FLA 21: Sangeeta Ambegaokar
When I was first thinking about First Last Anything, I knew I wanted to include a range of guests, including those who were learning and performing music at amateur level. And so I thought of my friend Sangeeta Ambegaokar, a medic based in Birmingham whose spare time outside her day job is these days dominated by music. She has weekly saxophone lessons and plays in an amateur orchestra for mixed ability players, called The Rusty Players Orchestra. She also sings in four different choirs in the city – and is a member of a bell choir.
Sangeeta kindly and helpfully shared her experiences of all these groups with me when we spoke on Zoom in the early spring of 2023 – since when she has achieved distinctions in her Grade 3 and 5 theory examinations. We both hope this conversation may inspire you, whether at beginner, intermediate or lapsed level, to seek out amateur or community groups in your area.
Sangeeta and I also talk about her formative years in the UK and the United Arab Emirates, about the Absolute 80s Sunday night show Forgotten 80s – which is how we met, as fellow listeners! – and of course discuss her first, recent and wildcard record choices. But as usual, I started with one question: what music was being played at home before she started buying records?
----
SANGEETA AMBEGAOKAR
I was born in Newport, in South Wales. I don’t remember us having music in the house much, although the radio and Top of the Pops always featured highly, but early on, I can remember at bedtime – I don’t know if you’d call it a lullaby – my dad singing ‘All My Loving’ by The Beatles. We had the ‘Red’ and the ‘Blue’ albums.
I was three when ‘Save Your Kisses for Me’ by Brotherhood of Man came out, and at the end it goes, ‘Even though you’re only three’. You’re very egocentric about age then – you think everything would be about you, so I was of course convinced that it was written about me as a three-year-old.
ABBA was a big thing. I can remember being absolutely terrified of ‘Tiger’ [from Arrival]. ‘I am behind you, I always find you, I am the tiger.’ And Showaddywaddy as well, ‘Under the Moon of Love’, that kind of sticks.
I also remember going to a childminder, who had a record player, and things like ‘I Love You Because’ by Jim Reeves, and a copy of ‘The Laughing Policeman’ which had a scratch on it at a really inopportune time, on the last word – the last laugh in fact, on and on and on, so even more terrifying, and it’s quite terrifying anyway.
JUSTIN LEWIS
It really is. The guy who did that record, Charles Penrose, had a career of making all these records about laughing. Even though ‘The Laughing Policeman’ was 50 years old in the 1970s, they were still playing it on Junior Choice on Radio 1. I suspect that it was people writing in and requesting it for their grandchildren. Because I never met a child who liked it.
---
SANGEETA AMBEGAOKAR
When I was five, so from 1978 to 1991, we moved to the Middle East. And although from 1983 I went to boarding school back in the UK, for those first four years I’ve got this real gap in popular culture. In the UAE, we got quite a weird selection of things available to watch and to listen to. But the two ‘local bangers’ that everyone who lived in the UAE in the late 70s and 80s will recall are ‘Life in the Emirates’ and ‘Back in Dubai’.
‘Life in the Emirates’, The Establishment (1979) ‘Back in Dubai’, The Establishment & Sal Davies (1984)
By about 1982, around the time we got a video player, we used to go to the local video rental place. Somebody had recorded all the episodes of Top of the Pops in the UK and they’d send them over, so you’d get like a month’s worth of Top of the Pops to watch, four episodes, and then a great month when there were five episodes. It must have been summer ’82 – ‘Happy Talk’ by Captain Sensible was number one.
JUSTIN LEWIS
Were these official BBC tapes?
SANGEETA AMBEGAOKAR
I don’t think there was anything official about anything that went on over there! [Laughter]
JUSTIN LEWIS
Ah, I just wondered if it was a BBC World Service thing.
SANGEETA AMBEGAOKAR
I used to listen to the charts on the World Service, but it was really hard to hear. Before that, there used to be a programme on Dubai Television called Pop in Germany, which was all in German, and occasionally you’d see a band you’d recognise, like Boney M… which would figure, given it was from Germany. And we had a radio station that played music from all over. But with Top of the Pops, I vividly remember seeing one of these tapes of the 1000th episode, with Spandau Ballet’s ‘True’ at number one (original broadcast BBC1, 5 May 1983).
