1 - On The Beat

OTB 0019 (1CD) Sunday 8 June 1986, 1-2pm Petula Clark (Part 2) A continuation of the interview with Petula Clark including a long account of her controversial TV show with Harry Belafonte. She started filming the musical, Goodbye Mr. Chips, without a score. Pet had recorded ‘I Don’t Know How To Love Him’ but she had throat problems and thought that she would re-do it later. In the interim, Helen Reddy got in fast. Of her time in the West End: “It’s never nice seeing bad reviews and the good reviews don’t give you much joy.” Sigue Sigue Sputnik was selling 20 second advertising slots in between the tracks on their next album at £1,000 a time, a blurring of the lines between product and advertising, which is much more sophisticated today. Having an advance copy, I was very disappointed with the Class of ’55 LP and say so: “It’s a requiem: Elvis, it seems, is always on their minds.” Amusing outtakes of Elvis recording ‘Datin’’. Clark MD 0103 T. Interview feature in Record Collector, January 1986.

OTB 0020 (1CD) Sunday 15 June 1986, 1-2pm Father’s Day Special About half the show is for Father’s Day: ‘My Dad’ (Paul Petersen), ‘My Heart Belongs To Daddy’ (Ella Fitzgerald), ‘Don’t Cry Daddy’ (Elvis Presley), ‘Cat’s In The Cradle’ (Harry Chapin) and ‘Beautiful Boy’ (John Lennon). ‘Gypsy Songman’, a new Jerry Jeff Walker album, refers to his infant son Django playing on the floor: Django was to come to Liverpool and graduate from LIPA. Several listeners’ questions were answered. and there was Steve Goodman’s ‘Elvis Imitators’ and Eric Bogle’s ‘Nobody’s Moggie Now’. Lonnie Donegan performed a Joe Brown song, ‘Dublin O’Shea’, with the Hamburg group, Leinemann. Their line-up included Ulf Kruger who was to manage the work of Astrid Kirchherr and Klaus Voormann and he often came to Liverpool for Beatles Conventions. ‘The End of A Love Affair’ is a beautiful performance from the underrated Liverpool singer, Lita Roza. When she was coming up to 80, she told me that she had nearly married Ronnie Kray as the Krays’ mother was keen that Ronnie should marry. I asked if I could have this story on tape: “No,” she said, “You never know who might be listening if it is broadcast.” Forty years on and she was still apprehensive about them. Unissued. Billy Fury’s ‘Please Love Me, written by his Liverpool manager, Hal Carter, and given to me by Hal. Distortion on the last 10 minutes of the tape.

OTB 0021 (1 CD) Sunday 22 June 1986, 1-2pm Eric Bogle The Scottish songwriter Eric Bogle now lived in Australia and didn’t come to the UK too much at the time. Bob Azurdia and I both interviewed him at Radio Merseyside on the same day. Bogle talked for over five minutes about ‘And The Band Played Waltzing Matilda’ and then I merge five versions together: one of the poignant songs ever written. I play a little-known (and best forgotten) Cliff Richard performance ‘Girl On A Bus’ from 1968 and finish with an early version of Chas and Dave’s ‘One Fing ’n’ Annuver’, recorded at Radio London in 1976. Bogle MD 0088 T

OTB 0022 (1CD) Sunday 29 June 1986, 1-2pm Chas and Dave Chas and Dave interviewed when they were at Southport Theatre: just as entertaining as interviewees as on stage. Despite the novelty aspects of their songs, they take care in what they do and are proud of their work: even their football songs: Chas says, “Most football singles wimp along and don’t do nothing but we tried to do a song that fans would like to sing.” I’ve got a feeling that there was some serious farting when I did this interview but I can’t remember if it was Chas or Dave. Fascinating question from John Rogers who had picked up a single of ‘Pedro The Fisherman’ by the Spinners but it sounded nothing like the folk group. Turned out it was a studio group formed by Geoff Love for a Peter Sellers, Alive And Kicking. I can’t track the film now, but the single was released in 1959. There is a general chat about the first inductees for The Rock And Roll Hall Of Fame in Cleveland. I objected to James Brown, Ray Charles and Sam Cooke on the grounds that they were really R&B or soul and why hadn’t Bill Haley, Eddie Cochran and Gene Vincent been selected? This really highlighted the difference in the definitions of rock and roll in the UK and the US: in the UK the term was confined to the rock and rollers of the mid-1950s. Jerry Lee Lewis felt that too as he wanted the museum to be in his hometown of Ferriday, Louisiana rather than Cleveland. Chas and Dave MD 0209 T

