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J CONTENTS

NO. S4 OCTOBER 1967 SPECIAL ARTICLES Page

EDITORIAL & ADVERTISEMENT OFFICES: What's New At The Fair? 10/ 13 36-38 Westbourne Grove, London, W.2. Te.I: BAYswater9966 Publisher and Managing Ed itor: SEAN O'MAHONY Trend-Setting Discs Of The ' Fifties 20/21 Advertisement Director: CHARLES WOODS John 's Music Room 38/39 Copyright© I 966 by 8eot Publlcatlons Ltd. All Rights reserved

MONTH'S FEATURES Editorial Whilst steam radio is about to give us a mighty Soul Music Out! Screams n for injection of pop musk on the new B.B.C. channel, Amen Corner 5 television still suffers from stagnation. Most of the pop shows on the box have been around for Big Stevie W. 13 some time and, interesting as they were when Space-Age Move 18 they first appeared, they have now become flat and dreary. Cream Convert Cap ital 22 Even when producers are just looking for ten Ke ith Moon's Kit 26 minutes of pop to fill pa.rt of a light entertainment Traffic Come Out Of Hibernation 28/29 production, they still don't seem to be able to think beyond Tom Jones, Engelbert Humperdiock, Arthur's Crazy World 31 The Shadows, The Seekers and a few other Turtles Are Happy Together 34 familiar names. I am not a believer in kiJling a television show just because it's been on for some time. Juke Box Jury, Top of the Pops and similar shows do REGULAR FEATURES satisfy many people. But, whenever people in show business talk Player Of The Month- Syd Barratt 6 about pop shows they always remember the Keith Moon Column/The Tutor 9 greatest one of them all, Oh Boy! Its producer, Jack Good, did something revolutionary when he In The Studio 14/ 16 put it together. Instead of just looking at the "B.l.'s" Chart Fax 17 Top 20 charts for the names of artists to appear on the show, he hunted aU over the country, Instrumental News 24/25 seeking undiscovered talent, and for all those Scribbles 24 who say that this sort of exercise is a waste of time, let's just list a few of the people fte dis­ Your Queries Answered/Instrumental covered: Cliff Richard, The Shadows, Billy Fury, Corner 30 Adam Faith, The DaUas Boys and The Vernon Songwriter's Column /Session Men Girls, to name only some of them. H he had done No, 25-Alan Pa rker 32 nothing else than discover Oiff and The Sbadow.s that would have been enough. People Behind The Stars No. 10- Nowadays, if you want to get on to a pop show, Fan Club Secretary Freda Kel ly 33 you have first of an got to sell records. Jack Profile On Alan Price 35 Good gave everyone a second chance and booked unknowns who, if they came across well, then LP Rev iews 36 sold records. Isn't it time that our television Your Letters 37 producers once again put on a show which enables them to use some of the hidden talent Top Twenty-Five Years Ago 39 there is in this country? The Editor.

4 Pri nted by S. Tinsley & Co. Ltd., Manor F ann Road, Alpe~ioo, Wembley, Middlesex Distri butors: Surridge. Dawson & Co. Ltd- 26 Abcrdour Street, London, S.E. J. Telephone : BERmondscy 7074 can't be played 'live'. We always intend to make records chat can be reproduced o n stage. And they've got to be good ones. We'd rather make a great disc that doesn't sell than a bad one . that goes straight to the Number One spot". The biggest difference they've noticed since their record succeu has been the audiences. "Now they come co see us," said Blue happily. "Not because a ballroom means a night out. They scream, make us work better and so get an even better show". Gig-wise, they're averaging about five nights a week, but they were doing t hat months ago. As soon as they came to London and T'S very refreshing to signed with Galaxy Enter­ I discover a group that tainments, the work came puts professio nalism Soul Music Out flooding in. Even t hough they and stage presentation be­ were relatively unknown, fore anything else. Like t he their reputation as an act Amen Corner. Organist was travelling way, way ahead. Derek " Blue"Weave rsays: Not many groups can claim ''It's very nice to have hit Screams In For that. records, but we want to get a re putation for putting on a good act". The group's FLOWER SCENE aim is to be 50% ente rtain­ AMEN CORNER Un like many of today's ing and 50% musical. That combos, the Amen Corner way they believe they'll don't rave over Flower Power. appeal to a much wider soul music, but now we get there". " It's been so commercial­ audience. the screamers and they want The seven-piece line-up of ised," grimaced Blue. "It was Their stage set-up consists well-known material. the Corner makes them the O.K. when it started .. . . of two saxes on the right, "And, of course, we've had biggest group around-hic­ very nice and very genuine. guitar and bass on the left, to drop a lot of the slow wise at least. They think that Bue now .. . . you can't do a organ and drums set back in numbers. We flnd chat apart chis is the ideal number for 9 to 5 job, go home, put your the middle and Andy Fair­ from 'Gin House', all numbers any group aiming at some bells on and be a genuine weather-Low forward and have to be reasonably fast. form of presencation. Says Flower Person. Don't get me centre. To add co the visual Why did 'Gin' sell? Personally, Andy: "When we started, wrong, I'm not knocking it. appeal, each pair dresses the I think it was because it was we had a trumpet player. It's ju.st not our scene. We same, but different to the so different. T here are so Admittedly the sound was don't like knocking people, others. They're professional many complicated songs good, but from the presenta­ no matter who they are. One in the face that they try to around, that a slow 12-bar was tion point of vie w it was bad. music paper said recently present the same ace every­ refreshing. Noc that we're Eight people just don't fit that we hared all Welsh where. " It's a bit difficult on against complicated songs. It's together visually. If we had to people. What a misquote. All some of the smaller stages", Just chat we wouldn't make add extra instruments-and we meant was that we were a says Andy. "but we always any number complicated just we won't-they would have bit anti some people who try. Thing is, we believe in because it's the 'done thing' ". co be two crumpets. T hey wouldn't help us when we giving the audience value for would look gooq, but then were starting out back in money. They've paid co see us, TRUMPETS the band would be too big. It Cardiff. That article did us so It's our duty to give the On the actual record of would save us using session quite a bit of harm . k best possible performance. 'Gin House', there are four men, but I don't think that home for the August Ban The group was formed with trumpets and two cellos matters too much. TV? We Holiday and found half our the intention of being pro­ added. How do they make up always play live. Take 'Top fans hating us. May I clear it fe.ssional from the word 'go' ". the extra sound on stage? Of The Pops'. A lot of groups up once and for all. we love I asked Blue if their act had " We worked out some nice use backing tracks, but we -and need-a/I our fans. changed much during their harmonies between the saxes do it live. The BBC engineers They've made us what we ,are short, six-month career. and the organ", continued get a good sound, so we're and can kill us stone dead'b· "Only very slightly," he Blue. "But in any case, the happy. We use the complete It's nice to hear a mem er replied, " We believe in chang­ difference wouldn't be notice­ Johnny Pearson Orchestra co of a hit group talking like ing wit h the times, and so able to the average fan. Un­ get a perfect record sound chat, because it is the rans feature a few more pop num­ less they've been told of the and don't see the necessity of that make scars. No-one else. bers than we used to. In the extra instrumentation, most a backing track. Unless, of Pity all groups don't chink beginning, we played mostly of them don't realise it's course, it's a number that the same way.

:S SYD SAitKATT OST guitarists start their M musical career on a piano. But not Syd Barratt. He launched out on a banjo. "I'm not quite sure why," he says, " it just seemed a good idea at the time. I picked it up in a second-hand shop and plunked away quite happily for about six months. Then I decided to get a guitar. The first one was a £12 Hofner acoustic which I kept for a year. Then I joined a .local Cambridge group called Jeff Mott and the Mottos and splashed out on a Futurama 2. At the time I thought it was the end in guitars. Fantas­ tic design and all that. Inciden­ tally, Jeff Mott was a great singer . . . . wonder what hap­ pened to him? "We did a lot of work at private part­ ies. And some of our material was origi­ nal, but mostly we stuck to S hadows' instrumentals and a few American songs. "Eventually the group dissolved and I moved into the blues field, this time playing bass. It was another Hofner, and I played that for a couple of years. One day 1 met a guy called Roger Waters who suggested that when I came up to a London Art School we got together and formed a group. This 1 did, and became a member of the 'Abdabs. I had to buy another guitar because Roger played bass-a Rickenbacker- and we didn' t want a group with two bass players. "So J changed guitars, and we started doing the pub scene. During that period we kept changing the name of the group until we ended up with the Pink Floyd. I'm not quite sure who suggested it or why, but it stuck. A couple of months ago, I splashed out a couple of hundred on a new guitar, but I still seem to use that first one. It's been painted several times, and once I e,,en covered it with plastic sheeting and silver discs. Those discs are still on the guitar, but they tend to look a bit worn. I haven't changed anything on it, except that I occasionally adjust the pickups when I need a different sound. "Who are my idols? Well, Steve Cropper is an obvious choice, and so is Bo Diddley. Jn the old days, he was a great influence on both me and the group. N o, I don't think they influence me now. At least, 1 'm not conscious of it. Apart from being a good guita rist, I don' t really have any I ambitions ... . yet! I haven't been in the business that long." 7 Gretsch puts you in the swing olthings

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· I ./ .,r ~ . /'. ~- - -~ ·,;; • Gretsch makes the finest drums and guitars in the world, so when you join the Gretsch Set for Great Sound, th ings suddenly begin to happen. You play your very best. Because these J\nd in colors you ca n 't beat. No are the guitar and clrum the world"s wonder the Gretsch Set p uts you in the top performers play. You know it in­ swing of things with the finest drums stantly. J\t the very first touch. Gret ch a nd guitars made. Don' t wait another famous hollow or solid body electric day. guitars come in a r.hoice of triking r------1 colors. All with that great sound and I THE FRED . GRETSCH MFG . co. I 1 60 Broad1~ay I look that's right. All with that unique Brook lyn, . \'. I l'.lll, Dept. B.-J O I Gretsc.li constrnction to give you the P le.1 se send me: clea n. uncluttered sound of the pro­ □ Guitar Catalog □ Drum Catalog fe ss ional. Gretsch drums too are un­ Name ______paralleled for tone and drive. Just the Address ______right sound for LOday. The choice of m ajor drum-poll winners everywhere. L------THE RUDIMENTS or MUSIC By THE TUTOR THI Before even attempting to read music, there are a few basic facts you will have to learn. When you look at all those signs and symbols you must know what they mean. It's n() good working them out as KEITH you come to them, because you'll only make it harder for yourself. Every dot and squiggle is there for a purpose. It is hard to read music, so don't let anyone kid you it's not, A great many people read their MOON guitar tutors and because the preliminary exercises look boring, miss them out. This is the biggest mistake any budding musician can make. It's like learning to read at school. You wouldn't be given a COlUMN Shakespeare play in kindergarten, because you have to build-up your knowledge slowly. It's the same with music, so, this month, be content with learning the very basic facts of music. Let's start at the Well, I'm finally 21 years old. Boy, did l beginning. have a raving party. The raving occasion took place in Detroit, and there were so many Those black dots-tadpoles-are called "Notes". They are written guests including Dee-Jays and various people either on, or between five horizontal lines called a "Stave". This it from Tam la. And the cake l got! That was Stave is broken up by vertical lines which d ivide into "Bars". At the beginning of each piece of music you will see two symbols-one fabulous. Shaped like a drum kit with weird psychedelic designs all ove,r it. A really great shaped like a large "C" and the other like an • 'S". The "C" sign day for rne. means that it is for a bass instrument to play, and the "S" a lead instrument or vocal. This is the one we are concerned with. There Now we're back in nglaod, it's a case or are only seven notes used in music, five on the lines of the Stave and resting, resting and more resting. ff anyone four between. They are named after the first seven letters of the tells you that touring the States fs easy, forget alphabet-A B C D E F G. it. We played in 55 different town and averaged about 2 000 miles a day. But we had a great time. Sleep was the only problem, but luckily the plane we used had six beds in • w it and most of the time was spent sleeping, • • drinking, playing Monopoly and cards and • • ll • ll E G-- -g ]) f' $ F A C E j ust chatting. That plane was a gas. On the - side it had our names, so we felt very ~- honoured. But 1 still managed to miss it one day. That was after a particularly hectic The easiest way to remember the notes on the Stave is to reci~ night and a special one had to be laid on just "Every Good Boy Deserves Food" which produces E G B D F. Just for me. We' re still doing a lot of recording, one word will suffice for the four notes found between the lines­ but the Nashville ession was easily the most "Face" which produces FA C E. You probably got fed-up with learn­ interesting. ing that at school, but it's definitely the easiest method. There wa th.is guy, something to do witb But now you want to know which notes are where on a guitar,!ln Decca Records, who had his own private the diagram below, we have drawn the fretboard ofan ordinary guitar studio. Outside was a huge lake around and shown which note is found on which fret. Try to learn this and which lived people like the Everlys and you won't have to keep looking from the music to the guitar when Roy Orbison. It was beautiful. 1t s things like trying to find which fret is used for a certain note. that that I miss. And the swimming in the Motel swimming pools. But now we·re back in good old sunny England, and after this I: rest we're going to bave to think about a B G new act. We've decided that it needs changing, 0 A so it looks like a whole lot of rehearsing. E. Pete's already written some new songs. He says he didn't have time in the States, but 1 think he was enjoying himself too much. The line of notes on the left of the diagram-EB G DAE-are The las? date of the tou r was in Hawaii. the 'open' notes of a guitar. By this I mean the notes that are played That was one place where I've always wanted without the fingers of your left hand touching the fretboard. Now to go, and it really is fantastic. l wish we look at the twelfth fret. Notice anything? That's riiht, the notation could have stayed for a few days, but we bad is exactly the same as at the bottom. But It's an octave higher. That's to fly back to Los Angeles to do a Smothers something very important to remember. If you've got a ruitar with Brothers TV show. I admit that the tour was deep cutaways, you will be able to play chli>rds an octave up, but if very hard. mostly because America is such a you've got an ordinary acoustic model, the neck joins the body around big place, but T wouldn' have missed iL for the twelfth fret, and you will be limited to the few Gdd •twiddly bits'. anything. Wonder when we·re going back? Next month we'll continue with some more preliminaries such as KEITH . explaining the duration of notes.

