I found this interesting article online.

 

 

 

Will Young’s deadly duo - Jerry Brown and Thomas Dyani

 

http://www.mikedolbear.com/Images/dyani_and_brown.jpg

 

Thomas Dyani and Jerry Brown (photo: Nick Sharples)

 

 

We have a double hitter with two guys at the top of their trade this month. Jerry Brown has played with Jamelia, Ms Dynamite and has just completed the West End musical “Moving Out” and Thomas Dyani is the percussionist for the West End musical “Lion King” and has worked with Paul Young, Desiré, Karen Wheeler (Soul2Soul), Lady Smith Black Mambazo, Tim Finn (Crowded House) and Incognito to name but a few.

 

I caught up with them during their UK tour with Will Young.

 

MD: How much preparation did you have and what were your considerations for each other when you were working on this show?

 

Thomas: We had 4 weeks of rehearsals in the studio. We’d go through the songs and try to re-work them. None of the songs we do are like the records because then you might as well just listen to the records, so the MD (musical director) wanted to re-work stuff and Will is really into that too, so we had to re-work all the arrangements when the production rehearsals came along. The whole thing changed again because then we’ve got to incorporate the dance routines, so there’s a lot of prep really for this kind of stuff and we have to work together. We have to sound like one unit. We’re both playing to the click but we’re working together. Jerry always tells me “stay off the back beat”

 

Jerry: I have my dedicated place where I can go for it. But it’s all about listening to each other and given each over space to work.

 

MD: Jerry, obviously when there’s not a percussionist there, you can fill the spaces a bit more

 

J: Amazingly it gives me more scope (when there is a percussionist). I think for me what’s really cool is really locking in with the bass player John Thomson. What’s really cool with me and Thomas is that we know where is a good place for us to really open up. When we play big venues, I just want to be more direct and make sure I’m not playing too busily, but what I do play has a great effect, so that is really my main concern. It’s different then playing smaller gigs. Thomas can do a lot more colouring and I’ll kind of hold it back, less is more. When I get the chance, I go for it so then it really stands out, and then I’ll go back and hold it down. If there are any horn lines, like ''Lean On it'', John and I will come together and do things which are really nice but really the colouring really come from Thomas.

 

http://www.mikedolbear.com/Images/Gerry_brown_1.jpg

Jerry Brown

 

 

MD: This show is like a West End/Broadway performance, so once you’ve put the band together and you’ve got everything tight after three or four weeks and the dancers come along, do you have to work around the choreography?

 

J: What’s really cool is in rehearsals we’ll actually record everything and then that recording will go to the dance studio and Ashley, the choreographer, will work around what we do. So he’s actually arranging his dance moves to what we’ve done in rehearsals. So there are times when he comes and checks us out in the rehearsal studio, and if he’s not hearing that certain part that we play, a certain hit or something Thomas does on percussion, he will go crazy because he’ll actually choreograph a move to that particular thing that we’ve actually played or arranged.

 

T: We had to be more consistent with particular hits and grooves.

 

MD: So he works around you and what you’re playing rather than the opposite way round?

 

T: Yeah, and the night they recorded it, that became what the choreographer was working with and if I’d done something, he might do a body move to fit that. Then he’d come back the next day and everything’s set in stone and he’d be like “Where’s that thing you played the other day?”, and I’d be like “I don’t know what you’re talking abou!t”. I didn’t know what I did, then he’d explain it to me, so there’s certain things that would be picked up on that we had to pin down. We had to listen to it as well, it was really surprising.

 

MD: How did you try anything out then, if your first rehearsal, when they decided ''right this is what we’re going to do dance routines around'' you’d forgotten what you did before?

 

T: We know the arrangements of the song. So then it’s just a matter of identifying which place in the song it is he’s hearing a certain thing that he’s incorporating in his routine and then you just remember that, you don’t want to chart it out, some people do. You chart it out subconsciously.

 

MD: You have both come out of successful West End shows. Thomas how different is your approach to a pop gig, like this is, to the Lion King, your day job?

