NEW RECORD MIRROR. March 31. 1962

SINATRA TWISTS! "ETRYBODY'S TWISTIN' !" REPRISE

LOVE LETTERS

KETTYLESTER

45-HLN 9527 45 rpm record

116 SHAFTESBURY AVENUE, LONDON, W.1.

EVERY WEEK !

BRITAIN'S TOP

CHARTEVERY WEEK

No. 55 Registered at the G.P.O.as a newspaper WEEK ENDING MARCH 31, 1962 EVERY THURSDAY, 6d.

STARRING

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SPECIAL GUEST STAR

: JOHN LEYTON

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Screenplay by MILTON SUBOTSKY Executive Producer MILTON SUBOTSKY

Directed by DICK LESTER A COLUMBIA PICTURE

Z-1 *0 0A BLC BELIZE.

LONDONLONDON PAVILION FROM FRIDAYMARCH 30th

DAILY AT:11.00, 12.20, 2.55, 5.30, 8.15.

SUNDAYS Al:4.35 & 7.30.

INSIDE

KARLDENVER:

his 'miss' hasbecome a hit!

,GENE

VINCENT:a rock star'ssecret fear

'Even theShadows aretrying to get

away from theirsound,' says

BERTWEEDON

Exclusivepictures of

HELEN SHAPIRO,CLIFF RICHARD,BILLY FURY,THE SHADOWS,ADAM FAITH,KENNY BALL,LONNIEDONEGAN,THE BROOKBROTHERS

Page Two NEW RECORD MIRROR, Week -ending March 31, 1962

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NEWRECORD

MIRROR I=

EDITOR: JIMMY WATSONE.

Editorial, Advertising and 17.4

Circulation Departments: F-.

116 SHAFTESBURY AVENUE ELONDON W.1 -Telephones: L---

GERrard 7460, 3785, 5960

'-:111111111111111111111111111111111111111111111111111111111111111111IFF

BUDDY HOLLY ...STEVE FRANKLIN stated that if an

artist today turned out discs likeCoral are doing now with Buddy Hollythey would be laughed out of the popscene.

All right, Mr. Franklin, but please re-member that present-day artists havemore advantages than Buddy had.Buddy's latest discs, apart from re -issues,have not had these advantages.

They are merely demonstration tapesmade in Buddy's home with the backingdubbed in later. How can they attain thestandard of studio recordings? In myopinion. Coral are doing a hard job verywell indeed.-MALCOLM HOWEY, 20Westover Gardens, Gateshead, 9.

... THE DEFENCEIT'S about time people like S. Franklin

(N.R.M. last week) realised that BuddyHolly was just as popular before histragic death as he is now.

It is true, however, that, owing tolack of fresh material, his singles don'tsell as well as they used to, althoughhis albums are constantly in the charts.

His popularity seems to have decreasedin America and increased in Britain, butthis islrbt due to "morbid curiosity" assome people have suggested, but to thefact that Buddy's discs were ahead oftheir time, and perhaps out of place inthe mad (nevertheless enjoyable!) rockof the fifties.-RUSSELL COLE, 1 Fal-staff Avenue, Reading.

TOP 50CONGRATULATIONS on your new

" Top 50 Charts." Your already finepaper is coming on by leaps and bounds.- MAURA BARRY, " Loughrea,"Hartlands Avenue, Cork.

'POP STARS

ARE NOT

MOLLY-

CODDLED'

BILLY FURY Collapses" screamthe headlines and add further

proof that critics who call our popstars " molly -coddled " are simplybeing malicious.

A singer these days needs the consti-o tution of a tiger besides talent, and

it is little wonder that the sicknessrate amongst our bill -toppers is sohigh. There's very little glamourin endless weeks of twice -nightlyshows with engagements in everycorner of the British Isles.

It's not surprising that thousands ofmiles of roads and countless hotelrooms have finally taken Bill to ahospital bed . . . but only afterforcing himself to make an appear-ance at shows when he was alreadyailing.

I think he should be commended forlearning the old theatrical tradition,"the show must go on" and carry-ing it out so diligently and onlyletting complete collapse keep himfrom disappointing his fans.-PETE WARRACK, 103 AlexandraRoad, Liverpool, 23.

AMERICAN

RUBBISHTHANK goodness that Pat

Boone is over here becausehe, I think, will restore someprestige to the American artists.

It seems ridiculous that Amer-ican rubbish can just stroll to top

s the bill at Sunday Night At TheLondon Palladium when there arebetter British artists who are notgiven a chance.

The American singers we havehad in this country lately, exceptfor Neil Sedaka, have been sadlyoverated. Who are they? Well, Iinclude Bobby Vee, TonyOrlando, Clarence FrogmanHenry and Bobby Rydell in mylist.

British artists like Frank Ifield,Mark Wynter and Karl Denverare not given enough breaks,especially Mark and Frank.-DAVID CORNE, 4 SouthgateGrove, London, N.1.

PAT BOONE: restores American prestige. (NRM Picture.)

Readers'Letter Bag

THUNDER ROADON looking at your American charts

feature I was most surprised to notethat "Ballad Of Thunder Road" byRobert Mitchum was a fast rising hit.

The curious but interesting fact is thatthis record was in the American chartsat Number 16 way back in 1958.

I heard a copy at the time andwondered why this fabulous numberwas never released in Britain especiallyas the film from which it comes wasshown here.

Now it has been re -issued in theStates, I hope that Capitol will perhapsmake it available to British buyers,-TONY GRINHAM, 218 FulbourneRoad, Walthamstow.

WOODEN SHADOWSTHE introduction of the "Top Fifty"

charts in the NRM is such a goodidea. It seems fairer to so many artistswho just fail to make the Top Twentyand are in so many ways easily the best.

But I cannot help wondering why theShadows are at No. I. They sound so"wooden".-F. REECE, HammersmithGrove, London, W.6.

WHAT'S HAPPENED TOONE of the most successful vocalists

Stateside is a gentleman namedBEN E. KING.

His consistency is almost unrivalled,but over here in Britain he doesn'tquite mean so much. He came closeto the charts with his renderings of"First Taste Of Love", "Stand ByMe", and "Amor", but in each casehe missed the top table by a merefraction.

DRIFTERSOf course, you can argue that he

reached time top twenty twice with theDrifters, but then it wasn't under hisown name. For when "Dance WithMe", and "Save The last Dance ForMe" entered the charts, nobody hadeven heard of Ben.

And Ben has come a long way sincethen. He was born in New York, wherehe grew up, living over his father'srestaurant near the Latin-Americanquarter..

When his father heard him singingaround the place, he asked him to pro-vide the lunchtime cabaret for thecustomers, who had asked him for someentertainment.

The kind of music that Ben sang wasvery much in the Latin-American vein,and that style clung to him for the rest

BEN E. KING?of his life. It was while he was singingthat a customer came to his father'srestaurant, and took more notice ofBen's singing than most did.

His name was CLYDE McPHATTER,and he was one of the big new namesof the Stateside charts. He called Benover after his performance and askedhim to join a vocal group he was aboutto form. The Crowns, they had decidedto call it. Ben accepted and joined thegroup as a tenor.

Then, the boys changed the name ofthe team to The Drifters, and the restis history. Clyde left the boys after aseries of great nits, and Ben took overthe lead. And Ben, too, left in turnafter another awe-inspiring sequence ofhits with The Drifters.

And Ben had built up his name duringthe years working with the boys.

His first solo release, issued in late1960, was "First Taste Of Love". Italmost clicked in Britain, but in theStates, the reaction was not as keen asAAtco records though it would be. Sothey plugged the flip side in the hopethat it might creep into the charts, anddo what "Taste" didn't.

It didn't creep into the charts. Itshot into them. And the Latin -flavoured"Spanish Harlem" provided the vehiclefor Ben to get a long run of top fiftyhits. Theme was "Stand By Me"."Amor", "Young Boy Blues" and,recently, "Ecstasy".

byNORMAN JOPLING

His album "Spanish Harlem" enteredthe best-selling L.P.s list in the States,and contained a dozen Latin-Americannumbers, the like of which Ben has beensinging since his boyhood days. Thecover of the L.P. was voted the bestcover of 1961 by a music paper inAmerica.

So it seems that Ben E. King hasgone a very long way since singing inhis daddy's restaurant. He has golddiscs and a fat bang account to prove it.

But here in Britain there is one factwhich stands out. Since Ben left TheDrifters, neither He nor The Driftershave had a hit.

N. YORK JAllI READ James Asman's column on the

New York Jazz scene in last week'sissue, and feel I must express my amaze-ment.

In the last six months I have had thepleasure of visiting New York for twoperiods of about a fortnight each, andon neither occasion was I able to hear ahalf of all the jazz that was going on inthe city. It is fairly clear that Mr.Asman's jazz world has extremely narrowlimits, and he is upset because he didn'tfind George Lewis in Town. I cannot saythat my appreciation covers every fieldof jazz, but I heard enough to keep megoing for my whole stay-and more.

However, maybe Mr. Asman doesn'tregard people like Roy Eldrige, ColemanHawkins, Henry Allen, Charlie Shavers,Max Kaminsky, Pee Wee Russell, CootieWilliams, Hank Duncan, Ray Bryant,Ruby Braff, Vic Dickenson and BusterBailey (to name but a few I heard) asjazzmen at all. All the above have beenworking in New York for many months.

He, and many "critics" like him,should have the humility to realise thatjazzmen know a lot more about jazzthan they (critics) do, and they shouldrespect and support them, whatever theirstyle, instead of bewailing the eclipse oftheir own, often dubious, "stars".

I agree that a lot of talent is beingneglected, but Mr. Asman is not helpingby demanding with faint praise theefforts of people like Stanley Dance andDoug Dobell to keep musicians in cir-culation. Regarding Mr. Asman'scriticism of "High in a Basement", itwas in many people's estimation, PeteBrown's record; and to run down aman's only lengthy recording for yearsis, once again, not helping anybody'scause. And to imply that there is toomuch preoccupation with recordingmainstream jazz is rather ridiculous whenone considers that 75 per cent of thejazzmen in New York, apart frommodernists, are mainstream stylists any-way.

I do agree with Mr. Asman on onepoint-"One lesson is apparent ... froma great many attempted revivals. Themarch of time is inexorable-you can'thalt it, or turn it back". Perhaps this iswhy, to intelligent and unbiasedenthusiasts, the attempted resuscitation ofMr. Asman's New Orleans pets was sucha waste of time.-JOHN KENDALL,221 Sandringham Flats, Charing CrossRoad, London, W.I.

TRAD BLASTIF the British have to make a

trad jazz film like "It's TradDad!" do they have to show it tothe Americans? Do they also needEnglish trad. bands in the Wash-ington Jazz Festival?

I feel ashamed to think ofAmerican negro blues singers andjazzmen who have to work outsidethe jazz world because they can'tmake enough records to make aliving in jazz. And all this whileBritish bands are making a for-tune turning out the rubbish theycall jazz.

It makes my blood boil to seewhat's being done to jazz music.-P. GRAHAM, Chelsea, S.W.3.

SMALL

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ATTENTION: If you have already hadyour Lesson in Love why not continueyour studies by joining The AllisonsFan Club, c/o 19 Eddiscombe Road,Fulham, London S.W.6.

ANNE SHELTON Fan Clubs. - Sends.a.e. for details to (North) 218 Hey-wood Old Road, Bowlee, Middleton,Manchester. (Midlands) 15 Foston Lane,Fagley, Eccleshill South, Bradford, 2Yorks. (South) 74 Beverley Rd., White-leafe, Surrey.BARGAIN PRICE L/P's, Brand New,usually 35/3 -41/-. Special Clearanceprice 25/- each. E/P's 3 for 25/-, Clas-sical, Jazz, Popular. Send for lists.Trade enquiries invited. Star -Disc, Sil-ver Street, Hull.CHARLIE CHESTER CLUB. Service-men aged 18/22 wanted urgently aspenpals. Pa-ticulars:- Josie Veen, 72,Clarence Avenue, Clapham Park, Lon-don, S.W.4.CRAIG DOUGLAS Fan Club.-Detailsfrom The Secretary, 58 Holmwood Rd.,Ripon, Yorkshire.EARN MONEY with your sewingmachine. Materials, sample and instruc-tions supplied. S.a.e. please. (H.N.9),Riley, 9 Coytes Gardens, Ipswich,Suffolk.FOR ALL YOUR Musical Requirements,music to lyrics, piano arrangements,etc., write or call, Musical Services, 2Denmark Place, W.C.2.GLAMOROUS YOUNG LADIESwanted as amateur singers for vocalgroup. Send photograph.-Write Mr.C. E. Shaw, 241 Barnsole Road, Gilling-ham, Kent.HONEY-"Some of These Days" youwill join the Dick Jordan Fan Club-Why not now? 106 Sheen Road,Richmond. Surrey.MARK WYNTER Fan Club.-Subscrip-tion 5s., to include free photo andbadge. Apply 24 Litchfield St., W.C.2.MYRTLE FRIENDSHIP CLUB- Pen -friends home and abroad. All ages andinterests - S.A.E., Manor Hill, Sutton -In -Craven, Nr. Keighley, Yorkshire.POP SONGS and lyrics. Send to TheNew Society of Lyricists. S.A.E. 30Cwm Hir, Ebb Vale, Monmouthshire,S. Wales.SINGING SUCCESSFULLY. 10 vitalpoints, send 5/- and s.a.e. for fullinstructions, Studio I, Garland'sRecording Studios, Chesham House,Deptford Broadway, S.E.8.STARS' HOME ADDRESS. Writedirect, personally. List giving 50 worldrenowned film stars only 2/- (Stamps)and S.a.e. 194, Christchurch Road,Ringwood, Hants.SPRINGFIELDS Official Fan Club-Patricia Barnett, 316a QueenstownRoad, S.W.8.STRICTLY CONFIDENTIAL. Friend-ship/Marriage Brochure, free. (Estab-lished 1943.) Friendly Folk Association,Torquay.THE NATIONAL FRIENDSHIP EX-CHANGE-an organisation for the pro-motion of friendships throughout theBritish Isles welcomes enquiries,especially from London, Surrey, Devon,Wiltshire, Cambridgeshire, Gloucester-shire and Scotland.-S.a.e. for particu-lars from Administrator, N.F.E., 1 PagesClose, Stowmarket, Suffolk.WE ARE LOOKING FOR TALENT TOPUT ON DISCS, send s.a.e. for fulldetails, Garland's Recording Studio,Chesham House, Deptford Broadway,S.E.8.YOUR FAVOURITE Film, Record orTV Star. Real Photos. 10in. x 8in. at2/6, postcard size 6d. Send s.a.e. forfree list-Starfotos, 38 Rupert Street,London, W.1.

