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October 1969

OCTOBER 1969

 

October 1969    
One-Week Radio Sessions
29 Sep.-3 Oct.    Terry Wogan Show, BBC Radio One, London, England (2:00-4:15 pm)
13-17 Oct. 69    Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
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October 1969    
Rave n°69 pages 36-37: Rock Encyclopedia

DAVE DEE
British, born 1943.

*    Dave formed his first group in his home town, Salisbury, calling them Dave Dee and the Bostons.
The group specialised in a fast-moving comedy act, and worked steadily all over Britain in the early ’60s. Then in 1964 they changed their name to the incredible Dave Dee, Dozy, Beaky, Mick and Tich.
Record success followed immediately. A minor hit first, You Make It Move, then a massive hit, Hold Tight, followed by a steady stream of top ten entries, right up until the summer of 1969.
Then Dave Dee split with the group, to begin a solo career. At the time he said that he needed a new challenge. It seemed a sad decision, because Dee and the group always played straight pop, with humour but no pretensions. C.B.S.
Recommended L.P. listening: “Golden Hits of Dave Dee, etc.” (Fontana).


Thu 2/10/69   
London Planetarium, London, England
“Ark 2”, the Howard/Blaikley written concept album performed by new group Flaming Youth, is launched with a reception at the London Planetarium
(Barely three days after Dave Dee, Dozy, Beaky, Mick & Tich’s last concert)


Fri 3/10/69    
Single release: Flaming Youth – Guide Me Orion / From Now On – Fontana TF 1057
Flaming Youth are Phil Collins (dr/vo), Ronnie Caryl (bs), Brian Chatton (key), Gordon Smith (gt)

Advert: Blasting off today! GUIDE ME ORION-FROM NOW ON (TF 1057)
A cosmic single from FLAMING YOUTH’S imminent first album ARK 2 (STL 5533)


Sat 4/10/69    
NME n°1186 page 8: Lou Christie, The Equals, Dave Dee on Radio One
(Lou Christie meets Dave Dee)


Sat 4/10/69    
Melody Maker Cover: Amen Corner split
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Fri 10/10/69 ?    Album release: Flaming Youth – “Ark 2” LP (Fontana STL 5533)
Guide Me, Orion / Earthglow / Weightless / Planets // Changes / Pulsar / Space Child / In the Light of Love / From Now On (Immortal Invisible)

Tony Stratton Smith was a friend. And we used to bump into him at the Marquee bar or at Le Chasse. […] Le Chasse was a musician’s Club on the first floor above a betting office on Wardour Street. All the bands, oadies, managers, musicians used to drink there and Keith Moon occasionally served behind the bar.
Strat’s friends at the Chasse included Ken Howard and Alan Blaikley who managed the Herd and Dave Dee. Brian Chatton, our keyboard player, got to know them all.
Brian was a pretty boy – not gay, but they were and he got on well enough with them that they took him under their wing. They were looking for a band to replace the Herd and Dave Dee who had reached a peak, and they took our band which was called Hickory at the time, and turned us into Flaming Youth.
We did quite a few gigs but nothing like we wanted to do, and we had a record called Ark 2 which was Album of the Month for October 1969 in Melody Maker, above Led Zeppelin II… But that was the peak of our career, and in the end I got frustrated in this band never really working enough.     (Phil Collins in “Genesis”)

Watch Flaming Youth play “Changes” on Dutch TV:
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Sat 11/10/69    altFabulous 208 Page 3: Dave Dee column – men ARE the stronger sex!

Flexing his muscles and beating on his chest, Dave Dee this week decides that men are definitely the stronger and more responsible sex. What do YOU think?

