OPPORTUNITY KNOCKED for musician Chris Morris

There is a saying that you make your own luck, I’ve found that to be true and this story underlines that. Throughout his life Chris Morris made the most of his opportunities and still is today. He still has a passion for music.

From the 70s to the early 90s Chris was playing in various line up’s of pop band Paper Lace. “However, in the new millennium I decided it was time to concentrate on writing and pursue a solo career. In 2020, I teamed up with fellow songwriter and singer Mark Aynsley Hay – together we have written over thirty new songs”.

Chris Morris & Mark Aynsley Hay

When growing up in Nottingham Chris’ only ambition was to be a musician and his mother fully supported him by buying him a guitar and encouraging him to enter into talent competitions, but his father had other ideas. Chris remembers him asking ‘when are you going to get a proper job?’

A young Chris focused on forming a three-piece band and worked the pubs and clubs around the Nottingham area. One of the first bands was ‘Infant’, the name reflected the fact that the members were so young.

His reputation as a guitarist and singer spread throughout the music industry and opportunities were presented that were too good to turn down. First, he was asked to play guitar and sing backing vocals for 60’s pop legend Billy Fury – then by 1973 he had joined Paper Lace. His mother’s enthusiasm and encouragement had paid off.

Paper Lace

The original line-up was Philip Wright on drums/lead vocals, Mick Vaughan on lead and rhythm guitar, Cliff Fish on bass and Chris Morris on guitar and vocals. In the 70s a few bands had drummers who were also lead vocalists and programmes like Top of the Pops positioned them at the front of the stage.

Their big break came when Paper Lace won TV talent show ‘Opportunity Knocks’ broadcast on ITV with regular audience figures of 7 million. The entertainment show was the forerunner of today’s X Factor and Britain’s Got Talent.

Based on their television success the band released ‘Billy Don’t Be A Hero’ in March 1974.The single spent three weeks at number 1 in the UK charts.

Chris recalls “I was 18 years old still very naive when Paper Lace had their first number one record in the charts. I’d never been on a tour bus never mind on an aeroplane and the band were booked for a six week tour of Australia – the plane journey seemed to take forever”.

“During the flight I had no concept of time and distance. Two members of the band seemed to be very worldly and connoisseur in cuisine compared to myself and bassist Cliff Fish. We were two boys who preferred our mothers home made Yorkshire pudding, meat, potato and two veg.”

“The inflight menu offered a choice between salad and curry and other dishes that I’d never heard of. I didn’t like lettuce and tomato so I asked the stewardess for the curry. The flight was long possibly 22 hours with one refuelling stop”.

“After dozing off all I remember is that every time I opened my eyes it seemed to be time for food again. I was very reluctant to try anything else on the menu so I just asked for curry again. I’m not exaggerating when I say that during that flight I must have had at least four curries”.

“We finally landed, were picked up at the airport in pop star style and taken to a luxurious hotel. A porter took our bags and we followed him in the elevator. That’s when nature took over”.

“I sneezed and the worst happened which needs no description. I’ll leave that to the imagination of the readers. Let’s just say it was an incident that would never be used by our publicity team”.

Chris & Phil Wright on Top of the Pops.

Following on from the success of ‘Billy Don’t Be A Hero’ was ‘The Night Chicago Died’. A song about a shoot out between American gangster Al Capone and the Chicago police. The single reached number 3 in the UK charts. In America it reached number 1 – the single was awarded a gold disc.

Later that year a third release ‘The Black-Eyed Boys’, took Paper Lace to number 11 in the UK and number 37 in the American charts.

Chris pulls out more memories from his time in Paper Lace ”During our Australian tour the band were flown to different venues in an aircraft which could only now be described as vintage. It had two side propellers and looked like something from the 1960’s TV program the Australian Flying Doctor”.

“This was 1974, and although I was a smoker in those days I’d never seen anyone smoking or using soft drugs. We noticed the pilot was rolling his own cigarettes which carried a distinctive smell. He was obviously smoking cannabis or marijuana or as the Aussies would say “that funny French stuff”.

“Needless to say, I was nervous every time we flew and considering the flights were always very close to the ground, I was a little worried that the curry syndrome could happen again”. 

“One good thing about flying close to the ground is that I saw lots of beautiful wild animals that I would never have seen had the plane flew at the normal altitude”.

“To finish on a lighter note, in the hotel we all had our own room with a balcony overlooking the pool. There was a beautiful looking parrot which would fly around the pool every day”.

“Each morning it would land on our balconies expecting food. I would give the parrot some food and sing ‘Billy Don’t Be Hero’ in the hope it might repeat our hit to following guests. It never did, or maybe I never heard it, I’ll never know”.

“Looking back one of my proudest career moments was when I invited my parents to see me perform at the Royal Variety performance in front of her Majesty the Queen Mother in 1975”.

R to L. Chris Morris, Mark Aynsley Hay and Malcolm Rescorle just finished a recording session.

Final words from Chris “I’m a very fortunate man, but if you’re listening Dad, I’ve still not found a proper job!”

For further information or listen to a compilation of music by Chris Morris & Mark Aynsley Hay plus family, friends and associates check out the official website >>>

chrismarkmusic.com | The joint music of Mark Aynsley Hay and Chris Morris

Check out the interview with Mark Aynsley Hay, March 2025.

Alikivi   May 2025

C’EST LA VIE – with musician Mark Aynsley Hay

Mark in his studio.

Retired since 2010 and now living in France, Mark was born in Teesville on the outskirts of Middlesbrough where he began playing piano at 7 year old and by 15 started working in showbusiness.

