Dave Dee, Dozy, Beaky, Mick & Tich Tour of Japan and Singapore
From Cash Box, 8 March 1969:
Four popular artists from various countries have appeared in Tokyo at about the same time. Dave Dee, Dozy, Beaky, Mick & Tich from England have just made a fortnight tour giving 8 concerts in Tokyo, Osaka, Kyoto and Nagoya and appearing in several popular TV programmes such as “Beat Pops” on Fuji TV. During the group’s stay, Victor-Philips Records sponsored a press party for the group inviting three hundred guests including pop commentators, D.J.s and cameramen. At the same time the group’s latest recording, “Run Colorado,” has been put on the market. Astrud Gilberto has made her second appearance, and a Latin pianist, Pepe Jaramigo, who made his first Japan tour three years ago, is touring again for over a month. One more Latin artist is here: Los Tres Ases on their first Japanese tour.
Melody Maker: Dave Dee for Japan
DAVE DEE FOR JAPAN
Dave Dee, Dozy, Beaky, Mick and Tich, who leave for a three-week tour of Japan on Tuesday (February 4), have almost completed work on their new single.
The song – title and release date have not yet been finalised – will probably be released at the end of February on their return from Japan.
The group fly to Tokyo to start the tour and play leading Japanese cities.
Brentwood, Essex, England
The Herd’s last date with Peter Frampton
Travel to Japan
Dave Dee, Dozy, Beaky, Mick & Tich leave for Tokyo for a three-week tour of Japan followed by three concerts in Singapore at the end of February
Fabulous 208: Dave Dee Column – The Big Send Off !
It was near the end of a charity football match and I’d been playing a pretty fair game. Suddenly one of my own team, singer Troy Dante, came up and launched a punch right at my jaw. I lashed out by way of retaliation. It developed into a fair old scrap. Somebody threw a bucket of water over us.
And the referee steamed up and pointed to the dressing-room. We’d both been SENT OFF! No argument – off we went. To the accompaniment of the odd jeer and hoot from some of the crowd, we jog-trotted back for an early bath.
Next day some of the papers got hold of the incident. “Dave Dee sent Off In Charity Match” was the headline. Mates of mine came up and said: “See you’ve been a bad boy, Dave.” All a bit serious? Not really. Because it had all been worked out in advance.
It was all part of a plan to get us off the pitch before the spectators streamed on in search of autographs, locks of hair, hunks of skin or perhaps the odd ear.
I love my football. As a kid I was in the school teams, then played in local leagues. Oddly enough, Beaky’s dad was manager of one of the league teams and actually converted me into a goal-keeper after I’d always played as a goal-scoring forward. Beaky? No, he didn’t play. He’s rather a lazy fellow….
When the group started making it, I gave up playing because the others were worried that I might get injured and have to miss gigs. Now I’m back in boots and shorts, turning out for charity games. I play for
Ed Stewart’s Top Ten team – along with Barry Mason, Leapy Lee, announcer David Hamilton, Troy . . . oh, and the “Desert Song” man John Hanson, who is a very good player. Sometimes I turn out for the Southampton
Veterans’ team, made up of ex-Southampton professionals – and that’s a lot of fun, too.
We’re all registered by the Football Association and we’re all insured. I believe I’d get six quid a week if I was unable to work through being injured! And while I admire the skills of players like George Best, I must say I never even thought about trying to become a professional. For a start, I doubt if I was ever good enough. And secondly, I’d much rather play my football just for the fun of it.
Not so long ago, George was writing in FAB about the difference between being a pop star and a pop-type personality in soccer. And he printed a letter from a bird named Marian, who came from Liverpool and who really slammed into George and the rest of the Manchester United boys. I think he took it all very well – and that “hate-you” letter really did sum up the difference between the two jobs.
Pop is really an international thing. The top stars are in business all over the world. But soccer is a local thing. You support your nearest big club. There are some people, even in Salisbury, who reckon they support Manchester United – they read all about the club, collect George Best pictures and so on, but rarely get a chance to see their favourites in action.
