My Pop Life #181 : Skyline Pigeon – Guy Darrell

Skyline Pigeon   –   Guy Darrell

                  Turn me loose from your hands, let me fly to distant lands                              Over green fields trees & mountains, flowers and forest fountains           Home along the lanes of the skyways

Dear old Mum.  This was her favourite song of 1968 and she played it to death for the next few years because  it reminded her of dear Stan, who was with her when she bought it, but who then broke her heart, turning himself loose from her hands and flew back to the distant lands of Australia, flowers and forest fountains, green fields trees and mountains, home along the lanes of the skyways.  I’m absolutely certain that Paul, Andrew (4 years old at the time?) and I all know the words off by heart, and all the notes too.  We played with the lyrics a bit too, misheard some and deliberately misheard some others.  We had to take the curse off of it I suppose.  But we loved it too.  It was played so much it got warped, a 45rpm single on the Pye label, I think.  We didn’t know who Guy Darrell was, and he did nothing else, didn’t need to.  He’d done this song, and in a list of songs which I group together as “Mum’s Sacred Songs“,  I reckon this one is at number one.

Mum’s Sacred Songs then  – I’ve already written about :

 “People Gotta Be Free” – Dionne Warwick  (My Pop Life #17)

  “Days” –  The Kinks  (My Pop Life #147)

 “Games People Play”  –  Joe South    (My Pop Life #63)

and

 “Israelites”  –  Desmond Dekker    (My Pop Life #102)

Do I repeat myself?  A little, yes, but then hey.  I don’t have to think too hard to think of the others, which would be… :

 “Jesamine”   –  The Casuals

  “The Carnival Is Over”  – The Seekers

Part Of My Past”  –  Simon Dupree & The Big Sound

and

Skyline Pigeon”  –  Guy Darrell

I think Paul and Andrew would agree with me on those.  There may be one or two others – bound to be in fact – but these are eight of the top ten.  And now that I look at them I realise with strange unease that aside from The Seekers (an Australian close harmony band led by Judith Durham which mum absolutely loved because she could sing the harmonies) whose hit single The Carnival Is Over was released in 1965 – every single one of these sacred singles comes from 1968 !!! 

So two things are evident here.  One is that they are actually my sacred singles, posing as mum’s.   They are from the year I turned eleven, a mighty year for any boy.  I’d already seen plenty of life – as a witness, at close hand, the eldest, whose testimony this is.  A nervous breakdown suffered by my mum which lasted nine months, babysat by dad and nan, the return of mum, a negotiation with the hospital and the doctor which I was fully aware of somehow, a marital schism, dad leaves and lives in Eastbourne, a divorce, an empty house, a lodger, a love affair, a parting.

       Oh this dark and lonely room projects a shadow dressed in gloom                                         And my eyes are mirrors of the world outside                                                   Thinking of the way that the wind can turn the tide                                                 And these shadows turn from purple into grey

The shadow is actually cast in gloom but I always sang dressed up until – well today really when I discovered that he sings “cast in gloom“.   Who is the Shadow Dressed In Gloom ?  Slightly scary.  But then again.  Clearly myself.  Or Mum if she was singing it.  Whoever sings it is the Shadow.  Turning from purple into grey.  Then we get the soaring chorus which Paul and I sang as 9 and 11-year old boys :

   Projects a skyline pigeon dreaming of the ocean waiting for the day                           When he could Shredded Wheat and fly away again                                             Fly away skyline pigeon fly towards the things you left so very far behind

Shredded Wheat released us from the Shadow Dressed in Gloom turning from Purple to Grey.  And we couldn’t release the scurrilous satirical version lustily in full public view and hearing of Mother because the song, as has been mentioned already, was Sacred.  It was about her broken heart.  Don’t Laugh.  We found it desperately sad of course, but we didn’t really know it at the time.  Consciously.   It didn’t make us cry at least.  Mum would grab a box of tissues.  Now I find it unbearably moving.

Projects a Skyline Pigeon was actually ” For just a Skyline Pigeon

Ocean was “Open

Shredded Wheat was ‘spread his wings‘, of course.  It fit perfectly.

The other song – I’ve just recalled – that was an eggshell song was Freda Payne‘s number one hit single Band Of Gold which I absolutely adored at the newly-sentient age of 13 in 1970 – “Mum, mum, I love this one”  I may have bought it – or did she??  And when I played it one day she snapped – “How do you think it makes me feel ?”  I was like – er – band of gold – wedding ring – divorce – oh yeah !  Sorry Mum !!

I’ve been about that sensitive ever since I reckon.

       Just let me wake up in the morning to the smell of new-mown hay                           To laugh and cry through the night at the brightness of my day                                   I long to hear the pealing bells of distant churches ring                                           But most of all please free me from this breaking echoing

I was never sure about that last line.  I’ll come back to that.  The first three lines of verse two though described our little Sussex village – Stephen Criddle and I used to help the farmer baling at harvest time and we actually would wake up to the smell of new-mown hay,  it’s a good smell.  We did live opposite a farm with all the smells one associates with that countryside feature.    The second line is completely wrong but that’s what I always sang.  Kind of perfectly balanced crying and brightness – I wasn’t always sad, or happy, I was both.  We were a few hundred yards down the lane from the church which stood opposite the vicarage where we were allowed to play croquet now and again.  Tutored in the ways of righteousness.  Stephen and I (or was it David Bristow??) cleaned off loads of gravestones one summer around this time, sat on the grass and scraped off the moss (but a few of the verses, well it got me quite cross…).  Righteous.  But the last line was a bit more Freda Payne in the end – aching metal ring – not breaking echoing.    That was me – once again – personalising the song to mine own experience.  I had trouble going to sleep, saw shapes, heard breaking echoing.  Not every night.  And Shredded Wheat always sorted everything out in the morning with cold milk and a bit of sugar.  And a nice cup of tea.  I like a nice cup of tea in the morning, and a nice cup of tea for my tea.  I could do with a D.  Tetleys Make Tea Bags Make Tea.  Brooke Bond.  PG Tips.  Little picture cards,  traded at school, books with the complete set glued in with Uhu.  Trees Of Britain. Flags.  Butterflies of the World.

Eventually Mum couldn’t stand listening to the song so it stood in the singles rack in its sky blue and white paper sleeve and remained unplayed, long after we all moved out, and Rebecca was born, grew up and moved out, and there it still was, Skyline Pigeon, unplayed and living on in all of our minds as breaking echoing… Perhaps we played it once or twice but I always remember it being a mistake, unless Mum was in a particularly good frame of mind which was Rare.   And so rarely played.  One day I was helping Mum to move from Polegate to a house in Willingdon where she would live on her own after the third and final marriage broke down and a third and final divorce was agreed, amicably and with great dignity on the part of Alan, who became Becky’s dad.   Mum didn’t want anything from her past when she moved,  was throwing stuff out with abandon, pictures, books, all kinds of stuff had been lost already in the last hallucination, god knows what had gone into the dustbin so I retrieved some amazing black and white pictures and a handful of 45rpm singles, including this one.  It is warped and full of scratch hiss rasp and breaking echoing.  But I have it.

