POMPEY POP

Perfect Reply

2 Comments

ORDJ (Our Resident DJ) has responded very fully and in detail. Cheers Mr C!

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When I did my first night at the Tricorn I insisted they dispensed with the handle to the  gramophone!
The Club was initially an out-and-out cabaret venue with not a hint of disco- when I  was taken on, in late 1967, as a token DJ to please the many regular punters who wanted more up-to-date  music to dance to, I was positioned on a stool facing a double turntable in a mounted box affair  on wheels- the unit was originally used  to put on records enabling the resident trio to have  a break or two .
We had 2 x 100 watt speakers perched either side of the stage- no mixing decks, echo units, reverb, speeded up and down turntables, cross fades etc which are taken for granted nowadays. The mic was attached to a foot long goose neck bendy affair. If the dancers got a little excited and jumped up and down in front of me one had to place a half penny on the top of the needle frame to stop the records jumping.
As more and more people requested discotheque (what a lovely old word) music, the trio were phased out (sorry musos – nothing to do with me!) and the Tricorn become a club/dance venue. To boost the sound we hired a 6 channel Sound City Amp from Alan Clarke Sound (still going young Alan doing the PA for Des O`Connor) and suddenly we sounded superb – a separate channel for the mic, one for the turntables and one for a “jingle machine” which was actually just a tape deck Alan rigged up with Radio jingles copied onto it.
We had at least 200 watts to blast out- how this must have sounded up against Slade, Uriah Heep, Mud, Alex Harvey Band etc goodness knows but we were all youngish- this is what we had to “play” with and we were more than happy with it – plus who can recall the Beatles small PA battling with the screamers at The Guildhall in `63.
The Tricorn then bought its own Sound City valve amp from The Image (I hope Cmdr. Ford paid them) and apart from Nigel Grundy adding a personalised front box this is how we continued for years.The only problem we sometimes had was when cabaret acts turned up expecting to use the in house PA (still happens today) and the sight of a comic bending over my DJ consul performing his act  using my 12” goose neck mic was a joy to behold.Pic attached of aforementioned turntable with my hi tech lighting way before LED`s came into existence.
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Author: pompeypop

University lecturer, longtime local musician and recently historian of popular music - especially in and around Portsmouth. My blog is entirely about that topic

2 thoughts on “Perfect Reply

  1. Nice stuff Pete. When I toured with Country Joe & RP&Gone, I used just my washboard and a snare – both played only with brushes, not sticks. We arrived to play at the Borderline, Soho, with a loud electric blues band as support. They had been told we would double up on all the kit and I told the drummer he was more than welcome to make use of both items! Fortunately we were in the heart of the West End so they hastily hired a full kit.

  2. just found this post ,Mr D J , and am I not surprised to find that there was some (collateral) floating around after the band split….Despite myself putting in what I owned when I joined IMAGE and subsequent equipment changes/additions, there was the ‘stock take’ that revealed that after all bills were paid etc , we would be facing the inevitable ‘negative equity’….Well I came out with nothing but memories ,when apparently there was still ‘hidden assets’………….Well now…..Top move Steve Grant for taking your kit home to bed !!!!!

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