PETER WYNGARDE: The Album & CD

Album Details: Released by RCA Victor (1970) – Catalogue Number: SF 8087.

Produced By: Vic Smith and Hubert Thomas Valverde.

Original Value: 39 Shillings and 11d (Approximately £2.00).

Single: 7″ RCA 1967.

Retail Price: 5 Shillings (25 pence).

Released by: RCA Victor (1970) – La Ronde De L’Amour/The Way I Cry Over You

Format: Gatefold sleeve with portrait photograph on the front and with a picture of Peter facing a wall full of graffiti referring to the track ‘Rape’. In the centre, is a full-length photograph of the waxwork dummy of Peter, which was said to have been displayed at Madam Tussauds in London.

Recorded at: Olympic Sound Studios in Surrey, England.

It’s a little known fact that RCA weren’t the first major record company who were interested getting Peter’s dulcet tones onto vinyl.

In August 1969, Alan Keen Music, who were a division of Marque Music (London) Limited, were the first to approach Peter. The idea in this instance was to release just a single (7”) to begin with, which would be of a self-penned composition entitled, ‘Where, Why Did You Go’.

The contract was signed by Peter on 20th August, 1969, which assured that he’d receive 10% of the retail selling price for the sheet music, 50% of all net sums in respect of royalties both inside and outside the UK, plus 50% of the broadcasting, performing and television fees or royalties.

For reasons known only to themselves, Alan Keen Music failed to release the single – perhaps because a few weeks later, PYE Records Limited had entered the fray with its own one-year contract (starting in September 17th, 1969) for one 7” single.

PYE’s terms weren’t quite as generous as Alan Keen’s, since Peter was only being offered a measly 10% or royalties in the UK, and 2% from overseas sales.

RCA appeared on the scene in March 1970, with the offer to release a single – ‘Le Ronde De L’Amour’, plus an album of self-penned songs. The suggestion that RCA (Sunbury Music Limited) had made the album as a tax write-off is utter nonsense based on the terms of the contract between Peter, Vic Smith and the publishing company. The agreement, which was completed on 1st March, 1970, was entered into on the following terms:

That Peter would receive 7% of the retail selling price in the UK; 6% in the rest of the world.
The contract would last for one year, with an extension option of a further year.
RCA would require to release two albums each year from which it was hoped they would wish to take a single.
And that the budget for each album would not exceed £2,000.

The original track listing was as follows:

Side One:

Come In
Where Shall We Begin?
Rape
Silent Thanks To Noisy Yanks
To Call a Man a Man’
You May Think I Have Not (It’s Then When I touch You)
Colour TV

Side Two:

Merry Christmas
Nurse, Your Hands Are Cold
Taxi Drivers Talk Too Much
Flight No.10 (Once Again)
Try to Remember to Forget
Pay No Attention
Hippy and the Skinhead (Originally entitled ‘The Letter’)

THE FINAL TRACK LISTING WAS:

Entrac

Come In
You Wonder How These Things Began
Rape
La Ronde De L’Amour
Jenny Kissed Me
The Way I Cried Over You
Unknown Citizen
It’s Then When I Touch You

Sectrac

Hippie and the Skinhead
Try To Remember To Forget (Riviera Cowboy)
Jenny Kissed Me And It Was…
Widdecombe Fair
Neville Thumbcatch
Once Again (Flight Number 10)

Lastrac

Pay No Attention
April

SONGS THAT DIDN’T MAKE THE FINAL CUT

D.J.’s
If I Have Made, My Lady (Ballad)
Marie (Ballad)
Merry Sexmas (sung as if drunk)
Nurse, Your Hands Are Cold
Robinson Crusoe’s Story
Silent Thanks To Noisy Yanks
Taxi Drivers Talk Too Much
The Duel
To Call a Man a Man (Ballad)
Walk Into My Eyes (Ballad)

A Personal Message from Jason King

(Taken from the original sleeve notes)

Peter Wyngarde’s personal blend of sophistication and the incurable ability to laugh at himself is epitomized in this album. The outrageous is never far behind and irrepressible when sex leers its inquisitive head as in Rape and the Hippie and the Skinhead. Cynicism has a sneaking glance too and the cruelty of such lyrics as Flight Number 10 and Try To Remember To Forget to Forget are given such a romantic sound that on first hearing they appear disarmingly innocuous which they certainly are not. This was intentional with the invaluable help of Hubert Valverde whose music has the intangible lyricism that makes a love song that is felt and seen when it is heard. In Vic Smith they have found a partner who has brought his own cool mastery of connection – blending the two talents into a unique combination without distracting when he subtly injects his own particular sound in the marvellous arrangements. But of course it is Peter Wyngarde’s unique and personal magnetism that shines through. I can think of no other album that has brought such continuous pleasure than this outrageously funny, original and versatile one.

