Other
The Burgeoning Generation of Love
The highpoint of Patrick Halling's early Pop career was undoubtedly his leadership of the string section for the Beatles' All You Need Is Love, transmitted live at the height of the so-called Summer of Love on July 25th 1967.
The programme, entitled Our World, was the first satellite broadcast in history, and it secured an audience of 350 million, which was unprecedented at that time. And among those taking part were such legendary figures of the swinging sixties as Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Keith Moon, Marianne Faithful and Donovan.
But this was not Pat's first involvement with the burgeoning Underground or Progressive Rock movement. For the previous year of '66, he'd taken part in the recording of Donovan's Museum, destined to see the light of day on the Mellow Yellow album, which reached the number 14 position on the Billboard Hot 100. Although it failed to secure a UK release due to contractual complications.
Also involved with the Mellow Yellow sessions were close friends Mickie Most, who produced; and John Cameron, who did most of the arrangements. As well as session guitarist Big Jim Sullivan, and future Led Zeppelin members, Jimmy Page and John Paul Jones.
A year later, he worked on a project that was as much a concept album as any of the Beatles' records of the same period, Ken Moule's superb Adam's Rib Suite, which fused elements of Jazz, Pop and Classical music to recount the history of womankind from Eve to Cleo Laine.
Needless to say, though, it was infinitely less successful than any comparable record within the Rock genre, Rock being at the vanguard of popular culture in a way that Jazz had once been, but no longer was. However, by the turn of the decade, a reconciliation between the two alienated factions was well under way, with Jazz-Fusion coming from one camp and the more populist Jazz-Rock from the other.
In '75, Pat served as leader for Mike Gibbs' The Only Chrome Waterfall Orchestra, an unsung early example of British Jazz fusion, which was finally released on CD in 1997. Adam's Rib followed it on CD exactly ten years later.
By the time of his involvement with the latter, Pat had already moved into the worlds of film and television. And his early career included solos for the 1960 movie, Exodus, produced and directed by Otto Preminger, with music by Ernest Gold, as well as for much treasured British sitcom, Steptoe and Son (1969-'74), whose incidental music was composed by his close friend Ron Grainer.
He also served as concertmaster for the great Johnny Green on Carol Reed's version of Lionel Bart's Oliver in 1968, and for John Williams on three movies beginning with the musical version of James Hilton's Goodbye Mr Chips.
And going on to include Jane Eyre (1970), directed by Delbert Mann, and Fiddler on the Roof (1971), by Norman Jewison.
Directed by Herbert Ross in 1969, Chips featured a screenplay by no less a luminary of British literature than Terence Rattigan. And as he was the author of such quintessentially English tragedies as The Browning Version and The Winslow Boy, both centring on the English private school system, he was the perfect choice.
Sadly, though, for all its virtues, including a lovely score by Leslie Bricusse, it was not a critical success, although it was nominated for several major awards, and has gone on to enjoy something of a following on the internet.
Also in '69, he worked on David Lean's Ryan's Daughter, a visually beautiful epic set in rural Ireland during the First World War, which was another film that has grown in stature since its initial release. Written by playwright and screenwriter Robert Bolt, with music by Maurice Jarre, it was poorly received by the critics (while being a modest box office success), although today, its considered by many to be among Lean's finest works.
In addition to Williams, Green and Jarre, he's served as concertmaster for a panoply of major 20th Century musical figures working within the media of film and television, including Dimitri Tiomkin, Nelson Riddle, Georges Delerue, Wilfred Josephs and Christopher Gunning.
But to return the world of Pop, which mutated into Rock, possibly some time towards the end of the late 1960s, while retaining a Pop subsidiary; and became known as such to many of its devotees, presumably as a means of investing it with some respectability as an art form:
As the '60s ceded to the '70s, Pat's close friend Mickie Most was poised to enter the second phase of his glittering Pop career, having been briefly involved with the nascent Rock movement through his management of the Jeff Beck Group. And yet, even at that, he'd sought to turn guitar virtuoso Beck into a major Pop star...while apparently remaining impervious to the star quality of his one-time front man, Rod Stewart.
