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editorialHere we are with yet another 48 -page issue of "DEE JAY AND RADIO MONTHLY" -

Britain's only glossy monthly magazine devoted to the world of radio and the men whoplay the records.

This month we have features on DJs Stuart Henry, The Baron and Crispian St John,while TONY BLACKBURN (surprise, surprise!) is the third and last of the "Big Three".Continuing our policy of talking to the men behind the radio stations we call onDerek Chinnery, Head of Radio i, and John De Mol, Managing Director of RadioNordsee.

208's Dave Christian this month starts a regular soul column for "DEE JAY ANDRADIO MONTHLY", in addition to his new programme on Radio LuxembourgTuesday mornings - and this should prove very popular with all you DJ readers.

Finally Norman Jopling, just back from a trip to the States, looks at American Radio -AND talking of American Radio BE SURE NOT TO MISS NEXT MONTH'S issue of"DEE JAY AND RADIO MONTHLY" which will include a competition. The first prize?Two weeks in the USA visiting top radio stations in New York, Nashville, Las Vegas,Los Angeles and San Francisco. What a prize!

See you all next month.BEN CREE

PUBLISHER

© B.C. Enterprises Ltd. 1973Dee Jay and Radio Monthly is published by B.C. Enterprises Ltd., Willmott House, 43 Queen Street, Hitchin, Herts. (0462-54399).

Typesetting by Leagrave Press, Luton (Luton 51525).Printed by George Pulman & Sons Ltd., Watling Street, Bletchley, Bucks. (Bletchley 4921).Distributed by New English Library, Magazine Division, Barnards Inn, London EC1 (01-405 4614).

contentspage

4 news and views

6 "THE BIG THREE" No 3 - TONYBLACKBURN

io DEREK CHINNERYHead of Radio

page

28 "dee jay" special offers

29 Musing with Moffatt

3o frc - cib

32 Dave Christian's Soul Soundsdx corner

12 STUART HENRY 34 disco picks of the month

14 Disco Gear with Karl Dallas 35 A DJ Abroad

i6 US Radio 36 Hospital Radio Casebook

i8 JOHN DE MOL 38 Crispian St JohnManaging Director -- RNI

39 sounds of the month - Bob Harris20 The Baron 40 sounds on stage

22 "You Tell Us" - readers' letters 42 dee jay album sounds LP reviews

24 beatwave - free radio association 45 "Record World" US charts

27 Branka - Radio i tealady! ! 46 Radio Luxembourg charts

3

Blackburn off Breakfast Show!In the latest series of changes announced by the BBC, and forecast in last month's "Dee Jay and Radio Monthly", Tony Blackburn

moves off the popular breakfast show spot -a spot he has held now on Radio's Caroline, London and 1 for almost seven years.The programme will be taken over from June 4 by Noel Edmonds.

Commenting on the changes Douglas Muggeridge, Controller of Radio's I and 2, said: "This is our special summer schedulewhich we are sure will be highly successful. Tony Blackburn is Radio l's most popular broadcaster and I am confident he will continueto command the same large audience in the mornings that he has built up at breakfast -time.

"Tony's promotion to themorning gives NoelEdmonds, one of thenetwork's brightest risingstars, his big chance in theearly mornings and Ibelieve his new show willprove a great favouritewith the Radio I audience."

Tony will now host a newthree hour show runningfrom 9 am to midday,followed by Johnnie Walkerfrom midday to 2 pm. Thismeans that Dave Lee Traviswill lose his daily show andhe moves back over to theSunday morning spot from11 am to 1 pm.

The other big surprise inthe shuffle occurs in theweekday afternoons with theintroduction of a new threehour show hosted by32 -year -old TV personalityDavid "Diddy" Hamilton,running from 2 pm to 5 pm.Alan Freeman now movesto Saturday afternoonswhere he will host Radio l'snew stereo pop programme.He also takes over theTuesday evening Radio 1Club spot, while DLT willlook after the Mondaysessions.

Saturday May 19 also seesthe start of the stereo repeatof the "Beatles Story" at2 pm.

new single,concertsand TVfrom gary

Gary Glitter, double awardwinner in our recent "DeeJay" poll, has a new singleout this week. Entitled"Hello, Hello, I'm BackAgain" it is again a GaryGlitter/Mike Leandercomposition. B side iscalled "I.O.U.".

Gary will feature the newsingle on BBC-tv "TopOf The Pops" on Thursday,April 5.

Concert dates currently setinclude Victoria Hall,Hanley (April 1), FestivalHall, Corby (April 2),Rex Cinema, Cambridge(April 6), Gliderdrome,Boston (April 7) and FloralHall, Southport (April 8).From April 12 to 22 Garygoes "down under" for ashort tour of Australia.

more commercialcontracts awarded

More successful applications for the first set of commercialradio stations have now been announced by the IndependentBroadcasting Authority - they cover the stations which willoperate in Birmingham, Manchester and Glasgow.

The Birmingham franchise goes to Birmingham BroadcastingLimited under the chairmanship of Mr John Parkinson. TheManaging Director is Mr David Pinell, formerly a Director ofIsle of Man Broadcasting Company Limited. The group havealready announced their intention of contacting the LondonBroadcasting Company - the London all -news station - for theprovision of national and international news. Their address is28 Colmore Circus, Queensway, Birmingham B4 6AX(Tel: 021-236 5154).

Greater Manchester Independent Radio is the title of thesuccessful group for that area, and includes as its ManagingDirector, Mr Philip Birch - formerly MD of "Big L" RadioLondon - still generally regarded as the most successful of theUK offshore stations. Also included are Sir Paul Bryan andDr Michael Winstanley - both well known for their longsupport of commercial radio.

The Glasgow franchise goes to Radio Clyde Limited, underthe chairmanship of Mr Ian Chapman, Managing Director ofthe William Collins publishing organisation. MD is radio andTV broadcaster James Gordon, and the team includes wellknown singer Kenneth McKellar.

carolinelatest

We quote from a newsletter received from theDutch offices of RadioCaroline:

"Our new aerial will beerected in ten days' time . . .

signal to England will bebetter than any existingoff -shore signal . . . will bejust like the old days . . .

new DJs to be employedto run station at50,000 watts 24 hours aday.,,

Sounds great - so justlet's keep our fingerscrossed.

Their address should youwish to write is CarolineHouse, Van Hogendorpstraat16, The Hague, Holland.Tel: 631940/1/2.

dee jay atbrands

As announced last month"Dee Jay and RadioMonthly" are following theexample of Radio Luxembourgand becoming involved inthe world of motor racing.We have agreed to sponsora meeting at the BrandsHatch circuit in Kent onSunday September 9 andvarious special events arebeing lined up.

More news next month.

disco noiseprobe

It was announced in theHouse of Lords recently thata big probe is under wayinto the effects of discothequenoise. A special group of theNoise Advisory Council arelooking into the problem.

Liberal peer Lord Amhurstsaid that he enjoyed goinginto discos, but that morerecently he had found thenoise becoming intolerable.

What are your views onthis subject?

-?,

onaR°6\

Would you like a bright yellow "Dee Jay and Radio Monthly"sticker? They cost just 5p each. Write now to "Sticker", B.C.Enterprises Ltd, Willmott House, 43 Queen Street, Hitchin,Herts. BUT HURRY - supplies are limited.

new britishprog. forUS fm radio

A new series of hour longstereo concerts are beingrecorded at various venuesaround London - for eventualsyndication to key FMstations throughout the USAand Canada. Called "Livefrom London" the showswill highlight such groupsand solo artists as WishboneAsh, Al Stewart (bothalready recorded), Lindisfarne,Colin Blunstone andFairport Convention.

Behind this project is anew organisation calledRadio Concerts International,formed by Luke O'Reilly,formerly of WMMR Radioin Philadelphia, andMiles Copeland.

a b.c.enterprisesproduction

4

dave christian soul show208 DJ Dave Christian achieves a long ambition on April 3 -

when he starts a regular Tuesday morning soul programme onRadio Luxembourg from 1.30 am to 3 am. On that eveningKid Jensen's "Jensen's Dimension" show will go out earlier.

The show will include previews of new US Soul releases -often well before they are available here - as well as interviewswith top soul artists. Already lined up are interviews withMajor Lance and Ritchie Pitts, and Dave is also hoping to getthe Temptations, Junior Walker, Al Green, Freda Payne andthe Chairman of the Board.

Considering the amount of soul material played by mostDJs - this new programme will obviously be of great interestto all our DJ readers - and to tie in with this we are delightedto announce that Dave will also be contributing a regular"soul" column to "Dee Jay and Radio Monthly". His first oneappears this month on page 32.

40,, 44,407,too AA14,,

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Ato4ANNA;044A,40412AA/AA A A

ESZSiar- .I611411:111RNI's Rob Eden (left) and A Tke Ross (right), seen with JudgeDread, himself an ex -DJ, at a special reception held by Trojanrecords on the Sloop John D in London, where he was presentedwith two silver discs to mark sales in excess of 250,000 copies ofhis first two records "Big Six" and "Big Seven". Both theserecords were broken by plays in Discotheques and Clubs - havingbeen banned by both the BBC and Radio Luxembourg.

news inbrief

US Soul star Al Green tovisit Britain in May forconcerts and TV . . . datesfor Sweet include Stoke(April 6), Scunthorpe(April 7), Nottingham(April 8), Birmingham (April14), Hereford (April 27) andSouthport (April 28) ... LittleRichard due in for two TVshows, although "live"appearances not ruled out. . . Robbie Dale now backin the UK and beingrepresented by MAM(Agency) Ltd . . . Driftersto return in mid -June foranother visit . . . DJ TerryWogan will provide theBritish commentary on theEurovision Song Contestfrom Luxembourg and willalso host two preview showson TV . . . Pete Murray's"Open House" show willcome from the LondonPalladium on EasterMonday. It will be recordedthe previous SaturdayApril 21 . . . DJ Mark Slatehas now left RNI and beenreplaced by Steve King, whohas worked for the TopRank Organisation and also

provided some freelancelocal radio work .. . all duein for visits in the comingweeks - Frank Valli and theFour Seasons, Freda Payneand Chairmen of the Board. . . Ed "Stewpot" Stewart,whose "Sport on Sunday"programme returns to Radio 1,has been signed to lead thecommunity singing at variousfunctions at WembleyStadium. These include theSchoolboy's Internationals,the Rugby League CupFinal and an FAInternational. FrankieVaughan, however, will bedoing the FA Cup Final.

gladysknight tour

Gladys Knight and ThePips are to return to Englandin May for a string of majorcabaret appearances and twoshows at the LondonPalladium. Dates set includeTalk of the South, Southend(week from May 13),Fiesta, Stockton (May 20),Fiesta, Sheffield (May 27),Theatre Club, Wakefield(June 3). The two shows atthe Palladium will be onSunday, June 10.

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5

Tony Blackburn is 30 yearsold. For the past nine yearshe has been Radio's mostpopular disc jockey - it's assimple as that. "When Ifirst left school I wanted tobe a singer rather than a DJ.I saw an advert in the NewMusical Express from RadioCaroline and thought I'dgive it a try.

"I wanted to use that as alever for my singing career,"grinned Tony. "I guess I'mnot quite so serious aboutthat now -I enjoy makingrecords, though".

So on to Radio Caroline."It was a hell of a lot of funand I never felt nervous onthe air, talking to anaudience. It's funny but Ifind it easier to talk topeople through a microphonethan face to face.

"Life on the.pirates wascompletely different and afine training for later work

Radio's mostpopular Dj

on Radio 1. In a way, I feela little sorry for the DJ'swho missed the pirate era -there was so much glamourattached to the life, and Idon't think that scene willever be repeated again. Itwas an exciting time for theradio industry.

"I am lucky in that I'vegrown up with my audience.The teenagers who listened tome on Radio Caroline andLondon have followed onand I hope regard me as afriend who drops in every day.

Okay, so they are nowmarried, perhaps withchildren, but they still listen.

"We owe so much to thepirates. I honestly believethat if the stations had nottaken to the air the BBCwould still be runningprogrammes like "Mrs Dale'sDiary' and the like. As witheverything else, the Britishare slow to accept change andwe needed something to givethe radio industry a kick inthe pants. The piratesprovided us with this. I'm

not saying it is the BBC'sfault, necessarily, but therewas a feeling that the mediumof radio should be used to`educate'. I think this is astupid attitude. When I wasa kid I'd listen to the BBCand just not be entertainedat all. I used to pray forseven o'clock to come so Icould tune to Luxembourg.

"Now I seriously believethat the BBC Radio is thebest in the world. When thepop network opened, theexecutives here were prepared

6

Rodney Collins talks to TONY BLACKBURN

to listen to the DJs who hadserved with the pirates, whichmade us feel good.

"Okay, so people criticiseRadio 1. They say that wecater for the non -thinkersand that the BBC shouldn'tbe into the mass audiencebusiness. Why not? Look,America has only commercialradio - think how muchbetter off they'd be with aservice like the BBC as well.Anyway, although the licencefee is good value, you'vegot to give some real out andout entertainment for £7. Ifcertain people think ournetwork is aimed at idiots,well, they're entitled to theiropinion! Some people takeeverything far tooseriously".

But Tony Blackburn takeshis business of entertainingvery seriously.

"I have always taken agreat deal of trouble tounderstand my audience.When I first joined the BBCit was Pete Murray whobothered to show me aroundthe place and he offered me alot of valuable advice.Suddenly Radio I seemed ateam of people all fightingfor the same thing - goodpop radio".

Tony talks a lot about thebeginning of Radio I inOctober 1967. The popnetwork's first team consistedof Tony with Pete Murray,Jimmy Young, the MiddaySpin team, Pete Brady andDavid Symonds.

"We went out to replacethe pirates and I think insome ways succeeded. I waslucky in that I had an all -record show, but I think

Radio I sounded good. It hasonly improved since then.

"1 made a trip to theStates to study radio there,to listen to the breakfast -timeDJs. As I've said,understanding the audienceis all-important and franklyit amazes me that some ofthe other DJs don't bother tostudy exactly who is listeningto them.

"I reckon I've a commercialbrain and I regard myself asa product to be marketed inthe best possible way.Obviously it is my job to goout and get and hold anaudience and this I try to do.I think every disc jockeymust produce a positivereaction from the listener.The guy listening either hasto love or hate the person on

the radio. It doesn't botherme that some people find meirritating and hate me - atleast they feel something!"

Tony is continuallyworking on improving theshow, using new ideas. He'sjust had a new home studiocompleted at St John'sWood (it cost him around£2,000) and he now recordsall the jingles and tapedinserts for the programme athome - you can hear theresults every morning. Thesame Tony Blackburnenthusiasm is evident now,more than five and a halfyears after the start of hisRadio I show. The radioindustry, he claims, is a largechunk of his life.

"Most of the people I'vemet in radio are nice. It's a

hard profession, butrewarding. I don't think thepeople who control televisionare as aware of their audienceas the controllers here. Theonly area of our businessthat I haven't really got onwith is the music press.Some of the music papersseem to knock the reason fortheir very existence, and thisI find strange. I get knockedquite a bit, and that's fine ifit is constructive.

"Dee Jay and RadioMonthly" is probably thefirst magazine of its type toactually bother to promote agrowing industry - theexpanding radio business.But very few of the otherpublications write seriouslyabout radio. I find all thatsad, quite frankly."

7

I asked Tony to nameother DJs he particularlyrespected. "Well, I rate TonyPrince for the young market.I think he's very good withyoung kids. And PaulBurnett, also from RadioLuxembourg. I'm surprisedthat he hasn't tried to getinto more middle-of-the-roadtype of radio - he's such agood broadcaster. TerryWogan is so good, Iused to love his afternoonshow - don't get muchchance to hear him now,though!

"I am a great admirer ofKenny Everett. He's brilliant,to my mind and it is a shamethat some people have triedto copy him. And PeteMurray: He's a good friendand a great DJ. I rememberwhen I wash at boardingschool listening to his oldRadio Luxembourg Deccashows in the late evening.Super".

As Tony admires PeteMurray, how does he feelabout moving to the 9 amspot on Radio 1 - rightopposite Pete's "Open House"

Radio 2? "May the best manwin! Seriously, I've a fewideas which I want to tryout and obviously I hopewe win the battle. But we'llhave to wait and see".

Presumably, Tony will dowell at 9 am. For the BBCreckon that more than10,000,000 people tune to hisbreakfast show every day -he consistently pulls in thebiggest weekday audience.

"Because you arebroadcasting at breakfast -timeeveryone knows your name

and for that reason, whenpop polls come round, theyvote for you. I think that fartoo much notice is taken ofthe poll results in allmagazines, although it is niceto know the publicremember you. When I moveto the mid -morning show, Idon't expect to do so well inthe polls, because myaudience will consist more ofhousewives and I don't thinkthey really vote in the musicpress.

"The new show will

`I'm neverhappier than

when I'mon the radio'

naturally aim at thehousewife and factoryaudience, but it is veryimportant to remember theteenagers during the schoolholidays. I would like to seethe show a little sharpermusically when the kids arearound."

These days Tony hassettled down a bit. Since hismarriage, he has obviouslytried to stay in town most ofthe time ("I don't live out ofhotel rooms any more, thankGod!") and now reckons he'sreally contented with life -and hopes this attitude ofmind rubs off on hislisteners.

"I think if you are havinga really good time andyou've got a nice home to goto, well, it affects everythingyou do. I'm happier nowthan I've ever been, moresettled."

From all his quotes you'llappreciate that Tony has areally commercial mind andtakes his work seriously. Hefeels that it is the BBC's job tocater for the mass audience."The BBC employs free-lance

8

DJs and obviously we want togo out for the biggest possiblelistening figures. After all, themain part of our income isearned outside radio - frompersonal appearances on TVcommercials."

Mr Blackburn leads ahectic life. He's respected bymany of his fellow DJs forhis pure professionalism."Sounds of the Seventies"man Bob Harris is on recordas saying that Tony is"technically one of the bestDJ's in radio today" and thatis undoubtedly true.

His enthusiasm drives himon all the time, searching forideas. His Top 40 formatbreakfast show has been partof our lives for more thannine years . . . "You know,I am surprised to find thatpeople still really support me.I think I've always beenlucky and it is great to beaccepted by a new generationof young people. It gives younew confidence, which everyDJ needs".

There is an oft -quotedstory from Tony's Big LRadio London days which

talks of an argument amongthe DJs on the ship. Tonyapparently said that within ayear he would be the biggestdisc jockey in UK radio.Whether he actually saidthat or not I'm not sure . . .

but number one he is, forcertain.

Tony Blackburn is apleasant guy with an easy-going personality. Somepeople think he's big -headed -he's not: just enthusiastic.And it is rather refreshing tofind a man, with ten years'radio experience behind him,who regards his daily show asmore than a job of work.

"I'm never happier thanwhen I'm on the radio," hesmiles, "and I just hope Ican continue with my showsfor a long time. I just wantto make the listener laugh andenjoy himself. I don't holdwith educating the listenermusically - I believe in givingthe public what they want.If one person enjoys myshows then it is allworthwhile, as far as I amconcerned".

