#frank chacksfield

[vinyl-artwork]

Frank Chacksfield, Plays The Beatles Song Book, 1970.

Illustration de H. Ghia

[allthemusic]

Week ending: 18 February 1954

Well, we've got two songs this week that I don't recognise whatsoever. Like, absolutely nothing. Both have vaguely interesting titles that give me absolutely no idea what to expect.

Ebb Tide - Frank Chacksfield (peaked at No. 9)

Well, it's an instrumental, and even before looking it up, I'd bet this is from a film, like Terry's Theme, the last think we heard from Frank Chacksfield. It's grand and undeniably orchestral, but a quick look suggests that no, this was just an original composition. Huh. How often do you get that, nowadays?

It's by a composter called Robert Maxwell, who was primarily a harpist, and it's had a surprisingly busy history, with versions recorded by Frank Chacksfield, ut also vocal versions by artists such as Frank Sinatra and the Righteous Brothers. It's got that lush sweep that I can see both of those artists eating up, actually - maybe I should give that a listen next?

It starts with something that's surprisingly modern, actually, which is a sample of some wave and seagull sounds. It's only after that fades gradually in that the tune comes in, with thick, layered strings, some delicate harp, trilling flutes and the main tune on what could be either a bassoon or a cor anglais. It's a slow, Romantic, wistful kind of sound, and very lush.

The chords, especially when the brass come in, are powerful and have a sense of longing to them. A more skilled music theorist than me could tell you why, and what chord progressions we are seeing. The whole orchestra moves at once, which I think helps, either way, creating this big, epic sweep.

And then it cuts away, and we're back to the more delicate strings and harp, with a (admittedly slightly cheesy) harp glissando into the final note, which fades back into the ocean sounds and the seagulls and then we're done.

It's a lovely, pretty thing, but I'm not quite sure why people were so into it. It's slow and atmospheric, more than particularly catchy - several listens in, I still couldn't have hummed you the tune. It would make a nice film soundtrack, and I'd get its popularity if it was used as part of a film, but I can't find anything that says it was? It's just providing a nice, dramatic background, I guess.

The one thing that is interesting is the sea souds, which - and this might be a reach, but bear with me - have something a little bit new-agey and ambient about them. Like, even if it's not a direct ancestor of new-age or chillout music, it's got definite links to the sort of exotica / lounge music vibes that will create tracks like Fleetwood Mac's Albatross, which just feels like the most natural comparison here. Interesting.

I wouldn't put this on frequently, but it is very effective at creating a specific chilled-out, floaty, not entirely blissful but definitely serene mood. Intersting.

Man (Uh-huh)/Woman (Uh-huh) - Rosemary Clooney & José Ferrer (7)

I'm confused by these songs, and more particularly, I'm confused by what, exactly, they're meant to be. Spotify doesn't seem to be helping me, as it turns up exactly one version of them, and it's a combined version with Rosemary Clooney and Bing Crosby. So not the version that charted, I don't think?

As far as I can tell, these were two songs by different artists, that were sort of cross referenced? Man (Uh-huh) seems to be by Rosemary Clooney, with José Ferrer providing backing vocals, while Woman (Uh-huh) works the other way round. It's a clever concept, and I'd like to see more songs doing this! Mostly charting tracks with two parts are just an A-side and a B-side that are unrelated. Having both parts being answers, or giving both sides of a conversation is clever.

Even more clever, we get little references to the medium itself. The end of each track, for example, has the other artist exhorting the listener to turn the disc over and listen to the literal other side, for the more metaphorical other side of the story. In particular, Rosemary's arch "Girls, turn this record over and listen to the wife's side" is deliciously knowing! I love it!

Unfortunately, it's the only thing I like about either track, as they're otherwise just really gross and stereotypical, a viscerally-upsetting, concentrated, time capsule of the worst period attitudes about women and men, and their relationships, wrapped up in a ploddy tune and some very dopey performances from both singers.

I listened to Man (Uh-Huh) first, and it starts fine. Man's a mystery, but "Whatever he is, we like him that way". Ooh, Rosemary, so flirty! So coy!

Sadly, this doesn't last, giving way to a sort of comedy misandry? It's the sort of thing that you sadly do still see nowadays, as a particular strand of "haha, aren't men the worst" feminism, and I just don't like it. It's kind of feminist, on the surface, but its generalisations are more about taking men down a peg than building women up, or actually addressing anything with any nuance, and so it lets all sorts of ugly ideas persist below the surface.

