Seven comes another of Judge Dread's

unique records - Big Eight. In this one you canfollow the fortunes of the Grand Old Duke

of York, Little Bo Peep and others. A Smash Hit.

MARKETED BYBBC RECORDS cm

6 RECORD MIRROR, APRIL 14, 1973

EfTHacit

Mrs. Lennon was very silent on the Weekend World interviewlast Sunday . . . Motown fans may spot a familiar face as DianaRoss's pusher in Lady Sings The Blues - Motown's boss BerryGordy's dead spit of a brother Robert, head of Jobete musicpublishing, is he. RM's soul writer James Hamilton also spottedYvonne Fair in a bawdy nightclub scene in the film. She oncesang with J ames Brown, says Mr. Memory . . . Albert Lee, lateof Heads, Hands and Feet now playing in the Wags, formed toback Carolanne Pegg on her solo album . . . several ex -CBSemployees in trouble with Old Bill after half -inching albumsfrom the warehouse . . . on the brighter side, John McLaughlinand the Mahavishnu (Nothing, mahavishnu with you, says ourPoona correspondent) playing and appearing in US documenta-ry on guru Sri Chinmoy . . . JSD Band have the enviable task ofwriting the music for a forthcoming Spike Milligan film . . .

publicist Nick Massey joining Moodies' Threshold label in thegreen fields of Surrey. Send your cables to Threshcord, Cobham. . . three cheers for the mighty Sunderland . . . and for themighty MAM whose artists have just topped the UK singlescharts for no less than 17 - count 'em, 17 weeks - with DonnyOsmond (vun veek), Jimmy Osmond (six veeks), Sweet (fiveweeks), Slade (four weeks) and Gilbert O'Sullivan (one week). . . we would like to take this opportunity to apologise to MissChi Coltrane, referred to last week as Jasperian Coltrane (norelation) . . . Colin Blunstone doing OK in the United States. . . any offer contained in this column does not constitute anoffer . . . Jackson Heights doing a show in Budapest . . .

amazing what we get: When driving around Newcastle in thegroup van, Brian Johnson, lead singer with Geordie was stoppedby a traffic cop. Reason: the policeman recognised the van andwanted Johnson's autograph for his daughter, who is a fan of thegroup. For further details contact press agent Alan Melina . . .

Salvador Dali to paint Alice's brain . . . Mr. Dali to have hishead examined . . . RM to photograph Donny Osmond'skidneys . . . write to Kidney Editor for fab signed pic . . . RMeditor Pete Jones, who told Andrew Oldham about the Stones,had much to say on Radio One's history of . . .

us news eliot tiegelFor allthosewith fourearsTHERE'S a lot going on underthe surface as far as four -channel music is concerned.That's the new recording tech-nique which involves fourloudspeakers and sound com-ing at you from front, side andrear directions.

The American companiesare slowly moving toward afull involvement with four -channel, or quadrasonic,sound. Columbia and RCA,always two combatants, havetheir own systems for repro-ducing four channels of sound.

Now, three major labelshave joined forces with RCAand their collective artist ros-ter swings a lot of weight.Warner Bros, Atlantic andElektra are the companiesand Elektra has just an-nounced that its first four -channel LPs will showcaseJudy Collins, Bread, the NewSeekers, the Doors and BobMason.

The table isn't sure whenthese first foUr-channel LPswill be released but it hascommitted itself to a full pro-gram of developing the dis-crete system for four -channelreproduction.

The interesting thing aboutfour -channel LPs so far re-leased in the States, is thatthey have been of a middle ofthe road or classical natureand there hasn't been too

much of a concern for devel-oping rock music in this newdressing.

Sam Neely, a country/popsinger from Texas, is gettingaround. Not only is he playingconcerts by himself, but he'salso appearing with the Ever-ly Brothers and with the JoyOf Cooking, a newer coun-tryish/rock band. Two of.Joy's members, Toni Brownand Terry Garthwaite, havejust recorded their first LPtogether and it's really a hardcore country trip.

Black Sabbath are taking avacation of sorts from playingthe US. "We are determined toallow the rest of the world tosee the group and not concen-trate on the States so much,"says the band's manager PatMeehan.

The group has a strong un-derground following for itsbrand of heavy rock musicwhich has had trouble gettingplayed on American radio sta-tions. The band members nowadmit that too many one-night-ers are nerve wracking andboring as well as not being thebest thing for their mentalhealth.

Tony Iommi, one of its mem-bers, admits that the bandcould be making lots of moneyplaying in the States, but "Itwould kill the band physi-cally," he admits.

The local lads favor playingin England, but they admitthey can get more cash fromAmerican appearances. "It'sunfortunate because wehaven't played too many Brit-ish dates," Iommi says. "Youdo one major tour in Englandand that's it. And where else isthere to play?"

David Clayton -Thomas, theformer singer with Blood,Sweat & Tears, is trying againto make it as a solo act. Afterleaving the band and cuttingone LP for Columbia, Davidhas now left that company andwill be recording for RCA. Hehas written three songs for hisfirst new LP including theLP's title tune Harmony Jun -

Included in the musiciansplaying on the date will be theproducer Gabriel Mekler onpiano. Gabriel has worked in

Alice Cooper Is this man's brain fit to paint?the past with Donovan, ThreeI)og Night, Steppenwolf andJanis Joplin.

Alice Cooper's brain is beingcreated as a painting by Sal-vador Dali, the avant-gardeartist. Dali is using a holo-gram light system to createthe work . . . Cheech andChong, the off -beat comics arepreparing a two record set,with the material beingrecorded in Toronto and Mon-treal. They will be coming toEurope in April where they'lldo five concerts.

Special 18 page hi

published by Record Mirror on the life and

times of pop's newest superstar. At last you

have the chance to read the real story of tit

fabulous artist. Illustrated with numerous

photographs,together with free poster pin-up

of David Bowie.

Available from your newsagentor in case of difficulty complete coupon and enclose 15p + 6p P P

Post to .

David Bowie Sales,Record Mirror,P.O. Box 50, Kettering, Northants.

Name

Address

I enclose P.O./Cheque for 31p. (tick)

RECORD MIRROR, APRIL 14, 1973 7

Sweet getover theRainbow

THE FIRST big Londondate is a heavy test forany band, even whenthey're as popular as theSweet. All eyes are onthem, keen to see how theystand up for what amountsto a graduation ceremony.

At the Rainbow last Sat-urday, everybody agreesthe Sweet blew it. Theirmikes went, twice they leftstage, and with that sort ofbad luck there's very littleyou can do to salvage theruined atmosphere of aconcert.

It was an unaccusto-medly serious - facedBrian Connelly who ar-rived at the West Endoffices of the group's pub-licists to talk about thedisappointment of theRainbow. As soon as hearrived, he picked up acopy of RM to see what ourreport on the concert hadsaid. Face growing long-er, he finally said that itwas fair enough - theconcert had been a dis-aster.

"This was our big gig,"said Brian. "We didn'trealise just how big untilwe drove up and saw allthese guys selling rosetteswith our pictures on. "

So, why did it all go sowrong? "Really, there'sno excuse for us - andbelieve me, we had a six -hour meeting the next dayto try and sort it out - butI think probably the mainreason was because I hada bad case of stomachtrouble the day before andso we had to cancel a dateat Salisbury. Maybe theroad crew thought we'd becancelling the Rainbow aswell, but I've got a won-derful private doctor whowas giving me injectionsevery couple of hours andI was all right by Satur-day.

"Anyhow, the equip-ment arrived late, so wedidn't have time for a realsound check, and every-thing was just chaotic. Ihad to spend an hour and ahalf trying to get the lightsorganised just before wewere due to go on, forexample. We didn't findout until our act wasruined that they'd hookedup all our amps throughtwo 13 -amp plugs. No won-der all the fuses startedblowing!

"The thing is that theaudience couldn't careless about these sort ofproblems. As far asthey're concerned, it's alldown to the Sweet, thefour guys up there on

by rick sandersstage. They don't knowabout the nine roadies, allthe stuff that goes on be-hind the scenes. In theeyes of the public, it's justus that's to blame.

"We were going franticwondering how we could'save the show. I was goingto pick up an acousticguitar and play a countrynumber, but I couldn't finda mike that worked, so Icouldn't even make anapology to the audiencefor what was happening.I'd just like to take thisopportunity to do it now. "

PresleyAfter the unhappy sub-

ject of the Rainbow hadbeen exhausted, Brian'sface brightened as hestarted talking about thegroup's forthcoming al-bum. It's being recordedat the moment and will bean attempt at a pottedhistory of rock and roll,maybe a single album orpossibly a double, withsongs written by theSweet.

"The album's going tostart at 1956 - that's real-ly when rock and roll hergan - with a song that'llbe like a Presley. Thenit'll change to a LittleRichard sort of song, andso on, through the years.

"For 1965 it'll obviouslybe a song with a Beatles'harmony. I can rememberwearing out Rubber Soulwithin a couple of weeks ofit coming out, but theysound so thin when youplay those songs now. Thesongs were great, though.

We'll also be doing aStones type of number,and to end we'll try and doa futuristic number for1976.

"The problem now isjust to get all the songswritten - it takes up somuch time, and really, thelast few weeks have beenthe first time off we've hadin a year. "

Nobody could ever ac-cuse the Sweet of not beinghard workers - and Brianthinks that its the hardwork which has made forSweet's tremendous suc-cess.

"There's nothing sogood for an audience asseeing a singer reallyworking his ass off onstage. It's what I alwaysused to love when I went tosee a group and it's what Iwant to do.

"As far as effort goes,we've all been pushingourselves as hard as wecan, and to tell you thetruth, I could do withoutHell Raiser coming outjust at the moment. Alittle breathing spacewould have been verynice. "

As it is, pressure of workhas forced the band tocancel their long -plannedAmerican tour for the sec-ond time, which is particu-larly unfortunate as LittleWilly - "I still think it'sour best stage number,"says Brian - has reachednumber seven in the UScharts, and the time wouldhave been perfectly ripefor a Sweet assault onAmerican audiences.

Still, even if Americahas to wait, the Sweethave already establishedtheir record sales acrossthe globe. In Hong Kong,for example, they wereunknown when they ar-rived, and the week aftertheir concert they weretop of the singles chart.

Chinese"That was a funny con-

cert," says Brian, "It tookabout 40 minutes forthings to really warm up,but luckily there was agroup of English kids,whose families were in theservices, who stood up atthe 'front. They knew allabout us and they acted asinstigators, so by the end,all the Chinese kids were

bopping away just likeany English audience.

"It was much the samein New Zealand. I don'tthink they'd ever seenanything like us before.For the first couple ofconcerts, they just satthere baffled, but by theend of our tour, when theyknew about us and theword had spread, it wasall screaming and faintingand all that.

"At Plymouth they hadto turn the house lights onto try and calm it down abit as the theatre was indanger from all the stamp-ing feet. The lights onlymade it worse - people inthe balconies could seewhat was going on in thestalls so they joined in too.

"I had to tell them tocool out - not because we'wanted them to, but for!their own safety. You

know, there were 18,000people at that show andthere's only 36,000 peopleliving in that town. "

Wherever they go, theSweet have been takingaudiences by storm. It'ssad that the Rainbow, thereally important gig, wentso wrong. But even there,the Sweet fans left nodoubt of their enthusiasm.Brian says that one of themen from his managementconfessed his amazementat the fervour of the fansat the Rainbow.

"If only he could haveseen us at . . . . well,anywhere! There's a lot ofpeople who want to knockwhat we're doing, andthey were all the Rainbowtoo. They're entitled totheir opinions. They justdon't know what it's like ata typical Sweet concert. "

Special Notice

to all Capricorns

(and others)

Martin Mull arrives

Saturday

WATCH OUT!

8 RECORD MIRROR, APRIL 14,1973

Keeping upwith

Shel Silverstein

Still remembered.Thirteen years is a long

time, but Eddie is still re-membered and idolised byfans round the world. Hisrise to fame began when hesang Twenty Flight Rock, inthe movie, Girl Can't Help It,recently shown again onBBC -2. His big British hitswere C'mon Everybody,Summertime Blues, andThree Steps To Heaven.

NEXT TUESDAY, April 17,is the thirteenth anniversaryof Eddie Cochran's death -he died from injuries whenthe taxi in which he wastravelling smashed into alamp standard in Chippen-ham, Wiltshire. With him inthe car was another rockgiant, Gene Vincent, whodied October 12, 1971 - andEddie's fiancee.

Shel Silverstein's boy, the one withthe mostest: two of them!

THIS WEEK'S confident pre-diction is that Shel Silversteinis heading for the top of thecharts. Shel WHO? Well, he'sa cartoon -creator well-knownto Playboy addicts; and as acomposer his hit credit ratingincludes Sylvia's Mother, SingMe A Rainbow . . and A BoyNamed Sue.

But it's a lad named StacyBrown who is going to provideMr. Silverstein with a guaran-teed hit single . .

This Stacy Brown is a biolo-gical wonder, you see. Hepulls all the chicks in townbecause, unlike most of us whohave but ONE, he has TWO.Shel puts it delicately: StacyBrown is double -blessed. Hefurther reports that nobodyknows where the other one isat . . "On his elbow, on hisknee, or under his hat. "

Clouding Shel's voyage ofanatomical discovery is that itseems his "old lady" is awareof the twice -blessed StacyBrown. . . "How DID sheknow?" he muses. "Musthave just been gossip. "

The deformed -but -delightedStacy Brown will surely inter-est a Mrs. Mary Whitehouse,who will want to know what,exactly, causes "Stacy's girl-

friends to wake up smilingevery morn!"

A natural-born hit record . .

Note: My picture shows Shelhimself, shame -faced andhead -hanging. But then hehas only ONE!* * *GUITAR-TOTIN' folk singer:"And now here's another songabout the exploitation of thehuman race, and the evils ofthe capitalist society and it'son my new album and I wantyou all to go out and buy acopy right now!"

* *

Roadies tothe rescue

THERE WAS a lot of chaos,confusion and churlishness atthat massive two-day rock ex-travaganza in Holland . . . weproud British had Slade,Faces and the Who on display,but Roxy Music were forced towithdraw.

One guy who figured it waschaotic was Neil Diamond's

John'Speedyl Keen,,Previous Convictions,.Out now.

OH SPEEDY,!)

2406105"n7RACK

Distributed by Polydor.

Papa JohnIF JEFFERSON AirplaneDO tour here, it'll be a firsttime visit for fiddle player,Papa John Creach - theband discovered this elder-ly chap toiling in a tattynight-club. Funny thing is:Papa John was a classicalviolinist with the IllinoisSymphony Orchestra backin 1939!

manager, Ken Fritz, who wasthere with fabulous Americansongstress, Chi Coltrane. Buthe delivered one magna-nimous tribute . . . to the goodold British roadie.

He told me: "We didn't havetime for Chi to rehearse, and itwasn't until the Faces' soundmen came to our rescue thatwe managed to perform at all.I tell ya, those guys with theFaces must be the BEST roadmanagers in the world. Theyjust took over and didn't letanything, or anybody, get intheir way. "

Well, good! If the seat ofmusical power seems to beshifting from these shores(Focus are leaders of theshift), let's rest safe and hap-py that we've got the world'sbest sound men and roadies.Britannia rules the soundwaves . . . * *ROGER EASTERBY, promo-ter -producer extraordinaire,once introduced me to his tai-lor. I pass on that informationto explain the following bla-tant plug . . .

He and Des Champ are totake their Santa Ponsa pro-duction company to PyeRecords and the organisationwill have it's own label. Firstrelease any moment now willbe Hello Girl, by Dr. Mari-gold.

Other artists to come will bethe progressive team, HolyMacerel, Judy Gee and TheClassmates, and Crush - anew pop group formed by for-mer Chicory Tip moog man,Dick Foster. Roger and Desbuild their name through hitsfor Vanity Fair, Chicory Tipand Deep Feeling. I wish themwell in their expansion. Ro-ger's personal expansion is amatter purely for that afore-mentioned tailor.

* * *DEFINITELY on: that revi-valist nostalgic tour of Amer-ica by groups who emergedfrom our Merseybeat boom ofthe early 1960's. Peter Noone,alias Herman, will take hisHermits along - and he'sbeen to the States fixing thedates for his band, for Billy J.Kramer and the Dakotas. Ger-ry and the Pacemakers, theSearchers, and Wayne Fon-tana and the Mindbenders.

Know something? Signs arethat this tour will really pull inthe customers. It starts inJune.

* * *SO THREE young New Jerseypolicemen have formed them-selves into a pop group, calledThe Fuzz. They twang theirthangs, wear trendy clothes,play Jailhouse Rock (that'sthe commercial) . . . and kidswho otherwise would be instreet gangs go along to danceto the music. Basic idea: toimprove police -teenager rela-tions.

GIRL -OF -THE -WEEKDEPT: - The lady's name isVie . . . just Vie. She used tobe Vie Flirtation - or at leastshe was one of that out-standing vocal duo who de-served hits galore. Vie is out

on her own now, with a single,Sad Old Shadow (Polydor),and I very much hope it's a hitfor her. Why leave the Flirta-tions? Oh, let's just say it wasover matters of policy, andcareer direction. Can Vie flyhigh? Hope so.

ALL IS not nastiness and bitchiness, after all! My picture showsAretha Franklin (left), her brother and Esther Phillips, and thepoint is that Aretha is handing over the Grammy award she wonfor Young Gifted And Black (as top R and B album) because shereckoned that Esther's From A Whisper To A Scream was abetter R and B performance. A very nice gesture indeed.

I'M beginning to wonder whether I can further tolerate thestrains of my job. I mean, you'd hardly credit it but that blondechick, wearing all that bikini, called in UNANNOUNCED todeliver a copy of John Keen's outstanding new album, PreviousConvictions. The gent with the bouquet and the start of aMachiavellian grin is the notorious record promoter, VernonBrewer. Now the album happens to have a message in Brailleupon the sleeve - but I misunderstood and thought it was uponthe lady. That's my defence . . . and my case comes up Friday.

RECORD MIRROR, APRIL 14, 1973 9

( FACES' NEW ALBUM.... FACES' STUDIO.... FACES' FILM.... FACES' TOURS....

THE FACES have certainly set their mark as arhythmic band on stage, but when it comes to makingalbums, Ron Lane describes their progress as far fromrhythmic. It's taken about ten months for the group tocomplete their Ooh La La album, not because theirdevotion to it was so intense, but more due to the factthat the Faces are frequently called away to othercountries.