Good luck, Tony.

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Radio 1bossreallywantedto getIN theair...

It's true to say thatDerek Chinnery, currentlyhead of BBC Radio 1,didn't really want to getinvolved in radiooriginally . . .

"I was hoping to join theRoyal Air Force to train asa pilot - which was anover-riding ambition for ayoung lad in wartime,besides which I had acousin who had been aBattle of Britain fighter ace,and he was one of mygods."

This ambition to reachfor the sky was not to befulfilled for a few years yet,and so in 1941 Derek joinedthe BBC in Newcastle, as oneof what were called at thattime "youths in training".

"I was there for a year ortwo and did all sorts ofmenial tasks like polishingthe equipment panels orwashing down the batteryplates. You must rememberin those days, however,that radio was THE muliaso :one really felt involvedin something very'important - as, of course,one still is today."

Derek then moved to theBBC reception station atTatsfield in Surrey, which.handled,handled, as indeed it stilldoes, reception of relaybroadcasts from abroad.

BY BEN CREEThen came the opportunitythat he had been waitingfor -a call to join the AirForce, and the chance totrain as a pilot!

"In fact I was stilltraining in Rhodesia whenthe war finished, so mytraining was never reallycompleted - although I haddone quite a lot of flyingand was within weeks ofqualifying as a pilot.Unfortunately the wholething just stopped, we camehome in the normal way andjust frittered the time awayuntil we were demobbed."

So Derek returned toTatsfield, but with interestsnow more on theprogramme side than thetechnical, and became aprogramme engineer. Laterhe was attached to whatwas then known as thegramophone department,and started programmeproduction work.

"This was, of course, in thepre -disc jockey era, about thetime when Jack Jacksonwas doing the first of hisunique programmes onSaturday nights, and Iworked on all those typesof shows - you know

`Mid Day Spin' and all that.I guess that I wasinstrumental in gettingDavid Jacobs on to the oldLight Programme, andeventually on to 'Pick of thePops' that he and I used todo on Saturday nights. Infact I worked with all the`disc jockeys' of those days -Sam Costa, who is still withus on Radio 2, and Iproduced the first programmethat Alan Freeman did whenhe came to us fromAustralia -a series called'Records Around Five' - andI dug up 'Sign of theSwinging Cymbal' for thefirst time.

"Of course in those daysit wasn't so hot in the waythe disc jockeys do it now -you had people like I usedto be - Studio Managers -controlling the levels, andAlan would be in the studiothe other side of the glass.So when we first decided todo that 'Sign of theSwinging Cymbal' - we hadgreat fun and games tryingto get the level right so thathe could say 'that's all fornow' - thump, thump - 'fromme' . . . and so on. Laterwhen he was on 'Pick of the

Pops' he would fade it upand down himself - but inthose days it just wasn'ttechnically possible, thestudios just weren't built thatway. In fact people used toregard that bit at the end ofthe show as something quiteunique."

The next project forDerek was "Pop Inn", againhis brainchild, and againregarded at the time aspretty unique.

"I'm always very pleasedhow many people stillremember that show. Itwas the forerunner of astyle of programme which wehave since exploited invarious forms - the idea of alive show which wouldbasically feature records andrecord artists in front of anaudience. People would comeinto our Paris Theatre inRegent Street and watchKeith Fordyce talking tothe artists and playingrecords. Then they wouldsign autographs and weused to wander around witha 'live' microphone talkingto the audience - and in theold days we used to have theBBC Gramophone Libraryon tap so that we could playanything they asked for.

"It soon became quite animportant show for therecord industry - and the

10

gathering place for all theboys from the business.We had some fantasticprogrammes down there - oneI can remember when wehad Tony Bennett, KenDodd, Val Doonican, Lulu,Cilia and the Tremeloes allon the one show. We alsodid some crazy things likehaving a DJ band oneChristmas, with people likeSam Costa on piano, BrianMatthew playing thetrombone, Jimmy Youngon celeste, Jack Jacksonon trumpet, Alan Dell onbass and Steve Race onbongoes."

Meanwhile Derekcontinued to produceprogrammes that wentthrough the gramophonedepartment and ended upas chief producer at the timethat Radios 1, 2, 3 and 4were created - and becamean executive producer onRadio 1. What were histhoughts at the time thenetwork was created?Did he really feel it wouldwork?

"Well, yes. After all we'dbeen listening to the piratesfor some years then and Ithink anyone interested inradio, even within the BBC,could see that there wassomething to be said for thatsort of radio - the publicwanted and needed it -although we alwaysconsidered it unfair thatthey were able to get away

with playing records all day.As far as competing isconcerned I think it wouldhave been grossly unfair toexpect the BBC to competewith the pirates at the timethey were on the air - whatI mean is I don't think wecould have set up Radio 1to compete with them whilethey were still broadcasting.After all it was a politicaldecision that the BBCshould set up or attempt toset up a service to replacethem when the MarineOffences Bill went through -although that was neverreally admitted."

Looking back whatobservations does Derekhave of the pirates?

"Well I think, from whatI remember of them, thatthey did a super job. It'sinteresting to think that itwas almost six years agowhen they went off the air -except Caroline - although,of course, there have beenpirate stations since andthere still are, although Idon't think even the mostfervent admirer would admitthat they have anything likethe following or generallistening that they used to attheir peak - and we havelarge audiences on Radio 1now, young people, who haveprobably never heard thepirates. But there's still amagic or romance aboutthem. I remember years ago,when I was in the Air Force,

listening to AFN and I gota great kick out of thatbecause it was from abroadand one heard Americanrecords that weren't issuedhere and that sort of thing.I think, although it wasn'tquite the same, that therewas a similar sort ofromance about them outthere in their boats doingthis just for us. There's alittle bit of that attached toLuxembourg by the factthat the programmes comefrom abroad and also theyplay records all the time,which we can't do."

Derek openly admits thatRadio 1 got off to a veryshaky start and had farfewer resources thanneeded, both technical,needle -time and so on.

"In fact we reallybenefited from the piratesbecause we scooped up alltheir worthwhile DJs - andthe chaps we picked up wereafter all the cream that hadrisen to the surface over anumber of years ofbroadcasting - by the timewe came along TonyBlackburn et al, wereestablished disc jockeys witha sound training in theirprofession."

From the disc jockeyspoint of view the start ofRadio 1 also saw the startof self -operated programmes,and so with two studiospreviously used forprogramme continuity and

modifications suggested bythe DJs themselves likecartridge machines, etc,Radio 1 was born.

"Really Radio 1 allhappened very quickly. Iforget the actual time scalebut I think we got thenetwork on the air in sixmonths, from the timeRobin Scott was put incharge - and there was ahell of a lot to do."

One criticism oftenlevelled at Radio 1 in theearly days were the ratherpoor cover versions ofmany of the major hits.

"When we started wecertainly didn't have all thestudios suitably equippedfor recording and we alsohad various commitmentsto the NDO, singers andgroups and things, so rightlyor wrongly we thought thatto produce the right sort ofprogrammes, and not having100 per cent needle -time, wasthat if you couldn't get theTremeloes on tape and youcouldn't get them in thestudio live - then you'd get`the so and so's' to sing theirsong. It didn't work, andone knew it didn't work -but at the time it seemed thenext best thing to playingrecords, and don't forget onthe old Light programmethe pop shows we had hadlike 'Parade of the Pops',`Easybeat' and the 'Joe LossBand Show' had featuredthese sort of cover versionsvery successfully."

Happily this situation isnow much improved, andone is often hard pressed todistinguish which are the liveor taped performances.

"Oh yes, the quality hasimproved 100 per cent overthe years, and nowadaysmore real artists are happyto record for us. We nowhave studios equipped witheight track, but we still haveto get groups andperformers to record severalnumbers in a four hoursession, whereas any oneof their records could takeseveral days. It's quiteremarkably what we get outof them."

Next month, Dereklooks at the Radio I DJ'sand the changescurrently being plaguedfor the network, and alsooffers practical advice todisc jockeys looking foriaplace in the team!

Derek in the studio with Noel Edmonds and Johnnie Walker.

I1

Stuart Henry was born onFebruary 24, 1942, and, ashe points out, 24/2/42 is apalindrome. It reads the samefrom either end . . . Mrs.Henry's little boy spent hisschool days attending DanielStewart's College inEdinburgh, the fees paid forby the RAF after his father'sdeath in World War Two.

"It was during myselooldays that I developedthis ability to switch off fromre.No matter what's

,tappening around me, itwill all be blocked out if Ithroe: a little switch in myhead. That aspect of mindcontrol plus an ability toremain upright when asleep(both perfected at the backof the French, Maths and

SUCCESSFOR A

SEASICKSAILOR

Rodney Collinstalks to

STUART HENRYGeography classes) I cantruthfully say were the onlytwo skills my schoolingtaught me".

So, encouraged by hismother (who would have beenan actress herself had herfamily not bitterly opposedthe idea) Stuart enrolled as astudent at the GlasgowDrama College.

"Several of my fellowinmates in my year werebecoming 'clerks' in thebanks and I felt certain thatthere must be more to lifethan sitting at the same deskevery day for 30 yearscounting everybody else'smoney. So I went to thedrama college, because,frankly, acting was about theonly thing I was interested in".

He completed the threeyear course at the collegeand was awarded the prizefor comedy in his DiplomaPerformances. As an actorhe worked in Scotland forfive years in TV, radio andtheatre - taking whateverwork was offered.

He was playing leadingroles at the DundeeRepertory Theatre at the ageof 23 - not bad going, really.And then, a change of plan.Stuart heard about the piratestation Radio Scotland anddecided to give it a try.

"My great trouble is thatif I stay doing the samething for too long, I getbored. As an actor I'd beenvery lucky, but I felt Iwanted to get into something

else."I was on the Radio

Scotland ship for less than amonth - and even than Ionly broadcast with the aidof a waste paper basketbetween my legs! I wasseasick. I came off the shipand went to see a doctor,took tablets, the lot andwent back on the boat, Ithought, cured. But after20 minutes I was reachingfor the basket again.Terrible.

"So I took to recordingprogrammes on land andsending them out to theship. Some of the other DJswere none too happy aboutthis though. After all, I wason land able to do discodates and they were stuck

12

Mrs Henry's littleboy Stuart

"workin' for yer" inthe studio at

Radio 1.

on the ship for weeks onend".

After a year he left thestation and set aboutbuilding a mobile disco.Some months later a chancemeeting in Scotland withDavid Jacobs and his agentBunny Lewis resulted in aninvitation to present "Mid -Day Spin" at the start ofRadio 1. "I don't think Iwould have made it to theBBC had it not been for thepirates. It was marvelloustraining, Radio Scotland.Let's face it, the only way tolearn is by making mistakesand the pirates gave you thechance to make mistakeswithout sacking you."

In addition to Radio 1, thepast five and a bit years have

,N

Clo Mfhi41

..e4

seen Stuart on the BritishForces Network and the BBCWorld Service. He hasworked for BBC Schools andfor three months on Radio 4and has hosted his ownseries of TV chat shows forTyne Tees ITV inNewcastle and BBC Scotlandin Glasgow.

He's dabbled some morein acting as well and wonpraise from George Melly,the then Observer TV criticfor his portrayal of a cockneylayabout in "ArmchairTheatre". He's played aLiverpool crook in "Z Cars"and toured the North ofEngland in the stageproduction of"Alfie".

"Sure I'd like to spend

more time on acting, but itall depends on peopleoffering me the sort of workI'm interested in".

What about music? "Ithink it is very difficult to sayanything is good or bad,because it's all personal toyou. I don't have a greatlove for what I term computermusic, or bubblegum,although I accept it'spopular.

"I talk about music stylesrather than artists. I mean ifLittle Jimmy Osmond made arecord that I liked, then I'dwant to play it. I'm fortunatein that the BBC allow me tohave some say in the musicI play, which is nice.Currently, I like the DetroitEmeralds record, and the

Carly Simon single. Albums:well, "Catch Bull at Four","No Secrets": and the latestBridget St John is nice.When I play music at home,I tend not to go for theSlade touch or Tamla music -I want something a littlemore contemplative".

Stuart, who now lives inHampstead with his girlfriend, is one of radio's moregenuine persons. He viewshis undoubted success as adecidedly "mixed blessing"but says, "at least it gave mymind the freedom to startthinking".

Currently, he's thinkingbetween 9.55 -MiddaySaturdays and Wednesdayafternoons on "Radio 1Club". A nice guy.

13

MIXMICKJAGGERYOURWAY

Have you solved theMystery of the MissingBass? A phantom thief hasbeen on the prowl, stealinginto discotheques and otherplaces depending upon goodreproduction of all thefrequencies in the soundspectrum, finding thoseheavy bass sounds that setthe dancers' feet a -tapping,and making them vanish likemagic.

Often the equipment isblamed, which can be a bitunfair. Speaker units havebeen stripped down andreplaced, amplifiers with aheavier bass response havebeen ordered, the power hasbeen cranked up until thestreet lights dim when youturn it on, and still thephantom gets away withmurder, soundwise.

No use appealing toInterpol, because acting

upon information received Ithink I have found a solutionto the mystery. It's an insidejob.

The problem doesn't liewith the equipment, but withthe acoustics of the placewhere you're working.Things are complicated bythe fact that the acoustics of ahall chase drastically whenit is filled with soft, pulsatingbodies - although in thiscase it is the high frequenciesthat you lose - and if you area mobile DJ then there isjust no way in which youcan have each new roomroom -acoustics redesignedeach time to give you backthose missing frequencies.

Well, there is a way, butparadoxically it takes youback to your equipment.Not that there's anythingbasically wrong with it, butmerely that you need a

KarlDallas

explainshow to

shapeyour

sound'

more flexible way ofadjusting it to fit in with thevarying environments inwhich it plays.

The answer lies in what isusually known to techniciansas a graphic equaliser. Othernames sometimes used for itinclude sound effectcontrollers, sound effectamplifiers, or audio equalisers.SNS Communications callthe graphic equalisationcircuit they have put in theirmono and stereo discoconsoles a "sound shaper"panel, and I suppose thatgets close to what actuallyhappens.

Basically, an equaliser isjust a much moresophisticated kind of tonecontrol. Last month wewere looking at a consolewhich had a special slider forcutting back the middlefrequencies, in addition to the

normal treble and bassboost/cut control. Well, theSNS professional discoconsole has a total of sixtone controls. In addition tobass and treble cut/boostthere are also four othercontrols, labelled "baddle","middle", "preddle" and"presence". The latter isswitchable from "bright" tonormal, and since the consolealso has bright and normalinputs, you can see that thereis a lot of flexibility.

I'm not so sure, however,that I am happy with therather gimmicky "baddle"and "preddle" names. Itwould have been better, Ifeel, if they had simplylabelled them with thefrequencies they control.I know not all DJs are verytechnically minded, butalmost everyone knows thesedays a bit about the physics

14

of sound waves, as a result ofof the increasingsophistication of theequipment used by mostrock and roll bands.

As you know, all sound iscreated by vibrations in theair, and you get differentnotes according to the speedwith which the air vibrates,the faster vibrations creatingthe higher notes. TheGerman word "Herz",abbreviated "Hz", is used tomeasure the speed of thevibrations. For instance, thevibration frequency of a bassdrum or the bass notes of anorgan is between 40 and60 Hz, the bass guitar isaround 200 Hz, the voice andelectric guitar is around1,200 Hz, and right at thetop you get drum cymbals -and any hiss or crackle fromworn records or faults inyour system - at about15,000 Hz.

(Purists will object that allmusical sounds are muchmore complicated than thatand of course they're right.I am rather over -simplifying.The point is that if you boostthe 40 Hz control on agraphic equaliser amplifier,it will bring out preciselythose bits of the bass drumsound that bring it out frombehind the over-all sound,and if you also boost the200 Hz you'll bring out thebass guitar to join it in a waythat is truly amazing.)

The "baddle" control onthe SNS console boosts the190 Hz frequencies, which isclose enough to 200 tobring out the bass guitarand the "preddle" is 2,200 Hz(or 2.2 kHz which means thesame thing), which is usefulfor bringing out the vocals.Try this control the next timeyou are playing a RollingStones record. For somereason the Stones always mixMick Jagger's voice downquite low in relation to theother instruments, which iswhy some people complainthey can't hear the words ofwhat he's singing.

With the "preddle" youcan push him forward, aslong as you realise that youare undoing a lot of carefulwork by brilliant technicianssuch as the magnificent GlynJohns who mixes most ofthe Stones' music these days.

This is the other thing youcan do with equalisers, ofcourse. Besides using thecontrols to overcome anyhang-ups in the acoustics ofthe room where you happen to

Close up of the "sound shaper" tone control panel on the SNS Disco controunit shows the six areas of the sound spectrum it covers - bass, boost' cut 40 Hz;baddle, boost only 190 Hz; middle, 800 Hz; preddle, 2,200 Hz; presence,5,000 Hz; and treble, boosticut 12,000 Hz. There are pre-set and slider controlsfor grams one and two and tape, and prefade monitor facility for each, switchable

by push buttons.

be playing, you can actually"bend" the sounds on therecord to create your ownunique interpretation,shaping them to your tastesin rather the same way as aguitarist will use a wah-wahpedal or a keyboard playerwill use a Moog synthesizerto make musical sounds thatare like nothing you everheard before.

The SNS consoleencourages this approach todiscotheque sounds byproviding a switchable"link -out" facility which canbe used in conjunction withspecial effects units. In moreorthodox fashion, it can alsobe used to bring in extraslave amplifiers when youneed additional power.Since these will still becontrolled by the equalisationcircuitry, the tonal soundwill be unchanged.

Another valuable effect isreverberation. The SNSconsole has a 16 inHammond reverb built-in,alongside an interesting

sound -to -light intensity switch.Other features include a

manual/auto switch forturntable operation,allowing the records to becued manually and thenswitched to auto stand-by,ready for automatic operationon deck change -over, andautomatic mike over -ride forsmooth talk -over. Cueinglights and mike on flexiblegooseneck are built-in, butthere is also provision forplugging in an extensionmicrophone. There is a tapeinput and the monitor panelhas facilities for pre -fadelistening to either of thegram decks or the tape deckvia press button switching.

The turntables are twinGarrard AP76 decks withShure M55E pick-up heads.The console doesn't have itsown amplifier, but isrecommended for use with theSNS 125 watt slave.

Prices are in a bit of astate of flux at the moment,in view of VAT and otherhappenings in the world of

The Yatnaha TB 700 is claimed to be the only professional stereo cassette tapedeck in the world with pitch control, allowing the notes played to be raised orlowered by five per cent, plus Dolby noise reduction system. Recommended

retail price, not allowing for VAT, is £156.93.

finance, but before tax asystem consisting of console,two slave amps, two basscabinets and two mid -frequency cabinets should besomething over £1,000.

