Music

366. Steve Harley and Cockney Rebel – Make Me Smile (Come Up and See Me) (1975)

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The Intro

Make Me Smile (Come Up and See Me) is one of the best examples of a song where the original intention of the writer is largely ignored by the masses. Like REM’s The One I Love, a spiteful song that has, because of its title, become popular at weddings, for example, with little attention paid to the lyrics. Steve Harley’s number 1 is to most a song about positivity, about enjoying yourself, about seeing the ones you love and soaking up the good vibes. For Harley, it was a giant ‘fuck you’ to the original Cockney Rebel, who dared to question his authority. He showed them who was right, and how, with this glam rock classic.

Before

Harley was born, ironically, Stephen Malcolm Ronald Nice on 27 February 1951 in Deptford, London. His father was a milkman and his mother a semi-professional jazz singer. He contracted polio aged two, and between the ages of three and 16 he spent a total of four years in hospital. Aged nine, Nice began classical viola lessons, and guitar a year later. While recovering from major surgery in 1963, aged 12, he fell in love with literature, enjoying the poetry and prose of giants including DH Lawrence and Virginia Woolf, and the lyrics of Bob Dylan, all of which would influence his music as he grew older. At 15 he wrote an autobiographical poem called ‘The Cockney Rebel’.

At 17 Nice left school and became a trainee accountant at the Daily Express before making the move into reporting, working for a variety of regional newspapers in Essex before settling with the East London Advertiser. Becoming disillusioned, Nice moved into the folk club scene in 1971, performing on line-ups featuring John Martyn and Ralph McTell, and busking on the underground He grew his hair and refused to wear a tie in his day job, and got the sack in 1972. His replacement was Richard Madeley.

Before the year was out, Nice’s stage name became Steve Harley, and he decided to form a glam rock band. The original Cockney Rebel consisted of Harley as singer, his friend from the folk scene Jean-Paul Crocker on electric violin, Stuart Elliott as drummer, Paul Jeffreys on bass and Nick Jones on guitar. Jones was quickly replaced by Pete Newnham but Harley decided Cockney Rebel were not going to be your average glam rock outfit. They ditched guitars and Milton Reame-James became their keyboardist. Labels were soon showing an interest in their demos, and they signed with EMI Records.

The first Cockney Rebel LP, The Human Menagerie, was released in 1973. Debut single Sebastian was a number two hit in Belgium and the Netherlands but never troubled the UK charts. Harley set to work writing a hit single, and proved he could when Judy Teen soared to five in 1974. With Alan Parsons, he co-produced follow-up album The Psychomodo, which featured number eight hit and inspiration for a classic 80s advert, Mr Soft.

By the time that single had reached the top 10, Cockney Rebel effectively didn’t exist. Harley has always maintained the understanding within the group was that he was the songwriter, but Crocker, Reame-James and Jeffreys chose to quit after demanding they be allowed to contribute. While Harley searched for a new band he released his debut solo single Big Big Deal, which proved to be anything but. Shortly afterwards, with Elliott back on drums, he hired guitarist Jim Cregan, who had played bass for Family, keyboardist Duncan Mackay and bassist George Ford. To ensure everyone knew where they stood this time around, the group was renamed Steve Harley and Cockney Rebel, and they recorded their first album together, The Best Years of Our Lives.

Harley penned Make Me Smile (Come Up and See Me) within days of the original Cockney Rebel split. Harley was distraught and very bitter, and had the idea to write a dark blues song in order to get his feelings off his chest. One day in November as the new group were recording, Harley performed Make Me Smile (Come Up and See Me) as a slow dirge. Parsons saw something in it but suggested they speed it up and rephrase the chorus and Harley agreed. One of the masterstrokes was the addition of tacets before the verses, which is the deliberate use of silence. As Talk Talk singer Mark Hollis wisely noted, the space between the sounds can be as important and effective as the music. It added drama to the song, and although it’s been played to death so it’s impossible to imagine hearing it for the first time, it will have left the listener wondering what was on Harley’s mind next.

The instrumental break was originally to be a saxophone, but Cregan had the idea to play it on his guitar and give it a flamenco feel. Harley has noted since how difficult it’s been over the years for band members to perform live, as it was in fact three composite takes. The addition of female backing singers was another masterstroke. As well as Yvonne Keeley, Linda Lewis and Liza Strike there was Tina Charles, who would be number 1 a year later with I Love to Love. After having them sing the chorus, Harley liked the idea of having them add some ‘oooh la la la’ as a nod to Rubber Soul-era Beatles. The excitement grew throughout recording. Harley’s revenge was going to be very sweet. When the finished product was played to EMI’s head of A&R, Bob Mercer, he was blown away and uttered only two words. ‘Number one.’

Review

It might be considered a ‘glam’ tune, but to me Make Me Smile (Come Up and See Me) is pure pop brilliance from that memorable intro to the fade. Parsons deserves more credit for wrapping Harley’s barbed lyrics inside a shiny chart-friendly package. Not that Harley doesn’t deserve all the credit he has received over the years, once Parsons set him on the right path. I’m a bit ashamed to admit that I am among those who has misunderstood part of this song over the years – it’s only now that I discover it isn’t ‘I’ll do what you want, running wild’, but ‘Or do what you want, running wild’. Which is a key part of Harley’s message to Cockney Rebel Mk1 really. By all means, come and watch me now, see how well I’m doing without you, it’ll put a smile on my face… or just do what you want, because I don’t care really what you do anymore.

Perhaps Harley and Parsons’ success in making a pop classic did too good a job in masking the real message, as the backing vocals, as great as they are, distract from the lyrics. I’ve also only just discovered he makes it explicit who his ire is directed at, the second line being ‘And pulled the rebel to the floor’ – an obvious reference to Cockney Rebel. Of course, you could argue that Harley is being precious and needs to get over himself, but even then you’d be hard pushed to argue what a great, slick tune this is, and that it never gets old.

In 2015 it was reported the single had sold around 1.5 million copies, and the Performing Rights Society have confirmed it as one of the most played songs in British Broadcasting history, and over 120 covers, and counting, have been recorded.

After

Fresh off the back of their number 1, Steve Harley & Cockney Rebel released The Best Days of Our Lives, which reached five in the album chart, and Mr. Raffles (Man, It Was Mean) was a top 13 singles hit. However, Harley produced the next album Timeless Flight alone, and it was a failure. More experimental than their previous LP, the critics slated it and its singles tanked. The final album by the band, Love’s a Prima Donna, fared better thanks to a faithful and timely cover of The Beatles’ Here Comes the Sun. Released in the long, hot summer of 1976, it was their final hit, reaching 10.

Harley featured on The Alan Parsons Project’s album I, Robot in 1977, and that July he announced Cockney Rebel were no more. He moved to America to work on his debut solo album, but Hobo with a Grin, released in 1978, fared badly. It featured his friend Marc Bolan’s final studio performances before his shock death. When his next album The Candidate also tanked a year later, he was dropped by EMI.

The 80s were, in Harley’s own words, his wilderness years. When The Best of Steve Harley and Cockney Rebel was released in 1980, along with a reissue of Make Me Smile (Come Up and See Me), he formed a new Cockney Rebel. Over the next few years they had failure after failure, despite working with big-name producers like Midge Ure and Mike Batt. However, Andrew Lloyd Webber was planning a single to promote The Phantom of the Opera, and Batt suggested Harley audition to be the male voice on the title track. Harley succeeded and together with Sarah Brightman they had a number seven hit on their hands in 1986. He starred as The Phantom in the video, and won the audition to play him on stage, but the role was given to Michael Crawford instead.

