davedeedozybeakymickandtich.nl

May 1969

MAY 1969

 

May 1969    
One-Week Radio Sessions
28 Apr.-2 May    Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
5-9 May 1969    Dave Cash Radio Programme, BBC Radio One, London, England (5:15-7:30 pm)
26-30 May 69    Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
.


Fri 2/05/69   
Single release: Snake In The Grass / Bora Bora – Fontana TF 1020 (267 939) [Rec. 15-16/04/69]

15th and last single in England, after 4 years at the top, this was not released in the USA nor Japan

Record Mirror (3/05/69): CHART CERTAINTY
Snake In The Grass; Bora Bora (Fontana TF 1020). This is somewhat of a less ambitious sort of production for the consistent team. But it’s extremely catchy in a lilting, fast-paced way, with the usual distinctive harmonies from Dave and the boys. Though there is less happening in the arrangement, this stands out as one of their most directly commercial numbers ever. Great flip: Group-penned and also pacey.


Sat 3/05/69   
Melody Maker : Single review

DAVE DEE, DOZY, BEAKY, MICK AND TICH: “Snake In The Grass” (Fontana). One of the more doubtful pleasures of Christmas televiewing is the spectacle of Des O’Connor stringing names of movie actors together to the tune of “Nola”. Dave Dee’s latest chart basher reminds one strongly of this experience, and while not my teaspoon of absinthe, will surely be a hit.


Sat 3/05/69   
NME n°1164: Drastic change for Dave Dee after flop

DAVE DEE, DOZY, BEAKY, MICK & TICH: * Snake In The Grass (Fontana).
I’ve felt for some time that Messrs. Howard and Blaikley should start adopting a new policy for the Dave Dee group, and the relative failure of “Don Juan” adds fuel to the theory that the boys should abandon their world travels – at any rate, for the time being.
This new one is a complete contrast from their recent releases – a light and fluffy number, with a suggestion of a rocksteady beat. Sung mainly in unison, with a catchy and repetitive la-la chorus in which you can all join. Full credit to all concerned for attempting such a drastic change – I hope it pays off.


5-9 May 1969   
Radio Show: Dave Cash Radio Programme, BBC Radio One, London, England (5:15-7:30 pm)
Dave Dee, Dozy, Beaky, Mick & Tich appearing one whole week

Mon 5/05/69   
City Hall, Salisbury, Wiltshire, England
Dave Dee, Dozy, Beaky, Mick & Tich, supported by Aquarius, Tommy Kaye

Thu 8/05/69   
TV Performance: Top Of The Pops, BBC Television, London, England (7:30-8:00 pm)
Introduced by Jimmy Savile with Dave Dee, Dozy, Beaky, Mick & Tich (Snake In The Grass – New Release Spot) • Clodagh Rogers (Come Back And Shake Me #3) • Herman’s Hermits (My Sentimental Friend #5) • The Who (Pinball Wizard #4) • Sandie Shaw (Think It All Over – New Release) • Frank Sinatra (My Way #9) • Fleetwood Mac (Man Of The World #7) • The Beatles (Get Back #1)

This was the last appearance of Dave Dee, Dozy, Beaky, Mick & Tich as a unit in the show.


Sat 10/05/69   
The Barbecue, Earlham Park, Norwich, Norfolk, England
Dave Dee, Dozy, Beaky, Mick & Tich with The Hollies, The Gun, Soft Machine, Marmalade

Sun 11/05/69   
NME Poll Winners Concert, Empire Pool, Wembley, London, England
Love Sculpture, The Tremeloes, Peter Sarstedt, The Scaffold, Cliff Richard – end of 1st half, Marmalade, Desmond Dekker, Amen Corner, The Move, Johnny Nash, Steppenwolf, Love Affair

without Dave Dee, Dozy, Beaky, Mick & Tich who participated from 1966 to 1968


Sun 11/05/69   
Stadthalle, Bremen, Deutschland
Dave Dee, Dozy, Beaky, Mick & Tich
with Support: The Beethovens, Just Us, The Tonics, and The Happy Times

