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Unreleased & Rare Petula Recordings

A curated archival overview of recordings that remain officially unreleased, partially issued, withdrawn, or otherwise inaccessible to the public.

Across a career that spans continents, genres, languages, and decades, Petula has recorded far more than the world has ever officially heard. Studio demos, rehearsal tapes, withdrawn singles, private workshop recordings, concert captures, advertising commissions, and developmental material for stage musicals, all of these form a parallel history running alongside her celebrated catalogue.

Much of this work was never intended for commercial release. Some pieces were stepping stones in the creation of larger projects. Others were recorded for reference, for workshops, for collaborators, or for moments that passed too quickly to be preserved publicly. Yet each one offers a glimpse into Petula's artistry at its most intimate.

This A-Z series brings together these lesser-known recordings in a structured, archival format, not to suggest ownership or circulation, but to document their existence, context, and significance. Each week, a new letter will explore a curated selection of unreleased or rarely heard material, drawing on production notes, historical references, and the creative partnerships that shaped them.

The aim is simple: to celebrate the depth of Petula's creative life, to honour the collaborators who worked alongside her, and to shine a light on the extraordinary body of work that remains outside the official discography.

Whether you're a long-time collector, a musical-theatre devotee, or simply someone who loves discovering hidden corners of Petula's legacy, this series offers a guided journey through the recordings that tell the fuller story, the story behind the story.

And so, with great pleasure, we begin at the beginning:

A is for...

A Sign of the Times
Writers: Tony Hatch / Jackie Trent
Recording: Live at the Copacabana, New York
Date: October 1966
Duration: 02:52

A vibrant, previously unheard performance captured during Petula's two-week Copacabana engagement. Four complete shows were recorded for reference, and only one commercially issued. This particular take of A Sign of the Times is one of the standout moments: crisp, confident, and delivered with the electric polish of her peak American period. A rare surviving document of a legendary nightclub run.

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All That Matters to Me
Writers: Petula Clark / Dee Shipman
Recording: Studio demo
Date: Written 2012; recorded 2014
Duration: 01:56

Composed for J'Accuse…! The Passions of Emile Zola, this emotionally charged piece showcases a commanding lead vocal by Dave Willetts. Recorded in 2014, the song reflects the mature, dramatic writing partnership between Petula and Dee Shipman during their later creative period. Despite its significance within the Zola material, the track remains unreleased.

This entry is included to recognise Petula's authorship and to ensure the song's place within the broader record of her compositional work, even though the recording itself features another performer.

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All Through the Years
Writers: Petula Clark / Dee Shipman
Recording: Rehearsal tapes, writing tapes, and pit recordings
Date: 1989
Duration: Various

A key showstopper from the developmental period of Someone Like You, All Through the Years exists in multiple forms. Surviving materials include early writing‑session tapes, rehearsal recordings, and a version performed by Kenny Clayton during 1989 rehearsals (it was then called The Preacher's Wife). Additional pit recordings captured by Kenny document the song's development as the musical moved toward its first staging. None of these recordings have been commercially released, making this one of the most intriguing archival pieces from the show's creation.

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Amen
Writers: Petula Clark / Dee Shipman / Kenny Clayton

Amen (Early Rehearsal Draft)
Recording: Private rehearsal
Date: 1985
Duration: 06:05

A fascinating glimpse into the earliest shaping of Amen, featuring Petula working through the song with Kenny Clayton at the piano while lyricist Dee Shipman offers guidance. Raw, exploratory, and historically important for understanding the birth of Someone Like You.

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Amen (Redwood Studios Session)
Recording: Redwood Studios, London
Date: 1985
Duration: 05:54

A full-ensemble studio run-through capturing the song as it began to take its theatrical form. This session reflects the musical's development and Petula's increasingly assured vocal interpretation.

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Amen (Chichester Festival Theatre Tryout)
Recording: Live in concert
Date: 1986
Duration: 07:18

Performed publicly for the first time during Petula's Chichester concert, this rendition is notable for the audience's enthusiastic response. The tape reveals that Amen was so warmly received that Petula encored it on the spot. One of only two Someone Like You songs previewed that evening, making it a key milestone in the musical's development.

