Sadly Chris Rea will not be driving home for Christmas!!

Chris Rea: The Life, Music, and Legacy of a British Blues Rock Icon

Chris Rea is one of Britain’s most distinctive singer-songwriters, known for his smoky voice, expressive slide guitar work, and timeless songs that blend blues, rock, and soft rock. With a career spanning more than four decades, Rea has built a loyal global fanbase and left a lasting mark on modern British music.

This search engine–friendly guide explores Chris Rea’s biography, musical style, biggest songs, albums, and legacy, making it a complete introduction for both new listeners and longtime fans.


Who Is Chris Rea?

Chris Rea was born Christopher Anton Rea on March 4, 1951, in Middlesbrough, England. Raised in a working-class family, he was surrounded by everyday stories that would later shape his songwriting. Unlike many musicians, Rea did not begin playing guitar until his late teens, teaching himself after becoming inspired by blues and rock artists.

His late start did not hold him back. Instead, it gave his music a raw, lived-in quality that would become his signature.


Chris Rea’s Musical Style and Influences

Chris Rea’s sound is best described as a blend of blues rock, soft rock, and roots-inspired storytelling. He is particularly admired for:

  • His raspy, instantly recognizable voice

  • Expressive slide guitar playing

  • Lyrics that focus on travel, longing, love, and working-class life

Rea has often cited blues legends and rock pioneers as influences, but he forged a style that is uniquely his own. His music feels cinematic, often evoking images of long roads, empty highways, and quiet reflection.


Breakthrough and Rise to Fame

Chris Rea’s debut album, Whatever Happened to Benny Santini? (1978), introduced him to a wider audience. The single “Fool (If You Think It’s Over)” became an international hit, especially in the United States, where it received significant radio play.

While early success came quickly, Rea’s career truly flourished in the 1980s, when he gained creative control and refined his sound.


Most Popular Chris Rea Songs

Chris Rea has released many memorable tracks, but several songs stand out as defining moments in his career:

“The Road to Hell” (1989)

Perhaps his most famous song, “The Road to Hell” is a powerful commentary on modern life, consumerism, and social change. Its haunting melody and slow build made it an enduring classic.

“Driving Home for Christmas”

A seasonal favorite, this song has become a Christmas staple in the UK and Europe, resonating with listeners through its warmth, nostalgia, and relatability.

“On the Beach”

This smooth, atmospheric track showcases Rea’s gift for creating mood and place through music.

“Josephine”

A blues-infused love song that highlights his emotional delivery and guitar work.

“Fool (If You Think It’s Over)”

The song that introduced Chris Rea to the world remains one of his most beloved recordings.


Best Chris Rea Albums

Chris Rea’s discography is extensive, but these albums are often considered essential:

  • Water Sign (1983) – A turning point that solidified his mature sound

  • On the Beach (1986) – Atmospheric and introspective

  • Dancing with Strangers (1987) – Commercially successful and critically praised

  • The Road to Hell (1989) – His best-selling and most iconic album

  • Auberge (1991) – A fan favorite with a strong blues-rock edge

These albums helped establish Rea as one of the most reliable and respected artists of his era.


Health Challenges and Artistic Reinvention

In the early 2000s, Chris Rea faced serious health issues, including major surgery. Rather than slowing down creatively, this period led him to reinvent himself musically.

He shifted away from mainstream chart success and embraced a purer blues direction, releasing ambitious projects that reflected his personal journey and artistic freedom. Fans often regard this era as some of his most honest and uncompromising work.


Chris Rea as a Guitarist

Beyond songwriting, Chris Rea is widely respected as a guitarist. His slide guitar technique is subtle, emotional, and instantly identifiable. Instead of flashy solos, Rea focuses on tone and feel, allowing each note to serve the song.

This approach has influenced many guitarists who value expression over technical excess.


Chris Rea’s Legacy and Influence

Chris Rea’s legacy lies in his authenticity. He never chased trends, preferring to follow his instincts and personal vision. As a result, his music has aged gracefully and continues to resonate with new generations.

Today, he is remembered as:

  • A master storyteller

  • A distinctive voice in British blues rock

  • An artist who stayed true to himself

His songs remain staples on radio, playlists, and long drives—exactly where they belong.


Why Chris Rea Still Matters

In an industry often driven by hype and reinvention, Chris Rea stands out for his consistency and sincerity. His music speaks to everyday experiences—travel, reflection, love, and resilience—making it timeless and relatable.

Whether you are discovering him for the first time or revisiting old favorites, Chris Rea’s catalog offers depth, warmth, and a uniquely human touch that few artists can match.

By |2025-12-22T18:52:38+00:00December 22, 2025|Music, Nostalgia|0 Comments

Bros: When the Screaming Started ( The story of a Brosette )

Rediscovering Bros

I’ve only just got round to watching Bros: After The Screaming Stops, and it brought back every memory of being a devoted Brosette.

Back in the late 1980s, when Bros were at the peak of their fame, I could never have imagined waiting weeks to watch something featuring my idols. Once those pretty boys — the Goss twins, Matt and Luke, with bassist Craig Logan — burst onto the pop scene, I was a goner. I was obsessed, and I wasn’t alone. Hordes of teenage girls across the UK were as dazzled as I was by their charm, their hair, and their swagger.


When Will I Be Famous?

It all started with their debut hit When Will I Be Famous?, which reached No. 2 in the UK charts in 1987. I first heard it on a sleepover at a friend’s house and remember thinking the lead singer sounded like a girl — perhaps I was hearing the backing vocal. That song changed everything.

From that point, Bros became my world. I was convinced I’d marry Matt Goss one day. Embarrassing now, but completely true.


Brosmania and the Concert

By 1988, Brosmania had taken over. Their mum, Carol Goss, became famous herself for her kindness to fans camping outside her house.

When Bros announced a date at Whitley Bay Ice Rink, my cousin and I were determined to be there. In the days before online ticket sales, we queued outside Newcastle City Hall from the early hours. Luckily, a kind friend who “knew someone” disappeared with our cash and returned triumphantly with two tickets. We were finally going to see our heroes in the flesh.


