Label / Cat. No: Golden Hour (Pye) GH511 First Released: This Compilation 1970
What The Album Blurb Says…
John Schroeder, the brilliant young producer and creator of Sounds Orchestral has come a long way since 1962, the year that first saw him thinking about a musical concept that sprang to triumphant fruition three years later when “Cast your fate to the wind” sets Sounds on the international chart trail.
But while the years since have been filled with hit sounds for a multitude of artists, Sounds Orchestral continues to occupy a very special place in John’s affections. For time and again, in the company of those other Sounds Orchestral veterans, Johnny Pearson and engineer Ray Prickett, John Schroeder returns to the studios to make fresh albums, yet albums that still retain the ingredients that keeps Sounds Orchestral a best-seller all over the world.
This, his latest contribution to the Sounds success story starts, appropriately enough with the Vince Guaraldi classic that began it all. But complementing it are a string of familiar and enduring melodies that have found their way into many hit parades and into the affections of millions of people. Johnny Pearson has arranged them with the brand of perfection that has become his trademark and because the musical performances that graces them maintains the Sounds Orchestral formula, the result is sheer enjoyment for anyone who loves good music.
Arranged, Conducted by, and featuring the Piano of, Johnny Pearson
Produced by John Schroeder
Engineer: Ray Prickett
What I Say
When I was a sweet young thing of 13, I recorded a copy of ‘Waiting’ by Fun Boy Three from one of my sisters friends. Shhh, yes, I know, home taping is killing music. It’s a great album, and one I still own. But my over-riding memory is that it managed to fit on one side of a C60 tape, all except for the last word of the last song (’that’ of ‘well fancy that’). If I’d bothered, I probably could have edited out the silence with judicial use of the pause button and made up those few precious moments to allow the final song in its entirety to fit on the tape. As it was, I didn’t bother, and I quite liked the way the album just hung in the air, not quite resolved.
The point in all this reminiscing is that clearly the album, if it could fit on one side of a C60 only really lasted about 30 minutes. Pretty short for albums which in those days, you’d reckon to get on one side of a C90. 45 minutes was pretty much the norm until CDs came along and stretched things out. So to have an album with a guaranteed ‘Golden Hour’ of music would’ve been quite a bargain. Mind you, you’re not getting any more than that. This album runs to 1 hour, 1 minute and 13 seconds. That’s about as close as you can get, though I wouldn’t set your watch by it. Well, I might set your watch by it, but not mine.
I have to tackle the cover. I can understand that with the butterflies, the fish and the logs / rocks you’re getting a pretty literal depiction of ‘The Earth, The Sea & The Sky’, but whoever thought it would be a winning formula to stick a dead fish on the front of an album cover really needs to go back to marketing school. I grew up believing that album art was something to treasure. That in some cases, the cover was as important as the contents, that together they produced the whole experience intended by the artist. That may be because I listened to a lot of Prog Rock (I know, I know…) and they tended to go for the overblown, pompous, album cover.
But it was all part of the experience, listening to the album, poring over the cover art, looking for clues, for details, for messages. An hour spent looking at a picture of a couple of dead fish might push some people over the edge, however great the music is.
And the music isn’t great. It’s competent. It’s nicely arranged, but it does nothing new. It falls between two stools like so many of its contemporaries – It won’t radically change the arrangements of the music because the target market need nice, recognisable tunes that they can tap their toes to. So the arrangements aren’t particularly bold or exciting. But equally, they don’t have the full Orchestral sweep that would put them firmly into that realm. In fact, I wonder who on earth came up with the name ‘Sounds Orchestral’. It sounds like a jazz trio plus a violin or two when the budget allowed. That it took John Schroeder three years from having the idea to making ‘Sounds Orchestral’ a reality makes you think that he spent that time building the foundations of something special. I suspect he didn’t leave himself enough time to come up with that winning idea. That, or he just got distracted for a couple of years building a scale model of York Minster out of matchsticks and Jaffa Cake packets.
I’m afraid that this is all fairly generic stuff. Nothing in particular stands out (except for the drummer – he must’ve been sleeping with the Engineer to have got placed so high in the mix. That is of course a joke, and I’m not implying anything of the sort…..) Anyway, where was I… Oh yes. I don’t expect innovation on every album I listen to, but if I could just find a spark of something interesting, something new or different then I would look far more kindly on this kind of album. But I really can’t here, no matter how I try.
The saving grace however is that it does have a copy of ‘Good Morning Starshine’ on it. I don’t think you can ever top the Original Cast sound recording of that particular song, but it’s always good to hear any version of a song that has the following lyrics:-
Gliddy glub gloopy
Nibby nabby noopy
La la la lo lo
Sabba sibby sabba
Nooby abba nabba
Le le lo lo
Tooby ooby walla
Nooby abba naba
Early morning singing song
Label / Cat. No: EMI DUO130 First Released: This Compilation 1981
What The Album Blurb Says…
HARRY MORTIMER’S name is synonymous with brass bands. He is the outstanding figure of the brass band world and surely its most devoted servant. Universally known as “the man of brass”.