"It's very hard for me totalk about the album,"says Ronnie Lane, sittingin the organised chaos ofhis flat. "I can't see thewood for the trees at themoment. Maybe someoneelse wouldn't think it wasdisjointed, but I knowwhat went in to it . . . wehad to go away to theStates, or someone was ill,and then we'd pick it upwhere we left off. In factthe recording really gotdragged out, and I gotbored with it after a while.

"I wanted it to be good,but I don't think it's thebest thing we're going toachieve. Well, no, I don'tsuppose you ever feel any-thing is," he adds, when Imake this point. "But Ijust wish it had come to-gether quicker. Nod'scame together in 10 days,which is preferable. Butwhen I think about it thisone's better than Nod's. "

Despite any apathy thatRonnie's attitude mightconvey, Ooh La La, soundsanything but apathetic.Some of the lyrics arepositively sparkling.. .

"Yeh, Rod's very cleverwith his lyrics," grinsRonnie . . . and when Imention that his own con-tributions are very worth-while, adds. "Yes I sup-pose so. Some things fallon your head, and somethings you work for. Thethings that fall on yourhead are always better.But you have to plod onanyway or the good thingsnever come up. "

For some months Ron-nie's been plodding on try-ing to follow through whathe describes as "the filmsaga" - he and Ron Woodhave written the filmscore for Mahoney's Es-tate, but in the film in-dustry finished productstake a long time toemerge.

"I'm really getting im-patient," says Ron. "It'snice music that we'vewritten, more acousticthan the things we usuallydo, but I don't want it todate like this. I was askedto do the score originallyby a friend of mine whoacts in the film and moreor less produced it. WhatI've seen of the film wasvery good and it turnedout to be enjoyable writingthe music and not so muchof a chore, like many 'oldpals act' things are!

"The film's basicallyabout a guy who lives inthe city and then movesOut to live in the countryand grow his own produce,and he's really messed up.The times the thought ofmoving out's gone throughmy head! I plan to movenow, but I'd like to getaround, I've got no wish tosettle anywhere - that'swhy I'm not bothered

BYVALERIEMABBS

about having a big house,it would just be a millstoneround my neck. "

Instead Ronnie has in-vested £40,000 - "a lot ofLamborghinis" - into amobile Airstream studio.His wish to have a studioreadily available to musi-cians has stemmed, hesays, from his early SmallFaces days.

"I didn't buy it so muchfor the fact that it couldmake money, and a lot ofit, but I'd like it very muchto pay for itself. But Iremember with the SmallFaces people didn't al-ways want to get studiotime for us. After Steveleft it took us ages toconvince people we hadguts . . . and it's nice tohave this studio availableto anyone, within reason.

We must have been one of the first bands that didn't go on stage in jeans

explains. "And we plan toemploy two or threepeople to run Airstream .. . though we're not par-ticularly going to run it asa business thing. "

Ronnie feels that Air-stream is something of aninsurance policy againstany down times that theFaces may run into.

"This business is so up

once when the fanscrushed our car . . . but Idon't really want to talkabout that. We have amore mature audiencenow, we ain't chickensanymore! D'you know I'vejust had a letter from aseven year old girl whofancies me . . . can't bebad! But we do tend toattract older people these

to add unnatural gim-micks to their act. Theplexi-glass stage, Ronnieclarifies, was "just a bit ofshow -biz. "

"We must have been oneof the first bands thatdidn't go out on stage injeans . . . but then youalways get people tear thearse out of things ( spokenmetaphorically!) and take

A stroll downRonnie Lane

"We used it on Sundayand laid down a couple oftracks. The sound wasgood, and now we don'thave to worry whether astudio we like is availablewhen we want to record -that was another thingthat got in the way of thealbum. "

There is a probabilitythat Ronnie will joinforces with Pete Towns-hend to form an office tohandle their business ven-tures.

"We'll split the costsand things if it works," he

and down, I don't ever feelparticularly secure - notthat I want to. "

Such comments lead usback to a spell of reminisc-ing about the days whenthe Small Faces played tofrantic screaming crowds- and one particular timewhen they were forced toclimb out of the back win-dow of a changing hut inBlackheath during a festi-val.

"A very down period inmy life," says Ron, del-ving into his ownthoughts. "I remember

Rod, Ron and friends

days, which is nice. "It could be thought that

the Faces regard theirfans somewhat lightly, be-cause frequently they turnup late for appearances,safe in the knowledge thatthe cheers will still go upwhen they're out thereperforming. And, well,their performances moreoften than not do com-pensate for most irrita-tions.

"But we don't particu-larly take advantage,"says Ron seriously. "Notdeliberately. We hold ourpublic in high regard . . .

you should hear the dis-cussions we have about it- trying to ensure peopleget their money's -worth.People always turn up toreview things on the firstnight when things may notbe right, because even re-hearsals aren't the sameas being on the road.These American tours wedo, the band get so goodafter about a week on theroad . . . it becomessomething else!"

Ron believes that it'simportant for the Faces tomaintain their feeling ofspontaneity, and con-sequently they don't plan

the show -biz bit too far. "Ronnie believes that the

Faces don't get enoughopportunities to displaytheir eye and ear -catchingact in public, mainly dueto the lack of good venuesin Britain. And when theytour America the bandgenerally get bored andwant to return home!

"It's just the way thingsare planned really," saysRonnie. "Either we're sit-ting around on our arsesall the time when we wishwe were working, or wework so hard and furiouswe can't wait to stop!

"The audiences here Idon't find too different tothose in the States, but thewhole presentation ofthings in England is likeWoolworths. Peoplearen't willing to spendmoney to put things right,and also when you try anddo something nice it getsthwarted.

"I've got a few ideas I'mgoing to try out sooner orlater, which I hope willimprove the situation foraudiences as well as forus, as far as these inactivetimes and then tear-arsingabout is concerned. Butit's a waste of time talking

about them until I can putthem into practice. "

The things that theFaces definitely plan toput into practice includethe release of a live albumthis year - somethinggenerally considered longoverdue - and a threeweek American tour. Butthe originally planned tourof England has been can-celled - "I think it was setup by Marks and Spen-cers," grins Ronnie -though there is the prob-ability of the Faces mak-ing an appearance at theRainbow in June.

It's definitely a busyworld where the Faces areconcerned . . . and thoughRonnie says he's becom-ing very disillusioned withtoo much boozing and par-ty -going, he still has timefor fun.

"We've got a very goodsecretary who tries toliaise everything for us,"he says. "And we keepsending her tranquilisersto keep her going!"

Ronnie Lane - I'm get-ting impatient.

10 RECORD MIRROR, APRIL 14, 1973

DIANA ROSS - Movie Star!As such, and not as a singer,she came to London last weekto attend the British premiereof her first film, "Lady SingsThe Blues", in which she playsthe role of Billie Holiday, thetragically drug -addicted jazzsinger whose autobiographyserved as inspiration for thefilm's plot.

Billie Holiday died in 1959,aged 44, after leading a life towhich this filmed versionbears little relation. However,the harsh criticism which hasbeen directed at the film'sfictional simplification of thetruth is undeserved by Diana,who went to quite amazinglengths to soak up all that shecould about the real BillieHoliday and her era.

Surprisingly, other thanonce remarking "Ah! That'sreally something!" about aversion of My Man, Diana hadbeen totally disinterested inBillie's work prior to 1969,when the idea of making thefilm was first mentioned toher. Disinterest gave way todevotion, and Diana's re-search began.

"If I have to play someone Ihave to know her. I cannotmeet her, because she's dead:the only way I can meet herand know her is through hermusic and through pictures,through things that were writ-ten about her, talking topeople that knew her. Andthat wasn't enough.

"I had to know the time, andwhere she travelled, and howshe came about. I had to knowwhat was happening then, inthe world at that time. Andthat wasn't enough.

"Then I had to know aboutdrugs - why this drug, whyany drug? Why did she go thisdirection and not another?Even to the end of my researchI began to know her every dayI worked on the film, becauseit wasn't just acting - I do alot of reacting to situationsthat were given to me thatwere her situations - or sup-posedly her situations - and Istill began to know her more,every day I began to learnsomething about her. And I

THE STORY OF BILLIEJames Hamilton talks to Diana Ross about 'Lady Sings The Blues'

Diana Ross and right in make-up and character for the part of Billie Holiday

don't know that even at thefinish of the film that that wasenough.

Picture"I would think that my re-

search took more than a year.Nine months totally I knowthat I listened to no othermusic other than music of the'30s, and jazz, and, er, lookingat pictures of what the clubslooked like from the outsideand trying to picture whatthey looked like on the inside,

and what the girls wore, andthe Jitterbug, dances, all thosethings that I thought made adifference in how she lived.I've been trying to see howdifferent it was from the waythings are today. "

In the light of this dedicationto authenticity, the film's in-clusion of many seeminglyanachronistic slang ex-pressions, the bantering usebetween blacks of the word"nigger" among them, couldbe thought of as odd. Diana,who, it must be emphasised,

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was the driving force behindthe period feel of the wholefilm, thinks not. "Those wordswere used then, too. I paidquite a bit of attention tothat."

As you probably heard,Diana was nominated for, butfailed to win, the AcademyAward. Although dis-appointed, she recognises theimportance and glamour of anaward such as the "Oscar",and knows that a beginner'schances in the ballot are slimindeed, no matter how wellthat beginner performed. Atleast she herself was happywith her performance - andshe is seldom satisfied.

"I knew that, with whateverlearning I had dramatically, Ihad done my best. That's all Iwanted to do, that's all I coulddo. And then, from there, aslot of the beautiful things thatI loved, and spent a lot of timeon, ended up on the cuttingroom floor . . . that's the wayit goes, that's show business!"

Here, Diana is referring tothe sections from the begin-ning of the film depicting Bil-lie's childhood which wereedited out, even for Americanshowing. Since then muchmore has ended up on thecutting room floor, as the Brit-ish version of the film (whichDiana was to see after ourconversation) has been editedfrom about 160 minutes to 125minutes . . . that's 35 minutesof film!

"It's hurt me a lot. I haven'tseen the cut version but I thinkI know what it is, and I knowI'm going to be saddened by it- but even the first cut, I wassaddened by the first cut!They cut all of the childhood,from the time of the brothel inBaltimore, and the rapescene; after that there was anorphanage scene where I wentto the Catholic orphanage, allof that was cut out even beforethe version in the UnitedStates.

Run away"And where I run away

from school and where I jumpout of the building - thosewere the things that I reallyloved, because I had to run upthe stairs and run down thehallway, and get out of thiswindow.

"It was very much like thebook, but there was just toomuch film and we just couldnot do a documentary of thislady's life, just putting facts. Imean, it had to become astory.

"People have to be inter-ested in the person, and theonly way they could be inter-ested in Billie Holiday in this

film as a person is to watch hergrow, and the only way wecould do that is by not justthrowing in facts, it had tobecome a story.

"I hope we succeeded, and Ican't wait to see this version,but I heard that by making itthis way it's quite a bit moreentertaining . . . I hope so. Asfar as what I did, acting, Iguess we lose that, but themost important thing is thetotal story.

"You don't see the child-hood: what you do see where itstarts in this version, in theNew York street, I'm a littlebit older there. I played amuch younger girl beforethat. It was really fun becauseI remembered those things asa kid, and I drew the hop-scotch on the ground as Iskipped down the street be-cause my director didn't knowabout those kind of things -and I said as a kid there wasalways one on the ground,even if you didn't do it your-self. "

Well, we don't see the hop-scotch, or the rape scene (eventhough the latter is shown asone of the stills inside thesoundtrack album's accom-panying booklet). We don'tsee the bed scene on Billie'sfirst night out with her lover(played by Billy Dee Williamswith suave modernity), nor dowe see the arrest scene (re-portedly, Diana's most mov-ing moment, in which shetakes off her sunglasses toreveal tear-filled eyes). Thearrest scene and its accom-panying action is a key pivotof the film, as the flashbackedmajority of the story stemsfrom its aftermath, and thevoice of the arresting officereven opens Side One of thealbum!

GlossyJudged only on what we do

see, "Lady Sings The Blues"still seems too long. By tryingto be both an "entertainment"and a "slice of life," the filmfalls sharply between twostools. Its glossy productionvalues and misty photographysuffuse the period settingswith a romance that is inkeeping with the early care-free incidents, and at oddswith the later sordid dealings- actually, its look is verymuch that of "The Godfa-ther".

For the first few episodes,which show the happily co-quettish young girl, the film isdelightful entertainmentmore's the pity, then, that it is

from this end that most hasbeen cut - but, once a fic-titious white bandsman hasintroduced Billie to drugs, thedrama becomes as irritatingto watch as is the irrationalbehaviour of its junkie prota-gonist.

Junkies, whether on drugsor drink, are an exasperatingsight: that Diana Ross hasportrayed their desperation asconvincingly as she hasplayed her lighter moods is ofcourse to her great credit asan actress, but it is not onaccount of her role that thefilm becomes irritating.

It is because, the further thestory develops from the fairlyauthentic opening scenes, themore "Hollywood Musical"become the conventions of itstelling, so that by the time thatthe Holiday character is at itsmost pitiable it is surroundedby compassion -killing ster-eotypes (with the exception ofRichard Pryor, who plays thebrutally murdered "Piano -man" ).

If viewed through innocenteyes by someone unable torelate the fiction on the screento the reality in the book (un-like "The Godfather", this is acase where the book shouldNOT be read until after-wards), the film is undoubt-edly as moving as any withinits glamourized bio-pic genre.It differs from other moderndrugs -related films ( "Super -fly", etc) in that it has thepower to turn you off, and, intruth, ends up by being such adowner that you would be welladvised to see it early enoughin the evening to leave youtime for a comedy too.

Many of the most evocativebits of dialogue have beenpreserved on the specially de-signed and lavishly presentedsoundtrack album (Tamla Mo-town TMSP 1131), a doublealbum of which two sides arestraight music and two aremusic -plus -chat. Diana's ren-derings of Billie Holiday's mu-sic are brave and sometimessuccessful interpretations,while the songs, dialogue andsound effects sides are aninnovation which will be wel-comed by all with good imagi-nations.

Even bearing in mind thecuts and the fact that it is NOTthe true Billie Holiday story,there is much to enjoy - so,see the film and hear therecords, and then, maybe, youwill want to read the book andhear the real records. At theleast, you will be able to decidefor yourselves if Diana Ross ISBillie Holiday.

The -bed-scene Britain won't see

11

ALBUMSCOPE

UAS 29469 SOUNDTRACK/TOMSAWYER

The original soundtrack from theexciting new family musical co -financed by the Reader's Digest andUnited Artists and based on MarkTwain's beautiful story of boyhoodAmerica, "Tom Sawyer".

LITTLE FEAT"DIXIE CHICKEN"

K46200Leading West Coast band Little Featfeature their special blend of ex-ploding rhythms and down-homemelodies. Watch especially for ex -Mothers guitarist Lowell George.

BOB SEGER"BACK IN '72"

K44227Bob Seger blended other folks tunesinto a best seller called "Smokin'O.P. 's". Now the Detroit singer isback with these fine sides cut atMuscle Shoals.

DALTREYSuper Track 2406 107

Roger Daltrey, lead singer with theWho releases his first solo albumwhich was .produced by AdamFaith.

trainGrarilliti0114 ikifth

GRAVY TRAINSECOND BIRTH

An exciting band with their debutalbum for Dawn which amply re-flects their brand of hard hittingrock music. One listens to this albumis enough to convince you thatthey're a band to be reckoned with.

BILLY MERNIT"SPECIAL DELIVERY"

K42135The first album from talentedsinger -songwriter Billy Mernit. Across-section of songs pervormedwith an undcrstanding and abilitythat must point the way to success.

PREVIOUS CONVICTIONSTrack 2406 105 Super

This is the first solo album by JohnKeene, formerly with ThunderclapNewman. John wrote their No. 1 hit"Something in the Air".

EPC 65450Donovan has come up with a superbcollection of mainly electric songsthat deserves a place in anyone'scollection. "Cosmic Wheels" con-tains all the best elements of hiselectric period

EstherPhillips

NitUra

Esther PhillipsAlone Again, Naturally

An incredible album from the natu-ral successor to the title of "FirstLady of Soul". Her voice is bothpowerful and Soulful - her versionof Alone Again, Naturally - is agas.

HEADS, HANDS & FEET"OLD SOLDIERS NEVER DIE"

K40465An exciting debut on Atlantic forHeads, Hands & Feet, whose vitalityof work is highlighted by the amaz-ing talent of guitarist Albert Lee.

THIRD WORLD WAR IITrack Super 2406 108

It's taken 18 months, but at last hereis the second album by Third WorldWar.

NARAZAMANAZ

MOONCREST Crest 1The first album release on the newMooncrest label is by Nazareth whoare currently on a 40 date nationaltour. Includes their single - "Bro-ken Down Angel".

12 RECORD MIRROR, APRIL 14, 1973

CHI:MORETHANJUST

AFACE

as RickSanders

discoversWELL, said the chapfrom CBS, I'd like tointroduce you to Miss ChiColtrane -- though hepronounced it Chi _itshould, most in-appropriately, be shy -and we were shown intothe young lady's room.

Now, we had been sup-posed to interview Chi atnoon, but when wechecked at the Grosve-nor House hotel's recep-tion they knew nothing ofthe lady. Would weplease wait in the lobby?And we had waited, whilethe ashtray - emptyingteam flashed round, most

attentively, every fiveminutes.

Finally t ie summonsarrived - would we goup now? It turned outthat Chi and her bandshould have come in fromAmsterdam the previousday, but even after ahectic scramble acrossEurope and back,struggling with strike-bound planes and absenttrains, TV producers andfrantic festival promo-ters, Chi was hardlymore than a little wearyafter doing without sleepfor some days.

"Hello, pleased to meetyou," said Chi, andpoured out a cup of Brit-ish tea.

A few words of ex-planation to those whodon't yet count amongChi Coltrane admirers.With long fair hair, a softbut determined voice,and a face which wouldhave had no troublelaunching a thousand ofmy ships, Chi was inEngland to promote heralbum - just Chi Con-trane - and a single,Thunder And Lightning;which has already been aconsiderable hit in theStates and several Eu-ropean countries. She'salso done very well - ifnot in England - with agospel - influenced stor-mer called Go Like Eli-jah.