Poor old George comes in for a lot of stick for several reasons. One, he was very young when he was voted Footballer of the Year – the usual thing is for the honour to go to older chaps who are a bit more conventional in the way they wear their hair and their choice of clothes. If you’re a young Top Dog, then you’re bound to get the knockers….
Secondly, he has this uncanny knack of making most opposing defences look a bit stupid, so that causes resentment. Thirdly, George is handicapped by having been born across the sea in Ireland !
What, you may ask, has his birthplace got to do with it? Simply this. Had George been eligible to play for England in, say, the World Cup, and had scored a couple of winning goals in the final at Wembley – then the whole English public would have hailed him as a hero, no matter what club they supported from week to week.
Unlike his team-mates, like Bobby Charlton or Nobby Stiles, George doesn’t get this national adulation, and anyway Ireland doesn’t have a particularly strong soccer side. But I’ve seen Georgia play and, believe me, he is brilliant.
Watching him makes me realise how much sheer practice must have gone into his skill. How much time he must put in to stay at peak fitness. No, for me I’d much rather stay in this pop business – and play my soccer in the sort of atmosphere where nobody really wants to put me on the injured list.
Besides, professionals have to get up so early in the mornings!
Address your letters to Dave, c/o FAB-208, Fleetway House, Farringdon Street, London E.C.4 (Please do NOT enclose a stamped, addressed envelope as Dave won’t be able to answer any letters through the post, though he will read every one and discuss some in his column.)
NME n°1152 page 2: Manfred Mann
As more groups split we’re getting nearer to Age Of Supergroups
“Set members will be thing of the past” says Klaus Voormann
Industrial Club, Norwich, Norfolk, England
The Herd play their first concert without Peter Frampton
Fabulous 208 Page 19: Dave Dee Column – Join The Anti-Valentine Brigade
Stand by to call me a spoil-sport, or perhaps a crab-faced grouch, or even – should the spirit move you – a hopeless case without a streak of romance in my soul. Because I’m the odd one out. I’m the one who doesn’t feel a twinge of anything when St. Valentine’s Day comes round.
I’m afraid I see the whole St. Valentine and Cupid and Admirer-from-afar bit as a huge commercial, money-making business. I just don’t go along with the traditions of February 14 at all. But I deny being UNromantic. It’s just that if a girl happens to like, love or fancy me – then I’d like her to feel that way all the year round. No need, once a year, for her to help make the Valentine-card manufacturers get dirty rich.
To me, a Christmas card or a birthday card means much more. Anyway, I don’t get a lot of Valentine cards. And I’ve never sent one in the whole of my life. Sorry to be so bad-tempered about it, but I AM here to speak my mind . . .
Now I’ll move from the so-called Spirit of Romance to the also long-established business of the Spirit of Spanking ! Remember a recent column when I suggested that the only way a bloke could deal with a spoilt-brat type of girl-friend was to give her a short sharp whacking in the place where it hurts most?
Well, I tackled this subject because it’s most unusual for me to receive a letter from a boy . . . and in many ways it is easier for me to give an opinion from a boy’s point of view. I forgot that my views could raise a most tricky problem. Which is: how does a girl deal with a similarly spoilt boy-friend?
Girl named Sue, from Sheffield, raises the problem. “What,” she writes, “if a boy starts showing me up while I’m out with him. What do I do then? I can’t exactly do to him what you suggest a boy should do to a girl, can I? Perhaps a quick exit is the only way – but can you come up with a solution that would help humiliate the boy for a change?”
Okay, Sue love, I admit that girls DO have a big problem. Trouble is that girls are the weaker sex, generally speaking, and can’t physically damage a man. But there must be a way for her to mentally damage him.
If the boy knows that he is already on top, already has the girl under the thumb, then the problem gets even worse. The girl tends to show more than a man that she’s in love, but if a man goes on showing the girl up, then it must surely mean that she doesn’t have his respect. Making a girl look silly must mean just that – no respect for her.
So . . . drastic action is needed to find out just which way the wind blows. She should wait until his next showing-up scene and then calmly slap him round the face. Nothing more violent than that, no shouting match. Just a sharp slap. That should finally bring him to his senses. Mind you, she can’t do much more – she certainly can’t hope to batter him! And mind you again, she might even so get a bit of a hiding later on, but at least she would find out whether he has, deep down, any respect at all for her.
