rockuce. mountain: stepping into cream's shoes

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AlbumCrucifix in a horseshoe 6360 059Single Life after deathThe mighty ship 6059 053

2 RECORD MIRROR, December 4, 1971

MirrormaiWrite to VAL

Record Mirror7 Carnaby St.,

London WIV IPG

Lily-white Elvis?

HUGH NICHOLSON: HAUNTING SONGS

Single Sarah?MARMALADE have at last reached their goal bycoming up with a great new LP consisting ofsuch beautiful harmonies.

Hugh Nicholson must be a genius to come up withsuch haunting songs of which 'Sarah' stands out justwaiting to be released as a single! - MISS W. HARRIS,51 Race -Course Crescent, Monkmoor, Shrewsbury,Salop.

VAL: A single has already been taken from the album,Wendy; it's the 'Back On The Road' track.

latest album available nowSAPTU 101'2 0

dial01-247 6694

listen toMrs. Lennon

YOU WERE sensational this week!(November 6th). Know what you did?Why you told the fans Elvis had a dirtythought about 1900 and said a dirtyword!

Oh, goody, of course your paper will outsellall the others now and you'll be famous as theguys who killed off Elvis' lily-white image (what,no more rumours of divorce? You must beslipping - but keep on it boys - he may splithis trousers yet!) Yippee! Then we'll all clean up.Super.

Obviously music doesn't sell a lot of paperstoday, so how about you re -title the Keeping upwith Jones column, Bringing up with Jones, andhave a super nudie pic every week. - ALAN W.BEAL, 2c Grove Farm Park, Mytchett Road,Mytchett, Camberley, Surrey.VAL: You seem to have missed the point thatwe were quoting from Jerry Hopkins' Elvis'book.

For PaulI WOULD like to assure S.Chapman (w/e 13thNovember) that PaulMcCartney is very muchalive as his musicillustrates. Few artists, ifany, have done as muchfor contemporary music asMcCartney, having writtensuch classics as 'Let It Be','Eleanor Rigby', 'HeyJude' and his own 'MaybeI'm Amazed' and 'BackSeat Of My Car', not tomention rockers like'Helier Skelter', 'Back InThe U.S.S.R.' and 'GetBack'.

I'm sure the new album'Wings' will be anotherprojection of McCartney'smusical brilliance. -DREW POLLOCK, 43Millbrae Avenue,Chryston, Glasgow.

Col.King?WE THOUGHT RM's.article on Elvis in theGreat Ones series was veryinteresting, but how comewe never get any picturesof Col. Tom Parker inElvis features? Does hereally exist or is someonegoing to own up andadmit that Col. TomParker is really ...Jonathan King?! - MOTTAND ANDY, 91 LucienRd., London SW17.

Rip itup!THANK YOU very muchfor the Elvis issue lastweek, I think he isdefinitely the greatest. I'dlike to let other fansknow that there will be anElvis dance onDecember 3rd at 7.00pmat the Polio Centre,Granleigh Road,Leytonstone Ell, near theunderground. Please writeto me for tickets, or payat the door. - BRIANSMITH, 134 NewportRoad, Leyton, LondonEIO 6PF.

OverplayI FEEL I must bring intodoubt the repute of PeterFreestone's argument

ELVIS: A SCENE FROM

(November 6th). IfSpringwater's record, orany other for that matter,is 'beautiful' then this is ajudgement on value, whichonce made remainsapplicable. I know theBBC people are quiteclever, but how can theyturn a good record into a'sick sick' one.

If they have this gift,then the discerning musiclover can only hope thatit works the other waytoo, and that soon theunadulterated junk thatfills the charts of the daywill become bearable, oreven enjoyable. A goodrecord stays good nomatter how many times itis played - the best

MGM'S 'LIVE A LITTLE, LOVE A LITTLE!'recent example I canthink of is Carole King's`It's Too Late' - repeatedplays cannot change thequality of a record. -DAVE C. THOROU-GOOD, 49 CherryOrchards, Staines, Surrey.

LPtracksIS KEN TYLER(November 13th) potty?Does he not know thatthere is a great demandfor tracks off albums. Allhe has to do is think.'Something' and 'Let ItBe' - the Beatles; 'MaggieMay' -1 Rod Stewart; 'It'sToo Late' - Carole King;

Wilson and the Genius

PHIL SPECTOR: IN 1964

WHY DIDN'T Keith Altham's article on BrianWilson and the Beach Boys even once mention'The Genius' Phil Spector. If Brian Wilson wasinfluenced b,/ someone it surely was 'TheGenius', at least after 1965.

At his house Brian is supposed to have a jukeboxstocked with nothing but Philles and Beach Boysrecords. The Beach Boys also recorded three numbersfirst made by Spector artists, 'I Can Hear Music'(Ronettes), 'Then I Kissed Her' (Crystals), 'There's NoOther Like My Baby' (Crystals).

And I do hope Spector and Apple stick to their planof re-releasing the old Philles catalogue. - MICHIELMOLL, v. Lieflandlaan 58, Utrecht 25or, Holland.

`Bridge Over TroubledWater' - Simon andGarfunkel; 'Moon Shadow'- Cat Stevens; 'Fireball' -Deep Purple. That is toname but a few, and itmay be of interest to looknear the top of RM'ssingles chart and you mightrecognise a little song bythe name of 'Jeepster'T. Rex! - J. ROLANI,Battersea.

EddieendOVER THE last five yearsI have been trying veryhard to get LibertyRecords to release someold French tracks andsome other songs stillunreleased in this country.But no-one will take anynotice of me whatsoever,so I am afraid to say thatthe Eddie CochranMemorial Society mustcome to an end. Onceagain all fan mail must besent to Liberty Recordsfor their staff to answerall of your enquiries.

I will not run a clubwithout the help fromUnited Artists who arenot ,showing any interestconcerning Eddie Cochran.So now they must runsomething in its place. -PETER MORGAN, 85Kingsway, Bristol.

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CARDFONT PUBLISHERS 1971Published by Cardfont Publishers Ltd., 7 CarnabySt., W1V 1PG. Distrubuted by The NationalMagazine Distributors Ltd., 22 Armoury Way,London, SIN18. Produced by Pendragon Press Ltd.,Old Tram Road, Pontllanfraith, Mon., and printed byCeltic Press Ltd., Industrial Trading Estate, Dowlais,Merthyr Tydfil, Glamorgan.

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RECORD MIRROR, December 4, 1971 3

If pop music isart --PRO IT!'

"PEOPLE SAY to me 'all right, if pop music isan art form prove it to me - put that record onyour stereo and show me where the art is.' Thereal art in a record does not make itself obviousimmediately. You have to listen to it maybe fiveor ten years later.

You listen to Eddie Cochran's 'Summertime Blues'and there it is. That whole baggy trousered Americanteen dream is contained on that one disc, theproduction, the sound, the lyrics, the voice and themusic - that's the fucking art. It's a piece of history!"

The speaker was Pete Townshend shortly before heleft for the Who's latest American tour and although hewould be too self-effacing to admit it you could nowapply the same yardstick to his earlier work like 'I Can'tExplain', 'My Generation' and 'I'm A Boy', all containedon the Who's new release'Meaty Beaty Big andBouncy' (Track) and brilliantreflections of their times.'

"We were going to call it`The Who Looks Back' butKit thought it made it soundas if we were all dead!" saidPete soberly.

"Much of the material is fromthe old Brunswick days and itmeans a lot to me personally andthe group to own our songsagain. It means a lot to me thatthe Who now own 'MyGeneration' and oldies like `LaLa Lies' Legal Matter' and 'It'sNot True'. None of that materialhas ever been re-released andnow it's available for those newfriends we have made since'Tommy'.

SCREAM"I've even been seriously

considering putting out thedemos of the original hits. Insome cases they have somethingreally worthwhile which wenever got on the final product. Imean the demo to 'MyGeneration' is an absolute screamand the demo for 'I Can See ForMiles' is a master -piececonsidering the equipment werecorded it on. Some people I'veplayed them to think they're ajoke. Others much prefer themto the finished single. Most ofthem are fantastically amusing!"

Townshend at 26 was andeven more remarkably still is themouthpiece for his public andthose early classics willeventually rank, if indeed theydo not already, with thesignificant early rockcomposition of Chuck Berry whois only now being realised for hissocial significance. The lyricmight seem banal in retrospectbut the mirror is genuine antique.

"We really worked out singlesin the old days," said Pete."Even 'Anyway, Anyhow,Anywhere' was worked out toachieve the maximum amounthappening in the three minuteswe had - I still think that is thebest way to make a single.Concentrated energy into a

compact form. 'Won't GetFooled Again' was a return tothat kind of process for us andthe result was very gratifying.

"Some people thought it wasan anti -revolution number. Itwasn't - it was an anti antisong! The first verse sounds likea revolution song and the secondlike someone tired of it. I'm notbut I am tired or some of thefakers. You can't have half arevolution!"

The Who looking back is ofcourse all very well but what arethe Who looking forward to?

"The Who have always movedin big steps and I still think thatthe Who are the only band inthe world capable of making the

Keith Altham talksto Pete Townshendfirst real rock and roll film. Ittook me the first eight monthsof this year to realise I couldn'tdirect it but I still think we canand will do it.

"We need a totally new mediato expose the Who on and filmmust be it. I think the cinemareaches people in a far moreintense way and achieving thatend is now top priority.

"We could have gone on doing'Tommy' for another couple ofyears but we are not that kindof group. Frankly I thought the'Tommy' stage act got to be abit of a bore half way through.Listening in the comfort of yourown home to it on stereo was atotally different number fromhaving to sustain attention onstage focusing on a group all thetime.

"We've created our ownmonsters in the past andovercome them. One thing wehave never done is knuckle underto industry or public demand.We've never put out records onany kind of schedule - we put'em out when -we've got them..We just don't do things to order- never have, never will. I knowthat what we want to happen isnot happening but we will makeit happen on our return."

Watch this space as they sayin the trade!

`The realart in arecorddoes notmakeitselfobviousimmediately'

TOWNSHEND: 'It means a lot to me and the group toown our old songs again'

assersra.masnissic

Getting your best trousers ruined?CRITICISM is often levelled atthe more progressive bands,who as something of an

identification symbol, wearwhat looks like their oldest ofold clothes on stage. StatusQuo will admit they fall intothis category - but it's notthat they don't change fortheir stage appearances, quitethe opposite.

"I don't want to get mydecent trousers all sweaty andruined," said Mike Rossi. "Andonce worn on stage and they'reno good at all. Anyway wewent through this thing beforeof having to wear make-up andbeing given to understand thatthat was the way things shouldbe done. We were taken up totown to Carnaby Street to buyour clothes, whereas we wouldhave just worn what wefancied. Now if someone wantsto go on stage in a suit theycan - we'll probably wearparty hats at Christmas!"

Certainly Status Quo are amuch freer band now - bothin their attitude on appearance,and musically.

"VNie haven't done any dinner

... then take some advice fromStatus Quo and don'twear them on stageand dances for a couple ofyears. No weddings!" laughedMike. "r,e're doing a lot ofgigs that we like, we did a

Rotary Club, but we'reworking the Greyhound clubsin London and Croydon andthe Winning Post and go downvery well there. People whoknow us get down the front bythe stage and freak and we boparound with them."

The essence of Status Quo isto be found in their stage act,and their last album 'MaKelly's Greasy Spoon' provedfor me to be somewhatdisappointing. But with theemergence of their latest album'Dog Of Two Head' the grouphave overcome many of theirstudio problems.

"There's a lot better feelingwith this album and we weremore relaxed and natural whenwe made it," Mike Rossiagreed. "It's been about threeyears since 'Dustpipe' was a hitand we were going through adodgy patch after that. Itcould have he"n a really goodrock record - it was alright atthe time - but if we made it

now it could be that muchbetter.

"I think our song wordshave got a lot better, but thereare so many good songscoming out now that it'sdifficult to find a hit single.We've all been writing materialover the last year, but if wethought that someone else hada better number we'd use it.But if you try and convince meyour song's better than mineI'd smack you in the teeth,"laughed Mike, adding moreseriously. "Our material is justright for Status Quo, and onlythe material the band writes isthe best for us."

What Status Quo intend toavoid is recording a contrivedsingle and they take theattitude that if a number is

right and emerges as -goodsingle material they'll record it,but they won't break theirnecks looking!

Audience participation - orat least involvement - seems tobe the keyword with Quo, andin fact a recent gig at Croydonwas brought to a halt when somany of the audience invadedthe stage that the groupcouldn't continue. Their albummaterial has already been

MIKE ROSSI

integrated into the act, and thereaction from "people thatcount" has apparently beengood.

"Kid Jensen has beenplaying a whole side of thealbum at a time, which we'rereally pleased about," Miketold me. "It's people who areworth listening to. Not justTony Blackburns who don'tlike you because ..."

VALERIE MABBS

Zs.MAIL

ISAAC HAYES

Di AIM,

MOSESISAAC HAYES has a newalbum out called "BlackMoses" and this just aboutsums up his positioncurrently with the blackcommunity. Not thatthere's any positive religiousattitude in Isaac's work, it'sjust that they flock to himand react to him with thesame secular fervour thataudience gave to RayCharles around six or sevenyears ago when he was justbreaking through with thatrock -gospel sound ...

But Hayes is Soul '71,coexisting alongside thefunky jiving of JamesBrown. Hayes is cooler butno less intense working onstage with his chain mailsuits and his big back upband, plus voices (plus,incidentally a lady singerwith the same shaven headthat Hayes effects).

The Hayes entourage -the Isaac Hayes Movement- totals 57 and gets aroundthe country via a 50 footmoving van and coach.

UpsetFor Isaac Hayes, his

'Shaft' soundtrack was thebiggest breakthrough yet'Shaft' is one of the new"black -genre" movies forwhich Hayes composed,scored and did the singing,earning himself a twomillion tape/album seller.

There's another side tothis however; 40 per cent ofthose sales were ripped offby the bootleggers, a factthey upset Hayes and theStax company so much thatthey employed a team ofex -FBI agents to make sureit didn't happen to the'Black Moses' album.

To prevent any leak fromthe Stax company itself therelease date and shippinginformation was knownonly to two Staxexecutives. What's more theex -FBI teams went andchecked out all the knownbootlegging operationsthroughout the country,including one that employs115 people and is a fullyoperational factory doingeverything from duplicatingthe tapes to copying thesleeve. (How come it existsif everybody knows aboutit? According to the Staxpeople, it's "politicallyprotected").

Isaac Hayes is even takingthe matter of this piracy,which has cost him aroundtwo million dollars on the'Shaft' album toWashington. He talked tomembers of the varioustrade and law commissionup there.

An anti piracy bill hasbeen passed and signed bythe President forenforcement in October butthe problem now isenforcement. And_ IsaacHayes with 'Black Moses'standing to be a major sellercan't afford to wait - hetakes matters into his ownhands.


ON THEBOXES

HELLO again, and we start this week with the longpromised look at pop programmes on the BBC localradio stations, beginning with

RADIO LONDON (VHF 95.3)Monday (7.54-9.0 pm) Reggae Time - Steve

Barnard; (9.0-10.0 pm) All That Jazz - BrianPriestley and Don Dive.

Tuesday (7.54-10.0 pm) Breakthrough - SteveBradshaw (progressive).

Friday (8.09-9.30 pm) London Country - BobPowel (C&W).

Saturday (12.02-1.30 pm) It's Saturday - RobbieVincent; (5.10-5.50 pm) City Folk - Fred Woods.

Sunday: (2.30.3.0 pm) Friends And Neighbours -Susan Barnes; (4.50-6.55 pm) Fresh Garbage - AndyFinney (progressive).

Monday to Friday (1.34-2.30 pm) Lunch a laCarter - David Carter.

Well there we are, and I think agree theycover a pretty wide range of .iii7sical tastes andstyles. I can particularly recommend Steveb..,r1shaw's ;Break+I.,:,:ugh7 progressive programmesand'also Robbie Vincent's Saturday show. We'll betaking a look at other BBC local stations in duec_flUrse.

And now for the rest of the news ...TUNE IN AND TURN ONRADIO ONE - The following artists are set to

appear .during week commencing MondayDecember 6th:

JIMMY YOUNG SHOW - The Hollies, Four Tops,Olivia Newton -John, Del Shannon, Pioneers,Chickory Tip and Ed Welch.

DAVE LEE TRAVIS SHOW - CCS, Marmaladeand Butterscotch.

JOHNNIE WALKER SHOW - Roy Orbison,Lindisfarne, America, Tami Lynn, Ed Welch andDesign.

TERRY WOGAN SHOW - Brotherhood Of Man,Ray Morgan, Kenny Ball's Jazzmen and JohnnyJohnson.

SOUNDS OF THE 70's - (Monday) AndyRoberts; (Tuesday) Lindisfarne; (Thursday) RalphMcTell.

RADIO TWOTONY BRANDON SHOW - Des O'Connor, New

Seekers and Gerry Monroe.RADIO LUXEMBOURG Programme Guide for

week commencing Sunday December 5th:Sunday: 6.15 Bob Stewart, 9.00 Mark Wesley,

12.00 Kid Jensen.Monday: 6.45 Dave Christian, 8.30 Paul Burnett,

10.30 Mark Wesley, 12.0 Kid Jensen.Tuesday: 6.45 Dave Christian, 8.00 Mark Wesley,

9.30 Paul Burnett, 11.0 Kid Jensen.Wednesday: 6.45 Dave Christian, 8.30 Paul

Burnett, 10.30 Mark Wesley, 12.0 Kid Jensen.Thursday: 6.45 Dave Christian, 9.30 Paul Burnett,

12.0 Kid Jensen.Friday: 6.45 John Peel, 7.45 Dave Christian,

10.30 Paul Burnett, 1.0 Mark Wesley.Saturday: 6.45 Dave Christian, 9.30 Mark Wesley,

12.0 Kid Jensen.FUTURE HAPPENINGS: Elton John set for 'Old

Grey Whistle Test' (BBC -2) next week (December 7)and has also recorded spot for new year series'Sounds for Saturday' - Lindisfarne's concert atNewcastle City Hall (December 4) to be filmed forfuture BBC -TV documentary - Sweet booked forGranada TV's 'Lift Off' show on December 22nd -Middle of the Road also set for special Xmas Eveedition of the same show, and in addition have beenbooked for BBC -1 'Generation Game' and TOTP topromote their new single 'Soley Soley' - Sonny andCher, currently high in the U.S. charts, almostcertain to visit UK in March for concerts and TV -Supremes and Four Tops set for joint liveappearance on tonights (Thursday) TOTP - two45 min. special TOTP for Xmas and Boxing Daytransmission - congratulations to Mark White on hisnew appointment as head of Radio -2 which he willtake up in the new year - comedians Morecambeand Wise to host their first disc show on Radio -2 onXmas Day - other Radio -1 Xmas plans include amammoth four hour show by Rosko on Xmas Eve(6.0-10.0 pm), the usual DJs party on Xmas Dayafternoon (2.0-4.0 pm) and something special fromJimmy Savile on Sunday December 26th(2.0-4.0 pm). The previously announced TonyBlackburn show will run for three hours from4.0-7.0 pm on Xmas day - Finally 'On The Boxes'offers its congratulations to Tony Brandon on beingvoted Top DJ on Radio -2 .by readers of 'Reveille'just six weeks after moving over from Radio -1.

See you all again next week. Bye for now.

ben cree

BEATLE DAYRADIO LUXEMBOURGwill set a broadcastingrecord on January 1st whenit will feature a full 7'/4

hours of non-stop Beatlemusic - the whole of thestation's New Year's Daybroadcast.

The programme isdedicated to the Beatles ontheir tenth anniversary, andwill run in historicsequence, ending with thevarious solo albums. Said208 press officer JimmyParsons: "Our Fan Club isstill continually inundatedwith demands to hearBeatle records and with this

in mind, we have chosentheir tenth anniversary tocreat this tribute." KenEvans, programme directorof 208, added: "I considerthis to be the mostsignificant and excitingevent in the history ofBritish radio."

Every record played willbe either a single or albumtrack by the Beatles. Theamount of air time beingdevoted to one act withinone programme has neverbeen equalled on anyEuropean radio station,according to 208.

LEONLEON RUSSELL with the Shelter Peopleand Freddie King's band are playing datesin London and Liverpool this week.

And the Coasters, part of rock 'n' roll history, will betouring Britain later this month.

Russell, rated as a genius of contemporary music, opensat the Rainbow Theatre, Finsbury Park, tonight(Thursday) with the Shelter People and the King Band.They appear there again tomorrow and on Saturday, andthen move to the Empire,Liverpool, for a Sundayshow.

The Coasters begin theirswing through Britain onDecember 17 with two Hullgigs at the Phoenix Cluband Malcolm's Club. Thegroup scored a string ofworldwide hits during thesixties such as `YaketyYak', 'Along Came Jones',`Charlie Brown', 'YoungBlood' and 'Love PotionNo. 9'. The group's newrecording of 'Love PotionNo. 9' is being releasedtomorrow (Friday) onParlophone.

The rest of the Coasters'schedule is DorothyBallroom, Cambridge (18);USAF Base, Ruislip andCue Club, Paddington (19);Variety Club, Spennymoor(22); Locarno, Stevenage(23); Civic Hall, Whitchurchand Town Hall, Oakengates(24); Pantiles Club, Bagshotand Mr B's, Peckham (26);Golden Torch, Tunstall andSamantha's Club, Leek (27);Rebecca's Club, andBarbarella's Club,Birmingham (30); PlazaBallroom, Oldhill andB a r bare Ila's, Birmingham(3 1), and CaliforniaBallroom, Dunstable(January 1).

The tour will last untilJanuary 6 with more datesto be announced including amajor London appearance.The Coasters will broadcastin 'The Jimmy YoungShow' daily betweenDecember 27 and 31, and

are beingTV spotsnegotiated.