JUSTIN LEWIS
Oh yes, when they’d celebrate the programme, and say, ‘Let’s now look back at the old days, the five clips from the sixties we haven’t burnt.’ Cue ‘Pictures of Matchstick Men’ by Status Quo.
SANGEETA AMBEGAOKAR
And with these tapes of Top of the Pops, something similar happened again later with Live Aid (13 July 1985), though as you can probably imagine, this stretched to about five different video cassettes, and came in Part 1, Part 2, and so on. So we did manage to watch the whole of Live Aid in the UAE, but not actually in the correct order!
JUSTIN LEWIS
I saw you tweet a picture of one of your 80s compilation tapes yesterday. One of the tracks was by ‘TMTCH’ – presumably The Men They Couldn’t Hang?
SANGEETA AMBEGAOKAR
I seemed to have a cassette of them playing live so I must have taped it with one of those double cassette recorders. The song’s called ‘A Night to Remember’. I don’t want to upset any Men They Couldn’t Hang fans but in my view, the live version is much better. The album version sounds quite clunky.
JUSTIN LEWIS
The reason we know each other is because of something called Forgotten 80s, a radio show on Absolute 80s on Sunday nights, hosted and compiled by Matthew Rudd, with a considerable listener input, and quite a social media community has sprouted up around that over the years. With that show, have you found yourself joining dots you couldn’t join during the 80s? How did you discover that show?
SANGEETA AMBEGAOKAR
My other half was a fan of Forgotten 80s. At that time they used to repeat it on a Thursday, he’d be doing the ironing, and listening to it, and saying, ‘This is a great show, loads of forgotten tunes from the 80s’. I had imagined – nothing against The Fall – but that it would be that kind of obscure stuff which I wasn’t really into. And then one week, I heard them play ‘The Last Film’ by Kissing the Pink. And I thought, ‘God, I haven’t heard this on the radio for years.’ So I thought this show might actually be quite good. That must have been eight, nine years ago. Not quite since the beginning!
In 1983, I came to boarding school in the UK, in Monmouth, so from then, I’d see Top of the Pops when it went out, and there was Radio 1 so I was an avid listener. Mike Read was on the breakfast show at the time, and the signal to go to school was this feature he did called ‘First Love’.
JUSTIN LEWIS
Yes, with Scott Walker and the Walker Brothers’ record, ‘First Love Never Dies’, as the jingle!
SANGEETA AMBEGAOKAR
I’d latch on to any kind of music then. On TV, Fame. In those days, if you missed an episode, and we didn’t have a video recorder at school, then that was it. So I remember buying the cassette of the Kids from Fame album, really liking ‘It’s Gonna Be a Long Night’, and being really gutted I’d missed the episode that song was played in. But at the start of lockdown, I got the whole series on DVD, and started watching them.
JUSTIN LEWIS
So was Fame shown on television in the UAE?
SANGEETA AMBEGAOKAR
Yeah, on Dubai Television, which used to start at five o’clock with the reading from the Holy Quran.
JUSTIN LEWIS
Fame was massive in Britain because it was on straight after Top of the Pops, wasn’t it? In fact it did much better than in America, where I think it might otherwise have been cancelled because the ratings weren’t great there. And there were all these Kids from Fame albums. Were there two or three, a live one?
SANGEETA AMBEGAOKAR
I think I might have four of them!
FIRST: FUN BOY THREE: ‘Tunnel of Love’ (Chrysalis, single, 1983)
JUSTIN LEWIS
So your first purchase was this, which comes from this same period.
SANGEETA AMBEGAOKAR
I’m renowned for liking this song so much. People now tweet me to tell me when it's on.