NEW RECORD MIRROR, Week -ending March 31. 1962 Page Three

GENE VINCENT flies back to Lon-don on March 28. Great news

for his myriad fans, including me,who regard him as a truly great rock'n' roll performer. And great news, Isuppose, for those perishing knockerswho put outrageous stories roundabout this American star.

I doubt if there is a more malignedartist in the business. Everything nor-mally guaranteed to stir up trouble hasbeen pushed round about him. Often,when you hear these inaccuracies, youwonder if he is a man ... or some beat-perveying something from an X -certifi-cate film.

Well, let's get the record straight.And the first point is simply this. Gene

Vincent works with a badly crippled leg.He whips up that fantastic beat storm,which THRILLS audiences, in the sortof physical condition which would makeit hard for many a man to even walkproperly.

PROBLEMSI happen to know that he is in con-

stant pain. Add that to the various "mis-haps" which have earned him largelyundeserved publicity, and you have themain reason for the Vincent state ofbeing "mentally aggravated". One or twoincidents which do, granted, have a basisin fact have been whipped up intolittle less than international incidents.

Gene, because of his troubles, has agenuine FEAR of answering questions,unless his manager is there with him.He has a FEAR of not being accepted.That leads to further problems . . .

and to further misconceptions abouthim.

But the fact is that Gene, left alone todo his act and to perform as an enter-tainer, is perfectly happy. He stints hisaudiences nothing. He'd go on all nightif required.

Secret FEAROf GeneVincent

When Icome offstage,that'swhen theproblemsstart

The trouble is that little is written ofhis triumphs on stage. There's too muchconcentration on every other aspect ofhis life. Gossip leads to rumour, rumourleads to distortion-and distortion leadsto TROUBLE.

I'm not interested in Gene's off-stagetiffs or difficulties-though I think theyshould be treated with sympathy in thecircumstances.

THRILLSBut on stage-that's different. His

European manager, Don Arden, says: I hope that this upcoming trip, Gene's"I believe he is head and shoulders fifth (and already extended twice to takeabove the other rock 'n' rollers. He has in alternative dates) will push him rightoriginality and he genuinely thrills his back into the charts.audiences.

"And many others try to copy him ...even to the extent of taking over hiswhole act."

That word "misunderstood" is a much -used one in pop music. But Gene hasbeen out of the Britain Top Twenty, des-pite his "individual" popularity with thefans, for three years. A long time. Andit's difficult to see any change in thisstatus just as long as this "myth" abouthim persists and puts off possible big-time bookers who don't bother to checkthe real facts.

Gene is shy, lonely, misunderstood.His real medium is on stage, where he

(plus backing group) can get through tothe public without the embarrassment ofhaving stage or studio staffs hangingaround.

Potentially, he coulcl be very big again.Leave him alone and he'll probablymake it.

CRACK-UP

STAR OF THE WEEK No. 55 i

DESPITE the fact that British songpublishers bemoaned the low

standard of the songs submitted tothe British heats of the EurovisionSong Contest-when not talking abouttheir own numbers-one of the songslooks like getting into the TopTwenty.

And it isn't the song that won theBritish final, Ronnie Carroll's " Ringa Ding Girl," either.

No, knocking at the Top Twenty dooris KARL DENVER, already wellcemented in the chart with "Wimoweh."This time his disc is " Never Good-bye," which came exactly nowhere in theBritish finals.

Karl Denver is now in a position tocall himself one of our most consistenthit parade stars. " Never Goodbye " ishis fourth disc to make a dent in thenational disc -buying pocket.

Why is " Never Goodbye " popular ?One song publisher explained: " ' Ring aDing Girl ' didn't really fit into anycategory-it wasn't a song for the teen-agers and it wasn't something for theolder folk. But ' Never Goodbye' isreally a song for the more mature per-son, someone much older, say around25.

" But it also has Karl Denver, whogoes a bomb with the teenage marketand is sufficiently off -beat to get awaywith this sort of ballad.

" Whoever decided to back ' NeverGoodbye' by putting Karl Denver onit backed a winner."

APPLAUSE" Never Goodbye " is written by

Jimmy Kennedy, the man responsible forsuch melodic items as " Isle of Capri,"" South of the Border " and-to bringhim right up-to-date-" Romeo," whichPetula Clark steered into the charts, and" Love Is Like a Violin," which KenDodd did likewise.

It's a step away from Karl's folk -cum -country and western tinged style,evidenced by " Wimoweh " and his firsthit, " Marcheta," but not too far awayfrom " Mexicali Rose," his second hit.

And to get " Never Goodbye "into the charts, considering that itwas released on top of " Wimo-

weh " almost, which itself wasreleased almost on top of theTokens' version of " The Lion SleepsTonight " (same tune) is no meanfeat.Karl himself was confident about

" Never Goodbye." He said recently :

" Whenever I play it at concerts theaudience always drowns the first coupleof bars with applause. And if they likeit that much they will buy it."

ONE HOURBut "Wimoweh "-which is a kind of

Zulu " Tally -ho !" - is what Karl hasbeen concentrating on just lately.Nicely coinciding with the start of histour with the Billy Fury -John Leyton-Eden Kane -Marty Wilde show, it wentinto the Top Twenty. Therefore Karlhas been able to give it maximum pro-motion in person to large audiences allover the country.

" Wimoweh," says Karl, contains a(NRM Picture.)

KARL'S MISS IS NOWlot of improvisation and was the resultof an hour's work in the recordingstudio.

Karl has a simple-if different-wayof recording. He doesn't find a tuneand rush into the studio to cut it. Hetakes three or four days off from hisschedule of one-nighters and ballroomdates, goes into the studio and recordsaround 20 to 25 numbers.

The result is that the men behindDenver and Decca records are siftingthrough around 30 titles. Their objectis to find the next Denver single forrelease after the fuss around " Wimo-weh," and now " Never Goodbye " hassubsided.

At the time of writing, the choicehas been narrowed down to around fiveof them. They include a couple offolk songs, one from Ireland, a title like" Wimoneh," which has been given theusual Denver off -beat treatment and areal, down-home, jazz -blues number.

" We're really not sure what to issueor when to issue it. We are more cer-

tain that Karl will have a record outin America next month. It will probablybe the Irish folk song, which hasn'tbeen given the screeching, powerfultreatment," said personal manager PeterSomerfield.

" The one thing we are certain of isthat Karl has his date book jam packedwith one-nighters, concerts, cabaret andballroom dates right up until November.This, of course, is mars ellous.

2.111111111111111111111111111111111111111111111111111I1111111111111111Lt

byIAN DOVE

ilIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIii" There will be a new long player by

Karl out next month." At present,Karl's first LP, " Wimoweh," on Decca'sAce of Clubs label, is in the TopTwenty chart at No. 12 after a lengthyrun.

Karl will have a summer season thisyear at Yarmouth. Added Peter: " It

will be a real rest for him. Fourteenweeks with no travelling. Most of hiswork is one-nighters, which means a lotof travelling. Between now and whenhis summer season starts, he has a tourof Scotland and a tour of Ireland.

" On second thoughts, I don't think14 weeks will be long enough," addedPeter.

When Karl comes off his currentpackage show, he records a radio show" Come Along With Helen Shapiro,"which will be broadcast on Easter Mon-day.

Karl is also set to do some cabaretdates during May-at Bolton !

" Bolton and those places up northwant cabaret, and they want the artists.What's more, they are prepared to payfor them. Down in London, perhapsonly the " Talk of the Town " and thosesort of places could afford Karl. Upin the north, a lot of cabaret spots canand do pay this kind of money," com-mented Peter.

"Be Bop -A -Lulu" was a vast successbut Gene has noticeably trailed off sincehis serious car smash accident-the onethat killed Eddie Cochran-hack inApril, 1960. The memories of that fatalcrash have not helped Gene find mentalhappiness, either.

Now he is ready to return. He's hadseveral months sunshine and con-valescence since his last crack-up. Hisnew single "Lucky Star" gives hints ofbetter sales to come. His appearance in"It's Trad, Dad", in which he sings"Spaceship to Mars", will boost him.

Gene once said: "When I'm on stage,I'm in a world of my own. I don't thinkabout anything else. But when I comeoff, when the reaction sets in-that'swhen the problems start".

Certainly he will continue to drag fansfifty or sixty miles to see him INPERSON. PETER JONES

A PRESLEY

MARATHONCURRENT trend in American

"sweet music" stations is to pro-vide " marathon " record -playingsessions of the quieter type of popstars-notably Frank Sinatra.

But a Top Twenty dominated stationin Honolulu has answered the" sweetness " with a 78 -hour non-stop session of Elvis Presley. Thedee-jays, taking turns, broke in onlyfor commercials and to give detailsof contests in which listeners couldwin Presley discs.

And the gimmick was that the sessionwould go on and on until Elvis him-self telephoned from Hollywood andsaid: " Stop the music."

The station took nearly 10,000 telephonecalls during the marathon and a listwas taken of the most -requested num-bers. Leaders, in order, were: "Don'tBe Cruel," Can't Help LovingYou," "Jailhouse Rock," " OldSteep," " Heartbreak Hotel " and" Are You Lonesome Tonight ?"

Executive Ted Sax said afterwards thatevery Presley disc ever made was in-cluded. And a break -down of the tele-phone calls worked out at four fromteenagers to every one from an adult.

A " scoop " for the station was thatPresley's new single, " Good LuckCharm," was played there for thefirst time on any network.

A HIT!Right now Karl Denver is riding high.

He appears everywhere-even on theB.B.C.'s "Jazz Club" programme a fort-night ago. He is able to present hiskind of music, country and western, toa major segment of the teenage scene-" toned down a bit, mind you, but stillbasically country music," he says-anddo well with it.

It's taken him around five years, sincethe time he was deported from Nash-ville, centre of the American countrymusic scene. Karl, a sailor, jumpedship and for three years toured Americaas a country and western singer withouttelling anybody his home was in theHighlands.

Last year was generally supposed tohave been, pop -music wise, HelenShapiro's year. So it was. But it wasalso Karl Denver's.

And he is maintaining progress. Heprobably thinks it will never be trod.bye. . . .

Page Four NEW RECORD MIRROR. Week -ending March 3L 1962

"

.00

JELLY ROLL DIDTHE TWIST!

CHECK in the Old Testament,Ecclesiastes 1, 9. and you will

tind, "The thing that bath been, it isthat which shall be, and that which isdone is that which shall be done: andthere is no new thing under the sun".

Perhaps it's a funny sort of wayto begin a column on jazz, but theold adage was adequately provedwhen I listened to JELLY ROLLMORTON singing "Winin' BoyBlues":

"Manta, Mama just look at sis-She out on the levee doing the

doggone Twist . . .

Veteran New Orleans jazzmen, talkingto Alistair Cooke, the brilliant BBCAmerican commentator, told Cookeabout the Twist back in the golden daysof New Orleans, around 1908.

Arnett,ARNETT COBB

PARTY TIMEWhen My Dream Boat Comes Home Lonesome Road Blues in the Closet Party Time Flying Home SlowPoke Cocktails for Two. ESQUIRE32/154.ARNETT COBB used to be one of

the most exciting tenor playerson the scene. The modern uprisingsuddenly made him old-fashioned, asit did many players. Then, in 1957,he broke both legs in a motor acci-dent, and only recently has he madea comeback. Over the years his styleseems to have changed not at all. Heis still the robust swinger and honkerwho earned a reputation for his

on tke L,ionet Hampton ver-sions of " Flying Home."

That number has followed himaround ever since, and it pops upyet again on this latest Cobb album.Let me say that by this time it is abit of a bore. Let me say also thatI wish Cobb would stop playing it,for he shows on some of the othertracks that he is a talented saxophonistwho is good enough not to try tofeed off reputations and sensationsthat have been dead and deeply buriedfor many years.

Some of the blues tracks are excellent,particularly " Party Time," on whichCobb's pianist Ray Bryant plays beauti-fully. Bryant has that rare gift amongjazz pianists, an originality of touch,quite apart from a neat technique anda witty turn of phrase. His playing on" Party Time " is jazz of a high stan-dard, and Cobb's tenor playing, thoughvery basic in its harmonic structure, isnot far behind in spirit.

" Lonesome Road," taken at a fastertempo than usual, comes off rather well,with Cobb producing that almostcomically huge tone and savagery ofattack, as though he intends grabbingeverything in sight and tearing it intoshreds. "Cocktails for Two" is anothertrack worth hearing, once again forBryant's piano playing, reminiscent inplaces of Teddy Wilson.

This is one of those records whichpeople will assume is modern, but whichreally has its roots in the old swingdays. And none the worse for that,either.

ENDLESS

FLOWMILT JACKSON, JOHN COLTRANE

BAGS AND TRANEBags and Trane Three Little Words The Night We Called It a Day Be -Bop The Late Late Blues.LONDON LTZ-K 15232.

The Coltrane -Jackson collaborationsare fascinating for a particular reason.Both of these artists have been seenrecently in this country playing inmusical environments which in myopinion are by no means ideal for them.The Modern Jazz Quartet, as we allknow, is the kind of organisation which

restricts a player of Milt Jackson'sscope and fire. As for the quintet whichcoltranc brought over to this countrythe other week, it seemed to me to bea complete disaster. The combinationwith Eric Dolphy playing so-called FreeForm was no combination at all. Forthese reasons I can imagine the reliefwith which Jackson and Coltraneapproach this type of recording session.Both of these brilliant musicians can letloose on albums like " Bags and Trane,"and the result is as outstanding as ever.

" Be Bop " sounds like a bit ofscramble, but the other tracks all con-tain enough musical thought to keep thediscerning listener occupied for weeks.The blues tracks, " Bags and Trane "and " The Late Late Blues," show Col -

ByBENNY GREEN

trane in all his majesty, although Jack-son's solo on " Bags and Trane" soundsas though the edicts of John Lewis arebeginning to get under his skinpermanently. Perhaps the best way togauge the quality of this record is tohear the two conventional tunes, " ThreeLittle Words " and The Night WeCalled it a Day."