[...] Bis wir dann am 11. Mai ‘69 mit ihnen & drei weiteren Bands in der Stadthalle Bremen spielten. Die Beethovens fingen damals an, danach kamen die Just Us, gut angekifft, an die Reihe. Sie waren wirklich gut, die Jungs [...] Anschließend spielte dann die Hamburger Profigruppe „The Tonics“ & danach waren wir dran. Wir waren in Superform & schon der Applaus mit „standing ovations“ bei unserem Abgang war ein innerer Reichsparteitag für uns – mit Abstand die enthusiastischste Publikumsreaktion. Den Schluß machten Dave Dee, Dozy, Beaky, Mick & Tich, mit ihren Dauerbrennern, von „Hold Tight“ über „Bend it“ bis zu ihrem neuesten Hit, „Xanadu“.                         (from “The Happy Times” Website)


May 1969   
Darmstadt, Hessen, Deutschland
Dave Dee, Dozy, Beaky, Mick & Tich

Bravo 23/69, page 33:
Ober-Ramstadt. Die englische Spitzenband Dave Dee, Dozy, Beaky, Mick & Tich stellte ihre Fans auf eine harte Probe. Ich befürchtete schon, sie überhaupt nicht mehr anzutreffen, als sie schließlich mit mehrstündiger Verspätung in Darmstadt eintrafen. Sie waren in eine Verkehrsstockung geraten, da konnte man ihnen ja nicht böse sein. Dave Dee & Co. entschädigten ihre Fans dann mit ihren Hits „Hide away”, „Save me” und „Last night in Soho”. Der Titel ihrer neuesten Single „Don Juan” wurde wild beklatscht. Das Porträt von Tich ist auf abenteuerliche Weise entstanden: Trotz Verbotes war ich auf die Bühne gestiegen und hatte den Baßgitarristen geblitzt. Ergebnis: Ich wurde gewaltsam von der Bühne gezerrt!
Hartmut Bergoint, Ober-Ramstadt – Honorar: 40 Mark

English top group Dave Dee, Dozy, Beaky, Mick & Tich put their fans to severe test. I was already fearing I would never see them, when they finally appeared on stage in Darmstadt after being delayed for hours. They had been stucked in a traffic jam, which they could hardly be blamed for. Dave Dee & Co. compensated with their hits “Hideaway,” “Save Me” and “Last Night In Soho”. Their latest single “Don Juan” received wild applause. The portrait of Tich was made in an adventurous way: despite it being forbidden, I climbed on stage to shoot the group’s bassist [sic]. Result: I was violently thrown off stage !


Tue 13/05/69   
BBC Radio Session: Symonds On Sunday [Broadcast on 18/05/69]
Bora Bora / Snake In The Grass (Live Performance)


Thu 15/05/65   
Birthday: Ian Frederic Stephen ‘Tich’ Amey is 25 years old
.

Thu 15/05/69   
TV Show: Top Of The Pops, BBC Television, London, England (7:30-8:00 pm)
Introduced by Pete Murray with Joe South (Leanin’ On You – New Release) • The Herd (The Game – New Release) • Fleetwood Mac (Man Of The World #3) • Tony and Tandy with Les Fleur-De-Lys (Two Can Make It Together – New Release) • Herman’s Hermits (My Sentimental Friend #2) • Manfred Mann (Ragamuffin Man #15) • Tommy Roe (Dizzy #11) • The Beatles (Get Back #1)

The Herd have severed all ties to Howard Blaikley, and come up with their most commercial opus one last time. A great single that went nowhere…


Sat 17/05/69   
NME n°1166: Fontana Advert – These Are The Big Ones!
Snake In The Grass TF 1020 – The Game TF 1011 – Ragamuffin Man TF 1013