But if she is already too far under the thumb, then I’m afraid the girl simply stands no chance of winning. Most times, though, I’m sure a slap could reverse the position. It just takes that initial show of plain old guts . . .
I hope this doesn’t all sound like I’m a fellow who believes in violence – I do only in extreme cases. And anyway listen to a sixteen-year-old reader named Tina. “Spanking DOES work. I used to go into terrible tantrums and was terribly spoilt. I’d refuse to breathe, or lie on the floor and scream and scream until people gave in. Actually it worked . . . until Steve came along.
“He first let me go on in my usual way of screaming. Then one day he came round when the whole family were watching telly. Mum wanted the film on and I wanted Top Of The Pops. I started yelling – and Steve told me to shut up, so I had a go back. He grabbed my arm, yanked me outside, sat on the stairs and put me over his knee and gave me such a spanking.
“He said how he’d put up with me for a long while and thought I should learn a few manners. I was so shocked. My pride was deeply hurt. Apart from that, other parts hurt. I’ve learned a lot from him and I respect him deeply. That was just over eight months ago and we’re still going out with each other.”
Not too little; not too much. In extreme cases, a spank in time saves a lot of trouble and heartache!
And despite my earlier views – I hope that all of YOU got lots of Valentine surprises!
Single release: Don Juan / Margareta Lidman – Fontana TF 1000 (267 921) [Rec. 27-30/01/69]
Last Death Disc, a failure in England and Germany (not even Top 20), but a great success in Holland.
Record Mirror (22/02/69): MASSIVE SELLER
The thousandth release from Fontana and a sure-fire hit for Dave Dee, that well-known raver on the scene whose affinity with Don Juan is becoming more and more known. This is essentially a Spanish contribution to the team’s tour of the world, musically – a jolly, hard-hitting, brass-augmented sound which comes off immediately. A very big hit, no doubts about it. Flip: Group-penned and pretty strong with the usual vocal touches.
Album release: Ten Years After – “Stonedhenge” LP (Deram SML 1029)
With a fine drawing to illustrate the foldout Stonehenge cover
NME n°1154 page 10: Dave Dee & Co. on BBC-TV; Advert for Don Juan on the cover
Page 8: Derek Johnson – Top Singles: An Extravaganza Of A Dave Dee Smash
DAVE DEE, DOZY, BEAKY, MICK & TICH: * Don Juan (Fontana).
Another one-act drama from the Howard-Blaikley team, this time with a Spanish setting – and the Dave Dee group attacks it with its customary gusto and flair. Opens rather like Herb Alpert’s “Lonely Bull,” then breaks into a raving up-beat saga of a matador – who, after many triumphs, finally meets a gory end.
No effort has been spared to simulate the atmosphere of the corrida – exultants shouts of “Olé”, fanfare trumpets, rippling Spanish guitars and an exotic rhythm that varies between flamenco and fandango. More than a record – it’s an extravaganza, and an obvious hit. But I could have done without the spoken passage in the middle, which seems to have become a Dave Dee ritual.
Fabulous 208: Dave Dee Column – CAN YOU BEAT THEM ?
No problem picking out what to talk about this week because loads of you have written in asking how, exactly, you can get to become a pop singer. And the short answer is: learn a few pop songs and then get out there and sing!
No, maties. I’m not being extra flippant. That is obviously the first step – decide whether YOUR voice is the sort of sound that can entertain the masses, or, whether it is better locked up in the rather flattering confines of your bathroom.
So, okay, you reckon you stand a chance of beating Dusty or Lulu – or Tom or Cliff – or the lot, if you happen to be good at impersonations, too. Let’s fill in a few details on what happened to me.
I’ve been singing since I was twelve. My first public appearance was in a singing contest in a local hall and I was highly chuffed to win it on the ground that the audience did the judging, not a panel of a few folk that I could have bribed!
I went on with my guitar and I was frightened nearly to death. The mouth went dry and the legs were shaky, I’ll never know how I got right through the song, BUT . . . it was experience. And any experience of working to an audience is worth while.
