Originally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers.
The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interest, McNally was joined by his guitarist neighbor Mike Prendergast. They soon recruited Tony Jackson with his home-made bass guitar and amplifier and styled themselves Tony and the Searchers with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry and it is this line-up—McNally, Pender (as he soon became known), Jackson and McGarry—that is usually cited as the original foursome.
The band returned to a residence, at the Iron Door Club and it was there that they tape recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer.
Hatch played piano on some recordings and wrote "Sugar and Spice"—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.
The group continued to tour through the 1970s and were rewarded in 1979 when Sire Records signed the band to a multi-record deal. Two albums were released by them, The Searchers and Play for Today (retitled Love's Melodies outside the UK). Both records garnered great critical acclaim but did not break into the charts. They did however revitalize the group's career. According to John McNally, the band were ready to head into the studio to record a third album for Sire when they were informed that due to label reorganization, their contract had been dropped.
In 1981, the band signed to PRT Records (formerly Pye, their original label) and began recording an album but only one single, "I Don't Want To Be The One" backed with "Hollywood", saw the light of day at that time. The rest of the tracks would be released as part of 2004's 40th Anniversary collection.
In 1985 MIKE PENDER left The Searchers to form his own group. His aim was, and still is to this day, to faithfully recreate the sound and feel of those Hit Recordings and at the same time introduce other material that compliments Mike's unique voice and guitar style.
In 1988, Coconut Records signed The Searchers and the album Hungry Hearts was the result. A very contemporary sounding release, it featured modern sounding remakes of "Needles and Pins" and "Sweets For My Sweets". While the album was not a major hit, it did keep the group in the public eye.
John McNally and the Searchers are still going strong today and hold a significant fanbase worldwide.
The band members are:
John McNally - original member and founder, 6string/12 string guitarist and vocals
Frank Allen - bass guitarist, vocals and front man
Spencer James - guitar synth and lead vocals
Scott Ottaway – on drums.
For more information about John McNally and The Searchers and up to the minute concert dates visit …http://www.the-searchers.co.uk/
JOHN MCNALLY GUITARIST
FOR
THE SEARCHERS
ON'INTERVIEWING THE LEGENDS'
w/RAY SHASHO
EXCLUSIVE
BBS RADIO
THE SEARCHERS TOUR DATES
Fri 31 August: WORTHING Pavilion Theatre (S)
SEPTEMBER Sat 1 September: FALMOUTH Princess Pavilion (S) Sun 2 September: TORQUAY Princess Theatre (S) Fri 7 September: CHRISTCHURCH Regent Centre (S) Fri 28 September: GREAT YARMOUTH St Georges Theatre (S) Sat 29 September: CROMER Pier Pavilion (S) Sun 30 September: WHITBY Pavilion Complex
SIXTIES GOLD AUTUMN TOUR Featuring The Searchers, P J Proby, The Merseybeats, The Fortunes, Steve Ellis (Love Affair) and Vanity Fare For fuller information please see www.sixtiesgoldtour.co.uk OCTOBER
Tues 2 October: OXFORD New Theatre Wed 3 October: SOUTHPORT Southport Theatre Thur 4 October: LLANDUDNO Venue Cymru Fri 5 October: CARDIFF St David’s Hall Sat 6 October: ST ALBANS Alban Arena (2 shows) Sun 7 October: IPSWICH Regent Theatre Fri 12 October: LEICESTER De Montfort Hall Sat 13 October: STEVENAGE Concert Hall Sun 14 October: SOUTHEND Cliffs Pavilion Fri 19 October: WEYMOUTH Pavilion Theatre Sat 20 October: MARGATE Winter Gardens Sun 21 October: WIMBLEDON Wimbledon Theatre Thur 25 October: DARTFORD Orchard Theatre (2 shows) Fri 26 October: STOW ON THE WOLD St Edward's Church (Stow Music Festival) (not part of Sixties Gold tour) Sun 28 October: LEEDS Grand Theatre (2 shows)
NOVEMBER
Thur 1 November: GLASGOW Royal Concert Hall Fri 2 November: DUNDEE Caird Hall Sat 3 November: INVERNESS Eden Court (2 shows) Sun 4 November: ABERDEEN Beach Ballroom Tue 6 November: GATESHEAD The Sage Wed 7 November: BLACKPOOL Opera House Sat 10 November NORTHAMPTON Derngate Sun 11 November: NORWICH Theatre Royal Sat 17 November: LIVERPOOL Philharmonic Hall Sun 18 November: CAMBRIDGE Corn Exchange Fri 23 November: DONCASTER The Dome Sun 25 November: SOUTHAMPTON Mayflower Theatre Wed 28 November: BIRMINGHAM Symphony Hall Fri 30 November: MANCHESTER Bridgewater Hall
DECEMBER
Sun 2 December: CARLISLE Sands Centre
(end of Sixties Gold Tour) Fri 7 December: WIMBORNE Tivoli Theatre (S) Sat 8 December: WORCESTER Huntingdon Hall Fri 14 December: NR NOTTINGHAM Lowdham Village Hall (S) Sat 15 December: NR CHARD Cricket St Thomas (Warner's weekend break) Sun 23 December: HULL City Hall
THE SEARCHERS FAREWELL TOUR 4 January – 31 March 2019 S = Solo all evening show, with no support acts Please note that although some of these shows are already on sale, others may not be for a while yet.