Vinyl, Collectibles and the Joy of the Hunt

Beyond the concerts, being a Brosette was about collecting. I spent countless hours rifling through the vinyl racks at Grainger Market and Pet Sounds Newcastle searching for rare 12-inch remixes and limited-edition sleeve packs. Some of those records are still sealed in the loft today — my teenage treasures, untouched since the 1980s.

Rumour has it that the Goss brothers are working on a new record deal, so maybe those vinyl packs will be worth something after all.


Fashion and the Brosette Look

Fashion was crucial. The Brosette uniform: faded Levi 501s, black Doc Martens, and Grolsch bottle tops for laces — just like the band. I copied most of it, though I drew the line at the beer bottle tops. Even then, I didn’t know anyone who drank Dutch beer.


All Good Things End

I saw Bros live — twice — and screamed myself hoarse. My letter was even printed in the fan club newsletter (no, I’m not sharing!). But by the time the second album The Time came out, my obsession was fading.

Life moved on: university, new loves, new priorities. Bros eventually split in 1992 after releasing Changing Faces. Their debut album Push had sold in the millions; their later releases didn’t come close.


The Reunion and Aftermath

I didn’t go to the Bros Reunion at the O₂ in 2017. I wanted to preserve the memory of those perfect teenage years. But watching When The Screaming Stops later, I did feel a pang of regret. Seeing Matt and Luke together again, older and more reflective, was strangely moving.

They’ve paid a price for their fame, and it’s clear they still carry scars from those years. But if this reunion has helped them heal, it was worth it.


Legacy

Bros were more than a boy band — they were a cultural moment. For a few shining years, they defined pop fandom. Their story, from teenage hysteria to brotherly reconciliation, still resonates with anyone who ever loved a band too much.

I’ll always have a fondness for Matt, Luke, and Craig. Maybe one day I’ll finally open those sealed badge packs and play that vinyl again.


About the Author
This post was written by Polly Taylor, guest blogger at BloggerByTheSea.com. Her eclectic blog features lifestyle writing, nostalgia, and home-made recipes that are as entertaining as they are delicious.

By |2025-10-29T09:33:40+00:00February 7, 2019|Music, Nostalgia, Vinyl Records|0 Comments

The Wacky World of One Hit Wonders or were they?

Ah, one hit wonders. Who knew that Martine McCutcheon was at number  one for 2 weeks in 1999? Not me, until I started researching this  piece. Mercifully, I’d also forgotten Glenn Medeiros and his only hit  single, ‘Nothing’s Gonna Change my Love for You’, which held the top  spot for 4 weeks in mid-1988. That’s 4 weeks of my Top of the Pops  peak viewing time I’ll never get back. (Maybe it should have been  renamed ‘Top if the Plops’ for that 4 weeks, thinks the childish part  of my brain…)

Anyway. One hit wonders or one trick ponies, if you prefer – who can we count among their number? Some  surprised me; songs that I was sure were one-off hits for certain acts had a bridesmaid follow up. The most unexpected example, for  me, was undoubtedly Robson and Jerome. Yes, we all remember ‘Unchained  Melody’ (whether we want to or not), which was at number one for 7  weeks from May 1985, but did you know that the ‘Soldier, Soldier’  stars also had 2 other number ones, in November 1985 – for 4 weeks, no  less. They followed this with another, a year later, which was at the  peak for 2 weeks. Who knew? Not me (and I’m a Geordie, like Robson, if  that makes any difference).

Perennial wedding favourite ‘Come on Eileen’ wasn’t Dexy’s Midnight  Runners’ only number one hit, either; they’d scored another, 2 years  previously, in 1980 when ‘Geno’ spent 2 weeks at the top. I can’t  recall ever having heard that one (but I was only 6 at the time, so  perhaps that explains it).

Often, one hit wonders could be described as novelty songs. From ‘Kung  Fu Fighting’, released in the mid-1970s, via the Spitting Image  ‘Chicken Song’ of 1986. Then Right Said Fred said ‘I’m Too Sexy’ in  the early 1990s, before 1997 brought us both the ‘Teletubbies’ ditty  and ‘Barbie Girl’. Yeah, thanks 1997. All but Right Said Fred reached  the top spot; Fred had to be content with number 2.

There are a lot more where those unique anthems came from, but many  were penned for a specific reason – as a charity single, a Christmas  song or for a film. Some were written as sporting chants; others  specifically to dance to – in a very precise, strictly choreographed  pattern.

Band Aid had one of the most memorable charity singles ever, firstly  in 1984, when the original topped the chart for 5 weeks. 5 years  after, Band Aid II managed 3 weeks at the peak. The 1980s were big for  fund-raising records – USA for Africa scored a number 1 for 2 weeks  with ‘We are the World’, right in the middle of the decade. 2 years  later, in 1987, Ferry Aid managed 3 weeks at the chart’s pinnacle,  raising money in the wake of the Zeebrugge disaster, when the Herald  of Free Enterprise capsized.

More cheerily, some novelty songs were made simply to dance to –  Whigfield’s ‘Saturday Night (1984), the ‘Macarena’ in the 1990s, then  ’The Ketchup Song’ in the early noughties. All had in common that they  inspired scores of people to hit the dancefloor and throw very  specific, highly synchronised shapes.

From throwing shapes to kicking balls, some one hit wonders are still  hugely popular with sporting fans at present-day fixtures. New Order’s  1990 hit ‘World in Motion’ is still oft-heard whenever England are due  to play, as is ‘Tubthumping’ by Chumbawamba (1997). The most relevant  example right now, though, has to be 1996’s ‘3 Lions’, which recently  re-entered the UK charts during England’s most successful World Cup  campaign for decades. (I guess we can’t strictly call that a  one-hit-wonder, then.)

