-The British Pathé, 1934-

— In the dimly lit confines of the British Pathé studio in the heart of London, the air was thick with the scent of polished wood and fresh paint. Flickering lights cast shadows on the grand piano where Monia Liter sat, his nimble fingers dancing over the ivories with effortless precision. The year was 1934, a time when the world was awakening to the sweet serenade of jazz and the melodies of longing.

— As Monia lost himself in the depth of his music, the atmosphere radiated an electric anticipation. The studio buzzed with the chatter of crew members prepping for the forthcoming recording. Laughter echoed lightly, a comforting undercurrent to the tension of the moment. Monia often found solace in this space, a realm where he could weave the threads of emotion into his compositions.

— This time, however, his focus was sharpened by the presence of Al Bowlly, a singer whose voice was woven into the very fabric of the era. Known for his ability to coax hearts with his crooning, Al stepped up to the microphone, a soft light illuminating his face. For a moment, the studio hushed, and all eyes turned to him, waiting.

— With a deep breath, Al began to sing "The Very Thought of You," his voice rich and velvety, wrapping around the room like a warm embrace. Monia, inspired by the haunting quality of Al's tone, matched his energy on the piano, each note bursting with life and longing. The synergy between the two artists was palpable; it felt as though time itself swayed to their rhythm.

“……The very thought of you and I forget to do The little ordinary things that everyone ought to do I'm living in a kind of daydream I'm happy as a king And foolish though it may seem To me that's everything……”