His long career as soloist, teacher, adjudicator, administrator and conductor is one of the outstanding chapters in the story of brass band music in our time.
They start young in the brass band movement and Harry Mortimer’s career began at the tender age of eight when he learned to play the cornet in the Yorkshire town of Hebden Bridge where his father, the redoubtable Fred Mortimer, was the conductor of the local band.
He won his first medal at the age of 9 and soon became recognised as something of an infant prodigy on the cornet, collecting, so it is said, some 350 medals and cups before he reached his teens.
He was only 14 when he became the conductor of a junior band, leading them to the 3rd prize in a local contest at his first entry into the competition field.
When the family moved south to Luton, Harry found himself playing in the Luton Red Cross Band of which his father had just become conductor. As a very small boy he played with them in the national brass band championship and made up for his lack of inches by standing on a ginger beer box! Later he was to become the band’s solo cornet.
it was at Luton that the young Harry Mortimer, while still a schoolboy, had his first experience of another side of the world of music…playing in the orchestra of the local theatre.
In 1924 Harry joined the ranks of Foden’s Motor Works Band as solo cornet when his father took over the direction of that already noted band whose name he was to make world famous. He stayed with Foden’s until 1942.
The opening of “the Mortimer years” at Foden’s marked the beginning of a new era in brass band history and technique. It also marked the effective opening of Harry Mortimer’s long and distinguished career in the world of music and that of the brass band in particular. What had gone before had been but prelude to his later career and achievements.
It was then that he began to gain experience in a wider sphere of music making. For some years he led a “double life” playing in both brass bands and symphony orchestras. He was principal trumpet of the Halle and Royal Liverpool Philharmonic Orchestras from 1930 to 1941, holding a similar position for some years with the B.B.C. Northern Orchestra, and somehow contriving to find time to fill the position of Professor of Trumpet at the Royal Manchester College of Music from 1936 to 1940.
Further opportunities presented themselves when, in 1942, he joined the B.B.C. as brass and military band supervisor, a post which he held until his retirement from the B.B.C. some twenty years later.
It was a period in which, thanks to Harry’s drive and flair, brass and military band music acquired a new significance in broadcasting programmes, coupled with a great increase in the weekly output of band broadcasts. As someone said at the time Harry Mortimer achieved more for the band movement in ten years than others had contrived throughout the history of broadcasting.
It was then that he sought to forge links between the world of brass bands and “the musical establishment”, attracting the interest of conductors like Sir Malcolm Sargent and Sir Adrian Boult and of composers like Granville Bantock and Sir Arthur Bliss. Some notable original compositions resulted.
During those years at the B.B.C. Harry Mortimer began to organise concerts by massed bands, brass orchestras in effect, which were the forerunners of his celebrated “Men O’Brass”, securing the interest and co-operation of celebrated conductors amongst them Boult, Sargent and Wood.
He also embarked upon a further and brilliantly successful phase of his career at that time as a conductor in the highly competitive sphere of brass band contests. In this he was destined to surpass even his father’s remarkable earlier achievement, securing no less than nine victories in the National Band Championship at the Royal Albert Hall and another nine victories in the famous Open British Band Championship at Belle Vue, Manchester.
Crowned with success he gave up contesting in 1956 and went off to Australia as Adjudicator of an important series of brass band contests there.
Speaking of his decision to retire from the field of brass band contests he once said “it was rather like being a jockey with five horses”. He still continued until 1970 as Musical Director of the Fairey Band which he had led to so many successes and continues his direction of the Morris Concert Band which he has now conducted since its inception more than 30 years ago.
In the post war years Harry Mortiner (sic) emerged as a national figure, rewarded with the O.B.E. for his services to music and acclaimed for his success as a conductor, in the concert hall, on records or in broadcast brass band programmes and in particular for his direction of that most successful band combination, the “Men O’Brass”.
Behind the skill and the flair which mark his performances lies the evidence of years of experience, the autumnal flowering of musicianship and of artistic experiences gleaned in during early days in the band room, on the concert platform and at the feet of some of the world’s most famous conductors.
“I shall never retire,” Harry Mortimer once said and today, as he nears his eightieth year, he is still active, conducting, recording, broadcasting; prominent in administrative problems of the brass band world fulfilling a busy round of engagements here or abroad with time in seemingly ineffectual pursuit. Long may he continue.
HARRY MORTIMER – CORNET VIRTUOSO
Harry Mortimer’s almost legendary reputation as a virtuoso performer upon the cornet rests not simply upon his surpassing technique but also upon the distinctive quality of singing tone which he commanded and the sensitivity and artistry which marked his playing. His influence was widely felt and extended into the playing of a new generation of performers.
The quality of his tone excited critical comment, sometimes from critics who made no secret of their lack of interest in the brass band and its music but were quick to recognise the unique quality of tone and expression which he brought to solos and solo passages alike.
