We commence the article with our specially-chosen
instrumental music – the beautiful theme from
The Adventurer” by John Barry (ITC, 1972) –
click the sound wave icon below: 

“It was my best-kept secret for many, many years. This was due in part to a lack of self-esteem and an abundance of self-loathing. No way was I going to tell anybody about the ‘secret’; I was too apprehensive of negative reactions. But, eventually, I gave part of my life to the character of ‘Jimmy Maclaine jr.’ for 3 years (2007 – 2010). However, the concept for which he became the main character was first conceived 2 decades before in 1988.  Later, I drew from my Scottish ‘background’ of 12 years to give him his partial accent and partial culture. In 1991, whilst I was employed as a Butlins Redcoat at Ayr, his concept was still in development. He hadn’t even been born into the concept at that point even though he originally existed as a child in Lord Puttnam’s films (“That’ll be the Day” (1973) & “Stardust” (1974)). However, what had transpired as a challenging time consequently had proven to be beneficial in furthering the young Maclaine’s development. With the character having to deal with his own mental health issues this arose in tandem with what was recurring with my own issues from a very young age. Later, my characterization of him was somewhat cathartic. It has been a lifetime of discovery and of rediscovery already. Furthermore, I now understand how my second season at the former Butlins Wonderwest World played an integral part in the one thing I was always searching for: the realization of having to move on. It was necessary and important. Subsequently, I undertook several creative endeavours after then which also included study and development as a writer. Then, the fateful time of April/May of 2007 at the age of 39 years old, appeared on my life’s calendar. That was the realization of a creatively special time in my life: the adult ‘Jimmy Maclaine jr.’ was born, only this time he had a voice!”

Tony G. Marshall
(Voice Actor, Writer, Poet,
Mental Health Awareness Supporter, Carer)

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“I first worked with Tony in 2007/08 on his radio play “That’ll be the Stardust!” and have collaborated with him several times since. He is the most dedicated and creative individual who is very passionate about the industry, as well as being a talented voice actor, he is an excellent writer. I wouldn’t hesitate to recommend working with him as it has always been a pleasure for me.”

Madeleine Havell
(Actor, Model)

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“It is very commendable of Tony to highlight aspects of his mental health issues. In this article of the project, he has given the gift of awareness to people who struggle with similar conditions. Tony also reflects upon individual times in his life within a 30-year period which had proven to be considerably challenging. Alternatively, the article provides members of the cast of his radio drama, like myself, further insights into the early makings of the production. Tony continues to inspire with his creative talent as a writer and poet along with caring for his Mum at the seaside. My friend’s life is an inspiring story and we hope you enjoy reading and interacting with “The Winds of Resurrection.””

 Holly Macdonald
(Actor, Model,
“When September Falls”
Project Collaborator).

  • “”WHEN SEPTEMBER FALLS” is a series of essays with accompanying interviews that highlight the life and times of voice-over artist and writer, Tony G. Marshall. It also raises mental health and mental distress awareness through its depiction of Tony’s struggle with Depression, Anxiety, Rumination, and Self-Harming, and the consequential diagnosis. “When September Falls” portrays an inspiring story-serial based on factual information over several years, and defines the life experiences of a talented individual within the Arts & Entertainment industry.” – Callum Gee, 2021. 

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From the Lancashire coast of present-day back to the Ayrshire coast of the early ’90s, and beyond! It’s a 30-year creative odyssey of connected events and challenges – with musical links that include The Mamas & The Papas, Neil Diamond, David Bowie, Fleetwood Mac, 10cc, Alison Moyet, David Essex, Jon & Vangelis, Scorpions, and Júníus Meyvant…
These are –
– Part 1 –
by Tony G. Marshall


– September 2021…


The last thing I remember was listening to The Mamas & The Papas on the radio at around 12:30am singing what else, but Twelve Thirty…yes, I know, how ironically ‘cheesy’ of the DJ to play this at the exact time. However, this was probably ‘old hat’ and had been done many times before by a variety of ‘voice’ and music pioneers…

Struggling with emotions and trying to decipher last night’s dream which was more of a nightmare of sorts: all ironic with iconic images such as the Statue of Liberty and its changing female faces. It would appear that ever since the ‘Stalker’ had stuck her nose in my working life exactly two and a half years ago when I was residing in Yorkshire, my dreams had taken on a nightmarish vividness. But looking back I am relieved that I hadn’t resorted to any form of self-harm (I am sensitive to certain energies, particularly those belonging to ‘people’ (especially negative bordering on ‘psychotic’)). I am proud of myself for undertaking meditational and breathing practices rather than hurting myself. Nevertheless, the ‘stalker’ situation had certainly taken a further toll on my mental health. Christ, I thought you could only encounter such people with fixating obsessions if you actually held an envious role in the public eye, like at those Holiday Entertainment Centres – places I had worked, both home and abroad, a ‘lifetime’ ago.

I had decided to leave my position in Stalker’s former workplace (former = she got fired) soon after my manager had to consider police intervention because of her actions within the community. Time and fate took care of me though and months later I moved back home to Blackpool. I refer to Blackpool as home because I not only holidayed here frequently as a boy but also lived here as a teenager. In June 2020 I moved my mother up from the London area and became her live-in carer here at our Dormer Bungalow. It is most definitely home again now, albeit in a somewhat different capacity. 

Today, looking in my bathroom suite mirror, I try to make myself look a wee bit more ‘morning’ presentable before I show my face downstairs. I both comb and ‘arrange’ my now longer hair and thin beard (sometimes just stubble) – this is my ‘disguise’ for coping with the ‘Millennial’ life, you see I’m not a big fan of these times therefore I rebel by adopting a kind of ‘hippie’ image (!!). The assorted bandanas arranged on the hooks on the bathroom closet door are more of a ‘blanket’ for the mind as opposed to a stylistic way of keeping the hair out of my eyes; the solution to warm my thoughts, aid my creative thinking, and assist in the crafting of my writing. I only wear these in the household environment whenever the mood/moment grabs me. I first got the idea during my attendance at such Mind UK workshops as “Managing Depression”, “Coping with Anxiety”…and “Coping with Self-Harming”.  Therefore, my bandanas take on the form of psychological aids more than anything. 

My thoughts turn their pages to the time just after the ‘Stalkersituation…

Italy, France, and Germany: the 3 countries that were potentially offering me voice-over work on a variety of projects (A British voice required, no languages to learn!). For a while, I was feeling like a washed-up has-been voice-over artist version of a Rick Dalton (see Tarantino’s Once Upon A Time…In Hollywood) and having to resort to working abroad (again!) to try and stay in the game. However, the outbreak of COVID-19 put pay to that. But I am very grateful that I possess the skills to write. My creative psyche suddenly feels very ‘rich.’ I smile at the thought of my previous “washed-up has-been” comment. My writing is the one creative outlet that is a constant and suddenly the thought of being “washed-up” has its bubble burst…I smile again…

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I reflect upon some of my previous voice-over gigs through the years: My Father’s Well-Known Gun (Drama – the voice of Orry Main), Let All The Children Boogie! (Sci-fi Drama – the voice of Talbot Ryder), “Rich Man’s Weather” (Drama – the voice of French thug), The lost Dr. Who episode Mission To The Unknown (Sci-fi Drama – the voice of Gordon Lowery) and various voice work for schools’ projects e.g. Plays, poetry and educational recordings. Oh, and not forgetting voiceovers for BBC Radio Kent and the Radio ads for a variety of stations (which I never talk about outside of a professional capacity or environment, simply because I like to retain a certain amount of ‘mystique’ for my voice and presentation…but you may have heard me!)

Well, that’s my ego ‘preened’ for the morning. But, I am still struggling to shake this negative rumination mood which feels as though it’s about to totally kick in. The Diagnosis of my Mental Health issues occurred back in 2016 when I was 48 years old. The Self-Harming occurred sometime later. However, the latter, apparently, is not identified as a Mental Health issue. It is merely “Mental Distress“….apparently. Either way, I feel it is still connected with a negative disposition of the Mind…

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Marton Mere … and Blackpool Tower
cc-by-sa/2.0 – © Terry Robinson – geograph.org.uk/p/1004482

We are currently in the midst of some restrictions being lifted during lockdown from the ‘World War III of pandemics’…
Vaccinations done = check
Booster appointments scheduled for October & November = check
Face masks at the ready = check.
Mother doesn’t always need her mask for a basic runabout in the car because she is chauffered by me to most places in which she doesn’t have to venture out of the car…check!

The latter “check” prompts me to think about our wee venturing in the car: only 7 minutes drive to the Prom (Westbound) and less than 2 minutes away from the countryside (Southbound). Best of both worlds. However, we don’t have any plans to venture out into these worlds today – it is relatively overcast out there. 

I exit the bathroom onto the landing and stairway which is flanked with framed photos and artwork of Woodstock ’69, The Beatles‘ “Yellow Submarine” cartoon, and a painted collage of other legendary ’60s musicians and bands (most of whom performed at the Monterey International Pop Festival during the Summer of Love). Closing the bathroom door behind me reveals the cast-autographed framed movie poster of “Once Upon A Time…In Hollywood” which hangs upon the wall opposite the door to my bedroom suite. This frame provides a déjà vu moment as I enter the bedroom when Neil Diamond‘s “Brother Love’s Travelling Salvation Show” begins to finish off Side 3 of the aforementioned movie’s double vinyl album soundtrack

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Looking around my bedroom with Mr. Diamond singing, a sudden flash of pride encapsulates the moment. The mood now lifting. A fine salute to both music and movies surrounds me. Among the framed galleries are Kubrick faves “A Clockwork Orange” and Barry Lyndon…Robin’s “Good Morning Vietnam” and “Cadillac Man”…another Tarantino classic, “Pulp Fiction”…even Bolan’s “Born To Boogie” film is honoured. Then, of course, there’s the obligatory framed Elvis Presley movie poster gallery sequenced around the alcove area. A bronze statuette of Stan & Ollie sits next to a mini replica of Jimmy Page’s EDS-1275 double-neck Gibson (with stand) atop one of the CD and cassette library units. Sitting next to the units on its stand is my own amethyst acoustic Lindo guitar and on top of the other unit is the obligatory Vinyl record player.

I have already decided that meditation and mindfulness will be the order of the day. And if today is going to be a day of battling with Rumination issues then I am going to push myself to achieve some sort of balance throughout. I so much want to be surrounded by the things that make me tick and feel good. It is necessary. The meditational practice is usually undertaken in the actual ‘Cosmic Dwellings’ room – the converted conservatory that looks as though you’re about to step into a psychedelic den from the ’60s or ’70s, equipped with its Buddha fountain, palm tree, and tall plant, diffuser, lava lamp, etc…

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I walk over to the record player to take off Record 2 (Sides 3 & 4) of the “Once Upon A Time…In Hollywood” soundtrack and place it back in its cover. I have to limit myself with the amount of music I choose to listen to on a daily basis due to the fact that certain lyrical triggers can play havoc with the rumination issues I struggle with, taking me back to places in my mind I don’t wish to be. Consequently, in such ‘dark’ circumstances, I am left with a hollowness that infests the stomach with what I further describe as a grey mist around the heart; nausea is the final denouement of such ruminative moments.

Upon placing the double vinyl album back into one of the several record cases I own, the word“Hollywood” on the album cover triggers a time from the late ’90s. I suddenly remember how there is also a ‘Hollywood’ in South Florida too. But that one is a far cry from the one that makes the movies. Elvis played at the former Sportatorium there in February of 1977 on one of his final tours. However, I have other memories of it: I landed at its airport over 23 years ago in 1998 en route to Fort Lauderdale for a few months’ stay and a few gigs. A project in which I was utilising my voice once again, this time as a Host & Compere/Music Presenter (as the title went!). I only did a handful of gigs, but I guess it was somewhat more than many could achieve. However, it was a far cry from my first summer season in Blackpool exactly ten years before (see “Masquerade” interview in the “When September Falls” project.) – the Blackpool gig is my preferred choice of remembrance over this one, believe it or not! 

I switch on the CD/Cassette player and my thoughts of the previous ‘Hollywood’ encounter trigger a host of other encounters from the past…

I reach down into the drawer underneath my bed and pull out a folder along with two photo albums. I sit on the bed and decide to open one of the albums and the first piece of nostalgia that uncovers itself is the autographed programme of the Tom Jones concert at Florida Atlantic University Auditorium in Boca Raton, South Florida – March 16th, 1998. This was the evening I drove up there from Fort Lauderdale after I collected my Monday washing from the local laundromat! But there was no way anyone could predict what was about to happen approximately 35 minutes later – this ‘meeting’ of the evening I’ve decided will feature in the article “The Last of the Romantics” as part of the “When September Falls” project (please tune in to this site for this at a later date!). 

