August 1968 One-Week Radio Sessions
29 July-2 Aug. Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
5-9 Aug. 68 Dave Cash Show, BBC Radio One, London, England (2:00-4:15 pm)
26-30 Aug. 68 Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
17 Aug-1 Sep. Dave Dee, Dozy, Beaky, Mick & Tich Tour Of Sweden
Dave Dee, Dozy, Beaky, Mick & Tich first date: Karlstad
Beat Instrumental n°64: What’s A Lead Bass Player ? (Pete Goodman)
Beaky: D D D B M & T consists of a lead bass player, a blues addict, an improved drummer, a red hot tambourine vocalist and a Jack-of-all-trades.
The way it works with Dave Dee, Dozy, Beaky, Mick and Tich is this: as the deadline for a new single comes up, the boys receive one demo disc of the selected song from their managers and songwriters Ken Howard and Alan Blaikley. They then set about working out an arrangement and studying the necessary chords.
Fine! But if some unusual instrumentation is added to the demo, and to the finished release, then someone has to learn how to play the “unusual” instrument. Which is where that celebrated performer on odd instruments, Beaky, comes in.
He has become the Jack-of-all-trades in the group. Basically he’s a rhythm guitarist, using a Gibson Jumbo, but he’s usually surrounded by other instruments. Hear Beaky, then, on his Mr. Versatile status.
“When we came to do ‘Okay’, we needed accordion. A session man handled it on the record but our rule is that we go all out to produce hit record sounds on stage. So I was stuck with learning how to play it – it took about four days, in fact, and now I’m rather interested in accordion. When we do it on stage, I play the accordion and Dave picks up my guitar. But usually it’s that much easier for a rhythm guitarist to play other instruments because he isn’t missed so much from the basic guitar-drums sound.
“Anyway, for ‘Bend It’, we included mandola. No normal mandola, but an octave mandola, which is slightly bigger – and we spent weeks chasing around to buy one. Then it was handed over to me to learn. . .”
There being no peace for the wicked, Beaky was next involved in tymbales for “Save Me”. “They are like four high Conga drums, plus a cowbell”, he explains. “This took some time because I had to learn to copy the demo disc entirely, as we wanted exactly the same rolls”.
For “Zabadak”, he was called upon to play Chinese blocks and Conga drums. “This wasn’t so much of a problem”, he said. “A pretty simple beat . . . boom, boom, boom – like that”.
And this is why Beaky approaches the first hearing of a demo disc with considerable apprehension. He never knows what is coming up next. “We just don’t know months in advance, like some lucky groups. We virtually learn our new material in the studio. Maybe we’ll get the demo on a Thursday, get the chords right and the general arrangement, and be in the studio by 10 o’clock on the Friday.
“I tremble to think what happens if we include a harp in the arrangement – or an organ. But the fact is this. If it is there to be heard on the record, then we’ve got to have it on stage. Or rather I’ve got to have it there on stage. The kids simply won’t accept false things and they expect us to sound just like on the record”.
Multi-instrumentalist Beaky then considered just how the other boys have developed, musically, since they first got together as a group. He had words of special praise for Mick. “We’ve all improved a lot but Mick more than anyone. His joining us was a sort of double con trick. We said he’d get a tenner a night, when £2 10s. was more like it. He said he could play just about everything on drums when in fact he really only knew ‘Move It’. He was actually ruddy useless at first. He had old-fashioned kit with leg stands on it. We bought him a Trixon, but now he’s on Ludwig. Nothing fantastic about him – he’s a steady drummer, loud and really improved”.
Dozy ? He plays Fender Jazz bass. Says Beaky: “His fingers fly over the fretboard. The bass is a very important part of our sound. It’s an angry sort of bass sound . . . really he plays lead on bass”.