The Henry SellersAgency, which is bookingthe Coaster dates, is alsobringing back the Driftersfrom February 19 to March16 for further dates underthe billing of the Drifterswith Johnny Moore and BillFredericks. A TV featurefilmed during the group'stour earlier this year is

tentatively scheduled forscreening by BBC -1 onFebruary 6.

IS

Drifters will tour tooNNW /if III III III III MIMI 1111.11

117:fie

MIN ERIN II

-)L ititilsAf AO 71

THREE ORIENTAL butterflies around Danyel Gerard, who has been guesting atInternational Yamaha Festival in Japan, where he's been singing 'Butterfly' in nothan

CBS Records is, releasingfive Dylan songs neverbefore issued - never evenrecorded before by Dylan -in the first week ofDecember. At the sametime, they will release a

single which marks a reversalin Dylan's musicalprogression; it is a protestsong about George"Soledad" Jackson, whowas killed in a riot inAmerica's San Quentinprison.

The five songs arefeatured among the 21tracks on the new doublealbum, 'Bob Dylan'sGreatest Hits Volume TWo'.They are 'Tomorrow Is ALong Time', 'When I PaintMy Masterpiece', 'I Shall BeReleased', 'You Ain't Goin'Nowhere' and 'Down InThe Flood'. The first two

16 TV shows

LAN NEWTRACKS!were written and released insongbook form as early as1965, but recorded only byother artists.

These versions are newrecordings done by Dylan inthe old style with guitar,harmonica and slide guitaraccompaniment. They donot appear to be the samesessions from the basementof the house known as BigPink, where Dylan rehearsedwith the Band.

Other tracks on theGreatest Hits album include`Watching The River Flow',`Don't Think Twice, It's AllRight', 'Lay Lady Lay',`Stuck Inside A Mobile With

Mirror GoldWE proudly present theRecord Mirror GoldAward. It's another'first' for the musicpaper which is goingplaces ... fast!

Right now there is nospecific award availablein Britain to markworld-wide sales of morethan a million discs byBritish artists.

So Record Mirror hasstepped in andinaugurated just that - apermanent trophy forany artist or group whobreaks the seven -figuresales barrier.

First presentation willbe made to RCA Victorgroup the Sweet, tocommemorate theirmillion world sales of'Co Co'. We'll beannouncing just where

and when in a couple ofweeks.

And Record Mirror isalso planning anotherspecial award for theNew Year - one aimedat encouraging newtalent, though 'oldhands' also won't beforgotten. Full excitingdetails ... soon!

Once again, RecordMirror sets the pace inthe recording industry.

LIVE! InternationalFacesMADISON SQUAREGARDENS, NEW YORK:The Gardens will never bethe same again! Not afterthe intoxicatingboisterousness, therazzle-dazzle showbizSaturnalia or thesuperabundance ofsoul -stirring music the Facesgranted, bestowed andco nf erred upon 22,000mini -volcano fans lastweekend.

There were capering

bears, assorted clowns andsoft-shoe sidlers and a

coloured compere whoegged the crowd tonear -riot proportions,stalling as long as possible,building up the tension to atautness that cried, nomore! And let it burst backinto the audience with atrumpet fanfare that shookthe rafters and revealed fiveFaces pouring on stage in atumble of good -humour.

It was the show it hadpromised to be the momentFaces broke all previous

ticket records for theGardens.

Rod was in Pink and sowas everyone else, and afterthe free wine had beenhanded out to the crowdand the footballs kickedinto the writhing stalls andthe screaming had diedaway, you could hear themin the streets, going home,singing ... "Stay with me,stay with me, 'cos tonightyou're gonna stay withm e . . ." Bill

McAllister

theless

The Memphis Blues Again',Ì'll Be Your Baby Tonight'.Àll I Really Want To Do','My Back Pages', 'Maggie'sFarm', 'Tonight I'll BeStaying Here With You','She Belongs To Me', 'AlAlong The Watchtower'The Mighty Quinn', lus,Like Tom Thumb's Blues'À Hard Rain's A-GonmFall', 'If Not For You', 'It':All Over Now, Baby Blue(CBS 67239).

The single is titlec`George Jackson' (CBS7688) and is backed with 1country flavour. The `Bside is the same song, butslowed down and backedonly by Dylan with hisguitar and harmonica. Thevocals on this side are veryreminiscent of the '66 -'67 period.

brieflyCher --twoalbums

CHER'S first LP for MCA willbe released on December 10named after her and includingher hit -parading number'Gypsies Tramps AndThieves'.

She is expected here inMarch or April for someappearances, and there will bea New Year LP releaseteaming her with her husbandSonny Bono entitled 'SonnyAnd Cher Live' with a

single extract of theirAmerican hit 'All I EverNeed Is You' coupled withtheir 1965 hit 'I Got You,Babe' released last Friday.

Police raid duringFairport Convention gig atPlymouth's Vandyke Clublast Thursday resulted in 12drug charges and one ofobstruction againstproprietor Peter Vandyke... former Herd and JudasJump man Andy Bown hasturned solo, and beginsrecording his debut Mercuryalbum this month withanother Herdman, guitaristPeter Frampton ... TonyChristie off to New Zealandon January 25 following his'Is This The Way ToAmarillo' hit, and will thenplay Australia and SouthAfrica until the end of.March ... platinum discaward for Lynn Andersonmarking sales of 1,500,000on 'Rose Garden' ... Tranemake their broadcastingdebut on December 10 inBBC Radio Brighton's gig atthe Brighton Film Theatrepreceded by a showing ofthe Beatles' Let It Be' ...single by New Seekerscalled 'I'd Like To TeachThe World To Sing InPerfect Harmony'rush -released by Polydorthis week ... Martin Carthyhas quit Steeleye Span togo solo again, andreplacements for him andTyger Hutchings areguitarist Bob Johnston andbassist Rick Kemp ...Lesley Duncan stars inBBC -2's 'In Concert'tomorrow (Friday) backedon piano by Elton John ...Climax Chicago startAmerican tour on February25 on a bill which will betopped for the first fortnightby Leon Russell Osibisasingle on January 7 will beedited version of 'Music ForGong Gong' from their firstLP

QuintessenceQUINTESSENCE arepresenting their ownChristmas concert at theRoyal Albert Hall onDecember 20. It will be intwo parts with Alan Mostertfeatured on sitar and leadsinger Shiva playing tablasfor the acoustic first half.

After the interval, theentire band will take part inthe electric part for aprogramme including theircurrent RCA single 'SweetJesus'. Special lighting and abubble machine will be usedduring the show.

South Africanban for T. RexT. REX's highly successful single 'Jeepster' - extractedfrom the 'Electric Warrior' album - has been banned inSouth Africa because of the reference 'I'm gonna suckyou' in the lyrics. The single is still available to the public,although a ban on airplay exists. The single has beenplayed consistently in Britain although Marc Bolansuffered a ban here before when leading John's Children,whose `Desdemona' was refused airplay.

T. 'Rex will be the first December 8. Tickets aregroup to appear on both available from Londonthe Christmas Day and Weekend.Boxing Day editions of Marc Bolan is also set to'Top Of The Pops' since the appear with a panel ofBeatles, when they make a g u ests on Londondouble appearance this year. Weekend's networkedThey are also being featured television show 'Pop Andin the 'Music In The The Media' which will beRound' series, in the rock screened on December 12.section 'Rock Of Ages' Other artists appearingprogramme. Filming for this include Edgar Broughton,takes place at the Cockpit John Peel and Tony Palmer,Theatre, Marylebone, NW8. and film clips from `Gimmebetween 7.45 and 9.00 on Shelter' will be shown.

RECORD MIRROR, December 4, 19715

STONES PLUSIN LP JAM

by LON GODDARDTHE FORTHCOMINGNicky Hopkins/Stonesalbum is not, as impliedin some music papers lastweek, a solo album fromHopkins. It is nobody'salbum - a jam sessionfeaturing Hopkins,Charlie Watts, BillWyman, Ry Cooder andMick Jagger, recorded inMay, 1969 betweensession for a Rolling.Stones album.

Nicky Hopkins told RM:"I've seen things in thepapers that I'd like tocorrect. This is not my soloalbum, but a jam sessionrecorded spontaneously atOlympic Studios in May1969. Anita Pallenberg fellill and Keith Richard had togo home, so we all startedjamming while waiting forhim to return. Nobody evenknew whether Glyn Johnshad the machines runningor not - but they were andit was all on tape; nodubbing at all. It wasn't aserious thing, but whenwe'd finished, everybodythought it stood up welland it would be a gas torelease it. I did two drawings- one for the cover, whichwas a kind of stonedversion of the Beano. TheLP is called 'Jamming WithEdward', a title which camefrom an earlier session withBrian Jones in which themythical Edward sprangfrom a joke session."

A NEW single is planned soon from Titanic as a follow-upto their 'Sultana' hit, and the LP will be released in theNew Year. The group, consisting of four Norwegians andone Briton and based in France, are interviewed by ValerieMabbs on page 12.

Hopkins stressed thatthis album should not beconfused with his first soloalbum, which will berecorded early next year:"Obviously I want my firstsolo album to be just right,so I hope it isn't confusedwith this one. I'll berecording mine within thefirst six months of nextyear and George Harrisonwill be helping me on it. I

have a whole stack ofmaterial and I will do ittrack by track with theright musicians for eachsong. George is helping meto put the whole thingtogether."

Hopkins also refutedanother piece ofinformation given elsewherelast week - that KeithRichard had penned thewhole of the forthcomingRolling Stones album."Keith did not write themall. There are a number ofJagger/Richard compositionsand some by each. I believe

there are some by otherpeople as well. Mick wrotesome of the first tracks andwhile he was away, Keithwrote some. Mick willundoubtedly be puttinglyrics to some of Keith'sbackings later - they're notall finished - so no oneperson wrote everything.There is enough material tomake a double album, butthat has not been decidedyet. It's a credible album -the tracks are amazing."

LP SPECIALKINKS Muswell Hillbillies(RCA -Victor SF 8243).

A change of label and definitely a change of soundfor the Kinks. Sadly the fascinatingly clever lyrics ofRay Davies seem to have been lost, but there is plentyof beaty sound, and some very different instrumentalbacking. '20th Century Man' opens the album withsome nice guitar and deep beaty percussion and hasRay telling the woeful story of twentieth century life- setting the basic theme for the album. Slide guitareffects, leading into a folk styled vocal.

'Acute Schizophrenia Paranoia Blues' hasinteresting disjointed piano sounds and clashingcymbals, honky tonk blues style.

'Holiday' seems to show the deep seated Davieshumour, with a swaying slow accordian based tune, andRay expressing the importance of the annual holidayto the working man.

'Skin And Bone' brings things back to a twentiethcentury feel with rocking guitars and the story of afat lady who is reduced to skin and bone - the firstreal sign of Kinks backing vocals here.

'Alcohol' has dramatic deep pumping piano, andsomewhat depressive wailing vocal, which obviouslygets the point of the lyrics across. In a strange waymuch of this album has feelings of the TemperanceSeven - in heavier mood!

'Complicated Life', - went to the doctor and thedoctor said you gotta slow down your life or yourgonna be dead, is the theme that runs through this -true, maybe, but not altogether the most lifting ofthemes.

'Here Come The People In Grey' opens side twowith harmonica and the title speaks for the story -line.

'Have A Cuppa Tea' raises the mood with an easyswinging feel and more easily identifiable Davies vocal,deep oom-pah piano, and praise for the cure allbeverage.

'Holloway Jail' takes the group into some 'heavier'instrumental work than usual, with girls backingvocals, and strangely Beatle-ish vocals coming throughin parts.

'Oklahoma USA', not too sure how this fits intothe theme with references to the surrey with thefringe on top, but a smooth more ballad stylednumber.

'Uncle Son', the man they won't forget when therevolution comes. Without a lyric sheet it's not tooapparent what this is about, apart from a reference tothe preachers who teach you wrong from right and allthe other influences.

'Muswell Hillbilly', provides an up tempo ending,with naturally enough a hillbilly feel - something ofthe Mick Jaggers on opening, perhaps with thechugging strummed guitars and basic aggression.

It's been a year since the last Kinks album - bar afilm soundtrack - and I feel we've missed a step inthe Davies' movement, which might have helped tolead into this. It seems more of Ray Davies' than theKinks - though he's always been the key figure -presumably because we've missed out on theirdirection too. Obviously an interesting album to hearto fill the gap -- but perhaps the next will show the trueessence more positively. - V.M.

Platters,DorseyUK tourTHE PLATTERS, LEEDORSEY, and THEDETROIT EMERALDS arebeing set for British datesearly in the New Year bythe Contempo Agency, anew part of the organisationwhich includes MojoRecords.

Dorsey and the Emeraldsare being scheduled for aJanuary visit, and thePlatters will come overlater. Meanwhile Contempois staging shows inManchester and London thisFriday (3) and Sunday (5)starring Rufus Thomas,Tami Lynn, Al Green andR. B. Greaves. TheManchester venue is theNew Century Hall, with twohouses at 7 p.m. and 9.30,and the Londonperformance on Sunday willbe at the Rainbow Theatre,Finsbury Park, at 7.30.

Mojo Records hasobtained British rights tothe Gamble Recordscatalogue, and will release asingle by the Intruders inJanuary. The group willprobably visit Britain at thesame time for appearances.

BaldryforRainbowROD STEWART, EltonJohn, Maggie Bell andLesley Duncan willprobably be among thevarious "friends" who willbe featured at London'sRainbow Theatre onJanuary 12 when JohnBaldry kicks off his firstBritish tour for a long timewith a "Birthday Party"concert there, also featuringhis newly -formed band.

The Rainbow date is thefirst of 16 gigs set, but isthe only confirmed date atpresstime. Other venues willbe announced soon.

Meanwhile, Baldry's band- as yet untitled - makesits debut at London'sMarquee cm December 15.

At last a selection of postersthat truly mirrors the scene as it really is,

at a price to suit your pocket.

AYLESBURY: Cardshops, 73 FriarsGallery, Carol Payne, 17 TempleStreet.

BATH: Lea's, St. James ParadeBEDFORD: Bedford Musical, 58

Midland Road.BELFAST: Etcetera, 7 Chichester St.

BIRMINGHAM: Bridge Newsagents,28 Coventry Road, Bordersley.Martins 159a Coventry Road.Record Mart 224 High Street,Derltend. Cardshops, North WesternArcade. Cards & Posters, 22 MoorSt. Virgin Records, 177 CorporationSt. Fiesta Records, 413 CoventryRoad, Small Heath.

BOGNOR REGIS: Sea Jade, 9 YorkRoad.

BRACKNELL: Anne Andrews, 8Crossways.

BRIGHTON: K. J. Bredon, East Street.Sounds Unlimited, 149 NorthStreet. Tiger Moth, 25 MeetingHouse Lane. Inas Records, 112London Road. Virgin Records, 126North St. Here 'n' Now, 146a NorthSt.

BRISTOL: Leisure Interests, 54a ParkSt.

BROMLEY: Bromley Office Supplies,26 High St. Alan Freeman's RecordCentre, 158 High St. Design, 43High St

BURTON -ON -TRENT: Abbey MusicCo. 5/6 Market Place,

BUXTON: Tables 'n' Chairs, 55 HighSt.

CHATHAM: Francis Iles, 331 HighStreet. Impact Music Centre, 276High St. Prince of Orange, 21 HighSt.

CHELTENHAM: Universal Stationers.88 The Promenade.

CHESTERFIELD: Some KindaMushroom. 7 Newbold Road.

CORBY: HMV Records, 7 Market Sq.COVENTRY: Precinct Cards, 62

Lower Precinct.CRANBROOK: White's Newsagents,

High Street.CROWBOROUGH: Revolver Records,

London Road.CROYDON: Centre Paperbacks, 1067

Whitgift Centre.DERBY: Knights, 33/35 High Street,

Oakham. Thornhills, 85 Macklin St.EASTBOURNE: Cassmusic, 32, Grove

Road. S. W. & M. Brauckmann, 56bGrove Road..

EDINBURGH: Bruces Records, 79Rose St. Greeve Sound Centre, 17Easter Road. The Time Machine, 9Crown St. The Bodkin, 7 Bold St.

EGHAM: Record Wise, 172 High St.Sweets, 115a Trafalgar Road.

FOLKESTONE: Angelo Arts, 23Cheriton Place. Scenic Sound, 29Old High Street. Sapphire Gifts, 64Old High St.

GLASGOW: Arnott Simpson, ArgyleSt. B. & M. Morrison, 67 Queen St.Hades 11 Bart St. Bruces Records, 1Sauchiehall St. Castles, 560Springburn Road. Precinct Records,488 Sauchiehall St.

GRAVESEND: Lord Lee, 41 StoneStreet.

GREENWICH: Greenwich Bookshop,37 King William Walk. BlackMarket, 271 Creek Road. Sweets,115a Trafalgar Road.

HARROW: Universal Stationers,Station Road.

HASTINGS: A. K. Pont, 4 QueensAvenue.

HIGH WYCOMBE: Percy Prior, 23White Hart St.HULL: Cardshops, 17 White Friar

Gate.KETTERING: Sceptre Treasure, 64

Gold St.KIR KENTILLOCH: The Rag Doll, 135

Town Head.LEEDS: The Record Gallery, 79

Raglan Road.LEICESTER: Brees Records, Church

Gate. Compact (Stereo) Co., 34Narborough Road. Colour Design,209 Narborough Road.

LITTLEHAMPTON: Nu -Style, 12Beach Road.

LIVERPOOL: Cavern Cards, Bold St.LONDON: Cardshops, 239 Regent St,

Wi. Record Hunter, 29 York Road,5E1. Ashcroft & Daw, 83 CharingCross Road, WC2. Scene & Heard,5/6 Coventry St, Wl. TinwhistleMusic, 154 Wandsworth Bridge Rd,SW6. Fickens, 3 Carnaby Court, Wl.Print Mint, 49 Kensington High St,W8. His Nibs, 17 Dartmouth Road,SE17. Popular Books, 40 Hoe St,E17. Howell & Harrington, 2Medfield St, SW15. Cardshops,Fenchurch St, EC I. Cardshops,Ealing Broadway, W8. CauldronPromotions, 98 Mill Lane, NW6.Slipped Disc, 2 Lavender Hill, SW11.The Bodkin, 7a Church St,Kensington W8. QuadrantStationers, 68 Notting Hill Gate,W8. Manzi Records, 7 New CollegeParade, NW3. R. W. Reed, 163a RyeLane, SE 15. Impressions, 5Newborough St, Wl. Harlequin, 201Oxford St, WI. Cardshops, 487Oxford St, WI.

LOUGHBOROUGH: E. Cooper 3Wards End,

MAIDENHEAD: Harlequin Records, 2Nicholson's Walk.

MAIDSTONE: Regal Gifts, 21 GabrielsHill.

MANCHESTER: Cuba Cosmetics, 38Market Centre. Paperchase, 5Exchange St. Cardshops, 4 MarketSt.

MARGATE: Pussycat Boutique, 6Market Place.

NEWCASTLE: The Kard Bar, 2Handyside Arcade.

NORBURY: Consortium, 23 WeslowRoad, Upper Norwood.

NORTHAMPTON: B. M. H. BookCentre, 71 Kettering Road. MemoryLane, 20 Derngate. UniversalStationers, 51-53a, Abington St.

NOTTINGHAM: Selecta Disc, 92Arkw right St.

NUNEATON: S. B. F. Design Centre, 8Edward Street,

OXFORD: Usborne Little ClarendonSt. Gallery 57, 29 Little ClarendonSt. Sunshine Records, 31 ClarendonSt.

PAISLEY: J. D. Cuthbertson & Co. 5Gilmore St.

PECKHAM: Ron Taylor Records, 98Peckham High St.

RAMSGATE: Greetings Stationers, 25Queen St.

READING: Gun Street Gallery, 14Gun St.

RUGBY: B. Bagworth, 133 CambridgeSt. Berwicks Records, 12 Sheep St.

RUSHDEN: Cee Jay Records, 192Wellingborough Road.

SEVENOAKS: L. T. Patmore, 110High St.

SHEFFIELD: Jeffs Records,Cambridge St. Quadrant Stationers,The Moor.

SOUTHAMPTON: Civic Card Centre,22 Windsor Terrace. HenrysRecords, 116 St. Mary St. Tetlows,Modern Records, 96 St. MarysRoad.

SOUTHPORT: Ges-Bur, 26Shaftesbury Road. UniversalStationers, 7 Chapel Street.

STOCKINGFORD: Pickering &Ludlow, 67 Haunchwood Road.

SUTTON: HMV Records, High Street.TAUNTON: Peter Gwynne Poster

Shop.TENTERDEN: Duncans Bazaar, 1

High St.TONBRIDGE: Standens, 92a High

Street.TUNBRIDGE WELLS: Lords, 28

Mount Pleasant.WATFORD: Cardshoos. 112 Hiah St.WELLINGBOROUGH: Jordans,

Midland RoadYEOVIL: Peter Gwynne Poster Shop,

Princes St.

If you have'nt got a stockist nearby send for a catalogue.If you want to be a BigO Pop Today stockist fill in the coupon NOW.

VPlease rush me your full colour cataloguesI am interested in: Ordering direct 0

Being a stockist 0name & address

tick appropriate box RM

To Big 0 Posters Ltd 219 Eversleigh Road London SW11 5UY 01 228 3392

2


Into another,more complicated world.

Listen to their new album--you'll hear they've got

other things on their minds-like modern nightmares,

human frailty and the sheerhell and thrill of it all.

"This is the age of machinery,a mechanical nightmare.The wonderful world of technology,Napalm, hydrogen bombs,biological warfare.This is the twentieth century"MUSWELL HILLBILLIESA NEW ALBUM FROM THE KINKSSF 8243


THE HEART OF McCARTNEYIT WOULD be entirelywrong to conclude fromPaul's apparentpreoccupation with theBeatle finances that hismain concern is money.His main concern on thecontrary, is peace of mind- and a relaxedatmosphere in which tomake music and enjoy lifewith his family.

