SINGLES AMBROSIA, "YOU'RE THE ONLY WOMAN (YOU & I)" (prod. by group -Piro) (writer: Pack) (Rubicon, BMI) (4:05). "Biggest Part of Me" went to #2 and Ambrosia comes right back with this equally infectious pop package. David Pack's soft tenor & the mesmerizing key- boards work magic. WB 49508. MANHATTANS, "GIRL OF MY DREAM" (prod. by Graham) (writers: Gra- ham -Mack) (Content, BMI) (3:57). With "Shining Star" a top 10 item, the Manhattans exhibit plenty of consistency on this fol- low-up. Gerald Alston's satiny lead & the polished harmonies are unforgettable. Col 1-11321. JERMAINE JACKSON, "YOU'RE SUP- POSED TO KEEP YOUR LOVE FOR ME" (prod. by Wonder) (writer: Wonder) (Jobete / Black Bull, ASCAP) (3:52). Following his top 20 "Let's Get Serious" is this Stevie Wonder -penned, produced & arranged ballad. Jackson's reading is dreamy. Motown 1490. DIANA ROSS, "UPSIDE DOWN" (prod. by Edwards -Rodgers) (writers: Ed- wards -Rodgers) (Chic, BMI) (3:37). This pairing is a natural as Ross' golden vocals make the Edwards - Rogers craft sound even more awesome. From her "Diana" LP, it has smart lyrics & a super hook for every format. Motown 1494. SLEEPERS BOB DYLAN, "SOLID ROCK" (prod. by Wexler -Beckett) (writer: Dylan) (Special Rider, ASCAP) (3:55). Dylan's latest inspiration is per- haps his greatest, as evidenced by this compelling rocker. A gos- pel chorus & fervent rhythm sec- tion back his trademark vocals. Columbia 1-11318. ASHFORD & SIMPSON, "LOVE DON'T MAKE IT RIGHT" (prod. by Ash- ford -Simpson) (writers: Ashford - Simpson) (Nick -O -Val, ASCAP) (3:35). From the forthcoming "A Musical Affair" LP comes this crisp, energetic dancer with the spotlight on this couple's deli- cious vocal work-out. WB 49269. WHITESNAKE, "FOOL FOR YOUR LOV- ING" (prod. by Birch) (writers: Coverdale-Marsden-Moody) (Sun- burst-Whitesnake / Dump -Eaton, ASCAP) (3:30). Here's a healthy helping of British blues -rock on this new label. David Coverdale delivers the blockbuster hook first class. Mirage 3672 (AtI). ALBERICI, "ENGLAND'S CHILDREN" 0 (prod. by Davis) (writer: Alberici) -?bl(Linda Alberici, ASCAP) (3:45). Linda & Marie Alena Alberici are based in L.A. and sing / write tough, urban rock'n'roll. The hard rhythm gallop and razor- edged guitars underscore their rebellious stance. MSR500 (RSO). ALBUMS JACKSON BROWNE, "HOLD OUT." Music and lyrics cut deep on Browne's first since "Running On Empty." The rocking single "Boule- vard" is part of a study of love and loneliness that includes the vivid "Disco Apocalypse" and "Hold On Hold Out," an anthem to human tenacity. Asylum 5E-511 (8.98). QUEEN, "THE GAME." Who else could combine a bouncy tune about suicide, a Chic -inspired vamp like "Another One Bites The Dust," a hit to parallel "Crazy Little Thing Called Love" and a coda as majestic as "Save Me" all on one LP? These artists do it all masterfully. Elektra 5E-513 (8.98). THE CRUSADERS, "RHAPSODY AND BLUES." Bill Withers sings "Soul Shadows," and this marvel- lous trio never stops singing through their instruments. Hooper's rhythm is supple, Sample's key- boards are plush carpeting, and Felder's sax makes the blood rush with each flourish. MCA 5124 (8.98). THE RECORDS, "CRASHES." Last year's "Starry Eyes" established this British quartet's identity. With songs like "Hearts In Her Eyes" (re- corded by the Seekers), and guitar hooks as addicting as "I Don't Re- member Your Name," this LP will take them up several levels. Virgin VA 13140 (Atlantic) (7.98). AmericanRadioHistory.Com
Transcript
SINGLESAMBROSIA, "YOU'RE THE ONLY WOMAN
(YOU & I)" (prod. by group -Piro)(writer: Pack) (Rubicon, BMI)(4:05). "Biggest Part of Me" wentto #2 and Ambrosia comes rightback with this equally infectiouspop package. David Pack's softtenor & the mesmerizing key-boards work magic. WB 49508.
MANHATTANS, "GIRL OF MY DREAM"(prod. by Graham) (writers: Gra-ham -Mack) (Content, BMI) (3:57).With "Shining Star" a top 10item, the Manhattans exhibitplenty of consistency on this fol-low-up. Gerald Alston's satinylead & the polished harmoniesare unforgettable. Col 1-11321.
JERMAINE JACKSON, "YOU'RE SUP-POSED TO KEEP YOUR LOVEFOR ME" (prod. by Wonder)(writer: Wonder) (Jobete / BlackBull, ASCAP) (3:52). Following histop 20 "Let's Get Serious" is thisStevie Wonder -penned, produced& arranged ballad. Jackson'sreading is dreamy. Motown 1490.
DIANA ROSS, "UPSIDE DOWN" (prod. byEdwards -Rodgers) (writers: Ed-wards -Rodgers) (Chic, BMI) (3:37).This pairing is a natural as Ross'golden vocals make the Edwards -Rogers craft sound even moreawesome. From her "Diana" LP,it has smart lyrics & a super hookfor every format. Motown 1494.
SLEEPERSBOB DYLAN, "SOLID ROCK" (prod. by
Wexler -Beckett) (writer: Dylan)(Special Rider, ASCAP) (3:55).Dylan's latest inspiration is per-haps his greatest, as evidencedby this compelling rocker. A gos-pel chorus & fervent rhythm sec-tion back his trademark vocals.Columbia 1-11318.
ASHFORD & SIMPSON, "LOVE DON'TMAKE IT RIGHT" (prod. by Ash-ford -Simpson) (writers: Ashford -Simpson) (Nick -O -Val, ASCAP)(3:35). From the forthcoming "AMusical Affair" LP comes thiscrisp, energetic dancer with thespotlight on this couple's deli-cious vocal work-out. WB 49269.
WHITESNAKE, "FOOL FOR YOUR LOV-ING" (prod. by Birch) (writers:Coverdale-Marsden-Moody) (Sun-burst-Whitesnake / Dump -Eaton,ASCAP) (3:30). Here's a healthyhelping of British blues -rock onthis new label. David Coverdaledelivers the blockbuster hook firstclass. Mirage 3672 (AtI).
ALBERICI, "ENGLAND'S CHILDREN"
0 (prod. by Davis) (writer: Alberici)-?bl(Linda Alberici, ASCAP) (3:45).
Linda & Marie Alena Alberici arebased in L.A. and sing / writetough, urban rock'n'roll. Thehard rhythm gallop and razor-edged guitars underscore theirrebellious stance. MSR500 (RSO).
ALBUMSJACKSON BROWNE, "HOLD OUT."Music and lyrics cut deep onBrowne's first since "Running OnEmpty." The rocking single "Boule-vard" is part of a study of love andloneliness that includes the vivid"Disco Apocalypse" and "Hold OnHold Out," an anthem to humantenacity. Asylum 5E-511 (8.98).
QUEEN, "THE GAME." Who elsecould combine a bouncy tune aboutsuicide, a Chic -inspired vamp like"Another One Bites The Dust," a hitto parallel "Crazy Little Thing CalledLove" and a coda as majestic as"Save Me" all on one LP? Theseartists do it all masterfully. Elektra5E-513 (8.98).
THE CRUSADERS, "RHAPSODYAND BLUES." Bill Withers sings"Soul Shadows," and this marvel-lous trio never stops singingthrough their instruments. Hooper'srhythm is supple, Sample's key-boards are plush carpeting, andFelder's sax makes the blood rushwith each flourish. MCA 5124 (8.98).
THE RECORDS, "CRASHES." Lastyear's "Starry Eyes" establishedthis British quartet's identity. Withsongs like "Hearts In Her Eyes" (re-corded by the Seekers), and guitarhooks as addicting as "I Don't Re-member Your Name," this LP willtake them up several levels. VirginVA 13140 (Atlantic) (7.98).
AmericanRadioHistory.Com
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AmericanRadioHistory.Com
Alexenburg, Meisels, Ariola GroupJoin To Form Handshake LabelMI NEW YORK-The formationof Handshake Records, a part-nership between Ron Alexen-burg, Peter and Trudy Meiseland the Ariola InternationalGroup, was officially announcedlast week.
Handshake Records evolvedfrom an initial agreement madein London four months ago be-tween Ron Alexenburg and theMeisels to join forces.
"Small, creative companieswith carefully controlled over-head," Alexenburg said, "are theanswer to today's record mar-ket. We will have about a dozenartists at maximum, approximate-ly the same number of em-ployees and we will make sensi-ble deals with people who wantto be with us. At Handshake we
i Teller Exits Windsong LOS ANGELES-Al Teller re-signed his post as president ofWindsong Records here lastweek as RCA Records report-edly continued talks withWindsong's ownership over alabel reorganization.
Reached by RW for comment,Teller, a former CBS executiveand subsequent president ofUnited Artists Records, said,"Basically, the relationshipwith Windsong was being re-structured, and I felt that my ser-vices were no longer crucial."
Teller would not commenton reports that only MaxineNightingale and Danny Spanoswould definitely continue re-cording under their originaldeals with the label.
will be able to think like inde-pendents, that is release a limit-ed amount of product and staywith it, but we will have theselling power of a major."
"We have total confidence inRon Alexenburg," the Meiselsstated, "and in the efficacy ofa well funded, boutique type ofrecord company in which therewould be maximum personal in-volvement in the career of everyartist. We made our own label,Hansa Records, the leading in-dependent in Germany with thatapproach and our conversationswith Ron confirm that he sharesour basic philosophy and strongcommitment to promotion. Ac-tually, we believe this is a per-fect time to come into the rec-ord business if one can find theright partner. We have."
In London, Berlin, Paris and(Continued on page 22)
JULY 12, 1980
Solleveld, Hix Upped in Polygram Changes
Coen Solleveld
NEW YORK-Coen Solleveld,president of the PolyGram Group,announced last week (1) that hewill become a member of theshareholders' delegation of thePolyGram Group on January 1,1981. Solleveld, 61, has beenpresident of the Worldwide Poly -Gram organization since 1966.The shareholders' delegationcomprises members of Poly -Gram's parent companies, N. V.Philips of the Netherlands and
Wolfgang Hix
Siemens A. G. of West Germany.Simultaneously, Solleveld willjoin the supervisory boards of themanagement holding companies,PolyGram B. V., The Netherlandsand PolyGram GmbH, West Ger-many.
Dr. Wolfgang Hix, executivevice president of PolyGram since1978, became deputy presidenteffective July 1, Solleveld an-nounced, and will assume the of -
(Continued on page 28)
BMA Convention Keyed To Black Music's GrowthBy KEN SMIKLE
X WASHINGTON - The BlackMusic Association's second an-nual conference, held here June26-30 and focusing on blackmusic growth in the 1980s,closed with the announcementof LeBaron Taylor, vice presi-dent of CBS Records, as the or-ganization's new president.Taylor had served as vice presi-dent of the BMA's recordingdivision. Kenneth Gamble andEdward Wright, former presidentand executive vice president re-spectively, will assume the posi-tions of chairman and vice chair-man. In addition to theseappointments, seven new rnem-
- The Record World Sales Index is based on a broad cross-section of quantitative sales data reportedto Record World from retailers, rack jobbers and one -stops across the country. The base figure for boththe singles and album ;ndices is a smoothed average of these quantitative reports during periods inJune, 1979, with each weekly figure being a percentage increase or decrease on the base. The basefigure for both singles and albums is 100.0.
bers were named to the boardof directors.
On Sunday (29), the final dayof the conference, BMA pre-sented an award to Presidentand Mrs. Carter for their cul-tural contributions. As part ofthe last year's celebration ofBlack Music Month, the Cartershosted a reception and concertat the White House. The awardwas accepted by their son, ChipCarter, and Secretary of Healthand Human Services PatriciaHarris addressed the conferencein the President's behalf. Fol-lowing the presentation, Ken-neth Gamble stated that "every-one should clearly understandthat this in no way represents
an endorsement ofdent" for re-election.
The four -day gathering in thenation's capital brought togetherover 1000 people who partici-pated in 32 panel discussions andgeneral forums. This year's key-note speaker was Walter Yetni-koff, president of the CBS Rec-ords Group, whose remarks fo-cused generally on that corpora-tion's involvement in black mu-sic and his encouragement forthe principles of the BMA. Healso pointed out the significanteconomic role black music hasplayed in the industry. "In thelast decade alone black musicgrew from an industry -wide three
(Continued on page 23)
the Presi-
NARM Focuses on Local ChaptersAs an Added Source of Strength
By DAVID McGEEIN NEW YORK-In his three -plusyears as executive vice presi-dent of the National Associ-ation of Recording Merchandisers(NARM), Joe Cohen has repeat-edly stressed the need for bettercommunication and cooperationbetween the manufacturing andmerchandising segments of themusic industry. At the same time,he has acknowledged the vitalrole played by middle manage-ment personnel in the efficient
operation of a retail record store.Finally, he has sought, throughNARM, to bring recognition tothe nation's small merchandiserswhose portion of co-op advertis-ing dollars and display materialsfrom manufacturers is growingincreasingly smaller.
All of this amounts to a broad,sweeping vision of what NARMcould be: a vital, concernedtrade organization that responds
(Continued on page 27)
3
AmericanRadioHistory.Com
11111111111111111111111111=1111111111111111111.111111111111 Page 10. One of the summers surprisemovie hits, "Fame," has produced a hitsingle, sung by Irene Cara (pictured here),plus a hit soundtrack that is notable for itsambitious and disarming mix of musicalstyles. In an exclusive interview with RW,composer Michael Gore discusses the rolehe played in tailoring the score to fit theimages on the screen.
Page 26. Herbie Mann's long and suc-cessful career as a recording and concertartist has also allowed him to develop arather singular viewpoint regarding theday-to-day machinations of the music in-dustry. In an RW Dialogue, the outspokenartist reflects on the state of contemporarymusic and discusses a new label he isabout to introduce as his latest project.
departmentsA/C Chart Page 28
Album AirplayReport Pages 20-21
Album Chart Page 30
Album Picks Page 13
Black OrientedMusic Pages 32-33
Picks of the Week Page 32
Black OrientedSingles Chart Page 33
Black OrientedAlbum Chart Page 32
Black Music Report Page 32
Classical Page 35
Coast Page 15
Country Pages 42-47
Country Album Chart Page 45
Country Album Picks
Country Hot Line
Country Picks of theWeek
Country SinglesChart
Country Singles Picks
Page 44
Page 43
Page 42
Page 46
Page 44
Cover Story Page 14
Disco Pages 16-17
Disco File Page 16
Disco File Top 50 Page 17
Discotheque HitParade Page 16
International
England
Germany
Page 36
Page 36
Page 36
Jazz
Jazz LP Chart
Page 34
Page 34
Latin American Pages 38-40
Album Picks Page 40
Hit Parade Page 39
Radio Action Page 39
Nashville Report Page 44
New York, N.Y. Page 22
Retail Report Page 29
Singles Picks Page 12
Singles Chart Page 19
L2--tu:Ls-c
(Due to airplay and sales in projectable markets, these recordsexhibit top five potential)
Rolling Stones (Rolling Stones) "Emotional Rescue."Second week action continues at a hot pace with in-stant sales reaction, numerous debuts and additionsamong the highlights.
Feist Re -ElectedNMPA President NEW YORK - Leonard Feisthas been reelected for anotherterm as president of the NationalMusic Publishers' Association,the NMPA board of directors an-nounced last week. He has beenthe chief operating executivesince 1966 when he came to thetrade association.
The NMPA board reelected atthe June meeting vice presidentsRalph Peer II of Peer Interna-tional Corporation, Wesley H.Rose of Acuff -Rose Publications,Inc., and Michael Stewart of In-terworld Music Group, Inc. Sid-ney B. Herman of Famous MusicCorporation and Leon J. Brettlerof Shapiro, Bernstein & Co., Inc.were voted new terms as treas-urer and secretary, and assistanttreasurer Ernest R. Farmer ofShawnee Press, Inc. and assistantsecretary Al Brackman of TROInc. were also reelected.
GEC Names TwoVice Presidents NEW YORK-The General En-tertainment Corporation has an-nounced the appointment ofAnthony J. Gengo, Jr. as vicepresident of finance and of R. J.
Bykowski as vice president ofsales.
Gengo was assistant to thecontroller of Nabisco, Inc., andprior to that was controller ofAurora Products Corp., a Nabiscosubsidiary. He also spent six yearsas an audit supervisor with theaccounting firm of Coopers &Lybrand.
Bykowski held numerous salesmanagement positions with Na-bisco prior to joining GEC. Hismost recent Nabisco post wasdivisional sales manager in Chi-cago.
RSO LP Increase11 LOS ANGELES-RSO Recordswill enact a three -percentwholesale price increase on thesale of all albums ,and tapes, ef-fective July 15, it was announcedby Al Coury, president of thelabel.
The current wholesale priceof RSO singles remains thesame and is not included in thethree -percent increase.
April/BlackwoodPacts with Isleys NEW YORK-Rick Smith, vicepresident and general manager ofApril/Blackwood Music, has an-nounced the signing of a longterm, worldwide co -publishingagreement with the Isley Broth-ers' Bovina Music (ASCAP). April/Blackwood will also handle allprint rights for the catalogue.
1700 Broadway, New York, N.Y. 10019Phone: (212) 765-5020
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SR. VICE PRESIDENT/MANAGING EDITORMIKE SIGMAN
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STEPHEN KLING/ART DIRECTORDavid McGee/Associate Editor
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RECORD WORLDPhone:(I(SSN212)586-09130034-1622) IS PUB-LISHED WEEKLY, EXCEPT TWO ISSUES COM-BINED IN ONE AT YEAR-END. SUBSCRIP-TIONS: ONE YEAR U.S. AND CANADA 110;AIR MAIL-$175; FOREIGN AIR MAIL-$185.SECOND CLASS POSTAGE PAID AT NEWYORK, N.Y. AND AT ADDITIONAL MAILINGOFFICES. DEADLINE: NEGATIVES AND COPYMUST BE IN NEW YORK BY 12 NOON FRIDAY.Postmaster: Please send Form 3579 to RecordWorld, 1697 Broadway, NewNew York, N.Y. 10019.
Co 0 1980RECORD WORLDPUBLISHINGby CO., INC.
VOL 37, NO. 1720
4 RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
JUSTINHAYWARD
Justin Hayward, brilliant musician, songwriter andvocalist for the Moody Blues, is soaring again with hislong-awaited second solo album,"Night Flight.'( DRL-1-4801)
This new Justin Hayward release coincides withthe official distribution rights in the U.S. of the entireMoody Blues catalog by Phonogram/Mercury.
(1-0'er4
Also announcing the title track single,"Night Flight." (DR -401)
OERAMMARKETED BY PHONOGRAM
MERCURY RECORDSA POLYGRAM COMPANY
DISTRIBUTED BY POLVDR111 DISTRIBUTION. iNC
Wore or coo your 10Cal POlyprarn DifIrdhotiOn sa,109 011ita ?Or droplarro and Wrier prornotronat Ireton
AmericanRadioHistory.Com
Appeal of New Artists Spurs Blues RevivalBy SAMUEL GRAHAM &
SAM SUTHERLANDII LOS ANGELES - While /hemusic industry mainstreammoves through another sluggishsales summer, the nation'ssmaller independent labels havegot the blues - and, in mostcases, couldn't be happier aboutit.
A survey of indie label execu-tives and record producers, whotend to wear those hats inter-changeably, bears out a trendalready obvious to hard-core fansof the broad spectrum of ruraland urban styles that is chiefancestor to contemporary Ameri-can pop, rock and black music:led by a new generation of con-temporary blues musicians, manywith regional credentials outsidethe form's traditional capitols,the blues is making a quiet butsignificant comeback.
Quiet in the lack of broadexposure, but significant in bothgrowth potential and apparentshifts in the audience, blues inthe '80s is drawing strengthfrom a parallel swing towardearlier, classic soul styles withinthe black pop community. Whilenew blues singles and albumsstill sell far below the levelsonce seen in the '40s and '50s,the economics of the industryare again healthy, with mlostlabels reporting minimal returnsand low enough break-evenpoints to make most majorlabel executives green with cost-effectiveness envy.
"There's a lot of themaround," enthuses The BluesBrothers' Dan Aykroyd, oftenknocked by the critics for theduo's own tributes to soul andblues chestnuts but credited,along with George Thorogood,by small label sources as helpingpave the way for renewed retail,distributor and consumer in-terest.
"In Minnesota, there's theLamont Cranston Band," saysAykroyd, ticking off a list of hisfavorite contenders. "In Canada,a staple of the industry there isthe Down Child Blues Band.Then you have the (Fabulous)Thunderbirds, who are touringon the road now." Add inseasoned performers like AlbertCollins, Wayne Cochran, BuddyGuy and Delbert McClinton,younger veterans like The Night-hawks and Roomful of Blues,and relative newcomers like theRobert Cray Band and BigTwist and The Mellow Fellows,among others, and it's apparentthat the blues didn't expire withthe British -influenced revival ofover a decade ago.
Aykroyd himself notes thespread from soul to straightblues represented by the cur-
rent generation, and cites theseartists as the inspiration for TheBlues Brothers itself.
Apart from a relative superstarlike B. B. King or a phenomenonlike George Thorogood, bluesalbums today seldom crack intosix -figure unit sales tallies,while singles likewise captureonly a fraction of their formermarket. Yet there are indicatorsmaking it clear that current salesdo represent renewed marketpotential.
Notes Bruce Bromberg, aveteran promotion executivewho has produced such artistsas Lonesome Sundown andPhilip Walker for local westernlabels (since reissued via theChicago -based Alligator label),gospel sides for Arhoolie, and,most recently, the Robert CrayBand (Tomato), "Maybe it's theeconomy, but a revival is defi-nitely happening. In part, itcould also be traced to a reac-tion from black radio, who maybe realizing that disco isn't reallyblack music.
"People want to get back toreal music, music that will last-something I think is happen-ing with black gospel, and withcountry to some extent as well."Bromberg is one of severalsources stressing the significanceof the inroads being made byyoung blues performers back on-to R&B radio playlists, afterdecades of disfavor. More rock -
oriented blues players such asThorogood, aren't capturing thatplay, though, leading Brombergto mull the possibility "that it'sreally happening on two levels-if you play a Robert Cray rec-ord for a black store, they'll gocrazy."
Denny Bruce, chief of theChrysalis - distributed Takomalabel and producer for theAustin -based Fabulous Thunder-birds, who recently moved ontoChrysalis itself under his aus-pices, agrees. "One thing that isreally encouraging to me is that
(Continued on page 41)
MSG Honors Joel
Polydor Releasing
McVicar Soundtrack NEW YORK-Polydor Recordswill release the soundtrack albumfor the Who Films Ltd. presenta-tion of "McVicar," starring RogerDaltrey in the title role, it wasannounced by Fred Haayen, thelabel's president. The record willfeature music from the film, withvocal performances by Daltrey.Aside from Daltrey, the LP fea-tures performances by PeteTownshend, John Entwistle, Ken-ny Jones and Rod Argent plusother special guests. The sound-track will be equipped with aspecial anti -counterfeiting device.
Bill Joel received the Madison Square Garden Gold Ticket at a ceremony followinghis June 26 concert. The Garden Gold Ticket is awarded to music entertainers whoattract more than 100,000 people to concerts. Two of Joel's five sold -out Gardendates set a new record for the fastest sell-out of two shows in Madison SquareGarden history. Shown at the ceremony, from left: Michael Burke, president MSGCenter; Joel; Ron Guidry, New York Yankees.
-L - -I / 3 7 - 7 /L.A.-1 Li-
SinglesEast:Rolling Stones (Rolling Stones)Jackson Browne (Asylum)George B (Qwest/WB)Larry Graham (Warner Bros.)Queen (Elektra)Commodores (Motown)
MCA Promotes Hunt LOS ANGELES-Brad Hunt hasbeen named national director offield operations for MCA Rec-ords, announced Denny Rosen-crantz, vice president of A&Rfor the label.
Hunt, who will be head-quartered in MCA's national of-fice in Los Angeles, will be re-sponsible for the direction of theregional promotion staff on adaily basis.
Prior to, his move to the na-tional offices, Hunt was localpromotion manager in Bostonand previous to that, regionalpromotion director, based inDallas.
20th Pacts Two LOS ANGELES-Herb Eiseman,president of 20th Century FoxMusic Publishing, has named thefollowing pacts: Epic recordingartist Webster Lewis, will nowhave his Webo Music catalogueadministered worldwide by FoxMusic Publishing; singer -song-writer Michael Dees has signedan exclusive writer's agreementwith 20th, whereby the firm willco -publish all Dees materialwith his own company Real FineSongs.
6RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
lye Producer: Charles Koppelman for the Entertainment Company,Management Don Law, Boston, MA. Producer] by John Boylan and Jeff Baxte,
Give the Oft of music.
Liv Taylor knows thatthere's a first time for everything...
A singer who captures the essence of lovewith his new single, "First Time Love:'
9-50894
LivingstonTaylor."Man's Best Friend:'
An album you'll lovefrom first time to last.
On Epic Records and Tapes.
are trademarks of CBS Inc (c.1980 CBS Inc.
JE 36153
ON TOUR6/20 Phoenix, AZ*6/21 San Diego, CA6/22 Berkeley, CA'6/25-28 Los Angeles, CA*7/1 Denver, CO*7/3 Cedar Rapids, IA7/4 Minneapolis, MN*7/5 Chicago, IL*7/7 Holmdel, NJ7/8 Lenox, MA*7/10-11 Columbia, MD'7/12 Charlotte, NC*7/13 Richmond, VA7/19 Springfield, OH7/22 New York, NY7/26 New York, NY8/15 Martha's Vineyard, MA*
*With jimmy Buffett.tWith Judy Collins.**With Ambrosia.
400
AmericanRadioHistory.Com
Michael Gore:1111111111111111111111111111111111.111111111111111111111111111111111
Variety Adds Zest to 'Fame' SoundtrackBy SAM SUTHERLAND
LOS ANGELES - Despiteformidable competition fromestablished country, pop androck stars in search of a box of-fice crossover, a neophyte teamof performers and a classically -trained composer -pianist arereaping one of the more promis-ing soundtrack receptions thusfar in this movie -heavy summer.
"Fame," launched by MGMearlier this spring in a selectivetheater launch designed to al-low word-of-mouth to providemomentum where marqueenames couldn't, is now postinghealthy box office figures whileits RSO soundtrack album hasbroken into RW's Album Chartas last week's Chartmaker, enter-ing at a bulleted 65.
This week, the "Fame" LPreaches a bulleted 40 on the al-bum chart, while Irene Cara'ssingle version of the title song,culled from the set, reaches 61bullet on the Singles Chart.
That showing for an ambitiousdrama focusing on young danc-ers, musicians and actors atNew York's High School for thePerforming Arts becomes all themore surprising in light of thefilm's equally ambitious mix ofmusical styles, reviewed duringa recent RW interview withMichael Gore. Gore, brother of'60s pop star Leslie Gore, com-posed the score and acted as
musical coordinator for the AlanParker film, making his own filmdebut in either capacity.
"I've been very lucky, spoiledeven, to be working with some-one like Alan Parker," saysGore, who had turned from acareer abroad in classical A&Rto return to composition."When we first talked, he wasonly concerned about the musicfrom the standpoint of whetherit was right for the film; hedidn't even care if there was asoundtrack."
Gore's own background hadincluded a curriculum spanningtheory, composition, orchestra-tion and conducting at Yale,postgraduate studies with com-poser Max Deutsch in Paris andeven service as pianist for theEuropean premiere of LeonardBernstein's "Mass," followed byhis tenure as a producer forCBS Records International,where he concentrated on clas-sical sessions while still workingwith certain English pop acts.Yet the real source of his interestwas his early exposure to popmusic via his sister.
"It was entirely through her,"he says of his first look at musicas a career. "Things got startedvery early for her-she was 15
when 'It's My Party' was a hit-and I was just 11 myself." As aresult, he was able to augmenthis teen-age piano studies withsession chores on her records,helping out on percussion, pianoand eventually backing vocals.His earliest writing came notwith classical exercises, butsongs for which he served ascomposer and his sister aslyricist (Leslie Gore has sincere-emerged principally as asongwriter, working both on herown and in collaboration).
The "Fame" score may thusmirror that mix of pop recordingsessions with conservatory train-ing more than intended. "I cameon with Alan basically to createa musical identity for the film,not to be the score's composer,"says Gore. "We had submis-sions from outside writers, so itwas really almost an accidentthat I ended up doing it. I wasnever hired to write a -formalscore; it was a series of situa-tions where he would acceptone piece, and then another."
Noting that some crossover -hungry recent films have in-volved spreading out composi-tion and recording throughoutproduction of the film itself, incontrast to the earlier practiceof postponing both until afterbasic production is wrapped,Gore sees the genesis of themusic in "Fame" as somewherebetween the studio traditionand the newer, more deliberatelychart -minded approach: ,manykey dance sequences had to befilmed before any score waswritten, performed on camera toexisting pieces later replaced inthe finished product by Gore's
work."In a way, I came in very late
in the process," he explains. "Itwas just 10 days away from theshooting of the 'Hot Lunch Jam'sequence," he says, referring toa pivotal scene, "and we hadliterally nothing down on tapeyet."
Material was cast to the per-formers, not any conscious musicmarket, he adds, with the blendof pop, dance music, classicaland ethnic strains dictated bythe screen action. "About 70percent of the work I did wason all the classical music fea-tured in the movie," he notes,"because that, again, was cen-tral to the tone of the movieand the music. I chose all thepieces we used, and then we'dhave to find someone to playeach of them."
If it was his own originalmusic, especially the driving titlesong, that captured radio ex-posure, Gore himself isn't neces-sarily turning his back on themore serious-minded music thatdominated much of his work for"Fame." Noting that directorParker had been himself ada-mant about stressing classicismin the movie's musical mix, Goresays he's interested in traditionalsymphonic scores, and claims tobe as challenged by exposingfilm audiences to gospel orSpanish music, as alluded to in"Fame," as by repeating anyhits.
Even so, Gore-a former staffwriter for Screen Gems -EMI, asan outgrowth of his early popsession work - may be makinghis biggest mark to date onpop playlists and sales charts.