On " Words" you can hear Coltranehandling a conventional chord sequencewith considerable cunning, adding a

passing chord here, substituting a chordthere, and giving pianist Hank Jones apretty problem in feeding him the rightchords. On " The Night," Jackson hasthe lion's share of solo time and produceswork of real delicacy and depth. Aconnoisseur's album, packed with tech-nical brilliance and an endless flow ofmelodic ideas.

Coltrane, Milt,

BirdCHARLIE PARKERIN SWEDEN, 1950

Anthropology Scrapple from theApple Embraceable You CoolBlues Star Eyes All the ThingsYou Are Strike up the Bond Bodyand Soul Fine and Dandy HowHigh the Moon. SLP 27.

This is the second LP to appear outof Parker's Swedish episode. The firstdealt with the Malmo date, and this onecomes two days later from the Folk -park. Halsingborg. Of course, everythingParker played is of value, and so thisrecord is worth catching up with. Butit was the result of some work by anamateur tape-recording enthusiast, whichmeans that the recording conditions andreproduction are truly appalling.

If the buyer can steel himself againstthe surface noises, the crowd noises, thepoor balance of the instruments, andthe general air of things being con-ducted in the middle of a blizzard inthe Sahara Desert, then this tecord willgo into many collections. Not morethan a thousand collections, however.There is a big announcement on theback of the cover which reads: "LimitedEdition : This record is issued in 1,000copies."

Perhaps this is a sales gimmick, be-cause if the truth be known almost everyjazz album ever made is a limitededition because there is only a limiteddemand. If a jazz album sells a

thousand copies, it is a considerable feat.This one will probably succeed, but itmight have been a cleaner production.

MILT JACKSON: a collaboration with tenor saxophonist John Coltrane.

They remembered that the Twist wasa low -life dance. No respectable personwould dance such an abandoned figure-it was always performed by the meanestand most abject chippies, and usually inthe twilight of some foul crib near theNeighbourhood.

Today the Twist has elbowed the Rockout of position in the Top Ten andthe kids twitch and wriggle in mostunseemly fashion, and in a completeinnocence of its debased origin.

It occurred to me also that the veryyoung innocents who squirm their virginversion of the Twist to some grotesqueadaption of the Blues are equally con-temptuous of the pioneer jazz which wasits oldtime partner. The infants I knowsay vintage jazz is corny, and only thebrash imitations of Acker Bilk, KennyBall and Chris Barber are worth hearing.

This is all very depressing.

So I go back to the good music, tothe good times-the time when suchobscenities as the Twist were kept behindlocked doors in the red light district ...

Echoing those far-off times is a newAce of Club release which turns thespotlight quite effectively on the . . .

TRAD SCENE TODAYTHE AVON CITIES JAZZ BAND:Sally Magnolia King PorterStomp. IAN BELL'S JAZZMEN: WhenI Take My Sugar to Tea Louisiana New Orleans. ALAN ELSDON ANDHIS JAZZ BAND: Twelfth Street Rag Palesteena I Used to Love You.KEN BARTON'S ORIOLE JAZZBAND: 1 Found a New Baby GipsyLove Song Sur Le Pont D'Avignon.DECCA ACE OF CLUBS ACL.1099.

For a mere twenty-two bob you canhave four of the best of the second-rateTrad bands, each playing three numbersapiece, and not a splinter to choosebetween them.

I found it hard to detect which bandwas playing at which time-but all themusic on this album is forthrightlyBritish Trad of the most obvious kind,even to the attempts at finding old popmaterial to "Trade -up" and to singbriefly in a cracked or croaky tenor ala Kenny Ball.

Of course there were some things 1

liked-and others that I disliked verymuch indeed. The Avon Cities trom-bone failed persistently to find the correctfeeling and pattern for a tailgate horn-or perhaps he just didn't want to playhis instrument that way.

I found the music, as a whole, withoutreal meaning. It is all a happy-go-luckycopy of the oldtime jazz, but, mostsignificantly, the personality and inspira-tion were two things missing from thepicture.

There isn't one outstanding musicianfeatured here, not a good, inventivehorn, or a moving clarinet treble, or ariding piano foundation, nor any swing-ing rhythm. The banjo twangs andplonks with more determination thaneffect.

MARK WHITE, the producer, did anexcellent job and this is., without doubt,a real reflection of the Trad Scene Today.

God help it.

ByJAMES ASMAN

CHARLESTON HOT PEPPERS"THOSE FANTASTIC CHARLESTON

YEARS

Charleston Ja-Da The Saints Japanese Sandman Jazz Band Ball St. Louis Blues Limehouse Blues When Buddha Smiles DarktownStrutters Ball Basin St. Blues 0Sister Kate Tiger Rag. POLYDOR46375 LPHM.

Recorded in Germany during thesummer of last year, this is the usualprofessional Dixie music with theemphasis on the old Roaring Twentiestype of presentation. It really hasn't agreat deal to recommend to jazz enthu-siasts who must have heard all this stufftoo many times to be impressed.

Far better are the Philips "Thesaurusof Jazz" (BBL. 7431/2/3/4) which, withRed Nichols, Miff Mole, the CharlestonChasers, the Red Heads and the Arkan-sas Travellers, have the virtue of beinggenuine.

BILLYDANIELSSINGS

PRESLEY!BILLYII/ DANIELS is looked upon

as the Elder Statesman of popmusic. He doesn't really dig themodern Top Twenty scene-but heregards it with an amiable toler-ance. But . . . he personallydoesn't want to be involved in it

Listen to his views, passed on afterhe had recovered from laryngitis, theailment which caused him to pull outof his Bal Tabarin booking in Lon-don cabaret after one week.

"I have my own standards of taste.I've worked with all the top music-ians and I've always liked the bettertype of pop music. My own kids gofor the pop records, the Top Twentydiscs-but I'm hoping they'll growout of it.

"I just don't care about the differentstyles of musk just as long as theyare done well.

"Part of my act now is ElvisPresley's 'Can't Help Falling InLove'. I don't do it as a tribute toElvis or as a peace -offering to hisfans. I do it because I think it is afine song, with a lovely melody.

"Then, in America, I heard MattMonro, one of your best singers,working over 'My Kind Of Girl'.He's in the Top Twenty. But thesong . . . well, I liked it immediately.So I included it.

"But I'm just not interested in thesingle field of best-sellers. It isn'tright for me. Why, I have an annualcontract to appear in Las Vegaswhich brings me in 150,000 dollarsevery year. What's the point in mystruggling after Top Twenty successeswhen the fans I would gain justcouldn't afford to come and see mein a big-time cabaret spot?

"In America, the establishedsingers don't worry about singles. MelTorme, Billy Eckstine-all those guys.Albums are the thing. It's a matterof knowing one's own limitations."

But Billy, otherwise, maintains atactful silence about the pop world.His name is known to all classes ..but he aims for the upper -crust. Withno snobbishness attached to hisfeelings.

Billy spent a few days recuperatingin Paris with his sister, then returnedto London to talk over with theatricalimpresario Oscar Lewenstein the pos-sibility of his appearing in "DaddyGoodness", a musical scheduled forLondon production this year.

Said Billy: "I'm most interested inthat. It seems there are several partswhich might suit me-and I've alwayswanted to get back to stage per-formances. Remember I did prettywell in 'Memphis Bound', back onBroadway some years ago.

"In fact, I want to settle my wholefamily-and that includes five child-ren-in Britain. I've had people outlooking for property for me.

"But when I get back to the StatesI have to work right away on analbum called 'Billy Daniels On BasinStreet East'. That should be a thrillfor I'll have Sy Oliver in charge ofthe orchestra. We hope it will bereleased real soon in Britain."

Billy talked about his long-standing(16 years) accompanist, Benny Payne."I guess we have a great loyalty to-wards each other", he said, "Thatguy has been on every engagementwith me over that time.

"But we keep it strictly business.He doesn't go around the chubs withme after a show. He kinda looksafter himself!"

While in London, Billy Danielstalked with Bernard Delfont aboutthe possibility of starring in "Talk OfThe Town" later this year. He saidhe'd like the chance because he feltthings were "warming up" nicelybefore he had to pull out of the BalTabarin show.

Billy took one last look at the popscene.

"I personally don't need it", hesaid. " But I'm not against it. Justhope that people grow older andwiser in the ways of what is good ...and what is purely BAD."

PETER JONES.

NEW RECORD MIRROR, Week -ending March 31, 1962 Page Fi

BERT WEEDON : POP MUSIC'S 'UNCLE'THE eternal "uncle" figure on the pop scene. A student of the guitar for 27 years-which

is a lot longer than most pop stars have lived. The first British guitar soloist in thehistory of British pop music to make the charts. The man who helped 10,000 buddingguitarists in one week.

That is BERT WEEDON, alias " Mr. Guitar ".Or incongruous. A peculiar mixture . . . Accepted wholeheartedly by the fans. Looked to for

advice by other beat groups. And a great mate of stars of the classical side of the fretted world.Who says of " long -hair " classical guitarist Segovia, " He likes to beat out a bit of boogie ".

So when Bert speaks, it's worth tuning in. And we asked him about the pop scene.

QUESTION : Has the guitar influenceon pop music changed?

ANSWER: Not at all. So manyguitars have been sold-but the marketis still big. It is much bigger than thepiano. And the interest is there. Ireckon I get thirty letters a day fromguitarists asking for help and 100 lettersa day from the fans. When I gave aguitar tuition course on television, theysaid would I come and collect the mail.They said I'd better hire a truck. Therewere six sack -loads and about 10,000letters. That's why they're bringing backthis course.

QUESTION: Has the style of thesegroups changed?

ANSWER: Of course, it has. Allthese groups are a bit older now forone thing and have a more adult con-ception of music. When I used to traveland hear all the groups years ago, thebig thing was to sound like the Shadows.Now they come up and ask me how canwe NOT sound like the Shadows. Theyare all trapped with a certain guitar anda certain amplifier. This asset, which itwas some time ago, has now become aliability. Every bass player used to havehis hair dyed blonde like JET HARRIS-but that is OUT now. Even theShadows are trying to get away fromtheir own sound.

QUESTION : How about your ownsound, Bert?

ANSWER: I think my own style iseasily recognisable. I use my ownmovements on stage, introduce comedy,falling about and so on. My age herehas been a great help. To copy any-body is no good. I'd sooner sound likethe best Bert Weedon than a sixth -rateDjango Reinhardt. Mind you, ittakes some will -power to stick to theseconvictions but I make it pay.

QUESTION: Do you mind passing onadvice to possible competitors?

'LET'S NOT

SOUND LIKE

THE SHADOWS!'ANSWER: Not at all. I reckon

guitarists must help each other morethan any other instrumentalists. I badhelp when I was young. And I figurethat if they know as much as I do thenI have got to do better myself. Guitaristsare a matey crowd.

QUESTION: How many guitars doyou own?

ANSWER: Eight. And choosing aJew guitar is like choosing a wife. AndI haven't got eight wives. I would payabout £250 to £300 for an instrument.

QUESTION: Teenage artists are oftencriticised? What do you think?

ANSWER: Ridiculous. Any of theteenage stars have great enthusiasm.They're always trying to learn. Theylive for their work. Cliff, Adam, DannyWilliams - all these people are sowrapped up in their profession. It's only'lose who sing and play for the glamourand to get the birds-they're the poorartists.

And they are NATURAL artists.Look at Helen Shapiro. She's gotbetter woman phrasing at her age thangirls of 25 and 26. But I would like tosee more rock groups learn to readmusic. It would widen their scope andhelp them get away from the successionof Shadows' numbers, Duane Eddynumbers and my numbers. I'd also liketo see them look after their instrumentsmore. Some of them are very dirty.

QUESTION: But are general standardshigher?

ANSWER : Yes, the boom has beenon for five years now and the improve-ments go on all the time. I get boredreading about how bad teenage artistsare. It's just not true.

QUESTION: What about your ownfuture?

ANSWER : Well, there is so muchhappening. I'm thinking, for instance,of bringing out an album called " TheReal Bert Weedon ". I'd include Bach,

2 LPs IN THE CHARTS!!!

congratulations

DOROTHY PROVINEThe one and only flapper ever to make the Top 10 LP charts ...

BOOP-BOOP BE -000

The Roaring '20s31 songs including: Bye bye blackbird - Charleston - Black bottom

I wanna be loved by you-Tea for twoDon't bring Lulu-Whisper song -Let's do it- It had to be you

0 WS 8035 0 W/6 4035

The Vamp of The Roaring '20s30 songs including: Looking for a boy- I'm just wild about Harry

Hard-hearted Hannah-Somebody loves meTip -toe through the tulips-The man I love- Swanee

9 WS 8053 9 WM 4053

STEREO OR MONO RECORDS

WARNER BROS RECORDS DECCA HOUSE ALBERT EMBANKMENT LONDON SEt

u

Spanish music, Chopin, rock 'n' roll andpop music. I think that would go wellwith the general public as well as withstudents of the guitar. On my televisionprogramme, " Tuesday Rendezvous ", Ido a lot of interviewing. This is a sideof my personality I am interested indeveloping. But in the main, I just wantto keep playing-and playing for teen-agers, too.

Yes, my age has been a great help.Certainly it has been no handicap. Yousee, I'm not looked on as a rival toanybody's girl friend.

I enjoy being an " uncle " figure.

THE MOUTH -

ORGAN SOUNDON rock 'n' roll records, the backing

is universally considered to be asimportant as the vocal. That's theusual case. And, apart from obviousexceptions, like U. S. Bonds, nine outof ten discs seems to have a fifty-fifty share -out of interest between thetwo.

So the people who make the recordshave to take as much care in choosinga backing to suit the singer, as the songfor him. And rather than take a chanceon something new, almost all pop discsup till two -and -three-quarter years agowere accompanied by guitar, and/or saxand piano, plus drums.

Then Mr. Dick Jacobs provided astring backing for the Holly death disc"It Doesn't Matter Anymore" andchanged the face of the rock scene. Mostpeople reckoned that it rang the deathknell for rock and roll.