JANUARY Fri 4 January: MARKET DRAYTON Festival at Drayton Centre (S) Sat 5 January: MARKET DRAYTON (as above - second night) Fri 11 January: DISS Corn Hall (S) Sat 12 January: HAYES The Beck Theatre (S) Sun 13 January: NR READING The Mill at Sonning (dinner and show) Thurs 17 January: MAIDSTONE Hazlitt Theatre (S) Fri 18 January: BASILDON Towngate Theatre (S) Sat 19 January: BURY ST EDMUNDS Apex Theatre (S) Sun 20 January: EPSOM Playhouse (S) Wed 23 January: MORECAMBE Platform Theatre (S) Thurs 24 January: RUNCORN The Brindley (S) Fri 25 January: DONCASTER The Cast (S) Sat 26 January: STOCKPORT Plaza (S) Sun 27 January: LINCOLN New Theatre Royal (S) Thurs 31 January: SOLIHULL Core Theatre (S)
FEBRUARY Fri 1 February: RHYL Pavilion Theatre (S) Sat 2 February: BARROW IN FURNESS Forum 28 (S) Sun 3 February: BOLTON Albert Halls (S) Weds 6 February: YEOVIL Octagon Theatre (S) Thurs 7 February: HEREFORD Courtyard Theatre (S) Fri 8 February: PORTHCAWL Grand Pavilion (S) Sat 9 February: NR CAERPHILLY Blackwood Miners Institute (S) Sun 10 February: EVESHAM Arts Centre (S) Thurs 14 February: WAKEFIELD Theatre Royal (S) Fri 15 February: WHITLEY BAY Playhouse (S) Sat 16 February: BROMSGROVE The Artrix (S) Sun 17 February: STAFFORD The Gatehouse (S) Mon 18 February: CANTERBURY Marlowe Theatre (S) Thurs 21 February: LOWESTOFT The Marina (S) Fri 22 February: BEDFORD Corn Exchange (S) Sat 23 February: KINGS LYNN Corn Exchange (S) Sun 24 February: HAYLING ISLAND Sinah Warren (Warner’s weekend break) (not part of the Solo Tour) Wed 27 February: POCKLINGTON (near York) Arts Centre (S) Thurs 28 February: GLENROTHES Rothes Hall (S)
MARCH
Fri 1 March: MOTHERWELL Concert Hall (S) Sat 2 March: MUSSELBURGH Brunton Hall (S) Sun 3 March: LIVINGSTONE Howden Park Centre (S) Weds 6 March: FAREHAM Ferneham Hall (S) Thurs 7 March: HARLOW Playhouse (S) Fri 8 March: CREWE Lyceum Theatre (S) Sat 9 March: NEW BRIGHTON Pavilion Theatre (S) Sun 10 March: LEEDS City Varieties (S) Thurs 14 March: MANSFIELD Palace Theatre (S) Fri 15 March WIMBORNE Tivoli Theatre (S) Sat 16 March: HORSHAM Capitol Theatre (S) Sun 17 March: PETERBOROUGH Key Theatre (S) Weds 20 March: CANNOCK Prince of Wales Theatre (S) Thurs 21 March: DARLINGTON Hippodrome (formerly Civic) (S) Fri 22 March: LOUGHBOROUGH Town Hall (S) Sat 23 March: LYTHAM ST ANNES Lowther Pavilion (S) Sun 24 March: REDDITCH Palace Theatre (S) Weds 27 March: HIGH WYCOMBE Swan Theatre (S) Thurs 28 March: CROMER Pier Pavilion (S) Fri 29 March: CAMBERLEY Camberley Theatre (S) Sat 30 March: WEYMOUTH Pavilion Theatre (S) Sun 31 March: NR MILTON KEYNES The Stables, Wavendon (S) SOLD OUT
-An interview with legendary performer Petula Clark
By Ray Shasho
Internationally renowned singer, actress, and composer Petula Clark
has been exquisitely entertaining audiences since she was a child
performing for the troops during World War II. Clark has sold more than
68 million records. She’s recorded over 1000 songs while landing 15 U.S.