Although Paul was alwaysthe organiser when the Beatleswere together, keeping thingson the rails and concernedabout the group's collectiveimage, he is far from beingbusiness orientated - and it isslightly ironic that it wasLennon, the anti-establishmentnon -conformist who called inthe "men in suits" to handlethe affairs of Apple.

`Let's spliteverythingand go ourseparateways'

Paul would have beenhappy to go on, keeping theBeatles together, as a musicalunit running their own affairs."But we always had theunderstanding that if anyonewas in a sticky situation andwanted to get out, we'd sitdown and see what could bedone about it.

"So when John came to usoriginally and said he wantedto get out of everything andbreak up the Beatles, we said`All right'. No one wasparticularly pleased about it,but we agreed. John said hewanted to be with Yokototally and we accepted it.Now, what would follownaturally from that is thatwe'd simply split everythingup and really separate.

"But in fact what's happened isthat nothing has changed. I standto be under that Beatle contractfor seven more years. You see I

took the split literally - but whathappened was that I split and theothers didn't.

"Now Klein is making thewhole business into a politicalthing where he's saying: 'Paul'strying to take over. He wants thesub -publishing . . . it's thoseEastmans ' - (laughter herefrom Linda) - 'the Eastmanswant the Beatles'. None of that istrue - that's just a whole politicalthing he has created."

Paul went on to mention othertakeover bids for the Beatles thathad occurred in the past andrecalled: "We'd always said toBrian Epstein that if anybody elsewanted to take us over, he couldstuff it. We were all in agreementon that... then. We just wantedthings the way they were.

"Actually, I'm not reallycomparing that previous situationwith the Klein thing. All I say atthe moment is, if we were stilltogether the attitude of theothers might make some sense.But we're not together any more.So let's split everything and go ourseparate ways."

Part two ofan interviewby MIKEHENNESSEY

And Paul's separate way is withwife Linda and the rest of theWings group, for which he soearnestly desires an inconspicuouslive debut - a grotesquelyimpossible dream in view of hismassive popularity.

So what will he do about goingon the road?

"Well, at the moment we're notplanning anything. You see, we'retrying to do it a lot looser thanthat ... we're trying to do it howwe feel it. I've been through allthe structured and planned Beatlethings and I think I've doneenough of that now. My interestall along was just the music. That'swhat the album's all about - justsongs. One side for dancing, oneside for dreaming ..."

(And that's another link withthe great McCartney idol, BuddyHolly. It's the example of Hollythat makes Paul reluctant to giveinterviews because he insists:"Buddy Holly didn't ever have totell the press what he had forbreakfast - he just got on with hismusic)".

But the media will not bedenied, and they're going to wantWings on television.

"Exactly," says Paul. "But thething is, if we're on TV, then I'llsort of put the show together."

"It won't be Top of the Popsthen?"

"No".There will also be a demand for

a single - and Paul won't take itfrom the album because he doesn'tthink that's fair on the public.

"We'll do something else - infact we've got the tapes of onehere which we're thinking ofmixing after you've gone." (Theydid, too, until 4 a.m.)

Now that he's finally down totalking about the music, Paul saysthat the album was put together inabout two weeks - "which is achange from the Beatle albums.We came into the studio for aboutthree days and laid most of itdown. Then over another ten dayswe overdubbed and finished it off."off."

`Hollydidn'tever haveto tell thepress whathe had forbreakfast'

"How much," I ask, "did Lindacontribute?"

"A lot. Her main contributionis, like, vocals, but she also playskeyboard. Also we write stufftogether."

And thereby hangs another taleof contention because there arethose who contest Linda's claim tobe a songwriter.

"Because Linda wasn't trainedat the Guildhall, Northern Songsthink it must mean she can'twrite. But she knows more aboutmusic ... Look, she's a rockerfrom way back. She was at theParamount Theatre watching, onthe same bill, Jerry Lee Lewis,Buddy Holly, the Everly Brothersand Chuck Berry. She knowsabout music.

"The thing is, Mike, look at itseriously. Northern Songs has gotme under contract. I start writing

PAUL McCARTNEY with LINDA and

with someone whom they don'thave under contract - and theydon't accept it. Now we ought tohave an equal share of the song.But you try to tell Sir Lew Gradethat - he's bought the company -and it doesn't work . . . "

And once again McCartney isback waging his personal campaignfor a fair deal, not just for oneBeatle, but for all four.

"You know," he says, "allalong the Beatles were the onlyones who really didanything ... in NEMS, in Apple,everywhere. It's not really theother artists - you know that, andI know that. It's really only whatGeorge goes in and does, Johndoes, Ringo does and I do myselfthat makes any money ... andwe're the only ones who nevercopped it.

"Throughout the entire historyof the Beatles thing - and youcan check this out with any of theothers," said Paul thumping thedesk for emphasis, "the Beatlesdidn't get paid. They never havehad the money to this very day.

"I mean, just think about thoserecord sales. If Micky Most getsrich by making one Hermanrecord, just think how rich theBeatles should be with theirvolume of sales ... "

Which, once again, would seemto suggest a relentless

DENNY LAINE - and the hand of interviewer MIKE HENNESSEY

preoccupation with money. It'sone of the hazards of transferringinterviews to print that exactquotes can still mislead.

`TheBeatlesdidn't getpaid'

Paul wants justice, not money.And he feels there can't be justiceuntil he is freed from his Appleand Beatle association. He wantedhis new album not to have theApple logo on it but to have hisface on one side and Linda's onthe other. "Because," he argues,"it is ours, and nothing to do withApple."

But the convolutedcomplexities of big business won'tpermit simple solutions. AndMcCartney remains tied to acontract whose whole spirit hasbeen dissipated and exhausted.

Paul now wants out - to fly onhis own wings; and my guess isthat until he gets completeindependence, he will neverproduce great music to match thebest of his songs with the Beatles.

We have no

pretty graphics

...we have np

clever words

...we have

Colin Blunsiontsnew album

%One Year"on

din blunsto e

...who needs more?EPIC

64557


Haveyou seen thisman?

SPOT THE DIFFERENCE: THE REAL 'FUZZY' JOHN LEE (RIGHT) AND THE'PHOTOFIT' PORTRAIT OF THE VILLAIN ...

Big bandsare back

WORRIED about what tobuy dad, or even grandad,for Christmas?

Well, if he's any kind ofenthusiast for the era of thebig swing bands, thenTime -Life Records could dothe trick. They've started aseries of record sets onsubscription and they'vecovered the whole scene.First volume 'The SwingEra 1940-41' is nowavailable.

It's an authenticreproduction of thearrangements of star bandslike Glenn Miller, HarryJames, Artie Shaw, BennyGoodman, Charlie Barnet,Tommy Dorsey, but allrecorded in Hollywood by a

star session band directedby Billy May.

First volume includesthree albums, plus anostalgic 64 -page bookevoking life in the thirtiesand forties.

All you do is write toTime -Life Records, PO Box25, Swindon, Wiltshire,including a cheque for£6.30, plus 45p postage.The first volume will arrivefor dad, or even grandad,on a ten-day, trial. Point isthat subscribers can returnany set they don't like -and won't get lumberedwith any obligation toaccept a minimum number.

'Friendly'games

THIS week's excruciatinglyboring link between pop

music and soccer concernsthe ubiquitous Rod Stewart.Rod is a football fanatic,was once on Brentford'sbooks and could have had aprofessional career ... andstill turns out for 'friendly'games at the weekends.

Highgate Redwing is histeam. But since Rod'sastonishing rise to fame andtop of the charts, he'sfound out that opponentsare becoming moremurderously -inclinedtowards him.

Like the goal -keeper whocharged out at Rod, jumpedat him with both knees andfelled our hero with suchviolence that he should havebeen sent off.

Instead, as Rod collectedhis thoughts and countedhis ribs, this goalkeepersaid: "You ought to stickto pop -singing, Sunny Jim."

THEY'D put on a good show and New World hadearned their usual rapturous reception from the Hullcabaret audience. Afterwards, group man John Leestepped outside for a breath of fresh air.

And was pounced upon by five separate arms of the law.They searched him and questioned him as to his movements ofthe previous evening. His explanation was watertight. He'd beenputting on a similarly good show in front of an equallyrapturous audience.

But why HIM, hewondered. Seems there hadbeen a bank raid thatprevious evening. The policehad built up an identi-kitpicture of one of thevillains - and it turned outto be a dead ringer for'fuzzy' John.

John knew well thefeeling of relief at beingcleared - not to mentionthe feeling of fear whenbeing questioned.

It'd happened before,some months back, when hewas taken for questioningfrom his North London flat.This time a night watchmanhad been attacked by a

passing thug who happenedto look a bit like AussieJohn.

And again, a lot ofpeople happened to knowwhere he'd been at the timeof the crime.

Coming fromdown -under only to beturned over isn't much of ajoke.

But I'm thinking about afilm script where the popstar keeps nipping off on'jobs' - and has MikeYarwood standing in forhim on stage!

FREEBIES LABETO CLOSE

DECEMBER 31st.If you haven't bought a Transatlantic

album with the special sticker byDecember 31st, you'll have missed yourchance for Freebies.

It could be a record voucher worth upto £50, or an £80 stereo, or perhaps£200 worth of Hi-Fi equipment.

If, even at this late date, you still don'tknow what Freebies is all about, helpyourself to a giant label in yourrecord store.

It'll tell you all you need to know.But remember to do it soon.All good things must come

to an end.

remove can,(44, -

IFromTransatlantic & Roiling Stone.

With this album ou'll receive your firstFreebie: a copy of Rolling Stone MN.... fTurn to inside barb paps and complete the coupon

as directed. If the store doesn't haveany: ask the assistant to stemp and

upn this label. and write In the number of ''''your record. Send it off to us,. we'll/

send you your coPY.

Lookfor this sticker.

De HemsIT really was a helluva pub.A boozer -de -personality. It'scalled De Hems, and itnestles in MacclesfieldStreet, just off ShaftesburyAvenue - the twoimportant landmarks werethat the statue of Eroswasn't far away, nor wasthe Record Mirror offices.

Everybody used thatboozer. Paul Simon lurkedin a corner seat, unknown.Tom Jones once attackedthe beer -drinking record inone evening (thirteen pints,I think it was), but whowas counting? Brian Jonesused to chat peacefullythere. Marc Bolan was ayoung lad who worked in aclothing store and dreamedhopeless dreams ofbecoming a pop personality.

Gene Pitney once triedto 'nick' a curvey birdnamed Judy from my veryself. Max Miller arrived totalk about an album - andactually bought a drink!Phil Spector wore a scarletjacket for a Saturdaymorning interview - .andthe guv'nor assumed he wasa hung-over dinner -partyM.C.

Great boozer, De Hems.It saw them all. And nowthere's a group named afterthe pub. De -Hems comprisesMick Haroon, Dave Hitchen,Colin Harrison, Steve Jarvis,John Cascarina, RonEdwards.

I wish them well ...IF the magnificent Doris

Troy has her way, there'sgoing to be one helluvamusical rave-up when shetops the bill at theRainbow Theatre,Finsbury Park, NorthLondon, on December15.

To gig along with her, she'sinvited George Harrison,Ringo Starr, P. P.Arnold, Billy Preston,Dusty Springfield,Madeline Bell and TonyAshton. She's nowwaiting to hear if they'reall available.

Anyway, two tickets forsure, please, Doris!

And if at first you don'tsucceed, troy, troy ...no? O.K. then. No.

Cliff'outrageTHE old eyebrows hit theroof when I learned thatCliff Richard, no less, hadbeen banned in SouthAfrica. Because of 'slightlypermissive' lyrics on one ofhis records, no less.

What, Cliff? Turns out itwas his single 'Sing A SongOf Freedom' that upset theauthorities, not Cliffhimself. The song putsforward the doctrine ofuniversal freedom.

And, of course, youcan't expect to get awaywith that kind ofoutrageous thinking, not inSouth Africa. Not even ifyou are as highly respectedas Cliff.

GloriousfoodIKE EVERLY., father ofDon and Phil, has a prettywell-fed look about him. Infact, you could say thathe's obviously not short ofa few bob.

Wasn't always like that,though. Back in the thirties,Ike ran a small countryband and he and the boyscame near to starving.

He told me: "We hadn'teaten for days and we onlyhad forty cents between thelot of us. I fell like askingsomeone to feed us - reallygo out and beg - butinstead I found adelicatessen and asked for agenerous forty cents' worthof salami and crackers.

"So we gorged ourselvesand drank water from a firehydrant. We went on to ourten -dollar gig, stomachsbulging. And there wefound an array of food anddrink laid out for us.

"But we ate againanyway. During thedepression, you just didn'tmiss out on a chance likethat."

BardrockORIGINALLY there wasJerry Lee Lewis playinglago' in the original JackGood presentation of 'CatchMy Soul', the rock musicalbased on Mr WilliamShakespeare's 'Othello'.

And now the Frenchrocker Johnny Hallyday isto stage and take the leadin a French -language rockversion of 'Hamlet', in Parisnext year.

Johnny says the lyricshave already been writtenby Gilles Thibault - and

that he's getting MichelPolnareff to write themusic. Three years ago,Polnareff handled the scorefor an updated version of'Rabelais'. And the decor isby one Salvador Dali.

Now all we're waiting foris news of Frank Zappastarring as 'King Leer'.

PsSI

JOHNNY HALLYDAY(RIGHT) WITHWRITER -SINGER LEEMICHAELS.

MeatyBeatyI WASN'T in, so it was LonGoddard who was bore thebrunt of an invasion fromTrack Records. Through thedoor sprang a chubby dwarfwith "Meaty Beaty" writtenall over his T-shirt andtopped by a bouncingbouffant. He pressed a copyof the Who's 'Meaty Beaty,Big and Bouncy' album intoLon's hands. Plus a T-shirtand a packet of sausages.Then a handily -placedvisiting photographersnapped a picture - and theinvaders left. Appreciatingthe gifts and the show, Lontook off to listen to thealbum . .. worrying onlyabout whether the picturewould appear in theNews of the You -Know -What.

GIRL -OF -THE -WEEK: The choice of a career for ChrissieRoberts was simple. She'd either be a brain surgeon ...or a nun! Turned out there were certain hang-ups anddraw -backs in both vocations - so she settled for beingan actress. Now she's a singer - her debut on Pye is adistinctive version of Smokey Robinson's 'You ReallyGot A Hold On Me'. She says: "I was literally terrifiedwhen I went into the studio." Weil, it doesn't show onthe record. Funny thing, though, I was thinking ofbeing a brain -surgeon next week.

RECORD MI RROR, December 4, 19719

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10RECORD MIRROR, December 4, 1971

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COLLEGEEVENTS

Thursday December 2Glasgow UniversitySPIROGYRA

Saturday December 4Imperial College, LondonQUIVER, GLENCOE

Glasgow UniversityTEAR GAS

Waltham ForestTechnical College, ForestRoad, London E17WISHBONE ASH,CAMEL

University College,Gower Street, LondonWC1

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Polytechnic Of CentralLondon, 115 NewCavendish Street,London W1MEDICINE HEAD,RENAISSANCE

Wednesday December 8Reading UniversityRORY GALLAGHER,OSIBISA

December 2 - 8THURSDAYBull's Head, BarnesBridge, London SW13TONY LEE -SPIKEHEATLEY DUO

Torrington, 4 LodgeLane, North Finchley,London N12BE -BOP PRESERVA-TION SOCIETY

Fox at the Toby Jug, 1

Hook Rise, SouthTolworthBLACK WIDOW

Skewen Club, SkewenFRUUPP

Ealing Town Hall, EalingBroadwayCLIMAX CHICAGO,PLUTO

Underworld, White Hart,Uxbridge Road, SouthallT.2

FRIDAYBull's Head, BarnesBridge, London SW13GUEST GROUP

Bumpers, PiccadillyCircus, London W1SASSAFRAN

SATURDAYBull's Head, BarnesBridge, London SW13GUEST GROUP

High Wycombe TownHallEMERSON LAKE ANDPALMER (Film)SKID ROW (Live)

Doget Rooms, CardiffFRUUPP

Starlight Rooms, BostonHAWKWIND, AMONDIN

Hydraspace, KinghamHall, St. Johns Road,WatfordMANFRED ;',1ANN'SEARTHBAND

Odeon, RomfordBARCLAY JAMESHARVEST

SUNDAYBull's Head, BarnesBridge, London SW13GUEST GROUP

Torrington, 4 LodgeLane, North FinchleyN12MAN

Fox At Greyhound, ParkLane, CroydonAMERICA

Grand Theatre, LeedsOSIBISA, PALADIN

MONDAYBull's Head, BarnesBridge, London SW13GUEST GROUP

Watford Town HallINCREDIBLE STRINGBAND

Top Rank Suite,LiverpoolRORY GALLAGHER,OSIBISA, BRIANAUGER'S OBLIVIONEXPRESS

T ESDAYBull's Head, BarnesBridge, London SW13TONY LEE -SPIKEHEATLEY DUO

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prejudiceand the`solution'"OH, it's Edmonds' turn at thedisc -jockey column - I wonderif he'll actually start talkingabout pop music?"

No, such luck, old fellow,I'm off again about the strangeand peculiar ways of the world.For instance, do you rememberthe old Kent pub that wouldn'tserve the people from the newvillage? Well, for the benefit ofnew members, I'll retread somelocutional footsteps.

New Ash Green is a new village inKent - it is filled to capacity withlovely young people like me and myBeeb producer Tim Blackmore - soyou roughly know what sort of placeit is. Good!

Well, just down the road is a pubowned by a pompous fellow whohates the 'Green' and its inhabitants.Consequently, whenever a `Greenite'enters and is recognised, all

hospitality is withdrawn and anatmosphere exists.

REVENGEIt has been known for service to

be suspended and in one instance`Greenites' were asked to leave. Thefinal straw came a few weeks agowhen two very good friends of minewe re ordered out for 'beingpermissive'.

What actually happened was that girlpecked boy on cheek (it's alright, Bishop,they WERE engaged) and landlord says wedon't have that sort of thing in here.Looking at his wife, I believe him. Anywaya plan was hatched to seek revenge againstsaid inhospitable man and his inhospitabledomain.

Our intrepid band agreed that violencewas out but an assault on the man's senseswas definitely 'on'. Thus it came to passthat six weeks ago a stranger entered saidpub and ordered a pint of best bitter.

Some moments later another 'stranger'crossed the doormat and ordered likewise.Within ten minutes, there must have beenat least a dozen neatly dressed andwell -manicured strangers sitting at separatetables, quietly consuming pints of bestbitter.

It was then that I arrived disguised as atramp - and looking and smelling twice asawful as any you are likely to see.

I made it to the bar, dropping a cod'shead on the way, before a torrent of abuseleapt across the bar and I was ordered outof it.

As I turned to go, I mumbled about"old men in the war fighting for the likesof you" and "so a decent fella can't get adrink" and the landlord, obviouslyweakened with guilt, whispered: "It's notme, oldtimer, I've got to think of mycustomers."

At which point, the previously silentdrinkers leapt to the tramp's defence,claiming admiration for him and offeringpints of beer, crisps and cigarettes. Thelandlord was totally deflated andtemporarily caught off guard.

I have no doubt that we would have

NOEL: DROPPING A COD'S HEAD.secured a total victory had we not sufferedour one piece of bad -luck. The stink bombreserved for a later manoeuvre went offaccidentally and in such a manner as to be`uncoverupable'.

Originally we had intended to use itsmagic powers about the tramp's personand then for the other 'customers' to claimthat they couldn't smell anything oddabout the old man.

However, with the fumes actuallyvisible, all innocence was wasted and wehad to accept our eviction.

It took three baths to shift that pongand yet our failure did not deter us fromtrying again last week.

This time, the front guard enteredexactly on opening time and tapes andtripods were assembled against and aroundthe bar. An ordnance survey map wasplaced on the counter and the twoduffle -coated 'fellows' started makingcomments such as ... "It wouldn't allhave to go if the flyover was onlytwo-lane" and "Pity about the saloon bar,but the council said it had to be aclover -leap interchange."

VICTORYBefore the publican could collect his

senses, the first of the 'ladies' arrived andordered a lager and a tomato juice - inthe same glass. By this time, Mrs Landlordwas at the bar and was watching thepremises being prodded, probed, poked,photoed and measured as a steady stream ofladies at two -minute intervals ordered lager,tomato and gin; lager, tomato, gin andpineapple juice; lager, tomato, gin,pineapple and vodka etc. etc - all in singleglass measures.

The pub was filling up with both realcustomers and `Greenites' and thesurveyors were chatting with a demolitionexpert from Dartford who had popped infor a drink and thought the survey wasgenuine.

All the time, the landlord was running-backwards and forwards, threatening legalaction if one beam was molested and hiswife was trying to get a lager, tomato, gin,pineapple, vodka, lime, peppermint, brandyand soda into a pint mug.

Personally I think we overdid it withthe pig in the loo and the smoke grenadebut by the time the landlord had resignedhimself to the M98 cutting his two bars inhalf, anything was possible.

Last Sunday, we at the 'Green' classedit as a victory and at present we are restingon our laurels. The experiences of thosetwo weekends have made us a more unitedforce and a strong power to be reckonedwith.

Indeed, if anyone wants a 'disaster area'within the law, contact us - we do specialrates for political demonstrations,factory -picketing and haunting. Oh - andanybody want two gallons of lager,tomato, gin, pineapple etc etc?

We'll supply the straws if you collect.