Some songs are released to coincide with a film in which they feature,  and can be huge hits. In 1982, ’The Eye of the Tiger’, from Rocky III,  reached number one, as did Berlin’s ‘Take my Breath Away’, from Top  Gun, in 1986. That was rapidly followed by ‘Stand by Me’ (from the  film of the same name) and ‘Nothing’s Gonna Stop us Now’ by Starship,  in 1987, from the movie ‘Mannequin’. ‘Show me Heaven’ – from another  Tom Cruise film, ‘Days of Thunder’ – scored 4 weeks at the top in the  first year of the the 1990s.

Christmas rounds off each year nicely, and also rounds off this list  of novelty song choices – although not every yuletide one-trick-pony  is particularly festive. A case in point being the acapella ditty  ‘Only You’, which grabbed the coveted Christmas numero uno in 1983. It  enjoyed 5 weeks in the spotlight, before The Flying Pickets sank into  oblivion. ‘There’s no-one quite like Grandma’ wasn’t especially  festive, either, but it was a massive surprise hit for Christmas 1980  – presumably because everyone had to buy it for their Nan. I know I  (or rather, my parents) did. The Christmas hit phenomenon has been  immortalised in novel and celluloid form as well as vinyl; Nick  Hornby’s book ‘About a Boy’ tells the tale of a man who lives on the  royalties from his father’s one and only hit tune – which fortunately  for Hugh Grant’s character – happened to be a Christmas song.

Not all one hit wonders are novelty songs, though; there are many more  which range from dire, to good and great – or even absolute classic.  This piece was inspired when I happened to hear House of Pain’s lively  anthem ‘Jump Around’ on the radio. It wasn’t a huge hit here, reaching  number 8 in 1992, although it fared better across the pond, achieving  3rd place. I love that tune and am always happy to hear it.

How songs perform, chart-wise, here in the UK isn’t always reflected  in the US Billboard. I was surprised that some lists I stumbled across  classified A-ha’s ‘Take on Me’ as a one-hit-wonder, when I recalled  those boys from Norway having successive, massive hits over here. The  animated, sketch-style video, in fact, was apparently what catapulted  A-ha to the top of the Billboard across the Atlantic.

Another song I’m pretty fond of is ‘My Sharona’, released in 1979 by  the Knack, which peaked at number 6 here, but managed to secure the  top spot stateside – another of those one hit wonders. American artist Billy Ray Cyrus had a big hit with  ‘Achy breaky heart’ both here and in the US. Although he didn’t get to  number one in either, the song endures (possibly because it’s  profoundly irritating). Cyrus’s daughter Miley, aka Hannah Montana, is  far more famous than he these days.

Some real decade-defining tracks were but one hit wonders. In the  1970s, Wild Cherry had a number 1 in the US (number 7 here) with ‘Play  that funky music’, a song that still pops up on pretty much every funk  compilation album. Synth hot-hit ‘Video Killed the Radio Star’ took us  into the 1980s, though I had to look up who even performed it (Bruce  Woolley). Toni Basil’s ‘Mickey’ was so fine in 1982, and is a tune  favoured by compilers of 80s hits albums, even though it didn’t quite  reach number one (it peaked in second place). 1982 also brought us  ‘The Lion Sleeps Tonight’, which roared for 3 weeks at number 1,  before Tight Fit disappeared into obscurity. Thankfully, some might say.

In 1983, Men at Work were ‘Down Under’ up top for 3 weeks; in ’84  Nena’s ’99 Red Balloons’ was a stratospheric, worldwide smash. 1985  brought us ‘na na na na 19’ by Paul Hardcastle, which topped the list  for 5 weeks. ‘You Spin Me Round’ only managed a week, but is very much  fondly and clearly remembered, judging by the airtime it still gets.  In fact, 1985 seems to have been THE year for one hit wonders, with  Jennifer Rush and Feargal Sharkey scoring number ones with ‘The Power  Of Love’ and ‘A Good Heart’ respectively.

By 1986 I was in the full throes of my first massive crush – on Nick  Berry from ‘Eastenders’, who hit the top spot with ‘Every Loser Wins’.  Not one that I ever hear these days, unlike ‘The Final Countdown’ by  Europe, which actually spent less time at number 1 – 2 weeks for the  latter as opposed to 3 for the former.

Rick Astley – who apparently has a new album out, right now – had a  huge 5 weeks at the top of the charts in 1987 with ‘Never Gonna Give  You Up’. Few people have forgotten him (alas, some might add). Most  will have forgotten his Stock, Aitken and Waterman peer Sonia, who had  one big hit in 1989.She’d completely slipped my mind, until I saw a  sign advertising her performance at my local holiday park a couple of  months ago…

Something of a Scottish anthem, The Proclaimers’ ‘I’m Gonna Be (500  miles)’ peaked just outside the top 10 – at number 11 – in 1988. It’s  hard, now, to believe that this song, still heard so often now, didn’t  even make the top ten. Although it made number 3 in the US – and  number 1 in New Zealand.

By the end of the 1990s, things had something of a Latin flavour, with  Ricky Martin ‘Livin’ La Vida Loca’ for 3 weeks in July 1999, swiftly  followed by Lou Bega’s ‘Mambo no. 5’ which spent a fortnight at the  top a couple of months later.

By the time we reached the year 2000, I was 26 and my interest in new  music was already waning. Simon Cowell was poised to take the music  world by storm (a dire, dark, threatening type of storm in my book, at  that). I can’t really speak of music from that point on with any  authority, so I’ll stop right here.

Suffice to say that the world of music would not be the same without one hit wonders. Better, perhaps, maybe worse; it would definitely be  different. For me, variety is the spice of life. One good song is  still a good song, and the rich tapestry of music history may well be  somewhat less colourful without those one-off hits and misses.

 

This article was written by our guest blogger Polly Taylor @ BloggerByTheSea.com

Check out Polly’s very eclectic blog……There are some very entertaining and informative articles on a diverse range of subjects & topics. For instance her home made recipes are mouth watering and delicious!!

Top 5 Best LGBT Anthems / Gay Anthems that graced Brighton Pride 2018

There was never a better time to spend a weekend by the seaside than the 4th and 5th August 2018 in Brighton. The lethal cocktail of a summer heatwave, unparalleled since 1976, and Brighton Pride 2018 meant there was only one place to be on the first weekend in August 2018. But it’s the LGBT anthems / Gay anthems that will linger longest in the memory.

