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UlrichS wrote:

Moderne wrote:And can anyone shed any light on 'Petrina Lordan'? It's always seemed extremely unlikely to me that Jerry should marry a woman with the same flair/genius for composing instrumental melodies (and, later, song lyrics) as him! Of the late '60s 'Lordan' co-writes (e.g. Conversations, Morning Star, Sacha, Good Times, High Sierra, Love, Truth and Emily Stone, Monday Comes Too Soon) I'm not sure which are Jerry and which are Petrina. I heard a radio programme (Sound of the Sixties) about 35 years ago in which Jerry said he wrote Conversations with Roger Cook and Roger Greenaway...no mention of Petrina...

Jerry married Petrina in 1963 (divorced in 1974) and I've read that they shared the same interest in music.
Of the songs you mention only High Sierra is co-written by Petrina, all others are by Jerry.
The B.M.I. lists 34 compositions registered for Petrina, of which 22 are in collaboration with other writers, among them Hank Marvin, John Farrar and Alan Tarney. Performers of her compositions include Cliff, Olivia Newton-John and Elaine Page. I think if this would have been Jerry it would have been known.

Ulrich

Interestingly, the PRS database includes 54 registered titles by Petrina Anne Lordan, including High Sierra, Love, Truth And Emily Stone & Monday Comes Too Soon (all in collaboration with Hank.)

There is as also a single title registration under her maiden name, Petrina Forsyth, namely Petrina, with the alternative title, Santa Anna, and the only attributed work indicated as published by Francis Day & Hunter (and most likely a duplicate entry for Santa Ana - credited to just Jerry), which would suggest all are her own work as opposed to Jerry using his wife's name as a pseudonym. Jerry's main publisher was, of course, FD&H.

Bill

Moderne wrote:I'm not sure about 'Jon Allen' and 'Robin McGlynn' - but always wondered whether they felt they owed Peter Gormley some money which he wouldn't normally accept; he famously worked as their manager without a contract - at least for the first year/few years.

They, along with "Gormley" in respect of FBI, were each pseudonyms for some combination of Marvin, Welch and Harris.

Moderne wrote:Norrie Paramor - I find it hard to believe that he earned the writing credit for Bongo Blues Did he really notate the whole piece as he would have one of his orchestral arrangements? Or get another guitar band to make an acetate for The Shads to learn?

He probably just demonstrated the melody to The Shadows on piano. Don't forget that Bongo Blues was essentially part of the soundtrack to "Expresso Bongo" and NP had a hand in that.

UlrichS wrote:

Moderne wrote:... Similarly Norrie Paramor - I find it hard to believe that he earned the writing credit for Bongo Blues Did he really notate the whole piece as he would have one of his orchestral arrangements? Or get another guitar band to make an acetate for The Shads to learn?

Why not? He also co-wrote the Cliff songs "A Voice In The Wilderness' and 'Love' from this movie and he was involved with his Orchestra.

Ulrich

But these are proper 'songs', whereas Bongo Blues is basically just a 12-bar blues workout. I accept Jim's point that he probably demonstrated the basic 'melody' to The Shadows on piano - but I still think that the combined 'musicality' of the group (I'm thinking particularly of Tony's drum breaks) deserved more of a publishing credit than Norrie. Not to take away from his undoubted musical talents! We'll never really know.

I quite enjoyed that, Cliff does everything well and I admire him for that.