History of the Record Retailer

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THE RECORD RETAILER : A HISTORY, 1959 – 1972.
© Alan Smith.

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By 1959 the Music Industry; particularly it’s `popular` section which comprised of `Rock and Roll`, `Skiffle` and Romantic ballads; was indeed becoming a thriving business. To cater to the business side of the industry as opposed to its artistic endeavours, the “Record Retailer” trade magazine was conceived.
This was at the behest of the “Gramophone Record Retailers Association” The “G.R.A.A”. At a meeting on Sunday 8th March 1959; representatives of “E.M.I,” “Decca”, “Melodisc,” “Oriole,” “Pye,” “Phillips”, “Vogue” and other record manufacturers agreed on co-ordination and regulation to keep a check on the state of their industry.
The meetings were chaired by Reg Reed and Harry Tipple of the G.R.R.A. It was also agreed to co-finance by subscription (Other finance was via advertising space), a monthly magazine which could relay the `pulse` of the industry and be an open forum for views, ideas and opinions. The G.R.R.A from its headquarters at 163a Rye Lane, Peckham S.E 15,Contacted “Commercial Newspapers LTD”; who with help from member Julian Ormond formed a subsidiary holding company titled “Telltime LTD” to commence publication of the monthly “Record Retailer” magazine.
As its name implies, the magazine was to cater more for the actual sellers of records; the shops rather than the record companies. This was because it was seen that there was a `demarcation` between the rights of individual shops who would sell records of all the major and lesser labels, and not premises set up by any one record company to sell exclusively their own label’s product. Indeed in the early days of the “Record Retailers” life many non members wrote to it with their fears that “Pye Records” were going to undertake such a move. “Pye” denied it and the matter died down. However that is how sensitive such matters were back then; later when “E.M.I” had their “H.M.V” shops one could get records from other labels on them.
The subscription fee for “Record Retailer” was Two Guineas back in 1959 when it’s first monthly issue titled Vol 1; no 1 was born on 25th August 1959.
One of its first staff members Mr Norman Charles Bates was able to give precise information concerning “Record Retailers” set up and staff in its early years. These were:
Roy Parker – Managing Director and Editor.
Ann Smith – Secretary to the Editor.
John Morrell – News Editor.
Robina Lowman – Features Editor
Brian Harvey – Advertising Manager.
Christine Searle –General Secretary.
Jeremy Wilder- Managerial staff’ and chart compiler.

Julian Ormond was still the `sleeping partner` helping to provide part of the funding. The premises were at 29 Villiers Street, London W.C 2, an old `Dickensian` building; opposite Charing Cross Railway Terminal. “Record Retailer” occupied the three upper floors with just one room per floor, and fairly cramped. Roy Parker was ensconced on the first level of the Three, sharing with Secretary Anne Smith. The Middle floor held Editorial and Advertising staff. There were just three telephone

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lines, so no need for Switchboard or Receptionist. The top floor had a small room with a Gestetner Address printing machine and a separate toilet.
The first issue of “Record Retailer” when produced on 25th August 1959 in A5 format, featured a G.R.R.A newsletter, adverts for such items as window displays, merchandising and musical equipment offers. Also displayed were comprehensive guides to all record releases in every format of 7inch (45rpm) , 10inch (78rpm) and 12 inch (33/3rpm) for the forthcoming month. Most interesting was an industry breakdown on production and sales levels of all aforementioned records from 1954 up to April 1959. This showed a marked decline in sales of the 78 rpm Ten inch hard shellac discs over the period 1956 to 1958. This however was balanced by a rise in the same period of the 45 rpm Seven inch single format. In total 1957 was something of a boom year. Finally a complete retail price display per label was given for all formats of records.
The “Record Retailer” carried on in its monthly format, coming out on the 25th of each month until early 1960. By February 1960 it was clear that the speed at which events and news were breaking in the industry were moving too fast for a monthly production. So on 10th March 1960, a Thursday; a new weekly “Record Retailer” commenced. One important addition to the new weekly paper was the addition of a `chart` service which was now possible due to the financial surplus from subscriptions.
Charts were already in use by the popular music papers such as “New Musical Express” and “Record Mirror” so it wasn’t an innovatory move by “Record Retailer”. They were following the movement of replacing the old `Song Sheet` lists with charts logging the sales of vinyl and shellac discs. The main drawback for “Record Retailer” in publicising it’s chart service was general availability. Whereas the music papers were on sale to the general public, “Record Retailer” was obtainable only on subscription to its members. It was occasionally given out free to Record Labels and other record retailers for their possible interest in subscribing; but to the general public the only kind of regular access was via public libraries, where it could be asked to view on the premises.
The singles chart of 10 March 1960 was also accompanied by a Top 20 E.P chart; and Two weeks later a Top 20 L.P chart. The singles chart itself was a Top 50; which at that time (10 March 1960) were 20 places larger than “New Musical Express’” Top 30 which had previously been the largest published chart listing. However, in spite of its published size; the “Record Retailer” Top 50 was certainly not based on the largest sample of shops. The paper in its early years had neither the financial or manpower resources than to attempt anything more ambitious than a rudimentary sample. Documents from Mr Paul Clifford of the “Official U.K Chart Company” and personal corroboration by Norman Charles Bates and Jeremy Wilder who worked at the paper in the early/mid 60’s shows that “Record Retailers” chart was compiled from 30 phone calls to record outlets made by Managing Editor Roy Parker and his Secretary Ann Smith. They did not call the same 30 stores each week, but time and resources only allowed for 30 phone calls. They did ask each store for an extensive list of its top 50 selling titles as opposed to a top 20 or 30 list preferred by the regular music papers. The one area “Record Retailers” list agreed with other charts was that it too was a `points` based chart; whereby no 1 titles on each list were given 50 points down to 1 point for 50th place. With only 30 sets of top 50’s to work with would have led to many