Regan Forms Utopia
Industry ve eran Russ Regan has announced the formation of Utopia Productions andhis pact with Los Angeles -based recording group Patience. Following the group'ssigning, the principals got together for a photo at S.I.R. Studios in Hollywood, whereRegan disclosed that an exclusive recording contract for Patience with ColumbiaRecords has been finalized. Pictured at the celebration are (from left) Patience groupmembers Bobby Rose and Carlton James; Wally Roker, administrator for the group;Michael Stewart; James Lowery of Patience; Russ Regan and Patience's WardellWilliams.
Phonogram, WLUP-FM,
United Way CampaignTo Aid Chicago Youth CHICAGO - Phonogram, Inc./Mercury Records, in conjunctionwith local radio station WLUP-FMand the United Way, is sponsor-ing a "Rock Brigade" promotionto encourage the youth in theChicago area to volunteer theirservices for one day to aid thevarious United Way services. Thecampaign kicks off officially onJuly 3.
As an extra incentive to Chi-cago youths, Phonogram/Mer-cury has pressed up a specialthree track single to be given tothe first 5,000 participants. Thesingle contains one song each byMercury Records' Def Leppard("Rock Brigade"), Scorpions("Falling In Love") and the Brains("Money Changes Everything").Helping to coordinate the proj-ect locally for Phonogram/Mer-cury is Steve George, Midwestregional promotion manager.
According to Jim Sotet, na-tional promotion, albums, forPhonogram/Mercury, the ideagrew out of radio acceptance ofthe "Rock Brigade" song by DefLeppard, from the album "OnThrough The Night." Since theLP's release in March, the songhas been one of WLUP's mostrequested tracks. Tying the songinto a community oriented proj-ect resulted from meetings be-tween Sotet and staff membersof WLUP.
Sotet indicated that WYSP-FMin Philadelphia has already com-mitted itself to a similar programand other cities are being con-tacted by Phonogram/Mercury.
RCA Plans Campaign
For Hall & OatesNew 'Voices' Album NEW YORK - RCA Recordswill release "Voices," Daryl Halland John Oates' seventh albumfor the label, on July 15. Thecompany has formulated a majormarketing campaign to back"Voices."
Prior to the release of "Voices,"RCA will ship a single, "HowDoes It Feel To Be Back" b/w"United States." A teaser cam-paign will precede the appear-ance of "Voices," with trade, con-sumer and tip sheet ads to follow.
Hall and Oates will begin amajor tour of the United Statesand Canada July 27, dates andvenues to be announced.
Several contests are in theworks, each targeted for differentmarkets over the next fewmonths. RCA will also shoot avideo of the single, "How DoesIt Feel" and another cut from"Voices."
RECORD WORLD JULY 12, 1980
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Summer Predicts Upturn at RCA Meetings NEW YORK - RCA Recordsheld a three day national salesand marketing meeting at thePlayboy Club in Great Gorge, N.J.last week. The meeting featurednew releases planned for the sec-ond half of 1980 as well as newdetermination and aggressivenessin marketing philosophy. RobertSummer, president of RCA Rec-ords, told the conference:
"We anticipate a firming of therecord market. We have put ouranxieties behind us and are readyto move forward, taking the nec-essary creative risks as we go."
A feature of the meetings wasthe presentation of new productplanned for release during thelast half of 1980.
"We have made a commit-ment to hard work. Our strategyis to achieve success by market-ing competitive product in everymajor area of recorded music,"Summer said.
Larry Gallagher, division vicepresident, national sales, whowas chairman of the conference,and Arnie Orleans, division vicepresident, sales and distribution,opened the meeting, praising theefforts the field sales force hasmade during a difficult period.
The first presentation of prod-uct was made by Thomas Z.Shepard, division vice president,Red Seal artists & repertoire, andIrwin Katz, manager, Red Sealmarketing, who previewed im-portant new albums by ArthurRubinstein, Eugene Ormandy andthe Philadelphia Orchestra, the
Cleveland and Guarnieri Quartets,James Levine and the Philadel-phia Orchestra, Eduardo Mataand the Dallas Symphony Orches-tra and pianists Emanuel Ax,Peter Serkin and Tedd Joselson,clarinetist Richard Stoltzman, or-ganist Carlo Curley, CanadianBrass, tenor Robert White andothers.
Ray Harris, division vice presi-den, black music marketing, pre-sented RCA's black music pre-view. Harris presented productand plans for such artists as
Dynasty, Shalamar, Lakeside, Car-rie Lucas and the Whispers onSolar, Machine on Hologram,Frank Hooker and the PositiveThinker on Panorama, Skyy onSalsoul, and Edwin Starr, Stepha-nie Mills, Leon Haywood andGene Chandler on 20th CenturyFox, and Wax, Chocolate Milk,Evelyn "Champagne" King, andThelma Houston on the RCAlabel.
Jerry Bradley, division vicepresident, Nashville operations,Joe Galante, division vice presi-dent, Nashville marketing, andDave Wheeler, director, marketdevelopment, Nashville, statedthat RCA's Nashville operationwas far ahead of market expecta-tions this year. From such estab-lished artist as Waylon Jennings,Dolly Parton, Charley Pride, Ron-nie Milsap, Jerry Reed, FloydCramer, Chet Atkins and GaryStewart as the backbone of Nash-ville's success, Bradley said a
great concentration was being
made on developing new artistssuch as Razzy Bailey.
Arnie Orleans made the prod-uct presentation for A&M Rec-ords, placing particular empha-sis on albums by Herb Alpert, Yel-low Magic Orchestra, Chris De -Burgh, the Tigers, Live Wire, JoanArmatrading, Joe Jackson, Policeand a new 2 -record live albumfrom Supertramp.
Ed DeJoy, division vice presi-dent, pop A&R, made the pre-sentation in contemporary music,citing new albums by DavidBowie and Daryl Hall and JohnOates, Toby Beau and other popgroups, as well as new albums bysuch perennial artists as PerryComo and Roger Whittaker. Apresentation of a new 8 -recordlimited, numbered album cele-brating Elvis Presley's 25th anni-versary with RCA Records wasalso presented. The album willbe released in August.
A major thrust by RCA in thelast half of 1980 will be introduc-tion of many new acts. DeJoynamed In Transit, Dave Davies,Polyrock and others who willhave albums early in the secondhalf of the year.
At an awards ceremony, theDallas branch and its managerJim Yates won the MerchandisingBranch of the Year trophy; theAtlanta branch and its managerGeorge Jackson were given theSingles Branch award, New Yorkand its manager, Bob Rifici werecited in the album category, andSt. Louis and its manager, FredLove, won top honors as Branchand Manager of the Year.
RCA Records' three-day National Sales and Marketing Conference was held recently at the Playboy Club in Great Gorge, N.J. Pic-
tured at the event are (top row, from left): Robert Summer, president, RCA Records, delivering an optimistic address; Fred Love
holding the plaque as Branch Manager of the Year in St. Louis, while flanked by Arnie Orleans, division vice president, sales and
distribution and Larry Gallagher, division vice president, national sales, with Bob Riflci, manager of the New York branch looking
on in the background; Ray Harris, division vice president, black music marketing, previews black product from the podium while
Bill Staten, director, promotion, black music; Basil Marshall, manager, product management, black music, and Jack Maher lend an
ear; (bottom row) Jerry Bradley, division vice president, Nashvile operations; Joe Galante, division vice president, Nashville mar-
keting; and Dave Wheeler, director, market development, Nashville; and finally, Ed DeJoy, division vice president, pop A&R, at the
podium delivering pop product presentation while seated; John Betancourt, division vice president, promotion; Jack Chudnoff, division
vice president, marketing, and Jack Maher, pop music product manager. listen.
Mutual Names TwoSr. Vice Presidents WASHINGTON, D.C.-MutualBroadcasting System presidentand chief executive officer MartinRubenstein has announced theappointments of Nicholas J. Ver-bitsky as senior vice president foroperations and stations, and JerryM. Wallace as senior vice presi-dent for corporate services.
In their newly created posi-tions, Verbitsky and Wallace willcontinue to report to Rubenstein.
Verbitsky, who is presently vicepresident/general manager ofMutual -owned WHN radio inNew York, will continue in thatfunction. In addition, he willhave responsibility for the Net-work's sales, owned -stations, pro-gramming, station relations, ad-vertising and promotion, andsports.
Wallace will have responsibilityfor corporate personnel, research,data processing, traffic, finance,and administrative services. He ispresently Mutual's vice presidentof finance and administration.
ASKAPRO Sets
Connecticut Seminar NEW YORK - The AmericanGuild of Authors / Composers'ASKAPRO (ask a pro) programwill travel to Connecticut thismonth (19) to conduct a day-long seminar for aspiring lyricistsand composers. Co -sponsored bythe Connecticut Songwriters As-sociation, the seminar will beheld at the University of NewHaven from 11 a.m. to 5 p.m.Among the panels offered willbe: "The Strategy of the Hit Sin-gle," "Craft of Lyric Writing" and"Legal Aspects of Songwriting."
For information call eitherAGAC (212-757-8833) or CSA(203-447-3665).
SRS To Hold
Indie LP Forum LOS ANGELES-"How to Makeand Sell Your Own Record" willbe the subject of a forum to bepresented by Songwriters Re-sources and Services July 10, from7 to 10 p.m. at the Holiday Inn,1755 Highland Avenue, Holly-wood. The event, free to SRSmembers and $3 to others, willprovide information to musiciansand songwriters on all aspects ofproducing and marketing one'sown record.
The moderator of the forumwill be Diane Rapaport, authorof "How to Make and Sell YourOwn Record." Also on the panelwill be Harold Bronson, co-owner, Rhino Records, Ian Jack,leader of the Naughty Sweeties,Bob Say, general manager, JEMRecords West, and Dusty Street,DJ, KLOS-FM.
RECORD WORLD JULY 12, 1980
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(800) 223 2328
Counterfeit recordings are illegal. They rob every legiti-mate retailer, wholesaler, performer, composer, publisher andrecord company. We need you to help stop the crime.
If anyone offers you suspected counterfeit recordings, callus immediately at (800) 223-2328 (toll -free). Or if you canidentify any manufacturer of pirate or counterfeit records ortapes...any retailer who sells them...or any printer of counter-feit graphics, let us know. Now.
All reports will be kept in the strictest confidence, andcallers who desire anonymity will be accommodated. Simplyprovide as much of the following as possible:
1. Time and date of offer.2. Location.3. Description of illicit seller or manufacturer.4. Auto license and identification, if any.5. Illicit recordings offered.Dialing (800) 223-2328 reaches the RIAA Antipiracy
Intelligence Bureau. Your call will speed the flow of essentialinformation to the FBI or other appropriate law enforcementagencies.
Duplicating, buying or selling counterfeit or pirate record-ings is a federal offense, punishable by fines and imprisonment.Your calls will help stop the crime and the losses.
Dial toll -free (800) 223-2328.
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AN ANTIPIRACY PROJECT OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA (RIAA)AND THE NATIONAL ASSOCIATION OF RECORDING MERCHANDISERS (NARM)
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L Record World L.
FOGHAT-Bearsville 49510 (WB)
STRANGER IN MY HOMETOWN (prod. byOuteda-Berman-group)(Riff Bros., ASCAP)(3:53)
Tough vocals, stinging guitarsand boogie rock are what thisveteran quartet is all about andwe find them at their best on thisinitial single from the "TightShoes" LP. Lonesome Dave's leadvocals relate the troublesometheme with conviction while adriving, pulsating rhythm corres-ponds effectively with the fren-zied, talk box guitar.
ROB STONER-MCA 41272WHAT ROUND IS THIS?
(prod. by Stoner)(writers: Stoner -Gross)(Stoner/Little Stinker/Blendingwell, ASCAP)(2:15)
"Patriotic Duty" is the name ofStoner's forthcoming LP fromwhich this single is culled & thattitle aptly depicts how he feelsabout rock'n'roll. The nervous en-ergy in the rhythm section (pro-pelled by Howie Wyeth's drums)and Stoner's hectic vocals/pianoruns have authentic rockabillyroots while the hook is destinedfor summer pop radio.
MCARECORDS
RONIN-Mercury 76052LOVE'S COMING INTO
MY LIFE AGAIN (prod.by Asher) (writer:Wachtel) (Daisy Root,BMI) (3:32)
This newly -formed quartet fea-tures two guitarists (WaddyWachtel & Dan Dugmore) and adrummer (Jerry Marotta) whohave worked extensively withRonstadt, James Taylor & numer-ous other soft rockers. Here theyrock hard with Wachtel's zestfulvocals & Dugmore's arresting gui-tar. Marotta's crisp drummingprovides the high octane fuel.
V.MPIY:1111/
IN TRANSIT-RCA 12045TURN ON YOUR LIGHT
(prod. by Airali-Cuomo-Siller-Garman) (writers:group) (Green Barbis/work/Pants Down/White Buffalo/Clark-Dungaree, BMI) (3:25)
This sextet should become a
household name with the releaseof its first single from the new,self -titled LP. Multi -lead vocalscruise in perfect harmony over amonster hook. Lyrical guitarbridges, a smoking rhythm, & ef-fective tempo changes make thisa marvelous AOR-pop pick thatcan't miss.
PopPAT TRAVERS-Polydor 2107SNORTIN' WHISKEY (prod. by Mackay -
Travers' guitar should be licensedas a dangerous weapon as heriddles this cut from the "CrashAnd Burn" LP with scorching riffs,runs & power chords. The flipside, "Statesboro Blues" is a pre-viously unreleased collectorsitem .
SPIDER-Dreamland 103 (RSO)EVERYTHING IS ALRIGHT (prod. by
The New York -based quintetcracked the top 40 with its"New Romance . . ." debut. Thisfollow-up has a pounding rhythmthat buttresses soaring vocal har-monies and a tasty hook.
SCORPIONS-Mercury 76070MAKE IT REAL (prod. by Dierks) (writers:
Schenker-Rarebell) (Summer Breeze,ASCAP) (3:49)
The German heavy metal quintetshows a power -packed rhythmsection that propells swelteringlead guitar excursions and theurgent pop vocals.
BERNADETTE PETERS-MCA41276
HEARTQUAKE (prod. by Arthur) (writers:Mann -Weil) (ATV/Mann & Weil, BMI)(3:15)
Peters went top 40 with her soft& tender "Gee Whiz." On this fol-low-up she shows she can rockwith convincing emotional intens-ity. Strong multi -format appeal.
LOU REED-Arista 0535THE POWER OF POSITIVE DRINKING
(prod. by Reed-Fonfara) (writers:Reed-Fonfara) (Metal Machine, BMI)(2:13)
Lou shows an astute awarenessfor this subject with a mid -tempo, boppish treatise. Grab ashot & a beer and let the guitarssweep you away.
TOUCH-Atco 7222(CALL ME) WHEN THE SPIRIT MOVES YOU
(prod. by Friese-Greene-Mangold)(writer: Mangold) (Thames Talent,ASCAP) (3:29)
Soaring harmonies, carousel key-boards, & dramatic guitar breaksare all neatly arranged in thispretty pop -rocker from the quar-tet's self -titled LP.
JO JO ZEP AND THE FALCONS-Columbia 1-11319
HIT AND RUN (prod. by Salley) (writers:Camilleri-Burstin-Faehse) (AustralianTumbleweed/EMU, BMI) (3:19)
The Australian octet has an excel-lent LP "Screaming Targets" fromwhich this equally fine single isculled. Quirky lead vocals and ajerky rock tempo make this tunestick long after the first listen.
BIRTLES & GOBLE-Ca pitol 4894LONELY LIVES (prod. by Birtles-Goble)
Beeb Birtles & Graham Goble,founding members of LittleRiver Band, recently issued a
duet LP "The Last Romance" fromwhich this first cut is culled. It'sbright, uplifting soft rock withsterling harmonies & instrumentalbreaks for pop -A/C.
DWAYNE FORD-Hot Vinyl 1001ROLL ME AWAY (prod. by Robertson -Ford)
(writer: Ford) (Dwayne Ford, BMI)(3:06)
The multi -talented singer/song-writer/keyboardist hails from Ca-nada where this cut is alreadyburning up the airwaves. It's a
bouncy pop -rocker with a drivingrhythm supporting Ford's chal-lenging vocal.
THE ENGLISH BEAT-Sire 49265(WB)
TEARS OF A CLOWN (prod. by Sargeant)(writers: Cosby -Robinson -Wonder)(Jobete, ASCAP) (2:40)
The darlings of British critics andconsumers rework this 1970 #1hit by the Miracles with interest-ing results. The dance-rock/skaapproach to this soul chestnut hasenough appeal for pop audiences.
BLACK RUSSIAN-Motown 1493LEAVE ME NOW (prod. by group)
Stylish, multi -vocal interplay, theomni-potent bass growl, hand-claps, an imaginative keyboardbreak, & a truckload of funk areall skillfully arranged on thiswonderful cut.
MAZE-Capitol 4891SOUTHERN GIRL (prod. by Beverly)
(writer: Beverly) (Amazement, BMI)(4:00)
Frankie Beverly is the mastermindbehind this S.F.-based septet andhis soulful vocal is the main at-traction on this punchy funk slice.
TONY FOX-Emerald City 7219(AtI)
Gm IT ALL UP TONIGHT (prod. byCapel-Burton) (writers: Burton-Costantino-Fox) (Stone & Greene/Vance's Luck, BMI) (3:20)
The native New Yorker debutswith this refreshing, straight -ahead R&B spin. The percussionbreak and backing vocals jumpout with Fox' inspirational vocals.
DAVID RUFFIN-WB 49277SLOW DANCE (prod. by Davis) (writers:
Godson -Sanders -Newberry)(Conquistador/Probe II, ASCAP (4:05)
This initial single from his forth-coming "Gentleman Ruffin" LP
should put the former Temptationat the top of several charts. Thesparkling production gives his af-fecting vocals, keyboards &strings a heavenly feel.
ROD-Prelude 8014SHAKE IT UP (DO THE BOOGALOO) (prod.
by lbgui) (writer: Niangandoumou)(Jessica & Jonathan/Ivan Mogull,ASCAP) (4:20)
From the Congo, via France,comes this unique, funky dancerwith interesting, indecipherablelyrics that, along with the energe-tic rhythm mix, make this en-dearing & a contagious disc.
KOKO TAYLOR-All igator 793WALKING THE BACK STREETS CRYING(prod. by Taylor-Iglauer-McLeese)(writer: Jones) (publisher notlisted) (4:34)A rare single from this companyand a typically precious per-formance by this living legend.From her "The Earthshaker" LP,it's just as the title says with nopretensions.
Country/PopTHE OAK RIDGE BOYS-MCA
41280HEART OF MINE (prod. by Chancey)
(writer: Foster) (Silverline, BMI) (3:26)Pop -A/C audiences should dis-cover the talented vocal quartetwith this moving love balladfrom their "Together" LP. DuaneAllen's supple lead is surroundedby a grand string arrangement.
DOLLY PARTON-RCA 12040OLD FLAMES CAN'T HOLD A CANDLE TO
YOU (prod. by Klein) (writers: Sebert-Moffatt) (Right Song, BMI) (3:22)
Parton takes the lovelorn themeand, with the help of a weepingsteel guitar, wrings every bit ofemotional sadness from it via herfragile vocal.
12RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
Wodd
CURTIS MAYFIELD
SOMETHING TO BELIEVE INCURTIS MAYFIELD-RSO/Curtom
RS -1-3077 (7.98)
Mayfield taught most of today'sartists the power of a simple bassline, and his latest release dem-strates that he hasn't lost the deli-cate touch and gentle control ofrhythmic energy that made hissound famous. The selection is
tastefully varied, with handclap -ping dance music like "TrippingOut," stretched -out ballads suchas "Never Let Me Go."
HOLD ONCAROLYNE MAS-Mercury SRM-1-3841
(7.98)
Mas' rebut last year was impres-sive on the AOR front, and hersecond LP promises to expandaudience boundaries. Major rockhooks like "Running For TheNightlife" are brightened bypeals of saxophone, and ,hervocals, generally tough, reveal asweeter side during "RememberThe Night." Includes "You CannotWin If You Do Not Play."
ROCK 'N' ROLL ENFORCERSTHE SILENCERS-Precision NJZ 36529
(CBS) (7.98)
A label debut and the first albumby five seasoned rockers fromPittsburgh who number formermembers of Diamond Reo andthe Jaggerz ("The Rapper")among their ranks. Their con-temporary repertoire rangesfrom the scraping guitar andeerie organ of "Remote Con-trol," to the deep harmonies of"Shiver & Shake."
WHEELS of STEEL
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----..,a)
WHEELS OF STEELSAXON-Carrere CAR 38.126 (Atlantic)
(7.98)Saxon is one of the new groupsspearheading the heavy-metalrock revival in England, a move-ment that definitely has a coun-terpart here in the United States.This group could make headwayon U.S. concert stages with fansof Black Sabbath and similar art-ists. The standout cut is theirsuccessful British single, "747(Strangers In The Night)."
DIFFERENT KINDA DIFFERENTJOHNNY MATHIS-Columbia JC 36505
(7.98)
One of popmusic's mostdistinctivevocalists isback with analbum that willease right into
his A/C strongholds with strongpossibilities of top 40 penetration.His duet partner this time aroundis Paulette McWilliams.
CHICAGO FIRESON SEALS-All. ator 4720 (7.98)
Seals is classedas one of thebest youngmusicians car-rying on theChicago urbanblues tradition.
His searing guitar work andvocals are featured on songswith timeless appeal like "Land-lord At My Door."SAVAGE MUSICTHE TIGERS-A&M SP 4817 (7.98)
This Britishquintet, led byvocalist/guitar-ist Tony Jacks,divides its timebetweenquicker rock
and slower reggae tempos, neverlosing the dancing beat. "Make -Up Girl" and "Take It Like AMan," will turn up on AOR/ poplists.
7 A, Adir 4.41:
CANDI STATONWarner Bros. BSK 3428 (7.98)
Staton's "Vic-tim," one of1978's distinc-tive disco hits,was remixedby JimmySimpson, pro-
ducer of this album. Songs like"Looking For Love" and "OneMore Try" should give her a newfoothold in the dance market.
SEAN TYLA'S JUST POPPED OUTPolydor PD -1-6281 (7 98)
Tyla, and oldcohort ofLowe, Parkeretc., comesacross as a bigkidder subtit-ling the LP sides
'AM (suitable for adults) and'FM (just for fun)," but balladsike "Freeway In The Rain" revealhis gift for melody and poignantlyrics.
LOVE APPROACHTOM BROWNE-Arista/GRP 5008 (7.98)
One of thebrilliant youngtrumpeters toemerge in NewYork in recentyears comescomes across
with crystal clarity in this digitallyrecorded second album which in-cludes "Funkin' For Jamaica" and"Nocturne."
MULTIPLAYTHE RIVITS-Antilles AN 7072 (Island)
(7.98)
An engagingcombination ofelectronic key-board colorsand a velvetyvocal mix arethe distinctive
characteristics of this new groupfronted by singer Jess Roden. Justabout every cut offers myriadAOR/pop possibilities, and "LookAll You Like" is irresistible.
SHAKIN' STREETColumbia NJC 36499 (7.98)
European rock-ers get a dashof Americanapple pie fromproducerSandy Pearlman(Blue Oyster
Cult) and guitarist Ross "TheBoss" Friedman, formerly of theDictators.
I JUST CAN'T STOP ITTHE ENGLISH BEAT-Sire SRK 6091 (WB)
(7.98)
The band thatput itself onAOR lists witha quick -pacedversion ofSmokey's"Tears Of A
Clown" delivers 14 terse singlecomments including interpreta-tions of classics like "Can't GetUsed To Losing You."
ABOUT FACEFACE DANCER-Capitol ST 12082 (7.98)
This quartetespouses thewinning com-bination ofboyish smiles,full vocal har-monies and
a hard -rocking bottom. "TheSixties Never Died," containsBeatles fragments while "ForeverBeach" is primed for summerairplay.
THE RHYTHM DEVILS PLAYRIVER MUSIC
Passport PB 9844 (JEM) (7.98)
Exotic percus-sion instru-ments from allover the worldand a batteryof playersincluding
Mickey Hart and Bill Kreutzmanof Grateful Dead fame, and AirtoMoreira and Gregg Errico.
UP THE ACADEMYOriginal Motion Picture Soundtrack)
Capitol 500-12091 (7.98)The generationthat grew upreading MadMagazine isbeing treatedto a film fromthe same
source, and the album featuresstars like Pat Benatar, Blondie,Jonathan Richman, Sammy Hagarthe Babys and Ian Hunter.
RECORD WORLD JULY 12, 1980 13
AmericanRadioHistory.Com
Cover Story:Spinners Begin 25th Year of Music -Making When Atlantic recording groupthe Spinners stepped out on thestage last week for the openingof a two-week appearance at theMGM Grand in Las Vegas, itmarked the beginning of their25th year of great music -making.It's nearly impossible to graspthe fact that this totally contem-porary quintet has entered itssecond quarter century. But thisremarkable statistic should reallycome as no surprise, because theSpinners have always made mu-sic that is at once utterly in tunewith the times and timeless . . .
a classic sound and approachwhich never loses its universalappeal.
Popularity Still GrowingMore remarkable is the fact
that, even with all these years ofsuccess behind them, the Spin-ners in 1980 are more popularthan ever before. Their currentpop/R&B single, "Cupid / I'veLoved You for a Long Time," isthe fastest -selling record in thehistory of the Spinners. Releasedin May, it instantly jumped onradio station playlists across thecountry and picked up immediateheavy retail action. Meanwhile,
E/P/A Names SloaneWriting Services Mgr. NEW YORK-Robin Sloane hasbeen appointed as manager,writing services, Epic/Portrait/CBSAssociated Labels, as announcedby Susan Blond, vice president,press and public information,E/P/A.
Responsibilities
In her new position, Sloanewill be responsible for writingand overseeing the developmentof biographies for the entireE/P/A roster of artists. She willwrite press releases on perti-nent activities of E/P/A artists,and will coordinate the depart-ment's photographic resourcematerial. She will report directlyto Blond.
Sloane joined the E/P/A pressand public information depart-ment in 1978. Earlier this yearshe was appointed as coordina-tor, press and public information,east coast, E/P/A.
Firefall Touring NEW YORK-Atlantic record-ing group Firefall is about to em-bark on a six -week North Ameri-can tour, running from July 3 -August 16. The opening of thetour coincides with the group'snew single, "Love That GotAway," culled from Firefall'sfourth Atlantic album, "Under-tow."
the group's new album, "LoveTrippin'," is following suit, climb-ing up both pop and R&B charts.
Released on May 30, "LoveTrippin'" is the second new Spin-ners album to be released withinonly seven months, and the sec-ond to be produced by MichaelZager (for Love-Zager Produc-tions), with Jerry Love serving asexecutive producer.
BackgroundOriginally known as the Do-
mingos, the group was formedin the suburbs of Detroit byHenry Fambrough, Billy Hender-son, Pervis Jackson and BobbieSmith. They were renamed theSpinners in 1957 and began re-cording for Tri-Phi Records in1961, with their first single be-ing the hit "That's What GirlsAre Made For." When Tri-Phimerged with Motown in 1964,the Spinners hit with "SweetThing," later followed by theirfirst gold 45, "It's A Shame"(written and produced by StevieWonder).
Hit After HitIn 1972, the Spinners came to
Atlantic Records, teamed withproducer Thom Bell, and the hitsreally started rolling. A partiallist of their Atlantic single suc-cesses includes such tunes as
"Mighty Love," "Then CameYou," "Rubberband Man," "I'llBe Around," "One of a Kind(Love Affair)" and "Games Peo-ple Play." In 1977, St. Louis -
horn John Edwards (who hadbeen filling in for ill group mem-bers on the road since '75) be-came a full-fledged Spinner. Andnow, with a couple of years ofon the job training for John, com-bined with a new productionteam, the Spinners have returnedto the top in the grand style thatis uniquely their own.
ASCAP Signs Summer
ASCAP has signed Donna Summer as a writer and publisher. Summer's co -written hitsinclude "On The Radio," "Bad Girls," "Dim All The Ughts," "I feel Love" and "LoveTo Love You Baby," among others. She will be writing for her publishing firm SweetSummer Night Music. Her new material will be featured on her debut IP via theDavid Geffen label, to be distributed by Warner Bros. Shown (from left) are: DonnaSummer and Michael Gorfaine, ASCAP's western regional director for repertory.
Zaentz Film Center Bows in BerkeleyBy SAMUEL GRAHAM -
E BERKELEY, CA. -A 46 -track,computerized recording studio,owned by Fantasy Records andan elaborate motion picturepost -production facility are partof the new Zaentz Film Center,dedicated here on June 23. Thecost of the Center, operated bythe Saul Zaentz Company(Zaentz was co -producer of thefilm "One Flew Over theCuckoo's Nest"), and its facili-ties is said to have exceeded $11million.
Fantasy's new Studio D is
housed on. the ground floor ofthe new Zaentz Center, whichis situated adjacent to Fantasy'scurrent Berkeley headquarters.Both Studio D and the threestudios in the other buildingwill now be available to inde-pendent producers and artistsas well as Fantasy's own roster,according to label presidentRalph Kaffel.
Ray Segal, Fantasy Recording
RCA Signs Main Ingredient
The Main Ingredient-Tony Sylvester, Cuba Gooding and Luther Simmons-are reunitedand back with RCA. Their first album in some time is due in August. They are shownhere signing the contract that again ties them exclusively to RCA Records. SurroundingRCA Records president Robert Summer are (from left): the Main Ingredient's CubaGooding, Tony Sylvester and Luther Simmons. In the rear are Richard Carpenter,
personal manager; Ray Harris, division vice president, black music marketing, RCARecords; and Tom Cossie, president of Record Logic Productions.
Studios general manager, con-tends that "there are only a
half -dozen other studios in theworld with the capabilities ofStudio D, and certainly there isnone in northern California."The facility, designed by TomHidley and constructed by SierraAudio's Kent Duncan, containssuch equipment as the NeveNecam computer -assisted con-sole, twin Studer 24 -track re-corders and Neuman amplifiers.Its uses are expected to en-compass film, video and TVcommercial scoring as well as
conventional recording projects.The existing Fantasy Studios
were upgraded while Studio Dwas under construction, Segaladded, with Studios A and Cnow 24 -track and Studio B now16 -track.
The new studio, said Segal,was designed to "lock" with thenew film post -production (mix-ing and editing) operation in theZaentz Center. The film facilityis equipped to handle both 16and 35 -millimeter film, with mix-ing capabilities in stereo, Dolbyand Sensurround.