One strand here is about how man, in general, is "As easy to read as a page in a book", "He'll boast and he'll brag of the women he's spurned / But just like a doorknob his head can be turned". He makes his business work, but he'll "wind up at night under some woman's thumb". So we've got men as predictable, and easily manipulable - and women, implicitly, as wily, controlling seductresses. Lovely.

We also get the lines about how inept men are: "As strong as an ox or as meek as a pup, he's just a small boy who will never grow up". He certainly can't be expected to do anything round the house: "He knows all the methods of landing a fish / But still can't be trusted at drying a dish". I know men who are like that, and true, it got a laugh out of me the first time. But expanding this out to all men, and stating it like it's an unchangeable fact doesn't really help things. It just tells women to expect their man to be some sort of helpless man-child. He can't help it, he's a man!

Finally, we also see that things are apparently not happy at home - perhaps unsurprising, all things considered. Our man here "Complains that he's henpecked and treated so bad / But if he's ignored then he'll holler like mad". So we've got the sort of classic sit-com "I hate my spouse" joke set up. Again, gross.

These sings are compounded with a really dopey refrain of "Uh-huh (Uh-huh), Ooh-hoo (Ooh-hoo)". José in particular sounds as dim as he's being made out to be, so points for good character work. Unfortunately, it doesn't make for particularly fun listening.

Then we get the first hint at the horrors the other side has for us as José cuts in: "Say fellas, push her outta the way and listen the husband's version". Yikes. This sets up the kind of comedy abusive tone of Woman (Uh-Huh).

We get off to a flying start with the refrain of "Whatever she is, she's necessary". Which... oof. Okay.

Then we get a parade of clichés about how "A woman is something both evil and god / But too complicated to be understood". In fact, while Rosemary's side had a lot of different stereotypes, this is the main one here. Women, for José are contrary and changeable. We learn, for example, how " In the morning she does, in the evenin' she don't, / You're always a-thinkin' she will, but she won't". That's it, that's José's side of things

Actually, no, there's also a spot of abuse, from the nonsensical line about how woman's "Afraid of a cricket / She'll scream at a mouse / But tackle her husband as big as a house", and how "She'll bust his head open, but then be his nurse". This is just straight up abuse. Not funny abuse. Just regular abuse, played for laughs because it's a woman doing it. Again, gross.

I hate this so much. Hate, hate, hate it. You could maybe use it for a black comedy 1950s sitcome parody, if you were making a point about how messed up the relationships there were - like WandaVision on some very jaded crack? Other than that I have no conceivable use for these tracks.

My favourite here should be clear. No need for further comment.

Favourite track: Ebb Tide.

[thriftstorerecords]

The Million Sellers Frank Chacksfield And His Orchestra Richmond Records/USA (1960)

[duffertube]

▶️ S.S. Kresge Background Music Record No. 256

1.) I Was Kaiser Bill’s Batman - Unknown Artist 2.) My Sweet Lord - Magic Guitars 3.) Satin Doll - Tony Mottola 4.) Unknown 5.) Swinging on a Star - Frank Chacksfield and his Orchestra 6.) The Big Hurt - Wes Montgomery 7.) Put Your Hand in the Hand - Unknown Artist 8.) Unknown 9.) The Hammer Song (If I Had a Hammer) - Percy Faith 10.) Love is Here to Stay - Arthur Fiedler and the Boston Pops Orchestra 11.) Jealous - Billy Vaughn 12.) Mr. Bojangles - Unknown Artist 13.) I'll Never Fall in Love Again - Ted Heath 14.) Sloop John B - The Hollyridge Strings

Source: Internet Archive

[mouncejohntyler]

"The wind was a torrent of darkness among the gusty trees,

The moon was a ghostly galleon tossed upon cloudy seas.

The road was a ribbon of moonlight over the purple moor,

And the highwayman came riding riding-

Riding..

"I'll come to thee by moonlight, though hell should bar the way."

-Alfred Noyes

"The Highwayman."

[drakehavenelite]

Now Playing...

Artist: Frank Chacksfield & His Orchestra

Title: Where Are You?