OTB 0023 (1CD) Sunday 6 July 1986, 1-2pm Dave Clark (Part 1) Dave Clark, drummer and quite definitely the leader of the Dave Clark 5, was now the co-writer and producer of the spectacular West End musical, Time, at the Dominion Theatre. It starred Cliff Richard in person and Lord Olivier as a speaking hologram, but it was an expensive production that needed all the publicity it could muster. I asked for an interview with Dave Clark, never expecting it as he never talked about the group, possibly because a session man Bobby Graham usually played drums on his records (allegedly, but Graham certainly claimed that). The PR company was brilliant, giving me tickets to see the show and offering matinée tickets as a competition prize. I asked British Rail for tickets and they offered first class tickets to make a superb local radio prize, worth around £150. (I am writing this in 2019 and competitions have not been restored on local radio following the Blue Peter and competition irregularities in 2007. It’s a shame and it displays a lack of confidence in current presenters. At the time of the scandal, Radio Merseyside had a minister presenting the weekly Daybreak programme and I suggested that we still had competitions but he should pick out the winners: a perfect solution but ignored!) Dave Clark talked about the DC5 in this programme and about Time the following week. It’s an informative interview: he said he never heard Carl Perkins’ song ‘Glad All Over’; that they didn’t immediately give up their days jobs when ‘Glad All Over’ was a hit; that Mike Smith was as good a singer as Rod Stewart but that this was the first group to have a drummer as front man, I ask him if the group would ever reform but it was met with an emphatic no and anyway, “Audiences wouldn’t want to hear ‘Glad All Over’ again”. He talked about his ownership of the Ready Steady Go! tapes but how some of them had deteriorated in the warehouse including their own performances. ‘Red Balloon’ had some scratches on it: you would never get that on the digital shows of today. Bryan Biggs, the director of the Bluecoat arts centre and a regular contributor to this programme (but not yet), always liked scratches on a record. “It tells you that the record has been loved,” he said. Whimsical ‘Walk Away Renee’ by Billy Bragg, the Motown song done as a narration, a funny record about Spoonerisms. Jenny Collins had given me good advice, “Always get to your first record within 30 seconds”, guidance that is often ignored. It works as it means “Get on with it”. Generally speaking, I do that but here I play around with the start of ‘Sweet Nuthin’s’ giving myself a conversation with Brenda Lee. It worked but it could have gone horribly wrong. Clark MD 0154 T

OTB 0024 (1CD) Sunday 13 July 1986, 1-2pm Dave Clark (Part 2) This time Dave Clark talked about his outer space musical, Time, which he says is a mixture of cinema and theatre. The poor reviews by seasoned theatre critics were because of the experimentation, but the popular press and the public have loved it. He says, “The audiences have seen Close Encounters and Star Wars and they expect this show to have good effects.” Because of the time taken to test equipment before the show, they had to drop two songs, but from September they were scheduling the matinees earlier and this would allow them to be reinstated. The companion album included Julian Lennon, and Dave Clark was the first to record him saying that he naturally sounded like his father. Dave Clark: “The thing about the 60s is that it was very optimistic. There was always hope and a tremendous buzz that something new and exciting was happening. Through the 70s and 80s, we’ve gone through some terrible pessimism and doom and gloom and every time you read a newspaper of listen to the news, it is always something disastrous.” I called Bob Dylan and George Harrison playing ‘Yesterday’ “an On The Beat exclusive”. Well, that’s one way of putting it but I was playing a bootleg. I was taking a chance and thinking I would apologise later if needs be. The track reminds me of Ben Elton’s joke, “Who’s Bob Dylan? He’s the one who couldn’t sing on the ‘We Are The World’ video.” I enjoyed repeating Ed Stewart’s classic gaffe: “Here’s a nice romantic song for 89 year old Elsie Jones. It’s Elvis Presley and ‘Until It’s Time For You To Go’.” Interesting question: would Elvis have appeared at Live Aid? I thought no but he would have sent a donation and made a video. The previous week I had mentioned that the current Fourmost had no original members to hand and perhaps they should be called the Frandmost. This led to a succession of jokes – this week the Four Almost, though ‘Woolly from Southport’ was actually my wife Anne who was born Anne Wolstenholme. I referred to one of the Fourmost (actually Brian O’Hara) having the tape of John Lennon singing ‘Hello Little Girl’ and I was trying to persuade him on air to let the listeners hear it. He never relented and though Brian is long gone, it has never surfaced. I don’t think I ever referred to my day job on air although I broadcast questions from people I worked with and here I mentioned a waitress at the cafeteria, Irene Timpson, who wanted me to play Hank Walters and the Dusty Road Ramblers. It was certainly time for me to get round to them. A letter from May Derome of Blundellsands who had been listening to Shakin’ All Over: “At the time Alma Cogan became well-known I was working in an art studio in London. When the roughs were complete, she would come along to view them. She would flounce in like the Queen of Sheba, all make-up and black beauty spots. She would be posturing and pouting, full of oohs, aahs and ughs. It was quite different with the Spinners, always pleasant, no hassle and full of good suggestions.” The Spinners were on HMV in 1962, an EMI label, same as Alma Cogan who was on Columbia, and she drew the cartoon on the sleeve for the Spinners’ first LP, Quayside Songs Old And New. I know from the Spinners that there was a discussion on this sleeve as HMV didn’t want the Spinners to be shown as a multi-racial group. Steve Carroll chastised another listener John Rogers as “the philistine who had criticised Chas and Dave” and said an instrumental, ‘Flying’ showed their real talent, and I closed the show with this. Clark MD 0154 T