But Beaky owned up to being very “worried” about Tich. “He’s got this blues thing”, he said. “But we’re not that sort of a group. He gets going on his blues playing that Gibson Les Paul of his through Vox amps – and we have to keep him back a bit. We’re a pop group, but he gets hung up on his sort of music and he can be a bit awkward. Not bad enough for him to leave the group, mind you . . . but we let him have a good blow on a few numbers on stage – like ‘Watch Your Step’, ‘Paint It Black’, Dr. Feelgood’.
Having now delivered a printed, black-and-white warning to the blues-minded Tich, Beaky referred briefly to the group’s vocalist, Dave Dee himself. “Don’t discount him as an instrumentalist”, said Beaky firmly. “You’ve heard how he occasionally has a go on my guitar. He is, of course, red hot on tambourine. He is our own built-in Wayne Fontana on that instrument!”
The last statement was delivered with an inscrutable smile!
(Note: When lead singer Wayne Fontana split from The Mindbenders to go solo, the remaining trio declared: “All we have lost is our tambourine player” – and they went on to big success while he disppeared.)
After a recent accident in which his car turned over prior to hitting a traffic sign-post and slicing a telegraph pole in half, Dave Dee admits to being worried about driving.
“I’ve had three accidents this year and it’s not that I’m a bad driver – but being on four wheels so often you are bound by the law of averages to be more accident prone. I was lucky to come out of this last one alive – all I got was a grazed finger, and I had no safety belt. From now on I’m going very carefully indeed.”
Page 45: DAVE DEE REVEALED!
Last month, we printed a RAVE analysis of Dave’s character from the impressions he had made on us. This month, as promised, we have the official analysis from the famous International Psycho-Service in Paris. See how the RAVE analysis and the one from the experts compare! Amazing!
From the material available Dave’s character has been analysed as follows: His personality is a developing one with occasional qualms about the future. There is a certain fear when he comes face to face with the unknown – associated all the time with the element of risk. His character is full of strong contrasts and he is cautious though determined. His handwriting, at the same time open and bold, shows a spontaneous and prudent nature, a realistic and sensitive character. He’s as easy on himself as he is on others and he has the desires and capabilities to allow him to stabilize himself and get where he wants. He has too, the resources of character to leave the `dandy’ period of his adolescence behind if he wanted to. In effect, his tendency to be egocentric is basically caused by inhibitions. These inhibitions cause alienation to a certain degree with the people he meets. Deep down, he is timid – a facet which makes him feel more at ease in front of a mass audience than with one person alone. He is selective about the people he is alone with. It is necessary for him to feel an atmosphere and a mental sympathy at a meeting. He is a receptive person, and, used in the right way, his receptiveness could guide him on a path of deeper thinking, truer to his real nature. Perhaps he is a victim of his environment. If so, he must call on all his reserves to see him through.
(France) Rock & Folk n°20 pages 7/8: Actualités
Baschung, compositeur, a été chanté par Noël Deschamps (“Oh la hey”), par Annie Philippe, et une de ces chansons vient récemment d’être retenue par ce groupe anglais au nom interminable, Dave Dee, Dozy…, etc.
Alain Bashung (1947 – 2009) has become one of the French Cult Artists and it would be an honour if Dave Dee, Dozy…, etc. had really picked up one of his early songs.
(USA) Crawdaddy Issue 17: What Goes On?
The Who are recording an antismoking commercial for the American Cancer Society called “Little Billy.” $$ Traffic’s doing a real one for Pepsi. $$ John Sebastian has left the Lovin’ Spoonful and their life expectancy is not high. Sic transit . . .
Australian single release: Normie Rowe – Break Out / Born To Be By Your Side (Sunshine QK 2493)
“Break Out” was recorded by Normie Rowe and The Playboys before he was drafted in February 1968
Book publication: Thomas Wolfe – The Pump House Gang
Written by American author and journalist Tom Wolfe, The Pump House Gang is a collection of essays and journalism. The book contains 15 non-fiction stories mostly written in 1965 and 1966.
