![]() Many more musical references en route including Marie Lloyd, Handel, Elgar, Hendrix, The Beatles, Joni Mitchell, David Bowie, Queen, Kim Wilde, Sex Pistols and Dolores from The Cranberries. There will be plenty of tangents along the way such as the Baker Street bank robbery of 1971, Danger Mouse, the Mayfair birthplace of Queen Elizabeth II, Twiggy, Radio Luxembourg, Banksy, Wendy Richard, Phileas Fogg, locations from Denis Waterman era Minder, an abandoned tube station, Harry Nilsson's flat where both (Mama) Cass Elliott and Keith Moon died. ![]() It is said that here ducks once wandered about among the long grass and puddles, women did their washing at the water's edge and a hospital for plague victims was erected here near the open fields. ![]() ![]() Just off Bond Street, Lancashire Court was developed on what used to be the east bank of the Tyburn. From the place where the Tyburn crossed Oxford Street, the Great Conduit was built in 1236, to supply water through conduits from the Tyburn to Cheapside in the City. It also gave its name to the predecessors of Oxford Street and Park Lane, which were formerly called Tyburn Road and Tyburn Lane respectively. The Tyburn gave its name to the village of Tyburn, originally a manor of Marylebone, which was recorded in the Domesday Book and which stood approximately at the west end of what is now Oxford Street. This will be a relaxing all-day event walking roughly 7 miles covering so many clues of this now subterranean river and how it defined the area as we head through St Johns Wood, Marylebone, Mayfair and Pimlico with Paul reading from his London's Lost Rivers book and various Victorian publications and referring to archive material, ancient maps and a modern-day one showing the river now used as the King's Scholar Pond sewer which runs partly underneath Buckingham Palace. Watch Wilde perform “The Second Time” on Germany’s Musik Convoy in 1984.An all-day guided (above ground) walking tour of the River Tyburn's course from South Hampstead (Swiss Cottage) to the River Thames in Pimlico. With recordings such as the eclectic Teases & Dares, Wilde proved that Madonna wasn’t the only blonde with ambition in pop. Wilde returned to music in 2006 and is active still. She continued to make music up until semi-retiring in 1996 to embark on a separate career (horticulture). Wilde went on to become the most charted female vocalist in England for the whole of the 1980s. Teases & Dares’ biggest hit was the rockabilly “Rage to Love,” an inferior redo of Catch as Catch Can’s minor hit “Love Blonde.” Teases & Dares allowed Kim Wilde enough clout to record 1986’s Another Step that held the Supremes cover heard ‘round the world that year: “ You Keep Me Hangin’ On.” With the mentioned trio of songs, Kim asserted herself creatively and continued to do so throughout the remainder of her career. Wilde’s own pen graced the Joni Mitchell-esque “Fit In,” the sensitive “Shangri-La” and the genteel closer “Thought It Was Goodbye.” Up to this point Wilde’s father, ‘50s British rock and roll icon Marty Wilde, and her brother Ricky Wilde had been writing and producing Kim’s output. “Suburbs of Moscow” and “Blade Runner” (inspired by the 1982 dystopian film of the same name) were divine examples of Wilde’s concept-pop mixing well with synth pop. However, it was the continuation of her icy esoteric abilities over new arrangements that really compelled. Her new entries into dance-pop, “The Touch” and “The Second Time,” were efficacious in inducing an edgy, glamorous feeling both songs were also wisely earmarked as singles from the Teases & Dares record. Wilde’s first flirtation with dance music was heard on Catch as Catch Can’s forgotten single “Dancing in the Dark”― a post-disco dance sapphire. Having lost her diminutive traction in America from three years earlier ― she’d regain an audience there with Another Step (MCA, 1986) ― Wilde kept her focus on the British and European markets. It was the year of Prince, the dawn of the 12” mix and rising dance-pop dolls when Wilde premiered her fourth LP, Teases & Dares (MCA), in the fall of 1984. Clearly realizing that a change in direction was needed, Wilde departed to MCA Records. Sadly, Catch as Catch Can caught a commercial cold spell and did not translate to the charts in her native England and Europe where she experienced the bulk of her success. With her eponymous debut in 1981, Wilde secured herself a position in the new wave movement with its atomic hit “ Kids in America.” However, it was the two following albums that made Wilde the lone female face in the British male-dominated New Romanticism realm: Select (RAK, 1982) and Catch as Catch Can (RAK, 1983), which were fine affairs, the perfect combination of rock and electronic pop. Kim Wilde’s move from the independent imprint RAK Records to MCA represented a pop gambit.
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