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Volume 1
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Pete Moore
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| Pete Moore was, like
John Keating, regarded as one of the new up-and-coming talented
arrangers of the late 60's and, judging from his discography,
certainly one of the busiest! He arranged all of the music for
the "Tom Jones" and "The Saturday Crowd" television series, and
pieces for Bob Hope, Jayne Mansfield and - of course - his own
albums. For loads more info, check our recent interview with the
man himself. |
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| The ultra-smooth 'Exciting
Sounds Of Tomorrow' (Rediffusion, 1969) is fast attaining collectable
status and will now exchange hands in some circles for over 20
quid a pop. There are two releases of the album, with an issue
on Fontana appearing in 1970 featuring a beautiful blonde girl
sporting a hefty gold choker. As for the music itself...well,
it starts off pretty easy-cheesy on side one, but it's over on
the second side that things really take off. A bluesy-version
of "Green Onions", an average cover of 'Route 66' but then...POW!
Pete Moore hits you with 'Catwalk'...an original composition and
the reason everyone goes ape-shit about this record! Fast and
funky 60's string arrangement with the dirtiest growling flute
you're ever likely to hear - classic! |
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| His next selection 'Plays
The Best Of Bacharach' (Rediffusion, 1970) disappointingly contains
no original material and isn't really blessed with any funky beats
or dancefloor burners, just good honest cheesy versions of Burt's
finest tunes. But, back on the right track, another beauty that
is often overlooked is 'Lively And Latin' (Rediffusion, 1972)
stuffed full of Latin-ised cover versions, especially 'My Sweet
Lord', 'For What It's Worth' and the genuinely Latin 'Mas Que
Nada'. |
| Another one not to dismiss, in spite
of what looks like a not altogther compelling track listing is
'The Award Winners' (Rediffusion, 1972). A selection of film and
telly tunes like 'Talk To the Animals', 'Consider Yourself', 'Chim
Chim Cheree' and 'Steptoe & Son' surely must be awful? Not
a bit of it! The talented Mr. Moore funks them all up in his own
wonderful way with wah-guitar and Hammond to spare. Blimey! |
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| Well then...here's a teaser. Have
you ever yearned to own a version of the 'Exciting Sounds Of Tomorrow'
album, but without the original Pete Moore compositions, and all
splatted together on a double LP with a bunch of other stuff of
unknown origin? Then its time to get hold of 'The Lush Sounds
Of The London Moods Orchestra' (Double Gold, 1973). Very odd indeed... |
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Lastly, Mr. Moore
and friends deliver 'Solid Rockin' Brass' (Gold Star, 1973).
As we've always found with Pete's output, his albums can never
be referred to as one trick ponies. A good handful of brassy
numbers with his version of "Superstition" coming up tops with
ample support from a shameless steal of the Jackson 5's 'I Want
You Back', now re-titled 'Solar Wind' - cheeky! Add 'Raised
On Rock' and 'The Fat Man' to the mix and it's one heady brew.
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Alan Moorhouse
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| Alan Moorhouse was
a stalwart of the session scene through the 60's and 70's until his untimely
death at the end of the decade. He co-wrote Lulu's 1969 Eurovision Contest
entry "Boom Bang-A-Bang" and provided arrangements for a number of middle
of the road crooners down the years. Many would say that you'll find the
man's best moments within the grooves of library albums for the likes
of KPM, and with the number that have surfaced on recent compilations,
it would be difficult to argue with that. As for commercial releases,
you'll have to look hard to find a Moorhouse credit on a good deal of
his work, and well, on many occasions a certain amount of anonymity was
perhaps for the best, as their quality can be described as variable
to say the least. However, persevere and you will find many an eclectic
groover to enjoy from the man's pen... |
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| Moorhouse was most
synonymous with his Bond Street Brigade, and there are at least a couple
more albums out there than are featured here; these others look pretty
rank to be honest, with not a groovy moment in sight; simply manufactured
to provide aural comfort in a swinging military style to those
whose best years were had square bashing at Catterick or Aldershot. That
said, 'Alan Moorhouse And His Bond Street Brigade' (MFP, 1973) is essential
for one track - and one track only! The self-penned 'Funky Fever' is a
great number and really stands out against the rest of the songs - the
obligatory 'Whiter Shade Of Pale' and 'Chirpy Chirpy Cheep Cheep' cover
versions are almost nausea-inducing! The chunder-factor is also pretty
high on 'McCartney, Mendleson & Mancini Go Marching With...' (MFP,
1975), with only a moderately amusing bash at 'Live & Let Die' giving
a return for pence. |
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| Even more torture
is to be found on 'The Band Plays On' (One-Up, 1977), where the nightmare
of the parade ground crew giving it up for dixieland jazz becomes a terrifying
reality! Very, very awful indeed! However, it is worthy of comment as
it reveals that our Mr. Moorhouse was responsible for the oft-remembered
theme of the Geordie poorhouse drama series of the 70's When The Boat
Comes In, for 'tis mangled here! Haway bonnie lad! Infinitely more appealing
is the Moorhouse arranged 'Beatles, Bach & Bacharach Go Bossa' (MFP,
1971). Full of gentle bossa themes, its nothing to get in a lather over,
but compared to the previous album it is blessed relief indeed! |
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| Now we really must
turn our attention to the work of a little brassy combo called The Torero
Band. There are a good half dozen of these parpmongous efforts out there,
but not all have any evidence of Mr. Moorhouse being at the controls.
