#Norman Newell

[basicallyanotherwitchesthing]

The Melbourne Pops Orchestra Conducted By Tweed Harris – To The Door Of The Sun - T.C.S. rec. - 1976 (cover concept by John Reszka)

[pianorequests]

1966 - a year of four LPs

1966 was a good year for Russ. He was on the way to recovering as best he could from a stroke he had suffered in late-1965, and by the end of the year he recovered enough that he was able to record four whole albums. This post details those four LPs.

Russ Hour Russ Hour was the first Russ LP to be released in 1966. Recorded on 26th January that year, and released in June, it featured the standard accompaniment directed by Geoff Love.

Unusually, this album was one of two full LPs to be produced from a single recording session held on that day in January. Russ's recording manager, Norman Newell, had booked twice the usual amount of studio time for Russ's first recording session after his stroke as a result of not wishing to overwork him. The first LP they set about recording was Time to Play, which would be released on EMI's budget label Music For Pleasure.

However, because the recording for that LP went so well, the artists moved onto recording a second record - and it was this which became Russ Hour, a full-price LP on EMI's Columbia label. Tracks on this one include Red Roses for a Blue Lady, Lullaby of Broadway, and Hello, Dolly!

Time to Play This was the first record Russ recorded following his 1965 stroke, and was a re-recording of several tunes he had made successful recordings of during the first few years of his solo career. All of the tracks from his 1959 EP Another Six were re-recorded, as well as The Westminster Waltz, The Birthday Cakewalk, Snow Coach, Trampolina, and Matador from Trinidad.

The accompaniment was again directed by Geoff Love (the last time he would work with Russ for an LP), and the album - as was standard for all of Russ's records of this time - made use of the Steinway Model K 'Vertegrand' upright piano which was kept in Abbey Road's Studio Two. This album was released on 16th September 1966. Despite being recorded in stereo, it was initially released in mono only - the same as the Another Six EP.

On compilation albums released after this point, the Time to Play versions of these tunes are almost always the ones included, rather than the original recordings. The most notable difference between the 1966 and original versions is the piano: in 1966, the piano Russ used was much more metallic-sounding than the original Hohner he used at the start of his career.

Concerto for Memories Released some six years after the first of his 'Concerto' albums, this LP marked a significant point in Russ's career: it marked the last time he recorded a new orchestral LP. Released in November 1966 under EMI's Studio2Stereo brand and on their Columbia label, it proved made use of Brian Fahey and his Orchestra.

The title track for this LP was, as with his previous three 'Concerto' albums, written by Russ himself, under his real name of Trevor Herbert Stanford. Concerto for Memories was the only of the four he wrote not to have been released in sheet music form.

This record also marked an interesting turning point for Russ's records: until this point, all of his records had been released either in mono only, or in mono first and then stereo later. However, in this case, it was the stereo mix which was released first, with the mono mix not being released until May 1967. All of Russ's records after this point, except compilation albums using older material, would be released in stereo only.

Pop-a-Conway This last 'pop' album from Russ was released for Christmas 1966, and featured accompaniment directed by Norman Percival rather than Geoff Love. It was the last of his new studio albums to be released by EMI in the UK.

The sleeve notes for this album were written by Hank Marvin, and the tracks included are a range of pop songs from the time, including The Beatles' All My Loving. The More I See You is also included, this time in an upbeat form - it was previously included, in an orchestral style, on Concerto for Memories. Other tracks on this album include Spanish Flea, Strangers in the Night, and It's Not Unusual.

The cover art for this album is bright and colourful, with large title text across it. It's a departure from the standars photograph-and-text for Russ's albums, but a welcome one as it really 'pops' (which works with the album's name, of course!).

[scotianostra]

On July 17th 2009 the singer/songwriter Gordon Waller and one half of the duo Peter & Gordon passed away.

Waller, the son of a surgeon, was born in Braemar, and went to Westminster school, in London, where he met Peter Asher in 1959. Asher was already something of a jazz and blues fan, but Waller persuaded him to broaden his horizons to include pop and rock'n'roll. Both were keen guitarists and soon they were entertaining their fellow students. By 1963, they were playing (initially as Gordon and Peter) in pubs and small clubs at lunchtimes and evenings for small fees or for a meal, often singing their own compositions in the close harmony style of the Everly Brothers. Early in 1964, they were booked for a two-week engagement at the Pickwick nightclub. One of the diners was Norman Newell, an EMI record producer. Newell was charmed enough by Peter and Gordon's rendition of their song If I Were You to offer them a recording contract.

