Music

396. Chicago – If You Leave Me Now (1976)

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The Intro

US rock band Chicago are one of the longest-running and most successful acts of all time in America. They’ve dabbled in jazz, classical and pop and sold millions in the process. Yet they haven’t achieved anywhere near the same level of success in the UK, where their only chart-topper is this soft-rock ballad.

Before

They formed in 1967 in, well, Chicago, Illinois. Known then as The Big Thing, they consisted of saxophonist Walter Parazaider, guitarist/singer Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpeter Lee Loughnane and keyboardist/singer Robert Lamm. All had previous band experience. Chicago toured local nightclubs and played covers of the hits of the era. With a need for a bassist and a tenor to complement the vocals of Lamm and Kath, they hired Peter Cetera towards the end of the year.

The Big Thing were ambitious and began working on their own material. In 1968 they moved to LA, signed with Columbia Records and changed their name to Chicago Transit Authority. They became regular performers at the legendary Whiskey a Go Go, supporting Janis Joplin and Jimi Hendrix. In 1969 their eponymous debut album was released. Unusually for a first LP, it was a double. The seven-piece were lined up to play at Woodstock, but were replaced by Santana.

Less than a year later they had shortened their name to simply Chicago to avoid legal action, and another double LP, Chicago, followed. It spawned 25 or 6 to 4, which reached four in the US and seven in the UK. In 1971 they released Chicago III and began a trend for naming their albums after the group with a roman numeral to denote the order, bar a few exceptions here and there. These earlier, more experimental collections usually found their way into the top 10 of the UK album charts, where the more mature listeners had no quarrel with lengthy rock symphonies. Chicago V in 1972 was their first single album and contained the US number three hit Saturday in the Park. Chicago VI (1973) saw Cetera become established as their main singer. Chicago were so popular in the States, in 1974 their entire catalogue of seven albums was in the Billboard 200.

Close to collective exhaustion from their heavy workload, Chicago took a two-year break inbetween recording Chicago VIII and Chicago X (Chicago IX was a greatest hits compilation). Some of the band were reportedly unhappy with the number of ballads featured on their latest work.

Among the last to be recorded and nearly left off was Cetera’s If You Leave Me Now, which he’d originally written in 1973. The singer also performed backing vocals, with Lamm on electric piano, longtime collaborator Brazilian percussionist Laudir de Olivera provided congas, shakers, finger cymbals and wind chimes, Parazaider swapped saxophone for woodwinds, producer James William Guercio contributed lead and rhythm acoustic guitar (Kath sat this one out) and veteran arranger Jimmie Haskell looked after the strings and French horn orchestrations, played by Gene Sherry and George Hyde.

https://www.youtube.com/watch?v=T6WsbBu-ARc

Review

The first 40 seconds of If You Leave Me Now are great. Opening with that memorable horn hook, Cetera pleads with his love not to go. OK, this is hardly a new subject matter in pop, but it’s a very slick production and ‘If you leave me now, you’ll take away the biggest part of me/Ooohh no, baby please don’t go’ is a very effective earworm.

Unfortunately it all goes a bit aimless after that. It’s as though Cetera plays his ace too soon, stopping his partner in her tracks but is then unable to really give a good reason to persuade her to change her mind. He has a great voice that lends itself well to a song full of pleading, but there’s not enough meat to keep me interested. Dance act Lemon Jelly had the right idea when they used the intro as the basis for their track Soft, released in 2001. It made for a great grand finale to Jarvis Cocker’s Domestic Discos, which he broadcast on Instagram during the first national COVID-19 lockdown.

If You Leave Me Now spent three weeks on top and went to number 1 in the US and several other countries. It also earned the group the Best Pop Vocal Performance by a Duo, Group or Chorus at the 1977 Grammy Awards. Tragedy hit Chicago when in early 1978, Kath died after shooting himself with a gun he thought was unloaded. Singer-songwriter Donnie Dacus was his replacement.

After

Chicago’s sound kept evolving, with the horns being used less often and power ballads their bread and butter. The line-up changed too, and the core members of Toto helped out on 1982’s Chicago 16, which spawned the US number 1 Hard to Say I’m Sorry. It was their second biggest UK hit, peaking at four. Chicago 17 in 1984 featured their last UK hits, Hard Habit to Break (eight) and You’re the Inspiration (14). Cetera left in 1985 to pursue a solo career, reaching number three with yet another power ballad, Glory of Love, which was used in The Karate Kid Part II.

Chicago continued to score hits in the US despite the loss of Cetera, including Will You Still Love Me? in 1986 and I Don’t Wanna Live Without Your Love in 1988. That same year they topped the US chart for the last time with Look Away. Seraphine was sacked in 1990, and the decade saw their recorded output decrease greatly.

The Outro

They returned to experimenting with jazz and classical covers on 1995’s Night & Day: Big Band. Chicago XXX in 2006 was their first album of new material since Twenty 1 in 1991. Their last album to date, released in 2019, is their third collection of festive songs, Chicago XXXVII: Chicago Christmas. Lamm, Loughnane, and Pankow are the only remaining original band members, with Parazaider playing the occasional special event.

If You Leave Me Now was used to great effect in an advert for mobile phone network 3 in 2006.

The Info

Written by

Peter Cetera

Producer

James William Guercio

Weeks at number 1

3 (13 November-3 December)

Trivia

Deaths

20 November: Catholic intellectual Martin D’Arcy

Meanwhile…

16 November: The seven perpetrators of the £8,000,000 van robbery at the Bank of America in Mayfair were sentenced to a total of 100 years in jail.

1 December: The Sex Pistols achieved notoriety with an expletive-ridden TV debut on Bill Grundy’s regional news show Today for Thames Television. The punk rockers were drafted in at short notice when Queen pulled out, and went on to promote debut single Anarchy in the UK, which had been released on 26 November. Grundy, who was noticeably drunk, was suspended for inciting them.

395. Pussycat – Mississippi (1976)

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The Intro

The narrative of 70s pop is well-known. Punk came along and changed everything, sweeping away a stale music scene. What brought it home to me more than anything was the start of BBC Four’s repeats of Top of the Pops in 2011. As 1976 was the first year in which they could amass a complete year’s run, they started there. Week after week, the young audience look downbeat, bored and even depressed in that dark, grim studio. It’s like they’re stood in the rain waiting for a bus that’s late. Another world, when compared to the glitz and glamour of the 80s editions.

Reviewing the number 1s of 1976 has mostly backed up those forlorn expressions, and none more so than this one. Some chart-toppers get forgotten. This one fully deserves that fate.

Before

Pussycat were a trio of Dutch sisters – Toni (lead singer), Betty and Marianne Kowalczyk. The Kowalczyks came from Brunssum, Limberg in the Netherlands. After school they all worked as telephone operators before they became known as Zingende Zusjes (Singing Sisters), performing German language songs. A big beat movement was sweeping the Netherlands, so Zingende Zusjes soon changed their sound to follow suit and added a female drummer to the mix, changing their name to The BGs from Holland. Fast forward to 1973 and the Kowalczyks were signed to Telstar as Sweet Reaction. They recorded a single, Tell Alain, but made little impression.

By early 1975 they were working with guitarist Lou Willé, who had married Toni, and they then joined forces with bassist Theo Wetzels, drummer Theo Coumans and guitarist John Theunissen. This trio had previously been in a lovely named group called Scum. Now a seven-piece, they became a country and pop outfit called Pussycat.

