Wedding entertainment can be such a lottery. Couples don’t always know what they want and there are an awful lot of similar, standard dancefloor-filler ‘function’ bands out there… Only Foxes have the answer!

20th Century Foxes keep busy preparing new theatre shows, but nothing is more rewarding than making someone’s wedding day a roaring success.

Foxes are in hot demand for wedding and corporate events that are truly unique, utterly compelling and absolutely unforgettable. Today we received this feedback from a recent wedding client.

“We booked the full Foxes band and they were absolutely perfect for our wedding at Orchardleigh. They had all our guests up dancing – even the really old ones – and I shared a very special moment dancing with my two young daughters as the Foxes belted out the Jungle book’s ‘I Wanna Be Like You’.

They transformed the place back to a late 1950s crooner club and the band all seemed to really enjoy playing together which our guests could see, and which created a great atmosphere. The whole act had a naturally organic feel and wasn’t overly staged, although they where still very tight.

I couldn’t recommend this band more, they’re perfect for weddings and they even have a smart way of getting you out of the awkward first dance. If you budget can stretch to it book the full band with the three singers – you won’t regret it!”
- Rory Hart, groom, March 2013

If you’re thinking of having a party, wedding or event of any sort, get in touch: gavinlazarus55@gmail.com or call 07715 052 666

20th Century Foxes can provide bands of different sizes to suit all budgets and can tailor the event to suit you.

One thing is guaranteed: you won’t be able to book another show like this!

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We still have some great song stylists from his era, notably Tony Bennett, Doris Day and Vic Damone and (in spite of what you’re sometimes told), there are some fine singers today, but Andy Williams was the ambassador of a style that no longer exists in the way it did during his 60s heyday.

Andy was clean, wholesome, relaxed, utterly mainstream and yet he managed to maintain a ‘cool’ image that most ‘family’ entertainers can only dream of. Family-friendly pop these days is an insipid creature. Oafish, overblown and often simpering, it is almost entirely the opposite of the Williams brand of suave understated cool.

Essentially a pop crooner rather than a jazz crooner, Andy Williams possessed some of the best pipes in the business, with which he created an instantly recognisable sound. While most of his counterparts operated comfortably in the baritone range, Williams often travelled into soaring top-tenor high notes and did so without any distinct effort or change in tone. He maintained the same tonal stability irrespective of the volume or pace he was singing at, which is unusual to say the least.

He was a consummate professional, with an easy, self-effacing charm that made him a perfect variety TV host and ensured that his show was one of the most enduring in American TV history. He was a brilliant group singer, with his skills honed in his early days performing with his brothers backing Bing Crosby, among others. His ensemble skills and vocal versatility enabled some outstanding duets on his shows not just with other crooners but also with the likes of Simon and Garfunkel.

He was also clever with his choice of material. He sang many American songbook classics, but his signature tunes went well beyond the usual canon and consequently set him apart. Among his most notable were ‘Can’t Get Used To Losing You’, ‘Music To Watch Girls By’, ‘Almost There’ and of course his Henry Mancini classics ‘Days Of Wine And Roses’ and ‘Moon River’. It is impossible to separate those tunes from him, which is testament to his skill and his song savvy.

For many people Andy Williams was ‘Mr Christmas’, renowned for his homely TV holiday specials. For others he was the wholesome All-American Dream, from a perceived golden age. For a younger generation he was a humorous father figure of suave ’60s easy listening cool. Whatever the take, his unique styling is unlikely to be seen again.

For my part I will be channeling some of that style but in my own idiom in December when some of his Christmas classicssuch as ‘It’s The Most Wonderful Time Of The Year’ surface in our Christmas cabaret. I will drink heartily to him then, though I’m not sure he would approve, entirely.

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Those boots were made for walking, and that's just what they did...

The ever-growing team at 20th Century Foxes had a fabulous evening on Friday, bringing the house down at Chapel Arts in Bath with an upbeat, fast-paced evening of vintage Vegas cabaret.

Hosted by Gavin Lazarus, the show opened with ‘Music to Watch Girls By’, with four vocalists delivering the song, flanked by a couple of dancers and a storming seven-piece band, who were absolutely on fire from start to finish.

