Music For Pleasure
Do you remember the EP? They were played at 45 rpm on seven inch discs with two tracks on each side. Until I had a regular Saturday job and some spare cash, Mum was in charge of buying records to play on the Little Red Dansette. She was a fan of the extended play format. Not only did a number of her favourite artists release EPs, she saw they were good value too - twice as many songs for an extra four shillings and sixpence.
Some of the songs on these discs have stayed with me: the Peter, Paul & Mary version of "Blowin' In The Wind" (w. Bob Dylan); "Everybody Loves Somebody" by Dean Martin (w. Sam Coslow, Irving Taylor & Ken Lane); and my absolute favourite "The Summer Wind" by the peerless Frank Sinatra (w. Heinz Meier & Johnny Mercer - English lyrics). The light and breezy arrangement by Nelson Riddle perfectly suits both this song that tells the story of a summer love and Sinatra’s style. As a fan on the family forum put it, “I can almost feel the breeze when he sings it”.
“The Summer Wind” appeared on the EP along with Sinatra's first chart-topping record for 11 years - "Strangers In The Night" (w. Bert Kaempfert, Charles Singleton & Eddie Snyder). This was my introduction to the greatest vocalist of the 20th century. I remain a true fan of ‘The Voice’; in awe of his ability to wring every possible emotion from a lyric. I read somewhere that when Sinatra was born "the world was given the greatest friend a song and songwriter would ever know". That sums it up for me.
These EPs are just the entree. Having introduced me to Dean Martin and Frank Sinatra, Mum saw a kindred spirit and set about showing me more. To eke out the cash available for record buying, Mum often turned to the bargain labels that popped up in the sixties. And that is how the Music for Pleasure catalogue entered my consciousnesses.
Music for Pleasure (or MFP) was a record label that issued budget-priced albums of popular music. Founded in 1965, it was a joint venture between book publisher Paul Hamlyn and EMI. As well as re-issuing collections by EMI artists, there was original material including recordings of West End musicals.
MFP is the reason I know the lyrics to “Maria” from “The Sound of Music (w. Richard Rodgers & Oscar Hammerstein II) and “Smash Bang Wallop What A Picture” (w. David Heneker) from a recording of “ Half A Sixpence” with Des O’Connor, not Tommy Steele, in the lead role. These were not the original cast recordings. I didn’t mind our copy of “Mary Poppins” had Dickie Henderson as the chimney sweep, not Dick Van Dyke or it’s not Julie Andrews singing "A spoonful of sugar makes the medicine go down" or "The hills are alive with the sound of music". That isn’t the point - for Gladys and me, first and foremost it was all about the songs. It still is.
Some of the albums were re-records. In the Wallis LP case was The Joe Loss Orchestra playing Glenn Miller tunes and an album of covers by The Torero Band in the style of Herb Albert & His Tijuana Brass. The tie-in with EMI did mean compilations were put together in the UK of songs from the catalogues of Capitol artists in the US, including Ol, Blue Eyes.
MFP issued a few Sinatra compilations in the U.K. Mum bought "Sinatra Sings Music For Pleasure". EMI raided the vaults for singles between 1953 and 1956. During this period Sinatra was releasing seven or more 45s every year. The LP collects together the minor hits and flip sides of bigger hits. My favourite cut did not even chart.
A 12-bar blues with alternating 8-bar bridge played with great attack and gusto by Big Dave's Music and great backing vocals courtesy of US singing group The Nuggets. "Two Hearts, Two Kisses (Make One Love)" - originally a hit for Pat Boone (w. Otis Williams & Henry Stone) not only includes the wonderful lyric, "I have plenty of loving. Your kiss is hotter than an oven", it builds nicely to a crescendo in the middle eight then - bang- Big Dave and the band come to a complete stop and The Nuggets launch into a "Oop Be Woo Woo" before everything comes crashing back in. Great stuff and one of the reasons I enjoy b/vs.
Speaking of backing vocals, Mum will buy me an MFP album by The Beach Boys. Imaginatively titled “The Beach Boys” with two surfers riding a wave on the cover and sleeve notes by The Melody Maker’s Chris Welch, this LP comprises deep cuts. I am struck listening to the record by the pace at which Brian Wilson’s songwriting developed between the first album in 1962 ("Surfin' Safari") and their fourteenth ("Friends") just six years later.
From "Car Crazy Cutie" (w. Brian Wilson & Roger Christian) to "Annie Lee The Healer" (w. Mike Love & Brian Wilson) via "Good To My Baby" (w. Brian Wilson). The song that had the biggest impact on me was "Don't Talk (Put Your Head On My Shoulder)" from "Pet Sounds" (w. Brian Wilson & Tony Asher). For me “Don’t Talk..” is about innocence and enjoying the moment. What I would have given to have a girl put her head on my shoulder and not have to think of something cool to say.
