207. The Beatles – Day Tripper/We Can Work It Out (1965)

PEG6MOB.jpgAs Christmas 1965 approached, tension increased between the UK and Rhodesia, with Britain beginning an oil embargo on 17 December. America soon followed suit. Supporters of Rhodesian Prime Minister Ian Smith attacked three visiting MPs on 12 January 1966.

22 December saw a temporary maximum speed limit of 70mph on the UK’s motorways. The limit became permanent in 1967. On the same day, Prime Minister Harold Wilson shuffled the cabinet and made Roy Jenkins the Home Secretary and the new Minister of Transport was Barbara Castle. Both MPs would be big names within Labour for many years to come.

It will be no surprise to see the Beatles were Christmas number 1 yet again. This was the third time in a row, and they overtook Cliff Richard as the British act with the most chart-toppers – nine at this point. Since their last single Help!, the Fab Four had met with their old hero Elvis Presley, played their famous Shea Stadium concert, and finally slowed down, with the intention of devoting more time than usual to their new album. With LSD added to their drug intake, in addition to their pot smoking, Rubber Soul was a big step forward. The Beatles drew on their favourite musicians of the time, including Bob Dylan and the Byrds, to create a more introspective sound, combining pop, rock and folk with their most thoughtful, insightful lyrics to date. In addition to album highlights such as Drive My Car, Norwegian Wood (This Bird Has Flown), In My Life and If I Needed Someone, the band also recorded two non-album tracks to release as a single on the same day. Because there were disagreements over which track to prioritise, Day Tripper/We Can Work It Out became the first ‘proper’ double-A-side single. Any followers of this blog will have seen we’ve had double-A-sides before, but in these instances, the second track listed was actually supposed to be a B-side, it’s just that demand resulted in the flip sides being promoted as strongly as the main track. That’s why you’ll see so many from Elvis earlier in the decade.

Day Tripper was recorded at Abbey Road on 16 October. The killer riff and majority of the song came from John Lennon, with Paul McCartney mainly helping with the verses. Seems to me this was Lennon’s attempt at coming up with a hook as good as the Rolling Stones’ (I Can’t Get No) Satisfaction, and he came admirably close with this.

At the time, Lennon and McCartney were debating where to go next with their songwriting, having by and large exhausted the well of first-person love songs. One option, that fortunately didn’t last, was to write ‘comedy songs’. Not necessarily silly songs, but humourous tracks, occasionally with punchlines. Although the world can be glad they didn’t stick with that idea, to be fair, when the examples are Day Tripper, Drive My Car and Norwegian Wood (This Bird Has Flown), maybe it wouldn’t have been such a bad thing after all.

Lyrically, Day Tripper was their first single to mention drugs, albeit hidden in a not-subtle-at-all manner behind travelling references. The female character, perhaps like the one in Ticket to Ride, is sexually confident (in addition to being a ‘weekend hippy’), with the line ‘she’s a big teaser’ famously a cleaner version of the original ‘she’s a prick teaser’.

Although cleaner and sounding more ‘pop’ than (I Can’t get No) Satisfaction, the stereo mix of Day Tripper is rather sloppy. Of course, in 1965 stereo was considered less important than mono, but that’s no excuse for the brief accidental erasing of the guitar and tambourine tracks at 1.50. Once heard it’s impossible to not notice. Thankfully the error was rectified when the track was included on the 1 compilation in 2000 by taking the sounds from elsewhere in the track. Yet another classic mid-60s track, Day Tripper could easily have been a number 1 on its own.

The origins of We Can Work It Out probably came from McCartney’s now-troubled relationship with Jane Asher. He struggled to finish the song and took it to Lennon, whose ‘Life is very short…’ section was the perfect counterpoint to McCartney’s work. I have to agree with Revolution in the Head author Ian MacDonald that this song doesn’t spotlight the difference between Lennon and McCartney’s songwriting as definitively as some suggest. You can hardly call McCartney’s ‘do I have to keep on talking till I can’t go on?’ optimistic, for example. Nonetheless, the instances of the duo working together to such an extent shrank rapidly after We Can Work It Out, and this song is a great example of how well the duo complimented each other.

It was recorded four days after Day Tripper, with the rhythm track laid down in two takes. However, a further 11 hours were spent on the recording – the longest they’d ever spent on one song. During the session, George Harrison came up with the idea for Lennon’s section to be recorded as a waltz. The final ingredient, and the best, was the overdubbing of Lennon on a harmonium. This added texture to the single that pointed the way towards the future of the Beatles.

McCartney, Harrison and Starr felt We Can Work It Out was the better track to feature as an A-side, but Lennon felt strongly they should opt for the harder Day Tripper. EMI even originaly announced We Can Work It Out as the Christmas single, but Lennon’s stubbornness resulted in both tracks being joint headliners. Airplay and point-of-sale requests proved Lennon wrong, but I’m on his side on this one. Having said that, for my money one of the best Beatles covers of all time has to be Stevie Wonder’s We Can Work It Out in 1970.

Although they were at number 1 for the ninth time in a row, alarm bells rang within the media that they were starting to lose some of their popularity because the single didn’t shoot straight to the top in the first week of release, which had become the norm for the Fab Four. Despite this, the record was their best seller since Can’t Buy Me Love in 1964.

Before the release, the band recorded promo films with Joe McGrath to avoid having to appear yet again on Top of the Pops etc. The highlight of these videos is Lennon making McCartney laugh while pulling faces on the harmonium. Four days before the single knocked The Carnival Is Over from number 1, the Beatles performed their final UK gigs at the Capitol in Cardiff.

Also in the news that Christmas and New Year… the oil platform Sea Gem collapsed in the North Sea on 27 December, killing 13 of the 32 men on board. 3 January saw the debut of classic children’s TV series Camberwick Green, shown on BBC One as part of the Watch with Mother strand. The following day, over 4,000 people attended the funeral of BBC broadcaster Richard Dimbleby, who had died on 22 December. Such a gathering for the death of any broadcaster seems hard to believe.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 5 (16 December 1965-19 January 1966)

Births:

Northern Irish composer Martin Galway – 3 January 

Deaths:

Broadcaster Richard Dimbleby – 22 December
Politician Edward Davey – 25 December 

205. The Rolling Stones – Get Off of My Cloud (1965)

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In the autumn of 1965 the situation in Rhodesia degenerated so much that martial law was announced on 5 November. The UN General Assembly accepted British intent to use force if neccessary. Six days later, Ian Smith’s white majority regime unilaterally declared independence, and so on 20 November the UN Security Council recommended that all states should cease trading with Rhodesia.