At this time, McCartney was dating Jane, and Peter and Gordon badgered McCartney to provide them with a song. He obliged with A World Without Love, which he had written six years earlier in Liverpool. McCartney told his biographer Barry Miles: "Gordon was a lot of fun – he was slightly less academic than Peter. It was he who persuaded Peter to jump school to do lunchtime sessions."

By the end of March 1964, A World Without Love had displaced the Beatles' own Can't Buy Me Love at the top of the charts. In May, just before Waller's 19th birthday and Asher's 20th, it was the biggest selling record in the US. The instant stardom created by A World Without Love was the beginning of two years of frantic activity for Peter and Gordon.

For the American media, they combined the cachet of a Beatles connection (McCartney wrote several more of their hits and fans discerned in Waller a slight resemblance to John Lennon) There were numerous television appearances, occasional tours of Japan and Australia as well as North America and dozens of recordings. In the next 12 months, Nobody I Know and I Don't Want to See You Again (both by McCartney) were transatlantic hits, as were I Go To Pieces, written by Del Shannon, and True Love Ways, a Buddy Holly song the duo had performed in their early days in London.

By now, Peter and Gordon were competing in North America with numerous other British imports, including another middle-class duo, Chad and Jeremy. Their star began to wane in 1966, when their only hits were Woman, another McCartney composition credited pseudonymously to "Bernard Webb", and Lady Godiva, a novelty number that was denounced as obscene by the mayor of Coventry, which helped it reach the Top 20 in Britain and the American Top 10. By 1967, Peter and Gordon's British career was over and in America they were reduced to peddling olde English material such as the minor hit The Knight in Rusty Armour and the album Sunday for Tea. They split up the next year, with Asher joining the Beatles' Apple project as an A&R man and Waller launching a career as a solo singer.

Despite the fact that he had been the stronger vocalist of the pair, this career was stillborn. A handful of singles were issued, plus a 1970 album of his own compositions called Gordon. He left showbusiness to run a landscape gardening business in Northamptonshire until, in 1971, he took the part of Pharaoh in Joseph and the Amazing Technicolor Dreamcoat, the musical by Andrew Lloyd Webber and Tim Rice.

In the 1980s and 90s Waller ran a music publishing business in America. In the last few years of his life, he reunited with Asher to play a few shows in Los Angeles, the Philippines and New York

[art1for2the3masses]

Newell Convers Wyeth - Breaking the Log Jam [1943]

Newell Convers Wyeth established himself as one of the preeminent illustrators of the early 20th century by successfully fulfilling countless assignments for America’s publishers. Possessing an incontestable knack for the profession, Wyeth’s illustrations were warmly embraced by the American public. While Wyeth established his reputation with his works of the American West and notable story illustrations, he further cemented his legacy, much like Norman Rockwell, with war-linked imagery.

[ulkaralakbarova]