Play -Along TapeWhile we are considering

special effects, I wasinterested to come across acassette recorder the other daywhich has an adjustablepitch control. I know thereare some DJs who like toplay along on someinstrument with the recordsthey play and for that reasonthey find a gram deck like thegood old tried and trustedGoldring GL75 quite usefulsimply because the drivewheel is driven by a conical -lathed shaft which permitsthe speed to be continuouslyvaried.

The Yamaha TB -700doesn't quite give you thismuch variability, but thenyou don't really need it. Thepitch control allows you toraise or lower the sound byabout five per cent, whichshould be enough for anyinstrument.

Actually, this is a verysophisticated machine indeed,because in addition to thisunusual control it also hasthe Dolby noise reductionsystem built in. This system,which helps to cut downirritating tape hiss, isbecoming accepted all overthe world and the last time Icounted up there weresomething like 49 cassettedecks on the market with it.

It is also switchable so thatin addition to the standardcassettes it can also copewith the new chromium oxidetapes which give a muchbetter top frequency responsethan the standard iron oxidetape. Incidentally, if you haveread about these chrome tapesand thought you might usethem in your own cassetterecorder, you'll have to thinkagain unless you know themachine can take them. Inaddition to requiring a specialcircuitry, these chrome tapesare more abrasive than theolder ones and unless youhave a machine with specialheads they can be damagedbeyond repair after quite afew plays.

The recommended retailprice for the YamahaTB -700 is £156.93, thoughhere again the dreaded VAT -man cometh and putteth upye prices, no doubt. Oh well,that's inflation for you!

15

The most appe4ing thingabout radio in AiU.. ica isthat you've always got achoice. You don't have toswitch off. Sometimes, ofcourse, that choice starts towear a little thin - likedriving through the mid -westand having all of fivedifferent country stations tochoose from. It's a fairlyaccurate generalisation thatyou can flip the knob andget something different andit's that vital choice thatmakes radio in America a lotmore exciting than anywhereelse in the world.

Only in New York canyou munch a slice of pizzaaccompanied by an Italiantenor, go next door to thedelicatessen and listen to thenews in Yiddish, then goback out on the street whereconstruction workers arefinishing off the latestmirror -sided curved -wallskyscraper, with all theirtransistors tuned to the sameoldies station.

On my second day inNew York I strolled downThe Avenue Of The Americas

Norman jopling reportslooking for a likely cassettemachine. Consumer goodssold in the US are generallyabout a third cheaper than inBritain and a super salesmanpersuaded me to buy aPanasonic (an importedJapanese brand - very big inthe States) cassette player-recorder with built inmicrophone and AM -FMradio. It's a lovely littlemachine that set me backjust under a hundreddollars with batteries, tapeand conversion kit for UKvoltage. You don't get stereofor that price (work it out at2.5 dollars to the pound) butthe workmanship is beautiful.

The New York wavebandis crammed full of music. Itgoes through the entirespectrum of classical, jazz,pop, rock, foreign languageand oldies. Generally popstations on the FM and AMchannels are getting closer toeach other in contentalthough there are still

plenty of ethnic progressiverock stations which thinknothing of airing both sidesof an interesting new album.And as the AM gets moreFM and the FM gets moreAM, the frantic "Good Guy"days of Murray the K andthe like are over . . . at leastuntil a new Beatles comesalong.

The stations often promotecertain kindred attractions.The off-Broadway cinemaThe Ziegfield was runningits "First Fabulous FiftiesFlick Festival" featuringmovies by Marlon Brando,Elvis Presley, Bill Haley,Tuesday Weld and the like,and it was co -sponsored byoldies station WCBS-FM(one of the few oldiesstations in stereo, for whatit's worth) and the Festivalwas launched with a FiftiesContest, a motorcade ofFifties automobiles, somehired Hell's Angels, a hugerunning buffet for the press

and movie buffs and afoyer -full of oldiesprogrammes from WCBS inmagnificent stereo. Radiosand records were given awayas prizes to the contestantswho looked most like fiftiesjuveniles and first prize wentto "Peggy Sue", a weightyblonde.

Other extra curricularactivities the stations indulgein include rock showpromotions, charityadvertising (including manyfashionable ecology plugs)and tie-ups with TV stations.That's not surprising, becauselocal TV and radio stationsare often run by the samecompany and operate fromthe same premises. Allprogrammes are supportedby advertising but the "hardsell" isn't as apparent as onTV. The dee jays oftenadvertise the productthemselves when theadvertiser didn't consider atape insert would beworthwhile or necessary.The ad rates for these smalllocal AM stations comparefavourably with local

16

newspapers and are farcheaper than TV ads (still alot cheaper than Britishcommercial TV).Consequently the localrecord stores, clothingshops, supermarkets, concertpromoters and restaurantstake advantage of this andplug their goods over theair with monotonousregularity. Sometimes adee jay will actually workfrom one such shop with amobile unit, interviewingcustomers and letting theshop manager plug his ownproduct.

Most of the pop -rock -country stations on AM andFM have a similarprogramme -ad format andthere are very few "talk"programmes available. Thestandardisation of Americanradio has meant a definitereduction in excitement fromthe days of the fifties, buthas also meant a reductionin payola - the practice ofgiving goods or moneybribes to stations, producersand primarily disc jockeysin order to give extra

prominence to certainrecords. It was a commonpractice until the Senate"exposed" it and ruined thecareers of many famousdee-jays and caused thedeath of the originalrock'n'roll blast. Now theoldies stations are back witha vengeance. Chicago'sWIND (that ain't the reasonit's called The Windy City!)recently switched to anall -oldies format and uppedlistenership by 200,000. Itcaters for pop oldie fans ona very broad musical basisand plays everything fromlocal soul hero Jerry Butlerto Pet Clark, Rod Stewartand the inevitable Beatles.The Beatles, as a group, aresorely missed in the States -far more than in Britain.Every radio station stillplays their records and eventhe most progressive FMstereo channel sneaks Beatletunes in regularly. The bestoldies station I heard in theStates was the oldrock -oriented KRTH("Kay -Earth") in LosAngeles blaring "total gold"

on 107 all day and all night.In a half hour period I .

heard numbers like "LoveyDovey" from the Clovers,"Say Man" by Bo Diddley,"Just A Dream" by JimmyClanton, "Too Much" byElvis, "Only Sixteen" fromSam Cooke, "Tutti Frutti"by Little Richard, "Big BossMan" by Jimmy Reed and"Don't Hang Up" by theOrions.

Unlike US television whichhas three major networks(showing different regionaladvertising) and many localstations, US Radio iscompletely localised. Localstations play local musicand in the Mid -West,Tennessee and generallythroughout the South thereis a predominance of C&Wstations heavily supportedby local big business. TheR&B competitors in thesame areas don't get thatquantity of ads, but theydon't do too bad, and aremusically equally "pure" intheir format. It's in the bigcity areas like New York,Los Angeles, Chicago and

Seattle where the best andmost eclectic music isprogrammed. Yet even inTennessee, progressivefans are catered for with anexceptionally good FMstereo channel for fans whojust can't afford to go andbuy every rock release.Many of these types ofstations follow the classicalstation advertising formatand insert the hype at theend of a specific section soas not to destroy anyconcentration or mood builtup by the listener.

Radio in the UnitedStates is a changinginstitution but it'snevertheless a good dealhealthier than its Europeancounterparts - financially,if not culturally. And it's asight to see; someonewalking along a busy NewYork Street with a stereoheadphone radio clampedaround his head, blissfullyunaware of all the noise oftraffic and construction, ashe heads homeward with anaerial sticking up six inchesfrom his head.

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17

John De Mol, ManagingDirector of Radio NordseeInternational, talked to "DeeJay and Radio Monthly" inCannes at the recent MIDEMfestival. I asked him whatfirst attracted him to radio?

"I started out as a singermyself and had been doingradio for many years on theother side of the microphone.I then became involved withmusic publishing,,,and recordproduction - and the companyI worked for decided tostart its own radio station.I was appointed ManagingDirector in respect of theexperience I had in radio,and although commercialradio is something entirelydifferent, the group I workedfor knew all about sales ofadvertising by the fact thatwe controlled magazinesand so on. I didn't reallysee any difference in sellingadvertising whether on radioor in magazines - socommercial -wise we thoughtwe could handle the job."

So how did it all happen?"It started all of a sudden.

We had been talking at thatparticular time about havingour own radio station,although there was quite abit of risk in it, starting apirate radio station with aship and transmitters andso on - but at MIDEM aboutthree years ago we metMr Meister and Mr Bollierwith some experience oftheir Mebo 2 ship and theywanted to start again fromoff the Dutch coast, and sowe made what we think was

"THEENGLISH

DJsAlways Looked

Towards England"

JOHN de MOLManaging Director of RNItalks about the close downof the English service and

the problem of Radio Caroline

a wonderful tie-up at thattime and we became a newcompany Radio North SeaInternational. At thatmoment, February 15 1971,I was appointed MD toreport to Mr Meister andMr Bollier and to thePresident of the Basartgroup, and on March 6 westarted our first testprogrammes."

Bearing in mind thesuccess that Veronica hadhad off the Dutch coastwhat made them plump for aBritish service as well asDutch?

"The TV in Hollandaffects many people - whichmeans in the evening we

have a very small group oflisteners. Veronica has thesame problem. We thoughtthat having the eveningprogrammes done in aninternational way we wouldbe able to attract a biggergroup of listeners not onlyin Holland, but also inBritain, Belgium, Italy,Germany, France and a bigpart of Denmark andSweden."

Being a commercialstation dependent largely onadvertising - how have theyfound this side of theoperation?

"As I said we were wellinformed with the advertisingbusiness because we have

control over more than fiveor six big magazines inHolland, and as you know,the radio advertising ispractically all done by thebig publicity companies inHolland. Well we had ourcontacts there, we knew theirpeople by name - and sotheir reaction was good. Ofcourse it took some time -wehad a pretty rough year inthe beginning, a big increasein 1972 and this year lookstremendous for us."

Did the station manage toget any advertising duringthe English servicetransmissions?

"Unfortunately, not,because internationaladvertising is practicallyimpossible - but that is notthe main target. I think if wecan make our profit duringthe day programmes we canafford to please ourlisteners with an internationalprogramme in the evening."

I then asked Mr De Molfor his comments on thesudden ending of the Englishservice transmissions lastOctober.

"We had at a certainmoment quite a coming andgoing of DJ's. You mustnot forget that living on aship is something completelydifferent. They all do thesame job and when they areon board they see each otherfor 24 hours a day. So whensomebody says to someonesomething he doesn't like,he can't walk off the shipand say 'forget it - see youtomorrow' and start all over

18

again. So we had quite:sometroubles. We had good DJ'son the ship but this alwaysaffected me. Besides thatlook at the economicalbase - there was nocommercial thing in theinternational programmeswhatsoever. I don't mindthat, but when I'm havingtroubles and no commercialinterest . . .! I had variousdiscussions with them andwe had one big argumentwhen we finally decided tochange.

"It was the problem thatalthough I know we havea very big group of listenersin England I never spokeabout the English service -always about theINTERNATIONAL service.English is used as theinternational language and forsome strange reason I hadthe impression that whereverthe ship was on the waves,the English DJs alwayslooked to England to dotheir programmes. When theyread the news they wouldrefer to 'The Prime Ministerof such and such a country'but always to 'OUR PrimeMinister Mr Heath' - tomention one little fact.

"There were several

things of this nature andmany arguments and so in onemoment I decided to end theEnglish programmes. Then,and I must say this, wehad so many letters, notall from England, so we wentback and discussed thewhole thing again - wentback on our decision anddecided to start anINTERNATIONAL service- appointed Don Allen asprogramme director, and Ithink he's doing a fine job.He's a very experiencedbroadcaster and handlesthe programmes how we'vealways wanted them."

How does Mr De Molview the recent arrival ofRadio Caroline?

"Well I must say that Iam not very happy with thesituation at the moment.The government will get abit nervous about it. Weexpected at the time westarted that some difficultiesmight show up - we knewit was all in the game - butafter two years or so ourstation had already more orless been accepted. Wehaven't got a very strongpolitical situation inHolland, so there's reallynobody very interested in

burning his fingers by puttinga very popular radio stationaway. Because if they make alaw for that it would alsokill Radio Veronica.

"However now with thisthird station, and who knowsmaybe a fourth, fifth or evensixth - well that will bringthe government to realisethat they can't go on thatway. That as I see it is ourbiggest problem at themoment.

"I like competition -especially by Caroline,because you can say whatyou like about them, butyou must admit thatRonan O'Rahilly is a veryexperienced man in radio -so from that respect I lovecompetition - but for thepolitical situation it's very,very bad."

BENCREE

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u111

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1111..

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19

THE BARON FROM THE BBC

The Baron - the DJ withthe unusual name - and theunusual idea of includingcomments from the "man inthe street" on hisprogramme, currently worksfive nights a week on BBCRadio Manchester, andrecently completed his thirdset of Radio 1 Saturdayafternoon programmes. Butit all began for The Baronout in the Grand Duchy ofLuxembourg . . .

"I went out on one ofDave Cash's programmes,had a voice test, passed itand joined the station as astaff announcer. I was therefor about eight months in1967-68. This was my firstexperience of radio and Iwas literally out there andon the air in under a week,which was a bit muchreally."

Prior to that The Baron(now his registered name -nobody knows his real name)worked in clubs in and aroundManchester, includingBellevue. He regards thisperiod as his apprenticeship.

"Anybody who is on theradio and required to do

personal appearances -a lotof DJs (and I'm not knockinganyone in particular)through no fault of theirown have had no clubexperience and can't reallyback up their radioperformance with a goodpersonal appearance. It'sthe other way round for me -I've got to back up my clubexperience on the radio!"

How did The Baron enjoyliving in Luxembourg?

"I didn't. I hated it. Ididn't like living therebecause I was lonely reallyand also because I felt thatI was given too manyprogrammes. I was doing 18programmes a week withinabout a month of beingthere - and remember I'dnever been on radio before.It was far too much for me.I couldn't cope with it. I'msure the programmes wereterrible and suffered as aresult."

Was this the reason he leftRadio Luxembourg?

"No. I was sacked. Sothen I joined the BBC. Icame back with a guy whoalso used to be on

Luxembourg, called StuartGrundy, he was a DJ, andwe produced 'The Baronfrom the BBC' - that wasin 1968 - the early days ofRadio 1. In fact Radio 1started while I was out inLuxembourg, and Iremember when 'Theme One'was released by GeorgeMartin - that's the Radio 1Theme Tune - we all got amemo saying that on noaccount must we play thatrecord. So they were all putinto the waste paper bin.I remember thinking that itwas a good tune so I pickedthem out - I had six copies.Perhaps that's why I gotthe sack. Generally I didn'tget on. I didn't decide toleave but I probablywouldn't have stayed therevery long anyway becauseI wasn't happy. I think itwas sensed in theprogrammes, but I'm gratefulto the people in London andLuxembourg who gave me mychance. It was a veryimportant stage in my life."

Despite the fact that wehad received a letter at the"Dee Jay and Radio

Monthly" offices askingwhen we were going towrite something about a DJThe Baron who had been onRadio Caroline - this Baronwas adamant that he hadnever been on the station.In fact it would appearthat there are severalpeople who are using thisname around the country.

"It really is very annoyingbecause people go up to aguy in a club claiming to beThe Baron and expect to geta record played on RadioManchester or Radio 1.When it doesn't happen Iget letters of complaint. Isuppose it's because theydon't really know what Ilook like - maybe they willafter this article."

How did his interviewswith people in the streetoriginate?

"During the time of`The Baron at the BBC' - itwas a type of candid camerathing originally where Iwent round with a taperecorder hidden under mycoat and asked stupidquestions. One I rememberwas where we went round

20

saying that we wanted to goto Stonehenge and to dothis we believed that we hadto get on the SalisburyPlain - and could peopleplease direct us to theairport that this Salisbury`Plane' went from. Thattype of daft gag. Poor oldStuart Grundy - we bothof us nearly had nervousbreakdowns because itwas so taxing each week.

"Another time I went toNorth Wales - we used togo all over the country toget various accents - andthis time I pretended I haddropped a radio over thebridge in Conway with itswitched on to Radio 1.I asked a fisherman if hewould take me to the spotwhere I'd dropped it overthe bridge, and that if wegot a copy of Radio Timesand checked the time andsaw what programme wason - all we'd have to dowas go over and wait till weheard that programme andwe'd be able to pin -pointthe radio!"

Since then the interviewshave become a little more

"I went round with a tape

recorder under my coat-and asked stupid

questions"

direct with the humour nowcoming often from thereplies.

"It's obviously differentbecause they know they arebeing recorded. A couple ofweeks ago we went up to achap and asked him if wecould play him a record onRadio 1. He said 'No' andI said 'Well, don't you listento The Baron on Radio 1 ?'.He again said no and whenI asked him why he said hedidn't understand the peopleon the programme. I said`You mean the people inthe street?' and he said yes.So we played that on theprogramme and that wasgreat."

The Baron regards theseinterviews as much morethan just a gimmick or partof his programmes.

"I strongly believe thatif you play members ofthe public back to themselvesyou can't really go wrong,in so far as I should hopethey would like to hearthemselves. It's a kind ofbond - it helps to breakdown the barrier betweenyourself, and the public."

What are The Baron'sthoughts on the forthcomingintroduction of commercialradio to the UK?

"I think it's very exciting.I think if it wasn't forCaroline and the piratesRadio 1 would never haveexisted. I think everybodyneeds a kick up the backsideand I think that this is theeffect it will have, not onlyon Radio 1 but on everyonethe individuals - on radio.I think it will be good,because it will make the endproduct better for whateveryou are doing. I don'treally know what theprogrammes are going to belike - the quality and so on- but I do believe that itwill certainly increase thequality of programmes thatalready exist."

What about the competitionthat he will get in Manchester?

"I look forward to it. Ithrive on competition. Ithink if you have anypride in your work you mustdo - because if you don'tthink that your work willstand up. to. competition thenyou don't think much of

yourself anyway."Finally we asked The

Baron about his ownmusical tastes andpreferences.

"I must give a littlemention to Carly Simon.Long before she got intothe charts - and I'mdelighted that she ditto- I wasa great fan with her twoprevious albums. I supposeI would say that I veermore towards the generalpop records as opposed to`Sounds of the 70's' typeof music - but I don'tthink I would like to separatemyself completely from thattype of sound, as maybeJohn Peel would like toseparate himself from thepop side. I think he wouldprobably totally disassociatehimself from the Osmonds,whereas I wouldn't from,say, Captain Beefheart."

BEN

CREE

21

One area of "Dee Jay andRadio Monthly" that hasdrawn an enormous amountof correspondence has beenRoy Mack's "HospitalRadio Notebook". Below isjust one example from themany letters received thismonth.

3 Orchard Close,Hurley,

Atherstone,Warwickshire

I'm sure like many otherDJs on reading yourmagazine I find greatsatisfaction with the way it ispresented.