9 GARY HURST LOOKS AT THE NEW INSTRUMENTS AND E(JUIPMENT INTRODUCED AT THIS YEAR 1S SHOW

NCE again the British Musical changed their ways of 1hinking and accepted a pickup allachmcnl 10 fit j us1 about every l nstrument Trade Fair, held in some of the more way-out sounds and effects make of guitar. O the Russell, Tavistock and New that interest so many of 1he modern gwups. PERCUSSION UNITS Ambassadors hotels in London, attracted These were very much in evidence al this visitors and buyers from many parts of GUITARS year's Fair. one of them being the Selmer Baldwio-Burns had I heir complete range of the world. At a time when most dealers Rhythm Box at 72 gns. N ine different rhy1hms acous1ic/elec1ric/solid models on show includ­ are available plus several added effects. would agree that sales have levelJed off ing !heir brillianl range of "700'' guitars. Barnes and Mullins had the Percussionel with after the " boom" period, everyone was These consis t of six, 12-string and bass models. 10 rhythms available on push buttons. On 1he looking for new lines to stimulate fresh which have been introduced this yea r with Roselli stand was 1he Auto Drum unit which great success. Boosey and Hawkes had the gives 10 percussive tones and 16 rhythms for interest. latest Ha(mony and Guild g11i1ars, along with T o a certain ex1en1. 1his year has bee n a 1ime 115 gns. l he famous Marlin jumbos and their new The Rhythm Ace Topper, a slim, fla t drum when manufacturers have. in some cases, addition of A ngelica Spanish guitars. Dallas had a range of new Framus electric and semi­ acoustic models, and Roselli !heir usual impressive display of Epiphones plus 1he new Mozzane Classic series from Farfisa, which was launched at the Fair. Taking the honours on 1he Rose Morris sland were 1he John Pearse Folk Group gui1ars by Aria with a jumbo al approximately J8t gns. lo a 12-sl ring a1 43 gns. · The Jennings guitar display <.:0uld really be 1ermed electronic rather than electrtc. These were de111ons1ra1ed in their .. psychedelic lhca1re·•. Several of their models had built-in sound-effects units opera1ed by six push bu1toos. With the in1roduc1ion of this uni1. Vox have made a new guitar ca lled the Marauder. With 1his clcc1ronic implant also available io their complete range of Phantom guitar·s. as weJ) as 1he M k.4. 6 and 12, 1hey must Sl1rely have 1he largest range of electronic guitars available. The implao1 is supplied read y fi11ed 10 1hese gui1ars if required al no extra cost. Ano1her new Vo~ guitar is 1he Winclles1er al £30. Selmers had a fine range of G ibson guitars on show including the new Hummingbird jurubo. This has a beautifully designed scratch plate and costs J 89 gns. One reall) new instnimcnl created a great deal of ailention. T his was an electric sitar which produces sounds ou1 o f 1his world retailing for 199 gns. Also on the Selmer stand was the new Hafner Dick De1111y m11I Oo,·e Roberr, demo1wra1e 1he 011e seelio11 of tlte i111pres.

10 unit suitable especially ror organs. was dis­ The Bald"1in-Burns display of ampliticrs played by Severn M11sical Instruments and included their selection 01· P.A. uni1s and gives 16 c.liffercn1 rhythms. column speakers. rlus the very stylish guitar amps Which came inw being when the American AMPS AND SPEAKERS influence entered the company. More power, and bigger speaker <;cl-ups A co111plete range of Triumph amplifiers were the feature this yea r. v,erc displayed on the Rosetti stand 111cl uc.Jing Selmer showed thc,r new 6-channel P.A. their JO, 70 and 100 wau 111odels. These arc 100/J 2 amplifier now incorporating reverbera­ very rugged and reliable as they arc siliconised tion and separate high and low i111pcdance throughout and incorporate tremelo and fuz2 inputs selling at 145 gns., as wcl I as a cheaper with attack ..ind level controls. They also llave 4-channel 100 wa11 P.A. amp at 90 gns. For an illuminated control panel and can be the lead guitarist there was the Stereomaster obtained in either a single column unit with with push-buuon tone selection in each amp scc1io11 in the top or in two separate L1 ni1s channel, with the optit1n of mono \VOrking. As with the amp split i'rom the speakers. The cosL it incorporau.-s twin 50 watt amps, there is the of the separate uni ls in the I 00 watt version possibility of using only one amp should (he is appro~imarcl)' £80 for the a111p, and £100 other fail. P1·1ce is J 10 gns. Tl1e new Tl\under­ for the 4" 12" special lead guitar speaker bird 100 wit h revcrb also tosts I 10 gns. fn c:11b1net. speaker cabineis they had lhe all-purpose 100 wall wfth 4• ,• 12' speakers a t J02 gns., KEYBOARD I NST RUMENTS and similar rnbinets wit h JS'' and 15' speakers The elec:1ro111c organ section or the mus,c in­ at 80 gns. and 50 gns. respectively. c.lustry seems 10 have been pa(ticularly active: Displayed on the Vo, s ta nd was a large during the pas1 year, hav111g µroduced a whok range of Solid State amplifiers, the largest va,·iet y of new models in all classes and price being the Supreme guitar amp with a peak. The Rosetti Auw Drnm 1111i1. ranges. output of :!00 watts. This incorporates four Hammo nd showed two new smaller 111odels specia l t2• speakers and two high frequency -!he JI 12 and the J 122-both fully transis- horns specially linked with a cross-over 10risec.l. including the amps. and have 1wo network. In what can now be termed the of power, anc.l so on up 10 500 watts if need be. manuals each wit h 44 keys and 16 voice tabs. "lower power" range, there was the"Co nqueror Also in evfdence were their complete range of They a!s6 have a reite.ra tion. or repeat µer- standard 50, 100 and 200 watt lead, bass and P.A. amplifiers. The amp sections sell for £74. £108 and .£ I SJ respectively along with matching speaker cabinets ranging fro1i1 £68-£1 J8. Metal clad P.A. amps were available al the comparative power ratings from .£74• £171 with a whole range of facilities including separate tone controls and switched outpLlt impedances. Speaker cabinets to match P.A. amps ranged from £86-£225 per pair. Hohner was showing t::cholelle amplifying equip1nem and echo units. Very favourable comments were given on their slurdy designs a nti pure tonal qualities, especially the P.A. equipment "hich, of course, has been held in high esteem for a gooc.l many years. Walkins had their Wall Of Sound o n display whic h consists of a bank or 4" I 2" speaker units on an extension uprigh1. These units can be added 10 make a ma~imum of 1,000 walls. Also on show were some ne,v colun1n speakers - 6' •· 8" aml 6" ,· 10"-which fold in half for easy I ransportntio n, and a 4' 12" cabinet. These retail for J2 gns., 42 gns., a nd 52 gns. .. respectively. A mi.~er. called the Reverbmaster. W 1,1ili11s g 11/1ar 0111p/1/ic-a1i(l11 Jt1s1 a fe"· of t/te 1111111.1· Gih.m11 gaitw·$ see11 011 coulc.l also be seen. This is a 5-channe l unit Part of the anti disp!lly. the Selmer s1u11d. with revcrb and master fader and costs J9 gns.

at 70 wans and the Defiant at JOO walls peak cussion, available 10 create such effects as a powc(, both wi th J2" speakers. All three bongo and mandolin. The two models Tetail treble a111pS ,n the Vox Solid State range at 299 gns. and 309 gns. A new tone cabinet. feature top boost, bass boost, mid-range the DI0, was also o n show primarily for the boost, reverb, vibrato and distortion. The last ··~·· series of organs, but equally effective on three features being controlled rernCJte ly by a Hammond's many other models. One larger foot switch. The prices for the Conqueror, organ was the M IOOA . Hammond desCl'ibe it us Defiant and Supreme are 162 gns., J85 gns", a ''super-charged .. version of the M JOO and and 259 gns. respccrively. includes b11i lt-in rhythm and percussion sec­ Also on view were the Dynamic, Folmda• tions. tion anc.l Super Foundation bass amplifiers Baldwin-.Burns were displaying a very com­ at 50, 75 and J 50 watt peak power outputs prehensive range of organs, several or which priced at 142 gns., J63 gn~.. and I 95 gns. incorporate extra percussion effects. These respectively. All three have twin channels and are in addit ion to their new Model 77 which feature Tone-X. the exclusive Vox bass tone comes in al' the lower end of the price ra nge. device which gives a range or bass effects Farfisa had their range o f very popu)al' never before available. They also displayed a portable organs at the fair, which consist of complete range or echo, reverb and mixer !'our Compact mode-ls ranging from 149 gns.- units for use with any P.A. o r gui1ar amp, as 295 gns. Also on view were their many console well as a colllplcte range of separate speaker models, the largest being the 6050 ,vhich retails cabinets in all their well-proved sizes anu at 540 gns. and 1s a very complete organ in power ra11r1 gs. every sense. Marshall had a new concept ,n power On the 1-iohner scene was a ne,v instrumem nmplilication on show called the Power Builder. whicl1 wil l be very popular with grnups This enables the customer to buy the first searching for new percussive sounds" This is stage of the set-up, ,vhich consists of a separate the Hohner Clav111e1. lt 1s a n electronic version pre-amp and control section with a combinec.l of the ancient clavichord anc1 is available with 50 wan power amp and iw1n 50 watt J 2" or without a builr-in transistor amplifier. The speaker section, for 179 gns. Another 50 watt J..10,-sl,a/fs 11ew ~011cepl i11 amplificat/011-1/ie ne,v range of Symphonic organs ,vas very· cabinet can be ac.lc.led later making 100 walls f'o,,.er Builder. impressive, as was an entirely new instrumenL

11 drum and Swiv-O-Matic and Knobby fittings. WHIT'S NEW IT THE Dallas had their full range of Carlton drums, including the Gigster and President outfits. The Premier §°land presented the new Five­ Star Super Zyn cymbals which are said to 1967 FAIR? give a higher pitched sound. The prices for the 12•-22• range varies between £6-£25. called the Basset, an electronic contra-bass A lso on show were the new Lokfast hi-hat and .keyboard instrument covering two octaves. cymbal holder stands. These feature non-creep With percussion it is possible to simulate a joints and are virtually unbreakable. The finish bass drum with this unit. Very effective indeed. is very sleek and modern, and the stands are In addition to their now well-known Con­ flush-based. tinental models, Vox showed the Jaguar Worthy of a mention is the Mea:z.zi Holly­ portable organ. This represents really good wood drum kit. This is filled with special value at 125 gns., and the lower octa ve on pick-ups to transfer the drum sounds to a the keyboard can be switcl1ed to p lay mc;:,no­ special pre-amplifying and mixing box with phonic bass notes or as part of the keyboard, which it is possible to vary the tones of each but when playing the accompanying chords with drum by a fantastic amount. the left hand, the lowest bass note plays auto­ matically. The whole unit folds away suitcase style. as with the other two Continentals. Another new portable from Vox is the Riviera. This is a full-scale drawbar instrument An impress!l'e ra11ge of Ajax drums.

sound is really good and it is indeed a very competitive organ at 7 15 gns. complete. The Gyrotone units are available separately al prices ranging fro1u £84-£225, the latter including its own amplifier. Selmers were displaying their 199 gns. Capri portable organ, plus a new, two-manual version of this. A smaller instrument, the Panther 100, was also on their stand and features l 61 and 81 tones operating through its own internal JO watt amplifier. This has provisions for connecting to a larger amp when needed and is priced at 115 gns. Several other firms were displaying the smaller portable electronic organs, one of which was the Mini-Gem from Rose Morris.

Jackie Brown demo11s1ra1i11g the latest Farfisa organs. Bi/f Page demo11s1rates !he /ates, Thomas amplifiers. providing the fundamental sound of every note plus every harmonic, which can combine EFFECTS into literally thousands of musical tooes. This is the first time where it is possible to Designed for the pop serious musician alike, describe not only sound effect units, but al:;o this model has two manuals and a detachable lighting units. 25 note pedal board. Pitches of 16' to J' are Jennings were displaying their new psyche­ obtainable with independent reed, sustain and delic lighting columns which flash in red, green, percussion tones. It can be dismantled for blue and yellow lights in sympathy with the easy transportation in less that one minute, frequencies which are being fed to the unit. and therefore fil ls today's requirements ad­ The main lighting columns cost £ 131 and the mirably. When used with the Gyrotone rotating slave units £105 each. They can be fed direct speaker unit with which it is supplied, the

The Philips Philicorda.

Priced at 85 gns., this is ideal for a small group or a beginner. Of course, no mention of keyboard instru­ ments would be complete without T homas organs. This company has recently formed an English company and showed their range of instruments in the Tavistock Hotel. They had the complete range of their console models which are available right through the price ranges. In addition to this, there we re several new electronic amplifying units. DRUMS One or two additions to the drum world came to light this year. Besson displayed their Jusl afew 0/1/,e Hoh11er producls being displayed, Rogers kits complete with Dynasonic snare The Lok/as/ drum and cymbal s1ands.

J2 it the blues)", and "Workout, Stevie, Workout'', were comparatively weak in their subject matter, and were really just showcases for his very individual harmonica style. BIG lf the Motown group conjure up for you an image of a farruly, then you are not very far wrong. Many of the artistes and producers are related, STEVIE sometimes through niarriage, or have been lifelong friends. te ie was adopted by " the family' when he was first heard by his best fr iend's brotber, who happened to be Ronnie White-member of the Miracles. To launch Stevie in the States. w Motown issued three long players. The first demonstrated that he a lso played drums, bongos, and piano quite pro­ ficiently. A second a lbum- "The Jazz Soul Of Little Stevie"- showed thal he mjght have turned to jazz if he" had not been so successful with his pop efforts. Brili "1 Music S1ri11gs enli.,red 1/,e The third- "Tribute To Uncle. R ay '­ g11i1ari.r1 John Pearse. showed that Stevie had been inspired by R ay Charles. from the loudspeaker connec1ions of your main amplifier. STRINGS Just about every gui1ar is1 ,viii have heard of U.S. IDTS Cathedral strings, These are produced by British Music Strings, whose stand at the Fair Little Stevie didn t suffer the fate of was occupied by folk guitarist and TV person­ many child successes like Shirley ality John Pear c. His name has been given to Temple, or more closely parallel, one of the new ra nge of strings from thi · Frankie Lymon. His strings o f Arneri­ can hits remained fairly unbroken with " Castles In The Sand'', ''Hey, Har­ monica Man", ' 'Hi-heel Sneakers", etc. After a while the theme of Jove crept into Stev ie' s songs, and success came in the shape of "'Nothing's Too Good For My Baby" "Hey Love", and •·1 Was AMLA-MOTOWN records Made To Love Her". T While all this was happening, Stevie have notched up a consider­ put on a lot of weight, bot up a few ab]e amount of chart success in feet, grew a moustache, and generally England. But apart from the defied the description "Little", which Supreme , and, perhaps, the Four was of course, dropped. o doubt in Top , very few of the Detroit a few years' time when Stevie Wonder ha assumed gigantic proportions we'll artistes can claim a regular pot be listening to Big Stevie W. in the best eller . . So the picture is quite a familiar one. Stevie Wonder is no exception. "I With more than a dozen American Wa Made To Love Her" was just too hits, Stevie has only managed two good a record to miss. It spelt the end entries in the British charts. His label­ of a rather Jean period of sales that had mates the MarveJettes, however, recently lasted since he made the top ten over a had their first success here with their year ago with "Uptight"- equally tag­ 14th release! gable .. cla sic''. The British record buyers seem to Another Wonder di c of similar high have reached a stage where al though standa rd was a two-sided million-seller they are buyiog more and m ore Tamla­ called "Fingertips'' . I remember it well style records, they arc sti ll very selective. for the piano player's yells of "What Very strong material like ''Reach Out A Jew of tbe General Music S1rii1gs _prod11cts. key? What key?" in an effort to keep fll Be T here·, o r " What Becomes Of up with Stevie s harmoniea. lt was a company. Also available now, having been The Broken Hearted?" i needed to introduced quite recently, are the Blue Circle record ahead of its time for this make it in a big way. guitar stri ngs. countr~1, topping the U.S. charts as far Soon we' ll be .-iearing the foUow-up General Music S1rings howcd their Picato back as 1963. to " Made To Love Her' , bMt Stevie and Monopole ra nges. 1hc former packed in At this time Stevie was b illed as polystyrene screw-top containers. Several types Wonde(s future seems so a ssured that of strings from rh is comp·any will shortly be ''Little Stevie Wonder, the 12-year-old whether or not the next one makes it, availabl e in sealed packs, but at 1he time, it genius". Hi single records, li ke "I Call the charts will not ~ave seen the last of wasn't known exactly which type . It Pretty Music (but the o ld people call him.

