Question: Why did you leave Quebec for Europe?
In 1968, I travelled to England where I was to record a song written by Elton John entitled Rebecca, arranged by John Cameron and released on Capitol Records. I remained in London, and Richard Armitage, CEO of Noel Gay publishing, became my manager.
I recorded an album on EMI Records, mostly of my own compositions, produced by Norman Newell who was Shirley Bassey’s producer.
I performed on many variety shows and appeared weekly on the Peter Cook and Dudley Moore series at the BBC for three months. I did a gig at London’s famous Savoy Club, accompanied by fifteen musicians. I was being promoted as a nightclub singer, but I realized that road was not for me.
I had an insatiable hunger to be stimulated musically, so I took a job as an assistant engineer with Vic Smith at London’s Olympic Studios. I was also co-writing music with him, hoping to land another album deal.
One day, Vic asked me if I wanted to replace a backing vocalist; the Rolling Stones had a recording session booked and they needed a third girl. Of course, I jumped at the opportunity and did my first backing vocal gig on the album Let It Bleed. I sang with Madeline Bell and Doris Troy on You Can’t Always Get What You Want and did vocals with Mick Jagger on Honky Tonk Woman. In another session I sang with him on Country Honk, the album cut of Honky Tonk Woman. I think he liked my southern accent.
I went under the name of “Nanette Newman” for studio work and backing vocals. Word got around that I was a good singer, could blend well with other singers, and that I could sight-read music. I was booked on many sessions, doing back-up for popular British recording artists. I often worked with Doris and Madeline and did a lot of sessions with Sue and Sonny, the singers on Joe Cocker’s With a Little Help from My Friends.
Doris, known for her hit Just One Look, landed an album deal with Apple Records, the Beatles’ recording company. George Harrison produced her hit, Ain’t That Cute, which I also did vocals on. We recorded the single at the Abbey Road studios. From there, I was booked on more gigs including sessions with Ringo Starr and John Lennon. I sang on Ringo’s hit, It Don’t Come Easy, and on John Lennon’s Power to the People. Ringo produced an album for a band called Badfinger that I also sang on.
I believe the most valuable experiences in my career were had at that time.
Although I was working a lot, I wanted to try new things. One day, I was sitting in the Chelsea Drugstore and met a lady who had a modelling agency in London. She happened to be American and told me I could get a lot of work as a model. With her help, I put a portfolio together with the photo shoot I had with David Bailey for Vogue. I was on my way to being a working model in London.
The next six months were filled with shoots for magazines, newspapers, and even huge subway posters. I didn’t resemble the popular models of the time, which helped me get lots of work. Modelling seemed to come easy for me, though it was sometimes a little aggravating, getting up at five in the morning!
I continued modelling until I got tired of looking at myself in the mirror all the time. Though it was a lot of fun, and lucrative as well, I had no wish to pursue it further.
After working two years in London, my work permit expired. My manager decided I should go to Paris until he could apply for another permit. He arranged for me to stay with the family of his good friend, the well-known author and composer of Sous Le Ciel de Paris, Hubert Giraud. I felt very privileged for the opportunity.
Off I went Gay Paris!