![]() ![]() Her third single, “You’re My World,” hit No. It didn’t go well, because Black was nervous and didn’t specify her preferred key, but ultimately George Martin signed her to Parlophone Records. John Lennon introduced Black to Brian Epstein, the Beatles manager, and the Beatles backed her for an audition. She was backed by Merseybeat bands the Big Three, Rory Storm and the Hurricanes, and Kingsize Taylor and the Dominoes. She worked part-time as a cloakroom attendant at the Cavern Club (as Sandie marvels in Last Night in Soho), and the Beatles were early boosters. Ritchie Blackmore of Deep Purple and Rainbow, plays guitar on it.īorn Priscilla Maria Veronica White in the Vauxhall district of Liverpool, the singer was known as Cilla Black because of a misprint in local music magazine, Mersey Beat. In 1977 Helen Reddy’s version of “You’re My World” broke the Top 20 in the U.S. His hits include “Arrivederci Roma,” “It’s All in the Game, and “(Where Do I Begin?) Love Story.” Vocal group the Breakaways sing background vocals on “You’re My World.” Judd Proctor is the lead guitarist, Kenny Clare is the drummer. The English lyrics were not a translation, but written by Carl Sigman, a lyricist and melodic composer whose hit songwriting career spanned the Big Band to the Rock Era. ![]() George Martin, best known as the Beatles’ producer, commissioned an English version for Black, his protégé at the time. “You’re My World” was originally recorded in 1963 as “Il mio mondo” by Umberto Bindi, who co-wrote it with Gino Paoli. Taylor-Joy also recorded a version of Cilla Black’s “You’re My World” for the soundtrack, providing an earthier contrast to the actual Black standard, which we hear sung by an impersonator at the Café de Paris in the film. Leading an orchestra recording at the famed Abbey Road Studios in London, the sessions are done accurately to the period. The tracks were produced by the film’s composer, Steven Brice, who scored both Baby Driver and The World’s End. The different versions also tell another story, how the song evolves internally for Sandie from audition to performance, all while still evoking the sonic textures of the movie. The soundtrack also includes an a capella version of the song, which is as haunting as the film. The difference between these two recordings, up and downtempo, gets to the heart of the movie itself and perception versus reality. The soundtrack’s uptempo version, which you can hear on the Spotify playlist below, captures the aura of the memories of the time. The advance single features Taylor-Joy ( The Witch) doing a soulful cover of Petula Clark’s classic “Downtown.” It evokes the uneasy wonderland of the ghosts of the past. The movie moves to the rhythm of the background songs, which become a character. The soundtrack seeks to evoke two eras, the sounds of 1965 Soho and present-day London, while keeping time for the film. The soundtrack to the film is the aural equivalent of a middle-eight between the verses and the chorus of time. The singer, Sandie ( Anya Taylor-Joy), is the most lucid bridge to her subconscious trespass. But in her dreams she is a mid-‘60s Mod, shaking to the sounds of Swinging London. ![]() Eloise (Thomasin McKenzie) is a modern fashion design student in the film-modern in the sense that she is a 21st century woman living in contemporary England. Like a needle on a record, Edgar Wright’s Last Night in Soho drops a sharp stylus into a deep groove and lets her spin. ![]()
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