The essays collectively tell the story of the new status symbols and lifestyles of the 1960s and how the culture was changing from the traditional social hierarchies of the time. One of these, “The Noonday Underground”, is about an afternoon at the Mod club The Tiles in London, mentioning the music of Dave Dee, Dozy, Beaky, Mick & Tich.
Here is a short excerpt:
|The Pump House Gang[…]
Braaang–it is lunchtime. Why try to explain it to the straight noses? Larry Lynch puts this very straight look on his face, like a zombie mask, as if he were going to do the usual, go out and eat a good straight London lunch. All the straight human mummy-hubbies file on out for the standard London office-worker lunch. Boy! Off to the pubs to slop down the jowls with bitter and sandwiches with watercress stems in them. Or to Somebody’s Chop House or Trattoria for the Big Time lunch, basting the big noonday belly and the big noonday ego with Scotch salmon, French wine and coq au vin. Or a Small Time lunch in some place that looks like a Le Corbusier cathedral with white grotto plaster and jazz-organ stained glass, serving nice steaming hot sliced garden hose on buns. But–Larry–Lynch–
–with–his–straight mask on walks over to Shaftesbury Avenue and then almost to Tottenham Court Road, in the heart of the Oxford Street shopping district. The sun–the sun is out today–the sun shines off the glistening flaws on thousands of bursting lonely beetled faces on the sidewalk at noon, but Larry Lynch cuts in the doorway at 79 Oxford Street, a place called Tiles.
It is like suddenly turning off the light. The entryway is black, the stairs going down are black, black walls, black ceilings, winding around and around, like a maze, down into the blackness, until there is no daytime and no direction and suddenly–
–underground at noon–
–a vast black room heaving with music and human bodies. Up at one end is a small lighted bandstand. There is somebody up there at a big record turntable and rock music fills up the room like heavy water–
–and in the gloaming there are about 250 boys and girls, in sexy kaks, you know, boys in codpiece pants, the age of codpiece pants, mini-skirts, mesh stockings, half-bras, tailored mons veneris, Cardin coats, navel-deep button-downs, Victoria shoes, inverted pleats, major hair, major eyes–eyes!–eyes painted up to here and down to there, with silver and gold beads just set in there like Christmas balls, set in the false eyelashes–all of them bucking about, doing the Spasm, the Hump, the Marcel, the Two-backed Beast in the blackness while a stray light from somewhere explodes on somebody’s beaded eyelashes–
–down in the cellar at noon. Two hundred and fifty office boys, office girls, department store clerks, messengers, members of London’s vast child work-force of teenagers who leave school at 15, pour down into this cellar, Tiles, in the middle of the day for a break . . . back into The Life. The man on the stage playing the records is Clem Dalton, a disc jockey. Off to one side in the dimness is a soft-drink stand, a beauty parlor called Face Place and an arcade of boutiques, a Ravel shoe store, a record shop, a couple of other places, all known as Tiles Street. There is a sign out there in the arcade that says Tiles Street, W1. The place is set up as an underground city for The Life.
She took a job as a clerk, but it was, like–you know?–a total drag, and Linda started coming down to Tiles at noon, it was like a necessity, to get into The Life at midday before she flipped out in that flunky clerk world, and she was down there one day with her great face on, ratcheting her hips away, gone in the kinetic trance, and Pat Cockell saw her. He needed
|5 The Noonday Undergroundsomebody, a girl, to come work in the Ravel shop in the arcade, somebody who would comprehend what all these working-class mod girls wanted when they came in. So he asked her.
Linda walked down the arcade and into the shop, and even in there, in through the door, she could hear the music from the bandstand. She could hear the music and the dance floor and all those kids would be about 50 feet away, that was all, and it would be like almost being in The Life all the time. So she took the job and pretty soon she would be selling a shoe and then nobody is in the shop for a moment, so Pat stays in there and she goes out to the dance floor and gets into the kinetic trance for one number and then comes back and sells some girl a jesuschristyellow pair of shoes.
