It’s a beautiful day, I can’t stop myself from smiling. Welcome to A Breath of Fresh Air with Sandy Kaye. Yes, it’s a beautiful day.
A breath of fresh air. Beautiful day. Oh, I bet any day that you’re going away.
It’s a beautiful day. Hi, and welcome to the show. If the name Paper Lace takes you straight back to the 70s, chances are there’s a song already playing in your head.
The English band from Nottingham burst onto the international music scene with a string of unforgettable hits, including Billy Don’t Be a Hero, The Night Chicago Died, and The Black Eyed Boys. Their songs were dramatic, instantly catchy, and packed with the kind of storytelling that made 70s pop so memorable. At the heart of Paper Lace was Philip Wright, original member, drummer, and lead vocalist, whose distinctive voice helped give the band its unmistakable sound.
Today, Philip joins me to take us back to those heady days, how Paper Lace came together, what happened when success suddenly arrived, the stories behind those huge records, and where life and music took him after the hits faded from the charts. So whether or not you remember Paper Lace, or you’re just about to discover them, here’s Philip Wright. Hello.
How are you? I’m very well, thank you. Apparently Paper Lace was the most successful band to ever come out of Nottingham. That’s correct, yeah.
There’s been nobody since. It’s a different time. There’s a lot of music in the city, a lot of good music.
Good musicians, but no one to actually make it, as it were. I think those days are not over, but the music industry is a totally different animal nowadays. Yeah, well, that’s absolutely for sure.
It was very different when you started out. Tell us about how Paper Lace came to be in the first place. Well, I joined a band called Music Box, where I met Cliff, who’s still in the band, and two other guys.
We got together. From 1967, we were going up and down the motorway, you know, pubs and clubs and all the rest of it. It’s a sort of apprenticeship, really.
You learn how to perform, you learn how to communicate with an audience, and along the way you finalise your art, really. Eventually, you get different gigs and all the rest of it. What we did, we went into a residency in the north of England for six months.
We said that we’ll use this residency to actually hone what we know and come out of it differently. While we were in there, we changed the name. We came up with Paper Lace because we thought, well, in actual fact, somebody was looking through a book of things to make, one of the guys.
Like a craft book? Yeah, exactly that. It was in the index. He was looking through the index.
I don’t know why, but he just happened to look, and he just thought, well, look at this. Paper Lace, it’s all about folding paper in a square, folding it three or four times, tearing little bits of paper out of it, and then opening it up, and it’s like a doily. Then he said, Paper Lace, Paper Lace.
We just thought, oh, that’s pretty good, rolls off the tongue. Then everybody linked it with Nottingham because Nottingham is the centre of the lace industry in the UK. Oh, I didn’t know that.
Always has been. Born and raised as a rich man’s son You were always the restless one Living high only made you low So you picked up and hit the road Hey, Mr. Radamuffin Man Life was so grand, refused to stand Holding your head up high Hey, Mr. Radamuffin Man Look at you now, I wonder how you can be satisfied He took the bill, really. We adopted the name, and then we came out of this residency as Paper Lace in about 19… Oh, I should think.
What would it be? About 1970, and then we did an audition for a TV talent show that was running at the time in the UK. It was called Opportunity Knox. I believe you did that first audition in 1970, but it wasn’t until 1973 until you actually performed on that show.
Is that right? That’s right, yeah. It took all that time, really. When we did the audition, they kept saying, Can you do another one? Can you do another one? We were there in front of something up to 1,000 people, this audition.
It was held at a big hotel in Nottingham. Everybody lined the corridors, and they were just ushered in in front of this committee, and you had to do your thing. We played a couple of songs, and then they said, Oh, can you do another one? Yeah, can you do another one? We thought, crikey, they must like us.
We thought, well, this is it. We’ve made it. In a fortnight, we thought we’ll get a letter, and we’ll be on the show.
It didn’t happen. After about six months, we thought, Oh, well, they must have changed their mind. Then three years later, as I say, in 1973, we got this letter.
We thought, crikey, do we really want to go? We started recording, and we didn’t have any record success. We started recording, making records, probably thinking a little bit big for our boots, and we thought, did we really want this talent competition at this point in our careers? We were looking at it, and then somebody read where this TV talent show had got a seven million audience. Seven million viewers, right.