“Harry does not play, he sings! We hear sometimes of persons making an instrument talk, that is just what Harry does”, a critic of much experience asserted.
While a respected Northern critic wrote – “Harry Mortimer playing the solo with a beauty and steadiness of tone which most singers might envy” and another performance drew the comment “then there was Mr Harry Mortimer performing incredible feats of agility in “Il Bacio”, a coloratura soprano song which no coloratura soprano sings with such smoothness, brilliance or firmness of tone and accuracy of intonation”, adding “she may give us one or even two of these qualities but not all four at once!”
Harry’s playing, captured in all its brilliance and beguiling tone quality on EMI records, is recalled for us in an historical sequence of performances of justly famous cornet solos on the two sides of the first of the two records in this album.
If there really are only six cornet solos as someone once facetiously suggested (an opinion calculated to provoke discussion in band room or bar) then the half-dozen indisputable classic solos for the cornet must surely appear amongst the near definitive performance on this record of original pieces or arrangements which every aspiring cornet soloist must command.
ALPINE ECHOES by Basil Windsor (pseudonym of Eli Smith, music teacher and a noted figure in band circles in the North) with Harry using his echo cornet adding to the effects of an incredibly taxing but colourful piece.
Thomas Lear’s brilliant SHYLOCK with its polka rhythm and Percy Code’s ZELDA together with one of the earliest of the enduring classics for the cornet in HAILSTORM by William Rimmer, one of the key figures in brass band history and friend and mentor of Harry Mortimer as he was of Harry’s father. Its effect upon an audience at the hands of an accomplished performer is easily predictable, the result certain. “What’s the encore, Charlie?”, asked a once famous player before rising to perform “Hailstorm”.
No less irresistible in its seemingly timeless appeal is Arditi’s evergreen IL BACIO in Arban’s effective arrangement. Another attractive arrangement of a familiar melody is that by Henry Gheel of RICHMOND HILL, one of the earliest recordings in this collection which has, unusually, an accompaniment by a recording studio orchestra.
Cornet duets have always featured in brass band programmes and Harry is joined by Jack Mackintosh, a noted contemporary of his early days. in MAC AND MORT which Harry composed for the duo to play, and the well loved THE SWALLOW’S SERENADE.
The second side of the record contains two further examples of Harry Mortimer’s versatility in the strains of the post horn heard in the course of a Hunting Medley played by Foden’s Band and, of more artistic significance, an impressive performance of the solo role in Haydn’s TRUMPET CONCERTO in E flat with the Philharmonia Orchestra conducted by the late George Weldon. The record also provides a fascinating reminder of the unique quality of tone, clarity of detail and the wonderful ensemble, rich in individual talent, which characterised the playing of Foden’s Band in its heyday under Fred Mortimer.
HARRY MORTIMER – CONDUCTOR
Harry Mortimer’s transition from instrumentalist to conductor was possibly less a conscious decision than a gradual and inevitable progress.
It began with those ‘prentice efforts as a teenager conducting a junior band and continued throughout the years of his brilliant career as a soloist. His services were always in demand by ambitious or struggling bands anxiously seeking specialist training or a “polish” upon their performance of a test piece for some local contest.
Further experience came in his role as Bandmaster of Foden’s, occasionally deputising for his father.
When he finally relinquished the cornet for the baton he was superbly equipped by training and experience for his new role.
His unequalled succession of contest successes with famous bands, like Black Dyke, Fairey and others, proclaimed his mastery of the medium.
To his undoubted flair as a conductor, his authority and wide musicianship which no doubt owed something to his orchestral experiences, was added that indefinable “star quality” which had always been apparent in his performances as a soloist.
His career was soon to take a new course with his promotion and direction of an expanding series of massed band concerts.
It arose from his recognition that a wider range of music and higher standards of presentation were necessary if the brass band movement was to meet the challenge presented by the great changes which had come about in public entertainment in the early post war years and in particular the growth of competition from radio and television.
His experience in the organisation and direction of performances by massed bands for broadcasting or public concerts in the later years of the war and early post war years, often featuring guest conductors of distinction, convinced him of the possibility as an entertainment medium of such a combination.
In 1952 he launched the now celebrated ALL-STAR BRASS some 50 strong with personnel specially chosen from the principal brass bands in this country. It was an immediate success. It was in a effect (sic) a “brass orchestra” of highly talented instrumentalists, intensively rehearsed by Harry Mortimer and utilising a number of specially commissioned arrangements.
It was featured in a notable series of EMI records and a taste of the superb quality of the band is provided by their performance of the suite KENILWORTH by Sir Arthur Bliss, one of the classics of brass band literature, recorded in 1960 which appears on side 2 of the second record of this album.
Practical considerations precluded an expansion of the concert activities of the ALL-STAR BRASS, and to meet the demand which had arisen from concert promoters and audiences alike Harry Mortimer established the famous MEN O’BRASS with the combined bands of Fairey, Foden’s and Morris Motors who, with occasional variations in the combination, achieved a wide popularity on the concert platform and on records in the years that followed their inaugural appearance in 1953.