Thump, thump, thump – that’s me whacking my fists against my chest. “Yodelaye-do-doo” – that’s me proclaiming that men are the stronger sex. And “geroff” – that’s me denying that we men are “a load of selfish, spoilt little kids who go into sulks because you don’t get your own way”.
Okay, so I did say that men were the stronger sex, but that was simply to explain away the odd problems that are created between boys and girls. But I’ve now unearthed a “fan” reader who really has a go at me.
“Point one is: that when men couldn’t get their own way over the Liverpool dock disputes, they spited everybody by stopping work and a lot of food got wasted. Point two is: in that factory when a man saw that his partner got more money, he called another strike and a lot of production was lost.
“Point three is: the ‘war’ in Belfast between two religious factions – they decided to fight instead of coming to an agreement. Well, we female sex have a lot to put up with. What would happen if women came out on strike? Just think about no washing, no ironing, no cooking, no mending, no beds made and no shopping done – just think how helpless you would be.
“All you are good for is keeping the generation going . . .”
That was compiled by Elizabeth Atkinson, of Liverpool. In reply I can only say, by way of opening: “Dear man-hater . . .”
Okay, Liz, let’s get to terms with this one. I agree with you about strikes. They are foolish and stupid and unnecessary and useless and pointless. Right? But they’re not only caused by men. Remember the lady toilet lookers-after who caused a whole breakdown in one factory recently? As for the religious arguments in Northern Ireland – I’ve seen ladies have a right old go in their own right.
But then you talk about women going on strike in other ways. Well, at my tender age of twenty-six, I can only say that I’ve done without women . . . nearly! Except, as you say, to keep the population going – and that’s a joke, incidentally. I can make tea and cook a meal. I have a flat of my own and, believe me, I can cope very well indeed. Men can, you know, if they have to.
Yet my theory is that at least half the female population have no greater ambition than to get married, set up home, do the cooking, look after the family. They use the argument: why bother to pass examinations, why try for a good job – it won’t last long, I’ll soon be married.
No, men are the stronger sex and their daily involvements at work are much greater and there’s no point bringing in other sides to the argument.
Elizabeth is talking, obviously, as a married woman. Otherwise she wouldn’t be worried about ironing, cleaning, shopping and so on for a fellow. If she happens to be single, then I can’t see how her going on strike would cause any great inconvenience! Get the point?
Mind you, there was a classical story of women who went on strike in the sense of withdrawing their “favours” from their husbands if they continued going to war.
Funny thing is, after a short time there just wasn’t any war!
Quick letter from Jane, of Malvern Link, Worcestershire. “My dad says that the letters printed in your column are especially composed by a writer – not by the readers. I say he is wrong.”
You are right. I’ve been called “conceited, smug, arrogant, mad”. If they were made up by some writer in the office . . . well, I’d just have to punch him in the nose, that’s all!
A very nice final letter for this column. “I just want to say thanks for all you have done over the last five years. I saw you on stage for the second time not long ago and I was almost crying because you are leaving the group. But afterwards, when you signed an autograph with a smile, I realized you were only human. I realize and congratulate you on being so honest and having the courage to do something different from the routine you have had for so long. Thanks.”
Joan of Oxford wrote that. I’m choked. I am only human, despite what some people say! This kind of letter makes it all worth while – everything. All I can say right now is I’m choked. Over this and lots of similar letters.
Next week: a serious subject, illegitimacy. Please tune in.

DAVE DEE
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.)


13-17 Oct. 69    
Radio Show: Jimmy Young Show, BBC Radio One, London, England (9:55 am-12:00 noon)
Last Dave Dee, Dozy, Beaky, Mick & Tich week as guests at the BBC as a quintet. Within a week, D.B.M.& T. would be invited back again.


Sat 18/10/69    
Melody Maker: DAVE DEE (by Clive Armitage)
Dave expects to cut his first solo disc in the next couple of weeks. He could do a lot worse than wax one of his opening cabaret numbers “When I Was Six”, which had the audience in his lap straight away.

Dave Dee and three local groups including the Harvest play a charity matinee at the Club Fiesta, Stockton, this Saturday (18). Show was organised by six 13-year-old schoolgirls to aid the Save-The-Children Fund. Fiesta managing – director Keith Lipthorpe gave the use of the club and the staff are also donating their services.


