Anthony King & John Schroeder - Pull Both Ends (Original London Cast) (1972)

  • 29 Jul, 09:39
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Artist:
Title: Pull Both Ends (Original London Cast)
Year Of Release: 1972/2007
Label: JAY Productions
Genre: Jazz, Pop, Easy Listening, Soundtrack
Quality: Mp3 320 / Flac (tracks)
Total Time: 45:37
Total Size: 116/303 Mb
WebSite:

Tracklist:

01. The Young Generation - Prelude (Every Morning) 3:14
02. The Young Generation - What About People 1:56
03. Christine Holmes - After All (We're Women) 1:54
04. Gerry Marsden, Christine Holmes - A Tiny Touch 2:07
05. Christine Holmes, Judy Bowen, Susan Toogood - Particular Woman 2:44
06. Christine Holmes - Some Kind of Love 1:56
07. Gerry Marsden, Keith Smith, Judy Bowen, Miles Greenwood - Decisions 1:32
08. Gerry Marsden - Put a Little Smile 2:32
09. Men, Judy Bowen, Susan Toogood - Wallflowers 2:03
10. Christine Holmes, Miles Greenwood - If You Knew the Way I Feel 2:25
11. The Young Generation - Get the World to Dance 3:12
12. Christine Holmes - Here Am I 2:10
13. Gerry Marsden, Christine Holmes, Alyn Ainsworth, Anthony King - Strike 2:10
14. Gerry Marsden, Christine Holmes, Alyn Ainsworth, Anthony King - Little Leather Book 2:34
15. Miles Greenwood - There's Something About Her 2:45
16. Gerry Marsden, Susan Toogood - Oh, Joe 1:16
17. Christine Holmes, Miles Greenwood - Can This Be Love? 3:44
18. Christine Holmes, The Young Generation - We're Ready 2:14
19. Christine Holmes, Alyn Ainsworth, John Schroeder, Anthony King - Pullin' Together 3:10

Arranger/conductor/producer John Schroeder wrote a number one U.K. hit for British singer Helen Shapiro ("Walkin' Back to Happiness") in the early '60s, made the first licensing deal for Motown product on British shores, and formed Sounds Orchestral, which had a Top Ten hit on both sides of the Atlantic in 1965 with "Cast Your Fate to the Wind." To space age pop fans, however, he became known as one of the chief exponents of what the British called "easy": mostly instrumental recordings that welded easy listening pop arrangements to soul, rock, and psychedelic source material. It was critically ignored at the time, as his work was really aimed at creating background music for those who found the original versions too intense to handle. In the mid-'90s, however, it became all the rage in London clubs, where his blaring horn charts and pumping Hammond organs provided suitable background music for those looking for the cutting edge in retro sounds. This newfound demand paved the way for the reissue of some of his recordings decades after they had made a beeline for the cutout bin.



  • mufty77
  •  20:22
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Many thanks.