 

T: One thing I want to say is, this is a pop gig, but actually for a pop show we’re stretching a lot. I’m doing this percussion solo which is unheard of in this type of thing, and we’re stretching. I mean Jerry gets away with stuff too, certain gigs it would be like “hit the snare, 2 and 4, come on!”, but here, there’s none of that stuff. Chris Bailey was the drummer before Jerry joined, and the MD would always say to Chris, who’s the master of all the double kick stuff, “What the heck are you doing man? You sound like someone throwing potatoes down the stairs, just play the beat!”. So in this gig we get away with an awful lot and The Lion King is a West End show, but it’s a West End show with a major difference. I get to stretch with The Lion King too, I’m lucky. We both play, we’re expressive players and people won’t call us unless they will allow that to happen, so The Lion King is a great gig for drums and percussion, you really get to play. Can you imagine doing something like Cats? The Lion Kings a whole different deal.

 

http://www.mikedolbear.com/Images/thomas_dyani.jpg

 

Thomas Dyani (photo: Nick Sharples)

 

 

MD: Keeping on that subject, at The Lion King, you do 8 performances a week, so when you say you’ve got some freedom on that gig, how much freedom? You’ve obviously got to nail it pretty consistently?

 

T: Something unique happened on the London Lion King. They have two percussionists apart from the orchestra who are in the balconies. The balconies are closer to the stage, so as you watch the show you look up and one percussionist is on the left and the other on the right. One of those chairs is mine, mine is supposed to be Percussion 1.

There was another guy who was hired, an African percussionist. The show wasn’t supposed to be Latin chair and African chair, with all the djembes and stuff, but when we first rehearsed for it, there was a problem in that the guy they hired was a good player, but he couldn’t read music. He didn’t know what a bar was and I don’t know why they hired him, because of course he was a great instrumentalist, but when it came to the rehearsals they would say ''Can you play 10 bars of that and 8 bars of the other one please?'' and he went ''Excuse me, what’s a bar?'' That’s why they got Mike Hammond in at that last minute. They basically fired him (the African percussionist), paid him some compensation and then they put Mike in.

 

Because Mike is more of an expressive player, his bag is not African percussion and that was his chair. When the American MD came over we swapped parts, so I had all the Latin based parts, which I was supposed to do in the first place, plus I got all the African stuff, which is also my stuff because I grew up in Africa until I was 6. It just turned out to be a percussion feast, as my chair had all the percussion features. It’s a bit unfair because I have all the fun stuff and then Mike got all the orchestral stuff. The other Lion King productions in the world aren’t like that, they’re more mixed up.

 

MD: When you did this, did you not write the part, because obviously it came straight out of Broadway?

 

T: It came straight from Broadway and I went to New York to watch the show. I saw the charts which were written out by some classical dude, and I didn’t know what it was. I could read the rhythms but it didn’t make sense and I heard the recording and so I went over there to New York and met the people, the two percussionists and saw what they were doing and then I compared it with the music, and then it made more sense because I could see what they were trying to write. But it’s really hard to write percussion because there’s no official notation. There is a drum kit notation but percussion, with all the different hits, there’s no uniform way. Everybody has there own way and for somebody who doesn’t play the instrument is a mission impossible. Then I took it back to the London show and then I had a starting point, I learned how they did it there in New York and then I adapted it and made it into my chair.

 

http://www.mikedolbear.com/Images/Gerry_brown_2.jpg

Jerry Brown

 

MD: How do you cover it?

 

T: I actually go through very laborious sessions where I train my deps. It takes them a long while, just because it’s unique and it’s kind of involved, but it’s good. Everybody loves doing my chair, because it’s like a whole thing you can add on to your playing. Anybody who learns my chair has a new element that they can add to their own playing. I can be seen all the time there is nowhere to hide!

 

MD: Coming to you Jerry, when you did your first show in the West End (the Billy Joel musical “Moving Out”) how did you find that, having to learn not only somebody else’s part, but also somebody who plays completely different to how you play?

 

J: I’m a big Liberty DeVitto fan who was Billy Joel’s drummer, and I went and brought Billy Joel DVDs and stuff, so I was really up for the task ahead. I knew a few Billy Joel songs but then obviously it’s a completely different thing with the dance arrangements, which was cool. When we got there we had 36 songs to learn over 6 days. The majority of the New York guys on the show are readers, so I could work my way through a chart, but I’m not a sight reader, so I had my own way of charting the songs down. Billy Joel’s current drummer and band came over to London and they grilled us for 6 days and we got all 36 songs down. I must admit half way through I wasn’t too sure if I was going to make it to the other side because it was really, really hard. I’ve never experienced anything like that before, but once we had the songs down, they applauded us and said that was absolutely amazing as we had 6 days and they had had 6 weeks! That was amazingly unfair, but that was a great accomplishment for us, the British guys.

