Where the Halling Valley River Lies by Carl Halling (interesting novels to read .TXT) đ
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to be a more purely commercial variant of the aforesaid New Wave; itself an offshoot of Punk. Although the term was only ever used in the UK, while the US continued to favour that of New Wave to describe the explosion of British synth-driven bands that invaded the Pop charts on both sides of the Atlantic throughout the â80s..
For several New Pop acts took part in the so-called Second British Invasion, which saw British bands dominating the American Pop charts to a degree unknown since the hey day of the Beatles. And this was largely due to a demand on the part of the newly launched MTV music channel for glamorous
videos which enabled British acts such as Culture Club, Duran Duran and Eurythmics to score massive transatlantic hits.
But for many, this resurgence of Pop was a negative development, despite the musicality of many of its proponents, so that it fused the commerciality of Pop with the virtuosity of Rock. And it could certainly be said that such phenomena as Glam, Punk and Goth witnessed a certain taming throughout the â80s; so that by the end of the decade, they had been shorn of their ability to shock.
But for all the ballyhoo created by the rise of Electronica, Pat Hallingâs career was barely affected.
And in 1980, he worked again for his old friend John CameronâŠthis time on the movie "The Mirror Crack'd", based on the Agatha Christie novel, with music by JC, and featuring a roll call of Hollywood legends. Pat even had a small non-speaking cameo in the movie as a World War II bandleader.
And in that same year, he led the orchestra for an album by Greek superstar Demis Roussos, which while produced by David Mackay, featured another close friend Barrie Guard as conductor.
He also found time to lead the orchestra for the distinguished composer Wilfrid Josephâs theme to the 1980 BBC TV series of Jane Austenâs âPride and Prejudiceâ.
In 1982, he was back with John Cameron for a further star-studded Agatha Christie movie, "Evil Under the Sun", helmed, as in the case for âCrackâdâ by Bond director Guy Hamilton, and produced by Lord Brabourne and Richard Goodwin, who became a close friend.
For Richardâs wife, Christine Edzard, he served as the soloist for âBiddyâ in 1983âŠworking again with Christine, with Richard producing, on Dickensâ âLittle Dorrit" in â88, and two years later on âThe Foolâ, written by Christine with Oliver Stockman. And all three movies were scored by French composer Michel Sanvoisin.
For Paul McCartney, possibly the most lauded Rock and Roll musician in history, he led the orchestra for the soundtrack to the â84 movie âGive My Regards to Broad Streetâ. And while it sold well, the film itself performed poorly at the Box Office; although it benefits from a good deal of affection from contemporary McCartney fans.
A year later, he was concertmaster for his old colleague David Essex on the album version of the musical âMutinyâ, based on âMutiny on the Bountyâ by Nordhoff and Hall. And in that same year, played on three tracks from Jazz musician Barbara Thompsonâs album âHeavenly Bodiesâ.
And then a year after that, he contributed to "To Go Beyond II", final track from the hugely successful âEnyaâ album by Irish superstar Enya Brennan. As well as âIfâ for Hollywood Beyond, featuring singer-songwriter Mark Rogers. And tenor saxophonist Spike Robinsonâs âGershwin Collectionâ.
In 1988, he and Richard Studt served as orchestra leaders on Elaine Pageâs âThe Queen Albumâ, produced by Mike Moran, while in â89, he worked with yet another Rock legend, Pete Townsend, serving as leader on his concept album "The Iron Man - The Musical", based on the novel by Ted Hughes.
Interestingly, Pete's father Jazz saxophonist Cliff Townsend had been a colleague of Pat's during their time together on the famous BBC television chat show âParkinsonâ, named after host Michael Parkinson.
Then in 1990, he appeared on John Williamsâ album âThe Guitar is the Songâ, having earlier worked with the great Classical guitarist on âJohn Williams plays Patrick Gowers and Scarlattiâ (1972), and âPortrait of John Williamsâ (1982).