Judging by her album- which she and heramiable manager KenFritz ( who also takes

care of Neil Diamond'saffairs) contend is but aslim slice of the sort ofexcitement she tends towhip up on stage - Chi isgoing to find her way intoa lot of people's heartsand record players.

Her main instrument ispiano - she's been play-ing it since she was sev-en, she told us - and shecan rock it up like someJerry Lee or, then again,move you as gently anddeeply as RobertaFlack. Her singing cov-ers just as wide a field.Just when you've got hersussed as a breathy,pure super-Petula, she'llturn on to overdrive witha wild moan that putsyou on the edge of yourseat.

Chi's songs are all herown - though she's beena professional musicianfor most of her grown-upyears ( she's now 24), it'sonly over the last yearand a half that she'sstarted writing serious-ly.

Before that, she says,there were years andyears of playing in barsand clubs across theStates, sometimes alone,sometimes with a band.In some of the raunchierclubs, she recalls, it wasa case of sitting thereand bashing out thesongs as the bottles flew

you know, be a goodgirl and don't be nasty tothe customers - as thedrunks come up and tryto paw her around.

All the same, she saysshe's never wanted to beanything but a musiciansince her childhood daysof sneaking to her bed-room door when she wassupposed to be asleepand listening to her par-ents playing their onegood record - a Strausspiece. Apart from that,no parental encour-agement. It wasn't a mu-sical household, laughsChi, who went on to learn

about seven instrumentsmore - ukelele and vibr-aharp, some guitar, andso on.

She doesn't have anyplans to use her othermusical skills as yet.Even when she does herown arranging and pro-duction - as she will onher next album - Chiinsists she won't creditherself on the sleeve,fearing that she'll bethou ht bi -headed.

"Nobody expects me tobe capable of actuallybeing a good performer,"she says. "It's not thatI'm complaining aboutmy face, but there doesseem to be a lot of prej-udice against looks - atleast in the States, thereis - and I used to wonderwhether to make myselflook really rough just sopeople would have to lis-ten and not look. "

Despite her looks,then, Chi is out to make itas a musician. Shewon't, she says, be flut-tering any eyelashes orwearing see-throughboiler -suits too getacross. What she relieson is her songs, her act,her talent - and in nosmall measure, herband. Just a three-pieceof guitar, bass anddrums, she hand-pickedeach member - "so Iknew I'd be able to estab-lish a personal rapportwith them" - and insistson tight, rehearsed ar-rangements. She's hadtoo many dis-appointments withpeople who only wantedto jam.

Unfortunately, Chiwasn't going to play anydates this time round inEngland - apart from aPress reception - but itshouldn't be too long be-fore we get a chance tosee what she can do inthe flesh. In the mean-time, her album ( whichcontains both singles) isan excellent appetiser.

Van Lennep. Belso. Santo. SheilSPORT-Luxembourg F.5000. Good Friday, April 20th.Lanfranchi. ShelISPORT-Luxembourg. B.M.W. Snetterton. 2.15 pm. April 20th.

RECORD MIRROR, APRIL 14, 1973 13

[-Complete and utter trash!'EVEN WHEN he's in Eng-land primarily to do inter-views, Don Maclean is adifficult chap to contact.One tends to make ap-pointments and somehow,somewhere he seems toforget about tham.

However after an ear-nest conversation on thehouse phone of the RoyalGarden hotel we eventual-ly met up in the bar. Dondrank straight coke andmentioned that he wasplanning to visit Stone-henge. "I just thought I'dcheck it out and spend acouple of days in the coun-try. " Nodding sagely Imoved the conversation onto other matters.

Don Maclean has, in avery short time, becomesomething of an in-stitution. He shot to fameall over the world with hislyrical masterpiece Amer-ican Pie, and cemented hisposition in the industrywith another chart top-ping single Vincent, andtwo chart topping albums,American Pie andTapestry.

His songs, especiallyAmerican Pie, incorporateprobably the most sensi-tive and observant lyricspenned by any songwritertoday. It therefore comesas a bit of a surprise thathe has released an oldBuddy Holly classic Ev-eryday as a single.

"It wasn't me who choseit" said Don firmly."What happened was thatthe last time I came overhere I put a few songs ontape for the BBC to use onRadio 1. I did Vincent,Circus Song, a new songcalled In Peace and Ev-eryday.

"Well suddenly the BBCstarted to get specificrequests for Everydayand these requests havecontinued throughout theyear. Obviously therecord company thought itwould be a good idea torelease the song as asingle - so they did. Idon't mind it being re-leased though; after all Idedicated American Pie toBuddy Holly, so perhapsit's only fitting that I

THAT'S WHAT DONMcLEAN THINKS ABOUT

DONNY AND DAVIDshould release one of hissongs. "

Not wanting to pursuethe subject of Buddy Hollyany further last year heexplained that he had an-swered enough questionsabout Buddy Holly to lasthim a lifetime, we began todiscuss the various meritsof other lyricists. Wasthere any particular lyric-ists that he admired.

He lent back and beganto relax for the first timeduring our chat. "Well letme see," Don drawledpensively. "I like HankWilliams' lyrics; JohnnyCash's - sometimes, BobDylan's, even Lennon andMcCartney's, when theywere together. Theyseemed to have a sweet-sour thing going whichwas really nice. I guess Icould think of a hundredothers if I sat here longenough!"

Did he feel that the stan-dard of pop lyrics hadimproved over the pastcouple of years?

"Well in some ways ithas and in others it's fall-en into unbelievabledepths. I won't mentionany names but I do thinkthat some of the garbagethat's being churned outnow should be burnt or atleast disposed of! In otherareas though the lyricsreally do seem to be im-proving. Personally, forinstance, I never sit downand think 'Right I've got towrite a song today' - itjust happens. I get most ofmy ideas by just loafingaround. I guess I'm verylucky - I get well paid forloafing!

Loafing is an activitythat Don feels quitestrongly about. He's prob-ably what one would terman industrious loafer. Iasked him if he felt thatwith the pressures of star-dom his "loafing" hadbeen curtailed? Did hefind that he was suddenlycommitted t(; recording acertain amount of albumsper year?

"I still do exactly what

want to," he said grin-ning. "Pressures have todo with how much you'rewilling to acquiesce tothem. If you're not willingto let somebody force youinto a situation or letsomebody beat you into acorner, then the pressuresdon't get you down.

"I'm committed to onealbum a year and that's it.The same situation appliesif one of my songs doesn'ttake off. For instance Iunderstand that The Drei-del didn't do too well overhere. That doesn't botherme. I did something that Iliked and enjoyed and ifthe public didn't dig it thenit's their tough luck notmine! "

In view of statements ofthis kind, one can be ex-cused for thinking that thecelebrated Mr Maclean isarrogant and self assuredto the point of extremity.Personally I believe thatthis isn't strictly the case.

Arrogant? A little per-haps. Self assured? Not

really. His is an arro-gance that is based onindifference and total hon-esty. One could neverimagine him saying some-thing just for effect. He'sperceptive and aware oflife's ups and downs to adegree that one doesn'tgenerally associate withmusicians.

Still perhaps I'm beingunfair to the music busi-ness! Don Maclean is sim-ilar to Dylan in manyrespects - he's more of apoet than a musician. Butthen again he does writegood melodies. So justhow do you sum up a manlike Maclean. Perhaps asa good all rounder! Surelynot. That sounds too dero-gatory -- rather like anoverworked cricketer.But wait we haven't fin-ished yet.

England provides an at-mosphere in which Donclaims he can easily re-lax. But, were there Iwondered any places heparticuarly wanted to vis-it?

"No not really. The onlyplace I particuarly wantedto see was the inside of theAlbert Hall and I saw thatlast year. That was a realnut for me seeing thatplace! I was lucky be-cause they allowed me tosneak in before the au-dience arrived. The at-mosphere in that place isjust incredible - such afeeling of age and beauty.

"I was totally in awe. Iwas a bit worried aboutthe acoustics because I'dheard that they weren'ttoo good, but at the con-cert everything was fine. Iguess it must be only largegroups who have the prob-lems - not solo artists.Mind you I brought myown band and they can getpretty loud but all waswell! Actually we're hop-ing to play the Albert Hallon our trip over here thissummer. '

The Albert Hall is likelyto be just one of the con-certs that Don will beplaying later this sum-mer. The tour looks likebeing an extensive oneand should extend to allareas of the British Isles.

Joan gets it together .JOAN Armatrading is agreat fan of Monty Python.Heaven knows what themore sober and sedate Lon-don drinkers thought the oth-er afternoon at the sight ofthree males and Miss Armat-rading absolutely convulsedat minute intervals to eachother's attempted recallsketches from the comedyseries.

Joan has been hailed byseemingly every knownnewspaper and magazine asa future star. Her first al-bum Whatever's For Us hassent the musical press intoecstatic raptures.

The music business paper

Music Week commented,'Joan shows a startling ma-turity for a young artist'.And so the list could contin-ue.

The reviews tell accurate-ly the musical abilities ofJoan. What is her problem islearning to tell the success inher own words.

The 22 -year -old girl, bornin Basseterre, St Kitts, hasspent most of her life livingin the Birmingham area.

In common with other teen-agers she learnt basic guitarchords and, with her boy-friend at the time, giggedaround the Birminghamclubs.

During 1969 Joan met hereventual co -writer PamNestor. It seems their part-nership was based on theclassic, "I've got this lyricand no tune!".

The two took a flat togetherand after trial and erroreventually came up with thematerial which has nowfound its way on to the muchlauded Whatever's For Us.

Now if you ask Joan who isher favourite recording art-ist the answer comes quick-ly: "Van Morrison".

The reverse is true whenquestions are about her. Shesays quite bluntly but notunkindly, "I'm me. You

have to get to know me. Ihave to get to know you. Idon't find it easy to talkabout my work. You canhear it on the record."

She knows she is at a mostimportant point in her ca-reer; "I've done a fortnightat Ronnie Scott's and it'spart of getting things togeth-er. I want to find the rightpeople to play with."

Somehow I believe Joan isinnocently unaware of theacclaim she has been gettingfrom so many quarters.

A friend of mine says hisfavourite bedtime reading ishis own press cuttings.

Joan should sleep well af-ter reading hers! And thesame goes for listening to thealbum - a very good oneindeed. TONY JASPER

Logically enough the sub-ject of tours paved theway for a mention of popmusic's current champion

David Cassidy. How didhe rate his music and thatof the Osmonds?

"Trash! Complete trashand utter garbage! I can'tsee any of them of themlasting and if I was a girl Icertainly couldn't see my-self getting hysterical. Idon't think that eitherCassidy or the Osmondshave an ounce of talent.Now the Jackson Five -that' s something elseagain. They are a reallytalented group - especial-ly Jermaine. I think thatkid's going to be a reallyfantastic soul artist.

"His solo album reallyhas some depth and sodoes the group as a whole

for what they're doing,you know. I think they'vebeen just "covered" by allyour Cassidy's and Os-monds and I've neverliked cover artists. I nev-er liked Pat Boone or theHilltoppers or Andy Wil-liams.

MIKE BEATTYrBridge Over

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14 RECORD MIRROR, APRIL 14, 1973

They don't come any hap-pier than Mrs. Handley -mother of eight childrenand they're all singers!Five of them are currentlygetting plenty of air -playwith a catchy disc calledWarn Barn.

Kathy, Sally and Jennyare professional singers.That's three! And here arethe names of the others;Wendy, Julie and Billy,who are still at school, andthen there's Molly andTommy.

Mrs. Handley is rightproud of her new singingfive - new as far as therecording industry goesanyway.

"We've always been asinging family," she ex-plains "Sally and Jennywere in Oliver and ofcourse Kathy has sung atmany, many places. Youknow me and my husbandsing in the local clubs. Soit's no surprise to know theother five can do theirbit!"

So how did W, J, B, M,and T come to get on disc?"Dave Christie, mydaughter Kathy's chap,wrote a song and askedthe children to sing it.Dave always knew theycould sing. I didn't think itwas anything special fromthem, they're always sing-ing. Then a spot came onOpportunity Knocks, andthey made a record. Nowthey've been on the JackieRae show, Golden Shot,Crackerjack and I'mkeeping fingers crossedfor a good chart position!"

Mrs. Handley's daugh-ters busily watched the TV

Tony Jasper talks to two new singing sensations -the Handley Family from Be

THE HANDLEYS:KEEPING DOWNTO EARTH

while the interview wenton. They weren't actuallybeing rude, but justseemed somewhat una-ware of the fact thatpeople are going intorecord shops all over thecountry and saying WarnBam.

As the five's mother con-tinued; "Really it's a sur-prise to all of us. My threeprofessional singingdaughters have been inthe Midlands recently,and up there they've evenbeen dancing to it!"

"We feel no different atthe moment but I supposeif it is a big hit things haveto change. We'll wait andsee. No point in countingyour chickens beforethey're hatched!

"I'm still working, any-way. Everyone in the fac-tory seems so pleased.Whenever the record getsplayed on the radio theyturn up the volume on thetannoy so everyone canhear it. Even the managercame and said he liked it.

"At the moment it's a bitlike a dream. We're deter-mined to keep our feet onthe ground. Tommy isreally enjoying all the at-tention he's getting. "

Millwall football suppor-ter Tommy is 16 and agarage mechanic. Hecame into the room duringthe conversation and afterexpressing gloom over thecurrent state of MillwallFC muttered; "Girls, theyseem to be after me.

"I was in a shop theother day. They came upand kept signing my arm!What could I do aboutthat?"

Julie joined in here, "Ithink Donny Osmond's fa-bulous. " She seemedsomewhat starry-eyedwith the thought that shecould be on Top Of ThePops with Donny herself.Wendy could see it allhappening for her too."With David Cassidy,hmm, he's marvellous. "How about Molly? Lessspecific. "The Jackson 5

for me and all of us real-ly. "

Do people recognisethem? "Oh, yes. " theychorused. "People comeround with the record tohave it signed and thenthey stare at us in thestreet. "

Tommy went off to con-tinue his matchbox build-ing hobby, the girls towatch TV and somewherein the world Billy was upto something.

Mrs. Handley contin-ued; "My Molly, youknow, is the really with -itpop fan. She's been takingRecord Mirror and the poppapers for years. Some-times you have to bringher back to earth. "

And back to earth was areturning Tommy. "Doyou know Millwall had agate of only 4,000 one day;that's one for every 100seats!"

Back to earth Mrs. Han-dley. "I just hope therecord goes up and up. "

Such a nice bunchW. J. B. M and T - so let'shope you're right Mrs. H.

Stuart Gilliesfinds his ownspot in the chartsTUESDAY, March 27, will godown as a red-letter day forStuart Gillies. The BMRBcharts used by RM and theBeeb showed entry at 39 for arecord called Amanda fromStuart Gillies.

By the Friday things werehappening fast. Stuart spentthe day posing for endlessphotographs, talking with thepress, meeting Phonogram'sdistribution centre's staff atPhonodisc.

Late in the afternoon Stuartcalled RM. Well done, was ourfirst reaction. "I'm so hap-py," said the new chart entrant, "I've been singing for 12years, summer seasons inScotland and Jersey. Then Ihad a break on OpportunityKnocks and won it six weeksrunning.

"And now, it knocks mebreathless. I suppose you cancall me 'middle of the road' yetI find all kinds of people enjoythe song Amanda. Nobody ismore surprised at that thanme. It's not easy to get aballad in the charts, but Ithink they should be there.

"Philips are busily gettingan album together from someof my already recorded songs.They will add Amanda plusmy vocal version of the OnedinLine song.

"I know I keep saying it butI am so pleased. I think thereis a niche for a ballad singer inthe charts. You know therecord's sold 20,000 in twoweeks! It's had lots of plays onRadio Two from people likePete Murray and Tony Bran-don. And I suppose you'reright, Tom Brown should bespinning it on Radio One thisweekend.

"One thing, I have to keepon working. No time to rest.I've got quite a club pro-gramme to get through. But Ilike meeting people and I don'tbelieve in hiding away.

"I sing the kind of stuff JackJones or Andy Williams wouldlike. And I adore JohnnyMathis, particularly some ear-ly stuff, 12th Of Never andChances Are. I do some Beatlenumbers like Yesterday, WithA Little Help and Can't BuyMe Love.

"Don't think I detest some ofthe very modern stuff. Farfrom it. I enjoy Slade, TheWho and many others. I haveto go. But, well, you can seeI'm happy. I think there's aslot for a ballad singer. "

JamesCraig Simon is billed as Britain's answer to David Cassidy: now

RECORD MIRROR, APRIL 14, 1973

rmondsey and Britain's answer to David Cassidy, Simon Turner

15

ik

Simon: no simplebeginner at pop!JONATHAN King, learn-ing I hadn't heard RubberBullets by 10 CC, decidedto blast my eardrums -and come to that anyonewithin 50 yards of Lon-don's Warren Street tubestation - with what is,according to Simon Turn-er "One great sound. "

Simon Turner has agreater ambition than thatof being an unsolicitedreviewer of discs put outby Mr. J. King. The 18 -year - old, "5ft. 5i.n. blondbundle of unsure, good-looking talent," as hispress release puts it, is

Simon has a liking for fast cars and motorbikes.

after the money of everyBritish record -buyer.

For some reason I ex-pected him to be 13 or 14years old, a little olderthan another JonathanKing artist, Ricky Wilde.Obviously he's not. Andone other mis-apprehension went out ofthe window as well. SimonTurner has not beenwrenched away fromschool and desperate at-tempts to fail umpteen"0" levels or CSE exams.Simon is nobody's fool andsoon lets you know it.

he's also familiar withshow -biz, and is wary ofsuperlatives, of words like"fantastic" or "mar-vellous" when used to de-scribe his singing.

He has no illusions abouthimself. He pleases him-self. His background is,briefly, this: "I went toBetteshanger school inKent, a boarding school.There we had a greatmusic teacher called Mr.Perkins. He taught mehow to use my voice, and Idid a lot of choir singing atCanterbury Cathedral.

Acting"I left and went to Fril-

sham House. From thereafter only a short stay Iwent to an acting school,the Arts Education Trust.You can find it near theBarbican. I've done a lotof television work, plentyof serials. The biggestthing was Tom Brown'sSchooldays. That serial isnow being shown in Amer-ica which is rather nicewhen it comes to promotemy records there.