 

I have my own way of charting, if there were pushes, breaks and hits, I would write that out, but usually its just a bar thing, and I would right out the grooves for the different tunes and that’s how I kind of work through things. If there are intros or little things I need to do or pushes or riffs, I’d score them out.

 

MD: The band are playing really tight and Will Young is sounding great. Jerry, you even come out front and sing, it’s a real band thing not an artist and his backing band.

 

J: It was hard when last year we did the summer tour, because that was always Chris Baileys gig, and I had to come into Will’s camp and the guys have been here from the beginning. I came in and what I found is that everybody ears were really open, everybody’s listening to everybody and everybody respected each other’s space. I really took that on board and that was an interesting side of playing in this band. These musicians really enjoy musical space and I really felt that in a major way. I would check on what Thomas would play as well and obviously listen to what John was doing. For me, if I can hold a great back beat and then when the space has arrived just to do a little thing and come back in, you shine a lot more than trying to overplay. I have always sung from church and we added that section for this show. Just singing without playing an instrument feels really weird, you feel naked at times. I do feel like I need a pair of sticks, I never know what to do with my hands.

 

Interview: Mike Dolbear

Edited March 20, 200718 yr by BanYellowm+m's

Great find BYM&M's.

 

Love this bit.

 

The band are playing really tight and Will Young is sounding great. Jerry, you even come out front and sing, it’s a real band thing not an artist and his backing band.

 

We always see that special bond. Will is an intregal part of the band not just a front man with session musicians.

Great find BYM&M's.

 

Love this bit.

 

The band are playing really tight and Will Young is sounding great. Jerry, you even come out front and sing, it’s a real band thing not an artist and his backing band.

 

We always see that special bond. Will is an intregal part of the band not just a front man with session musicians.

 

Oh yes - absolutely - right from the start. Thanks BYM&Ms great read.

 

 

This comment from Gill on Devoted sums it up:

When Val and I spoke to Jerry at Kenwood he said that Chris was doing something else and that he (Jerry) was standing in for him but would really like to stay with Will's band for ever as he gets on so well with them all - and Will of course.

 

 

Edited March 20, 200718 yr by munchkin

Jerry was lovely and so friendly. He feels like a friend. :D

What a great read that was, thanks for finding it BYM&M's, they love working with Will don't they? I bet they all can't wait to get back together again. :D

Thomas, Thomas, Thomas, Thomas :yahoo: :yahoo: :yahoo:

 

Used to love that 'thing' Will did when introducing him on the summer tour :heart:

 

Thanks for posting hun :cheer:

I found this interview on google, it's from April last year. :wub:

 

Will Young: a self-made man

 

http://images.scotsman.com/2006/04/16/youngb.jpg

CATHERINE DEVENEY

JOURNALIST OF THE YEAR

AN INTERESTING insight into Will Young comes right at the end of our interview. Just days before, I had been asked to talk about journalism to a group of sixth-year pupils, and I took the opportunity to gather teenage opinion on the first winner of Pop Idol. But when I tell Young this, his face freezes. It is honestly no exaggeration to say I see fear in his eyes. "I don't want bad comments," he says flatly. And if he weren't wedged in at our table in a Soho club, between the wall on one side and me on the other, I almost think he might make a break for it. "I am not interested in any nasty ones."

 

Will, I say, you have sold 3.5 million albums since winning Pop Idol in 2002. Doesn't that thicken your skin? "No. No. Because you are always... I mean, someone can say you are this, and I can now say, 'Well, thanks for your opinion, but, you know, I don't really care about your opinion...' But you still have to bat it off. I don't read anything. I don't think it's helpful. If there is real criticism it will come through the people I work with, and then I'll deal with it."

 

The comments are not that bad (given his reaction, I censor the worst). One says, "If you have to get attention by entering a reality show, you should be ignored, because the grit and determination needed to make it in showbusiness is absent in manufactured artists." What does he think? "That's very mature," he says, but looks uncomfortable. The comments were meant to direct our conversation to the profile of his audience, but his reaction is proving more interesting.

 

How about this one? "He appeals to middle-aged women and very young girls, rather than teenagers." True? "I am very happy with my audience," says Young, a little stiffly.