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Amen II
Writers: Petula Clark / Dee Shipman
Recording: Redwood Studios, London
Date: 1985
Duration: 06:05

A companion piece to the primary Amen demo, recorded during the same Redwood sessions. This version explores alternate structural ideas and vocal phrasing, offering insight into the creative experimentation behind the score.

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Amen, Which One Is Really Me?
Writers: Petula Clark / Dee Shipman
Full Studio Demo (Snake Ranch Studios)
Recording: Snake Ranch Studios, London
Date: December 1985
Duration: 04:16

A complete ensemble demo featuring Petula alongside Steve Barton, Marjorie Barnes, and Paul Jones. This polished recording captures the dramatic interplay of the characters and represents one of the most fully realised demos from the Someone Like You workshop period.

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Anger
Writers: Petula Clark / Dee Shipman
Recording: Demo recording
Date: 1989
Duration: 03:50

Written for Dave Willetts' solo album On and Off Stage (Silva Screen, 1990), Anger was demoed in 1989 but ultimately not included on the final release. The song explores the emotional volatility of its title subject, crafted specifically to showcase Willetts' ability to shift between his "big" and "little" vocal registers. The arrangement for the demo was created by Kenny Clayton.

Lyricist Dee Shipman later reflected on the inspiration behind the piece, recalling a childhood poem about not spoiling the world with anger and a moment of clarity from her young god-daughter, Chiara, who observed: "I don't think that the world is a bad place. I think it's a beautiful place. It's just that some people don't know how to behave properly." This simple but poignant insight became the emotional core of the lyric.

This entry is included to recognise Petula's authorship and to ensure the song's place within the broader record of her compositional work, even though the recording itself features another performer.

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An Ordinary Man
Writers: Petula Clark / Dee Shipman
Recording: Studio demo
Date: Written 2012; recorded 2014
Duration: 04:40

An evocative later collaboration between Petula and Dee Shipman, performed by West End star Dave Willetts. The introduction features Willetts as "Zola" and Jacinta Mulcahy as "Sandrine," setting the dramatic tone before Willetts' stirring lead vocal. Accompanied by Greg Arrowsmith on piano, this recording forms part of the developmental material for the musical Zola.

This entry is included to recognise Petula's authorship and to ensure the song's place within the broader record of her compositional work, even though the recording itself features another performer.

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Another Major Tragedy
Writer: Wine
Recording: Studio
Date: 1975
Duration: 03:28

A long-rumoured mid-70s track that briefly surfaced in 2023 as a digital release as part of the Blue Lady album which was placed on digital platforms before being withdrawn within hours. Although technically "released," its near-instant removal meant only a tiny handful of listeners ever accessed it. For all practical and archival purposes, it remains an unreleased rarity.

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Avon Christmas Feelings
Writers: Greenaway / Reginald
Recording: Promotional recording for Avon Cosmetics
Date: 1982
Duration: 02:34

Recorded as part of Avon's UK Christmas campaign, this festive track was paired with a promotional film featuring Petula performing against the Avon logo. Despite its professional production, the song was never commercially issued, making it a charming and little-known seasonal curio. You can watch the promotional video that includes the song here>>

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B is for...

Beat Out Dat Rhythm On the Drum
Writers: Oscar Hammerstein II / Georges Bizet / Ludovic Halévy / Henri Meilhac 
Recording: Live at the Royal Albert Hall, London 
Date: 1983 
Duration: 04:05

Captured during Petula's 1983 Royal Albert Hall concert, this dynamic performance of a song from the musical Carmen Jones was one of eight selections omitted from the original MFP album release. The recording showcases Petula's flair for theatrical material and her ability to reinterpret classic repertoire. Its inclusion here acknowledges its place among the unreleased highlights of that celebrated concert.

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C is for...