I am mainly writing in theinterest of your "HospitalRadio Notebook" by RoyMack. It seems that theprospect and chances ofbecoming a Hospital DiscJockey is fairly grim unlessthe Hospital have a radioset-up installed.

Could you, therefore, passon my interest to the nearestHBS organisation as I wishto offer my service as a DJ.I am involved in Disco workon a part-time basis and havemy own equipment andrecords.

Yours sincerely,Jon James.

(Editor: That is a typicalrequest from the many wehave received, and Roy haswhere possible put theperson concerned in touchwith the local HBS. It was,therefore, with some dismaythat I read the followingextract from a letterreceived from David Coates,Vice -Chairman of theNational Association ofHospital BroadcastingOrganisations; commentingon our February Hospitalfeature:

"Because of thejuxtaposition of the diarynote with the articleadvocating that DJs shouldjoin or form Hospitalbroadcasting groups, I havereceived many otherenquiries from all parts of the

country, from DJs asking tobe put in- touch with their -nearest HBA. (Ed: Now thatsounds good . . . but nowread on . . . ). I have readthe article very carefully andI must point out that theviews expressed are contraryto those of the NAHBOExecutive and of thecommittee of my ownorganisation; no mention ismade of visiting patients oreven playing THEIRrequests.

"In fact, the article setsout neatly all the attitudeswhich cause my committeeto view with a jaundiced eyeany approach from enquirersannouncing themselves asDJs. We have found withoutexception, that their sole aimis to produce programmeswhich are cheap imitationsof BBC Radio 1. To our wayof thinking, this is apathological way of runninga Hospital broadcastinggroup - we don't exist for thefurtherance of the careers ofDJs, but to relieve boredomand alleviate the fears ofsick people and by far ourgreatest asset is the limitedaudience which enables us togive the programmes apersonal touch."

Oh dear Mr Coates, whata blinkered attitude. Evenyour own organisationsChairman Ken Fulstow,writing to us last November,acknowledged that manynationally known DJs andgeneral broadcasters arrivedvia Hospital Broadcastingand are still doing so.

The article in question, thefirst of a series by ColinMarchant - himself amember of a very activeHBS - was devoted to thequestion of starting ahospital station - the questionof visiting patients andobtaining their requests(which obviously we accept asa vital part of any HBS)will most certainly becovered in full in one of hislater features.

It is, however, the blindrejection of DJs which mostbothers me, coupled with theattitude that programmesshould not resemble Radio 1.Certainly no HBS in its rightmind would attempt to do thisfor the whole of its broad-casting schedule, but there isa place for this type ofprogramme - and then it isbest presented by someonewho knows the music and thetechniques -a DJ.

Remember, Mr Coates,there is no substitute forprofessionalism in any sortof broadcasting and the localHBS is after all often incomplete competition with theBBC and eventually no doubtother broadcastingorganisations for the patients'attention, and it is,therefore, vital that all theprogrammes are presented asprofessionally as possible -there is no place for thededicated enthusiasticamateur!

I have encountered this sortof attitude before myself inconnection with local hospitalbroadcasting and it is fair tosay that at that time theprogrammes put out by thatparticular organisation weregenerally of a pretty lowstandard.

It is also wrong surely todampen enthusiasm forvoluntary work of this naturein anyone and provided themanagement of the station isgood and providing he or shepasses the appropriateaudition - the fact that theyhave been or still are a DJshould not enter into it.

What do other readersthink about this point? Pleasewrite and let us have yourviews.

Romford,Essex

Dear "Tame Disco DJ",When you put your list of

records in "Dee Jay andRadio Monthly" do youthink you could put in whichis a "rocker" and which is a"slowee"?

I have ordered severaldiscs from your list had havebeen slightly disappointedwith them, and could yougive me the number andlabel that Randy Pie andFamily are on?

Cheers,S. Seath

0(Editor: Good idea Mr

Seath and one that we'll beincorporating from nextmonth when we shall beexpanding this particularsection to two pages. Therecord I assume you refer tois "Queen Of Dream"!"Train Goes On" onAtlantic K 10248, which was,incidentally, listed as a Discopick in our February issue.)

Durham City

How about a columnfeaturing DJs complaints anddislikes? I, for one, find itmost annoying when, whileone is trying to cue a recordthrough headphones, peopleask you for requests anddon't seem to appreciate thefact that you cannot hearthem!

Do any other readers havethe same problem!

All the best,Paddy Mac Dee

(Editor: Well do you?Please write and let us knowyour pet complaints anddislikes.)

Miss Wallis of 30Emerson Road, Harborne,Birmingham 17 has written asshe puts it as "an olderreader" of "Dee Jay andRadio Monthly" asking if anyreaders can assist her inreplacing a collection ofcuttings, pics, etc of FilmStar items covering theperiod 1929-1940. Anyreader who may be able toassist should write to herdirect.

If you would like to writeto "Dee Jay and RadioMonthly" on any subjecthere is the address to sendyour letter:

"You Tell Us""Dee Jay andRadio Monthly",Willmott House,43 Queen Street,Hitchin,Herts.

22

A. LLIV 4rAts

scaped from theainland early iti; year,

has again been to Hollando obtain the latest newsbout Radio Caroline. He '

rought back this report:"Radio Caroline has made

emarkably good progresssince my last visit. Thestation has plenty ofcommercials, and what ismore these have beenobtained without takingadvertising revenue fromRadio Veronica or RadioNordsee International.Sensibly, Caroline is wooing adifferent sort of advertiser -the small business. Caroline'srates are cheaper than anyother radio station in Europe.Local restaurants, bars andclubs are advertising, as wellas tape recorder, recordplayer, radio and televisionretailers. There is also somenational advertising, andadditional finance is obtainedfrom a religious broadcast -the Maasbach (pronounced`mars bar') Hour of GospelSongs and Meditation.

"Already, Radio Carolinehas an impressive headquartersin The Hague, which has beennamed 'Caroline House'. Itook a photograph of themain office, and you can seeit is both spacious andmodern. This is one of threerooms on the first floor, andthe other two were also in useas offices. The three rooms onthe second floor were empty.I understand they are to beconverted into studios. Thereis no ground floor because theoffices are built over a largecar -port.

"While still on land, Icompared Caroline's signalquality with that of RNI andVeronica. There was verylittle to choose between them.

b0otwove.ws, comment and features -compiled

each month by the fra

Caroline's main office in The Hague

Debbie England at the control panel

and clear, but it has to beremembered that the ships areanchored only a few milesfrom The Hague. I was toldthat Radio Caroline soonfades as you travel inland.Surprisingly, some morsecode was breaking into theCaroline signal and nobodyseemed to know why this washappening.

"The programme policy hasbeen changed drastically.Complaints about theprogressive pop format werereceived from listeners inEngland and Holland. Therewas also a risk thatadvertisers would withdrawtheir support.

"The station has nowswitched to a Top 40 format,and re -introduced theCaroline Countdown of

`sure -shot'. There is also astation `sure -shot' and moreflashbacks. The new format isstrictly adhered to, exceptafter midnight.

"The DJs chat about theirduties on board, the tender,and even the other off:shorestations. On Saturday,March 3, they took theirlisteners on a guided tour ofthe Mi Amigo.

"There have been somepersonnel changes. Gerard vanDam is no longer seen at theoffice, nor does he do anybroadcasting, but I believehe is still associated with theproject.

"Spangles Muldoon is nowin charge of the operation inHolland. He is alsoprogramme director. TheDutch disc jockeys (some with

are:Ron de LoosPeter ZonnevelleBert BennettRon DolmanPeter BrianMike StormPaul Dubois"The line-up of British DJs

reads as follows:Tony AllenNorman Barrington -SmytheDick PalmerGraham GillAlan ClarkAndy ArcherSteve England - and his wife,Debbie England"Steve and Debbie England

come from Deal in Kent.Previously, they ran athree -unit discotheque businesscalled Zap Discos. It had beenSteve's ambition for years tobe an off -shore radio discjockey, but I wondered whatDebbie thought about it all!

"In fact, she said she lovesthe life on the open sea.She's proving an excellentsailor. As well as being a discjockey, Debbie is also themain cook on board - and avery good one too, so I wastold. She has plenty ofexperience as a DJ, and asyou can see from the picture,she looks completely at homebehind Caroline's control panelin the main studio.

"I cannot recall any otherfemale disc jockeysbroadcasting from a ship.Tineke (Radio Veronica)produced her programmes onland. Radio City employedthe occasional girl DJ, butthey were stationed on a fort.The only other example ofwomen working on a FreeRadio ship which springs tomind is the female crew onboard the King David(Capitol Radio).

"Conditions on the MiAmigo are now very good.

. .

repaint. This, and most ofthe other manual work, isbeing done by the disc jockeys,thereby eliminating the needfor a Dutch crew. Apart fromsaving money, this arrangementhas improved morale.Friction between crewmembers and broadcastershas in the past been a problemfor Radio Caroline as well asfor other off -shore radiostations.

"The supply situation(which at the beginning waspoor) has now improved.Even if storms were toprevent a visit by the tenderfor three weeks, there wouldbe no shortage of food, water,oil, or the other basicessentials. As a furtherinsurance against running outof supplies in bad weather, adinghy is kept on stand-by sothat supplies could be droppedby helicopter.

"In case readers arewondering why the radioships do not have theirsupplies dropped directly on tothe deck by helicopter,perhaps 1 should explain thatthis is not possible. Ahelicopter would have to keepwell clear of the aerial mast.

"The chief radio engineeron board is Chicago. He isassisted by Robin Adcroft.

"The most important jobin hand at present is theerection of the new aerialmast. This is a very trickyoperation at sea. The basewas already in position, and Iwas lucky enough to be onboard to photograph thesecond section as it wasbeing hoisted into positionover the base. Despite theefforts of the three men inthe'picture, it provedimpossible to fix the secondsection permanently. Theinsulators did not fit the metalhousings in the base.

"There are more sectionswaiting on the quayside atScheveningen, and still moreto come when these havebeen transferred to theMi Amigo. The mast willeventually be 60 metres high.

"Naturally, I was interestedto find out about Caroline'sbroadcasting plans when thenew aerial is complete and inuse. The current proposal isto use the 50 kW transmitterfor a 24 -hour English -languageprogramme on 399 metres.The 10 kW transmitter wouldbe used for the Dutch serviceon the present wavelength.This plan may be changed,of course, but obviously there

Britain will soon have apowerful Free Radio serviceagain in the not -too -distantfuture."

Dutchpartyis profreeradio

More news from thecontinent. Mr Keja, thebroadcasting specialist of theDutch Party for Freedomand Democracy, is reportedto have announced thathis Party does not agreewith the philosophy of theinternational treaty designedto prevent off -shorebroadcasting. He said thatit was not in line with theprinciples of moderngovernment to punishpeople for deliveringessential supplies to peopleat sea. He maintained thatthe radio ships anchoredoff Holland act completelylegally, promptly pay their

a service which is not offeredby the various broadcastingunions officially permittedto use the Dutch state radiostations. This is wonderfulnews for Free Radio inEurope. It is a significantstatement because, as regularreaders will know, the Partyfor Freedom and Democracygained six seats in the Dutchgeneral election lastNovember, and is one of theparties which supports thepresent coalition government.

We have opened a Beneluxoffice. FRA Benelux Wasplanned to enable us toprovide a more comprehensivenews service for readers of"Dee Jay and RadioMonthly" - but already thenew arrangements are alsohelping us to be more activein Holland, Belgium andLuxembourg. The new officehas taken over all existing,/FRA activities in thesecountries.

We have also launchedthe Free Radio Association"drive-in show" to provideadditional publicity for allthree off -shore stations inthe Benelux countries.Listeners to Radio Veronicaand RNI will know that bothstations have a "drive-inshow", but may not knowthe meaning of this term.It is not a continentaladaption of the Americandrive-in cinema! It is simplythe Dutch term for a mobilediscotheque.

radiobooksHow to Become a RadioDisc Jockey

This is a ratherheavy -going manual ofinstruction written in 1971for the would-be Americandisc jockey. It is anattractively bound hardbackwith 253 pages and an index.

In the words of theauthor, the book is"expressly formulated toserve a dual purpose: alesson -by -lesson course forclassroom instruction and aself -teaching guide for thestudent disc jockey whoprefers to go it alone, withhis tape recorder, in theprivacy of his own home".

Some parts of the bookdeal with matters which arespecific to American radio.

disc jockey, the most usefulsections are probably thosedealing with relaxation,voice control, pronunciation,news reading, interviews andcommercials.

We can recommend thisbook only for the reallyserious aspirant, or for theexperienced DJ who feelshe could benefit from arefresher course.

. A limited number ofcopies are available from theFree Radio Association atthe price of £3.40, whichincludes postage and packing.

World Radio and TVHandbook

The 1973 edition has justbeen published. It has morepages, and a mostbeautifully designed cover.The main section of thebook contains detailedinformation, by country,of every known radiostation in the world. Thisincludes names and addressesof broadcasting companies,names and titles of leadingofficials, lists of broadcastingstations including frequencies,wavelengths, transmitterpower, call signs, andprogramme information.The price of the new editionis £3.20 including postageand packing, and copiesare now available fromthe FRA.

How to Listen to the WorldThe new edition of this

publication is also nowavailable from the FreeRadio Association. The pricehas gone up, which was tobe expected since theprevious edition waspublished in 1971. But thequality of the paper hasgone down, which was notto be expected! The paper isso thin that the picturesand words in heavy typeshow through. No FreeRadio section this time,either! All in all, adisappointment, though thebook will no doubt continueto appeal to DX-ers.Price £2 including postageand packing.

If you would like to orderone or more of these books,please send details with yourname and address, andcheque or postal order(s)for the total amount, to theFree Radio Association,339 Eastwood Road,Rayleigh, Essex, SS6 7LG.Please make postal orders,

`PEOPLE DON'T REALISE HOWDIFFICULT IT IS TO BE A

DISC JOCKEY'

When you read thisconversation with Branka,the famous Radio 1 tea lady,you'll have to imagine thebroken accent which,through her chat on theJohnnie Walker show, hasmade her the one and onlytea lady ever to become ahousehold name.

P.P.: "Have you beeninterviewed before?"

Branka: "I've just been ina documentary film aboutRadio 1, which will be shownin the cinemas from April 1."

P.P.: "So you'll be a filmstar at last!"

Branka: "Oh no. I haven'tgot any ambitions."

P.P.: "How long have youbeen in England?"

Branka: "Four years.When I first arrived I was,of course, an au pair girl,and then I worked in ahospital."

P.P.: "I know you've beenwith the BBC for two yearsand, because of theJohnnie Walker show, you'vebecome very well known. Doyou think you'll getpromoted?"

Branka: "I don't thinkthere is any higher position!If anything different comesup that I fancy I mightapply, but I don't thinkthere's anything higher to dowith making the tea!"

P.P.: "Do you get paidany more money forspeaking ?"

Polly Perkins talks to

BRANKA

Radio l's tea lady

Branka: "No. I don'tthink I'm allowed to,because I'm not a member ofsome Union or other. I'veheard that Mr Muggeridge,who is the head of radioone, was telling someonethat he was pleased with me,which is very nice."

P.P.; "How do you get onwith the Dee jays? Are theya lot of fun?"

Branka: "Most of themare. Jimmy Young is a bittoo serious perhaps, butthey're all friendly andnice."

P.P.: "No complaints atall?"

Branka: "My onlycomplaint is that I could dowith some more wages!"

P.P.: "Couldn't we alldear! Who are yourfavourite dee jays?"

Branka: "Johnnie Walkerand Rosko, but I like all ofthem really."

P.P.: "It's funny how somany people know yourvoice and name but notmany know what you looklife!"

Branka: "It is funny.

When I meet somebody at aparty and they find out whoI am they say that theyexpected me to lookdifferent. Most of them

me to be older andfatter!"

P.P.: "I always imaginedyou to be tall and slim andSwedish looking. Anyway,now everybody can look atour nice photograph of you.You don't seem at allstage struck."

Branka: "People say to me`Do you feel like a star?'and I say 'No, I don't feellike a star, I just feel like atea lady!' There's no time toget bigheaded or stagestruck, because we have toserve tea to all the stations,not just Radio 1 and wework really hard."

P.P.: "Doesn't it feelfunny, chatting on the radioone minute, knowing thatthousands of people arelistening to you, and thentrolling off with your urn orwhatever. It must feel a bitlike a double life."

Branka: "Oh no. I don'tthink about it. I forgetwhat I've just said over theair because I've got to get onwith my job."

P.P.: "Would you like tobe a disc jockey?"

Branka: "No. I think it isvery difficult. People don'trealise how difficult it is tobe a disc jockey. Every twoor three minutes they have

27

got to say whatever is thefirst thing to enter theirminds, and yet they've gotto be very careful what theysay!"

P.P.: "Do you ever worrythat you might say the wrongthing?"

Branka: "Not really.Sometimes I pronounce someEnglish words in a veryfunny way, and thenJohnnie warns me. Once heasked me if I'd had a niceholiday and I said it was avery peaceful time, but Ipronounced peaceful not inthe right way!"

P.P.: "Do you think there'smuch rivalry between thedee jays?",

Branka: "Well, I thinkthey'd all like the earlymorning show, because lotsof people are listening as theyget ready for work, or ontheir car radios on the wayto work. If all the discjockeys did say six monthsat the seven to nine show itwould be nice, because lotsof people are working fromnine until five and they don'tknow who the other discjockeys, like Dave LeeTravis, are."

P.P.: "You'd like life atRadio 1 to be fair."

Li... on lop of the Pops'it shouldn't just be a

few faces. I think

they should all

have a chance."

Branka: "Yes, I think so.Even on "Top of the Pops"it shouldn't just be a fewfaces. I think they should allhave a chance."

P.P.: "Would JohnnieWalker like to do "Top ofthe Pops?"

Branka: I don't know. He'snot very ambitious. Iremember there was asinging thing on TV with theYoung Generation and he

didn't want to do it becauwhe said he couldn't sing. Ithink he is happy with hisprogramme. He gets lots oflovely letters and answersthem himself."

P.P.: "What do you thinkpushes people to writeletters?"

Branka: "I think lots ofpeople are very lonely. Somepeople write to Johnnie as ifhe were their son."

P.P.: "Do you get manyletters ?"

Branka: "Yes. Forinstance, I had one the otherweek from a woman who wasgoing into hospital for anoperation and was all alone.She asked me to write to her,which I did."

P.P.: "How do you feelabout complete strangerswriting to you? Do you likeinvolving yourself?"

Branka: "Well, thisparticular letter made mesad for a while, but I don'tthink I get particularlyinvolved. Most of the peoplewrite and say things like Isound as if I'm a niceperson!"

P.P.: "People obviouslyidentify with you."

Branka: "Oh yes. Awoman wrote and toldJohnnie Walker that she hadnamed her baby after me."

P.P.: "Now, a questionyou must get asked a lot. Islife at the BBC full of wildparties?"

Branka: "Not at all. Sorryto disappoint everybody!"

P.P.: "The question is,were you disappointed?"