"Another of my tele-vision appearances was inSilver Sword. About thesame time I met Jonathanthrough a friend of mine,Rufus Frampton, whoknew him. "

"Simon's sudden lurchinto the recording worldbears no analysis. "Jona-than King asked me if Iwould like to make arecord. I made a tape andsent it along. In no time Ifound myself in a studioand with a single with thebig letters UK in themiddle of it. "

Thus the gentleman,whose press release de-scribes him as being theone who "all the teenagegirls' magazines havebeen clamouring after,"added the words "record-ing artist" to his alreadyimpressive film and tele-vision credits.

As well as recording thesingle Baby (I Gotta Go)Simon has made an album

named after himself. Itwas released on March 30.

Among the tracks areDavid Bowie's The Pretti-est Star; "He sings somelovely songs," says Sim-on. "And I've included acouple of Gerry Raffer-ty's, an interesting ver-sion of the old Trogg's hitWild Thing, She's A Ladyby John Sebastian, and acouple from the pen ofJonathan. "

Simon is not a newcomerto the latter's com-position. "When I was atschool I remembered thesong we really dug wasEveryone's Gone To TheMoon. Another favouriteone at the time was Tel -star. "

His own musical tastesare pretty heavy; "I likeJethro Tull, Mountain,Rory Gallagher, Yes,ELP, Trapeze."They were fantastic live

the other evening - Manand Patto. But then I likea lot of Cassidy's Rock MeBaby. Jazz isn't myscene. I am a avid con,cert-goer and hear every-one I can. I listen to mas-ses of records, you know,turn the volume up amdmove to the sound.

"I like playing. I can dosome things with the gui-tar, piano and bass. Ican't read music, I impro-vise quite a bit. "

Music or wanting to be apopstar has to accom-modate one particulardriving force in Simon'slife. This is his love forfast cars and fast motor-bikes. It seems nothingwould please him morethan to go round a race-track at 180 mph. He dis-likes football; "I find itutterly boring to conceiveof 22 people kicking rounda ball in front of 50,000people. "

DependentSome of his tastes are of

course dependent uponmoney but on that scoreSimon waxes strong:"I've made quite a lotthough I tend to spend itpretty quickly, and I havea super pad in Ham-pstead. " Simon obviouslyhopes his ventures intorecording will bring in stillmore money. He has con-fident recording companypromoters!

We won't be seeing Mr.Turner perform live - atleast not for the moment.But he does add: "I ammaking some shop appear-ances in the future. "

Girls will doubtless turnout in vast numbers forthese personal moments.

Whether Simon has toomuch time to spend withthe opposite sex seemssomewhat debatable, awarning lest there aresome of you contemplatingcaptive ploys.

According to one presshand - out: "Simon won'teven classify the sort ofgirl he goes for. " Butwhen asked directly hedidn't seem at all reticent."She has to be a verypleasant person," he ex-plain. "She should have anice personality. I preferlong hair to short on a girlbut it doesn't have to be aparticular colour, and Ithink we would have tohave some interests incommon. "

And assuming you didland a date with the onepictured in his press hand- out as having "the face ofan angel hiding a bit of avillain!" you should findhim wearing casuals,jeans and T - shirts.

For the moment almosteverything hinges roundwhat happens to hisrecords. Obviously hewould welcome a hit. Herefrains from commentingon his Baby (I Gotta Go)single.

Assuming the singingside does come off Simonhas firm ideas as to thekind of image he wouldeventually like to project."I would like to be seen asan entertainer. If I canmake people happy, thenit's OK isn't it? The kind ofact I see as ideal is thekind of thing the Facespresent - relaxed and alot of fun. "

And one and all cansee Simon, Saturday,April 14, at Lewis's, Mar-ket Place, Manchester,10.30 a. m. ; then at Liver-pool, NEMS Ltd. , 50 Gt.Charlotte Street, Liver-pool, at 1.15 p. m. ; and ifyou're quick, Ridley'sHouse Of Music, 11-13 Pen-ny Street, Blackburn, at4.30 p. m.

Thursday, April 19, Sim-on is due 10.30 a. m, atBarkers, 91 The Headrow,Leeds, Yorks. , then 12.15p. m. Record Bar, 21 Up-per Kirkgate St. ,

Wakefield, thence to Brad-ford, and 3.00 p. m. Brown- Muffs Ltd. , MarketStreet, Bradford.

Saturday, April 28, Sim-on comtinues his shoppingat Harlequin, 77 The Pa-rade, High St. , Watford,at 10.30 a. m. ; next 1.00p. m. Harlequin, 14 Tun-sgate Square, Guildford;and finally to London townwith Harlequin, 201 Ox-ford St., London, wl, at3. 15 p. m.

IN NEXTWEEK'S

RECORD

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GILBERTO'SULLIVAN:"The pin-up isthe image

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the real me!"

An amazinginterview.

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reveals herREAL loveof men!

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16 RECORD MIRROR, APRIL 14, 1973

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RECORD MIRROR, APRIL 14, 1973 17

JOAN"I LOVE Gabriel somuch. That's my son. Iwent to Hanoi and sawthe bombing of the cityby people of my nation. Iwas frightened. I hadnever really before facedthe possibility of death.

"I was frightened notonly for those around mebut passionately so forGabriel. " Joan Baeztalking about her triplast year to Vietnam.

"The children listenfor the alerts and thenthey run to the nearestshelter and for a timestay near the entrance.They laugh and play. Itseemed so strange.

"For the moment, per-haps for ever, the bomb-ing is over. What cannotbe changed is the dam-age done to people. "Joan talks about a girlwhose age must havebeen about 12. "She hada sleeveless blouse. Botharms ended in fire -black-ened stumps, at theshoulder. "

Concerned

Children continuallycrop up in her conversa-tion. She is a mother.Gabriel is only two yearsold and Joan Baez isconcerned about theworld he will grow up in.

This conversation tookplace near to one a. m. inthe morning. The beau-tiful American girl wassitting cross-legged onthe table. Before herwere gathered writersand some friends frompast visits to Britain.Several hours back shesang to 12,000 people.

Joan Baez seemed age-less. At times she looksand even sounds 18.Then again she could besomeone in her forties.

Her hair was longagain, falling gracefullyon to her shoulders. Shehad taken off a studdeddenim jacket, and herwhite blouse contrastedagainst blue denim trou-sers.

Her face was virtuallyunlined, her featuresdark, reflecting her Mex-ican background.

It must have been oneof the most unusual pressconferences ever held fora singer. The gatheredcrowd got steadily moreengrossed in hearing hertalk about peace andwhat it is and can be in aworld where childrensuffer the ravages ofwar.

Her eyes lit up. "Imust tell you about mynew album to be releasedhere in May.

"It's something I havewanted to do for ages andages. When I was inNorth Vietnam we did

`Why I lovemy son . . .

Why I lovethe world'

twenty-five hours of tap-ing. We recorded thesounds and songs of chil-dren. Some of the soundsare those of people underseige. The material hasbeen edited down andforms the second half ofthe album.

Nightmare

"The record will becalled Where Are YouNow, My Son. For theartwork we are probablygoing to use a reproduc-tion of Pablo Picasso'snightmare war vision,Guernica. "

The atmosphere con-tinued to be charged withemotion. Questions camefrom around the roomasking not only her im-pressions about the trag-ic Vietnam conflict butabout America today.

The name of JaneFonda came up and the

work the famous filmstar has been doing incondemning the Ameri-can action. Joan does notalign herself with thelady.

"To Jane the enemy isa side. To me the enemyis violence. "

Joan Baez runs aschool in Californiacalled The Institute forthe Study of Non Vio-lence. She says her pa-cifism is stronger thanever. Nothing she feels isgained by violent actionagainst an enemy.

What though of ourworld? What of the worldcoming into being, thefuture for Gabriel? "I dosee hope. I see hope inpeople's faces. Wher-ever - and it is happen-ing - wherever peoplesee each other as humanthen things can change. "She continued. "It wasso strange in Vietnam tosee pictures of mothers

holding babies and at thesame time carryingguns. "

And how did she seeher role in relation to thiskind of dilemma; babiesand guns?

"It's so hard to under-stand it; it's hard tounderstand the pride ofpeople, but the motherswith their child are notcausing the conflict. Ijust have to keep work-ing on war -mongers andpeople's minds and makethem learn a new way ofliving. "

"Believe me there arepockets, maybe smallpockets, but there aresigns of hope. We have tobelieve. "

Clarify

Why does she continuesinging? "Because I amin love with people. Con-tinually I have to clarifywhat I think and feel.You know the feeling wasthere when I was 14. Andnow I have -a son. Itmakes me even moreconcerned."You may be interested

to know why we chose thetitle, Where Are YouNow, My Son? There hadbeen some bombing.Nearby a bomb sheltershowed the result of adirect hit. Everyone wasdead.

"We were somewhatcautiously finding ourway across the cratersand debris. I saw a wom-an in the distance but herface wasn't visible. Shewas chanting. When wegot close to her we couldsee the agony and shockwritten across the face.She kept chanting thesame thing over andover.

"The woman kept pick-ing one brick after anoth-er from the ground andthen putting them down.We asked our interpreterwhat she was saying.

"He said her wordswere those of an old songthat went, 'Where areyou now, my sons, whereare you now?' She kepton and on. Yet there wasno chance she would eversee them again. "

The incident made adeep impression onJoan. "For a time Icouldn't go on. "

The extraordinarypress conference didend. It must have beenaround a quarter to threewhen we all sagged atthe knees.' Joan went offto tape some radio inter-views!

tonyjasper

around the countryUP UNTIL recently the Stat-ler Brothers have remainedmore in the shadows of mas-ter showman Johnny Cash -the man who has employedthem regularly during thecourse of the past eight years- and less as artists in theirown rights.

Success, though, as is inev-itably the case, does win out.You have only to witness thecountless thousands who ap-plauded their act during JC'striumphant three day standat London's Albert Hall lastSeptember or the rapidly in-creasing masses who arelatching on to their albums.

They've not gone unno-ticed. Last October the Stat-lers collected the Top VocalGroup Award from Nash-ville's Country Music Associ-ation and, through the pur-suing months, have notchedup a whole stream of addi-tional nominations, awardsand citations.

"We started back inVirginia - that's our home- singing gospel and spiritu-al music" explained beardedDon Reid, the group's leadtenor singer. Somehow orother Don just naturally slipsin as spokesman for the out-fit. That's not to say that theothers - bass singer HaroldReid, tenor Lew DeWitt andbaritone Phil Balsley - areshy and retiring.

The group that can createLester `Roadhog' Moran andthe Cadillac Cowboys (on thealbum Country Music -Then and Now) must be any-thing but shy and retiring!

He continues: "We justkinda branched out withtime because we were play-ing all kinds of places -picnics, churches, banquets- any place that we couldearn a booking. If it calledfor a gospel song we'd singgospel, if they wanted coun-try we'd sing country. Even-tually we branched out fullyinto country.

"Our harmonies are thesame as the gospel quartetsbecause that's where westarted singing. Basically Iguess you could call us agospel quartet only we'resinging different words. "

Although the Statiers hadbeen linked closely withJohnny Cash for the bestpart of a decade, they firsthit international fame withthe million selling smashFlowers On The Wall pennedby Lew DeWitt back in 1965.

Statlersgo fornostalgia

"Just about everythingwe've done on Mercury isabout memories. There's abig nostalgia wave currentlysweeping the States - every-one's on kicks with thingsfrom fifteen or twenty yearsago. We didn't jump on tothat wave 'cause we're allcollectors from that period oftime. We'll just about collectanything - books, maga-zines, movies - So we start-ed writing in that vein andit's turned out to be a verygood kick for us. "

Memorabilia survivesthrough their current albumrelease Country Symphoniesin E Major which, besidescontaining the original elev-en tracks, also includes - forU.K. release - their recentU.S. smashes Bed of Roses

The Statler Brothers -Don, Harold, Lew, and Phil- are a completely close-knit group who rate theirfriendships just as highly astheir business association."We all grew up togetherand we were together social-ly long before we were everbusinesswise. We're friendsfirst and partners second.We spend most of our timetogether. "

Finally - why the nameStatler for an outfit thatbears only two brothers andnone of its members withthat particular surname?

"It's a brand of tissues inthe States", explains Don,offering the official ex-planation. "When we weredeciding upon a name Har-old saw this box of tissuesacross the room and said'How about Statler?, Well,that's as good as anything. "we could just as easily beknown as the Kleenex Broth-ers!"

tonybyworth

WaSopealirPairsdasiarliallaess-u.,

The SteseemAkers:new ireets

.01e460,- ere etereart.ru

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18 RECORD MIRROR, APRIL 14, 1973

Dallas: A Taylorof two cities

Rick Sanders DALLAS Taylor, the

original long tall Texan,drummer with Crosby,Stills, Nash and Youngand presently with Ma-nassas, was just aboutready to be countedamong the walkingwounded.

He'd flown to Englandin the middle of prepara-tions for the next Ma-nassas' tour so he couldattend the three-day fes-tivities for Steve Stills'marriage to French sing-er Veronique Sanson,and the pressures of par-tying were beginning toshow. It was an utterlyrelaxed Dallas - andthat really is his chris-tened name - who talkedfrankly to RM aboutwhat went wrong withC,S,N and Y and what'sgoing very right withManassas at the mo-ment.

The big problem withCSNY was, says Dallas,the old one of personalityconflicts. It was he andSteve who started theband - all the musicaltracks for the first albumwere done by just the twoof them in the studios,overdubbing all the vari-ous instruments beforeDave Crosby and Gra-ham Nash came in tosing their parts.

"We did all the gettingthe music together whilethey went on holiday", hesays. "Things started tobecome more seriouslystrained, however, whenSteve brought NeilYong into the band be-fore the second album,Deja Vu.

"When Neil came in Iwas pushed around andaround. I had less andless say in the music, andfinally it got to the pointwhere I was fired. It allhappened on the secondtour - Neil walked offstage and said he'd neverwalk on to the samestage as Steve again, andthe band just broke up.

"We were on the road,though, and there weretwo million dollars oftickets already sold, sothe money men put thepressure on for the groupto come together and car-ry on for the rest of thetour.

"They couldn't kickSteve out, as one of themajor members, so itwas finally me that hadto go. I went gladly - itwasn't fun anymore. Wespent more time arguingover pointless pointsthan playing, getting far-ther away from the mu-sic, and anyway, theband just wasn't thatgood on stage. So Step-hen and I, who'd done allthe electric tracks, de-cided to go on together.

And so Manassas wasborn and the hunt for

musicians started. Afterthe CSNY thing, he andSteve wanted to do some-thing a little more down-to-earth and just have agood, professional band.And it's working out - asthe Manassas double -al-bum well testifies."What we're keen on isthat we should grow upand become as profes-sional as we can. It'sgood - nobody's in-volved with ego prob-lems, and we're sevenmembers, none of whomcould really be replaced.

"There's no reason Ican think of why Ma-nassas should break up",he says. "There's a lot ofrespect for each other,and we've already comea long way. " Even so,the pressure is on thatCSNY should reassemblefor yet another attemptat working together."There probably will beone more album", saysDallas, "but whether I'llbe on it or not, I don'tknow. The main thing isthat Manassas comesfirst for Stephen and my-self. We won't break upand then reform - youjust can't go back

It can't be much fun forDallas to find himself inthe crossfire of the heavydealings involved withthe star names of CSNY,and also not much fun tobe given so little creditfor what the band did."The thing that I resentis being known just as asideman. It's not just acase of billing, but I dohave more to offer thanthat word implies. I mayhave been pretty much ofan unknown then, butnow with Manassas Iwrite songs, arrange-ments and I'm a co -pro-ducer with Stephen andChris Hillman. "

And, a couple of daysafter the interview, Dal-las was back in theStates. Manassas' noth-ing if not a working band,are about to play a bigtour, finish a second al-b u m, and soon, onehopes, come and showtheir paces in Britain.

"LEMME tell you aboutthe Suedettes", said theamiable Wizzard fromBirmingham as he per-ched precariously on theedge of a chair in thecontrol room of Phono-gram studios.

He was down thererecording new materialfor Wizzard's second al-bum. Their first, Wiz-zard's Brew, is due in thestores any day now, butRoy likes to look ahead:

"I'm trying to get asmuch down as possiblebefore we leave for theStates", he said, beforeshattering all my visionsof the Suedettes as delec-table young maidenssqueezed provocativelyinto see through microskirts. "They're fea-tured on the new Wizzardsingle See My BabyJive. ", he explains.

"And are comprised ofRick Price, myself and agirl called Isha. We're avocal backing groupreally. We were going tocall ourselves The RhinoChoir but for certain per-sonal reasons we settledon the Suedettes! I thinkwe'll probably featureourselves on most of thefuture releases - I meanwe had such fun 'Oh la la-ing and Skoobe doo-ing'that we'll probably keepgoing. "

So we aren't likely tosee much "hide" in theunless unless it's of thesuedeskin variety! "Wellno, not suede", saysRoy. "But there is apossibility of elephantsuits and pumps,though!"

The thought of RoyWood in an elephant suitproved to be too much forme and we moved on tomore serious topics, del-ving back to the forma-tion of the band.

"The idea for Wizzardwas based on my soloalbum", said Roystretching back over thecollage of knobs anddials that operated thepanel. "Incidentally thiswas completed onJanuary 5, 1972, and itstill hasn't been releasedyet!"

RockinghamWhy?"I don't know really. I

guess because therewere too many otherthings happening at thesame time - like theElectric Light Orchestraand singles from theMove, ELO and Wizard.The record companydidn't want my album tocome out at the sametime because it couldconfuse everybody. Butthe sound of Wizzarddefinitely stems fromthat album. There are acouple of tracks on it thatare reminiscent of LordRockingham's Elevenwith vocals. Thats thesound we aimed for andwe've got it. "

So how does Roy feelabout the album now it iscompleted? "I'm reallypleased with it" he grins,sounding enthusiastic."It's basically a rock and

The

man

who

made

wizzard

work!roll album with occasion-al jazz and classicalleanings. There are acouple of surprises on itlike Wear A Fast Gunwhich is quite a heavytrack that goes into aclassical cello movementat the end. That's prob-ably my favourite!

"Also there's Jolly CupOf Tea which has got asort of 'Wembley Sound'to it! Myself and BillHunt played all the brassand tried to get a brassband effect. Then RickPrice and I marchedaround the studio play-ing about two millionsnare drums with every-body and his wife sing-ing. It was certainly funif nothing else!"