Further turning of the pages reveals another two events which will also be featured in “The Last of the Romantics” segment: this time from the year 2003, it was the year I visited the mansions of two ‘Kings’The King of Rock n’ Roll and The King of Romance – with the latter playing an instrumental part in my Arts/Entertainment endeavours of later years including one project which was made possible by The King of Romance’s lovely daughter, Louise Dorsey…

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The ‘Long version’ of Alison Moyet‘s Love Resurrection is now the oozing ambiance in my bedroom suite. This song was one of the classic hits which inspired the crafting of a scene or two from a piece of drama-writing from my past: the controversial That’ll be the Stardust!(2008) – my independent radio drama spin-off to the classic film, That’ll be the Day (1973) and its compelling sequel, Stardust (1974)…

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Nostalgia continues to flow as I delve into the folder which houses the promotional material for “That’ll be the Stardust!”. It had been 20 years in the making. The concept originated here in Blackpool back in 1988 and finally achieved fruition in London in 2008. It was my 41st birthday when I voiced the adult ‘Jimmy Maclaine jr.’ – the character originally portrayed as a baby in “That’ll be the Day” and subsequently as a 6-year-old in Stardust. ‘Jimmy’ was the son of the wayward anti-hero turned rock star, Jim Maclaine – portrayed by David Essex in both films. 

I begin to turn the pages of the promo material; memories of a very special and productive 3 years of my life come flowing out: the making of the production, screen grabs from the Documentary, Cast Meet & Greet near Heathrow, the actual day of recording at Resident Studios, the Hospital Radio promo shows, and so on. I then peruse the letter addressed to me from Lord David Puttnam (the original producer of “That’ll be the Day” andStardust“), along with the copies of the frequent email correspondence from the films’ award-winning screenwriter, Ray Connolly. Although such acknowledgements were more in line with the statement: “Watch out, Marshall – there may be a lawyer or three knocking on your door!” – just in case any copyright infringement found its way into lining my empty pockets. However, no fear, that never happened – it was never my intention. My correspondence with the helpful Mr. Connolly was an inspiring experience filled with wonderful tidbits of information during the making of the 2 films in the ’70s. Furthermore, all these documents and materials in front of me are still an important testament to my hard work throughout that 2-year period of the actual production of the drama. 

I slip out the A4 promo of The Cast housed in a clear plastic sleeve. This is one of the promos we all signed during summer of 2009. During this time the production had been uploaded to its own web domain and we had been in the process of embarking upon a series of Hospital Radio promotions. Each member of The Cast triggers affectionate memories as I reminisce about their fabulous contributions to the production…

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A combination of Moyet’s “Love Resurrection”, playing in the background, and the promo pics prompt me to dig out a CD copy of the production. I switch the CDs in the player and I sit down in the chair in the corner of the room. I haven’t listened to this in quite a while. The opening narrative begins and soon the haunting ‘heartbeats’ of the intro to the song “Stardust” gradually creates tension for the start of the audio journey ahead…

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Soon, my very own opening voice-over introduces the production and cast. I continue to listen and then smile the same winning smile I conveyed at 40 years old in early 2008 after I’d just completed the script. I settle back to further enjoy the remaining 1 hour and 25 minutes of the life of Jimmy Maclaine jr. who is trying to come to terms with his father’s legacy along with trying to cope with his own mental health issues…

There are some very good highs and lows, some over-written segments, and some under-developed sequences…however, it still flows into place with what I’d always wanted to portray – a piece of grounded drama that unfolded over a number of years. And, in turn, it still is a very entertaining production with a whole host of very good characterisations and narratives. Consequently, it was voice-acting ‘heaven’ for those of The Cast who specialised in a variety of accents and languages. But what strikes me most of all to this day is the chemistry between all concerned that makes it what it is. I feel a resurrection of love, and passion, for everything that has just ebbed and flowed all around me. A river of life gushing with nostalgia. 

My thoughts meander…

In 1988, when I was 20 years old, I purchased a used copy of the 2-LP vinyl soundtrack of Stardust from the former record stall inside the Beach Market on Station Road in Blackpool. This soundtrack became my main source of inspiration for a new idea.  During one of my listening sessions, one evening at my flat on Lytham Road (near the Farmer’s Arms pub) my creative thinking had concocted some type of scene or scenes in relation to the “Stardust” movie and in particular the character of Jim Maclaine. These scenes also involved his manager Mike Menary (played by Adam Faith in the film). At first, I only briefly wrote a short paragraph about the concept which evolved around Maclaine’s latter days as a Rock Opera ‘God’, so to speak. Then my thoughts were transported back to the first time I watched “Stardust” – three years earlier, in 1985, when I was still living in Royton, Oldham in Greater Manchester. At that point in time, I had already viewed “That’ll be the Day” on TV back in 1979 (the night before I started Secondary School!) but I wasn’t aware that a sequel existed…until that March night in 1985…

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I continue to reflect upon my note-taking for the idea which continued for many years but was still a great source of frustration because I could never get past the first base of writing development. I was undecided about the type of format, or genre, my idea was going to take. It never had a title back then either (that didn’t occur until 2003!). However, I continued with the arduous task of scribing any other ideas relating to it on loose pieces of paper, most of which were no more than a few short sentences long. Such scribblings and doodlings continued on into my 20s at different stages of my life which involved a variety of abodes and locations. However, little did I realise that some of these locations, including some aspects of my own life experiences, subconsciously laid the foundations of what became “That’ll be the Stardust!” 

Years later, in 2007, whilst residing in Nottingham, I turned professional as a voice-over artist. This was parallel to my developing skills as a writer and on a few occasions, the writing aided the voice-overs. In April/May of that year, I was listening to Jon & Vangelis I’ll Find My Way Home and my creative thinking tuned in. For whatever reason, maybe something in the lyrics, I married the song with a scene that had prompted my imagination to concoct: a young man at a graveside saying goodbye with his mother in the background. Consequently, “That’ll be the Stardust!” was re-born with a new sense of purpose…

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I once again peruse the promotional material. In a section inside the folder is listed some of the places I had lived, and holidayed, through the years – the places where my note-taking was present for further ideas for the development of the production: Blackpool, Mallorca, Salford, London, Winchester, Basingstoke, Scarborough, Llandudno, Ayr, Glasgow, Fort Lauderdale, Nottingham and various places along the French Riviera (Nice, Cannes, Antibes, Juan-Les-Pins, Villefranche, and Beaulieu).

I place the open folder back on the bed and then turn my attention to the first photo album which depicts my time in the Arts & Entertainment industry. I turn to the pages that highlight my third attempt at being a Butlins Redcoat: Wonderwest World, Ayr (now deceased). I was employed there in 1990 & ’91. Prior to that, I was employed at two of the Butlins Grand Hotels namely Scarborough, North Yorkshire, and Llandudno, North Wales. However, Butlins Ayr (now Haven Holidays’ Craig Tara), on the Southwest coast of Scotland was the first Holiday World in which I worked. 

All the images in front of me evoke memories of simpler times, but personally, they weren’t necessarily easier times to navigate. But I suppose those times lay testament to my years of growth and development and in turn bear the emotional scars of such things as lost and found love, family challenges, and a ‘generous helping’ of bigotry. I remember the old cassette storage case I had during this period. It stored a batch of my production notes in its inside lid pocket. However, I soon discover that nothing had been recorded for the year 1990 (my first season at Wonderwest World). Strange. I thought being in that Entertainment establishment would have triggered, or even inspired, further ideas. But no. 

After that first season, my notes were transferred into the sleeves of certain LP covers (the “Stardust” soundtrack being one of them!) which were stored in vinyl record cases. Furthermore, I had also sellotaped some to the inside of a few blank VHS videotape slipcases for safekeeping.  I then rediscover that at least 4 scenes in the completed audio drama had been originally developed because of the basic note-taking that I had made during my 2nd season at Wonderwest World: 

The ‘Ayr’ Scenes

I turn once again to the signed A4 promo of The Cast of “That’ll be the Stardust!”. There are 3 of the voice actors who trigger my thoughts back to my original notes.  I refer to these as the ‘Ayr’ scenes because they were devised during my time there in 1991. However, I must stress that the concept doesn’t have anything to do with the seaside town (or Butlins Ayr for that matter!). The 3 voice actors now become my focus: 

MADELEINE HAVELL – 1st row, centre on the promo. My Leading Lady simply because she was the first recruit and she voiced many characters – including Jimmy’s girlfriend, Julie Coleman, and her interpretation of his father’s French girlfriend, Danielle (originally played by Ines Des Longchamps in “Stardust”) is spellbinding. Maddie is also featured in “The Making of…” Documentary and we later did a promotional show together at CityBeat Radio in London. She is a talented lady whom I enjoyed working with very much, and the chemistry created for our characters was a major highlight of the eventual audio drama recording. The original notes for the following scene featured Jim and Danielle – it was some form of reunion between the characters. I actually wrote the notes for this in the DJ booth in the venue formerly known as Harlequinns at Wonderwest World and immediately placed the notes inside the cover of the 2-LP “Stardust” soundtrack in my record case. However, 16 years later, in 2007, the concept shifted focus to the life of Jim’s son and this was developed especially for Jimmy’s reunion with his girlfriend, Julie. It is one of my favourite Maddie-Tony scenes in the production. I am so proud of our work together on this one (click image below): 

“Our performance has several layers to it which define the
scene beautifully.”
– Madeleine Havell. 

Incidentally, you can check out Madeleine’s fabulous showreel at the following link: 

HOLLY MACDONALD (née Magrath) – 2nd row, 1st pic on the promo. A most welcome addition to The Cast. Her opening scene of the audio drama with Alma Simpson sets the bar high. Holly and I shared creative chemistry in our approaches to production and characterisations. We continue that same approach with the “When September Falls” project today. Holly is a very supportive and approachable individual who also proves to be versatile with any aspect of creativity. I love our ‘brotherly-sisterly’ friendship which has continued through the years. Her support of my mental health issues has been reassuring. We have another voice recording project on the ‘back burner’ which will also feature Holly’s young son, Hudson. Now, for your ears only, here’s the aforementioned flashback scene – the original notes of which were made during an individual train journey from Ayr to Glasgow sometime in September/October ’91. The scene features Alma as Mrs Maclaine (Jim’s mother/Jimmy’s Grandmother) and Holly as Jean (Terry Sutcliffe’s girlfriend/future wife who had a fling with Jim the night before his wedding to Jeanette (Terry’s sister)) – click image below: 

Next up, it’s a chalet-scribed concoction from ’91 which eventually developed into Holly and I as Cathy Menary and Jimmy, respectively, in a scene in which Holly’s performance comes across as very Tarantino-esque. But she confirms: “That’s down to your writing!”. Here we are (click image below):

DOMINIC CONNOLLY – the ‘man in the middle’ in the promo and a last-minute addition to the production. Dominic is the eldest son of screenwriter Ray Connolly. He portrayed the young Jimmy Maclaine jr. as a 6-year-old in “Stardust” back in 1974. In “That’ll be the Stardust!” he voices the part of Jim Maclaine (father of Jimmy, originally portrayed by David Essex in both films) in flashback sequences. When I first viewed “Stardust” in 1985 and observed the scene in which young Jimmy is attending his grandmother’s funeral while the chaos and disturbance caused by the girl fans of his rockstar father unfolded around him, it prompted me to ask myself the following questions:

How would this bedlam involving fan worship affect a child like Jimmy? Would it become a psychological trauma? And just what kind of effect would his father’s presence have on him in that situation? 

I considered the possibility that Jimmy’s mother (Jeanette) may not have explained to him who his father was – especially knowing what kind of effect his father’s presence would have on such an occasion. I also considered what Jimmy’s future may have held in store for him while coping with his childhood experience of this situation. Therefore, this became my approach to writing and producing “That’ll be the Stardust!”.

The following scene which came to be known as the “Jim Maclaine Fantasy Sequence” is a special flashback that I originally concocted for the beginning of the production. Its origins were in Blackpool in 1988. A section of this was devised in note form at Wonderwest World three years later. Only a one-sentence summary outlined this sequence. However, I can’t remember for the life of me where I was within Wonderwest World at the time of writing it. When developed especially for the radio drama it took on a beauty all its own due to the performances of six of the cast (myself included). It’s set to Alice Cooper’s classic “Only Women Bleed” and the structure of the piece was inspired by the backing vocal ambiance of Fleetwood Mac’s “Mystified” from their “Tango In The Night” album and 10cc’s classic No. 1 “I’m Not In Love”. The segment features Dominic as Jim in a scene that depicts Jim’s final drug-addled decline. The opening of the scene also features Richard Ward as the DJ/Presenter on the audio reel. I voice Maclaine’s poetically guilty conscience. The ladies are in full harmonious flight here with their respective handling of the provocative text and vocalisation. It’s both coarse and sexy but rather beautiful in its execution. Here’s the “Jim Maclaine Fantasy Sequence” – click image below:

After listening to all of the production today, I confirm to myself that it was yet another enjoyable listening experience. It’s a resurrection of the love and passion that went into creating and recording a production I became known for in some small section of the Arts & Entertainment industry. I should be very proud…I am reminded of a song from the “Stardust” soundtrack: the ironically titled “Make Me Good”…a song that my cast and I liked…sung in the film by Essex as Jim Maclaine, but on the actual soundtrack album it is sung by Dave Edmunds…

I always got the impression that the song was written in the film for Maclaine’s french girlfriend, Danielle

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I pull out more promotional material from the folder pertaining to all things connected to our radio drama production. And then it appears: “Dea Sancta et Gloria”

Back in 2008, after the completion of the second draft of “That’ll be the Stardust!”, the song “Make Me Good” led me to contemplate the rock opera within a movie set-up which was “Dea Sancta et Gloria” as featured in “Stardust” – this was Maclaine’s musical ode to the ‘glory of woman’ and Danielle had played a part in its publicity in the movie. However, we only saw a segment of that rock opera via the performance of its title song. Therefore, a wave of creativity continued to wash over me as I crafted the lyrics of nine more songs to make up the rest of the fictionalised production within the film. During its creation I suddenly realised this was more closer to the original idea that was born in Blackpool 20 years before, only this time with a musical connection. In 2009, Madeleine and I recited the lyrics to several of these song structures during our radio promo show at London’s CityBeat. That was the last time they were individually promoted. However, I reflect upon my recent announcement that Jim Maclaine’s “Dea Sancta et Gloria” will be a recited voice-over project set to background instrumental music in the near future. Furthermore, it will be Holly and her son, Hudson assisting me in the recording of it. 