The first of those definitely associated with our Alan is the ubiquitous
'Tijuana Christmas' (MFP, 1968), which is guaranteed to liven up any seasonal
festivities by treating revelers to some utterly ridiculously parped-up
takes on Christmas carols. Its just plain stupid! And Brilliant! The carnage
continues on 'Tijuana Nursery Rhymes' (MFP, 1969), which does the nasty
with all of your favourite playground tunes...oh dear...this is actually
really good in places! 'Baa, Baa Black Sheep' is really groovy! No, really!!!
And for a bit of fun why not try rounding off your DJ set with 'Oranges
& Lemons'...g'wan...dare ya! |
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| No mercy! Not even
in the sight of The Lord, for next up we have 'Tijuana Hymns' (MFP, 1970).
Oh, sweet baby Jesus, this is just insane! And gloriously insane at that,
'cos again a good few of the cuts are really very groovy. Of course this
is utter crap, but as mistranslated from Jacques Brell cute, in a stupid-ass
way. Don't be frightened, you'll love 'em too! Moving on to different
realms, but perhaps still dwelling outside the walls of sanity, we have
another Moorhouse creation; 'Rock Gently with Beethoven, Bach & Brahms'
(Contour, 1973). This time he's giving the funk to classical themes and
serves up at least one tasty number in 'Fur Elise', with a sturdy beat
and some nice saxophone and piano interplay before the la-la backing vocals
come in soothe the soul. The rest of the album is a bit hit and miss,
but still worth the pence of any man!. |
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Harry Roche
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Trombonist Harry Roche
spent many a year as part of Ted Heath's big band before branching
out with his own session troupe The Harry Roche Constellation
and scoring a hit in the mid 60's with his own crack at the
Tijuana favourite 'Casino Royale' from an album of the same
name. Roche's take on the Bond theme is included on 'In Orbit'
(Joy Records, 1967), which is the US issue of the 'Casino Royale'
album. It's a tad toooo easy for our tastes, the cheesy la-la-la
vocals over the parping brass arrangements aren't really our
scene....
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| A few years passed before
any more Constellation material surfaced in the shape of 'Spindrift'
(Studio2Stereo, 1971). Most of the tracks are very easy-cheesy,
but there's a good original composition 'Warm Punch' and a half-decent
'Hawaii-5-0' to be going on with. |
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'Sometimes' (Pye,
1973) is a far more accomplished album, featuring 'The Prowler'
and 'The Mancini Generation', not to mention the cheeky brass
of 'Carnaby Chick'. The tracks border on easy/lounge music but
have a funky big-band edge to them that makes them quite accessible.
Hot on the heels of this, was 'Spiral' (Pye, 1973), an album
of which Lounge legends are made. Deadly rare and startlingly
beautiful, it contains one of the most awesome and visionary
cuts of the whole era in the title track itself. A ten-minute
wah-wah and brass exploration from the pen of arranger Pete
Moore of such proportion that its all too easy just to flick
the needle back to the start of the track for hours on end.
Harry sadly joined
The Great Brass Section In The Sky in the 80's, but more information
on his story is to be had on our Constellation
page.
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