RECORD MIRROR, Decembe- 4, 1971 11

SITUATIONS VACANTMale vocalist wanted forBritish rock group poised onthe brink of the Big League.Apply Ian Hunter, Mott theHoople.ENIGMA

"THE PLOT thickens"as they used to say inall the best detectivestories and the mysteryas to why Mott theHoople cannot breakinto the First Divisionof rock and roll is evena puzzle to theirmentor Ian Hunter whosums it up byconfessing:

"Mott are an enigma- they ought to see arocky psychiatrist!"

There is no lack ofsupport for this talentedband at live performanceswhere they managed togenerate the same kind ofenthusiasm that ManchesterUnited do for the Kop (toiletrolls and all) andtheir booking fees in excessof £600 are testimony totheir being in demand.

Most are poised on thebrink of the Big Leaguebut seem unable to gainthe necessary recordimpetus to push them overthe top and win them thekind of acceptance they

14 IAN HUNTER

deserve. You really have tohear and see Hoople live atsomething like the Rainbowperformance last week torealise that theexcitement they generateon stage is not comingacross on record. Liveperformance the answer?

"We tried that once atCroyden Fairfield and all therecording equipment gotwrecked by enthusiasticsupporters," smiled Ianruefully, poised over his pintwhen we chatted recently in aLondon pub. "We salvaged onetrack from that fiasco!

"Our fight is really foracceptance from the MassMedia and a more generalrecognition from the Press - Iknow we are not recognised forwhat we are. Sometimes I

think the fault is mine. Mottreally don't have a very goodvocalist. I wish we hadsomeone like Paul Rodgers(Peace) and then I could justconcentrate on the music."

Despite headlines like 'HowMott Made It' the band stillhas to win over the critics andthat elusive record buyingpublic although albums like'Wildlife' and 'Mad Shadows'have won qualified acceptanceand 'Midnight Lady' theirsingle sold approximately40,000 over a long period.

"We've even considered the

possibility that as most of ourfollowing are working classpeople maybe they don't havethe money for an album.Strangely enough our lack ofchart success seldom hurts withbilling - we regularly appear atvenues with bands likeLindisfarne who are enjoyingcurrent success in the chartsbut promoters give us topbilling."

Available at all reputableretailers now is Mott's latestonslaught upon the recordbuyer in the shape of 'BrainCapers' on which there is a

Dion song and an amazingversion of the Youngbloods(from the days when theyreally bled) called 'DarknessDarkness' It is also a goodexample of the self effacing MrHunter's extraordinary voice -straight from the balls!

There is a magical kind ofmayhem about Hunter and hisband of electronic bravadoeswhich marks them assome thing special and asHunter says 'If Mott wereforced to pack up they wouldleave a large size gap' Theymay not satisfy those whobelieve that rock is an art formbut if you happen to feel withyour heart instead of yourhead you cannot remainunmoved by a group with realmusical guts.

Neither is it fair to accuseMott of being merely a rhythmsection - guitarist Mick Ralphs

for example really lets loose onthe new album and there is

some very refined organ work."Mick has been very

subdued of late," said Ian, 'Buton this one we really unleashedhim in the studio and hisgenius for sheer madness camethrough. We. recorded 'BrainCapers' in about five days ofconcentrated effort with GuyStevens and Andy Johns (onvacation from the Stones inFrance) back in the controlroom.

Guy Stevens apparently sawfit to conduct the session in hisLone Ranger gear - thesignificance of which somewhatdefeated even Ian but thenanything their 'spiritual advisor'does is tolerated.

"He's really a totally honestperson," rays Ian. "One of thefew to retain that sense ofpurpose which 'Underground'had when it meant something.I just wish the rest of thebusiness could be as honest. I

wish journalist and musiciancould be as honest but neitherof us can be - it becomes abusiness game.

"I feel very sorry for thesmall struggling groups outsideLondon who look in theirmusical trade papers andbelieve every word they see. I

used to be like that."

KeithAltham

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New RidersOf The Purple Sage.

The group who've made a big name in the Statesplaying at Grateful Dead concerts over the last 2 years.

This rare apprenticeship has given them the maturity toproduce a truly exceptional and mellow album first time out.

Their music centres on story -songs. It's straight forward.It's pure. And it features the much -vaunted steel guitar of

Jerry Garcia.

New Riders Of The Purple Sage(the name people can't remember.)

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nitJOHN KONGOS seems to be winning hisbattle to keep "home-made" hits in vogue.Having struck earlier this year with thethunderbolt Gonna Step On YouAgain', he's back with an overduefollow-up, once again written by himself,'Tokoloshe Man'.

The gap between releases is entirely due to Mr.'Kongos' fastidiousnesswhen it comes toputting his work on themarket. He waited, hesays, for the right songto come along.

"It's very much a

follow-up, I realisethat," said a cheerfulbut not outwardlyexuberant Kongos, "butit's not deliberately so.What I've tried to do isestablish a sound morethan anything else. Anidentifiable sound. Lookat the top artists today,they all have that, youcan spot them a mileoff. I like the song itselfbecause I think it is afairly relevant song.

"A Tokoloshe mancomes from South Africaand is an evil person whocan do you harm if hewishes to. He's a sort ofincentive for people to keepon the right road."

The "home-made"comes in, of course, fromthe fact that John andproducer Gus Dudgeonbegin all the recordings onJohn's four -track console,installed in his Mortlakehome.

"My new eight -trackboard," said John,brightening visibly at thewords, "will be in soon, andthat will mean a lot morescope. But I'll never be ableto do everything dt home,and that was one of myoriginal plans. It wouldn'tbe practical eitherfinancially or space -wise.

"If I had a 16 -track andwanted to mix too, I'd haveto buy a bigger house to geteverything in."

As it is the Thames -sidehome is regularly filled withKongos' friends laying downbasic tracks for laterelaboration at either Tridentor AIR London, or someother big studio. For Johnwrites at least half of hismaterial with a

co -composer. His first Flyalbum, 'Kongos', forinstance, has suchcombinations asKongos/Leroy,Kongos/Moran,Kongos/Bailey andKongos/Demetriou.

"The album material is

different from anything I'vedone before," Johnexplained. "I'd say that thesongs now are much moremeaningful, as muchmusically as lyrically. Therewas a time when I thoughtI was meaningful before (hisalbum for Pye) and thatwas not only contrived butdisastrous.

JOHNKONGOStalks toBillMcAllister

"But I'm sure that myconvictions then were asfirm as they are now. Youcan only shape what you doby what you've learnt. Life,politics, music, they're allpart of the same thing. Andwe haven't got very muchtime to learn a lot aboutany of it.

"You have to resignyourself to your own andothers inadequacies. So inthat light I'm as happy in asmuch as I can be happy."

The difference betweenthen and now, heemphasises, is thatpreviously he sacrificedboth feel and melody toachieve what he felt werethe proper ends. Nowadaysfeel is essential, and that'swhy "sound" is soimportant to him.

Which is why he usesGus Dudgeon. "I wouldn'thave anyone else now. Hereally zonked me with hisability to mix. He rides thecontrol board like someoneplaying piano or atypewriter. He can capturethe essence of anythingthat's been recorded, andbring it out and put it in itsplace."

Dudgeon also makeshimself felt in other ways.As with other artists heproduces - for instance,Elton John - he makes surethere are no excesses. Forall that John's "sound" isbasically simple, which isthe true point of itseffectiveness, there are alarge variety of musicianson the album. Strings byRobert Kirby, rhythmsection by Hookfoot(except one track), backingvocals by Sue and Sunny,and additional personnellike Ralph McTell, cellistClarie Deniz (ex-Strawbs),saxist Lol Coxhill andpercussionist Ray Cooper,all demand a tight rein andwatchful eye.

Mr. Kongos, meanwhile,has been so busy working inand on his studio inMortlake that he has had notime to think even aboutthe pros and cons ofappearing live for fans. "I'mnot sure," he saidresignedly, "that I could geta band on the road andkeep it like that. I'll juststick to what I've done sofar, radio and TVpromotion. That makes mehappiest."

'If I had a 16 -track, I'd have

uy a

JOHN KONGOS: 'IT'S VERY MUCH A FOLLOW-UP'

Titanic and the LP thatshould have been sunkTITANIC are a groupwho have seeminglysprung from nowhere,had a widespread hitwith 'Sultana' and haveyet to prove that theyare not destined tofollow the path of thatunhappy boat.

Most people are awarethat they are basically a

Norwegian group alsoincorporating one Britisher,but in fact they leftNorway several years ago,and have been unable toreturn - for reasons whichare revealed in an albumtrack! They now live inFrance and it was en routeto that country thatTitanic found singer RoyRobinson covering the thenpopular circuit of Germanclubs, the hallowed Beatleground that so many of hisnorthern fellows turned to.

On arrival in Franceone of Titanic's first gigs wasat the Olympia which boasts anotoriously honest audience.That test having been passedthe group continued to worksteadily around the country.

"The French people havetheir own special tastes," Roytold me. "They liked BrianAuger a lot when Julie Driscollwas with him, and they wereprobably the last country in

the world where the Beatlesbecame famous. But they canbe a raving audience, althoughthey will boo if they don't likeyou."

France has always been a

non-productive country as faras groups are concerned, andthis has obviously worked inTitanic's favour.

Norwegian guitarist Janny

Loseth feels that the musicscene in Scandinavia ishealthier than that in France,and was strongly influencedhimself by the Shadows andinevitably the Beatles. Afterliving in France for two yearsand visiting England to recordtheir single 'Sultana', Titanicsay they noticed that nothingat all was happening - whichwas the very encouragementthey wanted!

'Sultana' became a massivehit, and the happiest situationfor them would be to followup with a successful album.However the group are greatlyannoyed by the release of theircurrent 'Titanic' album.

"We wrote the material forthe album about three yearsago," Janny told me. "And thealbum has been out for tweyears on the Continent."

"We didn't even know itwas being released untilyesterday when we read thereviews!" added Roy. "It waso.k. to release two years agoon the Continent, but twoyears later in Britain ... !Before we had the hit recordCBS said that they wouldn'trelease the album because itwasn't good enough for thismarket. We did everything onthy album because nobody inFrance knows anything aboutrock music production. Wedon't want anybody to judgeus from that demo disc! Ifpeople don't like the secondone and if they can give us faircriticism we'll accept it, butnobody would like to haveyears old stuff of theirsreleased - those kind of thingsusually go under the board.We're really sick about it."

The recording situation wasbothering Titanic more becausethey were in Britain at thetime of our meeting to recordanother album, which they hadhoped would be their firstBritish release. It consistsentirely of the group's own

material and to make thesituation more confusing is setfor release on the Continentthis month, under the title of'Titanic'.

"We don't know when thenew record is going to bereleased in England, but withthe same title nobody is goingto be able to distinguishbetween the two," said Roy."And the album covers arealready printed. Nobody'sgoing to buy two albums bythe same group in the space ofa month anyway."

No follow up single has yetbeen set for Titanic, but theyexpect that two tracks will beextracted from their newalbum. An American tour isalso a possibility, for the nearfuture.

" 'Sultana' has just beenreleased there and the tour isthere if we want to take it,"Janny told me. "We would bethe supporting band on theJefferson Airplane tour for fiveweeks, and it would probablybe nice to go over there whennobody expects anything ofus."

Regardless of the Americantour, Titanic are workingconstantly - so much that pithey do not have _permanenthomes in France, but liveliterally from hotel room tohotel room.

"We do get fed up with it,but there's nothing else for it.We never have longer thanthree days in one place thenwe're off somewhere else!"

Though Roy admits hethinks a rest would beadvisable, the group have nointention of easing up on theirworking schedule, and with ahit record in almost everyEuropean country, they haveevery incentive to keep going!

ValMabbs

13

Jeff Beck called him the

guitaristin theworldJEFF BECK has called him 'The greatestliving guitarist in the World' and whateveryou think of the American bandMountain there is no ignoring theextraordinary ability of their bulkyvirtuoso Leslie West who puts the realmeat in their thunderous wall of sound.

Montain are a 'heavy' group and there seemslittle doubt that Felix Papparlardi's earlyexperience producing for the Cream inspired himto form a group who could in some way fill thegap left by that trio'spremature abdicationsome three years ago.

However, you justcannot prefabricateguitarists of Clapton'sability neither can youinvent quality andMountain have both inthe dextrious digits ofMr. West who claims tohave first picked up aguitar on sight of earlyAaron Presley 'helooked good holding it'although later Claptonand Townshend becamehis inspiration.

SMASHINGLeslie's first group in

New York was an outfitcalled the Vagrantsoriginally formed withLeslie's brother on bassand the others were studiomen like Ric Gale andChuck Raney who playedon their Atco singles. TheVagrants evolved a stagesmashing routine basedupon the Who's demolitionact but Leslie's regard forTownshend as a guitaristhad endured to the presentday.

Around the summer of67 Leslie went through atraumatic experience inNew York.

"I saw the Cream at theVillage Theatre ... I wason acid at the time. Wellafter seeing Clapton whatcould I do? It was eithershit or get off the pot!"

Last week Mountaincame to Mahomet in thesubstantial shape of the aceguitarist who collapsedinto a chair in my Londonoffice and offered to revealall about his earlyinfluences 'like ChristineKeeler!' Remember him?We opened instead withthe subject of Mountain's

`Felixneverset outto copyanything'

initial intent - howcontrived was Papparaldi'sproduction of a band toreplace Cream - if at all?

"I've never disguised myadmiration for Clapton,"said Leslie "But Felixset out to deliberatelycopy anything in his life.He worked very closelywith Cream for a long timeand his respect for JackBruce is still very real. TheCream for a long time andhis respect for Jack Bruceis still very real. The Creamwere the greatest band inthe World at one time andif a little of that had beencarried through with us I

don't think it is a badthing.

"We came out of thatparticular musical familyand if we look a little likeour brothers that's fine!"

IDEAIt certainly seemed that

Felix had some kind ofidea of what kind of soundhe wanted to get whenCorky Laing who is muchmore in the Ginger Bakermould replaced NormanSmart.

"He wasn't too smart!"punned Leslie laconicallyof their late unlamenteddrummer. "Y'knoW whathe said, he used to say thatloud music gave him aheadache."

Following the group'ssecond album 'NantucketSleighride' it was then thatheadlines like 'Mountain

LESLIE WEST: 'CREAM WERE THE GREATEST BAND IN

Man' to take o.erClapton's crown' and 'Thebest guitarist in the World'began to appear in the rockPress. What is Leslie'sreaction to the adulation.

"There is no best. I justdon't think about it at all. Irate a guitarist by the useof his vibrato. The vibratois that tonal quality thatopera singers have in theirthroat and it is the controlof the vibrato thatdistinguishes one fromanother. Clapton had thesmoothest vibrato -Hendrix had incrediblevibrato. I used to thinkBeck was the greatest inthe World when I was inthe audience.

"The greatest feeling forme is to find myself in agroup who are nowrecognised up amongst allthose groups I used toadmire and watch like theWho, like Tull and Beck tofind they dig us and mystyle of playing. I get a lotof satisfaction out of that.

ENERGY"I love the feeling you

get from playing on stage- the energy that youderive from an audience. Amusician can feed off thereaction of an audiencelike the one we had lasttime here at the Lyceum.You throw out someenergy and it comes rightback to be multiplied. I

could go on playing onstage for ever.

"Things like 'NantucketSleighride' I enjoy playingnow more than everbecause it evolved intothe kind of number whichis a polished version ofwhat we originallyintended. I never get tiredof things like that orMississippi Queen".

On the second albumthere is a dedication toOwen Coffin for'Nantucket Sleighride' - I

asked Leslie who he wasand the result was anincredible story.

"I guess most peopleknow now that the'Nantucket Sleighride'referred to that situationwhich the early whalingboats found themselves inwhen being towed along atincredible speed in littleopen boats afterharpooning a whale.Nantucket was an earlyAmerican whaling port.

STORY

"Owen Coffin was thecaptain of whaler back in1820 which was rammedby a whale and five of thecrew with Coffin got offinto a life -boat. They werethousands of miles fromanywhere without food orwater. They drew straws inthe boat to see who wouldget eaten by the others.Coffin drew the shortstraw. The remaining crewmembers ate him and gotback to land safely - theyshot him and ate him. It's atrue story of one of thoseold whaling families inNantucket."

The dedication toSammy on the album isless complex - it wasFelix' pet poodle whom hehad for 12 years buteventually got "bit topieces by a boxer."

Their latest album titled'Flowers Of Evil' alsocontains a story.

"It was my idea from astory I read in 'News Week'said Leslie. "I read as howthe American soldiers inVietnam were picking upthe heroin habit wherethey can buy the stuffcheap - £50 for a goodsupply. They would getdischarged and go homewhere the same amount ofH would cost them L1000so they would re -enlist.Makes you wonder

THE WORLD'

whether the price of peaceis worth the price of war?"

ere seems to be quitea few ulterior and hiddenmotives to Mountain'smaterial once you digbeneath the surface oftheir amazing electronicdiversions. 'Tired Angels'on an early albumdedicated to JMH forexample

"That was JamesMarshall Hendrix," saidLeslie. "I recorded my firstalbum in his studio ElectricLady Land and he came tolisten - I liked andadmired him".

Felix lyrics on thatalbum give the impressionhe felt the man burnthimself out - what wereLeslie's feelings about hisuntimely death.

"My feelings are in themusic on the track!" saidLeslie tersely.

AWARELeslie regards himself as

primarily a blues guitaristand therin lies a certaincontradiction in musicalterms of which he isobviously acutely aware.Like many other talentedmusicians he has beenfortunate enough to makea lot of money out ofsomething which he enjoysdoing more than anythingelse. Initially there was noother motivation or rewardother than expressinghimself as honestly as heknew how at something hedid best.

Flip Wilson saidsomething once which I'vealways remembered. He

,said 'It's hard to play theblues when you're doing sgood'. It made me laughbut it's true!"

The West is winningthrough.

KeithAltham


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LIVE! InternationalGodspellROUNDHOUSE, LONDON:Godspell, despite the massof publicity caused by theinitial conception ofportraying Jesus as a clown,sticks very closely to bibletext and parables. Severalnuns who had watched theshow intently, proclaimedthat 'it was fabulous', andclamoured for autographsfrom the cast. Their onlyworry had been that thecrucifixion wouldn't behandled with the correctintensity of feeling - butthey felt it worked outwell, despite the red paperstreamers signifying bloodand the brash pop musicsounds. Indeed the cast ofthe showed greatenthusiasm, and camped itup, danced and sang withfervour. Comparisons couldloosely by made to 'Hair' -the cast moved through theaudience during the showand the use of the barestage with only the help ofstreamers, banners andmusical instruments tobrighten the scene wasreminiscent of the basic setat the Shaftesbury. But thatis where the comparisonended. The most outrageousreference in the script wasto the 'boom boom de bumbristols' of Gay Soper, andthough the commendablemime parts were often veryfunny and had the audiencelaughing loudly, the Bibletext was corrupted not oneiota.an excellent choice forJesus, with this gentle faciallooks and always the hintof a smile and compassionbelow below the surface. Hedanced well and used thestage to best advantage.Undoubtedly `Godspell' willdo him no harm.Jacquie-Ann Carr with herlittle girl image, yetpowerful voice, proved a

favourite with the audienceas did Julie Covington withher excellent rendering of'Day By Day' the most

notable song from theshow. 'Godspell' is highleunlikely to prove another'Hair' for the classic songs itproduced, but despite avery slow start theproduction wins through.- V.M.

John DenverINN COGNITO: They hadTom Paxton, Ed Welch andFishbaugh, Fishbaugh andZorn on the bill, too, anathey all did well as far asthe in -scene audience wasconcerned. But it wasdefinitely John Denver'snight, and his nervousnessabout having to followPaxton proved to begroundless. It must be anordeal for an artist to haveto face an audience ofmostly professional criticsin a country where his chiefclaim to fame hitherto is

merely authorship ofanother act's hit record('Leaving On A Jet Plane'by Peter, Paul and Mary),but this crowded collectionof mostly professionalfree -loaders warmed to histalent and unassumingpersonality very quickly.Denver's capacity to singclearly and in tune and hisdeft guitar technical proveda solid basis for a goodprogramme of song in thefolk -pop bag, if labels arerequired. He did 'Jet Plane'naturally, plus 'Take MeBack, Country Roads,''Poems Prayers AndPromises', James Taylor's'California On My Mind'and some wickedlydevastating humour sendingup 'Toledo, Ohio' whichsounds like that state'sequivalent to Manchester'sindustrial area on a wetnight. Denver deserved hisgenerous introduction fromPaxton, with whom he'staping a BBC TV show, andhis talent deserves a hitrating for his current RCAsingle 'Friends With You." -N.H.


about the great December issue of

Part three of ourin-depth series

Apprenticeand MasterTHERE NEVER wasa truer title than'Truth' . . . for RodStewart anyway. Itapplies to his musicthrough and through,right from his firstsolo single, 'GoodMorning LittleSchoolgirl', andearlier even, up tothe Faces' latestepic, 'A Nod's AsGood As AWink . . .To A BlindHorse'. It is theraison d'etre of hisartistry, his musicalcraftsmanship.

You can find in Rod'smusical developmentseveral re -routings, butthe truth is alwaysthere, right at the verycore of his music,whether it be the

ear -shatteringprecociousness of 'YouShook Me' from thatself -same 'Truth' album,or the spotlight revelryof the Faces' newknockabout single, 'StayWith Me'. Rod Stewartnever leaves the rightroad unless it's to builda newer and better one.

`Truth', the firstalbum Rod appeared on,his previous recordingexperience having beenconfined to singles in amarket that had an o -hi t -si ngle-no-record-album set of values, istruly a musicalwater -shed in hisdevelopment. It allowedhim to really sing forthe first time; you can'tbe half-hearted about`You Shook Me' or`Rock My Plimsoul',they're songs that push

you all way, sorting outthe men from the boys.

In a sense, Truth' isreally the dividing linebetween Rod Stewart theapprentice and RodStewart, artist.

