The Ultimate Averaged Chart - The BBC Chart Re-Imagined

[Splodj]

This thread is a great comprehensive resource for studying a particular time in chart history. It also reminds anyone who was around that the overwhelming majority regarded the BBC chart as the 'official' one at the time.

55-60 may show that Guinness/OCC made the wrong choice for that period too (if you have to choose only one chart) with RM providing a more reliable chart than NME - as we have discussed briefly before.

Incidentally, Angel Radio at 12.40 - 2.00 Saturdays has a 50s chart show.

(We never got round to records that should have been a hit in 1970, but I've just heard one on the radio - Bordeaux Rose.)

[Robbie]

^
The OCC basically followed in the footsteps of Guinness by choosing the NME chart for the period 1952 to 1960. Even then the OCC were very late in adopting those NME charts. When the OCC launched its website to coincide with the 50th anniversary of the singles charts in 2002 the OCC only listed charts from 1960 (from the first Record Retailer chart). It is believed that the NME refused to licence the charts to the OCC, the assumption being that the NME may still wish to publish further NME chart books. If I recall the OCC did little more than list the NME number 1s on one webpage simply to tie in the OCC site to the then still published Guinness Book Of British Hit Singles.

The Rockfile series of books from the 1970s has used the Record Mirror charts as had Tony Jasper's Top 20 books, back to the first in 1976. Indeed, until I got the first Guinness Book Of British Hit Singles as a Christmas present in 1977, I wasn't even aware that there were different charts for the 1950s. I think I just assumed that what has been published in the Tony Jasper book was the official charts (though I do remember the comment he makes when Record Mirror abandoned compiling its own chart in 1962 that another chart had been compiled by Record Retailer though I think I didn't have a clue what that publication was back in 1976. I don't think I knew it was the former name of Music Week). Imagine my surprise when checking the Hit Singles book against my trusty Tony Jasper book to find records I thought had peaked at number (x) had in fact peaked at number (y) and I do reember being slightly taken aback. The one that really surprised me was finding out that 'Naughty Lady Of Shady Lane' by Dean Martin, a Record Mirror number 1 in its very early days of February 1955, was in fact being treated as a number 5 hit. Ironically, because the Tony Jasper Top 20 book had switched to the Record Retailer charts in 1962 I already knew that 'Please Please Me' by The Beatles peaked at number 2 so couldn't understand what all the fuss was about when years later people were saying it was a number 1...

[Splodj]

Difficult to tell who was 'right' about the Naughty Lady because there was only NME & RM at that time.

Bit clearer when NME had Tommy Edwards 'Its All In The. Game' at number 1 for 3 weeks while the other 3 charts had 'Bird Dog' by the Everlys.

[MrTibbs]

If u remember, back in my, RM chart thread, for the first months RM combined sides hence why RM had Dean at no 1 as Naughty and Let Me Go Lover were combined sales wise.

[brian05]

3

2

Another Day - Paul McCartney

1

2

3

So Macca made it to no. 1 in NME. But did he go to no. 1 in MM or BMRB the following week?

[Woz1234]

3

2

Another Day - Paul McCartney

1

2

3

So Macca made it to no. 1 in NME. But did he go to no. 1 in MM or BMRB the following week?

No, #2 in MM & BMRB

NME: 8-2-1-2-3-4-10-16-22-30

MM: 14-4-2-2-2-5-9-14-18-23

BMRB: 24-4-2-3-2-4-5-11-17-19-41-42

[chartwatcherdl]

The MM charts for the 70s (with comparison positions in NME and MW) are all here

https://www.ukmix.org/forum/chart-discussion/chart-analysis/99945-melody-maker-singles-charts-1970s

Here's the following two weeks charts lifted from there...