13 I* IN THE STUDIO *

GIVING THE FACTS BEHIND THE HITS W HE. Svensk. a new The next single from the recording duo, cut Amen Corner. "Living ln "Dream Magazine" in PYE's The World Of Love", is a No. 2 studio, they decided to Mort Shuman composition use a genuine church pipe and was re orded in the organ for the session and it ADVlSION studios. Noel took over seven hours to get Walker who produced "Gin jt into the studio. Both the House", has also arranged boys, Roger l-fopkins and this newie which, according Jaso11 P aul, reckon this disc to aJI reports, has the same wi ll make tb,e Number One feel as "Gin House" , but is spot. At least they're confi­ much more commercial. AD­ dent. Another new group to VJSJO was also the birth­ visit th,e PYE studios recently place of " Daughter Of Love·• were Hapshash And The by new boy Bid du. This Coloured Coat. ow there's nu mber was produced by a name to be reckoned with. Tony Visconti, Denny Apparently, thjs Flower Cordell's assistant producer, Power, hippy-happy group a nd will be released on the more-or-Jess took over the revived R egal Zonophone studio for one big freak-ou t. Jabel. Should have been i ntere ting. Apart from that, the majority U.S. TRIP of groupll recording in Pye The DE LANE "LEA recently have been regu lars. studios in London's Kings­ lnson Puu/ nn,l R,>,:er Hopkins , beli er known n.r 1•ensk, uen recording People Jjke the Kinks, the way were closed for two " Dream Mngn:ine" in P)'l'S No . 2 studio. Creation, Diane And T he weeks recently. This was to Ferris W hee) a nd Episode enable work to go ahead o n has now been made bass and t he Five Dimensions? A Six. one wall of the studio which absorbent. Whi le th is was couple of years ago they going on, engineer Dave were doing great business on Sjddte flew to the Stat.es to the ballroom circuit. But they look over American tudios fo il ed record-wise, and the and factories. Si nee the re­ grou p di sbanded . ow they' ve opening they've been pretty been re-discovered by St. John busy, Keith Wesrs Tomorr w Howell who has produced a recorded a Keith West/Mark new record jn the HOLLICK Wirtz composition call ed AND TAYLOR Birmingham ' Revolu tion". T he Tremeloes took over for two days in HOLLICK & TAYLOR which time they recorded a RECORDING CO. LTD,, 16 GROSVENOR ROAD, number of tracks for future HANDSWORTH WOOD, release. As usu a I, the prod uc­ 81RMINGHAM 10. ti o n sid was handled by T•lephon": 011 81Rchlieldo 4146. lor:ett rechnica, (ac.ilities a nd " Kf'low· - FOR SOUND THAT STICKS PYE STUDIOS PHONEAMB.5502 Mike Smith. kow .. to produce rclco1e- rccord1 and Remember Jimmy Powell ... Oemou d i1c1.

.14 this parti cular track was re­ corded in Studio " B", and the strin gs etc. added in Studio "A". EFFECTS ADY I SION's Gerald hevin is still raving about the ldle Race, the group di s­ covered and recorded by him­ self and Eddie Offord. T heir " Here We Go Round The Lemon T ree ' has been re­ leased in the States to very favo urable reviews. and a new singl , " Im posters Of Life (Magazine)" has just Jimmy Po, .. e/1 Aud The Di111e11sio11s recorded their /ates! si11gle i11 the l-fo!lick been completed for English a11d Ta_1•/o r s111dios. release. According to Gerald, studios, It has a very pro­ have impressed engineer this number has about five nounced Trini Lopez/Herb Adrian Ibbetson. "He's a gu itar tracks, plus weird Alpert bea t, and is ti tled really nice guy to work wi th , Wah-Wah pedal effects, in­ "Unexpected Mirrors", a ong and very professional. I don' t cludi ng some on the voices, composed by Jimmy. T he know if this wi ll be a hit or but very subtly done. They've group have now dropped the not, bu t ifs about time he tried just a bout everything "Five" from their name, so had a not her one ". wi th this group, inclllding a if you decide to bu y the disc, couple of Mell otron tracks. don't th.i nk it's a different NEW ARTISTS Best of luck fe ll ers, you group. New arti sts using REGENT deserve it for sheer hard Billy Fury has been wirhout recen tl y have been the Play­ work. Gerald Che,,;11 at !he con//'ols of a hit for some time now but ground recording " At The Al though "So Long D ad'' Advision's mixer. ''Suzanne In The Mirror'' Zoo" (no reference to the wasn't an ADYlSJON pro­ could change that. Recorded studio), and Pete Delio with duction, Manfred Mann has Cameron has just returned in REGENT SOUND's " Do I Stil l Figure In Your recorded some tracks there from the Sta tes. He main­ Studio ''A", Billy seems to Life?". The backing track for for the "Up The Junction·· tai ns that even though tbey fi lm, including th e ti tl e so ng. use 8, 12 and 16-track tape Like Dave Siddle, R oger .machines, the rea son for their ANOTHER HIT FROM A.K.G. £12 - 10 - 0

Inexpensive Directional Public Address Mike extensively used all over the country.

* Good quality * Robust construction * High or low impedance A sec1io11 of 1he Johnny Pearson Orches1ro seen or a " Top Of The Pops' * P ress to talk switch push rehearsal. button action swivel adaptor * 15ft cable * Attractive carrying bag REGENT SOUND OBTAINABLE FROM MOST MUSICAL INSTRUMENT SHOPS! COMPLETE FACILITIES

POLITECHNA (LONDON) LTD., FOR MONO 1 STEREO & 182-184 Ca mpclen Hill Road, Kensington, LONDON, W •.R , FOUR TRACK RECORDING Tel, 727-0711 P.8 .X. STUDIO SOUND (HITCHIN) mono and stereo recording masters and demos TUDOR HOUSE immediate demo discs 31-36 HERMITAGE ROAD HITCHIN, HERTFORDSHIRE tape-disc transcription TEL HI TCHIN 4537 free literature avai lable

engineers, many of the leading STUDIOS one track ''When independent tudios are being A Man Loves A Woman·•, flooded with employment ha also been released as a reque ts , So many, in fact, single in Germany. The studio that one studio has requested has now installed a new us no/ to print that one of Ampex 4-track tape machine, their engineer is leaving. and arc currently working on new tracks by the Second City CO TRACT Sound and Tiles Big Band. Kaleidoscope have been in It took 18 separate ses ions and out of the PHILJPS' to complete "Ex.cerpt from a tudio since last January. Teenage Opera' , and four Two of the tracks can be engineers. The recordings heard oo their current single took place in EMl's No. 3 "Flight From Ashiya '' / ludio under A & R man "Holidayma.king", and in Mark Wirtz, and it took SO ovcmber, another dozen will hours including reduction, comprise their first aJbum. before the finished product All these songs are self­ was ready. Says Mark: 'The Prod"cer Tomm,v Seort and engineer Adrion l bbelm11 hard ar work 111 Regel!/ S01111tl' s111din 'A'. composed items and were original version was 9t produced by D ick Leary, minute Jong, and that's what great sounds is the capability recorded at STUDIO RE­ recording manager of FON­ you' ll hear on the "Teenage of their musicians nothing PUBL[C and released some TA A. The record company Opera' LP. The four en­ e(se. Some of their mixers time ago. Now it's been mu I have a considerable gineers used were Peter aren't so advanced as ours, re-reduced, simplified and amount of faith in these four Bown, Jeff Emmerick Peter and lbe who le secret of their wilJ oon be on sale again. boys, because they've been Vince and Malcolm Addey. record sounds is the good Those EP's are all German signed down to a five-year Peter Bown recorded the session men. classical numbers with a beat contract. rhythm tracks, Jeff the brass, STUDIO REPUBLIC, out and played by George Bl ack­ That " Whiter Shade Of Peter Vince the children and io Pinner, Middlesex, seems more, a very respected organ­ Pale" a lbum we mentioned violins, and Malcolm the to get bu ier and busier. ist. la t month is now selling well voice'. Could be that Brian They've just recorded some in Germany and Scandinavia. Wilson has got ome compe­ track for Finian·s Combo, a RIOTS Recorded in the JACKSO tition. new group from Leicester, Ha ing a recording studio produced a series of Ham­ near the Chinese Embassy mond organ :EP's for the could have proved na ty. German market, re-reduced JBC a re situated only a a Sheila Hancock single and couple of doors away, but are preparing for a new many of tbe staff seemed to mixer to be installed. This is regard the recent riot a an their own de ign and will be interesting break. They must installed during October. be the only stud io to have Soon after it will be mar­ recordings of a Chinese riot. keted generally. Wonder if they could be u ed? That Sheila Hancock re­ Getting back to the beat scene, cord. a take-off of "I Got Cat Stevens has been spend­ You Babe"', was originall y ing a considerable amount of time in the l BC studios, as have the Bee Gees and Rey CENTRAL Anlon. Rey has now split with the Peppermint Men SOUND and has formed a new gronp. (RECORDING) Managing director Allen Tony Pike's Pulney s111dio is inside a se111i-de111rh <'d l, r111se. STUDIO Stagg leave the company at the end of September to ta ke For Professional-Mono, up a new po ition as General 1-4 TRACK RECORDING Stereo and 4-track Manager of the EMI record­ STU 010 recordings ing studios in Abbey Road. REPUBLIC MASTERS &* DEMOS Masters and Demos All the be t Allen, in your new Duai/.s: CHURCH FARM, IMMEDIATE* DEMO job. PINNER, MIDDX. DISCS 9 Den.mark Street. London, With o many young people W,C.z. TEM 6o61 01-868 5555 Send for FREE Literature wanting to become balance

16 Bi's CHART FAX

1. San Francisco (John Phillips) Scott McKenzie RP- John Phillips/Lou Adler. S- Aml'rican. MP- Dick James. 2. l'IJ Never Fall In Love Again (Lonnie Donegan) Tom Jones RP- Peter Sullivan. S-Decca No. t. E-Bill Price. MP- Tyler. 3. I Was M.ade To Love Her (Cosby/Hardoway/.Mo11/ Wonder) Stevie Wonder · RP- H. Cosby. S- American. MP-Jabcle. 4. The House T hat Jack Built (A /an Price) Alan Price RP- Alan Price. S-De Lane Lea. E-Dave Siddle. MP­ Alan Price. 5. Even The Bad Times Are Good (Mitch_Jvfurray/ Peter Callander) Tremeloes RP- Mike Smith. S-R~cr,t "A''. £-Adrian Ibbetson. MP kidmore. 6. AU You Need Is Love (Le1111011/McCartney) The Beatles RP- George Marlin. S-OJympic/EMI No. 2. E-Eddie Kramer/Jeff E mmcrkk. MP- orlhern ongs. 7. Just Loving You (Tom Springfield) Anita H arris RP- Mike Margolis. S-Olympic. E-Keilh Grant. MP­ Chappell. 8. The Last Waltz (Les Reed) Engelbert Humperdinck YOU CAN WORK CLOSE UP ... RP-Peter Sullivan. S-Decca No. ). E-Bill Price. OR AT A DISTANCE MP- Donna. 9. Death Of A Clown (Dave & Ray Davies) Solves practically every micro phone placement problem with wh1ch Dave Davies the pro fessional entertainer comes in contact. Built-in wind, RP- Shel Talmy. S-Pye No. 2. £-Allan McKeniie. breath and " pop" filters make them ideal fol close-to-the-mouth MP- Davray/Carlin. use. Unid irectional pickup pattern effectively suppresses .iudience 10. Up, Up And Away (Jim Webb) noise when working farther from the microphone-controls feedback Johnny Mann Singers (loudspeaker "squeal"). and can be used much closer to loud­ RP-Jack Tracy. S- American. MP-Carlin. speakers than Ord inary {omnidirectional) microphones. They will 11. Excerpt }from A Teenage Opera (Keith West/ Mark prevent the "boomy" echoing that sometimes occurs in partially fille d halls. Remarka ble freedom of microphone placement faci~tates Wirtz) Keith West orchestral and vocalis t positioning on small stages or studios. RP- Mark Wir tz. S- EMI No. 3. E-Peter Bown/Jeff Emmerick/Peter Vince/ 1akolm AThe Turtles RP- Joe Wisserl. S-American. MP- Robbins. A 19. ltchycoo Park (Marrioti/Lane) The SmaJl Faces RP- Marriolt/Lane. S- O lympic. C-GJyn Johns. MP­ Avakak/Immei!ialc. ~~ 20. Let's Go To Sao Francisco (Carter/lewis) 0v:c•i..,a The Flowerpot Men R P-Cprter/Lewis, S outhern Music. E-John u"-NISPJ:-:[E RE'M Mackswi lh. M P----Carter/Lewis. FEEDBACK -CO NTROLLING RP-Record Producer S- Sludio - Engineer MP- Music. "POP"-SUPPRESSING Publ ishec. UNIDIRECTIONAL MICROPHONES