I first saw them do it on Top of the Pops. I was mesmerised by the whole thing – the song, and also all the musicians they had playing with them, who were all women. So that really drew me to them. The cello player [the great Caroline Lavelle]! I don’t think I’d ever seen a cello on Top of the Pops before. I remember us being out at the shopping centre in Dubai, God knows how much it cost, because it was real, not pirate. My sister bought Orange Juice’s ‘Rip It Up’. So we each bought a single. And then my sister had a pirate cassette of Fun Boy Three’s first album, which I got a copy of as well, and then I got Waiting, their second album.
But the charts in general were a big thing. Remember when Simon Mayo on the Radio 1 breakfast show used to do Highest New Entry, Highest Climber and Number One at about 7.45? My life was run by bells when I was at boarding school. At twenty to eight, there was a bell: ‘Make sure you get over to breakfast, 7.45.’ And you couldn’t have music on during breakfast, but by then you could get these ear-pod-type headphones, and I’d have my Walkman in my pocket with a radio on it. I’d have the wire going down my sleeves and into my hand, so I’d tell everyone on the breakfast table what Mayo was announcing.
JUSTIN LEWIS
It’s hard to explain that era to anyone young now. There wasn’t music everywhere then. Radio 1 wasn’t even 24 hours a day. I remember at secondary school, taking a tiny little radio in on a Tuesday lunchtime, and Gary Davies would announce the brand-new chart. I don't know what this says about me, but people from school still remember this about me! This stuff felt important then. But meanwhile, what was your involvement in music at school during this time?
SANGEETA AMBEGAOKAR
[I did various things at school.] At primary school, when I was five or six, I started playing the piano, my sister had lessons. So I looked at her piano book, it was John Thompson’s Teaching Little Fingers to Play. I think everyone had those back in the day. I started going through it, and teaching myself how to play the piano – probably not very well. And then mum and dad decided they should probably pay for lessons for me as well. Then, at secondary school, I started learning the violin because of ‘Come On Eileen’. But I quickly realised I was awful at the violin and it was never going to happen.
JUSTIN LEWIS
It’s a hard instrument. Professional violinists say this!
SANGEETA AMBEGAOKAR
I don’t think I have the patience either, because I think I’ve got quite a good ear for music, so I could hear it wasn’t in tune, and it was all about moving my fingers. I got really fed up with that. But I carried on with the piano, I was in the choir at school. And I’d played the recorder in primary school as everybody did. I was probably one of the better players at school, so a couple of us got to play a duet in a concert.
So I always had an aptitude for music, I guess, but then after that, year 10/11, it was all ‘you ought to be in the school opera and school performances’. It all looked a bit much, so I didn’t do any music at all after that.
JUSTIN LEWIS
There’s a lot of extracurricular activity, isn’t there, and it requires a lot of commitment. Not unlike being in sports teams. You have to give up evenings, and after school – if you’re going to take this seriously, I suppose.
SANGEETA AMBEGAOKAR
I had a brief foray into playing percussion in the orchestra in sixth form. They needed percussionists, and there were four of us. It was hilarious because I think a couple of us were okay, we had a decent sense of rhythm, but one of my friends, they put on cymbals, and she never quite came in on time. I stuck to tambourine and castanets – those were my specialities.
LAST: DEPECHE MODE: Black Celebration: The 12” Singles (Venusnote/Sony Music, vinyl box set, 2022)
Extract: ‘Stripped (Highland Mix)’
JUSTIN LEWIS
We should perhaps explain that this isn’t the album of Black Celebration. This is a lavish repackaged box set that assembles all the 12” singles released from that album in 1986: ‘Stripped’, ‘A Question of Lust’ and ‘A Question of Time’, some of them released in multiple formats with extra mixes, B-sides and live tracks. They really seemed keen to give the fanbase value for money, and it’s beautifully packaged too.
SANGEETA AMBEGAOKAR
I’ve got this real affinity to the Black Celebration era of Depeche Mode. When we were in the USA in summer 2022, we were staying in Los Angeles, and nearby there was this big record shop called Amoeba Records. On our last day, we went in, and just as when I used to go into record shops, went straight to the Depeche Mode section. There were a few box sets of the different albums’ respective singles, but Black Celebration was the one. I was wondering: ‘Should I get this, because it’s expensive. And do I really need it?’