But briefly returning to film and TV, television projects on which Pat worked throughout the '80s include âHold that Dreamâ (1986) based on the novel by Barbara Taylor Bradford, with original score by long time friend Barrie Guard, âTears in the Rainâ (1988), from a novel by Pamela Wallace, with music again by Guard, and âThe Darling Buds of Mayâ (1992-1993), based on the novel by HE Bates, and with music by Pip Burley and Guard.
His recording career in the â90s included work for acts and artists as varied as British Indie band Cud and French singer Dany Brillant (âNouveau Jourâ from 1999).
And on a larger scale, the â90s witnessed the fading of such once provocative cults of Glam, Punk and Goth to make way for the far starker cult of Grunge, as well as the facelessness of Electronic Dance. But the greatest success story of the decade was Rap, which many would contend is not a Rock music genre at all, but an entirely different form of music, as distinct from Rock as Rock once was from Jazz.
While others would insist all offshoots of Rockâs first forefathers that have in some way benefited from the Rock revolution are perforce forms of Rock and Roll. And by forefathers Iâm referring primarily to Rhythm and Blues and Country and Western. And Iâm inclined to side with this view.
A Halling is a Halling Wherever He is
Moving into the NoughtiesâŠand Tiny Timâs 1968 concert at the Albert Hall finally secured a CD release in 2000 through Rhino Handmade Records as âTiny Tim. Live! At the Royal Albert Hallâ.
And conducted by Carpenters producer Richard Perry, with Tony Gilbert as leader, and Pat among the first violins, it was revealed as a neglected masterpiece that had remained unreleased for nearly two decades. Yet within two years of its recording, Timâs legendary appearance at the Isle of Wight Festival would secure a standing ovation from the assembled flower children, with the Beatles and the Stones among them.
And between 2000 and 2002, Pat played violin for a band formed by his good friend Barrie Guard, and featuring his son Carl on vocals.
And together with bass player John Sutton, they recorded a series of demos at the latterâs home studio in Esher, and even went so far as to record a pilot radio show but to no avail.
They gigged sporadically for about a year and a half to limited response, until a final concert at the 2002 Shelton Arts Festival brought them into contact with the kind of intimate cultured audience they should have been aiming for all alongâŠand they all but brought the house down. But dispersed soon afterwards after barely a year and half together.
On a brighter note, there's a fascinating tale attached to singer-songwriter John Dawson Read for whom Pat served as leader on his two classic albums from the â70s, namely âA Friend of Mine is Going Blindâ from â75, and âRead Onâ from a year later.
Sometime around 2005, fellow singer-songwriter Michael Johnson included an MP3 of Read singing the title track of his first album, âA Friend of Mineâ on his website, and many Read fans began communicating through the site in as a result.
His subsequent re-entry into the music world after nearly thirty years of relative inactivity, resulted in a third album, âNowâŠwhere were we?â being released that same year.
Until quite recently, Pat served as leader for the longest running comedy series in television history, Roy Clarke's "Last of the Summer Wine". And working alongside Pat was harmonica maestro Jim Hughes, whose playing it is that makes Ronnie Hazelhurstâs gently pastoral theme tune so distinctive.
With Jim's help, Pat began work on an album of popular song standards featuring Carl Halling on vocals, Judd Procter on guitar, Dave Richmond and John Sutton on bass, and John Dean and Sebastian Guard on drums.
The album was produced by Pat and arranged by John Smith. And largely engineered by sound recordist Tony Philpot, with contributions by Keith Grant of West London's legendary Olympic Studios. To be finally released in 2007 as âA Taste of Summer Wineâ by James Hughes Carl Halling with the London Swingtette.
And as things stand, Pat plays in two quartets, the Leonardo, formed in 1993, and the aforesaid Quartet Pro Musica. And the quartetâs recent projects have included the 2007 world premiere of âA Poetâs Calendarâ by long-time friend Derek Wadsworth, with whom Pat first worked in the â70s, such as on Alan Priceâs âMetropolitan Manâ from â75
As well as performances of Quartets 1 and 2 by Jazz drummer and composer Tony Kinsey; and a string of concerts organised by Patâs youngest son, Dane. The first of these taking place at Londonâs Cadogan Hall in the spring of 2010, and featuring works by Haydn, Debussy and Purcell. To say nothing of the world premiere of âTaraâs Broochâ by faithful colleague John Cameron, which features on a CD of theirs released towards the end of that year.