I flick through the rest of the material and then peruse the photo album that stores the Butlins’ photographs. The rumination process is about to begin, not really knowing what it will lead me to. I look down at the insides of my bare arms. They have been mark-free for several months; I haven’t felt the need to hurt myself. Although, I  still have frequent anxiety pangs, but they’ve been manageable in recent times. I just need to keep any ‘thought trains’ from calling at the ‘rumination station’.  

Mum shouts up the stairs: “Post has arrived!”

I am thankful for postie’s appearance. My mind comes back into focus.

“I’ll be right down,” I reply to Mum. 

I begin to pack all the material and photos away. It’s time to maintain a healthy and mindful focus on the day ahead. I think we’ll go for that drive after all…

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Butlins Wonderwest World
AYR – September 1991…

(Inspired by, and adapted from, diarised notes by Tony G. Marshall)

“The times continued to change at great length, at great knots. My mental health issues had decided to travel the same distance, at the same rate…”
                                                                                                                        – Tony G. Marshall.

Alan Rough – the former Partick Thistle and Scotland international goalkeeper and now manager of a local junior football club, Glenafton Athletic, has just finished his soccer coaching with the kids. The group of them are walking toward the skate hut at the other end of the field. I reflect on how grateful I am to Mr. Rough because it was he who always referred to me as The Goalkeeper or The ‘Keeper whenever the Entertainments team played a match (he played outfield for us). I am also thankful that due to experiencing severe Sciatica problems of recent times, Alan had been taking most of the goal kicks – I had to resort to throwing the ball out to the nearest team player. I began my tenure as a goalkeeper last year during my first season here. I’ve enjoyed playing many a game especially a couple of weeks ago when we beat the Marines; it had been such a competitive match, even one of our Redcoat players ended up on crutches! Thereafter, we were back to playing the guest teams once again and for some reason, the competitiveness seemed to spill over into these so-called ‘friendly’ holiday matches. It just isn’t any fun anymore; consequently, I quit playing just last week. Nevertheless, I am not employed by Butlins for my goalkeeping skills…I am first, and foremost, a Redcoat…and Compere…

*** To Be Continued – Don’t miss Part 2 of
Coming Soon… ***

A little like the flowers of debate
stood by me in trials
of moving into place,
stood by me in trials
from gloom to grace

–  Color Decay by Júníus Meyvant.

* * * * * * * * * * * * * * * * * * * *

“Despite his own recurring illness, my son is the best Carer I could ever wish for – he is my lovely lifeline.”
Sheila Ann Marshall, 2021.

* * * * * * * * * * * * * * * * * * * *

The author wishes to thank Holly Macdonald for her continued support in “helping to balance perspectives withinWhen September Falls” and for that first phone call that blended our voices together for “That’ll be the Stardust!” 15 years earlier. Peace on the Elstree(t).” – T. 

* * * * * * * * * * * * * * * * * * * *

The author also wishes to Thank former Scotland International Goalkeeper Alan Roderick Rough MBE for “being instrumental in allowing me to shine between the sticks for the Entertainment’s football team at Wonderwest World in 1990 and ’91. The role of Goalkeeper always passed me by during my schooldays in England. So, here’s a big Thank you to Roughie!”

* * * * * * * * * * * * * * * * * * * *

And to Mum – “Thank you for your love and support, and for our new
lease of life at the seaside.” XXXXXX

* * * * * * * * * * * * * * * * * * * *

Tony G. Marshall was diagnosed with Depression, Anxiety, Rumination, and Self-Harming issues in 2016. Later, Tony became a Mental Health Facilitator for the Mind UK network. Today, along with being a writer and poet for several potential projects for publishing, he is the live-in Carer for his mother in Blackpool, Lancashire. Tony continues to raise mental health awareness via social media networks and the “When September Falls” project.


TONY G. MARSHALL and HOLLY MACDONALD have known each other for 15 years and originally voice-acted together in the independent audio drama, “That’ll be the Stardust!” (2008). They have now teamed up once more to collaborate on the mental health awareness project entitled “When September Falls”

You can access further information on Holly’s series of interviews with Tony for the
“When September Falls” project at the following website link: The first interview entitled “MASQUERADE”
can be accessed at the following link: 

Copyright ©2021/22/23 by Tony G. MarshallHolly Macdonald, Sheila Ann Marshall and
Cosmic Dwellings. All Rights Reserved
Disclaimer: Cosmic Dwellings promotes a series of articles in relation to raising Mental Health Awareness via the When September Falls project. The following article is one such piece of writing that conveys an individual’s struggle with his own mental health during a most-challenging period in his life. However, the time and situations did bestow a good deal of experience and knowledge upon the individual, and we must stress that nobody is responsible for his mental health issues. They were, and still are, a major part of his life’s journey and have been so from a young age. All the views/opinions expressed do not represent the views/opinions of any Butlins organisation, or its affiliates, and are solely the written perspective of one former individual employee and his experiences during a 2-year period. N.B. Tony G. Marshall and Holly Macdonald have known each other for 15 years and originally voice-acted together in the independent audio drama production That’ll be the Stardust!(2008). They are both currently collaborating on the interview segments for “When September Falls”
Posted in Article, Author, Interview, Mental Health, Mental Illness, Music, Recording, Songwriter, Writer, writer, writing | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment


“WHEN SEPTEMBER FALLS…” is a 7-essay life story events project with an accompanying series of interviews depicting several unique events in the Arts & Entertainment life of one man over a 50-year period. The project also reveals the darker side of a life coping with Depression, Anxiety, Rumination, and eventual Self-Harming. “When September Falls…” illustrates the happiness and joy of realising development and creativity whilst raising Mental Health Awareness through considerably difficult and challenging times…and people. 

Two people are involved in the following interview segments of the project: The Interviewer ( below, on the right) and The Interviewee (on the left)…

  Theme from “The Persuaders!” (1971) –
                (Click sound wave below):

One is from the North. Born in Oldham, Greater Manchester and attended the former Our Lady’s Secondary School in Royton. He moved to Blackpool as a teenager and then from the age of 21 further travelled within the Arts & Entertainment industry to several places including Majorca and South Florida and in-between and thereafter settled in Scotland for many years. He held a variety of positions including DJ-Entertainer, Host & Compere and Professional Voice-Over Artist. He is also a writer/poet who has now moved back to his hometown of Blackpool where he tends to his mother as her live-in Carer…

The other one is from the South. Born in Tunbridge Wells, Kent and attended the local grammar school for girls. Later she went to Surrey University for Acting/drama and subsequently London Academy of music and drama. She has undertaken various roles within Film, Television and Theatre and has utilised her voice skills on several occasions. She is also a professional model having undertaken assignments for a number of organizations. She now resides near Elstree with her husband and young son…

This north and south collaboration first teamed up back in 2008 along with another 7 voice-actors for the independent radio drama entitled “That’ll be the Stardust!” – the online audio spin-off to the classic film “That’ll be the Day” (1973) and its sequel, “Stardust” (1974). Further to this, the two have remained friends and recently reunited for this special project you see before you today. The Interviewee – Tony G. Marshall and The Interviewer – Holly Macdonald both convey great passions for the Arts and Entertainment industry. “When September Falls…” is Tony’s very own story of events in which Holly has played a part in later years…

Holly about Tony:
“Working with Tony once again has not failed to delight. His writing holds you spellbound and his intense energy, positivity, and passion for creativity still captures the imagination of his audience. With his enthusiasm, northern charm, and sense of humour, he is always an absolute pleasure and a true gentleman. The industry needs more like him.” 

Tony about Holly:
“I wouldn’t want anyone else to undertake this interview segment of the project with me. It’s a pleasure to know that Holly’s relentless pursuit of anything creative is still a prominent focus; Mrs Macdonald is an excellent line of support whether in a recording studio or on a theatre stage. We previously mixed our professional chemistry in “That’ll be the Stardust!” radio drama in which her performances are compelling.”

Interview 1: “MASQUERADE”…

HOLLY MACDONALD: You’ve had quite a creative and varied existence within the Arts and Entertainment business from being a Hospital Radio Presenter to a live DJ to a Host and Compere and Professional Voice-over Artist. What are your recollections of one of your earliest inspired roles or performances?

TONY G. MARSHALL: It was one of self-expression in the form of dance and mime for the character of ‘The Pierrot’ which was an alter ego of the legendary Leo Sayer in the early ’70s. I was a Disc-Jockey/Entertainer in Blackpool in 1988. I was 20-years-old. I had been a Sayer lookalike for a couple of years at that point and I was inspired with the idea to take it a step further. Because of my outlandish hairstyle at the time, people would frequently burst into a line of “You Make Me Feel Like Dancing” or “When I Need You” much to my blushing dismay (Laughter in-studio). However, the lyrics to Sayer’s first hit single “The Show Must Go On” resonated with me, and then I discovered that he performed on stage as a type of sad clown.  Therefore, the creative and entertaining streak within me decided to interpret this into a little act that I incorporated into my Discos at the time. The idea was born in conjunction with my Blackpool summer season at the former Grand Hotel Holiday Apartments complex on Station Road, South Shore.

HM: Were you a Leo Sayer fan at the time?

TGM: I very much appreciated his musical talent as both a singer and songwriter. I mean he wrote “Giving It All Away” for Roger Daltrey‘s first solo album of which he also released a fabulously haunting version of that song as well. He wrote “Dreamin'” – a 1980 hit for Cliff Richard. I saw Leo perform this song during his concert at Blackpool’s Opera House in October of 1986. He’s also a great live performer – lots of boundless energy. But my first awareness of him probably came about via his late 70’s TV show on the BBC, but the first record I bought of his was his 1980 hit single “More Than I Can Say” – originally done by The Crickets and subsequently Bobby Vee in the early sixties. Thereafter, I owned a television-advertised double LP from the early ’80s simply entitled “Leo Sayer” – it was on the Ellem Records label. However, it was much later when I found out about his early career as ‘The Pierrot’ and his first three albums (“Silverbird” (1973), “Just A Boy” (1974), “Another Year” (1975)) present both raw and fresh rhythm and blues material with some great orchestrations and performances; great voice. That was before he made it in the States with the disco-era stuff and ballads.

HM: What did your interpretation of ‘The Pierrot’ involve?

TGM: Well, it incorporated both mime and dance expression into a routine accompanied by Sayer’s song “The Show Must Go On”. Each element depicted the lyrics and story of the song. I re-created Sayer’s clown as I donned a ‘Pierrot’ suit which I had specially made for this. However, I didn’t wear any clown makeup or anything, it was just a black mask that covered the eyes and nose area of my face. And I didn’t wear any pierrot head mask like he had, but this was due to the fact I wanted the audience to retain that familiarity between Sayer and me with the hairdo we both sported. 

HM: That is creatively unique how you undertook that interpretation. Did it go well with audiences?

TGM: Yes, for the most part, they got it! They understood where I was coming from and what I was trying to express. It was always a good buzz when I played the record of Opus‘  “Live is Life” – that was the cue for me to change into the suit and then straight into Sayer’s “The Show Must Go On”. It was an even bigger buzz when the audience would start clapping along to the song – it spurred me on. Of course, most were familiar with the original Pierrot of Leo Sayer, especially with that song. I think there were only a couple of times in which the reception was a little bit cooler than expected. I remember one time when I performed the sequence and when the music finished there was no reaction. Not one pair of hands could be heard – not even a ‘boo’ (Laughter in-studio), so I got on the microphone and shouted, “That’s ok, I can wait!” (Laughter). Next thing, one person started to applaud and then the others followed suit…gradually. That was one of those moments when the proverbial ‘hook’ was cast around my neck. (Laughter).