Branka: "In a way - yes!"

© Polly Perkins 1973

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musing with moffat

I can only imagine he gothis inspiration from thoseGovernment reshuffles thattake place from time to time.The Controller of Radios Iand 2, I mean. You knowthe sort of thing. "TheMinister without Portfoliofor Hitchin East takes overas Minister of Food. TheChief Filing Clerk at theHome Office becomes ForeignSecretary" and so on and soon. I can just picture thescene in his suite of offices inBroadcasting House, London.Controller (hereafter referredto as "C") clapping his handswith glee, addresses Percivalde Carteret (hereafter referredto as "P"), his 2nd inCommand.

C: Percival, my boy, I'vehad a brainwave. Let'sconfound the listeners, shallwe, and move all the DJsaround. Could get some newblood in whilst we're about it.

P: Too right, Sport. Tellyou what. It would look goodin the papers if we pardonedone of our bad boys. Anamnesty, reprieve, if you seewhat I mean. Give himanother chance.

C: Well, we've only gottwo in disgrace. I'm nothaving the other one so it'llhave to be KENNYEVERETT. Put him downfor a series but nowhere nearany news summaries, mindyou. I couldn't stand all that

bother with the Minister ofTransport again. Put years onme, that did! Now what aboutthe regulars? We could moveTONY BLACKBURN fromhis early morning spot. Lethim have a bit of a cuddlewith that wife of his.Wouldn't mind a cuddle withher myself, come to think ofit.

P: But, Controller, Iunderstand he's just boughthimself a new hi-fi stereoalarm clock.

C: I can't help that. He'llhave to flog it. Move him tomid -morning or chuck himout. He's had it too good fortoo long.

P: The listeners won't likeit, Chief.

C: So what! Since whenhave we bothered about thelisteners. And more foreigners,that's what else we need.Actually heard a newssummary this morning readby an Englishman! We'veonly got that Scots chappie,haven't we? Stuart Hibberd.

P: Henry, sir.C: Alright. Henry Hibberd

then. No, I'm wrong. There'sthat Irish joker, isn't there?Appears on ITV. I prefer itwhen they work for ITV.They don't want so muchmoney from US. Fat fellowhe is, plump as a goose butalways telling everyone elseto slim.

P: TERRY WOGAN, that

is.C: Always thought it was

Wigan. And we mustn'tforget dear old David Jacobs.It's a pity though that hespeaks such beautifulEnglish. Lets the networkdown in my opinion. Have aword about it with him, willyou, Number Two. See if hecan't sound a bit Australian,or even Indian would do.Like Peter Sellers.

P: I've made a note ofthat, Boss. Er, if I may, sir,I would like to suggestsomeone new to BritishBroadcasting. Mind you, he'snever even seen a microphonebefore.

C: So much the better.Who is he?

P: Comes from Soho. He'sa Chinese waiter. Doesn'tspeak much English but he'sgot a lovely smile.

C: Splendid. Put him on athree year contract. For mypart, I did have in mind thatlift attendant who stuttersand then there's MargaretPowell. She's always goodfor a laugh!

P: Might get a free chickenor two from her commercialsas well.

C: Then there's DIDDYDAVID HAMILTON.

P: Yes, providing he canfit us in between doing hisstint on Thames Television,Pantomime and the KenDodd Shows.

C: Tell him to use theBBC helicopter if necessary.

P: Two other things, sir.What about SAM COSTAand Frank Chacksfield?

C: They're both on a50 year contract. Can't shiftthem. What's the other point?

P: It's the Controller ofBBCtv, sir. He's had ahigh-level meeting with theHeads of ITV and they'veasked if we could create aspecial DJ programmerunning from five untilmidnight.

C: Five in the eveninguntil midnight? Seven hours?

P: Yes, Boss.C: Whatever for? And

who does he want to do it?P: Mrs Mary Whitehouse,

sir. To stop her fromwatching the telly.

C: A master stroke, capitalidea. Well, that's that donefor another year. Brandon,Murray, Travis, Haig.

P: Not Haig, sir, it'sWalker, Johnnie Walker.

C: Yes, well all those wecan move around anotherday. Talking of whisky.Fancy a few in the club,Number 2?

roger moffat

IN NAT MONTH'S

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29

Free RadioCampaign

Welcome once again to thefree radio news pages. Eachmonth all the latest news fromthe sea, and our futurecommercial radio stations,brought to you by theCampaign for IndependentBroadcasting and Free RadioCampaign. Together werepresent the voice of you,the listening public.

London Independent RadioAs reported in last month's

"Deejay and Radio Monthly"the IBA appointed the firsttwo contractors for the localindependent radio stations inLondon. They wereannounced during February,unfortunately just too late toinclude in last month'sarticle.

It is rather difficult to givemore details at the presenttime about the stations,because a controversial factabout both stations is thatthey have not made firmcommitments about theirfuture plans. Other potentialoperators are now wonderingif this has set a precedent forthe other contracts. If this isthe case it is bad news forgroups like ATV, ThomsonNewspapers etc., but goodnews for the smaller groups.At the present time bothcompanies, Capital Radiowho were selected from eightapplicants to run the Londongeneral entertaindient station,and London Broadcasting,who were selected from fiveapplicants to run the newsstation, are sorting out theirrespective organisations, anduntil they have done this theywill not be announcing manydetails. We can now onlywait and see what ideas theycome up with.

One thing that is known isthat the BBC are shaking uptheir Radios 1 and 2services; included in theshake-up is Jimmy Youngbeing transferred from Radio1 to Radio 2 (at last!) andbringing back KennyEverett (at last!). Memoriesare a bit hazy, but didn't theBBC once say they weren'tafraid of commercial radio.

CAMPAIGN FORINDEPENDENT C113BROADCASTING

Commercial radio-Beeb shake-up?

During March the IBAadvertised for potentialcontractors for the Swanseaand Tyneside areas. Theapplications have to bereceived by the IBA in abouttwo months' time, and ofcourse we will let you knowof any news. One potentialcompany in Swansea are soconfident of getting afranchise that they arealready advertising for aGeneral Manager.

Radio IBA/Radio VeronicaWe would like to thank

the many Veronicasupporters who have written,as we suggested last month,to the IBA about the use of557 kHz. Thank you, wehope that you have beensuccessful. One of the trademagazines for the advertisingindustry also took up thesubject and interviewed theMinistry of Posts andTelecommunications, theIBA and "Bull" Verwey ofRadio Veronica. Thereporter was told by the IBA

that they were only testingfor field strength, and not thefrequency. That seemsstrange, one would havethought that they would havetested for field strengththe frequency they weto use, as another freqmay have slightly differentcharacteristics. "Bull"Verwey was surprised thatthere are so many peopleinterested over here. Well,there are thousands of uswho like to listen to RadioVeronica, so what chances ofan English programme, ormore English requests? Onthe subject of RadioVeronica many of you havewritten in to us suggestingwe write more about thisstation. Well, as a result wewill be doing a specialVeronica feature in aforthcoming edition of"Dee Jay and RadioMonthly".

Radio Nordsee InternationalA new disc jockey has been

hired by the station, namely

Dee Jayportrait

The first of our dee jayphotos this month is of a newvoice to radio, SteveEngland. Steve hadpreviously been running hisown disco, ZAP Discos fromDeal his home town. Hejoined Caroline soon afterChristmas and is destined tobe a really big name in radiosoon. Steve can be heardnightly, when he is aboardthe ship, between 18.00-21.00. The above photographwas taken just before hejoined Caroline. Pic courtesy S. & D. F.R.C.

Steve King. Steve hails fromNewcastle where he has beenworking as a discothequedeejay for Rank Ballrooms.Steve is a relief DJ on theship, and replaces MarkSlate who left in February.If you think the news onRNI has been getting better(or worse!) lately, this is dueto their News ServiceCo-Ordinator, Ian Anderson.Ian previously worked forRadio Geronimo, whichreaders may rememberbroadcast a few years agoover the transmitters ofRadio Monte Carlo. Ian canalso be heard doing theoccasional programmes forthe station. For those of youwho have wondered what hashappened to Rob Eden, wellhe still works for the stationas an administrator. Ofcourse these are all inaddition to the regular RN Iteam of deejays; "Daffy"Don Allen; Mike Ross;Arnold Layne; and"Rockin' " Brian McKenzie.

Listeners to Brian'sRock 'n Roll show onFebruary 23 weredisappointed when DonAllen interupted theprogramme just beforemidnight to say that theboat had broken its anchorchain and was drifting intoDutch territorial waters, andtherefore had to ceasetransmissions. The next day,however, they were back onthe air, and a new anchorchain was fitted. It was allvery exciting for thoselistening, but we are gladthat we weren't on board atthe time!

Radio CarolineAt the time of writing, work

is under way errecting thenew aerial mast on the MiAmigo. If the present rate ofprogress is maintained itshould be completed by thetime you are reading this,and Caroline will be on fullpower of 50 kW. Towardsthe end of February one ofthe insulators on thetemporary aerial started toburn away, causing some

30

very strange effects to thereceived signals. Caroline'stwo engineers Pete Chicagoand Lee managed to replaceit in double-quick time.

Another interesting snippet,was that because of the roughweather experienced recently,Caroline's tender ship washaving difficulty gettingsupplies and deejays aboard.They tried to overcome theproblem of the supplies byusing a rubber dinghy toferry them across, needlessto say a lot of them endedup in the sea. However DJAndy Archer was so keen toget back on the Mi Amigothat he too went via thedinghy which was guidedacross by a frogman.Although Andy arrived safelyon board, none of the othersfelt inclined to take to thewater and decided to waitfor calmer weather.

Caroline's programmes arestill a little changeable, butit seems clear that we nowhave a Dutch service from06.00-18.00, and the Englishservice from 18.00-06.00.Some special shows to listenout for, are Andy's"progressive music show"every night at midnight.Caroline's "Top 40 Show"on Saturday afternoons andthe "Caroline Club RequestShow" on Sundays at 14.00,which is presented in bothDutch and English andfeatures requests forCaroline club members.

We have just heard thatthe Dutch postal authoritieshave refused to deliver lettersaddressed simply to"Caroline House", as thestation have been callingtheir address. For thisreason all letters must beaddressed in full. So theaddress is, Radio Caroline,Caroline House, vanHogendorpstraat 16, DenHaag, Holland.

Listeners to the threeoff -shore stations willprobably have noticed thatsince we put the clocksforward one hour, the timesgiven out over the air oncemore agree with British time.Also it means that you willhave add one hour to all thetimes printed in the RNIprogramme guide we gaveyou last month.

Annual Boat TripThe Dutch FRC office

would like to thank all the"Dee Jay and RadioMonthly" readers who have

expressed interest in thenext FRC trip out to sailaround the three stations. Thedetails have now beenfinalised and the trip willtake place at the end of July,and this time a larger boathas been hired toaccommodate the increaseddemand. Many RadioCaroline personnel will becoming on the trip with us,and later for a party on theScheveningen pier. If you areinterested send your letterwith an International ReplyCoupon to FRC at Londonand we will forward it toPRC Holland.

STOP PRESSIt was announced by the

IBA just as we were going topress that the tests they arecarrying out on 557 kHz forthe London IndependentRadio Stations are nowoperating 24 hours a day,to enable the authorisedco -channel users of thefrequency, Finland andSwitzerland to measure thestrength of the IBA'snight-time sky -wavesignals.

Also announced by theIBA the names of thecontractors for the

Birmingham, Manchesterand Glasgow LocalIndependent Radio contracts.They are: BirminghamBroadcasting Ltd; GreaterManchester IndependentRadio Group; and RadioClyde Ltd. The ManchesterGroup include as itsManaging Director PhilipBirch (ex -Big L chief), SirPaul Bryan MP (ex -Conservative ShadowPostmaster General) andDr Michael Winstanley(ex -Liberal MP, who spokeon broadcasting) are alsoboth directors of thecompany.

Dee JayportraitThe Big Wide and Wonderful"Daffy" Don Allen

Don originally came fromCanada but has lived inEurope for many years now.He started his off -shorecareer in the days when wehad many stations off ourcoastline. He then worked onRadio Caroline North in theRamsey Bay off the Isle ofMan. When Caroline closedin 1968 he crossed the waterand joined the British Islesonly remaining commercialstation Manx Radio, wherehe stayed several years. Herecently returned to off -shorework by joining the RNIteam as ProgrammeController and DJ. Don is ofcourse best known for hisCountry 'n WesternJamboree programme, whichcan be heard at midnightevery Saturday, as well as

Pic courtesy Don Allen

his regular daily shows at22.00. Like all the other RNIDJs he has given many`plugs' to "Dee Jay andRadio Monthly" and theFRC/CIB page, and wethink he will give even morenow! Don can also be heardregularly on BBC RadioMerseyside.

Free Radio CampaignWe can supply you with

posters, car stickers etc, tohelp publicise the off -shorestations. We also publish aregular newsletter tomembers. For details justsend a foolscap sae to FreeRadio Campaign, BM-FRC,London WC1V 6XX.

Campaign for IndependentBroadcasting

Annual membership isonly 38p, a subscription mostpeople can afford. Eachmember will receive two free

CIB car stickers printed inthree colours, membershipcard, policy statements, fournewsletters each year. Thecurrent newsletter includesnews about the IBA,off -shore radio, andEXCLUSIVE Garner TedArmstrong's version of theHistory of Off -shore Radio -this has to be read to bebelieved. If you wish to join,or simply want more details,please enclose a foolscapsae and send to, Campaignfor IndependentBroadcasting, 13 Ashwood

House, London, N.W.4.Next month we have a

special issue for you. Thereis an exciting competitionbeing run by the magazinewith a magnificent first prize,and there will be a specialCIB/FRC article as well. Totell you about it would beletting a big secret away, butbe assured you will want toread it, so if this is not yourcopy of "Deejay and RadioMonthly" make sure youorder next month's copy wellin advance. See you onApril 25 for the May issue.

31

DX CORNER dive JenkinsWhilst worldwide coverage

is not possible with themedium and long wavefrequencies, they can howeverprovide a vast amount ofinteresting broadcastsespecially for the musiclistener. After the hours ofdarkness, when the mediumwave signals travel further,you have a wide selection ofstations to choose from. Nomatter how small a receiveryou should easily pick upmost European countries,many of whom have specialbroadcasts in English toBritain.

Most of the East Europeancountries use the mediumwaves to broadcast theirpropaganda, you thereforecannot fail to hear RadioMoscow or the PdlIsh RadioWarsaw sometime during theevening. Radio Prague alsocomes in well and theirprogrammes are one of themore interesting of thecommunist stations. Astation with a completelydifferent point of view andfar more enjoyablebroadcasts is Radio Portugal

from Lisbon, try their 397metre outlet at 22.45-25.30Gmt each evening when theybroadcast in English. Onestation for pop fans is RadioSweden on 254 metres,where at 22.45 Gmt eachSaturday English DJ RogerWallis presents his specialpop show. This "SaturdayShow" was once dropped butfans of Roger, whoincidentally co -wrote a recentSwedish Eurovision SongContest entry, soon had thatdecision reversed. Althoughthe jokes rival TonyBlackburn's this showfeatures top Swedish groupsas well as more well knowngroups.

Another station worthlooking for is Radio TelefisEireann, the IrishBroadcasting Organisation,a number of musicprogrammes are aired duringMe week, including a veryenjoyable country andwestern programme. RTEa commercial station by theway, and the lest frequencyto try is the 100 kW Athloneoutlet on 530 metres.

If it is simply music yourequire then the variousGerman stations will providethis. Like most continentalstations they play a numberof records consecutivelywhich is great for listeningbut not so good if you aretrying to identify a station.

Spain also has many musicstations which carry fastmoving programmes, theyalways remind me of myholidays in that country, forit seemed that every souvenirshop had the local popstation going full blast.

Today, the medium waveband is very crowded andtherefore if you are going toattempt serious medium waveDXing then you shouldconsider using a mediumwave "loop" antenna withyour receiver. This is a mustif you are interested inreception of North Americanstations. Stations from thiscontinent normally come inwell after midnight, but youcould try CJON St John'sNewfoundland on 322 metresor WINS, New York Cityon 270 metres, which are

often noted before midnightin Europe.

If you would like to findout more about medium waveDXing I suggest you write tothe Medium Wave Circle at7, The Avenue York,YO3 6AS. This clubpublishes the authoritiveMedium Wave Newsmonthly during the mediumwave DX season.

Changing our band a briefmention of two long wavestations, dial the frequency of1667 metres and tune into theFrench language stationEurope No 1. Thiscommercial station is alsoknown as Saar Louis and islocated not in France but inGermany. Moving along thedial to Allousis on 1829metres, we find theprogrammes of France Inter,which in the tourist seasonhas short English newsbulletins, and the occasionalmulti-lingual pop show.

In future DX corners Iwill give more detailedprogramme information onthese and other stations.

CHRISTIAN'S

SOUL

SOUNDS

Hi everybody, thismagazine gets better withevery issue! The Editor(large Ben) has agreed to letme scrawl a few lines aboutSoul music each issue, andas so many DJ's in discosplay Soul music these days,I thought it might be anidea to start off giving somesort of record companybreak down.

There's Tamla - whichspeaks for itself - Hot Waxand Invictus, samedistribution from EMI. A lotof good sounds but theydon't always get as manyplugs on the radio as theyshould. Chess and Janus -distributed by Phonogramhave been recognised justrecently and have a lot ofgood things in the pipe line,

the first of which was theDetroit Emeralds hit, look

lit for more. Buddah havethe bear or so been

recognised as well, and aspnow leaping ahead with )

people like Curtis 1VtayfiCld,The Tramps and BarbaraMason, and watch out for"Superfly". Atlantic - wellthey have quite a fantasticcatalogue and are a verytogether company under theloving care of leaping BillFowler, whose brotherincidentally is label managerof Tamla. Stax is -the AX,very strange thins going onwith Stax - I'm not surewhether they will stay withPolydor too long - it's just afeeling I have - but recently(a little trade informationhere!) their publishingcompany East MemphisMusic, has been taken over,or rather is being handled byIsland Publishing. Whoknows where the futurelies, I hear they havedistribution problems inAmerica at the moment totop everything, anyhowthey are still getting the hitsand that's what counts!

Who's left ? Jay Boy,President and the newestSoul label, Contempo -

formed by the magazine"Blues and Soul". Theyhave some good stuff -Major Lance, Richie Pitts(used to be a vocalist withthe Fantastics of "SomethingOld Something New" fame),plus a few old masters likeBob and Earl and JackieLee's "Duck", distributedthrough Decca, which can'tbe bad. Oh yeah, I nearlyforgot, Mojo, well they'renot doing too badly at all,I think they're going to be abit more selective with whatthey release in future, moreabout that at a later date.

Well, that in brief is thestate of the record companiesdealing with Soul music atthe moment. What about themusic itself? The latest thingto reach my imperiallug 'oles before this goes topress - "Master Piece" bythe Temptations, a greatrecord, fantastic, samerhythm as before. I'm offto see them shortly, andJunior Walker, in concert inGermany, I think it's alldown to interviews so listenout for them on 208.

