EVERLY BROTHERS: ‘Walk Right Back’ (Warner Bros. K 16613)
The original strutting 1961 smash, in stereo, now comes across as ideal MoR.
★ JH PICK
TORNADOS: ‘Telstar’ (Decca F 11494)
The original 1962 smash, freaky intro and all. Probably best for older crowds now, but try mixing it with such as ‘Silver Machine’ for effect!
★ JH PICK
GOONS: ‘Bloodnok’s Rock ‘N Roll Call’ (Decca F 13609)
The ‘Ying Tong Song”s original flip in 1956, this craziness doesn’t sustain its dance beat, but played near the end of a gig can be lots of fun nevertheless. Goons freaks will even mime to it!
★ JH PICK
HARVEY SMITH: ‘True Love’ (Handkerchief HANKY 3)
Slush, of obvious interest to horsey crowds, it needs pre-announcing for best effect. A sensation at my last gig, when I followed it with Bing singing ‘Take Me Back To My Boots And Saddle’!
★ JH PICK
Starting this week, I will be giving a “JH PICK” to the records reviewed that I personally intend to carry on my mobile disco dates. These will be records which seem to me to be useful regardless of their hit potential. Be warned: despite my own taste, the disco is biased MOR / white rather than funky / black.
GEORGE MCCRAE: ‘I Ain’t Lyin’’ / ‘You Treat Me Good’ (Jay Boy BOY 105)
The rhythm section that rules the world does its thing as George soars and cut-price brass battles through the dominating drumkit. So simple, so effective. Cooled-out though still busy beat on the flip.
★ JH PICK
STRETCH: ‘Why Did You Do It’ (Anchor ANC 1021)
Heartily-compressed drum beats and Doobie-type guitar jiggling back gruff Elmer Cantry on a superbly-produced semi-slow thudder that’s kinda like Bad Company meeting the Ides of March. Sounds like a smash.
★ JH PICK
BUD FLANAGAN: ‘Who Do You Think You’re Kidding Mr. Hitler?’ (Pye 7N 45530)
I goofed by playing this (the Dad’s Army theme) once at a gig where evidently the German ambassador was a guest! Oh well, the point being that I use it all the time, especially as part of a routine where it leads into Glen Miller’s ‘In The Mood’. Great jolly MOR.
★ JH PICK
PAUL MELBA: ‘You’re The Cream In My Coffee’ (Pye 7N 45537)
Silliness, ideal for certain MOR gigs, hidden on the flip of an unsuccessful ‘Misty’-fication of ‘Tenderly’.
★ JH PICK
WEDDINGS AND other suchlike parties where there are very mixed age groups tend to provide many mobile DJs with their bread and butter business – they certainly do with me.
As I said some time ago, I have deliberately worked up a range of music and a style of presentation designed with just that sort of mixed age gig in mind.
In case it’s of use to other mobile DJs, here is how I got the dancing going at the big wedding reception I did last Saturday. It worked a treat for me, but obviously it needs to be moulded to each different audience.
(A word of warning: many of these records are going to be hard to find but worth the search.)
Out of the speeches with The Wedding March (Decca), cross-fading into BILLY COTTON: Get Me To The Church On Time (Columbia), at which point bride and groom took to the floor, so cross-fade into The Blue Danube (Parlophone), cutting in just the “Oh how we danced on the night we were wed” line from AL JOLSON: Anniversary Song (Coral).
Cut out of Blue Danube into the waltz section of Gaitie Parisienne (Golden Guinea), cross-fading into GENE KELLY: Singin’ In The Rain (MGM), skipping the intro.
After that play just the first two lines of MAURICE CHEVALIER: Thank Heaven For Little Girls (MGM) before cross-fading into DORIS DAY: Whatever Will Be, Will Be (Philips).
Tight segue Into DANNY KAYE: Wonderful Copenhagen (MCA Coral), then follow with FRANK SINATRA & CELESTE HOLM: Who Wants To Be A Millionaire (Capitol).
At this stage I forget exactly what I did next but pretty soon after it was a segue that was made in heaven, It’s so perfect! BENNY GOODMAN: Don’t Be That Way (US RCA 447-0879), SPARKS: Looks, Looks, Looks (Island), and JOE BOB’S NASHVILLE SOUND COMPANY: In The Mood (US Capitol 4159).
In answer to many queries, I must emphasise that this latter, the Joe Bob, is an import and unavailable in ordinary record shops. It does just happen to be one of the best MoR records ever made, but as yet there’s no sign of its release here.
Another perfect segue using an import is between the GEORGE BAKER SELECTION: Paloma Bianca (Warners) and BUDDY ALAN: Another Saturday Night (US Capitol 4075) – if you get the changeover synchronised, the tempos are identical!
For the rest of the night the mixture was equally zany, with chart hits between the rock’n’roll, Scottish, thirties, soul, Charleston, rock, and smooch etc sequences.