Pussycat signed with EMI on the strength of demo tape which included Mississippi, and it was released as their debut single that year from first LP, the aptly named First of All. It was a huge hit in Europe, reaching number 1 in their own country among others. It had been penned by Werner Theunissen, who had been in early-60s group The Rocking Apaches. His association with the Kowalczyks went back years. He had taught them to play guitar before they were in their teens and he wrote his first song for them. Theunissen also came up with the idea for Sweet Reaction. He wrote Mississippi back in 1969 as a response to The Bee Gees’ first UK number 1, Massachusetts (The Lights Went Out in).

Review

I’d be hard-pressed to work out how any song could topple ABBA’s Dancing Queen after six weeks, let alone Mississippi. It’s four minutes long but feels a lot longer. It starts off OK, a nicely produced country ballad, which isn’t normally my bag, but there are always exceptions. But not with this one.

For one thing, the lyrics are bemoaning the fact rock’n’roll replaced country, which isn’t true. It trundles along, sounding like something you’d hear some nobodies singing as guest stars on a 70s repeat of The Two Ronnies. Boring, but inoffensive. But then the chorus comes, and I don’t know if it’s just me, but the sisters’ combined vocal quality is like fingernails down a blackboard. Just awful. The way they sing the song’s title makes me feel like I’m being pushed too fast on a roundabout and I’m about to throw up and again when they sing ‘Whenever I shall go away’, it’s as though I’ve been punched in the gut.

Maybe I’m alone in having this reaction, I don’t know, but to me it’s very real. Mississippi on a loop would be torture to me. And yet there it was on those Top of the Pops repeats, week after week, the video above featuring Pussycat on a fairground ride showboat, looking like they’re in an outtake from a 70s porn film. Any good points? Well, Eddy Hilberts production tries to polish a turd, as I mentioned. The little guitar fill that represents country becoming rock’n’roll is a nice little touch, and Wim Jongbloed’s strings work well. But those voices… especially when you consider the song is built around them.

After

Pussycat’s fame continued in Europe and elsewhere, where they scored number 1s in the Netherlands with Georgie and Smile in South Africa, both also in 1976. The latter was their only other UK hit though, and it reached 24 here. By 1978 they were only still doing well in their homeland and Belgium. Coumans left and Hans Lutjens took his place behind the drumkit. They continued to tour into the early-80s, but they were running out of money and so the Kowalczyks ditched the band and would perform to backing tapes. Lovers of a Kind from another aptly named album, After All, was their last single in 1983. Toni, who had already released solo material in 1973 as Sally Lane, went on to be a prolific country singer.

The Outro

So we’re coming to the end of one of the worst years for number 1s I’ve reviewed, perhaps the worst. But on 22 October, while Mississippi was ruling the roost, The Damned released New Rose, considered the first ever punk rock single. It would be a few more years before its influence was felt at number 1 but the times were slowly changing.

The Info

Written by

Werner Theunissen

Producer

Eddy Hilberts

Weeks at number 1

4 (16 October-12 November)

Trivia

Births

23 October: TV presenter Cat Deeley
25 October: Footballer Steve Jones
29 October: Footballer Stephen Craigan
7 November: Cricketer Andrew Davies – 7 November

Meanwhile…

24 October: James Hunt became Formula One world champion.  

25 October: The Royal National Theatre opened on the South Bank in London.

27 October: Conservative MP Keith Joseph and close Margaret Thatcher ally delivered the influential policy speech ‘Monetarism is Not Enough’, published by the Centre for Policy Studies.

29 October: Selby Coalfield opened.

394. ABBA – Dancing Queen (1976)

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The Intro

Simply magnificent. Right that’s Dancing Queen covered.

I’m joking, but really, what can be said about Dancing Queen that hasn’t already been said? How does one analyse the ecstasy contained within those three minutes and 52 seconds? In a moribund year of number 1s, this stands out not only as the best, it’s one of the greatest pop songs of all time, up there with She Loves You.

Before

Dancing Queen had been the first song ABBA recorded in the sessions for the album Arrival, beginning on 4 August 1975. The demo was known as Boogaloo and as sessions progressed, Benny Andersson and Björn Ulvaeus became inspired by another disco classic – George McCrae’s Rock Your Baby and the drum sound from Dr John’s 1972 LP Dr John’s Gumbo. It’s slightly blown my mind to discover that the intro sounds very similar to Delaney & Bonnie’s Sing My Way Home from 1971. It was manager and co-writer Stig Anderson that gave the song its title.

Once the backing track was complete, with session musicians Rutger Gunnarsson on bass and Roger Palm on drums, Andersson took a tape home and played it to Anni-Frid Lyngstad. She was so moved she burst into tears and later recalled ‘I found the song so beautiful. It’s one of those songs that goes straight to your heart.’. Fellow ABBA vocalist Agnetha Fältskog agreed, reminiscing that ‘It’s often difficult to know what will be a hit. The exception was Dancing Queen. We all knew it was going to be massive.’

Andersson, Anderson and Ulvaeus worked on the missing piece of the puzzle, coming up with lyrics that capture how it feels to be young, on a night out, and feeling the music and eyes of adorers upon you.

Review

Dancing Queen is a masterclass in pop on every level. Just like the Beatles with She Loves You, they know they have a killer chorus on their hands and go straight into it after a triumphant piano roll. It’s euphoric and ecstatic, and before turning the spotlight (or should that be Super Troupers?) on the 17-year-old girl in the disco, it’s pointing at the listener. You can dance. You can jive. Having the time of your life. The combination of this message and the beautiful music is so inviting, I don’t see how can anyone can turn it down. And then the verses. It’s Friday night, the lights are low and the Dancing Queen is on the prowl.

The only real complaint I’ve heard about Dancing Queen is that the lyrics are politically incorrect, that the girl is a prick tease. I don’t agree. I think the lyrics are empowering, particularly considering the era they were written in. To read ‘Anybody can be that guy’ as a sign of her not being fussy who she pulls, needs to pay attention to the preceding line: ‘You come to look for a king’. Although this is obviously considered a disco anthem, the lyrics note she’s dancing to rock music. Andersson and Ulvaeus wisely ditched a verse that was here originally and has survived via footage from a recording session:

‘Baby, baby, you’re out of sight
Hey, you’re looking all right tonight
When you come to the party
Listen to the guys
They’ve got the look in their eyes’

You could still argue with me, and it’s a strong argument, that the final verse really does prove this girl is bad news:

‘You’re a teaser, you turn ’em on
Leave them burning and then you’re gone
Looking out for another, anyone will do’

ABBA somehow manage to make all this sound kind of innocent though, and I’d still say it’s refreshing to see the girl in charge. And it’s true. It’s the girls that hold all the power in the nightclub discos. And if you listen to this wonderful music, you can feel that way again. It’s a song that doesn’t age thanks to the heavenly production. Lyngstad and Fältskog sing like angels and Andersson’s piano is the highlight – I love the way his pieces seem to tumble from ear to ear with earphones on. Nice synth too, adding texture here and there. As the song fades away, you can almost cry at the sheer beauty of it all. Ah to be young again. There’s none of the Europop cheese ABBA often indulge in here. If there is a higher power up there, I think ABBA somehow channeled it with this song. It’s perfect.

Recorded in two days flat, ABBA knew they were on to a winner, but Anderson suggested Fernando should be released before it as it was broader. This seems like madness to me, but both were massive hits so there you go. Dancing Queen went global. A very respectful six weeks here, 14 weeks in their native Sweden and topping the charts in more than 10 countries, including their only number 1 in the US. It became the second track on Arrival, which was a smash.