HM: How important was it to include this ‘act’ as part of your Deejaying gig?

TGM: It was most important for me personally because in a way it was not only I making a statement as an entertainer-type DJ, but the profound lyrics were conveying elements of my story at the time, and because of those lyrics the irony lay therein for my later, grownup years. Furthermore, it was a nice tribute to such a great singer and entertainer as Leo Sayer. I also liked the fact that he performed as that character because it was difficult for him to step into the music business and perform as himself so he adopted this persona to help with the confidence factor. However, I’m sure he found it just as difficult to step out as himself without the suit and makeup… (Interview continues below after Mr. Sayer’s ’74 live performance on video)

HM: Do you think that re-creating this character was beneficial to boosting your own confidence and self-esteem as an entertainer?

TGM: Definitely – one hundred percent. Expressing myself this way was a great outlet and enabled me to feel empowered in the sense that I attempted to discover what I was capable of by adopting and adapting this character. Therefore, it was very cathartic portraying something that the majority of people would recognize and maybe in some small way resonate with them. It kind of set me up well to further being creative later in life – reaching out for ideas, creating them, testing them, and finding out what works and what doesn’t.

HM: Did the Pierrot ‘act’ afford you any more gigs outside of your summer season?

TGM: Yes, I managed to get a couple of bookings for birthday party gigs. Funnily enough, I was always asked if I was going to be bringing ‘The Pierrot’ along with me. And so I did…as requested. Later, when the season finished so did my first tenure living in Blackpool. I’d been there about two years and eight months and I decided I wanted to go and work abroad in 1989. I moved back with mum in Royton in Oldham as a stop-gap between gigs and I embarked upon my journey of applying for work abroad. Along with my applications, I sent a promotional photograph of me as ‘The Pierrot’ and it eventually paid off for me. I was offered a position as a DJ-Entertainer in Jersey in the Channel Islands and I was just about to sign the contract for it when I was offered a contract with the Club Tropicana in Mallorca in the Balearic Islands occurred. I was over the moon – the world was my oyster! I chose the Mallorca gig and got ready for my travels – both on and off stage. (Tony’s summer season in 1989 will be covered in “A Place in the Sun” interview for “When September Falls”!)

HM: For a person who has struggled in coping with Depression and Anxiety through the years, you have certainly broken through the lack of confidence barrier with some of the things you have undertaken. How does that feel now to know that you achieved such things in life?

TGM: Well, as I’ve gotten older my mental health has taken a considerable turn for the worse. So, yes, I think it’s remarkable for myself that I managed to achieve what I did. I always had a lot of nervous energy undertaking such things especially when it came to performing on stage but I later discovered that developed into a considerable amount of anxiety. It’s quite overwhelming to think of that now. I certainly wouldn’t want to go back to those days even though they are what gave me a little rung on the entertainment ladder. However, the bad side is that my mental health has taken a turn for the worse in respect of what I struggle with now. 

HM: I notice the photograph of you and your lovely mum (wearing red shirt) in the picture promo for this interview. I’ve met her on a couple of occasions exactly 20 years after this photo of you both was taken. Did your mum have any influence on your creativity or even being involved in the industry?

TGM: Yes, in a way. Mum was instrumental in my early musical influences which further inspired me to be involved with the music aspect within my arts and entertainment journey. Mum was responsible for me listening to cassette tapes and records when I was 11  – 12 years old and consequently getting inspired with what I was listening to…

Next…in “When September Falls”Holly interviews Tony about his early years in Royton, Oldham, and holidaying in Blackpool which led to his early musical influences and heroes which inspired him to eventually format and produce his own shows for the Hospital Radio community and subsequently collaborating with bands on stage – don’t miss Interview 2: “TOWERING PERFORMANCES ON TAPE”

* * * * * * * * * *

Don’t forget “WHEN SEPTEMBER FALLS” now has its very own page here at the Cosmic Dwellings which presents all the links to the latest interviews in the series. The page can be accessed at the following link: 

Copyright ©2021/22 by Tony G. Marshall, Holly Macdonald, and Cosmic Dwellings.
All Rights Reserved. 

Posted in Actor, Article, Character, Entertainer, Interview, Mental Health, Mental Illness, Music, Online, Poem, Poems, Poet, Poetry, Production, Radio, Serial, Story, Writer, writer, writing | Leave a comment

SHAKIN’ STEVENS / Fire in the Blood: The Definitive Collection

Shakin Stevens / Fire in the Blood: The Definitive Collection 19CD box set

19 CD deluxe set • Signed by Shaky!

BMG will, in November, issue Fire in the Blood: The Definitive Collection, a massive career-spanning box set featuring the work of Welsh singer and songwriter Shakin’ Stevens.

The 19-CD box set features all of Shaky’s albums as a solo artist, from his first signing and album on Track Records, to his latest studio album, Echoes Of Our Times and it also comes with four CDs of rarities.

Shaky was a chart sensation in the UK in the 1980s, in fact, he was the biggest selling singles artist of that decade – no mean feat when you consider how big groups like Wham! and Frankie Goes To Hollywood were. But he just kept going and they didn’t! Stevens enjoyed 15 British top ten hits in the 1980s and four UK number ones.

Fire in the Blood: The Definitive Collection is a 19CD box set

In total, this set contains 266 tracks and notable inclusions are a live concert recorded at the Paris Theatre, London for BBC Radio 1 in 1980 and the four rarities discs are packed with B-sides, 12-inch mixes, two previously unreleased tracks and more.

This CD box set comes packaged in a 12″ x 12″ hardcover book and contains an extended essay by Paul Sexton. It also includes the following:

  • Reproduced promo poster
  • ‘Oh Julie’ sheet music
  • 3 x 12-inch art prints of Shakin’ Stevens
  • 36-page Bespoke Tour Programme
  • Autograph book, personally signed by Shakin’ Stevens

If you prefer your Shaky in bite-sized chunks there will also be a new compilation Singled Out, available on 3-CD or 2-LP. The former contains ALL his UK singles.

Fire in the Blood: The Definitive Collection will be released on 27 November 2020You can pre-order from the official Shaky store, below.

Shakin’ Stevens
1. You Can’t Sit Down (Instrumental)
2. I’m Ready
3. So Glad You’re Mine
4. Let’s Dance
5. Till I Waltz Again With You
6. Such A Night
7. Justine
8. Baby Blue
9. Wait And See
10. Can’t Believe You Wanna Leave
11. a. Whole Lotta Shakin’ Goin’ On
b. Jenny Jenny
c. Tutti Frutti

Take One!
1. Lovestruck
2. Hot Dog
3. Is A Bluebird Blue?
4. That’s Alright
5. Without A Love
6. Shame, Shame, Shame
7. Shotgun Boogie
8. I Got Burned
9. I Guess I Was A Fool
10. Ah, Poor Little Baby
11. Little Pigeon
12. Do WhatYouDid

This Ole House
1. Hey Mae
2. Baby If We Touch
3. Marie, Marie
4. Lonely Blue Boy
5. Make It Right Tonight
6. Move
7. Slippin’ And Slidin’
8. Shooting Gallery
9. Revenue Man
10. Make Me Know You’re Mine
11. This Ole House
12. Nobody
13. Two Hearts

1. Mona Lisa
2. You Drive Me Crazy
3. I’m Knockin’
4. It’s Raining
5. Don’t She Look Good
6. Green Door
7. Don’t Bug Me Baby
8. Don’t Tell Me Your Troubles
9. I’m Gonna Sit Write Down And Write Myself A Letter
10. This Time
11. Baby You’re A Child
12. Don’t Turn Your Back
13. Let Me Show You How
14. I’m Lookin’

Give Me Your Heart Tonight
1. Josephine
2. Give Me Your Heart Tonight
3. Sapphire
4. Oh Julie
5. I’ll Be Satisfied
6. Vanessa
7. Boppity Bop
8. Don’t Tell Me We’re Through
9. Shirley
10. You Never Talked About Me
11. Too Too Much
12. (Yeah) You’re Evil
13. Que Sera, Sera

The Bop Won’t Stop
1. The Bop Won’t Stop
2. Why Do You Treat Me This Way?
3. Diddle I
4. Don’t Be Two Faced
5. Livin’ Lovin’ Wreck
6. A Rockin’ Good Way (To Mess Around And Fall In Love)
7. Brand New Man
8. Cry Just A Little Bit
9. As Long As
10. A Love Worth Waiting For
11. Love Me Tonight
12. It’s Late

Lipstick Powder And Paint
1. Lipstick Powder And Paint
2. Bad Reputation
3. Don’t Lie To Me
4. I’m Leaving You
5. The Shape I’m In
6. Don’t Knock Upon My Door
7. Turning Away
8. Love You Out Loud
9. As Long As I Have You
10. With My Heart
11. Ain’t It A Shame (You Win Again)
12. So Long Baby Goodbye

Let’s Boogie
1. Come See About Me
2. Forever You
3. A Little Boogie Woogie (In The Back Of My Mind)
4. Because I Love You
5. What Do You Want To Make Those Eyes At Me For
6. The Hits Keep Coming Live Medley ’86
7. Cry Just A Little Bit
8. You Drive Me Crazy
9. A Rockin’ Good Way
10. Give Me Your Heart Tonight
11. A Love Worth Waiting For
12. Green Door
13. I’ll Be Satisfied
14. A Letter To You
15. Shirley
16. Oh Julie
17. It’s Late
18. Marie, Marie
19. It’s Raining
20. Hot Dog
21. Teardrops
22. This Ole House

Whole Lotta Shaky
1. What Do You Want To Make Those Eyes At Me For
2. How Many Tears Can You Hide
3. Jezebel
4. Sea Of Love
5. True Love
6. Just One Look
7. Oh Julie
8. Do You Really Love Me Too
9. I’m Gonna Sit Right Down And Write Myself A Letter
10. Hello Josephine
11. Woman (What Have You Done To Me)
12. Heartbeat
13. Tired Of Toein’ The Line
14. Mona Lisa

There Are Two Kinds Of Music…Rock ‘n’ Roll!
1. Love Attack
2. I Might
3. Yes I Do
4. You Shake Me Up
5. Tell Me
6. Tear It Up
7. My Cutie Cutie
8. The Night Time Is The Right Time
9. Pink Champagne
10. If I Lose You
11. Queen Of The Hop
12. Rockin’ The Night Away

Merry Christmas Everyone
1. Rockin’ Little Christmas
2. White Christmas
3. Sure Won’t Seem Like Christmas
4. I’ll Be Home This Christmas
5. Merry Christmas Everyone
6. Silent Night
7. It’s Gonna Be A Lonely Christmas
8. The Best Christmas Of Them All
9. Merry Christmas Pretty Baby
10. Christmas Wish
11. Blue Christmas
12. So Long Christmas

13. Merry Christmas Everyone
14. Blue Christmas

Now Listen
1. Now Listen
2. Somewhere In The Night
3. Lonely Too Long
4. Got My Mind Set On You
5. Baby It’s You
6. Fire Down Below
7. How Could It Be Like That
8. It’s A Shame
9. Pump It Up
10. I Hear You Knockin’
11. Trouble
12. Get Together

Echoes Of Our Times
1. Down In The Hole
2. Echoes Of Our Times
3. Behind Those Secrets And Lies
4. To Spread The Word
5. The Fire In Her Blood
6. Down Into Muddy Water
7. Suffer Little Children
8. Train Of Time
9. Love The World
10. Last Man Alive

Shaky Live
1. How Could It Be Like That
2. Turning Away
3. Give Me Your Heart Tonight
4. You Drive Me Crazy
5. I Got My Mind Set On You
6. Now Listen
7. Down Into Muddy Water
8. Cry Just A Little Bit
9. It’s Raining
10. Radio
11. A Letter To You
12. The Fire In Her Blood
13. Suffer Little Children
14. Marie, Marie
15. Oh Julie
16. Green Door
17. Train Of Time
18. Last Man Alive
19. This Old House
20. Fire Down Below

BBC – In Concert
1. a. Slippin’ And Slidin’
b. Make It Right Tonight
2. Don’t Bug Me Baby
3. Baby If We Touch
4. Shooting Gallery
5. Apron Strings
6. Little Pigeon
7. Lonely Blue Boy
8. Don’t Knock Upon My Door
9. Hey Mae
10. Shotgun Boogie
11. Make Me Know You’re Mine
12. Big Hunk Of Love
13. Hot Dog
14. Marie, Marie
15. Move

