- Paramor remains one of the most underrated figures in the history of UK pop and a posthumous reappraisal of his work is overdue.
- Until George Martin-his opposite number at EMI sister label Parlophone-produced "Candle In The Wind 97" for Sir Elton John, Paramor and Martin jointly held the record for having produced the most UK Number 1 hit singles, despite Paramor having died 18 years earlier.
- In 1962, Paramor was the subject of a scathing critique by David Frost on the satirical British television programme That Was the Week that Was for, the programme claimed, taking undeserved songwriting credits and royalties on other people's work and making popular music more bland and "ordinary".
- From 1972-78 Paramor was the Director of the BBC Midland Radio Orchestra, but he continued to dabble in independent production for acts such as the Excaliburs, and his publishing company was still finding material for Cliff Richard in the 70s.
- He co-wrote the 1962 hit song "Let's Talk About Love" for Helen Shapiro.
- Although the term "producer" was not in circulation at the time Paramor started producing records (the usual term being Artiste and Repertoire Manager, or A&R man), he effectively began this role in 1952 when he became Recording Director for EMI's Columbia Records.
- In 1950 he recorded some sides for the Oriole label with Australian singer Marie Benson, and two years later, joined Columbia Records, an EMI subsidiary, as arranger and A&R manager..
- In 1977, Paramor and his orchestra recorded with the Shadows for a final time, on the track "Return to the Alamo".
- As well as being producer for Cliff Richard and the Shadows, he produced records for Ruby Murray, Eddie Calvert, Michael Holliday, Helen Shapiro, Frank Ifield, the Mudlarks, the Avons and Ricky Valance among others.
- Despite his record of success as a producer, he died in relative obscurity without receiving any public recognition from any British institution.
- English pianist, orchestrator, arranger and band leader of the 1930's and 40's. As musical director for EMI/Columbia from 1952, Paramor produced albums in varied genres, from swing to rock n' roll, to 'easy listening' music.
- The lyricist Tim Rice was Paramor's assistant producer for a time in the early 1960s.
- After the war he was the featured pianist with Harry Gold And His Pieces Of Eight, and toured with the lively Dixieland unit for five years.
- In 1958, a demo tape by Cliff Richard And The Drifters arrived on his desk. With no rock 'n' roller currently on his books, he contracted Richard, intending to play it safe with a US cover version with the Jones band, until he was persuaded to stick with the Drifters (soon renamed the Shadows) and push a group original ('Move It') as the a-side. Partly through newspaper publicity engineered by Paramor, 'Move It' was a huge hit, and a subsequent policy was instigated of Richard recording singles of untried numbers - among them, at Paramor's insistence, Lionel Bart's 'Living Doll'.
- Paramor was a composer of studio albums, theatrical productions and soundtracks for film scores.
- Paramor was married to actress Gloria Brent.
- One of the highlights of Paramor's career came in 1960 when he arranged and conducted for Judy Garland's British recording sessions, and was her musical director at the London Palladium and subsequent dates in Europe.
- He is best known for his work with Cliff Richard and the Shadows, both together and separately, steering their early career and producing and arranging most of their material from the late 1950s to the early 1970s.
- Paramor recorded one of the biggest-selling albums from Capitol Records' Capitol of the World import series: In London in Love, which featured the soprano Patricia Clarke, who was used in many subsequent selling albums. This became his trademark orchestral signature sound, and was featured on Autumn, Amor Amor, In London, In Love Again, Warm and Willing, My Fair Lady and Moods among others.
- In 1968, he was the musical director for the Eurovision Song Contest, staged at the Royal Albert Hall, the first to be broadcast in color. He also conducted the UK entry, "Congratulations", performed by Cliff Richard.
- His death of an unspecified cancer on 9 September 1979 came a fortnight after his protege Cliff Richard had returned to the top of the UK Singles Chart with "We Don't Talk Anymore", his first number one single in more than ten years. Paramor and Richard had worked together professionally from 1958 to 1972.
- During his time in the RAF during World War II, Paramor entertained servicemen in the company of artists such as Sidney Torch and Max Wall.
- The most prolific producer of UK pop chart-toppers was a mild, bespectacled gentleman who had studied piano and worked as an accompanist, prior to playing and arranging with a number of London dance bands, among them Maurice Winnick's Orchestra.
- In 1950 he recorded some sides for the Oriole label with Australian singer Marie Benson, and two years later, joined Columbia Records, an EMI subsidiary, as arranger and A & R manager.
- He served as a musical director for Ralph Reader's Gang Shows, and scored music for Noel Coward, Mantovani and Jack Buchanan.
- In 1954, he produced the first of two UK number 1 hits for Eddie Calvert, and another for Ruby Murray the following year.
- Although quoted as believing that rock 'n' roll was 'an American phenomenon - and they do it best', he still provided Columbia with such an act in Tony Crombie's Rockets, but had better luck with the mainstream efforts of Michael Holliday and the Mudlarks - both backed by the Ken Jones Orchestra.
- In 1958, a demo tape by Cliff Richard And The Drifters arrived on his desk. With no rock 'n' roller currently on his books, he contracted Richard, intending to play it safe with a US cover version with the Jones band, until he was persuaded to stick with the Drifters (soon renamed the Shadows) and push a group original ('Move It') as the a-side.
- He offended Shadows purists by augmenting the quartet on disc with horn sections and his trademark lush string arrangements.
- He released several 'mood' albums in the USA, including London After Dark Amore, Amore, Autumn and In London, In Love, which made the US Top 20.
- Partly through newspaper publicity engineered by Paramor, 'Move It' for Cliff Richard was a huge hit, and a subsequent policy was instigated of Richard recording singles of untried numbers - among them, at Paramor's insistence, Lionel Bart's 'Living Doll'.
- His greatest success in the sixties however, was with Frank Ifield, who dominated the early 60s' UK pop scene with three formidable number 1 hits. Even as late as 1968, Paramor notched up another number 1 with Scaffold's 'Lily The Pink'.
- In complete contrast, the Big Ben Banjo, and Big Ben Hawaiian Bands, along with similar 'happy-go-lucky' 'trad jazz' line-ups, were originally formed in 1955 purely as recording units, utilizing the cream of UK session musicians. Paramor was in charge of them all, and their popularity was such that 'live' performances had to be organized. The Big Ben Banjo Band appeared at the Royal Variety Performance in 1958, and were resident on BBC Radio's Everybody Step programme, as well as having their own Radio Luxembourg series.
- He also composed several complete movie scores, and some light orchestral works such as 'The Zodiac' and 'Emotions', which he recorded with his Concert Orchestra,.
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