What CAN happen if you've got the nerve..

basilh · From: United Kingdom

In the early 1960's, Both Gordon Huntley's and BJ Cole's work was way ahead of mine, as was Rod King's, the only difference was that I had the cheek to write to EMI and tell them that the Waikiki Beach Boys Hawaiian Steel albums currently available were CRAP.

This is the story that I've never related before, but I think it's time it was told.
As I said, I wrote to the chief of the A&R dept at EMI and said I could do better than what they currently were purveying. They listened to what I said and purely because of my sales pitch they came along to the Castaways in Birmingham, (A longish trip for a London based producer to make just on spec.)After Wally Ridley and Syd Gillingham had spent all the evening/night listening to my group, they told me at the end of the night that "I'd Got the Job" and said make arrangements to come down to Manchester Square and sign a contract.

I subsequently did and they signed me initially for 10 years at three albums per year.
The witness to the contract was Syd Gillingham EMI's chief press officer, and after the signing Syd asked me would I give him lessons on Hawaiian Guitar, I said "do you play" Syd replied "yes, I'm the steel player and band leader of the Waikiki Beach Boys", the very band I'd told EMI that I thought were crap..

There's a thread currently about "Best Produced" albums, and whilst I wouldn't count mine amongst the best of steel playing, without a doubt the team WERE top drawer.

EMI Studio Two Stereo, their premier label,

Geoff Emerick and Martin Benge engineers who engineered amongst others, The Beatles Sgt Pepper.

My albums were produced by Walter J. Ridley

producer for :-
Vera Lynn,
Cliff Richard
Swinging Blue Jeans
Peter Sellers
Benny Hill
Jose Carreras
Max Bygraves
Donald Peers
Ronnie Hilton
Eartha Kitt
Joe Loss
Alma Cogan
Johnny Duncan
Johnny Kidd & The Pirates...

The musicians Wally used on my albums included :
Ike Isaacs, Barry Morgan (Blue Mink)
Vic Flick (John Barry Seven)
and because Wally was head of A&R and EMI's top arranger, musicians he selected from these bands and orchestras:-
Click Here

The chief Press officer at EMI was later to become a pupil of mine, Syd Gillingham (Waikiki Beach Boys) and he handled the world distribution for me via all of EMI's world wide offices.

As I said, a top flight team, pity my playing wasn't a bit better. The arrangements were new to me on the day of recording and the albums were always completed in two to three sessions.
EMI picked the material they wanted me to record,
It was all from "Dots" and the arranger only outlined the melody and harmonies for the steel..Sight reading is NOT conducive to good intonation or timing at times..
I didn't like it, but it was the product EMI wanted and as such they were happy.

Looking back now 40+ years later, I should have insisted on recording tunes I was familiar with and also had more of a say in the arrangements, but all in all I think I was VERY lucky, and that's my point...Luck, more than 50% of the equation.

David LeBlanc · From: New Brunswick, Canada

"LIVE AND LEARN". Very Happy

On the bright side look at all the female groopees you made . Cool

Alan Brookes · From: Brummy living in Southern California

So, is the moral here that we should all go along to EMI and tell them that the current Hawaiian albums they have are crap, and we can do much better ? Laughing

I have to say that my Dad had both your albums and the Waikiki Beach Boys Albums, and as a youngster (yes I know I'm only 18 months younger than you are) I thought they were pretty good. I didn't realise at the time that many years later I would meet the artist responsible.

Is Syd Gillingham still around ? Is he a member of the Forum ?

basilh · From: United Kingdom

Alan, Syd is going 'round the old folks homes om the south coast playing keyboards and entertaining them. His arthritis is too bad for him to play steel anymore but he can still sing (?)

Ken Byng · From: Southampton, England

How many copies on average did those albums sell Basil? There was a substantial market worldwide for MOR easy listening albums in the 60's, so you were in the right place at the right time.

In many ways, it's a pity that times have changed along with musical tastes.

Bill Hatcher · From: Atlanta Ga. USA

Basilh. Was Ike Issacs the bass player? If so, I think he lived here in Atlanta till his passing if he is the same player.

In regards to your "contract", you were signed to a company with a very strict regimen of production. THEY chose what would be recorded and who would record with you and the music etc., because YOU were just a vehicle to accomplish THEIR business goal. It was not about you or the betterment of presenting the steel guitar or art or anything like that. It was business. People in suits sat around a table at a meeting and decided what was to be done. If the project sold then they made most if not all of the money. If the project did not sell they lost most or all of the money and that is why they controlled it. Business as usual for a record company then and that carried on for many years.

