Tuesday, December 18, 2007

RADIO CAROLINE (1964-68)

Before Radio Caroline all UK radio listeners had was a diet of bland middle of the road music put out on one of the BBC's three national radio stations or if you were a teenager you could try and get reception on your transistor radio from Radio Luxemborg, a none too easy task.

Enter Radio Caroline, put together by Irishman Ronan O'Rahilly and broadcast from a boat three miles off the coast of Britain, the station took its name from the daughter of John F Kennedy and began broadcasting on 28 March 1964. During March 1964, a Birmingham band called The Fortunes recorded the song Caroline (the B-side of You've Got Your Troubles, which entered the British charts in 1965, on Decca F11809), and this would later became the station's theme song

With Caroline as the catalyst and its audience of tens of millions, new music and youth fashion accelerated at astonishing speed and hundreds of new bands achieved massive and sometimes lasting success. Jonathan King, broadcaster and pop pundit recalls his simple throwaway pop song 'Everyone's Gone To The Moon' that within weeks of initial air play on Caroline projected him from obscurity to starring on prime time television at the prestigious London Palladium. Unknown actor Simon Dee, head hunted from Caroline and its first DJ, became one of the first superstar chat show hosts on British TV.

The blatant success of Caroline made imitation inevitable. In December 1964 the American backed and styled Radio London arrived on the vessel Galaxy.

While Caroline could later claim perseverance and longevity, Radio London (Big L) delivered highly professional American programming that temporarily at least captured much of the audience of Caroline South requiring Caroline to quickly adapt its own style and format.

Later two more American influenced stations Britain Radio and Swinging Radio England went on air from one ship. Radio 270 started off the Yorkshire coast while Radio Scotland on board the old lightship Comet anchored off the Scottish East coast. In the Thames Estuary were various marine structures which had been wartime sea forts. Abandoned by the military they made excellent and stable transmitting platforms and were quickly boarded and claimed by further radio entrepreneurs. Soon Radio 390 an easy listening station and the most powerful of all the sixties offshore broadcasters was on air, while from other structures Radio Essex and Radio King started transmissions.

From the day that Caroline appeared the UK government made threatening noises but no serious action was taken. Now there were several independent broadcasters sending programmes into the UK and twenty million people were listening. Further stations were rumoured to be in preparation and for the government things were getting out of hand. It was a delicate matter trying to legislate against a pastime which was providing a third of the population with the best fun they had enjoyed in a long time.

Grumbling about unauthorised use of radio frequencies and the vague potential for cross channel interference cut no ice with the offshore radio listeners who perceived the government and the BBC to be grumpy killjoys. Legislating against the pirates was a vote loser and for some time there was a stand off where the authorities made dire threats but did nothing. As famous Radio London DJ Dave Cash recalled many years later, 'they could not act against us for the reasons stated. They needed something heavy like drugs or murder, we gave them murder'.

Through spring and summer of 1967 the offshore stations campaigned against the proposed Marine Broadcasting Offences Act. Politicians were deluged with mail from supporters , creating more correspondence on the subject than on any other matter troubling the population. The Conservatives were cautiously for future commercial broadcasting, but Labour in power were implacably opposed to it. Only the veteran Member of Parliament Manny Shinwell said the pirates deserved 'a fair crack of the whip'.

On the question of why licences could not be awarded, the answer, now shown to be spurious was that there were simply no radio frequencies available. Clearly public opinion counted for little and the Act made inexorable progress toward becoming law by midnight on August 14th. By this stage only Johnnie Walker, Robbie Dale and news reader Ross Brown remained on board. By 3 March 1968 it was all over though, thanks to lack of revenue Radio Caroline had their ships repossessed and towed away to Holland.

Radio Caroline returned between 1972 and 78 until financial troubles once again forced it off air. Then again between 1983 and 90 (when they were raided and forced off air), Radio Caroline is now using the technology of the internet to broadcast once more. Based in Maidstone, Kent it uses satellite technology to broacast on Sky Channel 0199.