Meanwhile in the pop world, Ken Dodd’s Tears was finally usurped after five weeks at the top, with a song that couldn’t be more different. The Rolling Stones were at number 1 for the third time that year with the racucous Get Off of My Cloud.

Adored by young people and critics and feared by the older generation, the Stones were now on a par with the Beatles, but rather than make the move into establishment acceptance, Mick Jagger and Keith Richards decided to write a sequel to their previous number 1, (I Can’t Get No) Satisfaction. The alienation felt by Jagger was the theme once more, and it seems his band’s superstardom hadn’t improved the singer’s general mood. Richards based the tune on the Kingsmen’s classic Louie Louie and later expressed regret that Get Off of My Cloud hadn’t been slowed down. He also said it was one of Andrew Loog Oldham’s worst productions.

I’ve said before that I think a lot of early Stones recordings would have benefitted from cleaner production, but I’m not sure I agree with Richards in this instance. I think Oldham’s work around the time of Aftermath (1966) suits the darker, early-psychedelic material the Stones were coming out with, particuarly on tracks like this and Have You Seen Your Mother Baby, Standing in the Shadow? Although it would be nice to actually be able to work out what Jagger is shouting about. And I realise by typing that sentence I sound like the sort of person who would have been furious in 1965 that the Rolling Stones had knocked Ken Dodd from number 1…

Jagger is living high up on the 99th floor of an apartment block, and the first verse follows right on from (I Can’t Get No) Satisfaction, with the singer complaining about commercialism through advertising. However, he wrongfoots everyone by spending the next verse complaining about the noise coming from his neighbours until the early hours. Jagger isn’t on anybody’s side here other than his own. And what’s more, he’s so bloody rich, he can afford to go for some peace and quiet and end up with loads of parking tickets. Couldn’t give a shit as long as he’s left alone. And so we have the most mean-spirited chart-topper so far, and you’ve got to admire the Rolling Stones for their chutzpah. Their stand-offishness only made them more admired.

Also in the news that November… The Murder (Abolition of Death Penalty) Act suspended capital punishment for murder in England, Scotland and Wales, for five years in the first instance, replacing it with a mandatory sentence of life imprisonment. And on 13 November the word ‘fuck’ was believed to have been spoken on British television for the first time by theatre critich Kenneth Tynan. He was taking part in a live debate on censorship on BBC Two satirical series BBC-3. No recording exists of the occurence, but despite general opinion that it was Tynan, three other moments could also be considered the first: a drunken Brendan Brehan on Panorama in 1956 (barely intelligible muttering), a man who painted railings describing his job as ‘fucking boring’ on Ulster TV’s magazine Roundabout in 1959, or actress Miriam Margolyes, who claims to have said it in frustration while taking part in ITV’s University Challenge in 1963. But really, who gives a fuck?

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 3 (4-24 November)

Births:

Actor Shaun Williamson – 4 November
Comedian Sean Hughes – 10 November Sean Hughes, comedian (died 2017)
Northern Irish racecar driver Eddie Irvine – 10 November
Presenter Eddie Mair – 12 November

Deaths:

Academic Ifor Williams – 4 November
Politician George Henry Hall – 8 November

204. Ken Dodd – Tears (1965)

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7 October 1965. A 27-year-old stock clerk named Ian Brady was charged with the murder of 17-year-old apprentice electrician Edward Evans the night before. Myra Hindley’s brother-in-law David Smith had witnessed Brady striking Evans with the flat of an axe and then strangling him with electrical cord. Smith had been friends with Brady for a while, but when he told his wife Maureen Hindley what he had seen, she told him to ring the police. The arrest led British Transport Police to discover suitcases belonging to Brady at Manchester Central railway station. Inside one of them were incriminating, disturbing photos of a young girl, as well as a tape of her voice pleading for help. Myra Hindley was arrested on 11 October and both she and Brady were charged with Evans’ murder. Police searches led them to believe that the duo were responsible for the murders of several children reported missing in the Manchester area over the last few years, and on 16 October, the body of ten-year-old Lesley Ann Downey was found on Saddleworth Moor.

As news reports pieced together the horrific story of the Moors Murderers, Brady and Hindley were charged with Downey’s murder on 21 October. Three days later police found the decomposed body of 12-year-old John Kilbride, who had been missing since November 1963. Brady and Hindley were charged in court with the murders of Evans, Downey and Kilbride on 29 October.

As this terrible story unfolded that October, an unlikely chart star was at number 1. Comedian Ken Dodd’s Tears’ reign of the singles chart lasted a mind-boggling five weeks. Not only that, it was the best-selling single of 1965 – a year featuring some of the greatest number 1s there has ever been. How did this happen?

Kenneth Arthur Dodd was born 8 November 1927 in Knotty Ash, Liverpool. He sang in the local church choir, and at 14 he left school to work for his father as a coal merchant. Despite this, he was in love with the idea of being an entertainer, and his father bought him a ventriloquist’s dummy, which he named Charlie Brown. Dodd began his showbiz career performing at the local orphanage. His trademark bucked teeth came about as a result of Dodd being dared by his friends to ride his bike with his eyes closed.

His big break came in 1954 when he turned professional at the age of 26. He performed as Professor Yaffle Chucklebutty, Operatic Tenor and Sausage Knotter at the Nottingham Empire. It’s fair to say his eccentric humour was already well in place by this point. He gained top billing for the first time in Blackpool in 1958. With his unusual appearance, quickfire one-liners, and lengthy performances, he became a big star. Over the years his tales of the Diddy Men, jam butty mines and Knotty Ash (where he lived all his life) made him a true family entertainer. His shows became so long he even entered the Guinness Book of Records for the world’s longest joke-telling session – 1,500 jokes in three-and-a-half hours.