Non LP 1 – Rarities
1. Never (Single)
2. You Always Hurt The One You Love (B-Side)
3. Somebody Touched Me (Single)
4. Way Down Yonder In New Orleans (B-Side)
5. Treat Her Right (Single)
6. I Don’t Want No Other Baby (B-Side “Treat Her Right”)
7. Endless Sleep (Single)
8. Fire (B-Side “Endless Sleep”)
9. Spooky (Single)
10. Hot Dog (Single Version)
11. Apron Strings (B-Side “Hot Dog”)
12. You And I Were Meant To Be (B-Side “It’s Raining”)
13. I’m For You (B-Side “Shirley”)
14. Thinkin’ Of You (B-Side of “Give Me Your Heart”)
15. Josephine (B-Side “Blue Christmas”) (Live)
16. Lawdy Miss Clawdy (B-Side “Blue Christmas”) (Live)
17. Que Sera (B-Side “Blue Christmas”) (Live)
18. Don’t Be Late (Miss Kate) (B-Side ” I’ll Be Satisfied”)
19. It’s Good For You (Baby) (B-Side “It’s Late”)
20. Your Ma Said You Cried In Your Sleep Last Night (B-Side “Cry Just A Little Bit” 12″)
21. The Bop Won’t Stop (B-Side ” A Rockin’ Good Way” 12″) (Live)
22. Why Do You Treat Me This Way (B-Side ” A Rockin’ Good Way”) (Live)
23. Don’t Tell Me We’re Through (B-Side “A Love Worth Waiting For”) (Live)
24. As Long As (B-Side “A Love Worth Waiting For” 12″) (Live)

Non LP 2 – Rarities
1. A Letter To You (Single)
2. Come Back And Love Me (B-Side “A Letter To You”)
3. Cry Just A Little Bit (Luongo’s Remix) (B-Side “A Letter” 12″)
4. Teardrops (Single )
5. You Shake Me Up (B-Side “Teardrops”)
6. Teardrops (Extended Version) (12″)
7. Breakin’ Up My Heart (Single)
8. I’ll Give You My Heart (B-Side “Breaking Up My Heart’’)
9. Break Up My Heart (Extended Remix) (12″)
10. I’ll Give You My Heart (Remix) (B-Side “Lipstick Powder And Paint”)
11. Turning Away (Extended Remix) (12″)
12. Because I Love You (Extended Version) (12″)
13. Tell Me One More Time (B-Side “Because I Love You”)
14. If You’re Gonna Cry (B-Side “A Little Boogie Woogie”)
15. A Little Boogie Woogie (In The Back Of My Mind) (Boogie Mix) (12″)
16. Come See About Me (Extended remix) (12” Single)

Non LP 3 – Rarities
1. Feel The Need In Me (Single)
2. If I Can’t Have You (B-Side “Feel The Need”)
3. Feel The Need In Me (Dance Mix) (12″)
4. If I Really Knew (B-Side “How Many Tears”)
5. How Many Tears Can You Hide (Dance Mix) (12″)
6. True Love (Extended Version) (12″)
7. Come On Little Girl (Chrome Sitar) (B-Side “True Love”)
8. Jezebel (7″ Re-mix) (Single)
9. As Long As I Have You (Live) (B-Side “Jezebel”) (Live)
10. Jezebel (Monster Re-mix) (12”)
11 Love Attack (7″)
12. Love Attack (Extended Version) (12″)
13. I Might (Extended Version) (12″)
14. Love Won’t Stop (B-Side “I Might”)
15. Yes I Do (Extended Version) (12″)
16. Dizzy Miss Lizzy (Live)
17. With My Heart (B-Side “I’ll Be Home For Christmas”) (Live)

Non LP 4 – Rarities
1. You Shake Me Up (Remix)
2. Radio (Single)
3. Oh Baby Don’t (Out-take) (B-Side “Radio”)
4. Radio (Acoustic Version) (B-Side “Radio” CD)
5. I Can Help (Single)
6. Calling You (B-Side)
7. I Need You Now (UNRELEASED)
8. Wild At Heart (UNRELEASED)
9. Now Listen (Acoustic Mix) (B-Side “Now Listen”)
10. Trouble (Live) (B-Side “Now Listen”)
11. Down In The Hole (Radio Mix) (Single)
12. Down Into Muddy Water (Radio Mix) (Single)
13. Last Man Alive (Radio Mix) (Single)
14. Down In The Hole (The Blues Show with Paul Jones – BBC)
15. Down Into Muddy Water (The Blues Show with Paul Jones – BBC)
16. The Fire In Her Blood (The Blues Show with Paul Jones – BBC)
17. Last Man Alive (The Blues Show with Paul Jones – BBC)
18. To Spread The Word (The Blues Show with Paul Jones – BBC)
19. Echoes Of Merry Christmas Everyone (Single)

Shaky’s Official Facebook page (Click image):

And don’t miss “SHAKY & THE SUNSETS: LEGENDS IN THE ROCKHOUSE” by Tony G. Marshall at the following Cosmic link (Click image):

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“ONCE UPON A TIME…IN HOLLYWOOD”: What Real Movies Inspired Rick Dalton’s Fake Films?

Columbia Pictures

“Bounty Law” and “Tanner” were all inspired by real projects starring Steve McQueen, Vince Edwards, Tab Hunter and more…

Brian Welk | July 26, 2019 @ 4:23 PM

Rick Dalton, the actor played by Leonardo DiCaprio in “Once Upon a Time…in Hollywood,” does not exist. But he feels like he could, because director Quentin Tarantino has mapped out an entire filmography for Dalton that plausibly places him within a changing Hollywood in 1969.

The fake movie scenes and posters Tarantino has created for Dalton are a portrait of a certain type of actor in the ’60s: a handsome, ruggedly masculine type who would soon be replaced as the default Hollywood leading man by a more androgynous aesthetic inspired by the emerging counterculture. Tarantino has said on several occasions that Rick Dalton’s screen persona and his career trajectory are an amalgam of guys like Steve McQueen, George Maharis, Vince Edwards, Edd Byrnes, Ty Hardin and more. And if you have forgotten who some of those actors are, that’s essentially Tarantino’s point.

“What he’s dealing with is even more than the TV and movies transition, as big a deal as that is, especially to him. The culture has changed underneath him, the entire Earth has gone topsy-turvy as far as he’s concerned, as far as a whole era of leading men is concerned,” Tarantino said on the “Pure Cinema Podcast,” which looks at the programming at Tarantino’s New Beverly Cinema in Los Angeles. “They spent their careers running pocket combs through their pompadours. Nobody is putting pomade in their hair anymore, nobody is wearing pompadours any more.”

Also Read: Tarantino’s ‘Once Upon a Time in Hollywood’: How the Stars Compare to Real-Life Characters (Photos)

The roles Dalton takes throughout “Once Upon a Time…in Hollywood” aren’t just for color: they reflect his character and how he looks at himself as an actor. Thankfully, Tarantino has taken most of the guess work out of deciphering the inspirations behind Rick Dalton and his filmography and detailed the inspirations for each of Rick Dalton’s fake movies that appear in the film and in special promotional posters for “Once Upon a Time…in Hollywood.”

Here’s a rundown of each of those fake films and the real movies and shows that Tarantino based them on:

“Bounty Law”Steve McQueen in “Wanted: Dead or Alive” 

Columbia Pictures

Before Steve McQueen was in “Bullitt” and “The Great Escape,” he was a TV cowboy. Tarantino said Rick Dalton’s “Bounty Law” and McQueen’s “Wanted: Dead or Alive” were “pretty much identical shows” and that they even aired at the same time, sparking fan magazine rivalries in his alternate Hollywood universe. But whereas McQueen successfully transitioned from TV to film, Dalton couldn’t do the same, and now he’s stuck guest starring on other people’s TV shows as the bad guy who gets beat up by the new kid on the block.

Here’s a screenshot from the “Wanted: Dead or Alive” opening titles for reference:

CBS/Four Star Entertainment

Also Read: Once Upon a Time in Hollywood, Did Bruce Lee Really Teach Sharon Tate How to Fight?

“Tanner” – Tab Hunter in “Gunman’s Walk”

Columbia Pictures

“Tanner” is one of Rick Dalton’s early films, a Western he made during the hiatus of filming “Bounty Law” that he hoped would launch him to movie stardom. And it’s most closely based on the 1958 film “Gunman’s Walk” starring Tab Hunter, another handsome actor that Tarantino said was a loose model for Dalton. Tarantino even included the Western as part of a curated film marathon that’s airing on the Sony Movie Channel in conjunction with “Once Upon a Time…in Hollywood.”

Here’s the 1958 theatrical poster for “Gunman’s Walk” for comparison:

Columbia Pictures

“Nebraska Jim” – Burt Reynolds in “Navajo Joe”

Columbia Pictures

“Nebraska Jim” is a spaghetti western directed by Sergio Corbucci, who Al Pacino’s character in the film refers to as “the second-best director” of the genre (behind Sergio Leone, almost certainly). But of course Corbucci is a real director who Tarantino adores. His 1966 film “Django” helped inspire the title to “Django Unchained,” and a poster for the 1968 film “The Mercenary” appears in the theater visited by Sharon Tate in “Once Upon a Time…in Hollywood.” Corbucci’s “Navajo Joe” however stars a young Burt Reynolds as a Native American warrior who seeks revenge on a group of outlaws who savaged members of his tribe. The title “Nebraska Jim” also veers closely to another 1966 film called “Ringo del Nebraska” starring Ken Clark.

Check out the posters for “Navajo Joe” and “Ringo del Nebraska”:

Dino de Laurentiis

Also Read: ‘Once Upon a Time…in Hollywood’ Premieres to $5.8 Million at Thursday Box Office

“Operazione Dyn-o-Mite!” – Ty Hardin in “Moving Target”
(a.k.a. “Death on the Run”)

Columbia Pictures

In “Once Upon a Time…in Hollywood,” Dalton’s “Operazione Dyn-o-Mite” is described as an Italian, spy movie ripoff of James Bond as directed by Corbucci. And though Corbucci was known for his spaghetti westerns, he took a departure from the genre and make a spy movie called “Bersaglio mobile,” retitled in the U.S. as “Moving Target” and “Death on the Run.” Tarantino on the Pure Cinema podcast said he directly lifted the car chase from “Moving Target” but subbed in DiCaprio’s face over Hardin’s. And in the fake movie poster for “Operazione Dyn-o-Mite,” DiCaprio’s outfit is strikingly similar to what Hardin wore in the film.

Here’s an American “Death on the Run” poster for comparison:

Directed by Sergio Corbucci

“Kill Me Now Ringo, Said the Gringo” – Giuliano Gemma in
“A Pistol for Ringo”

Columbia Pictures

Tarantino has fun with the rhyming title of Dalton’s “Kill Me Now Ringo, Said the Gringo,” also known by its Italian title, “Uccidimi Subito Ringo, Disse il Gringo.” Tarantino’s New Beverly Cinema wrote a blog post that says the title is inspired by two films starring Giuliano Gemma called “A Pistol for Ringo” and the sequel “The Return of Ringo.”

Check out the posters for “A Pistol for Ringo” and “The Return of Ringo” below:

Also Read: Once Upon a Time in Hollywood, Roman Polanski Blamed Bruce Lee for Sharon Tate’s Murder

“Red Blood, Red Skin” – George Maharis in “Land Raiders”

Another western in Dalton’s spaghetti western period in Italy, Tarantino said on the “Pure Cinema Podcast” that the fictional plot of “Red Blood, Red Skin” is inspired by “Land Raiders,” which is about an outlaw who commits a string of robberies and then places the blame on a tribe of Apaches, sparking a Native American war. Tarantino imagines that Dalton stars in the film alongside Telly Savalis, who also appears in “Land Raiders,” and Tarantino said he created the fake poster seen in the movie by replacing Maharis with Dalton in the Spanish poster for “Land Raiders.”

Here’s a shot from “The Land Raiders”:

Columbia Pictures

“The 14 Fists of McCluskey” – “Inglourious Basterds”

This movie in Dalton’s filmography isn’t necessarily a direct surrogate of an existing film, though the concept, a war film set across enemy lines during World War II, feels similar to movies like “The Secret Invasion” from Roger Corman and starring Edd Byrnes or “The Dirty Dozen.” However, the scene staged in “Once Upon a Time…in Hollywood” of Dalton torching a room full of Nazis with a flamethrower is eerily similar to the climax of Tarantino’s other revisionist period piece, “Inglourious Basterds,” which saw the Basterds torch a theater filled with Nazi bigwigs and also starred “Once Upon a Time’s” Brad Pitt.

We don’t have an image of the fictional film, but up above you can see shot from that incredible “Inglourious Basterds” scene to tide you over.

Source: Real Movies That Inspired Fake ‘Once Upon a Time in Hollywood:’ Films?

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A Tribute to “THE MAN WHO HAUNTED HIMSELF” – Roger Moore’s finest hour | Den of Geek

The late, wonderful Roger Moore will always be remembered for Bond, but The Man Who Haunted Himself might just be his best performance…

Feature by Mark Allison

When Sir Roger Moore sadly passed away earlier this year, accounts of his life and career understandably focused on his seven spectacular outings as James Bond 007. Personally, I rewatched The Spy Who Loved Me for the 75th time, basking once again in his effortless charm and flawlessly tailored leisure suits.

