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Beat Instrumental " the COMPLETE Magazine Valentine of the Animals

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Beat Instrumental NOVEMBER N 19 1964 0. EDITORIAL & ADVERTISEMENT OFFICES: 244 Edgware Road, London, W.2 Telephone: Paddington 6875 PUBLISHER: Sean O'Mahony EDITOR: Johnny Dean ART EDITOR: Bob Gibson ASS. FEATURES EDITOR: Kevin Swift ADVERTISEMENT MANAGER: R. M. Noble INSTRUMENTAl World Copyright Reserved Editorial----- - - CONTENTS 7 REl\!IEMBER THE BAD OLD DAYS WHEN OUR TOP Page I TWENTY WAS PACKED OUT WITH AMERICAN DISCS? 4. Profile on Curt Cresswell of The I How tin1es have changed! Now, the best records, whether they're Naturals. American or British, top the charts on both sides of the Atlantic. 5· Are Manager's Really Necessary? I WHAT HAS ALTERED? OUR SINGERS? No, not really. 6· Looking for Excitement. 7 The big difference is surely that previously, the backings on British · ::~urh;f;~ ~e~~~t;s:;;liff Bennett I discs were provided by session musicians who didn't really care a. sound City and Drum City. about the music they were playing: not all of them, of course, but 9. Chet Atkins. 1 a big enough percentage to take the "feel" out of many records. 10. Price 1s No Object and Win I Now, the instrurnentalists are people who buy records themselves George Harrison's Guitar Comp, and understand the sort of music they are playing. Give them the 11. Besson Advertisement. I nln of a recording studio and they don't want to leave until they 12. Welsh Beat. have produced something good. And what great records our groups 13. Premier Drums. I are turning out these days. 14. Where is Everybody and Hohner YOUR LETTERS HAVE BEEN A BIG HELP IN PLANNING Advertisement. I 15. Hank's Column. fl~i~s.h Whilst I d;n't ttend taking th: atice of 16. Instrumental News. !iTl!~~0 1 1 I to ::•:nd ju,:p {;.10 a:~ fa~ o~s !t::r! 1°~: ai:;;:J t!S .:;g:n: ::: ~::tr~~:~t:i:~:s~entre. cover all the main things you've suggested. Several members of I professional groups wanted complete price lists of the more expen- 19· Watkin's Electric Music. 20 sive guitars and drum kits printed, whilst a Jot of beginners · ~~f ODr~:::.r and Brian Bennett I requested details of the cheaper gear available. Another large 2,. Men Behind the Instruments- batch asked for names and addresses of agencies or people who No. I-Tom Jennings. could help then1 obtain a recording contract, and so on. 22. we All Re ly on Each Other. 1 I WELL, I'M GOING TO STICK MY NECK RIGHT OUT 23. Rosetti Advertisement. I I AND SAY THAT WE INTEND TO TRY AND COVER ALL 24. Recording Notes. THESE POINTS IN FUTURE ISSUES. Our ailu is sintple. We 25. Player of the Month-Hilton I I want to make "Beat Instrumental " the COMPLETE magazine Valentine of The Animals. for all instrumentalists whether they play Rhythm 'n Blues, Rock 26 . Bill Wyman. I 'n Roll, Country and Western or whatever. You want complete 27. Your Queries Answered and In- I st price lists-we'll print 'em; you \Vant names and addresses- we'll rumental Corner. I I give them to you. In this issue we have a feature on the very 28. Where the Stones Record. important question "Are Managers Really Necessary?" And Peter 29· Your Letters. I I Tate reports on the group scene in South Wales in the first of a 30. "I Wish I Could Find Time to series which will eventually cover all areas of the country. Pract ice," says George Harrison. I I 31. " Too Many Knobs, " Say Manns. , __ ------------------- The E~~~~~i~::e=·_ _J POSTAL SUBSCRIPTIONS If you are unable to obtain your copy of Beat Instrumental fro,n your local newsagent every rnonth you can have it posted direct to "JIOU GREAT BRITAIN:- £1.1.0 per annum OVERSEAS:- £1.5.0 p.a. U.S.A. and CANADA:- $4 p.a. Half these amounts for six months Postal Orders and International Money Orders should be made payable to:­ BEAT INSTRUMENTAL, 244 Edgware Road, London, W.1. 2 riTiiiiTiJ JENNINGS MUSICAL INDUSTRIES LIMITED l!!J!!!l!J oARTFORD · KENT Tele phone 22471 u-wm CURT CRESWELL URT CRESSWELL, centre-pin of the fast-rising alurals, has C friendly b lue ey es, light brown hair, and Is a well-buill 5£1. 7in, taU. \Vltert he iso'I talking about the guH•r•style of Chet Alkins, be rutUes on about some other a."iped of music. Says Curt: " lVhy not? I'm earuim; 1.11y living Crom music and to me it's lhe mosl i_mpor1mu thing. Orher gu.)·s read the (001.baU ttsulls. 