My advice to mobile jocks is to use your imagination and look out for lively oddities with which you can pre-plan tightly edited and carefully rehearsed sets.
My own style revolves around this approach, to the extent that I only use Chart records to bridge from one “party piece” to another!
New Spins
Spudadoo, spudadoo!
JONESES: ‘Sugar Pie Guy’ (Mercury 6167223)
Remixed and re-issued, this goodie by the guys with the amazing “spudadoo spudadoo” bass man now has a disco flip that features an instrumental build-up to the “spudadoo”s and a long wukkawuk passage, broken into by some gruff joviality and repartee with a chick. If it worked before you’d better play it some more!
GEORGE BENSON: ‘Supership’ (CTI CT SP 002)
1975’s jumping bumpy rhythm re-write of ‘Sea Cruise’ (ship’s hooter and all) shows off George more on vocals than guitar, and should be a disco smash with ship’s bells on. Already breaking out as an import, it’s gotta be good.
BLACK ROCK: ‘New York City Bump’ (Seville SEV 1011)
SONNY – the Sound Of New New York strikes again as Sonny Casella follows Jeanne Burton and Dooley Silverspoon with his most ambitious production yet. On the special effects B-side the entire chix-led Temptations-type relaxed bumper is backed by a montage of New York City street sounds as it takes us on a bus ride uptown . . . like ‘Living For The City’ gone mad! Heard in stereo it’s a mind-messer of awesome proportions. Continue reading “October 4, 1975: The Joneses, George Benson, Black Rock, Roxy Music, T. Rex Disco Party”
Following my pleas for DJ reaction to the number of singles I reviewed each week, I am again cutting back to just those I personally would consider using – not only in my own mobile DJ but also as a club DJ.
To quote from contributing DJ Mark Rymann (Porthcawl), “I have to play records which I reckon can be easily accepted or else there’s an empty floor.”
New Spins
ELTON JOHN: ‘Island Girl’ (DJM DJS 610)
At last, another good fast dancer from Elt, who may be extremely popular but does tend to do too many dead slowies. Now maybe ‘Crocodile Rock’ can take a rest!
SPARKS: ‘Looks, Looks, Looks’ (Island WIP 6249)
Unlikely source for the new Hurricane Smith, but that’s what this brassy big-band swinger could easily be! Reminiscent of Manhattan Transfer, whose slower ‘Tuxedo Junction’ is even more MoR.
As I did last week, I’m reviewing everything that’s come out this week which has any bearing on the disco scene. And as last week, I’m still wondering whether that’s what DJ’s want, or whether you’d be happy to let me exercise my critical judgment. Please write and tell me what you think.
BOB MARLEY & THE WAILERS: ‘No Woman, No Cry’ (Island WIP 6244)
Recorded live at their Lyceum gig, Bob and the boys’ mournful slowie is almost Dylanesque – which may help explain its enormous appeal to Capital Radio’s listeners, who have voted it up to No. 1 in the Capital Hit Line. More rock than reggae, so those unfamiliar with reggae have nothing to fear. Pity it fades early (3:50), though doubtless the LP cut’ll be longer.
JACK ASHFORD & THE SOUND OF NEW DETROIT: ‘Do The Choo-Choo’ (Parts 1 & 2) (London HLA 10507)
Archetypal disco sounds of the Hamilton Bohannon type, just made to be danced to. Basically instrumental, nothing to do with Archie Bell (or Little Eva).
For every Jack there’s a Jill, or so the saying goes, and it seems to me as though for every record (no matter how duff) there’s a DJ prepared to play it.
My principle, when reviewing records, has always been to try and weed out the ones my critical faculties told me were duff, and only mention the ones which were halfway decent – or, at least, of interest and usable.
Furthermore, when this page started, I set out only to mention the records that I considered were likely to cut through a crowded room and make dancers pay attention on the very first hearing.
Now I find myself getting paranoid about the way in which so many things that I never mentioned keep cropping up in our contributing DJs’ weekly chart returns. By no means are all the things I missed out in the duff category, but enough of them are to make me wonder whether perhaps I ought to mention absolutely everything that comes out, just in case I miss a future disco monster by personally thinking it the biggest load of cobblers.
Would you please write in and let me know whether you are happy to let me exercise my critical judgment? Or whether, like this week, I should give blanket coverage of just about everything issued that’s got any sort of beat? (But where would that have placed ‘Magic Roundabout’, huh?!)
I’ve always reckoned I have a pretty good set of ears when it comes to running my own discotheque so please don’t shatter my confidence now!
LP Trax
Dooley Exclusive!
DOOLEY SILVERSPOON: ‘Dooley Silverspoon’ (Seville SEL 1).