 

The interlude illustrates the dichotomy between what fame looks like from the outside, when you are a member of the public pressing your nose up against the window, and what it actually feels like when you are behind the glass being gazed at. It is sometimes assumed that success brings invincibility, whereas up close you can often smell the insecurity it generates. Little wonder. If you are creative for a living you have to put yourself in it, and rejection becomes personal. Young's reaction suggests the one thing that definitely goes into his music is a great big slice of himself. "If I was manufactured, I wouldn't care, because it wouldn't have me in it. If I didn't care, I wouldn't worry."

 

Doubt doesn't dictate his career, but it is part of it. "Sometimes I feel very vulnerable. Sometimes. Even last week I had a moment where I just thought, '$h!t, what would I do?' I see people every day, people who are just hot, hot, hot, and you can't get enough of them. And then it goes like a brick. I have been in the Best Male category three times at the Brit awards, but people have changed through that and you think, 'Well, where is he now?' You can disappear very quickly."

 

He reaches out for his cigarettes, which he has placed on top of the book he carries: How to Give Up Smoking. Chapter nine, he jokes, so he is still allowed. Once he gets to the end there'll be no more cigarettes. He's on 20 a day, his worst ever tally, and has been told off by his producer and his engineer. "My singing is horrendous." He lights up.

 

Perhaps the more success you have, the more secure you feel? He shakes his head. "I think when you've been around for ages it can get worse." The more you have, the more there is to lose.

 

WILL YOUNG has turned up looking a bit like a painter's apprentice. He is wearing a peaked cap, and either he has had an accident while painting the garage or his jacket is what is fashionably called 'distressed'. Closer inspection suggests it's new, so presumably the very realistic paint splodges (you get what you pay for) are not really paint at all. In the past you identified pop stars by their extravagance: purple sequinned jackets, indecently tight trousers or very silly platform shoes. The nation's fathers muttered darkly from behind newspapers during Top of the Pops, and contorted their faces if they inadvertently caught sight of 'them' on screen. Any parent stumbling across Will Young would invite him for Sunday lunch for a good feed and slip him 20 quid towards a new jacket.

 

Such a nice boy (everyone says so). And so posh - though he hates it when people say that. "I've never liked being labelled, and I think in this society people like to label very quickly. It means you can be marketed more. I just think it's so much better to be yourself, so I hate it when people say 'gay Will Young' or 'posh Will Young' or 'stylish Will Young' or 'unstylish Will Young'."

 

So how privileged was his upbringing in Berkshire? Young says he keeps family private. I like Young and find him very genuine and down to earth, but I find it odd that a man who makes a video described by commentators as a homoerotic pastiche of Top Gun to promote his single, 'Switch it On', and then strips to the buff for his cameo role in the film Mrs Henderson Presents, should have trouble with a question such as "What is your dad like?" It's a bog-standard question for an interview, but he looks at me as if I've asked something slightly embarrassing - "How often do you change your sheets?", say, or "Are those yesterday's socks you're wearing?"

 

It would almost make me suspicious, but he insists that he is actually very close to his parents. Later, when I realise how much of himself he feels he gives away in his music, I think he probably redefines interview parameters constantly to try to give himself some artificial protection. He never used to talk about relationships, but does admit the break-up of his first real love affair heavily influenced his new album, Keep On.

 

Anyway, reluctantly, we establish that his father did indeed run his own company and the family now own a plant nursery, which his mother and older sister work in. He has a twin brother and says, "It's wonderful, because you always have this really close friend who's always with you," but he doesn't think he and his brother are particularly alike. And, yes, there was privilege. "I did go to public school. I am middle class. I'm proud of that. I think there's nothing more unattractive than people who pretend to be something they're not." He laughs. "People think I am far more intelligent than I am." Because he went to public school? "Yes. When, actually, I am very stupid."

 

It's his ability to defy the labels originally stuck on him that makes Young interesting. Being a Pop Idol winner is the most manufactured product possible in the music industry. He was up against 17-year-old Gareth Gates in the final, and quite honestly Gates looked the more likely winner because he was very cute and very commercial. Indeed, Gates went on to fulfil exactly what we would expect of reality-show winners. A half-baked career, a few attempts at reheat, and then leftover pie ad infinitum.