His sets would also feature songs. Dodd was no great shakes as a singer, but he wasn’t bad either, and off the back of his fame he started releasing singles, his first being Love is Like a Violin in 1960. It went to number eight, but for the next few years his records only made it into the top 30, including Happiness, which became his signature song. Which makes it unlikely that anyone including Dodd would have expected Tears to do as well it did. Originally called Tears for Souvenirs, the words were by Frank Capano and music by Frank Uhr. Recorded by Rudy Vallee in 1929, it was based on Delilah’s aria Mon cœur s’ouvre à ta voix (Softly awakes my heart) from Act II of Camille Saint-Saëns’s opera 1877 opera Samson and Delilah.

Dodd’s performance on Tears, like most of his singles, is played straight, and yes, he sings it well enough, although it’s a very mannered performance, with every line pronounced to perfection. But it’s not even Dodd’s best single – Happiness is more memorable (it’s the only other one I’ve heard and I can’t say I’m in a hurry to hear any others). It’s a throwback to the pop singles of the early-to-mid-1950s. As the crimes of the Moors Murderers came to light, I’d imagine that the British public, whether subconsciously or not, chose to a very safe song to listen to that was reminiscent of more innocent times. This can’t be proved though, and it still doesn’t explain exactly how big this song was. In addition to being the best seller of 1965, Tears was the third biggest single of the 60s and the only one in the top five that wasn’t by fellow scousers, the Beatles. In 2017 it was revealed as the 39th biggest single of all time. Incredible statistics for such a random, average track. Basically, I don’t know why it was so popular. It’s yet another example of the weird and wonderful world of the UK singles chart. My only prior knowledge of it came from a snippet being sang in the Bonzo Dog Doo-Dah Band’s I’m Bored in 1967.

Dodd’s music career peaked in the mid-60s, with further top ten entries for The River (Le Colline Sono In Fioro) and Promises. Occasionally he branched out into straight acting, in theatre (a production of Twelfth Night in 1971), TV (Doctor Who in 1987) and cinema (Kenneth Branagh’s version of Hamlet in 1996). I remember finding Dodd funny as a child and wondering what the tax evasion case of 1989 was all about. I didn’t like the idea of such an odd man as Dodd behind bars, but he was acquitted and the media spotlight didn’t hurt his career.

Dodd was a national treasure and one of the last great British eccentrics. Over the years he recieved an OBE, was knighted and received award after award. Behind the laughter, like with so many comics, there was sadness. Dodd was in a relationship with Anita Boutin from 1955 until she died of a brain tumour in 1977. A year later he fell in love with Anne Jones, and they married on 9 March 2018, two days before he died. They had wanted children but were unable, and the details of his tax evasion had included failed rounds of IVF. When they wed, Dodd had just been released from hopsital, where he had been for six weeks due to a chest infection.

Ken Dodd died in his childhood home in Knotty Ash on 11 March this year, aged 90. The showbiz world mourned the loss of a beloved figure.

Although the Moors Murders were the biggest story in the autumn of 1965, the news wasn’t all so horrific. On 30 September the first episode of ATV’s much-loved puppet series Thunderbirds aired on ITV, and 18 October saw The Magic Roundabout premiered on BBC One. On 8 October the iconic Post Office Tower opened in Londond, remaining the capital’s tallest building until 1980.

The drama in Rhodesia continued, with African countries demanding on 22 October that the UK use force to prevent it from declaring unilateral independence. Two days later, Prime Minister Harold Wilson and Secretary of State for Commonwealth Relations Arthur Bottomley travelled there to negotiate with their Prime Minster Ian Smith.

Written by: Billy Uhr & Frank Capano

Producer: Norman Newell

Weeks at number 1: 5 (30 September-3 November) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Comedian Steve Coogan – 14 October
Actor Stephen Tompkinson – 15 October
Disc jockey Steve Lamacq – 16 October
Bush singer Gavin Rossdale – 30 October 

203. The Walker Brothers – Make It Easy on Yourself (1965)

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Long before Scott Walker was ordering a percussionist to punch a side of pork, he was a 1960s pop idol with his pretend siblings. The Walker Brothers first found fame with this first of two number 1s, Burt Bacharach and Hal David’s Make It Easy On Yourself.

John Maus, born in New York in 1943, was a child television star. In the late 50s he was friends with Ritchie Valens, and following the La Bamba hitmaker’s tragic death, he was an honorary pallbearer at his funeral. Later, he befriended future Beach Boys David Marks and Dennis and Carl Wilson, and he helped teach them how to play the guitar. He formed a musical partnership with his sister, and they were known as the acoustic duo John and Judy. In 1961, they met Scott Engel.

Engel, born in Hamilton, Ohio in 1943, had also been a child actor and singer, and in the late 50s he was marketed as a teen idol, with Eddie Fisher (one of the first number 1 stars in the UK) pushing him for stardom. Engel had intellectual tastes from an early age, and loved progressive jazz, Beat poetry and European cinema. When he met John Maus he was in the instrumental group the Routers.

Engel and Maus briefly backed John’s sister and they became Judy and the Gents. Somewhere around this time, the 17-year-old Maus got hold of an ID card for John Walker, enabling him to perform in clubs while underage. The name stuck, and he was sick of people getting his surname wrong anyway. After breaking away from Judy Maus, Engel and Walker were briefly part of the Surfaris, the group that had recorded Wipeout in 1963. At least, they were part of the touring group, none of whom recorded their singles.

In 1964, they decided to work together as the Walker Brothers Trio, with Al ‘Tiny’ Schneider on drums. Walker was lead vocalist and guitarist and Engel was bassist and provided harmony vocals. At some point Schneider left and they continued as a duo before meeting new drummer Gary Leeds. All three were photogenic and soon ended up on TV shows including Shindig. They signed with Mercury Records and recorded their debut single, Pretty Girls Everywhere. It was Maus’ idea they should all take the surname Walker, and I still find it odd that Engel continues to go by the name Scott Walker after all these years. I guess he must still have a soft spot for his time as a pop star.