Jason King

TRACK REVIEW

SIDE ONE

Track 1: Come In.

Written by Peter Wyngarde Hubert Valverde.

Opens with a strident percussion rhythm, which fades to uncover a familiar voice singing excerpts from a later track, ‘La Ronde De L’Amour’. Peter is evidently making preparations for a female guest – this establishes the album’s leaning towards the romantic side of his image, obviously building upon the Jason King following of the time. The lyric – penned by Peter himself, displays all the modesty of his alter-ego who, as the connoisseur of all things sensual, a single sniff is all that is required to determine his lady’s particular brand of perfume. However, one wonders as to the status of his companion with the inclusion of the line, “No, the lights haven’t fused, it’s candlelight!” The track establishes a relaxed, intimate mood, but implies that all might soon change. “Here’s to a pleasant evening… and a few surprises!

Track 2: You Wonder How These Things Began.

Written by Schmidt and Jones.

No initial surprises as we move swiftly on to track two. Here the sensualist theme continues as Peter offers up a softly spoken piece of poetry backed by a gentle harp, celebrating the communion with nature that comes with Spring time and first love: “Recall the secret place? You’ve been there, you remember? Where someone held your hand, and love was sweeter than the berries or the honey, or the stinging taste of mint.” This place obviously made an impression on Peter, as we find him utilizing its strong imagery later on in one of his own lyrics. This track concludes gently with him that it is “a perfect time to be in love.”

Track 3: Rape.

Written by Peter Wyngarde and Hubert Valverde.

Without so much as a pause for breath, we go straight into the next track – the strident beat returns and we find ourselves heading at speed into the most controversial piece on the entire album: ‘Rape‘. Guttural exclamations and female screams lead us to Peter, who informs us that “It’s utterly amazing how many different kinds of rape there are!” We are then treated to his perceptions of rape around the world – Italy, Japan, America, China, Britain, France, Germany and Russia – no major power escapes observation.

Left: Peter’s original handwritten lyrics for Rape.

On paper it all sounds rather nasty – but here I have to agree with Jason’s sleeve notes. I find the piece outrageously funny. German rape is a particular favourite: “In Germany it isn’t always remembered, what with Liszt, Wager and Tannhauser. The rape is synonymous with whips, bunkers and Mausers, which makes it all comparatively kinky, with gas thrown in to get rid of the stinky.” There is without doubt some strong and evocative imagery in ‘Rape’, and it is definitely not a track to play full blast in the car with the windows down! I won’t even begin to try to justify it inclusion on the album – only Peter can do that, but I would say that it should not be dismissed out of hand. If it really bothers you, try replacing the word “rape” with “sex”, and listen for the humour once again. After all, as Jason King would say, “It depends so much on what you fancy!

Track 4: La Ronde De L’amour.

Written by Straus and Decreux.

The fourth track brings us to yet another slice of the unexpected, as Peter treats us to a wonderful rendition of ‘La Ronde De L’Amour’. Unfortunately, my French won’t stretch to a full translation, but I will say that it does have female recommendation as being a beautiful offering – sentiments with which I cannot disagree. It is quite a change after the shock of the previous track to come to something as gentle as this. If, as I suspect, the inclusion of this song was inspired by the film from which it is taken, this is a clear demonstration of the softer side of Peter’s nature, and easily dispels the possible perception which could be garnered solely from hearing ‘Rape’.

Track 5: Jenny Kissed Me.

Written by Hunt and Smith.