Oh, that’s a big audience. Yeah, that’s a big audience, and we said, when are we going to ever get the chance to perform in front of seven million people? This is a great platform for us. That was it, really.
Oh, the black-eyed boys They’re born and shot into town The people cry It’s the black-eyed gang All in white, a super-famous voice They don’t need a chance But they come alive Every time the black-eyed You can see, but all is hard We were very successful on it. We won it three, four times, and it was a question, I don’t know whether you knew the format of that, what happened was, you’d go on, and you’d play live, completely live, no sort of dancing girls or heavy lighting or anything. It was just, you went out there, and your raw talent was on view.
All you could do was dress however you thought. So what did you wear? We were quite glam, I think, and we were sparkly clothes and sparkly jackets and things, because that was the 70s, and high-heeled boots and all the rest of it. And what did you play? Well, the first one that we played, there was no lyrics to this song, it was just basically voices, and it was an instrumental called A Touch of Velvet, A Sting of Brass.
It was made popular by a French band called Mouve Mosaic. David Travis on UK radio, he adopted it as his signature tune. But this was… I don’t think he had done it at this time, and we sang it, and it flabbergasted the audience, the sort of studio audience thought it was wonderful, and they were clapping, and they had a machine, a clapometer.
I remember those. It wasn’t anything clever electronics, like it would be today, there’d be a noise microphone involved and all the rest of it. Yeah, yeah, yeah, it was just an arrow, wasn’t it? Yeah, but there was a guy behind it.
Moving it. He’d just move it higher when the audience clapped. It was just a gimmick to sort of say, this is what the audience thinks about it.
Yeah. But then it was down to the viewer to, obviously no internet, nothing like that then. To cast their votes.
Yeah, had to put pen to paper, and it was all postal votes. It was quite… We had thousands of postal votes. It was an amazing, amazing time.
Remember, it’s your votes that count, and this is what we want you to do. Put down the name of the act that you want to see come back a week tonight, your address and your name in your own handwriting, and send them, my darlings, if you would be so kind, to Opportunity Nuts, Thames Television Limited, Teddington Lock, Middlesex, TW11, 9NT. So what happened when you won? Well, if you won, you went on to the next week.
And you’d have a whole new set of, I suppose, opponents. You pitched your performance against anybody else that actually came along. And we picked a couple of songs.
We did a medley from Hair. I think it was about four or five songs in, something like that, four weeks in. There was an outside broadcast.
It was done from Sheffield, a great big club in Sheffield. We did that, and there was a tenor, a sort of opera crossover guy, was on there. And his name… I don’t remember his name.
His name was Vincent Zara. And he sang, and he won, and knocked us off completely. It did the trick, you know.
So everyone in the UK got to know the name Paperlace. And it became popular because of that TV series. Well, that was a sort of first rung of the ladder, I think.
Because at that time, the two writers that wrote Billy and I’m Your Hero, which are our first UK hit, they watched, or the wife of the lyricist was an avid fan of Opportunity Notes, and she happened to watch it. And she saw us on the programme, and she knew that Mitch and Pete had actually written a song, and they were looking for a vehicle, really. And she said, look at these, look at these.
Why don’t you get in touch with their manager? Because they look a, you know, fresh-faced bunch of guys, you know. They’ll be fine, you know. Let’s follow the tour.
And join the line In shoulder Pigeon in love Oh, she was crying And through her tears her head It said, don’t be a hero Don’t be a fool With your life Billy, don’t be a hero Come back to me She said, Pete, you’re pretty And long Billy, don’t be a hero Come back to me You were pretty fresh-faced, weren’t you? You were very young. Yeah, that was, yeah. Fresh-faced, yeah.
How old were you? Like, early 20s? Yeah. So, the writers get in touch with you about this song? Well, they got in touch with our management, and our management said, there’s this, some writers have been in touch. They saw you on Opportunity Notes, and they want to discuss you recording a song that they’ve written.
And we said, oh, great! They got us a track record, and when we read out the track record of Mitch Murray and Peter Callender, it was absolutely stunning. I mean, they were multi-millionaires. They’d made a fortune out of songwriting, but the songs that they’d written, just a huge number of hits, huge.