It did-for a while. Then about a yearago a form of music began to sell wellagain in the States. It was the semi -Rhythm and Blues style that hadheralded in rock way back, before stringshad been thought of to accompany abeat disc. And some of these discs havecaught on in Britain, though not so manyas in the States.

But the point is that a new instrumentis being used in many of these U.S. hits.And last week, the top disc in America,"Hey! Baby" entered our charts with itsunusual harmonica backing. That wasthe first.

In the States, there have been platterswith this sound on them in the chartsfor several months. Ann Margret clickedwith "I Just Don't Understand", whileLee Dorsey made it with his interpreta-tions of "Ya Ya" and "Do-Re-Mi". "IfYou Gotta Make A Fool Of Somebody"said James Ray to a harmonica backing,while the Jack Eubanks orchestra gaveout a straight harmonica solo on"Searchin' ", the old Coasters hit, whichreached the lower heights of the hothundred via the new interpretation.

Interesting point that, because pre-viously Eubanks made discs with aguitar picking out the tune, after DuaneEddy.

Slim Harpo climbed high with" Rainin' In My Heart " (no connectionwith the Buddy Holly title), whileseveral of Brenda Lee's discs have hodthe harmonica backing them.

May be this won't lead to another in-vasion of the pop scene like strings. Butit could, and this time it would be forthe good of Rock 'n' Roll, instead of toits detriment.

Only trouble is, can you imagineLarry Adler playing rock ?

'CRAZY WORLD' SOLD100,000, SAYS ALAN

ALREADY 21 -year -old Alan Klein(above, N RM picture) is

being called " the new LionelBart." Not that he likes the tag verymuch, despite the compliment, forthe main aim of this loquaciousEast End of Londoner is to be con-sidered the FIRST Alan Klein.

And, anyway, the FIRST Lionel Bartis far from being worn out.. .

But Alan is a similar type of charac-ter. A chirpy Cockney. A ladwith a natural " feel " for wordsand language-plus a knack of say-ing unusual things at unusual times.

Take his " What A Crazy World We'reLiving In," which Joe Brown re-corded. The lyrics have receivedunanimous praise. That it hasn't hitthe Top Twenty in a big way is amystery, though sales are well up tothe 100,000 mark. It's failing was thatit was released back in November lastyear and has sold well over too longa time for chart sating.

Now Alan has written another, theuniquely -titled " Layabout's Lament "for Joe.

But the biggest thing so far for Alan isthe release, Oriole on April 6, of hisdebut disc. He sings his way throughhis own number, " Striped Purple ShirtAnd A Pair Of Yellow Braces."Oriole's John Schroeder promisesmaximum promotion and digs theKlein sound deeply.

Previously. Alan has had publication(and recordings) on his compositions" At Times Like These " (RickyValance) and " My Very First Love"(Ronnie Hall). But I'd say that comedyis his strong point.

Alan kicked -off in the business as partof a Country 'n' Western -purveyingact, George and Alan. They were in

at the opening of the Pink ElephantClub in London's West End.

Then the act broke up. Earlier, Alan hadwritten stories and plays at HighburyCounty School and tried commercialart for a living, eventually finding it" hopeless and useless."

He plays guitar and studies, when hegets time, the theory of music. Hewrites fast and compulsively. But notto set hours. He finds he may get thelyrics for a song complete on a shortunderground journey - but that hecan sit for hours at home withoutfinding a single worthwhile phrase.

His " Crazy World " hit was originallywritten for himself. I suspect it's a bigdisappointment that he didn't get theopportunity to make the disc, but ademonstration copy was originallymade for Pan-Musik.

Now Alan is working on a full-scalemusical, specially commissioned byGerry Raffles for the Theatre Work-shop at Stratford, in London's EastEnd. He's halfway through - butalready he's been interviewed about iton BBC-tv's "Tonight" and in sundrynational newspapers.

" Social problems seen through comedyeyes" is his summing-up of themusical.

Having seen some of Alan's writingwork, I have just one worry. And thatis, that the story which I predict willblow up round his own debut disc willnot cause him to abandon writing andcomposition for the performing side.

For he really is a " natural," in thecreative sense.

Just like Lionel Bart. It Alan Klein willpardon the expression.. .

PETER JONES.

Page Six NEW RECORD MIRROR. Week -ending March 31, 1962

EDEN KANE talks with director DOUGLAS HICKOX during filming sequencesfor new "Cinebox" (juke boxes where the artist can be seen). Eden sings"Forget Me Not". DE LANE LEA PROCESSES are making films which are

produced by JACQUES DE LANE LEA.

CHUBBY AT THECHUBBY CHECKER, 20 -year -old

leader of the "Twist" club, starteda two-week engagement at the Copaca-bana in New York last week.

Following the success of his discs andfilms, he launched a series of engage-ments in major night-clubs throughoutthe eastern United States. In the pastfew weeks, he has performed for sell-outaudiences at the Holiday House in Pitts-burgh, Blinstrub's Village in Boston andthe Three Rivers in Syracuse.

Jules Podell, owner of the Copaca-bana, booked Chubby two years ago-originally intending the stint for thesummer of 1962. But Chubby's successesprompted him to move it ahead to theheight of the nightclub season. Chubby'sact was staged by Lou Spencer.

'TWISTSUITS!'

THE Viscounts, Pye recording artists,head a starry attraction of guests at

a dance, presented by Star Entertain-ments, to be held at the Seymour Hall,off Edgware Road, London, W., onThursday, April 12.

Other pop stars taking part are Decca'sGlenda Collins. Russ Sainty and the Nu -Notes, and Paul Raven, together with theGary Edwards Combo-originators of"The Method Twist". The host is RaeMartine, who also introduces Dru Hardyand the Jokers, The Sonics, Brian Raeand the Ken Goddard Trio.

One big attraction will be the Twist,demonstrated by the Kiddiwinks-whowill be wearing, for the first time inpublic, Twist suits, specially designed byCecil Gee, famous West End of Londonoutfitter.

In addition there will be a talent con-test, with a guaranteed recording testfor the winner, plus the prize of a fullwardrobe styled by Cecil Gee.

Further "gimmicks" will be introducedduring the evening. The first 50 people toarrive at the hall will receive a freevoucher for Cecil Gee - and the firstsix girls to arrive will be given a freerecord token.

'COPA'VALGO STARSMANY pop stars have volun-

teered their services for anall-star annual concert in aid ofthe Variety Artistes Ladies' Guild,and Orphanage, to be held at theVictoria Palace, London, on May13.

Among those taking part areShirley Abicair, Paul Andrews,Paul Carpenter, Cy Grant, DavidHughes, Mrs. Mills, PennyNichols, Derek Roy, the Spring -fields, Bert Weedon, DannyWilliams, plus Arturo. BobAndrews, Hylda Baker, Earle andVaughan, Jimmy Edmondson,Cyril Fletcher, Alan Field, HalMonty, Ron Parry, Palladiumcompere Norman Vaughan, withHarold Collins and his orchestra.

BRENDA ONPALLADIUM

BRENDA LEE, who arrives in Britainfor a long tour of one-nighters on

Thursday this week, stars in ValParnell's "Sunday Night At The LondonPalladium" on Sunday (April 1). Furthertelevision dates are being arranged forher.

Featured in "Thank Your LuckyStars", for ABC TV, on Saturday (March31) are Lonnie Donegan, Gary Miller,Susan Terry, The Springfields, the GaryEdwards Combo, Danny Davis, TonyRocco-plus Chubby Checker in asequence from "Twist Around theClock". Brian Matthew comperes andguest disc -jockey is Paul Hollingdale.

ROYAL VIEW

SUCCESS THEN

BACK TO SCHOOLFOUR brothers, the Messrs. Teddy, Chris, Timmy and Arnold Scott, plus

their old mate Ray Gibson, make up the G -Clefs, who had a bighit both sides of the Atlantic with "1 Understand (just how you feel)), whichincorporated "Auld Lang Syne".

Now they are back with "A Girl Has To Know", a sentimental dittywhich features a somewhat poignant recitative mid -way through. Can itmake the same impact here as in America? Say London Record bosses: "Itwould do the same for the G -Clefs as 'Little Things Mean A Lot' did forKitty Kallen a few years back."

The five -some come from Roxbury,Massachusetts, and still sing, wheneverprofessional engagements permit, in theirlocal church choir.

An odd career. They chalked upseveral hits such as "Ka-Ding-Dong"and "Symbol of Love" and then foundthat TV and club dates interfered withtheir schooling. For a while educationwent for the proverbial Burton.

They enjoyed their first lucrative spellof success-and then went back toschool! The only difference was that theycould afford to buy their school -matesall the Cokes and milk -sodas they couldtake.. .

But the youngest Scott brother,Arnold, finally completed his ownschooling and all five got together for afurther onslaught on the entertainmentbusiness. They didn't have long to wait.Within a few weeks, "I Understand" wasfairly crashing into the American TopTwenty, later repeating its success here.

Now the G -Clefs can forget all aboutschool and lessons. And concentrate onmaking a great deal of money, un-hindered. Their biggest ambition. "Tosee Britain and work for our fans overthere".

They'll be welcome . . . all five ofthem.

THE JURY

SAID 'HIT!'GRANT TRACY, who has his first

single-"The Great Matchmaker"(hit -voted by "Juke Box Jury") out onEmber this week-looks just the part.The typical pop singer, straight of tooth,winsome of smile, handsome ofappearance.

What's more his family live in a nicetypical house in a London backwater;his ambition is to make enough loot forhis mum to retire on; and he has nosteady girl friends.

Grant's debut disc was composed byone of America's top lyric writers, BuddyKaye-the man who penned big hitsfor Perry Como. Said Buddy: "I reckonthis could give young Grant a blast-offfrom the launching pad. I think it's areal sizzler . .."

Over to Ember boss Jeff Kruger forthe background story. He said. "I was ata talent contest final in North London.This bright-eyed, red-haired youngsterwalked on stage and sang. No tricks.No amplifiers. He just sang. I was soimpressed that I signed him up rightaway.

"His mum gets a lot of the creditbecause she had entered the boy for thecompetition. She didn't work on anymoney angle. She just believed, quitestraight -forwardly that he had as good achance of making a name as a popsinger as all those others."

Grant gets the last word. "I'm nothoping for miracles. But I think it's agreat song and Mr. Kruger has beenvery, very helpful in starting me on mycareer "

H.R.H. PRINCESS MARGARET and her husband LORD SNOWDON show their approval as the SHADOWS wind up anumber. The group's singing mate CLIFF RICHARD and EMI Record's publicity Chief ARTHUR MUXLOW also applaudtheir encouragement. Setting was HACKNEY WICK YOUTH CLUB in which Cliff and the boys have a personal interest.

Cliff Bennett's Rebel Rousers also appeared on the show.

BACKGROUNDA feature thatgives you theback ground tothe week'ssingle releases

DION'S PALERNIE MARESCA is a big pal of

Dion. What's more, Dion isglad they met up for professionalreasons as well as on the social side.For young Ernest wrote such songsas "Runaround Sue" and "TheWanderer", and all pop fans knowhow important they were to Dionand the public.

Show business didn't hold too muchinterest for Ernie early on. He figuredthat the printing trade was about themost settled of them all and he got him-self a job in the Bronx where he was notbadgered too much about overtime.

Then he turned his hand to song -writing. It was tough getting anyoneinterested at first . . . but eventually hefound he could earn much more moneyby writing when he felt like it than bysetting up in type other folk's writingwhen his bosses told him.

Now comes Ernie's own disc debut, alively rock -a -twister "Shout, Shout",which has already cut its way into theAmerican charts. In Britain, it is releasedon the London label.

Ernie was born, in the Bronx onAugust 21, 1939, and confesses himselfbaffled by all the activity that is currentlygoing on around him. A modest lad, heis not sure that he wouldn't be happierback at the printing works.

But the demand for his show businessservices grows and grows. And right nowhe is preparing a stage act beforeembarking on a one-nighter tour of theStates.

Flip of his disc is "Crying Like ABaby Over You". But the top side isthe most likely seller-especially as heshouts "Shout! Shout! Knock Yourselfout". Umpteen American fans have donejust that.

INTO Terry Lightfoot's already overcrowded April datesheet comes another TV programme. On April 14, the

band telerecords "Thank Your Lucky Stars" (transmissionApril 21). On April 6, the Lightfoot men make a hectic dashfrom their evening session at Windsor Jazz Club to top thebill at an all-nighter at Birmingham Town Hall. Also on thebill will be the Back o' Town Syncopators and MickyAshman's Ragtime Jazzband. Terry's band has been bookedfor the Ludlow Festival in Shropshire on July 6. The bandcaused quite a stir at this event last year when it played to acapacity audience at this otherwise classical festival.

TRAD CHATFD CORRIE'S Jazzband have an extremely busy April.

They play dates with Clinton Ford at Hastings (7),Norwich (14) and Ipswich (15). The Temperance Seven willtop the bill at Ipswich. The Corrie band play another doubleconcert with the Temps at Swansea tomorrow (31) and atCanterbury (April 13). Ed and the boys make two firstappearances next week at the Elm Hotel, Leigh on Sea (April2), and at the Kings Arms Hotel, Berkhamsted (April 3).

HOWLING WOLFLINE up for Ruby Bard's Easter Jazz Band Ball at

Hammersmith Palais, Monday next (April 2) is ForrieCairns and The Clansmen with Fionna Duncan, GerryBrown's Jazzmen, Fairweather -Brown All -Stars, Back o'Town Syncopators and Len Baldwin's Dauphin Street Six.Chester "Howling Wolf" Bernett who was to have topped thebill has postponed his British tour owing to illness. RobinHall and Jimmie MacGregor will replace Howling Wolf atHammersmith. Comperes will be Pat Brand and TerryHenebery.

BOSS WOMAN:ONE of the most driving tracks from Humph's current LP

"Humph at the Conway", is to be featured in a newstage production starring Marpessa Dawn, who played thelead in the box-office success "Orphee Negre". The play isSynder Felengetti's "Boss Woman", which opens at theKing's Theatre, Southsea, on April 2. The Lyttelton numberfeatured in the production is "All of Me",-recorded, likethe rest of the album, live at a concert at London's ConwayHall.