Sat 18/10/69    
Club Fiesta, Stockton, Cheshire, England
Dave Dee plus three supporting local groups (Charity Show)


Mon 20/10/69    
(Germany) Bravo n°43 page 24: Kurz • Neu • Heiss
Eric Clapton has left Blind Faith – stop – The Marbles, Tyrannosaurus Rex and Vanilla Fudge have also been dissolved – stop – Amen Corner have split, because their unreplaceable lead singer Andy Fairweather-Low wants to go his own way – stop –


Thu 23/10/69    
BBC Radio Session: Dave Cash Show [Broadcast on 3/11/69]
D.B.M.& T. : Bad News / Talk To You / Tonight Today (Live Performance)


Sat 25/10/69    Fabulous 208 Page 3: Dave Dee column – Does Your Mum Have A Problem ?

Dave Dee’s recent Open Letter to Parents certainly provoked a response – this time from the mums themselves. It seems that parents too have their problems . . .

Not so long ago I wrote an open letter to all mums and dads, so perhaps it’s only fair that they should write some letters to me. I find that quite a few mums are baffled by what’s going on in their own family circles and, what’s more, they think I can help sort out the problems.
All I can say is . . . H-E-L-P! But seriously, here’s a letter from one mum. “I’m in urgent need of help. I read my daughter’s Fab every week and, from your column, there’s a chance you can assist.
“Since the death Of Brian Jones, my daughter is unbearable. She says they wrote untrue things about him in the paper and she just sits in her room on her own. I can’t get her to eat and she’s making herseff ill. Her father doesn’t help matters, either. Someone must tell her that she can’t have what’s gone. But she really worshipped Brian and feels as if she’s lost something personal.”
Which is most definitely a tricky problem. I’ve no doubt your daughter does feel a personal loss. That’s the way of the world. There are hundreds of middle-aged and old women who meet even now to pay homage to the memory of Rudolph Valentino, one of the great screen lovers of the silent-movie days.
They go through the same constant sense of loss. I know old-type men who really suffer when, say, a favourite footballer gets killed in a car crash or is hopelessly injured. In a way, it’s good that people have this sense of loss, because it shows that at least they care about something.
Okay, so that doesn’t help this mum’s problem. But it is true that her daughter will grow out of her feeling of doom and tragedy. I know that’s true. And you can help by being kindly and understanding, not trying to snap her out of it by a sort of verbal slap round the face. You may think it’s stupid, this constant mourning, but it’s a very real feeling to the girl concerned.
Certainly don’t let dad get all cynical and tough with her, because that will make her feel she’s losing something else: at home this time. Just talk her round gently and pleasantly – talk about ordinary things. Get her interested in something else. Don’t be disappointed if it doesn’t work out instantly.
If this seems pretty tame advice . . . well, hang it all, what else can you do?

Another mum writes from Middlesbrough: “My daughter, sixteen, is a great fan of yours and ever since you left the group she’s been miserable. She hardly eats a thing – and I’ve heard her crying when she is playing your records. I don’t disturb her because l know it will do no good.”
This one’s even tougher because it involves me. I don’t like this feeling that what I do is actually upsetting someone. It gives me a responsibility that I’d rather be without. Again, it’s only a passing phase – I’m sure of that. But let me slip in a personal message, just for daughter Jane:
“I left because I felt I had to try to do something different. I want you to be proud of me for striking out in my career. I’m happy at the way things are going – that I can try to entertain people on a rather wider level than just being with a group. I’m happy and I want you to be happy.
“The thought of you being miserable over me brings me down. I couldn’t ask everybody what I should do – I had to make up my own mind. Now then, let’s see a big smile. Go on!”
Really I suppose these letters go back to our “pop love” discussions of a few weeks’ ago – but viewed from a different angle. At the same time, it’s flattering to be asked by mum for a bit of advice.
However, life is never completely good. Here’s another mum from Doncaster, Yorkshire: “Why don’t you shut up? You haven’t even started living yet – who do you think you are to offer advice to people? What was good enough for me when I was a kid is good enough for MY kids, so stop trying to stir up trouble.”
See what I mean? I want to avoid a slanging match, but it’s obviously easy for a guy like me to be completely misunderstood. As a lot of young people are by their own parents !