In addition to his music, Pat continues to be a keen dinghy sailor during the season at his local club, where he races to win every Sunday, and to paint under the handle he once rejected, Clancy.
Also, for several years heâs attended several functions organised by PPL, formerly known as Phonographic Performance Limited, a music licensing company which collects and distributes airplay and performance royalties on behalf of record companies and perfomers throughout the UK.
At one of these, the Fair Play 95, which took place on behalf of the Fair Play for Musicians campaign at the Stanhope Hotel in Brussels in April 2009, he played a medley of Tony Hatchâs âDowntownâ and the Beatlesâ âAll You Need is Loveâ, before inviting flamenco guitarist Manuel Espinosa on to the stage for a short duet.
There seems to be no end to the man's almost preternatural energy and force of will.
And although there's no hard and fast evidence that Pat has Scandinavian blood, research related to the Norwegians who emigrated to the American Midwest from about the mid-19th Century onwards reveals that one of the purported characteristics of the Hallings of the Halling Valley in Norway's Buskerud County is firmness âin thoughts and beliefsâ, so that he would ârather break than bendâ. This in the words of the Norwegian-American writer Syver Swenson Rodning, who allegedly took first prize in an essay set by a man called Hallingen in 1917 called âA Halling is a Halling wherever he isâ, the Hallings themselves settling primarily in Spring Grove, Minnesota, where traces of their dialect and subculture survived into the 1930s.
Perhaps then, alone among the three children born to Phyllis Mary Halling, Patrick is a true Halling with roots deep in the Hallingdal where the Halling Valley River lies.
And what of the music that has dominated his days and nights for so many decades?
The truth is it has never been more accessible thanks to the miracle of sites such as Spotify and You Tube. Sites where one might access a degree of music inconceivable to those of my generation, who as late as the late 1990s could only ever hear as much music as they were able to afford via the medium of the long playing record, Compact Disc or Musicassette.
And of RockâŠsurely the most revolutionary music form in history, it could be said it has
For several New Pop acts took part in the so-called Second British Invasion, which saw British bands dominating the American Pop charts to a degree unknown since the hey day of the Beatles. And this was largely due to a demand on the part of the newly launched MTV music channel for glamorous
videos which enabled British acts such as Culture Club, Duran Duran and Eurythmics to score massive transatlantic hits.
But for many, this resurgence of Pop was a negative development, despite the musicality of many of its proponents, so that it fused the commerciality of Pop with the virtuosity of Rock. And it could certainly be said that such phenomena as Glam, Punk and Goth witnessed a certain taming throughout the â80s; so that by the end of the decade, they had been shorn of their ability to shock.
But for all the ballyhoo created by the rise of Electronica, Pat Hallingâs career was barely affected.
And in 1980, he worked again for his old friend John CameronâŠthis time on the movie "The Mirror Crack'd", based on the Agatha Christie novel, with music by JC, and featuring a roll call of Hollywood legends. Pat even had a small non-speaking cameo in the movie as a World War II bandleader.
And in that same year, he led the orchestra for an album by Greek superstar Demis Roussos, which while produced by David Mackay, featured another close friend Barrie Guard as conductor.
He also found time to lead the orchestra for the distinguished composer Wilfrid Josephâs theme to the 1980 BBC TV series of Jane Austenâs âPride and Prejudiceâ.
In 1982, he was back with John Cameron for a further star-studded Agatha Christie movie, "Evil Under the Sun", helmed, as in the case for âCrackâdâ by Bond director Guy Hamilton, and produced by Lord Brabourne and Richard Goodwin, who became a close friend.
For Richardâs wife, Christine Edzard, he served as the soloist for âBiddyâ in 1983âŠworking again with Christine, with Richard producing, on Dickensâ âLittle Dorrit" in â88, and two years later on âThe Foolâ, written by Christine with Oliver Stockman. And all three movies were scored by French composer Michel Sanvoisin.