Of his career outside the Bond franchise, many obituaries focused on his early television work in The Saint and The Persuaders!, in which he played similarly suave, elegantly dressed adventurers. But despite his own self-deprecation, Roger Moore’s acting abilities were more varied than one is often led to believe. His career extended far beyond the eyebrow-raising antics of the Bond films, and nowhere is this better illustrated than in The Man Who Haunted Himself, a wonderful psychological thriller from 1970.

This film, one of Moore’s personal favourites, showcases the actor in an entirely different light as Harold Pelham, a dull business executive in the City of London. Following a traumatic car crash on his way home from work, Pelham begins to believe that he is being stalked by his own evil doppelgänger. His suspicions are aroused when friends and colleagues claim to have seen him in two places at once, and they start to recount raucous nights out and extra-marital liaisons of which he has no memory. At first, Pelham assumes the phenomenon to be part of an elaborate practical joke, but he slowly begins to doubt his own sanity as his life crumbles around him.

The Man Who Haunted Himself was adapted from the 1957 novel The Strange Case Of Mr Pelham by Anthony Armstrong, which had previously formed the basis for an episode of Alfred Hitchcock Presents. This version was written for the screen and directed by Basil Dearden, a veteran British film-maker of Ealing Studios stock, and was produced on a wafer-thin budget of around £400,000. Upon receiving the screenplay, Moore believed it to be “one of the best scripts I’d ever read”, and duly took a pay cut in exchange for a share of the film’s profits.

The movie plays out much like an episode of The Twilight Zone; Pelham’s seemingly unremarkable life gradually becomes more sinister and surreal as events proceed, eventually descending into a horrific climax. Indeed, the mise-en-scene maintains a sense of everyday realism as the peculiar story unfolds, which only adds to the growing sense of unease. Neither the audience nor Pelham himself are ever sure whether his doppelgänger is a genuinely physical presence, or merely the invention of a deranged mind, and the whole truth is only revealed during the film’s devastating final moments. It makes for a subtle but chillingly effective lesson in cinematic suspense.

Roger Moore claimed that The Man Who Haunted Himself was “one of the few times I was allowed to act”, which he acknowledged was “a terrible admission from someone who has made a living walking in front of cameras”. Looking back over his body of work, it’s difficult to argue with Moore’s appraisal. For anyone used to the sardonic quips and cocked eyebrows of the Bond films, this performance is a revelation. He palpably captures the escalating mania of an ordinary man driven out of his mind by events he cannot comprehend. In a role which could have succumbed to scenery chewing overstatement, Moore moves convincingly from confusion, to frustration, to anger, and finally, to madness. It invokes a tenderness which grounds an otherwise dreamlike narrative, making Pelham’s plight all the more credible.

Of course, the scenes in which Moore plays the evil twin allow him to stretch his legs into more familiar territory. He employs the same devilish charm and icy wit which characterised Simon Templar, Lord Brett Sinclair, and James Bond, but this time he adopts an altogether more menacing quality – as if providing a peak past the debonair exterior and into a malevolent soul. Put together, the two halves of Harold Pelham are utterly compelling, and provide a testament to Moore’s impressive range.

Despite Moore’s personal belief in the project, The Man Who Haunted Himself did not perform well financially, a fact which the actor blamed on an “amateurish” publicity campaign. Nevertheless, it has attained something of a cult status as years have passed, not least thanks to Sir Roger devotedly promoting the film on Twitter whenever it appeared on UK television. Peter Bradshaw of the Guardian, for example, has championed the title as Moore’s best film, and it has certainly aged better than most of his non-Bond filmography.

Much like Harold Pelham and his evil doppelgänger, Roger Moore was never able to shake his enduring identity with the role of James Bond, although this was a fact he came to embrace with characteristic self-awareness. Nevertheless, he continued to advocate The Man Who Haunted Himself as a demonstration of his talents, and a damn good thriller in its own right.

When I was privileged to see Roger Moore during his 2015 live tour, one of the few film clips he screened in its entirety was a scene from this film. His affection was instantly obvious as he introduced the sequence with an enthusiastic preamble, like a child showing off their favourite painting. A few minutes later, once the extract had ended and the audience broke into applause, I noticed a delighted smile break across the actor’s face. There was no follow-up joke or sarcastic comment, as was Roger’s custom; this was merely an actor expressing pride in his work, and with good reason. The Man Who Haunted Himself is a terrific, chilling experience which holds up almost fifty years since its debut, with a career-best performance from one of the screen’s most charismatic presences. Sir Roger Moore may have left us, and the world is poorer for it, but there’s always more to discover about the great man and his legacy.

Source: A tribute to The Man Who Haunted Himself – Roger Moore’s finest hour | Den of Geek

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“Still after all these years the chemistry of performances in ‘That’ll be the Stardust!’ highlights a beautiful texture throughout some of the writing. Story-wise, it’s quite a colourful journey which flows in a mysterious way across the audio palette.”

Tony G. Marshall
(“That’ll be the Stardust!” – Lead Voice Actor, Writer, Co-Producer).


“The following are a selection of audio links to some of the performance highlights of the radio drama production. I thoroughly enjoyed helping to bring to life the characters with the rest of my Cast. It was a labour of love to eventually get this thing off the ground for a job entertainingly well done. Enjoy the chosen scenes for your perusal!”
Tony G. Marshall


1.MRS MACLAINE (Alma Simpson (Reising)) & JEAN SUTCLIFFE (Holly Macdonald (formerly Magrath)):

A well-acted opening scene by Alma and Holly, specially written for the radio drama. You can certainly feel the tension building between Ray Connolly’s characters (originally played by Rosemary Leach and Beth Morris in ‘That’ll be the Day’) – a great chemistry of angst and pleading…
2018-12-22 (1)

Jim (Dominic Connolly), Poetic echoes & “Big Boys Don’t Cry” whispers/demands (Erica Thomas-Lowe & Holly Macdonald (formerly Magrath)), ‘Moans’, ‘Groans’ and other statements/questions (Madeleine Havell & April Harrison), Poetic Conscience (Tony G. Marshall):

A sequence of artistic beauty with its drug-addled psychedelic mix of poetic sexual overtones set to the music of Alice Cooper’s “Only Women Bleed”. This piece pays homage to Jim Maclaine’s poetry (as written by Ray Connolly for both the film and the novel of ‘That’ll be the Day’) with new additional text from myself. A beautiful performance by 6 of the Cast which features Ray’s son, Dominic as the voice of the hallucinating Jim Maclaine. *Trivia*: Dominic played the young Jimmy Maclaine jr. on screen in ‘Stardust’ (1974)…

3. JIMMY (Tony G. Marshall) & UNCLE TERRY (Richard Ward)

Another scene specially written for the radio drama. It was always a fascinating concept to have Jimmy jr. discussing the legacy of his father with his father’s former best friend, Terry Sutcliffe. Richard Ward delivers a fine performance here as Terry (originally played by Robert Lindsay in ‘That’ll be the Day’) creating an ambience which bites with an undercurrent of reluctance and regret. Pink Floyd’s “Another Brick In The Wall – Part 1” assists with the haunting reflection of the scene… 

4. JIMMY (Tony G. Marshall) & JEANETTE THORPE (Alma Simpson (Reising)):

Another great performance from Alma this time as Jimmy’s mother (originally played by Rosalind Ayres in ‘That’ll be the Day’ and its sequel, ‘Stardust’). Alma captures some of the cynical grit that Jeanette conveyed in the aforementioned sequel movie, but still maintains that certain motherly sweetness when advising her son – a good scene…!

5. JIMMY (Tony G. Marshall) & JULIE COLEMAN (Madeleine Havell):

The first meeting between the characters has a unique setting. The chemistry begins to ignite right from the off. Madeleine’s portrayal of ‘Julie’ is perfect foil for Jimmy’s somewhat cheeky nature. She’s nice, approachable and we then discover she can certainly give as good as she gets…!

6. JIMMY (Tony G. Marshall) & JULIE COLEMAN (Madeleine Havell):

Tensions mount between Jimmy and Julie when he takes her to visit his Mother’s and Step-father’s house in Scotland – the place where he grew up – when he reveals his locked bedroom full of memorabilia dedicated to his real father, Jim Maclaine. Alarm bells of concern begin to ring with clarity within Julie’s mind. Another great scene as Jimmy’s adult journey now begins to unfold. Julie’s straight-talking, but caring, nature for her man is well-executed by Madeleine which allows Jimmy’s sensitive and vulnerable disposition to be laced with an undercurrent of anger as he confuses Julie’s concern for a lack of understanding… 

7. JIMMY (Tony G. Marshall) & JULIE COLEMAN (Madeleine Havell):

An opening narrative by Jimmy leads into an explosive scene with Julie as her concern for Jimmy’s mental health and wellbeing reaches its pinnacle. Jimmy is further overwhelmed by what he considers Julie’s lack of knowledge and empathy towards any matter regarding his father. I loved playing out this scene with Madeleine who conveys considerable depth of Julie’s serious concern and frustration. It’s the disturbing aspect of Jimmy’s denial which drives the passions in this scene…

8. JIMMY (Tony G. Marshall) & FRENCH PROSTITUTE (Madeleine Havell):

Jimmy’s narrative commences with the revelation of the confirmation of him being in denial with everything regarding his father. However, it would appear that his statement is merely a close-guarded secret between him and his listening audience. Therefore, he is not likely to admit this to anyone publicly. The scene that follows is tinged with irony in the fact that it is set in a brothel in France – could be interpreted as an homage to the sleazy side of his father’s life as a Rock Star (?). A well-acted scene with the writing/dialogue allowing the fun chemistry to ooze between the characters…

9. JIMMY (Tony G. Marshall) & DANIELLE (Madeleine Havell):

Jimmy’s narrative sets the scene beautifully for a more select region of France. We then cut to the actual scene in which Jimmy meets his father’s former girlfriend, Danielle (from “Stardust”(1974)). It’s a most intriguing meet and the nostalgia factor burns like an eternal candle. A touching, heartfelt scene in many ways as Jimmy continues to grasp for every last morsel of information about his father. Maddie as Danielle injects the scene with the correct balance of empathy and understanding toward Jimmy. If you’re a fan of both films then it’s a fascinating listen…

10. JIMMY (Tony G. Marshall) & JULIE COLEMAN (Madeleine Havell):

Jimmy’s opening narrative conveys his blasé attitude toward his current lifestyle – displaying considerable arrogance especially toward the opposite sex. Then, his demeanour has a change of heart when his thoughts turn to Julie. An achingly beautiful scene unfolds between the two characters even with the added tension of strong language. At this juncture in the story, Jimmy & Julie had spent a considerable amount of time apart. I would say that this is one of my most favourite scenes of the radio drama because everything about it is beautifully played – including the accompanying musical backdrop of Dire Straits with “Romeo & Juliet”Madeleine turns in a most natural and quite vulnerable performance and the spark between both characters rekindles to the highest voltage – love it…!

11. JIMMY (Tony G. Marshall) & CATHY MENARY (Holly Macdonald):

The following two links featuring Holly illustrate two different dynamics of scenes between the characters of Jimmy and Cathy: this first scene (following Jimmy’s cocksure narrative) plays out like something from an old 1930’s or 1940’s romance set to a musical landscape of encapsulating strings and chords. The scene depicts the start of the characters’ affair in which Holly as Cathy demands that Jimmy kiss her again…and again. I never expected Holly’s delivery to lead us into the aforementioned ‘old school’ territory and our Producer obviously heard something in our performances which inspired his choice of instrumental music – Interesting…
12. JIMMY (Tony G. Marshall) & CATHY MENARY (Holly Macdonald):

This next scene flips the coin on the previous scene following on from Jimmy’s narrative which both Cathy and her daughter’s individual affairs with Jimmy are referred to. Playing out almost Tarantino-esque dialogue, Holly as Cathy owns the proceedings once again as she conveys the seedier side of her lifestyle and therefore making Jimmy somewhat more vulnerable to the situation. Another fascinating dynamic between the characters – well-acted with lots of chemistry abound…

* * * * * * * * * * * * * * 


Copyright ©2014/2018 by Tony G. Marshall and Cosmic Dwellings. All Rights Reserved. “That’ll be the Stardust!” Radio Play Copyright ©2007, 2008 by Tony G. Marshall. All Rights Reserved.

Posted in Actor, Documentary, Drama, Film, Music, Music, Online, Pop, Presentation, Production, Radio, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Story, Writer | Tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

JANIS AND BIG BROTHER: Live at the Carousel Ballroom ’68 | Uncut Magazine

Fly on the psychedelic wall: The Bear’s sonic journals snag a masterpiece…
Somewhere within the sonic depths of this extraordinary concert tape’s opener, “Combination of the Two,” as James Gurley’s distorted guitar angles toward a kind of demented Coltrane-like climax, Janis Joplin gets off a series of whooping, exhortative screams — the kind borne of revelation or epiphany. It’s as if from the get-go she knew that Big Brother and the Holding Company — just two months from splintering into oblivion — was destined for immortality, on this night at least.