But for years and years nothing happened. I earned a few bob out of semi-professional gigs, but only in the past few – well, three – years have I known any success. Big point was that I had an unquenchable desire to make a go of it; to PROVE that I could be reasonably successful.
First, then, find your voice. Then build up determination. With me, so far? Now I lived in Salisbury,which is hardly where it is all happening. Most of you probably live outside London, which is where it is all happening, so you’ll face the same problem as we did. You’ve simply got to get in on the London scene, though not necessarily go and live there at first.
For about eighteen months, the only place for pop was Liverpool – but even then the big deals were being worked in London. So . . . you must get yourself a representative in London who will work hard, perhaps for a long time, to build your name. Our managers, Ken and Alan, worked for fifteen months for us without getting even a sniff at success. But your representative must be trustworthy. The guys who say: “I’ll make you a star for sure,” oh yeah? They’ll also make themselves rich by taking just about every penny you earn.
You’ve now got your voice, your determination and your manager or agent or representative. Now you have to find originality. Don’t turn out sample discs of songs as sung by Dusty or Lulu. Get somebody to write some original material – a friend or even yourself – and then make a good demo disc of how you sound on new songs. Try to make the disc as professional-sounding as possible.
Now then, what do you do with the disc? Do NOT just send it to various record companies. I believe they’re sick to death of getting hundreds of would-be chart-toppers in through the post, almost anonymously. Get your representative, who must have contacts, to TAKE the disc round personally. Disc-biz executives take much more notice of something recommended by a mate of theirs.
And while all this is going on, you are out singing as and where you can. There’s always a church-hall concert going on even in the smallest village. Always a school show. No matter how young you are, get up and sing. That way lies experience. That way lies confidence, because if you do break through on record then you can cope with any kind of personal appearance that is thrown at you.
So what happens if mum and dad are all against you singing? A nasty position to be in. My mum urged me to try something more secure than pop music, but she didn’t hold me back. She really thought I’d flop in my own good time! But if a girl or boy does have some talent, then parents are terribly wrong not to encourage it. They can so easily lose the respect and love of their offspring.
I believe, firmly, that love is not necessarily the strongest emotion, despite what the psychologists say. A DESIRE, thwarted by the whim of parents, can be much stronger than natural love. A budding young singer should at least be given the chance to see whether he or she is good enough to go on.
But mostly the important thing is getting that experience. If your parents and your mates all think you’re the cat’s whiskers, well . . . don’t take it too seriously. Play to audiences you don’t know. Strangers are very quick to let you know whether you are good. Or terrible!
Don’t look for that Cinderella-type entry into overnight stardom that we sometimes read about. It’s a one-in-a-million chance. The way I’ve suggested is the best way. And the best of British luck to all of you. Move over, Dusty! You too, Lulu!
TV Show: A Song For Europe, BBC Television, London, England
Hosted by Michael Aspel. All songs performed by Lulu :
Are You Ready For Love (5th), Come September (3rd), March (2nd: 38,418), I Can’t Go On Living Without You (6th), Boom Bang-A-Bang (1st: 56,476) & Betcha (4th)
To determine which song would compete in the Eurovision Song Contest. The two favourites were released as a single: Lulu – Boom Bang-A-Bang / March (Columbia DB 8550). “March” is written by Howard Blaikley.
Album release: “Legend Of… Dave Dee, Dozy, Beaky, Mick And Tich” LP – Fontana SFL 13063
The Wreck Of The Antoinette / Mrs. Thursday / Still Life / In A Matter Of A Moment / Last Night In Soho // The Legend Of Xanadu / Breakout / Please / Master Llewellyn / Zabadak
Another budget album, containing only two singles A and B-sides not yet available on LP
Record Mirror (1/03/69): “Legend Of . . . ” (Fontana Stereo Special SFL 13063).
OVER the past five years, this dynamic team have rarely been out of the charts. This is a sort of lookback in sounds and time . . . back to “Wreck Of The Antoinette”, “Last Night In Soho”, “Legend Of Zanadu”, “Zabadak”, plus some lesser-known “B” sides. Two things stand out. Imaginative production; and imaginative songwriting. * * * *