1986 also saw the debut of an advert that fascinated and terrified my six-year-old self in equal measure, which Harley was inadvertently responsible for. Trebor had rewritten Mr Soft as the soundtrack to an advert for their Softmints, and asked Harley to record it, but he declined and an effective soundalike was used. The quirky, catchy song was perfect for this bizarre ad, as you can see here. So successful was the long-running campaign, Mr Soft was re-released in 1988. Years later when Make Me Smile (Come Up and See Me) was used to advertise Viagra, Harley wittily remarked that Mr Soft would have been more appropriate.

In 1989 another Cockney Rebel incarnation was created and Harley would flit between solo and band work for years to come. Upon its fourth reissue, Make Me Smile (Come Up and See Me) was back in the top 40, thanks to its use in a Carlsberg advert. It reached 33. Only two years later it was in the public eye again thanks to it being featured in The Full Monty. Harley branched out into radio work in 1999 when he became the presenter of Radio 2’s nostalgic The Sounds of the Seventies. It was so popular he would end up presenting it all year round until it ended in 2008.

Harley became involved with the charity Mines Advisory Group in 2002, later becoming an ambassador. The first album released under the Cockney Rebel name in 29 years, The Quality of Mercy, saw the light of day in 2005. A 30th anniversary remix of Make Me Smile (Come Up and See Me) was also released that year, and the original garnered attention yet again in 2015 when Top Gear presenters Jeremy Clarkson, Richard Hammond and James May began a campaign to download the song to help Harley pay for a speeding fine. He reunited with the most successful incarnation of Cockney Rebel for a tour performing The Best Days of Our Lives in full, also in 2015.

The Outro

The Cockney Rebel leader unveiled his sixth solo album, Uncovered in 2020. Consisting of some of his favourite material by other artists, he released The Beatles’ I’ve Just Seen a Face as a single, but the intended tour was postponed due to COVID-19.

And what became of the original Cockney Rebel? Elliott remained as Harley’s drummer throughout his career, and Jeffreys and Reame-James had some success in the prog rock band Be-Bop Deluxe, while Crocker performed with his brother in obscurity. Jeffreys was among those who died in the bombing of Pan Am Flight 103 in 1988. He was with his bride returning from their honeymoon.

Of MKII, Cregan became a session musician, working mostly with Rod Stewart. Mackay appeared on Kate Bush’s first three albums and George Ford went off the radar. He died in 2007.

The Info

Written by

Steve Harley

Producers

Steve Harley & Alan Parsons

Weeks at number 1

2 (22 February-7 March)

Trivia

Deaths

22 February: Violist Lionel Tertis
26 February: Police officer Stephen Tribble (see ‘Meanwhile…’, below)
28 February: Writer Neville Cardus
3 March: Theatre organist Sandy MacPherson/Poet TH Parry-Williams

Meanwhile…

26 February: 22-year-old Metropolitan Police officer Stephen Tibble is shot and killed after giving chase to a fleeing Provisional IRA member.

28 February: The Moorgate tube crash kills 43 people and injures 74 when a London Underground train failed to stop at the Northern city Line’s southern terminus and smashed into its end wall. It is considered the worst peacetime accident on the London Underground. 

1 March: Aston Villa, chasing promotion from the Football League’s Second Division, win the Football League Cup with a 1-0 victory against Norwich City at Wembley Stadium.

4 March: Comedy acting legend Charlie Chaplin, 85, is knighted by Queen Elizabeth II. 

7 March: The body of teenage heiress Lesley Whittle, who disappeared from her home in Shropshire in January, is discovered in Staffordshire. She had been strangled on a ledge in drains below Bathpool Park near Kidsgrove. 

365. Pilot – January (1975)

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The Intro

Scottish pop-rockers Pilot are best known for their single Magic, yet it was this timely ode to January that earned them their only number 1. Except that happened in February. Ah well, better late than never.

Before

Pilot were formed in 1973 by singer and bassist David Paton and keyboardist Billy Lyall. Both had been members of the Bay City Rollers before they became big – Paton from 1969-70, Lyall from 1969-71 – so it was ironic they became stars in their own right during the time of ‘Rollermania’. After recording demos with drummer Stuart Tosh, they signed a management contract with John Cavanagh and Nick and Tim Heath, the sons of famous bandleader Ted. Soon they were signed with EMI Records, and after recording their debut LP, From the Album of the Same Name (clever), session musician Ian Bairnson joined officially as their guitarist. The album featured string arrangements by Richard Hewson, who had worked on The Beatles’ The Long and Winding Road. It was produced by Alan Parsons.

One of England’s most famous rock producers, Parsons was born 20 December 1948. He began work as an assistant engineer at Abbey Road Studios in 1967, aged 18, and his first credited work was on Abbey Road in 1969. He was then an engineer on Wings’ first album, Wild Life in 1971, and Red Rose Speedway two years later. But most famously, he helped engineer Pink Floyd’s legendary The Dark Side of the Moon, that same year.

It’s fair to say Parsons had the magic touch, and that was certainly the case when Pilot’s second single (the first, Just a Smile failed to chart), Magic, was released in 1974. That killer chorus must have made Paton and Lyall a fortune in royalties over the years, as this song has been used countless times on TV and film. I was surprised to see it only reached 11 in the UK charts, but five in the US (it was their sole hit there).

January was the first material released from Pilot’s next LP, Second Flight. Paton wrote this one alone, and said it wasn’t about the month – his inspiration came from a character in a book his wife was reading at the time.

Review

January has an excellent opening, with Parsons showing his skills off nicely. Those epic guitars sound really ahead of its time, and the soundscape makes you sit up and take notice. So it’s a bit of a disappointment when the actual song takes over. Not that January isn’t any good. It’s a nice little pop song. It just doesn’t live up to the admittedly lofty expectations set up by the intro. January’s been telling lies and driving Paton mad, but despite that, he’s pleading ‘Don’t go/Don’t go’ and longing for her to go see him. It then changes tack lyrically, with Paton apparently singing about how the success of Magic had opened doors for Pilot. His lyrics here don’t really make that clear, although ‘I can glow/I can show’ is quite effective. Other than that, it’s a bit vague. The intro returns again though to keep you interested.

I found myself singing ‘January/Sick and tired, you’ve been hanging on me’ for days afterwards, so job done. It’s certainly better than anything I’ve heard by the Bay City Rollers. A great idea to put the idea in the minds of record-buyers to buy a single called January in the quietest commercial month of the year too, when singles historically have found it easier to climb the charts. Yet it was on 1 February that January made it to the top, and it stayed there for three weeks.

After

Call Me Round and a new version of Just a Smile couldn’t crack the top 30 after January. Morin’ Heights, their third album in 1976, got nowhere, and by the time of their fourth, Two’s Company (1977), only Paton and Bairson remained, working with session musicians. They had other projects on the go at this time though, namely, The Alan Parsons Project. Parsons’ progressive rock outfit had a revolving door of contributors, and they were long-standing members, with Paton helping from 1975-85 and Bairson from 1975 until 2002, on and off. Tosh was also involved from 1975-78, and Andrew Powell, who had arranged January, would work on orchestral elements between 1975 and 1986.

Apart from Lyall, who died of AIDS-related causes in 1989, everyone involved would have future number 1 success. Powell produced Kate Bush’s debut album The Kick Inside, and her chart-topper Wuthering Heights (1978) featured Paton and Bairnson. Tosh became an official member of the second phase of 10cc that year, when Dreadlock Holiday was their last of three number 1s. Parsons achieved the rare feat of two number 1s by two separate artists in a row when Steve Harley & Cockney Rebel’s Make Me Smile (Come Up and See Me) toppled January.

The Outro

Paton and Bairnson returned to Pilot in 2002 with the album Blue Yonder. Between 2003 and 2006 they co-wrote Westlife’s hits Obvious and Amazing, which peaked at three and four respectively. In 2014 they reamed up with Tosh once more to release A Pilot Project. Bairnson, who suffered with dementia in later years, died in 2023, aged 69.