Most of the reviews onELO's second albummentioned the fact thatthe overall result wasreminiscent of the Move.I wondered if Roy wasworried that the samecomment would be level-led at Wizzard.

"No, not really. Theonly comparison betweenus and the Move is thatwe're playing rock androll. My voice is obvious-ly going to remind peopleof the Move but the line-up and instrumentationis completely different. Ican't see any problemreally. "

How about the obviouscomparisons betweenWizzard and the ELO.After all both rely heavi-ly on cellos to producetheir basic sound.

"I think we're movingfurther and further awayfrom what Jeff and ELOare doing. ELO are clas-sically based and we'regoing more and more intojazz. ELO use their celloin a different context toours. We use it a bit likea solo guitar sort of aJimi Hendrix of the cel-lo!"

The group are shortlyoff to the States -a tripthat Roy feels is longoverdue.

"It's weird because wewere meant to go acouple of months ago butsomehow commitmentsover here have tied usdown. Its very importantto the future of the banwithout a doubt. I meanlet's face it, the States is,unfortunately, where themoney is! I would saythat the Wizzard sound istailored more for theStates than England.

"I don't mean that thisis done purposely - it'sjust happened that way.I think they might appre-ciate us a bit more overthere because we haven'tgot a pop image to livedown. Over here theystill tend to think of theMove. "

In fact Roy might bewrong about this becauseover the past year aMove resurrection move-ment has been buildingin the States. Roy'srecord company are con-,stantly receiving lettersregarding informationabout the group and sev-eral of their albums havebeen re-released overthere. I asked him howhe felt about this situ-ation.

Wood cult"I don't really think

there'll be any problem.As long as we give themwhat they want, which isalbums, I don't imaginethey'll be consistentlyshouting for certainsongs while we're onstage. Besides the Movething isn't that big. Acouple of old albumshave got in the Top 200 orsomething - that's all.

He was interrupted atthis point by bassist RickPrice.

"I think its more of aRoy Wood cult, actual-ly", said Rick. "Which-ever band Roy goes overthere with will be theband they follow. Itwouldn't matter if hewent over with a bandcalled Johnny and theHurricanes, the peoplewho buy the records andthe record companythemselves would stillleap about over what hedoes. "

At this remark thebashful wizzard retreat-ed behind a mat of flow-

ing hair. Without a doubtRoy Wood still seems togive the impression thathe's totally bewilderedby his success. He sportsa pleasant but absentminded manner whichmakes one wonder howhe ever manages to ar-rive anywhere on time.

Over the past fiveyears Roy has writtenmore hits than most songwriters will in their en-tire career. He's becomeincreasingly betterknown as a producer -in fact after Wizzardhave finished their tourit's likely that Roy will bestaying on to producePaul Butterfield andTony Joe White.

"I'm looking forwardto it I must say. I can'tjudge exactly what I'mgoing to do until I've metthe bands and seen whatthey do in the studio. Ithink the best way toapproach the project isto let them influence meand hope that I may beable to influence them inway.

"I've listened to a lot ofPaul Butterfield's workand I do thi'ik he couldhave been produced bet-ter. Basic tlly though,I'm just going to take itas it comes. It mightseem a little weird afterwhat I've been used tobut I think it will workout. "

Wizzard's new singleSee My Baby Jive isalready receiving consid-erable air play on theBBC. "It's just a goodtime rock and roll num-ber, with no particularstory to it", says Roy."If it does as well as BallPark Incident we'll behappy!"

MikeBeatty

RECORD MIRROR, APRIL 14, 1973 19

NOTESSEVENPENCE for asausage is ridiculous.Lord knows what VAT hasdone to pianos and or-gans. Hope you all gotyours before it was in-troduced . . . Farfisasplit from Dallas -Arbiterand now set up on theirown under able hands ofDicky Wren . . . ru-moured that Arbiter wouldlike to split from Dallas. . . what about some infoon the three new Tele-casters Phil?

Learn from reading Mu-sic Trades Internationalthat Philips have devel-oped an electronic pianothat will be truly elec-tronic with touch controland as much as 20 per centless expensive than theaverage piano - but itwon't be on the market foranother three years.

Avedis Zildjian, thecymbal people, unbelie-vably celebrating their350th anniversary thisyear . . . August 29th is-sue of Punch will be com-pletely devoted to pianosat the instigation of thePiano Publicity Associ-ation - suggest the Musi-

cal Instrument PublicityAssociation approach Oz

. . . Government re-searching into ways of en-couraging disco and con-cert frequencies thatwould not damage hear-ing.

Nice to see SpencerDavis back on form play-ing a steel guitar . . .

McCartney also using ped-al steel with Wings . .

Medicine Head using JewsHarp . . . Maddy Prior ofSteelye Span a secretspoons virtuoso . . . Well,we're a quarter waythrough the year.

Does anyone out thereknow why my Sinclair Hi-Fi system won't work?. . . Who put the : in H: H?. . . Dave Wernham of B& H off to States thissummer to suss out theARP synthesiser people

Marshall device may save gP2nhieeard

roadieslivesMARSHALL have comeup with a device that couldsave the lives of roadiesand performers alike.Called the Lifeguard, it isa box of six 13 amp socketswired to a safety unit.Unfortunately the price oflife is high. The box costs£66.

The safety unit protectsagainst overload with aresetable fuse and alsoprotects against any leak-age to earth - which canbe one of the biggest dan-gers on stage where thereare so many wires

Research has shownthat to a normal, healthy.

Elpiano is a goody!THE instrument trade has sussed that the sound of the electricpiano is in. Actually the shrewd ones sussed it long ago, butapart from Hohner, most electric pianos have been veryexpensive to date. with the Pianet which is

Hohner made a name forthemselves - apart frommanufacturing harmonicas

ELGEN STEREOZ00000000

ELGEN AMPLIFICATIONWorld-wide distributors

J.T. COPPOCK (LEEDS) LTD.ROYDS LANE, LEEDS 12, ENGLAND

completely self containedhaving its own speaker andamplifiers and selling foraround the £200 mark. Theyhave sold Clavinets for as littleas £120. As if that were notinexpensive enough, theyhave now come up with yetanother goody.

It's called the Elpiano.Don't ask why. It's probablysome German pun. TheElpiano is basically a portableversion of the Hohner Electra -Piano. A more portableversion, or as they say inDeutsch, "Koffermodell. "

Again, it is completely self-contained. You don't need tobuy any extra amplification orspeakers, although it im-proves the volume if you do. Ithas Cembalo, Piano andHonky Tonky (their words, notmine) effects and sustain andcomes with a stand and swellpedal. Apart from a realisticpiano tone it produces bell -likesounds, harpsichord and theaforementioned honky-tonky.

There is an Elpiano D with alonger keyboard - thesmaller has five octavesThere are no prices yetavailable on this instrumentand it will perhaps be a littletime before it appears in theshops, however the price isbound to be startlingly low.

We do have a price for theElgam Piano - another newinstrument introduced atFrankfurt and shortly to beavailable in England. It is£200. Again there are theusual effects plus a timbrecontrol and volume. You canget some pretty funky soundsusing sustain.

Like all Italian instrumentsthe design is superb, butunfortunately the keyboardlets the instrument down. It isvery heavy to the touch.

The Wurlitzer electric pianowe all know about. It is asplendid instrument splendid-ly priced at £312. Very nice ifyou can afford it. There is nowa home model of this whichshould go down a storm withmums and dads who likeHandel as well as Mrs. Mills.Why not save up and buy themone for Christmas. You stillhave 40 weeks left so if yousave £10 a week you will have£15 left to spend.

person, as little as eightmilliamps can prove leth-al. The safety unit tripsbefore five milliamps arereached. The unit in-cludes a test button, sothat it may be tested eachtime it is used.

Also hot from Marshallis a new 30 watt PA sys-

tem. It has two inputswith individual slider vol-ume controls and overalltreble and bass controls.The amplifier fits into oneof two speaker cabinetswhich are hinged togetherto form a compact, suit-case -like unit. The price,including VAT is £131.30.

PREMIER'S latest line indrum heads, PremierPlus, are now available asspares or replacementsfrom Premier dealersthroughout the contry. Upto now they have only beenavailable on new Premierdrums. They are avail-able in 12in, 13in, 14in and16in at prices between£2 . 50 and £3.25 plus VAT.

Premier has introducedthe line of heads alongsidethe existing Everplay-Ex-tra range which will nowbe established as a valuefor money line, while Pre-mier Plus are intended forthe more discerning drum-mer. Premier say that theheads have been given theOK by such drummers asKenny Clare, John Cough-lan, Bob Turner, RobTownsend and Alan Eden.

Sound, feel and re-sponse from the heads areclaimed to be their mostimpressive features. SaysCoughlan, drummer withStatus Quo: "They aregreat.

Edited and compiled by Rex Anderson

Rush me the latest Premiercatalogue.

1-1 I enclose 129 in stamps tocover mailing costs

F.- Send me the FREEPremier Outfit brochure

(tick whichever appropriate

Name

Address

County

My usual dealer is

Premier1st IN PERCUSSIONTo: Premier, 87 Regent Street,

London, Wilt 7HFTel: 01-734 3372

Registered in England(Reg. No. 23550o)

at 87 Regent St., London

Premierworks hardwhile

20 RECORD MIRROR, APRIL 14, 1973

MUSIC MIRROR 2'Walk before you run'is Hensley's advice

THE man who is largely re-sponsible for the sound ofUriah Heap is Ken Hensley, amulti instrumentalist whoplays mainly keyboards withthe band and has just releasedhis first solo album, ProudWords on a Dusty Shelf.

Apart from keyboards, Hen-sley plays guitar, bass, pedalsteel, harmonica and record-er. He plays them all on hisalbum and he is at present

learning to play drums too. "Ikeep a kit in my spare bed-room. "

Modestly he says: "I don'tconsider I am really proficienton any one instrument. I'mnot a trained musician. Thefact that I play organ justhappened by accident becauseI couldn't get into a bandplaying guitar. "

The problem with being amulti -instrumentalist is thatyou never spend enough timeon one instrument to becomeproficient. "Your moodschange. Sometimes I wish Iplayed guitar all the time butif I tried to concentrate on oneparticular thing I would prob-ably lose the spirit of playingaltogether. "

Ken got his first guitar whenhe was 10. "It was the onlyway my mum could pursuademe to go to the dentist. Thecurrent style at the time wasearly Presley and LonnieDonegan. After working onthe guitar for a while I wasjust about to develop my ownstyle when I made the transi-tion to organ. "

Ken's mum was a good pia-nist and there had always

been a piano in the house thathe could tinkle on. Everyonewas playing guitar in thosedays and when keyboards be-gan to be popular and every-one was looking for organists,the young Ken appreciated thepotential and switched in-struments.

"The little knowledge that Ihad of music helped me withthe organ. It is easier to playthan piano because of the sus-tain on each note and the fact

that the sound is fabricatedelectronically. The piano isbasically an acoustic in-strument and it will only re-spond to what you put into it. "

Ken had no lessons on key-boards. He just started outfinding all the major chordsand building up on that. "I'vefound out more about the in-strument by playing and mak-ing mistakes than I ever didby talking to anybody aboutit. You must have a genuineinterest in the instrumentthough. "

After the major chords he

taught himself all the minorchords and then all the sev-enths. "I never learned scalesat all. I started that two yearsago just to improve my medod-ic work. My advice is don't tryto run before you can walk.The basic pleasure of playingis destroyed if you lose thesimplicity. "

The important thing is tobuild up a framework in per-haps five keys. Once you havelearned to play to the extentwhere your left hand doesn'thave to worry about what yourright hand is doing, then youcan expand on that frame-work.

Ken's guitar is somethingelse. "I enjoy playing guitarbut I don't get that muchopportunity apart from on al-bums. I particularly like play-ing bottleneck because I likeblues guitar players like MickTaylor and Jeff Beck. Whenthey play blues they reallyplay it well. I think that's whyI started playing steel guitar.

Here Ken makes the point'that departing from con-ventions is very important. Ithelps the musician establishhis own style. "When I firststarted playing slide I didn'tknow for the first two yearsthat you are supposed to usean open tuning. When some-body showed me I couldn't doit, so I still play with the guitartuned regularly.

Ken also began to learnclassical guitar, to improvehis technique, but after a yearhe gave it up. He did not wantto be forced to learn to readmusic. "All my music is about

learning as much as I canwithout cluttering my brainwith technical garbage. "

J asked him how he wentabout composing a piece. Headmitted that the whole ofMagician's Birthday he wrotefrom the title which came tohim on a plane journey in theStateS. Immediately he start-ed scribbling notes. Mostlyit's words first and music af-terwards. Melody followed bylyrics is quite rare.

Ken plays a Hammond B3organ and a Moog synthesiseron stage. "The synthesiserhas led me to millions of man-ual discoveries. " He has 11guitars including a couple ofold Les Paul's and a couple ofold Fenders. He has a very oldcustom Epiphone which he hasjust had overhauled. He alsohas two Martins, a D35 and a00028 which are quite old andsound really nice. He also hasan Epiphone Frontier acous-tic.

Learning bass he is using aYamaha instrument which hesays is adequate for practice.He has a Cortez classical gui-tar, which cost £50 and thepride of his collection is aSteinway grand.

"It takes up the entire din-ing room. It keeps trying toeat me. I sit and play it andsuddenly I find I've been play-ing for three hours non-stop:'

Of the future of Heap hesays: "The band was going incircles for about a year butnow it's getting into a simple,more melodic style that iseasier to relate to. It's alwaysgoing to be aimed directly atpeople, because in the end it'sthe public that makes the deci-sions. "

Cassidy onlywants to entertain

WOW ! I T' s the David Cassidy Song Book complete with picturesof him provocatively posed and very naked. The music is reallyunimportant. The pictures and the expanded version of RobinGreen's Rolling Stone article are worth 95p of any weanie'smoney.

The article pulls no punches. It admits that Cassidy drinks,smokes pot and likes girls he can strike up a relationship with. Itpaints a picture of our hero as the poor little nine -stone weaklingwho woke up one day and suddenly found everybody kickingsand in his face - the fans, the business, the journalists.

It even quotes a magazine editor and a photographer assaying he is finished now as a star. This may well please Davidwho apparently likes nothing better than to be left alone to enjoythe sun and skin dive and maybe write his own songs.

The music includes: Could It Be Forever, How Can I Be Sure,Rock Me Baby, I'm A Clown. Altogether there are 16 songs withall the words, music and excellent guitar chords. This isn't abook that glosses over the difficult chords and turns every songinto a three chord trick.

How Can I Be Sure, for example has sixteen different chordsincluding things like Dm + 7 which are rare in song books. Allthe chords are illustrated with simple chord windows. For thebudding guitarist who wants to improve his knowledge of chordsyou could not go far wrong with this book.

Graham Preskettin Southern Studios

PIANET

by HORNER14.15r.M.

061..4

HOHNER 39-45 COLDHARBOUR LANE LONDON SE5 9NR Tel 01-733 4411/4WE ALSO MAKE HARMONICAS

ROAD TEST: Diamond OrganTHE Diamond organ takes some getting to know. But after about eight weeks gigging with the twomanual model, I think I have found how to get the sound I need from it and it is quite satisfactory.

The organ is a fully portable model. It stands on tubular legs and is light for what it is. In fact itis about the lightest I have come across. It is easy to assemble and quite attractive, thoughfunctional in appearance. The only criticism I have of the construction is that the plastic casing isa little flimsy.

Because of the many unusual effects obtainable, performing on it takes some time researchingthe possibilities of the instrument. It has an excellent percussion/delay effect which I have nevercome across on any other organ. You can vary the percussion as well as the attack and delay.Hold down one note and it will go on repeating in accordance with the way you have set thecontrols.

The organ also has a glis-sando bar on the underside ofthe upper keyboard which canbe used for a rapid run up thescale using the tip of the fin-ger. I have found that byusing a pick on this section ofthe organ I can obtain someinteresting vibe sounds.

The instrument has all thestandard tones. The controlsare laid out quite well, mostlystandard rocker switches atthe top. I prefer a switch thatis visibly down for dim clubperformances, but that is justa personal criticism.

Obviously tone -wise it is notgoing to sound like a Ham-mond because you are notpaying for that quality. Thereis quite a lot of depth to thetone but you need to fiddleabout with the amp for sometime to find it. Otherwise ithas a good pop -organ tone andif you just want to play bubble -gum on it then it is perfect.

Unlike most Italian madeorgans the keyboard has anice easy touch and the keysdo not stick. They are wellconstructed with roundededges so that you are notcontinually breading fingers.On a good stage the organstays put and you can tilt thekeyboard so that it can beplayed comfortably standingup.

The manufacturers have notbothered with ultra wierd ef-fects or space-age styling.They appear to have concen-trated on good electronics.The only criticism I have hereis that with just the 2' and 4'stops down the notes are notall that stable in the higherregister. However, this is asmall point since the use ofother stops seems to cancelthis out. I would be unlikely touse a minimum of stops likethat.

AT ALL

GOOD MUSIC

SHOPS

FOLK WESTERNEr CLASSIC

GUITARS

FOLK. WESTERN EtCLASSIC GUITARS

ELEC1RIC GUITARS,

ORGANS bAMPLIFIERS

hornbu skewes

RECORD MIRROR, APRIL 14, 1973 21

M.M. 3Bell ringsout forThin Lizzy

SO maybe they are a one -hit wonder. Thin Lizzy are basically arecording band. They do not come over particularly well onstage and despite some considerable success in their nativeIreland, they are still working on building up a repertoire.

When I spoke to Eric Bell,who was responsible for thatmemorable guitar part thatsold Whiskey In The Jar, headmitted that a follow-upsingle was going to be a prob-lem. "If we brought out anoth-er Irish number we would beput in a bag, so we are going towrite four original numbersand take them into the studioand see which is the mostcommercial. "

Whiskey In the Jar hap-pened by accident. The bandwere rehearsing and couldthink of nothing to do so theystopped for a Coke and PhilLynott, on bass, started sing-ing this old Irish song. Theystarted to jam along. Theirmanager overheard them,liked it, made them play itagain.