Gary Walker had recently toured the UK with PJ Proby, and convinced John and Scott that the Walker Brothers should try their luck as pop stars on these shores. It was his father that financed their first trip early in 1965. Their first single barely scraped into the charts, but they had better luck with Love Her. This follow-up featured Scott on lead vocal, and upon its success, Scott began moving into the lead spot in the trio.

They found an ideal producer in Johnny Franz. He was one of the top UK producers of the 50s and 60s, and by this point had produced six UK number 1s, from Winifred Atwell’s Let’s Have Another Party in 1954 to Juliet by the Four Pennies in 1964. Franz was very effective at lavishly orchestrated 60s pop, which made him a natural choice to produce a Bacharach and David song. Make It Easy on Yourself was a decent slab of break-up melodrama from the genius duo, and became the songwriters’ sixth UK number 1. It had first been a hit in 1962 for Jerry Butler, based on a demo from Dionne Warwick.

Make It Easy on Yourself comes out on the losing side when compared to that other big heartbreak song of 1965, You’ve Lost That Lovin’ Feelin’. Nobody does the Wall of Sound better than the creator, Phil Spector. Having said that, the Walker Brothers and Franz put in a decent try. The track opens with a wordless version of the chorus, and that first line, ‘Breaking up is so very hard to do’, set to Scott’s smooth baritone, sets things off nicely. It can’t keep the momentum going though, and the verses don’t have the tension and drama of the Righteous Brothers’ number 1. How many songs do, though? Oh, this song also features legendary session drummer Clem Cattini, who took part in a frankly ridiculously long list of UK number 1s over the years, the most recent of which had been the Bachelors’ snore-fest Diane in 1964.

Scott’s vocal is perhaps a little too polished and mannered to carry off the emotion… unless this is a deliberate ploy to make the protagonist sound in denial. You can easily imagine several other singers’ releasing this, such as Cilla Black, which means the Walker Brothers, in particular Scott, were still too green to put their own stamp on their releases. Their next number 1 was a big improvement.

Written by: Burt Bacharach & Hal David

Producer: Johnny Franz

Weeks at number 1: 1 (23-29 September)

Births:

Olympic athelete Phylis Smith – 29 September 

202. The Rolling Stones – (I Can’t Get No) Satisfaction (1965)

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What is it with these legendary songs that were supposedly written in the sleep of their composers? Paul McCartney has always said Yesterday came to him in a dream. He rushed to the piano in the Asher household the following morning to play the melody, and was convinced at first that somebody else must have written it. But Scrambled Eggs, as he originally called it, was a Lennon and McCartney original.

And in the same year came (I Can’t Get No) Satisfaction by the Rolling Stones. Mick Jagger and Keith Richards had written their first number 1, The Last Time, earlier in 1965, although how much they can lay claim to that is debatable considering they pinched the chorus from the Staple Singers. Nonetheless, their songwriting was improving. The fact this song came soon after makes that a hell of an understatement.

Richards claims he woke up one morning and had a half memory of recording himself trying out a song that had come to him in the night. Playing back the recording, he heard himself playing (I Can’t Get No) Satisfaction on an acoustic guitar for two minutes, singing the song’s title, followed by the sound of the pick hitting the floor and then him snoring for 40 minutes until the tape side ran out. Like McCartney, Richards was sure someone else had already written this song. He was worried it sounded like Martha & the Vandellas’ Dancing in the Street in particular.

Are the stories for these songs true? Did two of the most memorable pop songs of all time appear in their creators’ subconscious? Or did they lie to add to the legend? I guess we’ll never know, but if both are true, it’s fascinating.

The Rolling Stones entered Chess Studios in Chicago to record (I Can’t Get No) Satisfaction on 10 May. Mick Jagger wrote the lyrics four days beforehand by a swimming pool. Apart from the aforementioned line, that is. The original recording wasn’t the version we know and love, and feature Brian Jones on harmonica. This version was the first the public heard of the track, however, when they debuted it on US telvision series Shindig. Two days later they tried again at RCA Studios in Hollywood, with Charlie Watts adding a new beat, and Richards performing the famous riff through a Gibson fuzzbox. This hadn’t been done on a released record before, and added a scratchy rawness to their sound. But that was fine, because he had no intention of it appearing on the released single. It was only there as a guide for what he wanted a brass section to perform.

What else can be said about (I Can’t Get No) Satisfaction? How many superlatives exist? This was more dangerous than pop and rock’n’roll and to me, it’s one of the first singles you can call rock, along with You Really Got Me by the Kinks. Richards’ riff is like the musical equivalent of the big bang, it’s so important and incredible. And although it’s impossible to imagine a time in which it never existed, (I Can’t Get No) Satisfaction never, ever, sounds boring. That fuzzy riff is so primitive, it’s somehow meant the song has remained fresh in the same way the base raunch of You Really Got Me has. It’s such a fantastic riff, it would have no doubt sounded great from a brass ensemble, but would it be as immortal as the version we know? I doubt it.

Lots of credit should also go to Jagger, whose lyrics fit perfectly. This really spoke to his generation, and it’s hard sometimes to think a song that encapsulates feelings of alienation brought on by advertising could come from a man who later became obsessed with money like Jagger did. Despite all the plaudits the Stones have had thrown at them over the years, I don’t think Jagger has ever really got the credit he deserves as a lyricist. Some of his songs from 1965 through to the early-1970s are as sharp as pop and rock music gets. There’s a real dry wit on display here. It’s only now that I discover that although many people found this song dangerously sexually charged at the time, the filthiest lyric of all escaped most people, including me. When Jagger sings: ‘And I’m tryin’ to make some girl/Who tells me baby better come back later next week/’Cause you see I’m on a losing streak’ the ‘losing streak’ in question is the girl’s period. Clever, Jagger, you filthy beast. As great as the lyrics are though, I guess that riff overshadows, well, nearly everything. Bill Wyman’s bass also complements it brilliantly though.