Sun 18/05/69   
Radio Show: Symonds On Sunday, BBC Radio One, London, England (10:00 am-12:00 noon)
Bora Bora / Snake In The Grass (Live Performance) [Recorded on 13/05/69]
Presented by David Symonds

Sun 18/05/69   
Kinema Ballroom, Dunfermline, Fife, Scotland
Dave Dee, Dozy, Beaky, Mick & Tich supported by The Change

26-30 May 69   
Radio Show: Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
Dave Dee, Dozy, Beaky, Mick & Tich appear Monday to Friday

Thu 29/05/69   
Melody Maker: Dave Dee TV

DAVE DEE TV – Dave Dee, Dozy, Beaky, Mick and Tich guest in the Joe Brown TV show on June 19 and fly to Brussels the following day for a Belgian TV date.
Tomorrow (Friday) they play the Hillside Ballroom, Hereford, followed by the Swan Hotel, Coventry (31), Union Rowing Club, Nottingham (June 1) and Dreamland, Margate (7).
July cabaret dates for the group are: Golden Garter Club, Wythenshawe, Manchester (6 to 12) and Cavendish Club, Sheffield (13 to 19).


Fri 30/05/69   
Single release: The Bee Gees – Tomorrow Tomorrow (Polydor 56381)
Robin Gibb has left the Bee Gees who continue as a trio of Barry Gibb, Maurice Gibb and drummer Colin Petersen.