17 1s over the people who copy everything, who come in and make a commercial scene out of things chat work for ocher artists. And I'm also SPACE-AGE MOVE not mad about records by Frankie Vaughan and Engel­ bert Humperdinck being in the charts because it's the CARL Wayne, of the we can create weird sounds do anything that we're not same o ld corn. . . Move, turned up and sights. Our view is chat it 100 per cent behind. We "A lot of people are trying isn't enough just to go on have a little indecision inside to progress in this business. with some wooden stage and sing and play. The the group and chat is what we decorations round his It's difficult. Musically you've old Images of a stage prod uc­ have to work out of our got just 13 notes co play with neck. He talked about cion are over. Soon there will systems. We wane co be -obviously some of them, s mashings-up on stage, be, say, Indian dancing, or something of repute. experimenting, will come up about the space-age acting, or anything included "The early Move was just with the same thing as some­ image, about drums, In a stage act. I'm not saying a phase. It's now forgotten. body else. But we must look that is what we plan, but we ft served its purpose. But about ungrateful pro~ co the future-forget today. have co go for ch e fife h we've always had the view People like the Doors. Moby mote rs . .. and about dimension. that we wil l do the best we Grape and so on are getting those wooden decor­ can for those who like us ... ahead. But it'll all be more ations round his neck. PRINCIPLE and chose who don't like us visual than it has been. I even A spores-loving, fast-talking "So we plan co t ake three can actually leave the hall. think one-night stands as such and thoughtful sort of bloke, or four weeks off from the Now we're with Regal Zono­ wil l go because you can't give Carl started off with: "Best scene. That way we can get phone- our aim is the same. the room and che equipment thing to describe what we're what we want-and get tt We want it to be known as on chem. It' ll be centres, like doing, as a group, is co say exactly right. It also means the label with the Move on It. che Saville Theatre in London. we're on a space-age thing. chat we'll lose anything up to Procol HaruITT, too, obviously We intend to progress and [ 10,000 fn income. but we -but we want a direct link PUT DOWN be really futuristic and that don't think that money mat­ with our record company". "People, promoters even, means doing something dress­ ters much when you're trying Another sip of the Coke. are always crying to put the wise. So we've ordered new to establish a principle". Said Carl: ' 'Guys like Jonathan groups down. You gee these suits, in keeping wich the Carl paused only co sip at King criticise us for wearing hefty laughing bouncers hav­ space age, and they've cost his Coke. He went on: " Our beads and so on, cashing in, ing a go-celling you what co about [ISO each. prfnciple is just that we don't he says, on the flower scene. do and when to do it. We "And we're determined to want to be tagged 'just Ridiculous. We were wearing could call in SO or 60 heavies use our own macerlal on stage. another group'. We've had beads on 'Top of the Pops' from the agency to sort them This doesn't mean just Roy our hits and we've established around the time of 'Night Of out. but that's not the point. Wood, who has done most of ourselves. When you start, Fear·. We don't wear them Groups go in co a show and the earller material . . but you fee l you'd give anything now. But we do wear things do their best to encerc:iin the al l of us. We're working co have a hit record. Then you like I'm wearing now ... kids, not the promoters. together on this. We may get up there in the charts and genuine Red Indian stuff that Doesn't matter if the pro­ get ideas individually or to­ some strange sort of inferior­ 1s 140 years old. You can't moter isn' t even there. gether but instead of going ity complex comes over you. buy chis sort of t hing in a shop. "We're planning all the off to the clubs at n1ghc we It is odd. but you feel that "Our single 'Flowers In way. We may destroy the meet in ea.ch other's flat or you're being regarded as a The Rain'. So we were cashing image of a drum kit as it house and gee down co pro­ one-hit wonder or something. in on the flower scene! Rub­ stands now. Do away wit h viding the right sore of songs You feel you must do some­ bish. We recorded chat some che two side drums and use for us as a group. thing different 1n order co be IO months ago, actually for an tympani. Do away with the "Our space-age presenta­ rated as anything . . . LP crack. le was decided co usual cymbals. We muse be tion will include lighting effects "So we go Into hibernation. release it as a single before different and prove chat we're and a cape-recorder so that The point is that we won't 'San Francisco'. My pet hate not just another group." P.G.

18 other single and d-ouble manual orgoM in the Vox Continental Rongc.

Jenn ings Mvs col Industries ltd.,V ox W o fks, Off W e st Street, Erith, Kent, Englond. a11g.le to Coun try 111L1 s1c . Specia lly writtell material . in country- tyle . bu1 perrorn1ed b ·u 11011-coun1I·y an1s1. and W music, 11 w f!rowinQ in - p pulariLy. h::id a sr~ong boost from ''old learher IL111g .. _ F. L aine.

EA RLY R & B BY PEI'E GOODMAN In pas Ing. I'l l mcrHion Lloyd Pri.ce's "Lawdy Mis · CJawdy", simply be-:nu gc i1 HES.E days there are Trend- et1ers of 1he F1rt1es. was an early R and B (r1L1mph , T anyth ing up to 70 Nexr 111 nth: the Si;ties. before the ''craze" hi1 Britain. Of cour,c the whole scene Bu! it was only a minor trend sin gle records pushed out w:1, differenr in the Fit"ties. in itse lf. But comedy-disc ever week . That's Decca Record , 111 1950. were run~ wo n· t argue with a around 280 a month the firsl c-omp,rny to launch men1io n or Stan- freherg, for or, if you rea ll y let your the. modern long-pla ye r in ' St. George and the Dragonet" imagination run away Bri 1~1111. There \Vere far rewer coupled with "Lin le Blue releases. 100, in I hose days. RidLn!! Hood"'_ This was long with itsel[, not fa r off I've been com ple tel y throllgh pre-Goon but I! triggered oil 3,500 a ye ar. Most of the li. 1s and Lhe chuns of a pa te of mitkcy-tak in g items them stand little cbance !hat de ade-tlie offic1;'\ l Top 11 long-revered topics of cl icking. But , every T\ en1y sta rted in Britain in in rhis case 1he Americ. 11 so orten comes the real 1942. ·though berore that a 11:ane te r TV .series. "char1·· was based on ales of - F;ank ie Lai ne, looking to BIGGIE ... the one 5heet mu ic. 1953. eets another inenlion th at ets off a whole tt round- herc. H is ''l 13e ljeve" new cene m the pop ZITHER STAR a religiou son or pop ong. industr y. You· II probabl disagree iayed a t tl1e LOP here fo r T hese can be ca lied the with some or my electi ns. ri ea rl y five m onths. Some l rend-setting record . They' re Prob,1b ly claim I' ve left out people found it offen ive. th is few and for between but thev ome notable ones. If so. let com mercialisa ti 11 process or inject new life inro the busi"­ me know. Bu t meanwhile, well-written lyri c~- but think nes ·. And we're going t let" kick off- a· 11c1:1r in how many reli giou r op hiL 1·ecall ·ome of the ~e e~cep­ chronological order as T po - ,11 011e ri111e, Bill Hole \' ,,,0 ,1 rht:' lhc re ha ve been ince. ti on:11 i c-~. startin g with the · ibly ca n . ... ·•Kiny ··. Mark d()\ n Apri l 12, 1954. An ton Karas and hi "Third ,1~ a big date. This wa s \vhen Man Theme", played on and the ability 10 cry real Bill H aley and the Comets zither- .111011 having been tear on stage. His firs t bi ggie recorded "Rock Around The ui covered in a Viennese club "Cry" wa. our in the St:n e~ Clock''. Thi wa the . ta rt and ubscquently signed to in 1951. late r· becoming a of group rock ·11· roll. And make a fi lm sound-track by number on in Brita in . ,vhat nn incredible s1ory the Ca, I Re ed. Wh y I rend y? .lohnnie. Oregon-born ;) nd disc had. rt w,1s relensed in Beca use it opened up the part Creole India n. had other Britain in 1954 ri nd didn·t 1rnuket for ·'unusual'' i11srr u­ big bit but he always )(cpl mean a thing. Tl,ei; it. and mental discs. ·'Third Man " "Cry ... hi " luc ky charm'·, a. the Comets. we 1·e fei:itured in sold nearly 5,000,000 cop1e~ his igna ture tune. Johnnie' t)le X - certificate movie and . in turn, was much hit wa a very peci ,11 trend­ "Blackboard Jungle' ' copied. Karns remained the sener because it n1e::rnt that arid , uddenly fans !art ed guv·nor figme. however .. male star were no longer rock ing in the ci nema aisle . Must include Guy Mitchell's scared 10 pour REAL en10- In 1955 it was re-released an d "My Heart Cri es For You '. tio11 in to a son!?_ Hi hal f­ was an instan t h it. And for The ro nner child-st::i r act r. sobbi ng. h:i I f-si~iging sty le the next couple of ye,l(s it then 24. 1riggered off hy, tcria w c1 copied by umpteen w, s a very odd week ind eed for the bouncy, yet mature. othe.rs-buL it was Johnnie when Haley dictn·1 h:we at male singer. His influence on who c lea ned up on three lea st two disc in t he T op Lhe bu. ine s was very con- world lou1 ... Twenty. idera ble- a nd I just wonder l'd al o li, 1 Franki e La in e's I gues Slim Wh itman's why we don't hear or him " High N oon ' '. Thi wns the ''Rose 1a ri e" is wonh a nowadays. Edd ie Fi her. theme rrom 1he brilliant mention . Thi coun try gen tle­ Frnnkie Laine. Nat Cole. Western or 1he amc- name man . witl1 tl1c painrul ly slow Como a ll fol lowed th i an d wo n a n Academy Award draw). irHroduccd the yodel " mature'' trend through . ror the Be t Film ong or into pop mu ic . So now you Through 1 .Johnnie Ra . 1952. Laine had been around kno, 1 ho to blame! In ci­ Here was incredible hysteria on the scene long p1·i r to dentally in the mid-Fifties, JJ11dd.r !--folly is sl ill a il!J!l!11dwy - all ror a tall, Lhin guy with thi ma ive hit . . but 1he lhe charts were often very ji{:lll'e, a hearing. aid , a boyish smile cowboy lyrics added a new strn nge indeed. T found..:._ one

20 11eeh. where the Top T en we I·e ca 1·ei'u lly ~tudieci . Steele first I'm "' Rock With 1ncl nded I Ince versions oi' i n no lime, he'd become th e The Caveman '', swirrly rol ­ "Stn\ 1HnT In P,\r,1cli~e·· . two number one at1rnct1 on in the lowed by "Sin ging The Bl ues". or "'C h~eny Pin .. ,l!KI IWO or world . T ommy wu THE first big "Unchained M elody" How do you deline a Britis h r ck stur. He rormed llnly t)o. dilfr1ent ~ong~ trend? W:1 s 'Diana" by Paul his own Haley- lL ke g.roup and re prese nted . Anka a trendy one? Th i~ self'­ was a ~111<1 sl1 e11 ation. An pen 11 1:: d item m,tde him .i l111inhibi ted Coc k'ney, he took CLEA CUT 111il lil.1 11:iin: al 16. Ccnainly orie.inal rock 111.tteria) :rnd Lh e Crickets ( w11 Ii 13uddy ca L;-;;ed furore wherever ht A mention fo r Pac Boone Holl v) nnist be n1e11Iio11ed .-1 ppc·1red . He bobbed and and "Ain 't Thar hame " i'or ''That 'll Be The Dav'' in weaved 0 11 ~, age, ra diating becau e he broug_hl 1he clea n­ 1957 . , nI1 I litter for° 1he i1· sheer ch,lrin • .. :lnd udden ly cul. torn lly LI nobjecl ion;l ble. rock-11°11h-string~ '"I t Dnes 11 ·1 a rccul i;1rly Briti ~b f nrm of college boy im.ige to rock M a1 I r An v More". Holly·~ rock .i nd rol l 111,r born. and roll. And Jamrnry, 1956. inAuence w·a s cnor·111ous · produced " Rock lslaml Line ' Hga i 11 espcci-1 lly i 11 13r ita 111 . CARBON COPY by 011e L nnie D nega n. Thi$ Tab Hunter 's "Vounu Love" was trendy in rhe e.,1re111e. was. trendv- fo1 · srnrtinc. film And fi nal ly Cliff Rich ard, IVdS 1 Skime born - with a 111 il­ ~tar~ 1n :\ breab1\va -voc·al T,11111 111· S1eele tlll'firsl Bn/1;-/1 Rori, angina lly bac ke d by I lie lion part-time mu sicia n lin ing kick . 1'/11/". Drifters. ''Move lt" wa rea l ly up 10 copy Lonnie I ith 11ieir the trend etter. A ne:H- c-a 1·bon du I bin ba . e and Lheir by Shi::b- Wooley wns ~imd ar. c p , of' El i,. !h en. Ihe teen­ £ui 1:ns. Lo nn ie-. fonnc1·lv with Chr is Barber, Doncga n a p:nl. uge Cliff used the same move­ the Chris Barber Jaa ·sand. also ge t in !'or rhc Monty menl~, the sa me throbbing recorded this number 1v1Lh t1nsl1i 11 e clarinet ,olo instru­ voe,\! tyle .. . :.111d jf wo 1·kcl i1s frantic 1e111p on ,, 11 LP rnenlnl "Petite Fleur". "Side He . I 1ned trn TV in Septem­ " New Orleun~ .lovs" in l 95J. Saddle." by Russ Cof1\ ay . be r. 195 . .i nd has been ·\ Skiffi e \ cnr 0 1\_ of COll!'se. ~t uned a whole crop of b1g­ tre mend ous star ever ince. and Lonn ie himselr moved ~mili11g honky- tonk pirrnists. or COllrSe hi group had to 10 pastures new. Bu e in that "Mary's Ho y Child ", by be ren amed rhe Shndows. . :iine January a story ap­ Harr Belafont e- fi r I or the A 11d t hev had a trend setter pe:ired of"The Boy With The disc~· sp ecially for th e in . . ah, but th:'lt was in th Pl a tinum-Plc1 1ed Pa late·• Chrisllm.1s season. eArJy Sixt ies. We' ll dea l w11h Elvi Presley, yep! By M;1y or But the la sl part goes 10 ( hose ex cit Ing year. ne ·r 1h a1 yea r. he'd swept the two Briti h artist . Tommy 111011 l 11 . ch:HtS or 14 COU 11l l'ies with "Heartbrea k Hotel ''. A gim­ micky style of perform; nce helped,but1hefoc1ist ha1 Elvis. D11t111e J;,"d1h 1,•oy 1/i.• 111.111"11111e111<"il wl,c, virtually swneu hi s own //"<'11d-1·e11 ur,' Any drum sounds br nch or the di C i11Justry. ;tl o proved that a white Bobby Darin 's " pli sh bl)Y cou ld handle aut' hentic plash 'wns virruJlly comedy better v,ith rhythm ' n' blues. Wh atever rock .. . and trc::ndy. Duane has happened to him in ce. Eddy 's " Rebel Rou ser" for he wa~ ta ken very e1·i u ly ge lling solo guitar ,\way on in blues ci 1·c le in those clays. rec ord s ( 1958), And Conni e He triggered ofT an incredible Franci wilh "\\1ho' orry band of followers, specittl ly in 1ow ?", which set in motion Britain. Hi pelvic gyra tions 1h e I hole girl singer sce ne , es. pecial ly f girl tfl klin g re viva Is or oldies. Laurie L on­ do n. ton- for in ~pi ring a glu l or J4-a nd 15-year·-old prodi- 1!.ies wiLh his "Got The Whole World Tn His Hands". Can't leave out Jerr Lee Lewis fo r either "Great Balls Of Fire'' or "Whole Lotta Shakin ' Goin ' On " ... for thi was rock wi th violence. Piano-pot111d i11 g ex hibi tion­ ism which i s1ilJ madly love d by th e ro k brigade. He, 100, exerted en rm u in lluence. They're long lasting too! And there , a~ "Witch Doctor" by David Seville-a Everplay-Extra heads are fitted on more than beat btH wilh come.dy twelve brands and are sold in 104 countries surely a trend- ener lhough ''Purple People Eater" ''God" played a o ne­ and Tumblin' " pushing the nighte r in Edinburgh al ready-e lecc r ic atmosphere up a_few degrees. Head bent recently-and conver­ sideways, almost swallowing ted a comple te audi­ the mike, Jack sent his raucous ence to the faith of harmonica message wailing to Cream . every corner of the club. Resplendent in red velvet "Hot in here, innit1" in­ Jacket and white bell- bottoms, quired Clapton innocently, Eric Clapton, the Al lah of surveying che sea of human blues guitar, turned-on a sardines as he waited for the packed capital audience with applause to die down. an hour of sounds weird and It was even hotter by the wonderful. time Ginger fin ished his own The packed house was an solo "Toad", prom peed by achievement in itself. Edin­ "we wane Ginger" from the burgh audiences are con­ masses. demned by their few original The announcement itself local g roups as too unrespon­ was greeted enthusiastically, sive and Tamla-bent, but then che crowd lapsed into turned up in force to Join the expectant silence as Eric and handful of believers and see .Jack, having st arted G inger what Cream was al l about. off, went backstage and left They weren't kept waiting. him to it. Clapton appeared on stage in CREAM Beginning with an appro­ an immaculat e Hendrix hair­ priate mi litary roll-the Ed in­ do to be greeted by the burgh tattoo was being re­ uninitiated with cries of hearsed half a mile up the ., golliwog!" and by the slightly CONVERT road- Ginger tore into his more knowledgeable with "we marathon solo, the kit shaking want Mayall!" drunkenly under the barrage and che flashing house lights STORMI NG "N.S.U." CAPITAL creating weird patterns on the abstract drum skins. · We want god 1" replied Five minutes lacer Eric, the followers, and Messrs. fag in mouth, strolled back Clapton, Bruce and Baker sec on co see if G fnger had about storming away a good finished. Quinically watching deal of Tamla resistance with the tireless thrashing, he de­ their opener "N.S.U." , ham­ cided that the drummer had mered into the crowd with all enough energy left for a few the force of four massive more minutes and wandered IO0-watt Marshall units. off again. This produced mor·e ap­ plause from the followers than APPLAUSE most Edinburgh groups can But aft er 10 minutes Jack, claim in a week, and the deciding it was time to take a number of Cream fans in hand, strapped on his guitar the audience doubled im­ and Eric joined him to guide mediately. Ginger took a long Ginger back to earth. Touch­ swig from a milk bottle and ing down with a final flourish looked satisfied. on every drum in sight, Ginger "Tales Of Brave Ulysses" hurled away his third pair of was next on the agenda, sticks, swung off his stool, Clapton swapping his weirdly­ when he nonchalantly tossed everyone to their side, Clap­ and staggered off to lean painted Gibson S.G. Special a stick in the air and missed con stripping off his jacket for agalnst Jack's bass amp. for a conventional-coloured the return. the announcement and earn­ amid a storm of applause, Fender Strat to produce un­ But the crowd were so ing himself a round of cheers glaring at his kit as if con­ believable backing sounds completely with him by this and wolf whistles. sidering murdering a dear behind Jack Bruce's vocal. time that Ginger escaped wlth "It's nice to have an friend. G inger was already deep in only a couple of derisory audience chat's alive for a He postponed the execu­ the mood of things, and his cheers from the non-drum­ change" was Clapton's com­ tion to return for the last stix-work was keeping the mers and a mild smile on the ment when "Wine" brought number, "I'm So G lad " , drummers in the audience face of a young lady sporting the loudest cheers yet- then, which Eric turned into an s pellbound forthesecond time a splendid Clapton/ Hendrix back w ith his Gibson, pro­ up-tempo 18 12 overture, and chat evening-a casual two­ hairdo who sac on stage next ceeded co liven them up a bit before the audience had fu lly bass drum roll w ith his feet co Bruce, until then without more w 1ch his solo " Steppln' regained their minds the group had already knocked them moving a muscle. She'd ob­ Out". had collected the young lady out. viously seen it all before. Barely time to cake a and folk singer Barrie Webb, The spell was only broken G i n g e r's comp o s It Ion breach after that and it slipped out into the night and at the end of "Ulysses" "Sweet W ine" finally brought was Jack's turn, his "Rollin' were back at their hotel. ,, L~T 13ALUWI~ VUTTt-i~ ~~w ~OU~U 1~~ouv Lit=~.