Once the track was completed, everyone bar the songwriters was convinced it needed no brass overdubs, and that they’d hit upon something truly special. Luckily for everyone, Jagger and Richards were outvoted, and (I Can’t Get No) Satisfaction was quickly released a month later in the US, a well as featuring on the American version of their third album, Out of Our Heads. A month later it was the US number 1. UK buyers had to wait a while longer, as Decca were already about to release a live EP by the Rolling Stones. Released in August, the song divided public opinion. To older people and the BBC, it was disgusting. To pirate radio and teenagers and young adults, it was fucking brilliant. We know who was right. The BBC relented and on 9 September it began an all-too-short fortnight at number 1.

The Rolling Stones were suddenly in a new league, and rightly considered on the same level as the Beatles. Jagger and Richard had gone from blues copyists to premier songwriters. Although the whole band stood to benefit from this, 1965 marked the year in which Brian Jones began to feel sidelined.

(I Can’t Get No) Satisfaction is up there with She Loves You as one of the songs that defines music, let alone the 60s. There have been countless covers from the good, the bad and the downright odd over the years, including Otis Redding, Devo, Britney Spears, the Residents, Samantha Fox and Cat Power.

I was one of the lucky ones who finally got to see the Rolling Stones at Glastonbury Festival in 2013. I’m not a superfan, and was expecting dips in the set, but overall it was a triumph and well worth the wait. Their final song was (I Can’t Get No) Satisfaction. I’ve had many amazing monents at Glastonbury over the years. That ranks as one of the best.

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 2 (9-22 September)

Deaths:

Cricketer JW Hearne – 14 September
Geologist Arthur Holmes – 20 September 

201. Sonny & Cher – I Got You Babe (1965)

sonny-cher-1965.jpgBands like the Beatles and the Byrds were on the cutting edge of the rise of the hippy movement, but Sonny & Cher’s I Got You Babe was a very mainstream anthem for the ‘love generation’. Although Cher has hit number 1 several times during her subsequent solo career, this was the duo’s sole chart-topper together.

Salvatore Bono was born 16 February 1935 in Detroit to Italian parents. His mother gave him the nickname ‘Sonny’ that remained for the rest of his life. At the age of seven his family moved to Inglewood, California. He attended high school there, but dropped out to concentrate on music. While trying to break into the business he tried various jobs, including being a waiter and a butcher’s helper. He began his music career at Speciality Records, where he wrote Things You Do to Me for Sam Cooke. By the early 1960s Bono found himself working for Phil Spector as a promotion man, percussionist and gofer at Gold Star Studios in Hollywood. In November 1962 he met 16-year-old Cherilynn Sarkisian in an LA coffee shop.

Sarkisian had been born on 20 May 1946 in El Centro, California. Her father John was a half-Armenian, half-American truck driver with drink and gambling problems, and her mother Jackie Crouch was an occasional model and actress with Irish, English, German and Cherokee ancestry. Their relationship was stormy and they divorced when Cherilynn was only ten months old. Crouch changed her name to Georgia Holt and had several more rocky marriages and divorces while moving her family around the country. They were so poor, Cherilynn’s shoes were held together with rubber bands at one point. By the time she was nine she had devloped an unusually low voice and a love of showbusiness. She fell in love with Audrey Hepburn in Breakfast at Tiffany’s (1961) and began developing an outrageous persona. At 16 she dropped out of school, left home and moved to Los Angeles with a friend, and that’s where she met 27-year-old Sonny Bono. They quickly bonded, and Bono introduced her to Spector, who let her become a backing singer on several important records, including the Ronettes’ Be My Baby (and just before hitting the big time, the Righteous Brothers’ You’ve Lost That Lovin’ Feelin’). Bono got a taste of success in 1963 when he co-wrote Needles and Pins with Jack Nitzsche, which became a UK number 1 for the Searchers in 1964. Also that year, Spector produced her first single, Ringo, I Love You under the name Bonnie Jo Mason. The Beatlemania cash-in flopped.

Bono and Sarkisian became lovers, and wed unofficially in a hotel room in Tijuana, Mexico later in 1964.  Bono wanted her to be a solo star but she suffered stage fright and encouraged him to perform too. They became Caesar & Cleo, but three singles bombed. At the same time, he produced some solo singles for her. The second, released in 1965, was a cover of Bob Dylan’s All I Really Want to Do, and it faced a chart battle with a version by the Byrds. It did well in the US, and by the time of her first solo album she was known as Cher. As a duo, they became Sonny & Cher and worked on their debut album, Look at Us. Among the material was Bono’s upbeat answer to Dylan’s break-up song It Ain’t Me Babe. Members of session musician legends the Wrecking Crew were assembled to provide the backing.

Sonically, the duo’s time working with Spector was clearly an influence on the production of I Got You Babe. It’s a less lavish version of his Wall of Sound, but similar in dynamics with the way it builds to what seems a climax, before falling back on itself. Sonny & Cher are no Righteous Brothers, though. That might be harsh on Cher, who we all know has a powerful set of lungs, but Bono’s fooling nobody with his ‘poor man’s Dylan’ vocals. However, he serves his purpose and gives the song an everyman appeal. It’s easy to see how they charmed audiences, and I Got You Babe is very hard to dislike. A lot of that is down to that hook throughout the song, but what exactly is it? After researching, I still don’t know, but it seems it’s either an ocarina or an oboe. So, at least I’ve narrowed it down to ‘something probably beginning with o’.

This simplistic take on flower power made Sonny & Cher huge stars in the UK. It was the Rolling Stones who suggested they come here, noting that, at the time, being stars in Britain first would give them a better chance in America. Their colourful, proto-hippy outfits turned heads on these shores. Further hits for the duo and Cher alone followed, including The Beat Goes On for the former and Bang Bang (My Baby Shot Me Down) for the latter. But despite their bell-bottoms and fluffy vests, they began to look rather square by the end of the 60s. Cher loved the heavier sound of bands like Led Zeppelin, but Sonny was having none of it. Their relationship suffered but they officially married in 1969 after she gave birth to their daughter Chastity.

The duo moved into TV in 1971 and The Sonny & Cher Comedy Hour was a hit for three years. They ran into relationship difficulties in 1972 but kept up appearances until they divorced in 1975. Despite reuniting for TV series The Sonny & Cher Show, the duo were effectively no more, certainly musically, as Cher carried on as a solo artist. Sonny Bono went into acting, including appearances in Airplane II: The Sequel (1982) and Hairspray (1988). They performed for the last time on Late Night with David Letterman in 1987, where they sang I Got You Babe.