After

In 1980 they recorded a Spanish version for their Latin LP Gracias Por La Música, where it was renamed Reina Danzante. Over the years Dancing Queen has only grown in stature and is often referenced by critics who want to get over the simple beauty of pop at its best. It returned to the UK charts in 1992, reaching 16 off the back of Erasure’s number 1 Abba-esque EP. it’s perhaps here that the ABBA revival really began.

The Outro

So, with three number 1s, all huge sellers and this one ruling the roost, 1976 really was ABBA’s year. They weren’t one-hit wonders anymore. They were one of the UK’s favourite groups. In the video to Dancing Queen above, they are performing in a small, packed venue to bopping fans. The band look to be on top of the world. They were.

The Info

Written by

Benny Andersson, Stig Anderson & Björn Ulvaeus

Producers

Benny Andersson & Björn Ulvaeus

Weeks at number 1

6 (4 September-15 October)

Trivia

Births

6 September: Footballer Ian Ashbee/Actress Naomie Harris
8 September: Model Abi Titmuss
11 September: Swimmer Neil Willey
16 September: S Club 7 singer Tina Barrett
13 October: Field hockey player Jennie Bimson

Deaths

1 October: Royal Air Force officer George Stacey Hodson
14 October: Actress Edith Evans

Meanwhile…

4 September: 25,000 people attend the Peace March in Derry and call for an end to violence in Northern Ireland.

9 September: The Royal Shakespeare Company opens a production of Macbeth at The Other Place, Stratford-upon-Avon. Directed by Trevor Nunn, it stars Ian McKellen and Judi Dench in the lead roles.

12 September: Portsmouth football club are reported to be on the brink of bankruptcy due to huge debts.

23 September: Eight men are killed when a fire breaks out on the destroyer HMS Glasgow while being fitted out at Swan Hunter at Wallsend on Tyne.

29 September: Ford launch the Cortina Mark IV.

4 October: The famous InterCity 125 high-speed train is introduced into passenger service on British Rail, initially between London Paddington, Bristol and South Wales.

15 October: Two members of the Ulster Defence Regiment are ailed for 35 years for murder of the members of the Republic of Ireland cabaret performers Miami Showband.

393. Elton John & Kiki Dee – Don’t Go Breaking My Heart (1976)

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The Intro

Sir Elton Hercules John is a pop and rock icon and one of the biggest-selling stars of all time. Over 300 million records sold. More than 50 top 40 singles and seven UK number ones, among them Candle in the Wind 1997, the best-selling of all time in both the UK and US, which sold over 33 million worldwide. And yet he didn’t achieve a solo number 1 until Sacrifice in 1990, by which point he was way past his peak. But this first number 1, a duet with friend Kiki Dee, came 14 years beforehand.

Before

A lot of the following info will be familiar to anyone who’s seen the 2019 biopic Rocketman, but John was born Reginald Kenneth Dwight on 25 March 1947 in Pinner, Middlesex. The unassuming Dwight had a rocky relationship with his parents, particularly his straight-laced father, a Royal Air Force flight lieutenant. But they were both keen on music, and passed that down to Dwight, particularly his mother, who loved the rock’n’roll stars of the 50s. Dwight took particular notice of the pianists Jerry Lee Lewis and Little Richard, and it was his beloved grandmother’s piano that he took to from a young age. His mother would get him to play at family gatherings. At seven he started formal piano lessons, and four years later he won a junior scholarship to the Royal Academy of Music. Dwight had lessons each weekend but left at 16 before his final exams.

His parents, who had never really got on, divorced when their son was 14. He did like his new stepfather though, and John loved being in their new apartment so much, he remained until he had four albums simultaneously in the US top 40.

They encouraged his musical development, and at 15 he was hired as a pianist at a local pub, where, known as simply Reggie, he would perform standards and throw some of his own material in for good measure. He also performed briefly with a group called The Corvettes, and around this time he began wearing glasses on stage. He didn’t need to – it was just his tribute to Buddy Holly.

In 1962 he formed Bluesology with friends and inbetween solo shows, within a few years the group were backing touring US soul and R’n’B musicians including The Isley Brothers and would also work as Long John Baldry’s backing band in a new line-up. Dwight and Baldry would become close friends, and Baldry, who was openly homosexual, helped Dwight come to terms with his own sexuality and the fact he did not love his fiancée.

Dwight answered a New Musical Express ad placed by Ray Williams, A&R manager of Liberty Records. Williams was looking for songwriters, and at their first meeting he handed Dwight an unopened envelope of lyrics written by Bernie Taupin, who had also answered the ad. Dwight wrote a song around the words and sent it to Taupin, beginning one of pop’s most enduring and successful partnerships. Six months later Dwight renamed himself Elton John in honour of Bluesology’s saxophonist Elton Dean and Baldry and by the end of the year he had left that band. He legally became Elton Hercules John in 1972.

John and Taupin joined Dick James’s DJM Records in 1968 as staff writers and over the next two years they penned songs for acts including Lulu. They were a two-man factory, Taupin would write the lyrics in under an hour and John would set them to music in half an hour. On the advice of music publisher Steve Brown, John began composing for himself and released his debut single, the John/Taupin composition I’ve Been Loving You in 1968. His first album, Empty Sky, followed in 1969 but it was Elton John in 1970 that really got the ball rolling. Gus Dudgeon was on board as producer and the beautiful second single Your Song reached seven in the charts here and eight in the US. John was finally a star.

The next few albums, country and western concept LP Tumbleweed Connection, live album 17-11-70 and soundtrack to the film Friends all sold nicely, and John’s US tour also went down very well. 1971 album Madman Across the Water contained the classic Tiny Dancer. Honky Château, recorded in France and released in 1972, saw John take a more rocky approach and Rocket Man became his biggest hit to date, shooting to two.

In 1973 John’s flamboyance made him a natural to join the glam rock movement, and Don’t Shoot Me I’m Only the Piano Player spawned the hits Crocodile Rock (five, and his first US number 1) and Daniel (four). Goodbye Yellow Brick Road was his best album yet, featuring Saturday Night’s Alright for Fighting (seven) and the moving title track (six). He topped the year off with the festive Step Into Christmas (eight).

John formed his own music label in 1974. Calling it The Rocket Record Company, he signed Neil Sedaka and Dee, who he took a close interest in. Dee, born Pauline Matthews on 6 March 1947 in Bradford, West Riding of Yorkshire, had always wanted to be a pop star. She won a talent contest aged 10 and at 16 she was singing with a dance band in Leeds while working in Boots by day. She became a session singer and worked with Dusty Springfield among others, and soon she was signed to Fontana Records.

In 1963 she released her debut single, Early Night, from her first album I’m Kiki Dee (songwriter Mitch Murray came up with her stage name). Despite becoming the first British white artist to be signed by Motown in the States, Dee wasn’t really going anywhere until John took her under her wing after two failed singles on the legendary Detroit label. Her fortunes improved with her cover of Amoureuse, which climbed to 13 in 1973. I’ve Got the Music in Me, credited to The Kiki Dee Band, went to 19 in 1974.

That year was another hugely successful one for John. The original Candle in the Wind, from Goodbye Yellow Brick Road, was a smash, peaking at 11. Then came the album Caribou, allegedly recorded in a fortnight and featuring two of his best-known hits Don’t Let the Sun Go Down on Me (16) and The Bitch Is Back (15). He also collaborated with John Lennon on a cover of Lucy in the Sky with Diamonds and then sang harmonies and played piano on Lennon’s Whatever Gets You Thru the Night.