AGAC's ASKAPRO
Features Publishers LOS ANGELES - The Ameri-can Guild of Authors/Composers'July ASKAPRO sessions will fea-ture Hollywood publishers. Thesessions, with free admission, areheld each Thursday at the Holly-wood Center Theatre from 4 to6 p.m. Featured during the Julysessions will be: David Futch,president Davida Publishing; JimDavid, Jac and JC Music; Bo Gol-sen, Criterion Music; Mitch San -tell and Bruce Sanger, LA Music;and attorney Keith Zajic. For in-formation call (213) 462-1108.
14RECORD WORLD JULY 12, 19110
AmericanRadioHistory.Com
By SAM SUTHERLAND and SAMUEL GRAHAM ESPIONAGE, INC.: The musical question asked in the June 23issue of the New Yorker magazine actually sounds more like thekind of query that used to prompt you to fill three or four BlueBooks full of nonsense during social studies exams. "What's theconspiratorial connection between the CIA, FBI, IRS and The Police?"it asks, which sounds pretty ominous.
It turns out that the conspiracy under discussion is the Copelandfamily: Miles III, who runs the IRS (International Record Syndicate);Ian, president of the FBI (Frontier Booking International, the subjectof a recent RW Dialogue); Stewart, who plays drums for the Police,and their father, Miles II, once an official of the C.I.A. (yup, the Cen-tral Intelligence Agency).
The short article, one of the New Yorker's very occasional deal-ings with the pop music world (Joan Armatrading, Jimmy Buffettand others have also appeared in its pages), may be the only timeacts like Split Enz, the Cramps and Skafish ever get mentioned insuch an august journal as this. However, it's typical of the magazine'sperspective that Miles II and the intrigue of his former professionseem to be of the most interest. Says Ian, after describing the sightof Arabs selling Chiclets to the Marines coming ashore in Lebanonin 1958: "When I got to be a teenager and started going out ondates, the girl's parents would say, 'And what does your father do?'I'd say I didn't know. Then I'd go home and ask him, and he'd say,'Who wants to know?'"
Of course, having a dad with such, urn, effective diplomatic con-nections can be a very nice thing indeed, as Ian found out whenMiles Senior once saw to it that Egyptian Customs opened speciallyso the Police could get their equipment out in time for a concertthere. What's more, the elder Copeland (Mom, by the way, haswritten some books about prehistoric man and about some flintsthey've found in Lebanon") was once a musician himself, playingtrumpet with Glenn Miller before World War II. These days, MilesII is "a business consultant in Washington. At least that's what hesays."
SHAKEUP: Jethro Tull has apparently undergone a major shakeupof personnel. Ian Anderson has fired Barriemore Barlow (drums) andkeyboardists David Palmer and John Evan, replacing them with vio-linist/keyboardist Eddie Jobson (from the band U.K.) and drummerMark Crane. Bassist Dave Pegg is a holdover.
"It's a whole new sound," reports Chrysalis' Toby Lubov with herusual depth of insight.
SAMURAI ROCK'N'ROLLERS: The Easternization of America con-tinues, and now to the rash of sushi bars, small cars, electronic task-masters and TV and movie romances about Japan can be added thefirst band to borrow its image from the samurai tradition.
(Continued on page 41)
Genesis Gets Gold at MSG
Atlantic recording group Genesis recently played a show at New York City's MadisonSquare Garden. The date came near the conclusion of the British band's six -week soloheadlining North American tour. Following the concert, Atlantic Records hosted aparty/reception for Genesis at the Penn Plaza Club. There the label took the opportunityto present the band with gold record plaques for their current best-selling album,"Duke." Shown in New York are, from left: Atlantic vice president of promotion VinceFarad; Genesis touring guitarist Daryl Stuermer; Genesis' Phil Collins, Mike Ruther-ford and Tony Banks; group manager Tony Smith; Atlantic vice president of AORpromotion Tunc Erim (in back); Atlantic executive vice president/general manager DaveGlew; and Genesis touring drummer Chester Thompson.
Perren Inks St. Lewis
Freddie Perren, president of MVP Records, has announced the signing of Keni St. Lewisto an exclusive long-term contract with Bull Pen Music, Inc. and Grand Slam Produc-tions, Inc. as part of MVP's continuing expansion. Pictured toasting the occasion are(from left): Lenny Hodes, vice president and general manager of Bull Pen Music; St.Lewis; and Perren.
CBS Masterworks HoldsIntl. Planning MeetingII NEW YORK-CBS Masterworksrecently held its first internationalplanning meeting since Master-works' reorganization earlier thisyear. Joseph F. Dash, vice presi-dent and general manager, CBSMasterworks, brought togetherkey members of the classical mu-sic A&R and marketing staffs fromthe New York headquarters officeas well as from the U.K., Conti-nental Europe and Japan.
The conference focused onA&R planning, marketing, pro-motion, international communi-cations, and the development ofworldwide policies relative toartists and release schedules. Anumber of major MasterworksA&R and marketing projects willbe announced in the near future.
Also covered on the agendawas a wide ranging discussion ofMastersound, CBS Records' newaudiophile label which marks thecompany's entrance into the in-ternational audiophile market.
'Rose' Single Gold NEW YORK-"The Rose," thecurrent single by Atlantic re-cording artist Bette Midler, hasbeen certified gold by the RIAA.
Coming
11
s
CBS Names Stanford
Special Prod. Sales Dir. NEW YORK-Robert Stanfordhas been appointed to the posi-tion of director of sales, specialproducts, CBS Records. The an-nouncement was made by TomMcGuiness, vice president, sales,branch distribution, CBS Records.
In his new capacity, Stanfordwill be responsible for giving di-rection to the CBS Records fieldsales staff on all promotional,classical music and audiophileproduct. He will report directlyto McGuiness.
Prior to joining CBS Recordsin 1974 as a sales representativefor the Columbus, Ohio market,based in Cincinnati, Stanford wasthe regional manager for the Re-cord Guild Corp. in Columbus,Ohio. Prior to his current ap-pointment he was a CBS Recordssales representative based in NewYork.
Roberts Mgmt. Firm LOS ANGELES - Gail RobertsPublic iRelations has announcedthe opening of their manage-ment division-Gail Roberts Per-sonal Management. Initialclients are Cherie Currie andMarie Currie.
Can MusicReally Charm
Your Soul?...
The AnswerLies in TheMusic of
On Philadelphia International Records & Tapes
RECORD WORLD JULY 12, 198015
AmericanRadioHistory.Com
L._ Record World
Disco FileBy BRIAN CHIN
(A weekly report on current and upcoming discotheque breakouts)II The short pre -Fourth of July week has been understandably shorton new releases; for the first holiday weekend of the summer, none-theless, there's a strong, varied top ten, and many of the hits thatseem destined to last all season long are already on their way up thechart-notably, the records by Diana Ross, Rod, Dynasty, Isaac Hayes,Gino Soccio, Cameron, France Joli and Pure Energy, along with thesleepers Kurtis Blow and Kano.
Two summers ago, the Rolling Stones' "Miss You" was the univer-sally -liked forerunner of a form that eventually turned out to bealmost totally barren, "rock -disco." Other successes can be countedon one hand: Rod Stewart, Donna Summer, and, most recently, Blon-die, produced by Giorgio Moroder. The subsequent deluge of rec-ords (most, as I recall, of European origin) that had lead guitars fad-dishly thrown in wound up pleasing almost no one and was sympto-matic of the serious identity crisis that nearly every Eurodisco producerwas undergoing in the intense touting of new wave and power pop(obvious exceptions: Petrus/Malavasi of Change and Tokarz, Pezinet al. of Voyage). The Stones' new album, "Emotional Rescue" (RollingStones, through Atlantic), pays only passing attention to its trendset-ting predecessor, thankfully, and avoids rock -disco cliche while sug-gesting disco just enough to make two cuts viable and broadeningdisco crossovers. The opener, "Dance Part 1" (4:22) is a hot little riffthat's a discofied equivalent of their many borderline -intelligiblerockers (I hear Jagger asking himself, "What am I doing on the cornerof West Eighth Street and Sixth Avenue?"), with the muscular, busysound of early Sunshine Band hits, especially at the horn -punctuatedclose. "Dance" is scheduled to appear in discodisc format, in a length-ened form, but expect to hear it on many dance floors in the meantime."Emotional Rescue," on disco disc now, as in the album mix (5:38) isa bit tougher for this disco buff to get into, frankly; most of the time,it has as much to do with reggae -dub as with disco. Still, the accept-ance level of the cut is bound to be quite high, since it's already abulleting pop radio single, and will certainly be picked up by all DJsinterested in rock and roll. Of course, all the uptempo material willfind its way eventually to disco or rock dance floors. Of those cuts,note especially "Summer Romance" and "Let Me Go," which containsour favorite lines off the album: "I tried giving you the velvet gloves;I tried giving you the knockout punch." Even better: the reggae "Sendit to Me," and our followup single pick, "She's So Cold," more Stonesmisogyny-politically repugnant, but it has a great semi -funky dancebeat and the most focussed hook on the album. Expect to hear avariety of cuts in the clubs through the fall.
OTHER ALBUMS: Rhyze has been enjoying lots of club and radioplay (especially in the Northeast) with their debut single, "Just How
Sweet is Your Love." This week, their like -titled album is out on Sam,and it has the same polish and relaxed feel as the hit. "Free" and "DoYour Dance," the lead cuts on either side, are both easy grooves toget into, catchy but not overly insistent, and filled out with prettykeyboard playing and big band -sounding horn parts. Jim Burgessmixed both with a pleasing sparkle and fineness of detail, holdingthem both under five minutes apiece. Also: "Singin' and Dancin'"(4:30) has a slightly harder clavinet/keyboard groove, alternatingchanting voices with a tight, tight horn section: "This change shouldmake you move." A solid, occasionally even graceful bow from Rhyze.Candi Staton may look like a proper, well -dressed businesswoman inthe cover shots on her self -titled album on Warners, but no fear: onvinyl, she ditches decorum entirely and comes across with soul. Thissecond project produced by Staton and Jimmy Simpson (Ken Morrisco -produced several rhythm tracks) is a highly consistent set thatfinds her sounding better than ever, and finally at home with fourballads, none of which is less than touching. For clubs, along withthe already -active single, "Lookin' for Love," DJs might try the pretty"Betcha I'm Gonna Get Ya," short and snappy, with a great closingrap.
DISCO DISCS: Three key rereleases this week: George Benson's"Give Me the Night" is now slightly longer (4:58) than the singleversion, on Warner/Qwest, promo only. This midtempo, sophisticatedcut should have no trouble beating a hot path right into several toptens: it conveys the essence of the "urban contemporary" sound andlifestyle. Another very indicative cut has been remixed for limited sub-scription release through New York's Disconet: "Cathedrals," the1976 hit by D.C. LaRue. Of course, this cut spoke to a very specificsegment of the audience, and to this great mass of the searching,there was never a more germane song. LaRue has made a career outof observing the seamy and seductive street life surrounding the barsand clubs, achieving a profound, ironic sense of speaking some for-bidden truth in "Cathedrals." And everyone danced to his anguished,yet mesmerizing vision. Steve Von Blau mixed, adding welcome highswith F. Scott Farrell's tambourines, restoring some strings edited outof the original and transforming some of the moves to freshen up thecut. The remix runs a rather long 10:53, and was prepared with theparticipation of LaRue and original arranger Aarim Schefrin, who,we're pleased to note, have a brand new album underway. In themeanwhile, "Cathedrals" might well enjoy the resurgence that CarrieLucas' out -of -the -vault "Keep Smiling" is experiencing nationally. KidCreole and the Coconuts' album will finally be released this month onAntilles/Ze; we had jumped the gun with a test -pressing review somemonths ago, before Ze split from Buddah. This week, Antilles is re-leasing a single not previously available, except as a seven-inch, in-cluding their calypso version of "There But for the Grace of God GoI," now firmly in the tradition of brash, tactlessly truthful calypsoballads (such as the Mighty Sparrow's "Wanted: Dead or Alive," heardquite a bit around New York). Backing this bent little soap opera is apumping "He's Not Such a Bad Guy After All," which explores theeternal "he -hurts -me -but -I -love -him" theme.
NOTES FROM THE CRADLE OF DISCO: Along with many othermajor American cities this month, the birth of the gay liberation move-ment was commemorated in New York last weekend with a marchand rally. By far, the most popular section of the parade was theDisco Kazoo and Tambourine Marching Band: we only spotted onekazoo, which was inaudible over a sound truck wired up with "2000
(Continued on page 17)
HitParadeLOST AND FOUND/
WASHINGTON, D.C.(Listings are in alphabetical
BUTTON /FT. LAUDERDALEorder, by title)
PARK PLACE/PHOENIXELECTRIC CIRCUS/NEW YORKDJ: JOHN "JELLYBEAN" BENITEZ
DJ: STEVE SMALLWOOD DJ: JOHN TERRY DJ: TOM KORANDA THE BREAKS-Kurtis Blow-MercuryBEHIND THE GROOVE-Teena Marie-GordyBODY FREE/BREAKAWAY-Watson Beasley
FEEL LIKE DANCING/THE HEART TO BREAKTHE/ HEART-France Joli-Prelude COME UPSTAIRS-Carly Simon-WB
GIVE ME THE NIGHT-George Benson-WBI AIN'T NEVER-Isaac Hayes-Polydor
-WB GIVE ME A BREAK-Ritchie Family- DON'T STOP, KEEP MOVIN'/LEAVE THAT I WANNA TAKE YOU THERE (NOW)-GinoDYNAMITE-Stacy Lattisaw-Cotillion Casablanca BOY ALONE-Poussez-Vanguard Soccio-WB/RFCEARTH CAN BE JUST LIKE HEAVEN/DO YOU
WANNA BOOGIE, HUNH?-Two Tons 0'Fun-Fantasy/Honey
I LIKE (WHAT YOU'RE DOIN' TO ME)-Youngand Company-Brunswick
IN THE FOREST-Baby'O-Baby'O
DYNAMITE-Stacy Lattisaw-CotillionFEEL LIKE DANCING/THE HEART BREAK
I'M COMING OUT/UPSIDE DOWN-DianaRoss-Motown
I'M READY-Kano-EmergencyFEEL LIKE DANCING/ THE HEART TO BREAK JUMP TO THE BEAT/DYNAMITE-Stacy THE HEART-France Joli-Prelude I'VE JUST BEGUN TO LOVE YOU-Dynasty
THE HEART-France Joli--Prelude Lattisaw-Cotillion GIVE ME A BREAK-Ritchie Family-Casablanca -SolarHELPLESS-Jackie Moore-ColumbiaI AIN'T NEVER-Isaac Hayes-Polydor
LOOKING FOR LOVE-Candi Staton-WBPARTY ON-Pure Energy-Prism THE GLOW OF LOVE-Change-WB/RFC (LP)
114, THE FOREST-Baby'O-Baby'OLOVE DON'T ALWAYS MAKE IT RIGHT-
I LIKE (WHAT YOU'RE DOIN' TO ME)-Youngand Company-Brunswick
RED LIGHT/FAME-Linda Clifford/Irene Cara-RSO
GO FOR IT/STARS IN, YOUR EYES-HerbieHancock-Columbia
Ashford and Simpson-WBLOVE SENSATION-Loleatta Holloway-
IN THE FOREST-Baby'O-Baby'O SEARCHING/LOVER'S HOLIDAY-Change- I AIN'T NEVER-Isaac Hayes-Polydor Gold MindLOVER'S HOLIDAY/THE GLOW OF LOVE/
SEARCHING-Change-WB/RFCPOWER-Temptations-Gordy
WB/RFCSHAKE YOUR PANTS-Cameo-Chocolate CitySUGAR FROSTED LOVER-Flakes-Magic Disc
IN THE FOREST-Baby'O-Baby'OLOOKING FOR LOVE-Candi Staton-WB
PARTY ON-Pure Energy-PrismSEARCHING/LOVER'S HOLIDAY-Change-
WB/RFCSTRETCHIN' OUT/YOUR LOVE IS A LIFESAVER
-Gayle Adams --PreludeTAKE YOUR TIME (DO IT RIGHT)-S.O.S.
Band-Tabu
SYMPATHY FOR THE DEVIL/TWO GOOD RED LIGHT-Linda Clifford-RSOREASONS-Jimmy Maelen-Pavillion S-BEAT-Gino Soccio-WB/RFC (LP)
TAKE YOUR TIME (DO IT RIGHT)-S.O.S.Band-Tabu SPACER-Sheila & B. Devotion-Carrere
SHAKE IT UP (DO THE BOOGALOO) Rod-Prelude
STRETCHIN' OUT/PLAIN OUT OF LUCK/YOUBROUGHT IT ONI YOURSELF-Gayle
TASTE OF BITTER LOVE/BOURGIE', BOURGIE' USE IT UP, WEAR IT OUT-Odyssey-RCA TOP OF THE STAIRS-Collins and Collins Adams-Prelude-Gladys Knight and the Pips-Columbia WHAT'S ON MY MIND/DARLIN' I-Watson -ABM TAKE YOUR TIME (DO IT RIGHT)-S.O.S.
RFC (12"*/LP cut) 3438 16 29 18 POP POP SHOO WAH/TOUCH ME WHERE IT'S HOT3 3 DYNAMITE/JUMP TO THE BEAT STACY LATTISAW/ EROTIC DRUM BAND/Prism (12"/LP cut) PDS 402/
Cotillion (12"*/LP cut) SD 5219 (At]) 9 PLP 1005 184 4 IN THE FOREST BABY'O/Baby0 (12") BO 1003 12 30 24 STARS IN YOUR EYES/GO FOR IT HERBIE HANCOCK/5 6 FEEL LIKE DANCING/THE HEART TO BREAK THE HEART
FRANCE JOLI/Prelude (12"*) PRL 12179 531 31
Columbia (12"*) JC 36415CLOUDS CHAKA KHAN/Warner Bros. (12"*) BSK 3385
1010
6 9 I'M COMING OUT/UPSIDE DOWN DIANA ROSS/Motown 32 28 SYMPATHY FOR THE DEVIL/SQUEEZE PLAY JIMMY(LP cuts) M8 936 M1 4 MAELEN/Pavillion (LP cuts) NJZ 36319 (CBS) 5
7 5 WHAT'S ON MY MIND/DON'T LET YOUR CHANCE GO BYE 33 - GIVE ME THE NIGHT GEORGE BENSON/Qwest/WB (12"*)WATSON BEASLEY/Warner Bros. (12"*) BSK 3445 9 49506 1
8 10 I AIN'T NEVER ISAAC HAYES/Polydor (12"*) PD 1 6269 6 34 30 I'M SO HOT/TRY MY LOVE DENISE LaSALLE/MCA9 7 STRETCHIN' OUT/YOUR LOVE IS A LIFESAVER/PLAIN OUT (LP cuts) 3239 6
OF LUCK GAYLE ADAMS/Prelude (12"*/LP cut) PRL 12178 8 35 25 SWEET SENSATION STEPHANIE MILLS/20th Century Fox10 13 I WANNA TAKE YOU THERE (NOW)/RHYTHM OF THE (12") TCD 107 (RCA) 14
12 8 CAN'T BE LOVE (DO IT TO ME ANYWAY) PETER BROWN/ 38 41 TASTE OF BITTER LOVE GLADYS KNIGHT AND THE PIPS/Drive (12") 441 (TK) 9 Columbia (LP cut) JC 36387 5
13 15 I'M READY KANO/Emergency (12") EMDS 6504 8 39 42 DON'T STOP, KEEP MOVIN' POUSSEZ/Vanguard (12"*)14 19 PARTY ON PURE ENERGY/Prism (12") PDS 404 4 VSD 79433 5
40 40 PARTY BOYS FOXY/Dash (Disconet 12" remix*) 30015 (TK) 715 11 USE IT UP, WEAR IT OUT ODYSSEY/RCA (12")PD 11963 1441 37 IT DOESN'T ALWAYS HAPPEN AT NIGHT/GONNA TAKE16 12 JUST HOW SWEET IS YOUR LOVE RHYZE/Sam (12") S 12332 10 THE EASY WAY OUT CISSY HOUSTON/Columbia
17 16 LET'S GET SERIOUS/BURNIN' HOT JERMAINE JACKSON/ (LP cut/12"*) JC 36193 10Motown (12"*/LP cut) M7 928 R1 14 42 36 HOOKED ON YOUR LOVE FANTASTIC ALEEMS
18 22 I LIKE (WHAT YOU'RE DOIN' TO ME) YOUNG AND FEATUR"NG CALEBUR/Panorama (12") YD 12025 (RCA) 13COMPANY/Brunswick (12") D 213 4 43 34 BACK TOGETHER AGAIN/DON'T MAKE ME WAIT TOO
19 17 BEHIND THE GROOVE/YOU'RE ALL THE BOOGIE I NEED LONG ROBERTA FLACK WITH DONNY HATHAWAY/TEENA MARIE/Gordy (12"*/LP cut) G7 992R1 (Motown) 16 Atlantic (12"*/LP cut) SD 16013 1520 20 I LOVE YOU DANCER/MUSIC, MUSIC/DO IT AGAIN 44 - DO YOUR THANG/POP IT ONE WAY FEATURING
VOYAGE/Marlin (LP cuts) 2235 (TK) 9 AL HUDSON/MCA (LP cuts) 5127 121 21 GIVE ME A BREAK RITCHIE FAMILY/Casablanca (12"*) 45 - SUGAR FROSTED LOVER FLAKES/Magic Disc (12") MD 1980 1
22 23NBLP 7223
FOR THOSE WHO LIKE TO GROOVE/IT'S TIME TO PARTY7 46 35 I'LL CRY FOR YOU/I HEARD IT/YOU GOT IT KUMANO!
Prelude (LP cuts) PRL 12177 9NOW RAYDIO/Arista (12"*/LP cut) AL 9515 623 29 EARTH CAN BE JUST LIKE HEAVEN/DO YOU WANNA 47 47 POWER TEMPTATIONS/Gordy (12"*) G8 994 M1 (Motown) 7
BOOGIE, HUNH?/I GOT THE FEELING TWO TONS 48 48 GIVE UP THE FUNK (LET'S DANCE) B.T. EXPRESS/ColumbiaO'FUN/Honey/Fantasy (12"*) F 9584 19 (12"*) JC 36333 11
24 27 GET IT OFF CAMERON/Salsoul (LP cut) SA 8535 (RCA) 3 49 44 THE GROOVE RODNEY FRANKLIN/Columbia (12"*) JC 36122 925 33 THE BREAKS KURT'S BLOW/Mercury (12") MDS 4010 4 50 38 SKYYZOC SKYY/Salsoul (12") SG 329 (RCA) 5
Disco File
(*non-commerck3112", discontinued)
(Continued from page 16)watts of disco power" but there were tambourines and poppers tospare. Although the music was barely mixed and not at all "pro-grammed," every hot cut triggered a new surge of energy and shoutingfrom both marchers and watchers moving along Fifth Avenue. By theend of the march, which spanned most of the length of Manhattan(or "Personhattan," as one T-shirt read), this high-stepping contingentwas the only one with much energy and enthusiasm left. Such a showof spirit reminded us of the symbolic power and affirmation at the rootof disco, an often -forgotten point amid crossover successes and theassimilation of the genre into general "pop" music. The multiplicityof minorities that made disco happen a decade ago is still cohesiveand committed, still capable of creating energy spontaneously in re-sponse to the right message, melody and rhythm. (They've gone along distance in many senses.) Notable selections from the parade bycategory might include Get 'Em Up and Jumping: "Feel Like Dancing,""Do the Boogaloo," "Music Trance;" Past Fave Raves: "Found aCure," "Harmony:" Instant Peaks: "Lover's Holiday," "I'm ComingOut," "I Got the Feeling" and, especially, "You Gave Me Love." LeftField Hit: "Red Light," still breaking here in New York; Most Becom-ing: the festive "Use it Up, Wear it Out," which made the march
sound and act like a West Indian carnival procession even after aninety block walk. Just think what disco could have meant to Mao'sLong March . . .
Just a few closing notes: the Chic album, "Real People," will arrivenext week; the popular import album by Geraldine Hunt will be re-leased here soon on New York's Prism label; check the new Queenalbum, "The Game" (Elektra), for a smashing one-off on the Chicsound, bassist John Deacon's "Another One Bites the Dust." Couldcatch on for real. And: Heatwave will return to the studio this summer,with with the recuperated Johnny Wilder and the extremely successfulRod Temperton at 'he helm.
Seduction Productions Bow NEW YORK - Alex Masucciand Clarence Burke have an-nounced the establishment of Se-ductior Productions.
Alex Masucci is formerly assist-ant to the president of the IslandRecords and vice president of
Fania Records.Clarence Burke was a founding
member of the Five Stairsteps.Upcoming Seduction Produc-
tion projects include the next In-visible Man's Band LP, and al-bums by Cubie Burke and Clar-ence Burke.
RECORD WORLD JULY 12, 1980 17
AmericanRadioHistory.Com
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JULY 12, 1980JULY JULY
12 S
101 102 THE BLUE SIDE CRYSTAL GAYLE/Columbia 1 11270 (Almo, ASCAP/Irving, BMI)
102 103 NEVER GIVIN' UP AL JARREAU/Warner Bros. 49234 (Al Jarreau/Desperate, BMI)
103 104 SHIVER AND SHAKE SILENCERS/Precision 9 9800 (CBS) (Cactus, ASCAP)104 - MIRAGE ERIC TROYER/Chrysalis 2445 (Red Admiral/Eric Troyer, BMI)105 105 ALL THE WAY BRICK/Bang 9 4810 (CBS) (Web IV, BMI)
116 120 DON'T TAKE MY LOVE AWAY SWITCH/Gordy 7181 (Motown)(Jobete, ASCAP)
117 122 I AIN'T NEVER ISAAC HAYES/Polydor 2090 (Rightsong, BMI)118 - STUPEFACTION GRAHAM PARKER/Arista 0532 (Carbert, BMI)119 119 DANCING GIRLS CHRIS REA/Columbia 1 11243 (Magnet/Interworld,
ASCAP)
120 - FIRST ... BE A WOMAN LENORE aMALLEY/Polydor 2055 (Seacoast, BMI)121 115 TAKING SOMEBODY WITH ME WHEN I FALL LARRY GATLIN/Columbia
1 11219 (Larry Gatlin, BMI)122 127 ROCK 'N ROLL SOLDIER POINT BLANK/MCA 41268 (Down 'n Dixie/
Irving, BMI)123 124 JAM (LET'S TAKE IT TO THE STREETS) FIVE SPECIAL/Elektra 46620
SAVE ME Wissert-Mason (Blackwood/Bruiser, ASCAP) 87
DON'T FALL IN LOVE WITH A DREAMER SEXY EYES Haffkine (April, ASCAP/Butler -Rogers (Appian/Almo/Quixotic, Blackwood, BMI) 37ASCAP) 27 SHANDI Poncia (Group, ASCAP/Mad
DRIVIN' MY LIFE AWAY Malloy Vincent, BMI) 54(DebDave/Briarpatch, BMI) 51 SHE'S OUT OF MY LIFE Jones (Fiddleback/
DYNAMITE Walden (Walden/Gratitude Kidada, BMI) 11
Sky, ASCAP/Cotillion/Brass Heart, SHINING STAR Graham (Content, BMI) 6BMI) 95 SHOULD'VE NEVER LET YOU GO Appere-
By DAVID McGEE WAX TRACKS: So many records come into the office, and somany take so long to land on the turntable. Once in awhile,though, you open a package and find something you're not ex-pecting and know nothing about. But it piques your interest any-way. Something in the way it looks, or in the tone of the linernotes; or maybe it's instinct telling you that this record should beheard.
This week's pleasant surprise comes in the form of a Columbiaalbum by one Barbara Dickson, a 33 -year -old English singer who'shad one other American release (on RSO) that came and wentwith little fanfare. "The Barbara Dickson Album" is splendidly pro-duced by Alan Tarney (who also wrote some of its best songs) whohas found a nice balance between a variety of musical styles,from new wave energy, to shimmering Abba-esque techno-pop tothe sort of minimalist stylings of, say, Dire Straits. All of this is
in support of a powerful, mature vocalist who shares with all finesingers the ability to transform seemingly -mundane lyrics intomoving treatises (mostly on love, lost and found, in this case).Her subtle turns of phrase on Tarney's poignant "Can't Get ByWithout You" makes for a memorable performance, just as herpowerful declamation of "January -February" (also written by Tar-ney) adds a desperate, cutting edge to the tale. All in all an im-pressive debut, one rife with singles possibilities, given the highly -melodic, driving nature of the tunes. If this one doesn't get no-ticed, something's wrong.
A record that needs little explanation is an import, distributeddomestically by JEM, entitled "40 Timeless Hits from the Monkees"(EMI Records Australia, Monk 11/2). Suffice it to say that all of thehits are here and more, including the Michael Murphey/BoomerCastleman gem, "What Am I Doing Hanging 'Round?" and, for thefirst time on an LP, the group's rendition of Leiber-Stoller's "D.W.Washburn." And fear not those of you who have suffered through theabysmal sound of the Monkees' domestically -released greatest hitspackages: what you hear on these four sides isclear.
The liner notes are a special treat. A complete Monkees his-tory, compiled by Australian rock journalist Glenn A. Baker, detailsthe rise and fall of the group, and chronicles each group mem-ber's life, pre- and post-Monkees. With some assistance, Baker hasalso compiled a complete Monkees Discography. Complete, rightdown to unreleased tracks, "songs which appear on record in a
notably different version than as broadcast on the TV series/film,""other compilation albums supposed to exist," different mixes, andall sorts of solo recordings, again pre- and post-Monkees. It ap-pears the only thing Baker didn't figure out is how well the guyshit with men in scoring position and less than two out. An indis-pensable collection, to be sure.
SOFTBALL NEWS: The Flashmakers picked up a win and a lossin league play last week and took undisputed possession of thirdplace with a 6-3 record. Paramount defeated RW 11-8 by pick-ing up eight runs in the sixth and seventh innings and holding RW'shitters at bay after the fourth inning. The Flashmakers reboundedwith a 6-2 win over United Artists in a game which saw homeruns hit by Albie Hecht (who, unbeknownst to him and his team-mates, was playing with a concussion which he suffered againstParamount after being smacked right between the eyes by a badhop grounder) and by the Coach himself. The latter blast was ap-pealed by RW centerfielder and designated mouth John Kostick,who argued that it was in fact an error by the centerfielder thatallowed the round -tripper. Kostick, of course, made no mentionof the numerous lenient scoring decisions made in his favor overthe years which have allowed him to become the Flashmakers'all-time leading home run hitter. Nevertheless the matter went toarbitration, and the team's legal counsel, Jon Skiba, miserablethough he may be, called it correctly: "A home run all the way.The centerfielder had no play." And that was that.