And it fell to business partner Peter Grant to prosper within Rock music, first as co-manager of the Yardbirds with Most; then as sole manager of Led Zeppelin, who went on to become the ultimate Rock band; and second only to the Rolling Stones in terms of legendary darkness and mystery.
And by the time of the Zeppelin's conquest of America, the face of Western society had been altered almost beyond recognition by the Rock and Roll revolution. Yet, in all good conscience, responsibility for this transformation can't be laid exclusively at the feet of Rock. For, after all, tendencies hostile to the Judeo-Christian fabric of the West can be traced at least as far back as the Enlightenment of the 16th and 17th Centuries.
Much of the groundwork had already been done in other words, and that's especially true of the forties and fifties.
It was in these two immediate post-war decades that the Existentialists and the Beats became international icons of revolt, while lesser groups such as the Lettrists of Paris served as scandal-sowing forerunners of the Situationists, believed to have played a major role in fomenting the Paris riots of May '68.
At the same time, Britain's first major youth cult surfaced in the shape of the Teddy Boys, and a cinema of youthful discontent flourished as never before.
Movies such as Stanley Kramer's The Wild One and Nicholas Ray's Rebel Without a Cause fostered a desire among millions of young Americans to be identified as rebels themselves, reacting against the conformity of Eisenhower era America.
For all that, though, none of these phenomena enjoyed a tithe of the influence of Rock in terms of its effect on the Western soul.
Glam and the Gender Revolution
My Pangbourne years coincided with the rise of Rock, which was Pop transmuted into an art form, while somehow including Pop as its less intellectual counterpart. And the music we listened to as self-styled lads had "lad value
PLEASE ENCOURAGE AUTHOR BELOW LEAVE COMMENT ON ARTICLE
The highpoint of Patrick Halling's early Pop career was undoubtedly his leadership of the string section for the Beatles' All You Need Is Love, transmitted live at the height of the so-called Summer of Love on July 25th 1967.
The programme, entitled Our World, was the first satellite broadcast in history, and it secured an audience of 350 million, which was unprecedented at that time. And among those taking part were such legendary figures of the swinging sixties as Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Keith Moon, Marianne Faithful and Donovan.
But this was not Pat's first involvement with the burgeoning Underground or Progressive Rock movement. For the previous year of '66, he'd taken part in the recording of Donovan's Museum, destined to see the light of day on the Mellow Yellow album, which reached the number 14 position on the Billboard Hot 100. Although it failed to secure a UK release due to contractual complications.
Also involved with the Mellow Yellow sessions were close friends Mickie Most, who produced; and John Cameron, who did most of the arrangements. As well as session guitarist Big Jim Sullivan, and future Led Zeppelin members, Jimmy Page and John Paul Jones.
A year later, he worked on a project that was as much a concept album as any of the Beatles' records of the same period, Ken Moule's superb Adam's Rib Suite, which fused elements of Jazz, Pop and Classical music to recount the history of womankind from Eve to Cleo Laine.
Needless to say, though, it was infinitely less successful than any comparable record within the Rock genre, Rock being at the vanguard of popular culture in a way that Jazz had once been, but no longer was. However, by the turn of the decade, a reconciliation between the two alienated factions was well under way, with Jazz-Fusion coming from one camp and the more populist Jazz-Rock from the other.
In '75, Pat served as leader for Mike Gibbs' The Only Chrome Waterfall Orchestra, an unsung early example of British Jazz fusion, which was finally released on CD in 1997. Adam's Rib followed it on CD exactly ten years later.
