‘Especially For You – From The Vaults’

Liner Notes by James F. Cullinan (Finbarr International)

Music is an integral part of my life, both personally and professionally. My business is selling compact discs by mail, specializing in the music of the Fifties and the Sixties. I care passionately about this music, for it was not only the background to my youth but also the centre of it; and I care that it thrives and that it is not forgotten.

All our sales are in back catalogue ‘name’ acts. Attempts to introduce unknown names from the era usually fail, for people only want what they know. To try and introduce unknown contemporary acts, even though they may perform Fifties’ and Sixties’ music with the same conviction as anyone of the era, is financial suicide. I have lost thousands of pounds in promoting through my catalogue acts in whom I believed in passionately. Yet contemporary acts approach me constantly, feeling that to get their album listed in my catalogue will help their profile, but the sales are never forthcoming.

Peter Williams approached me on the recommendation of Spencer Leigh whose biography of Billy Fury, "Wondrous Face" I had just published. I received his two Fury tribute albums and was spellbound – indeed almost moved to tears! For here was an artiste of unequalled sensitivity and power who understood the Fury magic. I gave the albums a rave write-up in my catalogue, which normally would make no difference, for when people’s minds are closed there is nothing one can do; but this time I was wrong, and was pleasantly surprised when the first of the two tributes turned up at No. 14 in our in-house sales chart! In my experience this was almost unheard of for an unknown act. It was a double surprise, for ‘tribute’ projects are usually anathema in my market. More gratifying still was the interest in Williams’ other albums which I began carrying.

So what is so special about Peter Williams? At the risk of sounding conceited he MUST be special for me to be impressed. I am hard to please and I find most contemporary recordings of Fifties’ and Sixties’ styles wanting. Often they are technically perfect, yet leave one cold. Hearing Williams for the first time in 2005 was for me the single most exciting musical discovery of the new decade. And if he or Hank Marvin entered the room and I had the choice of only shaking hands with one I would unhesitatingly move towards Williams. But of course without Hank Marvin there would probably not be someone like Peter Williams, but that said he is no Marvin clone. On the contrary, Williams is very much his own man. He possesses an indefinable ‘X’ factor, an emotional charge which I find in no comparable guitarist. He communicates a rare sensitivity and warmth which no amount of technical proficiency can inculcate.

The present disc was never intended for public hearing, it consisting of recordings which did not fit in with Williams’ album projects. But those who have heard them have convinced the guitarist that they should be released. Here is lovely music which should not remain hidden and unheard. It is typical of his ‘proper’ albums in that it is hard to pick tracks which stand out for the material and performance are consistently of a high calibre. Doubtless each listener will have his own favourites. The disc’s strength lies in its power to grow on the listener. Having already listened to it some nine or ten times I still find it growing on me, and am amazed to find certain tracks which did not strike me at first now going around and around in my head!

If there is one track I would single out for attention it is the one dedicated to Steve Etherington – Williams’ Manager, MOONLIGHT SHADOW. Though never intended for commercial release any deejay with a modicum of imagination should play this track, not once… but again and again. I doubt if anyone exposed to its hypnotic and irresistible melody would not want to seek this CD for this one track alone. Why are deejays so reluctant to believe in a record and play it again and again? Are they – or their employers – terrified that they might – gasp! – create a hit? In 1959 Santo & Johnny’s instrumental masterpiece SLEEPWALK was a complete flop. It was not played, nobody wanted it, nobody cared. It was a flop along with the hundreds of other records competing in the market at the same time. Then somehow Alan Freed, a man never afraid to believe in a record, got hold of it. He loved it and wouldn’t stop playing it. It became the biggest selling instrumental of the year. Perhaps in today’s rigid environment there is no scope for jockeys to believe in what they play, but why not? If I had a radio show with the freedom to play what I wanted I would play MOONLIGHT SHADOW week in week out. Listener indifference would turn to attention, and attention would turn into action. THE POINT OF THIS CD BEING AVAILABLE IS THAT IT SHOULD SELL.

Another charming tune, and after Peter Williams I cannot listen to any other version, is THEME FROM THE BOYS. ANNIE’S SONG is a lovely song in anybody’s hands, but Williams’ version is so tender that it almost hurts.

Haunting and magical is his rendition of HAVE YOU EVER SEEN THE RAIN, and WHEN THE GIRL IN YOUR ARMS compliments the original with its beauty and simplicity. CRYIN’ IN THE RAIN and ALL I HAVE TO DO IS DREAM sound better all the time; and our man’s jaunty treatments of songs associated with Sammy Turner and Tommy Bruce, Paul Anka, Rick Nelson and Clarence Henry are great fun.

He wonders how at age 59 he can still make it. I tell him that one of my best selling authors (I also publish books on mysticism) got his first book published at age 78, and then wrote a number of best sellers for me over the following 20 years!

I have every reason to believe that Peter Williams’ future is bright.

James F. Cullinan

Finbarr International

(For catalogue write:

5 Godwin Rd, Folkestone CT20 2QQ;

or phone 01303 259316;

or e-mail Finbarrrock@nt/world.com.)