THE MINI SKIRT

Another classic idea which goes towards proving that the sixties didn't really start swinging until 1966. The mini skirt hit the market in that year and swept the world pretty quickly.

pleated skirts set on a hip yoke basque were worn with short sleeved over blouses which were cut not unlike the shell tops of today. Straight skirts had front and back inverted pleats called kick pleats and were ideal for doing the twist dance craze as they allowed the knee to move freely. Straight sweater dresses in lambswool or the synthetic acrylic variety called Orlon were worn belted with waists nipped in became fashionable.


Pencil skirts were still worn with sweaters or even back to front cardigans that had been pressed super flat. Before the days of tumble driers many women lay their washed rung out knitwear in paper tissue and then brown paper. They put it to dry under a carpet for two days. When it was removed from the tissue, the footsteps that had pounded over the knit gave it a flat dry cleaned as new appearance. Laundering of delicates could still be a problem, but everything changed when mass produced synthetic garments arrived. Whilst Mary Quant didn't necessarily invent the mini she certainly popularised it.

By 1966 she was producing short waist skimming mini dresses and skirts that were set 6 or 7 inches above the knee. In 1965 she had taken the idea from the 1964 designs by Courrèges and liking the shorter styles she made them even shorter for her boutique Bazaar. She is rightly credited with making popular a style that had not taken off when it made its earlier debut.

Quant found London girls seeking newness only too willing to try her new daring short mini skirt. The fashion trend took off because it was so different and to wear it well you had to be youthful to get away with an outfit that was so controversial particularly among adults. The Quant style was soon known as the Chelsea Look.

OMMADAWN BY MIKE OLDFIELD

Mike Oldfield's third album and our own personal favourite of his, pastoral and evoking a rural lifestyle Ommadawn with its mixture of celtic and English instrumentation.

As with Hergest Ridge and Tubular Bells, Ommadawn is another two-movement work. Here Oldfield sought out the ancient Celtic influence on English music and composed for traditional instruments such as Uilleann pipes. He also involved musicians noted for their work in folk music including Clodagh Simmonds and Paddy Moloney. He combined this with heavy African influences, mainly by the use of the drummers of Jabula.

Though the actual work Ommadawn is two parts, there is a third track found on the album, a short vocal song by Mike Oldfield and William Murray called "On Horseback". In December 1975 Mike released the single "In Dulci Jubilo" with "On Horseback" as the B-side. It reached number 4 in the UK in January 1976. In France, "In Dulci Jubilo" was coupled to a remix of the end of part 1 of Ommadawn. Some copies of the album also include "In Dulci Jubilo" at the end. A Quadrophonic remix version of Ommadawn was released on Boxed a year later. The 1990 album Amarok is often seen as a sequel to Ommadawn.


Track listing

"Ommadawn part one" – 19:23
"Ommadawn part two" – 13:54
"On Horseback" – 3:23

Personnel Mike Oldfield – acoustic bass, acoustic guitar, banjo, bouzouki, bodhrán, classical guitar, electric bass, electric guitars, electronic organs, glockenspiel, harp, mandolin, percussion, piano, spinet, steel guitar, synthesizers, twelve-string guitar and vocals.
Don Blakeson - trumpet
Herbie - Northumbrian bagpipes
The Hereford City Band - brass
Jabula - African drums
Pierre Moerlen - timpani
Paddy Moloney - Uilleann pipes
William Murray - percussion
Sally Oldfield - vocals
Terry Oldfield - Panpipes
Leslie Penning - recorders
"The Penrhos Kids" (Abigail, Briony, Ivan and Jason Griffiths) - vocals on "On Horseback"
Clodagh Simmonds - vocals
Bridget St John - vocals
David Strange - cello

The Jesus like cover image was shot by David Bailey.

Monday, December 10, 2007

DALE HAWKINS

Formative rocker whose reputation rests on just one track, the much imitated Suzie-Q - a record which due to its utter rawness and strident beat is the absolute epitome of real rock n roll.