As Cher became a huge star once more, Bono moved into politics after becoming frustrated with the red tape involved in opening a restaurant in Palm Springs, California. He served four years as their mayor, before running for the United States Senate. He was eventually elected to the House of Representatives in 1994 and managed to get a copywright extension law named after him. At some point, he also became a scientologist, but according to his last wife Mary, he tried to break away but they made life difficult for him. The Church denies this. Bono was killed on 5 January in 1998 when he hit a tree while skiing in California. Although Cher had proved she could be a superstar without him, and there may have still been some ill feeling between the duo over the years, she performed a eulogy at his funeral. Despite Cher’s fame, the baby boomers will always associate her with I Got You Babe. The epitaph on Sonny Bono’s headstone reads ‘AND THE BEAT GOES ON’.

And I Got You Babe goes on too. 20 years after first hitting the top, it went to number 1 in 1985. UB40 recorded it with Chrissie Hynde, and my God, was it dull. The original, memorable enough as it was, became forever immortalised in the romantic comedy Groundhog Day (1993), as the first thing weatherman Phil Connors hears every morning for years on end. He should have been grateful it wasn’t UB40’s version.

Written & produced by: Sonny Bono

Weeks at number 1: 2 (26 August-8 September)

Births:

Boxer Lennox Lewis – 2 September 

Deaths:

Speaker of the House of Commons Harry Hylton-Foster – 2 September

200. The Beatles – Help! (1965)

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On 6 August 1965 Elizabeth Lane was appointed as the first female High Court judge. She was assigned to the Family Division. That same day the BBC decided to pull the docu-drama The War Game from transmission as part of its The Wednesday Play strand on BBC1. Directed and produced by Peter Watkins, it portrayed the aftermath of nucelar war. It was deemed too horrifying for public consumption. However, it was publicly screened and shown abroad, and won the Academy Award for Best Documentary Feature in 1966. It was eventually transmitted on 31 July 1985.

The day before, the Beatles scored their eighth number 1 with the title track to their new film and album, Help!

But a few months before all this, John Lennon and George Harrison had their first encounter with LSD. They were having dinner at the house of Harrison’s dentist John Riley, who spiked their drinks with the mind-altering, life-changing drug. Lennon was understandably terrified, but Harrison enjoyed the experience. They both began to use the drug more often. Later that summer, in fact while Help! was number 1, they dropped acid with Ringo Starr for the first time at Zsa Zsa Gabor’s house during an all-star gathering, featuring David Crosby and Jim McGuinn of the Byrds, who turned Harrison on to Indian music, folk singer Joan Baez and Peter Fonda, who inspired the Revolver (1966) track She Said She Said by freaking the band out, continually saying ‘I know what it’s like to be dead’ because he had once accidentally shot himself. Paul McCartney sat out the acid and was converted in 1966.

Nonetheless, LSD was to change all four Beatles over the next few years, and their music, sometimes beyond all recognition from their early years. Help! was the last single of theirs that sounded like their Merseybeat days, but the lyrics were the most direct they had yet attempted.

Lennon was, as he later stated, going through his ‘Fat Elvis’ stage. This rebellious art student with a tragic childhood was struggling to come to terms with the Fab Four’s stratospheric rise. Learning that the Fab Four’s second film was going to be called Help! rather than Eight Arms to Hold You, Lennon took the opportunity to write his most personal lyrics to date. These lyrics were about him and him only. According to McCartney, Lennon asked him to come up with the countermelody, which he did on 4 April at Lennon’s house. On 13 April they entered the studio to record the song, and did so in 12 takes. The following month they re-recorded the vocals for the film version, which marks the Beatles’ first appearance in the movie.

Lennon remained proud of Help! for the rest of his life, and he considered it one of his best songs. But he did express regret that the Beatles weren’t brave enough to record it as he’d originally intended, in a much slower style, to draw out the sorrow of the emotions expressed. Sonically, you could argue that Help! was a step back after Ticket to Ride, but the fact they went at it with breakneck speed and turned it into a straightforward pop song only adds tension between the music and the words and makes it all the more interesting. It’s a tremendous slice of 60s pop, once again showing the band towered above most of their competition. In a year of classic number 1s, Help! is one of the best. It was also the first time a pop song took a negative look at fame, and while you could argue that these type of songs are too self-obsessed and difficult to draw any sympathy from, the Beatles achieve it by going against the grain and wrapping it up in a pop parcel. Those backing vocals… sublime.

The single was released on 23 July, with the film following six days later. As I stated in my blog for Ticket to Ride, I prefer it to A Hard Day’s Night. It’s a riotous, technicolour piece of surreal fun. On the day the single knocked the Byrds’ Mr Tambourine Man from number 1, the album was released. Featuring original songs by Lennon, McCartney and Harrison on side one, the second side featured covers (for the last time on any Beatles album other than 1970 swansong Let It Be) and of course, Yesterday, featuring McCartney only alongside a string quartet. It remains the most covered song of all time.

Notable covers of Help! include Tina Turner’s in 1984 and Bananarama’s 1988 Comic Relief single alongside Dawn French, Jennifer Saunders and Kathy Burke, aka Lananeeneenoonoo.

Now the Beatles were hanging out with the counterculture elite, taking psychedelic drugs and listening to Bob Dylan and the Byrds, among others, their rebellious streaks were growing, along with their hair. Despite this, they were also now Members of the Order of the British Empire. That June, Harold Wilson had nominated the foursome, angering many conservative MBE recipients, some of whom returned theirs in protest.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 3 (5-25 August)

Births:

Children’s television presenter Mark Speight – 6 August 

199. The Byrds – Mr Tambourine Man (1965)

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After failing to win the general election in 1964, Sir Alec Douglas-Home found himself on borrowed time as leader of the Conservatives, yet it was still a surprise when he announced his resignation on 22 July. During his time as party leader he had set up the means in which the next leader would be voted in, and so five days later Edward Heath won a secret ballot, defeating Enoch Powell and Reginald Maudling to become the new Leader of the Opposition. Heath was something different for the Conservatives, as it was unusual for their leader to be from the lower-middle class. As new Prime Minister Harold Wilson had deliberately played down his posh roots, and it had helped his public image no end, this was probably a canny move by the Conservatives.