Linda was making £9 10s a week. About 25 shillings went to taxes, £2 as her share of the flat, £3 or £4 a week to clothes, at places like Biba–and 30 shillings a week for food. That’s all! Thirty shillings–but god, look, she looks great, and what are all these regular straight three-a-day food injections for, anyway. And then one day Linda was selling a pair of jesuschristyellow shoes or something and then ratcheting about on the Tiles dance floor and somebody told Marjorie Proops, the columnist, about her, and she ran her picture and then Desilu Productions, the TV company, was doing something about London and they put her in a scene, and now these photographers come by and take her picture–and Linda is on the verge, she could become a model or . . . a figure, a celebrity, however these things happen, with Pat Cockell as her manager, oh god, Linda could make it, living The Life totally . . . and yet Linda doesn’t really give all that much of a damn about it.
People come in and talk to Linda, like this American who was in there, and she listens and she answers questions, but then Clem Dalton puts on something out there, like Hideaway–
Hideaway . . . Come on! . . . far from the light of day . . . Come on! . . . leaving the world behind.
–and Linda’s eyes kind of glaze over and her legs, in the pinstripe bell-bottoms, start pumping and then she is out the door and out into the dark, at noon, in Tiles. That’s where we’re gonna stay. And so what if she doesn’t make it. The Life is still there, it is still available for less than £10 a week, Clem Dalton will never forsake, Jackson will live forever, I-love-you drops, I-miss-you drops, and Ian Holton will be abroad in the streets of London with a green waistcoat on that messes your mind up, and Berry Slee and Jay, Liz, Jasmyn, Jane, all the Jays, Lizzes, Jasmyns, Janes of this world –and Larry Lynch–Hideaway–Larry Lynch looks down at his wrist, beautiful the way that cuff just sort of wells out, white, out of the checked sleeve, a half inch of beautiful Brixton cuff, debouching, and christ, he is already twelve minutes over, and he heads back through the maze of Tiles, through the black, like unwinding himself, and up the black stairs–volt!–the sun hits him and nearly tears his eyes out, but the same bursting beetled faces are still bobbing and floating past on the sidewalks and the same shops, hacks, cops, the same Marks & Spencer . . . the same Leicester Square and–oh splendid!–he knew it would be this way, there, back in the office, even, even, straight, straight, the same rows of . . . straight noses, all pointing the same way, toward eternity, as if nothing had happened at all.
British single release: Mike Stuart Span – You Can Understand Me / Baubles And Bangles (Fontana TF 959)
In 1968, the group consisted of Stuart Hobday (vo), Roger McCabe (bs), Gary ‘Roscoe’ Murphy (dr) and Brian Bennett (gt). Soon after they were rechristened Leviathan.
British single release: The Barrier – The Tide Is Turning / A Place In Your Heart (Philips BF 1692)
Second cover from the “If No-One Sang” album. The Barrier would use another Howard Blaikley original for their next single: “Uh!” (27 December 1968).
In 1966, four Fulham lads, taking their name from a book title, formed The Purple Barrier. Under pressure from Deep Purple’s management they dropped the word Purple, renamed themselves The Barrier and began recording on the Philips label. The band toured extensively throughout England and Europe, setting fire (literally) to stages wherever they went. Part of the stage act was to set fire to their equipment and sometimes unfortunately other people’s (an expensive indulgence).