Says Eric: "Because some-body was interested we start-ed pulling it apart and puttinglittle things in it. It's just anIrish traditional number withour own trade mark on it. "

Eric started playing guitarseriously eight years ago at17. "I had a little plasticguitar before that and I playedthree chords which was suf-ficient for Lonnie Doneganand all the hit numbers then.Me uncle asks me one night';'You don't fancy getting your-self into a wee group?' and Isaid no. I didn't want to playin public. "

But Eric did eventually getinto a wee group and then onewee group after another. "Thefirst group was in school. Ihad a Spanish guitar with apick-up on it. One year we hada house party and this guy inthe same class, Tom Patter-son, had a Futurama and aneight watt Selmer with built-intremolo. It was.the first elec-tric guitar I ever heard in mylife. I was just completelyfookin knocked out "

Eric did the best thing. Hegot all the catalogues he couldand studied them. Eventuallyhe sent off for a Rapier 22. "Ilearned a few numbers and Ihad about ten chords and afew little licks. Again in thesame class was a guy calledRodney Howes. Ever since Iheard the electric guitar I.started getting- more inter-ested in groups. I started talk-ing to him and he said did Ifancy coming up to a practiceafter school?"

So Eric went along and satin on a couple of numbers. Asin all success stories, the nextday Rodney came up to himand asked him to join thegroup, "because you're a bet-ter guitarist than our guitar-ist. "

"I was in an awful lot ofgroups. Like about 15 in thespace of four years. I couldn'tsettle with anybody. Like I'dplay with one group and I'dreally dig it and then it startedbecoming a bit of a habit. I'dstill be with group A and I'd godown Crimbles, the musicshop in Belfast, and a blokewould come up to me and askme if I was playing with any-body.

So Eric would start to sit inwith group B while he was stillplaying with group A. "Ithelps you expand your style,but you can't settle down andsort out anything basic be-cause you are always chang-ing. I've been influenced byeverybody."

Eric describes how he mightbe listening to Clapton before agig and then he will go out andplay like Clapton. Anothertime he will be listening to WesMontgomery and go out thereplaying octaves. It can beconfusing for the rest of thegroup.

"It's all very well a guygetting a guitar and not listen-ing to anybody at all, but Ithink that's what it all revolv-es round. I'll put on an LP ofJeff Beck say and three trackswill go by and I'll say 'yeah'and the next track will comeon and all of a sudden he'll dosomething and I'll go 'what?'Like it would really click. "

So he hears a riff that ap-peals to him and he learns it.If it's a hard riff then thelonger it takes to learn and themore deeply it is stamped onyour soul. He finds himselfplaying the riff on stage with-out really knowing it.

"I think you can get yourown style like that "

The first expensive guitarthat Eric bought was a Gibson330. "The one guitar I alwayswanted was a Fender Strato-caster - ever since I heardHank Marvin playing it andheard the tones he got out of it.I loved the shape and feel of itand everything about it.

Eric is using an HH ampnow. It is fully transistorisedand puts out 100 watts. "I usedto have a Marshall, but I kepthaving a lot of trouble with it.I use a Watkins Copycat and aColoursound tone booster. TheMarshall I had was a 200 watt,but I think there's more wackout of the HH

"There's more clarity. Youcan turn it up pretty loud andstill get a clean note, whereaswith an AC 30 or a Marshallyou tend to really get into thedirty sound. You can get adirty sound out of the H. H. tooif you turn it up full.

Ground zero is the sharp end of the power zone.That's where you'll find Marshall - always atthe sharp end and that's where the action is.Take an action line to ground zero - that'sfirepower, that's Marshall

Marshallamplification is

distributed world-wide by

ROSE, MORRIS & CO. LTD.

Rose -MorrisSPONSORED INSTRUMENTS AMII

- MINN =Please send me all the informationon Marshall

I Name

Address

RM 14/4

Dept. A ,

Rose, Morris & Co. Ltd.,32.34 Gordon House Road,London NW5 1NE

mu mow= ism ones mill

22 RECORD MIRROR, APRIL 14, 1973

MUSIC MIRROR CHORDBREAK 4

Don't let Gilbert's chords get you down!THERE'S a problem here get-ting your guitar to sound likeGilbert O'Sullivan's electricpiano. No matter how youslide the notes on that openingD chord they never soundquite right. You want E sharpsliding into D on the fifthstring and then D open, strum,D open strum.

It sounds like Da -um ba-dum badum. The way youproduce that rhythm is up toyou really.

There are some horrifyinglyOast changes in this thing -it's called Get Down in-cidentally but don't let it getyou down - and it lulls youinto a false sense of securityby staying in D for four barsand then changing all over theplace in one. It's probably apiece of cake on the piano.

The opening is all D untiljust before he starts singingwhen it whips into A7 and backto D again. Then you aresitting there happily strumm-ing D until the "get downs".On the first "down" you wantG.

On the last "down" you areinto A7 and you can hold thatuntil just after "baby". Atthat point, and before "But",change into G and rapidlychange back to A7 on "want".The verse culminates in D onthe last syllable of "around".The first time round he movesinto A7 between the two sec-tions of the verse.

The second part of the verses exactly the same. Then we

come to the link which has aslight change in rhythm beingdouble march time. It startsoff in B min and moves into Gon "happy". On "I'm",

change to E7 and then A7 on"what". There is a bass runhere and you'll find it bystarting on the open A stringand then playing one fret at atime until he stops and moveshack into D.

The next bit is just like theverse except that at the end hemoves from A7 to B7 on thefirst "around". If you use theA7 and B7 illustrated you willfind this change quite simpleas long as you remember touse the third and fourth fin-gers for the A7 instead of any

D A7

1

other combination.For the second "around"

you want E7 again then A7 on"but" and back to D on the lastsyllable of the last "around".The whole tedious business isthen repeated and you don'thit any more trouble until youcome to the very end.

What happens here is night-marish. He moves into D asnormal and then he sings "heyhey hey" and moves back toA7. He goes on singing "heyhey hey" moving back into Dand then into A7 but then he

lln

0

D i7

modulates into B flat followedvery rapidly by E flat then C- which is best played usingthe B flat shape illustrated butmoved up two frets -- and thenA - which is best played usingthe G shape moved up twofrets.

He finally moves back into Dand stays there rocking whilehe is faded out. If you canlearn the words and sing alongwhile you are playing all thatlot then you are well on yourway to being a top class per-former.

GLIWIND

11111

1151

1

O

IId..4 3,)itet

EMI in successful bidTHE laugh -a -minute firm of Simms -Watts (and that is meantkindly) producers of amplification, disco equipment and dis-tributors of Ned Callen guitars from their retreat in Bletchley,Buckinghamshire, has been aquired by somebody called EMI.

It appears that the electronics giant, a division of which isresponsible for the records of the same name, has a divisioncalled EMI Sound & Vision Equipment Ltd. which is largelyresponsible for auditorium installations, TV and radio studioequipment, PA and audio equipment.

The laugh -a -minute team which constitutes Simms -Watts willremain pretty much unchanged. Mr. Peter Tulett, a director ofthe firm, explained: "We shall carry on doing what we havebeen doing but with different hats on. " He also told a joke abouta man and a camel which was derogatory to both camels andIrishmen.

Rosetti, which is already a subsidiary of EMI and which hasbeen handling the Simms -Watts export trade for the past yearwill now take on the responsibility of distribution of Simms -Watts equipment to the UK trade.

BASS 100

We're very much aware of thehigh reputation that our currentrange of amplification has earnedover the past year or so. Now,with the introduction of the newSolid State Range we've goneway out in front. They IIundoubtedly be the pace settersof 1973.Take the new L & B 100- it's in aclass of its own. It can be used asa lead or a bass amp byswitching through either of thetwo channels. It features a middlecontrol which when used withthe amp at high volume gives acontrolled, sustained feedbackwithout the high pitched whistleexperienced with some othermodels. The front panel isilluminated and sockets arefitted for feeding slaveamplifiers. Two parallel outputsockets are provided with aselector plug allowing forimpedances of 3, 8 or 15 Ohms.All in all its an incredible piece ofsound equipment, especiallywhen used with the two newspeaker cabinets -a Lead 100and a Bass 100 - each capableof handling 100 watts .Another trend setter is the

PA 60H column speakercomprising a vented cabinetcontaining 3 x 12- heavy dutyspeakers and a horn coupled viaan electronic filter. Use a pair ofthese columns with the newPA 100 amp and you've gotsomething really new in P.A.equipment. To further boost theacoustic power of the PA 100 orthe new L & B 100 we've alsodesigned the SL 100 slave amp.To complete the new rangewe've even added the Compact30 SS which delivers 30 watts(r.m.s.). All amps in the newrange feature solid state circuitry,and that means quality andreliability of the highest order. Infact we would not have enteredinto the solid state market unlesswe were absolutely sure thatthese amps would be the bestthat money could buy, and withbuilt in visual earthing checks,illuminated front panels and slidecontrols they're the absolutetops and will give you reliableservice throughout their life.Best thing is to go in to yourdealer and ask for ademonstration -you'll neverneed anything better.

rease send me details of Selmer Amplification

Name

AddressIMy usual Selmer dealer is RM/14/4/73

Henri Selmer & Co. Ltd., Woolpack Lane,Braintree, Essex CM7 6BB. Tel : Braintree 2191

RECORD MIRROR, APRIL 14, 1973 23

from Billboard

tingly1 1 THE NIGHT THE LIGHTS WENT OUT

IN GEORGIA Vicki Lawrence Bell2 2 NEITHER ONE OF US (Wants to be the First

to Say Goodbye)Gladys Knight Et the Pips Soul

3 6 TIE A YELLOW RIBBON ROUND THEOLD OAK TREE Dawn Bell

4 4 AIN'T NO WOMAN (Like the One I've Got)Four Tops Dunhill

5 7 SING Carpenters A Et M6 10 THE CISCO KID War United Artists7 8 DANNY'S SONG Anne Murray Capitol8 5 BREAK UP TO MAKE UP

The Stylistics Avco9 3 KILLING ME SOFTLY WITH HIS SONG

Roberta Flack Atlantic10 11 CALL ME (Come Back Home) Al Green Hi

11 14 MASTERPIECE Temptations Gordy12 20 LITTLE WILLY The Sweet Bell13 16 STIR IT UP Johnny Nash Epic14 9 ALSO SPRACH ZARATHUSTRA (2001)

Deodato CTI15 18 THE TWELFTH OF NEVER

Donny Osmond MGM16 15 SPACE ODDITY David Bowie RCA17 25 YOU ARE THE SUNSHINE OF MY LIFE

Stevie Wonder Tamla18 12 LOVE TRAIN O'Jays Phil Internat19 24 STUCK IN THE MIDDLE WITH YOU

Stealers Wheel A Et M20 23 PEACEFUL Helen Reddy Capitol

21 29 DRIFT AWAY Dobie Gray22 17 DEAD SKUNK Loudon

Wainwright III23 13 LAST SONG Edward Bear24 28 WALK ON THE WILD SIDE Lou Reed25 21 THE COVER OF ROLLING STONE"

Dr. Hook Et the Medicine Show26 31 WILDFLOWER Skylark27 35 DAISY A DAY Jud Strunk28 22 HUMMINGBIRD Seals Et Crofts29 39 REELING IN THE YEARS Steely Dan30 40 OUT OF THE QUESTION

Gilbert O'Sullivan

Decca

ColumbiaCapitol

RCA

ColumbiaCapitol

MGMWarner Bros.

ABC

MAM

31 19 DUELING BANJOS Deliverance Warner Bros.32 37 ONE MAN BAND (Plays All Alone)

Ronnie Dyson Columbia33 34 A LETTER TO MYSELF

The Chi-Lites Brunswick34 43 HALLELUJAH DAY Jackson Five Motown35 32 COOK WITH HONEY Judy Collins Elektra36 38 BITTER BAD Melanie Neighborhood37 45 PINBALL WIZARD/SEE ME, FEEL ME

The New Seekers MGM/Verve38 42 STEP BY STEP Joe Simon Spring39 47 FUNKY WORM Ohio Players Westbound40 44 OH LA DE DA Staple Singers Stax

41 59 FRANKENSTEIN Edgar Winter Group Epic42 49 CHERRY CHERRY (From 'Hot August Night")

Neil Diamond MCA43 60 THE RIGHT THING TO DO

Carly Simon Elektra44 36 MASTER OF EYES Aretha Franklin Atlantic45 55 HOCUS POCUS Focus Sire46 77 DANIEL Elton John MCA47 51 I'M DOING FINE NOW

New York City Chelsea48 41 SUPERMAN Donna Fargo Dot49 56 BLUE SUEDE SHOES

Johnny Rivers United Artists50 52 DOWN AND OUT IN NEW YORK CITY

James Brown Polydor

album,This Last

Week Week

1 1

2 7

3 2

4 35 6

6 9

7 48 8

9 1210 11

11 1012 5

13 2514 1315 15

16 23

17 1618 21

19 1420 1721 19

22 2023 1824 4525 22

26 2627 2828 31

29 29

30 27

31 38

MCACTI

United Artists

HarvestWarner Bros

IslandGordy

RCAElektra

RCAElektraTamla

Columbia

Soul SRCA

EpicAtlantic

Sire

Dunhill

Stax STS

Elektra

Polydor32 33 RCA33 43 Asylum34 24 Capitol35 30 CAT STEVENS Catch Bull at Four A M36 34 AL GREEN I'm Still in Love With You Hi37 35 CREED ENCE CLEARWATER REVIVAL

Creedence Gold Fantasy38 32 DEREK Et THE DOMINOS In Concert RSO39 52 DONNY OSMOND Alone Together

MGM-Ko-lob40 37 AL GREEN Green Is Blues Hi41 67 PROCOL HARUM Grand Hotel Chrysalis42 40 CURTIS MAYFIELD/SOUNDTRACK

Superfly Curtom43 41 DR HOOK Et THE MEDICINE SHOW

Sloppy Seconds Columbia44 42 LOGGINS Et MESSINA Columbia45 36 JETHRO TULL Living in the Past Chrysalis46 44 AMERICA Homecoming Warner Bros47 46 STYLISTICS Round 2 Avco48 39 ROLLING STONES

More Hot Rocks (Big Hits Et Fazed Cookies)London

49 49 NEIL DIAMOND Double Gold Bang50 51 BOBBY WOMACK/SOUNDTRACK

Across 110th Street United Artists

DIANA ROSS/SOUNDTRACKLady Sings the Blues MotownALICE COOPERBillion Dollar Babies Warner BrothersELTON JOHN Don't Shoot MeI'm Only the Piano PlayerEUMIR DEODATO Prelude/DeodatoWARThe World Is a GhettoPINK FLOYDThe Dark Side of the MoonDELIVERANCE SoundtrackTRAFFICShoot Out at the Fantasy FactoryTEMPTATIONS MasterpieceELVIS PRESLEYAloha From Hawaii Via SatelliteCARLY SIMON No SecretsJOHN DENVERRocky Mountain HighBREAD The Best OfSTEVIE WONDER Talking BookMAHAVISHNU ORCHESTRABirds of FireGLADYS KNIGHT THE PIPSNeither One Of UsDAVID BOWIE Space OddityEDGAR WINTER GROUPThey Only Come Out at NightBETTE MIDLER The Divine Miss MFOCUS Moving WavesDEEP PURPLEWho Do We Think We Are Warner BrosSTEELY DAN Can't Buy a Thrill ABCMOODY BLUES Seventh Sojourn ThresholdHUMBLE PIE Eat It A&MSEALS Et CROFTS SummerBreeze Warner BrosNEIL DIAMOND Hot August Night MCAALLMAN BROTHERS BAND Beginners AtcoTHREE DOG NIGHTAround the World WithWATTSTAX - THE LIVING WORDSoundtrackJUDY COLLINSTrue Stories Et Other DreamsJAMES BROWN/SOUNDTRACKBlack CaesarLOU REED TransformerBYRDSHELEN REDDY I Am Woman

Straight from the StatesSOUL GENERATION: Mil-lion Dollars (Ebony Sounds).On this current R&B hit SoulVocal Group dead slowie (soonto be issued in Britain on thenew Sticky label), producerStan Vincent goes a long waytowards exonerating himselfafter his much -criticised workwith the Stairsteps. An ex-quisite lead -swapping gem,this is a bit too Soulful to earnthe "Sweet Soul" tag, and issummed up by the title of itsmore Stairsteps-like throbbingslow flip . . . "Super Fine".THE DELFONICS: I Don'tWant To Make You Wait ( Phil-ly Groove). After they started

the whole modern "SweetSoul" Philly Sound with their"La La Means I Love You" in1968, bringing producer ThomBell to prominence in the pro-cess, it's a great shame thatthe 'Fonics have fadedthrough internal differencesjust as their style has foundinternational popularity.Their latest meandering slow-ie still has their trademark(penned by William Hart, ar-ranged by Vincent Montanaand Andy Cosmos, produced byStan Watson, William and Wil-bert Hart), but it's never-theless a bit TOO languid andlimp.

JERRY WASHINGTON:Right Here Is Where You Be-long (Excello). Oooh! Over agently repetitive basic fluteriff, Jerry raps and wails hisSoulful way. To begin with, hesets out to find where Kimlives ("She lives next door, onthe top floor", says her gruff -voiced neighbour), only to begreeted with "What you wantnow?" in a scolding tone.Well, Jerry wants to tell herhow his doctor released himfrom the hospital with an in-curable condition that's worsethan cancer . . . a bad case ofthe Blues. Get the picture?Digit!

0. V. WRIGHT: DrowningOnDry Land (Back Beat).There's more and more old-style straight Soul getting intothe R&B Charts these days inthe States, and this Willie Mit-chell -produced version of Al-bert King's old Blues was oneof the trend-setters. OvertonVertis Wright, as the man whooriginated a thing called"That's How Strong My LoveIs" in 1964, is unable to openhis mouth without what comesout sounding sincerely Soulful,and his gut -wrenching Gospel -trained effortless naturalcracked moaning voice is at itsbest on this type of material.