1 ttnd guitar tutors.." Yet Curt, Edmoutoo-born in North Lo1Mlo11, might easUy have missed out on the Bru.isb group boom scene. ••• ,., \Vben I was just a k.id, the family cmjgr,ucd to Canada," be said " lt Jookcd as if tt·e tt·ere going 10 S<"Ule there. for life. Pd .studied earlier 011 a Royal School o( Music course, play­ big p in.no, and l got on Canadian rad_io - but on piano accordion. Luckily for rue we all got a bit home­ sick for good old London and came back about fil'e years ago." Curt decided to try his hand ou guitar, buyi.ng a five quid job-a Spanish model which djdn't even have a maker's name on it. " My Uncle taughl me a couple o( chords and l was away," he says. He progressed througll a Hofner, to a Burns SpUt Sound and now owns a Gibson Slcreo, whieh set blm b:tck nil of :20S guineas. Curt, born July 22 io 1947, tiTSt started off the. l'(alu.rills along with Drummer Roy Hoathcr and another school male who has since lcfl 1bc Ji.nc-up. Said Curt: u \Vhen I first left Br.-.sc~ grove School, in Loodon, I didn't really feel cur out for a.ti.)' job other than music. But my Dad, who is a milkman, reckoned it was a prelty cliancy sort of ocrupation." His spare thne? " Not much of it recently, but when I do get the odd moment, I ju~1 like l.istening: ro records and watching other. groups work. Sorry if I.bis doesn' t sound very inter• csting ... but music is just the only thing that docs an)'thing for rue. J mean, you lake Chet Atkins. There's i1 musician wl10 created his own slyle and $luck to ii. That's most imporlanl -don' t keep chopping and changing the way you play." A quiet-mannered young man, Curt le-Jd.s an uoco1uplicated life. He isn't faddy abou1· his food-likes s1cak, salads, roast joints. Doesn't wor·ry much about cloU1es, though be has some well.cut l.ighf.wc·ight suitings in dark material. ls inlcrtsted in girls, but not if they inlcrfcre with his musical pu.rsuils. '' No, il's -all do~·n to music," he said. And he "M'ent off to a session in the Parlopbone stud.io.s, wtlistlJng a rather i.nlricate Chet Atkins guHar phrase. PETE GOODMA . 4 by FREDERICK JAMES ED SHARP and The Shooters were scrab­ There had been no contracts, no terms of service or of T bling around the Youth Club stage. picking obligation, no financial paperwork to prove that the up leads, pulling out plugs and collecting to­ bloke in the checked suit had done any business with Ted Sharp and The Shooters. gether pieces of drumkit. "Trouble is" reckoned This had been a case of artistes' management at its Ted "we never seem to get anywhere. Once a worst. The group had lost money (and morale) in ex­ week up here in front of fifty kids ain't gonna change for somewhat unrewarding appearances. The put us in the charts, is it? manager had snapped up a few quid and scurried away The question didn't really expect an answer. But to find some more pop suckers. one came from a young bloke in a glaringly checked suit. " I could get you some dates" he said in­ TRIAL OFFER differently as he ambled out of the shadows and Q N this level it's pretty clear that managers are crossed the hall towards The Shooters. NOT necessary. In general, however, it is well " It's not as if I'm even on the telephone" worthwhile for any semi-professional group to employ started Ted before the importance of the new­ the services of a reliable manager or booker. If he doesn't comer's offer stopped him short. improve the group's income and local status over a period " I'm on the telephone and I've got the right of two or three months he's failed in his job. The semi­ contacts. The guys who run the clubs, operate the pro instrumentalist does well to remember that there's dance halls. I· could set you lot up in no time. I no harm in some sor.t of trial offer agreement with a think your group has got a whole lot of potential potential manager before longer-term contracts are popwise ". formally compiled and signed. The big thing to remember The la.st sentence brought forth fresh interest is DON'T put Y?ur name to any 1ocument you don't from The Shooters. " You mean you'd actually ~nderst~nd and, 1n an~ event, DON T sign on the dotted manage us?" queried Ted as if he realised that line until you 1 re convinced that you've come into con­ management must be that big break they'd all tact with a fair and useful manager.
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