The pre -Beck days arerather sparse as regardsrecordings, however, andthere are few pieces ofwork around, althoughsome gems have beenuncovered with the releasein France (available here onimport) on Byg Records ofStewart in his days with bothLong John Baldry's HoochieCoochie Men and itssuccessor, The Steampacket.

The singles are notavailable now and you'llhave a pretty hard job totrace them down, even inshops specialising in rootingout dusty oldies. 'GoodMorning Little Schoolgirl'and the Barry Mason song,`The Day Will Come',together with a

straightforward presentationof 'I Could Feel The WholeWorld Turn RoundUnderneath Me' by the

Rng aro-

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OF 25-30 TOPPOP SONGS

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short-lived Shotgun Express,which is amusing for itscall -and -answer pseudo -soulformat and frenzied attack,are all lost to the world.picked up by very fewwhen first issued, butextremely important now inassessing Rod's progress.

by BillMcAllister

Rod's early music tasteswere not confined to anyone field. He naturallyinclined towards blackmusic because the simplicityof the ethnic folk he playedwas much akin to the raw,untampered with feel ofblues and early rhythm andblues. 'Good Morning LittleSchoolgirl' is merely a whiteexpression of this, but itencompasses Rod's acuteear for the surprising. Rodhad not misjudged themarket, rather the marketwas not allowed to judgeRod Stewart.

The main obstacle tomore popularity than eitherthe Hoochie Coochie Menor Steampacket received layin the direction of pop atthat time. Whereas theBeatles raucous R&B andR&B beginnings had beentempered by their uncannyand fully -exploited abilityto write catchy melodies,the Stones and PrettyThings' rhythm and bluesroots kept a more evenpace, were less diluted andstill fulfilled therequirements of a marketthat wanted funk, but`light', funk. The market, inother words, for whatSteampacket had to offerwas fairly limited, a kind ofesoteric sect.

CLUEThe Byg recordings

indicate this. Recorded byGiorgio Gomelsky, the manresponsible for theYardbirds rapid rise topopularity - and byco-incidcnce involved withBeck before Stewart joinedforces with the guitarist -they are pretty dire stuff byany standards. Rod'sinterpretation of `Can I GetA Witness' seeming toderive more of itsthinly -spread energy from aneed to arouse the crowd,than a belief in his or hiscompanions' abilities.

And that, perhaps, is theclue to the pre -Beck period.The enthusiasm is there, thewill to "get it on", but notthe skill, not the unspokenrapport with fellowmusicians.

Upon joining Beck thechange in Rod's approach isimmediate and apparent.None of his previousexploits had been, shall wesay, in any way 'heavy', butBecks's band was mostdefinitely an innovative one,and required Rod to sing ashe never had before.

rROD: HE NEVER LEAVES THE RIGHT ROAD UNLESS IT'S TO BUILD A BETTERAND NEWER ONE.

By the time of `Beck-Ola'he had become somethingof a cult figure in the Statesfor at that time the influxof British bands was small,the initial excitementcaused by the Beatles andStones having died down tosome extent and theAmerican bands being onlypale imitations of theirBritish counterparts.

Beck required that hisband rocked all the way, orat least his guitar playingrequired that they rock allthe way. If his sense ofbalance stretched points toa finer degree than usualthen his eccentricallyextrovert stage presentationstretched the "theatrical"limits of rock bands furtherthan they ever had beenpushed before.

Both `Truth' and`Beck-Ola' are too hystericalto ever be rated as greatmusic, but their work asgrounding for those tofollow and the guts theyput into Stewart's voicemake them indispensablelistening.

During his time withBeck Rod made one single,`Little Miss Understood', forthe Immediate label (Beckwas recording forColumbia), written by Miked'Abo. It is one of the mostmoving performances he hasever put down on record. Indirect contrast to the Beckmaterial it is a ballad ofimmense proportions,building from a mournfulstart to a crashing ending,using every ounce of Rod'sability to wrench lyrics out,to shape word groupingsinto tangible shapes.Although hardly comparableto either his solo albumwork, or his part in theFaces, it is nevertheless anessential part of -hisdevelopment. It signalledacceptance - among criticsat least - of a Rod Stewartvastly different from theBeck front man.

Rod's music from Beckonwards has to be dividedinto solo recordings andFaces recording. Having

tackled `Little MissUnderstood', a song to taxeven the most experiencedand flexible vocalist, so booto those who whine thatRod is hoarse and shouty,he had felt constricted forsome time within the Beckband. He knew that wasn'tall he could do. During oneof many unsettled periodswithin the group he wasoffered, and accepted, a..solo recording contract withMercury. Mercury, whowere going through a badperiod at the time, got himfor the price of a sports car,possibly one of the rockbusiness' cheapest bargains.

Out of this determinationto do something for himselfwas born 'The Rod StewartAlbum'. At least, that'swhat it was called in theStates, where it was releasedsome time before Vertigoissued it here. Working onthe correct assumption thatno-one here would knowwho Rod Stewart was orwhy he had put out analbum, Vertigo changed thetitle to Àn Old RaincoatWon't Ever Let You Down'.

It sets the pattern for allthree solo albums. Firstly hebalances out the album bychoosing songs which areworlds apart, yetcomplementary by merit oftheir honesty, guts andemotional levels. Secondly,he uses musicians he bothtrusts and respects andthirdly, he arranges thematerial into the shape hewants, the sound herequires.

You can feel it in 'StreetFighting Man', the openingcut. It isn't treated with thelip -curling insolence ofJagger, but rather with anunderstanding for theemotional power of thewords and the chaoticeffect the slide guitarscreate. It's the same withit's All Over Now' fromthe second album,`Gasoline Alley'. The Stones'overt pouting he transformsinto good-time stomping, soyou get caught up in therhythm.

He also has an uncannyfeel for Dylan. Ònly A

Hobo' (from `GasolineAlley') and `Tomorrow IsSuch A Long Time' areboth obscure songs, butRod obviously believes inthem intensely. Followingthe rawness of 'It's All OverNow', he inflicts furtherwounds upon youremotions by placing theheart-rending `Hobo'immediately afterwards.

Èvery Picture Tells AStory', the third album, iseasily the best. It hardlydiffers in sound orapproach, but in there is adeeper understanding fromall those contributing and itgenerates much moreatmosphere, it's morelived-in and comfortable.

Dylan's `WickedMessenger' is beautifullyarranged, but is possibly toorock -orientated for its owngood. Probably the Facesare right when they say thatthe album is "over -rehearsed" and "toopolished".

`Long Player' doesn'tmake that mistake, but the`live' tracks are a bit of alet -down. They're all havinga great time, but it doesn'tmake for the best recordedlistening they're capable ofproducing. There is a pureStewart gem, though, in his`Sweet Lady Mary', whichcould have been pulled off`Gasoline Alley'.

Apparently, this is allrectified with the newFaces' album, 'A Nod's AsGood As A Wink ... To ABlind Horse', and if thesingle pulled from it, `StayWith Me', is any indication,then the album is a monsterin every sense. It will in alllikelihood create the samestir 'Every Picture' did andexhibit Rod in the fuller,more family situation of thegroup, one that is every bitas important in his music asthe man alone.

It has taken Rod Stewarta long time to get where heis, both musically andfinancially . .. wasn't itworth the wait?


r 30TOP

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4 ELECTRIC WARRIOR T. RexZCFLY 6 Y8FLY 6

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6 BLUE Joni MitchellZCR 44128 Y8R 44128

7 CHARTBUSTERS VOL.! Various ArtistsZCPCB 15000 Y8PC8 15000

8 NANCY & LEE Nancy Sinatra & Lee HazlewoodZCR 6273 Y8R 6273

9 STICKY FINGERS Rolling StonesZCCOC 59100 Y8COC 59100

10 GREATEST HITS Herb AlpertZCAM 980 Y8AM 980

11 SYMPHONIES FOR THE '70's Waldo De Los HiosZCAM 2014 Y8AM 2014

12 SWEET BABY JAMES James TaylorZCW 1843 Y8W 1843

13 THE CARPENTERS The CarpentersZCAM 63502 Y8AM 63502

14 PORTRAIT IN MUSIC Burt BacharachZCAM 2010 Y8AM 2010

15 TARKUS Emerson, Lake & PalmerZC/ 9155 Y8I 9155

16 THE SINGER AND THE SONG Labi SiffreZCP 28147 Y8P 28147

17 BEDKNOBS & BROOMSTICKSOriginal Film Soundtrack ZCB V 5003 Y88 V 5003

18 MADMAN ACROSS THE WATER Elton JohnZCDJL 420 Y8DJL 420

19 CLOSE TO YOU. The CarpentersZCAM 998 Y8AM 998

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22 YOU DON'T HAVE TO BE IN THE ARMYMungo Jerry ZCDN 3028 Y8DN 3028

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THE GREAT TAPESPECTACULAR!

WITH THEWEALTH of musicon tape that'salready in the shopsand the new releasesappearing regularlyeach month,choosing a selectionof recordings for theChristmas festivitiesis not altogether aneasy one.

Naturally most ofthese pre-recorded tapeshave been releasedpreviously on disc and Ifeel sure that you haveseen and heard severalof these new offeringsbefore. This of courseshould be your basicguide in selection. If,however, you have nothad access to thoserecords and like me haveboth a tape and recordcollection, the problemsbecome twofold; whatto buy and whether discor tape?

compiledbyBARRYO'KEEF

My sign -post is basicallythe type of music I amconsidering - for generalbackground music andpop -party style I usually gofor the tape versions as theyare so much easier andconvenient to play andstore, etc. For myextra -specials I quite oftenhave both disc and tape -the temptation proving toomuch for me. Theremainder of my collectionconsists of certain classicswhich I treasure and therecordings not yet on taperelease, the singles, etc. I

buy on disc. Often thepre-recorded tapes takeseveral months, after thedisc release, to come outand by that time I'veusually bought the record.Remember, however, theadvantages that tapes haveand remember also that acassette or cartridge ususallylasts fifteen times longerthan its counterpart thedisc.

`Hot one'Enough chatter, let's get

on with some of these newtapes, and please note thesereally are hot off the pressand should IA in yourrecord shops within theweek. First on the launchpad this week a "hot one"destined, I feel sure, for bigsales, MOTOWNCHARTBUSTERS VOL. 6,Cassette TC STML 11191,Cartridge 8X STML 11191,on the Tamla Motown label,released by EMI. With thesales of the disc versionalready into the thousandsand eight chart successes onthe tracks, who can resistthis one.

WE CAN WORK ITOUT, by Stevie Wonder,INDIANA WANTS ME, byR. Dean Taylor, SmokeyRobinson and the Miraclessinging their successes I

DON'T BLAME YOU ATALL and COME ROUNDHERE (I'm The One You

Need), HEAVEN MUSTHAVE SENT YOU, by theElgins are just some of thechartbusters on thisexclusive album.

Another sizzler fromEMI - the HolliesDISTANT LIGHT, CassetteTC PAS 10005, Cartridge8X PAS 10005. You willremember no doubt thisrecording released not longago on disc. This is theHollies album with adifference. I feel thatvirtually every LP thistalented group brings outhas been a success story.During the years the Hollieshave been developing theirdistinctive style of playingand this album representsthe culmination of theirwork and yet allows thepersonal talents of thegroup to express themselvesthrough each music track.In my opinion one of theHollies best - a good buyyou'll not get tired of.

Back to the thirties forthis next one from RCA, aninternational release, BennyGoodmans' THE GREATVOCALISTS with EllaFitzgerald, in The CapriceRange of new releases,Cassett No. MPR 106. ThisLP featuring the greatsingers of the thirties withElla, Buddy Clark, JohnnyMercer and Helen Ward,amongst others singingtracks like HE AIN'T GOTRHYTHM, THANKS FORTHE MEMORY, THERE'SA SMALL HOTEL,GOODNIGHT MY LOVE, isperhaps a nostalgicrecording of oldies - but

THE HOLLIES: 'DISTANT LIGHT' NOW AVAILABLEON CARTRIDGE AND CASSETTE.

great oldies and goodfor £1.75.

Another Caprice Tapefrom RCA, C'MONEVERYBODY, by themaster himself, ElvisPresley, on Cassette MPK143. With memorable songsfrom some of his films like,EASY COME EASY GO, AWHISTLING TUNE, andTHIS IS LIVING from KidGalahad, and ANGELFOLLOW THAT DREAM,from the film of the samename. I've been fortunate inthe past in seeing several ofthe Elvis films, this tapecertainly brings them back.If you are an Elvis fan andhappen to be a tapeenthusiast too, then thisrelease from RCA is anatural and represents justone more value album fromthe sixty or so new releaseson Caprice, all dolbyisedand all at £1.75.

OK get your kilts on andclear the floor; let's all havea go with this one. A

value GOLDEN HOUR OFSCOTTISH FAVOURITES,from Precision Tapes,Cassette ZCGH 507.Another from the GoldenHour series at £1.99.SCOTLAND THE BRAVE,played by the 1st BattalionThe Black Watch on pipesand drums makes a rousingsend-off for Hogmanay andleaves little to theimagination. But before yougo rushing off to sign onwith this famous highlandregiment listen to theScottish Waltzes by the IanHolmes Band. Wonderfulmelodies played with thatfavourite Scottish lilt. TheDASHING WHITESERGEANT, jigs and reels,they're all on this taperelease from Precision, aworthy entry for this festiveseason.

For the classical andpopular classical enthusiastthe Golden Hour of Chopinon Cassette ZCGH 510,Cartridge Y89H 510 is yet

another value release fromPrecision at £1.99. Includedon side one are selectionsplayed by Eso Ellinsonincluding THE PRELUDEIN B FLAT MAJOR OP.20No. 21, ETUDE IN CSHARP MINOR OP.10 No.4 and PRELUDE IN EMINOR OP.28 No 15, withmany other well lovedpieces. On side two themusic from LESSYLPHIDES, again a trulyGolden Hour of music fromPrecision Tapes.

A change of mood achange of tune, THESPINNERS LIVEPERFORMANCE, onPhilips new mid -priced taperelease at £1.75 on Cassette7176.017 represents greatfun on tape, sure to godown well with mostcompany. The Spinnerssinging in their particularstyle have made a reallygood selection oflighthearted numbers withLIVERPOOL JUDIES,THREE JOLLY BOYS,JUG O'PUNCH and theDRUNKEN SAILOR,seemingly apt for this timeof year and the favouriteTHE LEAVING OFLIVERPOOL, amongst thetracks on this LP tape, sungparticularly well by thistalented and amusing group.

Now we come to a greatfavourite of mine, NanaMouskouri, A PLACE INMY HEART, a fabulousrelease from Philips onFontana Cassette 7103.017,a full -priced Cassette at£2.50, but worth everypenny. I have seen Nana on

But so are theseother greatPhilips artistes -

on Musicasse

Black Sabbath,t,luf Reality 7138 033

Nana Mouskourium on the Sun 7103 010

Val Doonicandriet Ribbons 7108 030

Syd Lawrence Et His OrchestraBand Magi,. 7108 009

The Four SeasonsOnes 7179 005

London Philharmonic HaitinkHoist The Planets 7300 058

The Last Night of the PromsL'C 0088

VSO SawallischWaltzes CPC 0026

Concertgebouw Orchestra Haitink,,thoven Piano Concerto Nu .5 ' Ernieinn Concerto No 3-An,Li I piano

.1.5006

PHILIPS

An Old RaincoatWon't Ever

Let You Down7145'704

Every PictureTells A Story

7142_ C'12


Motown, Zappa, Presley, Molliesare all new November releases

TV and live, holding a vastaudience spellbound, youcould hear that old pindrop. This takes talent! Shehas that assumed ease ofthe great performers whichmakes singing a naturalrelease of her innermostfeelings. As the title of thecassette suggest, Nana has aplace in my heart as I'msure she has with most ofus. If you're not sure, justlisten to her treatment ofLOVE STORY and PUTYOUR HAND IN THEHAND. Wow! I've alreadyasked Philips when the nextNana tape is due, don't missthis one!

In complete contrast wetake a trip to the Isle ofWight. Two new tapecassettes, VOLUME 1 CT30911 and VOLUME II CT30912, THE FIRSTGREAT ROCKFESTIVALS OF THESEVENTIES - Isle ofWight and the Atlanta PopFestival. These Cassetteswill of course be a part ofour music history withJohnny Winter and theAllman Bothers, KrisKristofferson, Poco &Procol Harum, JimiHendrix, Miles Davis,Cactus, Mountain, TheChambers Brothers, Sly &The Family Stone, TenYears after with DavidBromberg and LeonardCohen. What a doublerelease! If you werefourtunate enough to be atany of these festivals you've

probably got the recordsalready, if not, put thesetwo on your shopping listand go to these festivals inspirit at least, for a price of£5.49 for the two.

Away to the theatre withour next one. The musicfrom, FIDDLER ON THEROOF, a new release ontape from United Artists, thecompatible Cassette 2TC9049 is a double play, jobalmost 2 hours long for£3.75. The soundtrack forthis great tape was in facttaken from the originalMIRISCH film productionand stars Topol, NormaCrane, Leonard Frey, MollyPicon and Paul Mann.Needless to say I shall notattempt to elaborate on thistape. The songs likeMATCHMAKER, SUNRISE,SUNSET, IF I WERE ARICH MAN, DO YOULOVE ME, say all thatneeds to be said. A mustfor all you show musiccollectors and a guaranteedpopular album for thefamily.

Another moviesoundtrack froiti UnitedArtists 200 MOTELS, withmusic composed by FrankZappa. A double playcassette DTC 7020 at£3.75. This tape is labelledas the original motionpicture soundtrack,featuring The Mothers ofInvention and the RoyalPhilharmonic Orchestra andin my opinion makes anunusual and entertaining

album.I must quote from the

information leaflet insidethe cassette package, I thinkit's priceless! I quote, "Thismusic is not in the sameorder as in the movie. Someof this music is in themovie. Some isn't. Some ofthe music that's in themovie is not in the album.Some of the music that waswritten for the movie is notin the movie or the album.All of this music waswritten for the movie over aperiod of 4 years. Most ofit was written in motelswhilst touring" etc. etc. Itfinishes up with "Some ofthe situations in the songtexts are real, some of themare not so real, youdecide".

Again I think a collectors_tape and good value for

those Zappa fans.Decca release THE

WORLD OF CHRISTMASVOLUME 2, Argo label, onCassette CSP/A164 is a

follow up to last month'srelease VOLUME 1 CSPA104 which I gather was aninstant success for all thefamily. Well it looks asthough Decca have done itagain with this one, thechoir of St. Johns College,Cambridge, gives a stirringand glorious performance inthe splendid 'Feast ofChristmas Fare', whichincludes Britten's fine,CEREMONY OF CAROLS.Both Cassettes on releasejust at the fight time of

year, look out for them inthe record shops.

Two more special releasesfor Christmas fromPrecision Tapes, HAVE ALAUGH ON US, they sayand with their CassetteZCMA 872 and CartridgeY8MA 872 Tony Hancockwith his classic HANCOCK,on Marble Arch label offersjust this. Do you rememberthe Blood Donor? withHancock giving an armful ofblood aided by JuneWhitfield, Patrick Cargill,Hugh Lloyd, John Bluthal,Frank Thornton and AnnieLeake. Well I've justlistened to it once again,and I'm still recovering. Onside two, the radio hamagain, Hancock and his crewabove produce anotherhysterical record aided andabetted by Clive Dunn &Deryck Guyler - don't missthis one for £1.99.

What about MontyPython's Flying Circusreleased through Precisionon Cassette ZC BBC 73 onthe BBC label. Thisrecording has had so muchpublicity recently what withthe record release, the TVregular shows and nowagain on tape. John Cleese,Michael Palin, GrahamChapman, Eric Idle, TerryJones and Carol Clevelanddoing their bit produce anoutrageous and deliriouslyfunny recording. I think itis fair to warn you that thisis not all the funnies fromPrecision, Bob Newhart,

Danny La Rue, Peter Sellarsjoin these new tapes outnow but more of these nextweek. Back onto a moreserious vein with two morefine tapes from EMI, forthe family entertainment.The album 'Pacific Paradise'by Wout Steenhuis & TheKontikis, Cassette TC TWO357 £2.50, Cartridge 8XTWO 357 £2.50 is bound tobe a popular choice.

FRANK ZAPPA

The last tape to bementioned this week fromEMI is Frank Pourcell andhis orchestra, 'Thinking OfYou', Cassette TC TWO 355£2.50, Cartridge 8X TWO355 £2.50. The orchestra,the clever arrangements, thedistinctive Pourcell soundand the tunes he's chosenall combine together to givean album which will appealto all.

Three more Capricespecials from RCA at £1.75,

Cassette MPK 103,MANCINI PLAYSMANCINI, for the popularmusic fans, for the stringsenthusiasts, for themotorist, for the family ingeneral. This mid -pricedtape represents all that'sgood in music, ideal for theparty and the party and thefestive season. Containing10 tracks of outstandingnumbers such as TILLTHERE WAS YOU,TENDER IS THE NIGHT,A SHOT IN THE DARK,WHITE ON WHITE, THESHADOWS OF PARIS, tomention just a few.

THE BEST OF GLENNMILLER, Caprice CassetteMPK 100, THE NEARNESSOF YOU, Glenn Miller,Cassette MPK 134. Twogreat albums on tape fromRCA at £1.75 each. Theseare original recordings withelectronically created stereoreproduction. No matterhow old or young one maybe the Glenn Miller sound isimmediately recognisableand the distinctivearrangements and soundappeal to most of us.

On the InternationalSeries Philips introduce twomore popular records ontape - THIS IS SCOTTWALKER, on cassette 7176023, a mid -priced tape atf,1.7 5. The deep andresonant voice of ScottWalker is particularlyadvantageous on this tapewith WHEN JOANNA

LOVED ME, MATHILDE,JACKIE, BEST OF BOTHWORLDS, BLACK SHEEPBOY and COPENHAGEN,particularly well produced.This cassette offers musicnot found in the normalrun of the mill records, agreat LP tape only just onthe market waiting for younow.