You should not be at all disappointed at your deal. It was the best deal availiable to you at the time, even though it was not really what would have served you best musically as you did not really have much say so in the musical arrangements. I would dare say that many other steel players in your locale had what you did.

Also something else to consider is that after the Beatles came out, record companies virtually ceased any kind of real varied musical production of other genres of interesting music in favor of pop bands of young guys with long hair. That was where the big money was and that is what they chased after. You were very fortunate to have the deal you had even though in retrospect it might now not seem ideal to you.

basilh · From: United Kingdom

Well Ken you asked about sales....
This is something I've thought long and hard about, my wife says not to post this as it would appear as "Bragging", I'm not so sure, mainly because my playing on the albums I'm referring to is most definitely only 'Average'.. Still, I think to set the record straight the information may be useful to some discographers.

As a 'Solo' artist and NOT as a session musician, and under a personal 10 year contract, I recorded at Abbey Road in the sixties for EMI, by far my WORST playing, but the stereo record market was embryonic and the major stores used my albums to demo the 'NEW' stereo sound systems.

Most people in the UK who bought Hi-Fi systems in the sixties also bought one of the albums used for the demo, so mine along with 'Impact' sold the same approximate quantities as the major department stores sold Hi-Fi's.

EMI Columbia Studio Two Stereo series...
TWO-177 'Shades of Hawaii' (1967) ...in excess of 400,000...
TWO-218...'Hawaiian Nights' (1968)...over 500,000...
TWO-290 'Hawaiian Honeymoon' (1970) ...over 350,000

For those who wish to know, EMI Studio Two Stereo, was the only other International competitor to Decca Phase Four..In the early days of stereo record sales.

Over 250,000 copies each in the UK alone.

I also had one track on a 'Stereo Sampler' that sold over a million in the UK..STWO2-'Impact' (1968), Re-Released as MFP-50341
The other featured EMI artists that I shared that album with were
Norrie Paramor and his Orchestra,
Mr. Acker Bilk,
David Rose and his Orchestra,
Pepe Jaramillo and his Latin-American Rhythm,
Ron Goodwin and his Orchestra,
Joe Loss and his Orchestra,
The Norman Newell Orchestra,
Ralph Dollimore and his Orchestra,
Manuel and the Music of the Mountains and
Jack Emblow.

And one track on an album called "The Cheesy Listening Album"

The EMI ones have also been re-released in various countries under various disguises..

Like :-

Well, an album of mine on world release by EMI was released by Toshiba records in Japan as a Red vinyl sampler on the Odeon label OP-8327 (yax-3414) and called :- Mood Deluxe Melodies for Best Dresser

I'm still looking for a copy of ANY of my EMI Albums that were released in Japan by the Nipon Record Company. I'll pay enough to make the finder a "Best Dresser".

And I'm still getting royalties from over 23 countries AND on-Line downloads from i-Tunes in particular and also other on-line services.

I must scan some of the royalty statements of the numerous countries and post some pictures.
"Off the top of my head" They included Japan, Singapore, South Africa, Australia, New Zealand, The West Indies, Malta, Italy, Spain, France, Germany, in fact all of Europe and most of Asia, but funnily enough NOT the USA and only limited issue in Canada, presumably because the early market for the 'NEW' stereo recordings had already been well exploited.

As EMI probably isn't know so well in the USA, it's a label located in the United Kingdom.
Artists include Vengaboys, Geri Halliwell, Kraftwerk, Robbie Williams, Pink Floyd, and Sir Cliff Richard,

Shades of Hawaii was my first SOLO Steel Guitar album for EMI. It IS purely instrumental.. no vocals, and I AM the featured artist, i.e. Basil Henriques and the Waikiki Islanders and was released in 1967, today, it is still selling all over the world in CD format AND on-line downloadable from i-tunes etc.

Barry Blackwood · Posted 12 Feb 2008 7:57 am

An impressive resume Basil, although have you ever thought that luck had something to do with it as well as nerve? Sure, you had the goods, but 'right place right time' seems to be a significant part of the equation ....

basilh · From: United Kingdom

TOTALLY correct Barry I've always put it down to 90% luck and the rest split between business acumen good judgement and about 5% talent.
But it takes more than JUST opportunity..The ability to recognize the opportunity when it arises is fundamental to the right mindset..

Barry Blackwood · Posted 12 Feb 2008 8:50 am

How right you are, sir!

basilh · From: United Kingdom

Ken Byng · From: Southampton, England

Those numbers are extremely impressive. Must be a candidate for the highest selling steel guitar albums of all time. I had a feeling that they sold in substantial quantities because they were available for years in most major record retailers and must have been re-pressed a number of times. Very Happy

Alan Brookes · From: Brummy living in Southern California

Luck had a lot to do with it, but you wouldn't have sold all those albums if you didn't have the talent, and if the music wasn't worth listening to. As you know, I have all those albums, and the ones that you refer to as your worst recordings are better than most players could dream of.