Another piece of poetry forms the basis for track five, ‘Jenny Kissed Me’. This is a short but very sweet piece which is led in by an incongruous semi-fanfare which will again form the basis of a later track. ‘Jenny…’ itself is supported by a soft acoustic guitar, and there’s nothing further I can say, since the piece is so short that to give a true impression it would have to be quoted in its entirety. It is however, lovingly delivered by Peter, who also gives us a more swinging version on Side Two.

Track 6: The Way I Cary Over You.

Written by F. & H. Valverde.

Swirling violins introduces track No.6 – a spoken piece of intimacy. ‘The Way I Cry Over You’ – again, powerful imagery: “Like the rain that comes without warning, or the breeze that a blind man can feel. Or the sun that shadows a rainbow. Like an empty dream in your mind. It’s the way I cry over you.” You cannot help but feel that in the hands of a lesser performer, these words could not be done justice. Yet Peter’s gentle, restrained delivery manages to be both poignant and dignified at the same time, giving true depth to this lover’s lamentation.

Track 7: Unknown Citizen.

Written by W.H. Auden.

Unknown Citizen’ brings us to yet another change in style from Peter. As a poem by W.H. Auden, this could have been done as a straight recital. However, by slipping into yet another character, Peter dives into the mood of the poet – adopting his best accent of civil servant pomposity to deliver this seemingly innocent eulogy to a model citizen. The gravity of tone set by this character makes the satirical sting in the tail all the more painful: “Was he free? Was he happy? The question is absurd. Has anything been wrong? We really should have heard.”

Track 8: It’s Then When I Touch You.

Written by Peter Wyngarde and Hubert Valverde.

Once again it’s back to romance for the final track on Side One. This segment is again a sensual experience – as manifested within the title – as Peter’s lyric examines another facet of human relationships; the hesitancy and insecurity of longing: “Maybe you want to care, once bitten, twice shy.”

SIDE TWO

Track 1: Hippie and the Skinhead.

Written by Peter Wyngarde and Hubert Valverde.

The flip side opens with, arguably, the best track of them all – ‘Hippie and the Skinhead’, which had been inspired by a letter from two skinhead girls to the Sunday Times in 1969, who’d written in to put the record straight concerning a previously published article about their aspect of youth culture. The letter demonstrated the age old intolerance of anything “different”, and quite obviously had fired Peter’s imagination as he wrote a wonderfully humorous and biting lyric. The music cranks up into a full-blooded Country and Western stomp (complete with banjo!), with Peter launching himself wholeheartedly into the tongue-twisting verse: “Billy was a queer, pilly, sexy hippy. He wore his gear – frilly, hairy, zippy. Mohair in the Winter, less hair in the Summer. His mac was black, scarf immaculate, tied loosely, knots interfered with promiscuity.” Thus the spirit of the song is set.

Definitely tongue-in-cheek – and slightly provocative. The story develops when Billy meets a skinhead…“Kenny was a dour, pimply, silly drear, whose only joy was knocking down a queer.” The resulting altercation leaves Kenny clutching Billy’s hippy locks (a wig!): “A pair! A pair O’Skinheads! Cor! What a pair! She’s a bird!” So Peter not only pokes fun at the similarly androgynous fashions of the time, but also delivers the clear message that what you see isn’t always what you get. Be careful when judging that book by its cover! ‘Hippie and the Skinhead’ is a great track – the humour just comes bursting through. A good one for slightly tipsy parties

Track 2: Try To Remember To Forget.

Written by Peter Wyngarde and Hubert Valverde.

The second track on Side Two is one of those detailed in the sleeve notes as initially appearing innocuous whilst possessing, in reality, a rather sharp and cruel lyric. ‘Try To Remember To Forget’ is once again penned by Peter, and carries for some reason the subtitle ‘Riviera Cowboy’. Soft orchestration again backs up a marvellous voice, which renders with feeling a whimsical lyric which would appear to have its roots in a matter of personal history. That is the authors’ way of telling you that he finds the words thoroughly confusing. Nevertheless, it’s still a nice song, which fits in well with the other romantic themes of the album.

Track 3: Jenny Kissed Me And It Was…

Written by F. & H. Valverde.

I’m going to say little about this track, other than it is short, sweet and sensual. Indeed, there is so much heart-felt relish in the closing sigh that if the track is based on personal experience, I envy the author!

Track 4: Widdicombe Fair.

