Bill Kenwright - Tiggy/ House That Fell On Its Face

john pantry - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About john pantry, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: MGM

Year of Release: 1969

Bill Kenwright CBE is a man who has beavered away for many decades in entertainment, a name as likely to pop up in the background as well as the foreground of popular culture. During the late sixties just before this single was issued, he was busy playing the Coronation Street character Gordon Clegg, who ended up being woven in and out of the soap's plots over the next few years whenever the man's availability would allow. Prior to that - and perhaps unbeknownst to many viewers - he had a moderately successful singing career in the clubs and a number of singles were issued.

To say "Tiggy" is an unexpectedly epic example of his work would be an understatement. It starts with an urgent morse code riff, flows neatly into an urgent sounding verse then an epic, steamrollering chorus - like "Eloise", the track tries to slap you into submission, with all the fire alarms activating and water jetting down from the emergency sprinkler system. Whoever "Tiggy" was, Kenwright was manically keen to get her attention, though I'd personally have been a little afraid; but nobody can deny the overpowering first impression the track makes. It's a testament to producer Eddie Tre-Vett's usual skills in creating a powerful yet considered racket when needed, and it's somewhat surprising this didn't manage to at least become a minor hit.

The B-side "The House That Fell On Its Face" is also of interest to aficionados of popsike, being penned by producer Eddie Tre-Vett's boy wonder John Pantry. In total contrast to the A-side, it's one of Pantry's delicate, mournful pieces about a disintegrated relationship, closer to "Glasshouse Green Splinter Red" than anything by The Factory. Kenwright appears to be doing an impersonation of Pantry's vocal style throughout, suggesting that it may have been quickly recorded after hearing a rough demo.

Kenwright is yet another one of the lucky sods on "Left and to the Back" whose career we really don't have to examine too closely in terms of what might have been. He became a producer of many successful West End musicals (notably "Blood Brothers" and "Scrooge - The Musical" as well as the "Joseph and his Technicolour Dreamcoat" tour) and is the present Chair of Everton football club. Besides that, he runs his own record label (Kenwright Records), and is married to actress Jenny Seagrove. Having achieved more in one lifetime than most people could deem possible, I doubt he's much bothered about "Tiggy" failing to chart in 1969.

Label: MGM

Year of Release: 1969

Bill Kenwright CBE is a man who has beavered away for many decades in entertainment, a name as likely to pop up in the background as well as the foreground of popular culture. During the late sixties just before this single was issued, he was busy playing the Coronation Street character Gordon Clegg, who ended up being woven in and out of the soap's plots over the next few years whenever the man's availability would allow. Prior to that - and perhaps unbeknownst to many viewers - he had a moderately successful singing career in the clubs and a number of singles were issued.

To say "Tiggy" is an unexpectedly epic example of his work would be an understatement. It starts with an urgent morse code riff, flows neatly into an urgent sounding verse then an epic, steamrollering chorus - like "Eloise", the track tries to slap you into submission, with all the fire alarms activating and water jetting down from the emergency sprinkler system. Whoever "Tiggy" was, Kenwright was manically keen to get her attention, though I'd personally have been a little afraid; but nobody can deny the overpowering first impression the track makes. It's a testament to producer Eddie Tre-Vett's usual skills in creating a powerful yet considered racket when needed, and it's somewhat surprising this didn't manage to at least become a minor hit.

The B-side "The House That Fell On Its Face" is also of interest to aficionados of popsike, being penned by producer Eddie Tre-Vett's boy wonder John Pantry. In total contrast to the A-side, it's one of Pantry's delicate, mournful pieces about a disintegrated relationship, closer to "Glasshouse Green Splinter Red" than anything by The Factory. Kenwright appears to be doing an impersonation of Pantry's vocal style throughout, suggesting that it may have been quickly recorded after hearing a rough demo.

Kenwright is yet another one of the lucky sods on "Left and to the Back" whose career we really don't have to examine too closely in terms of what might have been. He became a producer of many successful West End musicals (notably "Blood Brothers" and "Scrooge - The Musical" as well as the "Joseph and his Technicolour Dreamcoat" tour) and is the present Chair of Everton football club. Besides that, he runs his own record label (Kenwright Records), and is married to actress Jenny Seagrove. Having achieved more in one lifetime than most people could deem possible, I doubt he's much bothered about "Tiggy" failing to chart in 1969.

