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.

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.

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.

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