Album: Close Your Eyes

Played on: Fri Jun 21 2024 10:37:47 GMT-0500 (Central Daylight Time)

[duranduratulsa]

Now showing on DuranDuranTulsa's Television Showcase 📺...Alfred Hitchcock Presents: Never Again (1956) on classic DVD 📀! #tv #television #horror #drama #alfredhitchcock #ripalfredhitchcock #alfredhitchcockpresents #neveragain #dvd #50s #durandurantulsa #durandurantulsastelevisionshowcase

[onehandtypingb1]

Song of the Day: Frank Chacksfield & His Orchestra, "Terry's Theme from 'Limelight'"

British pianist, arranger and orchestra leader Frank Chacksfield was born on this day in 1914. He was one of the UK’s top orchestra leaders internationally, primarily playing easy listening "mood" music. His 1953 single "Terry’s Theme from Limelight" reached #2 in the UK and #5 in the US.

[pliplanos]

Frank Chacksfield and His Orchestra ~ Laura

[spongebobsoundtrack]

Frank Chacksfield - Dapper Don 

Plays in:

23a. "Big Pink Loser"

49b. "Rock-a-Bye Bivalve"

[peter-tschirky]

FRANK CHACKSFIELD - LOVELY LADY - FULL ALBUM - ORCHESTRA - I bought this Lp on my honeymoon days on Jersey Islands in a small shop years ago - I still love my wife)

[allthemusic]

Week ending: 28 May 1953

Another three-song week - I am being spoiled! No familiar faces here, either. I think this might have been coronation week, so let's see if we're in a party mood...

I'm Walking Behind You - Eddie Fisher and Sally Sweetland (peaked at No. 1)

I can definitively confirm that with this song, at least, we are not in a party mood. It's slow and very soupy. Oh well.

Actually, this goes in the same category as All the Time and Everywhere, I think. Sleepy, creepy and very much of its era. But we'll get to the lyrics later.

First, the voice. Eddie Fisher, but also Sally Sweetland, singing at a pitch that probably drives dogs mad. Seriously, this is the highest pitch we've had yet, and it's unpleasant. Sally Sweetland also basically just seems to sing this bit - not sure why she gets a full credit, unless it's just that everyone was particularly unnerved by the pitch? There's something ghostly about it.

The situation is initially melodramatic but not that creepy; Eddie is apparently walking behind his love at her wedding, and sings about how he's going to hear her making her vows to another man. Sad, but not that weird, except for how Eddie's masochistically listening into the wedding. But hey, maybe they parted amicably, or maybe he knows both parties, who am I to judge. There's lots of reasons he might be there.

Things do, admittedly, take a turn for the worse in the next line: "Though you may forget me / You're still on my mind". Okay, so he's still hung up on this person, possibly unhealthily so? Not too weird, but it gives "Look over your shoulder / I'm walking behind" some serious stalker vibes.

And then Eddie loses any sympathy I had for him in one weird line: "Maybe I'll kiss again / With a love that's new / But I shall wish again / I was kissing you." Gross! You're basically comparing any future loves with your old one.

And then we end on the actual worst line: "I want you to know / That if things go wrong, dear / And fate is unkind / Look over your shoulder / I'm walking behind". Which, in the kindest interpretation, is him being incredibly untactful on this poor woman's wedding day and positioning himself as some sort of "nice guy" alternative to when her new love inevitably cheats. Gross.

And then there's the sinister "shame if anything happened" serial killer undertones. To be honest, this was my initial read on the song, and I still think it's quite convincing. This would be an incredible song to have as backing to a horror film, actually.

Amazingly, this is a cover of a version by one Dorothy Squires, and the song was semi-autobiographical? It was written by a former partner of hers upon learning that she was now with Roger Moore (yes, of James Bond fame) and for some reason she still did a version of it? Wild - if I were her, I wouldn't touch this one with a twelve-foot pole!

Hold Me, Thrill Me, Kiss Me - Muriel Smith (3)

Unlike the last song, this song is both not creepy and actually quite sexy. I didn't know Muriel Smith at all when I hit play, but she's got a very unusual voice - lots of very emphatic "oooh" sounds, quite trained, but deep and it hits the emotional peaks of the song hard.

And this is a very emotional song, dripping in dramatic strings from the intro to the harp glissando at the end. It gets quite at points, where the backing drops out completely, and then it swells towards the end, at Muriel declares her love boldly and proudly.