PAPA BUE LEAVES:THEY'VE gone-but they'll be back! After an outstanding

three-week tour of Britain, Denmark's swinging Papa BueViking Jazzband Hew back to Copenhagen last Friday (March25). The tour-the Dane's third British trek-proved to be oneof the outstanding tours of this country by any visiting jazzgroup. The Vikings really did invade us. They earned ravenotices from newspapers throughout Britain, and attractedhuge audiences at jazz centres all over England and Scotland.

PYJAMA JAll:SOME jazzmen wear bowler hats, others sport more "far-

out" garb. Now you meet Britain's pyjama -clad tradmen.Trad-band uniforms can be said to have reached their zenithfor the Clyde Valley Stompers will discard their tartan onMarch 31. They will don pyjamas for what promises to be ahilarious "Pyjama Party" at Battersea College of AdvancedTechnology. The Clydes, who have been resident on TyneTees TV's "Young At Heart" from Newcastle for severalmonths, switch their TV centre for a date next week. OnMarch 29, the group heads south-to Southampton-for aguest spot on Southern TV's "Day by Day". Stompers leader,clarinettist Pete Kerr, is now back in action after his illnesslast week. Reedman Tony Coe deputised for Pete at a sessionat Jazzshow's Jazz Club.

THE GALLIARDS:THE GALLIARDS have spent most of last week with Tony

Meehan in the Decca recording studios working on anew single for release in April. Their last L.P., which includessongs from all over the world, is selling well.

For their regular monthly concerts in Glasgow, the grouphas been attra 'dug full -house audiences.

:' 21121:Et.a.4."

.'

NEW RELEASES

it

Shout shout Ernie Maresca45-HLU 9531 London

A girl has to knowThe G -Clefs

45-HLU 9530 London

Here it comes again The Chaals45-HLL 9532 London

Connie StevensWhy'd you wanna make mey

45-WB 63 Warner Brts

Love and fury The Tornao45-F 11449 Decca

The girl in the mountainsMike Carr

45-F 11448 Decca

Theme from 'Summer and Sme'Peter Nero

45/RCA-1281 RCA Victor

annalifiHAYLEY

MILLS

JEEPERS CREEPERS;

JOHNNY JINGO45-F 21442 Demo

c,Ti-itiseraurs

THE McGUIRE

SISTERS

SUGARTIME TWIST

45-Q :2452 Coral

I

SUGAR

BABY

JIMMY POWELL

45-F 11997 Dacca

THE

RODNEY FON

JAllMEN

GALWAY BAY

46-F 11995 Decoa

NEW RECORD MIRROR. Week -ending March 31. 1962 Page Seven

* Who's Who

NEW

RECORD

MIRRORPHOTO SERVICE

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"NRM Picture"1-'2- Prices: 6in. x 8in. - 3s. 6d.F__-- 10in. x 8in. - Ss.

12in. x 10in. - 7s. 6d.Send to:NRM Photo Service,116 Shaftesbury Avenue,London W.1

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HERE'S a happy looking HELENSHAPIRO (above) drumming up

the star-studded bill of celebrities forthe Wembley concerts organised bythe Stars Organisation For Spasticson Sunday.

Take a look at the picture on thetop right . then look again. No, itisn't CLIFF there in his usual place inthe middle of the SHADOWS; it'sADAM FAITH.

Right underneath are Messrs.LONNIE DONEGAN and a very happyKENNY BALL. Old friends they are,because Lonnie is an ex -member of theworld of British trad jazz while Kennyis very much a senior senator now.

Among the crowd of buskers - allhighly sought after big names of showbusiness-was HARRY SECOMBE (farright). The NRM photographed himbefore he changed into his costume togo outside and entertain the queues.

Below right are RICKY and GEOFF,alias the BROOK BROTHERS, with anautograph -seeking admirer . . whowas lucky!

All NRM pictures.

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WHAT'S

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ffinan SHE'S

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PATSY CLINE

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R A 1 -1)

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CHARITY SHOW **BIG ALL-STAR TURN -OUT FOR S.O.S.

MODERN JAZZ JAMBOREEBOTH

the Tubby Hayes Big Band andthe Tubby Hayes Quintet are

featured in part two of this year's "JazzJamboree"-the modern jazz sectionbeing held at the Gaumont State, Kil-burn, London, N.W., on Sunday, April29.

This year, for the first time in a runof 23 money -raising functions, the Jam-boree was split into two sections-tradand modern. All proceeds go to theMusicians Social and Benevolent Coun-cil's charities

Doors open at the Gaumont State at11 a.m. and the show runs from noon to3 p.m. Tickets are priced 5s., 7s. 6d..10s., 15s. and can be obtained from theMSBC offices, 116 Shaftesbury Avenue.London, W.1, phone Gerrard 6096.

Other groups taking part include: theJohnny Dankworth Orchestra ; RonnieScott and his Orchestra ; the Ronnie RossQuartet; the Joe Harriott Quintet ; theDudley Moore Trio; the Tony KinseyQuartet-plus a special guest star.

CHRIS FORPOLAND

CHRIS BARBER and his Jazz Band,already booked for America in May,

have been offered a two-week tour ofmajor cities in Poland for August. Theywould also undertake television andradio dates on the national network.

The offer came about because of thesuccess of their Swiss tour recently andis being negotiated by the NationalMusical Agency of Poland.

In addition, the Czech NationalVariety Agency have had a representativein London over the weekend makingarrangements for the band to visitCzechoslovakia for a one -week stay-andthis would coincide as far as possiblewith the Polish visit.

A representative of the Barber band isvisiting East Europe in the next fewweeks to tie op arrangements.

A WEDDINGFORRIE CAIRNS' trombonist Jackie

Murray was married this week to 23 -year -old May McCrae, a secretary. atGlasgow Register Office. They plan toset up home in London when the handarrives for its next English tour in April.

Page Eight NEW RECORD MIRROR, Week -ending March 31, 1962

OM MN OM NM NM NM MN IMO IMO VIM 11111 IIMMI 11 1=11 U M NM Me MI MN NM NMI EMS

Not Frank

Sinatra's bestFRANK SINATRA Ey'rybody'sTwistin'; Nothing But The Best(Reprise R 20063)THIS must be one of the poorest

Sinatra records issued, and itisn't one of the best Twist discs, either.To start with, it is an ugly tune andFrank sounds as if he has trouble fit-ting all the lyric into place properly.

The lyric content is a history of theTwist set to music with a big bandbacking, which gets ample oppor-tunity to show off.

Frank sounds unrelaxed-or maybethe whole thing is a gag ? One ofthose novelty items that people willpuzzle over in years to come.

" Nothing But The Best " isSinatra in a more normal and bettergroove. A suave, sophisticated, beatyballed that fits the Sinatra style likehand and glove, ducks and water....Only Frank can sing about a martiniand sound as if he's holding one. Thisside lifts the rating high.

THREE 3 3 3

TIMI YURO Let Me Call YouSweetheart; Satan Never Sleeps(Liberty 55410)AT least one of the jurists rates Timi

one of the current greats. "Hurt"established her but her luck has beenout since. On "Let Me Call . . ." shephrases with her customary inventiveness.She bends notes, twists them, toys withthem.

And it comes through sounding like abrand-new song. It's all Timi, too,because for the most part the backing issimple beat - creating. How this littlelass whips up a storm. She ends the sidein a state near to hysteria.

"Satan Never Sleeps" - he walksbehind you, night and day, Miss Yurowill have you know. What's more, YOUnever sleep while she's singing. This sideis more a performance show -case than acommercial proposition. Give it a spin,though.

FOUR 3333ANDY WILLIAMS WonderfulWorld of the Young; Help Me(Philips 1232)

OUT of the hit -running for quite awhile, Andy comes up with a

pleasant enough version of "WonderfulWorld . . ." He is always being called"under -rated" but our view is that he'san inoffensive, pleasant sort of characterwho really needs faster-tempoed materialthan this.

It's much the same with the "B" side.You can't fault him as a balladeer butthere isn't too much room for this typeof performance these days. He sings outmore here.

Andy is the type most people like tohear-but possibly won't want to forkout the ready for. Get the gist?

THREE 3 3

JOHNNY DESMOND Twistin RoseOf Texas; Hello Honey (Top RankJAR 612)NATURALLY this is a twist version of

the old hit, "Yellow Rose Of Texas"with Johnny and the chorus just alteringa few words here and there over thecompulsory shuffle rhythm. Johnny hasa pleasant voice. les a pleasant novelty.An organ and saxophone take a breakeach. What more can we say in this twistglutted days.

Flip side is just as appealing. Writtenby Johnny himself it's a bright andbouncy type of song that they used towrite before rock was born. Clearlyprofessional.

THREE 3 3 3MICHAEL ANGELO Tears; Themefrom 'The Roman Spring Of Mrs.Stone' (Columbia DB 4800)

ALL SUGAR, no spice. Mr. Angelosculpts a pretty tune that is drenched

in strings with what can only bedescribed as fiddly bits from the femalewordless chorus. More of the same onthe flip. This is really album music.

Big beat fans can make flower vasesout of this disc, but we're playing ours.

THREE 3 3 3

A TWIST

HISTORY

DICK JORDAN Some Of TheseDays; I Want Her Back (PyePiccadilly 35035)

DICK has been on the scene, garneringexperience, for some while now.

He's multi-voiced-but he doesn't sounda bit like Sophie Tucker on "Some OfThese Days". It's semi -rock in treatmentand Dick swings like mad. Give thisenough plugging and it could catch onbig.

He's more guttural, in the nicest pos-sible sense, on the flip. He helps the beatalong and we found ourselves, after afew bar,s joining Dick in "getting withit". It's about time for Dick to get therecognition he deserves-and it mighteven be this "B" side which does it.

THREE 3 3 3

JANE MORGAN What Now MyLove; Forever My Love (LondonHLR 9528)JUST a touch of guitar backs Jane in

the early part of "What Now MyLove", which she sings with hercustomary bang -on -the -button precision.She's not just a technically -sound singer,though-she has great warmth and sin-cerity in all she does.

Some will shout "She's too square".But there's no telling. After all, she hada big hit with "When The Rains Came".This one builds and builds in much thesame way and for those not obsessedwith beat 'n' twist, this is just fine.

Flip "Forever My Love" is stringily-treated and it virtually goes without say-ing that Jane sings beautifully. As theyears go by, Miss Morgan still stands up-nay outplays-the younger crop.

THREE 3 3 3

CALUM KENNEDY The RangersChorus; The Wee Highland Glen(Ember EMB S 146)THIS GLASGOW RANGERS song

sung by 75,000 people at Ibrox issomething. Calum manages to injectquite a bit of that spirit into the pro-ceedings. Difficult to see this sellingsouth of the Border, down Newcastleway. The lbrox crowd's roar is heardfrom time to time behind Calum. Mustbe the first time that a singer has hadan accompanying group THAT big! Butwe heard he was a Celtic fan!

Flip brings to mind the monarch ofthe glen, bagpipes and other disordersof the Border. Worth its weight inhaggis up North.

THREE 3 3 3

THE DOVELLS Do The New Con-tinental; Mope-Itty Mope Stomp(Columbia DB 4810)"BRISTOL STOMP" sold a million

elsewhere for the Dovells and nowthey try a new dance, the New Con-tinental, a Hank-Ballardy number with aslowish beat.

Very much like all the other dancesbeing peddled Stateside, this numberhasn't got the something that their bighit had. Nevertheless, it is an authenticpiece of the pseudo R & B that is sopopular in America these days, and thefans who bought their last disc will besurprised to find that a solo voicevocalises all the way through.

Flip opens with a piece of spokennonsense built around the title, "Mope -lay Mope". Tune deals with a spacegirl who comes to earth and has twopairs of legs. And does the above -mentioned dance, which becomes the newcraze. The arrangement and vocalisingof this side are very interesting, andmust have taken some time to think up.

THREE 3 3 3

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II

II

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ON THESE PAGES...

B. BUMBLE: lovesong to an atomicsubmarine. TIMIYURO: a state nearto hysteria. G.CLEFS: a do-it-your-self romance kit.CALUM KENNEDY:accompanying groupof 75,000. DANNYWILLIAMS: love isyouth. SID PHIL-LIPS : before Elviswore out his first pairof jeans. I

B. BUMBLE AND THE SINGERSNut Rocker; Nautilus (Top RankJAR 611)CATCHY enough to be a hit: jangly

piano takes some time to get intothe theme proper which is a big hit inAmerica. It's a good tune. It was whenMr. Tchaikovsky wrote it originally aspart of his Nutcracker Suite. And it is

an object lesson in rocking the classicsbecause Mr. Bumble offers the tunestraight in the beginning. Far too gooda tune for this treatment.

Obviously "Nautilus" was recordedwhile tea was being brewed in the studio-there's water -bubbling sound all theway through this well played side, withbass guitar picking out the slow pacedtune. A vocal group talk lovingly aboutNautilus gliding along beneath the sea.First love song we've heard written toan atom powered submarine.

THREE 333.

FRANK SINATRA: jumps on the Twist bandwaggon.

THE G -CLEFS: a piece of romance, a dog song!

ANOTHER 'YOUNG'BALLAD FOR DANNY

DANNY WILLIAMS TheWonderful World Of The Young;A Kind Of Loving (HMV POP1002)

DANNYVVILLIAMS started his

disc career with "We Will NeverBe As Young As This Again". Nowhe has another marathon title hymnof praise to youth with choice phraseslike "love is youth". It pays attentionto youthful things like acne.

It's a slow ballad and naturallyDanny handles it with great feeling.Not perhaps quite as good as "MoonRiver" but looks set for a spell inthe charts. Danny is really making aname for himself as a purveyor ofthe slow -slow ballad, but we wonderif he ought to vary it a little.

"A Kind Of Loving", the flip, is inmore or less the same vein - slowballad that unkind people could calla continuation of the top side. Thistime "love is a game for fools". Wewouldn't be surprised to see Mr.Sinatra pick up one of these torecord.

TOP TWENTY TIP

FOUR Is%4ERNIE MARESCA Shout Shout;Crying Like A Baby Over You(London HLU 9531)QONGWRITER (" Runaround Sue "" was his composition) Ernie here turnssinger with natch one of his own songswhich opens like "Runaround Sue". Ithas a throbbing back beat that propelsthe whole disc. Good exciting rock 'n'roll record, more of a tune than most,coming up fast in the American charts.Pays tribute to several of the morebizare American dances in passing.

Banjo accompaniment on the flipwhich is less of a tune. Medium tempo.