Colour My World (English-language version)
Writers: Tony Hatch / Jackie Trent 
Recording: Studio 
Date: 2000 
Duration: 05:05

A newly recorded interpretation of the 1960s classic, this 2000 version reflects a contemporary production style while preserving the song's melodic charm. It stands as a rare example of Petula revisiting her signature hits in a modern studio setting, yet it remains unreleased.

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Colour My World (French-language version)
Writers: Tony Hatch / Jackie Trent / Petula Clark 
Recording: Studio 
Date: 2000 
Duration: 05:01

Reimagined in French for a fresh 2000 arrangement, this version features lyrics personally adapted by Petula, earning her a co-writing credit. The performance offers a sophisticated, continental reinterpretation of one of her most enduring songs. Although professionally produced, it has never been commercially issued.

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D is for...

Dear Hearts
Writers: Sammy Fain / Bob Hilliard 
Recording: Live at the Copacabana, New York 
Date: October 1966 
Duration: 03:17

Recorded during Petula's two-week Copacabana engagement, this performance is one of four complete shows captured for reference but never released. Dear Hearts highlights the warmth and intimacy of her nightclub repertoire during a pivotal moment in her American career.

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December Morn
Writers: Richard Carpenter / Frank Oland 
Recording: Capitol Studios, Los Angeles 
Date: 2002

Recorded at the legendary Capitol Studios, this session features Richard Carpenter as pianist, writer, arranger, and producer. The track reflects the elegant, polished sound characteristic of Carpenter's collaborations. Its inclusion here recognises Petula's role as performer within this unreleased studio project.

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Don't Give Up / Tomorrow / Look for the Silver Lining
Writers: Hatch / Trent / Strouse / Charnin / Kern / DeSylva 
Recording: Live at the Royal Albert Hall, London 
Date: 1983 
Duration: 07:50

This medley, performed during the 1983 Royal Albert Hall concert, was among the selections not included on the original MFP album. It brings together material from contemporary musical theatre and classic songwriters, reflecting Petula's ability to link contrasting pieces into a single, coherent performance.

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Downtown
Writer: Tony Hatch 
Recording: Live at the Copacabana, New York 
Date: October 1966 
Duration: 03:40

A rare live nightclub performance of Petula's signature hit, recorded during her Copacabana residency. Although several shows were recorded for reference, only one night has been commercially released. These unpublished rendition captures the immediacy and charisma of her mid-60s stage presence.

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Drive On, Strive On
Writer: Petula Clark 
Recording: Studio 
Date: 1977 
Duration: 03:26

Written and composed by Petula, this 1977 recording features an unused lyric originally intended for A Carousel but ultimately set aside. Its inclusion acknowledges Petula's authorship and preserves the song's place within her broader body of compositional work.

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Driven by Emotion (Original demo)
Writer: Petula Clark 
Recording: Demo 
Date: January 2005 
Duration: 04:45

An original demo recorded in New York under the production of Joseph Baker. The track reflects Petula's continued songwriting activity into the 2000s and her willingness to explore contemporary musical textures. As with other entries, its presence here recognises her authorship and documents its place within her creative output.

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E is for...

Edelweiss
Writers: Richard Rodgers / Oscar Hammerstein II
Recording: Live at the Royal Albert Hall, London
Date: 1983
Duration: 04:08

Performed during Petula's 1983 Royal Albert Hall concert, this gentle rendition was one of eight selections not included on the original MFP album release. Its listing here documents the song's place within the full programme of that concert.

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Elton John Medley
Writers: Elton John / Bernie Taupin / John Osborne
Recording: Live at the Royal Albert Hall, London
Date: 1983
Duration: 07:26

Another of the unreleased items from the 1983 Royal Albert Hall performance, this medley brings together several Elton John titles arranged for Petula's concert set. Its inclusion acknowledges its presence in the original running order, despite its omission from the commercial album.

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Empty Spaces / Green Hill, West Virginia / Empty Spaces
Writers: Petula Clark / Dee Shipman
Recording: Snake Ranch Studios, London
Date: 1985
Duration: 06:42

A full studio demo recorded in 1985 for Petula and Dee Shipman's stage musical Someone Like You. The session features Petula alongside Paul Jones (of Manfred Mann) and Marjorie Barnes, a noted jazz and Broadway vocalist. Developed as part of the show's early workshop material, the piece reflects the musical's evolving structure during this period. Its inclusion here recognises Petula's authorship and documents the song's place within the wider creative development of the project.