The song itself feels quite "easy listening", but the lyrics are some of the raunchiest we've had yet. I mean, even the opening: "Hold me, hold me / And never let me go until you've told me, told me / What I want to know and then just hold me, hold me / Make me tell you I'm in love with you". Quite the challenge.

They then go on a walk down a shadowy lane where there are other lovers hidden, too (?) which sounds quite disreputable, but who am I to judge...

She then sings about how people told her to be sensible and not fall too hard for her lover: "But they never stood in the dark with you, love / When you take me in your arms / And drive me slowly out of my mind". And the drum build up on that last line adds just enough intensity to really sell that last line.

And, finally, if you hadn't got just how bad Muriel has the hots, the little sigh after the final "never let me go" is a dead giveaway. Oof.

This feels like an aquired taste, to be honest. The drama of it, and Muriel Smith's voice isn't my favourite thing ever, but I am living for the drama and the pure horniness of it all, all wrapped up in quite an elegant package.

Terry's Theme from Limelight - Frank Chacksfield (2)

I started this track very excited, because Frank Chacksfield brought us the lunacy that was Little Red Monkey. I was keen to see what this maverick of electronic music might have for us next. I was on the edge of my metaphorical seat. I eagerly searched it up. And then... this happened.

It's not bad. It's quite pleasant, all things considered. It's a sweeping piece of orchestral film music. But it's no Little Red Monkey. It's generically pleasing at best, and bland at worst.

There's something very classical about it, like it's based on something well-known, but I can't quite work out what. Or perhaps it's just become well known in and of itself, like the sort of thing they play on Classic FM? I can hum a whole snatch of the thing it reminds me of, but I can't match that with a composer, which is really annoying.

Either way, it's a cover of a song that did originally have lyrics, and lyrics sung by none other than Charlie Chaplin, in the song Limelight, and as ever when there's a song from a film, I'm going to have to look up the film and decide if I'd go to see it.

So, Limelight (1952). A film set in 1914 wherein a washed up literal clown stops a failed dancer from committing suicide and helps her get her career underway again. She falls for him, even as he continues to fail at being a clown, but he thinks she'd be better with another character, leaves her to become a street performer, is persuaded to give it another go and then dies of a heart attack (?!). This is billed as a comedy-drama, but I'm not seeing much comedy here, to be honest. I'd still possibly go see it, it sounds like an emotional rollercoaster.

Actually, that makes this song actually work. It's sad, but in an understated way, and has some real emotional swings, and knowing the story that goes with it actually does sell me on it a bit more.

Only a bit, though. I want more claviolines, damnit!

So, a field of three, all very different, all weird versions of various early 1950s trends we have seen so far. First Eddie with a particularly creepy take on the earnest and soupy "I'll love you forever" ballad, then Muriel with a particularly raunchy, but still perfectly-enunciated sentimental easy-listening standard, then a slightly overwrought bit of instrumental film scoring from Frank. Of them all, Eddie amused me most, I have to say, but not for the right reasons. So:

Favourite song of the buch: Hold Me, Thrill Me, Kiss Me

[musicmakesyousmart]

Frank Chacksfield & His Orchestra - The World of Immortal Strauss Waltzes

London Records

1960

[duffertube]

▶️ S. S. Kresge Background Music Record No. 256

1.) I Was Kaiser Bill’s Batman - Unknown 2.) My Sweet Lord - Magic Guitars 3.) Satin Doll - Tony Mottola 4.) Unknown 5.) Swinging on a Star - Frank Chacksfield and his Orchestra 6.) The Big Hurt - Wes Montgomery 7.) Put Your Hand in the Hand - Unknown 8.) Unknown 9.) The Hammer Song (If I Had a Hammer) - Percy Faith 10.) Love is Here to Stay - Arthur Fiedler and the Boston Pops Orchestra 11.) Jealous - Billy Vaughn 12.) Mr. Bojangles - Unknown 13.) I'll Never Fall in Love Again - Ted Heath 14.) Sloop John B - The Hollyridge Strings

Source: Internet Archive

[vinkumakkara]

one of the tracks in the sr1 soundtrack is also in Spore, when ur creatures make an egg at a nest. it’s the Spore fuck music. i cant stop thinking about the spore fuck music in saints row (2006)