OTB 0025 (1CD) Sunday 20 July 1986, 1-2pm Royal Wedding special Prince Andrew and Sarah Ferguson’s wedding had gripped the nation and I thought it an excuse to play wedding songs – some decent ones too. There was even ‘This Is Sarah’s Song’ written by Jimmy Webb for Glen Campbell and a different Sarah. I expected this to be an embarrassing show to play 30 years later but it’s okay and contains some good records - ‘Rock And Roll Wedding Day’ (Neil Sedaka and 10cc), ‘Chapel Of Love’, ‘Today I Met The Boy I’m Gonna Marry’ and some oddities such as Dean Martin and Helen O’Connell with ‘How D’Ya Like Your Eggs In The Morning’, the second line being “I like mine with an kiss.” I commented that I have been getting more questions about Dean Martin than anyone else (presumably I was overlooking the Beatles). I comment on the inconsistency in Chuck Berry’s ‘You Never Can Tell’: if they are teenagers with little money, how come they have 700 little records? John Rogers had responded to Steve Carroll saying that if he had to defend Chas and Dave with an instrumental, then he can’t have thought much of their lyrics. In a feature on soap stars making records, I pointed out that both Helen Shapiro and Carol Kaye (of the Kaye Sisters) were in Albion Market. Brian Jacques was asked to pick out the winner of the Time competition. To avoid a large postcard getting preference, I had numbered all the entries and then put cloakroom tickets into a pint glass. Brian said, “Where’s this from? The Eagle.” The winner was Mrs. A. Forsyth from Aintree.

OTB 0027 (1CD) Sunday 3 August 1986, 1-2pm John Dankworth The interview with John Dankworth was in the green room at the Philharmonic Hall and I had expected it to be serious and hard-going. On the contrary, he was fun and entertaining, full of information about his career and forthcoming about everything. He said that he had an attic full of tapes and scores from the thousands of commercials he had made: I had no idea that side of his career was extensive. He said that his wife Cleo Laine had a range of “four octaves and most popular singers have an octave or an octave and a half.” Even opera singers rarely had more than two. I never liked reading out complimentary messages as it is a bit like masturbating in public but a listener called me ‘the DJ champion of unsung heroes’, which is rather neat. On request I played Roy Harper with the Grimethorpe Colliery Band performing ‘When An Old Cricketer Leaves The Crease’, a single that mentions Geoffrey Boycott. I had a competition for Bob Dylan’s new album, Knocked Out Loaded, with copies of the superior fanzine, The Telegraph, run by John Bauldie from Manchester. To my surprise, I played most of Dylan’s 11-minute narration, ‘Brownsville Girl’, a tremendous track but a bold choice, I think. Dankworth MD 0016 T