Since Robin left . . . Barry and I are a lot closer,” Maurice claimed, “we’re working much more together. We’re having a ball, we can bring anyone we like into things.
“I did the majority of the backings anyway, even when Robin was with us, but there’s more work for me now. It’s bringing me out more – I do six leads on the new album; before I think I only sang three all told. I write soft, and Barry keeps telling me to write harder music. I’m progressing more to the arranging side and Barry is getting more ideas-wise – he’s freer with his words.
“At the moment, we’ll go on as a three-piece [group], and if we find someone suitable to take Robin’s place, we’ll take him in . . . We’ve only seen two people. We’re getting tapes from Wapping and Nottingham and Stoke and all over, but . . . we want to get someone who can sing nice. We can take care of the hair and the clothes and all that. We’re not looking for a copy of Robin though.”
Dave Dee was instrumental in finding a possible stand-in for Robin. “[Barry] was looking for a replacement – and I found him one,” he recalled. “A guy called Peter Mason . . . He was a Scouser, but he lived in Salisbury where we lived. Barry was looking for somebody who had a similar voice sound but also wrote.
“So Pete Mason went up to London and Barry really liked him. Barry actually took him out and bought him a couple of suits ’cause he wasn’t quite as trendy as they were. I’ll always remember, he took him to Carnaby Street and bought him some suits and got him all decked out before he met Robert Stigwood . . . Anyway, it was all on, and he was going to go into the band as Robin’s replacement – and Robert Stigwood blocked it.
“Never really got to the bottom of it, but it all just fell apart, because, I think, as far as Robert Stigwood was concerned. and quite rightly so, he wanted to get Robin back.”
“It all started because people said my voice was very much . . . like a Bee Gees’ voice,” said Peter, “probably because it was a high nasally sound – coming from the north . . . I suppose . . . There was a thing in one of the musical papers, the Melody Maker or New Musical Express, that Robin Gibb had left [The Bee Geesl, and Barry was looking for a replacement. It didn’t matter who it was as long as they could do it! It didn’t have to be a name or anything like that. So basically anybody could apply.
“I mentioned it to Dave – I don’t know whether I said it in joking or whether it was in earnest, and he spoke to Barry Gibb. Dave reckoned that I could do that kind of thing. I always remember when we went in to meet Barry, he’d got into The Band (the Bob Dylan band), and they were playing, laying tracks down in that kind of way, because I always liked that son of stuff, it led on to Little Feat and things like that, but The Band were a very rootsy type of band, which is what I was into, even now.
“He was very, very nice, Barry Gibb; he’s a real gentleman. We ran through some songs there and then, things like ‘Massachusetts’ and ‘New York Mining Disaster’ which is my all-time favourite. He said, there and then, ‘Well, as far as I’m concerned, you’re in. Obviously, I want you to meet Maurice.’
“I can’t remember whether I met Maurice before I went into the studio with them. I remember spending one night with Maurice; he introduced me to some people as Robin’s replacement. Barry had taken me shopping and wanted me to meet Robert Stigwood. He said, ‘I’ve just got to sort everything out with Robert, so you’ve got to look good for him; let’s go and get you some clothes.’ He took me into the West End, to Soho, bought me some clothes, fitted me out from top to bottom and then we sort of hung around.
“It was one of those very ‘in’ shops at the time. He just pulled his Rolls-Royce Corniche onto the sidewalk and we walked in. Everybody just bowed to him, and he said, ‘This is Peter, I’d like you to fit him out real nice!’ and they did! I’ve still got that suit hung tip in my wardrobe.”
Peter recalled going to the studio with Barry and spending time at his home with Lynda. “[Barry] had two servants who, when I was at his home, they fussed around me; he made sure that they looked after me. He was actually charming, I was very impressed, and Maurice was very nice too.
“I always remember bring in the studio with Maurice one time because he was on the phone to Lulu, and he was saying that he’d just written a song for her. I did speak to Lulu on the phone when I was at Barry’s. The phone went, and Barry said, ‘Could you answer that for me?’ I didn’t know who it was – this lady said, ‘Can I speak to Barry?’ ‘Yes, just a minute,’ I said. ‘There’s a lady wants to speak to you,’ I said to Barry, and he said, ‘Can you ask who it is?’ So I said, ‘Can I have your name, please?’ and she said, ‘Tell him it’s Marie Lawrie!’ so she was a little bit irate I think!”
Barry took Pete to IBC Studios and during July they worked on some of the tracks for the Cucumber Castle album. “I did some harmonies, I remember doing three songs . . . There was ‘Don’t Forget To Remember’ and I put the harmony down on that and two other songs. [I don't know] whether it was a tryout, although he’d said before that he wanted me, because we sat and sang together.
“When I sit and listen to ‘Don’t Forget To Remember’ I can’t really tell whether it’s me or not. He ran the tracks and said, ‘Can you put a harmony to that?’ They already had backing tracks, and Barry had put his vocal down. Obviously, because it was the hit, ‘Don’t Forget To Remember’ sticks out in my memory.
“Barry played this track for me a few times, and it sounds to me like it could have been ‘Bury Me Down By The River’.” The third song is likely to have been ‘Who Knows What A Room Is’, which was demoed at the same time as ‘Don’t Forget To Remember’ on May 7.
“I was hanging around, and hanging around and I think there was talk going on with Robert Stigwood who was trying to arrange a meeting, and I think that Robert Stigwood was still hoping that he’d get them all back together again . . . It went on a few weeks and I was kind of hanging around then.
“It came to a point where [Barry] said to me, ‘I don’t know what’s going to happen, but one thing’s for sure, I’ll make an album with you if this doesn’t work out.’ This was further down the line, two or three weeks maybe, because we just didn’t seem to be getting this meeting together and I was hanging around; I wasn’t getting fed up, but I was starting to think, ‘What is [happening]?’ I said, ‘Well look, I think I’ll go on back to Salisbury, you sort it out,’ and he said, ‘Whatever happens, I’ll make an album with you and we’ll do something.’
“In a way I didn’t really expect it. I don’t know why, I just didn’t. I was there, it was taken seriously, we weren’t playing games or anything. I always felt that, okay, I was very flattered to be asked but I always felt that it was the brothers, and I always think deep down that they would get back together . . . I think I was right about that, because I think that’s why [Stigwood] was holding off not meeting me and so I wasn’t surprised. It was a big thrill, it was just nice being with them, they made me feel so welcome, I think that as much as anything impressed me. I think that in the end it wasn’t such a big shock . . . I went back to Salisbury, and then I never heard anything.”
It was the end of Peter Mason’s brief career as a wannabe Bee Gee, and no more was ever mentioned of the album Barry promised to make, although, ever the optimist, even to this day, Pete says, “I’m still ready and waiting, Barry. “
Around that time, Dave Dee decided to leave Dave Dee, Dozy, Beaky, Mick and Tich and, knowing that Peter was still waiting and available, Dave offered him a job. He wanted a guitarist and harmony singer and also asked him to be his personal assistant. “So I was involved with him all the way down the line in that way when he went solo,” Peter said.
[The Bee Gees: Tales of the Brothers Gibb – Pages 234-236]