When it became the former Beatles’ only solo number 1 in the US. When they recorded it, John made a bet with Lennon that the song would top the charts. Lennon was so skeptical he promised John he would perform at one of his shows if it happened. He fulfilled the promise with a rare appearance at a Madison Square Garden gig. They performed their two collaborations and a rendition of The Beatles’ I Saw Her Standing There. It would be Lennon’s final major show.

In 1975 John released the autobiographical account of John and Taupin’s early years together. Captain Fantastic and the Brown Dirt Cowboy contained only one single, Someone Saved My Life Tonight, in which he paid tribute to Baldry helping to stop him wanting to commit suicide. The album was the first to go straight to number 1 in the US, and the last to feature the Elton John Band, who had been an important part of his rise to fame. John dismissed drummer Nigel Olsson and bassist Dee Murray. Guitarist Dave Johnstone was retained. That year John starred in Ken Russell’s adaptation of The Who’s rock opera Tommy as the ‘Local Lad’ and recorded a storming version of Pinball Wizard, which was a number seven smash in 1976. By the time that year rolled around, John was heavily into drugs and dressing ever more flamboyantly for his stage appearances. Critically and commercially adored, nobody could see how unhappy he was behind the facade.

He and Taupin originally wrote Don’t Go Breaking My Heart as a duet for John to record with Dusty Springfield. Using the pseudonyms Ann Orson (John) and Carte Blanche (Taupin), they planned a disco-flecked affectionate tribute to Motown duets of the likes of Marvin Gaye and Tami Terrell. When Springfield turned it down due to illness, John decided to give it to Dee, who in addition to being on his label would perform backing vocals on Goodbye Yellow Brick Road and most recent LP Rock of the Westies. Also on the track were James Newton Howard on acoustic piano and orchestral arrangements, Johnstone and Caleb Quaye on electric guitars, new rhythm section Kenny Passarelli on bass and Roger Pope, plus Cindy Bullens, Ken Gold and Jon Joyce on backing vocals, uncredited.

Review

While I don’t deny John’s talent, and a few of the songs I’ve mentioned above are undeniable classics, I’m not always a fan, particularly of his 80s output onwards. So it’s a shame some of his more deserving tracks didn’t top the charts but the later material did. So it goes.

Don’t Go Breaking My Heart isn’t a classic, but it is pretty good. It’s slick and well-produced and does a good job of copying that Motown duet sound. It’s plain to see, from the pseudonyms used and the fluffy lyrics that John and Taupin aren’t taking themselves seriously, but are such talented songwriters, when they do go for a commercial pop sound, they nail it. Dee duets well with John but I’d have loved to hear Springfield’s take.

Having said that, John and Dee clearly have a genuine friendship, as you can see in the video above. The sleeve of the single is another matter – it looks like John is giving her a dirty look behind her back for some reason.

This is one of the better number 1s of the year – not that that’s saying much, and I think John and Taupin winning the Ivor Novello award for Best Song Musically and Lyrically is a bit much but there you go.

After

1976 was a very memorable summer for Dee. As well as holding the number 1 spot for a very impressive six weeks, she went on to support Queen at Hyde Park, performing for more than 150,000 people. The Kiki Dee EP went to 13 later that year. She had a couple more hits in 1977 – First Thing in the Morning (32) and Chicago (28). Things went quiet for a few years but she made a successful comeback in 1981 with Star, which later became the theme tune to BBC One’s Opportunity Knocks. Also on the album it came from, Perfect Timing, was another duet with John, Loving You Is Sweeter Than Ever. Two years later she was singing backing vocals on John’s album Too Low for Zero.

She released music sporadically in the 80s but duetted with John at Live Aid on their number 1. She moved into theatre, and was acclaimed for her performance in Blood Brothers, even receiving an Olivier Award nomination in 1989. She returned to the singles chart with John when True Love nearly garnered another number 1, but it stalled at two in 1993. Her last album to date is A Place Where I Can Go, released in 2013. Rachel Muldoon played her in Rocketman.

The Outro

As for John, well, we know we’ll hear much more from him, but not for a fair while. But I will point you to the 1994 remake of this number 1 in which drag queen RuPaul took the place of Dee. It was a number seven hit and it’s good fun.

The Info

Written by

Ann Orson & Carte Blanche

Producer

Gus Dudgeon

Weeks at number 1

6 (24 July-3 September)

Trivia

Births

27 July: AI researcher Demis Hassabis
9 August: Radio producer Aled Haydn-Jones/Actress Rhona Mitra/Conservative MP Sam Gyimah
13 August: Idlewild singer Roddy Woomble
1 September: Cricketer Clare Connor

Deaths

19 August: Actor Alastair Sim – 19 August
30 August: Labour MP David Rees-Williams, 1st Baron Ogmore

Meanwhile…

27 July: The UK breaks diplomatic relations with Uganda. 

29 July: A fire destroys the head of Southend Pier.

5 August: The Great Clock of Westminster, aka Big Ben, suffers internal damage and stops running for over nine months.

6 August: John Stonehouse, the last person to serve as Postmaster General, is sentenced to seven years in jail for fraud.

14 August: 10,000 Protestant and Catholic women demonstrate for peace in Northern Ireland. 

30 August: 100 police officers and 60 carnival-goers are injured during riots at the Notting Hall Carnival.

1 September: The summer heat takes its toll, as drought measures are introduced in Yorkshire.

August 31-3 September: Riots ensue at Hull Prison.

392. Demis Roussos – Excerpts From ‘The Roussos Phenomenon’ (EP)

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The Intro

As is well documented, the summer of 1976 in the UK was full of long, lingering days of seemingly endless sunshine. And this was perhaps a factor in pushing Greek singer and unlikely sex symbol Demis Roussos to number 1 for a week that July. And with not one, or two, but four songs! For the first time in my blog, I’m reviewing an EP, rather than a single. A very rare occurrence in the singles chart.

Before

Artemios Ventouris-Roussos came from a Greek family but was actually born in Alexandria, Egypt on 15 June 1946. His father was a classical guitarist and both his parents were amateur actors. Roussos was raised in Alexandria and as a child he studied music and joined the Greek Church Byzantine choir. He was heavily influenced by jazz and traditional Arab and Greek Orthodox music. When his parents lost their possessions in the Suez crisis they moved to Greece, where his mother came from.

Roussos joined a band known as The Idols when he was 17. It was around this time he first got to know Evángelos Papathanassíou and Loukas Sideras, his future bandmates in Aphrodite’s Child. The former was better known as Vangelis. He then joined a covers band called We Five, based in Athens.

In 1967 Roussos, Papathanassíou, Sideras and Silver Koulouris became Aphrodite’s Child, a progressive, psychedelic rock band who released three LPs over five years. Their final release, 666 (1972) was a mammoth, mad double album opus based on the Book of Revelation, featuring the excellent, sprawling The Four Horsemen. Vangelis and Roussos remained friends after the split and would occasionally record together before and after Aphrodite’s Child, including the film score to Sex Power in 1970 and Magic in 1977.

With his impressive, distinctive tenor, Roussos was groomed for solo stardom before the band had split. His debut album On the Greek Side of My Mind (Fire and Ice) spawned the single We Shall Dance in 1971, which became a hit in Belgium and the Netherlands. Over the next few years he grew increasingly popular across Europe (and in size) but not in the UK. It took until 1975 for him to crack the chart here, with Happy to Be on an Island in the Sun, which reached five.