OTB 0028 (1CD) Sunday 10 August 1986, 1-2pm Eden Kane Hal Carter was bringing Eden Kane back to the UK for an oldies tour. He lived in Los Angeles, next door to Lucille Ball he told me. I met up with them at the BBC in London, a place I was rarely in and with great confidence, Hal said, “Let’s go to the canteen” and they had their lunch there through my freelance pass. Eden was asking about old friends that he hadn’t seen in years. I told him that Lance Fortune now had a mobile fruit and veg van in Yorkshire. “He’s used to people throwing vegetables at him,” said Eden. Unissued. A private recording of John Stewart’s ‘Justiceville’, much more forceful than his later recording. I play a track from Fairport Convention’s instrumental album, Expletive Deleted. The sleeve said, “Lyric sheet enclosed”. Rock and roll fan Mick O’Toole won a Bob Dylan LP. I shouldn’t think that stayed in his house more than five minutes. Kane MD 0015 T

OTB 0029 (1CD) Sunday 17 August 1986, 1-2pm Doc Pomus Albert Goldman, the bane of rock biography, had written his unsympathetic study of Elvis and was now working on John Lennon. He had asked me to help him by interviewing Lennon’s Liverpool contacts, but I wasn’t keen as I knew how the interviews could be misquoted. I put him onto the crime novelist Ron Ellis who did some sterling work for him but what his subjects said was misquoted to Goldman’s ends. Goldman though did pay him handsomely for his work and he sent me $100 so that I could send him some Merseybeat records. I asked him for a favour: one of his friends was the great New York songwriter Doc Pomus, who had spent his life in a wheelchair following polio. He spoke to Doc who said I could send over questions and he would answer them on cassette. I then edited it down for the programme and added some links and the records. What is more, Doc gave me the original demo for ‘His Latest Flame’ (sung by his songwriting partner Mort Shuman) as well as a couple more that I didn’t broadcast (‘Turn Me Loose’, ‘Suspicion’). What these programmes reveal is my obsession with Willie Nelson. Every few programmes there’s a Willie Nelson record, here ‘Love Me Tender’. Of course Willie Nelson has released so many albums that there is a song for every occasion. I reviewed Jesus Christ – Superstar at the Liverpool Empire with Richard Barnes. I interviewed him but for some unknown reason, I hung onto this interview for two months. Possibly I was trying to get hold of some record: things were more difficult back then although I could borrow records from the BBC Gramophone Library, a most useful support. The sleeves gave the details of previous borrowings and some had not been borrowed for decades. I play a track from Billy J. Kramer new album, unfortunately called Kramer v. Kramer. The sleeve said it was made in Alaska, which gave me an opportunity for one-liners. However, a few years later when I was talking to BJK, I learnt that it was made in Alaska Studios in London. Pomus Cassette to CD 100 T. Interview published in Now Dig This, January 1987.

OTB 0030 (1CD) Sunday 24 August 1986, 1-2pm Peters and Lee Bob Azurdia was a reporter for Catholic Pictorial and he joined BBC Radio Merseyside when it opened in 1967. He had a superb knowledge of politics, the arts and sport and he was a first rate interviewer. He was disorganised, partly because he would always break off from what he was doing for a chat. He presented many daily shows for the station but his legacy is his weekly Azurdia Interview, a half-hour programme with anyone who had a tale to tell. I was on it myself and I found it difficult as he would ask a question and I would think, ‘Ah, he’s going to ask about that’, and then he would veer off onto something else, and I ended up wondering when he was going to finish and what that question might be. I could write pages on Bob’s adventures. He was going to interview Howard Keel when he was performing in Liverpool. Howard Keel was staying across the road in the Holiday Inn and he phoned Bob and asked him to come over to do the interview. I’d have thought ‘No problem’ and gone but Bob took exception and told him that he had booked a studio and he only had to cross the road. Perhaps Howard Keel hadn’t got his make-up or his hairpiece on, who knows, but he wouldn’t come and the interview never took place. Another time he was very pleased to interview the Catholic novelist, Morris West. He left the tape on the machine and went off to do something else. In his absence Stan Ambrose, the presenter of Folkscene, came into the studio to record his programme. He saw the tape and assumed it was new, recording over the interview. After 10 minutes, Bob returned and there were recriminations on both sides. I once went to Radio Merseyside after work and saw Terry Waite, the Archbishop of Canterbury’s special envoy who had been held captive in the Lebanon. He had written a book and was going to be on The Azurdia Interview. I said, “Bob, do you know Terry Waite’s in reception waiting for you?” He said, “That’s all right. He’s used to waiting.” Bob was willing to share his experience on broadcasting problems. Some of his advice was suspect: “There’s never any need to read a book because the listeners will not have read it”, but that sounds like laziness to me. I was going to see Peters and Lee in Southport and Lennie Peters had lost his eyesight in separate incidents. Naturally, I wanted to ask about this as his answer might help those facing trauma. However, it was a sensitive area and Lennie Peters might not like to relive it. Bob said, “If you ask him in the interview, he may say ‘No comment’ and then you have nothing you can use. The best thing to do is to ask beforehand if you can bring this up. He will think you’re a decent bloke for giving him this opportunity and he will say yes.” And that’s exactly what happened. Lennie was on good form, at one stage breaking into one of Tom Jones’ hits. I had spoken to Dianne Lee in 1983 when she was taking part in a show at the Neptune but I hadn’t used the interview, planning to tie it up with Lennie Peters at a later date. Then they reformed and I interviewed them separately at Southport Theatre to fit in with their schedules. When I broadcast the interview, I chopped bit from all three sources together but it sounds okay, the only telling moment being that I just thank Lennie at the end and they never interrupt each other. There’s a review of Bob Geldof’s autobiography, Is That It?, concentrating on Bob Dylan’s misjudgement at Live Aid. I was chatting to Tommy Finley who said that his brother Chris from the Masterminds was really called Albert but had changed his name to avoid being confused with Albert Finney. He should be so lucky. Peters and Lee MD 0156 T