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`tied` positions; so to avoid this a `countback` system was devised so that the rate of increase or decrease from week to week points tally as a percentage was taken
into account in order to separate chart positions. This system kept tied positions in the top 50 to a bare minimum. The only time a tie took place in the top 10 and no separation came into play was when The Seekers “Morningtown Ride” and Donovan’s “Sunshine Superman” were locked at joint no 2 on 14th January 1967. The compilation of the chart itself was undertaken by Roy Parker until 1962 when senior managerial Member Jeremy Wilder took over compiling the Top 50 singles until circa 1965/66. Roy Parker worked on the E.P and L.P charts until his death in 1964. Jeremy Wilder would work with each shops returns through each Tuesday to assemble the top 50. When the returns rose to 75 to 85 in the postal returns system from January 1964, it would take him up to the early evening to have the chart ready for publication. Mr Wilder was the sole staff member who compiled Record Retailers singles chart in this period.
The “Record Retailer” chart struggled for general acceptance within the full spectrum of both the music industry, retail business and amongst the public for a few years. Those record stores that subscribed to the magazine did not always refer to its chart, mainly because customers would be far more familiar with the charts of “New Musical Express” and “Melody Maker”. It was not utilised by the BBC for inclusion in compilation of the Corporations “Pick of The Pops” chart until 1962; and not fully week-by-week, until 1966. The main problem for “Record Retailers” chart was it’s paucity of sample size; only having time and resources for contact to approximately 30 stores, meant that “Record Retailers” chart was subject to wild swings and fluctuations in it’s chart placements. Comparison with the music paper charts of the early Sixties showed these to be far less volatile because their larger samples lessened the effects of rogue movements.
Partly because of this effect upon its chart, the “Record Retailer” arranged through its co-financer, Julian Ormond to undertake an audit to ascertain the validity of chart positions. The audit was carried out by the firm of Chantrey, Button and co. According to one of the staff carrying out this audit, Nigel Mundy, Chantrey-Button only carried this function for three years before another firm took over the audit. Attempts have been made to trace the later audit but sadly that is still unknown. Other charts were also audited, though not necessarily by an outside firm. “New Musical Express” for example had their staff member and qualified accountant Ted Hull audit “N.M.E’s” charts.
The Record Retailer audit commenced on 5th January 1963 and the results were available for subscribers to see if they wished by writing in for a copy of the audit.
On 14th February 1963 “Record Retailer” transferred its offices to 27 John Adam Street. The new premises were only around the corner from Villiers Street but were larger and somewhat more prestigious for the papers expanding activities.
The staff over the next two years was: Roy Parker – Managing Director and Editor-in-Chief.
Ann Smith – Secretary to Editor-in-Chief.
Frank Smyth – Editor.
Peter Cresswell – News Editor and Assistant to the Managing Director.
Michael Clare – Sub-Editor (And later Production Editor).
Maurice Baruch – Sub-Editor.
Robbie Lowman – Features and Music Publishing News.
Roy Lister – Advertising Manager.
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Norman Bates – Deputy Advertising Manager.
Christine Searle – Advertising Secretary.
Jeremy Wilder – Managerial Staff and Chart compiler.