Pam & Reg, unknown, Bob & Jessie, my dad & Mum standing, his parents sitting 1965? Paul and I may be the two boys at the front…

As the years went by I searched for Guy Darrell.  No news.  One song – I’ve Been Hurt, which was a northern soul hit.  The only copy of Skyline Pigeon I owned for ages was by the fella who wrote it – Elton John, with lyrics and spreaded wings by Bernie Taupin.  It appeared as a strange harpsichord crystalline version on Elton’s first LP which came out the following year 1969.  Nobody bought it of course.  Nobody heard Elton John (knowingly) until 1970 when he released Your Song : “…it’s a little bit funny this feeling inside…“.  Later we all discovered he’d been voicing those Top Of The Pops albums with covers of the top 30, later still I would hear his ‘version’ of Skyline Pigeon, released as a piano solo version on an album of Elton Rarities in 1992, even later I would find him singing it in Rio, just like Guy Darrell did in 1968, the way it should be sung in my humble onion.  He didn’t sing the words right though.   The last line Elton sings “Open up this cage towards the sun“.    It’s pretty good Bernie, pretty good.  But from the age of eleven I always sang

Open up this face towards the sun

Guy Darrell has just had a retrospective released on CD last week which kind of prompted this post but I haven’t received it yet.  So I’ll leave you with a couple of Elton John performances and when the CD arrives I’ll post the track on Youtube, then on here. TTFN.

Elton John live in Edinburgh 1976 :

Elton John live in Rio 2015 :

My Pop Life #160 : River Deep, Mountain High – Ike & Tina Turner

River Deep, Mountain High   –   Ike & Tina Turner

Well I’m gonna be as faithful as that puppy, no I’ll never let you down

June 18th 1966 I was 9 years old.  Mum had walked out of Hellingly Hospital but on the advice of Dr Maggs had volunteered to go back for a short while.  When she finally returned home, she’d been away for nine months.  I was happy when she came home.  Her mum, my nan, had been helping Dad to run the house, and us.  Andrew had been in Portsmouth, still a baby, but by now he was walking and talking.  A little boy.  Paul and I shared a bedroom and we talked after the lights went out.  The staircase went up and then forked right and left, we were on the left and Mum and Dad were on the right.  The cat used to have its kittens on top of the wardrobe in Mum’s bedroom.   At the halfway point of the staircase I could sit and listen to my parents arguing.  Sometimes I was already downstairs when they started fighting, and Mum had a technique.  She went for Dad’s glasses.  That was that – pretty much – he’s blind without them.    Bt if I was upstairs when the fight started, Paul and I might walk down the four steps to the mini-landing.  Down the stairs we could see a french window onto the back garden. To the right was the door to the living room with the record player and the table where we ate.  The TV was in the front room. Rationed.  A dog, and a cat would be somewhere around.  Bookcases.  And, right now, my mum and my dad were having a high-decibel screaming match.  Or rather my mum was.  Dad’s parries were usually low-key, murmured dissents, accusing my mum of stupidity.  Since he had gone to Cambridge and she’d left school at 15, this was something of a blue-touchpaper-lighting moment on his part :  fireworks guaranteed : If she was stupid, what did that make him ?  An utter imbecile for using the taboo words, for climbing onto an intellectual ledge of education he had climbed alone and casting rocks and stones down into the newly-despised slough of ignorance from whence he had climbed !   His mother was proper working class, and his dad too.  John was the only one of his family (he had four older sisters) to go to Grammar School, and then the only one to stay on, then take Cambridge Entrance Exam and go up to Downing College in 1955.  Totally intrepid, there were two other working class boys in his year, one from Yorkshire, one from the midlands.  A fish out of water.  People talked down to him, for the first time in his life he wasn’t the best.  He was the lowest of the low amongst the Etonians, Winchester boys, Harrow snobs, privately-schooled little empire-builders.  At the end of that first year, he’d gone back to Portsmouth and married Heather, and together they’d embarked on his 2nd year at Downing.  I was born some 9 months later, in Cambridge.

But intellectual intelligence is probably less than 20% of the story.  Maybe a little more, but not much.  Emotional intelligence, which boys have less of, is a little more precious, certainly to me.  Then – no.  I had no idea.  Maybe younger lads have more emotional intelligence, but evidence points to the opposite.  They’re into riding bikes, collecting bird’s eggs, fishing for frogspawn and fighting with David Bristow.  Collecting comics and not washing properly.  Doing stupid things.  Anyway – I’m wandering.  This particular half-formed 9-year old was sitting listening to an offstage fight between mum and dad from the T-bone of the staircase.  Paul had joined me.  I don’t think we were that interested in what they were actually saying, but I think we needed to go downstairs.  So we stopped, slightly guiltily because it meant we were now eavesdropping.  I can’t remember a word of it, I never was much cop at lyrics, but the music I can recall, because both of them have spoken to me in a similar key, before and since.

But just then a jar of marmalade flew horizontally through the barely-visible doorway downstairs and smashed violently against the wall below me.  Orange jelly, glass and peel started to slide down the wall.  It was a stunning moment.  The pitch of the argument went up, then became teary and finally included moments of some silence.

Did Paul and I then walk down the stairs and out into the garden leaving them far far behind ?  Out to the village with it’s curious green paths that ran everywhere, along the roadside, into the fields, down to the sand-pit and far away.

Or did we tiptoe back upstairs and read comics ?

It was so intense that the rest is blank.  Either, both.  Perhaps we went downstairs and saw that Mum had Dad’s glasses in her hand, and he was demanding their return.  But now I feel that they were actually arguing about getting divorced, because Dad, as Paul once said many years later, “had a roving eye” and he’d been taking the piss for years, later confided to me in far too much detail by Mum.  They were divorced later that year and he moved out.  I used to remember it as the other way round.  That they had a fight, then divorced, then Mum went into hospital.  Linear.  Blame.  Made sense as a memory.  But maybe when I was in my thirties I suddenly realised that Dad looked after us with Nan for 9 months, and was still there when she came out.  But maybe that was when the eye roved.  Can’t say I even knew what that meant then.  But somewhere over that murky summer, I pedalled furiously along country lanes with Stephen Criddle even beyond the railway line, to Chalvington and Ripe.   And swung on a black bent tractor tire over a pond with Martin Coleman and his dog Boffin.  And on the radio, there it was, amongst the Paperback Writer, Sunny Afternoon, Sloop John B, Strangers In The Night and Sweet Talking Guy, this monster single which appeared to be made of something else entirely.