Written by Vic Smith.

Reversed recordings and a chunky piano-sound reminiscent of John Lennon’s ‘Imagine’, herald another change in style as we slip into a brief burst of floating psychedelia. This track seems to be more than a segue into the next humming chorus leading us deftly into…

Right: Original RCA press advert for the album

Track 5: Neville Thumbcatch.

Written by Smith and Bain.

The song opens with a tinkly electronic piano and deep resonant cello, reminding me of experimental Beatles tracks. It tells the story of Neville, who is such a hard worker and keen amateur gardener, that he totally forgets that he has a wife at home. Needless to say, this doesn’t make for a happy family life, and soon Mrs Thumbcatch – a woman whose sole comfort is an alabaster gnome, leaves: “She said at last her future now was free of doubts, with George the milkman, she’ll have kids not Brussels Sprouts.” With his wife gone, Neville is kept away from his beloved allotment by the necessary housekeeping.“Thumbcatch…”, although not written by Peter, is another facet of humanity on which he reflects. A circus fanfare motif appears throughout the latter part of the song. “As the Neville Thumbcatch show goes on…and on…and on…”

Track 6: Once Again (Flight Number 10).

Written by Peter Wyngarde Hubert Valverde.

As the thick funk bass line of ‘Neville Thumbcatch’ dwindles away, so is the tragic loneliness of the last track replaced by the isolation of ‘Once Again’. Subtitled ‘Flight Number 10’, this Wyngarde lyric has the author waiting for his lady at the airport: “Flight Number 10 from…where? She would take the last flight!”

An appropriate sense of isolation is built up by the light punctuation of the music, which gradually builds up to a crescendo then diminishes to a supporting background string-sound. This is the second track which, according to the sleeve notes, has an underlying cruelty in its lyric: “I know I’ve been waiting too long, I just don’t know why. My life has been spent behind doors, on platforms, exits and wharfs.” With such poignant words, I think that the only cruelty that might be perceived here is the cruelty of the situation in which the author finds himself. Again, Peter delivers his material in a manner most suitable to the subject. It again demonstrates his awareness of basic human nature that he manages to find humour in the midst of disappointment: “I wonder what they’re waiting for? Can’t be flight Number 10? Wish that boy would stop picking his nose!”

Track 7: Pay No Attention.

Written Peter Wyngarde by Vic Smith.

And so to the end…‘Pay No Attention’ arrives in a fit of Medieval jollity, and yet another mood change. Frivolously, this little piece of self-indulgence lifts the mood, perhaps attempting to end on a high note: “Pay no attention to this part. It is the end. It is the end!” The track trots along with its reeds and pipes, building up to a full orchestration, which finally gives way to a contemporary sound, heralding the beginning of…

Track 8: April.

Written by Peter Wyngarde Vic Smith.

‘April’ retouches themes from Side One’s ‘You Wonder How These Things Began’. Here, however, the romantic images are dropped in a lyric by Peter that must qualify as being the most intense on the album: “You may think I have not those intimate, improbable thoughts which shade in your eyes.” This track speaks of sharing shame and disillusion. It intimates a brooding nature behind the façade we have witnessed over the past fifteen tracks – perhaps even a hidden torment? “Why is April more or less the month of love, and all the rest a restless wander of my soul?” But suddenly the entertainer emerges, and we are sent off with a happy reprise of Olde Worlde music from ‘Pay No Attention’. And that is the end!

Above Left: Peter with members of staff from Selfridge’s department store in London’s Oxford Street, prior to signing copies of his album at the store’s Record Department.

Album Reissue on CD

For four years fans waited with baited breath whilst one record company after another did battle over the reissue of Peter’s album on CD. Then, in 1998, Sheffield based R.P.M. finally came up with the goods under the title, ‘When Sex Leers Its Inquisitive Head’, which came complete with a re-designed sleeve and re-mastered sound.

R.P.M. were renowned as a company who liked to pitch a curved ball. Sometimes it was the restoration of a long lost classic, such as ‘The Teenage Opera’; occasionally it was a barely musical but kitsch experience along the lines of the 1970 ‘England World Cup Album’; or it could be a real slice of classic pop culture like the fabulous ‘Jamie Jones Singles Collection’. So it shouldn’t have come as much of a surprise the R.P.M. has again took one of pop’s more bizarre offerings – Peter’s one and only recording venture, and album steeped in myth and controversy.