This early ’60s groove set the scene for a fabulous and flamboyant night of the sounds of Sunset Strip as the Rat Pack knew it – long before Elvis donned his catsuits and things got a bit too spandex. These were the heady days when Vegas was cool; when Sinatra & Co shot Ocean’s Eleven at the Sands and the likes of Dean Martin and Marilyn Monroe could be found propping up its bar.

Never mind Ocean’s Eleven – it was Foxes’ Eleven that whisked you straight there on Friday. The band struck up Alan Jay Lerner’s ‘Come Back to Me’ (the Robert Goulet version delivered by the polished vocals of host Gavin Lazarus, who then closed the show a couple of hours later with Sammy Davis Jr‘s racy version of the same number, given the full MGM treatment).

Among the many vocal impressions was a great Audrey Hepburn moment from Natalie Farmer

In between these two tasty slices was sandwiched a lush, fast-paced, two-and-a-half hour show oozing with joie de vivre, in which the band had as much to do with the banter as the frontmen. Unlike other cabarets, which wheel different acts on and off, this one flows together courtesy of a cohesive team of what looks like a knockabout bunch of very talented friends.

Highlights included Gavin’s rapid-fire rendition of vintage comedy classic ‘He’s His Own Grandpa’ (which only the bravest performers would attempt), backed by Natalie Farmer on piano. Equally entertaining was Natalie’s Holly Golightly impression in the vocal slot, accompanied by a puppet cat; the other vocal impressions (including Nat King Cole and Dean Martin & Jerry Lewis) were pure genius. Tanya Rich delivered a standout rendition of ‘Old Cape Cod’ – better than the original and an evocative counterpoint to the tail-feather-shaking numbers that surrounded it; while Tristan Darby fronted a wonderfully happy take on Louis Prima’s ‘Just a Gigolo / I Ain’t Got Nobody’.

Foxes' fur flies as the boys debate whether it's really 'Gavin's Song'

There was a spoof sponsor slot sketch, the shed-fixated saxophonist sharing his musings, and the fabulous Alfie Pugh looking the part as he pounded the shiny grand piano for over two hours. There was dancing, there were kinky boots made for walking, there was a lovely little song called ‘Skin’ which paid tribute to unsung body parts in general.

It was a brilliant night for all involved, with plenty of laughter, dancing, and singalongs. The Foxes were on fine form, and we can’t wait for the next show – a Christmas retrofestive – on Saturday 1 December.

Viva Las Vegas!

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VIDEO from the show: click here

NEXT SHOW: Festive Foxes – Saturday 1 December 2012 @ Chapel Arts, Bath

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Elvis: legacy lives on

Exactly 35 years since he left a huge Elvis-shaped hole in the world, the king of rock n’ roll still exerts his influence over musicians. I am no exception – indeed, during this strange summer of ever-changing weather, my covers of some of his early Sun records has been the only reliable and consistent sun in my life! 

Millions love the jumpsuited Vegas Elvis, or the black leather prowling ‘comeback special’ Elvis or perhaps ‘gold spandex’ Elvis. My favourite is his earliest incarnation, forging that fabulous partnership with Scotty Moore.

But what made him so special? Leaving aside his vocal and musical ability which on their own will never ensure success, his most obvious defining quality was the stadium-sized charisma that accompanied him like a ahem, ‘hound dog’. 

You can’t teach charisma and you can’t fake it either. You can develop it if you already possess it, but no amount of time and money can make anything other than fool’s gold out of an average performer. There is no formula to charisma, which is what makes it so engaging.

Most enduring performers have it to varying degrees and it can come in all shapes and sizes, from the understated Rowan Atkinson to the full-blown Freddie Mercury. It commands attention and retains interest; and Elvis had enough of it to make most of his largely average movies not only watchable but often enjoyable.

So charisma made him a beloved performer, but it was his originality that sealed his musical legacy. Of course Elvis did not invent rock n’ roll. Jazz, blues, boogie woogie and R&B artists had been developing it for years (notably the brilliant Louis Jordan).

Elvis wasn’t even the first white artist to get hold of the genre, but he was just about the first to imbue it with the soul of its black originators. To this he added a hunk o’ hunk o’ hunk o’ country, a strain of gospel and – crucially – some pop sensibilities courtesy of one of his vocal heroes, Dean Martin.