I think it was.  Truly.  In early 1966 when River Deep, Mountain High was recorded, it cost over $20,000 to make, unheard of at that time.  But let’s re-wind a little.  The second married couple in this story, Ike & Tina Turner were married in in Tijuana in 1962, but are now almost impossible to think about without Angela Bassett‘s glorious performance in What’s Love Got To Do With It?  immediately filling the frame as Lawrence Fishburne glowers behind her.  Domestic violence poster children all grown up.  But there’s more to Ike Turner than wife-beater.  Rocket 88, recorded in 1951 with  Jackie Brenston & His Delta Cats, is considered by many to be the first rock’n’roll single ever recorded.    Who cares right ?   Their tempestuous marriage lasted until 1976 when Ike cocaine habit was so out-of-control that he had burned a hole in his nose and would get regular nosebleeds.  She escaped and never looked back.  But amongst the violence and drugs, they had made some great music together.   Tina’s original name was Anna Mae Bullock, and she dated the saxophone player of Ike’s band The Kings of Rhythm in St Louis, Missouri before singing one song at one show.  The rest is herstory.  Tina Turner has one of the most soulful soul voices of any era.   The first single for Ike & Tina Turner was A Fool For You was on Sue Records, but by 1964 Ike Turner had sacked them and was prowling around the record business looking for a pop hit.  Ike & Tina Turner had been touring the southern soul circuit for hundreds of days per year, and had produced a series of great LPs, and great singles, all of which would be dwarfed by this cavernous, gothic piece of work.  Ike signed up with Warner Brothers where he met Bob Krasnow who would start to manage the husband and wife team and introduced them to Phil Spector.

Ellie Greenwich & Jeff Barry in 1964

Our third married couple, Ellie Greenwich and her husband Jeff Barry were New York songwriters who married in late 1962 and then decided to exclusively write together from that moment, upsetting previous songwriting partnerships.  But three years later they’d composed Be My Baby & I Can Hear Music for The Ronettes, Da Doo Ron Ron for The Crystals (see My Pop Life #),  The Dixie Cups’ huge hit Chapel Of Love and The Shangri-Las’ mighty single Leader Of The Pack.   

Quite a cv.  All of the above (bar Leader Of The Pack produced in New York by George Morton) were produced by Phil Spector in Los Angeles, and he always had a cut on the publishing too.  Greenwich, Barry, Spector became a badge of a hit record.  But in late 1965 control-freak Spector hadn’t had a hit record for a whole year.  He paid Ike Turner $20,000 to stay away from the sessions, and recorded with the Wrecking Crew whose members Hal Blaine, Carol Kaye, Glen Campbell, Tommy Tedesco and many many others had already sat in on many of the big songs of the decade, often on Spector’s signature wall-of-sound productions.  You’ve Lost That Lovin’ Feeling. Mr Tambourine Man.  I Got You Babe.  As well as all those with The Ronettes and The Crystals.  This though was to be Spector’s biggest production to date.

Tina, Phil, Ike, Goldstar, 1965

Late ’65 they were all in Gold Star Studios at Santa Monica & Vine, running through the chord changes and orchestrations.  Days and days later they were still recording.  Tina was down to her bra, scorching hot and howling into the microphone one of the great vocal performances in all music.    The final peak at 3 minutes is unmatched in pop I would suggest.   A genuine tingle every time I hear it.  It certainly isn’t matched by the combined force of The Four Tops & The Supremes in a 1971 cover which only takes off on the bridge section.  Diana is game, Levi Stubbs is is too polite on his puppy verse, but that was Motown right there.  Aimed at the white audience, so more polite, less gutsy and raw, more pop, less black.    A bigger hit than Spector’s I’m guessing, in America, although Tina’s is now considered one of the pinnacles of pop history.  Les black ?  Weird to think of it like that, perhaps that’s a racist construction but in any event, the gospel element is often subsumed in Motown records, less so at Stax, Specialty, Sue, Atlantic or other soul labels.  But whatever is pop and whatever is soul, greatness is greatness, and all of the acts mentioned above are truly great.   Tina Turner didn’t sing Remember Me after all.   But Spector reckoned River Deep, Mountain High was his greatest moment.  So did George Harrison among others.

Tina Turner & Phil Spector at Goldstar, late 1965

Extraordinarily, River Deep, Mountain High was not a hit in the USA at all, either on the pop charts or the R’n’B charts, and opinions ranged from “too white for the black chart” to “too black for the pop chart“, and Spector retired in disgust, remarking later that he understood famous American traitor Benedict Arnold which told us a) how very hard he took the record’s failure, and b) how bonkers he was.   He didn’t work until 1970 when John Lennon and George Harrison gave him the Twickenham Sessions and he went away and made Let It Be, later producing many of the pair’s solo records in the 1970s.

However, River Deep, Mountain High was a chart hit in England in July 1966.  At some point that summer England won the World Cup.  I know because I was in the village shop and the shopkeeper smiled at me.  “England won The World Cup” he said.  I was so happy.  Even though we hadn’t watched it.  I didn’t really know what it meant to be honest.  Perhaps that means that my dad wasn’t at home then and had already left.   Funny things memories.  Intense though.

full song –

the original promo with Ike singing along, which he doesn’t :

My Pop Life #141 : Jig A Jig – East Of Eden

Jig A Jig   –   East Of Eden

1971 – my magical musical year of sentience.  13 going on 14 (baby it’s time to think; better beware, be canny and careful, baby you’re on the brink).  Actually that quote is ’16 going on 17′ and is about a girl and is from The Sound Of Music but hey – that’s the kind of thing I accepted universally up until the age of around 12/13.  Then I started my baby steps of discernment.  It is a precious age, because we are still unformed and big changes are afoot.  Baby you’re on the brink.  And Wouldn’t It Be Nice if never was heard a discouraging word ?  But life is not like that.  The übersensitivity of the teen can lead to major mistakes in taste, music, fashion, hairstyles, choice of friends and piercings, drugs, drinks.  Maybe some of these are already pre-destined, but my point is that a missed cue, dropped word, or sniffy remark goes a long way when you’re thirteen.

East of Eden’s 1970 LP – Snafu

We all know that we enjoy the lessons when we like the teachers.  The subject is a very distant 2nd.  Thus in 1971, I loved English, History, Geography and Art, liked French, Chemistry, Biology, PE and Maths.  I did not like Physics or Music.

I’ll repeat that : I did not like Music.  What a missed opportunity…

Mr Richards taught music to unenthusiastic oiks in the 3rd form of Lewes Priory Middle School and he may have even been my form teacher.  I was in 3R I think.  He was a florid-faced balding man who wore tweedy jackets and had a distant distracted manner.  It was much much later that I realised (or was informed by John Hawkins who did Music A-level) that he was an alcoholic.  The Latin teacher Dai Jones was also a drinker, and was drunk pretty much 100% of the time, but in his case it was bleeding obvious.  Richards kept his sinful excess under manners. Anyway his class was all minims and breves, crotchets and quavers, sharps and flats.  There was no joy in this class.  Until he asked us to bring in a piece of music for the class to hear !  WOW.  This unlikely spasm of musical democracy was true excitement.  I had a number of choices – all singles which I’d bought recently with my pocket money, all discerning 13-year-old choices.