One Hit Wonders #17 - Parchment - Light Up The Fire

john pantry - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About john pantry, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Label: Pye
Year of Release: 1972

Christian music, in its many forms, has traditionally received an awkward mainstream media response. Even if it's by Cliff Richard and the results actually sell, radio stations generally tend not to bother much with it, and the mere mention of "quite a good Christian band" you're aware of will usually brings waves of incredulity crashing in your direction.  This isn't, in my opinion at least, completely without justification.  There have been many different kinds of Christian pop and rock, and even some New Wave orientated attempts by the likes of The Reps (who were actually responsible for the first gig I ever attended, although it should be noted that it was a special lunchtime performance at my school).  Most, however, seem to have a smug piousness about them which is more of a turn-off than anything else, like celebratory hook-laden football songs performed by teams you don't support.  It only makes sense to people who are already on the inside.

Parchment are considered by some pop-psych connoisseurs to be the exception to the rule that Christian music is always naff and fit only for believers who want to celebrate their choice of religion.  This is largely thanks to the involvement of John Pantry, who we previously discussed over at the entry for The Factory's "Try A Little Sunshine".  Tired of the inward looking, selfish and decadent nature of the traditional rock circuit, he gave up producing acts with mainstream potential (or even cult underground potential) and focussed on Christian rock and pop instead.  Parchment were his first quarry, and some of his fairydust is evident on the odd track of theirs, not least "Love Is Come Again" which I've included as a bonus example below.  That effort is reminiscent of psychedelic Christian folk, if such a hybrid ever really existed, all zinging sitars and childlike wonder.

"Light Up The Fire", on the other hand, was Parchment's sole Top 40 hit, climbing to number 31 largely thanks to a campaign to get a song about Jesus on to "Top of the Pops" (chart bothering campaigns, whether done on Facebook or by the church, are absolutely nothing new).  I'm afraid it's rather more traditional fare, a very saccharine track which gives the converted cause to cheer in campfire unison, but seems absolutely, utterly baffling to non-believers.  That's not to say that with Pantry at the wheel Parchment didn't produce a few tracks of note outside their one minor hit, however, and they're songs which make me feel frustrated he crossed the waters into Christian radio rather than sticking around with the likes of The Factory that little bit longer.

In the meantime, I've decided to make this the first "Left and to the Back" entry of December which has a tenuous (or otherwise) link to Christmas.  Rather than diving straight into the Christmas buffet, we're going to slowly sink ourselves in bit by bit until the tenuous connections become actual ones.

Label: Pye
Year of Release: 1972

Christian music, in its many forms, has traditionally received an awkward mainstream media response. Even if it's by Cliff Richard and the results actually sell, radio stations generally tend not to bother much with it, and the mere mention of "quite a good Christian band" you're aware of will usually brings waves of incredulity crashing in your direction.  This isn't, in my opinion at least, completely without justification.  There have been many different kinds of Christian pop and rock, and even some New Wave orientated attempts by the likes of The Reps (who were actually responsible for the first gig I ever attended, although it should be noted that it was a special lunchtime performance at my school).  Most, however, seem to have a smug piousness about them which is more of a turn-off than anything else, like celebratory hook-laden football songs performed by teams you don't support.  It only makes sense to people who are already on the inside.

Parchment are considered by some pop-psych connoisseurs to be the exception to the rule that Christian music is always naff and fit only for believers who want to celebrate their choice of religion.  This is largely thanks to the involvement of John Pantry, who we previously discussed over at the entry for The Factory's "Try A Little Sunshine".  Tired of the inward looking, selfish and decadent nature of the traditional rock circuit, he gave up producing acts with mainstream potential (or even cult underground potential) and focussed on Christian rock and pop instead.  Parchment were his first quarry, and some of his fairydust is evident on the odd track of theirs, not least "Love Is Come Again" which I've included as a bonus example below.  That effort is reminiscent of psychedelic Christian folk, if such a hybrid ever really existed, all zinging sitars and childlike wonder.

"Light Up The Fire", on the other hand, was Parchment's sole Top 40 hit, climbing to number 31 largely thanks to a campaign to get a song about Jesus on to "Top of the Pops" (chart bothering campaigns, whether done on Facebook or by the church, are absolutely nothing new).  I'm afraid it's rather more traditional fare, a very saccharine track which gives the converted cause to cheer in campfire unison, but seems absolutely, utterly baffling to non-believers.  That's not to say that with Pantry at the wheel Parchment didn't produce a few tracks of note outside their one minor hit, however, and they're songs which make me feel frustrated he crossed the waters into Christian radio rather than sticking around with the likes of The Factory that little bit longer.

In the meantime, I've decided to make this the first "Left and to the Back" entry of December which has a tenuous (or otherwise) link to Christmas.  Rather than diving straight into the Christmas buffet, we're going to slowly sink ourselves in bit by bit until the tenuous connections become actual ones.