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F is for...

Feu De Paille
Writers: Gérald / Payton / Coats
Recording: Studio
Date: 1960s (Chante album era)
Duration: 03:19

An alternate recording of Ce Matin-Là from the Chante album sessions, featuring revised French lyrics and a subtly reshaped vocal line. This version offers a fascinating glimpse into the parallel material prepared during Petula's French-language period, preserved here as part of the broader record of her studio work.

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Flight
Writer: Craig Carnelia
Recording: Studio demo, New York
Date: 1994
Duration: 05:05

Recorded as part of Petula's 1994 "New York Sessions," this demo was produced by Joseph Baker and stands as one of twelve tracks laid down during that creative period. Petula's interpretation brings a theatrical clarity to Carnelia's writing, making this an especially compelling entry among her unreleased 1990s material. Read our full length feature on these sessions here>>

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For All We Know
Writers: Karlin / Wilson / Griffin
Recording: Live at the Royal Albert Hall, London
Date: February 6, 1983
Duration: 02:27

A poignant and deeply felt performance delivered as a tribute to Karen Carpenter, who had passed away just two days earlier. Recorded during Petula's 1983 Royal Albert Hall concert, this moving rendition is one of eight selections not included on the original MFP album release. Its presence here acknowledges both its emotional significance and its place within the surviving concert material.

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G is for...

Games People Play
Writer: South
Recording: Live at the Royal Albert Hall, London
Date: 1969

Recorded during Petula’s 1969 Royal Albert Hall concert, this performance is one of fifteen selections not included on the original 1972 PYE album release. Its presence here acknowledges the breadth of material captured during that landmark show and preserves the song’s place within the surviving concert archive.

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Green Hills of Old England
Writers: Petula Clark / Dee Shipman
Recording: Writing tape
Date: 1985

Captured in 1985, this earliest surviving writing tape features Petula at the piano developing the melody for a song written for the stage musical Someone Like You. No vocal was recorded at this stage. The tape offers a rare glimpse into the earliest structural shaping of the score.

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Green Hills of Old England
Writers: Petula Clark / Dee Shipman
Recording: Writing session
Date: 1985

Recorded during an early 1985 writing session, this tape captures Petula at the piano with Dee Shipman beside her. At this point only the melody had been completed, and the two collaborators worked through the song organically in real time. Written for Someone Like You, it stands as a valuable document of their creative process.

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Green Hill, West Virginia
Writers: Petula Clark / Dee Shipman
Recording: Snake Ranch Studios, London
Date: December 1985

A complete studio demo recorded at Snake Ranch Studios, featuring Petula in one of the most fully realised early versions of the song. Developed during the workshop period for Someone Like You, this recording reflects the evolving dramatic shape of the score.

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Green Hills of Old England
Writers: Petula Clark / Dee Shipman
Recording: Live at the Chichester Festival Theatre
Date: 1986

Performed live for the first time during Petula’s 1986 Chichester concert, this full-band tryout marked one of only two Someone Like You songs previewed that evening. The recording documents the moment the song transitioned from workshop material to public performance.

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Guess You Got a Lot to Learn
Writers: Petula Clark / Dee Shipman
Recording: Writing tape
Date: 1986

An early writing tape capturing Petula at the piano as she shapes the melody and first draft lyric for a song written for the stage musical Someone Like You. This recording provides an intimate look at the song’s earliest development during the later stages of the writing period.

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Guess You Got a Lot to Learn
Writers: Petula Clark / Dee Shipman
Recording: Studio demo, PRT Studios (formerly PYE), London
Date: 1986

A complete studio demo featuring Petula, Marjorie Barnes, and an unidentified child vocalist. Written for Someone Like You, the song was ultimately not included in the final staging of the musical. Its inclusion here preserves its place within the broader creative record of the score.