Let’s see.

John Kongos – He’s Gonna Step On You Again,  magnificent chaos

Dave & Ansel Collins – Double Barrel, a recent Number One (!)  immense

George Harrison – My Sweet Lord  eternal and glowing

R. Dean Taylor – Indiana Wants Me.    this is the police. give yourself up!

Mum had also bought singles, Mum always bought singles:

The Kinks –  Apeman – was that a faux-west-indian accent?  I didn’t notice

Elton John –  Your Song – absolute stone-cold classic. We knew it even then.

Melanie – Look What They Done To My Song Ma – honky tonk angel americana

I think they’re all better than East Of Eden’s Jig-A-Jig which is the 45rpm single on Deram Records that I took into school.  But maybe that’s unfair.  It’s a legitimate snapshot of my 13 and three-quarter-year-old musical taste in spring 1971.  Perhaps I instinctively knew that Richards would look down his bulbous nose and spit venom on any actual pop music.  Jig-A-Jig I knew had elements of Irish music, albeit rocked up.  I didn’t know it then – and neither did he clearly – but the song is composed of three traditional reels glued together in the fairly normal way of Celtic music, namely “The Ashplant Reel“, “Drowsy Maggie” and “Jenny’s Chicken“.  All well-known to traditional Irish musicians, and recorded many times over by different groups and players, but never troubling the UK Pop Charts before this moment, as far as I knew.

East Of Eden were a progressive jazz-rock outfit who had emerged from the post-hippy era along with bands like Colosseum, The Nice, Soft Machine and Caravan and they had appeared at the First Paris Music Festival alongside all of those bands with Pink Floyd, Captain Beefheart, Yes and Frank Zappa in 1969.

Subsequently signed to Deram Records they released the LP Snafu in 1970, then the single Jig-A Jig.  It wouldn’t chart in the UK until the following year, and eventually reached number 7.  There was nothing like it around at the time, and certainly hasn’t been since I would venture. Certainly it is nothing like the rest of their output which is experimental prog fusion.  The band’s image wavered in that between-era 1971 way with cashmere kaftans, tank tops, beards and fedoras, caught between the hippy dream, the prog indulgence and the glam pop escape.  They almost fitted into a fashion box with McGuinness Flint, Atomic Rooster, Curved Air and The Moody Blues.  1971 would deliver further riches from unexpected sources.

Jig A Jig opens with the fiddle playing of Dave Arbus.   But soon it becomes a rock song with the electric guitar joining the violin and drums.  Within 30 seconds the freakout has begun and soon we are at a free festival at dawn with the sun rising through the mist over the trees, hundreds of swaying raggle taggle gypsies and nodding heads, bonkers percussion, heavy rock and guitar solos joining the merry fiddler as he dances us into a frenzy.  Before we go completely bananas on bad acid we get the hoe-down finish with hand-claps and we’re out.

Mr Richards hated it.  He sneered as the orange and white Deram logo span on the turntable.  He muttered something unintelligible and ungenerous as he handed the 7-inch single back to me.  I’ve erased the quote.  Music lessons and I were finished.  I didn’t even do it at O-Level.

Listening to it now I think it’s quite mental.  Bold, true to its time, and an unlikely chart hit to be sure.  But a snapshot of the charts in Spring 71 will show a huge variety of music, from Motown to glam, rock to classical mash-ups, ballads and one-man bands, early funk, solo Beatles, bubblegum, ska and hippy pop.

Music For Pleasure Spring 1971

 In those days session musicians would get a gig covering recent chart hits which would then be compiled as Music For Pleasure compilations – rather like That’s What I Call Music except they weren’t the originals.  Famously Reg Dwight played on a few of these LPs in the 1960s before he became Elton John.   So some session player had to recapture the fiddle playing on this track.

East Of Eden still exist in some form and make the occasional record.  The violin player Dave Arbus would go on to play with The Who on the opening track of their great album Who’s Next known as Teenage Wasteland, credited as ‘Baba O’Riley’.  Later he would be a founder member of Fiddler’s Dram, but left before their unusual chart hit Day Trip To Bangor in 1979. He then left music and became a cabinet maker, now he is a painter and lives in Eastern Long Island.

I have never learned to read music “off the page” in particular I have difficulty with rhythm – 4/4 is easy, 3/4 is waltz time, but 7/8 or 2/4 get me confused, as do dots after crotchets.  It’s just maths but the block is still there.  As a result I play by ear.  I hear it, I play it.  Nevertheless, when performing with The Brighton Beach Boys I would always be handed a chart by Stephen Wrigley to read on the alto sax, and it was a useful aide memoir, and often in a live situation I would find myself reading along.  Of course I already know the music so it is not the same as playing something from scratch.  Particularly difficult to play in our repertoire is the song I Wish It Could Be Christmas Every Day by Roy Wood and Wizzard.  The brass part is unforgiving and relentless, and I found that I couldn’t play it from memory and actually needed the sheet music to guide me through the mountain ranges of that incredible song.

If I’d become a professional musician I would of course have gone back to school or evening class and learned the whole thing properly.   Or would I ??

The single :

and um, Actually a rather incredible and disturbing TOTP play-out clip from 1971 :

My Pop Life #131 : Santa Claus Is Coming To Town – The Crystals

Santa Claus Is Coming To Town   –   The Crystals

Jimmy, I just came back from a lovely trip along the milky way
I stopped off at the North Pole to spend the holiday
I called on old, dear Santa Claus to see what I could see
He took me to his workshop and told his plans to me
Now Santa is a busy man, he has no time for play
He’s got millions of stockings to fill come Christmas day
You better write your letter now and mail it right away
Because he’s getting ready, his reindeers and his sleigh…

You better watch out, you better not cry, you better not pout I’m telling you why….                                  Santa Claus Is Coming To Town…

I expect most of us raised as christians can remember the day when we discovered that Santa Claus would Not in fact Be Coming To Town.  For the simple reason that he didn’t actually exist.  A moment of private devastation.  But we carried on telling each other the story, spinning the yarn.

I was eight years old at the little flint-walled village school in Selmeston in East Sussex, in the shadow of the South Downs.  My holy ground now, filled with echoes and ghosts.  Then, it was filled with wonder and nature.   Seasons changing.   Discovery.  One December day a small group of us were discussing Santa Claus before the teacher arrived.  One child, which one I simply cannot recall, ventured the terrible truth to a sceptical audience of believers that Santa Claus didn’t actually exist.  Like an anvil dropping through the floor this news broke each and every one of us.  Something which perhaps we’d suspected but secretly hoped wasn’t true.  Now it seemed confirmed, announced, solid news to sulk over.  Would Christmas still happen ?  Of course it would.  The stocking was filled by Mum and Dad when we were asleep.  I decided to stay awake all night on Christmas Eve and catch them doing it.  Like probably millions of other small children around the world.  Did I then proceed to break the news to my brother Paul who was a two two innocent years younger than I ?  Memory does not supply the answer but perhaps I needed company in my newly-found Christmas loneliness.  Or perhaps I locked the secret away.