Week Ending 27 March, 1971

01 (04) Hot Love T. Rex (Fly) NME - 1 (4) / BMRB - 1 (1)
02 (02) Another Day Paul McCartney (Apple) NME - 2 (1) / BMRB - 2 (3)
03 (05) Rose Garden Lynn Anderson (CBS) NME - 3 (3) / BMRB - 3 (4)
04 (01) Baby Jump Mungo Jerry (Dawn) NME - 4 (2) / BMRB - 4 (2)
05 (06) It's Impossible Perry Como (RCA) NME - 5 (6) / BMRB - 5 (5)
06 (07) Sweet Caroline (Good Times Never Seemed So Good) Neil Diamond (UNI) NME - 9 (8) / BMRB - 8 (9)
07 (10) Tomorrow Night Atomic Rooster (B&C) NME - 10 (9) / BMRB - 14 (11)
08 (03) My Sweet Lord George Harrison (Apple) NME - 7 (5) / BMRB - 7 (6)
09 (08) The Pushbike Song Mixtures (Polydor) NME - 13 (7) / BMRB - 11 (7)
10 (09) Amazing Grace Judy Collins (Elektra) NME - 14 (10) / BMRB - 6 (13)
10 (25) Bridget The Midget Ray Stevens (CBS) NME - 8 (23) / BMRB - 9 (14)
12 (11) Everything's Tuesday Chairmen Of The Board (Invictus) NME - 16 (11) / BMRB - 13 (18)
13 (28) Power To The People John Lennon & The Plastic Ono Band (Apple) NME - 10 (20) / BMRB - 12 (12)
14 (19) Strange Kind Of Woman Deep Purple (Harvest) NME - 6 (16) / BMRB - 18 (8)
15 (15) Who Put The Lights Out Dana (Rex) NME - 19 (12) / BMRB - 17 (16)
16 (13) The Resurrection Shuffle Ashton, Gardner & Dyke (Capitol) NME - 23 (15) / BMRB - 16 (10)
17 (18) I Will Drink The Wine Frank Sinatra (Reprise) NME - 17 (17) / BMRB - 23 (19)
18 (21) Rose Garden New World (RAK) NME - 22 (19) / BMRB - 15 (15)
19 (38) Jack In The Box Clodagh Rodgers (RCA) NME - 12 (21) / BMRB - 10 (23)
20 (29) Walking C.C.S. (RAK) NME - 21 (NE) / BMRB - 20 (21)
21 (12) Stoned Love Supremes (Tamla Motown) NME - 25 (13) / BMRB - 21 (17)
22 (14) Forget Me Not Martha Reeves & The Vandellas (Tamla Motown) NME - 26 (14) / BMRB - 29 (25)
23 (16) Chestnut Mare Byrds (CBS) NME - 28 (18) / BMRB - 32 (28)
24 (30) You Could Have Been A Lady Hot Chocolate (RAK) NME - 24 (NE) / BMRB - 24 (27)
25 (17) Your Song Elton John (DJM) NME - 27 (24) / BMRB - 26 (26)
26 (33) If Not For You Olivia Newton-John (Pye International) NME - 15 (26) / BMRB - 22 (24)
27 (39) There Goes My Everything Elvis Presley (RCA) NME - 18 (29) / BMRB - 19 (29)
28 (40) (Where Do I Begin) Love Story Andy Williams (CBS) NME - 20 (30) / BMRB - 28 (39)
29 (23) Stoney End Barbra Streisand (CBS) BMRB - 27 (37)
30 (24) I Think I Love You Partridge Family starring Shirley Jones ft David Cassidy (Bell) BMRB - 35 (31)
31 (20) (Come 'Round Here) I'm The One You Need Smokey Robinson & The Miracles (Tamla Motown) BMRB - 49 (32)
32 (27) Candida Dawn (Bell) BMRB - 42 (30)
33 (45) Funny Funny Sweet (RCA) NME - 29 (NE) / BMRB - 30 (33)
34 (26) Rupert Jackie Lee (Pye) BMRB - 36 (20)
35 (22) No Matter What Badfinger (Apple) BMRB - 38 (35)
36 (RE) The Song Of My Life Petula Clark (Pye) BMRB - 34 (34)
37 (32) Love The One You're With Stephen Stills (Atlantic) NME - 30 (RE) / BMRB - 40 (38)
38 (NE) Soul Power James Brown (Polydor)
39 (31) Grandad Clive Dunn (Columbia) BMRB - 25 (22)
40 (43) Something Old, Something New Fantastics (Bell) BMRB - 31 (NE)
41 (RE) Have You Ever Seen The Rain Creedence Clearwater Revival (Liberty) BMRB - 41 (40)
42 (NE) My Little One Marmalade (Decca) BMRB - 44 (NE)
42 (50) Apeman Kinks (Pye)
44 (NE) You're All I Need To Get By Aretha Franklin (Atlantic)
44 (49) Groove Me King Floyd (Atlantic)
46 (46) (Where Do I Begin) Love Story Shirley Bassey (United Artists) BMRB - 39 (NE)
46 (34) It's The Same Old Song Weathermen (B&C)
48 (36) She's A Lady Tom Jones (Decca) BMRB - 47 (RE)
49 (RE) My Way Frank Sinatra (Reprise) BMRB - 37 (RE)
49 (43) Cherish What Is Dear To You Freda Payne (Invictus)