A full priced albumMASTERS OF REALITY,Black Sabbath from Philipson Cassette 7138033Vertigo table at £2.50. Aninternational release, therecord has sold well and thetape version is a follow upand sure to be a big success.

To finish the newreleases this week, CassetteCT 30887 from CBS,JOHNNY CASHCOLLECTION, his greatesthits Volume II. The tracksA BOY NAMED SUE,FOLSOM PRISON BLUES,SUNDAY MORNING,COMING DOWN,LONG-LEGGED GUITARPIKIN' MAN, and GUESSTHINGS HAPPEN THATWAY, should be wellknown to us all. It's just gotto be an all-time tapesuccess.

The tapes reviewed inthis November Tape Breakrepresent only a few fromthe new introductions thismonth. Keep your eyespeeled in the shops forthem and meanwhilesort out some more excitingsounds for next week.

RCA RCA Caprice CassellMusic for every occasion at £175ELVIS PRESLEY C mon Evervbodv MPK '

JillJim Reeves Golden Records MPK 3

JOSE FELsICIA110 ,a.vastic ;arc MPK

PERRY1101 a I Tomc c Golder, Records M 9

HENRY MAMCIMI Manciri IVIancir

filfiA SIPIOMESACHA ElISTEli p

hear' and Soul MPK

MPK

SAMMILLERG;-n lie S

FIO The La'e ?rid Great S: -ti -t Cooke

DUANEEDDY TA -town ,he Golden Hits

LOUISARIVISTROIlli The Best LOU f5 Atmstr

MIKE MORTOMCONGREGATION -.s..,,H

CLASSICALFRITZ REIMER with the Chicago Symphony Orchestra

- ' , Jr- MCK 6,21

CHARLES MICH with the Boston Symphony OrchestraRave Dapr oe MCK. 507

CHARLES PIUMCH With the Boston Symphony Orchestra

ARTUR

Prokofiev Romeo & -h..' le* MCK 512

' Gr 25

26

118

5r

laBUISIXIRF with the Boston Symphony OrchestraDeath In Venice MCK 521

Music from the film "L'Amour de la Vie" MCK 524 and many, many more*Recommended retail price


THE

RockTHERE IS nothingwrong in assumingthat performers cansucceed with newstyles despiteopposition fromeveryone except anaudience. It recentlyhappened with reggae.And seventeen yearsago it happened torock 'n' roll. Thepoint is for how long?

Good popular music isfrequently inspired bydirect experience. It hasreal excitement,involvement, honesty,conviction and expression.But if music is to bemarketed as a successfulcommodity these qualitiesmust be replaced bysentiment, melodrama and- important today - hipposturing. Rock 'n' rollhad genuine excitement.It was played by poorwhite but mostly blackmusicians in localisedrural but more oftenurban environments. Forthree years it swept theworld. It couldn't last.The realism had to besoftened into "somethingthat did not sound tooaggravating insidesurburban living rooms".

Rock 'n' roll wasinitially undermined bymajor record companieswho stole the ideas ofsmall independents andblunted an entire cultureby 'creating' the coverrecord. Largelymelodramaticbowdlerizations by whitesof complex, often risqueperformances by blacks -the source of creativeenergy from which allrock 'n' roll borrowed. Itwas finally transformedinto vapid jingles by slick,

'Never hasso muchabout therecordingindustrybeencollectedin oneplace.'unsympathetic middlemenwho thought genuine rock'n' rollers were altogethertoo earthy, "too rough tobe patted on the backand too unsophisticatedto get along with as

equals". In short, realpeople with real feelingswho, in the long run,spelled financialembarrassment.

Elvis Presley, MalcolmYelvington, Carl Perkins,Warren Smith, JohnnyCash and Charlie Featherswere six of the mostexceptional rock 'n' rollsingers, not just inMemphis, but anywhere.When rock 'n' roll lost itsfarm -boy heritage FreddieCannon became one of theworst.

But all was not lost. Whilespontaneity helps it is not apre -requisite to worthwhilemusic and some producers -Berry Gordy, Bert Berns,Ragavoy, Eddie Ray and,most of all, Phil Spector -were able to make valuableartistic 'statements in anatmosphere of totalcontrivance. This sort ofgenius is rare and, with fewexceptions, it is confined tothe semi -rhythm and bluescorner of the pop spectrum.

These are some of themain premises on whichCharlie Gillett has built "TheSound Of The City".

A review by BILL MILLAR

Scriptures(Published by Souvenir; £2.50hardback and in paperbackby Sphere - price 60p). It's aclassic study of rhythm andblues (which became soul); itsmain inspiration, rock 'n' roll(which was put to sleeparound 1959) and the socialbackground of both. Inwinkling these propositionsout of the text two things areclear. Charlie Gillett isobsessed by rock 'n' roll andangered by the injustice of asituation which allows itscreators to die in penurywhile false emotions flourish.

The number of recentattempts would suggest thatit is easy to write a history ofrock 'n' roll; but only toooften the jacket blurbsuggests that so-and-so is anauthority on the subjectwhile the text does not bearthis out. "The Sound Of TheCity" is a devastatingexception to this rule. Rock'n' roll swarms withuncounted talent and it's allhere. A travelogue crammedwith fascinating informationand vivid if long -forgottennames.

Bullmoose Jackson, TheOrioles, Eddie Quinteros, TheJive -Bombers, FamousGeorgia Peach, RudolphToombs. These and recordsby the seminal giants of therock pantheon - Berry,Presley, Richard, Domino -are all succinctly described inbrilliant, lucid and accurateword -pictures which reveal adeep learning, no lack of firmopinions and, occasionally,sardonic humour. Never hasso much about the recordingindustry been collected inone place and manypreviously uncharted stylesare investigated in a fashionthat will lift your mind fromfamiliar grooves and give yousomething new to thinkabout.

Did you ever hear ofdance -hall blues? Club blues,cry blues, gospel blues,scream blues or bar blues?You're conditioned to JimmyReed equals downhome. ButGillett writes not only of thelong -admired bluessinger/guitarists but of thosewho are no longerfashionable. Shouters,

FATS AND ELVIS (TOP): TWO OF THE GREATEST ROCKERS, AND FREDDIE CANNON(BELOW): ONE OF THE WORST? AND CREEDENCE CLEARWATER REVIVAL:LATTER-DAY ROCK GREATS...tenor -men and boogie pianistsfor whom fresh, enlightening,descriptive labels are aparticular asset. I never knewwhere to place such seriouslyneglected but influentialfigures as Cecil Gant, JesseBelvin, Roy or Charles Brownbefore and, worse, I was notable to read about themanywhere else. Where otherwriters have pontificated insenseless disorder, Gillett hasbrought order to anarchy. Hisaffection for pigeon -holinghas enabled him to discussthirty years of popular musicwith a few proper omissions.

It is very nearly impossibleto indicate the enormousscope of this book and, in ashort review like this, I donot want to concentrate onreasons other than those forwhich readers should buy itin their thousands. But Gillett

also deals effectively with thepost -stereo, post-Beatle,post -acid era in a way whichholds the attention and, as aneffort at completeness, thebook has no equal. Hedoesn't view all contemporaryrock with my contempt buthe is undoubtedly suspiciousof some of the cerebral,so-called progressive claimsmade by it and for it. And,truth to say, he thinksnatural talents like The Band,Joe South, Tony Joe Whiteand Creedence are the besthopes for the future. Which isalmost another way of sayingthat good, old, honest,uncorrupted rock 'n' rolllives.

Glllett's critics are largelythose who refer to'insignificant' errors and thinkthey're clever in being able tolist them all. I'll content

myself by cavinn thatdislike of mechanical musicshows in the absence of anyreference to Johnny and TheHurricanes while asociologist's determinationnot to render deservedlyobscure performersmeaningful has meant thatothers - The Falcons, WandaJackson, The Crests - areundervalued. But these aretrifling complaints and thehatchet men will rarely beable to insert their bladesinto this revised edition. Norcould they have done thisresearch with such persistenceand devotion or written it upwith such clarity. Whenwriters have greatness thrustupon them their namesbecome adjectival; - the term`Gillettsion will gain muchcurrency in the field of rockcommentary.

INSIDE STRAIGHT NEWS, ENQUIRIES, OPINIONGOIN' TO CHICAGOBLUES: At last the U.S. aregetting it together with someexcellent specialist magazines."Living Blues" covers theblues world of Chicago fromMagic Sam to Buddy Guyand also some soul -blues. Arecent article on Bobby Blandwas brilliant. Find out aboutrates and things from UKagent Chris Reichardt, 26Dovercourt Gardens,Stanm ore, Middlesex.

ONE DEGREE NORTH:Continuing our weeklyNortherners - are - hip spotan interesting letter fromBrian "Boz" Bosworth:

You have enriched mysoul knowledge through yourcolumns and turned me on tosome great sounds e.g. Charlie

Hodges "I'll Never Fall InLove Again." I live in theNorth - Stoke-on-Trent(Soul -on -Trent) and youmade quite a few folks angrywith your "Black Hits - NoSoul" article. You said a lotof true things but were alittle unfair on the NorthernDisco Scene. We enjoy ourscene, but it does change -and even progresses (18months ago we were playingsuch records as Mary Wells -"My Guy," Prophets - "I'veGot A Fever," etc.) now weare playing such records as"Cool Aid" - PaulHumphreys "Chicken Heads- Bobby Rush" and vocalslike, "In Orbit," "FridayNight" - Johnnie Taylor.Many of us enjoy the slow

soul singers e.g. DeniseLaSalle, Doris Duke, and also,progressive soul singers -Curtis Mayfield, Parliamentsetc. but more of this justisn't suitable for dancing - ordo you dance differently inLondon? One thing that youwant to really expose up hereare the ego trippers andpeople - mostly DJs - whothink that everything that isOld and vaguely danceablemust be good. These guys setthemselves up as supermenbecause they've got recordswe haven't, someone's gottaput this right.

Finally, how do youchoose your "It Will Stand"?Here is my top five.1. Get Down With It - Little

Richard

2. People, Get It Together -Eddie Floyd

3. Dance To The Rhythm OfLove - Pattie Labelle andthe Bluebells

4. Nut Rocker - B. Bumbleand the Stingers

5. A Love Reputation -Denise LaSalle

AT THE DISCOTHEQUE:We're still getting lettersabout the Northern scene,this extract is from one A. J.Rimshaw of the Lodestar,Blackburn (which incidentallyhave a soul night everyMonday. Their address:Ribchester Road,

Clayton -Le -Dale, Blackburn)."The attack on the 'goldengreats' of Leon Haywood andco. has been long awaited,

especially with the renewedinterest in "soul". It was justa matter of who in the musicpress would have the interestand conviction to do it. Welldone chaps! When the "bigsounds" are played to thecritical ear they do fall short onmany points i.e.ill -produced, bad material,corny. Yet they still have amagic appeal especially, orpossibly only, in the North.

They have an unbelievablefollowing whilst the likes ofJames Brown, Dramatics andeven King Floyd and JeanKnight fall flat dead. Possiblythis is explained by thedifferences of danceapproach. The strains of suchas Joy Lovejoy and the

Prophets are perfect toaccompany what has nowbecome almost a tribal danceroutine. (You can accuratelytell where somebody comesfrom by the way he dances!).So called 'soul' records thatare big now include FrankiValli 'Hurt Yourself', MitchRyder 'Breakout' and DeanParrish 'Determination'. I likethem, but soul? Soul in thenorth is old danceable stuff,ageless rhythms, more oftenthan not sung by blackAmericans, but the Negro bit'sjust a coincidence".

TonyCummings


MirrorpickMaryrootsMARY :10PKIN:Water, Paper AndClay; Jefferson(Apple 39).

An album track, butnevertheless in with verystrong chances as a hitsingle. Unaccompaniedvoice at first, graduallyleading into a concise and'tight backing sound. Backto the roots, in a way, forMary - a folksey piecewith that crystal-clearvoice doing a very goodjob. The finale withchorus is splendid. -CHART CHANCE.

DES O'CONNOR: ForThe Good Times; I've GotA Feeling You Don't Care(Columbia DB 8844). AKris Kristofferson song forDes this time round. Asever he sings bang on thebutton, with that ratherattractive vibrato, andthere is charm a -plenty inthis number for him towork on. It's all rather aplaintive scene, with theodd touch of optimismand the backing is bestdescribed as non -obtrusive,or even unobtrusive. Apleasant pop production.- CHART CHANCE.

IRENE SHEER: ManyRivers; Is It Me(Parlophone R 5930).There is just abouteverything on this one. Afirst-rate arrangement,some highly commercialpercussive effects, a vocalworkover by a girl whoreally does know how tosing - and a song thatbuilds beautifully. It is, inshort, a first-rateproduction and myearnest plea is that youlisten to it, a couple oftimes to make sure, thenbuy it. Don't worry aboutthe intro, which isn't allthat impact -y. - CHARTCHANCE.BILL BLINKY: TheBallad Of Bill Blinky(MAM). Sort ofhighway -code stuff forkiddie-winkies, repletewith sound effects.ALAN RANDALL: WhereDoes Father ChristmasHang His Stocking(MAM 54). Bouncyfestive -season Formby -styled and all prettypredictable good spirits.SHAWN ELLIOT: Child IsFather To The Man(London). Folk -popmaterial and a very goodsong indeed - lyrically,anyway. Gentle backingand a very smooth vocalline.

MIDDLE OF THE ROAD:

PETERJONESON THENEWSINGLES

AMERICANRELEASES

ELVIS PRESLEY: I JustCan't Help Believin';How The Web WasWoven (RCA 2158).Reputedly unexpectedpopular demand hasforced these two tracksfrom the 'That's TheWay It Is' soundtrackLP: in truth, El's currentU.S. 45 is a dog whichwould probably bombbadly here. Themuch -featured (in themovie) B. J. Thomasoldie makes a nicebouncy topside, and is agood cheerful song.

THE COASTERS: LovePotion Number Nine;D. W. Washburn(Parlophone R 5931) ...on Parlophone?! Veteranfreaks will already besalivating at the prospectof the teamingrepresented herein; theCoasters back togetherwith their old mentors,

eLeiber and Stoller, on

rt MOR aMIDDLE OF THEROAD: SoleySoley; To RemindMe (RCA Victor2151).

Nice repetitive titlesthese folk come out with... 'Chirpy Chirpy',`Tweedle Tweedle', now`Soley Soley'. This is aslow -starter, in terms oftempo, but soon speedsup and takes on aninstantly commercial`feel'. Can they make it ahat -trick of real giants?Positively, say I. Again,Sally dominates with thatpert little voice and theharmonies behind aregiven full freedom withinthis production. Themelody line is just ruddyinsistent ... it registersright away. Yep, they'vedone it again. - CHARTCERT.VARIOUS ARTISTS:Superstar (MCA).Including that title track,a maxi -single look at the`Jesus Christ - Superstar'album, with Murray Head,Yvonne Elliman andchoral effects all added in.

Reggae releaseTHE TWINKLE BROTHERS twinkle pretty well onPiss Labba Labba' (Green Door), one of the best

reggae releases of the week - a rippler of a

production, full on charm, short on aggression.From JOHN HOLT: 'Any More' (Jackpot), a

slow -burning sort of ballad with some ratherpredictable lyrics. 'Stop The Train' by the WAILERS(Summit) is at a rather livelier tempo and featuressome very good harmony work.

Vachine Version' by the VERSION BOYS (GreenDoor) is a straightforward chugger with delayed vocaland a fair danceable aura. Good stuff from the GGALL STARS on 'Rod Of Righteousness' (GG), spokentheme early on, a religioso sort of atmosphere - butpatchy.

And HUGH ROY tacKies 'Earthquake' (Upsetter)with alertness, hut it's a somewhat contrived sort ofvoca: line --- ve,y specialist.

SLOW START - BUT IT SPEEDS UP.

SHIRLEY BASSEY:Diamonds Are Forever;Pieces Of Dreams (UnitedArtists UP 35293). JohnBarry -Don Black themefrom the film of the samename. Great powerhouseblasts of brass punctuateher scene -setting verse.Once into the main chorusthere's positively noholding her. All thepower, the emotion, thesheer determination is

there. Big soaringperformance. She really isa larger -than -life star.CHART CERT.

SOUTHERN COMFORT:Morning Has Broken(Harvest). Folksey andclean-cut delivery - it's a

single of substantialimagery, but hard to see itbreak through as a chartentrant. Later harmoniesvery smooth.FRESH MAGGOTS: CarSong (RCA Victor).Talented duo and somesurprise moments in thissingle. Guitar,hand -clapping approach -quite a commercial songin its insistence. Hasgrow -on -you appeal, this.Could easily make it.BLACK VELVET: AfricanVelvet (Beacon). Thiscame out some time ago,did reasonably well - butnow there's a greaterawareness of theAfro -rock scene. Hard,organ -powered stuff allthe way.JIGSAW: Keeping MyHead Above Water(Philips). A rathercomplex vocal harmonicset, with some ratherfrenzied beat -bustingactivities. Could just workout, but it's somewhatcontrived, though heavy.

LEDBETTER POSSUM:Saturday Morning,Saturday Night (Famous).A tinkling sort ofapproach on a song with arepetitive basic hook. Fairenough, but doesn'tsuggest hit potential.1..istena roe.

Ryan'soddgimmickBARRY RYAN:Can't Let You Go;When I Was AChild (Polydor2001-256).

A Russ Ballard songthis time. Brisk pianointro, fair old tempo andBarry doing a much -lesscluttered vocal job over abasic boogie beat. Hisvoice seems set a shadehigher, but the energy isstill there. The oddgimmick, up in thefalsetto range comes in,but it's much lesscontrived than some ofthose earlier ones. Soundslike a hit to me. At lest

a CHART CHANCE.

CARL SIMMONS ANDROCKHOUSE:Everything's Alright; I WasHurt (RCA Victor). Goodrocking revival, of styleand feeling - a lot ofpower in this one. Virtualfury in the way it bPildsup ... lovely biting brass.Could do well.

BULLET: Hobo (Purple).Could make it. Group getsoff to a very good startwith this lively,gimmick -punctuatedproduction - it's heavy,direct and just sort ofrolls along non-stop. Ashade jerky, though.SHAWN PHILLIPS: AChristmas Song (A&M).Out last Christmas, as amatter of fact, but theamiable sentiments applyjust as strongly right now.A performance andproduction of real class.JOHNNY PEARSONORCH: Sleepy Shores(Penny Farthing).Pianist -leader on thetheme from the BBC-TVseries 'Owen MD' - aby -public -request issue.SPONTANEOUSCOMBUSTION: LonelySinger/2 0 0 Lives(Harvest). Good heavysounds, produced by GregLake, and from theupcoming album namedafter the band. A vibrantenthusiasm very much onshow.DONOVAN: There Is AMountain; JenniferJuniper; SunshineSuperman; Mellow Yellow(Pye). A mini -monsterfeaturing four of the mostfamiliar Donovancompositions from themid -late sixties. Nostalgic.

FOUNDATIONS: BuildMe Up Buttercup; In TheBad Bad Old Days; BabyNow That I've FoundYou; Back On My FeetAgain (Pye). Anothervalue -for -moneymini -monster of familiarbut timeless material.

THE STRAWBS:Benedictus (A&M). Abeautiful record. Guitarintro and into a song verymuch on a thank -youreligioso sort of format.Starkly simple andyes, beautiful.

MARVIN TUCKER: HandMe Down Man (MAM).Nice voice here - flexibleand full-blooded. Songformat sort of shuddersalong, staccato and biting,but not notably a hitsong.

TABERNACLE: Rejoice(Pye). Organ -basedreligious -styled piecedelivered by a promisinglead voice. SeasonalMaterial, this.

the old L&S-pennedClovers hit. The lineupmay have changed butthe sound hasn't, exceptthat the production is

full -sounding and great,with lovely ploppingrhythm and flute (bothreminiscent of 'Spill TheWine') and an overall hitfeel to it. Yes, HIT.

THE BEACH BOYS:Student DemonstrationTime; Don't Go NearThe Water (Stateside SS2194). You may haveheard how this is the oldclassic 'Riot In CellBlock No. 9," an early'50s hit by Leiber andStoller for the Robins(who became theCoasters), with anup -dated lyric re -write byMike Love - who hasdone a very good job,viz: 'The violence spreaddown South to whereJackson Statebrothers/Learnt not tosay nasty things aboutSouthern policemen'smothers'. It's a

powerhouse slow rockerwhich can hold its headhigh next, to theoriginal. Honestly.

In fact, 'Don't Go Near TheWater', an ethereallypretty medium chuggerwith wah-wah 'water'effects, is the very goodofficial A -side - butthose of you who wantthat will also want the'Surf's Up' LP fromwhence these come,especially as it containsthe beautiful 'DisneyGirls (19571'. (By theway, do catch D. Wilsonand J. Taylor in 'TwoLane Blacktop', which ismuch better thanreported.)

HERB ALPERT AND THETIJUANA BRASS:Darlin'; Montezuma'sRevenge (A&M AMS869). The lovely butunder -rated Beach Boysoldie given a good briskstomping smooth(although with a

messily -done breakhalfway) instrumentalworkout. Typical bubblybouncy flip.

VAN MORRISON: WildNight; When ThatEvening Sun G oes Down(Warner Bros K 16120).It would be difficult tochoose the best- tracksfrom Van's 'TupeloHoney' LP as all areexemplary and the albumis a must; however, thesetwo are the liveliest andmost obvious. Given a

push, this might be hisfirst solo hit here.

CARPENTERS: MerryChristmas Darling; TicketTo Ride; Saturday (A&MAME 601). A maxi, withthe Carps' pretty sloppyU.S. hit of last year,their first (much -alteredBeatle song) U.S. hit,and Richard's vocalB-side from 'Rainy DaysAnd Mondays'. Fine forfans.