JUSTIN LEWIS
How much was it? Because it’s, what, five 12” singles? £100?
SANGEETA AMBEGAOKAR
It was less than £100, but it didn’t take a lot to talk me into it. It was an unexpected impulse buy. Depeche Mode was my first ever concert as well, at Newport Centre [The opening date of the Music for the Masses tour’s UK leg, 9 January 1988.] ‘Behind the Wheel’ had just come out, they started off with that.
JUSTIN LEWIS
So you saw them on the same tour at Newport that ended up in California, where they recorded the 101 live album, because it was the 101st and final date of the tour [18 June 1988]. Which of course led to a live album and a film, and you see this stadium of people all singing the ‘Everything Counts’ chorus at the end. And they become huge in America. But how did you first get into them?
SANGEETA AMBEGAOKAR
The first song I remember was ‘Get the Balance Right!’ on Top of the Pops, ’83, but just before I started boarding school the same year, if you bought a pair of Start Rite shoes, you got a free single from the top ten, and so I got ‘Everything Counts’ by Depeche Mode. I kept up with their singles – I remember Lenny Henry reviewing ‘Love in Itself’ in Smash Hits.
JUSTIN LEWIS
It was his Single of the Fortnight, I think.
SANGEETA AMBEGAOKAR
Yeah, and he was bowled over by it sounding like it had some proper instruments on it, rather than just synths. So he went, ‘Guys, are you okay?’ The other thing about ‘Love in Itself’ – I’m the sort of person who, if somebody says a word, I break into a song with the word in it. When I was a student, there was a bloke – it usually was a bloke – saying something like ‘You can’t come out with a song with the word “insurmountable” in it.’ And I went, ‘Well, actually…’
I got Some Great Reward (1984), then the Singles 81–85 compilation (1985), and then in Year 9, we had to do a project at school on music. I originally started doing my project on the Thompson Twins, but then I lost the book I was using, so I decided to do it on Depeche Mode, and nobody else seemed to like them, which I suppose drew me towards them even more. When I was writing their biography for the project, on how they came to be, I asked other people to write comments about them, and they’d either put, ‘They’re really boring and depressing’, or ‘I think their music is fab, but I don’t think much of their image.’
Their next album was Black Celebration, which I played over and over. Another girl who started at the school about then, was really into them as well, so we bonded over them.
JUSTIN LEWIS
You mentioned just now that you have teenagers. Do you keep up with new stuff through them?
SANGEETA AMBEGAOKAR
They’re 18 and 14. Yes, it’s a bit of a standing joke as to which songs that me and my other half have heard of that they're listening to. Watching the Brit Awards with your teenagers is always quite amusing. Even my 18-year-old said, ‘You complain that all the songs sound the same’ – in fact she complained herself that all new music sounds the same! Which is quite interesting because our generation remembers our parents used to say that as well.
---
JUSTIN LEWIS
We’ve established that you had these forays into music at school. But then, years later, you are in an orchestra playing the saxophone. Tell me about how that came about.
SANGEETA AMBEGAOKAR
I’ve always been drawn to the saxophone, I guess. Especially with Spandau Ballet, the Steve Norman sax bits, and then ‘Your Latest Trick’ by Dire Straits. So it was always in my head. And then, one day, in around 2000, I bought a saxophone from a second-hand music shop near where we lived in Birmingham. I had one lesson at the time, and worked out that the fingering was the same as the descant recorder.
JUSTIN LEWIS
Yes, tuned to E flat rather than C, but otherwise similar. I learned alto saxophone when I was a teenager. And the flute, which I already played, was similar fingering, although again in C.
SANGEETA AMBEGAOKAR
Yeah. After that one lesson, work and life took over for a time. But we have this [organisation] called Birmingham Music Services, which goes into schools and does music lessons and has loads of ensembles, which are all free to join, they have them for all standards from beginners up to Grade VIII symphony orchestra. So if you play an instrument you can join any of the ensembles.