Week Ending 03 April, 1971

01 (01) Hot Love T. Rex (Fly) NME - 1 (1) / BMRB - 1 (1)
02 (02) Another Day Paul McCartney (Apple) NME - 3 (2) / BMRB - 4 (2)
02 (03) Rose Garden Lynn Anderson (CBS) NME - 2 (3) / BMRB - 3 (3)
04 (10) Bridget The Midget Ray Stevens (CBS) NME - 4 (8) / BMRB - 2 (9)
05 (04) Baby Jump Mungo Jerry (Dawn) NME - 5 (4) / BMRB - 5 (4)
06 (05) It's Impossible Perry Como (RCA) NME - 11 (5) / BMRB - 9 (5)
07 (13) Power To The People John Lennon & The Plastic Ono Band (Apple) NME - 7 (10) / BMRB - 7 (12)
07 (19) Jack In The Box Clodagh Rodgers (RCA) NME - 6 (12) / BMRB - 6 (10)
09 (10) Amazing Grace Judy Collins (Elektra) NME - 18 (14) / BMRB - 19 (6)
10 (08) My Sweet Lord George Harrison (Apple) NME - 13 (7) / BMRB - 14 (7)
11 (06) Sweet Caroline (Good Times Never Seemed So Good) Neil Diamond (UNI) NME - 9 (9) / BMRB - 13 (8)
12 (07) Tomorrow Night Atomic Rooster (B&C) NME - 17 (10) / BMRB - 18 (14)
13 (09) The Pushbike Song Mixtures (Polydor) NME - 19 (13) / BMRB - 15 (11)
14 (12) Everything's Tuesday Chairmen Of The Board (Invictus) NME - 20 (16) / BMRB - 26 (13)
15 (14) Strange Kind Of Woman Deep Purple (Harvest) NME - 10 (6) / BMRB - 11 (18)
16 (20) Walking C.C.S. (RAK) NME - 14 (21) / BMRB - 10 (20)
17 (26) If Not For You Olivia Newton-John (Pye International) NME - 15 (15) / BMRB - 12 (22)
18 (28) (Where Do I Begin) Love Story Andy Williams (CBS) NME - 8 (20) / BMRB - 20 (28)
19 (27) There Goes My Everything Elvis Presley (RCA) NME - 16 (18) / BMRB - 8 (19)
20 (17) I Will Drink The Wine Frank Sinatra (Reprise) NME - 12 (17) / BMRB - 16 (23)
21 (15) Who Put The Lights Out Dana (Rex) NME - 22 (19) / BMRB - 23 (17)
22 (18) Rose Garden New World (RAK) NME - 21 (22) / BMRB - 17 (15)
23 (16) The Resurrection Shuffle Ashton, Gardner & Dyke (Capitol) NME - 28 (23) / BMRB - 29 (16)
24 (24) You Could Have Been A Lady Hot Chocolate (RAK) NME - 25 (24) / BMRB - 24 (24)
25 (21) Stoned Love Supremes (Tamla Motown) BMRB - 27 (21)
26 (23) Chestnut Mare Byrds (CBS) NME - 25 (28) / BMRB - 32 (32)
27 (25) Your Song Elton John (DJM) BMRB - 42 (26)
28 (22) Forget Me Not Martha Reeves & The Vandellas (Tamla Motown) BMRB - 43 (29)
29 (29) Stoney End Barbra Streisand (CBS) BMRB - 33 (27)
30 (RE) Double Barrel Dave & Ansil Collins (Techniques) NME - 30 (NE) / BMRB - 21 (46)
31 (42) My Little One Marmalade (Decca) BMRB - 37 (44)
32 (40) Something Old, Something New Fantastics (Bell) BMRB - 30 (31)
33 (33) Funny Funny Sweet (RCA) NME - 23 (29) / BMRB - 28 (30)
34 (49) Cherish What Is Dear To You Freda Payne (Invictus) BMRB - 46 (48)
35 (RE) Didn't I (Blow Your Mind This Time) Delfonics (Bell)
36 (30) I Think I Love You Partridge Family starring Shirley Jones ft David Cassidy (Bell) BMRB - 35 (35)
37 (NE) Remember Me Diana Ross (Tamla Motown) NME - 27 (NE) / BMRB - 41 (NE)
38 (46) (Where Do I Begin) Love Story Shirley Bassey (United Artists) BMRB - 38 (39)
39 (39) Grandad Clive Dunn (Columbia) BMRB - 25 (25)
40 (41) Have You Ever Seen The Rain Creedence Clearwater Revival (Liberty) BMRB - 36 (41)
40 (37) Love The One You're With Stephen Stills (Atlantic) BMRB - 45 (40)
42 (44) Groove Me King Floyd (Atlantic)
43 (NE) Gypsy Woman Brian Hyland (UNI)
43 (31) (Come 'Round Here) I'm The One You Need Smokey Robinson & The Miracles (Tamla Motown)
45 (49) My Way Frank Sinatra (Reprise) NME - 29 (NE) / BMRB - 22 (37)
46 (36) The Song Of My Life Petula Clark (Pye) BMRB - 34 (34)
47 (44) You're All I Need To Get By Aretha Franklin (Atlantic)
48 (34) Rupert Jackie Lee (Pye) BMRB - 31 (36)
48 (NE) Knock Three Times Dawn (Bell)
50 (NE) Jig-A-Jig East Of Eden (Deram)