However as the colour and flamboyance of the Brighton Pride 2018 parade fades and diminishes, as it inevitably will, the residue that will remain after the pomp and pageantry is incarcerated in the memory bank, will be the music soundtrack.

A cacophony of LGBT anthems / Gay anthems emanated from all the floats and vintage double decker buses, but these were the five that stood out for the Record Press author –

 

Top 5 Best LGBT Anthems / Gay Anthems that graced Brighton Pride 2018

1) Diana Ross – I’m Coming Out

This comes in at No1 as it formed part of Nile Rodgers / Chic headline set at the Brighton Pride Love BN1 Fest at Preston Park on Sunday https://www.brighton-pride.org/lovebn1-fest/ Niles Rogers co-wrote the Diana Ross classic and his gig with Chic was the perfect conclusion to the weekend.

2) Weather Girls – It’s Raining Men

This gay anthem rang out several times during the parade on a hot sultry, weekend when it was only ever going to rain men as opposed to water / H2O droplets

3) Sylvester – You Make Me Feel Mighty Real

Admittedly nostalgia has played a part for including this in the Top 5 Best LGBT Anthems / Gay Anthems as I’m old enough to remember this tune being a hit in 1978. Gay or straight, this is one of the greatest dance / disco tunes

4) Gloria Gaynor – I Will Survive

Again, gay or straight, this song empowers all that encounter it. I defy anyone to say that they don’t find the Gloria Gaynor standard uplifting and inspiring. It’s impact was immediate for me, so much so that I still remember lying in the dark in my bedroom one night in April 1979 and hearing the song for the first time on Radio Luxemburg ( Fab 208 )

5) Cher – Believe

Diva and song combine to make this one of the definitive LGBT anthems / Gay anthems

What are your favourite LGBT anthems / Gay anthems? Let us know in the Reply Box below.
You can order your LGBT anthems / Gay anthems as a framed and mounted vinyl single like the Cher “Believe” one ( to the left ). If it’s intended as a gift, it can  be personalised further with an inscribed / engraved plaque. ORDER NOW….. www.myfirstrecord.co.uk

Framed 7″ records / framed vinyl singles and framed CDs with a personalised plaque, make unique presents or original gifts for a special celebration  / special occasion i.e. a Wedding ( Wedding First Dance Song ), an Engagement Party ( Our Song ), a House Warming Party ( New Home ), a 21st, 30th, 40th, 50th, 60th Birthday ( How about the No1 song on the day of birth? ), a Silver, Ruby or Golden Wedding Anniversary, Father’s or Mother’s Day or Valentine’s Day. 

THE PERFECT PERSONALISED PRESENT @ www.myfirstrecord.co.uk

 

My Super Seven Soundtracks

Our regular guest blogger Polly Taylor reflects on afternoons and evenings lost in the fantasy arena of the cinema / movies, aided and abetted by great soundtracks……

Lost Boys (1987)

Let’s face it, any album containing 2 INXS tracks was always going to  win me over. The opening duet, ‘Good Times’, sung by Michael Hutchence  and Jimmy Barnes (of Australian band Cold Chisel), is a corker. If  there’s one song that I’d love to hear performed live, it’s this one.  Not just anywhere, though – it would have to be at the Coogee Bay  Hotel in Sydney, where both the former band and the latter artist have  played in years gone by; in fact the Australian National Portrait  Gallery even has a picture of Barnes, singing on that very stage.

That will never happen now, of course – barring someone inventing a  time travel machine that works (DeLorean or otherwise), to transport  me back to 1984 (rather then 1985) when the aforementioned photo was  taken, and Hutchence was still alive.

I also love Echo and the Bunnymen’s ‘People are Strange’ and the theme  tune ‘Cry little Sister’. All the tunes are good, with no sign of  filler tracks whatsoever. They evoke the kitsch horror of the movie  perfectly; the motion picture and accompanying soundtrack in perfect  harmony.

Grease (1978)

I know, I know – from the cool as Lost Boys to the super cheesy  Grease? You have a point, but hear me out. If you’ve ever been a  teenage girl – and there’s fairly good odds that you might have been,  at some stage – you should understand. Singing your heart out to the  jolly ditties ‘Summer Nights’,  ‘We go Together’, or ‘You’re the One  that I Want’; the grittier (and dirtier) ‘Greased Lighting’; or the  slushy, soppy song that is ‘Hopelessly Devoted’ – it’s all part and  parcel of female puberty and frankly, an essential rite of passage.

Trainspotting (1996)

From Rydell High School to the grubbier parts of Edinburgh now, for  what is possibly THE film soundtrack of the 1990s. Released right in  the midst of the dance club and Britpop band ‘Madchester’ era, this  film was huge, making massive stars of director Danny Boyle and actors  including Ewan McGregor and Robert Carlyle. Jonny Lee Miller was even  married to the mighty A-lister Angelina Jolie back then.

The track list reads like a Who’s Who of the mid-1990s – Blur,  Sleeper, Primal Scream, Leftfield, New Order, Pulp, Elastica… even the  ‘Godfather of Punk’ Iggy Pop has two tracks on there. Lou Reed’s  ‘Perfect Day’, used as it is in the film, is pure genius. If you think  it glorifies drug-taking, just keep watching, until the very bitter  end, of this groundbreaking movie.

 

The Beach (2000)

Phew. From the frenetic, gritty backstreets of the Scottish capital to  a tropical paradise. ‘The Beach’ is set on a picture postcard Thai  island, boasting the most pristine peach of a beach. Things gradually  start to sour, though, until the benign ‘cancer in the corals’ of Alex  Garland’s novel turn malignant. The clear blue waters become sullied  by blood, and the islanders begin to lose their grip on their Utopian  universe. The soundtrack fits both the film and the book beautifully,  from ‘Pure Shores’ to ‘Spinning away’, ‘Brutal’ and ‘Out of Control’.