BBC TV producer John King became fascinated by the singer and so he made the documentary The Roussos Phenomenon. In 1976, Roussos’ UK label Philips decided to make the most of this interest and released Excerpts from ‘The Roussos Phenomenon’ EP, rounding up some of his best-known European hits that featured in the documentary. It became the first ever extended play record to reach number 1. Fans of Aphrodite’s Child be warned, you’ll find precious little that sounds like The Four Horsemen…

Reviews

First up is the most well-known Roussos track. Forever and Ever, sharing its title with a number 1 by Slik earlier this year, was originally released in 1973 as the title track to an album. It reached number 1 in Belgium and Mexico. It’s the highlight of the EP and despite being considered somewhat laughable by many, I have a soft spot for it. Yes the production, by Roussos himself, is a bit tacky but the backing vocalists in the opening create an earworm and Roussos’ voice, though not for everyone, is impressive. There are three reasons I like this opener. 1: My dad is known to burst into it with no warning, and only now do I know what the song is. 2: It’s famously used in Mike Leigh’s 1977 TV play Abigail’s Party (replacing José Feliciano’s Light My Fire from the theatre version). 3. One of my favourite singers, King Creosote, performs a hauntingly lovely cover. He has a similar vocal quality and it works great here.

Sing an Ode to Love is a keyboard-led ballad, originally the opener of his 1975 album Souvenirs. The proggy phasing sound in the first half is pretty interesting but once the military drums and choir kick in, it all sounds a bit too Eurovision for my liking.

So Dreamy was his most recent track, originating on 1976 album Happy to Be… It’s very, very similar to Forever and Ever, and inferior. The backing vocals are way too much and already I’m starting to tire of Roussos’ voice.

My Friend the Wind was released as a single in 1973, where it went to number 1 in Belgium and the Netherlands. The second best song here, it’s also the most traditionally Greek sounding of the four. It’s perhaps overlong but a nice tune.

After

In spite of, or maybe thanks in part to, Roussos’ flamboyant/ridiculous image, as seen above, the Greek giant had a few more UK hits, most notably the follow-up to this EP, When Forever Has Gone, which peaked at two. Actually, while on the subject of his image, if you ask me he looks pretty damn cool on the front of the EP at the top of the page. Anyway, Kyrila, released in 1977, was his last chart entry here, at 33. He continued to do well in Europe though, particularly Belgium and the Netherlands.

Roussos struggled with his weight throughout his life, particularly during the early-80s. In 1980 he weighed over 23 stone. He began a diet that enabled him to lose over eight stone in under a year and in 1982 documented his issues by co-authoring the book A Question of Weight.

In 1985 he spent his 39th birthday held hostage as he was among the passengers on TWA Flight 847 from Athens to Rome that was held by alleged Hezbollah terrorists. However Roussos and four other Greeks were released after five days while most of the others remained for 17 days. He was unharmed and even thanked his captors for a birthday cake at a press conference afterwards.

Roussos continued releasing music and touring throughout the rest of the 80s and the 90s, even though his hits tailed off everywhere. He returned to the UK for a tour on the back of Forever and Ever – Definitive Collection in 2002. It was noted that his voice was no longer the powerful force it once was. Roussos’ final album, Demi, was released in 2009. Greece mourned when one of their most famous exports died on 25 January 2015 from stomach, pancreatic and liver cancer, aged 68.

The Info

Written by

Forever and Ever/Sing an Ode to Love/My Friend the Wind: Stélios Vlavianós & Alec R Costandinos/So Dreamy: Robert Rupen & Stélios Vlavianós

Producer

Demis Roussos

Weeks at number 1

1 (17-23 July)

Trivia

Births

19 July: Actor Benedict Cumberbatch

Deaths

21 July (see below): Diplomat Christopher Ewart-Biggs

Meanwhile…

17 July–1 August: Great Britain and Northern Ireland compete at the Olympics in Montreal, Quebec, Canada. They take home three gold, five silver and five bronze medals.

21 July: Christopher Ewart-Biggs, UK ambassador to Ireland and civil servant Judith Cooke are killed by a Provisional IRA landmine at Sandyford, Co. Dublin.

391. The Real Thing – You to Me Are Everything (1976)

/ robbarker1979

The Intro

Number 1 throughout the most memorable heatwave of the past 50 years, Liverpool soul quartet The Real Thing stepped out of David Essex’s shadow in style with the disco stylings of You to Me Are Everything.

Before

They formed in 1970 with Chris Amoo as lead singer, along with Dave Smith, Kenny Davis and Ray Lake. Originally they were The Sophisticated Soul Brothers and then Vocal Perfection. Pretty cheesy names. Fortunately manager Tony Hall saw a Coca-Cola billboard while waiting at traffic lights in Piccadilly Circus with their famous slogan ‘The Real Thing’ in huge letters.

Initially they performed soul covers of US hits, and landed a contract with EMI, releasing debut single Vicious Circle in 1972. They struggled to break through and David left. Even an appearance on Opportunity Knocks couldn’t turn their fortunes around.

What did make a difference was signing with Pye Records in 1975. Essex produced their initial sessions, resulting in the single Watch Out Carolina. They joined him on tour as his support act but it wasn’t just famous friends that opened doors for The Real Thing. Amoo’s brother Eddie, who had sung with 60s soul group The Chants, joined the band and the Amoos began writing together.

However, You to Me Are Everything was written by Ken Gold and Michael Denne. They were British but most of the material they had spent the last few years writing was sold to US musicians, such was the lack of UK soul groups.

Review

I’ve always had a soft spot for You to Me Are Everything. It has a infectious groove thanks to that wah-guitar, uplifting piano and luscious strings. The lyrics on the whole are a little too cliched to impress, though Gold and Denne get round this by explicitly saying ‘Words cannot express how much you mean to me’. One line that is great though is ‘So now you’ve got the best of me/Come on and take the rest of me’, implying they’ve already got on very well in the bedroom and although it won’t get better than that, perhaps they can get to know each other too? You to Me Are Everything is a great track for romancing down the disco, and in a year where quality number 1s are very thin on the ground, it stands out even more now. Great to see that Liverpool could do soul and disco, too.

After

The Real Thing nearly made it two in a row that year when Can’t Get By Without You stopped short at two. They finally released their eponymous debut LP and a third single from it, You’ll Never Know What You’re Missing, took them to 16 in 1977. Over the next few years they had several hits and misses, including Whenever You Want My Love, which reached 18 in 1977. Most successful was Can You Feel the Force?, a decent disco floorfiller, which may have caught on in part due to Star Wars. It reached five in 1979, but the follow-up Boogie Down (Get Funk Now) was their last hit for seven years, only reaching 33.

The Real Thing returned to working with David Essex in 1982, performing backing vocals, which they also did on his hit Me and My Girl (Nightclubbing). Then 10 years after their number 1, The Real Thing were back in the charts, courtesy of DJ Froggy, Simon Harris and KC. You to Me Are Everything (The Decade Remix 76-86) shot to five and Can’t Get By Without You (The Decade Remix II) went to six. Can You Feel the Force? (’86 Remix) was their final chart entry at 24.

In 2002 Thomas Bangalter from Daft Punk and DJ Falcon released a single under the name Together called So Much Love to Give. It sampled The Real Thing’s Love’s Such a Wonderful Thing from 1977 and became a big club hit. Although they didn’t credit The Real Thing, N-Trance’s Kevin O’Toole and Dale Longworth did when they released their version of So Much Love to Give as The Freeloaders. It was a number nine hit.