In non-league play, RW parlayed outstanding defense and a su-perb pitching performance by Andy BeIth into a 4-3 win overPetry Advertising.
JOCKEY SHORTS: Congratulations to National Record Mart'sGeorge Balicky, who was promoted to vice president at the corn-pany's recently -concluded convention. Couldn't happen to a nicerguy. Just ask George ...Importe /12 Records has signed singer/songwriter Amy Bolton. She'll record a four -song EP, scheduled tobe released on July 14.
Handshake Label Bows (Continued from page 3)Amsterdam, where Hansa Pro-ductions maintains offices, Alex-enburg will be in the position ofhaving two companies exploitinghis releases. Hansa has alwaysmaintained its own promotionstaff which will add its effort tothe distribution, marketing andpromotion by Handshake.
In addition to building HansaMusic, the largest publishingcompany in Europe, Peter Meiselwas the first independent pro-ducer in Germany and becameone of Germany's most success-ful record producers.
The first release on Hand-shake, in mid -July, will be aduet between Amii Stewart (a
Handshake artist) and JohnnyBristol. Additional Handshakeartists are Gerald Masters fromEngland, Revelation from NewYork and Urban Heroes, currently
on the singles and album chartsin Holland.
Monti Lueftner, president ofthe Ariola International Group,and Elliott Goldman, vice presi-dent, U.S. and Canadian opera-tions, hailed both their invest-ment in Handshake Records andtheir licensing agreement withthe label.
ExceptionsHandshake will go through
Ariola Records throughout theworld with the major exceptionsof Canada, Australia, Japan,South Africa and Italy. Mexicoand Brazil fall within the Ariolaarea of responsibility, and Alex-enburg is currently negotiatingdistribution deals in the otherCentral and South Americanmarkets. Distribution for the U.S.is expected to be announcedshortly.
Peter Meisel, Trudy Meisel, Ron Alexenburg
Chrysalis Ups Abramson LOS ANGELES - Billy Bass,Chrysalis Records vice presidentof promotion and creative ser-vices, has announced the promo-tion of Michael Abramson to theposition of national promotiondirector.
Michael Abramson
In his new position, Abramsonwill be responsible for coordi-nating all promotional activitiesencompassing Chrysalis fieldrepresentatives and the distribu-tors promotional network.Abramson, who will transfer tothe Los Angeles office, previouslyworked in New York and servedas director of album promotionfor Chrysalis.
RCA LaunchesAlabama Push NASHVILLE-RCA Records hascreated a wide-ranging marketingstrategy to support the groupAlabama. Drawing on airplay, ad-vertising, merchandising, and edi-torial support, the plan culminatesin a series of showcase perform-ances.
The RCA -sponsored, coast -to -coast showcase tour, beginningJuly 19, will see performances forregional radio, retail and presspersonnel in Wheeling, W. Va.;Wichita, Kansas; plus Denver,Phoenix, Los Angeles, Dallas, At-lanta, Cincinnati and Detroit.
Campaign SetAlready in motion at both trade
and consumer levels is a broad -based advertising program de-signed to develop industry andpublic awareness of Alabama.Limited -edition belt buckles anda T-shirt playing off the albumcover graphics have also beenproduced for heightened visibil-ity.
22 RECORD WORLD JULY 12, 1980
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BMA(Continued from page 3)percent of the market to its cur-rent 14 percent share. In dollars,black music increased tenfold-from $50 million annually in 1970to $500 million last year.
"Disco has the right beat," hesaid, "but it was sometimes face-less music. In contrast, what givesblack music its universal appealis that while much of it is dancemusic, it also brings out the es-sential character of the artist. Ourpriorities should be with the in-tegrity of the individual per-former, with good songs, andwith originality."
This year's conference demon-strated a successful effort on thepart of the two-year old organi-zation to respond to those con-cerns expressed by its membersat the 1979 Founders' Conferencein Philadelphia. In addition to thewide range of topics coveringareas of marketing, distribution,composing, financing, career de-velopment, radio programming,legal negotiations and trade asso-ciations there was also informa-tion presented on the music op-portunities in theatre and film.The panels of resolve, six ses-sions on specific questions forthe BMA to address itself to,were also convened.
In a special closed -door meet-ing, the BMA board of directorsmet for the first time with itsboard of advisors. Record Worldhas learned that in that session,Kenneth Gamble called upon theboard of advisors to providegreater involvement and financialsupport to the BMA. "Until now,we have not called upon you foradvice and participation in build-ing the BMA," Gamble remarked."We now seek the dynamic in-volvement of the Advisory Boardin helping us to construct a mu-sic association dedicated to thelarger participation of black peo-ple in the benefits derived fromthis industry.
Financial Support"The financial support of the
advisory board is essential. Evenmore essential is the leverage youcan provide that will enable usto broaden BMA's funding base.We want your advice and helpin carrying out projects of mutualinterest that are beyond our capa-bilities." Following lengthy dis-cussion on projects and policy,the board of directors unani-mously adopted the formation ofa Standing Executive Committeewith members of both boardswho will meet at least quarterly.
Shown at the Black Music Association second annual conference (from left) are: (toprow) Walter Yetnikoff, president, CBS/Records Group delivering the keynote address;District of Columbia Mayor Marion Berry, Glenda Gracia of BMA and Walter Yetnikoff;composers Len Chandler and Curtis Mayfield at Songwriters Forum; BMA's exec. vicepresident Ed Wright, Ewart Abner with first presidential award, BMA president KennyGamble and BMA's Sr. vice president Jules Malamud; (center row) BMA presidentLeBaron Taylor, Ewart Abner and Kenny Gamble at awards luncheon; Kenny Gamble,
A motion to seek assistance andexpertise from the Country Mu-sic Assoc. was also adopted.
The overall attitude of the at-tendees was that the conferencewas well organized and improvedin procedure over last year's, andthat the level of available infor-mation in each seminar wasgood. There is a growing involve-ment of young hopefuls in theBMA, who generally expressedsatisfaction that the conferenceput them in touch with thosewhose attention they sought. Thepresence of these future musicmakers and executives was great-ly underscored at almost everysession. Two seminars, however,attracted an unusual number ofparticipants. While the averageattendance at most of the concur-rently scheduled seminars wasbetween 25-50 persons, "Re-cording and Publishing Deals,"chaired by attorney Louise Westdrew 175. The most outstandingworkshop was producer JamesMtume's two-part session on"What Makes A Hit: How ToProduce Them" attracted wellover 250 on Saturday and almost400 on Sunday. Perhaps whatdrew the crowd was the serious,classroom -like atmosphere, where
a great portion of the time wasdevoted to making clear the real-ities of the industry. This down -to -business approach was furtheremphasized by a proposal fromMtume that the group presentconsider organizing into a non-profit publishing company. Thefirst steps toward that were im-mediately taken.
Female ParticipationThe younger attendees were
not the only ones attempting toget a greater voice in BMA. Theobvious lack of female participa-tion on the board of directorsprovoked questions in many ofthe seminars on women's role inthe organization. Currently thereis only one woman (Betty Wright)serving on the board of directors.
On Saturday (28), the BMA pre-sented its first presidential awardto Ewart Abner who delivereda moving speech of appreciation.The final day of the conferencebegan with a black leadershipforum, where representativesfrom various black political or-ganization were invited to ad-dress the question of how theirgroups and the BMA might re-solve matters of mutual concern.
(Continued on page 27)
Chip Carter accepting award for Pres. and Mrs. Carter, Ed Wright, LeBaron Taylor andBruce Lundvall; Record World publisher Bob Austin with Peaches of Peaches and Herb;Dave Clark, Rod McGrew, Bruce Lundvall and Kenny Gamble; Mayor Berry and AhmetErtegun, chairman of Atlantic Records; Logan Westbrooks, pres. of Source Records,addresses seminar; producer James Mtume conducts seminar on making hits. DavidLieberman, of Lieberman Enterprises; George Ware of BMA and Jules Malamud.(Photos by Kwame Braithwaite and James Fortune).
RECORD WORLD JULY 12, 1980 23
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Heroes. The Commodores' tenth alb
AmericanRadioHistory.Com
1980 Motown Record Corporation
AmericanRadioHistory.Com
L-
Record World
Z---Z_CiLLLILI Li_Herbie Mann Goes It on His Own
By BEN LIEMER Herbie Mann recently cele-brated his twentith year as a re-cording artist. He has releasedsome fifty albums, all of them onone label, Atlantic. He has beencredited as a great innovatorin opening up jazz to myriadinfluences. In 1969 Herbie Mannrecorded what many consider tobe the first successful fusion rec-ord, featuring now -familiar namesin the idiom: Roy Ayers, LarryCoryell and Miroslav Vitous. It isentirely possible that withoutHerbie Mann, the bossa novamight never have achieved such Herbie Mann
popularity in the U.S. in the early 1960s. Mann has also anticipatedtrends in both reggae and disco, successfully documented on the"Reggae" and "Discotheque" albums. "Discotheque" was a smash andproduced one of the early hits in this genre, "Hi -Jack." Mann has re-corded with everyone from Southern bluesmen and London rock androllers to Middle Eastern percussionists and traditional Japanese musi-cians, constantly stretching the boundaries of improvisational music.In this Record World Dialogue, Mann examines the current state ofthe jazz musician and the economic pressures on him in putting jazzin the marketplace. He also discusses his recent recording and per-forming projects, including the formative steps in creating his ownindependent record label.
Record World: Many interviews you've done seem to concentrate onthe past, the various people you've played with and the albums you'vedone. Let's talk about the present and the future of Herbie Mann for achange. What is this new project that you're working on? Are yourecording a digital album?
Herbie Mann: I'm working on getting together my own label. Firstof all, I've got a dffierent kind of concept-I'm not going to distributeit initially through regular channels. It's either going to be digital ordirect disk. I just feel that in order for me to develop a credibility againbetween the consumer and the producer I have to start going throughchannels other than the normal record channels. My theory about therecord business problems is that people have been "Big Mac-ed" todeath.
RW: Are you thinking about the mass marketing techniques theyuse?
Mann: I think what happened is that the industry spent so much timefiguring out how to market the product that they forgot about themusic somewhere along the line. They might not have intended it that
'way. You look at product that's available now-probably the mostmusical thing that's around today and that's successful is MichaelJackson's album because of his desire and also because of the fact thatQuincy Jones was involved with it. To me Quincy's last album, "Stuffand All That Jazz" is the epitome of what a musical commercial albumcan be. And look how long it took Michael to be able to have itthat way. My feeling about the demise of the record industry is thatthere isn't a Beatles out that people will kill to buy. Over the weekendI bought five fusion records, which I won't name only because all ofthe artists happen to be friends of mine. They all sound like rejectsfrom Earth, Wind and Fire, either because of their feeling of that'swhat the A&R department of the company thinks will be successful orbecause of the definite fact of the A&R department saying 'this is whatwe'd like you to play." The record buying market has been put in acorner where only a certain percentage of the people are even inter-ested in music. They have eliminated a large percentage of the peoplewho used to buy records. The record companies may feel it's toomuch trouble or maybe it's easier to aim at a certain market. They talkabout demographics and 42-45 percent rock and roll and that's only42-45 percent of the existing market. They've isolated a particular seg-ment of the public, which they feel are easy to manipulate the wayGeneral Motors would to sell a new car.
-The Viewpoints of the Industry
RW: Don't you think part of the reason for this is because of thecurrent economic climate? Didn't the record companies have to be-come really concerned for their economic well being?
Mann: But they use as a model other forms of American industry.Quality has gone out the window and quantity has become the stand-ard. There's two sides to the story. Granted you want to mass market.OK, that's wonderful, but you have to develop product. You can'tspend the time, or they haven't figured out a way to spend the timemaking sure it's musical.
RW: So what you would tell the record companies is something like"Hey listen, let's not forget we're dealing with music and art ingeneral."
Mann: I think that has been completely forgotten. When a recordcompany says "Well I'd really like to record so and so because I likethe way he plays," what they're also saying is "Maybe on Friday after-noon at 5:30 we can talk about working on that album. But we can'tspend too much time with it because that is not what is keeping thecompany solvent, but the rock and roll group or the MOR group is."So it's almost like, it's a favor, which again is a wrong way. And that'swhy I'm starting my own company, because I cannot get any recordcompany in the industry to seriously discuss recording me.
RW: Which is really surprising given your fifty odd albums andtwenty years of fairly steady success. Nobody is willing to give youa deal on your own terms?
Mann: Listen, I'm very open to listening to other people's terms.Nobody has even had any dialogue. The few companies that havespoken to me, the few vague discussions we've had, the deals havebeen so minimal in terms of money and in interest that I feel, at thispoint, it's even silly and kind of an insult. I think I would rather figureout a way to start my own label and sell a high quality product at amuch higher price and only have to sell 15 thousand. I'd like to putout one record a year in time to be bought as a Christmas gift.
RW: Are you saying that you will probably be reducing your albumoutput in the future?
Mann: Yes, of course. Well, the only thing that may happen is in theinterim, while I'm getting this to happen, I'm looking around for one-shot deals. I'm speaking with Polydor about recording with one of theirartists and I'm speaking with RCA classical about recording with one oftheir artists.
RW: Who would that be?Mann: I mentioned to RCA that I would like to record with James
Galway. I've spoken to Polydor about recording with Roy Ayers. I
would do different things until my own album happens. My own albumwould be of my current group recorded live, whether it's in the studioor in front of an audience. I would put out one package a year. I
would have to spend more time on the road because I would sellthe records where I work. And I would like to try and develop thatone to one relationship between the consumer and the producer sothey feel once again they can trust the product they can buy. I wouldhave three different price structures for the album: one if you subscribeto the thing, one if you bought it in a retail store and a lesser price ifyou bought it where I worked. So that would also mean that the peoplewould be coming to where we play; it would work a dual purpose.And then what I would do is when I'm recording direct disk or digitally,I would also be backing it up, recording it regular tape, 24 -track andhopefully sell the album to somebody for worldwide distribution aslong as it's not available in the states for eighteen months. Then eigh-teen months after the higher priced record is out, I would make thelower priced record available. It would be like the paperback version.
(Continued on page 37)
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NARM Focuses on Local Chaptersto its members' needs by antici-pating them and offering solu-tions. Cohen's innovations inthis regard are numerous, begin-ning with a revamped nationalconvention format that facilitatesproblem -solving; the introduc-tion of regional meetings toserve as adjuncts to the conven-tion and to reach middle -man-agement personnel on whatCohen terms a "grass roots"level; the introduction of a Re-tail Management CertificationProgram (RMCP) to provide theindustry with better -trained storemanagers; and the developmentof a summer intern program togive business management stu-dents hands-on experience inrunning a record store. At thisyear's convention, Cohen bowedNARM's most ambitious effortyet in the form of an industry-wide gift -giving campaign. Thusfar the campaign has been suc-cessful in uniting manufacurersand merchandisers in the com-mon goal of promoting and mar-keting records as gifts and thusincreasing store traffic.
Because it has gone fartowards improving communica-tion between manufacturers anddealers, gift -giving is in a sensecentral to Cohen's latest innova-tion, i.e., the establishment oflocal NARM chapters which areto be staffed by local merchan-disers selected by their peers andcharged with developing pro-grams to enhance the music in-dustry's image and to expandNARM's membership by activelyseeking out those accounts notpresently associated with the or-ganization. Cohen presented hisproposal for local chapters to theNARM board of directors on May15, and the board approved it.
"A lot of trade associationshave local chapters and that'sthe biggest source of theirsrength," Cohen told RecordWorld in an exclusive interview."Therefore we're going right toeach marketplace and trying tobuild the nucleus of the recordindustry community that will dealwith local media, local govern-ment, with the consumers, PTAs-the communities-and to or-ganize on a continuing basis vari-ous events or promotions aroundevents that can bring more trafficinto the record and tape store."
Cohen revealed that NARM isabout to hire a public relationsfirm in an effort to mount a moreintensive nationwide campaignin support of the gift -giving con-cept. Local chapters, he claimed,can insure that "all industrymembers in a community areunited in gift -giving, fully mer-chandising it and using it intheir advertising." He has pro-posed that NARM set up a field
force of 200 people to monitorlocal dealers and to provide as-sistance and advice regarding ef-fective merchandising techniques.
In line with this hoped -for co-operation between dealers is thenotion of improving the music in-dustry's image by mounting localefforts aimed at this ultimategoal. Cohen feels the counterfeit-ing, drugola and payola scandalshave combined with the poorbusiness of late to place the in-dustry in an "atrociously bad"light with the consumer press. Astrong effort by local chapters tobecome involved in communityaffairs and to initiate projects-such as "fun runs" ("Why not aGive the Gift of Music Fun Run,with proceeds going to the T. J.
Martell Foundation, or somethinglike that?") and Record Days atbaseball stadiums ("Give the first10,000 fans a free sampler LP");sweepstakes; donations to localcharities and orphanages-in aneffort to, in Cohen's words,"show the business communitythat we are serious and that wedo conduct ourselves like anyother business; that the con-sumer press has overemphasizeddrugola and payola and stuff likethat."
To Cohen, this type of publicrelations work is "extremely im-portant. It says we're involved inthe community, we're not justsitting back. We're in control;we're visible. We're not justthere to separate the customerfrom his loose change."
The RMCP and summer internprograms are two of the educa-tional services NARM providesfor its members. Cohen saidNARM could provide yet anothervaluable service on a local levelby establishing anti -piracy watch-dog groups to instruct dealersin identifying counterfeit productand to ferret out the source ofthe illicit goods. "What NARM's
(Continued from page 3)
most concerned about, I think, is
that we enable the industry tomaintain a competitive market-place out there where one mer-chandiser is not competing ille-gally with another to his benefit,"said Cohen. "If a guy can sell a
record for a dollar less than theguy across the street becausehe's got counterfeit product inthere, he's upsetting the normalsupply -demand competitive en-vironment in that community.We want to watch that, and theonly way to do it is to have afield force like this, and to or-chestrate it properly so that weconstantly come back and tellthem how to recognize the prod-uct if there are means by whichto do that."
Just as regional meetings areintended to expand and elabo-rate on information impartedduring convention seminars, lo-cal chapters, according to Cohen,can be even more specific inaddressing the unique problemsof advertising, merchandising,promotion and so forth encoun-tered in a particular market.NARM is also planning to take itsRMCP course "on the road" forone day sessions, "almost givingit away so that we can reach morepeople with it."
In addition to bringing newmembers into NARM, Cohen be-lieves locals could in effect serveas "farm" clubs for the NARMboard. Cohen said board mem-bers are too often chosen simplyon the basis of another member'srecommendation, minus any rec-ord or account of their interestand participation in industry ac-tivities. "Each local chapter willhave its own local group of of-ficers that will be selected andelected by that group," Cohenadded. "By looking at the variouschapter officers we can evaluatefuture board members, havinggiven them a chance on a local
Dalton Debuts in N.Y.
Columbia artist Lacy J. Dalton recently made her New York City debut at the OtherEnd. Dalton is currently in the midst of an extensive tour in support of her self -titledalbum and current single, "Losin' Kind of Love," both produced by Billy Sherrill.Pictured backstage are, from left: Dick Asher, deputy president and chief operatingofficer, CBS/Records Group; Lacy J. Dalton; and Bruce Lundvall, president, CBS Rec-cords Division.
basis to prove their value by theresults they get in each com-munity."
Programming for regionalmeetings has in the past evolvedfrom seminars and presentationsmade at the national convention.With the advent of local chapters,however, programming will bestructured to suit the needs ofeach region, as defined by thetopics dominating each localmeeting.
Ultimately, local chapters willenable NARM to expand its mem-bership. "We feel that just as
new records and new artists arethe lifeblood of our industry, soare new members for NARM,"Cohen stated. "Most of the sup-port and the enthusiasm for theprograms we have comes fromour new members who are forthe first time experiencing whatit's like to be part of a tradeassociation.
"I think the time is right forthis in our industry now," Cohenconcluded. "There's so manyproblems plaguing us that wetend to get immersed in themand forget that there are waysto overcome them. Rather thangive up we should realize thatthere's a mechanism for over-coming the problems, and thelocal chapter is that one mecha-nism for bringing together thewhole community."
BMA Meet(Continued from page 23)The most stirring words camefrom Rev. Jesse Jackson, whospoke on areas now being inves-tigated by his Operation PUSH.He announced that they havecontacted the Japanese ambassa-dor and some of Japan's trade as-sociations with the intention ofgetting them to appoint blacksto their boards of the major elec-tronic manufacturers.
The coming wave of new tech-nologies was a recurring subjectand it was discussed in one formor another in many of the work-shops. There was a panel andexhibition on video and audiohardware and software, as wellas a workshop on recording stu-dios chaired by Sigma Studios'Joe Tarsia.
As of now there is no word asto whether there will be anychanges in BMA's other person-nel, nor is there an indication ofa pending shift in the organiza-tion's current policies.
Other newly elected officersare Ewart Abner, vice president;Rod McGrew, secretary; andJames Tyrrell, treasurer. The sevennew members of the board ofdirectors are George Shiffer, SkipMiller, Betty Wright, Bob Law,Teddy Pendergrass, Ray Harrisand Ted Hudson.
RECORD WORLD JULY 12, 1980 27
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ULY 12,JULY
12
Record World
1980JULY WKS. ON
S CHART
2 LITTLE JEANNIE
ELTON JOHN
MCA 41236
MCARECORDS
11
3 CUPID/I'VE LOVED YOU FOR A LONG TIME (MEDLEY)SPINNERS/Atlantic 3664 9
3 1 THE ROSE BETTE MIDLER/Atlantic 3656 16
4 LET ME LOVE YOU TONIGHT PURE PRAIRIE LEAGUE/Casablanca 2266 8
5 MAGIC OLIVIA NEWTON-JOHN/MCA 41247 8
.111
8 LOVE THE WORLD AWAY KENNY ROGERS/United Artists 1359 5
9 MORE LOVE KIM CARNES/EMI-America 8045 76 AGAINST THE WIND BOB SEGER/Capitol 4863 11
11 ONE FINE DAY CAROLE KING/Capitol 4864 8312 SHINING STAR MANHATTANS/Columbia 1 11222 8
11 7 STEAL AWAY ROBBIE DUPREE/Elektra 46621 11
ei 14 IT'S STILL ROCK AND ROLL TO ME BILLY JOEL/Columbia1 11276 7
15 STAND BY ME MICKEY GILLEY/Full Moon/Asylum 46640 7
17 TIRED OF TOEIN' THE LINE ROCKY BURNETTE/EMI-America 8043 8
15 10 SHE'S OUT OF MY LIFE MICHAEL JACKSON/Epic 9 50871 1316 13 BIGGEST PART OF ME AMBROSIA/Warner Bros. 49225 1517 16 SHOULD'VE NEVER LET YOU GO NEIL SEDAKA & DARA
SEDAKA/Elektra 46615 14
Ell 21 I'M HAPPY JUST TO DANCE WITH YOU ANNE MURRAY/Capitol 4878 4
23 MAKE A LITTLE MAGIC DIRT BAND/United Artists 1356 4
26 ALL OUT OF LOVE AIR SUPPLY/Arista 0520 4
25 MISUNDERSTANDING GENESIS/Atlantic 3662 320 DON'T FALL IN LOVE WITH A DREAMER KENNY ROGERS
WITH KIM CARNES/United Artists 1345 16
29 SAILING CHRISTOPHER CROSS/Warner Bros. 49507 4
27 EMPIRE STRIKES BACK (MEDLEY) MECO/RSO 1038 422 COMING UP PAUL McCARTNEY/Columbia 1 11263 8
30 TAKE A LITTLE RHYTHM ALI THOMSON/A&M 2243 4
27 28 SOMETHIN"BOUT YOU BABY I LIKE GLEN CAMPBELL &RITA COOLIDGE/Capitol 4865 8
28 19 THE BLUE SIDE CRYSTAL GAYLE/Columbia 1 11270 8
29 31 ONE MORE TIME FOR LOVE BILLY PRESTON AND SYREETA/Tamla 54312 (Motown) 4
30 18 THEME FROM NEW YORK, NEW YORK FRANK SINATRA/Reprise 49233 (WB) 11
34 THAT LOVIN' YOU FEELIN' AGAIN ROY ORBISON &EMMYLOU HARRIS/Warner Bros. 49262 2
35 JOJO BOZ SCAGGS/Columbia 1 11281 4
36 ASHES BY NOW RODNEY CROWELL/Warner Bros. 49224 3
37 DRIVIN' MY LIFE AWAY EDDIE RABBITT/Elektra 46656 3
38 WHERE DID WE GO WRONG FRANKIE VALLI/MCA/Curb41253 3
36 32 DREAM STREET ROSE GORDON LIGHTFOOT/Warner Bros.49230 7
2
22
25
4041
4243
37 39 BEYOND HERB ALPERT/A&M 2246
48 YEARS FROM NOW DR. HOOK/Capitol 488542 LOVE THAT GOT AWAY FIREFALL/Atlantic 367041 IN AMERICA CHARLIE DANIELS BAND/Epic 9 5088824 LOST IN LOVE AIR SUPPLY/Arista 047943 KING OF THE HILL RICK PINETTE AND OAK/Mercury 7604944 LOVE FANTASY PHILADELPHIA LUV ENSEMBLE/Pavillion
9 6404 (CBS) 2
44 45 DOC EARL KLUGH/United Artists 1355 3
1ARTMAKER OF THE WEEK
45 - WHY NOT MEFRED KNOBLOCK
Scotti Brothers 600 (Atl)
2
33
223
46 47 GOOD TO HAVE LOVE BALK rtLIA LAVALIERE/Epic 9 50880 447 SOMEONE THAT I USED TO LOVE NATALIE COLE/Capitol
4869 3
48 49 I DON'T WANT YOU TO GO LANI HALL/A&M 2232 3
49 50 BLAME IT ON THE NIGHT TERRY WILLIAMS/IA 504 2
50 33 TWO PLACES AT THE SAME TIME RAY PARKER, JR. ANDRAYDIO/Arista 0494 7
Fire Closes EMI Factory in CologneBy JIM SAMPSON
E MUNICH-Fire swept throughEMI Electrola's only manufactur-ing plant in the early morninghours of June 27, causing anestimated DM 12 million damageand completely halting produc-tion. EMI will be able to meetall demand in Germany/Aus-tria/Switzerland through im-ports, but there could be someshortages of German -languageproduct.
According to Wilfried Jung,EMI managing director for cen-tral Europe, the smouldering fireseverely damaged the recordproduction and tape duplica-tion machinery, especially rubberand plastic parts, Much rawmaterial was lost, and soundchecking machinery also sus-tained damage. Cologne policehave not been able to deter-mine a cause of the fire, whichstarted around midnight in theplant adjacent to EMI Electrola'sheadquarters.
Jung estimates it will be threemonths before the Cologne plantis again operational. Until then,he expects there will be "noproblem with quantities" of
Polygram Changesfice of president and chief execu-tive officer on January 1, 1981.
Hix joined PolyGram in 1962when the corporation betweenPhilips and Siemens in the enter-tainment field began. This led in1972 to the formation of themanagement and holding compa-nies, PolyGram B. V., The Neth-erlands and PolyGram GmbH,West Germany.
Solleveld also announced thatKarl -Heinz Busacker, presently amember of the management com-mittee of Philips GmbH, Ham-burg, will succeed Drs. JohannesVan Del Velden as executive vicepresident for finance and admini-stration of the Group. Drs. VanDel Velden will resign this posi-tion, which he has held since1964, later this year.
Karl -Heinz Busacker
EMI's international product,such as the just released Queenand Rolling Stones albums. Prod-uct is already coming in toCologne from the new EMIplant in Holland and from theU.K. Six old double presses andtwo "white label" machines arebeing put back into overtimeservice, primarily for domesticproduct.A substantial amount of EMIproduct in Austria and Switzer-land also comes from Coolgne.Jung says there could be somedifficulty meeting demand forGerman -language recordings inthose markets, especially inSwitzerland, where EMI's usualthird party contractor is closedfor the summer holiday.
CBS InternationalTaps Joseph Wascura Jorge Fernandez, director offinance and controller, LatinAmerican operations, CBS Rec-ords International, has appointedJoseph Wascura to the positionof associate director of finance,Latin American operations.
(Continued from page 3)
Busacker began his career withAllgemeine Deutsche Philips In-dustries GmbH in 1955 in the in-ternal audit department. In 1968,he became head of administrationfor the German Philips compa-nies. In 1974, when Philips GmbHwas founded, Busacker was ap-pointed a company director.
Drs. Van Del Velden will re-main available to the Group inan advisory capacity following hisresignation.
Group ManagementWith these changes, PolyGram
Group management includesCoen Solleveld, president; Dr.Hermann Franz, Karl -Heinz Bus-acker, and, up to date of hisresignation, Drs. Johannes VanDel Velden, executive vice presi-dents.
Johannes Van Del Velden
28 RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
Record World
01_JULY 12, 1980
AIR OF THE W iEK
BLUES BROTHERS
Atlantic (Soundtrack)
BLUES BROTHERS-Atlantic(Soundtrack)
HEROES-Commodores-Motown
ONE FOR THE ROAD-Kinks-Arista
SAVED-Bob Dylan-ColANYTIME-ANYPLACE-
ANYWHERE-Rossington-Collins Band-MCA
EMOTIONAL RESCUE-RollingStones-Rolling Stones
HANDLEMAN/NATIONABLUES BROTHERS-Atlantic
(Soundtrack)CAN'T STOP THE MUSIC-
Village People-Casablanca(Soundtrack)
DANGER ZONE-Sammy Hagar-Capitol
DIANA-Diana Ross-MotownFAME-RSO (Soundtrack)HEROES-Commodores-MotownONE FOR THE ROAD-Kinks-
AristaPEARLS-Carole King-CapitolSON OF ROCK 'N' ROLL-Rocky
2 2 AGAINST THE WIND BOB SEGER & THE SILVER BULLETBAND/Capitol SOO 12041
3 3 McCARTNEY II PAUL McCARTNEY/Columbia FC 365114 URBAN COWBOY (ORIGINAL SOUNDTRACK) VARIOUS
ARTISTS/Full Moon/Asylum DP 900025 5 THE WALL PINK FLOYD/Columbia PC2 361836 6 STAR WARS/THE EMPIRE STRIKES BACK (ORIGINAL
SOUNDTRACK)/RSO RS 2 4201
13 HEROES COMMODORES/Motown M8 939M18 8 OFF THE WALL MICHAEL JACKSON/Epic FE 35745
14 THE ROSE (ORIGINAL SOUNDTRACK)/Atlantic SD 1601011 EMPTY GLASS PETE TOWNSHEND/Atco SD 32 100
11 10 MOUTH TO MOUTH LIPPS, INC./Casablanca NBLP 719712 12 WOMEN AND CHILDREN FIRST VAN HALEN/Warner Bros.
