Musical Rendezvous Presents The Boy Friend: A 1972 Time Capsule of Charm and Sass
Let’s cut to the chase—this album isn’t just another dusty relic from the UK’s golden era of stage and screen. Musical Rendezvous Presents The Boy Friend by Ann Chapman, Bobby Bannerman, Pat Whitmore, Joanne Brown, Leslie Fyson, John McCarthy Chorus (phew, that's a mouthful!) is like stumbling into an old theater where the curtains are slightly moth-eaten but the magic still sparkles brighter than a sequined dress. Released in 1972 on Contour Records, it’s got all the hallmarks of its genre: big voices, theatrical flair, and enough charm to make you forget your Wi-Fi password.
Now, let me tell ya about two tracks that stuck with me like gum on a shoe. First up, “All I Do Is Dream Of You.” If this song doesn’t have you twirling around your living room like some kind of tipsy Fred Astaire wannabe, then check your pulse—you might be dead inside. It’s upbeat, cheeky, and dripping with nostalgia. The vocal delivery feels so alive, as if they recorded it right after someone spilled tea on their sheet music. There’s something raw yet polished here—a vibe that says, “Yeah, we know we’re good.”
Then there’s “Won’t You Charleston With Me,” which is basically an invitation to throw caution out the window and dance like nobody’s watching—even though everyone totally is. This track has sass for days. Every note screams flapper vibes, and you can practically hear the swish of fringed dresses and shiny patent leather shoes stomping across the floor. By the time the chorus kicks in, you’ll wanna grab the nearest broomstick and use it as a makeshift partner because why not?
The rest of the album? Solid gold. Tracks like “Overture” set the scene like opening credits to a movie you didn’t know you needed, while “Perfect Young Ladies” gives off serious “trying-too-hard-to-impress-the-parents” energy—but in the best way possible. And don’t even get me started on “Sur La Plage.” That French title alone makes me want to pack a picnic basket and pretend I’m on the Riviera instead of scrolling through emails at my desk.
What strikes me most about this record is how unapologetically itself it is. No pretense, no overthinking—it’s pure entertainment. Listening to it feels like finding a forgotten photo album tucked away in grandma’s attic. Sure, the edges are worn, and maybe one corner’s been chewed by a dog, but each snapshot tells a story worth revisiting.
So here’s the kicker: In a world obsessed with auto-tune and TikTok hits, albums like Musical Rendezvous Presents The Boy Friend remind us what music used to be—a celebration of human imperfection wrapped in melody. Oh, and also? I now need to learn how to Charleston properly. Challenge accepted.