The Crystals in 1963

I never did see my parents or my Mum when she was single fill my stocking, or indeed deliver it unto my bed.  I never did feel it either.  It remains the greatest single thrill available to my memory of Christmas, to wake up on Christmas morning and feel a bulging mysterious generously-filled football sock stuffed with surprises, fruit, nuts, PRESENTS !  God it was exciting, whether Santa did it or not.  At some point (12 – 13-14?) the sock was over, and I felt suddenly grown-up.

My wife Jenny was raised Catholic in North London and has a much more scarring tale of Santa Claus Not Coming To Town.  Her brother Jon, older, and Jenny herself at five, had been bothering their mother, Esther, about writing to Santa Claus, when would he be coming, what would he bring, would they meet him, could they see him, how was he going to get in, there wasn’t a chimney.  “Be quiet both of you !!” Esther suddenly screamed : “Father Christmas is dead !!!”  There was a shocked silence.  Esther decided to explain, I imagine their little faces were as shocked as it is possible to witness.  “He died over 300 years ago his real name is Saint Nicholas, so stop asking me about him it is just a story !!!”  What Esther perhaps hadn’t calculated was that Santa Claus, Father Christmas, St Nick and their avatars are a useful tool for keeping young children in line in December, perhaps earlier.  As the lyrics of the song go : “He’s making a list, he’s checking it twice, he’s gonna find out who’s naughty or nice…

There were two younger sisters in the Christmasses following, Mandy and Lucy, and to protect them against a similar fate, Jon and Jenny kept up the Santa Claus myth, colluded in the cover story and even helped to fill the stockings on Christmas Eve.  But Jenny told me, today, that she never did have a stocking on Christmas morning, ever.  I have to confess that I felt sorry for her, and vowed that I would create that experience for her at some future date.  Next Christmas !

Santa Claus Is Comin’ To Town was written by Tin Pan Alley partners John Frederick Coots (who also wrote Love Letters In The Sand) and Haven Gillespie (who also wrote You Go To My Head)  and it was performed live on the radio in November 1934.  The morning after the Eddie Cantor show there were over 10,000 requests for the sheet music, and it remains one of the biggest hits in popular music.  Covers include Perry Como in 1951, Four Seasons in 1963, The Jackson Five in 1970 and Bruce Springsteen in 1975 (1985 release), as well as Frank Sinatra, Lou Rawls, The Beach Boys, The Carpenters, Dolly Parton, Miley Cyrus, Bing Crosby, The Pointer Sisters, Justin Beiber and Mariah Carey among many many others.

I’ve chosen The Crystals version which appears on the famous LP  Phil Spector : A Christmas Gift For You simply because, like so many tracks on that glorious album, it is the best version to my ears, both in arrangement, feeling and enjoyability.  The LP was put together in Los Angeles with Spector’s own artists Darlene Love, The Ronettes, The Crystals and Bobb B. Soxx & The Blue Jeans backed by the world-famous “Wrecking Crew” in a production arrangement that mirrored the Detroit scene at Tamla Motown.

Jack Nitzsche, Darlene Love, Phil Spector recording The Christmas album in 1963

The Wrecking Crew (whose moniker is disputed by bassist Carol Kaye who claims it was invented in the 1990s by drummer Hal Blaine) were young session musicians at the beginning of an illustrious career which would see them backing Nancy Sinatra, The Beach Boys, Glen Campbell, The Mamas & The Papas, The 5th Dimension, The Carpenters and Simon & Garfunkel among others.   Here under the direction of Spector and Jack Nitzsche they were creating what would become known as “The Wall Of Sound” where everything including the kitchen sink was thrown into the mix and the resulting songs changed pop history, such as Be My Baby by The Ronettes (July 1963) which epitomises the effect, and on this LP,   the magnificent Sleigh Ride – an auditory and musical marvel of a piece of work, alongside The Crystals wonderful re-working of the standard Santa Claus Is coming To Town.

The Crystals

The Crystals were signed as teenage talent in 1961 from Central Commercial High School at E33rd St in New York City, and famously, Myrna Giraud, Barbara Alston and Mary Thomas recorded their first single There’s No Other (Like My Baby) in their prom dresses having been driven to the studio directly from their High School Prom in 1961.

They went on to cut three of the best singles of all time : Da Do Ron Ron, He’s A Rebel and Then He Kissed Me, all on Phil Spector’s Philles label, but their line-up changed constantly and Spector would sometimes put out records with The Crystals name on it and other singers such as Darlene Love or The Ronettes singing the song.  This tended to strain the relationship, if you can call svengali/teenage girl  “a relationship”.

Same Crystals line-up in their civvies

Eventually the group left for United Artists in 1964, but ironically all their best work was with the manipulative and oppressive pop genius Spector and his partner Jack Nitzsche.  The one constant in the constantly-changing group line-up was Dolores Dee Dee Kenniebrew who was also present at that famous first recording in Manhattan and she still sings with The Crystals today.

Dee Dee Kenniebrew

Their version of Santa Claus Is Coming To Town, recorded in 1963, was the first to change the chorus to take the first note off the one-beat, onto the off-beat giving it the drum break and the excitement we hear in the Motown versions, Springsteen‘s live take, The Beach Boys and all others since that date – more or less making earlier versions seem plodding and square.   Do we have to credit Spector with that ?  Or Nitzche ?

After The Brighton Beach Boys had been together for a few years the idea of performing a Christmas gig became irresistible, and after we’d worked out Brian Wilson’s  Little Saint Nick (itself a homage to Phil Spector like much of The Beach Boys early work) we looked at other songs from The Beach Boys Christmas Album, and this one leaped out and demanded an outing.   We’d been booked to play The Pavilion Theatre (poster above by Rory Cameron) which was as close as we ever got to cultural establishment respectability and we wanted to make an effort.  For that particular show I found an amazing triptych mural which my friend Jan Gage had painted for our  wedding reception – a three-part giant homage to Hokusai’s The Wave on which we had printed our invitations.  It felt appropriate to Catch A Wave and so it hung behind the drum kit.  Rather amazingly Jan Gage and her boyfriend Vince came down to Brighton for this show and it remained the only time a) that she saw the band and b) that we used that triptych because Jenny, rightly, said she wanted it preserved for all eternity rather than have it driven around to gigs in the back of a van.