What else, oh yeah, TheDramatics "The Devil IsDope" on Volt - nice oneCyril! but I doubt if it will

be released here - shame. Anice instrumental for discosis by Johnny Griffith called"Grand Central Shuffle"(import copy only, RCA) andthe latest dance from theStates is the Funky Robotfrom your old friend, yesyou've guessed it, RufusThomas, who used to be aDJ in Memphis actually.I've seen it done and it's nottoo difficult at all, supportyour local hernia, he saidlaughing.

Still, that's it for the firstcolumn from the pen of theChristian, watch out for anew soul programme onLuxembourg, startingMonday April 21.30 am - 3 am.

Keen on playin"em!Dave Christian

32

THE

DAVE CHRISTIAN

SOUL PROGRAMME

DISCOPICKSDISCOPICKSDISCOPICKOur introduction last month of special "Star Picks" was welcomed by both DJs and the reco

records which our tame disco DJ feels are the most important disco releases of the month fromJAY AND RADIO MONTHLY" offices. So once again 'orft we jolly well go' . . .

EDDIE KENDRICKSTHE MAIN INGREDIENTCHANCEJOHN LEYTONSTRANGE FOXKINCADETHE PLAYTHINGSB. J. ARNAUGEORDIETHE FOUR TOPSDR JOHNCLARENCE CARTERTHE BLOSSOMSBILL WITHERSNRBQJOE COCKERBARBARA MASONERNIE SHELBYTHE JIVING JUNIORSCORNELIUS BROTHERS &

SISTER ROSEBOBBY WOMACKHEADS, HANDS AND FEETTHE NEWBEATSEXUMAJAMES BROWN AND LYN COLLINS

BLOODSTONEJUNIOR ENGLISHTHE BIG THREEDERRICK HARRIOTTBUSTER PEARSONQUIET ELEGANCEPAUL DAVISTHE AVERAGE WHITE BANDSTREAKTHE ROCKETSSTACKRIDGEARETHA FRANKLINROBIN KENYATTAARTHUR CONLEYJ. GEILS BANDMAJOR LANCETHE FABULOUS ECHOESRICHIE PITTSBOB AND EARLOSCAR TONEY JRMIDDLE OF THE ROADWILSON PICKETTMAE WESTJEAN KNIGHT

star pickJACKIE LEEThe Duck (Pts 1 & 2)Contempo CR5

This new label, brought toyou by "Blues and Soul"magazine is really coming upwith some goodies - but thisone - wow! It moves alongfantastically and is guaranteedto get even the most obstinatecustomer dancing. Greatsound. (See above for theother titles so far available -distribution is through Decca.)

If You Let MeYou've Got To Take ItWash My Mem'riesDancing In The GraveyardRock and Roll BandI Really Mean YouStop What You're DoingBaby, Don't Get Hooked On MeAll Because Of You(I Think I Must Be) DreamingRight Place, Wrong TimeIt's All In Your MindTouchdownKissing My LoveAin't It All RightPardon Me SirGive Me Your Love (Love Song)Bend Over BackwardsStay

I'm Never Gonna Be Alone AnymoreHarry HippieOne WomanThe Way You Do The Things You DoMonkberry Moon DelightWhat My Baby Needs Now Is A

Little More Lovin'Natural HighI Don't Want To DieSome Other GuyGroovy SituationAin't It GroovyMama SaidBoogie Woogie ManPut It Where You Want ItBang Bang BulletI'm Henery The Eighth I AmDo The StanleyMaster Of EyesLast Tango In ParisTake A Step (In My Direction)Give It To MeThe Right TrackDon't You Know I Love YouEvery Couple's Not A PairHarlem ShuffleKentucky BluebirdThe Talk Of All the USAMr Magic ManGreat Balls Of FireDo Me

star pickGLADYS KNIGHT & THEPIPSThe Look Of LoveTamla TMG 844

Follow up to the verypopular "Help Me Make ItThrough The Night" - thisone is another beautiful slowsmoochy number, so ideallysuited for those late nightdisco moments.

rd companies - to recap they are thosethe many records received at the "DEE

Tamla TMG 845RCA 2313Alaska ALA2York SYK 551Parlophone R5978Penny Farthing PEN 802Pye 7N 45212RCA 2332EMI 2008Probe PRO 579Atlantic K 10291Atlantic K 10281Mojo 2027-013A & M AMS 7055Kama Sutra 2013-056Cube BUG 28Buddah 2011-154Mojo 2093-026UA UP 35496

UA UP 35502UA UP 35456Atlantic K 10292Jam 34Kama Sutra 2013-053

Polydor 2066 283Decca F 13382Pama PM 866Polydor 2058 343Trojan TR 7887Big Shot BI 616London HLU 10409London HLU 10410MCA MUS 1187Deram DM 376UK 32MCA MUS 1182Atlantic K 10288Atlantic K 10298Atlantic K 10294Atlantic K 10295Contempo C 1Contempo C 2Contempo C 3Contempo CR 4Contempo C 6RCA 2343RCA 2338MGM 2006 - 203Stax 2025 - 161

star pickT. REX20th Century BoyMARC 4

T. Rex's singles have allmade great disco records -and this latest is certainly noexception. Great beat and itreally moves along.

star pickKEEF HARTLEYDance To The MusicDeram DM 380

This number, by Sly andthe Family Stone, has alwaysbeen a firm disco favourite.This new version by Keef,although perhaps lacking alittle of the fire of theoriginal, is very, very goodand bang up to 1973. Don'tmiss it.

34

We often receivecontributions at the "DEEJAY AND RADIOMONTHLY" offices, andthese are always welcome.Not all are suitable forpublication, but I felt thatthis piece from DJ MarcPaul Burden on the life andtimes of a DJ abroadwould be of great interestto our many disco DJreaders, and anyonethinking of taking up theprofession.

Travelling had alwaysfascinated me ever since 1965when I enjoyed a cruise onss Nevasa. This educationaltwo week holiday inNovember of that yearorganised by the school,really made me appreciatethe opportunity of travel.from that moment intime wonderlust was bornwithin.

I suppose it is no surprisethat two years later I joinedthe Merchant Navy as aCatering Asst. aboardss Oriana, 2nd largest in theP & 0 fleet of cruise liners.Looking back I guess thiswas where it all started, thosethoughts of becoming afrontline radio DJ.

During my enjoyableworking life aboard theOriana I was assigned to theships Radio Office as tapeand record operator.A hostess announcing acomplete record show, whichwas relayed through topassengers' quarters, and thisboy merely making sure therecorded sound was played inthe correct running order.

Later I was elected by thecrew to become their DJ forthe weekly record requestshow. First I thought of anew name for the programme,it became CBU, the CrewBroadcasting Unit. I oftenwonder if it is still inoperation as I left the sea in1968, in order to try my luckas a DJ on land.

On leaving I didn't reallyknow'where to start, buteventually began work at theLocarno Ballroom inPortsmouth. That was inSeptember 1968. I stayeduntil February of 1970,leaving periodically for fresherpastures as they say, butalways returning to base.

An advertisement in oneof the trade papers requiringthe services of DJ's abroadwas simultaneous in my

sudden desire to travel onceagain. After an informalchat with the agent aboutthis and that, namely thepassport I didn't own, I gotthe job and was given twoseparate one month bookingsin North Jylland, Denmark,beginning March 1.

I had never travelledabroad on my own, beforethere was always the securityof the Merchant Navy or theSchool, so I must be frankand admit exitement andanxiety were combined. Onarriving at the port ofEsbjerg we were confrontedwith bitterly cold gusts ofwind, a thick blanket ofsnow covered the landinterrupted by footprints andgeneral traffic and logs piledhigh on the pavements. It wasa Sunday, like most placespublic transport was rare.I remember standing at asmall village railway stationwaiting for a connection, andfiddling about withtransistor radio to see if Icould tune into the BBC.

discotheques and Meccacircuit back home. I waswell equipped with recordsfrom James Brown, Sam andDave, Joe Tex, Tamla, andgeneral top 50 supersounds.In the space of a fortnightI had purchased £100 worthof new album material, andwithin that month I washooked on the heavierproductions, and continuedto play them.

In England as far as themajority is concerned,singular sounds are always ingreat demand in thediscotheques. However, inDenmark it is the other wayaround. It is the album thatreally counts and this is veryapparent because the chartsare smaller and compileddifferently. For a start thereis only a top ten as opposedto our top thirty. Whereassales are the basis ofcompiling our registered"fun thirty", in Denmarklisteners are invited tonominate their choice on apostcard as to which

D.J. onDenmark

500 miles or so away and theAlan Freeman show wascoming over loud and clear.Time passed and mydestination came to agrinding halt. I had no ideawhat the small town ofHerning had in store for me,first impressions of peacefulserenity were later to beproved correct.

My first night at the"In -Club" produced muchgaity and was a convivialsuccess, the management,clientele, and myaccommodation left nothingto be desired. Most of thecrowd understood English sothere was no problem incommunication, but musicallyI wasn't too sure. Over thenext few days I madeenquiries and much to mysurprise discovered thatTen Years After, JuicyLucy, Black Sabbath,Chicago, Johnny Winter, aiida new group called Focuswere favourites to name butjust a few. Unfortunately Ihad brought with me whatwas happening in the

records should appear in theNational ratings.

It would take too muchtime and space to go intodetail about every story andoccurrence during my stayabroad, but I usually workedseven days per week 8 pmthrough to 2 or even 3 am.Long hours perhaps, but verygood experience andcertainly worthwhile.

But to continue. I left theagency that introduced me toDenmark, and decided togo freelance which workedout very well until mypermit expired in August of1970. I returned to Englandand joined a team of DJsworking on an internal 24hour radio station especiallydesigned for the employeesof a biscuit manufacturingplant. But that's anotherstory.

At the end of 1970 Ireturned to Denmark tocomplete a further six months'work. I wrote to the chief ofpolice for permission andreceived a reply saying itwas granted. All went well

until the month of July. Iarrived at a discotheque inVarde, again in NorthJylland and worked onenight. The next day thepolice informed me to say Ihad no further workpermission. I produced myletter of recommendationfrom the chief of police andthey in turn showed someofficial letterhead.Remembering that I was aguest in their Country Ididn't argue, come to thinkof it I couldn't, my Danishwasn't that good! So Iboarded the next availabletrain to some friends in thesouth on the Isle of Fyn,where I was taken care of byone of the abundant girls Ihad previously met! For twoweeks I was given food andshelter until I could sort outsome temporary work.

To find work at suchshort notice I contactedAlan Lawrie of IDA(International DJ Agency)the largest (English) agencyin Denmark. By chancework was available, Ireceived a contract to finishthe month of July out in atown called Holstebro, oncemore in North Jylland. Aswork permission wasimpossible to obtain a clauseat the bottom of theagreement said it was legalas long as no authoritiesintervened. Once thereevery knock at the door,every 'phone call at the hotelreception became a nightmare,I never really know if thepolice would discover thetruth. Time revolved and atlast August 1 dawned and itwas time to return home.

Personally I enjoyed anextremely satisfyingexistence in Denmark. It wasundoubtedly the best year ofmy life to date. AlwayS somany parties, but in themain the people were so veryvery friendly, one felt reallywanted. Each town whenremembered brings to mindspecial memories which willnever be extinguished. Thesimple fact is it all startedfrom an advertisement in amusic paper. I would adviseanybody to exploit allopportunities. I'm still tryingto achieve an opening inradio, and I guess I shallmake the grade somewheresome place eventually. I amquite prepared, in order togain work in the field Imost desire, to pack thetooth brush and do anothershare of travelling.

35

HOSPITAL RADIO CASEBOOKThis is the second of aseries of articles by COLINMARCHANT, journalistand broadcaster, in whichhe sets out to advisenewcomers to hospitalradio on how to establish astation. This month:"Launching the newstation".

The following is an extractfrom a station manager'snightmare!

The scene is the studio of abrand new hospitalbroadcasting service. Allaround, local dignitaries arestanding with glasses ofsherry, waiting for the bigevent to happen - thelaunching of Radio Useless.The Mayor slowly rises, clearshis throat and begins hisbeautifully -prepared speech.He praises beyond all beliefthe keen bunch of amateurs-who have gone to all thebother of setting up "this very

How to keepit healthy!

professional station".Then he pronounces "I now

have pleasure in declaringRadio Useless officiallyopened and I will do this bypressing a button which willstart the station's thememusic". He presses thebutton . . . and nothinghappens. Somewhere,something has failed.

I use this hypothetical, butperfectly feasible illustrationsimply as a warning to anyone,who thinks that setting up ahospital radio station is aseasy as trying out a JimmyYoung recipe. It isn't. It

Station manager Dave Marshall in Studio I

requires a great deal ofthought and preparation and,if you're not careful, youcould find that sort ofnightmare happening to you.

Last month, I looked at therather tedious but essentialpreliminary steps neededinitially to plan a hospitalradio station. Now comes themore interesting work.

Assuming, firstly, thatyou've been given a room touse as a studio, you can startplanning the technical side.As mentioned last month, thisshould be left to someonewith a bit of expertise.

Bryan Green in the transtnis.sion control room

F

Secretary Joy Ross Service Director Norman Ross in theadmin. office

However, these few generalhints may be useful:

1. The studio should, ofcourse, be sound -proofed. Ifyou're very limited for funds,one fairly cheap way ofpartially sound -proofing yourstudio is to cover the wallswith polystyrene tiles. Heavycurtains also help to absorbsound.

2. If you have the space -and, again, the money - builda sound -proofed partitionseparating the live studiofrom the controls. This willalleviate some of theextraneous sounds.

--.....mollm".11111111111111111111

Bob Mc Williams in the rei uril library

Radio PaisleyJust under three years ago, Radio Paisley

was launched, with pre-recorded programmesproduced on a handful of members' ownequipment. Today, with studios and officecomplex in the heart of Paisley, programmesare relayed to three major hospitals in thearea. Nearly 20 other hospitals in the areawill be brought into the circuit gradually.

Each of the three hospitals currently inservice is linked individually to the studio,and can in fact receive its own tailoredprogramme schedule. Shortly, the station'stransmission control will be able to offeran alternative of up to five different outputchannels at one time.

36

edited by ROY MACK3. Your console unit should

be designed carefully. It's nogood placing a tape deck insuch a position that youknock the stylus flying from arecord every time you go touse it.

4. Make sure every majorpiece of equipment has acueing facility. It is essentialthat records, tapes, jingles andso on can be lined up inadvance, via a pre -amplifier.

5. You must be able tomonitor all your programmesso that you can hear themjust as your listeners arehearing them; for this, you'llneed some headphones.

6. Use a good qualitysound mixer which has plentyof channels - at least five -for mixing microphones,record and tape outputs.

7. Unless you're a technicalwizard, keep the installationssimple. If you're tooambitious, problems willalmost certainly arise.

In fact, this last pointapplies not only to thetechnical aspects but to yourstation as a whole. It isridiculous trying to run beforeyou can walk so try to keepall your plans well withinyour limitations. You canalways become moreambitious later.

A lot depends on howenthusiastic your helpers are.You should be holdingmeetings with them everyweek to discuss how thestation will be run. Planningyour programmes should beone of the main talking pointsand, indeed, a great deal ofthought should go into this.- Whatever you decide,

remember it's the listenersyou're doing the programmesfor, not yourselves.

Take a few trips round thehospital and chat to across-section of the patients.Find out what sort of agegroup they are; whether theyare -short or long -staypatients; and - also veryimportant - what they're inhospital for. If they're mostlyquite young and recoveringfrom broken legs, they'reprobably quite happy to listento David Bowie or the Sweet,whereas the older and moreagile listeners suffering frompneumonia are going to bemore struck on Vera Lynn orGrieg.

My advice is to pay it safeand provide as much varietyas possible. Then, if you'renot pleasing all of the peopleall of the time, you are atat least pleasing most of thepeople some of the time!

A request programme isessential. This is one way inwhich patients can take partin your broadcasts and it alsohelps them to feel a littlemore individual in the bigimpersonal hospital. Patientsshould be given the chance toparticipate in other ways, too.Down Your Ward -typeprogrammes, featuringinterviews with listeners areusually very successful.

News is another must.People in hospital can getawfully out of touch withwhat is happening outsideand you should aim to keepthem informed, even if onlyfor a few minutes each week.

Local news is of particularinterest.

Unless you have such firmagnostic convictions as toinfluence your running of thestation, it is wise to put outreligious broadcasts, too.Some people are bound towant them and they areentitled to expect them. Thehospital chaplain wouldprobably be prepared to givea five-minute talk each week.

These, in my opinion, arethe most necesaryprogrammes. Then you canadd to the list with musicshows of all descriptions -jazz, pop, classical, light andso on; discussions; sport;comedy and drama. But toreiterate, keep your plansrealistic. Don't take on morethan you can manage. Restrictthe air -time to a couple ofevenings a week or possiblya few hours on Saturday. Itcan easily be increased laterwhen you have moreexperience.

Hospital broadcasting - likeany broadcasting - is verymuch team work and, rightfrom the beginning, don't tryto hog - or get landed with -all the jobs.

At the risk of being calleda dictator, use your powers asstation manager to delegatecertain duties. There's a fairchance that some of yourhelpers will only be concernedwith having their own popshow on the radio and will

THE NAHBO"Dee Jay and Radio

Monthly" has received aletter from Mr David Coates,hon. secretary of RadioHammersmith and vice-chairman of the NationalAssociation of HospitalBroadcasting Organisations,in which we are reprimandedfor discourtesy in notreferring to him first beforepublishing (February edition)his name in connection withthe upcoming annual meetingof NAHBO, in London inApril. Mr Coates says thatthis magazine has noconnection with the NAHBOand, therefore, had no rightto publish news of theassociation's activitieswithout permission. It istrue that I am guilty ofdiscourtesy in not contactingMr Coates. For, this Isincerely apologise.

However, I would take upthe other point made byMr Coates. "Dee Jay andRadio Monthly" has at notime claimed to be officiallyconnected with the NAHBO.All that we have done is tooffer hospital radiobroadcasters all over thecountry the use of our

columns. Response fromhospital radio stations, amongthem some of the largest inthe country, has beenextremely warm. Indeed, theNAHBO chairman, Mr KenFulstow, took time out towrite to "Dee Jay". In hisletter, Mr Fulstow said:

"I was delighted to see . . .

in the November issue thatit is your intention to have ahospital feature in the nearfuture . . . I am sure that ourcommittee will be very happyto co-operate with you whenyour new feature begins.Meantime, may I wish youevery success with themagazine and congratulateyou upon the high standardalready achieved".

Further, "Dee Jay" hasbeen in regular contact withNAHBO's secretary, Mr. G.Crickmore. Together withMr Crickmore we are hopingto prepare a directory ofhospital radio organisations.