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CHERRY TREE RISE, BUCKHURST.t:_HILL, ESSEX L------~ INSTRUMENTAL NEWS BEATLE NEW SURPRISE REPAIR SHOP During the Beatle's recent trip Former Vox engineer Syd to Greece. John Lennon decided to Wedeles, has now joined go Tnnrumenr hunting. He's got a big thing about collecting as many forces with Steve Antia a nd unusual in struments as possible in opened a new repair shop at the hope they can be used for 39 Star Street just off Lon• recording. In this case, he was don's Edgware Road. Since looking for the local equivalent of a guitar. He wandered Into a large turning freelance, Syd has music shop and goc the sur prise of done repairs for most of his life . . . . masses of modern the leading groups in­ e lectric equipment including a cluding the Who, Alan Price, d isplay of Vox amplifiers. "It was just like being in the West lend of the Kin ks, Manfred Mann London,'' he commented. and the Animals. VANILLA FUDGE TOUR Vanilla Fudge, the American four-strong group who hit the British scene with thei r singl e ''YOl1 Keep Me Ha nging O n'' . (for1T1erly a upremes' hit), tour Br itai n starting October 4th al F insbury Park Astoria. Jn a phone call froni New ork. drummer Carmine Appici Jone or. the loltdest pen:ussionists on the group scene) said ; "We use JUS! gLHlar, NEW GUITAR FOR THE SHADS organ. bass and drums. We're kicking a ga inst the phoney instrumental O ne of t he many celebrities at this year's Trade Fair was sounds created in studios- and Briti~h groups are much to blame ror the Shad ow Bruce Welch. He is seen here be[ng presented with a situa tion . We believe implicitly that a group should be able to do on .stage whal it does in a studio. Our aim simnly is to develop to the ull!mate Yox Ney; Escort gufcar by Jennings' liaison officer, Charlie what you can get out or a four-piece group without resorting 10 aoy Cobbett. After the presentation, Bruce commented "Hank gimmicks at all. Using cho is abo ut the only thi ng we add, but we can wil I be dead chuffed with this.'' re-create that elfecr on stage. "Everything e1se is posir,vely Ol•t. Ir people say, as they do, th~t. we sound like we had eight musicians, then 11,at's a tribute to our musician­ CORRECTION ship, not to an engineer's ingem,i1y". BRUBECK PLANS One of our New Zealand One or the few modern jazzmen readers has asked us to poinl 10 have a hit single in Britain, Dave out th.e fac~ that the Human Brubeck (remember "Take Five"?) Jnstinct come from New is planning 10 break away from & lhe small-group scene at the end of Zealand, not Australia as we this year-despite having recently mention in the July issue of completed a sell-out lo llr of the O "B.J." Sorry about tha t fe llers. Wor ld. Dave says : " Paul Desmond, who has been on alto with me si nce 1951 , wants to spend his whole GIRL CELLIST tlnie composin g. I, too, want a SC 1B ~ LIS break from touring and rernrding With lhe popularity or male Franklin). . . . Generous helping So many pop records are coming duos like Sam & Dave., Righteous of Steve Cropper guirar on ou: with a cello sound that skilled and would like t catch up on some Brothers, Sam & BiJI , it would see m "Knucklehead"- tli c B--side or the cel lis ts on the session men scene ideas I have for new-style jazz. Wtnge that the great.est sou·! Bar-Keys disc. .. _ are having a boom time. Most, writfog" . company, Tamla-Motown, is nol This year's line-up at the 1967 o bviously. have to be drawn from represented ... . . And are lhey all Folk Blues Festival involves Son 1he ranks of classical a nd light• short of matedal? James & Bobby House, Skip James, 8;1k.ka White, 111 usic orchestras. RO~I MORRI~ ~HOWROOM Purify last recorded "J Take What Koko Taylor, Sonny Terry, One girl well-placed is known T Want'', first made by Sam & Brownie McGhee, Hound Dog just as Sylvy, already a member of An important new add itioo Dave, who in (Urn have put Oul a Taylor and Little W-o ltcr . Some Nirvana. a progressively-inclined was added to the already im• new version of the Sims Tw ins' folks say i l's I he best ever. . . . group who have had one single out pressive ljst of West Eod "Soolhc Me" . ... • Chips loman, prodllcer of Sandy on lhc Isl and label, Academy. musical instTument showrooms Lowell Ful som writer of Posey's hits, was o ne of Lhe trained, she orig]nally Loured ''Tramp ·, and whose records now original Mar-Keys heard on ''Last Eltr0pe with a symphony orches­ when Bose Morris's first retail sell very well, has gained succes Nigh!" .. .. Jerry Butler and tra. Later she mcrl up wilh other ou tl et was opened at 81/83 comp,n111ivcJy late in his career . . .. Fontella Bass are business partners members o f Nitvana ;ir London.'s Shaftesbury Avenue, W.C.2, D. J. Spangle Muldoon tllays a fn a rcc:ord production company, . . Marquee Club and was persuaded on Friday, September 8th. few hours of soul music every night Why does every Stax ~ide have a to join in t he pop scene. Bu t she is after 1r, id nigh t on Radio Caroline. fadeou I fi nish? insisting on maintaining her The very experienced Rod Seems like Mr. Cool suddenly blew Rec·ent U.S. releases-Suiple "d0t1blc life'' . Ha nnaford is manager. it .... Roy J-[ea d and .J unior Parker Singers' "Arc You Sure" (produced The merchandise is arranged both have new LP's O!l Mercury by Larry Williams), M itch Ryder on two floors connected by a afler leaving the Duke-Peacock '·Wtiat Now My Love'', Joe group. Simon "Nine Pound Steel"; Little llectronic Musiml Repoin mirror-lined staircase wb.icb "'A W hi ter Shade Of Pale" Richard a nd Larry Williams both by S Y D an

24 WATKINS AT SOLO ROUND HOUSE SPOONFUL Terry Nelson of Watkins Zal Yanovsky forrnerly one tells us that t hey supplied all of the guiding lights of the the equipment for the U FO Lovin' Spoonful, is de elop­ Festival at the Rou nd House, ing his solo career along the Chalk Farm. North London line he wanted . After mov­ on September I st and 2nd. ing to the WesL Coast, In charge of installation was searching for songs and Norman Sergeant-Watkins' musicians, he has made his Chief Engineer. Bossman debut sol o record . . , "As Charlie Watkins, was also Long As You 're Here". there to make sure everything which is out this month happened. in America and is e:< pected Amongst the groups ap­ in Britain in December. He pe;iring were: the Pink Floyd, has also joined th e New York the Move. Denny Laine, To­ Shakespeare Company who INTENTIONS HAVE DIFFERENT SOUND morro w, the Crazy World of pla y a Festival season in New Arch u r Brown and the York's Greenwich Village At long last, an Irish group which isn't a sh o wband. From Knack. The installed eq uip­ this month. the depths of Limerick come Granny's Intentions, a six-piece ment consisted of the new combo featu ring two lead singers. Their style of playing can't Watkins Audio Master mixer really be categorised, even if they do feature a few Tamla unit With five separate chan­ ELECTRIC SITAR numbers. Something about their sound is different, but no one, nels. Each of t hese had their not even the group, knows what. As organist Sebast ian U. own tre ble and bass controls. As mentioned 1n the T rade Ryan says: "It could be something co do with our equipment. and high and low impedance Fal r review, the first ever It 's so old, I'm amazed It hasn' t given out compl etely. W e're sockets. electric sitar has been pro­ getting some new gear shortly, and then we' ll see If the sound duced by Danelectro. This changes''. was displayed by Selmers at As yet, not hing is definite on the recording scene, but a the Fair, and can now be seen certain Tony Hall is very, very interested. If the owner of Cat-A&RMan in their W est End showrooms. Sy billa's club is an ything co go by, then G ranny's Intentions Priced at 199 gns., it consists wi ll make it. He booked them for ;use one date, and now they're of six main strings and 13 regulars. drone-strings. The advantage of this instrument is the fact chat, because it is shaped like an ordinary guitar, it can be played by any guitarist With­ out any problems. LES PAUL So many people are in­ terested in obtaining one of the almost legendary G ibson Les Pau I guitars chat we 've done a bit of checking and obtained the full details. Ac­ cord ing to .Selmers, the Les Paul range was discont inued some e ight years ago. Since then, the only models avail ­ brilliant tone able have been second-hand. There were three original models-the Standard, Junior Cat Stevens has turned his and Custom. tonal brilliance han d co producing records. Some guitarists insist that Call it what you like, Super-Zyn cymbals have that The first will be "Emperors new Les Pauls can still be rare combination of sounds which experienced and Armies" by Peter James. bought, but they're wrong. drummers demand from modern cymba ls. Get round to Apparently, Peter has been a W hat they th ink are Les your nearest dealer and test Super-Zyn against any friend of Cat's for some ti me, Pauls are Gibson S.G.'s, the other make. You 'll soon hear what we mean. and has written the number range that superseded the Send for your copy of the FREE booklet - 'All abou t himself. When he returns Les Pauls. The most famous of to-day's cymbals' from : from his current holi day in this range is the Special, a Greece, Cat w ill be produc1ng double-cutaway model, so if a session for a gentleman.called you're offered a guitar, and SUPER-ZYN Sasha Caro, who also writes told it 's a Les Paul, be very 87 _Regent Street. London, W1 . Tel: REGent 3372 his own material. wary. CH , 16

25 Kei/11 , hisroadma11age1· a11d Premiu 's Phil Franklin i11 sf)eo 1h e kit. EIT H Moon has got way-out tastes. As it happened, K a new drum kit. Premie r, in con junction with THE Cunningham Hurst Ltd ., their He's had many before, "ad vertising agency, had been but this one is un­ thinking along the same ll nes MOST b e I i e v a b I e. Never fo r some t ime, and had already before has such a revo- surmounted some of the major REVOlUIIONARY 1ut ionary model been obstacles. produced. The make r's PROTOTYPE call it an "Exploding KIi OF Drum Ki t". Keith Keith's request accelerated the research. Jeff Hurst, of Moon cal Is it an Cunningham Hurst, got down DRUMS ''engine''. to the job of producing a proto­ Basica lly , it's a standard type drum , Th is, in itse lf, took Premier kit with a psychedelic a considerable length of time. EVER finish . And what a fin ish! No Ke ith went along to see it, photograph cou ld ever do it and immediately pronounced justice. Each drum is divided it a "knock-out" . Now he PRODUCED ! ! ! lnto pane ls wh ich contain Pop cou ld actua ll y see the drum, Art des igns. Most of these are hi s mind q u lck ly spewed for t h Keirh discmses 1h e finished artwork based on the Who's promo­ ideas, such as using those Ke ith , he lped with t his. W hen wi//, Jeff J-111rs1. tion sc heme for "Pictures Of photographic reproductions. he fi rst saw the fin ished Li ly". They are al l fin is hed in Hav ing agreed on th rs, work result, he lmmediately phoned brilliant fluorescent colours was started on the actual de­ Pete Townshend to come over wh tc h, when seen under ultra­ signs to go on the finish ed kit. for a special preview. He was violet stag e lighting , have an When this was comple ted, as excited as Ke ith had been astounding effect. Keith had anot her look and and thought it would be ideal gave the 0 . K. for the actual fo r t he Who. RAVING kit to go into production. If you 've been fo llowing During that visit, he casua ll y TALKING POINT Keith's column in '" B,I. ", then informed Premier that the Ke ith maintains that th is you'll know how much he's Who's Stateside trip had been kit has made him more fr iends been raving over this "en­ advanced by two weeks, and than any t hing else. Q uite gine''. The whole project the kit had to be ready in possible, because it's certainly sta rted when Kei th went in to ti me . Needless to say , this a ma/or talk ing point amongst the Premier Drum Company's meant a considerable amount other drummers. London office, and asked if of overtime for the Premier W ill others follow suit? they could design him a factory staff. But the dead line That's somet hing no one can specia l, personalised drum was met, and Ke ith fl ew off to answer as yet, but Premier finish incorporating a Pop the States with his new kit. have no dou be that Ke ith 's Art de.sign. Because of the intricate wil I prove to be the fore­ No one was real ly su rprised designs, the drums had to be runner of a whole series of Premier's co-Jo 1111der, Mi'. Fred because the W ho have always assembled by hand . . . . custom-buil t kits. Could we ll Della-Pvrla, came along for a been well -known for their lite ral ly. Everyone. includ ing be. Jlreriew.