 

Young was different. After fulfilling his contract, releasing the ballad 'Evergreen' and a successful first album, he insisted on taking a year to produce his own music for his next album, Friday's Child. The result surprised many. It hinted at an artist who just might be around a bit longer than the other microwave stars of Pop Idol (30 seconds and they're done), and sold 1.5 million copies.

 

He is not comfortable being associated with a celebrity-obsessed culture. "When I did Pop Idol I think it was more of a talent show. Talent shows are fantastic. But now it's about becoming famous. Now there's more emphasis on 'This will change your life. You'll be famous and have loads of money.' I think that's a very dangerous message to send out to people." But wasn't that his reason for entering? "No. I remember one of the questions asked of the contestants was, 'Why do you want to do this?' Literally 99% said, 'I want to be famous.' I was one of the few who said, 'I want to sing.'"

 

Unlike some of the contenders on the likes of X Factor since, Young wasn't trying to win to take his family out of a financially precarious life. They were already comfortable. Singing simply made him feel good. He didn't have the confidence to do it at school, and concentrated instead on excelling in sports, particularly running and rugby. "I was more of a lad than now," he laughs. He still has the ambivalence to money that only the comfortably-off can afford. "I grew up around very rich people - a billion times richer than I was. I knew people who had a £60 million inheritance at the age of 18 and they were miserable."

 

Money buys you Armani jeans or a Prada bag. It doesn't buy you protection from insecurity, broken relationships or disloyalty. Young, who graduated with a politics degree before going to drama school and then entering Pop Idol, found himself examining the whole fame phenomenon that engulfed him quite academically.

 

"I think the world of the press is what I have found most interesting. I was just amazed by how untrue things were. I got very disillusioned by it, because I saw it translated into other areas - society in general. It's across the board that things are untrue. But I like the enlightenment. I am pleased I know. I was always very interested in the press and its role in democracy - whether it shapes people's opinions, or whether people shape the press's."

 

Society, he says "dumbs down" too much. The music industry is guilty of it too, so he feels fortunate to have the relationship he does with Sony BMG. He fought for the up-tempo 'Switch It On' to be his first single release from Keep On, though the company wanted a more typical ballad. The record reached number two in the charts, but Young felt vindicated because the song was included on the A-list part of Radio 1's playlist, something he had never achieved before.

 

He admits to being a control freak when it comes to career decisions (and in ordinary life - he hates being a passenger, prefers to drive, and is not keen to surrender his fate to pilots). But let's be realistic. If his decisions didn't result in commercial success, the creative green light would soon turn red, wouldn't it? "I think that's a really good question. My current album will probably not sell as many copies as the last one, but it will probably still sell a million, and that's great. If you sell 50,000 copies - which is not enough in the pop world to earn any money back - then, yeah, I think the situation would change completely. I think that's where the challenge comes. But I don't know any pop artist who hasn't had that. I mean, Kylie Minogue got dropped by the same company who signed her up a year later."

 

In the first flush of fame, Young felt he lost himself a bit. "Not massively. Not badly. But suddenly everyone was going, 'You're this' or 'You're that'. Suddenly I had all these labels. 'You're the new George Michael.' 'You're Mick Hucknall.' 'You're Robbie.' And I thought, 'I'm not any of these people. I'm just me.'"

 

He says he felt most truly an individual as a teenager. Strange words for a 27-year-old man. For most people it's only when they stop being a teenager that they realise their 'individuality' wasn't so individual after all, that it was the same as almost every teenager's before them. But either Young was a very mature teenager, or his subsequent growth was stunted by the industry he was in. "I just kind of felt that at 18 I was more of an established person than I was at 25. I think I was really individual then. I wouldn't shop anywhere other than Oxfam. I would wear the most ridiculous... But I just didn't care..."

 

Now he feels more confident again, but worries how fame might spoil him. "I love being a successful artist, but I also feel that perhaps I have become too acclimatised to this life. I would hate to think I base the happiness in my life on the fact that I live in Holland Park, whereas before I lived in a flat in Ladbroke Grove. If you took that away, where would I be? I hope that who I am is not based on material things or the amount of records sold."

 

After winning Pop Idol, Young was outed in the tabloids. "I already knew I was gay and so did everyone else. You think that it's going to be the biggest deal in your life to come out, and then everyone goes, 'Big deal.' It's almost disappointing."

