Wow...
I read this thread a few times when it was less than a page long, and haven't checked back on it since...
Gawrsh!!!
I don't really have much to contribute
directly to the subject of Petula, (My wife and I did see her in Blood Brothers however) though I notice that Peter has invoked my name a few times since last I looked...
Yes, I'd likely be most interested in something like a visit, if anything does get arranged... -The company of others with like interests would be a most pleasant further diversion, I've no doubt!
-Assuming that I'm the Keith you were saying was Scottish PP, I should point out that the
family line is of a "malt, kilt and Haggis" persuasion, but I was actually born in England (while my father was working at Rolls-Royce Aero division in fact...)
Speaking of 'Blood Brothers', the
original run of that musical was at the Liverpool Playhouse, in 1981 or so... At that time, I was working at the nearest place with a 24-track (a few miles outside of Liverpool) and Barbara Dickson (who was the original actress) had some work to do, so I did get to work with her. -I thought she was an absolute gem, and she too has a lovely voice... -in fact even her speaking voice is rather dreamy... a lovely soft rolling East-Scottish brogue, which just melts me without fail!
At the same studio several years later, I also got to engineer a session for Dusty Springfield. This was when she was working with a rather
different "British Wrecking crew": -specifically the Pet shop boys. -The movie "Scandal" was out, and she was enjoying a chart hit with
"Nothing has been Proved". -At the time, there were several bands with whom I worked who were doing fairly well, and there was a rather odd Musician's Union requirement for "Top Of The Pops" and similar shows:
Basically, the MU had the agreement with the BBC (and presumably other broadcasting companies) which was designed to prevent bands from miming/lip-syncing to tunes which had used session players, thereby avoiding the session players from being 'cheated' out of an appearance/performance fee. -Bands didn't really WANT to have to play live; and in some cases COULDN'T play live, so a deal was reached where the bands could pay the players a SECOND time to record the same tune YET AGAIN, then use THAT tape for lip-syncing/miming to.
In fact, the "MU sessions" -while usually attended by an MU delegate, who usually wasn't keen to forgo the fee which he would earn for attending/supervising these events- were often shams. -The MU really only really cared that the musicians were paid, therefore not being cheated out of their due. -Oftentimes, the session musicians wouldn't even assemble, -everyone would just be paid, the MU guy would sign-off, and then they'd just substitute a copy of the ORIGINAL master in the box. -The MU didn't care, since all the musicians were getting paid, and the band got to sound like the record, which by the late 1970s was something that you couldn't always guarantee they could ever replicate anyway.
This "Top-Of-The-Pops tape-swapping" had become such standard practice that it was quite a surprise when the Hall