2000 release at the Town Hall Ossett Compton/Christie. Running time: 71 minutes.
The download “.zip” file is 261Mb and includes 20 MP3 tracks, plus a JPG of cover. Just copy the MP3 files into your iTunes (or similar) library.
This CD is now deleted and is available as a DOWNLOAD ONLY.
Click Below to Play a Few Clips:
Good Old Vienna
Theme from “Peyton Place”
In Party Mood
Begin the Beguine
You Belong to Me
There Must Be a Way
A Long Time Ago
Butterflies in the Rain
The Night Has a Thousand Eyes
Au Revoir (J’attendrai)
The Policeman’s Holiday
A Nightingale Sang in Berkeley Square
Don’t Laugh at Me
The Blue Danube
Kevin Morgan was born in Dorset and began playing the piano at the age of three. Head Chorister of Sherborne Abbey and a Music Scholar at his school, he was awarded numerous national prizes for the highest marks in the Associated Board of the Royal Schools of Music examinations, particularly for Grades 6, 7 and 8. He started playing the organ when he was nine and played for his first service in Salisbury Cathedral only two years later.
After extensive studies at Durham, London, Oxford and Cambridge, he moved to Bolton in September 1986 to take up the position of Organist and Choirmaster at the Parish Church, a post he held for nine years. Whilst there, he was introduced to the theatre organ by the late Ron Curtis, took to the instrument straight away, and with his fresh approach to it has now become one of our top players, deservedly in ever increasing demand for concerts all over the country, on piano, classical organ and electronic organ, in addition to the theatre pipe organ. He taught piano and organ at Bolton School for twelve years, during which time he continued to study on a part-time basis at the University of California, culminating in the award of a PhD. He is now Organist and Head of Keyboard Studies at Stonyhurst College.
Recorded in July 2000, this album marks a double celebration, firstly by being made just a few weeks after the Northern area of the Theatre Organ Club celebrated the fiftieth anniversary of its first meeting (on 4th June 1950), and secondly it being the year that saw the thirtieth anniversary of the opening of the featured instrument.
In 1950 there were lots of organ-equipped cinemas in which meetings could be held. But the situation was soon to change, as alterations made within the cinemas, in efforts to lure the declining audiences away from their televisions, in many cases forced disposal of the organs, and several preservation groups were formed in efforts to save them, and reinstall them in halls where they could continue to provide musical entertainment
In 1961 the Theatre Organ Club purchased a delightful 2-manual 5-rank Compton from the Rialto cinema, Bebington. A new home was found in the following year at the Town Hall, Ossett, West Yorkshire, and the financially independent Northern Theatre Organ Trust was formed to rebuild, maintain and promote it. It was realised, however, that the organ would be too small for the hall, and so the Trust began the work, of seeking out several extra ranks and a larger console, and over the following six years designed and built the beautiful 3-manual 13-rank instrument that we now hear, and which was opened in January 1970. In the hall’s superb acoustics, the organ has a most distinctive sound. It has been broadcast many times over the years, and this is the eighteenth commercial recording of it.
The programme spans more than 100 years, ranging from the immortal “Blue Danube Waltz”, via evergreens such as “Begin the Beguine” and “A Nightingale Sang in Berkeley Square” from the 30s and 40s, to later favourites which will revive memories of, for instance, Jo Stafford singing about faraway places in “You Belong to Me”, Bobby Vee serenading the teenagers with “The Night Has a Thousand Eyes”, and possibly the most famous of hits by Frankie Vaughan, Norman Wisdom and Patsy Clyne.
The album title was suggested by one of the tunes, the cheerful “In Party Mood”, which for countless years introduced the “Housewives’ Choice” radio programmes. Selected from the Bosworth catalogue of mood music recordings, it was one of Jack Strachey’s many compositions, and soon equalled the popularity of his earlier “These Foolish Things” and the march “Theatreland”. An even more prolific composer was Herbert Carrington, whose entire output appeared under ‘pen names’. Montague Ewing was used for light and novelty pieces, while for dance tunes (usually with vocals) he became Sherman Myers, both being represented here by “The Policeman’s Holiday” and “Butterflies in the Rain” respectively, and so well known that further comment is unnecessary.