RCA, who issued the original album, gave total artistic control to Peter, the Valverde Brothers and producer, Vic Smith. The result ended up being an album that was banned by the BBC due in large part to the “Rape” cut that seems to make light of the act.

“Well, I did promise at the beginning of the album a pleasant evening… with a few surprises!” Peter said with a grin. “The song was never meant to be about physical rape. People take things so literally these days and ignore the humour in it. I’m not saying that rape is meant to be taken light-heartedly. My album was meant to be a bit of fun, that’s all!”

It’s been suggested by some misinformed journalists that the album was withdrawn within a week of its release. THIS IS NOT TRUE. In fact, it completely sold out in just 3 days, resulting in Peter becoming one of RCA’s most successful acts ever (second only the Elvis Presley) based on initial album sales.

“It sold out in next to no time,” Peter explains, with a sardonic smile. “But RCA point-blankly refused to press any more. I was fuming, as I’d been given a three-album contract with the company, who promised to release one LP every 12 months. The excuse was that production was being moved from Middlesex, I think, to Hollywood in Gloucestershire. They told me that everything would have to go on the backburner, but I just believe that they got cold feet”.

Above: Original RPM magazine advertisement for the ‘When Sex Leers Its Inquisitive Head’ CD

In spite of this, and due to the divisive nature of the album, the decision was made to make no further pressings. Since its original release, the album has achieved a legendary status over the years, with some copies of the album fetching as much as £400+ on the collector’s market.

When, in the 1990’s, it was decided that the time was ripe to re-issue the record, the various labels found to their dismay that it’d become mired in contractual complications, so R.P.M. alone certainly couldn’t have found the resources to free it up. Indeed, the title was scheduled to appear on Creation’s re-issue label, Rev-Ola in 1997, until the powers that be at the label (in the form of CEO, Alan McGhee) said “No way!”, and R.P.M. were able to offer it a more suitable home.

Peter’s masterful portrayal as Jason King, the TV sleuth masquerading as a crime-fighting shag-monster, was so rooted in its rakish era that a revival seemed as likely as the return of the classic Bentley Continental he drove.

The character of Jason King, who was first created for ITC’s ‘Department S’ series back in 1969, epitomised “easy” culture; a decorative hirsute look comprising of sideburns, moustache, and a matching collar-and-tie of raw silk, and suits that made heads turn right around.

For women, most of whom were still chained to the kitchen sink, Jason King was the Romeo who’d come to liberate them from suburban domesticity. All of which makes Peter’s vinyl love-letter, even more bizarre.

A collection of contemporary standards it is not. The album includes songs which explode into rages of male sexuality, crouching in an aesthetic abandon that set off the alarm bells even in those permissive climes. Labels had long been sniffing around, hoping to get Peter into the studio.

“I’d known the Valverde Brothers for a while, and had written some lyrics for them which they used on tour. They’d been on at me for years to collaborate with them, but I hadn’t really taken it seriously. When RCA came up with an offer, they told me I could do whatever I liked – that’s what really appealed to me. I saw the record as an entertainment in its own right; to be enjoyed tongue-in-cheek.
“I think they (RCA) expected eight or nine Sinatra cover-versions, but we wanted to do something new. The album’s success really took them by surprise. They were mired in a scenario similar to ‘The Producers’, were the only really successful act they had on their books at the time was Elvis Presley, and the plan was that my record would go down as a tax loss. It rocked them on their heels when the opposite happened and it became a tax gain!

The central idea was to string the songs together into one long suite and none were more interesting than the opening trio of ‘Come In’, ‘You Wonder How These Things Begin’ and ‘Rape’. Truly the album’s centre-piece, it’s this suit which has given the album such cult notoriety that collectors will happily shell out £400+ for an original copy. Peter defends the piece on which his musical infamy is based:

“Is it politically incorrect? I’ve really no idea. It’s about all kinds of rape. There’s so much rape going on; rape within bureaucracy, rape at so many government levels, rape of countries. You know, even attempting to explain it totally defeats its purpose.”