When they started doing lessons in the evenings at our local school and they opened it up to adults, I thought, This is my opportunity. I can actually have saxophone lessons now. At first they were full, but a couple of weeks before term started, I got a phone call: ‘We’ve got a space, someone’s dropped out.’ This was 2019, so a few months before lockdown, whereupon they switched over to Teams. And because of the singing, and having a good ear, and reading music, my teacher said after a few months, ‘It would be really good if you could join some sort of ensemble, you’ll progress much more if you’re playing with people.’ There was a real gap for adults in ensembles, as the Birmingham Music Service ensembles are only for school age children. If you feel you’re really, really good, obviously there are orchestras, but if you’re a learner or beginner, there’s a real gap.
After that, a friend sent me a link to an orchestra they found on Facebook, called the Rusty Players Orchestra, which was an offshoot of the People’s Orchestra, a charity based in West Bromwich. As you know, in orchestras, saxophones aren’t a central instrument, but as they were a saxophone-welcoming orchestra… So it’s for people who used to play when they were younger and would like to go back to playing or for people who are kind of beginner or intermediate and want to play in an orchestra.
I went along to rehearsal, in January or February 2020, and there was quite a motley crew of us. They’d welcome any instrument at all, they’d find music for you. So we had concertinas that were playing the violin part, for instance. It’s a proper range of ages too – our youngest player is from year 10 (so he must be 14 or 15) and our oldest player has just turned 80! Some started learning recently, but quite a lot were a good standard at school and are coming back to play.
JUSTIN LEWIS
Do they have similar projects elsewhere in Britain?
SANGEETA AMBEGAOKAR
They do, in places. There are two branches in South Wales actually: in Barry and Carmarthen.
JUSTIN LEWIS
Not in Swansea, unfortunately?
SANGEETA AMBEGAOKAR
Not at the moment, by the look of it, no.
JUSTIN LEWIS
I’ve been thinking about this a lot recently. I went back to the flute last year, after a long time away from it, and I thought, What on earth do I do with this now? Because I don’t yet feel good enough again to go and audition for a proper orchestra. And of course, with an instrument like the flute, they only have two or three in an orchestra anyway. But it sounds like there’s no formal audition process for the Rusty Players Orchestra.
SANGEETA AMBEGAOKAR
No, you just turn up. The first week I went, I probably played about three notes! I was too scared to play any more than that. I remember we were playing ‘Moon River’, me and a clarinet player. Both of us quite new, she was newer than me, but I was still anxious. We were both supposed to come in at a particular point, but neither of us did, we were too scared!
But now, our conductor is a student at the Birmingham Conservatoire and it’s a bit more relaxed. You come along, you have a go, it doesn’t matter if you can or can’t play, but the following week, you’re likely to be able to play more notes – and then you just keep going. So there’s really no pressure at all.
JUSTIN LEWIS
What are your plans in the near future with the saxophone?
SANGEETA AMBEGAOKAR
I’m lining myself up to do the Grade 6 exam.
JUSTIN LEWIS
Wow, you really are coming on in leaps and bounds. So what sort of things are you learning in your lessons? What’s your repertoire in those?
SANGEETA AMBEGAOKAR
A mixture, really. One of my pieces is Scott Joplin. I often just turn up with things, but one thing I really want to be able to play is the sax solo from ‘Will You’, the Hazel O’Connor song. It’s really really hard.
JUSTIN LEWIS
It’s a long solo too. Two minutes or so!
SANGEETA AMBEGAOKAR
And with Grade 6, you’re first starting to learn those top notes anyway. So that’s a bit of a work I progress. And in the orchestra, we’re playing a lot of film stuff: Hamilton, Chicago, Blues Brothers. It’s quite a nice range.