BURT BACHARACH: OneLess Bell To Answer;(They Long To Be) CloseTo You (A&M AMS873). Burt sings! (Well... he contributes somecroaks to the girlie groupon the treblestrings -predominated flip,which sorely lacks theCarpenters' climaticmassed 'Wahhh' ending).On the lovely A -side,with which the 5thDimension deserved tohit, Cissy Houston takesthe vocal honours (andhonour she earns - she'sgreat). Dead nice easystuff.

SONNY AND CHER: All I

Ever Need Is You; I GotYou Babe (MCA MU1145). Following Cher'ssolo success, the lovableduo are clicking U.S.-sidewith this plaintive lilterwhich contains somedisconcerting early '60sCarole King -like melodicbits. The flip is anuntidy live version.

MELANIE: Brand New Key(Buddah 2011105).From her own new U.S.label but still withBuddah here, Melanie'slatest little girl voiceouting is a pert catchylittle ditty (with evensome subdued Rock 'n'Roll harmony backing)which might just charmits way Chartwards.Good.

B. B. KING: Alexis' Boogie;Ain't Nobody Home(Probe PRO 546). Hardto believe, this guitarduet with Alexis (callhim 'Grandpa of theBritish Blues') Korner isthe very first acousticguitar recording thatB. B. has ever made (he'snow planning to do awhole acoustic album).Alexis wrote thisthrobbing convolutedinstrumental (which B.modestly reckons he stillhasn't learnt!), althoughit does have much of thefeel of 'Why I Sing TheBlues' - which is no badthing. Howard Tate'soldie on the other side isthe official plug side -and is no big thing.

LEON RUSSELL: A HardRain's Gonna Fall; MeAnd Baby Jane (A&MAMS 866). Leon's due intown, and here'severyone's favouritetrack from his LP towelcome him. By Dylan,natch, it's done well withnervy rhythms andbouncy slow thud beatbehind Leon's distinctivephrasing. The dead slowmelancholy flip ispreviously unissued andgood for f:-:ns.

ItinfaillidirArg7401111161


GreengetsinsideAL GREEN: AlGreen Gets NextTo You (LondonSHU 8424).In addition to havingone of the most pleasingsoul voices for ages, AlGreen possesses not a

little talent for writing.His hit single, 'Tired OfBeing Alone', includedhere, is not the onlyevidence of this. 'You SayIt', a previous single, and'Right Now Right Now'are both solid, uptempofunkers, with inventivevocals on top of thehectic backings. Green'sturn of phrase, in fact, isvery much in the OtisRedding tradition ... andwe haven't really hadanyone of Otis' class sincehis untimely death. Whatsets the seal of Green'srecognition as a majornew artist, though, are histreatments of suchstandards as 'Get Back','Light My Fire', 'TheLetter' and, strangely, 'MyGirl'. He teases them,neatly twisting his wayaround old cliches, withsuperb horns adding littlekicks to Green's howlsand groans. Al Greendoesn't just get next toyou - his favourite phrase- he gets inside you. B.M.

SHIRLEY COLLINS ANDTHE ALBION COUNTRYBANDNo Roses (Pegasus PEG7). Tiger Hutchingsco -produced this albumand its an ambitiousproduct. The backingmusicians on what islargely traditional musicwith new arrangements,include RichardThompson, Simon Nicol,Lol Coxhill, DaveMattacks, BarryDransfield, RoystonWood, Dolly Collins,Maddy Prior and loadsmore. It isn't as much astrict band as the best inthe business combining foran album. The best aspectof this superb album isthat the effect isreminiscent of theFairports when they hadfemale lead vocalist(Sandy Denny), the bestperiod of their career.Lovely stuff. L.G.

GEORGE GERDESObituary (UA UAS29271). Folk singer andclose buddy of LoudonWainwright, George'saccent sounds slightlyforced and not a little likeLoudon, but his songsstand the test. Very softpicking and subtleorchestration add a lightjazz touch or highlight thefolk aspect. The album,from the liner notes tothe songs, is very personaland you have toappreciate George forwhat he is, rather than tryto extract identificationand a meaning for youself.L.G.

REVIEWERS: Lon Goddard, Rob Partridge Valerie Mabbs, Bill McAllister, Peter Jones, Mike Hennessey

NEIL DIAMONDStones (Uni UNLS 121).Neil Diamond means goodsounds guaranteed andthat's what 'Stones'means. An album ofmood, this contains awider selection of writersthan usual. His versions ofJoni Mitchell's 'ChelseaMorning' and RandyNewman's 'I Think It'sGoing To Rain Today' aregood attempts, but hereally comes into his ownon the lovely, soothingtitle track .and the twoversions of 'I Am I Said'.There are also veryoriginal renditions of TomPaxton's 'Last Thing OnMy Mind', LeonardCohen's 'Suzanne' and theBrel/McKuen number, 'IfYou Go Away'. The useof strings here is sotasteful, Neil's voice justoozes emotion. Beautifulrecord. L.G.

VARIOUS ARTISTSBlack Soul Explosion(Ember SE 8009). Theartists involved in thiscollection include Tonyand Tyrone, Dee Edwards,Mary Fraser Jones and awhole host of others.There's fair excitement,occasional gentleness.Party -time material.

PHILLIP JOHN LEEGuitar Kaleidoscope(Chapter One LRS 5003).Young virtuoso guitariston self -penned items, plussome traditional airs, plusSpanish material. A strongdemonstration of aremarkable technique.

DR. JOHN

THE WHO: MeatyBeaty Big AndBouncy (TrackSuper 2406 006).Fourteen of the bestnumbers the Who oranybody else has everywritten. You know themall, but here they are incontinuous order: 'ICan't Explain', 'TheKids Are Alright','Happy Jack', 'I Can SeeFor Miles', 'Pictures OfLily', 'My Generation,'The Seeker', 'Anyway,Anyhow, Anywhere',`Pinball Wizard', 'LegalMatter', 'Boris TheSpider', 'Magic Bus','Substitute', 'I'm A

Boy'. Terrific packagingand excellent soundreproduction from theoldest to the newest.Quite simply a

mandatory inclusion inevery collection - greatinside sleeve photo ofthe old Railway Hotel,Harrow Wealdstone witha Who poster advertisingthem at four bob aticket. L.G.

RAY RUSSELLQUINTETLive At The ICA (RCASF 8214). Free -formavant-garde jazz withcosmic undertones,interesting sleeve notesand lots of grating soundsthat fall together better ifyou can completelyimmerse yourself in themusic. Not easy listening.

Hypnotic Dr. JohnDR JOHN, THE NIGHT TRIPPER: TheSun, Moon And Herbs (Atlantic2400161).You gotta watch out with this one ... Dr John mightjust leap out and get you with a voodoo spell.Whatever the good doctor threatens, however, it can'tdetract from the sheer hypnotic presence of the music.The session musician list is quite formidable and thefollowing sampler should be enough to give you anidea of what goes on: Mick Jagger, Eric Clapton, CarlRadle, Bobby Keys, Tammi Lynn, The MemphisHorns, etc. Now you night expect Mac Rebennack(Dr John) to be slightly swamped by that bag ofgoodies ... but not a bit of it. Instead he holds themunder his sway and uses them, really uses them tosteam out those snake rhythms and hot jungle vocals.That's where Rebennack's real strength is, in gettingmystery into the music. For he depends not onmelody, or a good voice or on virtuoso piano fromhimself, but upon projecting a powerful mood rightthrough the album. Dr John has done it again. B.M.

ROGER DALTRY AND PETE TOWNSHEND: A SHORT HISTORY OF THE WHO

A 'best of album from the WhoBELL & ARCBell & Arc (Charisma CAS1053).Doesn't GrahamBell scream well? Togetherwith a sterling bunch ofmusicians called Arc andthe vocal aid of LindaLewis, Lisa Strike andJudy Powell, he threshesinto his own 'High PriestOf Memphis' and emergeswith a finished productnot dissimilar to MadDogs And Englishmen.Mind You, hearken to'Keep A Wise Mind' and ifthere isn't more than atouch of early Jaggerthere then I'll boil my oldsocks for soup. Oh, andwhat about the way hesings `So Long Marianne'just like Cocker in thesubdued passages, butdoesn't quite make it inthe "up" chorus? Well, I

suppose that's what he hasto do ... and he certainlydoes it. Arc, meanwhile,are sterling. They just arethere all "the time,plunging up with a veryfull sound when requiredand equally able to lay offwhen it counts. Notspectacular, of course, butmore than making up forBell's special form ofdisease, acute anaemia ofthe talent veins. B.M.

NAZARETHNazareth (Pegasus PEG10). Possibly the principalreason you will beinspired to either love orloathe Nazareth is throughtheir stage act. It's verymuch in the vein or, say,Ur iah Heep or DeepPurple ... and every bit aseffective. In other words,I doubt if you would buyNazareth's first album onits merits alone. Not thatit's a bad album, for it hasits share of good ideas,some more acceptablethan others.The Scottish quartet seemhappier in their riff -basedmoments, like 'Red LightLady', which has an

intelligent arrangement tofill out the meatlesswords. And 'WitchdoctorWoman' is as screamy andraunchy as anything in theLed Zeppelin idiom. Theone main failing of'Nazareth' as an album isits lack of consistency.'Morning Dew', the onlynon -original song theyattempt, is rather empty,even for that doomy epic.And what could have beena mammoth closer, 'KingIs Dead', only half getsthere, the wild stringarrangement proving morethan the actual song cantake. It's a fair enoughstart, though, so it's alldown to the club to havea look at Nazareth,methinks. B.M.

VAN DER GRAAFGENERATORPawn Hearts (Charisma1051). I have to confesscomplete ignorance ofprecisely what Van DerGraaf Generator are tryingto achieve. Really. Theirmusic is forever verging onthe hysterical and, I

suppose, if you shouldhave a particular penchantfor the unbalanced, thenthis is the vinyl platteryou've been waiting forkids. As musicians theyare certainly more thancompetent. Flurries of

.time changes, weirdv oi ci n gs and intricatearrangements, especiallyon Side Two 'A Plague OfLighthouse Keepers', aconcept of sorts. But I dogrow weary of endlessmeanderings and that, tome, is what 'Pawn Hearts'ends up as. B.M.

GENESISNursery Cryme (CharismaCAS 1052). An albumthat is a little toohysterical for me, but willno doubt find appeal withafficiandos of the offbeat.Sample, for instance, thedelights of the rapid

`Harold The Barrel', anentrancing play set tomusic. There is effectiveuse of mellotron duringthe closing track, 'TheFountain Of Salmacis',which roars along in finefashion. The lyrical twistsare cute, too, and`Salmacis' deals withHermaphrodites withoutself-consciousness. Oftenpowerful . .. butsomehow lacking in vision.B.M.

GUESS WHOSo Long, Bannatyne (RCAVictor SF 8216). Somestraightforward rock fromGuess Who, who haven'thad too much success hereconsidering they'reprobably one of the bestcommercial rock groupsaround today. 'RainDance' is an atmosphericpiece of whimsy and theset has enough power,guts and even subtlety, todeserve success.

BILLY COXNitro Function (PyeInternational NSPL28158). The memory ofHendrix permeatesthroughout this LP -'Message' is the title trackand a good bit ofrecording it is too. Cox'sgroup has bridged thesoul -heavy gap and comeup with some fineexcursions, with girlievocals on a batch oforiginal numbers and thepowerhouse Kinks oldie'You Really Got Me'.Hendrix fans will dig ...but Cox has a lot goingwith this group.

PHIL BRADY AND THERANCHERSA Little Bit Country(Philips 64141(17). Well,quite a bit country in fact.Liverpool team well intothe modern country field,and including 'Me AndBobby McGee', 'We WereMade For Each Other'.Above average material.

VARIOUS ARTISTSGreat Country Gold(Philips 6414014). Songsoriginally made famous bytop American countrynames - now served upby such as Ray Dexter,Phil Brady and MountainDew - and including acouple of good tracksfrom Marvin Rainwater.

GERALDINEGeraldine (Beltona SBE128). A thoughtful,expressive set, mostly of"people" songs - a youngIrish girl who has theknack of caressing lyrics.Couple of good GordonLightfoot songs, and aspecial reading of theJohn-Taupin 'SkylinePigeon'.

JOHNNY CASHThe Man, The World, HisMusic (Philips Sun6641008). A very valuabletwo -album set retailing ata shade under two quid.Starting with 'Born ToLose', 'Story Of A BrokenHeart' and so on ...recordings going back to1958, then to the earlysixties. Twenty-two titlesand of obvious historicinterest. But ... there arequite a few surprisinglyweak moments ofbelow -par production.

VARIOUS ARTISTSSolid Gold Old Town(Atlantic 2400 192).Good old golden oldies,re -processed for stereo,and including items by theFiestas, the Keytones,Robert and Johnny, BillyBland 'Let The Little GirlDance', and 'The Wedding'by The Solitaires. NewYork sounds.

MIKIS THEODORAKISConducts Theodorakis'(Polydor 2489 035). Withtwo singers adaed to copewith the lyrics of ManosEleftheriou, this is a

swirling, Greek swampedset with some excellentchanges of orchestralmood.

LA BANDA DELMANDOLIN°Mandolin Magic (Polydor2489 038). Material aswide-ranging as '0 SoleMio' and 'Ciribiribin' - amassed mandolin sound ofextreme plunkiness -well -directed by NorrieParam or.

STAMFORD BRIDGEThe First Day Of YourLife (Penny FarthingPELS 515). Good, tightharmonies from a teamwho are now on theirsecond album. Formed tocommemorate thefootballing 'Chelsea', theyare built round RussAlquist, Ken Lewis andJohn Carter. A musicianlyalbum which deservesattention.

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PICK OF THE HOT'U.S. RELEASESSLY & THE FAMILY

STONE: Family Affair;Luv N' Haight (Epic).The first new productfrom the Family Stone(other than "live"material) in virtuallytwo years, since thecataclysmic 'ThankYou Falettinme BeMice Elf Agin', thissingle from the new'There's A Riot Goin'On' LP has beaten itsparent album to thevery top of itsrespective Chart.Obviously long awaitedand much anticipated,its meteoric rise is notsurprising except forthe fact that, comparedwith much of thegroup's past output,this single is merely"nice" without being areal killer.

It shows Sly and the gangin a funky but subduedmood: starting theinsinuous wah-wah andplopping, thuddingrhythm in the samelight way as itcontinues throughout,they keep all the soundon the sameinter -related quietmonotone level. Thetitle line is repeated bya Lennon-ish voicebefore the husky,slurring, almostHavens-ish lead voice(Sly?) handles the mainlyric, which is aboutthe strength of familyties and obligations.Amongst all this thereare unobtrusiveinterspersions ofelectric piano andwah-wah lead guitar.

I have always been a bitdoubtful about theexpression "laid back",but, by my owndefinition of itsmeaning, I reckon thatyou could apply itpretty accurately to'Family Affair'. Onevirtue of the low-keyquality of the record isthat it is, in its way,completely compulsive- it cries out to beplayed over and overagain, so that it is a

shame the side doesnot last longer. The flipis rather rougher andmore aggressive, in thegroup's old style, and( consequently?) less

impressive.

JAMES BROWN: MyPart/Make It Funky -Parts 3 & 4 (Polydor).Indeed, this is anothertwo sides of theincredible funk rhythm

that Mr. J. B. whippedup on 'Make It Funky- Parts 1 & 2', and,despite the label saying(Instrumental)", itfeatures Mr. Brownexhorting his cohortswith scat "ga ga ga ga,goo ga goo goo ga"noises and vocalencouragement toguitarist Coleman to"Give us a little bit ofB.B. King", and totrombonist Red to"Slide your Slide".

The real joy of this recordis contained in thebasic riff andcontagious rhythm,which, as on 'Parts 1 &2', is made so powerfulby the rock -solidthundering bass. Thisrhythm is (yes, I know,you're credulous as

hell) one of the verybest that James Brownhas ever come up within fact, its only rivalmust be that of 'ThereWas A Time' - so that'Parts 3 & 4' are just asvital as the earlierrecord ... if not moreso, because there is anadded gaiety to thisone.

Unfortunately, this hasnow been eclipsed inthe U.S. Charts byJ.B.'s almostsimultaneously -released'I'm A Greedy Man -Parts 1 & 2' ... well,you know, Christmas isc om in', and newmaterial is a better betfor the Top 50 (whichis where it's at, rightnow).

DONNIE ELBERT: WhereDid Our Love Go;That's If You Love Me(All Platinum).Rumoured to be thefirst British release outof Mojo's rumouredassociation with thegreat Stang/AllPlatinum labels, veteranDonnie's re -working ofthe Supremes' oldiecould so easily havebeen ratheruninteresting. In fact,it's brilliant.

This isn't so surprisingreally, consideringDonnie's track record,which started in thamid '50s with thesuperb 'What Can I

Do', a piercing balladthat, together with hislater 'Who's It GonnaBe", is a cherishedfavourite of WestI ndian audiences.

the doctorC

JAMES HAMILTON'S

DISCOTHEQUE PICKS

S chartsALL U.S. CHARTS COUR ESY OF BILLBOARD

albumssingles1 5 FAMILY AFFAIR Sly and the Family Stone2 1 THEME FROM "SHAFT" Isaac Hayes3 3 BABY 1'M -A WANT YOU Bread4 4 HAVE YOU SEEN HER Chi-Lites5 2 GYPSIES, TRAMPS AND THIEVES Cher6 7 GOT TO BE THERE Michael Jackson7 14 OLD FASHIONED LOVE SONG Three Dog8 10 THE DESIDERATA Les Crane9 9 ROCK STEADY Aretha Franklin

10 6 IMAGINE John Lennon

11 12 ALL I EVER NEED IS YOU Sonny & Cher12 13 EVERYBODY'S EVERYTHING Santana13 18 CHERISH David Cassidy14 8 PEACE TRAIN Cat Stevens15 33 BRAND NEW KEY Melanie16 16 TWO DIVIDED BY LOVE Grass Roots17 19 A NATURAL MAN Lou Rawls18 20 RESPECT YOURSELF Staple Singers19 23 STONES Neil Diamond20 25 SCORPIO Dennis Coffey and the

Detroit Guitar Band

EpicEnterprise

ElektraBrunswick

KappMotown

Night DunhillWarner Bros

AtlanticApple

KappColumbia

BellA&M

NeighborhoodDunhill

MGMStaxUni

Sussex

21 17 EASY LOVING Freddie Hart Capitol22 27 WHERE DID OUR LOVE GO Donnie Elbert All Platinum23 11 MAGGIE MAY/REASON TO BELIEVE

Rod Stewart Mercury24 29 THEME FROM "SUMMER OF '42" Peter Nero Columbia25 28 SUPERSTAR (Remember How You Got Where You Are)

Temptations Gordy26 15 YO YO Osmond Brothers MGM27 35 YOU ARE EVERYTHING Stylistics Avco28 30 WILD NIGHT Van Morrison Warner Bros29 22 INNER CITY BLUES (Make Me Wanna Holler)

Marvin Gaye Tamla30 26 ONE TIN SOLDIER Coven Warner Bros

31 3832 -33 2434 -35 323637 5038 4839 4340 45

(I Know) I'M LOSING YOU Rod Stewart MercuryHEY GIRL/ I KNEW YOU WHEN Donny Osmond MGMQUESTIONS 67 & 68/I'M A MAN Chicago ColumbiaAMERICAN PIE Don McLean United ArtistsABSOLUTELY RIGHT Five Man Electrical Band LionelSUNSHINE Jonathan Edwards CapricornAN AMERICAN TRILOGY Mickey Newbury ElektraBEHIND BLUE EYES Who Decca

I'M A GREEDY MAN James Brown PolydorYOUR MOVE Yes Atco

41 39 SHE'S ALL I GOT Freddie North42 49 GRANDMA'S HANDS Bill Withers43 - DROWNING IN A SEA OF LOVE Joe Simon44 - ONE MONKEY DON'T STOP NO SHOW

Honey Cone45 - CAN I GET A WITNESS Lee Michaels46 41 TILL Tom Jones47 40 I'D LOVE TO CHANGE THE WORLD

Ten Years After48 - HALLELUJAH Sweathog49 42 LOVE Lettermen50 - FRIENDS WITH YOU John Denver

MankindSussexSpring

Hot WaxA&M

Parrot

ColumbiaColumbia

CapitolRCA

1 1 SANTANA Columbia2 3 TEASER & THE FIRECAT Cat Stevens A&M3 2 SHAFT Soundtrack/Isaac Hayes Enterprise/MGM4 5 THERE'S A RIOT GOIN' ON

Sly and the Family Stone Epic5 6 TAPESTRY Carole King Ode6 4 IMAGINE John Lennon Apple7 7 AT CARNEGIE HALL Chicago Columbia8 36 LED ZEPPELIN Atlantic9 9 EVERY PICTURE TELLS A STORY Rod Stewart Mercury

10 8 HARMONY Three Dog Night Dunhill

11 13 MEATY, BEATY, BIG /3/ BOUNCY Who12 12 TO YOU WITH LOVE Donny Osmond13 15 STONES Neil Diamond14 11 CARPENTERS15 14 (For God's Sake) GIVE MORE POWER

Chi-Lites16 18 CHER17 16 SOUND MAGAZINE Partridge Family18 - TV CAST All In The Family19 20 JESUS CHRIST, SUPERSTAR Various Artists20 10 EVERY GOOD BOY DESERVES FAVOUR

Moody Blues

21 21 MASTER OF REALITY Black Sabbath22 19 RAM Paul and Linda McCarthy23 24 PERFORMANCE: ROCKIN' THE FILLMORE

Humble Pie24 - MADMAN ACROSS THE WATER Elton John25 25 WHAT'S GOING ON Marvin Gaye26 22 WHO'S NEXT Who27 27 TUPELO HONEY Van Morrison28 28 BARBRA JOAN STEISAND29 17 RAINBOW BRIDGE Jimi Hendrix/Soundtrack30 33 AQUALUNG Jethro Tull

31 31 TEA FOR THE TILLERMAN Cat Stevens32 32 LIVE Fifth Dimension33 37 OTHER VOICES Door;34 29 MUD SLIDE SLIM James Taylor35 23 GOIN' BACK TO INDIANA

Jackson Five/TV Soundtrack36 30 BLESSED ARE .. . Joan Baez37 47 SONNY & CHER LIVE:38 26 AR ETNA'S GREATEST HITS Aretha Franklin39 39 EASY LOVING Freddie Hart40 - E PLUR IBUS FUNK, GRAND FUNK RAILROAD

Grand Funk Railroad

41 41 ROOTS Curtis Mayfield42 GATHER ME Melanie43 46 LIVE AT CAESAR'S PALACE Tom Jones44 40 5TH Lee Michaels45 42 DONNY OSMOND ALBUM46 35 BARK Jefferson Airplane47 38 WELCOME TO THE CANTEEN Traffic, Etc48 50 ROUGH & READY Jeff Beck Group49 - AMERICAN PIE Don McLean50 49 CHICAGO TRANSIT AUTHORITY

DeccaMGM

UniA&M

TO THE PEOPLEBrunswick

KappBell

AtlanticDecca

Threshold

Warner BrosApple

A&MUni

TamlaDecca

Warner BrosColumbia

RepriseReprise

A&MBell

ElektraWarner Bros

MotownVanguard

KappAtlanticCapitol

Capitol

CurtomNeighborhood

ParrotA&MMGMGrunt

United ArtistsEpic

United ArtistsColumbia

BILLBOARD'S BIG HIT PREDICTIONS

UNTRIED BUT SHOULD BE GOOD

KENNY BALL: When You Wish Upon A Star (Pye 7N45107) El

THE COASTERS: Love Potion No. 9 (Parlophone R5931) R&B/Pop

TRIED AND TRUEWILLIE TEE: Thank You John; Teasin' You maxi (Mojo

2092025) R&BIKE & TINA TURNER: Doin' It (UA UP 35310) R&B/ELELVIS PRESLEY: Jailhouse Rock; Teddy Bear; Are You

Lonesome Tonight (RCA Maximillion 2134) R&R/ELELVIS PRESLEY: All Shook Up (RCA 1088) R&RTHE MARCELS: Blue Moon (Pye Mini Monster PMM

2002) R&B/R&RDONOVAN: Mr.11oW Yellow; There Is A Mountain;

Sunshine Superman (Pye Mini Monster PMM 104) ModAL GREEN: most of the album (LP 'Gets Next To You'

London SHU 8424) R &B SONNY AND CHER

By using last minute sales trends and detailed informationcollected from retailers, Billboard Publicationsin Americaare able to produce computerised facts about whichsingles are likely to make the highest chart gains NEXTWEEK in the USA. It's a well -in -advance guide to newhits, many of which will make it in Britain.