THREE 3 3 3

RAY ADAMS Walk Hand In Hand;Crying Cloud (Pye Int. 25129)BETWEEN THE two polar extremes

of Perry Como and David Whit-field-who have both recorded this greatsong and both put it in the Americancharts-there doesn't seem much you cando with it. Except write a twist arrange-ment. Mr. Adams doesn't. He sings itwith feeling, pure and simple. TonyHatch did the backing for this disc aimedat the European market. There it shoulddo well.

"Crying Cloud" is a weepy waltz withstring and harmonica backing. Extremelycompetent.

THREE' 3

THE G -CLEFS A Girl Has To Know;(There Never Was a Dog Like Lad)(London HLU 9530)

THIS ONE turns into a do-it-yourselfroman& kit halfway through with a

solo voice doing the Evelyn Homebit. Rest of the time the G -Clefsmeander through a very soft and dreamymelody that is utterly simple-and wedon't mean daft-and extremely appeal-ing. "I Understand" made it in thecharts; maybe this one will, too.

"Lad" is the natural successor to "OldShep". Write now for our sticker,"Help Stamp Out Dog Songs". EncloseSAE.

THREE 3 3 3

JAMES ELLIS Theme From Z -Cars(Johnny Todd); Trottin' To The Fair(Philips PB 1230)USUALLY SEEN behind the wheel of

one of the Z cars, actor JAMESELLIS supplies the words to the themewhich tell a good story of lost love,sailors and John Todd, who finally endsup on his tod. Words are not com-mercial enough to follow the instru-mental into the charts but it should get

plenty of air plays for Mr. Ellis andother singers.

On the other side James trots out theold favourite, full of strange pauses andgaps. Intriguing.

THREE 333

VIC DANA / Will; Proud (LibertyLIB 51)ONE of Vic's early hits in America was

"Little Altar Boy", and here he'sapparently jumped over the other side ofthe altar rail to deliver a quietly com-pelling love ballad. Unfortunately wedon't think it sustains the interest ofthe listener right through to the end.He won't.

Described as a song with a greatmessage ", "Proud" has what could bedescribed as a hackneyed theme. Romancehas broken up, boy is too proud to goback to girl, boy loses girl. Listenerdoesn't lose interest, however, becausethe song builds to a climax.

THREE 3 3

CLIFF BENNETT AND THEREBEL ROUSERS Poor Joe; Hurtin'Inside (Twist) (Parlophone R 4895)IT MUST be the first disc that CLIFF

BENNETT has made that isn'tblatantly belting and slight incompre-hensible. He calms down to deliver amedium tempo piece with country -rockfeeling. Backing is by the Rebel Rousersand the Pepperminties. And guess what,the harmonica sound is there, too.Recorded and written by Joe Meek,we trust the title doesn't apply tohim .

Cliff comes close to the Ral Donnersound on l'ae flipl A fast to mediumtempo piece for the hip swivellers. Cliffoccasionally sounds as if he's hurting allover.

THREE 3 3l

NEW RECORD MIRROR. Week -ending March 31. 1962 Page Nine

ANOTHER 'TOWER OF

STRENGTH' FOR FRANKIEFRANKIE VAUGHAN I'mGonna Clip Your Wings; Travel-lin' Man (Philips PB 1233)FRANKIE, composer of " Don't

Stop, Twist," wrote both thesesides - the top number with hisrecording manager, Johnny Franz." I'm Gonna Clip Your Wings " has"hit" written all over it - in largeletters.

It's a fine swinging sound allthrough, with Frankie injecting thatvital personality into an easy -to -latch -on -to lyric. Big backing, touches ofthe hand -clapping, plus some falsettonotes to provide the contrast. Atypical sort of Vaughan performance,this. Let's face it-he knows the rightsort of number for himself.

Flip has the same title as a RickNelson hit of not so long ago. Againthere is a wtole heap of excitementbuilt up behind Frank, who has pro-vided himself with a song that doestake a bit of singing. One jurist likedthis side better than the top title.Which adds up to (a) controversyand (b) value for money.

FOUR 4usuTHE CHANTELS Here It ComesAgain; Summertime (London HLO9532)

BIG in America, where it must fall inthe weird sounds category. The lead

voice in the group attempts one of thosethroat -strangling phrases that Ray Charlespulls off so well. Here it sounds like aparody. We'd rate this as having verylittle chance of making the charts. Hereit comes again-duck:

"Summertime' is a tune that - nomatter who or what sings it - alwayssounds gbod. The Chantels' lead climbsall over the tune without ever actuallysinging it straight. Not as bad as theMarcels, or as good for the wrongreasons.

TWO 44.STEVE RACE Nicola; Ring Ding(Parlophone R 4894)STEVE RACE thinks the sun rises and

sets behind Dave Brubeck's metro-nome but on this disc he is very much inthe novelty commercial schmaltzy vein.

A pleasant tune, it's qualities under-lined by a string section and Steve'spiano. "Ring Ding" is more LatinAmerican, again a Steve Race composi-tion. Both sides make five minutes or sopleasant listening but really nothingmore.

THREE su4.KENNY LYNCH It Would Take AMiracle; Strollin' Blues (HMV POP1005)

DISTINCTIVE stuff from Kenny Lynchand probably the best disc to date

that he's made. Rhythm is hammered outon the drums, and Kenny sings a songthat has a lot of dynamics and drama.Kenny delivers it this way.

Kenny composed the flip himself andit starts with the sound of footstepsbefore Kenny wades into the blues.Piano keeps up a touch of the hullygully gospel beat with him before HarryRobinson's big band comes in.

FOUR

NANCY SINATRA To Know HimIs To Love Him; Like I Do (RepriseR 20045)

LIFE with father breeds a certain cora-l -1 petanee anyway and let it be saidthat Miss Sinatra (or Mrs. Sands if youprefer) could show a clean pair of heelsto several of our girl singers. But sheisn't world class by any means. However,she is a good class singer. And, ofcourse, " To Know Him is a goodclass ballad, so the net result is worth-while.

Multi tracking on the other side. Afairly routine beat ballad.

THREE 13.,

GRANT TRACY The Great Match-maker; The Tears Came RollingDown (Ember S148)rrHIS is Grant's "hit" as voted by

"Juke Box Jury". The nineteen -year -old has turned in a good performance ona song written for him, by Buddy Kayein the States. He is. he sings, known asthe lad to fix his mates up with dates-but he just can't find the right girl forhimself. Strings, guitar and, of course,girlie choir fill in the sound-but itstands or falls on Grant's performance.It stands .

He stands just as strongly on thefaster flip. A pleasant voice, a dramaticsong, a nice arrangement-what more doyou want.

Grant misses a Top Twenty Tlp by themerest margin, but we'd be glad to beproved wrong.

FOUR 4444GERRY BROWN'S JAZZMENMagnolia's Wedding Day; Dragonfly(Fontana H 382)THE Brown band has a fine, basic,

full beat and ensemble tackles onechorus before that typical trad-type vocaltakes over. "Magnolia" has a catchy sortof melody and the lyrics are interesting.Should add up to worthwhile sales butwe wouldn't bank on it for a chart ap-pearance. After all, there's so much ofit about . .

Flip features big -toned clarinet earlyon in a display of instrumental light-fingeredness This is a performance discrather than a commercial tilt but nonethe less enjoyable f6r all that. Goodstuff goes on in the rhythm section.

There's something distinctive aboutthis Brown sound-but we can't defineprecisely what it is.

THREE 4STHE FENTONES The Mexican;Lover's Guitar (Parlophone R 4899)THE FENTONES make their debut

without leader Shane providing thevocals, with a fast paced piece byMorgan Jones, alias Morgan Thunder-clap Jones, pianist. Perhaps it leans tooheavily on the Shadows' sound for ourtaste . . . but it goes with verve and adrive.

Flip is a piece of romantic Italianstyled candy floss. Promising debut.

THREE 1% 1% S

SID PHILLIPS Montreal; Chatta-noogie Shoe Shine Boy (HMV POP1006)

SID, one of England's original traddads, here tries his hand at a beaty

treatment of a pleasant tune that isexactly the same type of thing he hasbeen playing all these long years. Hisclarinet is featured and so is the janglypiano.

"Shoe Shine Boy" will afflict all thoseout of their teens with a short sharpattack of nostalgia. It's a jangle pianotreatment of the decade old hit, from thedays before Elvis had worn out his firstpair of jeans.

THREE 4s4JOHNNY WORTH You Know WhatI Mean; All These Things (ColumbiaDB 4811)IT used to be Faith, the singer, Barry the accompanist, and Worth the song-writer. Now Johnny turns singer with aCockney tinged opus. We checked thelabel, Johnny wrote it himself . . . notAdam. Johnny sings a song that couldhave been sung by Messrs Newley,Steele, or Faith with ease. As it is,Johnny doesn't make a bad job of it.

Another worthwhile composition onthe flip, which takes a poke at thecountry and western field with Johnnyin the appropriate voice. Enterprisingdebut.

THREE

THE TORNADOS Love And Fury; Popeye Twist (Decca F 11449)MR. FURY'S new backing group achieve a very full sound for their debut disc,

the top side sound like the soundtrack to one of those award winning SouthAmerican films. It's certainly nothing to do with big beat, although the beat isthere. Curiously compelling, especially the use of the chorus.

We had more twist record., just lately than we've had hot dinners. Now theytend to make us yawn. This ane - using what sounds like an imitation of a theatreorgan - is no better and no worse.

THREE /% t

JOHNNY MATHIS Sweet Thursday;One Look (Fontana H.372)STEP outside the first person to say

this is by America's Danny Williams!Seriously, Johnny is not really a com-mercial bet on singles. But he is also afaultless performer, beautifully controlledand relaxed. We don't think this "SweetThursday" number is as strong as someof his recent titles. It jogs along allright, but suffers from a dragged -outlong -noted finale. Nice calm arrangement.

"One Look" has a dramatic, string -laden opening and then Johnny emoteswith a lower -toned voice than usual.Song sounds as if it comes from anupper-class musical comedy or an LP.As with the top side, it does lack impactand, therefore, Top Twenty potentiality.

The rating is for performance.

THREE sssDANNY DAVIS Rome Wasn't BuiltIn A Day; Tell Me (Pye 7N 15428)TONY HATCH part wrote this under

his pen name-Mark Anthony (getit?) It has those Neapolitan stringsounds in the background, and we getthe impression that Danny's voice isbetter than the song. This is his,Danny's, second disc and is an improve-ment, although Danny's reputation won'tbe built on this one . . .

Flip is pleasant with a catchy melodyline. Lyric is good, too.

THREE

FRANKIE VAUGHAN (above) has a

likely follow-up to his big hit 'Tower

Of Strength', while KENNY LYNCH

(right) makes 'It Would Take A Miracle' his best disc yet, (NRM Picture.)

THE SINGING WILBURNSWANT TO VISIT BRITAIN

ONthe nay of Grand Ole Opry, we

drove fast along the broad high-way leading into Nashville, becausewe had a date to see Teddy Wilburn.

Teddy, good looking and wearinga broad, welcoming grin, was in hisoffice in the heart of the city, nottwo shakes away from the RymanAuditorium itself. Behind a hugeand imposing desk littered with discjockey record samples, album sleevesand music copy, was brother Doyle.

They were interested in England andwanted to visit as a singing act. Andwe had to wait while they tied up anextensive one-night tour of the SouthernStates on the telephone with enviablecasualness.

In the evening they were booked asa star turn on Grand Ole Opry and wereprogrammed, in the early hours of Sun-day, to join Justin Tubb at Ernest Tubb'sfamous record store for a late -hourcountry show. They talked about Pop,who was the inspiration of their work.They said very little about themselves.

Teddy and Doyle Wilburn were thenucleus of the original Wilburn Familyact, which included two other brothers,Leslie and Lester. In 1951 they con-centrated on the present duo, accom-panying their own Western -styled closeharmony singing with guitars and alwayskeeping the music traditional and freeof commercial gimmicks.

From the Wilburn Family's firstknown public appearance, on a streetcornet in Thayer, Missouri, they nowown a thriving music business in Nash-ville and their singing draws crowds inany venue they appear. Apart from

A E9rehe Ato -cote&

NEW ItANATIO# BIG

H I T LTD H I TTHE GREAT MATCHMAKER

sung by

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FROM YOUR LOCAL SHOPWrite for our Free catalogue

EMBER RECORDS (International) Ltd.12 Great Newport St., W.C.2 COV 2745

Grand Ole Opry, which is their homebase, they have starred frequently onother country programmes like LouisianaHayride, the Arthur Godfrey Show,Jubilee U.S.A., and so on.

Their recordings have been prolific,and they have remained faithful to theDecca label ever since. This means thatall their output is available to Bruns-wick in this country, and here is thelatest Wilburn Brothers album . . .

THE WILBURN BROTHERS SINGNo Legal Right Blue Blue Day I Loved You Then I Walk the Line I'll Keep Right on Lovin' you My Baby's Gone It's Gonna Take aLittle Time No One Knows BetterThan Me Sparkling Brown Eyes I Forgot to Remember to Forget A Satisfied Mind I Wind Back UpWith You. BRUNSWICK LAT.8386.

. . . and it is one which will stay onmy turntable long after I have reviewedit. The Wilburns sing beautifully, theirvoices working in perfect sympathy onewith the other. The accompaniment, ledby their own guitar playing, is lively andauthentic in a healthy, modern manner.No "twangy" guitar strumming with thatawful resonant bass string reverberatinglike a loose telephone wire. No echochamber, no "angelic" chorus, no rock'n' roll funny business.

Just straightforwtwd country musicwith a bunch of pretty good songs. sungwith agreeable pathos and sentiment. Ican recommend this new WilburnBrothers album with pleasure, even morethan I did their earlier LP, " Side BySide " (Brunswick LAT.8291). If youcan afford it, buy both.

JAMES ASMAN.