A representative selection of recordings made by MEN O’BRASS and other massed band combinations directed by Harry Mortimer featured in the second record provides an impressive demonstration of the unsurpassable brilliance of the playing and the wide range of sonorities lavished upon music stirring, solemn or beguiling, from the OPENING FANFARE by George Hespe which Men O’Brass, adopted as their signature tune for recording and broadcasting, to the crescendo of excitement provided by the GALOP & FINALE from the WILLIAM TELL OVERTURE.
Amongst the wide range of music featured is arresting sound of BLAZON with Gilbert Vinter’s highly original writing for brass in this musical evocation of the sound of Biblical trumpets as prelude to his cantata for brass and voices. Wagner’s RIDE OF THE VALKYRIES acquires added power in the arrangement for brass bands, and the precision and phrasing which marks the performance of Rossini’s BARBER OF SEVILLE OVERTURE is contrasted by the refinement of tone and expression brought to MacDowell’s TO A WIDE ROSE and Grieg’s elegiac SPRING, while Bach’s JESU JOY OF MAN’S DESIRING in which the bands are joined by the organ splendidly captures the devotional atmosphere of a great Cathedral.
A taste of the quality of some of the soloists of the bands is provided by the performance by PHILIP McCANN, then with the Fairey Band of the well known solo JENNY WREN and that by GWYN DAVIES of the Morris Band of the popular “THE SHEPHERD’S SONG”.
This unique compilation of EMI recordings will provide a lasting reminder of the achievements of Harry Mortimer as the outstanding cornet and trumpet soloist of his generation and pre-eminent conductor of some of the famous bands with which he has been associated during his long and distinguished career of service to music and the brass band movement.
Jack Oliver
Harry Mortimer On Brass published by Alphabooks, Sherborne, Dorset.
What I Say
I think we need to talk about the blurb for a bit. Did you read all of it? No? I’m not surprised. Bit much really. I think it’s fair to say that the author, Jack Oliver was given a brief to fill out the inner sleeve of a gatefold album, and he has done so. However, apart from the tedious repetition of how great Harry was and how fantastic the EMI recordings of his work are, one thing becomes painfully obvious. As we go on and on, the grammar becomes more and more tortured. Allow me to give you an example from the final quarter of the blurb:-
It was featured in a notable series of EMI records and a taste of the superb quality of the band is provided by their performance of the suite KENILWORTH by Sir Arthur Bliss, one of the classics of brass band literature, recorded in 1960 which appears on side 2 of the second record of this album.
I suspect that the deadline came round a bit quick for Mr Oliver, and he found himself the night before, hunched over his typewriter, desperate to fill the blank page before him. It started well enough, but as the night wore on, and our Jack started to tire, the language got more and more tortured.
But, bless him, he managed it, and he even used the UNEXPECTED CAPITALS trick that I’m so fond of. It works particularly well when confronted with things like “ALL-STAR BRASS”, making it seem exotic, exciting and mysterious…!
But we can easily sum up this massive amount of blurb in the following way.
Harry Mortimer played the cornet. He started playing in his Dad’s band, and continued to play in his Dad’s band in an example of crass nepotism. He could hold a tune, better than most, and played in both brass bands and orchestras. He kept busy, had a job with the BBC for a while, and helped to popularise brass band music in the post war years. He organised the odd extravaganza like “MEN O’BRASS” where his maxim was clearly more is more, and he chucked together all the bands he worked with so that there was a big crowd of blokes playing brass instruments instead of a small crowd. Here are some recordings. They were made by EMI. Enjoy. Oh, and he also did a bit of conducting on the side.
See. That wasn’t too hard was it. But no, instead we had to have Jack Bloody Oliver going on and on about ‘Harry Mortimer’ always bloody ‘Harry Mortimer’, never just Harry, or Mr Mortimer, or even Hazza. No. I shan’t let it get to me. But really…
So, where was I? Oh yes, Brass Band music. It seems, as it goes, Harry Mortimer was a bit of a fan, and that’s fair enough. But I’m not. I’m afraid I was put off by my next door neighbour, James Hearn. When we were children, he would practise his bloody trumpet every Saturday morning, without fail, starting at 9 o’clock and going on for a couple of hours. Yes, exactly. Prime Tiswas time, ruined by a trumpet. To be fair, it wasn’t his fault, and he was very good at it (or at least, he became very good at it, though not as good as Hazza, of course…), but that put me off brass as a whole.
Therefore, I’m not really in a very good position to tell you whether this is a good brass album or not. It certainly seems very… professional. There’s lots of brass, a few tunes we know, and plenty we don’t. So I’m going to have to take the middle ground here and just say it’s OK.
And what have we learnt?
Well….. firstly, that Brass Bands all appear to have double entendre names like ‘Black Dyke’ and ‘Fairey’.
Secondly, there is (or at least was) a whole thriving brass band community, one that probably was damaged irrevocably by the closure of the mines in the 80s. Which reminds me – if anyone out there hasn’t seen Brassed Off, they probably should.