The son of poor Southern whites who split up when he was a child, Hawkins was born Delmar Allan Hawkins, 22 August 1938, in the small farming town of Goldmine, Louisana. In the sixties he also worked as a producer for Five Americans and Bruce Channel.

Wednesday, November 21, 2007

LYNDSEY DE PAUL - UK SINGLES HITS

This former commercial artist and designer was most prominent in the 1970's. Having made her breakthrough in 1972 with Sugar Me she then scored a big hit with the theme tune to TV show No Honestly and then in 1977 she performed in the Eurovision Song Contest with Mike Moran, their song Rock Bottom came second and this was Lyndsey's last chart hit.

Over the years she has composed theme tunes for 9 different TV shows.

UK Singles Chart Placings

SUGAR ME (MAM / 19 August 1972) Reached Number 5
GETTING A DRAG (MAM / 2 December 1972) Reached Number 18
WON'T SOMEBODY DANCE WITH ME (MAM / 27 October 1973) Reached Number 14
OOOH I DO (Warner Bros / 8 June 1974) Reached Number 25
NO HONESTLY (Jet / 2 November 1974) Reached Number 7
MY MAN AND ME (Jet / 22 March 1975) Reached Number 40
ROCK BOTTOM with Mike Moran (Polydor / 26 March 1977) Reached Number 19

Tuesday, November 6, 2007

XANADU

Australia / 1970

Personnel:
WAYNE ANDERSON (guitar)
BARRY MORRISON (bass)
CLAIRE MORRISON (organ)
DON MORRISON (drums)
VAUGHAN SOPPA (guitar)

Not much is known about this lightweight pop outfit from Bundaberg, Queensland but they did release a single called Isabella in 1970 on the Polydor label.

TONY WORSLEY AND THE BLUE JAYS

Australia / Most prominent in the 1960's

A British-born artist who made his name in Australia. Tough cookie Worsley was the first beat era artist in Australia to sport outrageously long hair. In 1964, he joined forces with a backing band called The Blue Jays who had various members during their two year existence Worsley's gruff and surly demeanour ensured that many of their live appearances ended in riots. He toured rural Australia extensively with The Easybeats.

In 1969, he was a member of Hands Down, a Brisbane band who were much in The Small Faces mould. Later that year they became Burke and Wills, but Worsley had departed by then.

Five of his songs; Get Back, Just A Little Bit, Ready Steady Let's Go, Something's Got A Hold On Me and Talkin' Bout You (also on Bowl Show) can also be heard on 5 x 4 (Vol. 1). In addition, you can also check out Velvet Waters on 20 Golden Greats Of The 50s And 60s, The Big Parade and Festival's 10 Years Of Hits. I'll Be There has resurfaced on Devil's Children, Tell Me Why on Pretty Ugly (CD) and finally, Dream Of You got more exposure on Bowl Show and Talk Love resurfaced on Ugly Things, Vol. 2.

In addition, some of his recordings with The Blue Jays have too been compiled too: All Over You, Missing You, Rock-A-Billy and Velvet Waters on Big Four; I Sure Know A Lot About Love, If I, Me You Gotta Teach and Just A Little Bit on Hit Groups - Aussie Style; Just A Little Bit on Sixties Down Under (also on CD), So You Want To Be A Rock And Roll Star, Vol. 1 and So You Want To Be A Rock 'n' Roll Star (3-CD); All Over You on Big Four and Sunshine All Star Spectacular; and finally, Diggin' For Gold, Vol. 5 gave a further airing to How Can It Be, a slice of guitar-driven mayhem, which is certainly worth seeking out.


KEY ALBUMS
TONY WORSLEY AND THE BLUEJAYS (Sunshine QL 31636 / 1965)
VELVET WATERS AND OTHER GREAT SONGS (Sunshine QL 31803 / 1965)
MY TIME OF DAY (Sunshine QL 32046)