Hokusai : The Wave

As for the song in question, we ended up doing a slightly star-spangled version arranged by Stephen Wrigley  which started like The Beach Boys with close vocal acapella, styled like The Jackson 5 with their underpinned harmony and finished with Springsteen – a Clemons-style raging baritone saxophone solo courtesy of Charlotte Glasson, in-between sounding absolutely nothing like The Crystals, but owing them a debt of arrangement.  I sing the bass on this song, from deep F to even deeper Bb.  We stole Clarence Clemons‘ baritone aside “You better be good for goodness sake” from the Springsteen version because we are frankly shameless musically, especially at Christmas.

Clarence Clemons & Bruce Springsteen

So Santa Claus Is Coming To Town this week (it is December the 21st 2015) and …he also isn’t.  We like to tell each other these stories.  We prefer stories to The Truth.  Obvious reasons.  Stories are better, good guys win, we live happily ever, we learn life lessons etc etc, all that.  Santa Claus is pretty harmless though isn’t he?  She ? Is he black ?  Malaysian ?  We are all Santa Claus aren’t we ?  Coming to Town.  Driving Home For Christmas.  Are you hanging up your stocking on the wall ?

Barbara, Dee Dee, La La and Fran

Enjoy your holiday, wherever you may be.

just for fun we nicked the harmonies from The Jackson 5:  

My Pop Life #127 : He Who Would Valiant Be

To Be A Pilgrim

he who would valiant be ‘gainst all disaster

let hm in constancy follow the master

there’s no discouragement can make him once relent

his first avowed intent to be a pilgrim…

At some point in 1966 my mother was still in Hellingly Hospital near Herstmonceux in East Sussex, receiving ECG and taking various medications, mainly Largactyl.   She’d had a Nervous Breakdown.  She would be there for 9 months in all.  I wrote about this period in My Pop Life #55.  My dad was struggling to cope with three young sons and a full-time teaching job in Brighton and initially he’d been helped by our Nan, Ruby Laming who’d travelled up from Portsmouth and lived with us in the village.   Apart from missing Mum terribly our lives hadn’t changed all that much – we still walked up the road to the little village school, played football, fought in the playground, saved up for a packet of crisps and hid in the bales of the barn opposite our house.

Mum came home eventually 9 months later, but Dad moved out under a cloud pretty soon after that after being caught with the babysitter.  So then it was Mum and three boys.   These years blur and blend, but perhaps it was 1968 when she must have returned to hospital again.

And suddenly we were shipped out to Brighton – or at least Paul and I were.  Andrew was only 3 or 4 years old at this point and would have been transferred to Mum’s sister Valerie in Portsmouth.   Separated not for the first or the last time.   But at least we weren’t in care.   Being abused somewhere.   Lucky us.   I think Paul and I were 10 and 8 years old respectively.  It may be 9 and 7.  Someone may help me pin the year down.  It won’t make that much difference.

We were taken to a house in Lauriston Road where a colleague of my Dad’s lived with his family.  Phil was a teacher at Westlain Grammar too.  His wife Moyra also worked but I cannot remember her job.  They had two children called Ceri and Eleri – the daughter Eleri was one year older than Ceri.

Lauriston Road is opposite the top end of Preston Park in Brighton.    Us country boys from a small village with one shop were suitably gobsmacked by this development.  Just down Preston Road was the Rookery Rock Garden, right opposite the park and we explored that with delight.  Twisty paths, ponds with fish, rocks and overhanging trees, all built on a hillside between the main road north – the A23 and the railway line.  It has a slightly Japanese feel in design, and was built in 1935 using tons of imported Cheddar rock and stone.   It is still a delightful place to visit.  It was my first taste of Brighton.

We were all taken to their primary school the next morning, but Paul refused to go, hanging onto the baluster of the staircase and screaming his head off.  Moyra got quite upset with him – I imagine she was being made late for work, and there was nowhere else for us to be at that age.  Eventually his hands were prised free from the staircase and we were bundled into a Morris Traveller and taken to school.

Christian reads his Book :  William Blake

The school was terrifying of course.  We’d been used to a tiny classroom with a dozen kids, three or four of them my own age.   Now we were lined up at desks with 25-30 strange faces and a large female teacher whose name I have erased.  She read to us every day from a large book about a man called Christian and his journey across a strange forbidding landscape – the Hill Of Difficulty, the Valley of Humiliation and carrying this weight everywhere he went – a book.  When Christian was captured by The Giant Despair and imprisoned in his Doubting Castle I started freaking out.

The psycho-geography of Pilgrim’s Progress

Then I caught chicken pox.  Then Paul caught chicken pox.  Then Ceri caught chicken pox.  Then Eleri caught chicken pox.  That was the end of school !!  We were bedridden for at least a week, maybe more.  Phil would read us bedtime stories at night bless him.  In loco parentis.  We never really made friends with those kids and I don’t think we ever saw them again.  It was like an unearthly interlude with illness – and probably felt like chaos to my parents.

John Bunyan (detail) – painting by Thomas Sadler

Later I realised that the book that was being read aloud to us was John Bunyan’s Pilgrim’s Progress, a christian allegory the first part of which was published in England in 1677 while Bunyan was imprisoned for preaching without a licence.   Perhaps it was an abridged version, or a child’s version we were listening to.  In any event the looming Celestial City and the Valley Of The Shadow Of Death both represented the same thing to me – horror.  I can’t ever remember enjoying Christian stories, whether Old Testament, New Testament or books like Pilgrim’s Progress.  They always felt slightly threatening.  Perhaps it was the context, or the character of the teller.

6th-former, Lewes Grammar 1964 by the Chapel

Later when I was at Grammar School in Lewes we sang in the School Chapel, the whole school assembled to stand in pews and hold hymnbooks and sing together.   Me in shorts, uniform, striped dark blue and light blue tie and cap.   And there was that word again, in a tune that filled my heart :  To Be A Pilgrim.  I never heard any version of this on record or anywhere else, my entire memory of it is as a hymn sung in a church.  Little did I know that the words of the hymn were taken from Bunyan’s book, slightly modified in 1906 by Percy Dearnal, and set to music in the same year by my namesake Ralph Vaughan Williams.   Later on Vaughan Williams would write an opera called Pilgrim’s Progress which premiered in 1951.

English composer Ralph Vaughan Williams

Young Ralph – he was 34 at the time – took the music from a Sussex folk song called Monk’s Gate, named after a village near Horsham, the tune being collected by a Mrs Harriet Verrall of that parish who was also responsible for the Sussex Carol.  The resulting tune and words are forever stirring and pleasing to mine ear, and do not remind me of the shadowy days listening to Pilgrim’s Progress in some strange forbidding grey school in Brighton.  I can pick up and discard these associations in my own time – luckily – for the hated Thatcher’s funeral also featured this very hymn.   In fact I’m quite fond of the word Pilgrim.  I like to set myself random tasks, usually psycho-geographical in nature, oft times muso-geographical, and then become a pilgrim for the length of a day, a week, a year.  An example is to be found at My Pop Life 16 when Jenny and I visited the Metropolitan Museum in 2014 seeking the paintings from Rufus Wainwright‘s The Art Teacher, or at My Pop Life #97 when I sought out the locations in Berlin that David Bowie references in “Where Are We Now?“.  In both instances I was a pilgrim.  There is a staggeringly good Van Der Graaf Generator song called Pilgrims which I am inordinately fond of.