The Outro

Lake died in 2000, and Eddie Amoo in 2018 during the making of a BBC Four documentary about the band. Everything – The Real Thing Story was shown in 2020.

The Info

Written by

Ken Gold & Michael Denne

Producer

Ken Gold

Weeks at number 1

3 (26 June-16 July)

Trivia

Births

28 June: Actress Lorraine Stanley
1 July: Actress Kellie Bright
7July: Actress Natasha Collins
8 July: Yachtswoman Ellen MacArthur
12 July: Actress Anna Friel
13 July: Actress Lisa Riley
14 July: Cricketer Geraint Jones

Deaths:

28 June: Actor Sir Stanley Baker
5 July: Comics artist Frank Bellamy

Meanwhile…

26 June–16 July: The legendary 1976 heatwave reaches its peak with a temperature of 26.7C every day of this period. For 15 consecutive days, (23 June-7 July), it reaches 32.2 C in London. For five consecutive days – the first being 26 June the temperature exceeded 35C. On 28 June, the temperature reaches 35.6C (96.1 °F) in Southampton, the highest recorded for June in the UK. And then on 3 July, thermometers recroded 35.9C in Cheltenham.

29 June: The Seychelles become independent of the UK.

7 July: David Steel is elected as the leader of the Liberal Party.

14 July: Ford launches the Fiesta, a small three-door hatchback.

390. The Wurzels – The Combine Harvester (Brand New Key) (1976)

/ robbarker1979

The Intro

Ask anyone to name a novelty song from the 70s and I’d wager The Combine Harvester (Brand New Key) would get a lot of mentions. It’s often given as an example of the Great British Public’s eccentric sense of humour and on this occasion I applaud the people who took it to number 1 for a fortnight as the long hot summer of 1976 began. In fact, so poor has the collection of chart-toppers in 1976 been thus far, this Wurzels single is the best yet.

Before

The Wurzels didn’t always specialise in comic covers. They were initially a backing group for Somerset singer-songwriter Adge Cutler, performing ‘Scrumpy and Western’ folk songs from 1966 onwards in pubs across the region, where they would often record live albums. The single Drink Up Thy Zider, released at the end of that year, got them noticed nationally. Originally the line-up featured Brian Walker, Reg Quantrill, John Macey and Reg Chant. Their name, coined by Cutler, is short for ‘mangelwurzel’, a crop grown to feed livestock.

In 1967 the Scrumpy & Western EP that spawned the male of their genre was released, and the band’s line-up began chopping and changing. At the end of that year Scotsman Tommy Banner joined as their accordionist. Further singles included the curiously titled Up The Clump in 1968 and Ferry to Glastonbury a year later. Tony Baylis joined the group in 1969 as their bassist and tuba player in time for their fourth album Carry On Cutler. 1972 saw Bristolian banjoist Pete Budd become a Wurzel, but eventually a tragic event meant he stepped up to become frontman.

Returning alone from a gig in Hereford in May 1974, Cutler fell asleep at the wheel of his sports car. It overturned at a roundabout approaching the Severn Bridge, and Cutler was killed. This left the grieving Budd, Banner and Baylis with the question of whether to continue as The Wurzels. They decided Budd would become their new singer. The album The Wurzels Are Scrumptious! was released in 1975 and was a mix of reworkings of old songs and Cutler tracks that had never been made before. Among the songs was a cover of Pat Boone’s 1962 hit Speedy Gonzales, which they ‘Wurzelled-up’. Without Cutler to write them material, perhaps this was where their future career lay?

Fortunately for them, it had been proven already that this could make them go mainstream. Despite popular belief, it wasn’t The Wurzels idea to turn Melanie’s folk song Brand New Key into a rural knees-up. The original was Melanie’s biggest hit. Also known as ‘The Rollerskates Song’, this slightly fruity track went to number 1 in the US.

Irish comedian Brendan Grace, later known in the UK for his role as Father Fintan Stack in classic sitcom Father Ted, rewrote it as The Combine Harvester, and it went to number 1 in Ireland but got nowhere over here. All The Wurzels needed to do was make a few lyrical changes here and there to make it more ‘Westcountry bumpkin’ and maybe they’d finally see some chart action?

Review

Yes, The Combine Harvester (Brand New Key) may seem unfunny and even offensive now by playing to a common insulting stereotype of Westcountry farmers. However, it’s very catchy, and everyone is having such a good time, it’s hard to take it as anything but a bit of knockabout old-fashioned fun. The site of Budd acting as dozy as possible, particularly in the official video above, knees open wide and sat on a hay bale, can’t help but raise a smile.

The well-trodden path of farms and sex puns are present ‘I drove my tractor through your haystack last night (ooh aah ooh aah)’ as Budd gets his wicked way with a wealthier landowner and wants to marry her (‘Aahh you’re a fine looking woman and I can’t wait to get me ‘ands on your land’). But for me the best bit is: ‘Weren’t we a grand couple at that last Wurzel dance/I wore brand new gaters and me cordouroy pants’… it’s the way he says that last word. Great stuff, and proof that novelty comedy records can stand the test of time.

After

Making hay while the sun shone, The Wurzels followed up their number 1 with I Am a Cider Drinker, a reworking of George Baker Selection’s Paloma Blanca. It soared to three in the charts. Also that year they released One for the Bristol City, which became the football team’s official anthem. 1977’s Farmer Bill’s Cowman reached 32. In a bid to cash in on the Dallas craze of 1980, they released I Hate JR followed by I Shot JR. In 1983, The Wurzels did hip-hop. I definitely want to hear The Wurzel Rap.

Changes were afoot in the line-up, as they gained a drummer in John Morgan in 1981, but lost Baylis two years later as he emigrated to New Zealand to become a chiropodist. He died in 2020.

One of the reasons I may have a soft spot for The Wurzels is the 80s adverts for Country Life butter. The long-running campaign featured cartoon butter men who sounded very similar to The Wurzels. They would laugh, joke, play music and proclaim ‘You’ll never get a better bit of butter on your knife’. Reminisce here.

Budd and Banner have toured with various line-ups as The Wurzels over these past few decades, with only sporadic recorded output. The 1988 single Sunny Weston-super-Mare was their last for seven years. Then in 1995 they celebrated the 25th anniversary of Eddie Stobart Ltd with the I Want To Be An Eddie Stobart Driver EP. The Combine Harvester 2001 Remix EP is their last material to chart (at 39).

The Outro

Their increasing popularity with students resulted in the album Never Mind The Bullocks, Ere’s The Wurzels, which featured covers of songs including Oasis’s Don’t Look Back in Anger. They forged an unlikely friendship with Reading alt-rockers British Sea Power, recording a version of their song Remember Me in 2006, while BSP covered I Am a Cider Drinker in return. Their cult following has resulted in many appearances at Glastonbury Festival over the years, and in 2010 they released their take on Kaiser Chiefs’ Ruby. COVID-19 has waylaid The Wurzels’ never-ending tour, and Budd and Banner must be a fair age now, but here’s hoping it’s just an enforced break.

The Info

Written by

Melanie Safka

Producer

Bob Barratt

Weeks at number 1

2 (12-25 June)

Trivia

Births

13 June: 5ive singer Jason ‘J’ Brown
16 June: Super Furry Animals keyboardist Cian Ciaran
25 June: Rugby player Iestyn Harris

Meanwhile…

14 June: The trial of murderer Donald Neilson, aka the ‘Black Panther’, commenced at Oxford Crown Court.

23 June: One of the lengthiest and most memorable heatwaves in the UK began. For 15 consecutive days, until 7 July inclusive, temperatures reached 32.2C in London. It remains the second hottest summer average since records began.