For Paul McCartney, possibly the most lauded Rock and Roll musician in history, he led the orchestra for the soundtrack to the â84 movie âGive My Regards to Broad Streetâ. And while it sold well, the film itself performed poorly at the Box Office; although it benefits from a good deal of affection from contemporary McCartney fans.
A year later, he was concertmaster for his old colleague David Essex on the album version of the musical âMutinyâ, based on âMutiny on the Bountyâ by Nordhoff and Hall. And in that same year, played on three tracks from Jazz musician Barbara Thompsonâs album âHeavenly Bodiesâ.
And then a year after that, he contributed to "To Go Beyond II", final track from the hugely successful âEnyaâ album by Irish superstar Enya Brennan. As well as âIfâ for Hollywood Beyond, featuring singer-songwriter Mark Rogers. And tenor saxophonist Spike Robinsonâs âGershwin Collectionâ.
In 1988, he and Richard Studt served as orchestra leaders on Elaine Pageâs âThe Queen Albumâ, produced by Mike Moran, while in â89, he worked with yet another Rock legend, Pete Townsend, serving as leader on his concept album "The Iron Man - The Musical", based on the novel by Ted Hughes.
Interestingly, Pete's father Jazz saxophonist Cliff Townsend had been a colleague of Pat's during their time together on the famous BBC television chat show âParkinsonâ, named after host Michael Parkinson.
Then in 1990, he appeared on John Williamsâ album âThe Guitar is the Songâ, having earlier worked with the great Classical guitarist on âJohn Williams plays Patrick Gowers and Scarlattiâ (1972), and âPortrait of John Williamsâ (1982).
But briefly returning to film and TV, television projects on which Pat worked throughout the '80s include âHold that Dreamâ (1986) based on the novel by Barbara Taylor Bradford, with original score by long time friend Barrie Guard, âTears in the Rainâ (1988), from a novel by Pamela Wallace, with music again by Guard, and âThe Darling Buds of Mayâ (1992-1993), based on the novel by HE Bates, and with music by Pip Burley and Guard.
His recording career in the â90s included work for acts and artists as varied as British Indie band Cud and French singer Dany Brillant (âNouveau Jourâ from 1999).
And on a larger scale, the â90s witnessed the fading of such once provocative cults of Glam, Punk and Goth to make way for the far starker cult of Grunge, as well as the facelessness of Electronic Dance. But the greatest success story of the decade was Rap, which many would contend is not a Rock music genre at all, but an entirely different form of music, as distinct from Rock as Rock once was from Jazz.
While others would insist all offshoots of Rockâs first forefathers that have in some way benefited from the Rock revolution are perforce forms of Rock and Roll. And by forefathers Iâm referring primarily to Rhythm and Blues and Country and Western. And Iâm inclined to side with this view.
A Halling is a Halling Wherever He is
Moving into the NoughtiesâŠand Tiny Timâs 1968 concert at the Albert Hall finally secured a CD release in 2000 through Rhino Handmade Records as âTiny Tim. Live! At the Royal Albert Hallâ.
And conducted by Carpenters producer Richard Perry, with Tony Gilbert as leader, and Pat among the first violins, it was revealed as a neglected masterpiece that had remained unreleased for nearly two decades. Yet within two years of its recording, Timâs legendary appearance at the Isle of Wight Festival would secure a standing ovation from the assembled flower children, with the Beatles and the Stones among them.
And between 2000 and 2002, Pat played violin for a band formed by his good friend Barrie Guard, and featuring his son Carl on vocals.
And together with bass player John Sutton, they recorded a series of demos at the latterâs home studio in Esher, and even went so far as to record a pilot radio show but to no avail.
They gigged sporadically for about a year and a half to limited response, until a final concert at the 2002 Shelton Arts Festival brought them into contact with the kind of intimate cultured audience they should have been aiming for all alongâŠand they all but brought the house down. But dispersed soon afterwards after barely a year and half together.