And there is a Wishbone Ash LP called Pilgrimage which captured our teenage imagination at one point with its twin lead guitar attack and which I have not revisited this long century since.   But it means so much more than this.  Remember the Canterbury Tales?

The Hajj to Mecca ? The Pilgrimage Of Grace ?

Benares ?  

These mass movements of the devoted are peaceful in nature, the very opposite of a crusade.  And yet and yet.  I have to reject the religious way, the idea of such certainly being handed to me in a book, from a man, located in a place, a system of beliefs laid out for me.  The centre of the universe is surely everywhere as Sitting Bull once observed.

Pilgrims are focussed.  Single minded.  Valiant – possibly.   They seek, they search, they have a reason to go on.  Following a master ?  Don’t know about that.  It would certainly make it easier though wouldn’t it ?  Make it easier to be a pilgrim.

Maddy Prior who used to be in Steeleye Span :

My Pop Life #125 : Chickery Chick – Sammy Kaye

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Chickery Chick   –   Sammy Kaye Orchestra

“Chickery chick, cha-la, cha-la
Check-a-la romey in a banonika
Bollika, wollika, can’t you see
Chickery chick is me? “

My mother, Heather Ruby Laming, was born in June 1935 in Portsmouth to mother Ruby née Price and father Horace Laming.  Ruby had come down to Pompey from Abergavenny in her teens and worked ‘in service’ until the birth of my mum.  Below stairs in a rich families’ house in other words.  Something happened there that she almost told me once, then changed her mind.  I’d travelled down to Copnor in North Portsmouth in the 1980s to talk to her about her life.  My Nan would have been late 80s by then, still painting occasionally-interesting abstracts, still lives and strange scenes from road accidents or desolate sea shores.  The house was full of her paintings.  She appeared to be fond of me, regarding me with a tolerant, knowing chuckle as if I couldn’t put one over on her.  She came out with some odd things regarding my Mum – “Heather has always been difficult – she wouldn’t even take the nipple as a baby”.  

That’s a bit dark, I thought.

Her dad Fred Price was a lovely old geezer who used to write funny letters to my Mum when she married my Dad and moved away from Portsmouth, first to Cambridge, then to Sussex. “Winter – drawers – on” he wrote as we entered December.  Clever old stick.  Ruby would have us believe that she was the eternally long-suffering wife of a dreadful husband – Horace, and I wrote about the strange atmosphere pervading his funeral in the late 1960s in My Pop Life #49.

 Almost all of the stories I heard about my Nan were bad, and my own experience talking to her backed them up.  She favoured Mum’s sister, Aunty Valerie, deeply favoured her.   She used to drink heavily when Heather was growing up and going out with my Dad, and once or twice he intervened to stop Horace and Ruby coming to blows.  Or to stop Ruby beating on my Mum.  In any event it didn’t sound like the most closely-knit family.   I remember one Christmas round there when I was about five – where we had to behave.  Keep quiet.  Ssshhh.

Of course when Mum had her first nervous breakdown (that I was aware of) in 1965 (see My Pop Life #54), Nan came up from Portsmouth to look after us while Dad went to work teaching.  She must have lived with us in 2 Manor Cottages, Selmeston, for nine months, for that was how long Mum stayed in the hospital in the end.  The Mental Hospital it was called.  I can’t remember much about that period, having successfully wiped it out of my memory and grown up without its haunting disabilities at the front of my brain.  Buried so deep that it rots my soul from within.  But Nan must have been alternately strict and loving with us, me, Paul and Andrew.  Thinking about it, this was when Andrew was disappeared to Portsmouth to stay with Aunty Valerie and Uncle Keith, so Nan was only looking after Paul and I.  We shared a bedroom.  We talked before we fell asleep, after the light was turned off.  It kept us sane.  Kind of.

Later on, when Nan sold the house in Copnor and moved into a nursing home in Southsea, Mum travelled down to see the house for one last time.  the same one we’d gather in for Horace’s funeral, for Christmas, for strange visits which I dreaded.  When Mum got there the house was empty.  Literally.  No art.  No china.  No furniture.  “Oh“, she said to Ruby, “I thought I could have taken one thing to remember this house by, a saucer or a vase or something“.   Ruby then answered with one of her classics :  “I gave everything to the woman over the road.  She’s been like a daughter to me.” 

When my Mum told me this story I was horrified.  I said “You can’t go on taking this shit, it’s abusive, designed to hurt you.”  Nan was still alive, we were still visiting her in the nursing home.  She was in her 90s now.  “No,” said Mum, “I don’t want to upset her.”  I had another clue to the cause of the mental illnesses mum had been plagued with for what seemed like the bulk of her life.  Not to mention my own bipolarity.

Bollika Wollika.

My friend Richard went to see her one day with Paul and we had an interesting chat about it later.  He thought there was a possibility that she was a lesbian who’d never owned it, let alone come out.  Pretty charitable I thought.

*

This may well be the happiest memory I can retrieve of my Nan…and perhaps have been the first pop song I ever heard, although it would have been from my Mother’s lips.  She remembers it from World War Two when Ruby sang it to her, enjoying the nonsense words.  I remember Mum singing this all through the 1960s.  She actually sang “Wollika Wollika can’t you see” rather than the actual words “Bollika Wollika” which clearly don’t have the same connotation in America and which were carefully screened from our young English ears.   I never did know what she was talking about until one day looking through some old sheet music in a shop, I found this.

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So it had been a Number #1 hit song in the U.S. and in the charts for over 4 months, played by the Sammy Kaye Orchestra.  The odd words were written by Sylvia Dee, and the music by her regular songwriting partner Sidney Lippman.  Sammy Kaye had over 30 hit songs in the swing era, and six number ones.  “Swing and Sway with Sammy Kaye”offered the tag-line, and young Nancy Norman auditioned aged 16 and 4’11” high and got the job of female vocalist.  Her mother would chaperone her all over the United States to sing Chickery Chick.  The man’s voice is country singer Billy Wiliams.   Many other stars covered the song, including The Andrews Sisters, Frank Sinatra, Gene Krupa & Anita O’Day, and Evelyn Knight and The Jesters, which is my actual favourite.

The word banonika is still in use in our house here in Brooklyn.  It is used to denote a wrapping into which the special needs cat Roxy will position herself, enjoying the cosy created therein.