Not Listed in Melody Maker Top 30
Let's Say Goodbye Tomorrow Jimmy Ruffin (Tamla Motown) NME - 24 (NE)

[MrTibbs]

I'm Back

It's time to look back at those Ultimate Average Charts for 1955 to 1959, but first an explanation about them.

The first UAC starts on October 8th 1955 as this was the first time RM expanded its chart to a Top 20. Until 7th April 1956 only NME and RM compiled a chart and therefore the UAC is based solely on these. I decided to use a sample size at this time consistent again with Alan Smith's research of 60 for NME and 52 for RM. Both were known to be fairly close in sample size at this time and I have given NME the edge in sample size on the basis that they already had been compiling a top twenty for a year at this time so was in all probability a bit more robust and well established with RM just a little below this. Another factor deciding this was sample size of each of them throughout the fifties leading up to the sample sizes I used when starting 1960 and beyond for credibility and consistency.
Both will increase a little again in 1957, 1958, and 1959 in line with this.

Melody Maker's chart will join the above 2 from April 7th 1956 using a sample of 20 stores again slightly increasing in57, 58, and 59, and then Disc will be the 4th chart used from 8th February 1958 using a sample of 40 stores increasing slightly in 1959.

As the BBC didn't start compiling their averaged chart until 22nd March 1958 this will be the first time for a comprehensive averaged chart of these earlier years also using store weighing.

NME started compiling a Top 30 from 14th April 1956 so as before the UAC will be a full Top 30 from that date also. Before then every record to make the NME and RM Top 20 is used therefore the early charts will fluctuate between Top 22 and Top 27 every week to make these early UAC as comprehensive as possible.

So here come the ballads, the novelties, the Skiffle hits, and the Rock'n'Rollers that defined this era.

Enjoy Pop Pickers

[Graham76man]

I don't get it? Why does Johnnie Ray miss out when he's higher then the RAF Band?

"Poor old Johnnie Ray" in the words of Dexy's

[braindeadpj]

I don't get it? Why does Johnnie Ray miss out when he's higher then the RAF Band?

"Poor old Johnnie Ray" in the words of Dexy's

It looks like Johnnie Ray's Hey There is a B-side/double A side according to position 19 (or is that an error for Johnnie copied over from no.12 The Johnston Brothers)? If that is the case, then it would not be counted in its own right... Interesting that it appears to have charted in RM and not NME

[Metalweb]

^

Both sides listed separately in next weeks NME chart (15 October)....

Confusing!

[Splodj]

If both charts are listing the two sides separately, wouldn't it be better to do the same and only change to combining when this becomes the norm (Ie when NME is the only one not doing it)? If no chart is combining it is impossible to tell what the combined position should be.