, . %/'

WHEN MY LITTLE GIRL IS SMILING

THE DRIFTERS45-HLK 9522 40KookArzw.ra

SPEAK TO ME PRETTY

BRENDA LEE45-05867 Brunswick

LOLLIPOPS AND ROSES

JACK JONES45-HLR 9525 London

45 rpm recordsThe Decca Record Company Ltd Decca House Albert Embankment London S E 1

Page Ten NEW RECORD MIRROR. Week -ending March 31. 1962

Arthur LymanJOHNNY BURNETTE

HITS AND OTHER FAVOURITESYou're The Reason; Dreamin'; Just Out OfReach; Moody River; Girl Of My Best Friend;You're Sixteen; Little Boy Sod; Walk On By;A Little Bitty Tear; God, Country And MyBaby; Hello Walls; Big Big World. (LIBERTYLBY 1006.)

A COLLECTIONwhich should please

all of Johnny Bur-nette's many fans andmake a strong addi-tion to the ever-growing Liberty cata-

logue in Britain.

Johnny has included a couple ofhis big and recent hits to whet theappetite of the customers, and hethrows in hits which brought successto some of his contemporaries, too.

Good teenage meat.

THE HUNTERSHITS FROM THE HUNTERS

Runaway; All I Have To Do Is Dream; AllShook Up; Petite Fleur; Misty; The Storm;Love Me Tender; Walk Right Back; A GirlLike You; Hound Dog; Portrait Of My Love;How's M'Chicks? (FONTANA STFL 572Stereo-also available as Monaural LP.)

THE Huntershaven't quite hit

that big top of thechart target yet butseem to be headingthat way if their twoLP's are anything togo by.

The lads have taken a bundle of hits,both vocal and instrumental, by otherartists and given them all their owninstrumental touch.

Good teen market material, and analbum which could notch up strongsteady sales when the word begins tospread about this entertaining instru-mental team.

Hit!ARTHUR LYMAN

YELLOW BIRDHavah Nagilah; Yellow Bird; Autumn Leaves; Arrivedercl Roma; Sweet And Lovely; BambooTamboo; Andalucia; Adventures In Paradise Granada; September Song; John Henry. (VOGUEVA 160178.)

that disc too.I enjoyed his smooth and relaxing treatment and I know that many of you

will share my feelings. Hear it - you'll like it.

MR. LYMAN really hit the high spots by zooming up all theAmerican charts with his waxing of "Yellow Bird" as a

single disc and in this LP form too. He was quite a lengthyresident at the top and the disc should repeat this success to acertain extent here in Britain.

Just a couple of years back Mr. Lyman hit the top in Americawith "Taboo" and he also followed up here quite strongly with

BILLY MARTIN ORCHESTRATWIST, TWIST, TWIST

All My Baby Wants To Do Is Twist; Night Train Twist; Caledonia Twist; Dream Boat Twist;Every Day My Baby Twist; The Big Beat Twist; Twistin' Around The World; Twistin' Queen;My Girl Josephine Twist; Be My Guest Miss Twist; Let's Twist Again; I'm Ready To Twist.(DECCA ACE OF CLUBS ACL 1113.)

THE Ace Of Clubs label seems to be taking the Twist prettyseriously, and I don't blame them, as here is yet another

from their current releases.The orchestra in question is that of one Billy Martin whom

I don't know - but I am very happy to make his musicalacquaintance judging by the very danceable sound he has pro-duced for this session.

If like me you Twist at the drop of a record you'll want this disc and soon.

MIGHTY SPARROWCALYPSO KING OF TRINIDAD

May May; Move Your Hand; Madam Dracula;I Gotta Have You; Plenty Style; Nice Senor-ita; Benwood Dick; Elaine; Lucy Garden;Maria; Gloria; Royal Jail. (RCA RD 27249.)

TRINIDAD'S MightySparrow certainly

has a neat way withthe Calypsos, and Ifound myselfthoroughly enjoyinghis soft, insinuating

voice and the cute, if saucy, lyrics.

Accompaniment is insistent andpulsating, as one would expect, andthe Mighty Sparrow seems to live upto his " Calypso King " title.

Nice meaty stuff.

HAVE A DOUBLE

DENVERWIMOWEH NEVER GOODBYE

45-F 11420 45-F 11431

45 RPM DECCA RECORDS

The Decca Record Company Ltd Decca House Albert Embankment London S E I

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

LP REVIEWS

byJimmy Watson

TONY OSBORNELET'S DANCE WITH TONY

Where Or When; What's New; Close YourEyes; Moonlight Becomes You; That Old BlackMagic; So In Love; Romance In Rio; CocktailsFor Two; C'est SI Bon; Joe's Place; HarbourLights; I'll Never Smile Again; The VeryThought Of You; Rooftops Of Rome. (HMVCLP 1513.)

ME mate Tony hascome up with

another winner of analbum, and the titleinvitation will havehordes of folks gettingon the floor for a

light fantastic trip.Tony garnishes some grand old

oldies with his lush arrangements andguarantees lasting pleasure to thepurchaser of the set.

Certain of success.

THE PLATTERSGOLDEN HITS

The Great Pretender; Heaven On Earth; MyDream; That Old Feeling; One In A Million;Enchanted; The Magic Touch; Only You (AndYou Alone); My Secret; Don't Blame Me;Wish It Were Me; I'm Sorry; The Sound AndThe Fury; To Each His Own. (MERCURYMMC 14091.)

THESE days thePlatters seem to be

forever delving intothe archives for theirdiscs. Here again theycome up with some oftheir original hits and

some oldies in general.Not the best -ever from the group, who

seem to have faded somewhat since thedeparture of Tony Williams-who is,incidentally, heard on this disc.

JOANIE SOMMERS

JOHNNY BURNETTE

EP ROUND

UP...ELLA FITZGERALD was

recently here and, of course,doing her usual great business atthe box-office. Timed to coincideis a further EP selection from herGershwin Song Book in which thegreat Ella delights with " They AllLaughed," "That Certain Feel-ing," " Looking For A Boy " and"Who Cares." Magnificent arrange-ments and accompaniment bymaestro NELSON RIDDLE.Find it on HMV 7EG 8723.

From a top American artist to atop home-grown lad by name ofJohnny Dankworth. Johnny leadshis band in a powerful collectionwhich includes his " AfricanWaltz" hit and the exciting themefrom the TV series. "TheAvengers." Great stuff for the fans-and I certainly am one to beincluded in that category.Columbia SEG. 8137.

Now let's lend an ear to a star ofthe future as the lovely JOANIESOMMERS airs her tonsils accom-panied by the NEAL HEFT!orchestra on four nice tracks fromthe standard's catalogue. Ask forWarner Brothers WEP 6047.

From the same label comes chartsuccess Bob Luman, who brightenedup the disc scene some months agowith " Let's Think About Livin' ".Bob repeats that hit and three othergood items on this EP collection.Warner Brothers WEP 6046.

Always welcome on most turn-tables is the pleasing voice and per-sonality of JANE MORGAN andwhen she includes " Moon River "and " Blue Hawaii " in the collectionwell, the folks should be just queue-ing -up for the pleasure of hearingthe lass. London RE -R1331.

Billy Vaughn brings his distinctivesound to bear on four strong itemsthis month as he " Plays The Hits-Vol. 2" This excellent musician andbandleader has hit the jackpot inpractically every country but Britain-he's even had Gold Disc award inGermany. Why we do hold out isanother of the mysteries which sur-round the pop world. Anyway, I feelsure you'll enjoy it on LondonRE -D 1330.

I wonder just how many readersof this page were listening to recordsduring the Swing era of the forties ?No, you don't have to be middle-agedto belong to that group, but you havecertainly left your teens behind.Anyway, I loved the music of theperiod and when I opened up myparcel and saw that GUS BIVONAhad brought out four of the topnumbers of the age in modern dressI eagerly placed in on my recordplayer. It sounded just fine to me.Maybe you'll feel the same if youlend an ear to Warner BrothersWEP 6043.

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TOP LP'sBLUE HAWAII(1) Elvis Presley (RCA -Victor)TOPS WITH ME(3) Helen Shapiro (Columbia)THE YOUNG ONES(2) Cliff Richard (Columbia)BLACK AND WHITEMINSTREL SHOW(4) The George MitchellMinstrels (HMV)WEST SIDE STORY(6) Sound Track (Philips)THE SHADOWS(8) The Shadows (Columbia)SOUTH PACIFIC(5) Sound Track (RCA -Victor)THE ROARING TWENTIES(7) Dorothy Provine (WarnerBrothers)SOUND OF MUSIC(9) London Cast (HMV)ANOTHER BLACK ANDWHITE MINSTREL SHOW(11) The George MitchellMinstrels (HMV)BUDDY HOLLY STORY VOL. 1(10) Buddy Holly (Coral)WIMOWEH(12) Karl Denver (Ace ofClubs)HANCOCK(16) Tony Hancock (Pye)SHIRLEY BASSEY(18) Shirley Bassey (Columbia)OLIVER(13) Original Cast (Decca)SACRED SONGS(-) Harry Secombe (Philips)MY FAIR LADY(-) Original Broadway Cast(Philips)ELVIS' GOLDEN RECORDSVOL. 2(-) Elvis Presley (RCA)BEST OF BARBER AND BILKVOL. 2(-) Chris Barber/Acker Bilk(Pye Golden Guinea)HITS OF THE ROCKIN' 50's(-) Bobby Vee (London)

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BRITAIN'S

TOP EP'sHELEN'S HIT PARADE(1) Helen Shapiro (Columbia)SPOTLIGHT ON THESHADOWS(2) The Shadows (Columbia)SHADOWS TO THE FORE(3) The Shadows (Columbia)HELEN(4) Helen Shapiro (Columbia)KING OF TWIST(6) Chubby Checker(Columbia)KENNY'S BIG FOUR(9) Kenny Ball (Pye)KENNY BALL'S HIT PARADE(5) Kenny Ball (Pye)DREAM(8) Cliff Richard (Columbia)THE TEMPERANCE SEVEN(10) The Temperance Seven(Parlophone)THE SHADOWS(16) The Shadows (Columbia)ANDY SINGS(15) Andy Stewart (Top Rank)JOHN LEYTON(18) John Leyton (Top Rank)CLIFF'S HIT PARADE(7) Cliff Richard (Columbia)NINA AND FREDERIK VOL. 1(20) Nina and Frederik(Columbia)ADAM FAITH(12) Adam Faith (Parlophone)BUTTON DOWN MIND OFBOB NEWHART VOL. 1(11) Bob Newhart (WarnerBrothers)LISTEN TO ME(14) Buddy Holly (Coral)SOUTH PACIFIC VOL. 1(13) Soundtrack (RCA)DANCING TIME FOR LATINS(-) Joe Loss (HMV)EXODUS AND OTHERTHEMES(-) Mantovani (Decca)

(Compiled by the " Record Retailer.")

NEW RECORD MIRROR, Week -ending March 31. 1962 Pame rreves

ACKER (18 WEEKS) RISES AGAINTHERE are not many discs whichI can claim to be still rising afterbeing in the Top Twenty for just over18 weeks, but Mr. Acker Bilk can.His "Stranger On The Shore" hasa resurge of popularity during thelast two weeks and has moved backfirmly into the Top Ten again.

Acker's new theme song for "StrangerIn the City " follow-up to the BBCtelevision serial, " Stranger On The

Shore," is due to be shown on April 8,so it will be interesting to see if thistheme song can beat the phenomenalsuccess of Acker's " Stranger On TheShore."

" Hey ! Baby," Bruce Channel'sAmerican No. 1 hit, has made anothertremendous bound right into the Top 20.We'd bet even money that this is a No.1 for this country, too.

Others now in the Top 20 are Del

:CASHBOX TOP 501AIR MAILED FROM NEW YORK II

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HEY! BABY1 (9) Bruce Channel

DON'T BREAK THE HEARTTHAT LOVES YOU2 (7) Connie Francis

LET ME IN4 (9) Sensations

SLOW TWISTIN'6 (4) Chubby Checker

MIDNIGHT IN MOSCOW3 (9) Kenny Ball

TWISTIN' THE NIGHT AWAY7 (7) Sam Cooke

GOOD LUCK CHARM10 (3) Elvis Presley

LOVE LETTERS8 (4) Ketty Lester

DREAM BABY9 (6) Roy Orbison

YOUNG WORLD11 (4) Rick Nelson

JOHNNY ANGEL13 (3) Shelly Fabares

WHAT'S YOUR NAME5 (7) Don & Juan

MASHED POTATO TIME15 (4) Dee Dee Sharp

LOVE ME WARM ANDTENDER14 (4) Paul Anka

DUKE OF EARL12 (11) Gene Chandler

LOVER PLEASE23 (3) Clyde McPhatter

I'VE GOT BONNIE17 (5) Bobby Rydell

PLEASE DON'T ASK ABOUTBARBARA20 (4) Bobby Vee

WHEN MY LITTLE GIRL ISSMILING26 (3) Drifters

COME BACK SILLY GIRL19 (5) Lettermen

HER ROYAL MAJESTY16 (7) James Darren

DEAR ONE33 (2) Larry Finegan

SHE'S GOT YOU18 (7) Patsy Cline

SOMETHING'S GOT A HOLDON ME

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WHERE HAVE ALL THEFLOWERS GONE22 (6) Kingston Trio

THE WANDERER24 (14) Dion

TUFF25 (9) Ace Cannon

SOUL TWIST49 (2) King Curtis

SHOUT (PART 1)- (1) Joey Dee & Starlites

CRYING IN THE RAIN28 (10) Everly Brothers

I'M BLUE(GONG -GONG -SONG)30 (9) Ikettes

THE TWIST29 (19) Chubby Checker

SOLDIER BOY- (1) Shirelles

BREAK IT TO ME GENTLY27 (10) Brenda Lee

IF A WOMAN ANSWERS48 (2) Leroy Van Dyke

STRANGER ON THE SHORE(1) Mr. Acker Bilk

CRY BABY CRY39 (3) Angels

GINNY COME LATELY- (1) Brian Hyland

PERCOLATOR (TWIST)36 (7) Billy Joe & Checkmates

NUT ROCKER50 (2) B. Bumble & Stingers

CRY TO ME38 (6) Solomon Burke

DEAR LADY TWIST31 (13) Gary U.S. Bonds

LOLLIPOPS AND ROSES42 (4) Jack Jones

PATTI-ANN47 (2) Johnny Crawford

JAMIE40 (5) Eddie Holland

WALK ON THE WILD SIDE43 (4) Brook Benton

MY BOOMERANG WON'TCOME BACK32 (5) Charlie Drake

9 SMOKEY PLACES .;(1 YOU BETTER MOVE ON"' 21 (9) Corsairs - (1) Arthur Alexander(First figure denotes position last week: figure in parentheses denotes weeks in chart)

Shannon's " Hey Little Girl," andanother television theme, " Dr. KildareTheme," by Orchestra leader JohnnieSpence, whose previous fame was inaccompanying Matt Monro. With " ZCars" and Acker, it makes three TVtheme in the Top Twenty.