By the time of his involvement with the latter, Pat had already moved into the worlds of film and television. And his early career included solos for the 1960 movie, Exodus, produced and directed by Otto Preminger, with music by Ernest Gold, as well as for much treasured British sitcom, Steptoe and Son (1969-'74), whose incidental music was composed by his close friend Ron Grainer.
He also served as concertmaster for the great Johnny Green on Carol Reed's version of Lionel Bart's Oliver in 1968, and for John Williams on three movies beginning with the musical version of James Hilton's Goodbye Mr Chips.
And going on to include Jane Eyre (1970), directed by Delbert Mann, and Fiddler on the Roof (1971), by Norman Jewison.
Directed by Herbert Ross in 1969, Chips featured a screenplay by no less a luminary of British literature than Terence Rattigan. And as he was the author of such quintessentially English tragedies as The Browning Version and The Winslow Boy, both centring on the English private school system, he was the perfect choice.
Sadly, though, for all its virtues, including a lovely score by Leslie Bricusse, it was not a critical success, although it was nominated for several major awards, and has gone on to enjoy something of a following on the internet.
Also in '69, he worked on David Lean's Ryan's Daughter, a visually beautiful epic set in rural Ireland during the First World War, which was another film that has grown in stature since its initial release. Written by playwright and screenwriter Robert Bolt, with music by Maurice Jarre, it was poorly received by the critics (while being a modest box office success), although today, its considered by many to be among Lean's finest works.
In addition to Williams, Green and Jarre, he's served as concertmaster for a panoply of major 20th Century musical figures working within the media of film and television, including Dimitri Tiomkin, Nelson Riddle, Georges Delerue, Wilfred Josephs and Christopher Gunning.
But to return the world of Pop, which mutated into Rock, possibly some time towards the end of the late 1960s, while retaining a Pop subsidiary; and became known as such to many of its devotees, presumably as a means of investing it with some respectability as an art form:
As the '60s ceded to the '70s, Pat's close friend Mickie Most was poised to enter the second phase of his glittering Pop career, having been briefly involved with the nascent Rock movement through his management of the Jeff Beck Group. And yet, even at that, he'd sought to turn guitar virtuoso Beck into a major Pop star...while apparently remaining impervious to the star quality of his one-time front man, Rod Stewart.
And it fell to business partner Peter Grant to prosper within Rock music, first as co-manager of the Yardbirds with Most; then as sole manager of Led Zeppelin, who went on to become the ultimate Rock band; and second only to the Rolling Stones in terms of legendary darkness and mystery.
And by the time of the Zeppelin's conquest of America, the face of Western society had been altered almost beyond recognition by the Rock and Roll revolution. Yet, in all good conscience, responsibility for this transformation can't be laid exclusively at the feet of Rock. For, after all, tendencies hostile to the Judeo-Christian fabric of the West can be traced at least as far back as the Enlightenment of the 16th and 17th Centuries.
Much of the groundwork had already been done in other words, and that's especially true of the forties and fifties.
It was in these two immediate post-war decades that the Existentialists and the Beats became international icons of revolt, while lesser groups such as the Lettrists of Paris served as scandal-sowing forerunners of the Situationists, believed to have played a major role in fomenting the Paris riots of May '68.
At the same time, Britain's first major youth cult surfaced in the shape of the Teddy Boys, and a cinema of youthful discontent flourished as never before.
Movies such as Stanley Kramer's The Wild One and Nicholas Ray's Rebel Without a Cause fostered a desire among millions of young Americans to be identified as rebels themselves, reacting against the conformity of Eisenhower era America.
For all that, though, none of these phenomena enjoyed a tithe of the influence of Rock in terms of its effect on the Western soul.
Glam and the Gender Revolution
My Pangbourne years coincided with the rise of Rock, which was Pop transmuted into an art form, while somehow including Pop as its less intellectual counterpart. And the music we listened to as self-styled lads had "lad value
PLEASE ENCOURAGE AUTHOR BELOW LEAVE COMMENT ON ARTICLE
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