OTB 0031 (1CD) Sunday 31 August 1986, 1-2pm Chris Salewicz Chris Salewicz is talking about his biography of Paul McCartney. Only a 10 minute interview and I don’t know why I didn’t broadcast his comments on working for the NME. Most of the show was dealing with listeners’ queries. Included a rare single by the Four Seasons with the Beach Boys, ‘East Meets West’, which flopped completely. Brave moves: I played Wild Man Fischer’s ‘Merry-Go-Round’ and also Laurence Olivier’s ‘Theme From Time’. The singer/songwriter Jim James was in hospital and heard my show a few weeks back when I said Willie Nelson should record ‘The Going Home Show’, which cheered him up. I compliment the prize-winners who write back to thank me for their prizes: how polite they all are. This is a home recording, but apart from two little bits of interference, it sounds okay. CD ends with a snatch of Kenny Johnson’s doing a What’s On in Sounds Country. I must have recorded this show over one of Kenny’s programmes. Salewicz MD 0221 T. Recorded at Radio Merseyside.

OTB 0032 (1CD) Sunday 7 September 1986, 1-2pm Tony Thorpe (formerly T.J. Thorpe of the Rubettes) Not expecting to meet a Rubette, I met Tony Thorpe backstage at a Wee Willie Harris show in St. Helens and immediately asked if we could find a quiet corner for an interview. I added that to my collection, probably hoping to add another Rubette or two, but later, as he lived in Burnley, I invited him to come into On The Beat. He brought with him a 1962 demo he had made in London with the Vibratones, ‘Night Train’. He had played on and written ‘Hot Blooded Lover’, the B-side of a 1964 US hit ‘We Love You Beatles’ by the Carefrees, although they hadn’t played on the A-side. He was refreshingly modest and he was hurt when the NME had called him “the Rubette who looked like Roy Orbison’s father. I immediately grew a beard and thought I’d be Gabby Hayes’ father instead”. ‘Sugar Baby Love’ had been written for Showaddywaddy after their success in New Faces but they had signed with another label and so John Richardson who had performed on ‘Sugar Baby Love’ formed a group, the Rubettes, and the demo was released as a single which got to No.1. There was a local connection here as the Rubettes were produced by Wayne Bickerton and Tony Waddington, who had both played in the Pete Best Four. Tony told of a hyped-up welcome in Japan and a fractious tour which led to a bust up between the singer and the pianist. The pianist left and when they played Paris, a girl was screaming for Bill. John Richardson said, “Bill est mort” and the girl stopped screaming for a minute and then screamed for Mick. I thought, “If this what fame means, forget it.” Tony talked of doing ‘Arthur Daley (’E’s Alright)’ after George Cole had turned it down. It was a Top 20 single for the Firm and they followed it with ‘Long Live The National’. Someone had written to say that I should be given the religious programmes on Radio Merseyside as I would surely come up with an interview with God himself. Interview not transcribed but after the broadcast, I asked Tony for his views on the Beatles which was used in the series, Try To See It My Way. That is MD 0174 and my earlier interview with Tony is on MD 0198.

