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My first reaction, upon noting the title of Bob's latest essay, was to be reminded of a 1949 film of that name starring Googie Withers, Guy Middleton and Griffith Jones, in which Googie, happily married to Middleton, falls in love with their manservant as played by Jones. It's a rather light plot but still very pleasant, and I hold fond memories of it. Sadly for me, this selection has no connection whatever with that film.

I recall in one of my conversations with David having asked for more information about Bruce Campbell, as hitherto he was merely a name for me, although I recognized it amongst the various light music selections I encountered during the years I was avidly collecting recordings of this music. The titles that I was and am most familiar with would be "Cloudland," "Main Line" and "Adrift," I was informed that Campbell too was an expatriate from Canada who emigrated to the UK to furnish his own contributions to the light music field, and from this point, I will defer to Bob's article as providing for me and others more complete background information for this figure.

At the time I was collecting light music recordings, Robert Farnon was one of my idols, and I could not help noticing the similarity of styles between the two individuals, although there was no explanatory or corroborating material available to me to account for this. As it is, other figures in the light music field have succumbed to the various mannerisms of Robert Farnon - Douglas Gamley in his arrangements of standards is one unmistakable example, and we have heard many times of how Wally Stott/Angela Morley was mentored by Farnon. More selections by these figures reached me through the various YouTube uploads in recent years, to enable me to become better acquainted with their work. Nevertheless, with my advanced age, my tastes have inevitably become more conservative to the point where I have gravitated away from the work of those mentioned above, and more towards men like Charles Williams, Felton Rapley, Peter Yorke, Montague Phillips, and many others with more conservative approaches.

I am not at all familiar with the selection that Bob has written on this time around. Upon listening, I may have more to say, but I will comment that once again, I have to approach the piece in my own manner and form my own images for myself to make any sense out of it, which is my procedure when acquainting myself with any unfamiliar selection, whether in the light or serious field, and take off from there. Bob's account is certainly an improvement over others of his I have read in that it gives a better overview, at least in my opinion, but even then, I have to proceed in my own manner.