STATESILL_)EAmerican Singles

by James Hamilton.SVI,VIA: Pillow Talk; MyThing (London HLU 10415).Sexy's the only word for thiseffervescent light toper, suck-ed hissed and breathed by theslinky Sylvia (of 'Mickey &'fame), which I described withproven accuracy in "StraightFrom The States" as a "cock -teaser" - I've yet to find theman who CAN'T stand the lastgasps! Flipside, Miss Robin-son don't want nobody messin'around with her thing, hersweet tender lovin' groovything. Not only that, but themusic's great too! Seek it out ifthe Beeb "restrict" it.JERMAINE JACKSON: Dad-dy's Home (Tarnla MotownTMG 851 ). Brother Jer-maine's faithful revival ofShep & the Limelites' lovely1961 slowie has brought thosedoo-wops back into the USCharts, and may do the samehere, a thousand miles away.ALICE COOPER: No MoreMr. Nice Guy; Raped AndFreezin' (Warner Bros K16262). Once the British havebeen sold an American prod-uct they'd hitherto resisted(viz: Osmonds, Cassidy, Coop-er), it's amazing the way theyget even more loyal to it thanthe Americans themselves (aswitness, the above trio's re-spective Chart placings in re-cent months). The secretseems to be in the selling, andwere that lot SOLD! Queen ofthe hard -sellers, Alice is backwith more aggressive salespatter, spat out dead on pubes-cent target though at lowerdecibels than his earlier an-thems. Necro-Rock flip willhelp this be a forty-eight pencegiant.SKYLARK: Wildflower (Capi-tol CL 15747). Modern electricguitar butts into the shimmer-ing strings and cooing choirsof this tender, solo male -sung,slowie to lend its romance atouch of placid acidity. Sweetand sour perfection thatshould bloom in the Chart.STEELY DAN: Reelin' In TheYears; Only A Fool (ProbePRO 587). Expert and catchythough the bouncy top is in itsfluidly gritty guitar andEagles -type harmonies, it'sstill the "Do It Again" -likelightly Latin flip which I pre-fer. As nice for dancers asMark Allain's similar "BeMine", and full of subtle funk,this is a sound worth thesearch.BOB SEGER: Rosalie; BackIn '72 (Reprise K 14243). TheCameo-Parkway/Capitolveteran has established aheavy metal reputation thatthis Joe Cocker-ish chix-back-ed Stones -tempo guitar -scrub-ber goes some way to dispel,thanks to the levity of itsbouncy chugging touch. Rockdiary of a summer gone by onthe flip.THE SURFARIS: Wipe Out(Paramount PARA 3034). Hoton the heels of The Routers'"Let's Go" comes anotherclassic early -'60s disco raver,1963s boss bongos and guitarfrenzied instrumental smash.Let's dance!JERRY LEE LEWIS: Drink-ing Wine Spo-Dee-O-Dee;Rock And Roll Medley (Mer-cury 6052260). Jerry Lee hasre -cut Sticks McGhee's 1949booze blues drunk dancer witha bunch of British infrastar"Session"-ers who get it on incluttered fashion behind thepoundin' piano. Flipside, hecrams potted versions of"Good Golly Miss Molly","Long Tall Sally", "JennyJanny", "Tutti Frutti" and"Whole Lot Of Shakin' Goin'On" into a mere 3:50 of rockin'cacophony. Despite the mess,there's excitement here.JOAN BAEZ: Love Is Just AFour -Letter Word; There ButFor Fortune (Vanguard VAN1007). Joanie's gently skipp-ing electric sitar and steelguitar -enhanced reading ofBobby's ditty became a fa-vourite of mine when it came

out here before, and now it'scoupled with her even oldersoft treatment of the PhilOchs' slowie which shebrought to fame. It surprisedme too when I discovered Iliked the topside, so why nottry it yourself?MICHEL LEGRAND: LoveTheme from "Lady Sings TheBlues" (Tamla Motown TMG848). The sugary strings andplatitudinous piano of thischeap concerto, the quintes-sence of innocuous vapidity,are so at odds with the rest ofthe movie's music that itspredictable use during everytender scene is all the more'"' --noticeable - Legrand's themefrom "Summer Of '42" wouldhave been a better bet. Atleast the flip's mixture of fid-dlin' "Country Tune", dia-logue, sound effects, andDiana Ross -sung "I Cried ForYou" (taken, with an edit,from the film soundtrack) is agood introduction to the music -plus -chat sides of the LP, andis excitingly evocative.

MAYE NUTTER: I Don'tCare (London HLL 10414). Inthe light-hearted Roger Mill-er/Leroy Pullin mould, thisweirdly-yclept gent's tongue -twisting stop -start mumblingCountry fun is thoroughly en-dearing. Dang me!

MARTY ROBBINS: WalkingPiece Of Heaven (MCA MUS1190). The charming chap'slatest US Country hit is thissteel and humming -backedsubdued slowie, while hisslightly older "Laura (What'sHe Got That I Ain't Got)"(CBS 1365) is a delicate bot-tleneck -backed cover of LeonAshley's slowie.

JOHNNY CASH: Any OldWind That Blows (CBS 1115).It's a shame we never gotJohnny's great and really fun-ny "Oney", a working -man'stonic with its story of a fore-man who got what was comingto him, as this plinky-plunksmooth current US C&W hit isfar too bland.JEANNIE C. RILEY: WhenLove Has Gone Away; I TakeIt Back (MGM 20 06 209 ).There's something sick aboutthe way that even establishedCountry stars only ever getsingles issued here when theypay us a visit, and the annualspurt of Country releases be-fore the Easter Country Festi-val is even sicker. Oh well.Lovely Jeannie's lovely newUS C&W hit slowie is the girl'sside of the story by the timeher guy has got to Phoenix,and merits your attention for lethat fact at least. It also hasan effective tempo -changingflip.

OHIO PLAYERS: FunkyWorm ( Westbound 614 6100 ).After thinking that this ridi-culous novelty could be the"Troglodyte (Cave Man)" of1973, I've been disappointed tofind that so far dancers havefound its slow heavy thumpfunk beat TOO slow for theirtastes. However, its "funkygranny" voice and synthe-sized "worm" noise are nag-ging the hell out of US radioaudiences, who are pushing itup the Charts there, wheretastes are better. ModernR&B fans, do try it.

BUNNY SIGLER: Tossin'And Turnin'; Picture Us (EpicEPC 1177). While not crazyabout the Gamble & Huff re-vival of Bobby Lewis's 1961 USChart -topping R&B rocker,given here a new rhythm andconception which unfortunate-ly dissipate its drive, I gocompletely ape shit over theincredible slow oldies -but -goodies styled flip, whichveers from the Velours / Impe-rials / Flamingos / Platterssound to the sophistication ofBilly Paul, and which wouldsurely be a better 'A' side evenin Britain. Picture it a hit.

24 RECORD MIRROR, APRIL 14, 1973

(Mongrecuttheirteeth

MONGRELGet Your Teeth Into This(Polydor 2383 182). Groupformed a couple of yearsback by composer - organistBob Brady - now a five -

piece team who had theirfirst single, Lonely Street,out towards the end of lastyear. The album isuniformly competent, with-out reaching consistentheights. But Sing A LittleSong is nice, and the titletrack works well and Bra-dy's voice is most certainlydistinctive. Obviously a mu-sicianly team.

MICK MOLONEYWe Have Met Together(Transatlantic TRA 263): Ir-ish artist on a selection oftraditional airs - Mickplays tenor banjo, mandolinand guitar. On some trackshe plays them all at the sametime, paying tribute to thedexterity of the engineers.There are reels, and stories,and a fast flute solo, and a lotof spirit.

Mike Hennessey, Mitch Howard, Peter Jones, Val Mabbs, Rick Sanders

MICKEY NEWBURYHeaven Help The Child(Elektra K 42137): Secondalbum on this label, and apretty successful successorto American Trilogy. Hewrote all the songs on thisone. There is Sweet Memo-ries, already recorded byAndy Williams and BuffySainte -Marie, and the ar-rangement on Good MorningDear, with strings a -flowing,is quite outstanding. Butmaybe he's best of all on thestory -line songs, like CorteliaClark, about an old Negrostreet -singer who is a person-al friend of Mickey. Andthere is the romance andpoignancy of Song For Susan. . . Mister Newbury isclearly an outstanding artistand writer. And this is onlythe beginning!

MARTIN MULLMartin Mull (Capricorn K47506). An unusual, off -beat,amusing character, who re-flects that character in hissongs. He tells of how heonce Lived Above His Sta-tion, and he sings of eggs,and Miami, and alcoholism

. . and the humour isstrongest on songs like IMade Love To You In AFormer Life . . . "so whycan't we do it right now?"It's an accented, languid sortof humour, and very effec-tive indeed.

LITTE FEATDixie Chicken (Warner BrosK 46200): Third album fromthe group. Fairly strong,

The Faces face upto their own album

FACES: Ooh La La (Warner Bros K58011). This is a long - awaited album from the Faces -the first since A Nod's As Good. Andttfter all that work this, as might be expected, is a finecollection of numbers. There are some fairly uncharacteristic compositions, and in fact theyare the tracks which most surprise and stay in my mind. Ronnie Lane's Glad And Sorryhas a gentle flowing feel with a nice harmony vocal, rolling piano and acoustic guitar work,before Ron Wood's familiar electric work emerges. Mr. Lane is also proving himself again onthe cool Just Another Honky, as well as a co -composition with Rod on Flags And Banners. Theyrical content of this is generally high - Cindy Incidentally figuring as one of the brightestspots, as, well as the excellent rocking Silicone Grown, which delves into the outcome of a fewjabs making mountains out of molehills! Borstal Boys opens with a klaxon siren leading into aracy number . . . . "And Poker Sam couldn't lose a hand, if he did you were hit by a downtowntram, or crushed in the path of a moving elevator." It seems the Faces have overcome theproblem of distinguishing between Stewart albums and their own. Though Rod's vocal isexcellent here, there's generally more vocalising than usual from Ron Lane and the inclusionof a very bluesy instrumental, Fly In The Ointment, serves to get the point across. VM.

especially when ex -Mothers'guitarist Lowell George isholding court . . . his au-thority is stamped all overproceedings, as writer,soloist and producer. awayin the background are nameslike Bonnie Bramlett andBonnie Raitt. A mixture oftoughness and down-homecalm. But not entirely con-vincing . . .

CHICK COREALight As A Feather (Polydor2310 247): Armado Coreaworked with Miles Daviesand became recognised asone of the world's top jazzpianist. His current group,Return To Forever, under-lines and complements hisartistry. Sing is drummerAirto Moreia's wife, FloraPurim, and she has a flex-ible, soft -edged, instrument -like voice of considerableimpact. It's jazz, but thesedays Chuck is into a more

communicative sort of mood.

VARIOUS ARTISTSGreat Stars Of Country Mu-sic (Contour 6870 600): Origi-nal recordings by artists likeJerry Lee Lewis (What MadeMilwaukee Famous), RoyDrusky, George Jones, Le-roy Van Dyke. To some ex-tent, at least, this traces theway cquolry music has de-veloped since the old happy -hoedown corncake.

JOHNNY MATHISMe And Mrs. Jones (CBS65443): The world's top bal-ladeer? Well, if not the top,then certainly in the topthree. Mathis takes the soul -styled hit (title track) andturns it into something com-pletely beautiful and direct.He takes the love theme fromLady Sings The Blues, andhe also brings new touches ofclass to Peter Skellern'sYou're A Lady. An immacu-

EDWARD BEAREdward Bear (Penny Farthing PELS 532). Last song was a big international hit for thisCanadian trio - organist Paul Weldon, guitarist - singer Roger Ellis, drummer Larry Eroy.The boys are into a rock scene, but it's often surprisingly sensitive rock, sometimes floodedwith strings and brass. They write their own material and Roger Ellis particularly seems tohave fine talents in this direction.

late and musicianly set. Nat-urally.

LYNN ANDERSONKeep Me In Mind (CBS65508): Lynn is one of thoseladies who is accepted in thepure -country field, but alsomanages to reach out andgrab the pure -pop au-diences. Rose Garden washer big hit. With the Nash-ville Edition helping out be-hind, this is a romantic, in -love sort of collection whichwill please her fans.

DANA COOPERDana Cooper (Elektra K42134): Dana started out, itseems, as a Dylan imper-sonator but was persuaded totry and develop his ownstyle. This album proveshe's won at least half thebattle, but there is a tenden-cy to drawl and slur andphrase in a very strangeway. However his song -writing is fair enough, andthere are some very well-known musicians involved inthe backings.

LEO KOTTKEGreenhouse (Capitol ST11000): Seven instrumentalsand four vocal tracks here.Leo is an outstanding guitartechnician, using a variety ofinstrumentals to keep themoods moving along. Theideas range from a medley ofkiddies' songs, a traditionalair or two, an Episcopalianhymn (beautifully arangedby John Fahey) and a songwhich reveals starkly someof the pitfalls to be met indabbling in real estate!

JOHN DUMMER'SOOBLEEDOOBLEE BANDOobleedooblee Jubilee (Ver-tigo 6360 083): The old bluesblues band back, but is nowout again, in much the origi-nal form. This album, pack-ed with punch and power, isalso packed with the guitarwork of Putty Pietryga, now

New Seekers give a

polished soundNV SEEKERS. Now (Pol-ydor 2383 195). This one wasrecorded in Los Angeles,barring four or five tracks,and was largely arranged byTommy Oliver. Stands toreason that it'll prove an in-stant seller, and will furtheradd to the group's following.What counts for this inter-nationally - rated team nowis whether they can sustaintheir consistency. On thisone, they take turns on thesolo work - Lyn on a NiceEverything Changing, Peter

actually with Jo -Ann Kelly'sSpare Rib. For currentwork, the Dummer teamhave obviously found a realenthusiasm for living andplaying - and samples of theenergy come in Too MuchMonkey Business and HelloLa, Bye Bye Birmingham.Good honest stuff.

INCREDIBLE HOGIncredible Hog (Volume 1 -Darts ARTS 65372) ( Onlythree -strong, but they get abig fat sound going, withTony Awin's drums pow-ering along behind the leadguitar of Ken Gordon .and there's a lot of flexibilityand boom -boom from JimHolmes' bass. Should beplayed loud or possiblyvery loud, when the full pow-er is unleashed. Certainlythere's nothing delicateabout this Hog, and all thesongs were written by KenGordon.

MANDINGOThe Primeval Rhythm OfLife (Studio 2 400): Thewhole range of in-strumentation is used on thisone. It's packed with primi-tive rhythms, a jungle -based

on a couple, including TheOsmonds' Utah. Eve in herusual forthright style onThat's My Guy, and it alsoincludes Pinball Wizard,which release came as a bitof a surprise to most popperusers. There's this mel-low maturity about thegroup's sound nowadays; apolished sound that never-theless packs some surprisesin the middle of the generaltogetherness. A nice album;in many ways an out-standing one. Pd.

11077): Actually NormaWhats-it is really the mag-nificent Peggy Lee. Thisfinely -arranged set, with noparticular emphasis on herjazz talents, comes via ideasman Arlie Butler and hasPeggy singing Lesley Dun -can's Love Song, Alex Har-vey's Someone Who Cares,and Superstar. AnotherLeon Russell piece is A SongFor You, which forces nearmaximum artistry from thelong-established legend.

LAURA LEETwo Sides Of . . (Hot WaxSHW 5009): She has balladand she has soul - she alsohas the sheer hard luck to beoperating in a rather over-crowded field of bluesy soul -selling in the States. She is aremarkable talent, gravelyunder -rated, and in her up -tempo moods she projectssheer fire and vocal vio-lence. Try Crumbs Off TheTable, then If You Can BeatMe Rocking . . the twosides of Laura indeed.

DUTCH SWING COLLEGEBANDAt The Jazz Band Ball (Phil-ips 6440 088): Long - estab-

Roxy plum depthsROXY MUSIC: For YourPLEASE (Island ILPS9232). Having just seenRoxy live and also on theOld Grey Whistle Test, thisalbum is already fairly fa-miliar to me. I just wishthat had been the casewhen, seeing the group live,because there are somegreat lyrical depths here,which would have giventheir performance a fur-ther dimension. BryanFerry doesn't have thegreatest of voices (thoughhe does manage to in-corporate a beautifully sin-ister feel into it), but hislyrics are often superblyamusing, cynical and showa great insight. Somewhat

computerised, says BobHarris, and it's easy to seewhy particularly as Roxyrely a good give deal onsynthesised sounds andtapes. But listen more andmore and they'll captureyour soul and lure you intothe depths of their lair! DoThe Strand is a great up -tempo number and for areal delve into the murkydepths of suburban lifegeve a listen to In EveryDream A Heartache, allabout a de luxe and delight-ful inflatable lady. "I blewup your body, But you blewmy mind!" says Ferry.Great stuff from a bandfast becoming a cult. VM.

sense of athletic percussion.There's organ, electric gui-tars in there with jawbone,cowbell, marimba . . . andin parts it builds an almostunbearable atmosphere ofexcitement. Another one toplay at full volume; andanother feather in producerNorman Newell's cap.

DANIEL BOONEExport Only (Penny Farth-ing PELS 531): What withDaddy Don't You Walk SoFast and so on, Daniel Boone(alias Peter Lee Stirling)has written a lot of songs andsold a lot of records in recentmonths. This album reflectsthe wide range of his imagi-nation - songs like SayYou'll Be There, Sad AndLonely Lady, Sunday Morn-ing Coming and Do YouThink The Lord? - goodideas, lyrical; and withstrong melodic content. Andtwo outstanding closers inRock And Roll Bum and TheProfessional.

NORMA DELORIS EGST-ROMFrom Jamestown, TOEN,North Dakota (Capitol ST

lished Continental trad team,and featuring long - estab-lished jazz items, like BasinStreet Blues, Shimmy LikeMy Sister Kate, Bugle CallRag, and the atmosphericRoyal Garden Blues.

BUFFY SAINTE-MARIEThe Best Of . . (VanguardVSD 3/4): A truley valuabletwo -record set. Buffy camelate to chart -type adulation,but the ability has been thereall the time. This collectionhas 24 tracks, many of whichunderline her concern formatters of minority races,ecology, and traditions. Shesings consistently and dra-matically, but without over-playing or overstating . . .

with the result that the mes-sage is noted, but is enter-taining at the same time.And the backings are first-class throughout.

MIKE MORTON SOUNDSNon -Stop Hits (RCA INTS1427): Volume Five in theseries and as ever bang - up -to - date - Cum On Feel TheNoize is there, and Nice OneCyril, not to mention CindyIncidentally. 0

RECORD MIRROR, APRIL 14, 1973 25

Nice one from AlexALEX HARVEY BAND: Jungle Jenny (Vertigo 6059075). A likely one about a shapely young lady who wasborn and raised in the jungle, and this rock bandhappened along and . . . well, it's a story -line rockerwith the usual kind of Harvey power. Frenzied vocals,tough guitar work, and a nice basic beat. Touches offalsetto holds up the line, and there's a touch of tongue-in- cheek about much of it. Nice. -CHART CHANCE.

