lead solo violin (for many years usually Oscar Grasso), and two pianos, one taking turn in solos and the other maintaining an improvised tinkling continuo in the background throughout every piece, which Silvester called his "lemonade". This piano sound is said to have been created for him by the pianist and later bandleader, and BBC radio star, Felix King. He notes in his autobiography that his first two pianists in 1935 were Gerry Moore for the melody and Felix King for the "lemonade". Later pianists included, at different times, Monia Liter (from 1940 to 1944), Charlie Pude, Jack Phillips, Billy Munn, Victor Parker (also accordion), Ernest "Slim" Wilson (who was also Silvester's main arranger, and with whom he co-wrote several pieces), Eddie Macauley and Ronnie Taylor. Silvester's drummer for over four decades was Ben Edwards, crucial for supplying the strict tempo. Sometimes there might be four saxophones altogether, two alto and two tenor, including in latter years Tony Mozr, Percy Waterhouse and Phil Kirby in addition to Pogson, all doubling on clarinet as required. On some recordings, the Ballroom Orchestra was augmented with 15 strings and woodwind, when it became 'The Silver Strings'. During the war, when Oscar Grasso was in the forces, the classical violinist Alfredo Campoli took his place, using the name 'Alfred Campbell' for contractual reasons. These were first-class players, some of whom (like Liter, Grasso and Pogson) were already noted in jazz or danceband circles before they joined Silvester's band. Unlike most British dance bands of the era, there were no vocals. Silvester usually did not play (he was a violinist), but stood in front of his orchestra in white tie and tails, conducting with a flourish. He continued to make music for half a century, mostly covering the popular music standards and show tunes, sometimes (but rarely) swing, trad jazz and in latter years, especially from 1971 when the orchestra continued under his son, Victor Silvester Jr, rock and roll, disco and pop. These later attempts to stay "with it" involved the introduction of an electric guitar, but it is mostly the more melodic recordings of the 1940s and 1950s that are now reissued on CD. Competition Silvester's record sales were so high that competition was inevitable. Other dancers were attracted to the idea, and set up their own strict-tempo bands. Henry Jacques, Maxwell Stewart, Josephine Bradley and Wally Fryer were all top-flight dancers who