389. J.J. Barrie – No Charge (1976)

/ robbarker1979

The Intro

In a year with a distinct lack of quality number 1s so far, Canadian one-hit wonder JJ Barrie’s cover of the song No Charge is exceptionally awful. It is dreck. It is mawkish. It is the drizzling shits.

Before

Research on Barrie, born Barry Authors on 7 July 1933 in Oshawa, Ontario, doesn’t bring up a great deal. He must have lived in the UK as in the 60s he became the manager of legendary comedian Norman Wisdom and then later Blue Mink, the pop group behind 1969 hit Melting Pot. He also dabbled in stand-up comedy too. Then in 1976 he decided to turn his hand to songwriting, penning Where’s the Reason with Terry Britten for Glen Campbell.

Barrie and Britten sent a demo to Campbell’s producer but he turned it down and suggested Barrie perform it himself. This he did, but it made no impact. However, with his own label Power Station to release records on, Barrie decided to try again and this time he went with a tried and tested country hit, No Charge.

Written by veteran country songwriter Harlan Howard, No Charge is a slushy ballad in which a boy hands his mother a list of charges for completed chores. He’s mowed the lawn, made his bed, gone to the store, played with his little brother while she went shopping, took out the trash, had a good report card from school and raked the yard. After being asked to give him $14.75 she takes the receipt, turns it over and writes a list of things she has done for him. She lays it on very thick, pointing out how she carried him for nine months, has worried through sleepless nights, prayed, cried, imparted wisdom, bought toys, food and clothes, and wiped snot from his nose. And, like every mother, all done for nothing, because it was all done for love, so no charge. The boy learns his lesson and with tears in his eyes, he takes the pen and receipt and adds PAID IN FULL. Awwwwww. Pass me a bucket.

The original version was performed by Melba Montgomery, who was known in the 60s for her duets with George Jones, Gene Pitney and Charlie Louvin. She went solo in the 70s but wasn’t faring too well until Howard suggested No Charge. Country music fans loved this sentimental life lesson and took it to number 1 on the Billboard country chart in the US and Canada.

Review

It is well documented on this site that I’m not much of a fan of country music and I’m not a fan of spoken word moments in songs. There are of course exceptions to these rules, but definitely not in this case, which combines the two to disgusting effect. Barrie drawls his way through the song, playing the father watching the soppy scene unfold before him. He does so over a standard MOR country backing produced by Canadian philanthropist, singer-songwriter and film-maker Bill (later Barbra) Amesbury, with Clem Cattini playing the drums on one of his 45 chart-toppers.

Wailing away in the background is an uncredited Vicki Brown, wife of 60s cockney pop star Joe Brown. It’s mixed strangely, with Barrie way too high in the mix, and Brown too low. Although in this case it’s actually a blessing, as, no offence to the late singer, as she was only doing a job, but my God her performance is laid on thick.

Why? Just why? I cannot get my head around this being a hit, let alone a number 1. Barrie wasn’t a celebrity, which is what I assumed when I first saw this on Top of the Pops. I noticed while researching that Mother’s Day was a month before it topped the charts, so perhaps dads were buying it for their wives in a gesture of solidarity, or were the mums buying it to lord it over their kids and save money on paying them for doing jobs? Whatever the reason, ‘when you add it all up’, to quote the song, No Charge is really, really bad. I can’t criticise it enough.

After

Billy Connolly saw something worth spoofing and later that year his version, No Chance (No Charge) was a hit. Though considering how poor his number 1, D.I.V.O.R.C.E. was, it’s a bit rich. Barrie released a handful of further singles that all bombed and in late 1977 Power Station closed down. He returned to Canada to get involved with music publishing and management once more. Then in 1980 he came back to the UK to make a football-themed single, You Can’t Win ‘Em All. This is strange and unnecessary in itself, but it gets weirder. For some reason controversial Nottingham Forest manager Brian Clough was roped in to occasionally interject, at times sounding like he’s about to hit someone. Very odd. And his career got even weirder. In 1984 he released the LP Sings Songs from Fraggle Rock. On which he did exactly what it says on the tin. No idea why, other than to cash in on a popular children’s show at the time.

The Outro

Barrie lives in Canada, working as film writer and producer. Only two more albums have been released since 1984 – No Charge in 1999 and My Canada in 2017.

The Info

Written by

Harlan Howard

Producer

Bill Amesbury

Weeks at number 1

1 (5-11 June)

Trivia

Births

6 June: Comedian Ross Noble/Skateboarder Geoff Rowley

Deaths

6 June: Athlete David Jacobs
9 June: Actress Sybil Thorndike
11 June: Rower Amy Gentry

388. ABBA – Fernando (1976)

/ robbarker1979

The Intro

It may have seemed a little bold for ABBA to release a Greatest Hits in March 1976. However, their label Polar decided to due to the many cash-in compilations labels scattered around the globe were releasing in an attempt to cash-in on the fact that they were becoming huge. And with two UK number 1 singles to their name and plenty of hits elsewhere featured, it proved a wise move. It became their first number 1 album on these shores.

Before

As well as a mix of their early hits and lesser-known tracks in the UK, there was a new song, released as a single. Although it wasn’t strictly speaking, ‘new’. Fernando had first featured on band member Anni-Frid Lyngstad’s debut solo LP Frida ensam in 1975. Benny Andersson and Björn Ulvaeus had originally called it Tango but at the last minute they renamed it Fernando after a bartender working at a club in Stockholm, Sweden, allegedly.

This Swedish version had lyrics penned by ABBA’s manager Stig Anderson and Lyngstad is singing to a heartbroken Fernando, attempting to console him after he has lost the love of his life. The chorus translated as:

‘Long live love, our best friend, Fernando.
Raise your glass and propose a toast to it; to love, Fernando.
Play the melody and sing a song of happiness.
Long live love, Fernando’

When it came to ABBA recording the song, Ulvaeus decided to take a different tack. He was lying outside one summer night and gazing at the stars when he hit upon a brainwave. Fernando became about two old freedom fighters who fought in the Texas Revolution of 1836, who reminisced about days of old one night in Mexico.

Review

Fernando is one of ABBA’s best-known and biggest-selling singles, but it’s my least favourite of their number 1s. I find it leaden and overwrought and I’m not really interested in hearing about what two 19th-century soldiers have to say. Give me their relationship drama and we’ve something to work with. It also suffers coming straight after Save Your Kisses For Me, which meant 10 weeks of tedium at number 1 on repeats of Top of the Pops and again, it makes me relieved I wasn’t a pop fan in 1976. Having said all this, I’d be a liar if I didn’t say the chorus was very memorable.

ABBA starred in a memorable, suitably dramatic video for Fernando, sat around a campfire looking very serious and gazing into each other’s eyes, as you can see above. ABBA made lots of videos – I’m not sure if they ever actually promoted on Top of the Pops in person? As well as a month as UK number 1, Fernando topped the charts across the globe. It became the longest-running number 1 in Australian history (14 weeks) for more than 40 years until Ed Sheeran’s Shape of You went one better in 2017.

After

ABBA made a Spanish-language album, Gracias Por La Música, in 1980 and Fernando was a natural choice for an LP aimed at Latin American countries.