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H is for...

Here We Are
Writers: Petula Clark / Dee Shipman
Recording: Redwood Studios, London
Date: 1985
Duration: 03:50

Recorded at Redwood Studios in 1985, this early demo features Petula performing the song as a solo vocal. Written for the stage musical Someone Like You, the piece later evolved significantly: by the time the show premiered in 1989, Here We Are had become a duet between Abigail (Petula’s character) and her son Andy, sung as they arrive in Green Hill, West Virginia. This recording preserves the song’s original form before its dramatic expansion.

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How Are Things in Glocca Morra?
Writers: Lane / Harburg
Recording: Live at the Royal Albert Hall, London
Date: 1969
Duration: 03:15

Captured during Petula’s 1969 Royal Albert Hall concert, this performance is one of fifteen selections not included on the original 1972 PYE album release. Its inclusion here acknowledges the breadth of material recorded that evening and preserves the song’s place within the surviving concert archive.

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How Are Things in Glocca Morra?
Writers: Lane / Harburg
Recording: Live at the Royal Albert Hall, London
Date: 1983
Duration: 02:34

Recorded during Petula’s 1983 Royal Albert Hall concert, this rendition is one of eight selections omitted from the original MFP album release. The performance highlights Petula’s affinity for classic musical-theatre repertoire and documents another unreleased moment from this celebrated concert.

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I is for ...

I Am The Best Song (You'll Ever Sing)
Writers: Napier‑Bell / Morales
Recording: Studio
Date: 1976
Duration: 04:03

Composed by Napier-Bell and Morales and recorded by Petula in 1976, this studio track features orchestral direction by Harold Wheeler. Although professionally arranged and fully produced, the recording remains unreleased, making it a notable rarity from Petula’s mid-70s output.

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I Am What You Need
Writers: Petula Clark / Dee Shipman

Instrumental Version
Recording: Studio
Date: 1984
Duration: 02:58

An instrumental recording featuring Petula on piano, created during the earliest developmental phase of Someone Like You. One of the first three melodies composed for the musical, this version offers a glimpse into the score’s initial shaping before lyrics were finalised.

Paul Jones Vocal Version
Recording: Redwood Studios, London
Date: 1985
Duration: 03:38

Recorded the following year at Redwood Studios, this demo features a vocal performance by Paul Jones. Developed as part of the musical’s workshop period, it represents one of the earliest fully realised vocal interpretations of the song.

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I Couldn't Live Without Your Love
Writers: Tony Hatch / Jackie Trent

Copacabana Performance
Recording: Live at the Copacabana, New York
Date: October 1966
Duration: 02:56

Captured during Petula’s two‑week Copacabana engagement, this performance is one of four complete shows recorded for reference but never released. A vibrant mid-60s nightclub rendition of one of her signature hits.

Royal Albert Hall Performance
Recording: Live at the Royal Albert Hall, London
Date: 1983
Duration: 03:06

Recorded during Petula’s 1983 Royal Albert Hall concert, this version is one of eight selections omitted from the original MFP album release. Its inclusion here preserves another unreleased moment from that celebrated performance.

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I Don’t Know How to Love Him
Writers: Andrew Lloyd Webber / Tim Rice
Recording: Live at the Royal Albert Hall, London
Date: 1983
Duration: 04:59

A powerful live interpretation from Petula’s 1983 Royal Albert Hall concert. This performance is one of eight selections not included on the original MFP album release, making it a significant unreleased highlight from the evening’s programme.

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I Know a Place
Writer: Tony Hatch

Copacabana Performance
Recording: Live at the Copacabana, New York
Date: October 1966
Duration: 02:38

Recorded during Petula’s Copacabana residency, this lively performance is one of four complete shows captured but never commercially issued. A rare document of her American nightclub era.

Royal Albert Hall Performance
Writers: Tony Hatch / Jackie Trent
Recording: Live at the Royal Albert Hall, London
Date: 1969
Duration: 02:56

Captured during Petula’s 1969 Royal Albert Hall concert, this rendition is one of fifteen selections omitted from the original 1972 PYE album release. Its inclusion here acknowledges its place within the surviving concert archive.