While the Tories searched for their leader, former world light heavyweight boxing champion Freddie Mills was found in his car after being shot on 24 July. Mills died the next day. He had gone into light entertainment following his retirement from boxing and the news shocked the country. It is still not known exactly what happened, but the police ruled his death was a suicide. Despite being a family man, Mills was rumoured to be homosexual, and that combined with the fact he owed money to a crime syndicate, meant all kinds of rumours have circulated, including him being a serial killer, being in a relationship with former number 1 artist Michael Halliday, or that he was sexually involved with Ronnie Kray.

29 July saw the premiere of the Beatles new film, Help! (more on that next time), and three days later, cigarette advertising was banned from British television.

At number 1 during this fortnight was the Byrds’ interpretation of Bob Dylan’s Mr Tambourine Man. The Animals had kick-started folk rock when they covered The House of the Rising Sun, but this single took folk rock to a whole new level. The Byrds were also heavily influenced by the Beatles, who in turn would be influenced by them. Music was about to get a lot more colourful.

The origin of the Byrds began in 1964 when Jim McGuinn, Gene Clark and David Crosby first worked together. All three had previously been folk singers on the coffeehouse circuit in the early-1960s. McGuinn had also worked as a professional singwriter at Brill Building, and his tutor was Bobby Darin, a UK number 1 artist twice. By the time 1964 began, McGuinn had introduced Beatles songs to his repertoire. Clark also loved the moptops, and approached McGuinn after watching him perform at LA’s Troubadour folk club. They decided to become a Peter and Gordon-style duo and also wrote their own material. David Crosby in turn approached them after a concert, and he began harmonising with them on stage. They named themselves the Jet Set due to McGuinn’s love of aeronautics, and began recording demos.

By mid-1964 they had hired a drummer. Michael Clarke certainly looked the part, coming across like Brian Jones, but he could barely play the congas and didn’t own a drumkit, so he played cardboard boxes and a tamboruine to begin with. They hired session musicians to record a single, Please Let Me Love You, and briefly changed their name to the Beefeaters to cash in on the British Invasion, but it didn’t chart. That August their manager Jim Dickson had got hold of an acetate of Bob Dylan’s Mr Tambourine Man.

Dylan had written the track earlier that year and first recorded it during the sessions for Another Side of Bob Dylan. His version was four verses of beautiful, surrealistic imagery, with lyrics completely different to anything that had topped the charts before. Dylan was fast becoming as hip and influential as the Beatles, and of course Zimmerman and the Fab Four soon crossed paths.

Despite this, the Jet Set weren’t really sure what to make of it at first. They changed the time signature and cut right back to one verse, but still had doubts. In an effort to persuade them, Dickson brought Dylan along to watch them play his song. According to Johnny Rogan in his book The Byrds: Timeless Flight Revisited (1998), an uncharacteristically enthusiastic Dylan said to the Jet Set ‘Wow, man! You can dance to that!’. His postivity rubbed off on them.

Also that summer, they watched A Hard Day’s Night (1964) and decided they needed to have the same gear as John, Paul, George and Ringo. The most important purchase to contribute to their developing sound was McGuinn’s 12-string Rickenbacker. In October, Dickson hired mandolin player Chris Hillman to be their bassist. Hillman brought country influences into the group for the first time. On November 10, thanks to their manager’s connections, and a recommendation from jazz legend Miles Davis, the Jet Set prepared for take-off by signing with Columbia. Over Thanksgiving dinner the four-piece changed their name to the Byrds, another tribute to their beloved Beatles.

On 20 January 1965 the Byrds went to record Mr Tambourine Man in Columbia Studios, Hollywood as their debut single, but producer Terry Melcher wasn’t convinced they could pull it off. He decided to be cautious and instead hired the famous session musicians the Wrecking Crew. Other than McGuinn, Clark and Crosby’s vocals, McGuinn’s guitar is the only sound on the single that belongs to the band.

Not that it really matters, as this beautiful recording is all about the vocals and guitar anyway. The Byrds may have gutted the song’s lyrics, but they fleshed out the sound, adding dreamlike, colourful shading to the words. Dare I say these colours were psychedelic? Despite wearing their influences brazenly on their sleeves, the Byrds truly were something new for the pop scene at that point. They may have still been getting their act together musically, but they were certainly moving in the right circles, meaning half the battle was already won. They looked incredibly hip, and the first signs of the US counterculture became keen followers.

The Beatles’ Ticket to Ride had broken the mould for hinting at where pop lyrics could go, but by taking Dylan and melding his abstract writing to their sound, the Byrds were, appropriately, reaching new heights. Ironically, it knocked the Hollies’ I’m Alive from the top spot, meaning David Crosby toppled his future band member Graham Nash in the UK. But I’m getting ahead of myself.

Their debut single went to number 1 on both sides of the Atlantic, and they convinced Melcher they were ready to record their debut album, which went by the same name. Listening to it this week, it sounds no different to the Wrecking Crew, so perhaps Melcher was worrying for nothing.  Having said that, their UK tour soon after was poorly-received. They certainly didn’t have the charisma of the Beatles or the Rolling Stones.

The Byrds were soon enveloping religious text, more Dylan songs, even Vera Lynn war anthems with their signature sound. Early the following year they released their groundbreaking single Eight Miles High, one of the first psychedelic classics. Ironically, prior to the release, Clark quit the band due to his fear of flying. He became a critically-acclaimed solo artist with songs including Dark of My Moon. but was troubled and unable to eclipse the Byrds, dying in 1991 from heart failure. Third album Fifth Dimension was released in the summer of 1966, and the band further explored jazz and raga influences. Just as psychedelia went overground, they began adding country to their sound in 1967, and So You Want to Be a Rock’n’Roll Star is believed to be a jibe at the Monkees. That same year saw Jim McGuinn find religion and change his name to Roger, and tensions erupt within the band. They sacked their management and during the sessions for what would become The Notorious Byrd Brothers (1968), Michael Clarke quit. McGuinn and Hillman were growing tired of Crosby’s out-there opinions that the press would gleefully report. They drove to his house, told him they were better off without him, and sacked him. Crosby went on to form one of rock’s first supergroups with Stephen Stills and Graham Nash, and later on Neil Young. Their first album in particular is a classic, and this lowly writer had the great pleasure of seeing Crosby, Stills & Nash perform at Glastonbury 2009.