Sherlock Holmes and Dr. Watson meet as boys in an English Boarding school. Holmes is known for his deductive ability even as a youth, amazing his classmates with his abilities. When they discover a plot to murder a series of British business men by an Egyptian cult, they move to stop it. Credits: TheMovieDb. Film Cast: Sherlock Holmes: Nicholas Rowe John Watson: Alan Cox Elizabeth Hardy: Sophie Ward Professor Rathe: Anthony Higgins Mrs. Dribb: Susan Fleetwood Det. Sgt. Lestrade: Roger Ashton-Griffiths Dudley’s Friend: Matthew Ryan Dudley: Earl Rhodes Chester Cragwitch: Freddie Jones Bentley Booster: Patrick Newell Khasek – Lower Nile Tavern Owner: Nadim Sawalha Rupert T. Waxflatter: Nigel Stock Master Snelgrove: Brian Oulton The Reverend Duncan Nesbitt: Donald Eccles Dudley’s Friend: Matthew Blakstad Dudley’s Friend: Jonathan Lacey Ethan Engel: Walter Sparrow Mr. Holmes: Roger Brierley Mrs. Holmes: Vivienne Chandler Curio Shop Owner: Lockwood West Cemetery Caretaker: John Scott Martin School Porter: George Malpas School Reverend: Willoughby Goddard Policeman with Lestrade: Michael Cule Policeman in Shop Window: Ralph Tabakin Hotel Receptionist: Nancy Nevinson Older Watson (voice): Michael Hordern Schoolboy (uncredited): Grant Burns Acolyte (uncredited): George Lane Cooper Chestnut Seller (uncredited): Salo Gardner Restaurant Patron (uncredited): Lew Hooper Footman (uncredited): Royston Munt School Master (uncredited): Henry Roberts Patron (Lower Nile Tavern) (uncredited): Fred Wood Film Crew: Animation: John Lasseter Casting: Irene Lamb Executive Producer: Steven Spielberg Executive Producer: Kathleen Kennedy Executive Producer: Frank Marshall Production Design: Norman Reynolds Visual Effects Supervisor: Dennis Muren Producer: Roger Birnbaum Director: Barry Levinson Producer: Mark Johnson Editor: Stu Linder Director of Photography: Stephen Goldblatt Animation: Eben Ostby Animation: Don Conway Animation: David DiFrancesco Set Decoration: Michael Ford Screenplay: Chris Columbus Makeup Artist: Nick Dudman Art Direction: Fred Hole Makeup Supervisor: Peter Robb-King Art Direction: Charles Bishop Assistant Art Director: Gavin Bocquet Original Music Composer: Bruce Broughton Associate Producer: Harry Benn Characters: Arthur Conan Doyle Costume Design: Raymond Hughes Producer: Henry Winkler Visual Effects Supervisor: David Allen Animation: Craig Good Second Unit Director: Andrew Grieve Visual Effects: Robert Cooper Assistant Art Director: George Djurkovic Third Assistant Director: Peter Heslop Visual Effects Camera: Jay Riddle Visual Effects: Blair Clark First Assistant Director: Michael Murray Animation Supervisor: Bruce Walters Art Direction: Dave Carson Visual Effects: Sean M. Casey Second Assistant Director: Ian Hickinbotham Makeup Artist: Jane Royle Animation: William Reeves Visual Effects: Tony Hudson Visual Effects: Jay Davis Animation: Barbara Brennan Animation: David Salesin Animation Supervisor: Ellen Lichtwardt Goodchild Dressing Prop: Paul Cheesman Art Designer: Michael Ploog Draughtsman: Reg Bream Rotoscoping Artist: Donna K. Baker Draughtsman: Peter Childs Animation: Robert L. Cook Animation: Gordon Baker Animation: Jack Mongovan Visual Effects: Tony Laudati Visual Effects: Marghi McMahon Movie Reviews:

[carvalhais]

For instance, Norman E. Gibbs and Allen. B. Tucker first defined the field of computer science as the study of algorithms, including their formal and mathematical properties hardware realization, linguistic structures, and applications. In contrast, early computer scientists Allen Newell and Herbert A. Simon see computer science as an empirical discipline, or more specifically, a living machine that extends beyond the experimental sciences. Byung-Chul Han. 2022. Non-things: Upheaval in the Lifeworld. Cambridge: Polity Press.

[indiejones]

THE 100 GREATEST DIRECTORS IN THE HISTORY OF WORLD CINEMA! (@INDIES)

.Roman Polanski

.David Lean

.Alfred Hitchcock

.Frank Capra

.Elia Kazan

.Dasari Narayana Rao

.Fred Zinnemann

.Milos Forman

.Kamal Amrohi

.Peter Jackson

.John Huston

.Billy Wilder

.Frank Lloyd

.Roland Joffe

.Lekh Tandon

.Asit Sen

.B.R. Chopra

.Edgar Wright

.Chris Columbus

.Ernst Lubitsch

.Alain Resnais

.Guru Dutt

.George Cukor

.Ivan Reitman

.Mahesh Kaul

.Jayant Desai

.Richard Curtis

.Robert Clouse

.Basu Bhattacharya

.Maurice Pialat

.David MacDonald

.Mel Gibson

.Anthony Minghella

.Jamie Uys

.Joseph Mankiewicz

.Pierre Chenal

.David Fincher

.Ken McMullen

.Jeremy Leven

.Mary McGuckian

.Alfonso Cuaron

.Rob Reiner

.Delbert Mann

.Louis Malle

.John Cromwell

.Charles Chaplin

.A. Bhimsingh

.Jean Delannoy

.Mervyn LeRoy

.Nancy Meyers

.William Wyler

.Bhargava (Kannada)