Top 40 hits and two #1 hits. She’s charted an astounding 159 recordings
worldwide. She’s won Grammy Awards in 1964 and ‘65. The incredible musical collaboration between composer-arranger Tony Hatch and Petula Clark generated hit after hit throughout the Swinging 60’s. She may even be labeled as the ‘First Lady of the British Invasion.’
Petula Clark has also appeared in more than 30 British and American motion pictures including … Finian’s Rainbow (1968) with Fred Astaire and Tommy Steele andGoodbye, Mr. Chips
(1969) with Peter O’Toole. Clark was also a popular television
personality starring in three of her own American TV specials and as a
guest star on countless other shows including her enchanting duets with
Dean on The Dean Martin Show.
Throughout the 70’s, Clark became a celebrated Las Vegas performer. In
the 90’s she performed on Broadway in the production of Blood Brothers.
In 2000 … Petula showcased a one-woman show, a concert highlighting her
life and career. In 2003, she was the recipient of the Grammy Hall of Fame Award for her everlasting worldwide smash hit “Downtown.”
At 81 … Petula Clark is more brilliant and radiant than ever. Her latest release is entitled … Lost In You.
The album is beautifully produced and arranged by John Williams and
features twelve magnificent tracks of musical bliss. Petula’s vocals are
superlative and her skills as a composer splendor on a track entitled “Reflections.”
Her phenomenal lyrical content is brilliantly assimilated to music by
Johann Sebastian Bach. The album spotlights a breathtaking cover tribute
to an old friend John Lennon. Petula’s “Imagine” is probably the best cover version of the song that I’ve ever heard. She creatively added hints of “Strawberry Fields” to the track. The other two covers are a beautiful rendition of Elvis Presley’s “Love Me Tender” and an exciting new version of her 1964 mega hit “Downtown.” Every song on the album sparkles. “Cut Copy Me,”“Imagine” and “Reflections” are personal favorites.
Petula lives in Switzerland and is as busy as ever. She continues to
tour and is anxious to get right back in the studio again. I was
extremely honored to be able to speak with Petula Clark recently. She’s
glamorous, brilliant, witty, and charming all at the same time. She’s an
incredible lady and a worldwide treasure.
Petula and I chatted about her latest album … Lost In You,
her signature #1 international hit “Downtown,” a longtime collaboration
with Tony Hatch, the British Invasion, the infamous Harry Belafonte
story, Dean Martin, my notorious 'Field of Dreams' question and so much
more.
Here’s my recent interview with International Singing Superstar, Top 40 Hits Musical Legend, Composer and Actress … PETULA CLARK.
Petula was in the Rhône-Alpes region at the south-eastern part of France in Megève during our interview. Ray Shasho: Petula how are you? Petula Clark:“I’m well Ray; we’re up in the
mountains here. We have a chalet up here. It’s been a beautiful day,
and it’s always perfect when you have lots of snow and blue skies. It’s
not Florida …but not bad at all.” Ray Shasho: You live in Switzerland? Petula Clark: “I’ve been living in Geneva,
Switzerland for many years. There’s a German and Italian part … we’re in
the French speaking part. It’s actually an interesting country.” Ray Shasho: What enticed you into becoming a professional singer? Petula Clark: “I started very young. My mother was
from Wales and I spent quite a lot of my childhood in Wales and I used
to speak Welsh. The first time I sang in public was in Chapel. But I
didn’t make up my mind to become a professional singer; I was about five
or six years old. In fact on the new album there’s a song called
“Reflections.” I wrote the lyrics to some music by Bach and I decided to
write about that moment in my childhood in Wales. That’s when I first
became conscious of music within me and then it was important to me.”