SONNY & CHER, All I

Ever Need Is YouTHREE DOG NIGHT, AnOld Fashioned Love SongDAVID CASSIDY, CherishNEIL DIAMOND, StonesTEMPTATIONS, Superstar(Remember How You GotWhere You Are)MELANIE, Brand New KeySTYLISTICS, You AreEverythingHONEY CONE, One

Monkey Don't Stop NoShowJONATHAN EDWARDS,SunshineSWEATHOG, HallelujahDON McLEAN, AmericanPie

DONNY OSMOND, HeyGirl/I Knew You WhenRARE EARTH, Hey BigBrotherTOMMY JAMES, Nothingto Hide

TOMMY JAMES


THE SOUTH AFRICAN BroadcastingCorporation has banned all the music from`Jesus Christ Superstar' following complaintsfrom churches and cultural bodies in therepublic if it flops, will BLUE MINKcall it 'Sunday Bloody Sunday'? greatto see BOB DYLAN's Greatest Hits VolumeTwo includes five songs never beforereleased RM sad to hear of blues singerJUNIOR PARKER's death in Illinoiscurrent TV Times going just a littleoverboard for Lovelace Watkins - but then,who hasn't?

New Elektra artist CYRUS FARYARapparently maintains a huge secludedhideaway in California where he houseswandering musicians. Among the wandererspresent to launch his new album were JOHNSEBASTIAN, DOUG WESTON, MIKENESMITH and MAMA CASS JOHNWILLIAMS scoring the new JOHN WAYNEepic 'The Cowboys' SUPREMES/FOUR TOPS newie massively reminiscent ofJAMES & BOBBY PURIFY's 'Let LoveCome between Us' BBC should releasethe soundtrack from last Thursday's 'MagicRoundabout' -a delightful little tuneCAT STEVENS'Teaser And The Firecat'has qualified for a gold disc in Australiaprior to its release date.

As if ELVIS and 'The King' weren'tenough, PRESLEY fans can now cringe to ajug band revival of lailhouse Rock'BOB HARRIS not only one of the mostpopular, but one of the nicest DJ'sgoing next to 'Shaft', the best moviesoundtrack LP currently on release is`Taking Off', featuring IKE & TINATURNER, CARLY SIMON and theINCREDIBLE STRING BAND ifTONY BLACKBURN is now on a 'melodicsimilarities' kick, we trust he'll find betterexamples to support it than his comparisonbetween MAC and KATIE KISSOON's 'IFound My Freedom' and 'Blueberry Hill'.

RM's CHRISTINE MACKIE seen smilinghungrily at ED STEWART on last week'sTop Of The Pops after the EmpirePool performance at Wembley, LEDZEPPELIN's ROBERT PLANT made a pointto congratulate CBS group HOME on a fineperformance and their music being "a breathof fresh air" Philips recording artistKAMAHL looks vaguely like JOHNNYMATHIS everybody in the world seenboozing and frolicking to dance hallcomedians, drag acts and crooners at theCharisma/B&C Records Christmas andanniversary blast, held at London's Lyceum.

To follow on from ELTON JOHN and theFACES, RM's BILL McALLISTER's newprediction for success goes to new groupBYZANTIUM.

mike morton congregationSpanish Harlem Sultana Brandy

Butterfly Keep On Dancing Simple GameI'm Leaving Mamy BlueAnd eight other great hits.

At all record shops NOW!

5 5 56 14 37 8 7

8 6 79 7 7

10 12 7

11 21 3

12 10 613 18 4

14 9 14

15 44 2

16 - -17 23 19

18 15 9

19 13 11

20 19 7

21 32 422 30 6

23 11 924 16 11

25 38 3

26 36 3

27 42 2

28 50 2

29 34 3

3031

3233343536

25221727202924

7

11

91211

1612

37 28 13

38 26 11

39 31 4

40 33 941 - -42 49 243 39 15

44 37 1045 - -46 40 1247 - -48 43 27

4950 48 2

the 50a

a singles1 1 6 COZ I LUV YOU Slade Polydor 2058 1552 3 4 ERNIE (The Fastest Milkman In The West)

Benny Hill Columbia DB 88333 2 4 Fly BUG 16JEEPSTER T. Rex4 4 5 GYPSYS TRAMPS AND THIEVES

CherJOHNNY REGGAE PigletsTOKOLOSHE MAN John KongosBANKS OF THE OHIOOlivia Newton -JohnTILL Tom JonesI WILL RETURN SpringwaterRUN BABY RUN Newbeats

MCA MU 1142Bell BLL 1180

Fly BUG 14

Pye 7N 25568Decca F 13236

Polydor 2058 141London HL 10341

SOMETHING TELLS ME (SOMETHING IS GONNAHAPPEN TONIGHT) Cilia Black Parlophone R 5924SURRENDER Diana Ross Tamla Motown TMG 792SING A SONG OF FREEDOMCliff Richard Columbia DB 8836MAGGIE MAY/REASON TO BELIEVERod Stewart Mercury 6052 097NO MATTER HOW I TRYGilbert O'SullivanTHEME FROM SHAFT Isaac HayesFOR ALL WE KNOWShirley Bassey United Artists UP 35267THE NIGHT THEY DROVE OLD DIXIEDOWN Joan Baez Vanguard VRS 35138LOOK AROUND Vince Hill Columbia DB 8804LET'S SEE THE ACTION Who Track 2094 012FIREBALL Deep Purple Harvest HAR 5045RIDERS ON THE STORM Doors Elektra K 12021TIRED OF BEING ALONE Al Green London HL 10337WITCH QUEEN OF NEW ORLEANSRedbone Epic EPC 7351IS THIS THE WAY TO AMARILLOTony Christie MCA MKS 5073HOOKED ON A FEELINGJonathan King Decca F 13241IT MUST BE LOVE Labi Siffre Pye 7N 25572SOFTLY WHISPERING I LOVE YOUCongregation Columbia DB 8830YOU GOTTA HAVE LOVE IN YOUR HEARTSupremes/Four TopsCHINA TOWN MoveSULTANA TitanicBRANDY Scott EnglishKEEP ON DANCING Bay City Rollers Bell BLL 1164SIMPLE GAME Four Tops Tamla Motown TMG 785DID YOU EVER Nancy and Lee Reprise K 14093SUPERSTAR/FOR ALL WE KNOWCarpentersFREEDOM COME, FREEDOM GOFortunesTWEEDLE DEE TWEEDLE DUMMiddle of the RoadBURUNDI BLACKBurundi Steiphenson BlackLADY LOVE BUG Clodagh RodgersI JUST CAN'T HELP BELIEVINGElvis PresleyBACK ON THE ROAD MarmaladeYOU'VE GOT A FRIENDJames TaylorMAMY BLUE Roger WhittakerMORNING Val DoonicanBUTTERFLY Danyel GerardWHEN YOU GET RIGHT DOWN TO ITRonnie DysonCHIRPY CHIRPY CHEEP CHEEPMiddle of the RoadKARA KARA New WorldHEY AMERICA James Brown

MAM 53Stax 2025 069

Tamla Motown TMG 793Harvest HAR 5043

CBS 5365Horse Hoss 7

A&M AMS 864

Capitol CL 15693

RCA 2110

Barclay BAR 3RCA 2117

RCA 2158Decca F 13251

Warner K 16085Columbia DB 8822

Philips 6006 177CBS 7454

CBS 7449

RCA 2047RAK 123

Mojo 2093 006

top producers1 Chas Chandler2 Walter J. Riddley3 Tony Visconti4 Snuff Garrett5 Jonathan King6 Gus Dudgeon7 Welch/Farrar8 Gordon Mills9 Phil Cordell/Dave Williams

10 -11 George Martin12 Ashford/V. Simpson13 Norrie Paramor14 Rod Stewart15 Gordon Mills16 Isaac Hayes17 Johnny Harris18 Jack Lothrop19 Norman Newell20 Who/Glyn Johns21 Deep Purple22 Bruce Botnick/Doors23 W. Mitchell/AI Green24 Pat & Lolly Vegas25 M. Murray/P. Callander26 Jonathan King27 Labi Siffre28 John Burgess29 Clay McMurray30 R. Wood/J. Lynne

3,

C

,76'

RECOR

MIRRORalbums

1 10 2 THE NEW LED ZEPPELIN ALBUM Atlantic 2401 0122 1 4 TOP OF THE POPS Vol 20 Various Hallmark SHM 7553 - - PICTURES AT AN EXHIBITION

Emerson, Lake and Palmer Island HELP 14 5 6 IMAGINE

John Lennon/Plastic Ono Band Apple PAS 100045 6 9 ELECTRIC WARRIOR T. Rex Fly HIFLY 66 2 18 EVERY PICTURES TELLS A STORY

Rod Stewart Mercury 6338 0637 - - FRAGILE Yes Atlantic 2401 0198 8 3 THIS IS POURCEL Franck PourcelrStudio Two STWO 79 4 7 MOTOWN CHARTBUSTERS Vol 6

Various Tamla Motown STML 1119110 7 17 TAPESTRY Carole King A&M/Ode AMLS 202511 11 8 BRIDGE OVER TROUBLED WATER

Simon and Garfunkel CBS 6369912 20 2 TWELVE SONGS OF CHRISTMAS

Jim Reeves RCA International INTS 118813 12 6 THE CARPENTERS A&M AMLS 6350214 3 3 MEDDLE Pink Floyd Harvest SHVL 79515 16 8 THE WORLD OF YOUR 100 BEST TUNES

Decca S/PA 11216 RAINBOW BRIDGE Jimi Hendrix Reprise K 4415917 15 2 SURFS UP Beach Boys Stateside SLS 1031318 9 4 SANTANA III CBS 6901519 13 7 HOT HITS No 7 Various MFP 523620 33 9 YESTERDAY'S MEMORIES

James Last and His Orchestra Contour 2870 11721 14 9 TEASER AND THE FIRECAT

Cat Stevens Island ILPS 915422 21 9 WORLD OF YOUR 100 BEST TUNES

Vol 2 Decca S/PA 15523 17 6 FOG ON THE TYNE Lindisfarne Charisma CAS 105024 23 8 WORLD OF MANTOVANI Vol 2 Decca S/PA 3625 - 1 IF I RULED THE WORLD

Harry Secombe Contour 6870 50126 22 8 WORLD OF MANTOVANI Decca S/PA 127 18 18 MUD SLIDE SLIM AND THE BLUE HORIZON

James Taylor Warner Bros K 4608528 32 18 BIG WAR MOVIE THEMES

Geoff Love and His Orchestra MFP 517129 19 16 JIM REEVES' GOLDEN RECORDS

RCA International INTS 107030 37 5 THIS IS MANUEL Studio Two STWO 531 - SMASH HITS 1971 Various MFP 522932 WHAT NOW MY LOVE Shirley Bassey MFP 523033 - - ELVIS' CHRISTMAS ALBUM

Elvis Presley RCA International INTS 112634 29 2 CLOSE TO YOU Carpenters A&M AMLS 99835 39 2 NON-STOP 20 Vol 4 Various Plexium PXMS 100636 25 2 FOUR TOPS GREATEST HITS

Vol 2 Tamla Motown STML 1119537 - 1 THE INTIMATE JIM REEVES

RCA International INTS 125638 38 2 GLEN CAMPBELL'S GREATEST HITS

Capitol ST 2188539 - - DEUCE Rory Gallagher Polydor 2383 07640 - 1 SOUND OF MUSIC Soundtrack RCA SB/RB 661641 24 13 WHO'S NEXT The Who Track 2408 10242 - 1 TOTAL SOUND Various Studio Two STWO 443 - 1 ANDY WILLIAMS GREATEST HITS CBS 6392044 27 2 TOM JONES LIVE AT CAESAR'S PALACE

Decca DKL 1/1-1/245 - 1 SWEET BABY JAMES James Taylor

Warner Bros K 4604346 42 6 ALL TIME PARTY HITS Joe Loss MFP 522747 30 11 FIREBALL Deep Purple Harvest SHVL 79348 - BEST OF BACHARACH Strings for Pleasure MFP 143149 BREAKTHROUGH Various MFP 133450 1 IN SEARCH OF SPACE

Hawkwind United Artists UAS 29202

TOP 50 compiled for Record Mirror, BBC, Record & TapeRetailer and Billboard from a panel of 300 shops by theBritish Market Research Bureau.

5 years ago1 1 GOOD VIBRATIONS Beach Boys2 4 GIMME SOME LOVING Spencer

Davis3 10 GREEN GREEN GRASS OF

HOME Tom Jones4 3 REACH OUT I'LL BE THERE

Four Tops5 2 SEMI-DETACHED SUBURBAN

MR. JAMES Manfred Mann11.111111111111111111111111

6 5 HIGH TIME Paul Jones7 6 HOLY COW Lee Dorsey8 7 STOP STOP STOP Hollies9 - WHAT WOULD I BE Val Doonican

10 9 IF I WERE A CARPENTER BobbyDarin

10 years ago1 4 TOWER OF STRENGTH Frankie

Vaughan2 1 TAKE GOOD CARE OF MY

BABY Bobby Vee3 2 HIS LATEST FLAME Elvis Presley4 5 MOON RIVER Danny Williams5 6 THE TIME HAS COME Adam

Faith

6 3 BIG BAD JOHN Jimmy Dean7 8 TAKE FIVE Dave Brubeck8 7 WALKIN' BACK TO HAPPINESS

Helen Shapiro9 10 I'LL GET BY Shirley Bassey

10 - MIDNIGHT IN MOSCOW KennyBall


Finding Fanny"WHO RUNS this show?", I said to thefour birds.

"June's the bitch of the group", camethe reply. "The benevolent bitch, we usedto call her", said Alice, the big one. Juneisn't really - she just chose to handle thesuperintending in Fanny's early days onthe road.

"Since we got a record contract and somemanagement", said Jean, "she's gone completelythe other way - she doesn't do anything! Nowshe gets on stage and says 'we sure are glad to behe re in Baltimore'when we're in Detroit!She announces thewrong groups on nextand stuff like that".

"I just wanted towhere we weresupposed to be andwhen", replied June,"Now I havesomebody to wake meup and get me out ofthe hotel on time."

In the early days,Fanny - Alice DeBuhr, Nickey Barclay,June and JeanMillington - were oneof many all -girl rockgroups bumping downdesert roads from gigto gig, except thatthey tried harder."There are so manyproblems with chickgroups", exclaimedJune, also the main

'June'sthe bitchof thegroup'speaker, "Your oldman gets jealous -that's usually the firstone - or yourboyfriend or yourparents don't like it oryou get pregnant.

"We had another girl inthe group earlier and herparents kept telling her tocome home and getmarried. She did - nowshe's divorced; and has akid. Other chick groupscould have stuck with it,but they couldn't keeptogether. It's too easy tocop out and go home.Parents give you that`you're hurting us' line.

FANNY ARE (LEFT TO RIGHT): ALICE, NICKEY,JEAN AND JUNE

Fortunately, our parentsare all for it and help us alot. In a sense, we'retrading a normal personallife to get somewhere,make some money and doit all later when we're in abetter position. It isn'ttoo much of a problem -we still have time to bewith our respectivepeople."

Fanny's days in theirbrightly coloured bus,which they bought off MrMillington, are somethingto be remembered. Fourgirls blazing a trail in alldirections and playingevery venue in their pathmade for an adventurousadolescence. June recallsthe greasy atmosphere,"Of bowling alleys, rollerrinks and millions of littleclubs. Once we parked forthe night and woke upsurrounded by a circusthat had dug in in the

dark. There wereelephants all over andlittle kids would take ourhand and wind up on ourshoulders. It was a statefair and we played fournights there. All thosetimes were fun - anirresponsible kind of fun;but soon it got to be adrag being broke when wewanted new equipmentand maybe a hotel room.It's nicer to be here inLondon than in our bus inthe desert. We weren'tlooking on those days asprofessional musicians - itwas all a lark. We wantedto go to college and weneeded the bread. Onlywhen we got a recordcontract did we forgeteverything else and gointo it."

"It's harder work nowin many ways", saidNickey, "We used to dofour hours before, but I'm

whacked out after onenow that the pressure's onus. Audiences are toosophisticated now andmusic isn't what it wasthree years ago - theywon't take any bullshitand they know what'sgoing on after one or twonumbers - so we have tobe good."

Fanny have a house inthe Hollywood Hills andit's called - wait for it -Fanny Hill, also to be thetitle of their next album."We neet a lot ofmusicians these days",says Alice, "mostlybecause my high-classgroupie sister keepsbringing them back (she'snot really a groupie - justmusical)." They've justbacked Barbra Striesand'slatest album, 'Barbra Joan'and found her to be, "justa freak really", says June,"She's a terrific person.

`We doget someguyscominground%ropies'we callthem ...'

WingsWild

lifdA new LP by:

Paul McCartney

Linda McCartney

Denny Laine

Denny Seiwell

Release date: As soon as possiblePCS 7142 An EMI recording

She came in with weirdgear on and completelystoned. She insisted ontaking her kid out for awalk no matter what hadto be done - I liked that.It was her idea to put`Mother', a John Lennonsong, on the album. Shefirst saw us down at theWhiskey when she camewith Ryan O'Neal. We'started joking about a TVshow with her to be called`Fanny Girl' and it justdeveloped."

Clever readers willnotice maternalmotivations in that lastparagraph. We have toremember tha Fanny aregirls, though they preferus not to remember it. Atleast they don't have anytrouble from groupies -or do they?

"We do get some guyscoming round - `gropies',we call them. It doeswork that way around,but not as much as theguys get. Most of the boys

JEAN MILLINGTON: BASS GUITARIST

are at a loss - they don'tknow what to say.Usually, it turns into aninterview and they starton about our instrumentsor something. Sometimethey talk to one of usabout another -neverstraight in the face. It'spretty superficial. Thegirls are the ones - theypush us to sing Women'sLib songs and that's justnot our trip. We're thereto make music, not tobore people with issues.Girls are seeing that it canbe done - we're breaking

ground."The greatest thing is

that in some places inAmerica, they've evenstopped referring to us asthe 'all -girl rock group' insome reviews. Everybodyknows, so they just writeabot the music of Fanny."

Britain has still to getover the name - butgetting behind Fannyseems to be a good idearight now.

LonGoddard

Godfrey Davis' competition winners

RM "GODFREY DAVIS" competitionwinner Martin Simeons (left) seen herewith friend Barry Watson, and disc jockeyJimmy Savile, going through the script forBBC -TV "Top of the Pops" prior totransmission last week.

(Photo - Harry Goodwin)

RM "GODFREY DAVIS" competitionprize winners seen outside the Cafe Royallast Wednesday November 17th 1971, withmembers of the Bee Gees, Tin Tin andRecord Mirror staff.L to r: Maurice Gibb, Geoff Bridgford,three members of Tin Tin, Peter Jones(RM editor), Barry Watson, MartinSimeons the winner, and Ben Cree (RMPromotions Manager).

rockuce. mountain: stepping into cream's shoes

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