I don’t think he did all that deliberately. I believe he was simply having a stab at a whole heap of music that he liked that crossed genres and race divides and instinctively created a sound that totally changed the course of popular music.

So here’s to you Elvis and thanks for bringing Sun to the world.

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Step out of the 21st Century and straight to Sunset Strip as the Rat Pack knew it. This evening of lively musical cabaret whisks you smoothly back to those halcyon Vegas days via the strains of our swinging house band and talented team of singers and dancers.

The flamboyant Foxes roll out a marvellous menu of ’50s and ’60s tunes from Las Vegas’ heyday. Expect plenty of surprises and laughs as classic Rat Pack banter is given a uniquely British twist.

Get your tickets at The Chapel Arts or The Bath Box Office

Also making an appearance are Bristol’s Flaming Feathers showgirls, bringing their slick Vegas razzle-dazzle to the stage.

Dress to impress and enjoy a night of bon viveur, can’t-sit-down-dancing, showgirls, cocktails, theatrics and the finest team of harmonious crooners you’ll find anywhere. It’s showtime on Sunset Strip!

What the punters say:

- “I’ve waited 30 years to see a show like this”

- “A memorable night out”

- “Awesome!”

This evening is brought to you by Gavin Lazarus Music in proud association with The Bath Vintage & Antiques Market

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Pretty much every muso – and many others besides – know the well-worn story of a determined young band manager hawking his raw Liverpudlian group to London’s music moguls, only to receive a main course of rejection to go with the starter of derision and side order of scorn (“Guitar bands are over,” said Decca at the time) that initially greeted the greatest and most popular rock band in musical history.

This week marks the 50th anniversary of the Beatles’ last-ditch reprieve, courtesy of EMI’s specialist Parlophone label, which saw George Martin take a punt on the band which frankly even he thought were pretty average.

The Beatles got lucky in 1962. "Every day, record labels pass over or reject talented and original artists."

George Martin was at that time himself a fringe player in the pop fraternity, trying in vain to rival his EMI stablemate Norrie Paramour (of the Columbia label) who was scoring hits left, right and centre, notably with Cliff Richard and the Shadows.

Sure, Martin had enjoyed top 10 hits with superb crooner Matt Monroe and briefly with Jim Dale (later of Carry On and Broadway fame) but most of his successful work had been in making comedy records with such greats as The Goons, Peter Sellers, Rolf Harris, Flanders & Swan and Charlie Drake. Even George Martin did not foresee the tidal wave that would be created by his new ‘unfashionable’ guitar band.

Of course his lack of rock credentials was, I think, a vital ingredient in The Beatles’ sound. They all just made it up as they went along, and the result was the fresh, brash, inspiring new sound that revolutionised and revitalised music in much the same way that rock n’ roll had done in the ’50s – and to an extent that still resounds today.

There are so many great studio stories from the early recording sessions of 1962. A disgruntled Ringo Starr fighting to be accepted by Martin as a good enough drummer for their recordings; the lacklustre rendition of ‘How Do You Do It’, replete with John’s ironic ‘Oooh la la’s; and my favourite – the moment that Martin realised his larking proteges were actually capable of writing solid-gold chart toppers, when they rollocked their way through the still-brilliant ‘Please Please Me’.

“We have X-Factor and a raft of identical shows, which produce exactly the same calibre of music and artist. The Beatles changed all that back then. The question is who can save us now?”

Ultimately, The Beatles’ influence is undisputed; the high water mark of their wonderfully eclectic output probably being the Rubber Soul/Revolver period, which has coloured the sound of just about every proper guitar band since.

Has the music industry changed significantly from that day in May 1962, when a head studio producer took a punt on a charismatic band of no obvious promise?

Well yes. In many ways the industry is unrecognisable from the burgeoning, makeshift, ‘let’s do the show right here’ world of 1962, but one thing remains the same. Every day, decision makers at record labels both large and small pass over or reject talented artists desperate to record and promote their music to a wider audience.

As in 1962, provincial acts outside London still struggle to be heard, and scores of highly original and hugely talented artists go to seed in every town, while the airwaves are saturated with hackneyed dross contrived by producers and promoters who cannot sing a note, never mind write one.