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Not a banonika

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Not a banonika, strictly speaking

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a carboard box I’d call that

When she is under the duvet or inside some clothing then :  “Are you in your banonika darling?”we will ask in slightly high-pitched voices as if talking to a child.  Which we are really.  A furry child substitute.  Maybe we should sing Chickery Chick to our cat.  I’m sure people have.

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Roxy and I agree that we have no banonika pictures

*

Sammy Kaye, featuring Nancy Norman & Billy Williams :

Evelyn Knight & The Jesters :

My Pop Life #116: Left Bank Two (Vision On : Gallery Theme) – The Noveltones

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Left Bank Two   –   The Noveltones

(Vision On :  The Gallery theme)

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Tony Hart

Unmistakable, gentle, playful vibraphone jazz shuffle which evokes immediate memories for my generation of a BBCtv show called Vision On which ran from 1964 to 1976 thus neatly encapsulating my entire life in East Sussex as a youth.  My family moved from Portsmouth in 1964 when I was just seven, Dad having scored a teaching job at Falmer School just outside of Brighton.  We moved into a semi-detached house in Selmeston, a small village of some 200 people, bordered by a railway line at one end and the A27 at the other.

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Selmeston Church

That one-mile stretch of road was my universe until the age of eleven by which time my dad and mum had divorced, mum had spent nine months in a mental hospital and I’d passed my eleven-plus exam and would take a bus into Lewes every day.   Two years later we would all be separated as a family as the landlords – horsey toffs from Sherrington Manor – made us homeless and wiped our debt to them at one stroke.  For the remainder of the 1970s we were in a council house in Hailsham, although I left for Laughton Lodge in 1975, and London in 1976.

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Pat Keysell, Tony Hart

Throughout this period Vision On was on BBC TV.  It was a programme for deaf children, and had almost no spoken words.  It was watched by all children.   Filled with speech bubbles and mime it was largely a visual show.  Presented by Tony Hart and Pat Keysell, who spoke in sign language and spoke, with Tony spening much of the show (so it seemed to me) drawing things.  Encouraging children to create.  Awakening our latent interest in expression.  The centrepiece of each show was The Gallery where the camera lingered over pictures that viewers – ie children – had sent in, with their name and age displayed, and a notice explaining and apologising that pictures could not be returned but that a prize would be given for those shown.  What that prize was we never found out.  We never sent one in, but were transfixed, at least partly by the music.  For this section of the programme was played out to a piece of music which, with its dreamy melody and nimble simplicity appeared to come from another planet.  In fact it came from Holland.

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Left Bank Two was a piece of Library Music originally.   Library Music is licensed differently than other music and is often used for TV shows.  It is much cheaper for producers to use, as the broadcaster in general will pay the royalties, maybe a dollar each time it is played.  If it is a long-running series, over the years this can add up.  If it is a commercial, you could be, as composer, quids in.  I found out a little about Library Music when I was directing an aborted documentary (called Red Light Fever) on British Session Musicians in 2012, inspired by the great doc ‘Standing In The Shadows Of Motown‘.  I’m still learning.  But all of the people I interviewed – singer and composer Barbara Moore, guitarist Chris Spedding, bass players Herbie Flowers and Les Hurdle, drummer Clem Cattini, singer Madeline Bell – all of them great session musicians, arrangers, songwriters, all exceptional musicians as session players have to be – (deep breath it’s a long sentence) – all of them have played Library Music on a regular basis.   How to explain it?  There are some production houses which specialise in this kind of music.  De Wolfe Music is the big one, started in 1927 to provide cheap music for the talkies.

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 They hire a composer to write : seascapes, exciting car chase, a creepy scene, ghostly atmospheres, romantic swoons, mood music of various types.   The Composer will hire a group of session musicians to come and read the dots and they will be paid a session fee.  The pieces of music will be grouped together and issued to TV production companies who can use a short piece – eg Grange Hill written by Alan Hawkshaw – and the broadcaster will cover the royalties.  All the musicians who played on the piece will get a cut, unless they signed that percentage away, in the deal – a “buy-out”.  And if you’re a session musician you never know which piece will suddenly get picked up.  Indeed these days when hip-hop producers and DJs are constantly looking for new samples, obscure beats and licks that other producers haven’t used yet, Library Music is now being plundered like every other form of music.   Barbara Moore provided the marvellous wordless vocal on the theme tune to The Saint.  Les Hurdle ended up playing with Giorgio Moroder‘s band in Munich when Donna Summer turned up and disco was born.   And this particular piece – called Left Bank Two – was an afterthought on one of those De Wolfe sessions in 1963, at the end of the day with half an hour still on the clock – I love these stories, this one reminiscent of Otis Redding’s big break – “has anyone got anything we can play here?”

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It was young vibes player Wayne Hill who offered ‘a thing he’d been playing around with’.   The group of Dutch musicians with whom he was playing (who called themselves The Noveltones) quickly learned it and recorded the vibraphone-led piece.  Carefully listening musos will hear the guitarist having a slight crisis over chords towards the end, the only clue to the tune’s end-of-session nativity.  TV viewers would never get to hear that anyway since The Gallery would only last a minute usually.  Seemed longer though didn’t it ?  A minute is a long time on television…

I bought a vibraphone in 2004 once The Brighton Beach Boys had decided to perform “Pet Sounds” live.  There is one tune on that LP which requires vibes, and although my keyboard has a good vibes sample, the visual of seeing someone strike the keys with beaters as Darian Sahanaja had done with the Brian Wilson Band earlier that year had stuck with me.  I want to be him, I thought.  I wanted to play vibes on “Let’s Go Away For A While“.  I’ll save it for another post.  But the first tune I attempted to play, once I’d set it up and worked out how to use the foot-pedal, was the Vision On Gallery Theme.  Of course !  And wheeling it into rehearsal with the Brighton Beach Boys, everyone wanted a go, and I think almost everyone wanted to play that tune.  Maybe it was just me ;-0

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Live in St George’s – my Penny Lane vibes – concentration is key !

My vibraphone currently resides in the Charlotte Glasson Musical Museum of Earthly Recollections in Brighton’s sexy Surrey Street, being carefully nurtured and oiled.

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Morph

Tony Hart is a children’s TV legend.  An early (ie before my time) Blue Peter presenter, he designed the logo for the Blue Peter badge, and took a buy-out rather than the requested 1d per badge.  After Vision On was discontinued in 1976 would go on to use Left Bank Two as the theme music for his next show Take Hart, and John Williams‘ Deer Hunter Theme Cavatina would take over as the Gallery Music.  He often appeared alongside Aardman Animations creation Morph in the late 70s and 80s until he retired with two Baftas in 2001.  Tony Hart died in 2006, his reputation unbesmirched like others of his generation.

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Left Bank Two – the Vision On Gallery Theme – is often referred to as ‘easy-listening music’ or even ‘elevator music’.   It’s library music.   It’s TV theme music.  And – yes – it’s jazz.

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