Line-ups in the Byrds changed over and over from then on, most notably with the addition and departure of Gram Parsons, who helped the Byrds embrace country to a greater extent and resulted in their acclaimed Sweethearts of the Rodeo album (1968). However, the hippies were annoyed at the lack of psychedelia, and the country establishment were just as annoyed at this hippy band trying their hand at country.

Around this time, the producer of Mr Tambourine Man, Terry Melcher, had a fall-out with a struggling wannabe musician called Charles Manson. The fact the producer refused to work with such an eccentric enraged Manson, and ultimately led to to the murder of Sharon Tate and others at Melcher’s former home.

1969 was a more successful year for the Byrds. Ballad of Easy Rider became the theme to the classic movie Easy Rider (1969) (albeit a solo McGuinn version) and the excellent Wasn’t Born to Follow also featured on the soundtrack. But the 70s saw the law of dimishing returns come into effect, and by 1972, McGuinn broke up the band for a lucrative reunion of the original five-piece. Predictably enough, this didn’t last long as egos had only grown over the years. Several versions of the Byrds came and went until the original five reformed for the last time to tie-in with being entered into the Rock and Roll Hall of Fame. The reunion was timely, as Clark died soon after. and Clarke also died two years later of liver disease.

Despite Crosby and HIllman being publicly in favour of some kind of Byrds reunion, McGuinn always refuses. Earlier in 2018, however, he and Hillman celebrated the 50th anniversary of Sweetheart of the Rodeo with a tour. For as long as these three are still alive, there will always be an audience for a Byrds reunion, though, and money talks, so I wouldn’t rule it out.

Written by: Bob Dylan

Producer: Terry Melcher

Weeks at number 1: 2 (22 July-4 August)

Births:

Author JK Rowling – 31 July
Director Sam Mendes – 1 August 

Deaths:

Boxer Freddie Mills – 25 July 

198. The Hollies – I’m Alive (1965)

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After 15 months behind bars, Great Train Robber Ronnie Biggs escaped from Wandsworth Prison on 8 July. He scaled a wall with a rope ladder and dropped into a waiting removal van. The canny criminal then fled to Brussels. Four days later, Secretary of State for Education and Science Tony Crosland issued Circular 10/65, which set into motion the abolition of grammar schools and secondary moderns. One of the best actions Labour took during the Wilson government.

Mancunian beat outfit the Hollies were one of the most popular acts of the era, ratcheting up many weeks in the top ten from 1963 onwards, but they only had one number 1 in the 1960s, toppling Elvis Presley a few weeks before these events took place.

The nucleus of the group, Allan Clarke and Graham Nash, were friends from primary school who, like so many others, were keen skiffle fans. They were also admirers of the Everly Brothers and began modelling themselves on them, becoming known as Ricky and Dane Young. Soon after they joined up with a local band called the Fourtones. In 1962 their guitarist Derek Quinn quit to join Freddie and the Dreamers, so Clarke and Nash also jumped ship. They teamed up with another Manchester band called the Deltas, who had just lost a member to the Mindbenders. The Deltas consisted of guitarist Vic Steele, bassist Eric Haydock and Don Rathbone on drums.

That December, they changed their name to the Hollies. Exactly why is unclear. It used to be said that Haydock came up with the name in relation to the festive season, but in 2009 Nash said it was a group decision and was influenced by Christmas and their mutual love of Buddy Holly.

The Hollies performed at the Cavern Club in Liverpool in January 1963, where they came to the attention of Parlophone assistant producer Ron Richards. He offered the band an audition, but Steele chose to quit as he didn’t want to turn professional. They replaced him with Tony Hicks, and they passed the audition, with Richards becoming their producer until well into the 70s. One of the songs they performed, a cover of the Coasters’ (Ain’t That) Just Like Me, became their debut single in May 1963. It did well, reaching number 25. After second single Searchin’, Rathbone chose to leave, and Hicks’ old bandmate Bobby Elliott became their new drummer.

In 1964 the Hollies went from strength to strength. Debut album Stay with the Hollies reached number two in the charts. And they scored hit after hit, most impressive of which was Just One Look. They stood out mainly due to the great harmonies of Clarke and Nash, and a tendency to pick strong songs to cover.  By September Clarke, Nash and Hicks were penning their own tunes and Richards agreed to let them record and release We’re Through as a single, which was another smash.

Some time in late 1964 or early 1965, Clint Ballard Jr approached the Hollies with a song he’d written especially for them. Ballard was a US songwriter who had discovered and managed the Kalin Twins, who had a UK number 1 with When in 1958. He had written Good Timin’ for Jimmy Jones, which went to the top in 1960. His timing with the Hollies was bad initially, as they passed on I’m Alive and it ended up in the hands of fellow Mancunians the Toggery Five. Perhaps they didn’t want to rely too much on covers, but they relented and recorded their own version in May and released it ASAP. And on 24 June the number 1 spot was finally theirs.

It’s all about the uplifting, anthemic chorus really, otherwise I’m not sure there’s much of a song there. But the harmonies are strong as ever and there’s some impressive drum fills too, so the group do the best they can with somewhat average material. I’ve already forgotten the verses but ‘I’m alive!’ is a nice earworm.

The Hollies battled with Presley for a few weeks, with Crying in the Chapel returning to number 1 after a week, but I’m Alive won the war and went back to the top for a further fortnight. It would be 23 years before an advertising campaign helped get the Hollies back to number 1 in 1988.

Written by: Clint Ballard Jr

Producer: Ron Richards

Weeks at number 1: 3 (24-30 June, 8-21 July)

Births:

Footballer Gary Pallister – 30 June
Footballer – 11 July
Politician David Miliband – 15 July
Dinah Rose, QC – 16 July
Academic Steve Webb – 18 July