All the sort of Liverpudlian sound and the Manchester sound, like Freddie and the Dreamers, they’re all his hits. I’m telling you now I’ll say what you wanna hear I’ll be telling you for many a year I’m in love with you now Do you think I’m fooling when I say I love you? I love you, maybe you’ll believe me when I’m finally through, through, through, through I’m telling you now I know it’s been said before Say you love me and I will be sure I’m in love with you now Jerry and the Pacemakers, they wrote most of his hits. They wrote some of the Cliff Richards, some of the Tremolos.
It was huge. And here they are offering this unknown band the song that they’ve written and not recorded now. Yeah, I mean they wrote a lot of stuff for Tony Christie, Georgie Fane hits, you know, massive hits.
And we thought, crikey you know, this is a huge track record you know, and we were very sort of very humble. We met Mitch Murray at Mitch’s house and he was a very enthusiastic player on the piano and they’d got a piano in the room and they sort of talked this song out and we thought, oh that sounds pretty good. And he said I’ve got loads of ideas for it It starts off, there’s going to be some drums, like marching drums and whistling and we thought, whistling, this has got to be great.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. We went off home after saying our farewells and all the rest of it.
We went home and we sat and we got this tune in our heads and we thought, you know, this has got to be good. The soldier blues were trapped on a hillside The battle raging all around The sergeant cried, we’ve got to hang on boys We’ve got to hold this piece of ground I need a volunteer to ride out And bring us back some extra men And dear, this hand was up in a moment Forgetting all the words she said She said, Billy, don’t be a hero Don’t be a fool with your life Billy, don’t be a hero Come back and make me your wife And as Billy started to go She said, keep your pretty head down Billy, don’t be a hero Come back to me These guys are the people that know what sells and so we put ourselves in their hands and they produced us basically and they said, you know, do this, do that. The finished article was a hit and it all came together.
It most certainly did. Billy Don’t Be A Hero was the record that transformed Paperlace into pop stars almost overnight. Released in early 74, the dramatic anti-war stories song raced up the British charts and reached number one in March staying there for three consecutive weeks.
It spent seven weeks in the UK top ten and became one of Britain’s biggest selling singles of 1974. The success was even more extraordinary in Australia where the group’s recording reached number one and remained there for eight weeks. The thing was, when you were in the charts and we’d done a first Top of the Pops appearance that in itself is quite a levelling experience.
Everybody at Top of the Pops was successful and we were rubbing shoulders with David Essex, Queen, Chihuahua, The Wombles. They were all there. If you do a good Top of the Pops, your record sales mirror that good performance.
In actual fact, we were on the road at the time. It went in somewhere around 23, something like that, and then 17. You used to have to ring up on a Tuesday, ring the office of Intune Records, which was the bus stop label, and say, look, what’s the positions then? And they’d tell you, and I rang up on this particular day on the 16th, and I said, where are we then? He said, you won’t believe this.
And I said, go on, tell me, hit me. Well, where are we? He says, you’re at number one. And I was like stunned, because you just don’t imagine that I knew we were being successful and it was going up the charts.
But there was so much stuff in there. You look at your competition, if you like, and you think, amazing. When Billy hit number one, it knocked Alvin Stardust’s jealous mind off the top.
By its second week, the Hollies, the air that I breathe, had moved up to number two, and Charlie Rich’s The Most Beautiful Girl was in number three position. Tell her I’m sorry. Tell her I need my baby.
Oh, won’t you tell her that I love her? We were staying in a pub, something like that, and I ran through into Cliff’s bedroom, and I said, guess what? I jumped on his bed and woke him up. I said, we’re at number one. And then it was like, turn on the crazy times.
Everybody wants to talk to you. Interviews, TV, papers, you know, the music press. Everybody wants to talk to you.
Everything is hazy from that point. I remember we were in London. We told the props that we were number one, and then we caught the train from London.
And I remember that they said, maybe you ought to wear your stage costumes, you know, the uniform. The thing that was around at the time that everybody used to wear, they were called loom pants, a jean material, but you can get them in so many different colors. And they were very tight at the top, around your backside, and down to your knees.
And then they’d flare out to sort of 26-inch bottoms. They were the thing to wear, platform shoes and platform boots. So we wore those on the train going up.
We got to Nottingham. And when we got out of Nottingham, the whole platform was hundreds of people. And the press was flashing, the cameras going.
Then Mitch Murray was there in his roller. He’d got a canary yellow Rolls Corniche. He said, I’ll drive you into Nottingham, because they’re having a civic reception for you.
And I said, all right, OK. So we got in his car, and we drove into Nottingham Square. And there were thousands of people there.
