By 1969 the kids that were caught up in Beatlemania were outgrowing pop singles. Thanks to the Fab Four, and their contemporaries, albums had replaced singles as the music art form for young adults. Record labels recognised this and pumped money into LPs.
All this left something of a void, and you only have to look at some of the number 1s from the last two years to see that. One genre making waves in the singles chart was ‘bubblegum pop’, largely an invention by labels eager to fill a void. If the teenagers and beyond were mainly buying albums now, then that left a whole new generation to be persuaded into buying pop singles. Bubblegum pop songs tended to be short and upbeat. Gone were overt drug references. Producers were often in charge, churning out material by an assembly line of acts backed by session musicians. One of the most successful of 1969 was an American whose first hit was back in 1962.
Thomas Roe was born on 9 May 1942 in Atlanta, Georgia. Upon graduating, he went to work for General Electric, where he soldered wires. By 1960 he had become Tommy Roe, and unusually, his first album was split between him and another singer, hence the name Whirling with Tommy Roe and Al Tornello. On the album were his first two singles, Caveman and Sheila, in which Roe mimicked the vocal stylings of Buddy Holly. Neither charted.
However, two years later, the latter was re-recorded, made the title track of his first full album, and became a resounding success. It topped the charts in the US, Canada and Australia, and reached number three in the UK. ABC-Paramount asked him to go on tour to promote it, but he was reluctant to give up his day job until they gave him an advance.
The Beatles were fans of Sheila, and began covering it. In early 1963, they supported Roe and Chris Montez on their joint headlining tour. New Musical Express reported that both singers were being upstaged by John, Paul, George and Ringo. He had two further UK hits later that year – Everybody and The Folk Singer. Roe decided to move to London, but the Beat boom was happening so fast, he couldn’t keep up, and there were no further chart appearances on these shores, even though Sweet Pea and Hooray for Hazel did well elsewhere in 1966.
Then came Dizzy. Roe had co-written this pop tune about budding love with Freddy Weller, guitarist with US rock band Paul Revere & the Raiders. Weller had ambitions to be a solo artist, and around this time he released his debut single, a cover of Joe South’s Games People Play. Top US session musicians The Wrecking Crew provided the backing on Dizzy, including the late, great Hal Blaine on drums.
I adore Dizzy. But not this version. The first single I ever bought on cassette was the number 1 cover in 1991 by my favourite comedian at the time, Vic Reeves, with Brummie indie outfit The Wonder Stuff.
Roe’s Dizzy is a rare instance of an original being worse than a cover. I was so disappointed to hear a slight, awkward attempt at psychedelic pop, that is, by comparison, terribly leaden. Very odd for The Wrecking Crew to sound so dull. It has a slightly sickly feeling to it, making the title rather appropriate. Everything is slightly off, apart from Jimmie Haskell’s string arrangement, which was neatly copied in 1991.
Amazingly, six years after being upstaged, Roe got his revenge, and he knocked The Beatles from the top spot, and Dizzy went to pole position in the US and Canada too. Despite its weirdness, it was catchy enough to capture the public’s imagination after all. And yet, after one week, he was knocked off his perch by… the bloody Beatles.
Although Roe continued to have hits elsewhere, his chart action in the UK was soon over once more. Eventually he ended up on the nostalgia circuit with acts like Bobby Vee. In the late-70s and 80s he moved into releasing country material.
Roe’s final album, Confectioner’s, was released in 2017. He announced his retirement on his Facebook page in 2018.
Written by: Tommy Roe & Freddy Weller
Producer: Steve Barri
Strings arranged by: Jimmy Haskell
Weeks at number 1: 1 (4-10 June)