The Outro

So, ABBA had scored two number 1s before we even reach the half-way mark of 1976, and the best was yet to come.

The Info

Written by

Benny Andersson, Stig Anderson & Björn Ulvaeus

Producers

Benny Andersson & Björn Ulvaeus

Weeks at number 1

4 (8 May-4 June)

Trivia

Births

8 May: Steps singer Ian ‘H’ Watkins
14 May: Actress Martine McCutcheon

Deaths

14 May: Yardbirds singer Keith Relf

Meanwhile…

9 May: 20-year-old prostitute Marcella Claxton is badly injured in a hammer attack in Leeds.

10 May: Following months of rumours of his involvement in a plot to murder his ex-lover Norman Scott, Jeremy Thorpe resigns as leader of the Liberal Party.

19 May: Liverpool win the UEFA Cup for the second time by completing a 4-3 aggregate win over Belgian side Club Brugge KV at the Olympiastadion in Brugge.

27 May: Harold Wilson’s Resignation Honours List is published. It becomes known satirically as the ‘Lavender List’ due to the number of wealthy businessmen awarded honours.

1 June: UK and Iceland end the third and final Cod War. The UK abandoned the ‘open seas’ international fisheries policy it had previously promoted.

387. Brotherhood of Man – Save Your Kisses for Me (1976)

/ robbarker1979

The Intro

My, my – 70s record buyers really were partial to cheese, weren’t they? In the week a new band called the Sex Pistols performed at the 100 Club for the first time, family-friendly pop quartet Brotherhood of Man started a six-week stint at number 1 with Save Your Kisses for Me, which not only became the biggest seller of the year, it also won the Eurovision Song Contest.

Before

Brotherhood of Man originally sprung from the mind of songwriter and producer Tony Hiller. Formed in 1969, he intended on a revolving door of session singers and the first line-up featured Tony Burrows (later the singer on Edison Lighthouse’s Love Grows (Where My Rosemary Goes)), John Goodison (who also wrote early material for Brotherhood of Man), Roger Greenaway (later the co-writer of The New Seekers’ I’d Like to Teach the World to Sing (In Perfect Harmony)) and Sue Glover and Sunny Lee. As Sue and Sunny they were backing singers on Joe Cocker’s version of With a Little Help from My Friends.

Debut single Love One Another didn’t dent the charts but United We Stand (written by Goodison and Hiller) was a number 10 smash in 1970. Burrows left soon after and Where Are You Going to My Love, which peaked at 22, was their last hit in six years. Goodison left in early 1971 and was replaced by US singer Hal Atkinson, then Greenaway followed soon after and was replaced by Russell Stone. They split when their record label Deram dropped them in 1972.

Undeterred, Hiller decided to install another line-up. He opted for singers Martin Lee, Nicky Stevens and Lee Sheriden. Lee and Sheriden were already writers for Hiller but displayed singing abilities, and Stevens was a session singer and had been searching for solo stardom. Their first single was scheduled for the end of the year but when they found out David Cassidy was releasing his version, it was pulled. First two singles Happy Ever After and Our World of Love bombed in 1973. Soon after Sandra Stevens joined Brotherhood of Man. She had been a big-band singer and performed with Eve Graham of The New Seekers in the group The Nocturnes.

They signed to Pye offshoot Dawn and their first single for them, When Love Catches Up on You in 1974, didn’t chart. Bar some European success with Lady the same year and Kiss Me Kiss Your Baby in 1975, this incarnation of the group looked to be going the same way as the first. Hiller wanted to harness and maintain that success abroad and bring it on home, so entering the Eurovision Song Contest was the perfect solution.

Save Your Kisses for Me had been written by Sheriden back in 1974 originally. When presented to the others, they found the title a little clumsy and it was changed to Oceans of Love. Sheriden wasn’t best pleased and it was shelved but when it came to recording the album Love and Kisses from Brotherhood of Man, they needed one more track. Come recording day it was decided it would work better if Lee sang lead instead.

Review

Save Your Kisses for Me draws up immediate comparisons with Dawn’s Tie a Yellow Ribbon Round the Ole Oak Tree. Lightweight, slushy and catchy as hell. I prefer Brotherhood of Man, if I had to pick, because the chorus really gets under my skin. It’s impossible to hear without the image of the foursome standing in line doing that ridiculous dance, hands on waists, raising their feet. It’s certainly no Tiger Feet.

And then of course there’s the twist in the lyric, which makes any enjoyment of this song even more of a guilty pleasure. Throughout you’re given the impression Lee is splitting up with someone, and seemingly couldn’t give a fuck as he’s happy as can be. But then at the end, the killer blow, right after the final chorus: ‘Won’t you save them for me/Even though you’re only three.’

What?! Wait, don’t panic. Though it’s easy, considering the decade, to take a cheap shot and imagine Lee is yet another 70s pop star paedophile, he’s talking about his child! Very sweet – but way too sickly. The way it wraps up is horrible, and reminds me of Gilbert O’Sullivan’s Clair. Seeing it at number 1 week after week on repeats of Top of the Pops was bad enough, so I consider myself lucky I wasn’t around at the time.

After

Save Your Kisses for Me went to number 1 a fortnight before Eurovision. Brotherhood of Man were first up on that fateful night, 3 April at The Hague in the Netherlands. I was going to make a jokey link about the fact it’s where war crimes are judged so it seems appropriate but it doesn’t quite work.

To say it went well is an understatement. According to John Kennedy O’Connor’s The Eurovision Song Contest – The Official History, it is the biggest selling single for a winning entry in the contest’s history. It also holds the record for the highest relative score under the voting system introduced in 1975 (which has been used in every contest since), with an average of 9.65 points per jury. Mindboggling.

The Outro

Brotherhood of Man would return to number 1 a year later with, ironically, a complete rip-off of the song that would finally topple Save Your Kisses For Me.

The Info

Written by

Tony Hiller, Lee Sheriden & Martin Lee

Producer

Tony Hiller

Weeks at number 1

6 (27 March-7 May) *BEST-SELLING SINGLE OF THE YEAR*

Trivia

Births

10 April: Actress Clare Buckfield
15 April: Olympic rower Steve Williams
18 April: Actor Sean Maguire

Deaths

22 April: Novelist Colin MacInnnes/Comedian Sid James (see below)
28 April: Novelist Richard Hughes
7 May: Writer Alison Uttley

Meanwhile…

5 April: Labour MPs voted Foreign Secretary James Callaghan as their new leader and the Prime Minister. He defeated Roy Jenkins and Michael Foot in the leadership contest. Callaghan had been endorsed by outgoing leader Harold Wilson.

9 April: Young Liberals president Peter Hain is cleared of stealing £490 from a branch of Barclays Bank.

26 April: Much-loved comedy actor and Carry On actor Sid James dies of a heart attack on stage at the Sunderland Empire Theatre while performing in The Mating Season. Many in the audience initially mistake it as being part of the show.

1 May: Second division team Southampton FC win their first major trophy in their 91-year history when a goal from Bobby Stokes gives them a surprise 1–0 win over Manchester United in the FA Cup final at Wembley Stadium.

4 May: Liverpool FC win the Football League title for the ninth time with a 3–1 away win over relegated Wolverhampton Wanderers.

6 May: Local council elections produce disappointing results for the Labour Party, who win 15 seats and lose 829, compared to the Conservatives who win 1,044 new seats and lose 22. This setback comes despite the party enjoying a narrow lead in the opinion polls under new leader Callaghan.