It was just an amazing feeling, the people cheering. It was like the biggest thing that had happened to Nottingham. It was a merry-go-round that we just got on and went with it all.
And it was quite amazing, because the idea that we’d be dressing up as soldiers, as the Union soldiers. And we did a photo shoot on Hampstead Heath. And there was fireworks going off to create this smoke.
And we had pictures taken around this campfire. And we were dressed to the nines. We got mud on our faces and guns and all the rest of it.
Bayonets. It was amazing, absolutely amazing. The song was written about America, wasn’t it? About the situation there, in the hope that it would cross over and chart in the States? Yeah, that was the idea.
Mitch Murray and Peter Cullen were both very pro-America, very pro-American. Anything American, they jumped at. It was just the feel.
I think the songs that they wrote for Tony Christie, they were all very Americanized. It was just something that they had. We released it in the UK.
And I think it went in 20-ish, 13. It was quite a rapid climb. Then six, then three, then one.
It was just a meteoric rise, really, for us. It was an amazing success. Yeah, phenomenal.
And the idea was to release it in America. And while Mitch Murray and Peter Cullen, they were trying to do a deal with Mercury. But it took a long time.
There was a lot of negotiation. I don’t know the ins and outs of that negotiation. But it took a while.
And while that was happening, Bo Donaldson and the Haywards were in a garage somewhere, sort of, running through the song. And they released it. And it went to number one in America.
Main street, the soldier blues fell in behind I looked across and there I saw Billie Waiting to go and join the line And with her head upon his shoulder His young and lovely fiancee From where I stood I saw she was crying And through her tears I heard her say Billie, don’t be a hero Don’t be a fool with your life Don’t be a hero Come back and make me as it started to go She said, Billie, keep your head low Billie, don’t be a hero Come back to me We released ours. And I think ours got to, certainly, in the top 100. But we missed out.
We said, why did it take so long negotiating with Mercury? You know, we could have had a hit in the States. A number one hit in America. It was quite disappointing.
The whole plan was to release it in America. But they said, don’t worry. Don’t worry, we’ve got a follow-up.
We’ve got a follow-up. And this is going to put you exactly where Bo Donaldson is. And then we recorded The Night Chicago Died, which only got to number three in the UK.
But it went to number one in the States. They got some session guys in to actually put the track down. And then we went in to put vocals and do another drum track and the lead guitar.
He was putting some bits in. So we sort of personalized it and took it away from the session end and put our stamp on it. We only did that because we were working bad.
We didn’t stop working. We didn’t come off the road. We were just working.
And you couldn’t always get into the studio when Mitch and Pete wanted you to. So they’d organize some things and get basic tracks down. And when we heard it, they said, you’ve got another outfit to wear.
You’re going to wear gangster suits. And we thought, oh, right. OK, yeah.
And then we knew where we were going because there were big story songs. And I think that was maybe the appeal, the lyrics at that time. There were story songs so people could relate.
There was something else to listen, not just boy meets girl. When I tell people now that we had a number one in 74 in the States, they’re flabbergasted because the number of bands that were trying to crack the States had never had a chance. Daddy was a cop on the east side of Chicago, back in the USA.
In the heat of a summer night, when the town of Chicago died, they talk about it still. When a man named Al Capone tried to make that town his own, and he called his gang to war with the forces of the law. I heard my mama cry.
Night, Chicago, die. I heard my mama cry. Night, Chicago, die.
Beat the song. We’re the one to fight to beat the song. Yes, indeed.
And the sound of the battle rang through the streets of the old east side till the last of the hoodlum gang had surrendered up or died. There was shouting in the street and the sound of running feet. And I asked someone who said, about a hundred cops are dead.
I heard my mama cry. I heard her pray the night Chicago died. Brother, what a night it really was.
Brother, what a fight it really was. Glory be. I heard my mama cry.
I heard her pray the night Chicago died. Brother, what a night to beat the song. Brother, what a fight to beat the song.
Yes, indeed. Then there was no sound at all but the clock upon the wall. Then the door burst open wide and my daddy stepped inside.
And he kissed my mama’s face and he brushed her tears away the night Chicago died. Na, na, na, na, na, na, na, na, na, na, na, na, na, na. The night Chicago died.
Brother, what a night to beat the song. Brother, what a fight to beat the song. Yes, indeed.
