Petula Clark stars with Harry Belafonte
in a Legendary TV Music Special
Don't Sleep in the Subway
Who Am I?
Color My World
The Other Man's Grass is Always Greener
The In Crowd
We Can Work it Out
The Life and Soul of the Party
How are Things in Glocca Morra?
Just Say Goodbye
Have Another Dream on Me
Come Rain of Come Shine
Las Vegas
Live for Life
Elusive Butterfly
If a Better Time's Comin'
Both Sides Now
On the Path of Glory

Milwaukee Journal
April 3, 1968

TV Puts Final Touch on Charm of Petula
by Wade H. Mosby

A steady pleasant hour of song was presented on N BC-TV Tuesday night by Petula Clark, the gifted British import who adds visual impact to her unquestioned vocal credentials. The program was labeled simply Petula.

and grace with which she negotiates her notes make even rock n- roll numbers come to life ("Downtown"), but she was, usually at home with a broad range of ballads, including "How Are Things in Glocca Morra?"

Harry Belafonte wrapped his whispery baritone around several numbers, winding up duetting with his hostess - an episode highlighted by the celebrated touching incident in which Miss Clark put her hand on Mr. Belafonte's and an employee of the sponsor wanted the scene deleted, but it stayed in. The friendly gesture would have gone unnoticed by most viewers had it not caused an advance incident.

Oddly, the superb production effort tended to distract the viewer from the star. Miss Clark appeared in a variety of gowns, from mini to maxi. The colorful settings changed and swirled in a most admirable manner, and even made use of the retired liner Queen Mary.

Miss Clark was photographed from nearly every angle, including several shots apparently taken through Kleenex. But she stayed resolutely at the helm, a poised, attractive and talented entertainer.

Seattle Times
April 3, 1968

Pet Clark: A Charmer
by C. J. Skreen

There is not much question about it - England's Petula Clark solidified her position last night as just about everyone's favorite Pet.

The vibrant, fragilely beautiful songstress starred in her first American TV special on NBC, and ells they might say in her native land, it was "simply smashing. "

The theme of her visually exciting hour was "Who Am l?" and she proceeded to provide lyrical answers as she wafted in and around the stage appearing variously as a member of the jet-set, a gambling lady in Eas Vegas and a member of the "flower generation." It wasn't until the finale that she answered the question: "I guess I am that girl from England."

Apart from a nostalgic singing and sightseeing tour of the luxury liner Queen Mary (now being converted into a resort hotel at Long Beach, California), virtually the entire program was performed before a studio audience at Burbank.

Miss Clark, whose singing style seems to appeal to everyone from teenyboppers to grandparents, didn't short-change her fans. It was a solid 60 minutes of many of her hits.

An added plus was a fantastic wardrobe displayed by the carrot-topped lass with the delicate air. It changed with every number, ranging from the mini-est of miniskirts to formal gowns.

Her fresh and vivacious personality came through on all her numbers, including such trademarks as "Downtown," "Don't Sleep in the Subway" and "The Other Man's Grass Is Always Greener." Particularly moving was her duet with Harrv, Belafonte on an antiwar song, "On the Path of Glory."

To this viewer's taste, Miss Clark is much more effective on pensive ballads than those tunes with an overriding beat that most performers favor today, but even on these numbers she succeeds in making them as palatable as possible.

Steve Binder was the producer-director of this stylish offering. He provided his star with an almost perfect showcase - one that avoided the customary hackneyed introductions and the aimless banter between host and guests.

Probably the best compliment to be paid to Miss Clark is that she even succeeded in making the commercials sound good.

New York Daily News
April 3, 1968

That Girl from England Stars in Stylish Special
by Kay Gardella

A stylish, sophisticated musical hour with a nice contemporary flavor, excellent sets and a star who can sing like a dream. That just about sums up Petula Clark's first American TV' special on NBC last night.

Except, perhaps, for the fact that the hour received some unpleasant advance publicity. It was reported that during the taping of the show a sponsor representative objected to Miss Clark and her guest star, Harry Belafonte, touching, during a duet of "On the Path of Glory."

Ironically, this was the highlight of the hour and Belafonte never showed off to such advantage.How unfortunate that anything should have marred this otherwise flawless program.

The attractive British songstress, who looked like she stepped off of an old-fashioned candy box, moved fluidly from one set to another, weaving her musical narrative like a spider does a web. Through such songs as "Color My World," "The In Crowd" and "Have Another Dream On Me" she carried the show's theme, "Who Am l?", to its logical conclusion - "that girl from England who sings 'Downtown'."

But before she faced up to her identification, the stunningly dressed star answered her searching question, posed in the song "Who Arn l?", with a number of attractive portrayals. She was, in turn, a gambling lady in Las Vegas, a member of the jet-set and even a member of our flower generation. In every sequence her gowns were breathtaking.