The sad truth is that most demos submitted to record labels or agents or radio producers are unceremoniously binned. The lucky ones get a 20-second airing. Ultimately your success is down to who you know, how fashionable your sound is and – crucially – how much money your pluggers (if you’re well-connected enough to have such things) are prepared to bung at it. These factors alone dictate how successful your overtures to the mighty music moguls are.

Of course that’s another thing that remains unaltered; the big producers know as little now as they did then. Simon Cowell is no better at spotting musical talent than my dad (who is admittedly not bad…) and like most producers now and in early 1962, he makes safe, unremarkable, ‘dot-to-dot’ hits which both ape and sustain vacuous musical trends.

Before The Beatles, pop music was in the post-Presley hangover of watered-down rock n’ roll. Presley had been drafted and then sidetracked by Hollywood, Buddy Holly and Eddie Cochran had died, Jerry Lee Lewis and Chuck Berry were both banged up, and Little Richard became a preacher! Meanwhile the music industry quietly tamed the music and served up a lukewarm alternative, where the producer was king and the artist was an unimportant transitory puppet.

And today? We have X-Factor and a raft of identical shows, which produce exactly the same calibre of music and artist. The Beatles changed all that back then. The question is: who can save us now?

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Resident vocalists Gavin Lazarus and Tristan Darby swing the 20th Century Foxes vintage cabaret

Right then – whip out those diaries and start circling now, Foxes fans, because we have now confirmed the dates for the next SIX Foxes cabaret shows at Chapel Arts, Bath.

Those of you who have already sat at those little round shiny cabaret tables will know that this is a big (and getting bigger), live (and getting livelier) and lush vintage-style musical extravaganza, the likes of which haven’t been seen in these parts for decades.

The show draws on the knockabout razzle-dazzle of the Rat Pack era, but delivers straight into 21st century Britain with its all-English banter and patter, delivered via the effervescent chemistry of its four vocalists and their groovy-looking, slick-sounding band.

Well, that’s what the cabaret is about – but each show is completely different, so here’s a list of dates to frock up, come down and enjoy yourself, many times and oft.

FRI 7 SEPTEMBER, 2012 – Foxes at The Sands 
A humdinger of a show that channels vintage Vegas – more details soon!

SAT 1 DECEMBER, 2012 – The Christmas Show!
A croon-fest of vintage festive favourites to get you feeling all warm and twinkly

SAT 16 MARCH, 2013 – The Spring Swing Thing
Banish the winter blues with a glorious pre-Easter parade of music to lift the soul and move the feet

SAT 15 JUNE, 2013 – Latin fever
Sizzle into summer with a roundup of salsa-friendly vintage cabaret numbers

SAT 14 SEPT, 2013 – details to be confirmed
Watch this space while we cook up an autumn extravaganza

SAT 14 DECEMBER, 2013 – The 2013 Christmas Show
Details to follow

All the above dates are booked to take place at Chapel Arts, Southgate, Bath.
More details will be released when tickets go on sale.

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The fabulous Foxes foursome: vocalists Tanya, Gavin, Natalie & Tristan

Gavin Lazarus Music’s 20th Century Foxes Cabaret performed on Good Friday to a packed Chapel Arts Centre. Gavin and his three co-vocalists, Tristan Darby, Natalie Farmer and Tanya Rich, were joined by showgirls from Bristol’s the Flaming Feathers dance troupe, along with the fine six-piece band that produce that rich, lush, big-band wall of sound.

The theme of the evening was ‘at the Movies’, showcasing a playlist of over 30 mid-century favourites from stage and screen. Wearing their Oscar-winning best, the team performed songs from the likes of Easter Parade, South Pacific, Guys and Dolls, Oliver!, Cabaret, My Fair Lady, The Jungle Book and more.

The show opened with the four vocalists gathering for a harmonious a capella version of ‘Something’s Coming’ from West Side Story, swiftly followed by the band kicking in with a blazing  instrumental – the theme from The Pink Panther.

Following this great start, highlights (for this spectator at least) included Gavin and bassist Duncan Kingston duetting on an intimate and upbeat arrangement of ‘Reviewing the Situation’ from Oliver! that had the audience smiling and clapping along. Then, on a much more razzle-dazzle note, there was ‘All That Jazz’ from Chicago, led by vocalist Tanya flanked by two fishnet-clad showgirls.