NME n°1125 pages 8-9: The Small Faces to head bill at Swiss Pop Festival in Zurich on September 21
also on the bill Dave Dee Group and The Flirtations
Dave Dee plays a charity match with the football team of the Showbusiness Top Ten XI
Dave Dee, Dozy, Beaky, Mick & Tich besingen ihre Heimatstadt in den höchsten Tönen
In Soho sind die Nächte lang
Dave Dee und seine Kumpels sind Reiseführer in Sachen Musik. Sie luden uns ein nach Griechenland („Bend it”), nach Rußland („Okay”) und gar nach Mexiko mit ihrem letzten Hit „The Legend of Xanadu”. Aber es muß ja nicht immer der Duft der großen weiten Welt sein. Dave Dee, Dozy, Beaky, Mick und Tich bitten auf ihrer neuen Platte um einen Besuch in ihrer Heimat. Die Reise geht nach London – ins geheimnisvolle Londoner Stadtviertel Soho. „Last Night in Soho” heißt der Song, der bestimmt ein Knüller wird. Den Text der „Letzten Nacht in Soho” lest Ihr auf der nächsten Seite
Dave Dee, Dozy, Beaky, Mick & Tich-Fanclub Secretary, 16 Walters Lane, Salisbury / Wiltshire, England
5-9 Aug. 68
Radio Show: Dave Cash Show, BBC Radio One, London, England
Dave Dee, Dozy, Beaky, Mick & Tich alternate between the Jimmy Young and the Dave Cash shows through the summer
Pavilion Theatre, Bournemouth, Hampshire, England
Dave Dee, Dozy, Beaky, Mick & Tich supported by The Baloons
Philips Studios, Stanhope House, 2-4 Stanhope Place, London W2, England [Released on 13/09/68]
Recording session for The Wreck Of The Antoinette / Still Life (produced by Steve Rowland)
Spoken introduction from Shakespeare’s “The Tempest” by Dozy, who wrote the B-side with Beaky
BBC Transcription Disc: Top Of The Pops #194, Kensington House, London, England [wk 33, 1968]
Bend It / Last Night In Soho / Doctor Feelgood [Rec. 12/06/68]
Tracks: 1.The Cymbaline: Mony Mony; 2.Alan Price: Love Story; 3.The Moody Blues: Dr Livingstone I Presume; 4.The Alan Bown: Magic Handkerchief; 5.Dave Dee, Dozy, Beaky, Mick & Tich: Bend It; 6.The Cymbaline: Down By The Seaside; 7.The Moody Blues: Voices in the Sky; 8.Alan Price: Goin’ down Slow; 9.Dave Dee, Dozy, Beaky, Mick & Tich: Last Night In Soho; 10.The Cymbaline : Yummy Yummy Yummy; 11.The Alan Bown: All Along The Watchtower; 12.The Moody Blues: Ride My See-Saw; 13.Alan Price: My Old Kentucky Home; 14.Dave Dee, Dozy, Beaky, Mick & Tich: Doctor Feelgood. Presented by Brian Matthews [Expiry date: 22/02/69]
“Last Night In Soho” and “Doctor Feelgood” had been recorded on 12 June for “Pete’s People”, the show being aired by the BBC on 29 June. So this version of “Bend It” is also probably different from the available ones.
NME n°1127 page 2: Dave Dee’s Instant Hits – by Keith Altham
It was Dave who revealed to me in a London pub last week that, unlike so many other artists the group do not select their single from among four or five completed tracks but go straight in with a preconceived and deliberately manufactured single.
“We’ve always worked this way and it seems to pay off,” said Dave. “Choosing a track from amongst many that you may be doing for an album is not always the best way to select a single.
“You take the Bee Gees latest single, ‘I’ve Gotta Get A Message To You’ – now that is a good record but what’s the betting that on their forthcoming album there are about three tracks which are better still ?
“We get together with Ken and Alan with our producer Steve Rowland before a single and just talk around the subject. Before ‘Soho’ we talked about how everyone was jumping on the ‘Trems’ bandwagon and doing happy-go-lucky sounds – but a group doesn’t grow up with those sounds.
“We’ve never really done a ballad. No one ever took us seriously like Tom Jones, for example. So we thought we would try and get as near to a ballad as we could without eliminating beat completely and then I said something about wine and Soho and that gave them an idea.