Also employed were a Mailing Clerk and for the new Switchboard a operator. Full names not recalled only Christian ones, Anne and Brenda.
With a larger size from late 1963 (Slightly larger than A3), with a higher page count, the paper offered a far more comprehensive service to its subscribers and with healthier resources, the paper upgraded it’s method of chart compiling. Following the
lead of “Record Mirror” and “Melody Maker”, “Record Retailer” switched to postal returns. Contact was made to E.M.I’s record distribution base and to Decca’s (Which
-was called “Selecta”) for a master list of 100 prime record shops, mostly based in London, Manchester and Liverpool. From this list a rotating core of 75 to 85 shops would post in their top 50 sellers to “Record Retailer” who would pay part of the postal costs. This new system commenced at the start of 1964. Unfortunately it was still a chart based on a different day of compilation to it’s competitors (Tuesday as opposed to Monday for all others) and the chart still suffered from unusually low first week entries e.g. no Beatles single ever entered at no 1 in the “Record Retailer” compiled listings.
Sadly late 1964 saw the premature death of Mr Roy Parker. Aged only 45; he had endured a spell of ill health earlier in the year and was hospitalised. It was thought he was making something of a recovery, but sadly this turned out not to be, “Record Retailer” had lost one of its staunchest stalwarts. Temporarily taking up the reins and workload of Mr Parkers duties early in 1965 was Frank Smyth. After Frank Smyth’s brief tenure Don Wedge and Michael Clare took over as Editor and Production Editor.
A very significant event took place in August 1966 when the American company “Billboard Publications” took over “Telltimes” holdings. The paper was still listed as a “Telltime” publication, but it was actually a “Billboard” owned Magazine. “Billboard” was owned by the Littleford family of New York. They bought “Telltime” from its owners, the Wilder family of Aston Rowant, Oxfordshire. Julian Orchard stayed on as accountant. As well as bringing in Don Wedge and Michael Clare “Billboard” also introduced Graeme Andrews to the paper in his capacity as news editor. Andrews had been deputy news editor at NME in 1963 and 1964. Another newcomer who had also worked at NME in an editorial capacity was Ian Dove, who came to “Record Retailer” as Ad manager. By 1968 the paper had moved to 7 Welbeck Street, London W1. From July 5th 1967 the publication day had changed from a Thursday to Wednesdays. This caused a few weeks disruption in their chart service, Michael Clare recalled that for about a month it was very difficult to get postal returns in on time, leading to as many hurried phone calls to dealers in an effort to augment the figures.
Also in 1968 the papers own circulation was now audited, by A.B.C the major auditor of newspaper and entertainment magazines. The papers page count was now at 24 pages. This gave scope for quite extensive singles and album reviews. Advertisements for new record releases were superior to those in “NME”, “Disc” and “Record Mirror” and on a par with those in “Melody Maker” and “Top Pops”.
The Record Retailer chart gained more credence and authority by the mid sixties. It was now a regular part of the BBC’s calculations for both “Pick of the Pops” and “Top of the Pops” charts. At first this was on an irregular basis; as sometimes the