 

It was bizarre, though, to find photographers camped on his doorstep. "I was really tempted to wear a dress. I had my grandmother's old dresses, which I had been selling to get through drama school - they were great vintage dresses and I was right on Portobello market, and I'd thought, 'I'll nick her dresses while she's not looking and sell them.' Then I thought, 'God, I should wear one of the dresses. It would be hysterical.'"

 

He's of an age now, at 27, when countless wedding invitations from friends have suddenly dropped through the letterbox. But he doesn't have any major regrets about not being a conventional husband or father. "Occasionally I think about it, if I'm seeing my nephews, or if I see kids being greeted at school playgrounds, and I think it must be a wonderful feeling to pick up your child. But I think I have probably conditioned myself from an early age that it is just one of those things... I won't have kids. I wouldn't rule it out, but I don't think I would have kids. I would need a very stable relationship."

 

The split with his first love is reflected in the lyrics of Keep On. "Intimacy is at the heart of about 99% of the songs. Love is such a basic human instinct." He has been watching the recent BBC nature series Planet Earth. "There was this bird of paradise, I think, doing this massive courtship display, and a female comes up, looks at the male, and it's like, 'Oh no...'" he says, wrinkling his nose with disdain. "And I'm thinking, 'This is just like you see in a club.'"

 

Young still hopes for a serious relationship. "All humans need that." Right now, though, he feels happy and settled - and, ironically, that's not good for creativity. He works best when he is unhappy. "There's more honesty to it. You feel like you have to express yourself more when you're unhappy. I don't feel the need when I'm happy."

 

He comes across as a deep thinker, but insists that he is not depressive. "I can have moments of thinking it's all horrendous, but that's just pessimism, not depression. I'm more outgoing."

 

A self-confessed perfectionist, he is constantly driven to the next goal. He wants his new tour, planned for later this year, to start next week and wants his next film role right now. He takes ballet and contemporary dance classes and has signed up to an acting agent. But can he handle being just one of a cast instead of the main attraction? "For me, that has been one of the best things," he insists. "There's a side of me that doesn't want to be the centre of attention, doesn't want all the fuss, just wants to do what I can do. You turn up, you wait, you're not the most important person in the room, you are part of a whole ensemble of people. I flourished in that environment. Then I went to being the star of my tour, so the two things worked really well. That's why I want to do more. It was like it encapsulated my whole character in two work environments."

 

IRONICALLY, the point about teenagers is that Young is lucky they are not his main audience. Teenage music is transient, and each generation has its own heroes. But while Young believes his longevity will ultimately be tested, and is not looking forward to the day, underneath that insecurity lies a small, hard kernel of faith. "I think, deep down, there is that belief that I will be around. I have made decisions based on that."

 

People can say what they like about disposable pop stars, reality TV and celebrity-obsession. Young is ripping off those labels and sticking them elsewhere. "Me being famous has not made me any happier," he insists. "But me doing what I do for a living has changed my life."

 

He finished making the video for his new single just yesterday. He thinks he makes fantastic videos and says this new one is "brilliant". "It was really hard work and I woke up this morning and thought, 'This is fantastic. I love my life.'"

 

http://scotlandonsunday.scotsman.com/spect...fm?id=571132006

Thanks for posting suggy. It was lovely to read it again.

 

How could anyone not admire & respect this down to earth talented young man. :wub:

Thanks suggy thats one of my favorite articles.. it always makes me feel like hugging him :wub:

Vasil has found this, Will is the weeks best dressed on Sky. :cheer:

 

http://img111.imageshack.us/img111/7978/69905721hp2.png

 

Thanks suggy.

 

Loving the term 'geek chic.'

Hi everyone. :yahoo: Haven't much time to read. In Uluru (Ayers Rock) at the moment. Temp yesterday was 38c to-day it's 25c and bloody freezing. :wacko: :rolleyes: Sounds as if some interesting Will bits have been found by the detectives, but I'll have to read them when I get home. I'll just do a quick tour round - up at 4.00am to see the sunrise over the Rock, but it was so cold I might just as well have been in the UK. :(

 

Editing to say it's 11.50am here, so I guess you guys are all tucked up in bed.

Edited March 24, 200718 yr by chrysalis

Lovely to hear from you chrysalis. :hi:

 

Wrap up warm & enjoy the rest of your holiday.