The Info

Written by

David Paton

Producer

Alan Parsons

Weeks at number 1

3 (1-21 February)

Trivia

Births

18 February: Footballer Keith Gillespie/Footballer Gary Neville

Deaths

8 February: Nobel Prize organic chemist Robert Robinson
12 February: Director Bernard Knowles
14 February: Biologist Julian Huxley/Writer PG Wodehouse

Meanwhile…

11 February: Margaret Thatcher, who had served as Edward Heath’s Education Secretary, defeated him in the Conservative Party leadership election to become the first female leader of a major British political party. To say she would become one of the most divisive figures in British history would be putting it mildly.

13 February: Britain’s coal miners accepted a 35% pay rise offer from the government.

364. The Tymes – M/s Grace (1975)

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The Intro

Here’s an unexpected number 1 for a soul group who had a US chart-topper in 1963 and had struggled to get near that level of fame again. The Tymes kept on trying though, and were rewarded 12 years later with their one and only stint at pole position in the UK.

Before

The Tymes, hailing from Philadelphia, Pennsylvania, had nearly 20 years under their belts when M/s Grace was released, having formed in 1956 as The Latineers. The line-up featured Donald Banks as bass, Albert Barry as first tenor, Norman Burnett as baritone and George Hilliard as second tenor. Learning the ropes on the local circuit, they became a quintet when George Williams became their lead vocalist in 1960.

They were signed to Cameo-Parkway in 1963 and were an instant US success, when debut single So Much in Love, written by Williams, topped the Billboard chart. It also reached 21 in the UK. Their debut LP, named after the single, also featured a popular cover of Wonderful! Wonderful!, previously a hit for Johnny Mathis. But after the title track of the follow-up, Somewhere, The Tymes couldn’t maintain their popularity. They tried releasing records on their own Winchester label, but it folded after two singles. Then they were dropped by MGM after another two releases. There was a brief comeback on Colombia in 1968 with a cover of People from the musical Funny Girl, which only scraped into the US chart but reached 16 in the UK. They were soon dropped again.

Longtime producer Billy Jackson bought them time at Gamble & Huff’s Sigma Sound studio in an attempt to get them signed, but to no avail. However, RCA decided to sign them. Meanwhile, John Hall of the band Orleans and his wife Johnanna had written a doo wop-style love song about a sophisticated lady called Miss Grace that wasn’t really suitable for his band, so they asked their publisher to pitch it elsewhere. She went to The Tymes, who were happy to oblige, though they did cleverly suggest making ‘Miss’ a ‘Ms’, a term growing in popularity in the mid-70s, which suggested a rather hip, progressive woman. It was the second single released from the album Trustmaker, and fingers crossed it would do well after You Little Trustmaker was a top 20 hit.

Review

M/s Grace has an elaborate opening, bringing to mind Gamble and Huff’s slick work. But it then turns into a more old-school, upbeat soul number, which is difficult to dislike. But I’m not sure there’s enough there to really love. It’s one of the more minor number 1s of the decade, but nonetheless, it would have been a welcome blast of sunny optimism, always needed in the post-Christmas malaise of January. There’s bags of energy, and it’s nice to hear of veterans who’ve struggled for years coming good. This nation does love the underdog.

The Outro

Weirdly, M/s Grace had the opposite effect to So Much in Love. While it was a number 1 in the UK, it tanked in the US. The UK revival of their fortunes didn’t last long either, as they never had another top 40 entry. After decades of the same line-up, by 1976 Berry and Hilliard had been replaced by Terri Gonzales and Melanie Moore. The former later recorded a solo album with Chic’s Nile Rodgers, and the latter worked with Chaka Khan. Williams died in 2004, aged 69, Banks in 2011, aged 72, and Hilliard in 2014, aged 73. Berry and Burnett remain, and still tour with a new line-up.

The Info

Written by

John & Johanna Hall

Producers

Billy Jackson & Mike Chapman

Weeks at number 1

1 (25-31 January)

Trivia

Deaths

16th Duke of Norfolk, Bernard Fitzalan-Howard – 31 January

363. Status Quo – Down Down (1975)

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The Intro

Status Quo are considered somewhat of a novelty these days. A stereotypical denim-clad boogie rock band, pumping out the same three-chord guitar anthems for decades. But they were enormously successful, in the UK at least. They hold the record for most hits by any single band in chart history, and in the 70s they were a credible force to be reckoned with. Yet they only topped the charts (officially) once, with Down Down, the first new number 1 of 1975. It took some time to find fame though.

Before

Status Quo began life as The Scorpions (not to be confused with the German heavy metal band) and were founded by singer and guitarist Francis Rossi and bassist Alan Lancaster at Sedgehill Comprehensive School in Catford, London. Classmates Jess Jaworski on keyboards and Alan Key on drums completed their first line-up back in 1962.

Key was replaced by John Coghlan the following year, and they renamed themselves The Spectres. They were playing weekly at a sports club until they were discovered by budding pop manager Pat Barlow, who got them gigs further afield around London. When Rossi, Lancaster and Jaworski left school in 1965, the latter quit the group and was replaced by Roy Lynes. The Spectres began writing their own material, and later that year they met guitarist Rick Parfitt while he was playing in The Highlights at Butlin’s. He and Rossi became firm friends.

A year later they signed with Piccadilly Records and began releasing singles, the first being I (Who Have Nothing). With psychedelia on the rise, The Spectres became Traffic in 1967, but after an argument with Steve Winwood over who came up with the name first, became Traffic Jam. Parfitt joined soon after this as rhythm guitarist and vocalist, and in August they changed their name to The Status Quo.

Their first hit is one of their best. Strange to think that if they never achieved anything after it, Pictures of Matchstick Men would still be remembered as a psychedelic classic. Sounding like The Troggs on acid, with a monster riff, it’s arguably the best song they’ve ever made, and their only US success. It reached number seven in the UK in 1968 and Ice in the Sun climbed to eight later that year, but the album Picturesque Matchstickable Messages from the Status Quo (yes they really called it that) failed to chart. The 1969 follow-up Spare Parts bombed too, by which point The Status Quo had dropped the ‘The’.

The 70s began with more failure. The albums Ma Kelly’s Greasy Spoon (1970) and Dog of Two Head (1971) got nowhere. Having said that, the single Down the Dustpipe in 1970 earned them a chart spot at 12, and at least they had moved on by ditching the psychedelic sounds and outfits and turned to the ‘no frills’ approach that would stand them in such good stead for years to come. Lynes had left Status Quo in 1970 and was replaced by studio guests for the next six years. They finally returned to the charts with the 1972 self-produced LP Piledriver, and Paper Plane flew to eight in the singles chart. The hits came thick and fast from 1973 onwards – Caroline and Break the Rules climbed to five and eight respectively.

Down Down, the first single from their forthcoming eighth album On the Level, was written by Rossi and Bob Young, who had been hired as their tour manager in 1968. The unsung Young is considered the unofficial fifth member of the band, helping to write many of their biggest hits and providing harmonica on stage and in the studio. Down Down was inspired by the first single by Tyrannosaurus Rex, Debora, and was originally called Get Down. It may well have been renamed due to Gilbert O’Sullivan’s number 1 of the same name in 1973. Rossi wrote the lyrics on an American tour, and claims the lines ‘I want all the world to see/To see you’re laughing, and you’re laughing at me’ were directed at his ex-wife and the British press.

Review

While far from Status Quo’s biggest fan, I think in small doses they’re really enjoyable and a breath of fresh air, and Down Down is one of their better tracks, that somehow has stood the test of time better than some of their other hits. The chorus in particular is as dumb and silly as it gets but extremely catchy and the ‘Frantic Four’ create a great wall of noise. It’s great to hear a rock band back at the top and listening to this and seeing footage of them at the time, you can see why they were so popular, before they got old and became figures of fun. Not one you can analyse much really, but that’s not a criticism in this instance.

