MERSEY BEAT REPORT
A&R man John Schroeder, who recorded the LP's, has written a special report for Mersey Beat readers:

This is a summary of my experiences in Liverpool just recently when I took a mobile recording unit up and recorded two LP's:

Competition is the healthiest form of business - this statement is well proven, particularly as far as the record industry is concerned. It becomes increasingly more difficult to provide the thirsty masses with a product that takes their fancy. One experiments to extremes with new sounds and employs all the gimmicks that modern recording equipment is able to supply, but still in most cases it boils down to good material and good talent, both these things are by no means easy to find. One searches, almost desperately, to find the right material for the right artiste, and this is not in any way the end of it. There's the blending of the two by means of good production, arrangement - and sound is just as important.

It is my duty, and above all, personal ambition as a recording manager, to promote British talent on record to the best of my ability. Good talent does not grow on trees and one does well to take heed of the words 'seek and ye shall find.' The sudden emergence of the Beatles and consequently the Liverpool sound as it is now termed, has done more to further the progress of present day British popular music than anything else for some time. Talent arising from the North, and Liverpool, seems to be inexhaustible. In view of this the decision was made to take a mobile recording unit to Liverpool as an experiment, and to discover just what Mersey Beat was an endeavour to capture it in its own raw environment.

This led to my being launched into one of the most hectic and exciting ten days I have ever experienced. Arrangements were made for a suitable location near the city centre, that provided for reasonable recording acoustics, was found. The unit, consisting of a three track tape machine, numerous microphones, 100 foot of power cables, sound mixing panel and many technical items was assembled. enormous credit is due to Geoff frost, our chief engineer, and john wood who went to extremes to build and design a unit capable of moving from one location to another at any time, at any notice. Within two days £6,000 of recording equipment was on its way by road to Liverpool. The first major problem was the fear of not finding suitable talent to record, even though we were aware that there were approximately 300 groups thriving in and around the city. Our fears, however, were immediately resolved by the outstanding co-operation and assistance of Bill Harry, the dynamic young editor of Mersey Beat. Notices, letters and phone calls immediately went out to agencies and artistes. In no time at all the response was outstanding.

The recording schedule was planned, estimating on an approximate time of two hours for each group to record. We visualized that this would allow for any mishaps that might occur, technical or otherwise, and give the groups time to sort out numbers and get a satisfactory result.

Geoff and I soon found ourselves working to a ridiculously hectic time schedule, starting recording at 10 in the morning and continuing to the early hours of the following day. This was rigidly adhered to every single day we were there. i don't believe there was one morning when we didn't hazily knock at the door of our hotel and pass the milkman making his early morning round.. What the night porter thought, I wouldn't like to say.

What little time we had left for leisure was taken by being escorted by Bill Harry and his charming wife Virginia on a whirlwind tour of clubs, ballrooms and dancehalls. It was an experience that both Geoff and I will never forget.. we met literally hundreds of young people, artistes, agents and managers, but the biggest thrill of all was seeing these youngsters work and perform on stage. The fanatical enthusiasm for their music is portrayed on stage with some powerhouse results. Such places as the Caver, the Orrell Park Ballroom and the Iron Door Club, which are current venues for these youngsters, literally seemed about to fall apart with the fantastic drive and beat that is created. One way or another we just had to catch all this on record.

The actual recording of these youngsters proved to be far easier than we expected for many reasons. Firstly, every group arrived punctually on the date and time specified. This we particularly admired. They set up their gear efficiently with no messing about, and only on one or two occasions did we have trouble with things like amplifiers humming and distorting, which often one can take hours trying to cure. The standard of musicianship generally was exceptionally high, particularly amongst drummers and lead guitarists. the vocalizing, too, is exceptionally good, particularly on harmony, and very rarely did we have flat notes. The greatest failing of all groups was the lack of original material. Many groups, I feel sure, would have done better had they managed to acquire it. We were, however, very impressed by the teamwork and how outstandingly well together groups played, even though in some cases there were constant changes being made among the members.

The biggest problem of all was to make everyone feel relaxed and to destroy any apparent nervousness. It wasn't easy either to re-create the atmosphere, drive and enthusiasm that we had heard in the clubs and dancehalls in a rather cold and unfriendly ballroom. But after a little time in warming up and making everyone feel at home, things really began to swing. Geoff Frost once again did an outstanding job producing sounds which were as good and in many cases better than in our own recording studio. The Rialto Ballroom seemed to lend itself well to natural echo, and separation turned out better than expected. Drums, lead and rhythm sounds were excellent. we came across no major technical difficulties and the equipment worked very efficiently. By the end of this hectic and exciting week we had enough material recorded and produced to issue two powerhouse albums entitled 'This Is Mersey Beat' (volumnes 1 and 2). These will be released the first week in July and do extreme justice to everything the Liverpool Sound stands for. The following groups will be represented on the forthcoming albums: Rory Storm & the Hurricanes, Faron's Flamingo's, the Del Renas, Earl Preston & the TT's, Mark Peters & the Silhouettes, Sonny Webb & the Cascades, the Mersey Beats, Ian & the Zodiacs, the Nomads and Derry Wilkie & the Pressmen.

Editor's Note: Both albums were issued on Friday July 5 1963. The tracks on 'This Is Mersey Beat - Volume One' (Oriole PS 40047) were: Side One: Introduction by Bill Harry. 'Let's Stomp', Faron's Flamingos. 'Thumbin' A Ride', Earl Preston & the TT's. 'You've got Everything', Sonny Webb & the Cascades. 'Our Day Will Come', the Mersey Beats. 'Hallelujah', Derry Wilkie & the Pressmen. 'Dr Feelgood', Rory Storm & the Hurricanes. Side Two: 'Let's Turkey troy', Ian & the Zodiacs. 'Beautiful Dreamer', Rory Storm & the Hurricanes. 'Talkin' About You', Faron's Flamingos. 'I'm Hurt', Earl Preston & the TT's. 'Sigh Cry', the Del Renas. 'Someday', Mark Peters & the Silhouettes.

'This Is Mersey Beat - Volume Two'. (Oriole PS 40048). The tracks were, Side One: 'Shake Sherry', Faron's Flamingos. 'I Can Tell,' Rory Storm & the Hurricanes. 'Secret Love', Ian & the Zodiacs. 'Nashville Blues,' the Del Renas. 'Excuse Me', Sonny Webb & the Cascades. 'My Whole life Through', the Nomads. Side Two: 'Who Shot Sam?' Sonny Webb & the Cascades. 'When Will I Be Loved?' the Del Renas. 'So Fine', Faron's Flamingos. 'It Ain't Necessarily So', Ian & the Zodiacs. 'Border Of The Blues', Sonny Webb & the Cascades. 'All Around The World', Earl Preston & the TT's.

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