Thirdly, there was a composer called ‘Granville Bantock’. I wish I’d called my child Granville Bantock. I promise that if I ever get a dog, that’s what I shall call it. And he was a fine looking fellow too. Proper beard – the works…
Fourthly, you can go a long way if your Dad’s leader of the band.
And finally, Harry Mortimer, the ‘Man Of Brass’ himself does indeed look like a cleaned up version of Father Jack Hackett
Oh, and of course, I couldn’t leave an entry on Brass Bands without this now, could I….?
Tracks
Side 1
1. Overture: ZAMPA
2. MAC AND MORT
3. RICHMOND HILL
4. Polka Brillante: SHYLOCK
5. ALPINE ECHOES
6. IL BACIO
7. CHAMPION MEDLEY MARCH No. 3
Side 2
1. TRUMPET CONCERTO IN E FLAT
2. ZELDA
3. HAILSTORM
4. THE SWALLOWS SERENADE
5. A HUNTING MEDLEY
Side 3
1. OPENING FANFARE
2. THE THREE TRUMPETERS
3. Suite: KENILWORTH
4. JENNY WREN
5. THE SHEPHERD’S SONG
6. THE LOST CHORD
7. RADETSKY MARCH
Label / Cat. No: Parlophone PMC 1160 First Released: 1961
What The Album Blurb Says…
Fairly bursting with confidence and talent are Elaine and Derek Thompson, the thirteen-year-old twins from Belfast, who have been busy lately making a name for themselves with their records and television appearances.
Born on October 23, 1948, Derek is ten minutes older than Elaine – “and very proud of the fact,” says his mother. They both attend Belfast Modern School where everyone is very excited about their popularity and success: it appears that the only two calm people in the school are Elaine and Derek themselves!
“We’ve been singing since we were six years old,” says Elaine, who always takes charge of the situation, “at socials, parties and charity concerts, so I think this is why we don’t feel nervous about singing before large audiences and in recording studios. It’s Mum and Dad who suffer for us while we just get very excited. We don’t sing rock ‘n’ roll, but we enjoy listening to it – it amuses us. Gene Vincent is one of our favourite performers; we like the way he flings himself around the microphone on stage!”
At school the twins’ favourite subjects are French and algebra. They are not madly keen on sport, and all their spare time is taken up with singing. In fact they allow themselves little or no time to enjoy the hobbies and amusements that children usually like.
The twins were introduced to promoter Phil Raymond by a friend, when they were singing at a party one evening,. Raymond liked their voices and within a short time he booked them to appear at the Belfast Opera House with Gene Vincent and Emile Ford.
Recording manager Norman Newell was told about tht twins and flew to Belfast to hear them, with the result that they travelled to London and the E.M.I. studios to record their first disc for Parlophone Records – One Little Robin and Brahms’ Lullaby (45-R4783). This proved so popular that before long they returned to cut another single – Bluebird, coupled with Wooden Heart (45-R4829) – and this delightful LP of twelve children’s hymns, to the sensitive accompaniment of Michael Collins and his Orchestra.
What I Say
Hmmmm…. this album is rather like an onion. It has so many layers, and there’s something new to discover underneath, but all the layers are really the same, and it makes me cry when you cut it up, and it makes a delicious base for most savoury meals. OK, so I didn’t think out my metaphor very well before I started, but this album holds a few surprises, which aren’t at first apparent.
For example, as is my practice, I chose the album on the qualities of its cover alone. Although first released in 1961, the influence of the 50s is still clear to see, from the typeface used on their names, to the formal outfits and hairdos of the twins. Dereks frilly fronted shirt and hand-made slacks (see, always the slacks) provide a formal accompaniment to his sisters frilly, fussy party dress with faux-pearl buttons and sewn on corsage.
What I didn’t know when I picked up the album is that this is full of Children’s hymns. Twelve songs that are supposed to uplift and convince children of the glory of god. But is it really aimed for children? I have a sneaking suspicion that the market for this kind of album is the grannies of this world. I have a clear image of a grey haired granny settling down in her favourite armchair to listen to ‘those wonderful Irish children’ sing about Jesus. And it must’ve been a comfort, for in 1961 when this record was released, rock ‘n’ roll was shaking the foundations, but just so long as teenagers were singing about Jesus and not girls and cars, then there was hope for the future.
And this album has been well loved. Unlike most of the records that I pick up which are in pristine condition, this is worn and scratched, with jumps, pops and hisses all over it. Someone has played this album over and over again. Either that, or they hated it so much they’ve used it as a dinner plate…. but I’m sticking with my doting Granny theory.
I’m also surprised at how happy they both seem to be. If you’d asked me at thirteen to stand next to my sister to have my photo taken, let alone smile, or – horror of horrors – touch her, I would have sulked and made the most unattractive of photographs. But here we have true professionals. They both look happy, relaxed, almost like they like each other. That’s not normal in a teenager, is it?