HS 3415
19 DIANA DIANA ROSS/Motown M8 936M114 7 JUST ONE NIGHT ERIC CLAPTON/RSO RS 2 420215 15 MICKEY MOUSE DISCO/Disneyland/Vista 250416 16 SCREAM DREAM TED NUGENT/Epic FE 36404
39 BLUES BROTHERS (ORIGINAL SOUNDTRACK)/Atlantic SD
185
8
29
8
3
44
27
9
15
13
5
11
167
16017 3
26 UNMASKED KISS/Casablanca NBLP 7225 4
19 9 LET'S GET SERIOUS JERMAINE JACKSON/Motown M7928R1 14
20 17 GIDEON KENNY ROGERS/United Artists LOO 1035 13
34 S.O.S. S.O.S. BAND/Tabu NJZ 36332 (CBS) 3
71218
3
22 22 21 AT 23 ELTON JOHN/MCA 512123 20 DUKE GENESIS/Atlantic SD 1601424 24 CHRISTOPHER CROSS/Warner Bros. BSK 3383
30 ONE FOR THE ROAD KINKS/Arista A2L 840126 18 PRETENDERS/Sire SRK 6083 (WB)27 29 THE LONG RUN EAGLES/Asylum 5E 50828 21 SWEET SENSATION STEPHANIE MILLS/20th Century Fox
T 603 (RCA) 11
29 25 CAMEOSIS CAMEO/Chocolate City CCLP 2011 (Casablanca) 930 31 AFTER MIDNIGHT MANHATTANS/Columbia JC 36411 1031 23 MIDDLE MAN BOZ SCAGGS/Columbia FC 36106 1332 28 DEPARTURE JOURNEY/Columbia FC 36339 17
36 NAUGHTY CHAKA KHAN/Warner Bros. BSK 3385 434 27 GO ALL THE WAY ISLEY BROTHERS/T-Neck FZ 36305 (CBS) 1335 32 THE GLOW OF LOVE CHANGE/Warner/RFC RFC 3438 936 37 HEAVEN AND HELL BLACK SABBATH/Warner Bros. BSK 3372 637 40 THE GAMBLER KENNY ROGERS/United Artists UA LA 934 H 79
42 TOMCATTIN' BLACKFOOT/Atco SD 32 101 3
39 35 LOVE STINKS J. GEILS BAND/EMI-America SOO 17016 2365 FAME (ORIGINAL SOUNDTRACK)/RSO RX 1 3080 2
41 33 MAD LOVE LINDA RONSTADT/Asylum 5E 510 1949 THIS TIME AL JARREAU/Warner Bros. BSK 3434 4
43 45 ME MYSELF I JOAN ARMATRADING/A&M SP 4809 644 38 DAMN THE TORPEDOES TOM PETTY AND THE
3F5 2300 (WB) 1351 54 ROBERTA FLACK FEATURING DONNY HATHAWAY/Atlantic
SD 16013 1552 55 IN THE HEAT OF THE NIGHT PAT BENATAR/Chrysalis CHR
1236 3453 46 POWER TEMPTATIONS/Gordy G8 994M1 (Motown) 8
54 43 THE UP ESCALATOR GRAHAM PARKER/Arista AL 9517 755 41 ONE EIGHTY AMBROSIA/Warner Bros. BSK 3368 11
56 59 DON'T LOOK BACK NATALIE COLE/Capitol ST 12079 5
57 53 ROSES IN THE SNOW EMMYLOU HARRIS/Warner Bros.BSK 3422 7
58 60 LIGHT UP THE NIGHT BROTHERS JOHNSON/A&M SP 3716 1959 47 TWO PLACES AT THE SAME TIME RAY PARKER, JR. AND
RAYDIO/Arista AL 9515 1460 63 HOT BOX FATBACK/Spring SP 1 6726 (Polydor) 11
61 57 TEN YEARS OF GOLD KENNY ROGERS/United ArtistsUA LA 835 H 28
ra 89 ONE IN A MILLION YOU LARRY GRAHAM/Warner Bros.BSK 3447 2
ay 72 MUSIC MAN WAYLON JENNINGS/RCA AHL1 3602 4117 ANYTIME ANYPLACE ANYWHERE ROSSINGTON COLLINS
BAND/MCA 5130 1
Er 70 FIRIN' UP PURE PRAIRIE LEAGUE/Casablanca NBLP 7212 566 56 BRITISH STEEL JUDAS PRIEST/Columbia JC 36443 6
80 FOUND ALL THE PARTS CHEAP TRICK/Epic/Nu-Disk E436453 2
- THERE AND BACK JEFF BECK/Epic FE 35684 1
87 LOVE TRIPPIN' SPINNERS/Atlantic SD 19270 270 58 GO TO HEAVEN GRATEFUL DEAD/Arista AL 9508 9
86 ROCKS, PEBBLES AND SAND STANLEY CLARKE/Epic JE 36506 381 FLESH AND BLOOD ROXY MUSIC/Atco SD 32 102 2
136 RHAPSODY AND BLUES CRUSADERS/MCA 5124 1 92 ONE BAD HABIT MICHAEL FRANKS/Warner Bros. BSK 3427 2123 COME UPSTAIRS CARLY SIMON/Warner Bros. BSK 3443 1
76 73 MONSTER HERBIE HANCOCK/Columbia JC 36415 7135 CAN'T STOP THE MUSIC (ORIGINAL SOUNDTRACK)
VILLAGE PEOPLE/Casablanca NBLP 7220 1
78 75 ON THE RADIO-GREATEST HITS VOLUMES 18 II DONNASUMMER/Casablanca NBLP 2 7191 35
79 61 PHOENIX DAN FOGELBERG/Full Moon/Epic FE 35634 3080 69 CRASH AND BURN PAT TRAVERS BAND/Polydor PD 1 6262 1581 68 CATCHING THE SUN SPYRO GYRA/MCA 5108 1682 67 SPIRIT OF LOVE CON FUNK SHUN/Mercury SRM 1 3806 1483 66 FLUSH THE FASHION ALICE COOPER/Warner Bros. BSK 3436 784 64 THE PLEASURE PRINCIPLE GARY NUMAN/Atco SD 38 120 2185 90 YOU AND ME ROCKIE ROBBINS/A&M SP 4805 486 76 STRAIGHT AHEAD LARRY GATLIN/Columbia JC 36250 787 77 STARDUST WILLIE NELSON/Columbia KC 35305 2388 78 COAL MINER'S DAUGHTER (ORIGINAL SOUNDTRACK)/
MCA 5107 1299 LOVE IS A SACRIFICE SOUTHSIDE JOHNNY & THE ASBURY
JUKES/Mercury SRM 1 3836 290 85 THE CARS/Elektra 6E 135 100 116 SPLENDIDO HOTEL AL DI MEOLA/Columbia C2X 36270
1a 101 PEARLS-SONGS OF GOFFIN AND KING CAROLE KING/Capitol SOO 12073 1
C 102 FOR MEN ONLY MILLIE JACKSON/Spring SP 1 6727(Polydor) 1
94 83 DARK SIDE OF THE MOON PINK FLOYD/Harvest SMAS11163 (Capitol) 22
95 98 TOMMY TUTONE/Columbia NJC 36372 2- "H" BOB JAMES/Columbia/Tappan Zee JC 36442 1
97 104 LET ME BE YOUR ANGEL STACY LATTISAW/Cotillion SD5219 (Atl) 1
98 71 WIZARD ISLAND JEFF LORBER FUSION/Arista AL 9516 699 62 FREEDOM OF CHOICE DEVO/Warner Bros. BSK 3435 6
100 100 VAN HALEN/Warner Bros. BSK 3075 3
GG
H
X
H
GH
H
0
GH
H
G
H
G
G
X
H
G
H
G
H
H
G
G
H
L
H
G
H
GGG
GGG
H
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J
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G
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G
PAGE 31
AmericanRadioHistory.Com
JULY 12, 1980 176 THE RIGHT COMBINATION LINDA151 GREASE (ORIGINAL SOUNDTRACK)/ CLIFFORD/CURTIS MAYFIELD/
RSO RS 2 4002 Curtom/RSO RS 1 3084152 HIGHWAY TO HELL AC/DC/Atlantic 177 WAITING ON YOU BRICK/Bang JZ
SD 19244 36262 (CBS)153 AFTER THE ROSES KENNY RANKIN/ 178 FEEL THE HEAT HENRY PAUL BAND/
Atlantic SD 19271 Atlantic SD 19273154 CAREFUL MOTELS/Capitol ST 12070 179 CAT IN THE HAT BOBBY CALDWELL/
155 SUN OVER THE UNIVERSE SUN/ Clouds 18 (TK)Capitol ST 12088 180 SEDUCTION JAMES LAST BAND/
156 HORIZON McCOY TYNER/Milestone Polydor PD 1 6283M 9094 (Fantasy) 181 FRIDAY NIGHT BLUES JOHN CONLEE/
157 THEIR GREATEST HITS 1971-1975 MCA 3246EAGLES/Asylum 7E 1052 182 ANNIE (ORIGINAL CAST ALBUM)/
174 BODY LANGUAGE PATTI AUSTIN/ Columbia JC 36375CTI JZ 36503 (CBS) 199 RENE & ANGELA/Capitol ST 12077
175 IN THE POCKET NEIL SEDAKA/ 200 ENDANGERED SPECIES KLAATU/Elektra 6E 259 Capitol ST 12080
(The 151-200 chart indicates movement on new los or older Ips whose sales haveshown renewed activity)
Album; Cross: ReferenceeAIR SUPPLY 144 EARL KLUGH 126AMBROSIA 55 GLADYS KNIGHT & THE PIPS 46JOAN ARMATRADING 43 KROKUS 149AWB 123 PATTI LABELLE 116ROY AYERS/WAYNE HENDERSON 108 STACY LATTISAW 97JEFF BECK 68 L IPPS, INC. 11PAT BENATAR 52 KENNY LOGGINS 142BLACKFOOT 38 JEFF LORBER 98BLACK SABBATH 36 LYNYRD SKYNYRD 105BLONDIE 107 MANHATTANS 30BLUE OYSTER CULT 110 TEENA MARIE 103BRECKER BROS. 143 VAUGHAN MASON AND CREW 135BROTHERS JOHNSON 58 CURTIS MAYF I ELD 147PEABO BRYSON 129 PAUL McCARTNEY 3ROCKY BURNETTE 121 HAROLD MELVIN 140CAMEO 29 STEPHANIE MILLS 28KIM CARNES 136 MOLLY HATCHET 134CARS 90 MICKEY MOUSE DISCO 15GENE CHANDLER 114 WILLIE NELSON 87CHANGE 35 WILLIE NELSON & RAY PRICE 131CHEAP TRICK 67 NIGHTHAWKS 141ERIC CLAPTON 14 TED NUGENT 16STANLEY CLARKE 71 GARY NUMAN 84NATAL IE COLE 56 ORIGINAL SOUNDTRACK:COMMODORES 7 AMERICAN GIGOLO 111CON FUNK SHUN 82 BLUES BROS. 17ALICE COOPER 83 CAN'T STOP THE MUSIC 77RANDY CRAWFORD 128 COAL MINER'S DAUGHTER 88CHRISTOPHER CROSS 24 ELECTRIC HORSEMAN 125CRUSADERS 73 EMPIRE STRIKES BACK 6MAC DAVIS 101 FAME 40DEVO 99 ROADIE 150AL DI MEOLA 91 ROSE 9GEORGE DUKE 138 URBAN COWBOY 4ROBBIE DUPREE 119 XANAD,U 115BOB DYLAN 45 GRAHAM PARKER 54EAGLES 27 RAY PARKER JR. & RAYDIO 59FATBACK 60 TOM PETTY 44ROBERTA FLACK FEATURING DONNY PINK FLOYD 5, 94
HATHAWAY 51 PLEASURE 132DAN FOGELBERG 79 POINT BLANK 139FOGHAT 109 PRETENDERS 26RODNEY FRANKLIN 104 PURE PRAIRIE LEAGUE 55MICHAEL FRANKS 74 REO SPEEDWAGON 120PETER GABRIEL 47 ROCK IE ROBBI NS 85LARRY GATL IN 86 KENNY ROGERS 20, 37, 49, 61J. GEILS 39 LINDA RONSTADT 41GENESIS 23 DIANA ROSS 13LARRY GRAHAM 62 ROSSINGTON COLLINS BAND 64GRATEFUL DEAD 70 ROXY MUSIC 72SAMMY HAGAR 113 DAVID SANBORN 112HERBI E HANCOCK 76 BOZ SCAGGS 31EMMYLOU HARRIS 57 SCORPIONS 117ISAAC HAYES 133 BOB SEGER 2, 102AL HUDSON 130 CARLY SIMON .. 75INVISIBLE MAN'S BAND 124 FRANK SINATRA 50ISLEY BROTHERS 34 S.O.S. BAND 21JERMAINE JACKSON 19 SOUTHSIDE JOHNNY 89MICHAEL JACKSON a SPINNERS 69MILL IE JACKSON 93 SPYRO GYRA 81BOB JAMES 96 SQUEEZE 146WAYLON JENNINGS 48, 63 STYX 122BILLY JOEL
1 DONNA SUMMER .. 78ELTON JOHN 22 TEMPTATIONS 53FRANCE JOLT 148 PETE TOWNSHEND 10JOURNEY 32 PAT TRAVERS 80JUDAS PRIEST 66 TOMMY TUTONE 95AL JARREAU 42 VAN HALEN 12, 100CHAKA KHAN 33 VOLUNTEER JAM VI 137CAROLE KING 92 GROVER WASHINGTON, JR. 106KINKS 25 JOHNNY GUITAR WATSON 127KISS 18 WHISPERS 118
RECORD WORLD JULY 12, 1980
Record World
ici-1714,12I
JULY 12, 19E0JULY .WLY
12 5
101 93 IT'S HARD TO BE HUMBLE MAC DAVIS/Casablanca NBLP 7207102 94 STRANGER IN TOWN BOB SEGER & THE SILVER BULLET
BAND/Capitol SW 11698103 107 LADY T TEENA MARIE/Gordy G7 992R1 (Motown)104 103 YOU'LL NEVER KNOW RODNEY FRANKLIN/Columbia NJC
111 82 AMERICAN GIGOLO (ORIGINAL SOUNDTRACK)/PolydorPD 1 6259
112 106 HIDEAWAY DAVID SANBORN/Warner Bros. BSK 3379113 114 DANGER ZONE SAMMY HAGAR/Capitol ST 12069114 118 '80 GENE CHANDLER/20th Century Fox/Chi-Sound T 605 (RCA)
- XANADU (ORIGINAL SOUNDTRACK)/MCA 6100116 96 RELEASED PATTI LABELLE/Epic JE 36381117 74 ANIMAL MAGNETISM SCORPIONS/Mercury SRM 1 3825118 127 THE WHISPERS/Solar BXL1 3521 (RCA)
129 ROBBIE DUPREE/Elektra 6E 273120 125 A DECADE OF ROCK AND ROLL 1970 TO 1980 REO
SPIEEDWAGON/Epic KE2 36444 139 THE SON OF ROCK AND ROLL ROCKY BURNETTE/EMI-America
SW 17033122 91 CORNERSTONE STYX/A&M SP 3711123 124 SHINE AVERAGE WHITE BAND/Arista AL 9523124 84 INVISIBLE MAN'S BAND/Mango MLPS 9537125 79 THE ELECTRIC HORSEMAN (ORIGINAL SOUNDTRACK)/
Columbia JS 36327126 120 DREAM COME TRUE EARL KLUGH/United Artists LT 1026
137 LOVE JONES JOHNNY GUITAR WATSON/DJM 31 (Mercury)128 128 NOW WE MAY BEGIN RANDY CRAWFORD/Warner Bros.
BSK 3421129 88 PARADISE PEABO BRYSON/Capitol SOO 12063
E3 147 ONE WAY FEATURING AL HUDSON/MCA 5127
EED 141 SAN ANTONIO ROSE WILLIE NELSON & RAY PRICE/Columbia JC 36476
148 SPECIAL THINGS PLEASURE/Fantasy F 9600133 95 AND ONCE AGAIN ISAAC HAYES/Polydor PD 1 6269134 134 FLIRT) N' WITH DISASTER MOLLY HATCHET/Epic JE 36110
ED 145 BOUNCE, ROCK, SKATE, ROLL VAUGHAN MASON ANDCR':-W/Brunswick BL 754221
146 ROMANCE DANCE KIM CARNES/EMI-America SW 17030137 138 VOLUNTEER JAM VI VARIOUS ARTISTS/Epic KE2 36438
138 97 A BRAZILIAN LOVE AFFAIR GEORGE DUKE/Epic FE 36483139 133 THE HARD WAY POINT BLANK/MCA 5114140 140 THE BLUE ALBUM HAROLD MELVIN & THE BLUE NOTES/
Source SOR 3197 (MCA)141 142 THE NIGHTHAWKS/Mercury SRM 1 3833
142 143 KEEP THE FIRE KENNY LOGGINS/Columbia JC 36172143 144 DETENTE BRECKER BROTHERS/Arista AB 4272
144 122 'LOST IN LOVE AIR SUPPLY/Arista AB 4268145 - INFLATION STANLEY TURRENTINE/Elektra 6E 269146 108 ARGYBARGY SQUEEZE/A&M SP 4802
147 - SOMETHING TO BELIEVE IN CURTIS MAYFIELD/Curtom/RSO RS 1 3077
148 - TONIGHT FRANCE JOLI/Prelude PRL 12179149 150 METAL RENDEZ-VOUS KROKUS/Ariola-America OL 1502 (Arista)
150 - ROADIE (ORIGINAL SOUNDTRACK) VARIOUS ARTISTS/Warner Bros. 2HS 3441
110
31
AmericanRadioHistory.Com
Record World
Black Music ReportBy KEN SMIKLE
NEW YORK - The first order of business this week is to thank allof the staff and volunteers of the Black Music Association, who madethe task of covering the conference a lot easier for all those in thepress and media. Please know that your hard work and dedication aregreatly appreciated.
RCA Records and New York station WWRL have collaborated on aproject that others around the country may find useful. Through theefforts of program director Bob Law and RCA promotion managerKeith Jackson, 1600 subway billboards around the city encourage thepublic to listen to Odessey, Stephanie Mills, the Whispers and Skyywith various WWRL jocks. RCA paid for the campaign and the legalend was hammered out to make sure that the FCC would understandthe nature of what was being done. "We wanted to do something forsome of the other stations that ordinarily don't get the attention theydeserve," explained Jackson. "We hope that other labels will offersimilar support to the black stations that are influential in a marketbut may not be necessarily number one."
The project will also give Bob Law a chance to experiment with aconcept that he elaborated on at the Black Music Assoc. conference atlength. "We're interested in seeing what the psychographic effects ofthe billboards will be," said Law. He made the comparison of whathappened to the billboards that WBLS posted throughout the city."The fact that those posters had little or no grafitti on them, is an in-dication that those billboards reflected a positive self image to blackkids. The same has been true with our billboards. That means theyrespect what the station stands for, especially since the billboardsare in black and white and have a lot of space for people to scribbleon. We think the whole project worked well."
Jimmy Castor has followed up a good reaction to his "Can't HelpFalling In Love" single with an album on the Long Distance Recordslabel. The seven -tune LP is being handled by Platinum Promotions,P.O. Box 276, 160-8 Hamilton Ave., Fairview, N. J. 07022, (201) 943-6438.
There is a heavy rumor circulating that New York station WTFM,which was recently sold to Heftel Broadcasting, will replace its beauti-ful music format in favor of a black music format. If this is to be thecase, perhaps they will join those black stations that are exploringthe black MOR concept.
Jesse Jackson announced at the Black Music Assoc.'s black leader-ship forum that his organization, PUSH, intends to confront Budweiserabout it Summerfest concert series when it arrives in Chicago on July19th because while all of the artists on the bill are black, the show isbeing handled by a white promoter.
Talented pianist, George Cables, whose credits include work withBilly Cobham, Lenny White, Art Blakey, Max Roach, Freddie Hub-
bard and numerous others, has released a beautiful album entitled"Cables' Vision." It's available on the Contemporary label, an inde-pendent outfit based in Los Angeles. Featured with Cables areFreddie Hubbard, Bobby Hutcherson, Peter Erskine, Vince Charles,Ernie Watts and Tony Dumas. The six tunes on the LP are in mellowas well as straight -ahead styles, with nice solos from all present.The production work of John Koenig is excellent. This album, which,by the way, is also beautifully packaged, offers plenty that is worthyof air play. Contemporary Records can be reached at P.O. Box 2628,Los Angeles, CA 90028. (213) 466-1633.
Travis Milner, a graduate of INCA's Recording Industry TrainingProgram, brought his eight -piece band, Genyflyte, into Leviticus
(Continued on page 33)
e Black Oriented Album ChartJULY 12, 1980 25. LADY T
1. DIANA TEENA MARIE/Gordy G7 992R1 (Motown)DIANA ROSS/Motown M8 936M1 26. OFF THE WALL
2. LET'S GET SERIOUS MICHAEL JACKSON/Epic FE 35745
JERMAINE JACKSON/Motown M7 928R1 27. THE BLUE ALBUM3. CAMEOSIS
CAMEO/Chocolate City CCLP 2011HAROLD MELVIN & THE BLUE NOTES/
Source SOR 3197 (MCA)
(Casablanca) 28. RHAPSODY AND BLUES
4. S.O.S. CRUSADERS/MCA 5124
S.O.S. BAND/Tabu NJZ 36332 (CBS) 29. FOR MEN ONLY5. ABOUT LOVE
STEPHANIE MILLS/20th Century Fox 32. PARADISET 603 (RCA) PEABO BRYSON/Capitol SOO 12063
8. THE GLOW OF LOVE 33. AND ONCE AGAINCHANGE/Warner/RFC RFC 3438 ISAAC HAYES/Polydor PD 1 6269
9. NAUGHTY 34. YOU AND MECHAKA KHAN/Warner Bros. BSK 3385 ROCKIE ROBBI NS/A&M SP 4805
10. GO ALL THE WAY 35. TWOTHE ISLEY BROTHERS/T-Neck FZ 36305 G.Q./Arista AL 9511
(CBS) 36. NOW WE MAY BEGINI 1 . AFTER MIDNIGHT RANDY CRAWFORD/Warner Bros. BSK
MANHATTANS/Columbia JC 36411 3421
12. ONE IN A MILLION YOU 37. 1980LARRY GRAHAM/Warner Bros. BSK 3447 B.T. EXPRESS/Columbia JC 36333
13. HOT BOX 38. ONE WAY FEATURING AL HUDSONFATBACK/Spring SP 16726 (Polydor) MCA 5127
14. TWO PLACES AT THE SAME TIME 39. SPECIAL THINGSRAY PARKER, JR. AND RAYDIO/Arista PLEASURE/Fantasy F 9600
AL 9515 40. LOVE JONES15. MOUTH TO MOUTH JOHNNY GUITAR WATSON/DJM DJM 31
LIPPS, INC./Casablanca NBLP 7197 (Mercury)16. THIS TIME 41. BOUNCE, ROCK, SKATE, ROLL
AL JARREAU/Warner Bros. BSK 3434 VAUGHAN MASON AND CREW/17. ROBERTA FLACK FEATURING DONNY Brunswick BL 754211
HATHAWAYAtlantic SD 16013
42. WAITING ON YOUBRICK/ Bang JZ 36262 (CBS)
18.
19.
POWERTEMPTATIONS/Gordy G8 994M1
(Motown)LOVE TRIPPIN'SPINNERS/Atlantic SD 19270
43.
44.
BARRY WHITE'S SHEET MUSICBARRY WHITE/Unlimited Gold FZ
36208 (CBS)SPLASHDOWNBREAKWATER/Arista AB 4264
20.
21.
DON'T LOOK BACKNATALIE COLE/Capitol ST 12079INVISIBLE MAN'S BANDMango MLPS 9537
45.
46.
SHINEAVERAGE WHITE BAND/Arista AL 9523LIGHT UP THE NIGHTBROTHERS JOHNSON/A&M SP 3716
47. ROCKS, PEBBLES AND SAND22. SPIRIT OF LOVE STANLEY CLARKE/Epic JE 36506
CON FUNK SHUN/Mercury SRM 1 3806 48. TONIGHT23. '80 FRANCE JOLI/Prelude PRL 12179
GENE CHANDLER/20th Century Fox/ 49. CAMERONChi -Sound T 605 (RCA) Salsoul SA 8535 (RCA)
24. LET ME BE YOUR ANGEL 50. SOMETHING TO BELIEVE INSTACY LATTISAW/Cotillion SD 5219 CURTIS MAYFIELD/Curtom/RSO RS 1(At!) 3077
PICKS OF THE WEEKPRIME TIMEROY AYERS AND WAYNE HENDERSON-
Polydor PD -1-6276
Ayers and Hen-derson, bothof whomgained theirearliest fameas instrumen-alists, and
have also had success with R&Bselections, combine the best of '
both on this album. This self -produced package includes eightoriginal tunes. While "WeekendLover" will appeal to fusionlisteners, there's plenty here fordancers.
LOVE APPROACHTOM BROWNE-Arista/GRP GRP 5008
On his secondrelease, trum-peter Browneplays in amostly lightfusion setting,with tunes that
highlight him as both composerand instrumentalist. This digitalrecording has its best momentson the straight -ahead and mellowcut, "Nocturne," which shouldfind its way onto all jazz radio."Funkin' For Jamaica (N.Y.)" isheaded for the BOS chart.
LOVE SENSATIONLOLEATTA HOLLOWAY -Gold Mind GA
9506 (Salsoul)
Having madeher last appear-ance onrecord withDan Hartman,Ms. Hollowayhere belts out
up -tempo and moderate balladnumbers with good results.Contributions come from NormanHarris, Bobby Womack andHartman. Most outstanding tracksinclude the title tune, whichshould prove to be a populardance floor item.
CAMERONSalsoul SA -8535 (RCA)
Randy Muller.
For his debutouting, this finevocalist findshimself work-ing with thehit -makingproducer
The two havecome up with five dance tuneswith assured chart potential.Leading the pack are "Let's GetIt Off" and "Magic Of You." Thereggae -tinged "Can't Live With-out You," which reminds one ofStevie Wonder, deserves airplayas well.
32 RECORD WORLD JULY 12, 1980
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L-tc.J. Lt.LT-c_11 Z(2?-1/4i -
JULY 12, 1980
TITLE, ARTIST, Label, Number, (Distributing label)JULY JULY
ONE IN A MILLION LARRY GRAHAM/Warner Bros. 49221SHINING STAR MANHATTANS/Columbia 1 11222A LOVER'S HOLIDAY CHANGE/Warner/RFC 49208CUPID/I'VE LOVED YOU FOR A LONG TIME (MEDLEY)
SPINNERS/Atlantic 3664 8
LET'S GET SERIOUS JERMAINE JACKSON/Motown 1469 17
WE'RE GOING OUT TONIGHT CAMEO/Chocolate City 3206(Casablanca) 11
SWEET SENSATION STEPHANIE MILLS/20th Century Fox2449 (RCA)
FUNKYTOWN LIPPS, INC./Casablanca 2233YOU AND ME ROCKIE ROBBINS/A&M 2213DYNAMITE STACY LATTISAW/Cotillion 45015 (At') 9
SITTING IN THE PARK G.Q./Arista 0510 9BACK TOGETHER AGAIN ROBERTA FLACK WITH DONNY
HATHAWAY/Atlantic 3361 12
GOTTA GET MY HANDS ON SOME MONEY FATBACK/Spring 3008 (Polydor) 16
ALL-NIGHT THING INVISIBLE MAN'S BAND/Mango 103 18
GIVE ME THE NIGHT GEORGE BENSON/Qwest/WB 49506 3
DOES SHE HAVE A FRIEND? GENE CHANDLER/20th CenturyFox 2451 (RCA) 10
CLOUDS CHAKA KHAN/Warner Bros. 49216 12
POWER TEMPTATIONS/Gordy 7183 (Motown) 12
LIGHT UP THE NIGHT BROTHERS JOHNSON/A&M 2238 7SOMEONE THAT I USED TO LOVE NATALIE COLE/Capitol
4869 7
THE BREAKS (PART I) KURTIS BLOW/Mercury 566 4
HERE WE GO AGAIN (PART I) ISLEY BROTHERS/T-Neck9 2291 (CBS) 5
OLD -FASHION LOVE COMMODORES/Motown 1489 3
I SHOULD BE YOUR LOVER HAROLD MELVIN & THE BLUENOTES/Source 41231 (MCA) 8
JAM (LET'S TAKE IT TO THE STREETS) FIVE SPECIAL/Elektra 46620 7
NEVER GIVIN' UP AL JARREAU/Warner Bros. 49234 8
I DON'T GO SHOPPING PATTI LABELLE/Epic 9 50872 10
JOJO BOZ SCAGGS/Columbia 1 11281 4
BACKSTROKIN' FATBACK/Spring 3012 (Polydor) 3
BEHIND THE GROOVE TEENA MARIE/Gordy 7184 (Motown) 10OVERNIGHT SENSATION JERRY KNIGHT/A&M 2215 14
REBELS ARE WE CHIC/Atlantic 3665 2
CAN'T WE TRY TEDDY PENDERGRASS/Phila. Intl. 9 3107(CBS) 2
FIGURES CAN'T CALCULATE WILLIAM DeVAUGHN/TEC 767 5
ALL THE WAY BRICK/Bang 9 4810 (CBS) 7SPACER SHEILA & B. DEVOTION/Carrere 7209 (AtI) 8
WE SUPPLY STANLEY CLARKE/Epic 9 50890 6
13
101813
151711
40
al4344
41 I WANNA KNOW YOUR NAME FRANK HOOKER &POS:TIVE PEOPLE/Panorama 11984 (RCA) 5
45 PARTY LIGHTS GAP BAND/Mercury 76062 5
49 FOR THOSE WHO LIKE TO GROOVE RAY PARKER, JR. &RAYDIO/Arista 0522 3
32 I AIN'T NEVER ISAAC HAYES/Polydor 2090 8
44 SKYYZOO SKYY/Salsoul 72121 (RCA) 7
CHARTMAKER OF THE WEEK
103 UPSIDE DOWN
DIANA ROSS
Motown 1494
46
4748
111
50
7071
7273
74
75
48 ROLLER SKATE VAUGHAN MASON AND CREW/Brunswick754221 5
47 HONEY, HONEY DAVID HUDSON/Alston 3450 (TK) 8
51 LOVE JONES JOHNNY GUITAR WATSON/DJM 1304 (Mercury) 5- LOVE DON'T MAKE IT RIGHT ASHFORD & SIMPSON/
Warner Bros. 49269 1
55 (BABY) I CAN'T GET OVER LOSING YOU TTF/RSO/Curtom1035 3
57 BY YOUR SIDE CON FUNK SHUN/Mercury 76006 3
58 HEAVY ON PRIDE (LIGHT ON LOVE) SMOKEY ROBINSON/Tamla 54313 (Motown) 3
59 LET'S GO 'ROUND AGAIN AVERAGE WHITE BAND/Arista0515 2
60 BEYOND HERB ALPERT/A&M 2246 2
61 DO YOU REALLY LOVE ME RENE & ANGELA/Capitol 4851 3
62 I ENJOY YA 7TH WONDER/Chocolate City 3207 (Casablanca) 363 YEARNIN' BURNIN' PLEASURE/Fantasy 893 3
65 1, JUST WANNA DANCE WITH YOU STARPOINT/ChocolateCity 2
64 STEAL. AWAY ROBBIE DUPREE/Elektra 46621 3
66 I'VE JUST BEGUN TO LOVE YOU DYNASTY/Solar 12021(RCA) 2
67 SPACE RANGER (MAJIC'S IN THE AIR) SUN/Capitol 4873 2
68 I LOVE THE WAY YOU LOVE PEABO BRYSON/Capitol 4887 2
22 GIVE UP THE FUNK (LET'S DANCE) B.T. EXPRESS/Columbia1 11249 13
WIDE RECEIVER (PART I) MICHAEL HENDERSON/Buddah622 (Arista) 1
- RESCJE ME A TASTE OF HONEY/Capitol 4888 1
LOOKING FOR LOVE CANDI STATON/Warner Bros. 49240 1
- LAST NIGHT Al DANCELAND RANDY CRAWFORD/Warner Bros. 49276 I
I'VE GOT MY SECOND WIND AL JOHNSON/Columbia1 11287 1
- PAPILLION (AKA HOT BUTTERFLY) CHAKA KHAN/Warner Bros. 49256 1
33 DON'T TAKE MY LOVE AWAY SWITCH/Gordy 7181 (Motown) 950 DO YOUR THANG ONE WAY FEATURING AL HUDSON/
MCA 41238 7
26 DON'T SAY GOODNIGHT (IT'S TIME FOR LOVE)ISLEY BROTHERS/T-Neck 9 2290 (CBS) 20
34 LADY WHISPERS/Solar 11928 (RCA) 18
Black Music Report (Continued from page 32)recently tor a successful engagement. Milner is a Multi -talentedmusician who last played bass with Roy Ayers. The group musicincorporates pop, rock and R&B.