.Jonathan Lynn

.Peter Weir

.Robert Rossen

.Roger Michell

.Robert Zemeckis

.Robert Z. Leonard

.J. Lee Thompson

.Robert Wise

.Jerome Hill

.Anthony Quinn

.Jacques Audiard

.Agnes Jaoui

.Mervyn LeRoy

.Roland Emmerich

.Wallace Worsley

.Stephen Herek

.Blake Edwards

.Andrew Fleming

.John Frankenheimer

.Claude Autant-Lara

.Kenneth Branagh

.Lasse Halstrom

.Ralph Nelson

.Andrei Tarkovsky

.Robert Stevenson

.John Madden

.Stanley Kramer

.Olivier Dahan

.Norman Z. McLeod

.Mike Newell

.Raymond Rouleau

.Michael Curtiz

.Nora Ephron

.Arthur Hiller

.Vittorio De Sica

.Bernardo Bertolucci

.Sohrab Modi

.John McTiernan

.Steven Spielberg

.Tay Garnett

.Abel Gance

.Richard Linklater

.Merian C. Cooper

.Michael Bay

.Renny Harlin

.Victor Fleming

.Phil Karlson

.Satyajit Ray

.David Yates

.John Guillermin

.Oliver Stone

.James Cameron

[tastydregs]

The Slatest Jun 7: Wow, Jack Smith Has Been Busy Lately!

It’s more fun via email (promise). This article first appeared in our Slatest evening newsletter, which seeks to surface the best pieces published across Slate’s digital and audio journalism. We publish it there to help you cut to the chase at the end of each day. To get it in your inbox, along with more of the best work we published that day, sign up below.

Special prosecutor Jack Smith seems to be nearing the finish line on his two federal probes into Trump’s alleged misconduct—one looking at his mishandling of classified documents, the other at potential 2020 election interference. And as Smith wraps up, there’s been a whole slew of stories coming out with details on what his team has been looking at in its investigation. Having a hard time keeping track? Shirin Ali has a guide to the latest developments.

Plus: Trump’s response to Alvin Bragg’s indictment tells us something about how he’ll probably respond to other indictments in the future, Norman L. Eisen and Trevor W. Morrison write.

Hope for debt relief?

Later this month, the Supreme Court will issue its decision on whether the Biden administration’s student debt relief program can go forward. But Congress just upended the legal case against relief, Alex Rowell argues.

Plus: To push back against the Supreme Court’s dysfunction, liberals have to realize something that conservatives figured out a long time ago, Michael Waldman says. He spoke to Dahlia Lithwick about the growing need for reform, and how Congress can do something about it.

And speaking of Supreme Court dysfunction: The second episode of Slow Burn looks at how race-based admissions shaped Clarence Thomas.

It’s Christie Time

Chris Christie in 2014. Reuters

Chris Christie is entering the presidential race, and Jim Newell, for one, is glad about it. If nothing else, Christie is going to liven things up around here, probably! He may have joined the race as no more than a Trump-seeking missile, Newell writes, but at least he’s got nothing to lose.

Country cousins

The Trump-era fascination with the politics of rural America just won’t die! Steven Conn reviews a new book that wants to lay the fault for our rural-urban divide at city people’s feet, and finds it “hopelessly muddled.”

Royal circus

The Royal family is freaked out by Prince Harry’s court testimony. Maybe it should be! Heather Schwedel explains why.

An ominous orange haze

Angela Weiss/Getty Images

What should you do if you’re living in part of the Northeast that’s covered with wildfire smoke right now? Writing from the West Coast, Meg Duff has some advice, both practical and emotional, from someone who’s been through this kind of thing before. She recommends air filters, masks, calming tea—and no major life decisions.

Plus: We’ve rounded up some striking images of how bad the sky looked today.