Andy Bown became their keyboardist in 1976, also playing rhythm guitar. For the next five years, every Quo single reached the top 10 or just missed it, most notably their cover of John Fogerty’s Rockin’ All Over the World. This top three hit, with which they opened Live Aid in 1985, became perhaps their signature track. I always assumed it was one of their own songs. The title track of 1979’s Whatever You Want, another rock staple, reached number four. The album also featured Living on an Island, a rare ballad, sung by Parfitt.

The 80s started off well for Status Quo when What You’re Proposing shot to number two, but there was dissension in the ranks. Years of partying were starting to take their toll, and cocaine and booze use was through the roof. Coghlan left in 1981 and was replaced by Pete Kircher. The standard of their material was slipping, not that you’d know that from their chart placings. Everyone in the band bar Rossi hated Marguerita Time, which is a great example of where Quo went wrong in the 80s. It was too pop, too reliant on crap 80s synths, and in Lancaster’s words ‘All it did was advertise that we were a bunch of nerds’. But while many loyal fans in the ‘Quo Army’ turned their noses up, the pop fans loved it in late 1983.

The following Christmas saw Rossi and Parfitt enlisted to help out on Band Aid’s Do They Know It’s Christmas?. They were supposed to sing the ‘here’s to you’ harmonies on the bridge, but were both so hungover from the night before, their only contribution was supplying a big bag of coke and dicking about on the video. Their lines were sung by Paul Weller, Sting and Glenn Gregory instead.

Live Aid marked the end of an era as it was the last time Lancaster performed with the band. He had been living in Australia for some time, and while there he discovered a new Status Quo album was being recorded with John ‘Rhino’ Edwards on bass and Jeff Rich on drums. Lancaster took out an injunction to prevent them using the name ‘Status Quo’, which halted production on In the Army Now. It was eventually released in 1986 and the title track, an unusually downbeat (for them) cover of a song by Bolland & Bolland, was a smash-hit, reaching number two.

There was definitely a lack of inspiration becoming apparent, as they released two singles in 1990 that were just medleys of rock’n’roll hits. The Anniversary Waltz – Part One even featured Dion’s The Wanderer, which they released as a single in 1984. And then in 1994 they reworked their top five hit from 1988, Burning Bridges (On and Off and On Again) for Manchester United. Come On You Reds was written and produced by Status Quo, but sang by and credited to The Manchester United Football Squad. It was number 1 when the team won the FA Cup, and remains the only soccer song by a club team to top the charts. Only two years later there was controversy when Radio 1, under a new regime which was trying to attract young listeners, refused to include Status Quo and The Beach Boys’ joint cover of the latter’s Fun, Fun, Fun on their top playlist. To be fair, it was awful.

Rich left in 2000, and Matt Letley took up his place behind the drumkit. Five years later Rossi and Parfitt had cameo roles in ITV soap opera Coronation Street, in a storyline which involved them being sued by Les Battersby. They performed at his wedding as compensation. That December it was announced Parfitt had throat cancer but he had recovered within the year. A cover of the country song The Party Ain’t Over Yet in 2005 was their last decent-selling single, reaching 11.

In 2010 Rossi and Parfitt recieved OBEs for services to music, and it was reported they had patched up their differences with Lancaster. A charity remake of In the Army Now, credited to Status Quo with the Corps of Army Music Choir reached 31 in the charts, and is their last hit at time of writing. The following year a retrospective documentary, Hello Quo! was released in cinemas, and in 2013 their action comedy Bula Quo! came out. Yes, Rossi and Parfitt starred in a movie, in which Status Quo became involved in a mafia operation. It co-starred Jon Lovitz. God only knows what this project turned out like.

That was a big year for the Quo Army, as the classic Frantic Four line-up – Rossi, Parfitt, Lancaster and Coghlan – reunited for a series of dates that ended in 2014. Once the dates were through the previous line-up returned, but with Leon Cave on drums. Yes, the Quo seemingly go through drummers like Spinal Tap. Rossi’s schoolmate and original keyboardist Jaworski died that year.

But it was Parfitt’s illness and death in 2016 that made the headlines. He had retired from live performances that October after suffering a heart attack, but it wasn’t enough to save him. After suffering an injury to his shoulder, he died of severe infection in a Marbella hospital on Christmas Eve. It seemed unfathomable, as he and Rossi had always seemed indestructible, and inseparable. Despite this, his mourning pal decided to continue the band. Richie Malone became their new rhythm guitarist.

The Outro

Status Quo’s last album to date is Backbone, their 33rd and their first not to include Parfitt. The album sold very well, reaching number five. They appeared on the Christmas Day edition of The Great British Bake Off, performing Rockin’ All Over the World, but their tour was postponed due to the COVID-19 pandemic. However, one could imagine coronavirus turning the world into a wasteland, and yet Rossi would still be stood tall, playing three chords until the end of time.

The Info

Written by

Francis Rossi & Bob Young

Producers

Status Quo

Weeks at number 1

1 (18-24 January)

Trivia

Births

20 January: Conservative MP Zac Goldsmith
21 January: Footballer Nicky Butt
24 January: Comedian Lucy Montgomery

Meanwhile…

24 January: Donald Coggan was enthroned as the Archbishop of Canterbury. 

Every UK Number 1 Store is live!

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You can buy signed copies of my first book, Every UK Number 1: The 50s, here! And at £10, you’re saving 99p compared to Amazon. Give to me, not Jeff B!

The UK singles chart is the soundtrack to our lives and a barometer of the nation’s mood and tastes. And ever since 1952, the battle for the number one spot has had us all talking as well as dancing.

In this fascinating spin-off from everyuknumber1.com, as seen in the Daily Mirror, music journalist Rob Barker comprehensively reviews all the best-sellers of the 50s, delving into the wild lives of the artists and the real stories and secrets behind the hits. He also counts down the influential events that shaped them, as we moved from rations to never having it so good.

Elvis Presley, Buddy Holly and Cliff Richard were among those who transformed the lives of young people throughout Britain, and taught a country battered by war how to have fun again. 

Find out which chart topper was written by an illiterate rapist who formed his own prison band. Who was the first woman to top the charts? And which hitmaker lives on as Cockney rhyming slang? 

Every UK Number 1: The 50s has all the answers on the decade in which pop took its first steps, before rock’n’roll shouldered in and left the baby boomers all shook up.

Every 50s Number 2

/ robbarker1979

The Intro

Breaking off from the 70s briefly, I noticed over Christmas 2020 that my blog on Every Christmas Number 2 was getting a lot of attention, and in the year that my first book, Every UK Number 1: The 50s was released, I decided to combine the two and give a (very) brief review of every chart runner-up from the first chart of November 1952 through to the end of the decade. Did some of these songs and artists deserve to be in my book, and are some as baffling as the singles that outsold them? As usual, I’ll pick a best and worst for each year, and then an overall pick for each to cover the 50s as a whole. Please note the songs here are singles for which number 2 was their highest position, so future and previous number 1s don’t get a look-in.

1952/53

The first years of the chart were a mix of trad pop, novelty songs and instrumentals. It gets off to a very strange start with Guy Mitchell’s Feet Up (Pat Him on the Po-Po), a typically chipper novelty hit that couldn’t be more different to the original number 1, Here in My Heart. Mitchell is paying tribute to his newborn son, saying he’s going to buy him ‘a horn, a baseball, and drum’… strange mix of gifts. I can’t pinpoint exactly where Mitchell is patting him – what is a Po-Po? I can only assume it’s his head or his arse. Mitchell, an early-50s chart mainstay, replaced himself at number 2 with the similarly upbeat Pretty Little Black Eyed Susie, in which he exclaims he loves his biscuits ‘soaked in gravy’. Truly, a different era. There’s a couple of forgettable instrumentals here – Terry’s Theme from ‘Limelight’, by Frank Chacksfield and His Orchestra, was written by Charlie Chaplin for his 1952 comedy drama, and Mantovani and His Orchestra’s Swedish Rhapsody sounds French more than anything. Frankie Laine was almost permanently in the top spot in 1953, and he’s here too, with quite a spooky-sounding country track, Where the Winds Blow.