On a brighter note, there's a fascinating tale attached to singer-songwriter John Dawson Read for whom Pat served as leader on his two classic albums from the â70s, namely âA Friend of Mine is Going Blindâ from â75, and âRead Onâ from a year later.
Sometime around 2005, fellow singer-songwriter Michael Johnson included an MP3 of Read singing the title track of his first album, âA Friend of Mineâ on his website, and many Read fans began communicating through the site in as a result.
His subsequent re-entry into the music world after nearly thirty years of relative inactivity, resulted in a third album, âNowâŠwhere were we?â being released that same year.
Until quite recently, Pat served as leader for the longest running comedy series in television history, Roy Clarke's "Last of the Summer Wine". And working alongside Pat was harmonica maestro Jim Hughes, whose playing it is that makes Ronnie Hazelhurstâs gently pastoral theme tune so distinctive.
With Jim's help, Pat began work on an album of popular song standards featuring Carl Halling on vocals, Judd Procter on guitar, Dave Richmond and John Sutton on bass, and John Dean and Sebastian Guard on drums.
The album was produced by Pat and arranged by John Smith. And largely engineered by sound recordist Tony Philpot, with contributions by Keith Grant of West London's legendary Olympic Studios. To be finally released in 2007 as âA Taste of Summer Wineâ by James Hughes Carl Halling with the London Swingtette.
And as things stand, Pat plays in two quartets, the Leonardo, formed in 1993, and the aforesaid Quartet Pro Musica. And the quartetâs recent projects have included the 2007 world premiere of âA Poetâs Calendarâ by long-time friend Derek Wadsworth, with whom Pat first worked in the â70s, such as on Alan Priceâs âMetropolitan Manâ from â75
As well as performances of Quartets 1 and 2 by Jazz drummer and composer Tony Kinsey; and a string of concerts organised by Patâs youngest son, Dane. The first of these taking place at Londonâs Cadogan Hall in the spring of 2010, and featuring works by Haydn, Debussy and Purcell. To say nothing of the world premiere of âTaraâs Broochâ by faithful colleague John Cameron, which features on a CD of theirs released towards the end of that year.
In addition to his music, Pat continues to be a keen dinghy sailor during the season at his local club, where he races to win every Sunday, and to paint under the handle he once rejected, Clancy.
Also, for several years heâs attended several functions organised by PPL, formerly known as Phonographic Performance Limited, a music licensing company which collects and distributes airplay and performance royalties on behalf of record companies and perfomers throughout the UK.
At one of these, the Fair Play 95, which took place on behalf of the Fair Play for Musicians campaign at the Stanhope Hotel in Brussels in April 2009, he played a medley of Tony Hatchâs âDowntownâ and the Beatlesâ âAll You Need is Loveâ, before inviting flamenco guitarist Manuel Espinosa on to the stage for a short duet.
There seems to be no end to the man's almost preternatural energy and force of will.
And although there's no hard and fast evidence that Pat has Scandinavian blood, research related to the Norwegians who emigrated to the American Midwest from about the mid-19th Century onwards reveals that one of the purported characteristics of the Hallings of the Halling Valley in Norway's Buskerud County is firmness âin thoughts and beliefsâ, so that he would ârather break than bendâ. This in the words of the Norwegian-American writer Syver Swenson Rodning, who allegedly took first prize in an essay set by a man called Hallingen in 1917 called âA Halling is a Halling wherever he isâ, the Hallings themselves settling primarily in Spring Grove, Minnesota, where traces of their dialect and subculture survived into the 1930s.
Perhaps then, alone among the three children born to Phyllis Mary Halling, Patrick is a true Halling with roots deep in the Hallingdal where the Halling Valley River lies.
And what of the music that has dominated his days and nights for so many decades?
The truth is it has never been more accessible thanks to the miracle of sites such as Spotify and You Tube. Sites where one might access a degree of music inconceivable to those of my generation, who as late as the late 1990s could only ever hear as much music as they were able to afford via the medium of the long playing record, Compact Disc or Musicassette.
And of RockâŠsurely the most revolutionary music form in history, it could be said it has
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