ProbleMATTic

If you’ve been seeing the name “Matt Rife” all over your Twitter timeline and have no idea who that is, you’re not alone. Nadira Goffe has a beginner’s guide to the zillennial comedian whose tour tickets are impossible to get, and whether he is, in fact, “ProbleMATTic.”

A grim merger

Top-tier golf is now permanently in bed with the Saudi government. Alex Kirshner walks us through how it happened.

Today, Slate is… COLLECTING AND ANALYZING DIGITAL DETRITUS*

…much like the federal criminal investigators in James Comey’s first crime novel (and, well, his real life). Read Ankush Khardori’s review to find out how bad it is.

Thanks so much for reading! We’ll see you tomorrow.

[doctorzosfavoritemusic]

"I Hate You Then I Love You" by Luciano Pavarotti & Celine Dion

I'd like to run away from you But if I were to leave you I would die I'd like to break the chains you put around me And yet I'll never try

No matter what you do you drive me crazy I'd rather be alone But then I know my life would be so empty As soon as you have gone Impossible to live with you But I could never live without you For whatever you do For whatever you do

I never, never, never Want to be in love with anyone but you

You make me sad You make me strong You make me mad You make me long for you You make me long for you

You make me live You make me die You make me laugh You make me cry for you You make me cry for you

I hate you Then I love you Then I love you Then I hate you Then I love you, I love you more For whatever you do I never, never, never Want to be in love with anyone but you

You treat me wrong You treat me right You let me be You make me fight with you I could never live without you

You make me high You bring me down You set me free You hold me bound to you

I hate you Then I love you Then I love you Then I hate you Then I love you more For whatever you do Whatever you do

I never, never, never Want to be in love with anyone but you I never, never, never I never, never, never I never, never, never Want to be in love with anyone but you But you

"I Hate You Then I Love You" is a song sung as a duet between Celine Dion and Luciano Pavarotti. It was first released as a track on Celine Dion's 1997 album Let's Talk About Love.

The song was written by Alberto Testa, Tony Renis and Norman Newell. Luciano Pavarotti unexpectedly teamed up with Celine Dion to sing one of her biggest hits. Pavarotti was one of the most successful opera singers in history and enjoyed a career of more than 50 years.

Producers David Foster, Humberto Gatica & Tony Renis

[basseyblog]

Born To Sing Forever

Born To Singalso entitledI Was Born To Sing ForeverWritten by M. Jouveaux / J.BarnelEnglish words penned by Norman Newell. Released in 1986 as B-side of a Towerbell single (A-side: There’s No Place Like London). The recording has never been re-released, but Shirley Bassey has performed the song on some live concerts 1995 on her 40th anniversary world tour. The original French title of this song…

[pianorequests]

My Concerto for You - 1960

Russ recorded his first orchestral album, My Concerto for You, in late 1959 and early 1960. It was a distinct departure from the upbeat 'honky-tonk' sound which had made him famous, and although he had recorded an orchestral single before (The World Outside, in 1958), this was something completely new.

Accompanied by Michael Collins and his Concert Orchestra, and the Williams Singers, Russ recorded twelve orchestral tracks, including the title track, which was a self-penned composition which he wrote under his real name of Trevor H. Stanford.

The initial release date was planned to be late 1959, but due to a degree of distortion on some of the initial recordings, a second recording session was planned for early January 1960 and so the album was released that year.

It goes to show just how popular Russ was at this time that such a different album to all the others he'd made managed to reach number five on the UK Album Charts, and remained on the charts for eighteen weeks - longer than any of his other LPs. Norman Newell was initially apprehensive about recording an orchestral LP with Russ, but it had proved to be a big success.

It led to a further five orchestral albums from Russ: At the Theatre, At the Cinema, and three others in the 'Concerto' series - Concerto for Dreamers, Concerto for Lovers, and Concerto for Memories. All of these 'Concerto' albums had their title tracks composed by Russ, and he would later say that Concerto for Memories was his favourite composition of all those he had made during his career.

An interesting note about the piece entitled My Concerto for You is that it was given the subtitle Theme from the Bristol Concerto for its sheet music release: in his Desert Island Discs radio appearance, Russ said it was his intention to take My Concerto for You and work it into a full-scale concerto. Unfortunately, this never happened, but his sheer talent as a composer can be seen in the concertos he did produce.