 

 

Romeo and Juliet (1996)

This modern take on Shakespeare was released the same year as  Trainspotting, and despite being a love story, it also shines a light  on the grimier side of life. Mostly filmed in Mexico City and Boca del  Rio (also in Mexico), parts were also shot in Miami; a city almost as  infamous for its seedier side, as it is renowned as a sunbaked holiday  spot.

Romeo and Juliet is a tragedy, after all. Some songs are, as you might  expect, all ‘Young hearts run free’; while ‘Kissing you’ seems like  something of a lament. My favourite is the Wannadies’ ‘You and Me  song’, and not only because I once spent a crazy evening with one of  my backpacking chums, literally jumping up and down on the floor like  kids on a bed in a Sydney flat-share. We caused the manager of the  block to hammer on our door and tell us to belt up. Perhaps not my  finest hour, but it was one of the funniest…

The Doors (1991)

I first watched ‘The Doors’ film some months before the mad half hour  in Sydney had even happened, on a farm in South Australia near the  Murray river, where I spent a few happy months picking apricots,  scoffing peaches and mixing (for a change) with real Australians.

Atmospheric is the word that springs to mind; both for the film and  for the Doors’ musical output, ‘Riders on the Storm’ being the  ultimate – but not the only – case in point. ‘Light my Fire’ is of  course a veritable anthem, although it is ethereal, as opposed to  downright eerie, which I find ‘Riders on the Storm’ to be. Eerie isn’t  a bad thing; I love a bit of gothic horror, and the Doors could  deliver that in spades through their songwriting and performance. Not  to mention the trance-like, hypnotic quality of much of their music.

Val Kilmer, previously known to me as ‘Iceman’ in Top Gun, was  brilliant and a thoroughly convincing Jim Morrison, and his Top Gun  co-star Meg Ryan nailed it, too. Great film, intriguing story and a  fabulous soundtrack to boot.

Dirty Dancing (1987)

The release of this perennial girls’ film favourite coincided  agreeably with my entering my teens – I was 13 when it came out. I was  developing physically, and mentally, was starting to discover the  power of a serious crush. All the girls, in 1987, had a crush on  Patrick Swayze, but it wasn’t only his hip-swivelling that gripped our  hearts (and nether regions). The movie’s music was utterly  captivating, too.

I must point out, at this juncture, that the edition you want – if you  so desire – is ‘Ultimate Dirty Dancing’, rather than the ‘Original  motion picture soundtrack’. The latter omits Solomon Burke’s ‘Cry to  Me’, for one thing – the very song to which Johnny and Baby finally  get it on. A heinous crime (the omission, I mean, not the getting it  on).

‘Do You Love Me’ is missing, too – the very song that plays, right  there in that oversized barn-type place, where the whole love story  begins and we first see some proper dirty dancing. Otis Redding is  even disregarded, which is, frankly, unforgivable. ‘Ultimate Dirty  Dancing’ is one of my top picks; what a shame the bigwigs saw fit to  omit some of the most seminal tracks from the official version.


 

This article was written by our guest blogger Polly Taylor @ BloggerByTheSea.com

 

 

A favourite romantic film, framed and mounted, makes a unique wedding gift for the bride and groom or alternatively an original birthday present for your girlfriend / wife. You can personalise it with an inscribed / engraved plaque…… 

ORDER NOW…….. www.myfirstrecord.co.uk/

 

By |2018-05-09T09:43:55+01:00May 9, 2018|Film, Framed DVDs, Movies, Music, Nostalgia|0 Comments

Kenny Rogers’ international appeal & storytelling transcends his Country & Western roots

Recently the Record Press author posted a BBC article on social media announcing that Kenny Rogers had sadly been forced to cancel the remaining dates on his Farewell Tour due to ill health and then I thought little more of it……

A few hours later I returned to Twitter and Facebook, to be inundated by over a thousand responses to the sad news that Kenny Rogers had been forced to prematurely bow out of his final encore on the road. The fact that people on both sides of the “Big Pond” ( aka the Atlantic Ocean ) felt compelled to comment & convey not only shock and sadness but good wishes, demonstrates the love, affection and high esteem with which Kenny Rogers is held in throughout the world.

This in turn made me re-examine my relationship with Kenny Rogers. Like many in the UK, we were first introduced in the early summer of 1977  through a mutual friend, Lucille. The song “Lucille” stayed in the charts having peaked at No1 for many weeks, but the resonance of the sad story of the father and “four hungry children” she abandoned, lived on much longer in our hearts and minds. What Kenny Rogers proved in that moment and on that 7″ vinyl single was that not only was he a great vocalist, but also a great story-teller and raconteur.

My love of Kenny Rogers was cemented in 1979 and 1980 when he released the beautiful, poignant and moving ballads “She Believes in Me” and “Lady”, the latter a No1 in the USA. He also reached No1 in the USA in 1983 when he teamed up with good friend Dolly Parton with the classic duet “Islands in the Stream”.

Kenny Rogers has also had two No1s in the UK – the aforementioned “Lucille” in 1977 and “Coward of the County” two years later in 1979. Interestingly the two songs are great examples of storytelling as is “The Gambler”.

The news that Kenny Rogers’ health may be failing, possibly heralding the end of his active musical career, focussed my mind sufficiently for me to realise how much of a significant part Kenny has played in my life and the soundtrack of that life. So much so, that I have compiled this Record Press Top 5 Best Kenny Rogers Songs –

Top 5 Best Kenny Rogers Songs

 

1) Lady ( No12 1980 )

2) She Believes in Me ( No42 1979 )

3) Islands in the Stream ( No7 1983 )

4) Lucille ( No1 1977 )

5) The Gambler ( No22 2007 )

 

What are your favourite Kenny Rogers songs? Let us know in the Reply Box below.

Fans of Kenny Rogers can order your favourite song as a framed and mounted vinyl single like this one ( to the left ). If it’s intended as a gift, it can  be personalised further with an inscribed / engraved plaque. ORDER NOW….. www.myfirstrecord.co.uk

Framed 7″ records / framed vinyl singles and framed CDs with a personalised plaque, make unique presents or original gifts for a special celebration  / special occasion i.e. a Wedding ( Wedding First Dance Song ), an Engagement Party ( Our Song ), a House Warming Party ( New Home ), a 21st, 30th, 40th, 50th, 60th Birthday ( How about the No1 song on the day of birth? ), a Silver, Ruby or Golden Wedding Anniversary, Father’s or Mother’s Day or Valentine’s Day. 