DAVE DEE
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.)


Sat 25/10/69    
TV Show: Beat-Club 48, ARD Radio Bremen, Bremen, Deutschland
Host: Dave Dee and Uschi Nerke (4:15-5:15 pm)

With Blodwyn Pig, Ten Years After, Tea & Symphony, The Nice, Barry Ryan, Joe Cocker, Chicken Shack, Marsha Hunt, Vanilla Fudge; Reports on the Radha Krishna Temple, Talent search for “Hair” and a London Street Commune, Interviews of Lulu & Maurice Gibb


Mon 27/10/69    
(Germany) Bravo n°44 pages 28-30: BEAT-CLUB
Members: 10,000,000        Admission: FREE

BRAVO erlebte in Bremen, wie Deutschlands heißeste Fernseh-Show gemacht wird.
Mitglieder: 10 Millionen
Eintritt: frei

Hier ist Deutschlands mutigste Show-Mannschaft: Radio Bremens Tele-Trickser – 34 Mann hoch.
Der Mann in der Mitte ist Mike Leckebusch. Er ist der Boß des Beat-Club. Das Mädchen neben ihm ist Uschi Nerke. Sie ist die Chefansagerin.

alt

Am Samstag, dem 25. Oktober 1969, um 16.15 Uhr, ist es wieder soweit. Dann sitzen Deutschlands Beat-Fans vor den Mattscheiben. Über zehn Millionen sind für 60 Minuten Mitglieder des Beat-Club von Radio Bremen. Für sie macht Deutschlands kleinster Sender die ganz große Musikshow. Hier erzählt BRAVO-Mitarbeiter Jörg Flemming, wie der Beat-Club gemacht wird. Das wichtigste dabei ist ein rechter Zeigefinger. Er gehört dem einfallsreichen Regisseur und Club-Boß Mike Leckebusch . . .

181 cm groß, blond, bärtig: Der Regisseur des Beat-Club weiß, was er will
Wenn Mike pfeift, tanzen 34 Mann