OTB 0033 (1CD) Sunday 14 September 1986, 1-2pm The Cryin’ Shames (Joey Kneen, Ritchie Routledge) Documentary feature on one of the later Merseybeat groups with two members interviewed separately. This is a much better show than I remember because I know I spent a long time editing the long pauses and er’s and um’s in Joey’s speech. Joey Kneen talks of a club called Heaven And Hell in Warrington – upstairs was Heaven and downstairs was Hell. Joey tells of their audition for Joe Meek who told them that the opening of ‘Telstar’ was a flushing toilet played backwards. Ritchie is related to the McGanns and he knew a record producer Spencer Leigh in Australia who made a live album with Neil Sedaka. Unissued. ‘Let Me In’ by the Cryin’ Shames, produced by Joe Meek. Ritchie was amazed by all the overdubs that Joe Meek had added. (46m.) Unissued, ‘Welcome To The No Go Area’ – Ritchie Routledge’s song about Liverpool for Mrs. Thatcher. He says, “Not many people want to come to Liverpool these days.” (49m.) I open this show with Steve Earle’s ‘Guitar Town’. The Radio 1 DJ Andy Peebles happened to be passing through the area and was so impressed that he rang the station to find out what the track was. I call Paul Simon’s Graceland “a failure but a fascinating one” and say that ‘Graceland’ is really the starting-point for another six songs, and that Paul McCartney’s Press To Play is a better album. Oh dear. First impressions are definitely not the best. There is a competition for Tony Jasper’s book of rock and pop headlines, I Read The News Today, and the competition asked listeners to identify 15 records. Blimey! I must have had listeners who listened attentively. Did I really get some entries? Put it down to inexperience. A mention that Hank Walters is featured in an ITV documentary that evening called Chasing Rainbows. At the end of the programme, Ken Murray read the news. He was a very good broadcaster who went to Radio 4 but was rather tetchy. When I had a signature tune that went “Spencer Leigh, Spencer Leigh on the Merseyside, on the BBC”, I followed it with “Hello, this is Spencer Leigh” and he said in my earphones, “Spencer, they know who you fucking are, get on with the show.” Kneen and Routledge interviews T but the original interviews was not kept. (Space restrictions in the pre-digital age.)

OTB 0035 (1CD) Sunday 28 September 1986, 1-2pm Anthony Newley (Part 1) The UK singer and actor Anthony Newley had been based in the US for many years and in 1985 he agreed to answer some questions on tape for my series, Shakin’ All Over. I thought his comments were so informative and entertaining that I would devote two half-hour spots to him. As he had answered set questions on tape, I didn’t have a conversation as such with him but there’s good stuff here: “Some things though are too distant for me to remember,” he admits but he’s generally right on the nail. He covered Frankie Avalon’s ‘Why’ and had a UK No.1. “I can’t remember who sang it because he was one those watered-down American teenagers who sang as if their basic education had been in potty training. The trick was to get Newley to sound that way and to my credit, I think I did succeed.” Newley, like Donovan, often speaks of himself in the third person. Of ‘Bee-Bom’, “I was told that for a short time ‘Bee-Bom’ was President Kennedy’s favourite tune and he used to make love to the sound of that record. I don’t know whether to believe that or not but it’s a nice thought. I’d like to believe it but I never did it myself because I don’t know how you can keep up that kind of pace.” I review Rock Wives by Victoria Balfour in which Lee Angel says of Little Richard, “He went into the twilight zone and never returned.” Unissued. Tony Thorpe gave me a demo of his duo Coogar and Dark with a parody of the Preston station, Red Rose, now called Red Nose Radio: an easy target but entertaining. Unissued. John Stewart’s ‘Summer Sun’. Newley Cass to CD 086 T

OTB 0036 (1CD) Sunday 5 October 1986, 1-2pm Anthony Newley (Part 2) More of Anthony Newley and a brilliant story of him and Leslie Bricusse going to see John Barry to write lyrics for the James Bond film, Goldfinger. John Barry played the opening notes and Tony and Leslie immediately sang the opening notes of ‘Moon River’. Newley sometimes calls Bricusse ‘Brickman’ without explaining why. Talking of a Liverpool actor in Dr. Dolittle, he says, “Rex Harrison was a pain in the ass, but Rex Harrison was always a pain in the ass – not much you can do about that.” Among the records, ‘I’m Lookin’ Over My Dead Dog Rover’ by Ian Whitcomb. Unissued. ‘Lend Me Your Comb’ by Rory Storm and the Hurricanes. Used to plug a read-through at the Unity of Andy Melia’s play about Rory, A Need For Heroes. Newley Cass to CD 086 T