THE PERFECT PERSONALISED PRESENT @ www.myfirstrecord.co.uk

 

Steve Ellis of the Love Affair to release new album on 50th anniversary of Everlasting Love

Steve Ellis, formerly lead vocalist with 1960s band Love Affair has collaborated with Paul Weller on a new album “Boom! Bang! Twang!”, to be released on vinyl and CD on the 20th April 2018.

The album is released 50 years after Steve Ellis had a huge hit with the classic “Everlasting Love” with his band Love Affair and sees a return to the label behind that single, CBS (via Sony).

The album has been co-produced by long-time fan and friend Paul Weller, with the album also featuring Paul Weller and Andy Crofts and Ben Gordelier (The Moons) and numerous other alumni of the rock and pop hall of fame.

The finished product will be a combination of new songs and covers, with the first single off the album, Lonely No More, co-written with Paul Weller, described as a ‘glorious Northern Soul-esque shaker’. As for the covers, they take on tunes from William Bell, Gerry Marsden, Jimmy Cliff and Tim Hardin.

For the Record Press editor, Steve Ellis has one of the great white British soul voices of the 1960s, only matched by Steve Winwood ( Spencer Davis Group & Traffic ) and Steve Marriott ( Small Faces ). A holy trinity of “Sixties Steves”! To prove the point check out this Top 5 Best Love Affair / Steve Ellis Songs –

 

Top 5 Best Love Affair Songs

 

1) Bringing On Back The Good Times ( No9 1969 )

2) Everlasting Love ( No1 1968 )

3) Rainbow Valley ( No5 1968 )

4) A Day Without Love ( No6 1968 )

5) One Road ( No16 1969 )

 

Framed vinyl singles and framed CDs with a personalised plaque, make unique presents or original gifts for a special celebration  / special occasion i.e. a Wedding ( Wedding First Dance Song ), an Engagement Party ( Our Song ), a House Warming Party ( New Home ), a 21st, 30th, 40th, 50th, 60th Birthday ( How about the No1 song on the day of birth? ), a Silver, Ruby or Golden Wedding Anniversary, Father’s or Mother’s Day or Valentine’s Day.  THE PERFECT PERSONALISED PRESENT.  ORDER NOW…….. www.myfirstrecord.co.uk

 

Musicians I Miss the Most: Polly Taylor raves about heroes in their graves!!

I’ve already waxed lyrical on the loss of George Michael, but he’s far  from alone in being taken from us far too soon. In fact, in the same  year alone, David Bowie and Prince departed many months before Mr  Michael slipped away on Christmas Day 2016.

I didn’t really feel a huge sense of loss when any of the above left  us, to be honest. For me, it’s been more of a slow burner. I hear a  song on the radio, or select a song from my extensive and eclectic CD collection, and suddenly I’ll feel a genuine, deep-seated sadness  right in the pit of my belly, that makes me almost have to catch my  breath. It is the same feeling that I get when I suddenly miss my  mother. It can be just as strong, and it almost always takes me  completely by surprise.

My mother died at 57, the same age as another of the deceased that I  miss dearly. I think it might be pushing it to call him a musician;  nevertheless he was a major feature of my teenage life – and  fantasies. I’m talking about old swizzle-hips himself, the one and  only Patrick Swayze, the guy who could pin me into a corner any time  he chose.

Patrick Swayze did, in fact, record one of the songs for the soundtrack of  ‘Dirty Dancing’.  (See one of our happy customers below with her framed “Dirty Dancing” film DVD which we created as a birthday gift for her from her family. For more info go to the MyFirstRecord.co.uk website……. http://www.myfirstrecord.co.uk/framed-dvds/framed-dvd-and-cover ). As far as I was previously aware that was  his only flirtation with singing. I was wrong. He is described, in  fact, on the ubiquitous Wikipedia as an ‘actor, dancer and  singer-songwriter’. I’m not here to praise his musical talent – of  lack thereof – though. I recall his connection to music in his dancing  to it rather than his singing of it. He could certainly dance. Mmm…

Patrick Swayze isn’t top of my list. He lies somewhere beneath an  Australian rocker (that I’d love to have lain beneath) who is probably  the artist I miss the most of all. INXS are my all-time favourite  band, and I loved everything about Michael Hutchence. Yep, even that  whole tortured-soul thing he had going on, that was almost definitely  the cause of his demise in one way or another. It almost certainly  played a large part in causing my crush on him, too.

Oh, to have been Paula Yates, on that bed on the “Big Breakfast” with him in 1994!! To have  seen INXS play live at the Coogee Bay hotel, a Sydney boozer in which  I spent far too much time and money, for a few brief months in 1996.  Furthermore, imagine bumping into the man himself in that crowded,  raucous joint… I think I’d better stop right there, this is a public  place.

There’s a big connection building here, isn’t there? The artists I  miss the most, seem to be those I lusted after the most. Which takes  me right back to George Michael, the subject of my earliest teenage  stirrings. He was the first musician I can remember who awakened those  feelings in me, but I think it’s more than just physical. With music,  I’d argue that there’s a mental connection too. Through melodies,  lyrics, harmonies and poetry, the artists speak to something deep in  the soul, and I think that’s why they become so very much admired –  and later, when they pass – very much missed.

After all, crushes in our early adult life are supposedly practice for  the real thing; a rehearsal for out later years when we might fall in  love, commit and in many cases, reproduce. It’s said that the first  cut is the deepest, referring, I presume, to our first real-life love;  but surely that depth of feeling for our musical idols – the practice  run – would mean that their loss would leave, at least, a deep scratch?