Fri 30/05/69   
Hillside Ballroom, Hereford, Herefordshire, England
Dave Dee, Dozy, Beaky, Mick & Tich

Sat 31/05/69   
NME n°1168 pages 6-7: Amen-Dave Dee Tour Plan

Amen Corner and Dave Dee, Dozy, Beaky, Mick and Tich have been signed for five British concert dates, kicking off at Newcastle City Hall on Friday, June 6. A longer itinerary is likely for July, and the two groups will spend four weeks together on the Continent during August and September. Move’s Roy Wood has penned Annen’s new single.
Amen Corner – who topped the Chart with their last single “Half As Nice” – and the Dee group will visit Bournemouth Winter Gardens, Southampton, Portsmouth Guildhall and Cardiff Sophia Gardens during June, though no specific dates have been set.
Amen’s manager, Terry Slater, told the NME: “If these dates are a success, there will be ten consecutive British dates in July for the two groups. Major cities such as Manchester, Liverpool, Glasgow and others will be played. All the dates will be compered by Emperor Rosko.”
In mid-August, the two groups depart on a major European tour visiting – among other venues to be arranged – Berlin, Bremen, Hamburg, Amsterdam, Cologne, Copenhagen, Gothenburg and Stockholm.
Move’s lead guitarist Roy Wood, who penned that group’s recent a hit “Blackberry Way,” has written Amen’s next single. Titled “Hello Susie,” it is scheduled for June 13 release by Immediate.
This is a switch from the original number “At Last I’ve Found Somebody To Love” which was to have been issued today (Friday).


Sat 31/05/69   
Swan Hotel, Coventry, Warwickshire, England
Dave Dee, Dozy, Beaky, Mick & Tich

May 1969    
Budget album release: “Top Of The Pops Vol. 5” (Hallmark CHM 635)
Get Back / My Way / Snake In The Grass / Man Of The World / Ragamuffin Man / Galveston // Love Me Tonight / The Boxer / Come Back And Shake Me / My Sentimental Friend / Behind A Painted Smile / Dick-A-Dum-Dum

In the mid to late sixties, pop cover version LPs were put out by budget labels such as Hallmark, Pickwick, MFP, Marble Arch, Windmill, Contour, etc in Britain. Likewise, every European country had some budget-priced label dedicated to covering pop hits, like “Pop Schallplatten” in Germany, and these were usually sold in supermarkets.
The current hits were covered by unknown session musicians, some destined to get famous, like David Byron, Elton John, Peter Lee Stirling and David Bowie.
The “Top of the Pops” series was launched by the Pickwick label in 1968. One of the producer’s greatest ideas was to purloin the title which the BBC had failed to protect legally. They also created the classic covers LP sleeve design, consisting basically of a female model positioned next to a list of songs. Virtually all subsequent series used the same template.
Elton John’s voice is clearly obvious on the cover of “Snake In The Grass” from Volume 5 here.


 

Menu

 

Statistics

1028729
Who's Online : 5