It’s not just the fact that I was the first person anywhere in the world to be given a copy of this that makes me enthusiastic. But also the fact that Dooley’s debut album is produced by Sonny Casella, the man who made Jeanne Burton’s incredible ‘Nobody Loves Me Like You Do‘ and the fact that there’s much of the same great sound on many of these tracks . . . now do you understand?
My fave is the one most like Jeanne, the ultra-long ‘Let Me Be The No. 1 (Love Of Your Life)’, although even better for dancing is the full, long version of Dooley’s new single, ‘As Long As You Know (Who You Are)‘, and the combined parts 1 & 2 of ‘Bump Me Baby‘. Strings, shrieking, pretty melodies and ever-hustling hi-hats are the main elements of this Miami-influenced New York Sound. That’s the way I like it, uh-huh!
B.T. EXPRESS: ‘Non-Stop’ (EMI International INA 1501)
The BTE’s first LP thru EMI is, as the title says, non-stop all the way except for a truly awful slow attempt at ‘Close To You‘ on Side 2.
To tell the truth I find the result a bit monotonous and the tracks too similar to differentiate between them. However, my own fave is the last cut of all, ‘Whatcha Think About That’, while in the US the two most popular are the first two, ‘Peace Pipe‘ and ‘Give It What You Got‘.
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.
States Picks
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”
WOLFMAN JACK, America’s most famous disc-jockey, is now probably even better known over here for his pivotal role in “American Graffiti” than for his shows on AFN. When he came to London last week to appear on Capital Radio it was my privilege to work closely with him (that’s us clowning for the cameras, right), and thus I was able to find out about a lot of his tricks.
When recording his syndicated shows, carried by hundreds of radio stations worldwide, the Wolf merely sits down with a running order list and puts his voice links on tape, without any music, leaving three second gaps between each link. An engineer then records the master tape. playing the records, running in the pre-recorded links, and slotting in other relevant “bits” that are already on cart, like the famous wolf howls (actually, a coyote). This explains why on the two “American Graffiti” albums the Wolf often crashes the vocals – he had no control!
Possibly the greatest surprise when watching the Wolfman at work is to see that all his incredible raps are in fact read from books. Wherever they go, he and his manager, Don Kelley, note down anything that inspires them. Don is then able to flip through piles of thick notebooks until he finds something apt for the music and mood of the moment. which the Wolf then transforms into a rap that sounds totally spontaneous. He also uses the notebooks to whap in time with the beat when rockin’ to Little Richard!
To change from his normal speaking voice into his maniacal radio style, the Wolf goes into a wheezing chuckle that gradually intensifies until it bursts out into his much copied growling rasp – which is full of amazing resonances. Even when wearing cans, at the mike he often puts a hand over one ear in traditional announcer’s fashion. A true AM jock, he likes lots of EQ, and sits well back while ranting and raving.
As well as radio shows, there are Wolfman Jack discos, syndicated on tape to locations that he and Don Kelley control. Because these are mainly in hotels, the music that they very carefully programme for each hour-long tape is angled to get bashful business men onto the floor, and each tape follows an almost scientifically proven formula. This includes a healthy quota of really big oldies, with one Latin cut per hour.
As well as all this the Wolf is the main presenter of America’s long-running “Midnight Special ‘ Rock show, plus he has his own lavish touring stage show that choreographs the history of Rock ‘n Roll radio, plus he’s had numerous songs written about him, plus . . . like I said, he’s the World’s most famous DJ.
HOT TIP
From Peter Dunn: Coppercoins Country Club, Nr Haverfordwest, Pemb’s): Useful as a nice happy party record, MEL BLANC I Taut I Taw A Puddy Tat (MfP Surprise Surprise FP 27) is especially good if just the main Tweety Pie verse is cut in, for unexpected shock effect. This and many more party goodies of a silly nature are available on cheap kiddies discs in places like W. H. Smith & Son – they’re worth trying.
New Spins
Swingalonganatalie
NATALIE COLE: This Will Be (Capitol CL 15834)
Nat “King” Cole’s daughter is a merry young soul on this happy stamper (reviewed last week as an import), which much like Barbara Acklin’s Love Makes A Woman really does move like the clappers! Hopefully modern dancers can cope with the fact that it actually swings . . . and how! My fave of the month, if not year.
INNERVISION: Honey Baby (Be Mine) (Private Stock PVT 17)
An instantly catchy bass line makes the purposeful yet gentle rhythmic drive that fronts some impassioned harmonies and should win friends in a hurry. In fact, I’ve a hunch this could hit.
CAPITAL RADIO’S zany ace DJ, Kenny Everett will now be officiating at the grand opening ceremony for Disco ’75.
Kenny, madcap hero of millions, will be cutting the tape an hour or so after the NADJ-run National DJ Convention and Exhibition opens its doors to the public at noon on Monday September 8 at London’s Bloomsbury Centre Hotel.