I’d say, yes, indeed, the first cut is indeed the deepest and leaves  the biggest scar, like the cut below my knee from a minor car crash in  the 1980s. The nasty scratches I got when taking a cross-country  shortcut through brambles during my school days may now be invisible,  but they took years to disappear, and surely there might be some  permanent damage to the skin beneath? It can no longer be seen,  granted – but that doesn’t mean it isn’t there.

I wish Prince and Bowie were still around, but I can say that without  intensity of feeling. It’s a real shame they’re not around to make  wonderful music any more, but that’s where it ends. I don’t feel that  connection with them, as I did – and do to this day – with George  Michael, Patrick Swayze and Michael Hutchence. I do feel that they  were part of my life. My mood changes, in a more serious way, when I  hear ‘Praying for Time’, ‘Cry to Me’ (by Solomon Burke, from the Dirty  Dancing soundtrack), or ‘Never Tear us Apart’ (See the framed vinyl copy of INXS “Never Tear Us Apart” below; a wedding first dance gift we created recently. For more info go to MyFirstRecord.co.uk). I experience a profound  sense of loss, in a way that just doesn’t happen with other late  greats, who I miss purely for their musical output. Prince’s ‘1999’  will always make me want to get out and party, while Bowie’s ’Changes’  will make me feel a little sad – but not gut-wrenchingly so.

There’s an artist, though, who for me lies somewhere between the two  extremes, and that is Michael Jackson. His music featured hugely  during my schooldays, and I have very fond memories of my sister and I  singing (or rather, yelling) along to the ‘Thriller’ video, trying  (and failing miserably) to copy Jackson’s signature dance moves.  There’s another one who could move, for sure – but could not move me,  in the way that Patrick Swayze could. I look back upon Michael  Jackson’s life and work with affection, and a measure of palpable  emotion, but I suspect that’s down to my connection with my sister and  what we shared, than down to any emotional relationship with the man  himself.

I grew up with George Michael, Patrick Swayze and Michael Hutchence, and they will always be  very dear – and feel very familiar – to me. Therefore I will always  regret their loss, just like I will always yearn for my mother and  grandmother. When you grow up with people, they leave a lasting  impression on your life and things will never be quite the same again  when they’re dead and gone. Even if you never met them.

 

This article was written by our guest blogger Polly Taylor @ BloggerByTheSea.com

Check out Polly’s blog……There are some very entertaining and informative articles on a diverse range of subjects & topics. For instance her home made recipes are mouth watering and delicious!!

Nick Drake induction into the Radio 2 folk hall of fame is so richly deserved

During his tragically short life, Nick Drake recorded some of the most influential music ever to come out of the British folk scene.

To mark and celebrate what would have been his 70th birthday, Radio 2 has announced Nick Drake will be inducted to its Folk Hall of Fame. Nick Drake’s sister, actress Gabrielle Drake, will accept the award in April. She commented: “I think Nick would have been quietly amazed, amused but above all, honoured. And, indeed, grateful. As I am on his behalf.”

The honour will be bestowed at the Radio 2 Folk Awards, at Belfast’s Waterfront Hall.

Nick Drake was inspired by Bob Dylan to take up the guitar and started gigging in London while studying English at Cambridge.

One of his performances, at Camden’s Roundhouse in 1967, was attended by Ashley Hutchings, bass player with English folk-rock group Fairport Convention, who introduced him to the band’s acclaimed producer Joe Boyd.

Joe Boyd, along with engineer John Wood, were to prove instrumental in the short life of Nick Drake, producing his first two albums on Island Records – his 1969 debut, Five Leaves Left, and Bryter Layter, released the following year.

Five Leaves Left and Bryter Layter  showcased Nick Drake’s “gentle, plaintive meditations on love and longing, pairing his ethereal voice and melancholic vision with sweeping strings and jazzy orchestrations.” ( BBC )

Five Leaves Left and Bryter Layter were well-received by critics but didn’t sell well, allegedly sending Drake into a bout of depression which worsened when Boyd left for the US. In late 1971, Nick Drake recorded what was to become his final album – Pink Moon. A darker collection of songs, they stripped away Boyd’s production, leaving Drake’s delicate voice alone with his acoustic guitar, almost symbolic of the artist’s increasing isolation.

As the Pink Moon album sales stuttered to little more than a few thousand copies, Nick Drake retreated to his parents’ home in Tanworth-in-Arden. Sadly it was there, in his childhood bedroom, that he died on the 25th November 1974, aged 26, after taking an overdose of prescribed anti-depressants.

I love Nick Drake’s hauntingly beautiful & deeply sensitive vocals and lyrics……The ephemeral and fragile nature of his lyrics and vocal style mirrored his tragically short life, which ended with his suicide at the age of 26 in 1974. This is why this accolade is so richly deserved.

If you are not familiar with Nick Drake, you should retreat to a darkened room and listen to Five Leaves Left and Bryter Layter and I defy this experience not to enrich and change you in some way……..Unlike poor Nick, you will be able to turn the lights on again and continue your life, the richer for this man’s artistic sensibilities and sacrifice….. R.I.P Nick Drake ( 1948 – 1974 )

 

By |2018-03-07T12:51:45+00:00March 7, 2018|Music, Nostalgia, Retro Music|0 Comments

To cover or not to indulge in cover versions: that is the question?

Can you imagine the music business without cover versions? Yes, many  new releases are fresh, original songs, but many are also reworked  versions of someone else’s former hit – or miss. Some are fresh and  original covers, that do something new with the tune; sometimes so  much so that it becomes almost unrecognisable. Others are just a  rehash, and barely indistinguishable from the original.

A typical example of the latter is ‘Uptown Girl’, first recorded in  1983. It is something of an anthem of my youth and the uplifting  melody and simple premise are very appealing. It was a big hit, making  the top 20 bestselling singles list – of the entire decade. To date,  well over a million copies have been sold worldwide.

‘Uptown Girl’ was covered by Westlife, who released it in 2001. Now, I  can see why Westlife would want to record it, it’s a great tune. But  why we would want to buy it, I have no idea. The song is sung in the  same way as Joel’s original, but the vocals, and backing music, seem  to me to be lacking in a certain something that made the Joel version  sing with quality.