The night Chicago died. Na, na, na, na, na, na, na, na, na, na, na, na, na, na, na. The night Chicago died.
Brother, what a night it really was. Brother, what a fight it really was. Glory be.
But even at that time, there were bands struggling to sort of make it in America and be a success in America. And we released this song and it just zoomed. What do you think it was about it that took it up to the top? Well, it was strange, actually.
We’ve had feedback from various people. It actually, it had a renewed success after 9-11, it became very popular. And they said, oh, well, this is why.
The thought was that the first wave emergency services like police and the ambulance and the firemen and all the rest of it warmed to the song because it was about a cop going out doing his job, coming up against goodness knows what in those days. But he got home to his family and he was a sort of hero within the song. The Night Chicago Died did hit number one in America.
And I think America considers Paper Lace a one hit wonder on the success of that song. But of course, you weren’t really a one hit wonder because that was already a second big hit. Yes, that’s right.
How did you feel when you had that number one in America? I mean, that’s every band’s dream come true. It is, but it was strange because we thought, oh, right, we’re going to tour America and it’s going to be fantastic. We’re going to get out there.
I mean, it is true to this day, really, that there are a lot of songs out there that are so strong that they’re actually stronger than the band that recorded them. People remember the tunes, but they don’t remember who recorded them. And at that time, it was not like it is today.
And the Internet and the sort of cross cooperation with different countries, you can arrange a tour and you can get out there, you can hire stuff and it’s relatively easy to do. But in those days, with that network of agencies and record companies to do a tour in the States, you needed the help of your record company, you needed some financial input. And we thought, well, they’ve had a number one out of us, they’ll come up with something.
And we approached Mercury, as it was. They said, look, we don’t need the band out here to get a number one. So we’re not prepared to finance a tour or anything like that.
So you never did the tour of the States? Never toured the States. No. We got to Canada and we did a mini tour of Canada, which went very well, very successful.
And we were due to go into the States from there. But there were some contractual problems. And this sort of anti from the record company, you know, we weren’t going to get the cooperation, we weren’t going to get the help.
So we decided to come home from Canada and not go to the States. But as luck would have it, there was no contracts in place. There was nothing.
It would have been a complete disaster.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. I think the actual realization of being number one in America didn’t come until maybe a couple of three years later.
You know, you realize what you’d actually done. Because at the time, everything was so matte. You know, it was just like, oh, you’re number one in America.
Oh, great, yeah, yeah. And you didn’t really take it in, you know. You didn’t really have chances to sort of get to terms with it and find out what it actually meant.
The night Chicago died was reputedly the largest-selling single worldwide in 1974. From the American thing, I got a platinum disc for the single for sales in excess of two million. So you settled on continuing to tour around the UK on the back of those two strong hits? Yeah, but then we did come over to Australia in 75.
We went to New Zealand in 75. You were huge on this side of the world. Absolutely, yeah.
I mean, I’ve got a gold album on my wall from Australia. In 75, we came over again. We came over in 2017 and we did a tour.
The audiences, they remember us. Of course. This was quite amazing.
You know, they knew all the songs and they knew the album songs. Yeah. Obviously, the audience was older, but they brought their kids along, you know, in this sort of thing.
We are a band that we look OK. We’re quite military. It’s all a bit military.
The sort of dress is that style. And people appreciate it. They like the band.
And you bring in that same music. I used to walk to the front and introduce the band. And when we’re in theatres, it was that sort of atmosphere.
And I used to say, you know, this isn’t the first time that the band’s been to Australia. And everybody said, this is a great band. We’ve got to have them back.
You could hear a pin drop in most of the theatres when we went back in 2017. It was successful for us. And we made a specific CD for Australia.
And we re-recorded a lot of the stuff. And this time, we’ve done a similar thing with all the set that we do. It’s all paper-laced recordings, either album tracks or hits.
But they are a lot more punchy. The band has evolved. The songs haven’t changed.
But they’ve got a lot more bite to them and a lot more thump to them. And they sound very good. My voice, I can sing things in the same key.
So nothing’s altered, really. And everybody says, you sound just like you did in 1974. Jumping back in again, because in 1978, you surfaced again with this sing-along version of We Got the Whole World in Our Hands.
Oh, yeah. Don’t forget that one. Tell me how that one happened.