On the following day, as previously reported, Capital will be broadcasting live their lunchtime Cash On Delivery show, starring Kenny’s erstwhile partner in fun, Dave Cash. Other Capital stars expected to visit Disco ’75 during the two days include Roger Scott, Nicky Horne, Tommy Vance, Graham Dene, Kerry Juby, Tony Myatt, Peter Young, Greg Edwards, Mike Allen and Ian Davidson.
The free flimsy disc containing Capital jingles, exclusively revealed to RM readers last week, will also be introduced by Kenny Everett. This disc will be given to all visitors to Disco ’75, and is designed with disco and hospital jocks in mind. As now finalised, the disc begins with some foolishness from Kenny, and there then follow a great many of Capital’s jingles of various lengths, all separated by several seconds of silence.
Apart from all this, the main attraction at Disco ’75 will be the exhibition stands of virtually every major disco equipment manufacturer and of many record companies. Full details may be obtained from organiser Ben Cree, of the NADJ, at PO Box 23, Hitchin, Herts SG4 9JT (telephone 0462 50918).
HOT TIP
FROM Theo Loyla (Banana Power Discos, Bridge, Kent): “Just before the end of Barbados I cut in with the old JOE GIBBS Hijacked (Amalgamated AMG 865, which is probably deleted). It’s good danceable Reggae which makes a topical and amusing foil to Typically.
A multitude of Misty’s
RAY STEVENS Misty (Janus) and now THE NITTY GRITTY DIRT BAND All I Have To Do Is Dream (UA) have been so useful at MOR type gigs that I reckon a look at some other Country-fied Pop oldies could be timely. The following recent US releases are only obtainable on import at the moment, but they do deserve issue here.
RONNIE DOVE: Things (Melodyland ME 6011F).
Bobby Darin’s perky fave gets a pounding bass and strident steel along with Ronnie’s frantic rhythm hopping. Not up to the original, but a fresh approach.
BUDDY ALAN: Another Saturday Night (Capitol 4075)
Bouncily thumping Country beat improves immeasurably on Cat Stevens’s version of the Sam Cooke lilter. Definitely useable.
DISCO ’75 visitors will not only get the chance to see Capital Radio in action but also be given free copies of Capital jingles to use on their own shows.
The NADJ – run National DJ Convention and Exhibition, Disco ’75 is to be held on September 8th/9th at London’s Bloomsbury Centre Hotel, from which on the second day, Tuesday, Capital’s lunchtime Cash On Delivery Show will be broadcast live. Radio freaks (as most DJs must surely be) will see how a studio works when famous Dave Cash gets behind the decks, aided by glamorous gal producer Annie Challis and an army of hard drinking engineers. There may even he an in-person appearance by the station’s lofty record librarian (hullo). Seriously though, throughout the day there will be a steady trickle of Capital’s celebrated DJs – stars like Kenny Everett, Roger Scott, Nicky Horne, Graham Dene, Peter Young, Greg Edwards, Tony Myatt, maybe even Mike Aspel and Gerald Harper – all behaving themselves and shaking hands with the visitors.
Better even than this though for most will be the news that every DJ visiting Disco ’75 will be given a free flimsy disc containing a set of Capital jingles. The flimsies will be designed so that the jingles and linking Capital DJ greetings can be dubbed separately onto tape and used as a set of individual stabs and voice-overs to make disco presentations sound even more impressive. How long before every pub, club and disco DJ is conning that they broadcast on 194?!
HOT TIP
From the Bindle Stiff mobile disco, Hullbridge, near Southend, Essex: “Great idea I just came across – during singalongs at such as weddings, you can have slides of the words made up, so that the people who don’t know the words to things like Run Rabbit Run or Only Girl In The World can join in. It’s most effective.” Nice one, JR!
New Spins
Bop shoo wubbuddy Booby doo wup, doc
SPARROW: Oh Doctor (CBS 3527)
What’s the cure when all your girl can say is “Bop shoo wubbuddy dooby doo wup”? In best doo-wop style the creamy-singing guys in Sparrow ask the doctor (played by Humphrey Bogart), and their ’50s-type slowie picks up where Mud leave off. Great.
RUSS REGENT AND HIS RHYTHMAIRES: The Happy Organ (20th Century BTC 1004)
Atmospheric subdued auditorium FX intro and then Russ romps through the old Dave “Baby” Cortez instrumental with a rapid clapping rhythm that (although not aimed that way) will probably break up North before sweeping the nation.
WOLFMAN JACK, America’s most famous disc-jockey, is now probably even better known over here for his pivotal role in “American Graffiti” than for his shows on AFN. When he came to London last week to appear on Capital Radio it was my privilege to work closely with him (that’s us clowning for the cameras, right), and thus I was able to find out about a lot of his tricks.
James Hamilton's Disco Page 