Tanya and the showgirls dazzle us with All That Jazz

Gavin’s interpretations of ‘Stranger in Paradise’ (Kismet) and ‘Pure Imagination’ (Willy Wonka) brought the hairs on the backs of necks standing to attention, while resident balladeer Tristan gave some welly to Matt Munro’s ‘Born Free’ and ‘The Shadow of Your Smile’ (The Sandpiper).

The second half opened with Gavin’s acoustic version of ‘On Days Like These’ from The Italian Job, accompanied only by his guitar, before an upbeat duet with Tristan, ‘Don’t Rain on My Parade’ (Funny Girl) led into a medley of Western musical favourites with Natalie, Tanya and Gavin sharing vocals. ‘The Deadwood Stage’ and ‘The Black Hills of Dakota’ (Calamity Jane), ‘I Talk To The Trees’ (Paint Your Wagon) and ‘Spring, Spring, Spring’ (Seven Brides for Seven Brothers) got the audience humming happily along.

The Flaming Feathers girls returned for a storming full-band rendition of ‘Mame’, with a specially-prepared dance routine featuring plenty of high kicks and glitz.

Then My Fair Lady fans were in for a treat with a trio of favourite numbers from the famous Audrey Hepburn film. By the time Natalie returned to stage for ‘Get Happy’ (Judy Garland’s Summer Stock highlight), feet were itching to dance, and by the time the show closed with some much-loved jump-jive numbers from The Jungle Book, there were plenty of folk dancing with joyful abandon.

We’ve had some great feedback, with one audience member saying ‘I’ve waited 30 years to see a show like this’ and another booking the cabaret for their Jubilee celebrations.

Meanwhile, there are some positive changes afoot for 20th Century Foxes cabaret, and we’ll be working hard over the next few months to tighten up a few bits and bobs and expand its dazzling vintage repertoire. So watch this space for upcoming performance dates!

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Guest stars The Flaming Feathers appear at 20th Century Foxes cabaret on Good Friday

With so much going on, the Spring Cabaret has come upon us very quickly, but we’re just about set to raise the curtain on what we hope will be our best cabaret yet. Tomorrow night!

There’s been much chewing of fingernails and pacing of rooms here at Chez Lazarus, as we pull together the vast to-do list against the impending deadline. There’s a lot to think about. But between us all we’re slowly ticking off like vocal rehearsals, equipment hire, Tweeting, press releases, liasing with showgirls (the fun part), finalising and printing the set lists, staging, scripting and lighting, thinking up table decorations, setting a quiz, and all sort of other little challenges.

We’re almost there. So tomorrow night we will be rolling out the red carpet for a cabaret that whisks you out of the 21st Century and off to the golden era of Hollywood, as 20th Century Foxes Cabaret rolls out a menu of favourites from stage and screen, with special guest appearance by showgirl favourites the Flaming Feathers.

Expect treats from the likes of Chicago, Easter Parade, South Pacific, Paint Your Wagon, Oliver!, My Fair Lady, The Jungle Book, High Society and more… with plenty of surprises in store and some beautiful harmony arrangements.

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Bath in Fashion Vintage & Antiques market, via Vixen's Home Front blog

On Thursday night, the Trio opened the event, performing on a temporary stage on the city’s fashion strip, Milsom Street, gathering crowds of evening shoppers as they flitted between boutiques.

Then, on Sunday, the Trio played to browsers at Bath’s regular Vintage & Antiques Market, which drew record numbers of vintage fashion fiends from far and wide to a treasure trove of stalls bursting with antique outfits, accessories, homewares and even the odd vintage car.

Vintage blogger Vixen’s Home Front gave a rave review of the market (along with some fabulous photos) and of the Gavin Lazarus Trio, saying:

“The band was fantastic. It was so atmospheric while strolling through the stalls but I really wanted to burst into dance in front of everyone. The singer, Gavin Lazarus, has a site here where you can listen to his dreamy voice.”

The Gavin Lazarus Trio at Bath in Fashion's VIntage Fashion Fair. Photo: Steve Cox

The Gavin Lazarus Music team had a fabulous day out at the markets, with numerous assorted offspring in tow inspecting the many curios around the market.

We’ll post some audio clips from that gig here very soon (the acoustics under that soaring glass roof are a bit special). Meanwhile do check out the Vixen’s Home Front review for yourself, right here.

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