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I Know Him So Well
Writers: Rice / Andersson / Ulvaeus
Recording: Demo / guide vocal
Date: 2003
Duration: 04:14

A 2003 demo recorded as a duet with Melanie Stace, arranged by Kenny Clayton. This version is notable for its wealth of distinctive “Petulaisms”, ad-libs, hums, sighs, and subtle vocal inflections absent from the released Melanie Stace version (How Lucky). The demo stands as a uniquely characterful interpretation.

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I Need You
Writers: Williams / Visser / Nagshineh
Recording: Studio
Date: 2012
Duration: Unissued

Originating from the Lost In You sessions, this unreleased track was recorded in London and produced by John Williams. Its inclusion here documents another piece of material developed during the creation of the 2012 album.

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I Want to Hold Your Hand
Writers: Lennon / McCartney
Recording: Live at the Copacabana, New York
Date: October 1966
Duration: 03:07

A spirited Beatles cover performed during Petula’s two‑week Copacabana engagement. Four different evenings were recorded, all unpublished, making this rendition a rare glimpse into her 1966 nightclub repertoire.

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I’ll Be Here With You
Writer: Friedman
Recording: Demo, New York
Date: 1994
Duration: 04:24

Recorded as part of Petula’s 1994 “New York Sessions,” this Joseph Baker‑produced demo is one of twelve tracks laid down during that creative period. A tender, theatrical piece that showcases Petula’s expressive interpretive style.

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In This Life
Writers: Peiken / Burtnik
Recording: Demo, New York
Date: 1994
Duration: 04:14

Another entry from the 1994 “New York Sessions,” produced by Joseph Baker. Petula’s performance brings emotional clarity to this reflective ballad, preserved here as part of her unreleased 1990s studio work.

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It’s Raining (alternate vocal)
Writer: Rod McKuen
Recording: Solitude & Sunshine sessions
Date: 1970s
Duration: 03:39

An alternate vocal take from the Rod McKuen Solitude & Sunshine sessions. This version offers subtle interpretive differences that illuminate Petula’s approach to McKuen’s material.

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I’ve Been to Town
Writer: Rod McKuen
Recording: Solitude & Sunshine sessions
Date: 1970s
Duration: 03:08

Recorded during the same sessions, this unreleased track reflects the introspective tone characteristic of McKuen’s writing and Petula’s sensitive handling of his material.

This page constitutes a fan-curated, non-commercial historical reconstruction. It is provided for informational and educational purposes only and does not endorse, encourage, or facilitate the duplication, exchange, or distribution of unreleased Petula Clark recordings.

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J is for ...

Just Say Goodbye Copacabana, New York (1966)
Writers: Clark / Delanoe / Hatch
Recording: Live
Date: October 1966
Duration: 05:16

Recorded during Petula’s two week engagement at the Copacabana in New York. This performance is one of four previously unpublished recordings from the engagement and captures the intimate nightclub atmosphere of her mid-sixties American appearances.

Just Say Goodbye Royal Albert Hall (1969)
Writers: Clark / Delanoe / Hatch
Recording: Live
Date: 1969
Duration: 03:22

A live performance from Petula’s 1969 Royal Albert Hall concert. This version is one of fifteen previously unreleased selections that were left off the 1972 PYE concert album. It offers a more compact and focused interpretation of the song.

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L is for ...

La Lullaby from the unstaged musical J'Accuse ... The Passions of Emile Zola
Writers: Clark / Shipman
Recording: Studio
Date: Written 2012, recorded 2014
Duration: 02:56

Written by Petula and Dee Shipman in 2012 and recorded in 2014 by Dave Willetts. The track features Greg Arrowsmith on piano. Its gentle melody and reflective tone highlight the lyrical sensitivity of their later collaborative work.