[Graham76man]

If both charts are listing the two sides separately, wouldn't it be better to do the same and only change to combining when this becomes the norm (Ie when NME is the only one not doing it)? If no chart is combining it is impossible to tell what the combined position should be.

It could be done using Mr Tibbs methods. You simply split the points that would be accumulated from the number of shops for the two sides, add the two (separate) half's together and then the difference would only be down to the chart positions.

So if one side had 100 points and the other side had 50 points. You would split it to 50 and 25. Then add them together giving 75 points rather than the 150.

[setg1]

Even if the two sides can't be combined, the tie can be broken with Johnnie Ray at #10 and the Johnston Brothers at #11. The "Hernando's Hideaway" versions are indeed tied on both charts, but Johnnie also charts with the other side, the Johnstons don't (yet). Based on this, we know Johnnie's single would definitely have been higher on both charts if NME and RM had combined the two sides.

[brian05]

18 Evermore - Ruby Murray

So that's where Taylor Swift got her album title from!


NEW 12 Rock Around The Clock - Bill Haley and His Comets

A defining moment in Rock history.

[Splodj]

In the 70s after intense lobbying the BBC agreed to have a series of Rock & Roll programmes on Radio 1. It was introduced by the chairman of the R&R society that had been at the forefront of the lobbying. Claiming it was the record that had started it all, the first record he played was "Shake Rattle and Roll" - presumably on the basis that this was the first R&R record to chart in the UK.

[MrTibbs]

It's the age old argument you're damned if you do and you're damned if you don't in regard to these early split sides. I seriously considered all options on this but finally decided to go with considering records rather than songs, a) for consistency with later years, b) using different systems becomes confusing and complicates the chart, and, c) allowing both sides to chart disadvantages other record chart positions and other records ability to chart when every record is considered as one unit.

That said, the disadvantage is that excluding the lower placed split side may, and I say may, disadvantage a higher chart placement with no way of compensating for that being available at this early time.

BUT it's early days and it can be easily changed at this early stage. Give me a few more comments guys as to which system you believe is fairer in retrospect to this era. If necessary I can then easily recalculate the above two charts and proceed with greater confidence the methodology is robust.

Brian

[setg1]

I think excluding the lower-placed side as you've done is the right choice. If we look at the previous chart, putting Johnnie Ray's version of "Hey There" at #16 would just disadvantage nine records, and it still wouldn't give the higher-placed side any advantage. Anyone that bought the record would have got both sides, so separating them doesn't make sense (I have no idea why NME and RM thought it did)...

[Splodj]

I agree there is not a perfect solution. But I've always thought the spirit of the UAC was to be an average of the charts as they were at the time, not as we would have liked them to be. Particularly when what we would really like - i.e. an accurate combined position - is not possible.

[RokinRobinOfLocksley]

Brian, I appreciate all your deep thinking on resolving this type of A-side B-side thing. It can be loony, ha. But, if it were me, I would revert to my preferred philosophy of "don't try and interpret things, just present things as they were."

Joel Whitburn was inconsistent in his Billboard books for the charts after Nov 1969. Depending on the book (Top Pops or Pop Annual), and the edition, he would change his methodology of treating B-sides. Example, The Beatles "For You Blue" (B-side to "The Long And Winding Road") made it to #1 on Billboard as the B-side. But depending on the book/edition, Joel either places it with TLAWR at #1, or he doesn't show it at all, or he denotes it as a "tag" with no chart number. I just wish he would stop messing about, and show it as it was on the chart. I.e., don't think of it as a record, or a side, but rather as a chart listing. Or Joel, do us a favor and don't do us any favors, ha. Just give us the records/sides/whatever as they were as listed on the charts. "Come Together/Something" is another ball of wax, ugh.

Likewise here, if NME and RM are splitting the sides, then that's what I would want to see, the data as it was without interpretation or fixing. When different charts do it differently, I would go with the majority. If it's equally split where one chart lists A + B together, the other chart splits them, that would be when a decision needs to be made. In that case, I'd probably just go with combining the sides as one listing.

If I recall correctly, I think NME was doing both in the late 50s/early 60s, depending on what happened when a record first came out. Sometimes a record debuted on the chart as an A/B. Other times only the A-side was the hit, then a few weeks later the B-side appeared separately as well, and both were listed separately for the rest of their runs.