The records’ outrageousness often overwhelms what would still be one of the most curious episodes in popular music. The listener is unlikely to forget ‘The Hippy and the Skinhead’, in which Peter reads out a letter written to The Times by two Home Counties Skinhead girls, or the tale of ‘Billy the Queer, Pilly Sexy Hippy’, sung over an incongruous Nashville backing. And there’s even something for discerning lovers of the late Sixties British rock as he takes on The Attack’s ‘Neville Thumbcatch’, which was written by Vic Smith.

Until the release of ‘When Sex Leers Its Inquisitive Head’ the ‘Peter Wyngarde’ album had largely been circulated on enthusiastically-copied cassettes. That was because of how quickly RCA snuffed it out. Over 45 years later, perhaps the rest of the world has finally caught up with Peter’s postmodernist bent. And as with all R.P.M.’s releases, this reissue had been specially crafted. Careful sound restoration has been couple with another of their large fold-out inlays, covered in pictures and notes, which Peter penned as if written by Jason King for the original sleeve, are all included in full.

Catalogue No.: RPM 187

How it nearly didn’t happen (as reported in the Hellfire Club quarterly magazine):

Winter 1994: Rumour has it that Creation Records are planning to re-release Peter’s wonderful self-titled album on compact disc in the near future, via their Rev-Ola label.

Summer 1995: Creation Records tell us that the reason for the delay in releasing Peter’s self-titled album on CD as hoped, is down to their inability to track down his original contract with EMI.

Winter 1996: Following Creation’s failed attempt to re-issue Peter’s self-titled album on CD back in 1994, Island Records are now showing a keen interest in putting the recording back on the market.

At the time of writing, Island’s Bernard McMahon is having discussions with Peter regarding the missing part of his original contract with RCA which, as many of you may remember reading in earlier issues of this magazine, was one of the reasons behind Creation’s failure to re-issue the album originally

Spring 1997: After what has seemed like an eternity in the making, Creation Records have finally named the day for the release of Peter’s album on CD as Monday, 12th May, 1997.

At the time of going to print, Creation were negotiating with Peter in regard to his taking part in a signing session at one of London’s leading record stores, but as yet, nothing has been confirmed.

Summer 1997: After almost five years of battling it out with EMI for the right to re-issue Peter’s album on CD, London-based Creation Records have decided NOT to release the LP after all!

Although Creation have not as yet bothered to let us in on the ‘official’ reason behind their suddenly getting cold feet, their reasoning appears to be based on a press leak which suggested that many newspapers and magazines might slate the album because they felt that the track, ‘Rape’, might now be considered “politically incorrect’.

As a result of Creation’s decision, a number of interviews between Peter and various music-related publications – including Melody Maker, had to be cancelled during the latter part of April.

Winter 1997: According to a letter that I received on Friday, October 25th, (1997) Creation Records appear to have had a change of heart concerning the re-issue of Peter’s LP on CD. This appears to have a lot to do with the fact that they’ve finally secured the licence to “immediately” release the recording – pipping RCA themselves to the post.

However, in spite of an initial invitation to all members of the Hellfire Club to attend the launch party in London prior to release, I am yet to receive confirmation of a date, time or venue.

they may now be interested in taking over where Creation/Rev-Ola left off last year, and re-issue Peter’s album on CD.

Although nothing has as yet been confirmed, rumours are circulating that there could be a “late Spring” release.

Autumn 1998: Early indications are that Peter’s new CD is selling extremely well. The Virgin Megastore in London’s Oxford Street announced sales upwards of 25 units during its first week of release, and the HMV shop – also in Oxford Street, displayed posters and a standee to promote it.

However, in spite of an initial invitation to all members of the Hellfire Club to attend the launch party in London prior to release, I am yet to receive confirmation of a date, time or venue.

Spring 1998: Having recently released the highly successful collection of recordings from the BBC archives, which included Sandie Shaw’s ‘Live in the 80’s’, and Ian Gillan’s ‘The BBC Sessions’, R.P.M Records have indicated that they may now be interested in taking over where Creation/Rev-Ola left off last year, and re-issue Peter’s album on CD.

Although nothing has as yet been confirmed, rumours are circulating that there could be a “late Spring” release.

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PETER WYNGARDE: The Album & CD

TRACK REVIEW