Das Studio B von Radio Bremen gleicht einem Ameisenhaufen. Inmitten des Durcheinanders gibt, so ungewöhnlich es auch klingen mag, ein Zeigefinger unübersehbare Kommandos. Er ist schlank und sorgfältig gepflegt, dieser Zeigefinger. Er gehört einem Mann in braunen Cordhosen, Sandalen und schwarzem Rollkragenpullover: Mike Leckebusch, 29 Jahre, Junggeselle, Redakteur, Regisseur und Boß. Seine Sendung: der Beat-Club – die wichtigste und mutigste Sendung für über zehn Millionen junger deutscher Beat-Fans.
Als ich das Studio betrete, tippt sich Mike gerade mit dem Zeigefinger an die Stirn. „Ihr spinnt wohl? Natürlich bleiben wir morgen bis Mitternacht im Studio”, kündigt er an und dreht sich um. Morgen ist Freitag, der letzte Tag vor der 48. Beat-Club-Sendung.
„Feierabend für heute. Gehen wir!” ruft Mike lächelnd seinen Helfern zu und schiebt mich mit dem Zeigefinger aus dem Studio.
Der Zeigefinger ist Mikes Erfolgsgeheimnis. „Mit diesem Finger finde ich die Top-Gruppen von morgen in den Hitparaden”, erzählt er mir unterwegs. „Mit ihm suche ich die Telefonnummern der Manager und Künstler, mische ich die Bilder auf dem Monitor und dirigiere meine Mannschaft wie ein Sinfonieorchester. Ein herrliches Team – 34 Mann vom Beleuchter bis zum Produktionsleiter.”
Draußen, vor der Halle, bleibt Mike vor seinem schneeweißen Jaguar Mark II mit der Londoner Nummer 12 GLH stehen. Der elegante Schlitten paßt nicht so recht zu seinem saloppen Aussehen. „Schnelle Wagen sind mein Hobby – natürlich nur englische”, sagt er. Seine Freunde wissen: Der Leiter des Beat-Club ist in England verliebt. In London besitzt er eine Wohnung, er trinkt nur englischen Tee, und wer ihn nicht Mike nennt, sondern Michael, wie er laut Taufschein heißt, ist bei ihm unten durch.
Am nächsten Tag ist „der Mann mit dem Zeigefinger” um neun Uhr als erster im Studio. Der Tag beginnt mit einer Tasse starkem Tee, Mike liest noch einmal das Drehbuch durch. Nur Gespräche aus London dürfen ihn jetzt stören. Eine Stunde später ist im Studio Hochbetrieb. 44 Scheinwerfer brennen auf vier Kameraleute, Kabelschlepper, Toningenieure, Produktionsassistenten und die Ten Years After auf die Bühne herab. Uschi
Nerke sitzt in einer Studioecke und überfliegt auf dem Manuskript ihre Ansagen, und der Maskenbildner verfolgt Dave Dee mit der Puderdose.
Im Regieraum herrscht Mike wie ein Kapitän auf der Kommandobrücke. Von hier aus sieht und hört er alles. Hier ist sein Reich. Die Probe läuft. Mike legt los: Vor ihm flimmern auf vier Monitoren die Bilder der jeweiligen Kameras. Blitzschnell sucht er sich das beste aus, drückt auf dem modernsten Trick- und Mischpult Deutschlands eine Taste und zaubert das fertige Fernsehbild auf den Bildschirm.
„Für jede Sendung brauche ich einen Monat Vorarbeit, fünf Drehtage, zwei Proben, über 100 Tassen Tee und einige gute Gruppen”, erzählt er. „Alles ist bis ins Detail geplant. Ich hasse lauwarme Sachen. Darum nehme ich nur englische oder amerikanische Künstler: Sie arbeiten schnell und sicher. Für jeden Auftritt gibt es 600 Mark. Nur die Who haben das doppelte bekommen, weil wir nach ihrem Auftritt einen 40-Minuten-Film von ihrer Pop-Oper ,Tommy` aufgezeichnet haben.”
Mike unterbricht die Proben, gibt einige Kommandos – unwillkürlich auf englisch – und mahnt Uschi Nerke: „Du mußt schneller sprechen, sonst bleiben wir nicht in der Zeit.” Die Arbeit geht weiter – bis Mitternacht, dann verabschiedet Mike seine Mannen: „Morgen um zehn – pünktlich!”
Am Samstag regiert die Stoppuhr. Die Generalprobe läuft. Jetzt kommt es auf Zehntelsekunden an. Kein Song, keine Ansage, kein Film darf länger dauern als geplant. Mike stoppt die Zeiten, läßt sich Gags einfallen und bekommt über Fernschreiben die neueste englische Hitparade.
Um 14 Uhr ist es soweit: Mike schließt sich im Regieraum ein. Was jetzt noch zu sagen ist, sagt er über Lautsprecher und Kopfhörer in den Studioraum B. Der Countdown beginnt. Und um 16.15 Uhr steigt die Sendung.
Erst eineinviertel Stunden später sehe ich ihn wieder. Aufatmend und schweißgebadet sitzt er auf seinem Regiestuhl. Aber statt ein paar Worte über die Sendung zu verlieren, beichtet er mir seinen größten Wunsch: „Mein Traum ist eine Show mit den Beatles, Stones und Bob Dylan in einem Programm. Wenn ich Glück habe schaffe ich das auch noch.”

The photos of Dave Dee and Uschi Nerke in the studio were taken during Show #47, in September


October 1969    
The Shadows split
Hank Marvin, Bruce Welch, Jet Harris and Tony Meehan came together as The Drifters in 1959


October 1969    
The Herd split
Their lifespan has been Summer 1964 – Autumn 1969, identical to the period Dave Dee, Dozy, Beaky, Mick & Tich spent with Howard and Blaikley


 

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