Sherry Winston, whose band has played a number of well receiveddates around New York in the last four weeks, will be appearing atMikells on July 9th.
Werchen Exits Phonogram To Form Law Firm NEW YORK-David Werchenhas left his position as vice presi-dent, business affairs and directorof law for Phonogram/MercuryRecords to open an orfice for the
practice of law at 150 EastStreet-Suite 3000, NewN.Y. 10155, phone: (212)0535.
58thYork,486 -
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Record World
L(2.1By SAMUEL GRAHAM
TWO GOOD DAYS: Events like the Playboy Jazz Festival (June21-22 at the Hollywood Bowl) can't be reviewed as a standard concert.One doesn't, or shouldn't, go to a two-day, more -than -16 -hour gather-ing with the sole intent of hearing the greatest music of our time; thesheer volume (as in amount) of acts, about 21 of them this year, makesconcentrating on every one of them an unlikely proposition at best.An open-air festival like this is a much more gradual affair than a twoor three hour rock concert, where the only thing you can or want todo is sit in the dark and experience loud, visually impressive rock androll. On the contrary, this was a chance to relax with some goodcompanionship, good food, good weather and -for many, at least -a variety of preferred stimulants, all against a background of mostlyfirst-rate music. Given that everything happens pretty much asplanned, a surer formula for a great time would be hard to come by.
By those standards, this year's festival -the second for Playboy,which now plans to make it an annual event -was a rousing success,even if the musical peaks weren't quite as high as they were last year,when people like Count Basie and Weather Report, really tore it up.No doubt due to Playboy's and producer George Wein's enormouslyeffective promotional efforts, both shows were packed, with a capacitycrowd for the second day. And as a production, per se, neither daycould be faulted. Like last year, almost every set began exactly ontime, usually within five minutes of the set that preceded it; andwhoever was mixing the sound was able, with a few brief lapses, tomake instant, often radical adjustments from one act to the next. Itwas a smooth job all around -and an easy gig to enjoy.
The acts themselves showed a balance of several generations ofjazz, from oldsters like the Gentlemen of Swing (Benny Carter, Harry"Sweets" Edison, Teddy Wilson, Ray Brown and Shelly Manne) andBenny Goodman through younger veterans like McCoy Tyner, GeorgeCables and Freddie Hubbard to relative newcomers Ronnie Laws,Hiroshima and Angela Bofill. Even if the sequencing was sometimes alittle weird -Laws had the misfortune of following Goodman andleading into Buddy Rich -there was something for most tastes, andthat's what jazz these days seems to be about.
For my tastes, the younger, fusion -oriented artists (also includingHerbie Hancock) rarely hit the spot, either before or after their elders.Duty compels me to report, however, that most of them were accordedsome of the biggest ovations of either day, especially Ms. Bofill.
There were lots of high points: the Gentlemen of Swing's entire.set;Benny Goodman's vocal trio, Rare Silk, who were a crowd favorite onSaturday and whose act was a nostalgic, if trivial, delight; Mel Tormeand Rich trading improvised fours on the former's tribute to Ella
C The Jazz LP ChartJULY 12, 1980
1. THIS TIMEAL JARREAU/Warner Bros. BSK 3434
2. SPLENDIDO HOTELAL DI MEOLA/Columbia C2X 36270
3. ROCKS, PEBBLES AND SANDSTANLEY CLARKE/Epic JE 36506
4. WIZARD ISLANDJEFF LORBER FUSION/Arista AL 9516
5. CATCHING THE SUNSPYRO GYRA/MCA 5108
6. YOU'LL NEVER KNOWRODNEY FRANKLIN/Columbia NJC 36122
7. A BRAZILIAN LOVE AFFAIRGEORGE DUKE/Epic FE 36483
8. MONSTERHERBIE HANCOCK/Columbia JC 36415
9. SKYLARKIN'GROVER WASHINGTON, JR./Motown
M7 933R110. RHAPSODY AND BLUES
CRUSADERS/MCA 512411. INFLATION
STANLEY TURRENTINE/Elektra 6E 26912. ONE BAD HABIT
MICHAEL FRANKS/Warner Bros. BSK3427
13. PRIME TIMEROY AYERS/WAYNE HENDERSON/
Polydor PD 1 6276
BOB JAMES/Columbia/Tappan ZeeJC 36442
14.
15. HIDEAWAYDAVID SANBORN/Warner Bros. BSK 3379
16. DREAM COME TRUEEARL KLUGH/United Artists LT 1026
17. DETENTEBRECKER BROTHERS/Arista AB 4272
18. HORIZONMcCOY TYNER/Milestone M 9094
(Fantasy)19. TAP STEP
CHICK COREA/Warner Bros. BSK 342520. LIVE IN NEW YORK
STUFF/Warner Bros. BSK 341721. DO THEY HURT?
BRAND X/Passport PB 9845 (Jem)22. EVERY GENERATION
29. ANGEL OF THE NIGHTANGELA BOFILL/Arista/GRP GRP 5501
30. SKAGLYFREDDIE HUBBARD/Columbia FC 36418
Fitzgerald; an incredibly facile and swinging performance by thegreat Stephane Grappelli, with two virtuoso guitarists in John Ethe-ridge and Martin Taylor; a sax duel between Lew Tabackin and JohnGross during a fine set by the Tabackin/Toshiko Akiyoshi big band;and, for the fusionists, an interesting set by Chick Corea.
In future years, it'd be nice to see Wein step just a little further out-side, by bringing in an act or two along the lines of the Art Ensembleof Chicago or Oregon, or one of Inner City's east coast outfits (orwest coast, for that matter, like Andy Narell or Campbell Newton), oran ECM artist like Jack DeJohnette or Old and New Dreams -some-thing a little more challenging that still wouldn't send the traditionaltypes scurrying for the restrooms. It can be done. Meanwhile, I'malready looking forward to next year, so they must be doing some-thing right.
NEW RELEASES: From Inner City comes a trio of fine new pianoalbums, with Roland Hanna playing the music of Alec Wilder, Al Haigplaying Jerome Kern and Tommy Flanagan playing Harold Arlen. InnerCity also has the second album by a California fusion band called SolarPlexus, called "Earth Songs," as well as Gerry Wiggins' "Wig Is Here,"on the Classic Jazz label . . . An older Inner City album that I haven'tgotten around to mentioning yet (and which will appeal to fans of theacoustic guitar -cum -violin sound favored by Inner City's Cam Newtonand Ray Wilkes) is guitarist Roddy Ellias' "A Night For Stars." It's notquite as flavorful as Wilkes' "Dark Blue Man" or Newton's "The MotiveBehind the Smile," but Ellias' album has its moments . . . New fromSoul Note: "From the Root to the Source," featuring Martha andFontella Bass (believe it or not, the same Fontella Bass who had anR&B hit years ago with the great "Rescue Me"), David Peaston, AminaMyers, Malachi Favors Maghostus (bassist for the Art Ensemble) andPhillip Wilson, and Dannie Richmond's "Ode to Mingus." Richmond,of course, was Charles Mingus' drummer for about 20 years . . .
Finally, recent releases from Storyville are a mixed bag of blues andjazz. Among the former are Champion Jack Dupree's "The Best of theBlues," "Sippie Wallace Sings the Blues" and Sonny Boy Williamson's"A Portrait in Blues" (with guitarist Matt Murphy, who's since gone onthe bigger, if not better, things with the Blues Brothers); the latter in-clude John Stubblefield's "Prelude," "James Spaulding Plays the Leg-acy of Duke Ellington," "George Lewis in Concert," Louis Armstrong'sAll Stars" and Michael Smith's "Reflection on Progress."
Caputo To CBS Intl. Juan A. Estevez, director ofbusiness affairs, Latin Americanoperations, CBS Records Interna-tional, has appointed Ralph V.Caputo to the position of asso-ciate director of business affairs,Latin American operations.
Prior to joining CBS, Caputowas media counsel to the execu-tive staff of the Cadicy Interna-tional Corporation, an indepen-dent film and television distribu-tion company. He was also assist-ant counsel for the committee ofgrievances of the Bar Associationfor the City of New York.
Lee Forms Label LOS ANGELES - SongwriterJack Lee has announced the for-mation of an independent recordlabel, Maiden America. The la-bel's debut double album, "JackLee's Greatest Hits Vol. I," willbe preceded by the simultaneousrelease of two singles, "GoodTimes/Any Day Now" and "It'sHot Outside/I'm Gonna HaveFun."
Until further notice, the mail-ing address for the company willbe: Maiden America Records,c/o Chrysalis Records, 9255 Sun-set, Los Angeles, Ca. 90069.
Chappell Inks MichaelsII Ingiii
Chappell president Irwin Robinson (center) is shown in the process of "signing" writer/artist Hilly Michaels (left) as Michaels' manager Jake Hooker looks on. Michaels ismaking his solo recording debut with his just -released Warner Bros. single, "CallingAll Girls," from his new Warner Bros. album of the same title.
* Best Sellers are determined from re-tail lists of stores listed above, plus thoseof the following: Sam Goody/East Coast,King Karol/New York, Cutler's/New Ha-ven, Record & Tape, Ltd./Washington,D.C., Record and Tape Collectors/Balti-more, Specs/Miami, Harmony House/De-troit, Rose Discount/Chicago, Radio Doc-tors/Milwaukee, Streetside/St. Louis,Jeff's Classical/Tucson, Tower Records/San Francisco, Discount Records/SanFrancisco and Tower Records/Seattle.
Two Views of the OrientBy SPEIGHT JENKINS
NEW YORK-Last year at aboutthis time Philips Records cameout with a record called the PipaConcerto which celebrated thehistoric trip of the Boston Sym-phony to China. The record wasquite popular and somewhat in-offensively pleasant. Two newdiscs have just appeared, how-ever, that may not have a tenththe Pipa Concerto's popularitybut are far more illustrative ofwhat is really happening in theOrient.
The first is also on Philips: twosymphonies of Toshiro Mayuzu-mi. Perhaps it is my own over-sight, but I cannot rememberevery hearing any of Mayuzumi'smusic in concert in New York. Onthe strength of this disc, his fasci-nating music should be per-formed. The composer enthusi-astically embraces the tone clus-ters and general sound of musicthat has followed Schonenberg,but adds to it a unique Japanesesense. The music in the NirvanaSymphony is inspired by thesound of the Japanese temple belland is full of chanting by a malechorus. The liner notes indicatethat the chants suggest the intona-tion and rhythms of the Buddhistpriests reciting Sutra. The indica-tion of Sprechstimme is clearly
there and the effect is mesmeriz-ing. The orchestra, a large one, isused with a great sense of color,and the work has a striking cumu-lative effect: obviously Oriental,it has a heiratic aspect that makesit fascinating. The other work onthe disc, the composer's MandalaSymphony is less obviously in-teresting but is clearly the workof a composer who knows how toemploy large forces and make apersonal statement. The musicalpattern of this work is as obscurein some ways as the Buddhistphilosophy it explains. The NHKSymphony Orchestra plays bril-liant, and leadership by KazuoYamada is first class. The JapanChorus Union supplies the chant-ing.
NonesuchFor those who bought the Pipa
Concerto another record is a
must: Nonesuch's new recordingof the pipa playing authentic me-lodies. When one hears this, oneunderstands how Europeanizedand sweet the Pipa Concerto real-ly was. The pipa is a somewhatlimited instrument, much like axylophone in sound, but thesound is very, very Oriental andis in fact the base sound in mostmusic that sounds authenticallyChinese.
Classical Retail TipsII Two discs from Angel's July re-lease that should do very well arethe Brahms Double Concerto andsomething called Music fromFilms for Piano and Orchestra.The first has the magical name ofItzhak Perlman on violin withMstislav Rostropovich on celloand the Concert-gebouw Or-chestra conducted by BernardHaitink. Though there are a goodmany recordings of this piece,this combination should be oneto excite interest, and store playshould stimulate sales. The otherrecord falls into the category ofoccasional success. DG's latestGreat Film release, which con-tained snippets of classical piecesused in films, has been quite suc-cessful; the new Angel record hasGershwin's Rhapsody in Blue, theWarsaw Concerto, Rosza's Spell-bound Concerto, all with DanielAdni at the piano and KennethAlwyn conducting the Bourne-mouth Symphony. The performerswill not sell records, but maybethe idea will work.
Additionally, Karajan continueshis survey of the symphonic liter-ature with a recording of Schu-bert's Great C Major Symphony.The conductor, of course, is lead-ing his orchestra, the Berlin Phil-harmonic. And there is a newCarmina Burana. The Orff worknever goes long without record-ing and the new pressing findsRiccardo Muti leading the Phil-harmonia. Soloists are ArleenAuger, a light soprano whoseMetropolitan Opera debut in thefall of 1978 was quite successful,Jonathan Summers and John vanKesteren.
C/O Ent. Bows LOS ANGELES-The formationof C/O Entertainment, Inc., anorganization that will specializein management, publishing andproduction, has been announcedby Romulus Yaari.
C/O Entertainment, Inc. is lo-cated at 1100 North Alta Loma,#1, Los Angeles; phone: (213)659-6692.
RECORD WORLD JULY 12, 1980 35
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LONDON - Top country pro-moters Mervyn Conn and JimHalsey have signed a record twomillion dollar personal appear-ance deal, the largest ever signedfor one country package outsidethe U.S. The deal incorporates anew co -representation venture,with Tulsa -based Halsey and Lon-don -based Conn using eachothers' facilities in Europe andthe States. Halsey will also beginnegotiating with U.S. televisioncompanies for rights to the ConnInternational Country Festivals,held in Europe each Easter.
The massive artist package dealwhich heralds the new joint ven-ture between the former friendlyrivals includes a Don Williamstour starting November at Lon-don's Festival Hall and five of
I Record World
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Halsey, Conn Set Joint Venture,Sign $2 Million Artist Pkg. Deal
By VAL FALLOONHalsey's top artists for varioustours and concerts. These areTammy Wynette, George Lindsey,Joe Sun, Hank Thompson andWilliams. All will appear at Wem-bley 1981, as will Johnny Cash.
Stockpiling TapesConn stated that he has been
stockpiling the Wembley TVtapes for possible videocassettecompilations in the near futureand announced that next year'sEuropean festivals will be ex-tended. Conn will be marketingcountry music heavily, includinghis other TV presentations, andthe planned September NashvilleCavalcade in Europe.
Halsey and Conn have been as-sociated for 12 years since the in-ception of the Easter Festivalshere.
Germanyby JIM NAMVON
MUNICH - Several German record companies have announcedprice increases, with other expected to follow this fall. Last week,RCA raised its wholesale prices by an average of four percent, thefirm's first major adjustment since last fall. At Metronome, dealerwholesale for an international pop LP went from DM 12.95 to DM13.95, effective July 1. Domestic full -price LPs rose DM .70 anddouble albums jumped DM 1.30. Cassette prices also rose. Neitherof Metronome's sister companies within PolyGram, Phonogram orDG/Polydor, confirmed a similar change. But a source at DG toldRW that a one mark hike in the international pop album price byOctober 1 was "99 percent certain." Ariola and CBS, on the otherhand, are not changing their price lists. WEA MD Siggi Loch hasindicated that there might be adjustments after final first half salesresults come in. EMI Electrola expects to raise prices to meet highercosts, especially in raw materials, but no date or amount has beengiven. Several companies are skeptical about any announcement ofa price increase, noting that through bonuses, changes of reper-toire to different price codes and special conditions, a firm can easilyraise or lower its prices without changing its price schedule. Inany case, German recording prices, which dropped steadily throughthe sixties and most of the seventies, now are headed upward.
GEMA RECORDS RECORD INCOME: In 1979, the German me-chanical and performance right society GEMA reported gross incomeof over RM 433 million, up 6.7 percent from the previous year.Copyright income provided DM 414 million of that total, with me-chanicals representing nearly two thirds. Again, GEMA paid outmore money to foreign societies (DM 53.6 million, up 11 percent)than it received in return (DM 34.1 million, up 14 percent), althoughperformance right income was 20 percent ahead of 1978. In its 46thyear, GEMA's membership grew by 817 members to 10,165. Oneinteresting figure from the society's annual report: from the royaltylevy on tape recording hardware, Germany's composers, lyricists andpublishers received a total of only DM 2.48 million in 1979.
No significant surprises were reported at the GEMA annual meet-ing in Berlin, which was closed to the press. As expected, discussionof the mechanical royalty split brought the most intense discussion.Although GEMA last year adopted a 60/40 author/publisher splitas the new norm, many contracts still give a 50/50 split, causinisome composers and lyricists to complain that they still have tofight for a change they had already won. No concrete action wastaken on this matter, nor on the Radio Luxemburg rule, also passedlast year.
EMI -UK, Liberty/UA Restructures StaffBy VAL FALLOON
IN LONDON - Staff restructuringat the newly integrated EMI -Liberty / UA operation was an-nounced this week, followed bythe inevitable wave of redundan-cies and resignations. ThoughEMI refuses to give exact figureson the number of personnel de-parting EMI or UA, original ru-mors that the figure may reach ahundred proved unfounded.
The new executive team, re-porting to managing director ofthe joint operation, Cliff Busby, isas follows: Howard Berman (GM,marketing, UA U.K. and licensedlabels); Peter Buckleigh (market-ing director, EMI group repe-toire); Martyn Cox, (GM, CapitolEMI America, Liberty/UA U.S. art-ists); Roger Drage (manager,business affairs); Mike Edwards(GM, sales); Bill Judd (manager,planning); Richard Lyttleton (GM,international); Terry Slater (A&Rdirector); and Brian Southall(publicity executive).
The new operation is thereforesplit into three divisions: EMI U.S.roster, including classical and
MOR; UA and licensed labels;and American product.
Casualties include the com-mercial development divisionwhich was headed by Brian Berg.Individual divisions will now han-dle their own TV product. Thetwo sales forces have been inte-grated with many redundancies,and the supplementary musiccenter sales force has been dis-banded.
Other ChangesOther executives leaving in-
clude Colin Burns (UA saleschief), Clive Swann (EMI salesmanager), Bob Fisher (productmanager) and several London andregional promotion and presspeople. Altogether, redundanciesnumber between 30 and 50 andthis is the third major wave ofrestructuring in 18 months, indi-cating the severity of the situ-ation in the U.K. industry. Morecutbacks are expected in othercompanies and some EMI execu-tives have hinted that they areconsidering resignation in thelight of the latest EMI cuts.
EnglandBy VAL FALLOON
LONDON - The BPI and the FBI have set up a link in the latestround of attempts to stem the tide of illegal records and tapes.Though no details are available yet, Tony Hoffman, head of the anti -
piracy unit, told last week's annual general meeting that BPI chiefinvestigator Bill Hood has had several meetings with the FBI toensure close co-operation. Hoffman said that the increasing sophis-tication of counterfeiters was causing more problems. The latest"product" from the U.S. was counterfeit copies of promo albumswhich have rarity value there, and a series of adhesive labels whichenabled dealers to make illegal discs look legitimate for returns pur-poses. And the BPI here is still battling with the government overa blank tape levy, though this is closer to reality now, according toBPI director general John Deacon.
Said Deacon, "The BPI will be fighting to make its case heard."And at the AGM, the appointment of John Fruin, WEA managing di-rector, to BPI chairman, was formally approved. Fruin succeeds LenDood. Retiring council members Maurice Oberstein (CBS), MontyLewis (Pickwick), and Tony Morris (Polydor) were re-elected. Thecharts problem was also discussed-Morris, chairman of the chartscommittee, praised the existing British Market Research Bureau Chart,and gave cost as the main reason for change. Ten companies aresubmitting suggestions for new methods of chart compilation, in-cluding Record Business Research. Bar coding and electronic datacollection via retail tills would streamline this. At the moment themain chain experimenting with this system is W.H. Smiths, in therecord department of its Portsmouth store, but for internal use only.
SUMMER SLUMP: With EMI redundancies and potential streamlin-ing within RCA/PRT, it is going to be a gloomy few months forthe industry. PRT's parent company ACC announced in its annualreport last week that record and tape losses leapt from 43,000 poundsto 1.24 million. But ACC chairman Lord Grade pointed optimistical-ly to video potential, with products like "The Muppet Movie" and
(Continued on page 40)
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Diakigue, (Continued from page 26)
RW: So now you are going back to the old adventurous HerbieMann, doing whatever you feel like at a given moment?
Mann: I just have to be in control of what I do. I mean they (theaudience) listen emotionally, they don't listen to what you call it. It'seither believable or not. And the disco thing systematically was losingmy old audience. That's why I have to go out now and play jobs withthis little group, because I have to convince the people that I'm beinghonest with myself. I should have not done "Supermann," I shouldhave not done "Yellow Fever," I should have let them give me my re-lease and I should have gone then. Maybe now is a better time be-cause I'm angry. And I don't say I'm angry with Atlantic. I'm angrywith myself. I'm angry with the state of the record business as it is
that would make those kind of demands on a creative performer as ameans of survival in the structure of the company.
RW: OK, what about your new music? Who is in your current band?Mann: Last October I saw that the economy was going down the
toilet, so I would have to figure out a new way to make a living. So Istarted doing solo flute concerts. Those were very successful musically.So once I figured out I could do that, then I expanded it and starteddoing dates with just a percussionist. First Nana Vasconcellos and thenArmen Halburian. We did a bunch of those kind of dates, we did asmall tour with Glenn Moore of Oregon doing solo bass. Then I
realized I needed a chord instrument but I didn't want a piano and Ididn't think a guitar would handle it. So I spoke to Frank Gravis myguitarist, and I said I want not only bass but I want guitar concept atthe same time. We did some trio jobs together and it opened up every-body. Nobody had any restrictions anymore. I did not have to just playmelody, sometimes I played rhythm. And then I wanted to add anotherelement so I added Badal Roy on tabla. The music now is more im-pressionistic, we don't know what we're going to play when we goonstage. The first note, whether it is to try out my chorus echo ma-chine or my Frapp to see that it's working, the volume is loud, thefirst note starts the set. We have a bunch of tunes we play, but howwe play and in what key and tempo depends upon the developmentof the set.
RW: You have pursued so many musical styles throughout yourcareer. Would you seriously consider doing any electronic explora-tion?
Mann: I'm really a romanticist, I'm a lyrical kind of a player.RW: Do you think it's possible to get lyrical sounds with elec-
tronics?Mann: I probably could, but I still don't want to spend my thinking
with a machine. I would rather spend my thinking with my own wayof playing. I'll have to draw the line somewhere.
RW: How about a country album? Is that a possibility?Mann: Yes, especially after hearing punk. Once I heard new wave
and someone asked me what I thought about it, I said up until thispoint the only type of music I might not feel comfortable with is
country music. But considering that contemporary country musichas a lot of nice songs, I would love to go down to Nashville. Thewhole "Memphis Underground" rhythm section moved to Nashvilleso I could record with Mike Leech, Bobby Emmons, Reggie Young,Gene Christman and all those people-they're all in Nashville. Wecould do a beautiful album. My standard originally was I just neverwanted anybody to tell me or dictate to me what was or wasn't musicbecause creative music comes in many different suits and styles andcolors. That's probably why Downbeat excommunicated me becauseI started doing pop tunes.
RW: You didn't fit their concept of what pure jazz was, is that it?Mann: Yes, well my answer was that when Benny Goodman, Lester
Young and Billy Holiday did "Lady Be Good," those were pop tunes.But it was comfortable for them because it was in 4/4. The momentyou start adding conga drums, timbales, reggae and Brazilian, thatkind of lost it for the purists. My simple definition of jazz is that ifyou improvise based on the environment and the situation of thesong, is the "jazz" of that song, period.
RW: Do you feel that you're closer to the true feeling and idea ofjazz than these critics?
Mann: Being that they were very dogmatic in their approach, theyjust decided that I wasn't valid. Of course, even though it bothers me,it doesn't stop me from doing it because I saw the reaction of thepeople we played for. They're the only true critics. Because they'renot listening from any academic background, they're listeningemotionally.
RW: Do you think that if you were interested, you could make abelievable country record?
Mann: I think so because first of all I would play with musicians
who love the music. Any time I approach any ethnic form of music,I use those players that were playing their "jazz."
RW: You've used songs by people as diverse as Jagger/Richards,George Gershwin, Erik Satie, Fagen & Becker, Sly Stone, Lou Reed,Hoagy Carmichael, Bob Marley, Dickey Betts, Winwood/Capaldi, RayCharles, the list goes on and on. How do you choose a song?
Mann: I just listen to a lot of music. It's very impulsive. I sometimeshear songs and say "I like it but I'd like to do it this way." I've gotlists that have lists. I don't know if I'll ever get to all the songs I wantto do.
RW: When you get a song that impulsively strikes you, a song thatyou like and you decide to go into the studio how do you take itfrom there?
Mann: First of all, I hire players whose taste will fit comfortablywith the songs I'm going to do. What I occasionally have to tellpeople I record with is "I can't tell you how to play the song, but I
hired you because I trust your judgment in playing the most honestway you can." So sometimes I'm open enough if a Ralph MacDonaldor a Richard Tee thinks a song ought to go a certain way and I'mcomfortable with it, I'll go with it. So everything isn't completely myidea. I respect the people I record with and respect their taste. 90percent of the arrangements are spontaneous.
RW: When you are in the studio and have the songs and the rightmusicians, do you just tell the engineer to roll the tape?
Mann: I would love for them to keep it going and never stop, be-cause sometimes the first take is it, sloppy as it may be. I don't thinkmusic should be perfect. Normally, with a lot of the studio guys I
record with, the take before they thought it was the take is usuallythe take. Before they had the thing completely together, when theywere still trying things out. Producers who want things exact willloose that freshness
RW: Would you be interested in recording other acts for your label?Mann: Of course. I've got a list of people I'd like to record. I
would like to do an album with Joao Gilberto, who people say afterthey do an album with him that they'll never do another one, becausehe's difficult. Not being in their position, I would volunteer to do itin a minute because he is a genius.
RW: So you want to play more Brazilian music?Mann: We play Brazilian music now. I'm always listening to new
Brazilian music. The music we're playing now in the band is everythingI've done in the past evolved.
RW: Real fusion then.Mann: Pure fusion, not structured, formularized fusion but a fusing
of all the elements. And sometimes in the same song.RW: Do you ever find yourself getting mixed up?Mann: Yeah, that's great. I don't care; if it works together it works
together. Forget what you call it-it's just music. Et)
UK Music Therapy Lunch Held
SO,
The 5th UK Music Therapy luncheon proved even more successful than the previousFour. The luncheon was attended by several artists, including Sting and Andy Sum-mers (Police), David and Thereze (Dollar), Roger Water (Pink Floyd), Boz Scaggs, BillNelson, Elkie Brooks, Keith Michell, Rick Wakeman, Tim Rice and Mike Oldfleld. WithDave Dee presiding, the Duchess of Gloucester presented Roger Waters with the SilverClef award for outstanding achievement (previous winners were Cliff Richard, The Who,Elton John and Genesis). This was the first award ever collected in person by a mem-ber of the publicity -shy Pink Floyd. The lunch, highlighted by a prize draw and anauction, raised £35,000 for Music Therapy-over £7,000 more than the 1979 event.Pictured are Sting, H.R.H. The Duchess of Gloucester and Roger Waters.
RECORD WORLD JULY 12, 1980 37
AmericanRadioHistory.Com
L.... / Record World L.,Record
LiRecord World en Mexico
By VILO ARIAS MEXICO - Como resultado deun excelente trabajo promocionaldesarrollado durante varios me-ses por el sello Melody, Ivan seafirma como Ia figura mas sobre-saliente de la temporada, super-ando a muchos aspirantes extran-jeros que tratan afanosamente decolocarse en Mexico. La imagende Ivan, ha crecido paulatina-mente conforme avanz6 hacia lapopularidad su tema "Sin Amor,"el cual ha rebasado cifras muyinteresantes en yentas. Aparte deeste hit, Ivan tambien obtienemuy buena respuesta de parte delos consumidores con su otrolanzamiento "Soriarte," con elcual ratifica su calidad de inter-prete de primera linea. Cabe des-tacar, que Ia brillante-hasta elmomento - carrera discograficade Ivan en Mexico, se debe porencima de todo al agresivo ycompleto programa de promo-ci6n que en todos los medios dedifusion emple6 la comparifa quemanejan Nacho Morales y SergioBlandiet, ya que en todo mo-
SILVAmento, Ia preocupacion por colo-car a Ivan desde que apareci6 suprimera produccion en el mer-cado fue su principal objetivo, ylo han logrado con creces. iCon-gratulaciones para todos los in-volucrados!