Del Shannon has his fourthsmash in a row, " Hey Little Girl."Every disc Del makes now seems a sure-fire cert. for the Top Twenty. Hisjatest in the States, "Ginny In TheMirror," looks set for entering thecharts over there. The flip to his currentBritish success, " You Never TalkedAbout Me," is featured in the Britishfilm, " It's Trad Dad," shortly to bepremiered.

Who will be in next week?Karl Denver and " Never Goodbye "

look certain and so does Paul Anka's"Lose Me Warm And Tender."

It will be vielcome to Paul after a longabsence from our charts and we knowit will satisfy him ay great deal. He saidon his last trip over here that he con-sidered the British record market thetoughest in the world. He based hisreasoning on the fact that all over theglobe Mr. Anka was very successful, butin Britain a nowhere scene.

Looks like Craig Douglas is the onethat got away with " When My LittleGirl Is Smiling," beating the Driftersand Jimmy Justice, although Jimmy isshowing through at No. 47. Craig, how-ever, reverting back to his "` pretty "lyrics, has jumped up eighteen places.Not bad going.

Watch Sammy Davis Jr., too, with histriute to Anthony Newley and SandyNelson's newie, " Drums Are My Beat"is making steady progress.

Out of the Top 50 this week go:Lonnie Donegan, " The Comancheros,"The Allisons, " Lessons" In Love,"Billy Fury, " I'd Never Find AnotherYou," Don Charles, " Walk With MeMy Angel."

And Acker Bilk's " Frankie andJohnny."

Which is where we came in !

A LOOK AT THEU.S. CHARTS

LISTED as number 16 in the " Cash-boxI-4 " Rhythm and Blues chart is

Kenny Ball's " Midnight In Moscow."Fast rising U.S. hits include: "What'd

I Say," Bobby Darin (the third versionof the song to enter the charts withinthree years), and " At The Club "I" Hide Nor Hair," by Ray Charles.

Tipped for the top 100: "Dr. Feel -good," Dr. Feelgood and the interns;"Here It Comes Again," The Chantels;"P.T. 109," Jimmy Dean; "King OfClowns," Neil Sedaka; "Funny WayOf Laughin'," Burl Ives; " Let My LoveWalk In," Wanda Jackson; " March OfThe Siamese Children," Kenny Ball;and " So This Is Love," by TheCastells, of " Sacred " fame.

Big swing back to Bobby Lewis fore-cast with his " A Man's Gotta Be AMan," after several flops, including" What A Walk," and " Mamie In TheAfternoon," neither of which sold any-thing like his two previous hits.

The biggest moving seller, Stateside,at the moment is the new Joey Dee offer-ing " Shout." part 1. This is the sidegetting all the airplay, though part 2is reported to be moving a little fasterthan before. Naturally, RCA have re-issued the Isley Brothers' original of thetune, made some three years back, anda big U.S. hit. Original disc made num-er 35 in Britain, NJ.

- -

;BRITAIN'S TOP 50:I COMPILED BY THE RECORD

RETAILER

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WONDERFUL LAND(1) The Shadows(Columbia)TELL ME WHAT HESAID(2) Helen Shapiro(Columbia)CAN'T HELP FALLINGIN LOVE/ROCK-A-HULA BABY(3) Elvis Presley (RCA -Victor)DREAM BABY(9) Roy Orbison(London)LET'S TWIST AGAIN(5) Chubby Checker(Columbia)WIMOWEH(6) Karl Denver(Decca)STRANGER ON THESHORE(8) Acker Bilk(Columbia)MARCH OF THESIAMESE CHILDREN(4) Kenny Ball and hisjazzmen (Pye)HOLE IN THEGROUND(12) Bernard Cribbins(Parlophone)SOFTLY AS I LEAVEYOU(11) Matt Monro(Parlophone)THE YOUNG ONES(7) Cliff Richard(Columbia)HEY! BABY(25) Bruce Channel(Mercury)THE WANDERER(10) Dion (HMV)THEME FROM Z CARS(17) Johnny Keating(Piccadilly)TWISTIN' THE NIGHTAWAY(18) Sam Cooke(RCA -Victor)CRYIN' IN THE RAIN(13) The Everly Bros.(Warner Bros.)WALK ON BY(15) Leroy Van Dyke(Mercury)HEY LITTLE GIRL(24) Del Shannon(London)DR. KILDARE THEME(23) Johnny Spence(Parlophone)FORGET ME NOT(14) Eden Kane(Decca)

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NEVER GOODBYE(36) Karl Denver (Decca)

LITTLE BITTY TEAR(16) Burl Ives (Brunswick)

LOVE ME WARM AND TENDER(29) Paul Anka (RCA -Victor)

LITTLE BITTY TEAR(19) Miki and Griff (Pye)

WHEN MY LITTLE GIRL ISSMILING(43) Craig Douglas (Top Rank)

JEANNIE(20) Danny Williams (HMV)

PIANISSIMO(27) Ken Dodd (Decca)

HAPPY BIRTHDAY SWEETSIXTEEN(22) Neil Sedaka (RCA -Victor)

WHAT KIND OF FOOL AM11/GONNA BUILD AMOUNTAIN(44) Sammy Davis Jnr.(Reprise)

DRUMS ARE MY BEAT(50) Sandy Nelson (London)

I'LL SEE YOU IN MY DREAMS(30) Pat Boone (London)

FANLIGHT FANNY(35) Clinton Ford (Oriole)

LESSON ONE(21) Russ Conway (Columbia)

gJA BRAZILIAN LOVE SONG(42) Nat 'King' Cole (Capitol)

PLEASE DON'T ASK ABOUTBARBARA(31) Bobby Vee (Liberty)

TONIGHT(28) Shirley Bassey(Columbia)

TOWN WITHOUT PITY(32) Gene Pitney (HMV)

THEME FROM Z CARS(41) Norrie Paramor(Columbia)

MIDNIGHT IN MOSCOW(34) Kenny Ball and hisjazzmen (Pye)RUN TO HIM(26) Bobby Vee (London)JAMBALAYA(-) Fats Domino (London)LONE RIDER(40) John Leyton (HMV)HER ROYAL MAJESTY(-) James Darren (PyeInternational)LETTER FULL OF TEARS(37) Billy Fury (Decca)THE MAIGRET THEME(-) Joe Loss (HMV)YOU'RE THE ONLY GOODTHING(49) Jim Reeves (RCA -Victor)

WHEN MY LITTLE GIRL ISSMILING(-) Jimmy Justice (Pye)YOUNG WORLD(-) Rick Nelson (London)PEPPERMINT TWIST(45) Joey Dee (Columbia)LET THERE BE DRUMS(47) Sandy Nelson (London)

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AIIMM No. 12

Hem!Baby

BRUCE CHANNELMERCURY 1171

A CERT HIT !

SPEAK TO

ME PRETTYBRENDA LEE

BRUNS. 05867

No. 27

KEN DODD'S hit

PIANISSIMODECCA F 11422

A Great NewSINATRA

EVERYBODY'S

TWISTIN'FRANK SINATRA

on REPRISE

KEITH PROWSE, 21 DENMARK ST., W.C3 KPMU

PETER MAURICE COMPANY, 21 DENMARK ST., W.C.2MSIC

aPage Twelve NEW RECORD MIRROR. Week -ending March 31, 1962

BILLY FURY and MARTY WILDE - no tiredness here - seen in their dressingroom before the start of the 'Star Show of 1962'. (NRM Picture.)

FURY, WILDE, COLLAPSEBILLY FURY is still in hospital following his dramatic collapse after

the second house of 'his "Big Star Show of 1962" at the Ade1phi, Slough,at the week -end.

He is spending his time at the London Clinic reading the hundreds of `get -well' cards sent in by fans, and waiting for the result of a number of medicaltests.

It depends on how the tests turn outjust how soon Billy can return to head-line the show with John Leyton," saida spokesman for the Larry Parnes office,Billy's management.

" The main cause of the collapse isbelieved to be just sheer overwork.Billy has been filming at top pressureand then started this long two -concerts -night tour.

" However, Billy was suffering frombronchial trouble before his collapse.. Itwas just beginning to affect his voice."

Manager Larry Parnes was with Billywhen he collapsed and immediately ren-dered first -aid by massaging Billy'sheart. He was rushed by car to theLondon Clinic.

But Billy's collapse wasn't the onlyupset on the " Big Star Show Of 1962."Marty Wilde, who joined the show soonafter it started also collapsed.

WEEDON WANTS NASHVILLE SOUNDGUITARIST BERT WEEDON plans his first visit to America - Nashville,

Tennessee in particular - in October, following his Blackpool season.Object is to study the Nashville set-up and to present a new batch of com-

positions to the Ventures, who had a hit with Bert's tune, " Ginchy ".Bert is also writing a number for

Duane Eddy-at Duane's request-andthis should be completed by the time hegets there.

Bert is writing a 15 - minute suitecalled "A Half of the Guitar" whichwill incorporate the electric guitar, theacoustic guitar, Spanish style, Hawaiian.country and western, rhythmand blues,and ballad styles.

And Bert wants to get some first handknowledge about how to produce theC & W sound. "Nashville is the placeto go", he told the NRM.

"I want to study their recording tech-niques to be sure of getting the rightsound. It was Bobby Vee who gave methe idea".

N:

PERSONAL APPEARANCE OF RADIO TV AND RECORDING STAR 0:

ON THURSDAY, APRIL 5th, 1962AT NUMBER 5 LEICESTER PLACE, LEICESTER SQ.

(CORNER CHICKEN INN)R: DANCING FROM 7.30 ADMISSION 5/ -

PAUL RAVENSINGING HIS LATEST HIT RECORD

PLUS

STARS OF 'EASY BEAT' AND 'SATURDAY CLUB'RUSS SAINTY

AND THENU NOTES

PLUS

ENGLAND'S HIT RECORDING GROUPTHE OVERLANDERS

PLUS

THE KIDDIEWINKS

ALL IN THE TWIST

STAR ENTERTAINMENTS PRESENTTHE VISCOUNTS

GLENDA COLLINS PAUL RAVENRUSS SAINTY

and the

NU - NOTESTHE GARY EDWARDS COMBO

PLUS ! !

MANY MORE TOP RECORDING STARSPLUS ! !

GRAND TALENT COMPETITIONWinner receives full wardrobe from CECIL GEE

PLUS ! !

THE TWISTby the

KIDDIEWINKSwearing the new Cecil Gee twist suits

all at the

SEYMOUR HALLSeymour Place, Marble Arch, onTHURSDAY, APRIL 12th, 1962

Dancing from 7.30 Admission 6/-50 £1 CECIL GEE VOUCHERS FOR FIRST ARRIVALS

"FREE RECORDS"

TRAD DISC'SU.S. RUSH

BRITISH trad. leader, Alan Elsdon, isgoing to have his first single rush

released in America to tie in with theinterest and publicity surrounding aBritish film.

Film is science fiction thriller, " TheDay the Earth Caught Fire."

Alan recorded a theme-played in thefilm by a group of beatniks-called "TheDay The Earth Caught Fire " in theDecca studios on Monday.

The tapes were flown out on Wednes-day and the disc should be on sale bynext week on the London label.

This was when playing at the Granada,Sutton. But Marty was soon fit and welland is back with the show.

Verdict: exhaustion.

CHARLESWORTH'S

'LOOK AT LIFE'LATEST trad group to appear in

films is that of Dick Charles -worth and the City Gents who joinMr. Acker Bilk and HumphreyLyttleton in a Rank Organisation"Look At Life " " short," to be com-pleted this week.

Dick, with singer Jackie Lynn, appearsin a scene from " Jazzshows," in Lon-don. The film is to show different aspectsin a day in the life of a typical jazzgroup.

On Thursday this week, Dick guestedin BBC's " Jazz Club " with the DizDisley Quartet, who replaced Americanblues' singer Howlin' Wolf, who can --celled his British tour through illnesslast week. On Friday, they are withClinton Ford in a concert at theTheatre Royal, Huddersfield.

On April 14, Dick makes a soloappearance with Chris Barber and Mr.Acker Bilk on " Trad Tavern." Otherdates: " Discs-A-Gogo," TWW, April23; "Sunday Break," ABC TV,April 29.

DRUMMER INJUREDTOMMY BROWN, drummer with

Nero and the Gladiators, was in-volved in a car smash on Mondayevening this week while returningwith friends from an engagement atHackney in North London.

He was taken to hospital with brokenribs, concussion and internal injuriesand he is unlikely to be able to rejointhe group for four or six weeks.

SAN FRANCISCOSEVENRECORD dealers in San Fran-

cisco are considering import-ing the Temperance Seven's firstLP in bulk.

This is mainly due to the effortof a local disc jockey who hasbeen plugging the Temps outthere. Result: people asked for itin the shops.

'TRAD, DAD'-GREAT, MATE

DESPITE a story line that aboundsin cliche, " It's Trad Dad :"

emerges as a good advertisement fortrad jazz, Craig Douglas . . . andHelen Shapiro.

First glimpse that we are in fairylandconies when Helen and Craig, playing ayoung couple trying to get a show to-gether, visit a television studio. Neverhas so much trad. been seen and heard.Every studio has either Bob Wallis,Terry Lightfoot, or Acker Bilk blastingaway for the benefit of the home screens.

Craig and Helen-who naturally sing-are two teenagers beset by the NewTown Blues. Nothing to do in their NewTown, and a Town Council that frownson trad. jazz jiving ... and even teen-agers.

Needless to say, by the end of the'evening when eventually the show isbrought to the New Town, the Mayor'sfoot starts tapping and all is forgiven.

How do the American stars-ChubbyChecker, U.S. Bonds, Del Shannon, GeneMcD aniels -fit into the plot ? They areseen in night club sequences.

Also seen in the night club sequenceis good Mario Fabrizi, who plays a cus-tomer eating spaghetti and ends up eat-ing a microphone cable.

" It's Trad. Dad !" is great, mate.

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