16 GO WITH THE TRANSPORTABLE ~&ll®~[Q) @[ffi@&~ Scenes change-but the M102 stays right up there. On top. You know how a Hammond sounds. How often it figures. Sounds that change. keep ahead-thousands of sounds. Individual. You can't go wrong with an M102 Transport­ able; it's tough, it's easy to set up- amps and speakers are built in. It's the electric organ. Talk about it.

HAMMOND ORGAN (UK) LIMITEO · Deansbrook Road · Edgware · Middx

27 N pop music Traffic goes one I way. The group formed by breakaway Steve Winwood es­ tablished a new pattern of be­ TBAFFIC haviour on their one-way (to the top) career route. For they went into hibernation, prior to making COME 01JT their firs t personal appearance , in order to get a worthwhile act, visually and sound-wise. OF HIBEBNATION 1f this sounds good common sense, well .... remember that it doesn't often happen like that. All too often, instead of just rushing in. more peopJe in the business don't groups get a good record and then "The last thing that happened is that adopt this philosophy ... . beCthe police! Over "Paper Sun", the idea was to Of course, Steve Winwood has aJways experiment and teH audience reaction. been a bit of a pop thinker. But it was WRITING It had to be a trial piece. Then gradually Dave Ma on who wrote "Hole In My " About writing. I don't write for the the fans realjsed what t.he group was Shoe" and played sitar and mellotron alee of being commercial. And I offering-and the fans also made their on it, who talked first a bout Traffic certai11Jy don' t wri le for the sake of own suggestions. Result was "Hole In beliefs. He said : " Really this single was being different. We're on an LP now, ly Shoe" which certainly can't be about a dream. Everybody dreams . . .• for December re lease, with a few tracks compared in any way with the first bu l there's no other significance. I can't still to complete. What we rea ll y want record. write to fit trends. This was just some­ to do 1s get to the States around Steve explained : " With Dave and thing I w.rote. Anyway I like to ~eep February, but nothing seems sure for Chris Wood and Jim Capaldi, we'd b,ad away from rhe pop scene simply us. We are definitely going to Sweden this sort of mental link long before we because it does nothing for me. and there's the tour of ngland'·. actually got together as a group. l'd "Which was why we went off to that Dave went on : " verytbing I do felt frustrated with the constant touring cottage in Berkshire. The idea was to these days is ba ed on truth. You have and so on and the boys did too. We fe lt think about what we planned to do, to be t.tu thful and honest. h 's a pity that pop rnusic was rush.ing along too

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28 Steve said this: "My only influence is -this utter belief in what they write environment and past mistakes. l don't and play. They are genuinely horrified deny anything l've done in the past, by the phoney. As for their determina­ because without that, 1 wouldn't be on tion to "get away from it all'' it's worth this plane aow. To create is to give and remembering that they lived in a house to give out is not possible without ab­ with no electricity or phone or bot sorbing first. So I absorb or ignore water. All they had was a line from everything l see, beca use it isn't possible another house so they could use their either to absorb everything. I don't amplifiers. want to .know what will happen or It wasn't a question of a comfortable what has happened. I just know what lie-in in a luxury home. And it's signi­ is happening". ficant that other groups have since fol lowed th is policy .. , . the get-away­ BASIC MOOD from-it-all thing. Groups like Freedom, the outfit featuring the two breakaway Now a ll this is rather advanced chat Procul Harum men. And, if they have but it underlines the basic mood on their way about it soon, the Move. which Traffic was built. The group Stevie has turned from the blues to stemmed from frustration with the his own musical scene. He doesn't set conventional. They went to the country­ out to create new trends, new cash­ side because they'd previously been in making ideas. But he's only too aware the towns. And Steve explains: "Every­ that as he creates so will others copy. thing we saw in the countryside was a It makes him sad, but it doesn'1 make source of wonderment to us. This him give up. sounds corny, but it gave us a whole new conception. A new sense of values if you like·'. FANATICAL And Dave Mason insists that the He says: "The hippies and the flower­ fast, with nobody bothering to stop and fans do a lot to hold back the progress power-well, in a way it's nice for think. And we thought that freedom of of music. He's said that there is a whole everybody to be saying the same good musical expression was all-important. new revolutionary scene going if only things at the same time. But then they That and love. But that's not to tie us the fans would let it. Instead he believes get fanatical. That's how dictators are up with all the flower-power stuff and the fans follow fashions and put no born. It's a band-wagon, musically. the highly-commercialised sel ling that trust in their own personal responses to You won't catch us clambering on". goes on around it". progressive things they hear. And a recent policy statement from It's this that holds the Traffic together PETE GOODMAN.

29 YOUR QUERIES ANSWERED

SPEAKER QUERY audible. However, you can probably balance Dear Sir, BY up your triog pick.up volumes by gently l have been offe red t\vo Fane 25-\ att tapping tbe pole pieces furtber jn ot out loudspeakers at a very reasonable GARY as the case may be. In your case it ,would price. Would these be suitable for nsc seemt that the third string pole piece with a bas guitar ? need to be tapped down siightly to L COOPER, HURST reduce the volume. One should exerci e Rousden , a certain amount of care ,~hen carrying N r. Lyme Regis, out this job, as it is very easy to break Dorset. Fender pickups are balanced pecifically the coil winding on the inside if the wire for 11ormal strjnging, and the pole A SWER:- You do not mention jf ha become attached to the pole piece. pi eces are not adj ustable. T11is causes If you are in an)' doubt, you should the speakers are marked as bass uoits the third string LO be very overbearing or not. You must find Ibis out before consult your local music shop for further in volume . Is there a way in which thi advice, or take the instrument along to u ing them, -as you wou ld very likely trouble can be eliminated or decreased? damage them considerably if they are not. a reputable guitar repairer who may lf the.re is a remedy. but n ot one wruch undertake the job for you. Information can be obtained from the shou ld be attempted by an amateur, makers if only the type oumber is can you sugge t anywhere where this marked. type of job might be undertaken? MAY WE REMIND READERS In any event, you \viii be limited to a T. K LOCKYER, maximum output of around 30 watts Bristol 4. THAT A STAMPED-ADDRESSED with just two 12 in. , 25-watt speakers "'or.king at bass frequencies. Therefore A WER:-I haven 't come across E 1VELOPE HELPS U T suggest you supplement then.1 witb your kiod of trouble before, at least not CO SIDE:RABLY JN GETIING two similar speakers if you require by purely changing the slTings. ff any more power, or use a single 18-in. bass difference has occured, then it must A SPEEDY REPLY TO YOU unit to boost the output up to around have always been so little that it wasn't 50 watts. - -- - - HARP QUERY I Dear Sir, lnstru,ne,ital Corner I' ve just returned from a holiday in AMPLIFICATION for the bass guitar always presents problems Fraoce, and whi lst 1 was over there 1 . for most groups, usually in the form of distortion or vibrating meL two friends who arc in a group. cabinets. The former can either be caused by overloading the speaker, They as ked rne i( l could get them a or the amplifier itself. ThE:~first thing to ascertain is whether the amp bJues harmonica like Mick Jagger's is distorting with another speaker arrangement. If it's O.K., then the or Sonny Terry and Brownie McGee's. fault must lie in the loudspeaker box. To begin with, you should T wonder if yol1 co uld give me any check that the impedance·matches the output impedance of the amp, information on this ? and then try to find out the rating of the speaker. Don't forget that LYNN THOMSO if your amp is a 50 watt model, you must have more than 50 watts of Southampton. speakers in order to handle the power of the bass frequencies without distortion. The cabinet should be as large as possible, bearing in mind A.NSWER,:,-The harmonica that you your transport problems, and for bass use, should have a sealed back require is an Echo Super Vamper model panel. costing 14/3 or 19/6 from .Hohner. A favour·1te dodge of many top group, to obtain more output is to lthk up two amp$ as The reason for the widespread use of follows: this comparatively cheap harmonica On most amplifi ers there are two sockets on each channel. The guitar is plugged into the amongst the blues artists, is 1he fact loudesc socket, and then another lead is fed from the second socket, ori the same channel. to the input of the second ampll fi er, I( this method IS used, bE: sure to earth only one of that with this model, and a certain the ampli fiers or you may ftnd an earth "'loop" will fo r m and cause an unpleasant hum. amount of technique, one can "bend" You should also be certain that afl the fittfng, to the cabinet are secure, especia lly on the the notes being played to create a wailing back panel. lf at all possible. restraln yourself from standing the amplifier d irec tly on top kind of ound. o f the speaker cabinet as. with a 100 watts of bass, there ,s a fair a.rr,ount of vibration dis­ tributed through the case. Electronic organs seem to be a fairly standard piece of equipment nowadays, but there PICKUPS seems to be some confusion as to the t}'pe of amplifier requ ired for these instrume nts. Well, on most of the group organs. the lowest frequency on the keyboard ls the C above Dear Sir. bottom E on a bass guitar. and so we ate reall y catering for roughly the same band of 1 play a Fender Stratocaster whi.ch l !requencies at the bottom end. However, as the organ extends a great deal higher in the ot~er direction. a fair amount of treble response is also needed to ma ke full use of the have "slack-strung". That is, using a ha rmonics present. fi rst tring for the se ond, ernnd for Next month. J shall give some advice on the choice of an1plifiers required, and their­ the third and so oo. associated speaker cabinets, There is. however. a big snag. The abstracts. T he sum total is the Crazy World of Arthur Brown. Arth\Jr explains: " We try to communicate on a number of different planes and get the audience involved in the thing we are creating. " More than any1hi11g else we are eutertainer . People get irwolved with our act and sit down to lis ten. One of the reasons they taned to listen is probably that some people find ir hard to dance to our 111usic. ·· what we want to do is to extend the whole thing o that clothes, mu ie, stage-movements, make-up, and lighling all come together wiLh the words of a song-as if in a dream. reaction is evoked a t many levels··. LIGHTS There are an increasing num­ ber of groups using the tech­ niques of the li gh r show today, but wi1h many of rh em one wonders if they really !<;now what they a re doing. In ' Orne cases there is a danger tha t the li gh ts will put the group itsel f ARTHUR'S in the shadow. The ba nd wi ll play second fiddle and the spot­ li ght shine on itself. Arthur Brown is very mu h l WORLD FAMOUS MINIA• I PROFESSIONAL RIBBON aware of thi pitfall and is TURE RIBBON TYPE ROT T YPE SRI Br ;tj,h Pate nt No. 7:1 3261 Fo,- b roadnstina illnd rt:co,-di nJ CnDzY auempting 10 use lights wi th For gene..- :;il sound re-in!orcr: ment uud fo u1e. Super-b pe rJor-mance a nd rec.or-din g p urposu w hert: more discreti on. 30- 16,000 Low and Med. impe­ c/,, b i-dlr ~ction31 pick -up 1s ;in ~dvant:age, " We treat ligh ts a another darice1 o nly na 7 s.. 0d. Freque ncy re spon1e- -40-1 2,000 c/s. inslrument. To form pa ttern of va r i:a. bfe: at will by fict1n,r o f "~couu.ic corre.cdon" pad.s.. lm~ed;rnci:s .a.fld colours, we ometime use plain P.-ic~ Low- £t I 1 11. Od . white or coloured lights and Med. ,nd High Lil 1,. 0d. WORLD ••• Swi tched (I ◄ ◄ s. Od . •nd £14 l ◄ s . 0d, sometimes none at all. Bro:a.dc;uting version type VR.T .:11.1',o "Lights are going through rhe avaibble with 5'Yp edat i't'e r ep rod uc­ tion O't'C I" 30-1 4,000 c/ s, Low ilnd same proces that, say. drums Med, Impedances only £17 17.1. Od. RTH U R Brown went chrough-a revolution. A usually makes his Just as the whole concent of drumming was revised. th basic l first appearance on stage idea of lighting merely serving a by fl ying in. He has used a background has been shallered, a crane to lower him, There are new explosive rech­ niques which mean patterns of but more regularly sings lights can drav, a similar reac­ the opening number while lion to a guitar solo. fl ying around the hall or club suspended by a cord PATTERNS 3 CAROIOIO Rl88ON TYPE CR2 from the ceiling. As often "Light and sound are inter­ 6rid sh Patent No. 79J16 I related. Sound \ aves at a E:rpeci~lty ,:ood rear d i$, cr im1n;1.c ion illit thl!! mid as not his hair i on fire ringe 1' pr~i~f"lce·• freQ'-lencies pa r t ic ularly cerrain pitch turn int o lighr. Tt suitabl~ (or annm.rncing 1nd public ;i ddre-s.s at the time. may we ll be thill rhe light par­ purposes. under d ifficult acousda,I condalo ,.!i , Tr these an1 i are dismissed terns represent very h igh Impedances and Prices Low £11 ls. Od. a Med. an d H i,h £Ii 12,. Od, as gimmicks, who can deny harmonic of the music th,11 that they are not entertaining? could be played at the same rime. All price1 iri cl ude c:a b le 1 iil.nd plug con­ The real purpose of this sort of Fantastic idea 1· • n e cto,.s di -play, however. is ro prepare The most important o bjeccive an audience mentally fo r ~ hat behind the m usic of the Crazy is 10 follow. World of Arthur Br wn, how­ • PRECISION ENGINEERED • REALISTIC REPRODUCTION Arthur lws a very powerful e er, is still the creal"io n of • LOW, MEDIUM ANO HIGH IMPEDANCES ,. REASONABLY PRICED vo,ce, bu t deeper than mo 1. excitement for their audience. • FINEST OF THEIR KIND ATTHESE PRICES ,. BRITISH MADE His tasteful screaming is backed Lately they have tried t0 Rf5LD al.so manu(actur~ a complete rol"J~ a( public addrP.ss CJmpl•fit:.rs cmd loudspe-akers-cobine1 1 line .ioutce and re,{le.i.. ha1ns, by a Ha mmond organ played by capture rhe sa rn e on record. lt Vincent Crane and the drums of coul d have been '·T he great Drachen Theaker. Wh il e the spontaneous apple crea tion" or 11)US ic emerges, the a uaience "Chil d of my kingdom" or other RESLOSOUND LTD are presented with an intense peculiarly titled group works. In S PRING GARDENS, LONDON ROAD, ROMFORD, ESSEX and olourful set of vi ual fact, 1\ ' called ·, Devil's Gri •· T " leph o>n" Rom lo,d 61 126 (J line,)