Now, I know in my review of The Kaye Family that I suggested that there was something weird about families playing together, (although I did qualify that about it being weird across the generations), but there is one clear benefit of families singing together. I’ve heard it suggested that the reason why the Beach Boys, the Proclaimers and the Bee Gees do harmony so well, is because that they have similar physical vocal structures, as well as similar accents and similar tonality to their voices. Because they’ve grown up in the same environment, their voices sound very similar, and you end up with harmony not just of notes, but also of tone. (I am of course bluffing here, but don’t tell anyone…) The same applies here – the songs sound sweet because the two voices compliment each other very well.
That’s another thing. In a world where we are so used to our child stars being brash to the point of obnoxious, precocious and schmaltzy, the gentle sweetness of these two is quite refreshing. It’s not my kind of music at all, either in subject matter or musical style, but there is something very calming and gentle about the way they sing together which is unexpectedly lovely.
Derek tends to sing the lower parts (unsurprisingly) with a fairly linear melody, while Elaine tackles the more complex melody lines. It’s a traditional arrangement, but it works here. The songs I’ve picked for the clips are all much of a much – I just chose the ones I knew – there isn’t a great amount of variety in this album, it must be said.
I wonder how annoyed Derek was though, that although he is chronologically and alphabetically first, that his name came second in the billing. That must’ve hurt, though it does say clearly on the sleeve notes that Elaine is in charge. I wonder if she made that business decision.
But who’s laughing now, eh? For while Elaine has subsided into obscurity (I say that like I know – for all I know, Elaine could be a major star under another name….) Derek, the mighty Derek of Elaine and Derek grew up to be one of England’s favourite TV stars.
Yes, this was the biggest surprise that this album yielded for me. When I started doing my ‘research’ (assuming a bit of googling can be counted as research) for this album, I discovered that this album’s Derek is none other than…..
1. There’s A Friend For Little Children
2. O What Can Little Hands Do
3. When Mother Of Salem
4.How Great Thou Art
5. Standing Somewhere In Life’s Shadows
6.Jesus Loves Me
Label / Cat. No: Columbia – STWO 2 First Released: 1968
What The Album Blurb Says…
THE BREAKTHROUGH TO THE EXCITING WORLD OF STEREO SOUND.
A further selection of tracks from the spectacular and exciting Studio Two catalogue…. each one chosen to highlight the variety of repertoire and stereo sound quality; together forming a highly entertaining album that will be appreciated by all listeners….
What I Say
I’m big enough to admit when I’m wrong. And I’m wrong. You see, I had always assumed that these albums that were released to demonstrate the exciting new world of Stereo Sound would use the new technology in a clumsy and naive way. I had got it into my head that we would be working with extremes of stereo, like ‘Now I’m Here’ by Queen, the sound engineer throwing the balance left then right then back again, so it felt to the listener like he was being assaulted on all sides.
And I was wrong. ‘Impact’, or IMPACT to give it its correct title (you should’ve learned by now, I’m a sucker for capitalised words), is a far more subtle and entertaining beast. The stereo mix is in no way extreme and is in fact rather delicate.
I love the impression you get that every artiste had their own Orchestra, or at the least, a group of musicians to do their bidding. There’s a big difference between Cliff Richard and The Shadows, and Ron Goodwin and His Orchestra. Every man (for they are indeed men) on this album has his own back up set of musicians, except for poor Jack Emblow, who, tagged on at the end even has to have his instrument noted by his name. Is he such a poor accordion player that we need to be told which instrument it is that he’s mangling? How much further would Jack Emblow’s career gone if he’d had an Orchestra of his own? We shall never know now.
And what names to conjour with. Why wasn’t I named ‘Norrie Paramor’, ‘Pepe Jaramillo’ or even ‘Basil Henriques’? You just don’t get names like that any more. Or if you do, they don’t seem to be showing up on my radar…. which is hardly surprising seeing as I’m based in a small market town near the border with Wales…. but I digress. These are SERIOUS names. Names to reckon with. And, as if Acker Bilk wasn’t in itself a name to rise above the average, he then insists on being addressed as Mr. Acker Bilk. How cool is that? Sir, I salute you.
The music on the album is also top notch – mind you, with that many orchestras in attendance, you’d bloody hope so. But when an album starts with the slide trombone of ‘The Stripper’, you’re in for a real treat. There are no duds here, though I’m not entirely sold on the cover of ‘The Fool On The Hill’. Too soon I think, chaps. Furthermore, when you listen to ‘Legend of the Glass Mountain’, you just know it’s a film soundtrack in the good old tradition. There was no need to add “(Theme from film)” after the title. It screams movie at you from each and every honey-draped string.
But the very greatest treat on this record is the tune ‘Wheels’, performed here by Joe Loss And His Orchestra. I will wager that most of you will look at that and think ‘Wheels? I don’t know that one’. Listen to it. You know it, oh yes, you know it well.
Label / Cat. No: Polydor Super 2371 054 First Released: No earlier than 1969
What The Album Blurb Says…
Even if it sounds like a contradiction in terms, it’s got to be said that James Last is first. First in providing orchestral “happy” music that splinters the so-called generation gap in popular musical taste.