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Record Retailer chart would not be compiled in time for inclusion in the BBC calculations. It was from the start of 1966 when it was included regularly in the
B.B.C’s calculations (Along with N.M.E, Melody Maker and Disc) for its “Pick Of/Top of the Pops” weighted average top Thirty/Twenty. Also in May 1966, the chart was published in the `World Charts` section of America’s “Billboard” Magazine; replacing the New Musical Express chart which “Billboard” had previously utilised The magazine was also becoming a reference document for many Record Companies, so that from around 1965/6 the Record Retailer was able to boast its chart was one used by `The Trade`.
Even so by 1968 it was perceived that “Record Retailers” charts were not yet established as the major listing for all sectors of the music Trade and industry; particularly after the fiasco of the B.B.C chart which combined “Record Retailers”, “N.M.E’s” and “Melody Makers” charts; ending up with Three joint no 1 records on 31 August 1968. Confusion was reigning as to which chart was best. With this in mind “Record Retailer” made calls for a new national chart, Graeme Andrews and Julian Ormond of “Record Retailer; co-ordinated a series of meetings including members of The British Phonograph Institute. The B.B.C was represented by Derek Chinnery. Also contacted was the advertising conglomerate the “J.Walter Thompson Agency”, under whose auspices was the “British Market Research Bureau”. From “B.R.M.B” Mr Peter Meneer was delegated to liase at these meetings. Offers were also made to Maurice Kihn, the publisher of “New Musical Express” and Jack Hutton, the managing editor of “Melody Maker” to join in discussions of finance for a new chart. Both declined, as they felt happy enough with their own charts, and did not agree with the proposed scale of funding to set up a national chart. Despite this set back productive meetings led to the setting up of the first nationally recognised U.K pop chart based purely on sales figures, rather than a points system. This comprehensive system known as B.A.R.S (British Analysis of Record Sales) was costed at over £50.000 (Approximately £53.000) Involving the use of Diaries, a computer and contacts to over 500 stores for a master pool. Within this a rotating core of 250 retailers would send in their completed diaries by post, which then would be fed into the computer at B.M.R.B’s offices to get a preliminary top 50. When done, 50 supplementary phone calls were made to the reserve list of dealers to check on sales trends. Once satisfied on the veracity of the figures, B.M.R.B would send the now completed chart to the B.B.C. The top 30 of the new national chart would be aired on Tuesday afternoons on Radio 1 at between 12.45 to 1.00 pm with the top 5 played in full. A more comprehensive airing was given each following Sunday between 6 and 7pm.
The date of the first national chart was 13 February 1969 and listed in “Record Retailer” it was listed Two days later in “Record Mirror” and on the same date played on B.B.C Radio One. From August 1970 it was also carried in the new weekly paper for progressive music “Sounds”.
Unfortunately, the new chart had its fair share of problems, not least in the fact it attracted consistent attempts at manipulating it. Because it was announced as the Industry chart and recognised by the B.B.C it sadly attracted constant attempts to get records into unfairly. The B.M.R.B also made the mistake of giving out too much detail of how it policed the chart and dealt with attempts at `hyping`. Giving such details in the authorised “Radio One Annual (1969)” and later “Top of the Pops” Annuals only served to make unscrupulous chart riggers aware they were under scrutiny, causing them to vary their methods. The B.M.R.B had a lot of trouble
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getting a high proportion of Diaries back from shops on time; and of them being compiled in a valid state for use in compiling the chart. The first few months of the new top 50 were riddled with tied positions, even as high as a joint no 4. This should have been a virtual impossibility if anywhere near the number of diaries were available. Sadly the B.M.R.B don’t hold a record of the proportion of early returns but
the mathematics of so many tied positions suggest only 20-25% of valid returns in the first few months of the chart. The B.M.R.B had to revert to the old Record Retailer
system of eliminating most tied positions while it strived to improve its percentage of returns. Also, due to the fact that neither “New Musical Express” nor “Melody Maker” came onboard the scheme the chart took a little longer to be acknowledged by every part of the industry. By the mid Seventies it was finally well accepted.
In 1969, with “Billboard” now fully in charge of the paper, “Record Retailer” moved premises again; this time to extensive, well equipped offices at the then fashionable address at 7 Carnaby Street London WIV 1PG. It moved its printing from old letterpress in Salisbury to web offset at Peterborough, as well as changing to a full glossy format, like “Billboards” American titles. This Glossy “R.R” was printed at a custom built South Wales plant, set up and part owned by Julian Orchard. Graeme
Andrews was made publisher and Brian Mulligan was promoted to Editor. Mulligan had previously worked for the “Phillips” Record Company and later, London Editor of Variety magazine. By 1970 Graeme Andrews and Julian Ormond had moved on from “Record Retailer”. They were replaced in 1971 by an American, Mort Nasatir; former head of MGM records. It was Mr Nasatir who changed the publications title to “Music Week”. “Music Week” went from strength to strength, becoming the industry’s leading trade paper. In 1976 “Billboard” sold the title to the conglomerate “United Business Media” So, from small beginnings, “Record Retailer/Music Week” had become the vital business title for the record industry.


Thanks are due to Norman `Charles` Bates, Michael Clare, Norman Jopling, Peter Jones, Peter Cox, Nigel Mundy, Jeremy Wilder and Graeme Andrews for invaluable help given. © Alan Smith April 2006.

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Just to say that I know this subject is probably not one that folkjs can say much about- but I hope it will be informative to people! Cheers!