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Las Vegas (in French)
Writers: Delanoe / Magenta / Clark
Recording: Live
Date: 1969
Duration: 03:10

A French language performance from Petula’s 1969 Royal Albert Hall concert. This recording is one of fifteen previously unreleased selections from the show and demonstrates her ease and fluency in performing French repertoire on an English concert stage.

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Lazy Afternoon
Writers: Moross / Touche
Recording: Live
Date: 1969
Duration: 02:47

Another unreleased performance from the 1969 Royal Albert Hall concert. Petula brings a quiet, atmospheric quality to this Broadway standard, creating a moment of stillness within the larger concert programme.

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Le Soleil Dans La Peau
Writers: Legrand / Shaper / Thibault
Recording: Studio
Date: 1971
Duration: 02:24

Recorded in 1971, this version presents an alternate lyric treatment of Je Roule. The revised text gives the song a slightly different emotional emphasis and shows the creative flexibility present in her early seventies French sessions.

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Le Train S’en Vont
Writers: Salvet / Carrère / Wilson / Christian
Recording: Studio
Date: 1964
Duration: 02:07

A 1964 recording offering an alternate lyric version of J’ai Pas Le Temps (also known as No Go Showboat). This adaptation provides a fresh angle on the original composition and reflects Petula’s expanding French catalogue during the period.

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Liberty from Someone Like You
Writers: Clark / Shipman
Recording: Studio demo, PRT Studios
Date: Mid 1980s
Duration: Not issued

A full studio demo recorded at PRT Studios in London. Lance Ellington, son of bandleader Ray Ellington, performs the role of Moonshine. The song was later incorporated into both touring and London productions of Someone Like You, eventually evolving into a duet between Moonshine and Andy.

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Look Where The Journey Led / Three Time Loser from the musical Someone Like You
Writers: Clark / Shipman
Recording: Full company studio demo, PRT Studios
Date: Mid 1980s

A complete studio demo featuring Petula on lead vocals. In the final stage production, Look Where The Journey Led was reshaped into a solo for The Major, while Three Time Loser was removed entirely. This recording preserves the songs as originally conceived.

Look Where The Journey Led, Studio Demo (1986) from the musical Someone Like You
Writers: Clark / Shipman
Recording: Studio
Date: 1986
Duration: 02:30

Recorded in 1986 with Petula on vocals and Kenny Clayton at the piano. This version presents the song in a clear, fully formed demo arrangement.

Look Where The Journey Led, Writing Session (1986) from the musical Someone Like You
Writers: Clark / Shipman
Recording: Writing session
Date: 1986
Duration: Various

Captured during a writing session in 1986. Petula and Kenny Clayton work through the melody at the piano, offering a rare glimpse into the song’s development before formal demo recording.

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Love For Life from the musical J'Accuse ... The Passions of Emile Zola
Writers: Clark / Shipman
Recording: Composite of multiple sessions
Date: 2011 to 2014
Duration: 06:05

A multi layered recording combining several elements. These include alternate spoken introductions recorded in 2014, alternate spoken voices for Sandrine and Jeanne recorded in 2014, additional piano work by Greg Arrowsmith recorded in 2014, and main vocals by Dave Willetts, Jill Martin and Meredith Braun recorded in 2011. The 2011 musicians were Paul Bateman on piano and Justin Pearson on cello.

In addition to this full studio version the following recordings of Love For Life also survive:

1988 Early Development Session
Type: Early developmental takes
Performers: Petula Clark (piano, vocals), Dee Shipman (lyric development)
Content:

Take 1: Structural shaping with Dee testing lyric placement
Take 2: Petula plays and sings the main lyric line
Take 3: Petula performs piano with a sung counter melody
Notes: Earliest surviving multi take development of the song. Raw and exploratory. Lyrics forming and structure fluid.
Source: DHStudios developmental recording
Condition: Ambient piano capture with light tape hiss
Context: Pre studio, pre workshop shaping of the song

1988 Multi Part Developmental Session (13 track session)
Type: Early sketches, lyric development, vocal shaping
Performers: Petula Clark (piano, vocals), Dee Shipman (lyric direction)
Content:

Lyric direction take with Dee guiding placement

Early vocal take (01:55)
Early lyric forming version (02:00)
Rerun full take (01:41)

Multiple full run throughs with tape directions (06:55)
Notes: Most extensive early development of Love for Life. Shows evolution across several iterations. Demonstrates Petula’s real time compospositional process.
Source: DHStudios developmental recording
Condition: Ambient piano and vocal capture
Context: Major developmental bridge between raw sketches and later structured demos

1989 Consolidated Working Materials
Type: Instrumental sketches and arrangement experiments
Performers: Petula Clark (piano)
Content:

Early piano sketch (no vocal) 04:20

Alternate piano sketch with counter melodies 03:27

Complete takes with counter melodies played separately 10:00
Notes: Purely instrumental shaping. Counter melody experiments show Petula testing arrangement ideas. Multiple full run throughs indicate significant structural attention.
Source: DHStudios developmental recording
Condition: Ambient piano capture with light room noise
Context: Represents the musical’s architecture as it stood in 1988 to 1989

1991 Full Score Demo Session
Date: 02 September 1991
Location: Methodist Church, Southgate
Type: Full score demo recording
Performers: Dave Willetts, Siobhan McCarthy, Jacinta Mulcahy, Clive Carter, Petula Clark
Included Titles: The Writer, Paris, Love For Life, Round and Round, It's Up To You, I Love You Ti Amo, The Writer Reprise

Love For Life, Content Summary: 
A complete full score demo performance featuring the principal 1991 workshop cast. This version presents Love For Life in its first fully staged vocal context, with ensemble shaping and dramatic placement aligned to the developing book. Vocal lines are fully realised, harmonies are set, and the dramatic intention of the number is clearly established.

Notes:

Earliest full cast realisation of Love For Life

Shows the song’s placement within the 1991 score sequence

Demonstrates the shift from DHStudios developmental shaping into formal workshop performance

Captured in a live acoustic environment typical of rehearsal room demo sessions

Source: 1991 rehearsal room full score demo
Condition: Clear live capture with natural room ambience
Context: Part of the 1991 workshop cycle refining dramatic structure and vocal arrangements

Overall Summary
Love for Life is one of the most heavily developed songs in the early Zola material. Across 1988 to 1991 it appears in structural sketches, lyric development takes, early vocal versions, repeated full run throughs, instrumental variants with counter melodies, and a full cast workshop demo. It shows Petula and Dee shaping melody, lyric placement, structure, and arrangement across numerous sessions, culminating in the 1991 ensemble performance that establishes the song’s dramatic identity within the score.

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Love Is All That Really Matters from the musical Someone Like You
Writers: Clark / Shipman
Recording: Full company studio demo, PRT Studios
Date: Mid 1980s

A fully developed studio demo featuring Petula, Steve Barton and Marjorie Barnes. Although completed in studio, the song was ultimately not included in the final stage production of Someone Like You.

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Love Is Forever
Writer: Rich
Recording: Studio demo
Date: 1994
Duration: 06:02

Produced by Joseph Baker and recorded in New York as part of Petula’s New York Sessions. One of twelve tracks from the series, it reflects the smooth, contemporary style she explored during the mid nineties.

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Love Is Here To Stay / Come Rain Or Come Shine
Writers: Gershwin / Gershwin / Arlen / Mercer
Recording: Live
Date: October 1966
Duration: 03:44

A live medley performed during Petula’s two week engagement at the Copacabana in New York. This recording is one of four previously unpublished selections from the engagement and showcases her elegant handling of classic American standards.

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Love Is On The Way
Writers: Hammond / Peiken
Recording: Studio demo
Date: 1994
Duration: 04:56

A demo produced by Joseph Baker and recorded in New York during the New York Sessions. The track has a polished, contemporary feel typical of the material from this period.

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Love Let Me Not Hunger
Writer: McKuen
Recording: Studio
Duration: 03:38

Recorded as part of Rod McKuen’s Solitude and Sunshine sessions. The song carries McKuen’s characteristic introspective tone, matched by Petula’s sensitive vocal approach.

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Coming next ... M is for...

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