I’m sorry, but I call bollocks here

Early life and education
Morley was born in Leeds, Yorkshire[6] on 10 March 1924 under the name of Walter “Wally” Stott.[1][2][4][3] Morley’s father was a watchmaker who played the ukulele-banjo, and the family lived above their jewellery shop.[6] Her mother also sang.[6] Morley was a fan of dance music before being able to read the labels on the records, listening notably to Jack Payne and Henry Hall as a child,[6] and began learning the piano at the age of eight on a Challen upright piano.[6] Morley’s father died of angina[3] in 1933[4] at the age of 39, after which the family moved to Swinton and she ceased piano lessons.[6][3] She then tried playing violin at age 10 and the accordion at age 11, including in competitions, before choosing the clarinet and alto saxophone as primary instruments, taking clarinet lessons and playing in the school orchestra.[6] Morley then played in the semi-professional band led by Bert Clegg in Mexborough.[6]

As a mostly self-taught musician able to sight-read, Morley left school at age 15 to tour with Archie’s Juvenile Band, earning a weekly wage of 10 shillings,[6] and also worked as a projectionist.[3] Her mentor at this time was the pianist Eddie Taylor.[6] Morley continued to play saxophone in British dance bands during the period of World War II, joining the Oscar Rabin Band as lead alto in 1941, at age 17.[6] With this band, she began writing arrangements for pay[6] and made a recording debut with the tracks “Waiting for Sally” and “Love in Bloom”.[4] She later joined Geraldo’s band, which performed for BBC Radio several times a week,[6] in 1942[1][7] or 1944.[2][6][4] With Geraldo’s band Morley gained experience arranging for bands of many sizes and styles.[6] She studied harmony and musical composition in London with the British-Hungarian composer Mátyás Seiber and conducting with the German conductor Walter Goehr.[6] Morley’s early work was also influenced by Robert Farnon and Bill Finegan.[2]

Career
Pre-transition work
At the age of 26, Morley stopped playing in bands to instead work solely as a writer, composer, and arranger,[6] and would go on to work in recording, radio, television, and film.[1] She was originally a composer of light music[2] or easy listening,[3] best known for pieces such as the jaunty “Rotten Row” and “A Canadian in Mayfair”, the latter dedicated to Robert Farnon.[4] Morley also worked with the Chappell Recorded Music Library and Reader’s Digest.[4][6]

Morley is known for writing the theme tune, with its iconic tuba partition, and incidental music for Hancock’s Half Hour in both its radio and television incarnations,[1][2][8] and was also the musical director for The Goon Show from the third series in 1952 to the last show in 1960, conducting the BBC Dance Orchestra.[2] At this time, she was known to work quickly and would sometimes write music for The Goon Show the same day of recording,[1] which consisted of two full-band arrangements per week and incidental music.[7] Another short but remembered theme composed by Morley was the 12-note-long “Ident Zoom-2”, written for Lew Grade’s Associated TeleVision (ATV), in use from the introduction of colour television in 1969, until the demise of ATV in 1981. By 1953, Morley was also scoring films for the Associated British Picture Corporation under music director Louis Levy.[6]

In 1953, Morley became musical director for the British section of Philips Records,[1][2][3] arranging for and accompanying the company’s artists alongside producer Johnny Franz. She notably worked with Frankie Vaughan on “The Garden of Eden” in 1957.[4] In 1958, she began an association with Welsh singer Shirley Bassey, including work for Bassey’s recordings of “The Banana Boat Song” (1957), “As I Love You” (1958), which reached no. 1 in the UK Singles Chart in January 1959,[3] and “Kiss Me Honey Kiss Me” (1958).[4] She was the head of an orchestra and a chorale at this time, releasing records as “Wally Stott and His Orchestra” and “The Wally Stott Chorale” respectively.[3] She also worked with artists such as Noël Coward and Dusty Springfield[7] and on the first four solo albums by Scott Walker.[2][9] The next hits she worked on were Robert Earl’s “I May Never Pass this Way Again” and Frankie Vaughan’s “Tower of Strength”.[4] In 1962 and 1963, Morley arranged the United Kingdom entries for the Eurovision Song Contest, “Ring-A-Ding Girl” and “Say Wonderful Things”, both sung by Ronnie Carroll.[4] The former was conducted on the Eurovision stage in Luxembourg. She was also credited with a rhythmic drum solo in the 1960 horror film Peeping Tom, which a dancer plays on a tape recorder.[2][10]

In 1961, Morley provided the orchestral accompaniments for a selection of choral arrangements made by Norman Luboff for an RCA album that was recorded in London’s Walthamstow Town Hall. The New Symphony Orchestra (an ad hoc recording ensemble, not to be confused with the Bulgarian New Symphony Orchestra), was conducted by Leopold Stokowski, and the professional British choir, namely the Ambrosian Singers as rehearsed by Luboff, performed such favourites as “Deep River”, Handel’s “Largo”, Bach’s “Jesu, Joy of Man’s Desiring”, Rachmaninoff’s “Vocalise”, under the album’s title Inspiration (also later reissued on a BMG Classics CD). In 1962, she arranged and conducted the RCA Red Seal debut album Romantic Italian Songs for Italian-born tenor Sergio Franchi, and later did the arrangements and conducting for Franchi’s 1963 RCA album, Women in My Life.

Some of her other notable works in the years before transitioning include the composition and arrangement for the films The Looking Glass War, released in 1970,[1][10] and When Eight Bells Toll, released in 1971.[1][10] She stepped back from the music and film industry between 1970 and 1972[3] in order privately to undergo gender transition.[7] During this time, Morley studied clarinet chamber music at the Watford School of Music for eighteen months.[3]

After transitioning to living publicly as a woman in 1972

Fine with Wally becoming Angela, no skin off my nose after all. The individual made my life better by working on the Goon Show, obvs so, you know, ta and all that.

But the point is becoming. Sure, maybe it wasn’t what was wanted, sure, maybe it was better after. But it was Wally and he before, Angela and her after. It weren’t she in Leeds.

No, sorry. I really am actually a liberal which is why rewrites of reality aren’t allowed.