Thanks to MFP (and Gladys), I am immediately hooked on The Beach Boys. I am keen to hear more. I also want to seek out others who share my admiration for the band, especially Brian Wilson's abilities as a writer and producer. I was on a mission that has lasted to this day.
Some of the songs on these discs have stayed with me: the Peter, Paul & Mary version of "Blowin' In The Wind" (w. Bob Dylan); "Everybody Loves Somebody" by Dean Martin (w. Sam Coslow, Irving Taylor & Ken Lane); and my absolute favourite "The Summer Wind" by the peerless Frank Sinatra (w. Heinz Meier & Johnny Mercer - English lyrics). The light and breezy arrangement by Nelson Riddle perfectly suits both this song that tells the story of a summer love and Sinatra’s style. As a fan on the family forum put it, “I can almost feel the breeze when he sings it”.
“The Summer Wind” appeared on the EP along with Sinatra's first chart-topping record for 11 years - "Strangers In The Night" (w. Bert Kaempfert, Charles Singleton & Eddie Snyder). This was my introduction to the greatest vocalist of the 20th century. I remain a true fan of ‘The Voice’; in awe of his ability to wring every possible emotion from a lyric. I read somewhere that when Sinatra was born "the world was given the greatest friend a song and songwriter would ever know". That sums it up for me.
These EPs are just the entree. Having introduced me to Dean Martin and Frank Sinatra, Mum saw a kindred spirit and set about showing me more. To eke out the cash available for record buying, Mum often turned to the bargain labels that popped up in the sixties. And that is how the Music for Pleasure catalogue entered my consciousnesses.
Music for Pleasure (or MFP) was a record label that issued budget-priced albums of popular music. Founded in 1965, it was a joint venture between book publisher Paul Hamlyn and EMI. As well as re-issuing collections by EMI artists, there was original material including recordings of West End musicals.
MFP is the reason I know the lyrics to “Maria” from “The Sound of Music (w. Richard Rodgers & Oscar Hammerstein II) and “Smash Bang Wallop What A Picture” (w. David Heneker) from a recording of “ Half A Sixpence” with Des O’Connor, not Tommy Steele, in the lead role. These were not the original cast recordings. I didn’t mind our copy of “Mary Poppins” had Dickie Henderson as the chimney sweep, not Dick Van Dyke or it’s not Julie Andrews singing "A spoonful of sugar makes the medicine go down" or "The hills are alive with the sound of music". That isn’t the point - for Gladys and me, first and foremost it was all about the songs. It still is.
Some of the albums were re-records. In the Wallis LP case was The Joe Loss Orchestra playing Glenn Miller tunes and an album of covers by The Torero Band in the style of Herb Albert & His Tijuana Brass. The tie-in with EMI did mean compilations were put together in the UK of songs from the catalogues of Capitol artists in the US, including Ol, Blue Eyes.
MFP issued a few Sinatra compilations in the U.K. Mum bought "Sinatra Sings Music For Pleasure". EMI raided the vaults for singles between 1953 and 1956. During this period Sinatra was releasing seven or more 45s every year. The LP collects together the minor hits and flip sides of bigger hits. My favourite cut did not even chart.
A 12-bar blues with alternating 8-bar bridge played with great attack and gusto by Big Dave's Music and great backing vocals courtesy of US singing group The Nuggets. "Two Hearts, Two Kisses (Make One Love)" - originally a hit for Pat Boone (w. Otis Williams & Henry Stone) not only includes the wonderful lyric, "I have plenty of loving. Your kiss is hotter than an oven", it builds nicely to a crescendo in the middle eight then - bang- Big Dave and the band come to a complete stop and The Nuggets launch into a "Oop Be Woo Woo" before everything comes crashing back in. Great stuff and one of the reasons I enjoy b/vs.
Speaking of backing vocals, Mum will buy me an MFP album by The Beach Boys. Imaginatively titled “The Beach Boys” with two surfers riding a wave on the cover and sleeve notes by The Melody Maker’s Chris Welch, this LP comprises deep cuts. I am struck listening to the record by the pace at which Brian Wilson’s songwriting developed between the first album in 1962 ("Surfin' Safari") and their fourteenth ("Friends") just six years later.
From "Car Crazy Cutie" (w. Brian Wilson & Roger Christian) to "Annie Lee The Healer" (w. Mike Love & Brian Wilson) via "Good To My Baby" (w. Brian Wilson). The song that had the biggest impact on me was "Don't Talk (Put Your Head On My Shoulder)" from "Pet Sounds" (w. Brian Wilson & Tony Asher). For me “Don’t Talk..” is about innocence and enjoying the moment. What I would have given to have a girl put her head on my shoulder and not have to think of something cool to say.
Thanks to MFP (and Gladys), I am immediately hooked on The Beach Boys. I am keen to hear more. I also want to seek out others who share my admiration for the band, especially Brian Wilson's abilities as a writer and producer. I was on a mission that has lasted to this day.
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