“From then on … the first time that I sang in a big way was on the
BBC in London, it was during the war and there was a lot of bombing
going on. It was a fairly dangerous kind of place to be. But the BBC
used to do a show at a theater in Piccadilly, which is still there; it’s
called the Criterion Theatre. The BBC used this theatre because it’s
underground and in fact it’s still there underground. They used to do
this show especially for the troops and I had an uncle who was in the
service. It was just a show for kids who could send messages to their
dads, uncles or brothers… just say we’re fine and I hope you’re okay
kind of thing.”
“In the middle of the rehearsal for this show there was a huge air
raid. So some of the kids were really getting scared and the producer
asked if somebody would like to come up and say a piece of poetry or
sing a song to calm things down a bit. No one else volunteered so I got
up and sang a song. I think I was eight years old. I sang into the
microphone and they heard it in the control room and decided it would be
nice if I sang for the show too. So they recorded me and it went out to
the troops and had a huge positive reaction. From then on I became a
regular on BBC radio. So that was the beginning of my career in
England.” Ray Shasho: What types of music were you listening to back then? Petula Clark: “I was listening to jazz then and
swing and then of course rock and roll came along but the BBC was not
playing that kind of music. You had to tune in to Radio Luxembourg or
there were pirate radio stations where you could hear that kind of
thing. Sometimes you’d get records smuggled over from the states. In
general, we in the UK were listening to American music. We had some good
performers but we wanted to hear American music because that was the
real thing. What happened eventually in the 60’s, all the American music
which was really a one way traffic coming from America to the UK,
suddenly turned around and was coming from the UK to America. It was
still basically American music which we had in some way digested. When I
say we, I’m talking about The Beatles, Rolling Stones and all the
groups… we had digested this American music and as it got into our
system we somehow touched it with our Englishness and made it sound a
little bit different. I think that’s what attracted Americans when they
heard it.” Ray Shasho: I think Lonnie Donegan also gave the Brits a taste of things to come, perhaps a precursor to Beatles music. Petula Clark:“Yes, with the Skiffle music. Lonnie,
who I knew, he was basically copying American music. But The Beatles put
something else into it. They put music into it. And of course
eventually with George Martin it became something very special and
orchestral. Many acts were using an orchestra in a very interesting way.
If you want to talk about the English side of it … that’s where we were
coming from, taking the kind of music that we had grown up with and
putting out our own personal feeling into it.” Ray Shasho: The collaboration between you and Tony Hatch
which produced a seemingly endless string of Top 40 hits throughout the
60’s was extraordinary. Petula Clark:“It was interesting stuff too because
it’s musically well constructed. The problem that I have basically with
rock and roll when it first happened is that it sounded a bit basic to
me. I had grown up with Swing and listened to Stan Kenton, Duke
Ellington and Count Basie. I was used to hearing great harmonies and for
me rock and roll was a bit flat, I understood the beat but I wanted to
hear some music in there too.” Ray Shasho: Well after saying that … I believe you also represented the women of the British Invasion. Petula Clark:“I suppose so and do know what you
mean of course. There was this sudden invasion by all the British groups
and I kind of got sucked into it in a very pleasant way. (All laughing)
And let’s face it there was Dusty Springfield too, she was the best,
and then there was Lulu and a few others. I really was fortunate because
I had Tony Hatch writing great songs for me. Really what matters is
having the right songs to sing.” Ray Shasho: “Petula, is it true that Tony initially wanted The Drifters to sing “Downtown”? Petula Clark:“You know I don’t know if that’s
absolutely true, I know Tony very well, in fact I saw him the other day.
We’ve talked about that and I’m not even sure if that story is really
true. It might be… but I honestly don’t know.” Ray Shasho: Well that’s why I get to substantiate these
stories directly with the actual artist. (All laughing) I also read that
Jimmy Page (Led Zeppelin) was a session player and contributed in the
studio on the “Downtown” recording. Petula Clark:Oh yea, we had great musicians on all
those London sessions, they were the cream of the crop, and Jimmy was
just one of those great musicians. At the time we didn’t know he was
going to be Jimmy Page. (All laughing) It’s funny, I saw him recently at
a party at the Royal Academy of Arts, it’s everybody who is anybody in
British show business is there. I was just strolling through there and
this guy was leaning against some painting and he said … “Hi Petula do
you remember me?” I looked at him and saw this good looking guy with
silver hair and I said …I think so. He said of course, I’m Jimmy …
Jimmy Page, I used to play on many of your sessions.” Ray Shasho: Petula, I must ask you about the controversy regarding holding singer Harry Belafonte’s arm in 1968. Petula Clark:“Oh please … this story just keeps
coming back. I saw Harry very recently, we were in Dublin doing a thing
for Amnesty International and the story has kept us very close. It was
my first special for NBC and it was very important. They had asked me
who I would like as my guest and I had always admired Harry, I had
mentioned his name, they asked him and he said yes. Obviously I was
delighted. We rehearsed for about two or three weeks and really got
along well. We liked each other, had fun, and had the same feelings
about a lot of different things. The song that we decided to do as a
duet was a song that I had co-written called “On the Path of Glory” a
kind of anti-war song. Let’s face it, I wasn’t Bob Dylan going around
waving banners and things … but I am anti-war of course.”
“So anyway we liked singing the song together and when we came to
tape it I put my hand on his arm. What happened was the guy that was
representing the sponsor went crazy of course, saying, “I’m not going to
have my star touching a black man’s arm” … and we didn’t know about
this because we were in the studio. We didn’t hear all this. So the
producer Steve Binder (Produced Elvis: The ‘68 Comeback Special) who is
absolutely great said okay we’ll try something a little bit different.
We then tried it where we were not actually standing together using
special effects. But later my husband and I decided that we were going
to use the take with me standing next to Harry. So we had to get rid of
the other take, which is what we did. I couldn’t figure out what this
was all about … my piano player and choreographer were black. For me it
was what we call a storm in a teacup. At that moment it was very
important. It made the news and I was very surprised that it got out.” Ray Shasho: I’ve always admired you, not only for your
incredible success of Top 40 hits, but also for the legendary singers
and actors you’ve befriended and performed with. I’ve always enjoyed the
duets you did with Dean Martin. Petula Clark:“I’m not really nostalgic and sit
around saying, yea, those were the good old days. But performing with
Dean was such fun. We laughed all the time. It was the easiest thing in
the world because he never rehearsed. Everybody else had to rehearse so
that they knew what was going on, but he never really knew what was
going on, which was part of the charm. He always looked like he was a
bit dazed, which in fact he was because he actually didn’t know what was
happening next. After I had done the show, which was about three times,
they realized that I was a very fast learner and that Dean liked
working with me. I used to come in just the day before and they would
make all my clothes for me, I didn’t need fittings because they knew
what I liked to wear. They didn’t have to work on the music because they
knew my voice and so I would just slip into the show. It was just fun.” Ray Shasho: I always admired Dean Martin’s cool and laid-back persona. Petula Clark: “I think he was very talented. People
sometimes thought that he wasn’t Sinatra or Jerry Lewis … but he had a
very special talent, there was nobody quite like Dean. I’ve watched and
worked with him often enough to see the skill of what he did. That sort
of casual thing he did is not as easy as people think it is.” Ray Shasho: Petula your latest album entitled … Lost in You
is an absolute masterpiece and I gave it (5) stars. If I could give it
more stars … I would. You are truly an amazing woman, you not only look
as beautiful as ever, but you continue to sing as beautiful as ever.
Petula Clark:“Thank you! It was so easy to make
this album. We made this in a tiny studio. It didn’t even look like a
studio but almost sort of like a garden house. I think on a couple of
tracks you could actually hear the birds in the garden because my vocal
microphone was in front of a window. I could actually see flowers and
birds and the cat chasing whatever he was chasing. It was only the
engineer, John, and myself in that tiny studio. We didn’t go to Abbey
Road or anything like that and frankly if you’ve got the right songs,
the right engineer, and you’re feeling good… that’s all you need really.
We had a little moment where John suggested that we do “Downtown” and I
said no way. Then I had to go to Paris for a few days and when I
returned he sat me down in the studio, pressed a button and said just
listen to this. I said that’s really nice what is it? He said that’s
“Downtown.” I said are you sure? He said just try singing it. And it was
just like singing a new song. I don’t know if it quite works but it was
interesting for me to do it.” Ray Shasho: It was difficult to single out my favorite tracks
on the album because they were all equally great. But if I had to name a
few favorites … loved “Cut Copy Me”… “Next to You,” and your artistic
and awe- inspiring rendition of John Lennon’s “Imagine” which cleverly
embraces Strawberry Fields-like overtones. Petula Clark:“Well, I liked John and he was very
sweet to me. When we were choosing songs for an album like this we said
we should do some covers. One of them was “Downtown,” “Love Me Tender”
because I met Elvis a few times and then John Williams the producer said
how about a Beatles song? I said yes but there were so many to choose
from. We tried “Blackbird” but I didn’t think it worked for me. I was
very close to doing “Long and Winding Road” and then I thought, no, it’s
got to be John. So “Imagine” is my tribute to him and it was my idea
to do the Strawberry Fields bit.” Ray Shasho: I think besides John’s original version of
“Imagine,” I have to say that I enjoyed your cover version of the song
better than any previous covers that I’ve heard. Petula Clark: “Oh thank you! I loved singing it. I have sung it before but never recorded it before. But we’ve got it down now.” Ray Shasho: “You penned the lyrics on “Reflections” a
beautiful and heartfelt composition about how music became your life
since a child in Wales. Talk about the song. Petula Clark:“I wrote the lyrics and the guy who
wrote the music is Johann Sebastian Bach. (All laughing) So I didn’t
write the music. This was John Williams’s idea, he said why don’t we
take a piece of classical music and put lyric to it. So he played me
this piece by Bach and I thought, that’s beautiful, but who’s going to
write the lyrics to that? He said well you are. I said oh really, well
give me an idea. So he said make it very personal and so I did.” Ray Shasho: I watched a collaboration you did with Irish rockers ‘The Saw Doctors’ on You Tube singing “Downtown.” Petula Clark:“That was just having fun. I actually did my bit in Paris. I was doing a concert in Paris and wasn’t able to be with the guys.” Ray Shasho: You also collaborated with French/Armenian singer Charles Aznavour recently? Petula Clark:“I did a French album just before I
did the English one. We were going to do a duet and I went along to his
office, I know him quite well, and just as I was leaving he gave me this
piece of paper with some lyrics and said write some music to this. I
don’t take myself very serious as a songwriter but in this case I was
writing the music. So I did the music to this Aznavour song which is
actually quite pretty.” Ray Shasho: Petula, here’s a question that I ask everyone
that I interview and the responses are always fascinating. If you had a
‘Field of Dreams’ wish like the movie, to play, sing or collaborate with
anyone from the past or present, who would that be? Petula Clark:“Oh dear. It’s difficult to just pin
one down because I’ve performed with a lot of great people. I wouldn’t
mind performing with Pink Floyd. I did this thing in Dublin and got
together with Roger Waters. We had a long chat together. Looking back
…Pink Floyd was a great band. I don’t think it will ever happen but I
think it would be fun to play with them.” Ray Shasho: How about upcoming concert dates … I noticed
various Australia dates in April and May and then limited engagements in
Singapore and Canada? Petula Clark:“Yes, April and May and I’m going to
be doing some French dates too. For the moment that’s sort of it. They
wanted me to do another UK tour in the spring next year but I don’t
think I’ll be able to do that because I’ve got some French dates coming
up. But I’d like to go into the studio again… that would be nice. I’ve
talked to John and I’m going to London next week, so I’ll probably have
some meetings with him and other people and do some songwriting.” Ray Shasho: Petula one last question … and I know you should
never discuss age with a woman, but you turned 81 last November. You
look stunning and frankly sound better than ever. Do you have any
secrets to share? Petula Clark: “No secrets … I don’t do anything.
Seriously I think I’m just lucky. I don’t think about age to be honest
with you. I have no idea how old you are and I don’t care. Either you
can do it or you can’t … it’s got not much to do with age frankly.” Ray Shasho: Petula it’s been a real pleasure … thank you so
much for being on the call today, but more importantly for all the
incredible music you’ve given us and continue to bring. Petula Clark: “Thank you very much Ray, I enjoyed it.”
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