31 IT'S always surprising to dis- cover how many Session Men are under the age of 2S. THE Guitarist Alan Parker is 23. Since he entered the session field some three years ago, he's come a remarkably long SESSION way. Born in Loughton, Essex, Alan's very first instrument was an old Gibson Kalamazoo MEN given to him by an uncle. Now he owns no less than nine stringed instruments. No. 25 Unlike most musicians, Alan's training ground wasn't a piano, and he wasn't forced According to Cat Stevens, "A Bad ALAN PARKER Night" was originally three separ­ to take lessons. He knew his ate songs. None of them seemed to father was friendly with a local be going right, so he mixed them up guitar teacher and arranged to and out came a somewhat unusual have lessons himself. These hit record. He was also responsible culminated in him gaining for the arrangement which was, once again, an amalgamation of three diplomas from the those three numbers. Banjo, Mandolin And Guitar John Carter and Ken Lewis, the Federation at the age of 15. composers of "Let's Go To San Up until now, his main interest had Francisco", wrote the song a long been fn the Spanish guitar, but, as he while before anyone had ever heard says .. . . " Let's face It, unless you' re of Scott McKenzie. Says John: "As another Segovia there isn 't much work soon as the Flower Power scene around. Oh, I did a few small concerts, broke big in the States, we knew it but nothing worth talking about" . This would catch on, and decided to led, not unnaturally, to a pl ectrum write a song about it. We'd never guitar and the few odd gigs. "I lo ve the seen any Flower People, so all our guitar and don't really worry what information came out of various kind of music I play, j.ust so long as I con American magazines. We got some play''. fellers together, and the song was recorded some three months ago". PALAIS GIGS Apparently there is such a place as "ltchycoo Park". It's somewhere Those gigs led to Alan playing With in the llford area, and was given its just about al l the Palais bands including name by the local inhabitants. Johnny Howard's. He stayed for two Steve Marriott, thought it was a good years, during wh ich t ime he played on title for a song, got together with a couple of the Band's records and was Ronnie "Plank" Lane, and the heard every week on "Easybeat". The result is in the hit-parade. experience he gained was invaluable. Keith West has decided to cancel "I needed that experie nce. It's all very This pie of Alan was taken during a most of his future bookings in order well being a good reader, but if you 'Top Of The Pops' session. to complete the full version of his haven't the experience to back it up, "'Teenage Opera". This means that t he re 's not a lot of sense in bothering". forgotten everythi ng about the session". co-writer and producer, Mark People began to notice him and offered One t hi ng we do know is that Alan Wirtz, will also have to ease-off as him sessions. It was because of this that plays on "Top OfThe Pops" every week, they intend to get everything he left Johnny. He reali sed that sessions and has been heard on the soundtracks finished by the end of the year. were what he wanted. of 'The Fa mi ly Way" and "Casino Jimi Hendrix says that "Burning Royale". And current ly in production is Of The Midnight Lamp" contains FORGOTTEN his first solo album. This w ill feature some very personal passages. He multi-track guitars and w i II be SO-SO wrote it during a plane journey Very few Session Men can tell you pop and standards "with a bit of across the States where, he says, which records they've played on. As psychedelia t hrown in for tuck". you feel a long way from home. Alan remarked: "I can tell you which It's obvious that Alan loves the Even though the Shadows have artists I've recorded with, but not t he session world . ... he wouldn't be In it ofRcially split with Cliff Richard, actual tracks. Sometimes I hear a record otherwise. ' ' Really it's SO% the tnoney they intend to continue writing and t hin k- 'I cou ld be on that'- but I think, but I do love it . t suppose it's songs for him. Hank Marvin's "The I'm never certain. All I know is that the variation of work. Never knowlng Day I Met Marie" is a good example we go into a studio, cut about four what you 're going to play until t he of the rapport between the two tracks, and a couple of months later o ne session starts defin itely keeps you stars. might be released . By that. time, I' ve on you r toes al l the time.''

32 N this series, we have spot­ information and it works very well. I lighted people behind the stars My advice to omeor-ie wanting to start a fan-clu b would be: 'Don't and one of the most important is sta rt it unless you already know the the Fan Club S ecretary. But, all artist wt?IJ'. too often, the organiser of a PEOPLE "You have to have this sheer love of fan club is overl ooked. In putting tbe job. People don' t realise that it this ri ght, we play the spotlight costs a lot of money to run a big fan.­ fa.U y upon Freda Kelly, who was BEHIND club. We charge five shillings but you have to remember what we send out. A in on the birth of the Beatles Christmas disc, a news-letcer every so fan-club. often, a poster, pictures. It takes a lot She originally came from I reland THE of time and a lot of money. but moved over to Liverpool some 10 "Certainly you get con1plaints. People years ago. She's 22 now, living in write in from some fo reign part and it Sefton Park. Eventually she went to takes a month for their letter to get college and u ed to spend her lunch­ STARS through. Then you receive a follow-up times in the Cavern Club. She owns up : letter saying how Jo ng the fan has been " lf shorthand, which I loathed, was waiting. Obviously it's not deliberate. rhe first lesson in the afternoo11, I'd Fan ChJ.b Secretary There was one from Germany com­ just not go back. Especially if the No. IO plaining , .. two girls, a terribly snotty :Beatles were doing the I unch sessions FREDA KELLY letter. But their complaint was that at the CJub. they'd written to Paul and I'd replied . ''Later on I worked for Princes', lhe "We do use signature stamps on salmon people, and again I'd spend photos, But r like to get fans the real, lunch-times in the Cavern ... especially genuine signature whenever 1 can. 1 if the Beatles were there. Gradually J know that if I was writing, J.'d cheer­ got to know the boys. Like 'Hello. fully wait six months in order to get a Paul' - 'H'ello, Freda'. And a girl there, real signature instead of a stamped Roberta Brown, know11 as Bobby, one, . . " decided to ask Brian Epstein if a fan.­ club could be started. He used ro pay LUCKY the stationery bills and so on. In the end I met Brian a nd he asked if I was Freda paused for breath. She went on: a shorthand-typist and o 1 got the job. "1 sometimes feel like saying how But 1uy father was ve ry much -against lucky a fan is to get somet hi ng actually the scene. from the boys. When you're dealing in such numbers, it gets very difficult. TWO JOBS ''But if you really go for the artists involved. then you're all right. I'm not "The thing is that to start in on a in it for the money- rhougl1 obviously fan-club you've got to really bel ieve in cash helps. It's just something that J the artists concerned. So J worked for enjoy and l can' t imagine not doing this Nems Enterprises by day and then did job, If, say, the ma1iager of the Rolling the fan-club by night''. 'Fredfl wi1h Paul /1,fcCarlney Stones came to me and offered twice Freda dug a bit deeper into her the money to handle their fan -club, recollections of how she started in a London. Anyway, 1 handed in my I'd turn it down. Jt's just that I don't very im.portanr "' back-room job''. She notice to .Brian Epstein and I'm glad to have this interest in the Stone . said: "Bobby got married. The Beatles say it wasn't accepted. Now Anne '•We have good contacts up here. I go got to number one with 'Please Please Collingham is in London and I'm up round to the Starkeys and used to go Me' and we started getting a terrific here in Liverpool. to the M cCartneys. And I often visi ted amount of mail. Eventually we had to "It's a full-time job. We"ve got Aunt Mimi's until she moved to Dorset. cut up England into two ... me up in renewals of membership still coming in I go to !he Harrisons a lot. You bear the north and Bettina Rose in the but I suppose the membership is things, which are of interest to the fans. south, handling the e11quiries. around 39,000. Tt's aa awfu l lot. but I talk to the boys when they ring home. " Last year we should all have gone the job is made easier by the attitude [ might find out, say, that George has to London bllt Lt wasn't received too of the Beatles themselves. lf you have no chairs in his home, only cushions. wel l at home. I was working in the no con tact with the artist, wel l , . . Well, that's something that is worth evenings at the Cavern, with Ray forget it. But we can ta'II, to them as pushing on to the fans. McFall , when Nems actually went to ordinary people and find out the "As for me-well say J'm dancing with a fellow at a club. He asks what l do. I just say secretary. lf ( mention the Beatles, they'll want proof and l don't YOU CAN READ 'BEAT INSTRUMENTAL' carry proof around with me. To avoid ANYWHERE IN THE WORLD! the explanations, J j ust say I'm a A YEAR'S SUBSCRIPTION FOR BRIT ISH READERS COSTS £1 .16.0 secretary. "But it's a job f'd never change. The OVERSEAS READERS £1.1 7.0 (or equivalent in t he ir own currency) for U .S.A. or Ca nada SS.00 boys a re good to their fans. We try to For a six months ' subscript ion just halve the abo ve costs do the best job we can. But most of all irs something I really belie e in''. Send P.O . o t' cheque- to : S1s bsi::.l"'ipt ion D ept., Beat l n..1trumie n tal, )6.)9 W e.stbour-ne G rove 1 Londo11 1 W .1 PETE GOODMAN

33 tambourines and owns a massive ward­ robe of crazy clothes which he wears, as the mood Cakes him, on stage. He's TURTLES from Los Angeles and says earnestly that pop music is the ''only business where the fun output actually out­ weighs the serious business side. There's ARE HAPPY a freedom of expression when you get up there on a stage that you just don't get in other sides of show-business. We can act a little, play a little, sing a little, TOGETHER dance a little-and change it all round for the very next show''. - HERE are some groups who truth is that music is the whole focal EFFECTS MAN T get a hjt record and inside a point of our lives . . .. 'cept, maybe, Mark, who is the clown of the outfit Lead guitarist A l Nichol is another week or so every member be­ and is also married and has just become deadly serious musician. He also plays comes a known and recognised a father for rhe first time. He has to organ, piano, harpsichord and he's the individual. Others go on hitting split his time, b\Jt for us it's work, 1nan behind those special sound effects the jackpot, disc-wise, ·but never work, work.... that come through on most Turtle seem • to become household recordings. lie's the boffin or the out.fit LIMITATIONS . ... spends most of his time al home "faces", if you get the meaning. working on new production sounds, T he Turtles are in the latter category. " I'm hung up on the Cream right now-I dig their work and their ap­ feeding weird things like banging knives They've been to .Britain and shown and forks together for the benefit of his themselves round the clubs and on proach, The Doors, too, and of course the wunnerrul Beatles. l think .l know tape-recorder. A Notth Carolina man, television. They're coming back in Al . ... though he comes from sturdy November. But the individual members my own limitations so I'm planning to take tim_e off and study arranging, Scottish stock. He met up with Howard jus~ haven't registered as yet. though at UCLA; talked music when they their first hit "lt Ain 't Me Babe" . the compos1t1 0 11 and such like because l figure the more you know, the better should have been talking studies. Dylan number, was back in 1965. the William James Pons, Santa Monica year the five boys 6rst got together. you're equipped 10 stay up there at the top. Sure l get my wi ld moods, but born, is now 24 and the oldest in the . Then there was " You Baby", a hit group. He used to be with the Leaves, a 111 the States. More recently, in Britain, mostly 1 like to work AT music. or listen to music. l guess it all stemmed West Coast group, on bass- and joined there have been " Happy Together" the Turtles, on a personnel swop, just then the dynamic "She'd Rather 8~ from the. time wh;n I was a part-tirne disc-jockey and felt frustrated that all over a year ago. He's tal I, over si)(_ feet , With Me" .... and now the newie, fair-haired and when caught in the right ''You Know What T Mean". l had to do ,vas play other people's music without being creative myself''. light a t the right time looks rather Actually, Boward revealed, there like Noel Harriso n, of the "Girl From SPOKESMAN were six Turtles on "Happy Together" tJNCLE'' series. Jim Pons doesn't agree Howard Kaylan is the spokesman of - the other voice belongi ng to one wi tJ1 this theory ... . says he looks the group. He speaks thus: " Of course Chip Douglas, who as Douglas Farthing like Ole Jim, the Boy from T URTLE. the groups where everybody is a known Hatlelid (his real name) has been pro­ And there is drummer John Barbata, character have a Jot going for them ducing for the Monkees. Anyway who taught hi mself to play, is 21 , and but, even if. it sounds c'orny, we'r~ "Happy Together" was a strange has a most unorthodox style. Jn fact, much more 111 terested in establishing record in that it hung around, getting he's already sta rted something of a cult our sound than ourselves. l'm still only steady air-plays, for ages before making 11rnong other group drummers fo r his 2~ years of age, so time is surely on my the charts.... ferocious two-handed power-style, side. We do all our own arranging and Mark Volman, again only 20 si ngs we wnte a lot of our own material and plays clarinet and saxophone, h~mmer~ EN GLISH INFLUENCE How do they describe their m1:1sic? Says Howard: "Well it's OUT of the scene that produced the Beach Boys, but we're part of it without copying anybody. We've had severa l changes s.ince we started-it was ,eally a matter of finding members who thought exactly the way we planned. I guess the British influence is lessening a shade now, but there's still so much good stuff coming out of your studios. L ike, as I said, the Cream. We get a sporty image, too. and we go for an English sort of appear­ ance". Turtles are. technically. slow-moving and hard-skinned. THESE performing Turtles are quick-as-a-flash and very sensitive to musical trends. Chances are they'll be around a long while. The Turtles an-ange all their ow,r rerords. PETE GOODMAN.