The Best

Nat ‘King’ Cole – Pretend

I was familiar with this song due to Alvin Stardust’s 1981 cover, which was in my parents’ vinyl collection as I grew up. A classy orchestral ballad from a great singer, it’s much better than any other 1952/53 number 2, and would have been a better number 1 than Frankie Laine’s I Believe.

The Worst

Diana Decker – Poppa Piccolino

Yuck. Twee, cheesy nonsense. An Italian song, originally a satire on the divide between the rich and poor, rewritten to become cheesy fare about a wandering minstrel. Sung by a popular British/American actress of the era who starred in The Barefoot Contessa a year later.

1954

More of the same really, though a few classics start to crop up. Winifred Atwell kicks things off with one of her trademark ragtime medleys. Let’s Have a Party was so successful, it spawned a sequel, and Let’s Have Another Party became 1954’s Christmas number 1. Laine nudged her from the top spot with more western melodrama. Blowing Wild (The Ballad of Black Gold) is grandiose but not as memorable as Where the Winds Blow. More bright and breezy fare from Mitchell followed with Cloud Lucky Seven, which is rather similar to Kay Starr’s 1953 number 1 Comes-A-Long-A-Love. And then we have – of all things, Oberkirchen Children’s Choir’s The Happy Wanderer. This is a live 1953 recording by the BBC of the choir’s winning performance at the Llangollen International Musical. It’s charming to see such a song could be such a success, only nine years after the end of the Second World War. This amateur choir’s original members were war orphans, and the scene in Schindler’s List featuring this song is incorrect – The Happy Wanderer came after the war ended. Cole is back with another pop standard, and it’s the second time Chaplin gets a mention. This version of Smile was the first to feature lyrics and the song’s title, despite the tune being featured in the silent comedy legend’s 1936 film Modern Times. As always, Cole sings beautifully, and it’s perhaps the quintessential version.

The Best

Dean Martin with Dick Stabile and His Orchestra – That’s Amore

Yes, it’s cliched and dated, but it’s also one of Dean Martin’s most enduring signature songs. As always, Martin’s performance is key, and he pulls it off with bucketloads of charm. Originally written for him to perform in the comedy The Caddy from 1953, in which he sang it with comic partner Jerry Lewis. It was nominated for the Oscar for Best Original Song of that year, but lost out to Doris Day’s number 1 Secret Love.

The Worst

David Whitfield with Stanley Black and His Orchestra – Santo Natale

The only festive song on the list. David Whitfield’s operatic ballad is as painful as a real-life Christmas number 2 can be. There’s a reason you won’t find it on any Christmas compilations, it’s overwrought and sets my teeth on edge. Nice bells at the end, though. I also picked poor Whitfield as the man behind the worst Christmas number 2 with Answer Me.

1955

By this point, I was more than ready for some rock’n’roll. But although Rock Around the Clock appeared this year, all the number 2s are more of the same. Al Hibbler, a baritone with Duke Ellington’s orchestra, made a good stab at Unchained Melody – it’s certainly better than Jimmy Young’s awful rendition, a number 1 later that year. Laine is back yet again, with another western track. Cool Water is forgettable, despite being considered a standard of the genre. Mitch Miller, one of the most successful producers of the period, occasionally recorded with his orchestra, and his version of 1850s folk classic The Yellow Rose of Texas was his biggest UK hit in his own name. Unlike lots of his productions, this one is played straight. Four Aces Featuring Al Alberts had the most popular version of Love is a Many-Splendored Thing, but Bill Haley and His Comets prevented it from being the 1955 festive chart-topper. It did win the Oscar for Best Original Song though.

The Best

Frank Sinatra with Nelson Riddle and His Orchestra – Learnin’ the Blues

This isn’t up there with the best of Ol’ Blue Eyes, but it’s a pretty slick big band number in which Sinatra runs through how you know you’ve got the blues. However, it’s a pretty upbeat tune. In a poor year though, I guess this is the pick of the bunch.

The Worst

The Cyril Stapleton Orchestra with Julie Dawn – Blue Star (The ‘Medic’ Theme)

This appears to be an instrumental theme from a US medical drama called Medic, which was the first to feature actual medical procedures. But then, more than halfway in, Julie Dawn starts singing a very slushy love song. It’s very average 50s trad pop.

1956

An interesting, bumper year, with the sea change in pop becoming apparent. But not straight away. As we’ve seen, westerns were all the rage in the US and therefore the UK. The Ballad of Davy Crockett was a very successful attempt to promote the Walt Disney film Davy Crockett, King of the Wild Frontier. There were several versions, and actor Bill Hayes did the best out of the folky theme tune. Frank Sinatra returns with (Love Is) The Tender Trap, taken from the film The Tender Trap. It was nominated for an Oscar but it’s pretty average, really. Then Zambezi by Lou Busch and His Orchestra livens things up somewhat. It’s a nice jazzy instrumental, that I’m sure I’ve heard before as background music on a comedy series. A Tear Fell by US singer Teresa Brewer slows things down massively. And then, Elvis Presley, at last! Heartbreak Hotel, his first single for RCA injects some much-needed cool to proceedings. It’s a landmark release, but there was better to come. And then, skiffle! A double A-side of traditional folk tunes, Lost John/Stewball, get The Lonnie Donegan Skiffle Group treatment. They’re much more gentle than the number 1 singles from Donegan in this decade, but still decent. Across the nation, future rock greats were taking note. Next up is a weird one. The All Star Hit Parade was a charity EP for The National Playing Fields Association, in which Dickie Valentine, Joan Regan, Winifred Atwell, Dave King, Lita Roza and David Whitfield contributed very short tracks, I’m assuming to make them all fit on one piece of vinyl. It’s mainly trad pop, and dull, but thankfully over pretty quick. Rounding things up nicely is one of number 1 crooner Frankie Vaughan’s most famous tunes. Green Door, later a number 1 for Shakin’ Stevens was, according to one urban legend, about the UK’s first lesbian club, Gateways, which had a green door.

The Best

Elvis Presley – Hound Dog

A classic that’s aged better than Heartbreak Hotel and many of his future number 1s, where the rot had already set in. Rocky and raunchy, with great drum breaks. Shame The Jordanaires spoil it with their old-fashioned backing vocals.

The Worst

Tony Martin With Hugo Winterhalter’s Orchestra and Chorus – Walk Hand in Hand

The second this dull trad pop from a veteran US actor and singer ended, I’d completely forgotten what it sounded like.

1957

Rock’n’roll is now established, and there’s plenty in the upper reaches of the charts among the ballads. It’s no coincidence that this is the best selection of tracks so far. One of the best ballads of the 50s is Nat ‘King’ Cole’s When I Fall in Love. It’s another masterful performance from Cole, and it’s a shame he never made it to number 1. Elvis wannabe Pat Boone beat ‘The King’ to the top spot, but why not just listen to the real thing? Love Letters in the Sand is better than his number 1, I’ll Be Home, at least. Last Train to San Fernando, by Johnny Duncan and the Blue Grass Boys, is a very interesting mix of bluegrass, calypso and skiffle, featuring Donegan’s former guitarist Denny Wright. Elvis Presley’s Party, which I’ve never heard before, is a nice blast of the early Presley rock’n’roll sound. Another Oscar nomination, Tammy, is typical cheesy 50s teen fare, used in Debbie Reynolds’ romantic comedy Tammy and the Bachelor. I know it from the sample found in The Avalanches’ A Different Feeling and Terry Gilliam’s adaptation of Fear and Loathing in Las Vegas (1998). It’s always made me feel queasy. Did you know Jim Dale from the Carry On films was a pop star before becoming an actor? Me neither, and he makes a decent fist of copying Presley on Be My Girl, produced by George Martin. Wake Up Little Susie is perhaps the most famous song by The Everly Brothers, yet it isn’t among their number 1s. It’s aged very well thanks to those sublime harmonies from Don and Phil and quite risque lyrics. Last up is a live recording of Ma He’s Making Eyes at Me by Johnny Otis and His Orchestra with Marie Adams. Otis is considered a seminal influence on rock’roll and it’s a great performance, particularly that raucous vocal from Adams.