“The next step is for Ken, Alan and Steve to go away and do a demo – they bring it back to us and we take it away and do our interpretation.
“It all happens very fast. For example, on Monday they are doing the demo for our next single – on Tuesday we will record it.
“We’ve only made a false start once and the number was shelved before we got to the demo stage – it was a hit number all right though but not for us. It was about ‘Space,’ a sort of science fiction thing.”
Dave was in a highly elated mood when I met him in a London pub last week despite the fact that his holiday had once more been interrupted for promotional purposes.
“He has just acquired a new house in Salisbury (“with a circular drive which is what I’ve always wanted”) and despite the fact he has no ‘phone, telegrams and requests to make appearances reach him by every post. The front door bell has already begun to ring with the sticky fingers of little fans pressed firmly on the button.
“I wouldn’t mind but half of them have only come to see ‘Oliver’ grinned Dave. Oliver is his pet white rhino cunningly disguised as a dog. ‘There’s no peace for the wicked in this game !”
Dave is already diversifying his career by doing production with, as yet, unknown groups like the Family Dog (” that group is going to happen one day”) and the Gospel Garden who come from Scunthorpe.
“They are a very good group,” said Dave. ‘They’re trying very hard but it’s so hard for a new group to get a break these days. Sometimes I think the only reason we got off the ground in the early days was because of the pirates.
“The BBC is so short of needle time that they tend to concentrate on playing the records by established artists to get listeners – you can’t really blame ‘em – rather than give a good unknown group a break and gamble they will hit.
“There must be a lot of good groups out in the sticks like we were who cannot afford the publicity scene or the managerial set up which seems necessary to get you away. But that doesn’t mean you can succeed without fighting.
“Before we ever got a hit record we were coming up to London and making demos and bugging every company with them.
“Then we met Ken and Alan in Swindon one night and having got a record contract with Philips all we needed was some guidance and a song. They’ve been giving it to us ever since.”
Apart from Dave’s freelance activities with Camp records he is training regularly with the Southampton football team and played in a charity match last Sunday. He is wary of rushing in where angels fear to tread.
“Look at the poor old Beatles,” said Dave. “Apart from being the greatest recording group in the world everything else they try seems to turn to dust. Oh God, I wish I hadn’t said that – I can see the heading now, ‘Dave Dee slams Beatles.’ ”
Dave had just been to see the Beatles “Yellow Submarine”. What did he think of that ?
“What I really like is a good Western,” said Dave.
Mr Dee was not too knocked out with Tim Hardin’s performance recently or was it just concern ?
“I was worried he was going to fall over the whole time,” said Dave. “I was speaking to one of the musicians in the group he hired. Apperently he didn’t turn up for the first rehearsal, he slept through the second one, turned up for the third one and said. ‘I’ve just got to go back to the dressing room’ and was never seen again until the show.”
People that Dave likes include Jimi Hendrix, Arthur Brown and Screaming Lord Sutch. He says he likes them because they are so different off stage from on.
With a smile and a twirl of his umbrella plus a quick impression of Jack Warner – “Evenin’ All” our ex-policeman and present Top Tenner disappeared out into the Summer rain.
Dave Dee, Dozy, Beaky, Mick & Tich Swedish Tour (17 August-1 September 1968)
Dave Dee, Dozy, Beaky, Mick & Tich first date: Karlstad
NME (22 June 1968): The group plays Swedish folk-parks from August 16-31.
Melody Maker (27 July 68): The group will also tour Sweden from August 17 to September 1.