Hi there chrysalis, :hi: you sound like a real Ozzie moaner already! 25c and freezing? :rolleyes: my son rings me up often and makes me laugh when he tells me a shower of rain has everyone grumbling, wearing woolie hats and coats as if they were living in Syberia . :lol: Carry on having a great time chrysalis and please take some pics of Ayers rock to show us if you can.

Its Lovely to hear from you chrysalis

Thanks to Pauline for this: :cheer: Pete Waterman's 100 top pop songs of all time.

Pete Waterman hosted this and he placed Will in at No.10 with ATL. Pete said that in order for a pop song to do well it needs to appeal to the three G's which are "Girls, Gays and Grannies" and went on to say that "this singer certainly does that".

 

Will was the only male solo singer other than Rick Ashley to get into the top ten

 

All Time Love, now that's what you call an emotional ballad, beautifully sung by a beautiful man. :wub:

Edited March 24, 200718 yr by suggy

Thanks to Pauline for this: :cheer: Pete Waterman's 100 top pop songs of all time.

All Time Love, now that's what you call an emotional ballad, beautifully sung by a beautiful man:wub:

 

Too true suggy. ;)

Edited March 24, 200718 yr by truly talented

Thanks to Pauline for this: :cheer: Pete Waterman's 100 top pop songs of all time.

All Time Love, now that's what you call an emotional ballad, beautifully sung by a beautiful man. :wub:

 

Thanks suggy

 

ATL as to be one of my favorites from Will ..loved it on the KO tour when the whole audience sang along :wub:

 

 

I found this on songs written by Will on ASCAP. :D

http://www.ascap.com/ace/search.cfm?reques...=20&start=1

 

Works written by:

 

Save

YOUNG WILLIAM ROBERT Society: PRS CAE/IPI No. 433.04.68.81

1 . ALL I WANT

(Title Code: 311705358)

2 . DANCE THE NIGHT AWAY

(Title Code: 341030217)

3 . EVERYTHING

(Title Code: 351158615)

4 . EVERYTHING LITTLE DREAM

(Title Code: 350919956)

5 . FREE

(Title Code: 360846917)

6 . KEEP ON

(Title Code: 410418212)

7 . LITTLE DREAM

(Title Code: 422079656)

8 . SWITCH IT ON

(Title Code: 493182777)

9 . THINK IT OVER

(Title Code: 502353573)

10 . VERY KIND

(Title Code: 520304976)

11 . WHAT A DAY

(Title Code: 531918159)

 

Also songs performed by Will Young, but some of them I've not heard, do you think they could be on album no4? :o

http://www.ascap.com/ace/search.cfm?reques...=20&start=1

 

Works performed by:

WILL YOUNG

1. DANCE THE NIGHT AWAY

(Title Code: 341030217)

2. EVERGREEN

(Title Code: 350349170)

3. FINELINE

(Title Code: 360715639)

4. FREE

(Title Code: 360846917)

5. FRIDAYS CHILD

(Title Code: 361034033)

6. GOING MY WAY

(Title Code: 370609771)

7. IF THAT'S WHAT YOU WANT

(Title Code: 391098418)

8. LEAVE RIGHT NOW

(Title Code: 420984832)

9. LIGHT MY FIRE

(Title Code: 420138596)

10. LONG AND WINDING ROAD

(Title Code: 420156594)

11. MADNESS

(Title Code: 432132355)

12. OUT OF MY MIND

(Title Code: 450573694)

13. SAY YES :unsure:

(Title Code: 492016752)

14. SHOWSTARTER :unsure:

(Title Code: 492667951)

15. STRONGER

(Title Code: 491919592)

16. SWITCH IT ON

(Title Code: 493182777)

17. TELL HER YOU LOVE HER :unsure:

(Title Code: 501059170)

18. VERY KIND

(Title Code: 520304976)

19. YOU AND I

(Title Code: 550352993)

20. YOUR GAME

(Title Code: 550414354)

Edited March 25, 200718 yr by suggy

They were written with this chap: CAREY DANIEL DE MUSSENDEN

 

He's written with Karen Poole and Sia Furler - among others. Maybe Will wrote with him in the US.

 

Showstarter is written by Nitin S.

 

Did you see the list of performers for LMF :lol: - and peeps have the cheek to criticise Will for recording it :rolleyes:

 

Thanks for the link Suggy.

Edited March 25, 200718 yr by munchkin