Petula Clark

Blood Brothers (1995 “International” Cast Recording)

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I am embarrassed to admit that I know very little about Blood Brothers, and I’ve never seen the show live. The score is somewhat foreign to me. I tend to gravitate towards specific composers and explore their work as a whole collection. And Willy Russell has no other works that I am was familiar with. On that note, I don’t have too much to say about the show, other than I’m excited to listen to other recordings and learn more about the show. It’s famous for being one of the longest running productions in history ever, but it doesn’t get a lot of stage time here in the states.

After going through a bit of a Petula Clark binge this month (please refer to my recent post regarding her in Sound of Music), I decided to give Blood Brothers a proper listen, and I was pleasantly surprised. The musical score seems to favor female driven ballads, which surprised me only because of the title of the show, with the male characters holding main roles, but never accented much during “climax” moments in the show.

It’s clear to me that Clark’s performances are the main hook of the album. She starts with Marilyn Monroe & Easy Terms, and then ends Act 1 with Brand New Day, and finishes Act 2 with Tell Me It’s Not True. These big, powerful, female vocal songs provide pinnacle moments in the shows score. And, in my opinion, each song is more beautiful than the next.

Tell Me It’s Not True is great. I can hear it over and over in my head only having heard the song a few times. The tune is so catchy and Petula is superb. She does not rush this finale number, and she allows the song to properly build, with her vocals leading the chorus in lush, rich sadness. This is one song I can listen to on repeat, easy.

Blood Brothers showcases the tragic beauty of devastation and loss. The struggles of a young mother and her ill-fated sons.

Sound of Music, The (1981 London Revival Cast Recording)

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It’s hard to analyze Sound of Music without noting Julie Andrews performance in the classic film, so I’ll get the Julie chat out of the way here. Imagine a world where the movie was never made, and the only Maria’s that ever existed were those who played her on stage. Petula Clark would have been Maria 2.0 after Mary Martin’s original Broadway performance in 19XX. 1981 was the beginning of a new era of musical theatre. The decade would soon be defined by Webber, Sondheim, Yeston, Shonburg, and Richard Rodgers was now a full generation past. In the spirit of keeping older shows relevant, I think the 1981 Cast Recording is a fine adaptation of the Rodgers and Hammerstein classic.

The brass fanfare ushers us into the sound of music. Woodwinds chatter amongst the whispering percussion and horns, We are transported to the pristine mountains of Switzerland(?). The helicopter view of Julie Andrews twirling around is embedded in your memory if you were born before 1990. If you never saw the film, just know that it’s amazing. The orchestra builds, and builds, and builds and stops(!) on a single note played on a violin… And Petula Clark’s voice begins:

“My day in the hills has come to an end, I know. [Ding.]”

With this one line, she reaches out and grabs your attention and mesmerizes you for 10 seconds, calming all nerves, and quelling any fears that your expectations won’t be met. Her vocal tone against the horns is so beautiful. She continues to the climax of
“The hills are alive…!” and my heart is full of joy. By the end of the number, she has shown us a full range of dynamics and vocal tone. Clark has a lot of potential for this show, I think. And she gives her own smooth twist on the classic role that I grew up adoring.

Clark’s take on I Have Confidence is unique in that her confidence is not shrouded in nervousness, but rather shrouded in excitement. She begins the song quiet and timid enough, and her nerves come across as eager jitters. For the second half of the show, she’s ecstatic and gives us the Petula Clark belt-and-slur high notes that we can expect. The song ends with an over-the-top Seventy Six Trombones marching band situation, but it’s a good track, and a personal favorite of mine.

As Sound of Music entered the crazy 80s, I believe the music represented Rodgers’ work well, and Petula Clark made the character her own. This is usually my go to album if I’m in the mood for Petula Clark, which is, these days, often.