[plus-low-overthrow]

Annie Bright - Stand Up and Be Counted (Columbia)

wrt. Alan Hawkshaw and John Cameron & prod. Alan Lockey and Norman Newell, 1970.

[deeply-unserious-fellow]

Hello yes I have appeared to share my headcannon voices(for DP and Madcap also actors) for the Mercs because I know more voiceactors then I do actors-

Deadpool:Ryan Reynolds(duh-)

Slapstick:Andy Richter

Foolkiller:Kestin Howard(FUCK YOU,JESSICA JONES-)

Solo:Wilbur Soot

Stingray:Richard Horvitz(I blame Moxxie-)

Terror:Norman Reedus(@artist-tixi came up with this one and also hAH-)

Masacre:The guy that voiced him in the Contest of Champions trailer,idk their name-

Madcap:Keith Silverstein but in anything live action Jim Carrey

And now I shall dissapear into the void~

[eurovisionsongaday]

We kick off the 1963 contest!! And no he’s not faking singing, they’re in a studio and using a boom mic to catch the singing, for some reason. Hence no mics in the shot.

[scotianostra]

On July 17th 2009 the singer/songwriter Gordon Waller and one half of the duo Peter & Gordon passed away.

Waller, the son of a surgeon, was born in Braemar, and went to Westminster school, in London, where he met Peter Asher in 1959. Asher was already something of a jazz and blues fan, but Waller persuaded him to broaden his horizons to include pop and rock'n'roll. Both were keen guitarists and soon they were entertaining their fellow students. By 1963, they were playing (initially as Gordon and Peter) in pubs and small clubs at lunchtimes and evenings for small fees or for a meal, often singing their own compositions in the close harmony style of the Everly Brothers. Early in 1964, they were booked for a two-week engagement at the Pickwick nightclub. One of the diners was Norman Newell, an EMI record producer. Newell was charmed enough by Peter and Gordon’s rendition of their song If I Were You to offer them a recording contract.

At this time, McCartney was dating Jane, and Peter and Gordon badgered McCartney to provide them with a song. He obliged with A World Without Love, which he had written six years earlier in Liverpool. McCartney told his biographer Barry Miles: “Gordon was a lot of fun – he was slightly less academic than Peter. It was he who persuaded Peter to jump school to do lunchtime sessions.”

By the end of March 1964, A World Without Love had displaced the Beatles’ own Can’t Buy Me Love at the top of the charts. In May, just before Waller’s 19th birthday and Asher’s 20th, it was the biggest selling record in the US. The instant stardom created by A World Without Love was the beginning of two years of frantic activity for Peter and Gordon.

For the American media, they combined the cachet of a Beatles connection (McCartney wrote several more of their hits and fans discerned in Waller a slight resemblance to John Lennon) There were numerous television appearances, occasional tours of Japan and Australia as well as North America and dozens of recordings. In the next 12 months, Nobody I Know and I Don’t Want to See You Again (both by McCartney) were transatlantic hits, as were I Go To Pieces, written by Del Shannon, and True Love Ways, a Buddy Holly song the duo had performed in their early days in London.

By now, Peter and Gordon were competing in North America with numerous other British imports, including another middle-class duo, Chad and Jeremy. Their star began to wane in 1966, when their only hits were Woman, another McCartney composition credited pseudonymously to “Bernard Webb”, and Lady Godiva, a novelty number that was denounced as obscene by the mayor of Coventry, which helped it reach the Top 20 in Britain and the American Top 10. By 1967, Peter and Gordon’s British career was over and in America they were reduced to peddling olde English material such as the minor hit The Knight in Rusty Armour and the album Sunday for Tea. They split up the next year, with Asher joining the Beatles’ Apple project as an A&R man and Waller launching a career as a solo singer.

Despite the fact that he had been the stronger vocalist of the pair, this career was stillborn. A handful of singles were issued, plus a 1970 album of his own compositions called Gordon. He left showbusiness to run a landscape gardening business in Northamptonshire until, in 1971, he took the part of Pharaoh in Joseph and the Amazing Technicolor Dreamcoat, the musical by Andrew Lloyd Webber and Tim Rice.

In the 1980s and 90s Waller ran a music publishing business in America. In the last few years of his life, he reunited with Asher to play a few shows in Los Angeles, the Philippines and New York.