It’s the tip of the iceberg for Live At The Carousel Ballroom 1968, a tour de force of such fervor and intensity that it places Big Brother in its rightful perch as, perhaps, psychedelic San Francisco’s fiercest lysergic combo. A combustible group whose expansive sound defied the straitjacket of the studio, Big Brother—in the dumbed-down, Time-Life version of history—were simply a backing group, random bystanders who happened to launch Joplin into superstardom. But deep in the mythology of San Francisco’s psychedelic heyday, they were always a contender, an ensemble, capable of pushing all boundaries as rock grew burly in the late ’60s.

Fortunately for posterity, acid king Owsley “Bear” Stanley had the gumption to roll tape on June 23, 1968. Not just regular old tape, though. The Grateful Dead roadie and confidante had been running the mixing boards at the Carousel most of 1968, experimenting with the technology of best capturing the music via “sonic journals,” recordings made to document the scene and fine-tune the club’s sound.

This tape, in storage and/or legal limbo for decades but finally produced and mixed by Bear himself prior to his untimely death in 2011, is almost pugilistic in presentation. Amplifying every nuance, every kaleidoscopic shade from the roar of the guitars, every electrifying scrap of back-and-forth among the musicians in crystal-clear, full-dimensional fashion, it’s a transcendent, revelatory listen. The recording is so pure, so lively, in fact, that it virtually drops the listener into the Carousel on that summer night.

Big Brother’s roots, in truth, ran deep into American music. Bassist Peter Albin cut his teeth on folk and bluegrass; drummer Dave Getz was an in-demand jazz player; songwriter/guitarist Sam Andrew was well-versed in blues and jazz, a frequent jamming partner with Jerry Garcia, and along with James Gurley, developed a formidable double-lead guitar assault.

Only a year-plus into their brief reign, they had mongrelized their influences—twisting, stretching, and distorting R&B, blues, and folk motifs into a towering, multi-tentacled psychedelic monster. Adept at sustain and release, they were both sonic architects and masters of improv. Case in point is “I Need A Man To Love“, which begins with Andrew and Gurley’s guitars sneaking, curling around Joplin’s yearning, stinging, openly sexual vocal, before threading into a spellbinding, extended bit of call-and-response guitar interplay—a high-wire act pitting inner turmoil against just out-of-reach catharsis.

The aural carnage plays out repeatedly amid Joplin’s otherworldly vocals. Singing with all of hell’s fury, she pulls every last stitch of romantic desperation and deranged dejection out of the songs, pleading with herself, the cosmos, the audience, the coterie of cheats she’s been seeing, bending, torturing the words past literality into treams of pure emotion—exploding then crazily reassembling the blues paradigm.

Their repertoire is fascinating: pop standards, tripped-out and barely recognizable (i.e., Gershwin’s chestnut “Summertime”); ancient folk songs, like English ballad “Coo Coo,” hotwired into a psychedelic wall of sound; and showstoppers “Ball & Chain,” a smash at Monterey, and “Piece Of My Heart“, their most straightforwardly pop number and biggest hit single. “Catch Me Daddy” is the most violent cut, souped-up psycho-rockabilly, while “Down on Me,” amid jagged guitars, is a nod to folk/rock. “Light Is Faster than Sound,” a Peter Albin showpiece from their debut album, is most allegiant to proto-psychedelia—dual guitars making like air-raid sirens, rising up from the scrum, screaming as they go by, only to submerge themselves again. When Joplin’s vocal fades, Gurley’s rampaging guitar emerges with a shattering solo, a marvel of controlled chaos.

No one could’ve known it, but this was one of the last blinding flashes of the original psychedelic era. Ominous changes were afoot, “not better world a-comin’,” as critic Paul Nelson once opined. Like a tunnel into an alien world, Live at the Carousel offers a trenchant if temporary trip back.

Luke Torn


Big Brother’s Sam Andrew

What is your best memory of this show and the Carousel Ballroom? Of Bear?

The Carousel was a large, cavernous space, dark, high ceilings and it seemed as if all my friends were there. Owsley Stanley was cavorting around the sound system and talking to me a mile a minute in a technical language that was quite beyond me. Bear was always an enthusiastic mix of the cerebral and the celebratory.

How much of the Big Brother sound was improv?

In Big Brother we began as pure improvisation and moved steadily toward a scripted music. That’s how I think of it anyway. Janis was a very creative singer, and I can tell what night we are doing “Summertime”, just because it is so different from another night. We took a lot of chances because, (a) that’s who we were, and (b) we often didn’t know any better.

Big Brother broke up soon after this great show. What were y’all thinking?!

We were not thinking. Janis was restless. She wanted to be a soul singer like Tina, Aretha, Gladys, and I was thinking about songwriting ALL the time. We had a lot of discussions about the band and she felt that on some nights, people weren’t trying hard enough. I wish I would have tried harder to talk her out of leaving the band.


Source: Big Brother & The Holding Company – Live At The Carousel Ballroom 1968 – Uncut

Posted in Album, Album, Art Rock, Blues, CD, CD, Concert, Folk, Live, Music, Musician, Performer, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Singer, Singer, Songwriter | Tagged , , , , , , , , , , , , , , , , | Leave a comment

THE BEATLES: How ‘Sgt Pepper’s Lonely Hearts Club Band’ Changed The Face Of Music | uDiscover

These days, game-changers are everywhere, in every facet of our society, yet there was a time when people really had no idea what they were. In 1967 along came Sgt. Pepper’s Lonely Hearts Club Band, the eighth studio album by The Beatles… it was the musical game-changer. Prior to 1 June 1967, the day that Sgt. Pepper was released, long-playing records were firmly under the control of record labels, who thought they knew best as to what the fans wanted, and when they wanted it.

The making of The Beatles’ eighth studio album had begun a little over six months earlier, on 20 November 1966, when they began work on two songs in Abbey Road Studio Two which they felt were perfect for their next LP. The songs were ‘Strawberry Fields Forever’, written by John Lennon and inspired by a place in Liverpool, and by way of juxtaposition, Paul McCartneys composition which also referred to a real location close to his childhood home – Penny Lane.

Work continued on ‘Strawberry Fields Forever’ during December, as well as recording sessions for ‘When I’m Sixty-Four’ which was also to be included on the new album. Recording for ‘Penny Lane’ began two days before New Year’s Eve and was completed nearly three weeks later. The Beatles’ previous single, ‘Yellow Submarine’/‘Eleanor Rigby’, had been released in early August 1966, and so EMI were anxious for another. ‘Penny Lane’/’Strawberry Fields’ came out on 17 February 1967 after a 196-day wait – the longest time between single releases since the start of their career.                                                

Recording continued on the new album in January, with the first of many sessions for ‘A Day In The Life’, and then on 1 February they began work on one of Paul’s songs, ‘Sgt. Pepper’s Lonely Hearts Club Band’. The new LP had a name and a loose concept, in so far as the band pretended they were giving a show as this fictitious band.

By the time their new single was released they were underway with ‘Good Morning Good Morning’, ‘Fixing a Hole’, ‘Only A Northern Song’ (a George Harrison song that he had originally put forward for inclusion on the album) and ‘Being For The Benefit of Mr Kite’. In the midst of all this recording, The Beatles also filmed their groundbreaking videos for both ‘Penny Lane’ and ‘Strawberry Fields Forever’.

Over the next two months work continued on Sgt. Pepper’s remaining songs – ‘With a Little Help From My Friends’, ‘Lucy In The Sky with Diamonds’, ‘Getting Better’, ‘She’s Leaving Home’, ‘Within You Without You’ and ‘Lovely Rita’ – and the album was completed on 21 April. In all, The Beatles, George Martin and engineer Geoff Emerick spent 700 hours on the making of the record.

Of course, time expended does not guarantee either creativity or a brilliant result, but every second was worth it. And don’t just take our word for it: Professor Kevin J Dettmar, writing in the Oxford Encyclopedia Of British Literature, says Sgt. Pepper is “the most important and influential rock and roll album ever recorded”. We all know that polls don’t matter, but Rolling Stone magazine ranked it No.1 in its list of the 500 Greatest Albums of All Time.

And yet it could all have been so very different. In the early Spring of 1967, the UK press was full of reports with headlines such as “Has the Bubble Burst?” or “Beatles Fail To Reach The Top”, all because ‘Penny Lane’ and ‘Strawberry Fields Forever’ had stalled at No.2 in the UK singles chart. At manager Brian Epstein’s insistence neither track was included on the LP, a decision that George Martin later described as “the biggest mistake of my professional life”.

What makes the album a game-changer?

The unprecedented time spent in the studio helped to make it so, as do the recording techniques developed by the Abbey Road technicians to give the Beatles more than just the basic four-track equipment that had been used previously. Add to this “flanging”, the use of vari-speed, the way the record was not mastered with the customary gaps between tracks and the use of crossfades on a couple of tracks. And then there’s Peter Blake’s artwork that is so redolent of the time, not forgetting the fact that a lyric sheet was included with the gatefold sleeve. And, of course, great songs, brilliantly performed

Sgt. Pepper’s was the first Beatles album to be issued simultaneously worldwide, and the first where the tracklistings were exactly the same for both the UK and US versions. It debuted in the UK at No.1 – where it stayed for 22 consecutive weeks and became the soundtrack to The Summer Of Love. Naturally, it was also No.1 in America, as it was in many countries around the world.

Rock and pop has never quite been the same again…

The Sgt Pepper’s Lonely Hearts Club Band reissue is out now. Scroll down to read what’s in each version, along with the full tracklisting for the super deluxe box set, and order the reissue here.

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The various versions of the Sgt Pepper’s Lonely Hearts Club Band reissue are:

Standard CD:
The new 2017 stereo mix, complete with the original UK album’s “edit for LP end” run-out groove.

Deluxe 2CD (and digital edition):
The new stereo album mix on Disc One, plus a second CD of 18 tracks, including previously unreleased complete takes of the album’s 13 songs, newly mixed in stereo and sequenced in the same order as the album.

Disc Two also includes a new stereo mix and a previously unreleased instrumental take of ‘Penny Lane’, plus the 2015 stereo mix and two previously unreleased complete takes of ‘Strawberry Fields Forever’.

Deluxe 2LP:
The new stereo album mix on Disc One and previously unreleased complete takes of the album’s 13 songs, newly mixed in stereo and sequenced in the same order as the album, on Disc Two.

Super Deluxe 4CD+DVD+Blu-ray:
CD1 features the new 2017 stereo album mix.

CDs 2 and 3 include 33 additional recordings from the studio sessions, most of which are previously unreleased and have been mixed for the first time from the four-track session tapes, sequenced in chronological order of their recording dates, plus the new 2017 stereo mix of ‘Penny Lane’ and the 2015 stereo mix of ‘Strawberry Fields Forever’.

CD4 features a direct transfer of the album’s original mono mix, plus the ‘Strawberry Fields Forever’ and ‘Penny Lane’ singles, along with the US promo mono mix of ‘Penny Lane’ and previously unreleased early mono mixes of ‘She’s Leaving Home’, ‘A Day If The Life’ and the once-thought-lost early mono mix of ‘Lucy In The Sky With Diamonds’.

The DVD and Blu-ray discs both include new 5.1 surround sound audio mixes of the album and ‘Penny Lane’ by Giles Martin and Sam Okell, plus their 2015 5.1 surround sound mix of ‘Strawberry Fields Forever’, along with high-resolution audio mixes of the album, ‘Penny Lane’ and the 2015 stereo mix of ‘Strawberry Field Forever’.

Additionally, these discs will include 4K restored promo clips for ‘Strawberry Fields Forever’, ‘Penny Lane’ and ‘A Day In The Life’, plus The Making Of Sgt Pepper, a restored, previously unreleased documentary film originally broadcast in 1992.