(Mr Coates has made othercriticisms of "Dee Jay" inhis letter. These are beinganswered by publisher BenCree elsewhere, in ourcorrespondence columns.)

not want to put anything elseinto the station. Hospitalradio cannot really work onthat basis. A hospital dee-jaymust be prepared to presentnothing but chamber music ifthat's what is wanted! Hemust be willing to go roundcollecting requests or helpingto publicise the station. If heis not, he probably doesn'tcare a damn about thepatients anyway and, frankly,he is not worth having on thestation.

In addition to thepresenters and producers,helpers are always needed todo some of the general donkeywork and all the staff shouldmake a point of visiting thepatients personally from timeto time.

At this stage, publicity isvery important and meetingthe patients is one sure wayof getting your station known.If you have the resources,why not print some details ofyour station, together with

request forms to give to thepatients. Telephone or writeto the local paper - they maywell be able to help you insome way, too.

An official openingceremony is another good wayof attracting a little publicity.Particularly if you can getsomeone famous to do thehonours. If you can't find astar to help you, you couldwrite to the Mayor of yourtown - if you have one - andhe will probably be pleasedto help if he has no otherengagements. Otherwise, oneof the hospital officials couldperform the openingceremony. In any case, theyshould certainly be invited.

But be absolutely sure thatyou're really ready for theofficial opening. Book it wellin advance and make severaltest broadcasts beforehand tosort out the teething troubles.Then, when the Mayor pressesthat button to launch thestation - your theme will play.

37

Offshore radio has quiteoften been described as thetraining school for new radiodisc jockeys. One suchdee jay is Crispian St. John,who was "thrown in at thedeep end" into radio. This ishis story - so far.

Born in Great Bookham,Surrey on St. Patrick's DayMarch 17, 1953, to parentsJoan Ellen and FrederickGeorge, Crispian led afairly normal childhood. Heattended local schools, infact, until the mid -sixties,when his parents weredivorced and he went to aboarding school, at GattonPark, Reigate also in Surrey."The sudden change meantthat I left a lot of friendsbehind in Great Bookham,and I guess that it was thenI began to take a keeninterest in radio, and at theheight of the pirate radio era.It's quite true what they sayabout those stations as beinga very good companion.They provided me, then,with many hours ofentertainment".

Funnily enough, Crispiandecided to become an offshoreradio disc jockey at a moststrange time. "It was at aboutfive past three, on August 14,1967, five minutes afterRadio London closedown.Sounds really crazy, but Isuppose the emotions of themoment overcame me, and Idecided that I would try andget on Radio Caroline - theonly remaining piratestation!"

But despite RonanO'Rahilly taking an interestin Crispian St. John and histhoughts of billing CSJ asthe "Youngest dee jay inEuropean Radio' the idea fellflat on its face whenCaroline's two radio shipswere towed away in March '68.

"I ended up working withan organisation in NorthLondon, and my first publicdiscotheque appearance wasat the Oasis Beat Club inEnfield, Middlesex. Thatcontinued, and I worked atmore and more disco's, butwas never really satisfied.I wanted to work in radio -but I knew that my chanceswere thin. Eventually I endedup, not only working as adee jay, but also for aFinchley EntertainmentsAgency. This led to mebecoming even more boredwith life, and one day, inJanuary 197j, I made atelephone call."

Crispian's capersIt was that telephone call

to Vic Pelli, then ProgrammeDirector of Radio North SeaInternational in Zurich,Switzerland, that led toCrispian making his firstradio appearance. Pelli askedCrispian to mail an auditiontape to him - which was done,and within a week he hadbeen hired, along with fiveother English disc jockeys.

"I couldn't really believethat I had the job! Still, Ishall never forget my firstview of the North Sea ship -Mebo 2 -I became sonervous, thinking that 'I'vegot to broadcast from that!'

And broadcast he did.The first regular programmespresented by CSJ includedthe 4-6 pm 'Drive Time'shows and also the midnightuntil 2 am slot. He latermoved to the mid evening,8-10 slot and ended up withthe time slot that resulted inhim developing into the"person that people knownow", as he puts it.

"It all happened after Iread a very involved andemotional letter from ayoung girl. The response Ihad after that wasincredible. I began to reallyget to know my listeners, andget involved with them.Because of that letter, othersarrived, and I did my best toanswer some of the veryvaried problem questions.I became, not a disc jockey,but more of a friend - and asfar as I was concerned, I hadfound some of the bestfriends in the world!"

"Radio North SeaInternational was a greatstation, and I enjoyed mystay with the station so much.It was sad that it had toend - but as they say, allgood things must come to anend! So I moved on!"

In fact the moving oncame in -Autumn 1971.

"I will always remembercoming off the air atmidnight, after myprogramme of October 13,and thinking to myself thatwhat I had just presentedwas my last programme fromRNI. So I slyly slipped intoDavid Rogers programmebetween midnight and 3 amand hinted that I might notbe back! I felt awful aboutnot saying goodbye and

thank you to the wonderfullisteners."

Crispian St. John left theradio ship the next day andafter spending a hectic weekappearing in Discothequesacross Holland andBelgium, where thousands ofthe people had discoveredthat he had left RNI, hereturned to the UnitedKingdom.

"North Sea was a greattraining ground. I hadpresented the regular recordprogrammes, read andprepared news and weatherand been involved in theweekly Sunday WorldService. I'd also worked withsome of the greatest peopleever - like Mark Stuart,Dave Rogers, Steve Merike,Alan West, Martin Kayne,Jan Van Veen and RobbieEden."

Crispian set up a smallpublishing company, whichkept him occupied for themonths that were left beforehe began to work BBC RadioBrighton. His work thereconsisted of producingtelevision trails, stationpromotions and eventuallyworking on the Traffic Unit.It was work that CSJappreciated as experiencethat could come in handy inyears to come.

"Radio Brighton wasfabulous. I was again withStevi Merike and MarkStuart there, plus some othergreat people who made mystay very enjoyable. I thinkthat Brighton must be one ofthe best local stations - veryprogressive in its outlook,which, I feel is mostimportant."

Only three days off the airfrom BBC Radio Brightonuntil Crispian landed a jobwith Gerard Van Dam inHolland. Van Dam wasre -launching the Caroline.

"I knew Gerard from '71.I went out to the ship inSeptember, but it wasn't fora couple of months until Iwas first on the air there!"

There were many problemsat Radio 199 (as the stationwas initially called) and wehad only a small aerial, as aresult of the main antennafalling during the worststorms for 25 years. Finallytest transmissions began asRadio 199 - for Holland with

a mixture of Top 40 and`middle of the road' music.

"I was very interested inthe station then as I was toldthat it would be an 'EasyListening' station, somethingthat I'm into a lot at themoment."

Then it suddenly becameRadio Caroline. Crispian,again, was the first voice tobe heard on the air -introducing a moreprogressive type of music.

"I left Radio Caroline onJanuary 16, 1973. Reasonsincluded he programming,bad organisation behind thestation and the fact that Iwant, very much, to settledown to life in the UK. Youget to a point when you needto slow things down and tolook at more than justplaying records from a smallship on the high seas. Ishan't disassociate myselffrom the offshore stations,in fact I shall always beinterested in all types ofradio, and maybe I'll popover to Holland to see a fewmates again sometime. Onething though is certain - Ihave been offered jobs inEngland which would be lostif 1 return to the ships."

Is Crispian planning tostay in 'Pop' radio?

"It depends what comesalong. At the moment I'mprepared to do anything fromstraight announcing, readingnews to producingprogrammes for local radio.I'm also involved in helpingout at a Kent based hospitalradio station, which is fun!But I hope to be able to say`Hello' to some very nicefriends again, very soon!I'm very lucky that I had mybreak in radio at the age of17, and now at almost 20,I've done quite a lot!However, I want to domore! I love my listeners -to me they mean so much,they are so kind. I have anidea for a programme whichI'll try to sell to variousstations soon -7,frm sure it'llbe great, and right up mystreet! Still, you can nevertell in this business, canyou?"

So, we can only wait,hopefully not too long, forthe "Soft and Sentimental"(as he's become effectionatelyknown!) St John to return toour radio's!

BarbaraDavies

38

sounds of the monthTHIS MONTH'S SELECTION BY

`OLD GREY WHISTLE TEST' MAN

bob harrisIt's just after two o'clock

in the morning, I arrived homea few minutes ago from thisweeks "Old Grey WhistleTest" and am in the processof doing what I have to dofor several hours after eachprogramme - unwinding.

My rapidly increasingfamily (the addition of anew baby and a lady kittenhave put the ratio of femalesto male at GlitteringBomber Mansions to 4 to 1)are all sleeping and I'msitting listening (yet again) tothe new Beach Boys albumwhile collecting my thoughtsto put together a list of someof the nicest records of thepast month or so for theadmirable "Dee Jay andRadio Monthly". There reallyis a great deal of very finemusic about at the momentand getting the list down toreasonable proportions isproving not at all easy. Let'sstart with the LPs.

1. Beach Boys - Holland(Reprise) - Not just myfavourite album of the pastmonth, but one of thefinest records I've heard.I won't try and express myfeelings for it - since owningit I've played a track eachweek on my Sounds of theSeventies "MondayProgramme" and I can onlyhope that it has given youthe warmth and enjoymentit has given me. This record,their previous "Surf's Up"and the two recent StevieWonder albums are essentialfor your collection.

2. Donovan - CosmicWheels (Epic) - It's been agood deal of time since therelease of the last Donovanrecording but the waitcertainly has beenworthwhile. The new LPmarks a change of recordlabel, a return to hispartnership with producerMickie Most and the mostpositive and individualmusic Donovan has producedfor ages.

It's a very different album,electric rather than acoustic,with much more energy to itthan before. Excellentmusicianship from CozyPowell (drums), John"Rabbit" Bundrick(keyboards) and BobbyKeyes (saxes) with somelovely arrangements byChris Spedding, backingten songs, of which"Cosmic Wheels", "TheMusic Maker" and "WildWitch Lady" are the mostimmediate.

Argent - In Deep (Epic) -Argent are one of myfavourite live bands but likeWishbone Ash have nevertotally done justice to their

music on their recordings.Not to say that they don'tmake fine albums - far fromit. But a recording studiocannot always capture thesame amount of energy as alive gig. For this reasonArgent have concentrated onrecording an album whichthey can easily translate fromthe studio to the concert stageand in doing so have madean excellent LP, likeDonovan's very positive inits approach. Listen out, too,for their new single "GodGave Rock and Roll ToYou". One of our finestbands.

Well, there are the threealbums which, along with"A Good Feeling To Know"by Poco, the new Little FeatLP "Dixie Chicken", thesecond Jo Jo Gunne record"Bite Down Hard", "Tanx"by T. Rex and the new oneby ex -James Gang guitaristJoe Walsh, called"Barnstorm", have given methe greatest pleasure thesepast few weeks, plus, ofcourse, the "In Concert"album by Derek and theDomino's which the veryglamorous Paul Burnettmentioned in last month'sedition. So. What about thesingles?

1. Roy Buchanan - SweetDreams (Polydor) - RoyBuchanan's is the name oneveryone's lips at the moment.The clip of film from a recentconcert in New York on"The Old Grey WhistleTest" produced a biggerresponse than anything wehave ever shown on theprogramme and he has beencalled "one of the greatestrock guitarists in the world".A new LP "Second Album"has just been released in theStates and he will be visitingthis country in May. "SweetDreams" has been aroundfor several weeks, now, butmay well prove to be one ofthe best singles of the year.

2. Joni Mitchell - ColdBlue Steel and Sweet Fire(Asylum) - This is the secondsingle taken from Joni'smagnificent "For TheRoses" LP and is just aboutmy favourite track. Thealbum has not sold anythinglike as well as some of herearlier things and I mustadmit to being verydisappointed. I think it isone of the best she has evermade.

3. Sutherland Brothers &Quiver - You Got MeAnyway (Island) - Bothbands have been making finemusic, now, for a couple ofyears with very littlerecognition and have cometogetherpartnership which hasproduced a record sure tointroduce them to a muchlarger number of people. Ihope very much that this willbe a Top 20 record. Itdeserves to be.

4. Poco - And Settlin'Down (Epic) - Another veryunderrated band, Poco. Thisis a track taken from their"Good Feeling To Know"LP. Very much a drivingrecord, written by RichieFuray who, before Poco wasa member of the legendaryBuffalo Springfield band withNeil Young and StephenStills. It's great.

Well, that's about it. Oneor two good looking things tocome -a spectacular newPink Floyd recording and thelatest Medicine Head LPwhich promises to be one of.their finest. No doubt you'llbe reading about them nextmonth.

Meanwhile, have apeaceful and happyspringtime . . . look at thetime. I must get to bed!

BOBHARRIS

39

sounds on stageTHE STRAWBSMALVERN

Four years ago a threepiece folk band called theStrawbs were packing theclubs to sweaty capacity withtheir mixture of emotionallyintense songs and a friendlydown-home humour. Ofthose three only DaveCousins remains a Strawb,fronting what is now a bigcommercial name in theworld of pop. Almostovernight they have joinedthe charts bands with two hitsingles in as many monthsand we went along to seetheir new act at one of thefirst venues of the Britishtour.

Malvern Winter Gardensis a huge echoing part-timerock venue with an icing cakeinterior, more used to sereneflower shows or hulking TVgrapplers. The atmospherewas alive with expectancyand the packed audiencevaried, as one might expectfor a new chart band,between the very young,obviously there to grooveto the singles, and those whoobviously were regularfollowers.

During the 20 minutecrush for lukewarm beer inplastic glasses we weretreated to what must be theideal warm up band. Thedelightful bass lines rattledthe rococo bar fittings and setthe baby beakers jingling in ajoyous jive (sheer poetry hethinks forgetting subtleindications of age). Thisoutfit, rejoicing in the nameof the Pewke Band obviouslyenjoy every last inch of theirthrusting Band/Dylan/Stones music. Uponconsultation we apply theterm a Trucking good band.

The Strawbs brokedramatically into the post-Pewke euphoria with thetitle track of their last album"Grave New World". Thiswell structured number builtbroodingly from voice andacoustic guitar to the crashingorchestral sounds of thatorchestra -in -a -box theMellotron. The effectcompared very favourablywith the instrument's otherpioneers the Moody Bluesand King Crimson. Fromthen on, sadly, the

performance was largelydepressing for a band oftheir quality. The singles"Lay Down" and "Part ofthe Union" stood out likebeacons amongst the sort ofpedestrian sliced -bread songthat pad out too manybands' stage acts. Before thesingles to judge by audiencereaction, higher spots wereprovided by Dave Lambert'sshort solo set, (featuring hiswell known "Bovver Blues"extolling the well knownpleasures of beating up oldladies and stamping onpolicemen) and the BlueWeaver keyboards feature.The encore wasn't "BlueSuede Shoes" but came aclose rocking second, bringing

a predictably warm responsefrom an audience dazzled bythe house lights.

The Strawbs difficulties arenot easy to pinpoint. Thehall was obviously notacoustically ideal and thelighting made them look likeinsignificant puppets, but thefault seems to be largely inthe use of their sound system.Beautiful songs like the"Hangman and the Papist" -Cousin's involved commenton the Irish troubles - areheavily reliant on lyrics andwere lost in the muzziness ofover amplification. Therewould seem to be three waysround this: Leave thelyrically intricate songs to thealbum listeners and perform

the more direct songs withthe hook of "Lay Down" and"Part of the Union"; Workon a better, generally quietersound balance, whichenables lyrics to be heard allthe time, or develop theinstrumental side of thesongs to the extent that thevoice becomes anotherinstrument in an interestingcollage of sound - in thesame way as Yes, LedZeppelin, and numerousother bands, whose sheerpower output is too great forabsolute lyrical clarity.

Before we left DaveCousins said to us, ininterview, "You can onlyplay to those you can see".He was referring to the fewhundred out of almost oneand a half thousand whowere seated at the front and,to be fair, showed theirenjoyment of every minute.To judge by the reaction inthe dingy sticks at the rear ofthe hall that should beextended to "You can onlyplay to people who can seeand hear you!"

GEOFF IDE &PHILIP MILNER

DEEP PURPLETHE RAINBOW

This was the triumphantreturn of Deep Purple toLondon's RainbowTheatre - the return of alatterday supergroup to avenue they love. And, judgingfrom the reception that theygot, their fans were veryplease to see them.

Purple fans are anincongruous assortment -one would hardly expect tosee a crowd of teenyboppersmixed with a few "heads"and a lot of relative"straights" all together in thesame hall, and all diggingthe same group.

But that's the way it was.And they were as quick torecognise their favourites asany other bunch of fans.Such masterpieces as "Smokeon the Water", "Space

Truckin' " and "HalfwayStar" were greeted withroars of approval and afrenzy of hand -clapping.And with considerablejustification - they weresuperbly performed, and thequality almost matched thatof the albums.

Newer numbers from"Who do we think we are?"were equally well received,and are obviously going to beadded to the regular Purplerepertoire. By this timeeveryone was really enjoyingthemselves including, ifappearances aren't deceptive,Messrs. Gillan, Glover,Blackmore, Lord and Paice.Jon Lord particularly was infine form and did animpressive solo performanceon his electric organ.

And then it happened. Thecurse of all supergroupsovertook them. Theyfinished their act with whatseemed like an eternity of

self indulgence, whicheffectively silenced most ofthe hand clapping andaudience participation. Oh itwas good - but in no waydid it really relate to whathad gone before. They werejust showing off - and Iwasn't the only one whothought so. It was about thattime people started to gohome.

They eventually finishedand got the expected ovationand encore, But for me, theyhad spoilt it. I think DeepPurple are one of the mostconsistently good and talentedgroups there are in thiscountry. I listen to them andsee them whenever I can - soplease, Deep Purple, goodmusicians though youundoubtedly are, a little lessof the self indulgence andthen your concerts would betruly superb.

ROSEMARY HORIDE

40

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ring Bob Herd 01-730 5181 or write to 21 Kings Road, Chelsea, London. A photograph of the Rocket Disco and one of our small

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dee jay album sounds

THE STYLISTICSStylistics 2Avco 6466 010

I love the sound that thisgroup make and for mymoney "I'm Stone In LoveWith You" was surely themost beautiful record of lastyear. It's included herealong with their latestoffering "Break Up ToMake Up" - currently highin the US charts but so farnot making much showinghere.

It's all good - but give alisten to their version ofCarole King's "It's TooLate" which is nothing shortof fantastic.

Highly recommended.("DEE JAY"MICROPHONE AWARD)

BC

LEADERS OF THE PACKVarious ArtistsBuddah 2318 078

With the call for re -issuescoming louder and louderBuddah answer with thisselection of 15 so-called"Leaders of the Pack". Thetitle with which theShangri-Las had somesuccess a few months back isincluded, as is their versionsof "Give Him A Great BigKiss" and "Remember(Walking in the Sand)".

There is that long timefavourite "Simon Says" bythe 1910 Fruitgum Company,the Tokens' "The LionSleeps Tonight", LouChristie's "I'm Gonna MakeYou Mine" and the DixieCups "Chapel Of Love".

