As I’ve said before, I feel that Petula Clark’s career is one of the most impressive ever in popular entertainment. She started as an endearing child star in England, developed into a sexy adult actress, then became an international singing superstar — which was where we caught up with her in the States — and she’s still going strong!
I’ve spliced together about ten minutes of Petula as Lee Nicholls, a perky and resourceful stewardess in a 1954 comic caper flick, “The Runaway Bus”. It’s not the greatest print, but at least it’s available in the U.S., including Netflix.
The A-side of this single by a British band went to #1 in the US in 1966, and it sounds nothing at all like the lovely little ditty on the B-side.
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D.F. Rogers says, “Needs more megaphone!” You are correct, sir! The song “Wait For Me Baby” is the flip side of the New Vaudeville Band’s megahit with a megaphone from 1966, “Winchester Cathedral”. I’m always amazed by how a 40+ year old piece of plastic that was beat on when new can sound so good. I doubt there were many original Rudy Vallee records from the 20’s that were playable in ‘66.
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The YouTube player has the New Vaudeville Band performing the song, with the first tune, “Peek A Boo” being more interesting because it’s not familiar. (From there it’s an easy leap to Tiny Tim and to Robert Crumb’s Cheap Suit Serenaders.) Then Petula Clark sings “Winchester Cathedral” followed by a more familiar performance of her own hit, “This Is My Song.”
The original “Winchester Cathedral” LP, in my hands at this moment, doesn’t have “Peek A Boo”, so I had to find it elsewhere.
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Thanks to my dad’s cousin Lawrie for tipping me off to (yet another) new online music service. This one is theRADIO.com. Type in a song or artist and it takes you to whichever category it belongs to. theRADIO.com is from some outfit called American Media Services Interactive, and at this point I feel almost overwhelmed by the choices available today for music, whether online on cable TV, and I don’t even have XM/Sirius or HD Radio.
What I’d really like is a free-form option — except no rap or hip-hop, thank you very much. I love playing DJ, so I played with theRadio.com for a while and skipped around genres while recording. The selection includes the Turtles, a Johnny Ramone instrumental (I checked the volume in the middle of it), Lucinda Williams (a fave of Carol’s), followed by my all-time #1 favorite Bob Dylan tune, and finishing with “Reason to Believe”, recorded while I was called away, so I’m not sure who it is. Some of the inflections almost sound like Petula, but it isn’t her. Marianne Faithfull, maybe?
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Speaking of lovely Petula, Dave Moncur sent a link with some photos of our favourite glamour girl, who was performing in Utreht, Netherlands (K3 country!) recently. Thanks, Dave. She looks even better than when I saw her in May!
Steve Wright on BBC Radio 2 promised back here that Petula Clark would be on his show, and indeed she was, last Monday. I missed Cilla Black’s appearance, unfortunately, and if you go back to my Cilla post, you’ll notice “Anyone Who Had A Heart” is almost conspicuous in its absence. That’s because Wright played it shortly before chatting with Petula, and I was saving it for now.
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I let the recording run into the next song, to provide some flavor (excuse me, flavour) of the show. BBC Radio 2 is the only place I can go that gives me the same fun feeling I had as a kid listening to the legendary station Musicradio 77WABC in New York.
OK, so there’s Cilla Black’s cover of Dionne Warwick’s “Anyone Who Had A Heart,” produced by George Martin. That’s an excellent piece of work. Whether or not you consider this recording to be too close to the original, as a vocal it easily holds up in comparison to Petula Clark and Dusty Springfield. Clearly, based on this recording Cilla had the vocal chops, and with nothing else to go on I have to assume it was the way George Martin produced her that kept Cilla Black from greater popularity in America.
So let’s get to Petula’s chat with Steve Wright, shall we?
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She doesn’t like being called “Pet”?? The last thing I said when I had my two minutes with her was, “Thank you, Pet.” Yikes! But… that was my one chance. Saying “Pet” isn’t supposed to convey to her that she’s thought of as a child star, because she never was one here. Well, what’s done is done, and there’s no taking it back. I’ll know better next time.
Will the three K’s in the girl group K3 ever find fame beyond Belgium and the Netherlands? I suspect not, with language being the reason why. Do any American network television producers even know about K3? Oh, yes. As of yesterday I am 100% sure of that.
But now let’s go back to 1965, when Petula Clark had a string of hit records that was perhaps unprecedented for any solo female singer. Certainly no other British woman has met with such success before or since. Julie Andrews specialized in musicals, of course.
Dusty Springfield broke onto the U.S. charts some months before Petula, and she was quite successful, although she never had a #1 hit here. But there was also another female English solo singer seeking success in America. Cilla Black was, like the Beatles, from Liverpool, and she was likewise discovered and managed by Brian Epstein.
Cilla Black provides an interesting contrast to Petula Clark. They’re both petite, with strong voices, but where Cilla’s appeal was being cute and coy, Petula’s primary charm was sexiness. With great popularity in England, Brian Epstein behind her, and George Martin producing her records, Cilla had the necessary advantages to succeed in America. But it didn’t happen.
Cilla Black made one appearance on the Ed Sullivan Show. It was on September 12, 1965, the same night the Beatles made their last live appearance for Sullivan. I featured a bit of it at this link eighteen months ago. And this is Cilla on that night.
In the recording studio, Cilla had the benefit of not only George Martin, but several songs written by Paul McCartney.
The first is “Love of the Love,” from 1963, which I think should have been done in a more laid back style.
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Then there’s “It’s For You,” from 1964, which I think has Martin making Cilla sound conspicuously like Shirley Bassey, who he had recorded recently singing the famous “Goldfinger” theme.
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… and “Step Inside Love” from much later, in 1968, with production values that point towards George Martin’s work with McCartney on “Live and Let Die.”
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Petula Clark’s UK tour starts Saturday. Details are here (look for “click here”). Dave Moncur, DogRat reader and resident of Scotland, will be seeing Pet live, and maybe he’ll share some details with us after the show.
According to the Petula Clark blog, Pet was scheduled to make a BBC Radio 2 appearance on Steve Wright’s show today (Friday), but that didn’t happen. Wright says in this audio clip that “starlet” (that’s cute) Pet will be “on soon.”
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You’d think a savvy Brit like Wright would know Ms. Paltrow’s name is pronouced “GWYNeth,” and not “GWENyth.” The Petula blog also recently featured this new interview in The Telegraph, with her talking about vacations and travel. Pet certainly does a lot of traveling. I saw her in Connecticut just a few weeks ago!
If you happen to live in England, you’re in for a bit of good luck, because a new Petula Clark CD is about to be released, including five new songs! It’s called “THEN AND NOW – THE VERY BEST OF PETULA CLARK”, and it will be out on June 16th. It’s listed on Amazon’s UK site, but not yet here in America. The new songs are described here, on the new Petula Clark blog.
Petula fan Dave Moncur, our DogRat reader in Scotland, wrote to say that the Times Online has posted a new interview with Pet, Not Just Anybody: Petula Clark. The questions are funny and unusual, and I daresay some of them are the sort that only another woman would ask of her. Unfortunately, at the moment the dimensions of the photo of Pet on that page have been distorted. The JPG is here in its original and unmodified form, just like Pet herself, who assures us she’s never had any plastic surgery.