When I was in Hawaii I noticed a complete absence of steel guitar albums. It wouldn't take much to promote your albums over there to tourists.

basilh · From: United Kingdom

Actually Ken 1 Silver 2 Gold and a Platinum presented by EMI..

I do believe that Wout had a gold album as well But his was presented from the private company that leased the tapes out.. Still a LOT of albums sold by him..
It's a LOT harder here to get Silver Gold and Platinum. In the USA it's NOT based on unit sales but Dollar figures, so basilcally a $10 album selling 100,000 is a "Gold" disk ?

They've also changed the criteria here in the UK because of the differentials in record sales now, it's significantly less for the awards than it was in the 50's 60's era..Once upon a time a Silver disk required 500,000 unit sales, a Gold one 1,000,000 and Platinum 5,000,000..that ended in the early sixties.

basilh · From: United Kingdom

basilh · From: United Kingdom

Ken.. Phone me about the helicoil 0781-687-2166

Ken Byng · From: Southampton, England

Good to speak to you Basil. You obviously still retain an enthusiasm for the instrument as I do. I appreciate your kind help with my leg socket problems.

KB

Alan Brookes · From: Brummy living in Southern California

basilh · From: United Kingdom

Alan Brookes · From: Brummy living in Southern California

basilh · From: United Kingdom

Hi Alan, it's still in the pipeline, BUT with more time on my hands, (I went to H Samuels for a new one) there is a distinct possibility that it (the album) will be completed in January.

A few VERY well known personages in the music scene are contributing as 'guests'

Do have a very restful and culinary gratifying Christmas my dear friend.

We will think of you as we sample the very 'special and rare' single malt that's been lurking in the deepest darkest dungeons of Amington for many a year.

BTW I'm STILL uncovering releases of my EMI albums in various guises that EMI in their infinite wisdom 'forgot' to mention in any royalty statement.

I distinctly remember 20 Manchester Square and a 'phone number of Hunter 4488, but that was 1967, they've moved since then, I intend to go down to London and meet with the royalty dept. in the new year.
It should be fun.. Evil or Very Mad

Basil

Roy Heap · From: United Kingdom

Basil, When I worked in a Chiswick, London record shop, your albums were sold and always re-ordered and put in the racks. West London was the place for selling Hawaiian and jazz more than anything else. But then Tommy Steel, Marty Wilde and the rockers came on the scene but most of them only sold in 45rpm single. EMI studios were only up the road in Greenford, Middlesex and they did produce some good music.

Ken Byng · From: Southampton, England

Those albums of Basil's used to always be in the MOR easy listening racks in the 60's & 70's. I bought Wout's EMI album, and he had half of Blue Mink on his album. EMI didn't skimp when it came to employing backing musicians.

I used to scan the s/h record shops looking for Santo & Johnny albums on the Italian album series that they did. They were the only steel guitar based act that could compete with HRH Basil Henriques for album sales.
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basilh · From: United Kingdom

I can't believe it .. I've found ANOTHER re-issue album that EMI have kept secret from me. Never showed up on ANY royalty statements... YET.. just wait 'till I see them..

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basilh · From: United Kingdom

Just recently I discovered ANOTHER (undeclared) overseas release by EMI, This is a re-packaged version of "Impact" a million selling UK release..

As I stated earlier, Million selling because Breakthrough, Impact, Stereo Sound Galaxy, Total Sound etc. were the albums used by Hi Fi shops and Major Dept Stores in the United Kingdom like Lewis's, Rackhams, etc to demo the new stereo equipment, buyers also bought the demo albums resulting in sales figures of millions in the introductory period of Stereo Sound in the UK.

God knows how many EMI sold in Australasia, there were two different versions of this album: One entitled "There's Music in the Air: Quantastic" on sale in Australia and the other entitled just "There's Music in the Air" Selections from the In-Flight library of the Quantas 747B. On sale throughout the Pacific region.

I'm never going to know the actual sales figures of my recordings overseas as the returns for the albums EMI "Omitted" to declare to me will probably never be available without litigation, and as my eEMI material is still selling substantially via download sites like iTunes etc.. I don't wish to pursue the issue of unpaid royalties from an era when the artist's percentage was minimal.
Especially as, in this instance, it's just a single track on a compilation (Track 3 side two)
and likewise on Stereo Sound Galaxy, Total Sound and a few (yet to be discovered) other ones.

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