Last is first when it comes to producing albums that sell. And sell and sell. Whatever the style of material – be it classical, discotheque, dance instrumental – the Last sound is first all over the world. The formula is deceptively simple. Select familiar themes, treat the melodic lines with respect, dress them up in arrangements where the emphasis is on bass and brass.
Many a bandleader has tried to do the same. But the Last “touch” is unique. Maybe that is the one-word summing-up of his amazing multi-million disc sales… he’s unique. It’s an overworked word in popular music, but James Last remains unique even when reproducing his disc sounds on stage.
A man’s music reflects the man himself, so they say. James Last is well-dressed, neat, dynamic, energetic – the last shows through in his love of ski-ing and tennis. His music, too, is well-dressed, neat, dynamic, energetic. The man himself likes parties, so it’s only right that his music has made a few million parties swing that little bit more.
Of course, communication is a lot to do with it. Even though James Last speaks German, he somehow communicates with English-speaking audiences. Or any other audiences, come to that.
Yet it was very much a matter of chance that drew James Last into the popular music field. As a kid he showed promise on piano so his parents encouraged him in a musical career. At the Conservatoire of Music In Bueckeburg, from the age of fourteen, he studied composition, double bass and piano. It looked very much as though he’d stick with the classics.
But after World War II, his schooldays behind him, he “discovered” American dance music. He formed his own band, playing double bass. His skill in arranging was evident and he joined the Northwest German Radio station in Hamburg, working with top artist like Caterina Valente and Helmut Zacharias.
His reputation grew. But he had so much to say musically that it was obviously better for him to say it himself. His first album “Non-Stop Dancing,’65″ was a massive seller. It’s been non-stop recording ever since. Each idea such as “Trumpet-A-Go-Go”, produced a whole series of albums. That’s why James Last really needs a disc catalogue all of his own.
Nowadays he spreads his wings all over the world. Canada, South Africa, Australia – most of the world knows now that Last is first. Bass and brass… happy music… distinctive sounds.
Distinctive sounds abound in this “Best of James Last” collection. There’s “Happy Heart” and “Happy Music” to stress that Last orchestrations are built both to last and to give lasting pleasure. Or try “Games That Lovers Play” and hear for ourself that much-recorded numbers don’t have to have that well-worn feel to them.
Perhaps there are some people who don’t succumb to the charms of a James Last album. But it’s odds- on that they are in some mysterious form of coma.
Peter Jones.
What I Say
Oh, so “A man’s music reflects the man himself” is what they say is it? Well, I looked and it seems that nobody is saying that. I don’t wish to call Peter Jones a liar, but I think he’s overstating the case somewhat. I mean, I can accept that music may be described as “neat, dynamic, energetic,” but ‘well-dressed’? Can I expect to one of his ‘Happy Tunes’ to turn up at my place wearing a cravat and plus fours? I think not.
And look, the man’s not even called ‘James Last’. All these years his grinning, bearded face has been staring out at me from Charity Shop records, and I found out today that his real name is Hans. It’s as if I never knew the man at all.
However, I am prepared to forgive him, for I can understand that in post-war Britain and America, a musical act called Hans might not go down too well. But note, these sleeve notes seem to suggest that Herr Last’s schooldays ended roughly at the same time as the end of World War II. Just to remind you, they say, “But after World War II, his schooldays behind him, he “discovered” American dance music.” It might be slightly fairer to say he was exposed to American dance music thanks to the overwhelming presence of American armed forces in his country after the war.
Anyway, if this is the best of James Last, then I’m not sure what constitutes ‘the rest’. I’d liken this album to musical mashed potato – plain, unchallenging, reassuringly familiar and yet unrelentingly boring. Just a tip James / Hans, but not every tune can be spiced up with racy strings, driving snare drum rhythms and European backing singers adding textured washes over the top. Rather than bring out the beauty of the tunes, Herr Last’s skill is to homogenize them, until a song from a 60s musical sounds that same as a piece from Bizet or a traditional dance tune.
I can’t fault the music as such – it’s kept Mr Last very well in royalties, and there simply must be an audience for it, seeing as he manages to shift so many records. I think he suffers from the British disdain for anything popular in Europe. There’s something so cheesy about it, but there’s also a naivete, a lack of that cynical post-modern ‘knowingness’ that the English do so well.
Sadly, I can’t say that I’m unaffected by that, and still see Mr Last’s offerings as some kind of continental European speciality. Like crisp-bread, processed smoked cheese and window shutters instead of curtains, it’s something ‘enjoyed by foreigners’ which doesn’t quite translate.
However, easy listening comes no easier than this. Clearly a man at the top of his game. Just a game you have to ask whether it’s worth playing.
Label / Cat. No: RCA RD-27081 First Released: 1958
What The Album Blurb Says…
“Dinner at eight, Monsieur and Madame.”