With so many recording aids today and all the lip~synching that goes on on TV, a vocalist need not have much of a voice to make it to the top. So when a real singer comes along, who knows phrasing and can belt out a song at a mike, sans accroutrements, it's an added pleasure.

Petula has a way with a lyric that's unique, her arrangements are fresh and, like so many of our great vocalists, she can grab hold of a mike and just sing to her heart's content. Her medley of romantic songs - "Imagine," "Come Rain or Come Shine" and "Just Say Goodbye" - combined the wistful softness of yesteryear with the bittersweet touch of today.

And her closing sequence, when she took mike in hand to sing directly to the audience, had the touch of such greats as Judy Garland and Ella Fitzgerald. A tour of the retired luxury liner, the Queen Mary was the only segment we had any reservations about. While it helped identify the young lady ~ "that girl from England who sings 'Downtown'," she didn't need it.

April 3, 1968

Pet Clark Show an Anachronistic Triumph
by Barbara Delatiner

Petula - or "Pet," as she likes to be called -Clark is the nicest thing to happen to television and viewers in ages for several reasons, all very much in evidence last night during her smart, stylish and utterly sophisticated NBC special, Petula.

The quietly beautiful blonde import from England can sing, both in fancy production numbers and alone on a stage surrounded by an audience. Such impeccable phrasing! Such fluidity of wellwrought notes! Gosh, Miss Clark is an anachronism. For all her youth she harks back to the days when singers had to sing.

With these attributes yesterday she was in effect an ambassador between generations. For in a stunning medley of "now" songs that uninterrupted and unannounced speedily ran the gamut of "now" people from the jet-set to the flower kids, Miss Clark accomplished the impossible. Searching for "Who Am l?", she allowed us to appreciate the poetry in the usually unintelligible Beatles lyrics. This sequence alone, a kind of musical essay staged with imagination and vigor by co-producer (with Yvonne Littlewood) Steve Binder was worth the price of admission. It was an exciting visual and audio gem.

Clad in absolutely gorgeous semi-mod attire fashion exhibitionists who haunt television should take note of her simple elegance - Miss Clark dominated the well-paced hour; whether crooning of love in a segment where the camera concentrated on her vibrant face rather than on props; reprising her hits in a plain studio setting; employing some gimmicks like a kiddy orchestra or a tour of the deserted ocean liner, the Queen Mary; or joining Harry Belafonte, her lone, magnificent guest star, in that now-celebrated rendition of "On the Path of Glory." Celebrated? Yes, because when at the conclusion of this stirring song Miss Clark touched Belafonte's arm the sponsor's representative attempted to kill the number. He was unsuccessful, thankfully. The number was one of the most moving musical interludes on TV ever.

Balance of payments and international considerations aside, Miss Clark, provided her creative mentors are as inspired as Binder, choreographer Claude Thompson, musical arrangers William Goldenberg, Earl Brown and Tony Hatch, and art director Gene McAvoy, will be welcome back on these shores. Her first outing here was a prizewinner.

Hollywood Reporter
April 4, 1968

by Bob Hull

In a program reminiscent of the Nancy Sinatra special, British-born singer Petula Clark was showcased in an hour-long telecast on NBC-TV Tuesday. As in Miss Sinatra's program, the "Downtown" thrush was spotlighted with her musical locations ranging from Malibu Beach to the venerable Queen Mary, now languishing in Long Beach Harbor. Peripatetic Petula was easy to follow and to hear as producers Steve Binder and Yvonne Littlewood (Binder also directed) backed her with the finest in camera work and a brilliant sound system.

"Who Am l?" served as Miss Clark's theme and opened the way to the introduction of nearly two dozen songs in answer, including "Have Another Dream On Me" and "Don't Sleep in the Subway." The real Petula Clark, it developed through her various tune clues, is a chic member of the jet-set, a "flower child," a romanticist and one darn good singer.

With her guest Harry Belafonte, Petula sang about the horrors of war in the song "On the Path of Glory." At the end of it, Miss Clark touched Belafonte's arm, the incident which, during the taping, resulted in a agency rep who must have been thinking of the white-sheet crowd in the South. Harry also did "Hambone" with O.C. Smith Jr., son of the pop singer, in his video debut. Also on the show were the youngsters of the El Rodeo Grammar School Band, backing Miss Clark in "Color My World," and to good effect.

Of the 23 numbers on the quickly-moving show, Pet's "The Other Man's Grass Is Always Greener" particularly was good. The star was featured in frequent close-ups which, other than highlighting her Garbo-like looks, defied the viewers' attempts to tell if she were singing live or mouthing to a recording. Bill Cole's audio crew came up with the best sound for a musical show this season, sharp and clear, while the arranging and conducting of William Goldenberg provided the basic aural material to good advantage. Earl Brown, Tony Hatch and Bill Eaton added the special musical material, and Claude Thompson contributed smooth choreography. Miss Clark should be invited to grace the American "telly" more often.