Well, that came about because Nottingham Forest football team, who were winning in 1977-78, they were winning everything in sight. Brian Clough was under the same management as us. So Brian Clough suggested, maybe we make a record.
Our sort of popularity was waning slightly, but Forest were up there. You know, they were huge. We thought we could give ourselves a bit of mutual good.
And we went down to the studio. We made the record with them and changed it. We got the best team in the land.
That was the alteration to the lyrics. Rather than the whole world, it’s the best team. We got the players singing along, made a video.
It did quite well, in actual fact. It got number two in Holland. In different parts of the world, it was bubbled under.
Holland, big football nation, so they followed Forest from afar and just kept up with things. We got the whole world in our hands We got the whole wide world in our hands We got the whole world in our hands We got the whole world We got the best team in the land We got the best damn team in the land We got the best team in the land We got the Stoney and Robbo and Martin O’Neill The Spider and Eden, they’ll never yield There’s Archie, the Gamble, all over the field We got the best team in the land We got the whole world in our hands We got the whole wide world in our hands We got the whole world in our hands Well, a couple of years after that, the band Paper Lace actually came to an end. But in 1990, you were given the financial backing to re-record Billy Don’t Be a Hero with an up-to-date sound.
But that song was actually never released. What happened there? That happened, it was something to do with, I think it was the first wave of Desert Storm, the sort of war in the Middle East. It was a massive thing and the BBC banned all songs about war.
And unfortunately… That was one of them. Yeah. But we came to, I’ve come to realise that a rehash of Billy isn’t what the public wanted.
They wanted the original. Yeah. The original.
In fact, I just heard it on the radio the other day, which made me think of you and I thought, wow, whatever happened to those guys? So in terms of whatever happened to those guys, you actually lead a different band now, playing all those old songs still, don’t you? Well, yes, I have done. But I don’t lead that band. It’s not my band.
I joined it because I was asked to. And we’ve since parted company. When Paperlace’s momentum started to decline, Philip left the pop star life behind, became a builder, and then some years later found himself fronting a group called Sons and Lovers.
He remained with them for roughly 11 years, leaving in 2008. Now, Paperlace, we had… It’s the old story, musical differences. And we parted company, all bar me and Cliff, the bass player.
We parted company in about 1984, 5, something like that. I got a proper job. I was in the building industry.
I started life off as an apprentice toolmaker. I did five years and then I went professional. The music industry, and that happened around 69.
And then I got into carpentry and all that at home, and got offered this chance to sort of do a bit of building and all the rest of it. And so I carried on with a Nottingham-based band as a sort of semi-pro situation just to keep my hand in. Then realized about 2006 that I missed it so much.
I missed being on the road. Being up on the stage. Yeah, I gave up work, got together with Cliff and two new guys, and now we tour as Paperlace.
Hey! So you’re not working in the building industry anymore. You’re back on the road as Paperlace. Oh yeah.
Well, we’re back on the road as the original 70s Paperlace. So for the supposed one-hit wonders that you were, it’s lasted you more than 50 years. Absolutely, yeah.
Those songs have provided you with a decent living all these years too, yeah? Yeah, yeah, absolutely. I guess once the bug gets you and you’re on the road and you’ve had that taste of success, it would be very hard to go back into a regular job and make a living doing anything else, wouldn’t it? It would, but the thing is, I don’t think it’s necessarily the success. I think it’s one of the few things in life where you get an instant appraisal of what you do, which is applause.
And that is a drug that you can’t give up. Yeah, feel right. Thank you so much for chatting with us today.
Congratulations on all the success with Paperlace and I’m so glad to hear that… The original 70s Paperlace. I’m very glad to hear that the original 70s Paperlace is still up and running. Recently In your eyes I see There’s been a change in you And no one said Now all seems dead And I just don’t know what to do Oh, my darling You cannot hide The love you once had for me Has died Oh, my darling You cannot hide The love you once had for me Has died The odds might end At the tournament And let me your champion be And if I win Will you take me in Into your chambers secretly Oh, my darling You cannot hide The love you once had for me Has died Oh, my darling You cannot hide The love you once had for me Has died Continued success to you and thanks a million for chatting with me today.
I really appreciate your time. I’ve enjoyed it. It’s been great.
Thank you. It’s just a beautiful day You’ve been listening to A Breath of Fresh Air with Sandy Kaye Beautiful day Oh, baby, any day that you’re gone away It’s a beautiful day