Los editores latinos de musicase reunieron en Mexico y nacio IaFederaci6n Latinoamericana deMusica (FLADEM), cuyo primerConsejo Directivo esta presididopor Raman Paz y lo completanRomeo Nunes de Brasil como Pri-mer Vice-Presidente, GuillermoZea de Colombia como SegundoVice-Presidente, Carlos Esparra-gosa de Venezuela Tercer Vice-Presidente y como SecretariaGeneral Nelida Lopez French deArgentina. Entre los acuerdoscon caracter prioritario, figuranel decombatir con accion efectivael problema de las copias fraudu-lentas Ilamadas "piratas," y tra-tar de disminuir-en beneficio delos autoreslos impuestos que ap-lican los diferentes gobiernos
(Continued on page 40)
velvet
VELVET RECORDS PRESENTA
"EL ALBUM MAS ESPERADO
DE CHUCHO AVELLANET"
"Recordando a Tito Rodriguezen sus canciones de amor"
VELVET 3012
DISTRIBUIDORES:Velvet de Puerto Rico: (309) 722-3191
By TOMAS FUNDORA(This column appears first in Spanish, then in English)
I Los grandes dalios ocasionados a nuestros archi-vos fotograficos, solo podran ser reparados con elconcurso de las empresas discograficas, agentesde artistas y artistas, enviandonos a Ia brevedadposible sus fotograffas. La reposicion de muy vie-jas grabaciones, que descansaban en nuestros "ar-chivos de grabaciones" son casi irreparables. Noobstante, extiendo una invitacien a todas aquellas
A empresas que no han estado regularmente envian-donos sus muestras de grabaciones, resuman este
servicio a: Record World, 3120 West 8th Ave., Hialeah, Fla. 33012.Las grabaciones salidas al mercado en el proceso 1976 al 1980 son lasque han sufrido mayor deterioro y que deseamos reponer como puntode referencia a nuestro servicio editores y empresas discograficas engeneral. Nuestro servicio a la radio sera resumido en pocas semanas,una vez que todo el proceso de reacondicionamiento este realizado. . . El cantante Claudio del Villar, artista exclusivo RCA, Mexico yArcano en Estados Unidos, acaba de ser dado de alta en el HospitalHialeah, despues del accidente que casi le cuesta Ia vida, en el trans-curso de nuestras vigilias, evitando nuevos atentados contra nuestras
instalaciones y residencia personal de este redac-tor. Claudio debia salir esta semana hacia Mexicoy Puerto Rico, para atender Ia promocion de sunuevo sencillo, editado por RCA, con los temas"Como quisiera Mentirte" (C. del Villar-T. Fun-dora) y "Vale Ia pena." (T. Fundora) En Mexicotambien ha sido editado el ntimero "Oye mi can-to" (Juan R. Marquez) como Cara A del nuevosencillo. Se espera que su salud permita, a Claudio,salir a su viaje promocional, dentro de las pr6xi-k4C-
Claudio D.I Villarmas semanas.
El Interventor de SADAIC, Argentina, acaba de crear un ConsejoAutoral, dentro de Ia Sociedad, que estudiard yanalizard las cuestiones referentes al mejoramientoinstitucional de la institucion. Esti compuesto esteConsejo por los siguientes socios: Machingo Ava-los, Enrique Cadicamo, Nestor D'Alesandro, Mar-tin Dart* Domingo Federico, Osvaldo Fresedo,Roberto Lambertucci, Mariano Mores, Chico No-varro, Palito Ortega, Sebastian Piana, ArmandoPontier, Mike Ribas, Francis Smith y Hector Varela.
NON Felix Sera presidido el Consejo por el Dr. Luis G. Sua-rez Herter . . . EMI -Odeon ha designado a Alberto Caldeiro como suDirector Comercial en Argentina . Lanzo Caytronics el long playing
"Es amor" por Felito Felix, en Estados Unidos . . .
Lanz6 Arcano Ia grabaci6n larga duracian de Chilicon Came Big Sound Band, realizada en Miami,Florida, con los temas "Guadalajara," "CielitoLindo," "Alla en el rancho Grande," "Las Maliani-tas" y "Jalisco" en el ritmo Salidsco. Un nuevosonido a brillantes y muy populaces melodias mex-icanas, que esta recibiendo muy buena acogidaen las "discoteques" . . . Brillantes las presenta-
Fruko ciones de Cuco Valoy y Fruko en Bogota, Colom-bia. Fruko permanecera en la ciudad hasta mediados de Julio, dondealternard con grandes grupos musicales, entre los cuales se mencionana los Billos Caracas Boys, durante la celebracion de Ia Feria Interna-cional . . . Excelente el long playing "Mucho ritmo pa'Bailar" enritmo de guaracha, cha-cha-cha, rumba y boleros en producci6n deSidney Moraes, quien no es otro mas que el conocido Santo Morales,que tanto exit° lograra recientemente con su produccion brasileriade "Boleros de Amor." El nuevo long playing ha sido editado porRCA en Brasil . . . Los lunes en la noche se han convertido en "No-ches de celebridades" en el "Village Gate" de Nueva York, por la
(Continued on page 39)
311 RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
3.
4.
5.
6.
7.
8.
9.
10.
LATIN AMERICANHIT PARADE
(Popiiarity)
TacomaBy KTOY-FM (MARIO BRIONES)
1. RONDANDO TU ESQUNALOS OMNI -0B
2. TOCAME EL TROMBONWILLIE UINTERO-LAD
3. DAME UN POCO DE TICARLOS GUZMAN-Falcon
4. EL LADRONLOS 8 DE COLOMBIA -Gas
5. LA CIUDADRAFAEL BUENDIA-Musart
6. SACRIFICIOLOS SOLITARIOS-Peerless
7. SECRETONACHO ORTIZ-Falcon
8. ME RECORDARASFEBRERO LOCO -Del Norte
9. LAS TRES TUMBASFEDERICO VILLA-Arcano
10. El. PAJARO PRIETOCOMPARSA UNIV. DE LA LAGUNA-Gas
Ventas (Sales)
HartfordEL SABIOHECTOR LAVOE-Fania
2. NIDO DE AMOREL GRAN COMBO -Combo
NA MERCEOSCAR D'LEON-T.H.
LA NAVE DEL OLVIDOJULIO IGLESIAS-CBS
CONTESTACION AL BARBARAZOJOSE ORTIZ-TizorNAILARODOLFO-FuentesMALDITO AMOREL SUPER TRIO-AlgarAHORA SISONORA PONCENA-IncaCONSIGUEME ESOJOHNNY VENTURA-ComboDE CARNE Y HUESOLEONARDO) PANIAGUA-Discolor
San AntonioBy KVAR-FM (JOSE RICARDO BRIONES)
1. COMO YO TE AMOROCIO JURADO-ArcanoRAPHAEL-Alhambra
2. EL AMOR ESTA EN LOS DOSPIJUAN-T.H.
3. HE VENIDO A PEDIRTE PERDONJUAN GABRIEL-Pronto
4. CREIDAVID SALAZAR-Musart
5. AMOR MALDITOCLAUDIO DEL VILLAR-Arcano
6. TUS OJOS CASTANOSNELSON NED-Alhambra
7. HOY TE QUIERO TANTOGRUPO ALPHA-Musart
8. SOLO CON LA SOLEDADIAN SIMMONS-Profono
9. QUEDITO QUEDITOANGELICA MARIA-Profono
10. EL RECADORIGO TOVAR-Profono
Puerto Rico1. TE QUIERO DE VERDAD
BASIL 10 -Karen
2. HEYJULIO IGLESIAS--CBS
3. DESAHOGOROBERTO CARLOS-CBS
4. CABO E' VELAJOHNNY VENTURA-Combo
5. AL SON DE. LA LATAMARVIN SANTIAGO--T.H.
6. DE PATITASLUIS "PERICO" ORTIZ-New Generation
7. MI MANERA DE AMARNELSON NED-WS Latino
8. QUERERTE A TIANGELA CARRASCO-Pronto
9. MANUEL GARCIABOBBY VALENTIN-Bronco
10. SI ME DEJAS AHORAJOSE JOSE -Pronto
Nuestro Rincon (Continued from page 38)
energia desplegada por el programa "Salsa meets Jazz (with RogerDawson) at the Village Gate." Es facil encontrarse por alla a figurasdel quilate de Felipe Luciano, Pete Hamill, Jose Chegui Torres, KareemAbdul Jabbar y otras personalidades, que vibran con las actuacionesde estrellas de la salsa, tales como Ray Barretto, Tito Puente, Machito,Hector La Voe, Bobby Rodriguez y Ia Compariia, Jose Mangual Jr.,Fajardo y Angel Canales, al mismo tiempo con grandes jazzistas, talescomo Frank Wess, Billy Harper, Jon Faddis, David "Fathead" Newmany Sonny Stitt. A Roger Dawson de Ia WRVR de Nueva York, que lidereael programa "Sunday Salsa Show" se le ocurri6 Ia idea de presentarestos eventos, los lunes en Ia noche, en el Village Gate. El programaha sido extendido de las 10:30 hasta las 4 de la mariana, que era comorecientemente se radiaba, al nuevo horario de las 12 de la noche hastalas 6 de la mafiana. Asistire gustoso a uno de estos lunes en el VillateGate, en cuanto "mis amigos de Miami," me dejen comenzar a viajar. . . Y ahora . . . iHasta la prOxima! . . . Ah!, al momento del cierrede esta edicion, nos acaban de informar que las oficinas Regionales yDomesticas de RCA, Miami, fueron asaltadas anoche (Junio 26) a manoarmada, durante as horas de iimpieza, efectuando el robo de losequipos de sonido y videotape instalados en sus facilidades.
I ask all record companies, booking agencies and artists to send me,at their earliest convenience, photographs and promotional material,since most of our photo files were destroyed by the fire at RW'sLatin American offices last June 9th. The damages to our record libraryhave been irreparable. All recordings released from 1976 through1980 have been damaged considerably. I extend an invitation to thosecompanies that haven't been sending us their products to send sam-ples to: Record World, 3120 West 8th Avenue, Hialeah, Fla. 33012.Our service to radio stations will be resumed in a few weeks, as soon
(International)"Como Yo Te Amo"*
(M. Alejandro -A. Magdalena)RAPHAEL
(Alhambra)*Second Time -Segundo Vez
Sao PauloBy RADIO AMERICA
(RONALDO C. ASSUMPCAO)
ChileBy RADIO COOPERATIVA
(LUIS FLORES CRUZ)1. PALOMA 1. ANTES DE TI
SUNDAY PAUL ANKA/MARIELLE MATHIEU-Quatro2. 20 E POUCOS ANDS 2. YO NO QUIERO CAMINAR SIN TI
FABIO JUNIOR BARRY MANILOW-Quatro3. DESABAFO 3. NO VOLVERE A AMAR DE ESTA
ROBERTO CARLOS MANERA4. FREAK LE BOOM BOOM DIONNE WARWICK-Quatro
GRETCHEN 4. ANTES DE LA LLUVIA5. GRITO DE ALERTA DANNY CHILEAN -Sol America
MARIA BETHANIA 5. SOLO UNA NOCHE MAS6. MEU QUERIDO, MEU VELHO, CAT STEVENS-Quatro
MEU AMIGO 6. MANANA DE SEPTIEMBREROBERTO CARLOS GILBERT BECAUD-EMI
7. MENINO DO RIO 7. QUIEREMEBABY CONSUELO ANGELA CARRASCO-Quatro
8. A SAUDADE QUE FICOU 8. ENAMORATE DE MILUIZ AYRAO CAMILO SESTO-Quatro
10. BANDOLINS 10. COMO YO TE AMOOSWALD MONTENEGRO RAPHAEL-Quatro
EcuadorBy MARCELO NAJERA
ArgentinaBy AUGUSTO CONTE
1. HAS HAri-sn LIBRECAMILO SESTO
1. SOMOS LOCOS DE AMORVALERIA LYNCH-Phonogram
2. FUNKY TOWNLIPPS
2. NOCHES CALIDAS DE VERANONIGHT -Planet
3. SIEMPRE TE VOY A QUERERJERONIMO
3. DESDE EL ABISMOTORMENTA-Microfon
4. ESE HOMBREROCIO JURADO
4. OTRO LAM911.1") EN LA PAREDPINK FLOYD-CBS
5. DESAHOGOROBERTO CARLOS
5. mosniDSCHINGHIS KHAN-Microfon
6. TE AMADr nt MIL MANERASBETTY MISSIEGO
6. GQACIAS POR LA MUSICAABBA-RCA
7. BALADAS PARA ADELINERICHARD CLAYDERMAN
7. SACA FL REVOLVERTHE THREE DEGREES-Microfon
8. AYUDALAMARI TRINI
8. QUE MAI.0 ES AMARTEROBERT PALMER-Microfon
9. OTRO LAnRILLO EN LA PAREDPINK FLOYD
9. MONTES DE KATMANDUTANTRA-Phonogram
10. SE BUSCAJOSE LUIS RODRIGUEZ
10. LA DAN1A DE LOS MIRLOSLOS MIRLOS-Microfon
as we are able to reorganize our offices . . . Claudio del Villar, exclu-sive artist for RCA Mexico and Arcano in the States, has been dis-charged from Hialeah Hospital. Claudio had to attend dates in Mexicoand Puerto Rico this week following the release by Arcano of hislatest single, containing the tunes "Como Quisiera Mentire" (C. delVillar-T. Fundora) b/w "Vale la Pena" (T. Fundora). RCA Mexico alsoreleased his second single with the tunes "Oye mi Canto" (J. Marquez)b/w "Vale la Pena" (T. Fundora). I sincerely hope that Claudio delVillar will recover soon so he can go on his promotional tour.
I just heard that RCA's regional and domestic offices in Miami wererobbed the night of June 26th while their cleaning service was on duty.All electronic and videotape equipment were stolen . . . SADAIC'sinterventor in Argentina has just created an author's council withinthe society in order to study and analyze the improvement of the
(Continued on page 40)
c Radio ActionMost Added Latin Record
(Tema mos programado)(Regional)
"Se Te Fue Viva La Paloma"*(Homero Aguilar)
MANOELLA TORRES(CBS)
*Second Time-Segunda Vez
RECORD WORLD JULY 12, 198':39
AmericanRadioHistory.Com
Latin Americanc Album Picks
COMMITMENTFANIA ALL STARS-Fania JM 564
Excelentes arreglos salseros respaldan lasactuaciones de los Fania All Stars en estenuevo larga duracion, en el cual se desta-can "la Borinqueria" (D.R.), "La palabraadios" (C. Alonso), "Dime" (M. Albert/T.Fundora) y "Ublabady" (P. Becke).
Excellent salsa arrangements give proper backing to this newpackage by the very popular Fania All Stars. Some of the heaviest tunesare "Piano Man" (Masucci-Ramirez-Alonso), "Dinamita" (G. Grimaud)and "Dime" (M. Albert -T. Fundora).
PEDRITOFERNANDEZ
LA MUGROSITAPEDRITO FERNANDEZ-CBS DCS 015
Con arreglos de Pedro Ramirez y en suproducciOn, Pedrito Fernandez ofreceaqui nuevos temas de corte muy corner-cial y vendedores, tales como "La Mugro-sita" (B. Bermudez), "La maletita" (F. Her-nandez), "Amor de madre" (D.P.) y "Chi-quilla de mis amores" (B. Berm6dez).
With arrangements and production by Pedro Ramirez, Pedrito Fer-nandez offers a very saleable package. "La Mugrosita," "Mi Mazatlan"(J.A. Jimenez), and "Ya me voy" (C. Solis).
EN ESPANOLPERLA-RCA 103.0354Con arreglos de Daniel Salinas, Perla delParaguay interpreta aqui grandes e inolvi-dables temas latinos, interpretados a sumanera. "El dia que me quieras" (Cardel-Lepera), "La Bamba," "Sabras que to qui-ero" (T. Fregoso), "Recuerdos de Ypaca-ray" (Mirkin-Ortiz) y "la Barca" (R. Can-toral).
With arrangements by Daniel Salinas, Perla from Paraguay performsperennial Latin songs with her personal touch. "La barca," "Cucurru-cucupaloma" (Mendez), "India" (J.A. Florez-O. Guerrero).
VIERAS CUANTES GANAS TENGO
LUCHA VILLA-Musart 1783
Acompanada por el Mariachi Vargas, Lu-cha Villa interpreta en su peculiar estiloranchero "Donde estas, Adelita" (Ch.
Granada), "Gracias a la vida" (V. Parra),
"Que me Ileve el tren" (C. Lico) y otros.
Backed by Mariachi Vargas, Lucha Villa performs very commercialtunes with her ranchera style. Very good and commercial. "Quedate"(R. Rosas), "Para cuando regreses" (A. Manzanero) and "Amantes demedio tiempo" (Coki Navarro).
En Mexico (Continued from page 38)cuando las liquidaciones por con-cepto de ragalias son transferidasde un pais a otro.
Otra magnifica producci6n deLupita D'Alessio (Orfeon) que sevislumbra como hit nacional. Setrata del terra "Inocente pobreamiga" que viene a reemplazar asu actual exito "Si to ya no mequieres."
Reestructu raci6 nReestructuracion en el area de
PUblicidad y Promocion en el sel-lo RCA. Por decisi6n del Vice-Presidente Guillermo Infante, la
dinamica y capacitada Cucti Este-vez tomb la responsabilidad del
cargo de PUblicidad y Prensa,mientras que Alberto Michel asu-nnio el puesto de Gerente dePromocion Radial. Con estoscambios, es notorio el deseo deque el importante sello recuperela agresividad que siempre exhi-bieron en el area promocional yque en las ultimas temporadashabia disminuido considerabie-mente. La primera mision que sea impuesto este nuevo equipo,es la de estrechar las relacionescon todos los medios de difusi6n,y lo estan logrando con una rapi-d& extraordinaria. 1Excelente ymuy atinado cambio Guillermo.
CBS Intl. Fetes Fernandez
\ 44
A part of New York City was transformed into a Latin American music festival re-cently when more than 10,000 fans turned out for a day of music, comedy anddancing performed by a number of artists from all over Latin America. The eventtook place at Madison Square Garden and was headlined by CBS Mexico artist VicenteFernandez. Pictured at a post -concert party in honor of Fernandez are (from left): OscarNorvez, Vicente's manager; Juan A. Estevez, Jr., eastern regional sales/promotionmanager for CBS Discos International; Vicente Fernandez; Fritz Hentschel, directorof marketing/MLR, Latin American operations, CBS Records International; Venezuelanrecording artist Jose Luis Rodriguez; and Mexican singer La Prieta Linda.
England (Continued from page 36)
"Jesus of Nazareth" being readied for September release. Mean-while, RCA U.K. MD Jack Craigo predicts that the restructuring ofthe new company will take about a year. An MD cannot be ap-pointed until the board is finalized, and at the moment names beingrumoured as contenders for the job are Michael Levy of Magnet,John Howes (RCA) and Derek Green (A&M). But Jack Craigo maybe returning to post in the U.S. in the next few months. Cheeringnews for EMI-"Emotional Rescue" which many ex -staffers will bein need of this week, has entered the album chart at number one.Betting now heavy on whther the Stones will achieve 1980's firstplatinum LP ....
Mike "Bright Eyes" Batt signed to April Music worldwide foranother three years, extending his earlier five year deal. Batt, cur-rently a tax exile in Holland, is planning to sail around the worldfor two years. Sylvia Curd, Arcade Records international A&R chiefoff to L.A. on a buying trip .... Virgin Records has signed Japan toworldwide recording deal with new product ready in the autumn ...David Hockman, assistant general manager, Chappell International,has been appointed to the new position of manager, new businessdevelopment for PolyGram Leisure. Hockman will have dual respon-sibilities as general manager of Polytel Film Ltd., effective August 1.
Nuestro Rincon (Continued from page 39)institution. The council is twined by: Machingo Avalos, Enrique Cadi-camo, Nestor D'Alessandro, Martin Darre, Domingo Federico, OsvaldoFresedo, Roberto Lambertucci, Mariano Mores, Chico Novarro, PalitoOrtega, Sebastian Piana, Armando Pontier, Mike Ribas, Francis Smithand Hector Varela. The council will be presided over by Dr. Luis G.Suarez Herter . . . EMI Odeon in Argentina has appointed AlbertoCaldeiro as commercial director . . . Caytronics has released an LPby Felito Felix in the States entitled "Es Amor" ... Arcano released anLP by Chili con Carne Big Sound Band, produced in Miami, containingperennial Mexican tunes such as "Guadalajara," "cielito Lindo," "Allaen el Rancho Grande" and "Las Marianitas" with a new "saldisco"sound. The LP has been receiving good response from the disco-theques . . . Cuco Valoy and Fruko performed in Bogota, Colombia,with great success. Fruko will remain in Bogota until mid -July wherehe will perform with other groups such as Billo's Caracas Boys duringthe celebration of the International Fair . . . RCA Brasil has releasedan LP entitled "Mucho Ritmo Pa'Bailar" with guaracha, cha-cha-cha,rumba and bolero tunes produced by Sidney Moraes (Santos Morales),who had great success in Latin America with his previous production,"Boleros de Amor" ... Monday nights have become "celebrity nights"at the Village Gate in New York because of the excitement beinggenerated by the "Salsa meets Jazz (with Roger Dawson) at the VillageGate." It is not unusual to see people like Felipe Luciano, Pete Hamill,Jose Chequi Torres and basketball star Kareem Abdul-Jabbar diggingthe sounds of such "salsa" bands as Ray Barretto, Tito Puente, Ma-chito, Hector Lavoe, Bobby Rodriguez and La Compaiiia, Jose MangualJr. Fajardo and Angel Canales, along with jazz greats such as FrankWess, Billy Harper, Jon Faddis, David "Fathead" Newman and SonnyStitt. Roger Dawson of WRVR, who heads up the "Sunday Salsa Show,"came up with the idea of presenting these Monday night events. Someof the proceeds are going to the East Harlem Music School. The pro-gram has been extended from 10:30 a.m. to 4 p.m. It is now fromnoon to 6 p.m.
RECORD WORLD JULY 12, 1980
AmericanRadioHistory.Com
Styx at A&M Euro Meet
In the middle of A&M's European meetings held in London in June, Styx held threesold -out shows and met with European and South American affiliates. Pictured fromleft: Tommy Shaw of Styx with A&M chairman Jerry Moss and John Cocknell, market-ing director, A&M U.K.
The Coast(Continued rrom page 15)
Ronin, the new quartet formed by seasoned stage and sessionveterans here, translates as "lordless, wandering samurai," and thedescription's an apt one for Waddy Wachtel, Rick Marotta, Dan Dug -more and Stanley Sheldon in their new collective venture: in-dividually and in combination, they've served under Linda Ronstadt,Warren Zevon, Peter Frampton and enough other established talentto guarantee fat session fees and tour contracts into the next mil-lenium. For the past two years, all four members have been phasingout their once -hectic schedules playing for other acts to fulfill theirown battle plan.
"It started out with Linda," guitarist Wachtel explained during arecent visit to RW. "Rick and I wanted to start a band, and thenDan got interested. And then we were stuck with a bass player,"he said, nodding with mock disgust at Sheldon.
"Well, there've been arguments about it for that long," com-mented drummer Marotta somewhat obliquely about the group.Less fancifully, he, Wachtel and the other members all reportedthe goal as a classic one: "straight ahead, no frills rock'n'roll, realdance stuff," built around original songs and the basic quartet'slive ensemble sound. Even as their former boss, Ronstadt, gravitatedtoward new wave, Ronin rejected that route as unnatural, yet theyhaven't opted for the slicker, west coast -mellow proclivities someobservers might've expected.
With Peter Asher in their corner, producing his first true bandproject rather than a soloist, the decision was made to cut theirPhonogram debut LP. Says Wachtel, "We wanted it to sound likewe do as a band, so the whole record is virtually live, vocals andeverything. Peter just allowed us to give great performances for us,rather than putting all the elements together."
TALENT IN ACTION: Over here at the COAST, we're kinda look-ing forward to the July 8 arrival (at the Whisky) of a band calledthe Channels-pronounced, we suppose, just like the perfume ofthat name. See, this is a nine -member Japanese band playing stoneR&B, singing in English; they had a number one hit with CBS/Sonyin Japan called "Runaway." The key may be that the four singers/frontmen come out in blackface .... Local bands making it goodwould have to include the Blasters, a rockin' rockabilly quartetwhose show two weeks ago at Flipper's was attended by threemembers of Queen. The Englishmen liked them so much that theBlasters will now open Queen's concerts in San Diego and Phoenix;after "Crazy Little Thing Called Love," that shouldn't be too strange..... Another local outfit, Bates Motel, are backing Sparks on theirnewest LP, produced by Giorgio Moroder .... And speaking of rock-abilly, who would have guessed that Matchbox's album "RockabillyRebel" would be the number one hit in bustling Steven's Point,Wisconsin, the only place in the country even reporting the prod-uct? The people of Italy, who always thought Sharona was anice Italian girl, will get a look at the Knack when the band toursthat country soon .... Ted Nugent, driving a Jeep CJ -7, was againthe victor in the Celebrity Challenge portion of the Off -Road Cham-pionship Grand Prix at the L.A. Coliseum .... War have just re-turned from Mexico, where they played before 17,000 at the ArenaMexica in Mexico City. The concert was filmed for Mexican TV andwill air there this summer.
CONGRATS: To Ronnie Lippin, national publicity chief for RSORecords, and husband Dick of Stone Public Relations Associates onthe June 27 birth of their daughter Alexandra Brook .... To PaulCotton of Poco, who'll marry Freida Winkle on July 7 .... And toElton John, whose tenth anniversary in the business (as a solo per-former, we presume) comes on August 25.
Blues Revival(Continued from page 6)black radio stations in cities likeLos Angeles are now willing toplay records by an artist like Al-bert Collins, in contrast to the'60s when much of the blackmiddle class essentially rejectedblues roots," notes Bruce, whofeels that the past decade's swingtoward an Afro-American cul-tural pride has been crucial tothis restoration of interest.
Ironically, an old '60s ally, FMrock radio, has turned a coldshoulder for most of the decadesince. Reports Bruce, "I'm in thestudio with the Fabulous Thun-derbirds right now, and I'm try-ing to help them get more radioacceptance, which is reallyfrustrating. Programmers willtell us, 'We don't play ,bluesrecords,' and then turn aroundand play something by PatTravers, Eric Clapton or Z. Z.Top."
Bruce Iglauer, who foundedhis Alligator label in the 'early'70s, echoes that assessment.At the time of his company'sformation, recalls Iglauer, it, wasdecided to focus on a new,rock -influenced audience thathad been introduced to theblues through '60s album rock."In other words, the door wasalready open, but nobody waswalking through it," he explains."Now, it's very frustrating tohear those stations playing whatsounds like the same style ofmusic, only to find they're mak-ing distinctions based on themusician's own paint job, not themusic.
"As the AOR door has closedmore, we've been working veryhard on print, and on movinginto black radio. We're findingthere are black stations out here
saying, 'Sure, we'll play bluesrecords. We just can't seem toget enough.' "
Whatever the trade-off inblack and AOR exposure, cross-over points can be seen betweencontemporary blues and thoseformat's current respective pro-gramming. Bruce Kaplan, whoseFlying Fish label records BigTwist and The Mellow Fellows,and whose recent pact with theblues -oriented Blind Pig labelconfirms a shift toward moreblues product, sees the currentblues revival as tied to the re-surgence in classic rhythm &blues, noting, "A lot of peopledon't see much of a differencebetween the two." Horn -domi-nated blues like Big Twist's, forexample, is a short hop awayfrom much recent black popproduct, which has witnessed areturn to blues forms in bothvocal readings and arrangements.
The wry lyrics, long a stapleof the field, is another attrac-tion, according to Kaplan andhis peers, who point to modernblues compositions alluding toeveryday hassles as particularlyappropriate during current hardtimes.
For the potential white cross-over audience, though, the mainfeature remains those of a
decade ago: "It's all guitar -domi-nated," says Takoma's Bruce,"with the exception of TheBlues Brothers, who have theadded advantage of their televi-sion and film identity to helpthem."
(Record World's coveragecointinues next week with a
special emphasis on the effect ofcurrent economic conditions onthe blues movement.)
Gap Band Gets Gold
While in Chicago recently for a show at the Stadium, the Gap Band stopped by thePhonogram, Inc./Mercury Records offices to receive their gold albums for "The GapBand II." The album was aided to gold status by the R&B singles "Steppin' (Out)"and "I Don't Believe You Want To Gel Up And Dance (Oopsl)." The Gap Band iscurrently represented on the charts with "Party Lights." Seen at the gold presenta-tion from left, are: (standing) Bill Haywood, vice president/R&B product for Phono-gram, Inc./Mercury Records; Mick Brown, vice president/sales for Phonogram/Mer-cury; Deke Atkins, midwest R&B promotion manager for Phonogram/Mercury; DonAlexander, manager of the Gap Band; and Bob Sherwood, president of Phonogram/Mercury. Kneeling in front are Robert Wilson (left) and Ronnie Wilson of the GapBand.
RECORD WORLD JULY 12, 1980 4?
AmericanRadioHistory.Com
II NASHVILLE-The year 1980 isturning out to be rather 'ordinaryfor Epic artist Mickey Gilley-aside from the fact that he hastwo singles bulleted inside thetop 12 on RW's Country:Singleschart, he and his Texas night-club are featured prominentlyin the film "Urban Cowboy/'and he has already taped virtu-ally every major U.S. televisiontalk show.
In addition to the above, Gil-ley is,. for the first time in hiscareer, denting the pop singleschart, with his Full Moon/Asylum "Urban Cowboy" track,"Stand By Me." And his Pasa-dena, Texas nightclub, Gilley's,already popular before "UrbanCowboy," has gone beyondcommercial success to becomesomething of a pop culturalphenomenon, complete with itsmechanized bronco and bull.
Waylon TVer Set NASHVILLE-RCA artist Way -Ion Jennings has scheduledshooting on his first -ever televi-sion special, set to air on ABCin November. The show, whichwill co-star Jessi Colter (Mrs.Waylon Jennings) and James Gar-ner (of TV's "Rockford Files"),will begin shooting late thismonth.
