Reid Kerr College Students Record “And Then He Kissed Me” in a Morning Session
Students at Reid Kerr College in Paisley perform “And Then He Kissed Me” in this recorded classroom session. The video captures an ensemble working within a defined teaching exercise, with the song providing a common task for singers and instrumentalists.
The lecturer’s source description dates the recording to June 2010. It explains that students received their instructions on the day and worked during a three-hour morning class, with a live take recorded within that period.
The exercise allowed several ways of finding musical parts. Students could work from notation, by ear or through improvisation. Those approaches involve different skills, but the resulting parts still needed to fit within a shared arrangement of the song.
The description adds that about half the performers were using a second instrument. Its examples include a singer playing saxophone, a pianist on clarinet and an electric bassist on double bass. These details give the session a specific educational context.
The recording is described as a live performance with an overdub of additional percussion. That distinction preserves the value of the ensemble session while explaining that the final audio also includes a later contribution. It should not be presented as entirely unaltered audio.
Watch the performance
Working within a short class period creates a practical musical challenge. Players must understand their roles, establish a common tempo and decide how to support the melody. The aim is a coherent performance produced within the available time.
Familiar repertoire can help with that process. A recognizable song gives participants a structure to return to as they work out individual parts. It also helps listeners follow the performance without needing an explanation of every musical decision.
Using second instruments introduces another dimension to the exercise. A musician may understand a phrase clearly while finding a different way to produce it physically. Ensemble playing requires that individual process to remain connected to everyone else’s timing.
The classroom setting makes those relationships visible. Performers share a working space rather than a formal concert stage, and the camera preserves their participation in the session. The environment keeps the recording connected to the learning activity described by the lecturer.
The song’s vocal line gives the accompaniment a clear point of reference. Instrumental parts can support the melody through rhythm, harmony or small contrasting gestures. Their value comes from how they contribute to the arrangement as a whole.
That is an important distinction in group music-making. A part does not need to be complicated to be useful. A consistent supporting figure can help the singer and other players maintain direction, especially when an arrangement is assembled within limited rehearsal time.
The recording also offers a chance to consider different routes into musical understanding. Reading a part, listening for it and improvising around it can all contribute to a performance. The exercise described in the source deliberately leaves room for those methods.
For viewers interested in music education, the clip is therefore more than a cover of a familiar song. It documents a specific class task and the ensemble response to it. The source’s practical details help explain what the students were working toward.
The performance can still be enjoyed without treating it as a lesson. Its appeal comes from hearing a group present the song together, with the classroom context adding a sense of shared activity. The recording makes that collaboration available beyond the session itself.
The lecturer uploaded the video for the students, according to the description. Keeping that original purpose in view avoids replacing a documented classroom exercise with a vague account of an unexplained viral performance.
Reid Kerr College’s session shows how a familiar song can organize several approaches to learning and ensemble work. The three-hour class, second instruments and clearly described recording process give the performance a concrete story grounded in the source rather than its circulation online.
More videos to explore
The Crystals’ “Then He Kissed Me” recording provides the original song for comparison with the student arrangement.
The Ronettes’ official “Be My Baby” audio offers another example of the 1960s vocal-group repertoire surrounding this song.
Further reading: Performance background and source.