COLD FLY: Caterpillar(Bus Stop). Written andproduced by Marty Wilde,that great erstwhile rocker- group has a light - edgedand bouncy vocal approach.Nice Rhythms.OOBLEEDOOBLEE

BAND: Oobleedooblee Ju-bilee (Vertigo). Janglymixture of jazz and pop andother forms of music, but it'sall a bit dated, somehow. Nohit, anyway.CO-OPERATION: One MoreMountain To Climb (Argo).A Sedaka-Greenfield song,sung with a sort of whiter -than -white dedication - it'sokay, but slightly wearing.OFARIM AND WINTER:Slow Motion Man (CBS). Abi')farim and his new partner,and there is a new sense ofurgency - of hard-hitting

reggaecorner

LOTS of balladeers, not tomention Osmonds, havetried Twelfth Of Never, andnow there's a useful reggaeversion from PAT KELLY(Pama), and the voice suitswell this calendar -type senti-ment.

Another good one: BIGYOUTH on Foreman vs Fra-zier (Grape), a talkie -talkie;gimmicky item based onheavyweight boxing and nota little humour. From BigYouth again, but this timewith DENNIS BROWN: A -soWe Stay (Summit), whichmeanders along withoutmuch pattern.

Multiplication, by THETHOROUGHBREDS

(Attack), swings more thana bit, with trombone blastingin . . traddy reggae.

From THE LOVE GEN-ERATION: Warricka Hill(Grape), which is authentic -sounding but disjointed JU-NIOR SMITH, with I Don'tKnow (Sioux), sings withwide -ranged and expansivestyle - nice.

And finally LES FOSTERand ANSIL COLLINS: TheMan In Your Life (Camel),which certainly offends notmine ears.

material, delivered with aheavy-ish sort of style. Thisone could do well, given sup-

-)rt.

FOR the past six years,Billy Dean has been tour-ing top concerts, playingto capacity audiences . .

but as part of RoyOrbison's backinggroup. Now London -bornBilly is out on his ownwith a powerful RCA Vic-tor ballad called Say NoMore. He'd been singingin the Orbie shows, too,but said: "I had to gosolo. It was a big deci-sion, but I had to go. Ihad just been doing myown spot, then fadinginto the background, butit was all becoming tooeasy." Still . . . he's nowsigned a managementcontract with Big O'sown manager!

RONNIE ALDRICH:Theme From LostHorizon ( Decca). Ronnieand his two pianos andthe London FestivalOrchestra and a Bach-ara theme froma Shangri-La locatedmovie. Pleasant.

1/ PETER

JONES

.1

on thenew

singles

Fingersnappin'

The Dreaded sound yes .. .of real rude reggae

JUDGE DREAD: BigEight (Big Shot 619).Honestly I could neverhave guessed what theJudge would call histhird hit. Nor that hewould have chosen a reg-gae rhythm for this hat -trick of triumphs. Heuses the same rude, real-ly rude, approach, butdelivers with the nowDread-ed kind of amia-bility. He's a right goodlad is His Honour, andI'm not just saying thatbecause he's got me armtwisted up me back.CHART CERT.

ROGER JAMES: RidingFree (Chapter 1). An okayvocal job, and in fact Rogerhas a good way with a story -line Westernish sort of song.Lyrica ly sound.BULLDOG: Are You ReallyHappy Together (MCA). Nota bad team, this one. Leadvoice has character andstyle, but fries a bit too hardhere and there. However,doesn't sound like a hit.CHRIS YOULDEN: No-where Road (Deram).Unusual production this, forthe ex -singer of Savoy Road.Could be commercial, withodd instrumental touches.Title track from an album,

THE RISING SONS: Shay-Laka-Day (Polydor). Pipe-organish, continental feel tothis one. Group vocal, andit's like one of those thingsheard in the depths of touristSpain.WILMA READING: OneMore Mountain (Pye). Aus-tralian lady of bounteouscurves and a vocal stylewhich is of the widest range.And on this Sedaka-Green-field single, she's in verygood nick.THE NASHVILLE TEENS:Lawdy Miss Clawdy (Enter-prise). Right old rockersoriginally recorded in themid -1960s and yet the oldLloyd Price song still soundsfresh.BONNIEST. CLAIRE: ClapYour Hands And StampYour Feet (Philips). Attrac-tive chick, working with UnitGloria, and a fierce old stom-per of much power, littlesubtkety.JEFF WAYNE: Get Movin'(MCA). Off -beat, deep -down, throaty voice on a fast -paced item, with brass andbacking chorus. Unusual.

Judge Dread: full-blooded reggae

Malcolm'sinstantmelody

MALCOLM ROBERTS:Love Is All (ColumbiaDB 8981). Must make itsoon, must Malc. ThisReed -Mason Balladgives him the old breathyromantic touch, and hesings well. It's got thatinstant -type melody to it,with strings and whenthe big voice is called for,lo - he produces the bigvoice. Could well makethe charts. -CHARTCHANCE, then!WATTS: Girl You Make ItEasy (Jam). Fair, high-pitched vocal harmonies on asong that is a bit over-samey,monotonous-ish.MATATA: I Need Somebody(President). Afro -rhythmicspasm with honking hornsand that chattering good -spirits percussion fire.Builds well.

MIKE STARTS OUT WITH GOLD!AT 15, Michael Jay Deestarted working in ablacksmith'sorganisation. Then hegot the singing bug, join-ing a band for a couple ofyears. Then he studiedacting at theStanislaysky Studio.Then came work withJoan Littlewood at Strat-ford's Theatre Royal.

And then he metDel Newman, top arra-nger, who introducedhim to Les Reed andLes's Chapter One label.Result: a debut singlecalled The Streets Ain'tPaved With Gold, whichMike wrote. Tis okay.

TREMELOES: Ride On(Epic 1399). Written by theHawkes-Blakley half of theTrems, this is a jogalong -number built round a re-peated phrase that suggestsa Western epic. The vocalline comes over strongly,and the wide open spacesstretch (in the mind) throughthe different verses. It's avery deliberate, sometimesclever, sort of single andcould restore the lads. -CHART CHANCE.WILD HONEY: He's MySugar (MAM). A three -girlgroup. Now they don't nor-mally do all that well in thecharts, but this team do havea lot going for them. Theladies are Tina Charles, KimKeene and Mally Page, andtogether they get a neatly -rounded and well -harmo-nised sound. Not a bad song,either. I'd say they're inwith well above -averagechances. - CHARTCHANCE.ROGER JAMES: RidingFree (Chapter I). Throatycowboy -type song, with ajog -along rhythm, Says onthe label it comes from 1970.

Dusty atfull pelt

DUSTY SPR-RINGFIELD: WhoGets Your Love (Philips6006 295). Written bypart of her productionteam, with strings byJimmie Haskell, andhorns by Michael Omar-tian - in fact, it's Dustygoing full pelt with herAmerican mates. It'ssoul -filled, and pleading,and quite lovely, but itmay not be instantlycommercial. Fact is thatshe outsings most girls,and does it apparentlyeffortlessly. She's quiteremarkable. -CHARTCHANCE.

THE LES HUMPHRIESSINGERS: Mama Loop(Decca F 13395). Thisone was written by Les,ex -Royal Marine andcurrently leader of one ofthe hottest vocal teamsin the world. This onehas that fullblooded ap-proach which has madethem so successful on theContinent and I positive-ly defy anyone to resistallowing the toe to tap, orthe finger to snpap. It'svery, very excitingstuff. -CHARTCHANCE.JAMES WEBLEY: Lucy J(Columbia DB 8984). Niceapproach from this singer -writer - he gets topical ly-rics, and the basic melodyline on this one seems to meto be a natural-born com-mercial touch. The voice isaccented, plaintive, andsometimes downright lively.He works well, but it's thatsong construction that leadsme to one of my predictions.James will make it. Forsure. -CHART CHANCE.COLIN AREETY: I Don'tWant To Be Right (Deram).Highly -touted Liverpudianwho purveys very real soul.This is rounded off with aclicking finger -snappingbacking. Nice one.THE KARLINS: Mama Say(Enterprise). Trio, tripletsin fact, with a touch of thecalypso about the number.Personality piece.GRUDGE: When ChristineComes Around (Black La-bel). Grotesque horror -rockwith a pounding back -beat.All very bizarre post -Alicestuff that could easily takeoff."'JR 111100"P" 4r4s.,

Dusty Springfield

26 RECORD MIRROR, APRIL 14, 1973

1 RI

Write to:Val, Record Mirror, 7 Carnaby Street, London W1V1PG

What isgoingon withMarvin?IS Marvin Gaye ever goingto be noticed by the recordbuyers of Britain? Marvinturns out brilliant record af-ter record without the suc-cess his work deserves. Ihope Trouble Man reachesnumber one - should it failthen we have failed our-selves once again. For, inMarvin Gaye's words What'sGoing On.

Peter Flowers,52 Montagu Street,Rothesay,

of Bute,IslandScotland.

othergirls!EVERY time I hear thatrecord by Debby and theDreamboats about DavidCassidy I go all funny, be-cause it's just how I feelabout him. Trouble is itmakes me feel sad too be-cause I know there's all thoseother girls who feel thesame.

Sharon Walters23 Elm Park Road,Croydon, Surrey.

MAY I thank Pat Rhodesfor the years she has spentas president of the DustySpringfield fan club. Theclub, sadly, closed lastweek and will be missed bythe thousands of memberswho will now be relyingmore on the pop press tokeep us informed of Dusty'srecord releases and caba-ret dates. We know RMwon't let us down.

Evelyn Stoney,91 Sunny side Gardens,Upminster,Essex.

Tanx a lotfor thepicture, Marc!VAL: An amazing amount ofmail arrived following IanMobbs' remarks about MarcBolan's album cover . . sohere's just a few of the com-ments.As far as I am concernedBolan is a good clean rocker,and does not need to appearin any obscene pose to boosthis record sales, as the RM1972 polls have clearly

shown.J. S. Balham,London SW12.

. How else could Bolesit on the tank anyway?.C. Yates,81 Wolverhampton Road,Oldbury, Worley, Worcs.. . . Bolan's worked hard allhis life to get to this position,and all you do is spit in hisface and throw it straightback at him.Sarah Fox,37 Britannia Street,London WC1.

. . Give Mary White-house back her job and listento the album. You shouldnever judge anything by itscover. Open your mind andyour eyes and ears beforetackling the outside world.Sandra Knott, Karen Pick-ely, Julie Pickley, MandyGossage, S. Bartell, KarenHickling, Susan James, JulieShaw, Dawn Sheppard, Ter-rie Lodge, Kim Willis,Frances McKelvey, IanMartin, Mick Hetley, J. P.Burnley, Stephen Greening,Gill Goody, Susanne Pete,Lyn Osborn, Nita Burgess,Tracy Lester, Janet Seviour,Jacky Stanley, Sharon Ha -rington, Sharon Giddings.Marc is where he is todaybecause he's very talentedand records good rock androll. His "doting hordes of13 -year -olds" (I'm 19 by theway), know where he's atand that's why they keep onbuying the records. I person-ally do not find the photo-graph distasteful.Linda Dag,7b Lincoln Road,Forest Gate, E7.

No bras for Europe!NEVER HAVE I read such rubbish as the suggestion inRecord Mirror (March 17) that Slade's new single should berepresenting us in the Eurovision Song Contest. It is a songcontest, not a chance to find out which group gets the mostbras chucked at them!

In many ways Slade are England's answer to Grand FunkRailroad in that they both play music for the audience's sakeand not for art's sake. People say that Slade are good andtalented musicians; if they are then why can't they recordsomething more musical than they do.

They can hardly be classified on the same level as the SoftMachine, Focus, Yes or the Moody Blues, who are all the realprogressive and talented musicians.

As for the song Power To All Our Friends, It's a damn goodGuy Fletcher and Doug Flett composition and it will no doubteasily come top in Eurovision.62 Portland Road,Eccles, Manchester -

Dave Burrow,

1969 WAS a great year in Motown,Five - fast and really funky.

Chart smashes like I Want You Back, ABC, The Love You Saved and slowies such as I'll BeThere opened the path to success for the five. Then a short absence from the British musicscene was followed by the weenybopper era.

Looking Thru The Windows and Doctor My Eyes were hits for the five, but was it really themusical quality in these recordings which sold the records?

I'm not totally against these offerings but come on J5 - let's hear some more of your funkymaterial - leave other stuff for Michael or Jerrnaine to record solo. Let's see Motown live upto its claims and bring out musically the best in the Jackson Five.77 Edgehill, Ponte land, Northumberland.

StatusQuorubbish!IN A letter from R. Marsh itwas stated that he thoughtStatus Quo's album was aload of rubbish and that hethought the needle had gotstuck in the grooves on someof the LP. Then they had thecheek to say they prefer LedZeppelin, Rod Stewart andFocus. I'm sure if they can-not understand Quo's musicthey cannot understand LedZeppelin's. I suggest theyfollow someone like DianaRoss.Graham Cotton26 Hadleigh Drive,Oulton Broad,Lowestoft,Suffolk.

I WOULD like to inform allBeatle fans of the recentlyfounded Beatles' informationbureau, details of which canbe obtained from me onreceipt of an SAE.

Rick Winkley,30 Terry Street,Nelson, Lancs.

but the definite highlight was the arrival of the Jackson

Colin Bain,

MAY I just suggest a few good re -issues. Let It Be Me by theEver ly Brothers; Hat's Off To Larry by Del Shannon; All OnMy Own by Lance Fortune; Take Good Care Of My Baby byBobby Vee; Hello Mary Lou by Rick Nelson; Runnin' Scaredby Roy Orbison; Walk Right In by the Rooftop Singers;C'mon Everybody by Eddie Cochran; Twistin' The NightAway by Sam Cooke, and Fly Me High by the Moody Blues.Brilliant records which I'm sure would do very well if re-issued.9 Instone Road,Coventry.

Barry Appleby,

7 Carnaby St., London W1V 1PG. Tel: 01-437 8090A BILLBOARD PUBLICATION

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W1V 1PG Distributed by the National MagazineDistributors Ltd 22 Armoury Way. London, SW18.PrinI.ed by Kent Messenger Group. Larkfield,

Billboard USAEasy Listening

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RECORD MIRROR, APRIL 14, 1973 27

Argent:toppingin theStates

WITH their latest album,In Deep, climbing fasttowards the Hot 100 inAmerica it seemed fea-sible to expect that Ar-gent would be dashingconstantly along the air-ways - the roadies taketo the freeways - duringtheir current Statesidetrip. In fact, the grouphave been notching upconsiderable mileage,but their concert appear-ances are being kept to areasonable amount.

Instead of undertakingan eight week tour, Ar-gent's management havearranged for the group tospend four weeks inAmerica, returning toEngland for two weeks,before they fly off oncemore for a further spellacross the Atlantic.

OriginalThe original plan was

for the group to stay forfour weeks each time,but with the rising de-mand for them to makemore appearances, itlooks like their secondvisit could be more pro-longed.

"We're working inNew York tonight," RussBallard told me, callingfrom the luxury of theSummit Hotel on theEast Side of town. "Itwill be our first real NewYork gig this trip be-cause we played at MyFather's Place in LongIsland earlier on . . . buttonight we're in theBronx. We're on a doublebill with the Kinks . . .

it's a double -double bill,but we go on beforethem. "

The last time that theytoured America Argentwere working as secondon the bill to other art-ists, but this time aroundthey're topping most ofthe concerts.

"That means we cando the same length set aswe do in England," Russexplained. "Before wewere doing only about 40

minutes, which was rath-er restricting, but thistime we do the same as inEngland, only we includeLiar. "

Was that, I wondered,because Three Dog Nighthad made the number sosuccessful in America.

"Well no, not particu-lar 1 y , " says Russ."Mainly because we'vefound that it fits nicely inbetween two songs,Dance Of Ages and Fa-kir. "

Argent had tried thisnew formation of num-bers at the four gigs theyhad completed when wetalked . . . includingtwo in the depths of Ala-bama.

"We played at Bir-mingham and in a placecalled Dothin," Russ re-calls. "It was the firsttime they'd had an Eng-lish band down at Dothin,and it was quite an ex-perience. The audiencewere mainly young whitepeople, with a few blackpeople as well. But thebest gig so far was theBirmingham one whichwas really, really good.

"We've had to cancelone performance be-cause the electrical sys-tem in the hall, whichwas in New York, burntout. That meant we hada few extra days off. "

OpportunityAs Russ had returned

from Argent's last Amer-ican trip somewhat de-void of new material forthe group to record, Iwondered if he had takenthat opportunity to workon his songs.

"Well I haven't got anacoustic guitar with menow," he explained. "Itgot smashed up on the'plane coming over. Icould buy a new one Isuppose, but I don't findthat I can write over herevery well, anyway. "

In some of their sparetime Argent have beenvisiting the cinema.

Russ Ballard: 'I find I can't write very well over here'

"We've seen what youcould describe as a pornyfilm," laughs Russ. "It'sproduced by the sameperson who did DeepThroat, and it's quiteamazing! I'm not surethat it would get passedfor Britain!"

And on a more artisticlevel, the group also vis-ited a club to see anAmerican group AeroSmith handled by theirstand-in manager, SteveLieber. Max's in KansasCity - "an eating andraving place" - has alsobeen graced by Argent.On their travels I askedRuss if he had seen muchevidence of teenyboppersin the States.

Freaks

"It does exist overhere," was the reply."But it's not quitereached the point that ithas in Britain. They'vegot Osmond freaks andDavid Cassidy freaks,though. But it doesn'treally affect us.

"At Dothin we had anaudience of three thou-sand and we'll have au-diences of ten thousandon some of the dates. It'strue that with a smallaudience you can getmore of a rapport, but tomake money it's essen-tial to do the big gigs. . . and of course youreach more people thatway. "

Argent plan to reachthe people on the WestCoast of America duringthe second half of theirtour. In the meantimethey're all looking for-ward to spending a littletime at home. Robert

Henrit is hankering toreturn to his pregnantwife Ricky - their babyis due in July - and RussBallard aims to moveinto a new home in Che-shunt when the tour isover. Then there is apossibility that both ofthem will be flying off toNorway to work on a newalbum that Adam Faithis planning.

And after that, oncemore, it will be time forArgent to work on theirown album. Which rath-er indicates just why thegroup have adopted thepolicy of a yearly tour inBritain and America!

Val Mabbs Robert Henrit: Eager to be home

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