What more could you askfor?

MR

LITTLE JIMMY OSMONDKiller JoeMGM 2315 157

Debut album from the"Long Haired Lover FromLiverpool" lad - LittleJimmy, youngest of theOsmond Brothers. And it'snot at all bad. Contains theaforementioned hit plus hisnew release "Tweedlee Dee"as well as nice versions of"Rubber Ball" and ratherunexpectedly Elvis Presley's"Teddy Bear". Listening toJimmy's version of "MotherOf Mine" one can't helpwondering what would havehappened had our own NeilReid been projected alongmore pop lines. Be sure togive this one a listen.

BC

CHUCK BERRYGolden Decade Vol 2Chess 6641 058

With "My Ding -A -Ling"still echoing along the

corridors of Mary Whitehouseand the ears of manynewly won fans - ChuckBerry, courtesy of NigelGrainge, delivers his secondcollection of blasts from thepast. This is a double albumset of 24 goodies, and theold master proves that,although he has been with usfor some time, he's stillgonna be here for a goodwhile to come.

There are obviously manyfavourites among the initiated,but for the newer additionsto the clan try "Carol" or"Little Queenie" - better stilltry the whole set.

MR

THE TEMPERANCESEVEN, THE BONZODOG DOO DAH BAND,THE ALBERTSStarline SRS 5151

It is said that life is acircle - well circling back tothe early 60's we had thesethree exponents of musicalstyles of our fathers' times!Good musicians with comicovertones. Now the wheelhaving turned full circleagain they're back - yetagain to "Drive Me Crazy".

The bulk of the album is,quite correctly, given over tothe very popularTemperance Seven, andincludes "Pasadena", whilstthe Bonzo's "My BrotherMakes The Noises For TheTalkies" also brings thememories of yesteryearflooding back.

A lovely album on EMI'sbudget label. It won't makethe album charts - but it willmake a lot of people veryhappy!

MR

THE BEE GEESLife In A Tin CanR.S.O. 2394 102

A long awaited releasefrom the Bee Gees which wasmentioned briefly by PaulBurnett in last month's"Dee Jay".

With touches of the BeeGees of old and hints ofthings to come, the excellentharmony of the trio and themusicianship of thosebacking, all make this a verymemorable album. "Saw ANew Morning" is, I believe,to be their next singlerelease. Hearing it on thisalbum and having beenfortunate enough to see theirFestival Hall show - it canonly be a massive hit.

Suffice it to say that yourcollection will surely benefitfrom the aquisition of thisparticular "tin can".

MR -

REGGAE STEADY GOVarious ArtistsRhino SRNN 7001

For the reggae enthusiastsamong you I could notrecommend this one highlyenough - and even for thoseof you perhaps not socommitted to the causethere's something here foryou to enjoy such as "Mad

a

42

About You" and "Save ThePeople" from popular BruceRuffin. Bruce also featuresagain on the album courtesyof Winston Francis whosings "A Little Today, ALittle Tomorrow", and TheAces come up with a niceversion of the Goffin-Kingcomposition "TheLocomotion" entitled"Reggae Motion".

Others worthy of noteDave Collins' "Shackatac"and the Creole Allstars whoclose the set with "Stingo".

MR

DAVID CASSIDYRock Me BabyBell BELLS 218

Mr Cassidy is currentlytearing up the UK as I writethis review, and doubtlessbreaking the hearts ofthousands of young ladiesfrom Land's End to JohnO'Groats.

Having witnessed one ofhis marathon series ofperformances at Wembley Iam now thoroughly convincedthat he is a very professionalentertainer - and this isborne out by this very variedalbum.

Included are two of hishits "How Can I Be Sure"and the title track - plus anice version of the oldMoody Blues' hit "Go Now".

My personal favourite,however, is the gentle "SomeKind Of Summer" - but whynot buy the album and makeup your own mind.

Recommended.BC

DEEP PURPLEWho Do We Think We ArePurple TPSA 7506

Purple (the group) arenothing if not consistent.They're heavy. Repeat,heavy . . . at least on soundquality. It's a polished andwell -textured sensory -overload sound with somemagnificent guitar, swoopingvocals and OK songs. Theopener, "Woman FromTokyo", opens proceedingswell, and "Smooth Dancer"tells an interesting story.Only complaint was theunimaginative inside coverof the sleeve.

DR HOOK AND THEMEDICINE SHOWSloppy SecondsCBS 65L32

Dunno exactly whatSloppy Seconds means, butbeing a Dr Hook song I canhazard a messy guess. Veryup -front renditions of ShelSilverstein's witty and oftenprofound songs. Funniestare "Get My Rocks Off" and"Freaker's Ball", but "CoverOf Rolling Stone" tells anice point. Moments ofpoignancy include "ThingsI Didn't Say" and "I Can'tTouch The Sun", sung inthat "Sylvia's Mother"voice. Don't know if they'restraight or not . . . it doesn'tmatter. Great stuff.

ekgallq,eshangn -Las

1.nMorfti

THE SHANGRI-LASGolden Hits of thePhilips 6336 215

They've been around fornigh on ten years now. Infact, their "Leader of thePack" track, which foundits way into the top fivein the charts last year, wasfirst successful as a single

way back in 1965.I don't usually go for the

narrative style - thesuperimposition of dialogueover the music - but I findthese four girls' style anexception.

Theirs is a harmony thatone usually associates witha coloured group - TheChiffons, Ronettes, forinstance - but it's no carboncopy performance. It's theirown sound; it's their ownway of telling the tale. And,in each of the 12 tracks there'smore than just tune; there'sa story to tell as well.

On the record, "Trainfrom Kansas City", "I CanNever Go Home AnyMore", "What is Love" and"Long Live Our Love".

BOBBY WHITLOCKRaw VelvetCBS 65301

Whitlock is a top rhythmguitarist with someimportant friends (musically)and some healthy credentials,among them Derek and theDominos. One side is "Raw"- loud, rocks -off music,while the other side"Velvet" shows Bobby in amore soulful light. He'scome under the influence ofmany people and it shows -but with a little moreingenuity he could emerge asa real talent. This albumisn't at all bad in themeantime.

RCA

ALAN PHILLIPS

ALAN PHILLIPS20th Century Musical ManRCA SF 8315

Inventive debut album byarfine composer. His vocalsare fairly good, and thebackings here are oftennothing short of magnificent.

It's something of a conceptalbum and tells some fineand interesting stories.If you took a chance on this,you wouldn't ask for yourmoney back.

I ttc (AK, On

PAUL WILLIAMSLife Goes OnA & M AMLS 64367

Diminutive singer -songwriter Paul Williamshere turns in a superbalbum. Most of the tracksare self -penned, but for methe stand out number isPaul's version of the oldstandard "Lucky Old Sun".Be sure not to miss this one.

BC

ODYSSEYOdysseyMowest MWS 7002

Beautifully textured albumfrom a West Coast groupstrong on vocals. Lady leadKathleen has a memorablevoice, and the album iscleverly produced with strongmaterial. Only thing is . . .

some moments are verymuch like the black Motown.Don't know if that's a pointin their favour or not,considering they're one ofMotown's first "white"groups.

MELANIEStoneground WordsNeighbourhood NHTC 251

43

Melanie veers away fromthe "Brand New Key","I Wish I Were A Farmer"bag and gets into a lessjaunty series of songs. Anincreased musical complexity(listen to the backings on"Together Alone" and "HereI Am") run parallel with ashift away from her earlier,more simple, lyric themes,while a meandering, almostfree -form influence pervadessome of the tracks. Hervoice is still in top form -intense, warm, and like shesays on the title track"sanded down to the nerve".Not her easiest album to getinto, but the Melanie messageis richly rewarding once youhave done so. Only problem:the lavish packaging whichputs a "special price" on theset.

ANDY ROBERTSAndy RobertsCharisma CS6

Very nice album fromex -Liverpool scene manAndy Roberts (he'll be ableto live that down one day).Folksy touches with much witand imagination. His voice isdistinctive and the materialis very strong. It kicks offwith a misguided version ofBuddy Holly's "MidnightShift" but other than thatit's a strong album. Most ofthe songs have real character.

OUDON

AILMNRIGHT

In

fISUMII!

LOUDON WAINWRIGHT111Album 111CBS 65238

Departure in style fromLoudon, whose previouslyrical intensity kept himaway from the big sales lists.Now he's on the US chartswith the opener track "Dead

Skunk", a colourful piece ofwhimsy with a bitingbackbeat. His mood iscountry good-time with theaccent on booze, and despitethe appeal of the instrumentalgroup White Cloud, Loudon'ssolo mood has lost none ofits sharp observation, clearvocals and sympatheticacoustic work which rangesfrom the gentle to thedriving.

KEEF JAMESOne Tree Or AnotherRare Earth SRE 3007

Ummm . . . first albumand some teething troubles.Keef's lyrics are nicelydescriptive, but the overallsound is too laid-back for theintensity he's maybe able toconvey. It's well producedand everyone plays andproduces competently, butthis heart -on -sleeve stuffcomes across better with asimpler and more directapproach.

SILVERHEADSilverheadPurple TPSA 7506

Debut LP from a finegroup in the rouge 'n' rocktradition. Most of the heavynumbers are by Michael DesBarres who draws easily onrock tradition, but usuallyhas his tongue firmly incheek: "Rolling With MyBaby" is just that - heavyand easy at the same time.They pound out someexciting and inventiverhythms, but are able tosustain interest with ballads."Wounded Heart" isparticularly atmosphericand the guitar workthroughout is clean andcompetent.

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JINGLESDISCOJINGLES-100 of yourfavourite jingles, designed speciallyfor Disco use-"Much More Music","It's Number One" and "The BeatGoes On". 34 ips £1; 74 ips £1.50; orCassette £2. From: Discojingles,15 Clifton Gardens, London, N15.

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PUBLICATIONSRADIO MAGAZINE returns and isnow published by Nice 'N' EasyPublications, 24 Windmill Street,Tunbridge Wells, Kent. The latestissue (every fortnight!) contains newsand features on RNI, Caroline,Veronica, Crispian St. John, RogerKirk, FRA, One, Luxembourg, etc!More news! Three months sub-scription £1.10, six months £2.40 orsingle copies 20p including postage.Hurry!

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44

u.s.chartstop 30singles1 Killing Me Softly With His

Song

2 Last Song

3 Love Train

4 Could It Be I'm FallingIn Love

5 Also Sprach Zarathustra

6 Daddy's Home

7 Rocky Mountain High

8 Cover Of Rolling Stone

9 Danny's Song

10 I'm Just A Singer In ARock & Roll Band

11 Neither One Of Us

12 Dueling Banjos

13 Ain't No Woman (Like TheOne I Got)

14 Don't Expect Me To BeYour Friend

15 Do You Want To Dance

16 Aubrey

17 Break Up To Make Up

18 Space Oddity

19 Hummingbird

20 Give Me Your Love

21 Call Me

22 Big City Miss Ruth Ann

23 Stir It Up

24 Sing

25 Dead Skunk

26 Don't Cross The River

27 Love Is What You Make It

28 Hello, Hooray

29 Soul Song

30 Peaceful Easy Feeling

Mid March 1973

u.s.chartstop 30albums

1 Don't Shoot Me, I'm OnlyRoberta Flack Atlantic The Piano Player Elton John MCA

Edward Bear Capitol 2 Deliverance Soundtrack Warner

O'Jays Phil. Int. 3 Rocky Mountain High John Denver RCA

4 The World Is A Ghetto War UASpinners Atlantic

5 Lady Sings The Blues Diana Ross/Eumir Deodato CTI Soundtrack Motown

Jermaine Jackson Motown 6 Prelude Eumir Deodateo CTI

John Denver RCA 7 No Secrets Carly Simon Elektra

Dr. Hook & The 8 Hot August Night Neil Diamond MCAMedicine Show Columbia

9 Shoot Out At The FantasyAnne Murray Capitol Factory Traffic Island

10 The Divine Miss M Bette Midler AtlanticMoody Blues Threshold

11 Talking Book Stevie Wonder TamlaGladys Knight &

The Pips Soul 12 Can't Buy A Thrill Steely Dan ABC

Soundtrack Warner 13 Trouble Man Marvin Gaye Tamla

14 Tommy L.S.O. and Guests OdeFour Tops Dunhill

15 Who Do We Think We Are Deep Purple Warner

Lobo Big Tree 16 I Am Woman Helen Reddy Capitol

Bette Midler Atlantic 17 Holland Beach Boys Reprise

Bread Elektra 18 Don McLean UA

Stylistics Avco 19 Derek & The Dominos In Concert RSO

David Bowie RCA 20 Birds Of Fire MahavishnuOrchestra ColumbiaSeals & Crofts Warner

Barbara Mason Buddah21 Space Oddity David Bowie RCA

Al Green Hi 22 Rhymes and Reasons Carole King Ode

Gallery Sussex23 Transformer Lou Reed RCA

Johnny Nash

Carpenters

Epic,

A & M

24 Green Is Blues

25 They Only Come Out AtNight

Al Green

Edgar Winter

Hi

EpicLoudon

Wainwright Columbia 26 Moving Waves Focus Sire

America Warner 27 Seventh Sojourn Moody Blues Threshold

Grass Roots Dunhill 28 Creedence Gold CreedenceClearwater

Alice Cooper Warner Revival Fantasy

Joe Stampley Dot 29 More Hot Rocks Rolling Stones London

Eagles Asylum 30 I'm Still In Love With You Al Green London

45

chartssingles

top 30

chartsalbums

hot heavy 201 Twelfth Of Never Donny Osmond MGM 1 Billion Dollar Babies Alice Cooper WB

2 20th Century Boy T. Rex T. Rex 2 The World Is A Ghetto War UA3 Cum On Feel The Noise Slade Poly

3 In Concert Derek and Dominoes Poly4 Hello Hurray Alice Cooper WB

4 Blueprint Rory Gallagher Poly5 Cindy Incidentally Faces WB

6 Killing Me Softly With 5 Holland Beach Boys RepriseHis Song Roberta Flack Atlantic

6 Bursting At The Seams The Strawbs A&M7 Feel The Need In Me Detroit Emeralds Janus

7 Rich Man Climax Chicago Harvest8 Sylvia Focus Poly9 Gonna Make You An 8 Superfly Curtis Mayfield Budda

Offer You Can'tRefuse . . . Jimmy Helms Cube 9 The Divine Miss M Bette Midler Atlantic

10 Pinball Wizzard/See Me 10 Life Mask Roy Harper HarvestFeel Me New Seekers Poly

11 In Deep Argent Epic11 Doctor My Eyes Jackson Five Tamla12 Heart Of Stone Kenny Rak 12 Cosmic Wheels Donovan Epic

13 Never Never Never Shirley Bassey UA 13 Shoot Out At The14 Part Of The Union The Strawbs A&M Fantasy Factory Traffic Island

15 Lookin' Thru The Eyes 14 Music Is My Life Billy Preston A&MOf Love Patridge Family Bell

15 No Ruinous Feud Incredible String Band Island16 Step Into A Dream White Plains Deram

17 Baby I Love You Dave Edmunds Rock 16 The Six Wives of Henrythe VIII Rick Wakeman A&M

18 Why Can't We LiveTogether Timmy Thomas Mojo 17 Nuggetts Various Artists Elektra

19 That's When The Music 18 Anthology Duane Allman CapriceTakes Me Neil Sedaka RCA20 Tie A Yellow Ribbon 19 True Stories Judy Collins Elektra

Round The Ole OakTree Dawn Bell 20 Who Do You Think We

Are Deep Purple Purple21 The Look Of Love Gladys Knight and

Pips Tamla22 By The Devil (I Was

23

Tempted)

Superstition

Blue Mink

Stevie Wonder

EMI

Tamla NOTE24 Crazy Mud Rak THESE CHARTS ARE25 Love Train O'Jays CBS

26 All Because Of You Geordie EMI INCLUDED AS A GUIDE27 Break Up To Make Up Stylistics Avco TO THE BEST SELLING28 California Saga/

California Beach Boys Reprise SOUNDS IN BOTH THE29 You Are Everything Pearls Bell UK AND USA30 Pyjamarama Roxy Music Island

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As a member you receive, every tour weeks, a free copy ofthe Club's MUSIC NEWS describing in detail the Record orCassette of the Month - plus the many additionalselections in each of the Club's musical divisions.HOW TO ORDER - ALWAYS FREE CHOICEIf you do not want to receive a record or cassette in anymonth, merely return the Announcement Form by the datespecified ... or use the form to order any other record orcassette from the extensive listing of all musical divisions.If you want only the monthly selection for your musicalpreference, you need do nothing - it will be sent to youautomatically. And remember -the choice is always yours.FREE "CREDIT ACCOUNT" SERVICE

With membership you receive your own charge accountnumber and need pay for your orders only after you havereceived them with the invoice detailing the regular Clubprices: records £2.00, or cassettes £2.25 (some labels andclassical selections slightly higher) plus postage and packing.10 DAY FREE AUDITION AT NO RISK TO YOUSend no money now -just select and enter the numbers ofyour 3 enrolment records or cassettes on the space provided.After receipt you may audition them on your ownequipment and in the comfort and quiet of your home. Youmust be delighted, otherwise return all selections within10 days of receipt, and pay nothing.

Fo ACB (Audio Club of Britain), Blundell House. Goodwoi7Road. London SE14 682

SEND NO MONEY NOWPlease accept me as a member. I have indicated my3 enrolment selections for which you will bill me only25p each plus p & p. I wish to receive all selections on/Please tick your choice).

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FOR ONLY25p EACH

(Fill innumbers) O RECORDS / / CASSETTES

I can listen to them for 10 days FREE and then havethe option to return all selections undamaged andowe nothing. Otherwise I agree to the membershipterms described above and promise to purchasejust six regular priced Club selections (fromhundreds to be offered) during the coming two yearsrecords E2.00 or cassettes E2.25 (some labels andclassical selections slightly higher) plus p & p.

With every selection I buy at the regular Club price I may select aBONUS Dividend for only 90p (records), or E1.10 (cassettes), plus p &pAfter completing my membership agreement I may cancel at any timesimply by writing to you. If I continue I'll receive one selectionFREE for every two I buy- (Ill pay only a few pennies postage &packing.) All records or cassettes will be described to me in advance inthe monthly MUSIC NEWS. If I do not wish to receive any record orcassette in any one month. [will merely return the AnnouncementForm by the date specified or I may use the form to order any otherselection listed. If I want only the regular selection for my musicaldivision. I need do nothing - it will be sent to me automatically.My main musical i is: (Tick ONE box ONLY).CLASSICAL=DANCING AND INSTNUMENTALE-1POPULAR

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Fantastic DOUBLE BONUS PLANEARN 50 - 59% OFF BONUS DIVIDENDS REGULARLYWith every record or cassette yogi buy at the regular Club price choose aBONUS SELEC-ION for less than HALF that price- you pay only 90p forrecords and r1.1C for cassettes plus p & p). SAVE OVER V .00 each time you buy.

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