So I would just take it week by week, don't worry about consistency year to year, or records vs. sides, just keep it simple without straining your brain, and present the data as it was. Or as close as possible to what it was.

Rock on...

[Graham76man]

Anyone that bought the record would have got both sides, so separating them doesn't make sense (I have no idea why NME and RM thought it did)...

It was all down to the way they collected the information. The vast majority of the dealers would report only one side of the record, always the higher placed record. But some dealers reported the other side. I don't think any dealer reported both sides to the paper. It was then up to the paper's staff to make up the chart. It might have been down to the tradition of the sheet music chart to list both songs. Or it could be that the editor and his team thought it was best to report the facts as presented to them from the dealer returns. Neither of the two charts at this point were connected to the music industry itself. Plus they were not taken seriously by that body at this point.
Remember each dealer was simply reporting what they thought was popular. So the dealers putting in the other side might have had more people asking for that side. Though it might have been low in the charts produced, the record could have been the top of those dealer charts. It should also be noted that people had or tended to ask for records. Since they were 78's and fragile. You didn't pick up a record from the shelves and hand it to the shop assistant till years later.
We have no people currently on record from a record shop saying how they made up the list of best sellers to report to the papers. For all we know it could have been somebody making a note of how many people asked for the records each week. We tend to assume the shops were going on how much stock they were selling. But was that the case?

[Splodj]

Although we think sIde splitting is silly, as Robin mentions, it was done in the USA. If you were doing an average of.Billboard and Cashbox in the 60s would you combine the sides just because you thought it was 'better' or be true to the actual charts?

[MrTibbs]

OK, having looked ahead at what will happen after MM joins the fold next year I can see that they too initially will split sides although like RM will change this later. On top of this, your comments above, all of them, do help me, and I sincerely thank you all for offering these to help.

The one phrase that leaps out at me is 'be true to the actual charts'. This one statement alone makes the situation much clearer in my mind. The time will come later in the decade when a split side can be ignored by averaging other charts without the split, and an average taken to represent a combined position (as I did in the sixties).

But for these early years both NME and RM did split sides as will MM in 6 months time so as that was the accepted practise of the time who am I to disagree and rewrite the historical record of these early charts. So I will 'be true to the actual charts'.

I will therefore go back and amend the 2 charts already posted to take heed of this and will advise when this is done.

Thanks again to all concerned for taking the time to comment and help with this.

Brian

[MrTibbs]

I have deleted the first two charts completely from above and start again below incorporating the amended format as discussed above. So here are the amended Ultimate Averaged Charts for the fifties reflecting the times as they were back then.

[MrTibbs]

The Ultimate Averaged Chart - Week Ending October 8th 1955						NME	RM	Total
This		The Sound Survey			Stores	60	52	Points
Week		The Top 24 Singles Chart					20	Scored
1	The Man From Laramie - Jimmy Young					2	1	2180
2	Rose Marie - Slim Whitman					1	3	2136
3	Cool Water - Frankie Laine					3	2	2068
4	Learnin' The Blues - Frank Sinatra					4	5	1852
5	Everywhere - David Whitfield					5	4	1844
6	Blue Star - Cyril Stapleton					6	6	1680
7	The Breeze And I - Caterina Valente					7	9	1464
8	Yellow Rose Of Texas - Mitch Miller					9	8	1396
9	Indian Love Call - Slim Whitman					10	7	1388
10	Close The Door - The Stargazers					8	11	1300
11	Every Day Of My Life - Malcolm Vaughan					12	10	1112
12	Hernando's Hideaway - The Johnston Brothers (A)					11	14	964
13	Love Me Or Leave Me - Sammy Davis Jnr.					13	15	792
14	Hey There - Rosemary Clooney					18	12	648
15	Strange Lady In Town - Frankie Laine					15	17	568
16	Evermore - Ruby Murray					14		420
17	Humming Bird - Frankie Laine						13	416
18	John And Julie - Eddie Calvert					16	19	404
19	Hernando's Hideaway - Johnnie Ray (B)					20	16	320
20	Hey There - Lita Roza					17		240
21	Hey There - Johnnie Ray (A)						18	156
22	Hey There - Sammy Davis Jnr.					19		120
23	Stars Shine In Your Eyes - Ronnie Hilton					20		60
24	The Dam Busters March - The Band Of The R.A.F.						20	52