The Best

Harry Belafonte, Tony Scott’s Orchestra and Chorus with Millard Thomas, Guitar – The Banana Boat Song

The pick of a great bunch (sorry) of singles is that calypso classic, originally a Jamaican folk tune, sung to perfection by the future civil rights activist and 1957 Christmas number 1 artist. I will have first heard this on Beetlejuice (1988) and have loved it ever since.

The Worst

Russ Hamilton – We Will Make Love

Easy listening dross sung by one of the first Scouse stars to make a name for themselves. That’s literally the only noteworthy thing to say about this.

1958

A smaller selection, and not much rock’n’roll. It’s a strange batch, but in a good way. Tom Hark by South Africans Elias and His Zig-Zag Jive Flutes is an instrumental kwela, that’s very familiar, probably via TV. The Mudlarks version of novelty bestseller Lollipop is catchy in an irritating sort of way – nice use of echo at the start though. US popsters The Four Preps contribute Big Man, a decent track with a memorable chorus and great harmonies. Interesting premise too, as the singer has dumped his girlfriend in a moment of madness and is now full of regret.

The Best

Elvis Presley with The Jordanaires – Hard-Headed Woman

Lifted from The King’s film King Creole. This was the first rock’n’roll record to go Gold. There’s some great guitar work on this 12-bar blues, and a reliably strong vocal from Elvis.

The Worst

Dean Martin with Orchestra and Chorus Conducted by Gus Levine – Return to Me

A surprisingly dull track from the normally reliable Dean Martin, who sings the last verse in Italian. It’s not bad, but in a year of weird number 2s that at least stand out, it gets lost in the mix.

1959

By now the raw danger of rock’n’roll had been mostly dampened by the teen pop sound. But there are a couple of good examples of that genre to be found. I love Little Richard. What fantastic energy, and what a voice! He can even make the 1920s song Baby Face sound hip. But there are much better tracks out there by the flamboyant personality that should have been more popular in the charts. Kim Wilde’s dad Marty was a star in the 50s, and A Teenager in Love, originally a hit for Dion, is rightly well-remembered. If Battle of New Orleans is anything to go by, Lonnie Donegan’s output had already began to deteriorate. It’s considered a country classic but it’s nothing special to my ears, and the cheesy opening is a sign of things to come from the skiffle trailblazer.

The Best

The Teddy Bears – To Know Him, is to Love Him

Before the late Phil Spector became a mad production genius, and ultimately a murderer, he was a member of this pop trio. To Know Him, is to Love Him, inspired by the words on Spector’s father’s tombstone, was a sign of the songwriting excellence to come. I particularly like the performance of the ‘Why can’t he see’ section by lead singer Annette Kleinbard. She later changed her name to Carol Connors, and co-wrote Gonna Fly Now the brilliantly uplifting theme from Rocky (1976).

The Worst

The Everly Brothers – (‘Til) I Kissed You
Somewhat disappointing, plodding pop from Don and Phil. Written by the former.

The Best 50s Number 2 Ever is…

Elvis Presley – Hound Dog

Had to be, really. Elvis Presley’s 50s number 1s, bar Jailhouse Rock, don’t really do the King justice. This however, is rightly considered by many the point at which rock’n’roll truly became a revolution. This Lieber and Stoller 12-bar blues was originally recorded by Big Mama Thornton in 1952. Thornton’s version is better, but Presley also knocks it out of the park.

The Worst 50s Number 2 Ever is…

Tony Martin With Hugo Winterhalter’s Orchestra and Chorus – Walk Hand in Hand

So I listened to this again, and it made as much impression as last time. None. All I can say about it is that it’s very, very dull and we should never forget what rock’n’roll did for us to largely sweep this sort of thing away.

The Outro

I have to confess, this has proved a rather disappointing exercise on the whole! I was hoping for more rock’n’roll classics that I’d also expected to have been number 1s when i began covering them, but the runners-up largely mirror the chart-toppers – trad pop and novelties, a surge of rockn’roll and skiffle, and then teen pop. There’s no soul in there at all. Little Richard is there, but he had to cover a 1920s showtune to get a look-in. But it did at least remind me what a force of nature early Elvis was, and that Nat ‘King’ Cole was one of the greatest crooners. I know that when it comes to covering the 60s number 2s, there will be a larger volume of gems.

362. Mud – Lonely This Christmas (1974)

/ robbarker1979

The Intro

Christmas 1974, and anyone refuting the claim glam had become too in thrall of the past would have been hard pushed to defend Mud’s second number 1 of the year. Rushing together an Elvis Presley spoof for the festive market, they took Slade’s Christmas crown with Lonely This Christmas.

Before

To say the preceding 12 months had been good for Mud would be an understatement. They started the year with 1974’s biggest seller, and one of my favourite chart-toppers, Tiger Feet, then a number two with the inferior soundalike The Cat Crept In, and a respectable number six with Rocket. They also released a cover of In the Mood under the name ‘Dum’, which failed to chart.

The well was perhaps starting to run dry for Chinnichap’s songwriting, but they’d had a very impressive run over the last few years, and seeing the excitement the chart battle between Slade and Wizzard caused in 1973, they no doubt thought one of their acts could be in with a shout. If they could pull it off, it would be their third number 1 of the year.

There was some strong competition though. Mike Batt’s Wombles had enjoyed a good year and Wombling Merry Christmas was bound to do well, plus there was Bachman-Turner Overdrive’s You Ain’t Seen Nothing Yet close to the top spot. Elvis too.

Speaking of which, how can you talk about Lonely This Christmas without comparing it to the work of ‘the King’? Although you could point out it’s more akin to his early-60s work than 50s material – Are You Lonesome Tonight? is the obvious song to note – there’s also his cover of Blue Christmas to consider, which he recorded in 1957. And of course, singer Les Gray’s voice was similar to Presley’s in general and it gave him an excuse to be the country’s best-selling Elvis impersonator over the holidays.

Review

Now Lonely This Christmas is no Tiger Feet, nor is it of the same class as Merry Xmaƨ Everybody, but I’ve always been fond of it, and the sheer nerve of releasing it amuses me. The clip below, from Top of the Pops, of Gray miming sincerely to a sinister-looking (aren’t they all?) ventriloquist puppet is a classic, bizarre TV moment. Mud have always struck me as charming chancers who somehow lucked into being in the right place and the right time, and the sight of them struggling to keep a straight face when performing this proves it.

https://www.youtube.com/watch?v=xAZjiLeDWlc

It’s not for everyone. It certainly doesn’t have the universal appeal of Slade or Wizzard’s festive classics, and the only way you could get emotionally attached to it would be if you really were unlucky enough to be going through a break-up with someone, and even then, you can’t, because the whole song is a joke, and you’d feel like you were being laughed at. But come on, it’s Christmas, a time for taste to go out the window. Embrace the tackiness, like a nation exhausted from elections and terrorism did at the time. It’s also quite a funny way for Chinnichap’s chart dominance and number 1s together to come to an end, although there was Mud’s final number 1, produced by them, to come.

The Outro

So that’s 1974. An eclectic mix of pop, late glam, with a welcome return of some reggae and soul into the mix. Things were about to steadily slide downhill as the 70s progressed further. It seems the more the country slid into the economic doldrums, the worse the singles chart became.

