Who in the World

Dialogue (Continued from page 22) Who In The World: It was very poor management, because I knew that I was a performer. I didn't do the rock & roll tours hardly at all, except for one Brooklyn Paramount show, but was doing the Copacabana type things in bow - On -Stage Style Scores for Outlaws ties and tuxedos. All the while, though, there were about ten top -10 NEW YORK - The Outlaws' sold. As a result of this powerful records in a row and my major performances were mostly outside of success story is one of the most reorder pattern the record broke America. I don't know why, but my first gig was in Rio De Janeiro and interesting of 1975. The first full - into the top 20 only five weeks I became the biggest American singer in Brazil, Japan, Italy and a few tilt rock 'n roll band signed to after its release. other countries. Arista Records had shown all the Already known as an exciting RW: After your popularity waned here in America, you were still ingredients for potential national live act, this immediately recog- very big internationally. Do you have any idea of why that happened? stardom even when their reputa- nizable retail action convinced Sedaka: In those days you had to sing in Spanish, Italian or the tion was confined to a passionate promoters that the Outlaws language I of whatever country you were in and was very good with regional following in their home would be an important addition languages. Also, I looked Latin and my parents, who are of Spanish state of Florida and throughout to any major concert, and the descent, used to speak Spanish in our house when I was little. the southeast. Their live perform- group was quickly added to sev- RW: What happened to your career after the early '60s? ances won believers and rave re- eral key dates with the Rolling Sedaka: It was the old story, the same as with most solo male views while providing stiff com- Stones, most notably, the gala performers at that time. There were changes, the acid things came in petition for any featured act that closing show of the Stones tour special and I wasn't going to put out records just to have them sit on the they appeared with. A in front of 80,000 fans at Buffalo's aura of star -bound momentum shelf. I was married by that time, too, and I was tired of travelling all Rich Stadium. and inevitability surrounded the of the time. I'd made enough money to not have to work, so I really The release of their first single, stopped to become a family man. group as Arista released their "There Goes Another Love Song," "Outlaws," this RW: Did you have any trouble placing songs between '63 and '70? debut album, and its rise on the charts has past summer. Sedaka: There were mostly easy listening things: "Working On A boosted sales even higher. Groovy Thing," the 5th Dimension's "Puppet Man," Tom Jones' Immediate Sales With the exciting dual lead gui- "Rainy Jane," album cuts with Johnny Mathis, Andy Williams, Peggy The immediate sales response tar interplay of Hughie Thomas - Lee and Nancy Wilson. The groups that were happening then were indicated across-the-board geo- son and Billy Jones, the rock mostly self-contained and wrote their own songs, so the easy -listening graphical impact. It was a smash solid rhythm section of Frank artists were really the only outlet. Then, in 1970 an agent friend of "right out of the box." The ini- O'Keefe on bass and Monty Yoho inimitable mine, Dick Fox, suggested that I go to the Albert Hall in England; he tial shipment was appropriately on drums, and the thought it might be a good way of breaking back into performing. geared to a first release by a lead vocals by Henry Paul, the its way I had done the London Palladium back in 1971 and had still been brand new act. Within a week the group continues burning getting fan mail through the years from England. So I accepted the phones started ringing, and they through sizzling live perform- at Albert Hall engagement with the condition that I be allowed to sing haven't stopped since. The al- ances like the one just recently my contemporary songs-I had an album called "Emergence" out at bum completely exploded out of Madison Square Garden in New the time and was spending thousands of dollars of my own money on Los Angeles, Miami, Atlanta, Buf- York with the Doobie Brothers. promoting it. And at the same time I found a group in the north of falo and Detroit, thus making it After the completion of their England called the Hotlegs; they were later to become 10cc. abundantly clear that the Outlaws current nationwide concert tour RW: What were they doing at that time? Did they have Strawberry were no mere regional breakout. the Outlaws will go back into Studios yet? With these major markets already Criteria Studios in Miami, with Paul producing (as he Sedaka: They had their studio and their manager was Harvey Lips - converted into Outlaws strong- Rothchild sec- berg, who also managed Tony Christie. Harvey said, "If you're coming holds, the rest of the country was did their first), to record a In less than a ond album. Arista expects the re- to England, why don't you cut a couple of tracks with my group?" soon to follow suit. month, 100,000 albums had been lease by February. I did two tracks with them and was completely knocked out. We did the whole "Solitaire" album there before I went back to the States. RW: How did that progress to your relationship with Elton and Wilson Wins in Gotham Rocket Records? Sedaka: Well, when I went back to the States, Colgems released the single "Rainy Jane" but otherwise really didn't do anything. The "Solitaire" album, although critically acclaimed, didn't do well com- mercially and I did a second album with them (10cc) called "The Tra -La Days Are Over." It went 100,000 in the U.K. and I began to do concerts all through England and played The Talk of The Town for five weeks; there were also a couple of BBC specials. My purpose at that time was to shatter the old image, which was my biggest obstacle. I felt it would never happen in America if I had to rely on those old songs; I would always be a ghost from the past. So slowly I started to take out the old songs and put in the new in my concerts. RW: Why was it easier to do that with an English audience as opposed to an audience over here? Sedaka: There are fewer radio outlets over there, and if you're heard on the BBC and Capital radio, you're reaching Scotland, Ireland, Wales-all over the British Isles-and a very concentrated audience. So it was easier than trying to go to thousands of radio stations in America. Monument recording artist Larry Jon Wilson recently completed a stand at Paul Colbÿ s RW: Do you think that the British audience was more receptive to Other End in New York City. The country singer's new single is "Through The Eyes of Little Children," from his "New Beginnings" Ip. Shown backstage after a performance a new Neil Sedaka than an American audience might have been? are (from left): Ron Alexenburg, vice president & general manager, Epic/CBS Custom Labels; Larry Jon Wilson; Paul Colby; Irwin Segelstein, president, CBS Records Division. Sedaka: I don't know. If I had done it in America it might have taken longer and eventually it might or might not have worked. But then in 1973 or '74 I met Elton and it was suggested that I ask him Azar Lawrence Album ATTN! OVERSEAS IMPORTERS to put the records out in America. Meanwhile, I had recorded an al- and U.S.A. EXPORTERS We transport Records, Tapes, etc. from U.S.A. bum here in Los Angeles at Robert Appere's Clover Studios which Released by Prestige Offering: Great savings, low freight rates- wasn't released here in the States but was put out by Polydor in Eng- BERKELEY, CAL. Prestige New American Suppliers for buyers-Assemble - various orders-Welcome you when you ar- land and did another 100,000. "Laughter In The Rain" was out as a Records has announced the re- rive in N.Y. single in the U.K. and became number 10 or 12. The Contact: "Sedaka's Back" lease of Azar Lawrence's second BERKLAY AIR SERVICES, MARKETING album was a compilation of "Solitaire," "The Tra -La Days Are Over" album for the label, "Summer P.O. Box 665, JFK Airport and "Laughter In The Rain." (Continued on page 48) Solstice." Jamaica, N.Y. 11430, U.S.A. RECORD WORLD NOVEMBER 15, 1975 29 www.americanradiohistory.com.

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