The full tracklist for the super deluxe edition box set is:

  • CD1: St Pepper’s 2017 stereo mix
    ‘Sgt Pepper’s Lonely Hearts Club Band’
    ‘With A Little Help From My Friends’
    ‘Lucy In The Sky With Diamonds’
    ‘Getting Better’
    ‘Fixing A Hole’
    ‘She’s Leaving Home’
    ‘Being For The Benefit Of Mr Kite!’
    ‘Within You Without You’
    ‘When I’m Sixty-Four’
    ‘Lovely Rita’
    ‘Good Morning Good Morning’
    ‘Sgt Pepper’s Lonely Hearts Club Band (Reprise)’
    ‘A Day In The Life’ 
  • CD2: Outtakes
    ‘Strawberry Fields Forever’ [Take 1]
    ‘Strawberry Fields Forever’ [Take 4]
    ‘Strawberry Fields Forever’ [Take 7]
    ‘Strawberry Fields Forever’ [Take 26]
    ‘Strawberry Fields Forever’ [2015 stereo mix]
    ‘When I’m Sixty-Four’ [Take 2]
    ‘Penny Lane’ [Take 6: instrumental]
    ‘Penny Lane’ [Vocal overdubs and speech]
    ‘Penny Lane’ [2017 stereo mix]
    ‘A Day In The Life’ [Take 1]
    ‘A Day In The Life’ [Take 2]
    ‘A Day In The Life’ [Orchestra overdub]
    ‘A Day In The Life (Hummed Last Chord)’ [Takes 8, 9, 10 and 11]
    ‘A Day In The Life (The Last Chord)’
    ‘Sgt Pepper’s Lonely Hearts Club Band’ [Take 1: instrumental]
    ‘Sgt Pepper’s Lonely Hearts Club Band’ [Take 9 and speech]
    ‘Good Morning Good Morning’ [Take 1: instrumental, breakdown]
    ‘Good Morning Good Morning’ [Take 8] 
  • CD3: Outtakes
    ‘Fixing A Hole’ [Take 1]
    ‘Fixing A Hole’ [Speech and Take 3]
    ‘Being For The Benefit Of Mr Kite!’ [Speech from before Take 1; Take 4 and speech at end]
    ‘Being For The Benefit Of Mr Kite!’ [Take 7]
    ‘Lovely Rita’ [Speech and Take 9]
    ‘Lucy In The Sky With Diamonds’ [Take 1 and speech at the end]
    ‘Lucy In The Sky With Diamonds’ [Speech, false start and Take 5]
    ‘Getting Better’ [Take 1: instrumental and speech at the end]
    ‘Getting Better’ [Take 12]
    ‘Within You Without You’ [Take 1: Indian Instruments Only]
    ‘Within You Without You’ [George coaching the musicians]
    ‘She’s Leaving Home’ [Take 1: instrumental]
    ‘She’s Leaving Home’ [Take 6: ynstrumental]
    ‘With A Little Help From My Friends’ [Take 1: false start; Take 2: instrumental]
    ‘Sgt Pepper’s Lonely Hearts Club Band (Reprise)’ [Speech and Take 8] 
  • CD4: Sgt Pepper’s and bonus tracks in mono
    Tracks 1-13: 2017 direct transfer of Sgt Pepper’s original mono mix)
    ‘Strawberry Fields Forever’ [Original mono mix]
    ‘Penny Lane’ [Original mono mix]
    ‘A Day In The Life’ [Unreleased first mono mix]
    ‘Lucy In The Sky With Diamonds’ [Unreleased mono mix: No.11]
    ‘She’s Leaving Home’ [Unreleased first mono mix]
    ‘Penny Lane’ [Capitol Records US promo single: mono mix] 
  • DVD and Blu-ray:
    Audio Features (both discs):
    New 5.1 surround sound audio mixes of Sgt Pepper’s and ‘Penny Lane’, plus 2015 5.1 surround sound mix of ‘Strawberry Fields Forever’ (Blu-ray: DTS HD Master Audio 5.1, Dolby True HD 5.1; DVD: DTS Dolby Digital 5.1)
  • High-resolution audio versions of 2017 Sgt Pepper’s stereo mix and 2017 ‘Penny Lane’ stereo mix, plus 2015 ‘Strawberry Fields Forever’ hi-res stereo mix (Blu-ray: LPCM Stereo 96KHz/24bit; DVD: LPCM Stereo)
  • Video Features (both discs):
    The Making Of Sgt Pepper [restored 1992 documentary film, previously unreleased]
  • Promotional films: ‘A Day In The Life’; ‘Strawberry Fields Forever’, ‘Penny Lane’ [4K restored]

Source: How The Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’ Changed The Face Of Music | uDiscover

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ENGELBERT: Tin Pan Alley, Country Pop & The Indestructible ‘Release Me’ – uDiscover

Vocal stylist Engelbert Humperdinck has been talking to uDiscover about the remarkable body of work that’s celebrated by today’s (19 May) release of the compilation Engelbert Humperdinck: 50 and the simultaneous The Complete Decca Studio Albums Collection. He discusses how he used to search for new material, how he crossed country music into the pop charts — and how there might be a new Engelbert studio album in the pipeline. The 50 compilation, which you can order here, is a two-CD, 39-track retrospective featuring all of the Grammy-winning singer’s biggest hits, in a career that has realised 150 million record sales worldwide. It also includes a new DBU Disco Remix of ‘Release Me’ and two brand new songs, ‘I Don’t Want To Call It Goodbye’ and ‘I Followed My Heart’. “It’s an amazing presentation, I think,” says Humperdinck. “I can’t believe how well it’s been done, and we’ve got a couple of new songs on there, plus the remix of ‘Release Me.’ The new songs were just both a propos, so we put them both on the album, and they’re great songs, well-written.”

The 11-album box set (click here to order) is available physically but also makes these albums available digitally for the first time. “I like the idea of the vinyl covers remaining the same in digital form now,” he observes. “Not giving it a different face, giving it the same face, only packaging it in a very contemporary way. It’s wonderful.”

Musing on the remarkable history of ‘Release Me,’ he recalls the long history of the Eddie Miller/Robert Yount composition even before he got near it. Written in 1949, the song was successful for a number of artists before it transformed Engelbert’s career in 1967. It became the UK’s bestselling single of that year, famously preventing The Beatles‘ ‘Penny Lane’ and ‘Strawberry Fields Forever’ double A-side from reaching No. 1.

“It was a big hit before I got it, a country hit by Ray Price,” says the vocalist. “On stage he said ‘This was my song until Engelbert Humperdinck came along and made it a hit around the world.’ I heard it as an instrumental by a gentleman called Frank Weir. I just heard the melody and I said to Gordon Mills, who was my manager at that time, ‘That’s a hit song.'”

“When it was given to Charles Blackwell and he did that amazing arrangement that is so recognisable, even that introduction gives it meaning. Everybody knows it’s ‘Release Me’ before it starts.”

“My early years were very exciting for me,” he continues. “Fortunately, I had Gordon beside me, guiding my career. He was a manager that was very musically-minded. He also wrote a lot of my b-sides. He was a great manager.”

The album collection affords the opportunity to recall the wide range of material that Engelbert recorded beyond his well-known hits,. He would often interpret existing material, put his stamp on recent chart successes for others (from ‘Wand’rin’ Star’ to ‘Aquarius’), and put the spotlight on some songs of historical importance.

“We all hung out in Tin Pan Alley, many times, looking for material for new albums,” he recalls. “But then once you have a hit record, it changes the picture and people start to send you a lot of songs. You don’t have to go looking anymore. That was one of the great things about having hit songs,” he laughs. “It makes life a little bit easier.”

His first Decca album of 1967, also called Release Me, featured a version of ‘Misty Blue,’ which had recently been a country hit for Wilma Burgess but became better-known to later audiences from Dorothy Moore’s soulful interpretation of 1976. “I love that song, it’s a real Nashville song,” enthuses Humperdinck.

“We didn’t go totally country, we went country pop, which is the best way to go, if you’re not a country singer yourself. Some of my hits, like ‘Am I That Easy To Forget’ and ‘There Goes My Everything,’ they were country material which was used before, but I took it and made them hits.” Another fascinating country entry is his reading of the Bee Gees‘ song ‘Sweetheart,’ which became the title song of his 1971 Decca album.

Humperdinck has fond memories of the recording techniques of this album era. “I like the method we used, because the arranger would come, you would routine it, then he’d take it away and the next time you see it, it’s in the studio with all these wonderful musicians and singers.”

“Then they went to another method where they just gave you a rhythm track, and you’d put your voice on that, but I never liked that method. I always liked the entire arrangement, the bed of music, to lie on, because it lends your voice to going in so many different directions, and I think that’s one of the reasons that brought success to these albums in the early years.”

Arrangers were, and remain, key to his distinctively luxuriant sound. “Arrangers of the past, they were just brilliant musicians themselves,” he says. “People like Les Reed, he wrote great songs for me like ‘The Last Waltz,’ ‘Les Bicyclettes de Belsize,’ ‘Winter World Of Love,’ some massive hits that came from him.”

“I’ve started to work with an arranger I worked with about 50 years ago, his name is Johnny Harris. He did great stuff for me like ‘Quando Quando Quando,’ that’s his arrangement. And he did the track for ‘I Follow My Heart,’ one of the new songs on the CD. It is harder to come by great songs [now], but I can honestly say that the two new ones are in this fashion.”

At 81, Engelbert’s diary continues to be packed. “A whole new album is in store, of new songs,” he reveals, but before that, there are many more shows to fulfill in his datebook, starting in June in Bucharest, Romania. “I love it. There’s not many places in the world I haven’t been, but I’m going to Iceland, I haven’t been there before, or Romania. But I’ve been everywhere else. ‘I’ve been everywhere, man…’” he sings with a chuckle.

“You do get that little nervousness when you play countries like Russia, but the funny part — although I have to have an interpreter on stage to do my talking for me — but the songs themselves, they tend to sing them in some phonetical fashion, and they sing along with you, it’s amazing.”

Of the double CD and box set packages, he concludes: “For the people that haven’t heard my music before, it’s going to be quite an eye-opener, because it does lend itself to great compositions and great arrangements. The entire package is so well done.”

Click here to order Engelbert Humperdinck: 50.

Click here to order The Complete Decca Studio Albums Collection.  


Source: Tin Pan Alley, Country Pop & The Indestructible ‘Release Me’: Engelbert Humperdinck Talks To uDiscover – uDiscover

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WOODSTOCK: How the Soundtrack Highlighted Peace, Love and Hippie Music | Ultimate Classic Rock

By Dave Swanson May 11, 2015 2:24 PM

Source: How the ‘Woodstock’ Soundtrack Highlighted Peace, Love and Hippie Music

The Woodstock festival was experienced by “half a million strong,” as the song goes. But the movie and its soundtrack brought the “Three Days of Peace and Music” counterculture celebration to millions of people across the globe.

Released in May 1970, eight months after the festival took place in New York, the film’s soundtrack cemented the legacy of ’60s music and added a dash of idealism for years to come. The triple-LP set was unleashed to an audience enamored with that moment in time, hoping to catch a contact high of sorts.

The performances released on the record were only a fraction of the music experienced over those three August 1969 days, but as a snapshot of the event, it more than delivers, as many of them would become iconic portraits, lasting far longer than many other touchstones of the era.

Even though they were a rough and tumble blues band at their core, Canned Heat are best know for the light and bouncy “Going Up the Country,” a song that’s become synonymous with Woodstock. And its presence here is crucial. As is Richie Havens’ “Freedom.” The New York City folksinger brought an intensity to his performance that perfectly captured the spirit of the event and will forever be tied to the music fest.

See Crosby, Stills & Nash Perform ‘Suite: Judy Blue Eyes’:

Crosby, Stills Nash and Young were so new when they played Woodstock that Stephen Stills noted onstage, “This is only the second time we’ve performed in front of people. We’re scared s—less.” Three of their songs show up on the soundtrack: “Suite: Judy Blues Eyes,” “Wooden Ships” and “Sea of Madness.”

Country Joe & the Fish were among the pioneers of psychedelic music (their debut album, Electronic Music for Mind and Body, is a genuine genre landmark), they are best remembered for their Woodstock appearance, in which they delivered not only the infamous “Fish Cheer” (“Give me an F! Give me a U! Give me a C! Give me a K! What’s that’s spell?“) but also the rousing “I-Feel-Like-I’m-Fixin’-to-Die Rag,” which originally appeared on the band’s second album, but becomes one of the era’s greatest protest songs thanks to the Joe McDonald-led singalong.

Several of the acts at Woodstock had also appeared at the Monterey Pop Festival two years earlier, including Jimi Hendrix and the Who, both of whom made their U.S. debuts at the 1967 show. By the time they each played Woodstock, they were among the biggest artists in rock music, The Who’s performance here is nothing if not riveting, as they play material from the recently released Tommy.

Watch the Who Perform at Woodstock:

One of the most surprising and baffling groups to appear at the festival, Sha Na Na, went on right before Hendrix on the morning of the final day. They turn in a blazing version of Danny & the Juniors’ ’50s classic “At the Hop,” which seemed seriously out of step with everything else going on in 1969. This was several years before American Graffiti ushered in a wave of nostalgia. Either way, Sha Na Na completely won over the Woodstock audience.

Two San Francisco bands — Santana and Jefferson Airplane — turned in significant performances from different angles. The latter group was on the way down while the former was just making its mark. Santana’s Woodstock performance helped break their career.

But the festival’s most defining performances belong to Hendrix and Joe Cocker, whose take on the Beatles‘ “A Little Help From My Friends” would help cement both his and Woodstock’s legacies. Likewise, Hendrix’s famous take on the “Star-Spangled Banner” has become inseparable from the festival.

The album was a huge success, topping the Billboard chart and helping kick-start the careers of many of the artists who appeared. It also carried remnants of the Woodstock ideology into middle America, planting its seeds along the way. It was a moment in time that still resonates today.

Read More: How the ‘Woodstock’ Soundtrack Highlighted Peace, Love and Hippie Music | http://ultimateclassicrock.com/woodstock-soundtrack/?trackback=tsmclip

Posted in Album, Festival, Film, Folk, Funk, Guitar, Instrumental, Live, Movie, Music, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Soul, Stage | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment