Music
Bill Kenwright has his own record label (Bill Kenwright Records), which has released three albums as of February 2008. The London Palladium cast recording of Scrooge starring Tommy Steele and the 2006 Lyric Theatre Recording of Cabaret were joined in February 2008 by the debut album of Kenwright's new boy group Dream On.
Dream On, comprising five runners up from the BBC's Any Dream Will Do - Craig Chalmers, Lewis Bradley, Chris Crosby, Chris Barton and Antony Hansen was formed in January 2008.
He began his music career in a band known as The Chevrolets'. Perhaps less known is Bill's recording career both solo and with a group Bill Kenwright and the Runaways:
- "I want to go back there again"/"Walk through dreams" Columbia DB8239 (August 1967)
and solo, as Bill Kenwright:
- "Love's Black & White"/"Giving Up" MGM 1430 (July 1968)
- "Tiggy"/"House That Fell On Its Face" MGM 1463 (November 1968)
- "Baby I could be so good at loving"/"Boy & A Girl" MGM 1478 (January 1969)
- "Sugar Man"/"Epitaph"/"When Times Were Good" Fontana TF 1065 (October 1969)
In 1969 Bill tried his hand at record production, producing 2 singles for Manchester band 'Money', who also worked as his backing band for several cabaret gigs in Oldham and at 'Allinsons' Liverpool. The first record, Come Laughing Home, was the title music for Bill's first foray into Theatrical Production with Reginald Marsh (also a Coronation Street Star) as co-producer. The show starred Anne Reid who at the time was playing Valerie Barlow in Coronation Street. It was the first time a Coronation Street star worked in live theatre whilst still in the series. The show opened at Blackpool's Grand Theatre. Surprisingly, the single was also released in Argentina.
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Famous quotes containing the word music:
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)
“His style is eminently colloquial, and no wonder it is strange to meet with in a book. It is not literary or classical; it has not the music of poetry, nor the pomp of philosophy, but the rhythms and cadences of conversation endlessly repeated.”
—Henry David Thoreau (1817–1862)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
—Marcel Proust (1871–1922)