Initially, it was my older sister Margaret who influenced me, she was a brilliant pianist and suggested I start piano lessons. Most weekends the family would sing all the popular up to date songs of the fifties accompanied by my sister on piano recalls Mark.

Of all his experiences in showbusiness it’s a cliché to say but Mark really has been there, done it and worn out the t-shirt. Read on for some of his highs and lows.

For many years I ended up working as a singer and entertainer on the North East club circuit, before moving to Manchester in 1976 where I continued performing while also working as a session singer for the BBC.

Throughout my career I’ve also performed in countries like Norway, Malta and the casino circuit in Portugal plus venues like Bristol Hippodrome and Liverpool Empire. I’ve even worked seasons at Butlins holiday camp.

Mark performing on the North East club circuit.

When did you get your first big break?

Between 1967 to 1969 I was singing with the Bill Sowerby big band at the Top Rank suite in Sunderland. The band regularly supported big name groups who appeared there. Slade and Family come to mind.

On one occasion Radio One DJ ‘Emperor Rosco’ – real name Michael Pasternak – was appearing at the Top Rank with his road show. I happened to be in the venue rehearsing an original song with the big band.

After we finished, Roscoe introduced himself “if you ever fancy moving to London and working as a session singer, you’d be welcome”. He gave me his card and a few months later I took him up on his offer.

When I started working for Rosko he was in the process of forming his own independent record label Mother Records. He co-wrote a song ‘909’ which I recorded as a demo, which presumably was meant for a name artist.

Rosko’s management took the demo along to EMI to discuss a distribution deal for Mother Records. The feedback I received was that they were very impressed with my version and would like to distribute the song.

The song was released in 1971 and started to receive air play with favourable reviews in music magazines. From what I remember it received good reviews on Rosko’s round table and the Pete Murray show as well as other Radio One shows. The only negative review was from Tommy Vance.

Just when Mark was making headway in the music biz a scandal hit the headlines. ‘Bribes at the BBC’ the Sunday newspapers suggested that certain BBC DJs were being paid by record companies to play their records. 

Rosko was not mentioned or involved however it stopped DJs at the BBC from being involved in any third-party interests explained Mark. However, he knew he needed to keep up the momentum that he had built up so far.

Rosko’s management approached me and suggested that I should promote the record on the cabaret circuit and local radio stations. In comes Colin Hutchinson. 

Colin was based in Middlesbrough and booked the artistes who appeared at the Fiesta Cabaret club in Stockton. Subsequently I signed a five year management and agency contract.

Colin promoted me as a solo entertainer and ironically one of the first venues where I promoted the record was at the Top Rank Suite in Sunderland for a local BBC radio station.

‘You’ll Never See Julie Again’ recorded by Frankie Vaughan.

By 1974 things were looking up, management approached me and put an idea on the table. They said although Frankie Vaughan’s career was slightly waning – having been a big star in the late fifties and sixties – he still had massive pre-sales orders regarding record sales.

By this time, I’d started singing on cruise ships and when on one P&O liner I sat down and wrote ‘I’ll Never See Julie Again’. Within two weeks of being on dry land I recorded a demo version of the song at Keith Murray and Billy Hygates studio in Redcar using local musicians. The song was published with EMI and produced by Les Reed for Columbia records.

Unfortunately, 1974 was a bad year all round for record pressing due to a major shortage of plastics. The major companies gave preference to guaranteed sellers – chart bands like Paper Lace.

Coincidently, in 2020 Mark teamed up with songwriter Chris Morris who was vocalist and guitarist with 70’s pop band Paper Lace who appeared on TV talent show ‘Opportunity Knocks’ and had UK chart hits including a number 1 ‘Billy Don’t be a Hero’ in March 1974.

Regardless of negatives, the first PRS cheque I received for ‘I’ll Never See Julie Again’ noted that the song had sold well in Canada and Australia with reasonable UK sales. We appeared on at least 14 different TV shows to promote the single.

Looking back, I think I’ve had a few setbacks when it comes to recording and record releases however regardless of this, I’m really grateful for the opportunities I’ve received during my career.

On the bill with Bob Monkhouse and Harry Secombe.

What was your experience of working on cruise ships?

I started performing on cruise ships at the age of 25 and initially I was naive as to how it worked. The cruising market at that time was very old fashioned, for example the ship was split between first class and tourist.

There was a first class room on the old Canberra with decor like an old fashioned colonial Gentleman’s club. I only sang there once as after I performed the first two songs combined with topical patter, I was aware that none of the snobby gentlemen were interested. A number of them were sleeping with the Times newspaper covering their face.

After my third song I announced in a rather cheeky way that I had better places to perform, audiences normally listen and react to my show. I walked off to the sound of my own footsteps. Needless to say, I was never asked to work there again.

Fortunately, the cruise director had an idea to double me up to perform in the night club come cabaret lounge for the tourists. On that show and subsequent performances, I received standing ovations from the audience.

Some months later I was sent a P&O in house magazine with an article written by the same cruise director on the Canberra – ‘Mark Aynsley and another young entertainer called Billy Hygate were like a breath of fresh air’.

It went on to say that the future of entertainment on cruise ships was changing and both Mark and Billy had lifted the bar to a higher and modern level.

What are you doing now and can you bring your story up to date?

In 1982 my wife Alison and I established Almara Music Productions. Almara was an agency that represented vocalists, dancers, bands, comedians and magicians in varied fields of TV, entertainment, cruise ships, theatres, cabaret and summer season shows.

We retired in 2010 and permanently moved to south west France although since retiring, Almara Music Productions continues to be the platform for my songwriting promotion.

To listen to a compilation of music by Mark Aynsley Hay & Chris Morris plus family, friends & associates check out the official website: http://www.chrismarkmusic.com

Alikivi   March 2025