This page is a special service to the many readers of Record Mirror & Disc who are either full or part-time DJs. We hope it’ll also be interesting to the general disco-goer. If you have any queries, please write.
Who wins the battle of the bum -bums?
CARL MALCOLM: Fattie Bum-Bum (UK 108) vs. THE DIVERSIONS: Fattie Bum-Bum (Gull GULS I8).
Story of a hit in the making: Randy’s Records in Jamaica sent Pepe Rush in London a single labelled MAX ROMEO We Are Jamaican (Who Are You). Pepe took to Capital Radio’s Tommy Vance, who played it on his Saturday night reggae show.
The label was obviously wrong as the song was Fattie Bum-Bum, and the singer was eventually discovered to be Carl Malcolm.
Dave Cash dug the silly ditty and started playing it on his lunchtime show, whereupon the phones lit up and listeners requested the record into being number 2 on the Capital Hit line.
At this stage UK label boss Jo King got Interested, as did the newly Caribbean-orientated Gull label. The upshot was that UK got the original and Gull rushed through an identical cover, produced perchance by Pepe.
Now, by nature I normally prefer original versions, but in this case, purely from a disco angle, the cover is probably better as it has much more heavy bass in the cut, which Jo King unfortunately lost in the transition from the Jamaican pressing.
Despite all this, Carl Malcolm will doubtless have the hit he deserves (his flip has SKIN FLESH & BONES: Bum-Bum Situation, which is equally good), but the Diversions do have the advantage of being in the Gull tradition, white and available.
The two records really are indistinguishable from each other, except that, in its UK pressing, Carl Malcolm does not sound as good for discos as either his original Jamaican pressing or the Diversions’ cover version. Let battle begin!
You never know, it could be another Crispy & Co vs. Ritchie Family.
See us at Disco 75
DISCO 75, the second DJ Convention and Exhibition to be run by the National Association of Disc-Jockeys, takes place this very Monday and Tuesday (see page 25 for details).
The show opens at midday, on Monday, when Capital Radio’s celebrated Kenny Everett performs a grand inaugural ceremony. On Tuesday Capital Radio’s Dave Cash broadcasts his Cash On Delivery programme live from the Capital stand.
Film shows of recording artists in action and ether such goodies will be taking place on the stands of such record companies as Atlantic and Island, while demonstrations of sound and lighting equipment will be the hlghspots of most manufacturers’ exhibits.
To tell the truth, I’m none too sure of just what ether excitements there will be, but I am sure there will be plenty. One thing, there are bound to be lots of freebies being handed out, with Capital’s free flimsy disc full of radio jingles being a star attraction along with our own info-packed Disco Supplement
So come on by, say Hi, y’all!
RECORD MIRROR & DISC will be among the many famous exhibitors at Disco 75. We’ll be on hand in give out copies of our special DISCO MIRROR, hear your point of view, and generally let it be known that we’re the brightest and best pop weekly.
Z. Z. HILL: ‘I Created A Monster’ / ‘Steppin’ In The Shoes Of A Fool’ (UA UA-XW631-X)
Penned/produced by none other than Lamont Dozier, Zee Zee’s new R&B hit couples a heavily thumping, slow funker with an incredibly subtle bright jogger. The hit side is extremely powerful sounding and has some great stereo effects, but the flip is artistically in a far superior league, starting with very few elements meshing to do a lot and finishing with a lot doing something that sounds very simple. Maybe if UA get hip they’ll put this out here in a hurry, then you can hear what I mean.
PERSUASIONS: ‘One Thing On My Mind’ / ‘Darlin’’ (A&M 1698-8)
No longer singing acapella, the soulful Persuasions harmonize and emote to a Tymes-type backbeat and slick 1975 arrangement which doesn’t detract from their superb vocal interplay even if it does depersonalize them somewhat. Surprisingly, they manage to make the flip less soulful than the Beach Boys’ original, though.
RAY CHARLES: ‘Living For The City’ (Crossover 981)
It’s come full circle when Ray Charles feels he has to sing Stevie Wonder to gain credibility, as Little Stevie began his career by recording a tribute album to Ray. The result, an R&B hit, presents us with the interesting experience of hearing Ray duetting with himself in stereo, and delivering a raspingly breathed sermon-style rap about the roaches in the city. It’s kinda good, but why couldn’t he have written something comparable himself? Continue reading “September 6, 1975: Z.Z. Hill, Persuasions, Ray Charles, Ray Stevens, Jim Reeves”