And here is Melachrino to cater to your dining pleasure with music to complement the most succulent cuisine, or add that little bit of extra seasoning that turns an ordinary supper into an adventure. In the Continental fashion chef George has arranged a dozen musical courses to accompany your delectation.
To start, an apéritif – vermouth for the gentleman, and perhaps Madame would prefer that exotic cocktail of American origin, the dry martini. Whatever the drink, the maestro has prepared a frothy, utterly sippable arrangement of an old favorite, Diane.
Pâté de foie gras is offered up next (with truffles, of course), to be nibbled at while the orchestra presents a lush treatment of Too Young. For the somewhat more autumnal touch of Kurt Weill’s September Song, a chilled dish would be most fitting. Perhaps a lobster mayonnaise – but then again that deliciously iced soup strewn with watercress, Vichysoisse, is deserving of serious consideration.
And now for the entrée, something hearty, warming and elegant. A dish of classical proportions is called for – duckling with orange sauce bathed in flaming brandy, or for the less adventurous palate, a château-briand – the Parisian approach to a Kansas City steak. A semi-classical melody, Clopin Clopant, is an intriguing side dish to either choice. The deep tones of a nine-foot grand announce the lovely strains of the Warsaw Concerto and overcome the discreet tinkle of silver and crystal (and perhaps a slight loosening of the belt) as the waiter presents the pastry tray. His silver tongs hover lovingly over the eclairs, rum-soaked babas and brandied tarts, thereby throwing our gourmets into an exquisite agony of indecision. The black and white of Domino must surely signify the dark richness of cinnamon-spiced coffee in which a large helping of whipped cream floats languorously – a concoction to be sipped Tenderly.
A song of very old vintage, Charmaine, accompanies a digestif of even older date – a sparkling snifter of napoleon brandy brought up from the cool cellar especially for the occasion. Now the time has come for murmured whispers over the candlelight and for the romantic melodies of Faithfully Yours and the haunting Chansonette. Dark Secret must refer to the bil, discreetly hiding its face in a remote corner of the napery. And although Legend of the Glass Mountain signifies the end of a charming dinner, it also marks the beginning of a brilliant evening.
**********
Perhaps your dinner lacks a few of the courses just mentioned; perhaps it’s prepared in a one-room apartment and not in the kitchen at Maxim’s. Perhaps the china isn’t Wedgwood and the wine hails from California. But whatever the circumstances, Melachrino’s romantic music will enrich your evening beyond measure.
IMPORTANT NOTICE
This is a “New Orthophonic” High Fidelity recording, designed for the phonograph of today or tomorrow. Played on your present machine, it gives you the finest quality of reproduction. Played on a “Stereophonic” machine, it gives even more brilliant true-to-life fidelity. You can buy today, without fear of obsolescence in the future.
What I Say
George Melachrino. The Man. The Legend. When the history of romantic string music designed to accompany eating is written, I feel confident that our man George will feature highly in the list of movers and shakers.
Carefully selected to enhance even the most basic of meals, George’s lush arrangements for strings makes good food taste great. I don’t know what I did before I had this album. All my meals tasted bland and unadventurous. But then George came along and…
Oh, I should stop this now. Sarcasm isn’t good for the soul. And I’m sure that George Melancholic deserves better. I mean, the music isn’t to my taste in the least, and sounds to my uneducated ears to be competent but not outstanding arrangements of a number of middle of the road tunes. It’s the kind of music that would be used for cut scenes in 1950s American films. Or accompanying documentaries about British family life where the nuclear family are gathered in their cosy living room powered by mains gas, listening to the light show on their shiny new bakelite and raffia wireless set.
I can’t for the life of me relate what I’m hearing to the pastime of eating. I think old Georgie got the commission, threw any old tat together, and got some junior copy writer to tie it all together on the album notes with all that fancy talk about aperitifs and ducklings. In much the same way that the River-Boat Banjo Band album sleeve tried desperately to forge a link between boating and banjos, here the relationship between The Melachrino Strings and Dining is pushed to breaking point and probably beyond.
Let’s be honest. This album does not enhance your eating experience. At all. I’m sat here with a Snickers, and it’s done nothing for me. The joy of this album is all in the sleeve notes and the stylised cover of a civilised, perfect 1950’s couple sitting down to enjoy each other’s company and a light frothing of romantic strings. Speaking of the cover, I’m assuming that the white smudges in the middle of the picture are supposed to represent cigarette smoke. If not, then that bloke’s cock’s on fire and someone should tell him pronto. Maybe he could douse it down with his aperitif.
The one thing I can tell you though is that the fine people at RCA are as good as their word. They said that I could buy without fear of obsolescence, and I’m happy to report that this 48 year old record played perfectly well on my Stereophonic Phonograph. Obviously forward thinking chaps at RCA.
Almost finally, there’s stamp on the back of the album that says “Return BBC Library”. Seems that I may have the very album that accompanied a nation of gourmets indulging in their passion.
And actually finally, I can only assume that the modern equivalent of Music for Dining is probably the EastEnders theme tune. Discuss.