----
SANGEETA AMBEGAOKAR
As well as the Rusty Players Orchestra, I’m in four choirs and a bell choir. The biggest choir is called So Vocal, and it’s the community choir of the City of Birmingham Symphony Orchestra, which is 150, up to 200 singers in that. And we’d sing with the CBSO every Christmas in the Christmas Concerts which is amazing. We started off being the free performance before the concert, and then we graduated to singing in the concert. Clearly, they thought, ‘Actually, they’re not too bad!’ We ended up going on tour to Poland.
I’ve made some really good friends through that. About two years ago, me and a friend went to an experience day with the London Community Gospel Choir. You have a day of learning songs, and in the evening, you join one of their rehearsals. A few of us go to this summer school as well, which is called Sing for Pleasure. It’s a three-day course, you learn some songs, and then there’s a concert at the end. You don’t have to think at all for three days, it’s like a holiday from life! One year, our group was taken by Themba Mvula, who runs a gospel choir in Lichfield, and he’s just out of this world. When you sing, you’re encouraged to go a little bit off-piste if you want to, make your own stuff up, sing as you feel. And though I’m not somebody who really does that, actually you find yourself coming out with stuff.
JUSTIN LEWIS
Is it like improv?
SANGEETA AMBEGAOKAR
Sort of. It’s like pretending you’re a bit of a diva. It’s quite a lot of fun, actually. You have that moment, and everyone else – who are all like-minded – has a bit of a go.
JUSTIN LEWIS
The first time I actually met you in person, it was at a Forgotten 80s event, and there was a karaoke bit, and you seemed well into that. Have you always been?
SANGEETA AMBEGAOKAR
I don’t do karaoke, generally. If there is karaoke, I could be persuaded to join in. But I would never say, Let's go and do karaoke.
JUSTIN LEWIS
Does that mean, then, that you like having rehearsal and preparation time? The learning process.
SANGEETA AMBEGAOKAR
Not specifically. I think it’s just, you might have had a day at work where your brain is full of stuff. It’s just doing something totally different from that – singing and making music with people. You’re using a different part of the brain, so all the things you were doing earlier are forgotten.
The choir I’ve been in the longest is a Ladies Choir called Bournville Vocal Ease which is based close to where I live. When my daughter started at the local school, one of the parents was talking about a choir there, and I thought, God, I’d love to join a choir. Within the school is a carillon, and they’ve got a set of handbells they lend the school. In Year 6, all the children learn how to play the handbells, and so when our Ladies Choir conductor decided to form a bell choir, I joined that. I’ve been in that about six years or so. We play with bell plates.
JUSTIN LEWIS
I was watching the YouTube clip where your group does ‘Singing in the Rain’. That would require a particular kind of co-ordination, even if you’ve only got two bells to play.
‘Singing in the Rain’, Bournville Bell Choir
SANGEETA AMBEGAOKAR
Well, not necessarily only two! Sometimes you’ll have five bells, and you have to swap and pick up the right one and they change key often. And then sometimes the person next to you can’t play that bell because they’ve got too many notes, too many bells already, so someone else has to step in and play their bell temporarily! It can be quite complicated – and you have a proper musical score as well, so you go through and highlight your bells. What’s really amazing, though: there's a couple of people in the bell choir that actually can't read music, but they're playing from a score and they're actually just learning what their notes look like and highlighting them and learning how to count.
ANYTHING: RICHARD SMALLWOOD: ‘Total Praise’ (composed 1996)
London Community Gospel Choir, ‘Total Praise’
SANGEETA AMBEGAOKAR
In one of the choirs I’m in, the So Vocal choir, we sing a real mixture of stuff, and our conductor introduced us to this piece by Richard Smallwood, ‘Total Praise’. I think this was our first real foray into gospel singing, although we’re not a gospel choir and I’m not religious at all. But singing gospel music, something about it takes you somewhere else, so when we all sang it together, it was a powerful experience. We sang it in a few concerts, and then a choir member passed away, and at the next rehearsal after we heard the news, we all decided we wanted to sing it as a tribute to him. It’s something that feels like it draws us all together, wherever we are. All the arrangements that I’ve heard of it blow you away.