Why cover a song, if you’re not going to do anything new with it?  What’s the point? For Westlife, the point, presumably, was money.  Maybe, they’d also lay claim to attempting to bring a great song to a  younger audience. Fair enough, I guess. That doesn’t quite cut it for  me, but perhaps that’s my problem, not theirs.

We all seem to claim that the music we grew up with was the best –  well, my parents certainly did, singing the praises, in particular, of  the Beatles and Deep Purple – among many others – all of whom came  from the swinging sixties and glaring, flare-clad seventies.  Apparently, my Dad saw Jimi Hendrix perform in Newcastle in the early  1970s. Really? He barely mentions it…

I favour the eighties and nineties, no doubt because I grew up with  the music of those decades. Florence and the Machine’s 2009 cover of  ‘You Got the Love’ annoyed me intensely; from the get-go I much  preferred Candi Staton’s first version from 1986. I was 12 in 1986; by  2009 I was 35. Too old for very much new music perhaps, by then, let  alone for substandard (as I saw it) new versions of the tunes that  accompanied me, like old friends, through puberty, school, exams and  university and into the grown-up worlds of work, travel, relationships  and flat sharing.

Cover versions certainly don’t have to be good to be successful.  Robson and Jerome’s version of ‘Unchained Melody’ had some sort of  appeal that is invisible to the naked, suspecting eyes of many people,  yet it was the top-selling single of 1995. ‘Good’ is clearly in the  ear of the beholder. No offence Robson, who’s from my own stomping  ground – I do love your ‘Tales from Northumberland’, but that hit was  just altogether too cheesy for my tastes. But give me pudding over a  cheese-fest any day; each to their own. Either way the 1990 re-release of the Righteous Brothers’ far superior 1960s rendition of ‘Unchained Melody’ ( as part of the movie soundtrack from “Ghost” ), made the version by Robson and Jerome redundant.

Don’t get me wrong, I don’t hate all cover versions. I am fond of  Alien Ant Farm’s 2001 cover of Michael Jackson’s 1988 hit ‘Smooth  Criminal’. It’s a far rockier, grungier version, and I like both  more-or-less equally. Both have their own merits, and Alien Ant Farm  made the song their own by covering it from a whole new angle.

Only relatively recently, did I discover that The Communards’  chart-topping hit, ‘Don’t Leave me this Way’ was not an original. The  song was in fact first recorded in 1975, and was a hit both then and  shortly after, in 1997. Harold Melvin and the Blue Notes’ version, the  original, reached the top 10 in both the UK and America, peaking at numbers 5 and 3 respectively. Thelma Houston’s rendition was far more  popular across the pond than here in Britain; it failed to reach our  top 10, peaking at number 13 here, while in America it made number 1.  I’m not familiar with the earlier versions, but The Communards’ cover  is an absolute triumph. Praise be to the Reverend Coles and Mr  Somerville.

The late, great George Michael even experimented with cover versions. He sang  ‘Killer’, which had previously been a huge hit for Adams and Seal, in  1991 at Wembley, and it was later released as part of the ‘Five Live’  EP, along with Michael’s rendition of ‘Papa was a Rollin’ Stone’ and  two duets – ‘Somebody to Love’ with Queen, and ‘These are the Days of  our Lives’ again with Queen and also featuring Lisa Stansfield. All  but the latter appeared on ‘Ladies and Gentlemen: The Best of George  Michael’, as well as ‘Don’t Let the Sun go Down on Me’, another duet,  this time with Elton John. Michael also, of course, could be said to  have covered one of his own songs, when he recorded ‘Freedom ’90’,  following Wham’s ‘Freedom’ in 1984. Though the 2 songs are very  different, both in terms of tune, lyrics and subject matter, the ’90  in the second title was added to differentiate between them.

Not a lot of time separates The Zutons’ ‘Valerie’ and Amy Winehouse  and Mark Ronson’s version, but the renditions are very different  indeed. I’m a fan of both the 2006 original and the 2007 cover, so  perhaps all is not lost. I didn’t stop liking all new music after the  1990s ended, and in fact I liked the cover very much, too. It would be  very hard to pick a favourite: both The Zutons and Ms Winehouse’s  renditions feature in my personal music collection.

As for a song that sounds like it must be the original, I can’t think  of a better example than The Mike Flowers Pops cover of ‘Wonderwall’.  Even Noel Gallagher was reportedly asked by the media whether he had  indeed penned the ditty. The cover is in the easy listening genre and,  although I grew up during the 1990s indie, ‘Madchester’ and Britpop  years, I do respect the Flowers version, simply because he dared to  put his own spin on a veritable pop classic from one of the UK’s  biggest bands ever.

Not all cover versions are released as singles, or make it into the  charts, of course. Many covers have a place in popular culture, and  our lives, though other means. One of the very best covers I’ve ever  heard was an uptempo, swing rendition of Rihanna’s ‘Umbrella’, which  featured on Strictly Come Dancing in 2017, performed by Dave Arch’s orchestra. ‘Wonderful!’, as Brucie himself would have proclaimed.

In the press recently, I read an interview with a semi-professional  heavy metal guitarist, who claimed that one of his band’s stock covers  was Britney Spears’ ‘(Hit me) Baby One more time’. The mind boggles.

Are cover versions a good or a bad thing? It very much depends on the  rendition – and the listener. If I really like the artist, then I’ll  probably like the cover. I was never going to dislike George Michael  singing any decent song, for example. The best covers, I think, are  those that do something fresh and new with the original material.  After all, isn’t that what being an artist is all about?

Check out this BBC4 documentary on the best cover versions – “Better than the Original: the Joy of the Cover Version”  https://www.bbc.co.uk/iplayer/episode/b06n9q8y/better-than-the-original-the-joy-of-the-cover-version?suggid=b06n9q8y

 

This article was written by our guest blogger Polly Taylor @ BloggerByTheSea.com

Check out Polly’s blog……There are some very entertaining and informative articles on a diverse range of subjects & topics. For instance her home made recipes are mouth watering and delicious!!

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