The Info

Written & produced by

Nicky Chinn & Mike Chapman

Weeks at number 1

4 (21 December 1974-17 January 1975)

Trivia

Births

6 January 1975: Radio DJ Jason King

Deaths

21 December 1974: Artist James Henry Govier

Meanwhile…

22 December 1974: A rotten year for Conservative Party leader Edward Heath ends with his London home bombed by the Provisional IRA. Fortunately he wasn’t in but only cheated death by 10 minutes.

24 December: Former Labour government minister John Stonehouse is discovered living in Australia after having faked his own death. He is quickly arrested by Australian police, who initially believe that he is Lord Lucan.

6 January 1975: Brian Clough, the recently sacked former manager of Leeds United, is appointed manager of Second Division strugglers Nottingham Forest.

14 January: 17-year-old heiress Lesley Whittle is kidnapped from her home near Bridgnorth in Shropshire.

361. Barry White – You’re the First, the Last, My Everything (1974)

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The Intro

Literally one of the biggest soul stars of the 70s, US singer-songwriter-producer-arranger Barry White was a disco pioneer, and You’re the First, My Last, My Everything is a prime example of his smooth, sexy résumé. Jokes about his weight aside, the ‘Walrus of Love’ sold millions in his lifetime, making him a chart heavyweight. Sorry.

Before

Barry Eugene Carter was born on 12 September 1944 in Galveston, Texas to Melvin A White and Sadie Marie Carter. They moved to South Central Los Angeles, California when he was young, and he fell in love with his mother’s classical records and began learning the piano, while his mother also taught him how to harmonise. Perhaps this explains the lush orchestration that would become one of his trademarks. One of the most obvious things to spring to mind is White’s baritone, with him since the day his voice dropped suddenly, aged 14. He later recalled his mother crying that his previously squeaky voice had gone forever.

At 16 White was sent to prison for stealing tyres, and while there his life changed when he heard Elvis Presley singing It’s Now or Never (O Sole Mio). He vowed to go straight and focus on music. This was nearly taken away from him when he was arrested again shortly after his release for attempted murder. Luckily for him, the victim came out of a coma and was able to give a proper description of the attacker, thus proving White was innocent.

He joined The Upfronts and sang bass over six singles, beginning with Too Far to Turn Around in 1960. His debut solo single, as Lee Barry, was Man Ain’t Nothin’ in 1966 on Downey. For much of the 60s he worked as a songwriter and arranger for small labels in California, and he relied on welfare cheques to feed his family. Among the acts he worked with were The Bobby Fuller Four, and he also wrote music for The Banana Splits children’s TV series in 1968.

After years of plugging away, White got his big break in 1972 when Love Unlimited recorded debut album From a Girl’s Point of View We Give to You… Love Unlimited. They were an all-female soul trio in the mould of The Supremes that White had spent two years honing. The ballad Walkin’ in the Rain with the One I Love became a hit in the UK and US.

Then came The Love Unlimited Orchestra in 1973. The 40-piece were assembled by White to back Love Unlimited, but he also decided to release material by them in their own right, and Love’s Theme became a smash-hit and was one of the few instrumentals to top the Billboard Hot 100. It also climbed to 10 in the UK. Also in 1973, White was searching for a male singer to work with, and recorded some demos, but when his business partner Larry Nunes heard them, he loved White’s croon and said he should record them and take the spotlight. White didn’t agree and took some persuading, but he subsequently recorded enough to release an album, and from I’ve Got So Much to Give came his first solo hit, I’m Gonna Love You Just a Little More Baby, featuring a riff as heavy as the man himself, and his deep purring, it’s a soul classic.

With that and songs like Never, Never Gonna Give You Up from follow-up Stone Gon’, White became known as the go-to man to soundtrack sex. I wonder how many children came about to the music of White? We Brits had certainly never heard such steamy stuff in the singles chart.

Love Unlimited’s lead singer Glodean James became White’s second wife in 1974, and this was the peak of the Walrus of Love’s chart placings. His music became less raunchy and more celebratory of love in general with the singles from Can’t Get Enough. The almost-title track Can’t Get Enough of Your Love, Babe, climbed to number eight on these shores before he hit the top spot.

You’re the First, the Last, My Everything was originally a country song written by White’s friend Peter Radcliffe back in 1953 but the singer couldn’t get You’re My First, You’re My Last, My In-Between recorded. When White was down on his luck, Radcliffe bought his children toys for Christmas, and White never forgot that. Songwriter Tony Sepe was shocked when Radcliffe played it to them both in the studio, finding it dated, but White told Radcliffe to stay away for three weeks and he’d turn it into a smash. When he heard the results, he cried.

Review

With a shortened intro from the album version, White purrs ‘We got it together, didn’t we?’ You can imagine him saying it with an after-sex cigarette in his hand. Try not to picture it too hard though… Rather than seducing his lover, this is a tribute to their love, and so there’s no wonder this became his safest hit, used at wedding discos and anniversary parties decades later. Like all White’s prime cuts, it’s made with the dancefloor in mind, with stabbing strings that make you want to punch the air or even slide along it on your knees depending on how much you’ve drunk.

And yet, it doesn’t click with me like it perhaps should. As a big soul, funk and disco fan it should be right up my alley, but there’s something about White’s work that stops me loving it. It’s perhaps the sad fact he’s considered a cliché now, and a bit of a joke due to his sweaty appearance and frilly shirts, a throwback to cheesier times. I prefer his filth from the year previous, and consider that more groundbreaking, but I certainly don’t deny as disco goes, this is superior to some of the tat that followed in its wake. And as a huge Pulp fan, I do enjoy White’s spoken word, lengthy, hypnotic intros. As did Jarvis Cocker, clearly.

After

The hits kept coming for White, for a few years, with plenty of top 10 action in the UK with singles like What Am I Gonna Do (number five), Let the Music Play (nine) in 1975 and You See the Trouble with Me (two) in 1976. Two years later his cover of Billy Joel’s Just the Way You Are was his last hit for nine years.

After six years of fame with 20th Century Records, White left in 1979 to set up his own label, Unlimited Gold, with CBS/Columbia Records. Unfortunately this coincided with a downturn in sales. Tastes were changing and disco was on its way out. The 80s were lean times and the label folded in 1983. Four years later the single Sho’ You Right briefly returned him to the charts.

In the 90s, disco came back in vogue, as the children of the 70s looked back on their youth, just as rock’n’roll had a revival in the 70s. White became a living legend and his 1992 album Put Me In Your Mix returned him to the US charts. In 1994 Practice What You Preach (from The Icon Is Love) reached 20 in the UK singles chart. He leant his voice to The Simpsons and appeared on Ally McBeal, and seemed happy to poke fun at himself. He wasn’t always as cool as his reputation suggested though, enjoy these outtakes of him losing his rag while recording a voiceover for Paul Quinn College. BBC comedies such as The Mary Whitehouse Experience and The Smell of Reeves and Mortimer liked to spoof the Walrus, the latter being particularly funny to the teenage me.

Ironically, White’s last album was called Staying Power, released in 1999. His health problems were catching up with him, and that year he was forced to cancel tour dates due to exhaustion and high blood pressure. In 2002 he was hospitalised due to kidney failure, and while undergoing dialysis and awaiting a transplant in May 2003 he suffered a severe stroke. White died on 4 July 2003, aged 58.

The Outro

Look past all the layers of irony, and White was very talented, and his songs of love were a positive force in disco. As the Fun Lovin’ Criminals sang on 1998 single Love Unlimited:

‘Barry White, saved my life
and if Barry White, saved your life
Or got you back with your ex-wife
Sing Barry White, Barry White, it’s alright.’