Some of the choirs I’m in are relatively straightforward, but I’m also in this a capella choir, Cantoras. Really challenging, and I had to audition on Zoom. We sing in Latin and German, even Norwegian, all sorts.
JUSTIN LEWIS
I found a clip on YouTube, which I enjoyed watching.
‘Sing My Child’, composed by Sarah Quartel, performed by Cantoras Upper Voices Chamber Choir
SANGEETA AMBEGAOKAR
I went to a taster day. You could go along and sing, and then if you wanted to audition, then you could. And I realised: I know I can sing, I can read music. A lot of the people in Cantoras are musicians or singers who do it for a living or teach music, so it’s a different sort of group. In some of the choirs, I’m one of the stronger musicians, whereas in Cantoras, I’m one of the weaker ones. But that lifts you, it stretches you, and I guess doing the other choirs has given me the confidence to do something new and exciting and challenging that I wouldn’t have done before.
Interestingly, I’m a different voice part in each choir: Soprano 1, Soprano 2, Alto 1 and Alto 2. Just because, for various reasons, the first choir I went to, I was a soprano because they didn’t have enough of them. Second choir, they said, ‘Soprano or alto?’ and I said, ‘I don’t mind’, and they were, ‘Well, we need more sopranos.’ With the third choir, they had too many sopranos, and I fancied a change, so I was an alto.
JUSTIN LEWIS
Where would you say you belong most naturally in terms of vocal range?
SANGEETA AMBEGAOKAR
I’m probably not quite a Soprano 1. I’m a fairly comfortable Soprano 2, but I can sing low as well. With the choir I auditioned for, where I’m an Alto 2, she did a range test, and I could hit the Alto 2 notes.
With the Cantoras group, we went to see an a capella group recently called Papagena – an all-female vocal quintet. They’re well worth looking up, and quite an inspiration because one thing we try and do is sing songs by female composers or arrangers, and we’ve sung a song that they’ve done as well, called ‘When the Earth Stands Still’. I don’t know if that’s on the YouTube channel. It’s nice to do things for fun, but also to stretch yourself. You might be at an age where you think your best days are behind you, but perhaps that isn’t the case!
----
You can follow Sangeeta on Twitter at @mango_24. She is also on Threads at @mango___24.
For more on The Rusty Players, visit The People’s Orchestra website, where you can also find information on The People’s Show Choir. They have branches around the country. https://thepeoplesorchestra.com/the-rusty-players-orchestra/
If you’d like to know more about Sing For Pleasure, who organised the singing summer school Sangeeta mentioned, see here: https://singforpleasure.org.uk/. The charity focuses on the enjoyment of singing, trains choral leaders, publishes some excellent songbooks, and runs events for singers.
This is an excellent resource for details of amateur orchestras across the UK: https://amateurorchestras.org.uk
The radio show we mentioned, Forgotten 80s, hosted by Matthew Rudd, is broadcast on Absolute Radio’s Absolute 80s station every Sunday night between 9 and 11pm. You can listen to episodes here.
FLA 21 PLAYLIST
Sangeeta Ambegaokar
Track 1
‘All My Loving’
The Beatles
Track 2
‘Save Your Kisses for Me’
Brotherhood of Man
Track 3
‘Tiger’
ABBA
Track 4
‘A Night to Remember’ [5 Go Mad on the Other Side Version]
The Men They Couldn’t Hang
Track 5
‘The Last Film’
Kissing the Pink
Track 6
‘First Love Never Dies’
The Walker Brothers
Track 7
‘It’s Gonna Be a Long Night’
The Kids from Fame
Track 8
‘Tunnel of Love’
Fun Boy Three
Track 9
‘Stripped’ (Highland Mix)
Depeche Mode
Track 10
‘Behind the Wheel’
Depeche Mode
Track 11
‘Love in Itself’
Depeche Mode
Track 12
‘Your Latest Trick’
Dire Straits
Track 13
‘Will You?’
Hazel O’Connor
Track 14
‘Total Praise’
Donnie McClurkin & Richard Smallwood
Track 15
‘When the Earth Stands Still’
Don MacDonald and Papagena