(Germany) Bravo n°34: Bei Dave ist guter Rat billig (Aus “Fabulous”)
Page 18: Dave Dee unterhält in „Fabulous” eine Leserbriefecke, in der er nicht mit guten Ratschlägen geizt. Zu den Vorwürfen einiger Leser, was er denn schon vom Leben verstünde, sagte Dave: „Viele meinen, ich hätte zuviel Geld und sei noch feucht hinter den Ohren. Das ist Quatsch. Durch die Popmusik bin ich um die ganze Welt gekommen. Ich habe alle möglichen Leute kennengelernt und mußte mich in Situationen zurechtfinden, von denen ich früher nicht einmal geträumt hätte. Das alles hat meinen Horizont erweitert. Ich sehe viele Sachen mit anderen Augen als ein Mensch in meinem Alter, der immer nur zu Hause gesessen hat. Warum also soll ich keine guten Tips geben können?”
Czechoslovakia is invaded by the troops of the Warsaw Pact
Fabulous 208 Page 15: “Dave Dee Digs”
Dave Dee’s Government if he was Prime Minister: Beaky becomes Minister of Agriculture and Fisheries; Dozy becomes Minister of Roads and Works; Tich becomes Chancellor of the Exchequer, to look after the Bank of England; Mick becomes Minister of War.
26-30 Aug. 68
Radio Show: Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
Dave Dee, Dozy, Beaky, Mick & Tich appear in this morning show, Monday to Friday
British single release: Graham Bonney – Frenzy / Something I’ve Got To Tell You (Columbia DB 8464)
Howard Blaikley wrote both sides of this single, one original and the second a Dave Dee cover
Fabulous 208 Page 31: Letter Box
MAD ON MICK
I’m crazy over Mick, of Dave Dee & Co., could you tell me what he likes and dislikes most? Paula Wilder, Chippenham, Wilts.
Sure! Mick likes lovely shirts (so do I!) but dislikes tea with sugar.
Page 15: “Dave Dee Digs” about the Dave Dee, Dozy, Beaky, Mick and Tich fan-club.
Page 22: A lot has been written about Dave Dee, Dozy, Beaky, Mick and Tich – but what are they really like? What makes them happy or sad? What events in their life do they particularly remember? Who are the people they get along with? This week JULIE WEBB begins the first of a five-week series about the group, starting with …
(USA) Billboard August 31, 1968: Album Reviews
Time To Take Off–Dave Dee, Dozy, Mick & Tich.
Imperial LP 12402 (S)
This bright and sparkling album includes three of the group’s most recent singles, “Zabadak,” “The Legend Of Xanadu” and “Break Out,” and that should prove a powerful selling point. The program opens and closes with an exceptional Harold Blaikley ballad, “If No-One Sang,” and the numbers in-between are well balanced and diversified.
TV Performance: Beat-Club 34, ARD Radio Bremen, Bremen, Deutschland (Lip-Sync)
Hosted by Uschi Nerke & Dave Lee Travis (4:30-5:00 pm)
The Equals: Baby Come Back; Tim Rose: Long Haired Boy; Top LP’s: 2. If No-One Sang (Dave Dee, Dozy, Beaky, Mick & Tich); Cupid’s Inspiration: Yesterday Has Gone; The Mirror: Gingerbread Man; Britain’s Top 7; Ranee & Raj: Feel Like A Clown; The Crazy World of Arthur Brown: Fire; The Rolling Stones: Jumpin’ Jack Flash (Repeated On Film); Beat-Club/BFBS Poll; Bruce Channel: Keep On; Dave Dee, Dozy, Beaky, Mick & Tich: Last Night In Soho.
The 1968 Beat-Club/BFBS Poll (British Forces Broadcasting Service) was still going on. This is the result according to this month’s viewers/listeners postcards:
Favourite Performance: 1) The Rolling Stones with “Jumpin’ Jack Flash”.
Favourite Album: 4) Hole In My Shoe by The Traffic, 3) Sensational Equals, 2) If No-One Sang by Dave Dee, Dozy, Beaky, Mick & Tich and 1) Ogden’s Nut Gone Flake by The Small Faces.
So Dave Dee & Co came second again, beating strong competition. Ready to win the following month.