34 ALAN PRICE COM PA RI NG the Alan Price of early Animals' "House of The Rising Sun" days with the present-day "House That Jack Bui It" star, is Ii ke com­ paring two different blokes. After his astonishing, headline­ building decision to quit the Animal success scene, he seem­ ed to go into a personal de­ cline. Now that's all behind him. Boss-man Alan is con­ fident, yet modest; brisk, too -what big companies call "executive material". He could well boss a record com­ pany in a few years' time. There is still the flying bit, of course. His fear of going on air trips caused him near-breakdown strain. He felt that by going it alone he wouldn't have to face the eternal travelling. But now, with hits like "Simon Smith" and "House That Jack Bu ilt" tugging in big-money foreign offers, the bogey appears again. Alan is deal ing with it by trying a course of hypnotic treatment to see if his fear can be removed .... painlessly.

HATES DRIVING He owns up: " I have a new Honda 800. But I don't drive. I was learning, when I was with the Animals, but there was a crash. I wasn't hurt. But somehow it put me off going for my test ...." In other respects, though. it's a new, ALAN : '"The House That Jack Built' is NOT based on sick, mental lyrics". confident Alan. He's proud of hi s group, the Alan Price Set. Enth usiastlc playing piano or experimenting with eyes and his casually disarranged haf r­ about the way they jell, musically. Only his tape-recorder. styli ng, is far from being one of the remotely worried that he, as guv'nor, A tough man in the studios, but only scene's looners. He and Zoot Money has co guarantee their salaries-it's not because he knows EXACTLY what he are friends but miles apart, as personal­ a co-operative outfit. His running wants and hates cak ing second-best. I ities. Alan has developed confidence, expenses: around £500 a week. He see him often in one of the Soho locals yes ... . even to the extent of turning says: "The boys deserve more publicity .... he talks earnestly about th e one of his musicians off a stand because ... they're great". scene, never knock ing but very keen to he'd arrived with his instrument He believes in physical fitness, having know what is going on. He doesn't go badly tuned. cracked up so often before. Dog­ along with t he current trend of elec­ wal king (Snoopy, a long-eared beagle) cronic effects. Preferring the cris per DEEP TALENT cakes care of it. He regrets that there's ' 'original" sounds. He sticks mostly to no time for o rganised sport ... he was piano instead of organ. He admires But then Alan doesn't need an a near-professional standard footbal ler, Jimi Hendrix, though .... "only HE extrovert image. Unlike many w ith promising athlete . . .. but can't get could play like that". current hit records, he has a tremen­ the hang of golf. His business interests are en larging­ dously deep talent. , .. as player, singer, a clothes shop with that other ex­ writer, ideas man. He believes: "One LONER An imal John Steel. He acts as a personal has to show self-control in public. publicity agent for songwriter Randy One does have responsibilities". He adm its that he is still very much Newman, who just happened co write J use don't tel I him that " House That a loner. He lives in side himself except "Simon Sm ith". He has appeared w ith Jack Bui It" is based on "sick, mental" when he's on stage. His mates include the Set in cabaret and can't admit to lyrics, t ho ugh . " Not true", says he . Eric Burdon and Georgie Fame. But being too keen on fo llow ing adagio And that self-control DOES crack .. . mostly, off-duty, he's at his mews-house dancers or performing pigeons. just a little bit. home in Kn ightsbridge, alone and Pricey, w ith his earnest grey-blue PETE GOODMAN .

35 i,mffimmm!!lml!lrnm@ffi@@m~ffi@ffil!l@@§@@@~@ml!ml@~mml!l.el~! 23 seconds, and l'm not quite sme of theic purpose. Basically, this is ADD RHnHM o~~ ~~~~DT a great album if you like "sounds'', ~a._,uut.on lltK!'Titlll L,. ,u'CIJ'IOf.No•.-uu.. .., r but even they pall after a few sptns. Vo!. I, 0N1ctTlme (Quicl

Sjde One: Bork•Je.• Campus Blu°": Ke~p The Fai1h. Baby; You CM'r Rull Around = !l,,'t,•cl~ ~':.°" In Th• Dork ; .Bob)' Don'! Sldo Two : Cvoryday (I Ha•• The Blu~): I Leh M,· Rah•; Unde,idod Blu,5· E•il Blues-, · 1 IT'S I GUITAR WORLD VANILLA FUDGE ATCO 33.224 On first hearing, this albuni is unbelievable. Tracks like •'Ticker To Ride" and " Bang Bang" are gi en the fu ll '• You Keep Me Hanging, On'' treatment. In other words, a II traces of the original melody have been elimrnated, lnjected instead are Mothers Of lnven1ion-1ype sounds including SET 747 14/6d SET 757 15/6d plenty or control room cffet.1s. It's For Flot-picking "F'(lt Flat & Finger-piaklnR impossible to decide whether or ~tailllc ~ & Silver-plated Stainless & Mone! wound not Vanilla Fudge are good musicians becau~e this album is SET 767 22/6d SET 1413 25/6d dedicated 10 A & R men every­ Nylon & B ronze 011 'fer)'· F r J2.stri11g. C Tuoiug where. Jene For Fiag

36 ■I YOUR LETTERS Dear Sir, son with guitarists of recent The success of "Gin House" years such as Joe Brown and MOZZANI by the Amen Comer must Ritchie Blackmore. Those surely be one-in-the-eye for all were the days when 30 watts those groups who insist on was considered to be the overcomplicating their records. ultimate in amplification. This is nothing but a simple, Geoff Carlton, slow 12-bar sung with un­ N ewcastl e-upon-Tyoe. believable feeling. ('m sure that many people are wonder­ DEMO DISCS · 1 ■ ing why the Beach Boys Dear Sir, "Heroes And Villains" isn't Firstly, thanks for a great 1I11I selling too well, but I can magazine and a double thank­ 'fll . supply the answer- it's too you for the series on recording 11• complicated. Record buyers studios. l should imagine that want-with a few exceptions­ there are many people like 1111 songs they can dance to or myself who liave thought of 1 111 ■ 11111ll enjoy listening to. "Heroes" making demo discs but knew I II is neither, instead it makes the nothing about fees , situation, mind boggle trying to under­ equipment and so on. I stand just what Mr. Brian seriously think that now Wilson is attempting to do. A people know where the studios I few years ago, it was a novelty are, there will be many to hear a somewhat complicated many more making demos in song, now it's the reverse. The the hope of sel lin g either Beatles started it, but at least themselves or their songs. their songs make sense. So Once again. than ks. come on all you groups, follow Brian Williams, the example set by the Comer Guildford, Kent. and let's get back to good, commercial, simple songs. PUBLIC TASTES lliii Derek Attwood, Dear Sir. i Birmingham 20. In recent issues of "BJ." Ll' Winner you have had features on Alan Price and Simon Dupree, CHALLENGE both of which have come out Dear Sir, 111 favour of"playing what the r should li ke to throw out public wants to hear". But by STYLED BY FARFISA in the great Mozzani tradition, a challenge lo present-day virtue of the fact that the pub­ these new Classic and Flamenco guitars, six in all, range L guitarists. contend that their lic is unable to appreciate up from 40 gns. Made for rnusicians by 0ne Italian crafts­ technique has declined from music of a type to wbich it is men, these are instruments of the very highest class. Full the standards of five years unaccustomed, any group details are in the new 64-page Rosetti guitar catalogue, ago. The standards of records which S\lpports this view which also illustrates many Epiphone, Tatra, Schaller, and groups on the whole , automatically disbars itself Mitsutomi, Lion, Egmond, Hoyer and Eros models. have of course, improved, from making any musical but which "top" guitarist innovations. NOW! BUSILACCHIO ELECTRIC ACCORDION today could atlempt Although l will admit that Scene-maker but no pocket breaker, this fantastic instrument "Czardas" or "Orange Blos­ the occasional flash of lrue sells at 77 gns : 36/72/3/3/6 Treble couplers. Mus ett e tunin~ volume-control, tone control. Compl ete with screw-in l Oft ampl1- ' som Special" ? genius-such as Jimi Hendrix fier head. Fu ll detail s ir1 the 20-page Rosett.i Accordion brochure. I am the first to admit that - has clicked immediately, speed alone is not the esse nce one must recognise that a 1-T-:-;osetli, Ad. Dept., 37 Sun Street, London, E.C.2.- ---- 7 of a good guitarist, but it is new group with a strongly ] Please seno rne O Your 46 page brochure of Taira, Epl ph_one, I certainly impressive and better original musical approach Schaller, Mozzani, Mitsutorni, Lion, Egmorid, Hoyer and Eros guitars I than sustaining one note on faces a very hard road to win I O Your 20.page Accordion and Reed Organ Brochure. a massive 200 watt amplifier acceptance, and must often Pl~ase lid /he ones requited) and draining the last ounce feel the tern ptation to opt for I ( I of ·•reeling" from it. Admit­ the very easy security of tedly Eric Clapton a nd Jeff "playing what the public I NAME .. . ---· - ...... ~·- I Beck have very er.citing want to hear" . I ADORESS ._ ·-- ---·--- ~·-·~- J sounds, but I still feel their Peter B. Blackburn, - ...... _ _ ---· Beat 3 technique suffers by compari- Halesowen, B'ham. L------

)7 OH Lennon ha s J changed. The raw, restless, sharp son of Merseyside has been re­ placed by a new, very successfuJ pop star and international celebrity. He has le arnt to meditate. But, whet her this is entirely due to the infl uences of that celebrated, and much-pub­ licised, Himalayan mystic, Maharishi Mahesh Yogi, no one knows. But whatever the cause. the result is plain to see. RELAXED John is very relaxed, the I easiest Beatie lo talk to, and John seems very happy wil h a new .1ound he has discovered on his Me//01ro11. far more unders tanding. He meditates in his garden, all the thoughts of dozens of he has a special room in hi s George's or Paul's, it is also perched on a buttress, which top business men put together. house, set aside for the hard much more comprehensive juts out from the broad J believe that John has work of composing the hit and wel l set up. te rrace behin d his Weybridge always found it more difficul t songs, whicb are going to T he first th in g you notice home, staring at his favo ur ite to get dow11 to hi song vibrate through mil.l ions of on entering, is the battery of tree, a big silver birch, which writing task than Paul . ldeas loudspeakers all over the five tape recorders ranged stands serenely so me 30 ft seem to pop into Paul's head wor ld very shortly after their ,dong a shelf 011 one side of away in his wooded garden. with su rprising regularity, birth in a smallish room at the the room. He also meditates on music. while John's flow of musical top of John's mansion. The other occupants, stand­ And this meditation has prob­ genius is harder to catch. John's room has taken ing around waiting for their ably earned him more than Like all the other Beatles longer to put together than master's magic touch to bring

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38 them 10 life are. a F~1rft sa o rga n. H small piano_ :,nd a M el l tro11 . I 0 scat tered around Ihe ro !l1 .,i r1: vari u wei rd DON'T MISS guitars mall\· " ilh and ~vonderfu I p:~) chedelic pa I· lern ll >11"111g_ :tl l over 1heir b die-. NEXT MONTH'S FAVOURITE hi, ve orten \\ ond red how ISSUE OF one particular ins trumem manages 10 become the fovourite f lkllle L ennon. lfot altho ugh I huve nsJ..ed him th e ques 1ion many [llll e~ I have never yet go1 a straight an wer..lohn's reply,s u: ually: ·' Mal just got ,1 for me." so methi nu. i mi la r. He's also liar lot of old mu ical b1l\- 11nd piece;. * SPECIAL FEATURES INCLUDE * ta cked llJ i 11 1·ari0l1 places: :1 saxo ph on1: n1i nus a mouth piece: ;:i v iolin with only o ne TREND-SETTING DISCS :. Iring hanging loo cly ;:ilong its body. OF THE SIXTIES John n11wed an)und the i11~ide 1111d whe n , ou pull insLru111enrs givmg us a quick 1he c h.nob · and pre t he ·olo n the organ . ,1 IinUe key the tart playing··. The HOW YOUR AMPLIFIER WORKS o n the pi,111 0. \ome strums nc L 10 ininutes were pure on the gunri r . 111d . o m e cr:I1y AND MANY MORE FEATURES FOR EVERY­ L ennon as John w rked out antic n11 1ht: 11011-11· rJ..ine. ONE I NTERESTED IN THE FACTS BEH I ND a do1e11 , nriation of el'erv sax and 1101111 . - THE SCENE \heme thclt came into hi"s head. gri nn in1:, ill us ,1 henever IELLOTRO then i c became parti ularly Bui the 1n strumen1 which ranta . tic. obvi ush fosci11;i1ed him ­ John is one Bc:i I le who has T OP TWENTY-FIVE YEARS AGO becau e ·1 I' it~ uscfulne. 10 gone through many phase him i11 his ~nng writiiH?- i since hi group fir)\r brough 1 AMALGAM OF BR.IT AIN·s TOP T WENTY FOR THE FIRST {he Mell0tr< n. ~l e pu hed i11 ou1 a disc called "L ve Me TWO WEEKS OF OCTOBER. 1962 n few J..nnb~ . pulled out ~omc­ Do''. I_ Tclstar The Tornados bars. depl'essed a key al th e Wh111·~ his current mood? 2. Loco-Mo,,on little Eva base e11d ,111d fl 1hrobbinl! W ell. uu1ward l , Hippy! But. 3. It Might As Well Ra in Until September Carole K,ng rhv1h111 fil led the rnom. He take ;\ lo k at that badge he 4. Sheila Tommy Roe qtiickly clmnged I a \\'fllt1 h, _ QOI stu h. on hi shoulder S. She's Not You Elvis Presley te 111p c~: .. Ir's :ill done by 111 01;e f the pictures. I think 6. What Now My love Sh,rley Bassey t:ipe . he c\·plc1i11cd. "there it revcrli~ a lo t. I I rc:ids 7. I Remember You Frank !fie ld ;ire dl)Zelh nr l\:els or ta pes ·· 1 still love the Be <1t lc.s ... 8. Ramblin' Rose Nat King Cole 9. It 'll Be Me Cliff Ric hard 10. You Don' c Know Me Ray Charles 11 Venus In Bl ue Jeans Mark Wynter 12 . Don't That Beat A ll Adam Faith 13. Roses Are Red Ronnie Carroll 14 Let's Dance Chris Montez 15. Th ings Bobby Dann 16. It Sta ned All O ver Aga in Brenda Lee 17 lonely Mr_ Ac ke r Bil k I 8. Sw iss Maid Del Shannon 19. Sealed With A K, ss Brian Hy land 20. Reminisc ing Buddy Holly

Records entering the Top Twenty during the lase cwo weeks of October, 1'162 lovesick Blues Frank lfie ld Devil Woman Marty Robbir,, Bobby', Girl Susan Maughan No O ne Can Mak e My Sunshine Sm il e Everly Brc che rs ./11/111 lt'il/1 hi1 lim 1d-p111111etl GibJ.·,,11 /11111ho .

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