Opening in Phoenix whereWaylon was discovered in 1965,the filming will feature Jenningssinging some of his greatest hits.The special will be shot entirelyon location, with sets rangingfrom a deserted train depot toa recording studio. Other se-quences will feature a car racebetween Garner and Jenningsand Waylon in concert at Mr.Lucky's Club in Phoenix and theRed Rock Amphitheatre in Den-ver.
Record World
Gilley Begins First Major Market Tour
As 'Urban Cowboy' Film Boosts VisibilityBy AL CUNNIFF
To top this off, Gilley em-barked Thursday (3) on his firstmajor market tour in support ofan album, his new Epic ,release,"That's All That Matters to Me.""We're trying to play off the'Urban Cowboy' success as
much as possible," said RoyWunsch, direcor of marketingfor CBS Nashville. "If MickeyGilley's sound is being pro-moted, we're going to benefit.
"Mickey's current success isthe culmination of plans laidover the past few years. It didn'ttake the movie to put our mar-keting plans into effect - butwe'd be fools not to utilize themovie." Wunsch said there are"nuances" of the film in thenew CBS/Giliey poster, as wellas the back cover of Gilley'snew Epic album. But Wunschstressed that there is no con-centrated effort to "cross (Gilleyover," that instead CBS regionalrepresentatives will continue to"try to get the most exposure forGilley and his product, as we al-ways have."
Wunsch said that while Gilleyis on his current tour, which isslated to run through September,there will be "independent mer-chandising efforts in each CBSregion. There will be merchan-dising contests, a push for air-play, and displays with (postersand album flats. We're en-couraging the new Epic Gilleyalbum to be marketed alongsidethe 'Urban Cowboy' Gilleysound.
"Mickey on his previous label(Playboy) was best known as a
good honky tonk pianist andsinger. But we felt he was alsoa great vocalist on ballads, goodon dramatic, emotional songs.We were trying to pull fromMickey what we knew was there
(Continued on page 43)
PICKS OF THE WEEKLEE, "LOOKIN' FOR LOVE"(prod.: John Boylan) (writers:W. Mallette, P. Ryan, B. Mor-rison) (Southern Nights, AS -CAP) (3:36). Mickey Gilley'smusical associate steps outfront with a powerful cut ofhis own. Another "UrbanCowboy" track with strongpop promise. Full Moon/Asy-lum 47004.
atLLI
0.LIJ
LLI
U1
CMA UndertakingThree Major Surveys
By AL CUNNIFF NASHVILLE - The CountryMusic Association is carryingout major survey of countrymusic buyers, local TV shows,and radio programmers whichwill result in unprecedentedsources of facts and figures forlabels, merchandisers, adver-tisers, talent brokers, and virtu-ally anyone else with a vestedinterest in ,country music.
The CMA has received over5000 responses to several surveysit conducted among visitors toNashville's recent Fan ,Fair. Theinformation received in thissurvey, which relates primarily tobuying habits and demographics,is being put on computer to al-low complete processing.
Another CMA survey in theworks relates to country music-related shows produced locallyby TV stations across the U.S. A
(Continued on page 43)
'SOB' in Nashville
Taylor Inks AndersonI NASHVILLE-Joe Taylor, presi-dent of the Joe Taylor ArtistAgency, has announced thesigning of Warner Bros. Recordsartist John Anderson to an exclu-sive artist -agency contract.
The negotiations were final-ized during Anderson's recenttaping of "That Nashville Music."The artist is managed by ,GeneFerguson.
Total Concept Bows111 NASHVILLE - Earl E. Owenshas announced the opening ofTotal Concept Representation, afirm designed to provide publicrelations, management, booking,and other services "to com-panies that wish representationin Nashville but do not want toopen an office."
Owens is former owner ofOwens, Fair, and Assoc., a PRand management firm. TotalConcept's office will be at 535Murfreesboro Road in Nashville.
Producer Billy Sherrill was surprised recently when friends Bob Beckham and BuddyKillen threw him an "SOB" (Sherrill's Our Boy) party. Shown during the party are,from left: Beckham, Combine Music; Sherrill; producer Owen Bradley; Tree Intema-Cones Buddy Killen; and producer Larry Butler.
JOHN ANDERSON, "IF THERE WERE NOMEMORIES" (prod.: Norro Wil-son) (writer: R. McCown) (Saw -grass, BMI) (2:13). Andersonshines in this true-blue coun-try ballad performance, high-lighted by "weepin' " fiddles,steel, and piano licks. WarnerBros. 49275.
Dco
JOHNNY DUNCAN, "IN MYDREAMS." Duncan's easy, inti-mate vocal gets the most out ofquality material such as "I'mGonna Love You Tonight (In MyDreams," "How's the WorldTreating You," and "The WayYou Are." Don't be surprised ifthere's another hit lurking in thissolid package. Columbia JC36508.
42 RECORD WORLD JULY 12, 1980
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MCA Fetes Tanya Tucker
MCA Records/Nashville recently hosted a press, radio, and accounts luncheon forTanya Tucker at Woodland studios prior to the artist's recording session with producerJerry Crutchfield. Pictured from left are Tom Rodden, Record World vice president andsoutheastern manager; Tucker; Crutchfield, VP of MCA Music publishing; and MarthaHaggard, manager of press and artist development, MCA Nashville.
Gilley Begins Major Market Tour(Continued from page 42)all along."
Sandy Brokaw, who handlesGilley's public relations and as-sists Sherwood Cryer in manag-ing Gilley, said, "I took Mickeyon as ',a client in 1974, aftermeeting him through LorettaLynn's manager. I flew down toMickey's club, and my life hasnever been the same. I knewimmediately there was some-thing very 'special about Mickeyand his club.
"I started getting on the hornwith Dinah, Merv, Mike Douglas,and others, and they were alwaysvery receptive. Mickey's clubhad created a lot of news, andMickey got top ten records-hekept giving me the ammunitionto go to those shows."
Brokaw said that in the recentexplosion of interest in Gilley,his ;records, and his nightclub,he and Cryer have begun to ex-plore offers from merchandisersof western wear, and have con-cluded a deal for WestwoodOne Productions to syndicate aradio show from Gilley's club.Brokaw said a recent appear-ance by Gilley on the new "JohnDavidson Show" led to an offerby Davidson to have Gilley serveas cohost for a week. Thosesegments will air in late July-early August.
Other recent Gilley TV appear-ances include the "MidnightSpecial," the "Sha Na Na" show(to air this fall), a profile on"20/20," "Dinah and Friends,"and the "Mike Douglas" show.
Gilley is also slated to appearon "Good Morning America"and "Kids Are People Too."Brokaw said there is a chancefor a "network TV show" done
in Gilley's club. He said a TVseries based on the club, "is be-ing discussed," and that a specialcombining concert sequenceswith competition on the mech-anized bull and on Gilley'sdance floor is "being planned."
Los iAngeles-based producerJim Ed Norman, who producedGilley's latest recordings, toldRecord World, "Mickey and I
worked , togteher on 'Stand byMe,' for the movie. Out of thatrelationship came the decisionto work together ion an album.Mickey listened to my approachand choice of material and de-cided 'it was something he want-ed to do.
"The most outstanding thingto me about Mickey when I
first considered working withhim was his vocal ability, anability that was above what hehad previously done. The bar-room honky tonk sound is justone side of Mickey. Mickey hasa real style that just hasn't beenrealized until now."
One of the most immediateeffects of Gilley's notoriety .ishis placement in larger venueson his current tour. "Smallerhalls have been bypassed infavor of larger venues that willput Mickey before larger num-bers of people," explained MaryAnn McCready, CBS Nashville'sdirector of artist development.
McCready cited such upcom-ing Gilley dates as Denver, July11, with Crystal Gayle; ComiskeyPark in Chicago, July 26, at aWhite Sox game; the Chicago-fest, Aug. 5, with CharlieDaniels; New York, Sept 1, withJohnny Paycheck; and Disney-land, Oct. 4 and 5.
Country HotlineBy MARIE RATLIFF
MOST ADDED CHART CONTENDERSOak Ridge Boys -- "Heart of Mine"Dolly Parton -- "Old Flames Can't Hold A
Candle To You"It's finally a singles The much
acclaimed song from the "Urban Cow-boy" movie, "Lookin' For Love" hasbeen getting a lot of attention forJohnny Lee out of the album, in somemarkets already playing as a single.Numbers include WMZQ (#19), WHN(#19), WEEP (#31),WNYN (#33), KSO
Sonny Curtis tasted fame a decade ago with thetheme song from "The Mary Tyler Moore Show," andnow he's redone "Love Is All Around," and thefamiliar melody should spark instant attention!It's already added at WTSO, KEBC, WBAM, WWVA,WTOD, KTTS, KVOO, KRMD, WGTO.
Ilia Al Downing is moving strongly with "Bring ItHome" at KSOP, KFDI, WXCL, KRMD, KEBC, KVOO, WPNX,KWKH, WTMT, WTOD, WNYN, KTTS, KDJW, WESC, WGTO.Hank Thompson's "Rollin' In Your Sweet Sunshine"added at KEBC, KRMD, KRAK, KNIX, KV00, KSO.
Current Events Topics: J. C.
Cunningham explains "The PyramidSong" at WHK, KEBC, KVOO, KSO;Michael Brogan says "Let's MakeAmerica The Beautiful Again" atKCKC, WCXI, KSOP, WQQT, KRAK, KXLR.
Super Strong: Merle Hasord,Davis, Brenda Lee, Johnny Duncan &
Big Al Downing Janie Fricke.Pam Rose is showing action on "The Book of You
and Me" at KSOP, KFDI, KRMD, WCMS, WIRK, WPLO,WQIK, KVOO. The Earl Scruggs Revue has play on"Country Comfort" at WPLO, WIRE, KVOO, KRMD.
John Wesley Ryles' "May I Borrow Some Sugar FromYou" spinning at KEBC, KRMD, WTMT, WMZQ, KTTS,WQIK, WFWAI, KVOO. Buck Owens' "Moonlight andMagnolia "playing at KSO, KRMD, WIRK, KRAK, KNIX,KV00, WGTO, KEBC.
Oak Ridge BoysAndersonJohn
Debby
Chuck PRICE --David Friday -Paul Evans -
Mike Morie -KFDI)
Crystal Gayle - "Heart Mender" (WPNX, KEEN,WYDE)
Jerri Kelly - "Fallin' For You" (KFDI, KXLR,vS0P)
CMA Ju rveys
SURE SHOTS-- "Heart of Mine"-- "If There Were No Memories""Free To Be Lonely Again"LEFT FIELDERS"Crazy Old Lady""We Were Meant to Be Lovers"
"One Night Led to Two"AREA ACTIONThe Last Farewell" (WDEN, KSOP,
CM CM
(Continued from page 42)
CMA spokesperson said the or-ganization began receiving re-plies from some of the 3000 TVstations surveyed "within a weekof when the forms were mailedout."
An ongoing project has beenan updating of the CMA's Broad-casters' Kit, which contains pro-
motion ideas, sales hints, andother information from othercountry radio stations. Accordingto the CMA's latest count,there are over 1530 fulltimecountry music radio stations inthe U.S., and more than 2400stations that program country.
RECORD WORLD JULY 12, 1980 43
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CountrySingle Picks
COUNTRY SONG OF THE WEEKDEBBY BOONE-Warner Bros. 49281FREE TO BE LONELY AGAIN (prod.: Larry Butler) (writer: D. Pfeifer)
(Brightwater/Strawberry Patch, ASCAP) (2:48)Debby's expressive vocal is especially effective when doubletrackedin this sad -but -bouncy tune by singer -writer Diane Pfeifer.
THE OAK RIDGE BOYS-MCA 41280HEART OF MINE (prod.: Ron Chancey) (writer: M. Foster) (Silverline, BMI)
(3:26)The Oak's trademark harmony and Chancey's slick production add tothe appeal of this smooth ballad, which moves with an easy, delibe-rate pace.
T. G. SHEPPARD-Warner Bros. 49515DO YOU WANNA GO TO HEAVEN (prod.: Buddy Killen) (writers: C. Putman,
B. Jones) (Tree, BMI/Cross Keys, ASCAP) (3:08)A revival flavor and several twists on the meaning of the title highlightthis light tune, which traces a few interesting episodes in the singer'slife.
(writers: W. Redden, J. L. Davis) (Makin' Music, ASCAP) (no time listed)This is kind of a redneck answer to "Blue Bayou." It's a bright ideadone with a humorous flair.
RANDY CORNOR-Cherry 796THE BEST MEMORY IN TOWN (prod.: A. V. Mittelstedt) (writer: A. V.
Mittelstedt) (Publicare, ASCAP) (1:55)Cornor's appealing vocal lends a special touch to this upbeat balladwith a real country sound, telling us why "she's by far the best me-mory in town."
DONNA FARGO-Warner Bros. 49514LAND OF COTTON (prod.: Larry Butler) (writers: J. M. Vest, D. W.
Chamberlain) (Galleon, ASCAP) (2:50)Donna provides a quiet vocal for this sad story put to a familiar"Dixie" melody.
CHUCK PRICE-Bandana 101CRAZY OLD LADY (prod.: A. V. Mittelstedt) (writer: R. Willis) (War Drum,
BMI) (2:40)This is a poignant portrait of a "crazy" old lady who believes every-one's problems can be solved by love.
ROGER BOWLING-NSD 50I CAN'T GET OVER YOU (prod.: Ron Oates) (writers: R. Bowling, B. E.
Wheeler) (Roger Bowling, BMI/Sleepy Hollow, ASCAP) (2:49)This hit songwriter offers his version of this original song, a sensitiveballad that gets its message across in a slow, even pace.
PAUL EVANS-Cinnamon Int. 604ONE NIGHT LED TO TWO (prod.: Jimmy Wisner) (writers: P. Evans, B. Alan)
(Port/Traiames, ASCAP) (3:21)Also a veteran songsmith, Evans is surprised by how long a "hello"can last in this compact tune with a heartfelt message.
RONNIE SULLIVAN-Brandwood 0013HONKY TONK HOLIDAY (prod.: Ansley Fleetwood) (writer: J. Riggs)
(Fleetwood/McMillan, ASCAP) (2:40)His bar stool will stay empty this weekend, 'cause he'll be home withhis baby. This delightful cut has a happy twist that invites radio andjukebox play.
JACK AND TRINK-NSD 48GET BACK TO THE BASICS (prod.: Dale McBride) (writer: J. Ruthven)
(Blue Branch/Dale McBride, BMI) (2:31)Backed by a plucky beat, this male/female duo asks to bring love backto the way it used to be.
J. D. SOUTHER-Columbia 1-11302IF YOU DON'T WANT MY LOVE (prod.: J. D. Souther) (writer: J. D. Souther)
(Ice Age, ASCAP) (4:15)Souther adds a wry touch to his "sad" message in this track spicedwith organ licks and a Spanish air.
JOHN ANDERSONJOHN ANDERSON-Warner Bros. BSK 3459Anderson combines a sterling voice withballads done in contemporary classicstyle. His deep, melodic tones are linkedwith Norro Wilson's capable productionon such standout tracks as "Your LyingBlue Eyes," "It Looks Like the Party Is
Over" and "Something Borrowed, Some-thing Blue."
A SURE THINGFREDDIE HART-Sunbird 50100As usual, this veteran hitmaker has a
strong, clear message for us in each song.The title cut, "The Weaker Sex" and"You're Crazy Man" sound especiallycommercial. There's no doubt whereHart stands in each track he selects.
By AL CUNNIFF
Chappell music publishers have wooed great young songwriterRafe Van Hoy from Tree International. More details later .. . GeorgeJones will have his first motion picture role in Clint Eastwood's nextWarner Bros. film, "Any Which Way You Can." Jones is due to be onlocation with the film July 13-15 in Los Angeles . . . Larry Gatlinand his brothers helped raise over $130,000 for the fight againstmuscular dystrophy by performing in concert and taking part in arecent celebrity golf tournament in Dallas. Jimmy Dean, Janie Fricke,and the Texas Playboys joined the Gatlins on stage.
April/Blackwood publishers' Nashville office is celebrating its thirdanniversary by citing 17 chart singles and material appearing on24 albums on country charts in the first half of 1980. Charlie Monk,April/Blackwood's southern director, noted that the firm scored bigwith "Sexy Eyes," written by staffers Bob Mather, Keith Stegall, andChris Waters -Dunn. These writers have also had April/Blackwoodsongs chart as singles in 1980: Jerry Foster and Bill Rice, Jerry Fuller,Roger Murrah, Stewart Harris, Elroy Kahanek, Larry Paxton, NelsonLarkin, and Earl Thomas Conley.
Lacy J. Dalton and her band suffered the misfortune of havingtheir equipment stolen recently in St. Louis-but look at the mediaattention they're getting out of it! Seems the Dalton Gang's equip-ment was ripped off while Lacy was doing press interviews. Theband later received a tip on the equipment's location while theywere lounging around a pool, clad in bathing suits. The Daltonsand St. Louis police (in that order) later closed in on people holdingthe stolen stuff, and within two days the band was on its way withvirtually all of its equipment back in hand.
Network Ink, Inc.'s recent opening celebration drew well over200 people who came to wish Nashville's newest public relationsfirm well. The event drew many from the Nashville music scene,including BMI's Frances Preston, Sound Seventy's Joe Sullivan, artistDobie Gray, CMA's Jo Walker, House of Gold publisher Bob Mont-gomery, former Wet Willie lead vocalist Jimmy Hall, and CharlieDaniels Band drummer Jim Marshall. Entertainment was provided bythe Riders in the Sky and pianist Thomas Cain.
RCA artist John Denver brings his show to the Municipal Audi-torium Saturday (12) . . . Bobby Bare recently cut the title track to"Used Cars," a Columbia Pictures film set for release July 11. Bare,who will soon take his "Down and Dirty" show to Germany, is atwork on his new Columbia album .. . RCA artist Tom T. Hall, slated
(Continued on page 45)
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Record V1oddthy MIMSJULY 12, 1980
TITLE, ARTIST, labol, Number, (Distributing Label)JULY JULY
12
2 URBAN COWBOY
(ORIGINAL SOUNDTRACK)
Full Moon/AsylumDP 90002
9
23
1
3GIDEON KENNY ROGERS/United Artists LOO 1035 13THE GAMBLER KENNY ROGERS/United Artists LA 834 H 82
4 4 MUSIC MAN WAYLON JENNINGS/RCA AHL1 3602 65 6 KENNY KENNY ROGERS/United Artists LWAK 979 436 5 GREATEST HITS WAYLON JENNINGS/RCA AHL1 3378 62 63:7 7 ROSES IN THE SNOW EMMYLOU HARRIS/Warner Bros.
11 11 TEN YEARS OF GOLD KENNY ROGERS/United Artists50 49
12 14LA 835 H 129
STRAIGHT AHEAD LARRY GATLIN/Columbia KC 36250 3951 43
13
1415
16TOGETHER OAK RIDGE BOYS/MCA 3220 19IT'S HARD TO BE HUMBLE MAC DAVIS/Casablanca NBLP 52 46
15 137207 15
ELECTRIC HORSEMAN FEATURING WILLIE NELSON/ 53 41
16 17Columbia JS 36327 26
MILSAP MAGIC RONNIE MILSAP/RCA AHL1 3563 1554 54
17 10 SOMEBODY'S WAITING ANNE MURRAY/Capitol SOO 12064 10 55 5218 19 THERE'S A LITTLE BIT OF HANK IN ME CHARLEY PRIDE/
RCA AHL1 3548 19 56 40
22 BRONCO BILLY (ORIGINAL SOUNDTRACK)/Elektra 5E 512 7 57 55
20 23 HABITS OLD AND NEW HANK WILLIAMS, JR./Elektra/Curb58 67
6E 278 521 25 WILLIE AND FAMILY LIVE WILLIE NELSON/Columbia KC 59 62
34326 84 60 63
36 HEART 8. SOUL CONWAY TWITTY/MCA 3210 1961 6423
241821
THE OAK RIDGE BOYS HAVE ARRIVED/MCA AY 1135 66DOLLY, DOLLY, DOLLY DOLLY PARTON/RCA AHL1 3546 11
62 51
2526
2026
CLASSIC CRYSTAL CRYSTAL GAYLE/United Artists LOO 982 36LET'S KEEP IT THAT WAY ANNE MURRAY/Capitol ST 11743 125 63 61
27 27 MISS THE MISSISSIPPI CRYSTAL GAYLE/Columbia JC 36203 41 7428 24 AUTOGRAPH JOHN DENVER/RCA AHL1 3449 '1929 33 THE BEST OF THE STATLER BROTHERS RIDES AGAIN, VOL. II/ 65 60
Mercury SRM 1 5024 25 66 5859 YOUR BODY IS AN OUTLAW MEL TILLIS/Elektra 6E 271 6 67 71
32 34 BEST OF THE STATLER BROTHERS/Mercury SRM 1 1037 231 69 6533 30 CLASSICS KENNY ROGERS & DOTTIE WEST/United Artists 70 73
LA 946 H 65 71 72Fr 39 LACY J. DALTON/Columbia JC 36322 1535 35 THE BEST OF DON WILLIAMS, VOL. II/MCA 3096 59 72 6936 29 DALLAS FLOYD CRAMER/RCA AHL1 3613 8 73 2837 38 JUST GOOD OL' BOYS MOE BANDY & JOE STAMPLEY/ 74 68
Columbia JC 36202 3945 VOLUNTEER JAM VI HOSTED BY CHARLIE DANIELS BAND/ 75 57
Epic KE2 36438 3
Nashville Report (Continued from page 44)to play in the Chet Atkins golf invitational in Pine Mountain, Ga.July 6-8, recently played with his original professional band, theKentucky Travelers, at his annual homecoming celebration in OliveHill, Ky.
Roy Clark's Celebrity Golf Classic is scheduled for Sept. 13-14 atCedar Ridge Country Club in Tulsa. Jimmy Dean, James Gamer, andothers have been announced to play . . . Wendy Holcombe shouldhave a good case of TV tube -burn, if it's possible to get such a thing.In the past month she has taped "The Porter Wagoner Show," "TheBob Braun Show," "Pop! Goes the Country," and Music City News'awards show.
Elektra recording artists Eddie Rabbitt and Hank Williams Jr. ac-count for a total of six albums on Record World's Country Albumschart this week. Rabbitt has "Loveline," "Best of Eddie Rabbitt," and
39 37 WILLIE NELSON SINGS KRISTOFFERSON/Columbia JC 36188 3440 48 THE WAY I AM MERLE HAGGARD/MCA 3229 1241 32 ASK ME TO DANCE CRISTY LANE/United Artists LT 1023 842 42 HANK WILLIAMS, SR. 24 GREATEST HITS/MGM SE 4755 6
CHARTMAKER OF THE WEEK
- HORIZON
EDDIE RABBITT
Elektra 6E 276 1
HEART OF THE MATTER THE KENDALLS/Ovation OV 1746 16DOWN & DIRTY BOBBY BARE/Columbia JC 36323 21I WISH I WAS EIGHTEEN AGAIN GEORGE BURNS/Mercury
SRM 1 5025 24A LEGEND AND HIS LADY EDDY ARNOLD/RCA AHL1 3606 5
GREATEST HITS LARRY GATLIN AND THE GATLINBROTHERS BAND/Columbia JC 36488 68
SHRINER'S CONVENTION RAY STEVENS/RCA AHL1 3574 19
BEST OF BARBARA MANDRELL/MCA AY 1119 74Y'ALL COME BACK SALOON OAK RIDGE BOYS/MCA DO
BSK 3318 61I'LL ALWAYS LOVE YOU ANNE MURRAY/Capitol SOO
12012 36FRIDAY NIGHT BLUES JOHN CONLEE/MCA 3246 2
MILLION MILE REFLECTIONS CHARLIE DANIELS BAND/Epic KE 35751 61
BEST OF EDDIE RABBITT/Elektra 6E 235 35FAMILY TRADITION HANK WILLIAMS, JR./Elektra/Curb
6E 194 59LOVELINE EDDIE RABBITT/Elektra 6E 181 58THE BEST OF JERRY JEFF WALKER/MCA 5728 2ONE FOR THE ROAD WILLIE NELSON & LEON RUSSELL/
Columbia KC 36064 55A RUSTY OLD HALO HOYT AXTON/Jeremiah JG 5000 50WHISKEY BENT AND HELL BOUND HANK WILLIAMS, JR./
Elektra/Curb 6E 237 34LORETTA LORETTA LYNN/MCA 3217 16THAT'S ALL THAT MATTERS TO ME MICKEY GILLEY/
Epic JE 36492 2PORTRAIT DON WILLIAMS/MCA 3192 34THE CHAMP MOE BANDY/Columbia JC 36487 3AFTER HOURS JOE STAMPLEY/Epic JE 36484 3
I'VE GOT SOMETHING TO SAY DAVID ALLAN COE/Columbia JC 36489 2
SPECIAL DELIVERY DOTTIE WEST/United Artists LT 1000 30RIGHT OR WRONG ROSANNE CASH/Columbia JC 36155 39BUT WHAT WILL THE NEIGHBORS THINK RODNEY
CROWELL/Warner Bros. BSK 3407 8ONLY LONELY SOMETIMES TAMMY WYNETTE/Epic JE 36485 3MY HOME'S IN ALABAMA ALABAMA/RCA AHL1 3644 5ONE MAN, ONE WOMAN JIM ED BROWN & HELEN
CORNELIUS/RCA AHL1 3562 5NEW YORK WINE, TENNESSEE SHINE DAVE ROWLAND &
SUGAR/RCA AHL1 3623 4
"Horizon" (which debuts at 43 as this week's chartmaker); HankJr. has "Family Tradition," "Whiskey Bent and Hell Bound," and"Habits Old and New."
Members of Music Industries of Memphis recently visited ASCAP'sNashville offices to discuss closer relations between the two musiccenters. Included among the visitors were MIM president DavidPorter . . . RCA Records recently presented long-time artist HankSnow with a plaque saluting his achievements 1938-80 . . . MCARecords has signed Connie Cato to an exclusive recording contract.Connie's first MCA single, "You Better Hurry Home," is due forrelease this month . . . Warner -Curb artist Stephanie Winslow hassigned with the Shorty Lavender Talent Agency for exclusive repre-sentation ... The Nashville Superpickers are newly signed to P.A.I.D.Records.
RECORD WORLD JULY 12. 1980 48
AmericanRadioHistory.Com
2 1 FRIDAY NIGHT BLUES JOHN CONLEE/MLA 41233 11
9 BAR ROOM BUDDIES MERLE HAGGARD & CLINTEASTWOOD/Elektra 46634 9
61 38 TELL OLE I AIN'T HERE HE BETTER GET ON HOMEMOE & JOE/Columbia 1 11244 14
89 LET'S KEEP IT THAT WAY MAC DAVIS/Casablanca 2286 2
63 40 HE WAS THERE (WHEN I NEEDED YOU) TAMMY WYNETTE/Epic 9 50868 13
64 64 JUST GIVE ME WHAT YOU THINK IS FAIR REX GOSDIN &TOMMY JENNINGS/Sabre 4520 7
Lai 72 EVEN COWGIRLS GET THE BLUES LYNN ANDERSON/Columbia 1 11296 2
im 81 HELLO DADDY, GOOD MORNING DARLING MEL McDANIEL/Capitol 4886 2
OIARTMAKER OF THE WEEK
- DON'T PROMISE ME ANYTHING(DO IT)
BRENDA LEE
MCA 41270
83447537
MY GUY MARGO SMITH/Warner Bros. 49250THE CHAMP MOE BANDY/Columbia 1 11255LONG DROP ROY HEAD/Elektra 46653MY HEART/SILENT NIGHT (AFTER THE FIGHT) RONNIE
212
3
m697071
MILSAP/RCA 11952 14
90 THE EASY PART'S OVER STEVE WARINER/RCA 12029 2
HE'S OUT OF MY LIFE JOHNNY DUNCAN & JANIE FRICKE/Columbia 1 11312 1
17.3 - THE BEDROOM JIM ED BROWN & HELEN CORNELIUS/RCA 12037 1- CHARLOTTE'S WEB STATLER BROTHERS/Mercury 57031 1
76 46 SMOOTH SAILIN' T. G. SHEPPARD/Warner/Curb 49214 15
77 80 HOW FAR DO YOU WANT TO GO RONNIE McDOWELL/Epic 9 50895 3
78 82 ONE MAN'S TRASH (IS ANOTHER MAN'S TREASURE)MARTY ROBBINS/Columbia 1 11291 2
79 87 LOVE GOES TO HELL WHEN IT DIES WAYNE KEMP/Mercury 55479 2
80 COWBOYS ARE COMMON AS SIN MAX D. BARNES/Ovation 1149 1
81 88 BEGGIN' FOR MERCY LOUISE MANDRELL/Epic 9 50896 2
82 85 THE STORES ARE FULL OF ROSES JACK GRAYSON/Hitbound4503 4
83 47 FUNNY HOW TIME SLIPS AWAY DANNY DAVIS & WILLIENELSON/RCA 11999 9
84 48 J.R. B. J. WRIGHT/Soundwaves 4604 10- THE FRIENDLY FAMILY INN JERRY REED/RCA 12034 1
86 86 GOODBYES DON'T COME EASY KEITH STEGALL/Capitol4874 3
87 91 THERE'S NOBODY LIKE YOU KIN VASSY/IA 505 3
88 84 YOU'RE THE PERFECT REASON DAVID HOUSTON/Country International 145 6
BRING IT ON HOME BIG AL DOWNING/Warner Bros. 49270 1
90 60 NO WAY TO DROWN A MEMORY STONEY EDWARDS/Music America 107 8
91 70 FALLING TOGETHER NIGHTSTREETS/Epic 9 50886 692 74 I WANNA DO IT AGAIN BILL WENCE/Rustic 1009 693 79 DO THAT TO ME ONE MORE TIME STEPHANY SAMONE/
MDJ 1004 694 55 LOS' IN AUSTIN FREDDY WELLER/Columbia 1 11266 995 71 TAKE ME IN YOUR ARMS AND HOLD ME JIM REEVES &
DEBORAH ALLEN/RCA 11946 1496 LET ME BE THE ONE BILLY WALKER & BARBARA FAIRCHILD/
Paid 102 1
97 97 BAYOU LULLABY PENNY DEHAVEN/Elektra 46645 3
98 98 ASHES BY NOW RODNEY CROWELL/Warner Bros. 49224 299 - WHO SHOT J.R.? GARY BURBANK/Ovation 1150 1
100 - TEXAS TEA ORION/Sun 1153 1
AmericanRadioHistory.Com
Eddy Arnold
"THAT'S WHATI GET FORLOVING YOU7.39BB 49* CB 54* RW54*