The Info

Written by

Peter Radcliffe, Tony Sepe & Barry White

Producer

Barry White

Weeks at number 1

2 (7-20 December)

Trivia

Births

13 December: Radio DJ Sara Cox/Franz Ferdinand guitarist Nick McCarthy

Meanwhile…

15 December: In an attempt to save fuel at a time of Arab embargoes following the Yom Kippur War, new speed limits are introduced on Britain’s roads

18 December: The government pays £42,000 to families of victims of the Bloody Sunday riots in Northern Ireland.

360. David Essex – Gonna Make You a Star (1974)

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The Intro

With bucketloads of charisma and good looks to melt the heart of his fans, singer-songwriter and actor David Essex was a star in the making in the early 70s and finally hit the big time playing… a star in the making. And his first number 1 was about, yep, a star in the making.

Before

Born David Albert Cook on 23 July 1947 in Plaistow, Essex, his father Albert was an East End docker and his mother Olive was an Irish traveller and a pianist. Albert contracted TB and underwent hospital treatment, so Olive and David lived with Olive’s sister in the early years. When Albert was finally better and David was two, the Cooks moved to Canning Town.

As a schoolboy, Cook was obsessed with football and played for West Ham Juniors, but that all that changed when he visited an R’n’B club called The Flamingo in Soho at the age of 13, and he learnt to play the drums, driving his neighbour mad to the point where he had a fight with Albert and was knocked out.

By the time he was living in Romford, Cook had played with a handful of blues bands, but manager Derek Bowman encouraged him to become a singer. He changed his name to ‘David Essex’ and recorded a single for Fontana in 1965, And the Tears Came Tumbling Down. For the next two years he toured nightclubs with a band as David Essex and the Mood Indigo, while also cutting his teeth as an actor in repertory theatre.

As the 70s began he built up momentum, at least in his acting, with small roles in the thriller Assault (1971) and drama All Coppers Are… in 1972. But it was getting the lead role in the stage musical Godspell in 1971 that really took things up a notch. Also among the cast was Jeremy Irons.

In 1973 Essex really struck gold when he was cast as the lead in the coming-of-age drama That’ll Be the Day. Set in the late-50s and early-60s, the film told the story of hedonistic teenager Jim MacLaine, and Essex was picked due to his inherent charm in an attempt to make the character more likable. Set to a nostalgic rock’n’roll soundtrack, it also starred musicians including Ringo Starr, Billy Fury and Keith Moon.

As the film was in production, Essex was also working on his debut album with Jeff Wayne. The son of actor and theatre producer Jerry, Wayne had composed the music for his father’s musical Two Cities in the late-60s. Inspired by his role in That’ll Be the Day, Essex wrote eventual title track Rock On, which name-checked James Dean, Summertime Blues and Blue Suede Shoes. Entering the studio for a vocal demo, Essex banged on a bin for the rhythm, and with echo applied, they liked the groove that formed. When it came to recording the song proper, they stuck to the sparse approach, with only three session musicians, and the bass played by Herbie Flowers brought to the forefront. Rock On was a slinky, sexy, edgy tune, and it deservedly became a big hit.

A year later, Essex was working on his eponymous second album and also filming Stardust, the sequel to That’ll Be the Day, marking MacLaine’s rise to fame later in the 60s. Once again inspired by his second job, he wrote Gonna Make You a Star, which became the opening track on David Essex.

Review

Had Essex carried on down the path Rock On set out, he may be considered a more credible artist than he is. Instead, his two number 1s widened his fanbase by taking him down the family-friendly, lovable entertainer route, and to be fair, it certainly worked for him.

Although Gonna Make You a Star is inferior to Rock On, it’s an enjoyable commercial pop tune, which is partly down to Wayne’s colourful synthesiser work, which adds a nice bounce and sprightliness to proceedings. That line ‘Oh is he more, too much more than a pretty face’ shows a witty touch of irony from Essex, as does the retort ‘I don’t think so’. Pretty decent 70s pop-rock with a wink and a cheeky smile. Shaun Ryder, mentioned in my previous blog, was clearly a fan, as he quotes the chorus in the Happy Mondays track Lazyitis (One Armed Boxer), melding Essex’s song with The Beatles’ Ticket to Ride.

The Info

Written by

David Essex

Producer

Jeff Wayne

Weeks at number 1

3 (16 November-6 December)

Trivia

Births

24 November: Comedy writer Stephen Merchant
27 November: Welsh racing cyclist Wendy Houvenaghel

Deaths

25 November: Folk singer-songwriter Nick Drake

Meanwhile…

21 November: The Birmingham pub bombings became one of the worst atrocities in the Troubles, when 21 people were killed and 182 injured by Provisional IRA explosions at the Mulberry Bush and Tavern in the Town. It was the worst terrorist act on English soil between the Second World War and the 2005 London bombings.

24 November: The Birmingham Six were charged with the pub bombings. Sentenced to life imprisonment in 1975, they protested their innocence and claimed they were coerced into signing confessions through severe psychological and physical abuse. They weren’t released until 1991 after their convictions were declared unsafe. It’s one of the biggest miscarriages of justice in British history

25 November: Home Secretary Roy Jenkins announced the government’s intention to outlaw the IRA in the UK.

27 November: The Prevention of Terrorism Act was passed.

5 December: The final episode of Monty Python was broadcast on BBC Two. The last series of the classic surreal sketch comedy had shortened its title and lost a member, when John Cleese declined to take part other than the penning of a few sketches.

359. Ken Boothe – Everything I Own (1974)

/ robbarker1979

The Intro

A tune that started out as a soft rock tribute to Bread singer David Gates’s dead father was repurposed as a reggae love song by Jamaican rocksteady singer Ken Boothe and became his sole number 1 in the autumn of 1974.

Before

Gates’s father had died in 1963, long before his son’s group became successful, but he considered him his greatest influence. The title was also inspired by him, as when Gates was a struggling musician he had bought his mother an orchid, and his father wrote to him saying he could have ‘anything she owned’ in return. It’s a lovely song, and will mean a lot to anyone who has lost a parent, but despite reaching number three in the US in 1972, it stalled at 32 in the UK.

Boothe was born in Denham Town, Kingston on 22 March 1948. He developed an interest in music while at Denham Primary Elementary School, with the help of his eldest sister Hyacinth Clover, who was part of a comedy double act. One of his biggest influences was Owen Gray, considered Jamaica’s first homegrown singing star.

As a teenager, Boothe formed a singing duo with his friend Winston ‘Stranger’ Cole. They released singles together as Stranger & Ken between 1963 and 1965. He also recorded as Roy & Ken with Roy Shirley in 1966, the same year he went solo and began recording at the famed Studio One, scoring his first hit with The Train Is Coming, on which he was backed by The Wailers. Boothe toured the UK the following year, promoted as ‘Mr Rocksteady’. To the unitiated, ‘rocksteady’ came after ska and before reggae, and is basically a slowed-down version of the two. It has nothing to do with rock.

Boothe enjoyed a number of hit singles over the next few years, including Moving Away and covers of American and British soul tunes. He switched to producer Leslie Kong’s Beverley’s Records in 1970, but following his untimely death he moved around and eventually settled with UK-based Trojan Records and Lloyd Charmers in 1971.

Two albums, 1973’s Black Gold and Green and 1974’s What’s Going On followed, and then when they began another album, Charmers suggested they work on a cover of Everything I Own, which eventually became the name of the LP too. It featured the Federal Soul Givers, Lloyd Parks on bass, Paul Williams from Toots and the Maytals on drums, Willie Lindo on guitar and Charmers on organ, piano and percussion. Unlike most covers, not only was the arrangement updated, but the lyrics were changed enough to alter the meaning of the song, altering it from a son mourning his father, to a spurned lover hoping to change her mind by whatever means necessary.

Review

Although a minor number 1 (strong enough to top the charts once more when Boy George released it in 1987, though), Boothe’s cover is a pleasant slice of light reggae-pop – the type of reggae I’d normally avoid (don’t get me started on UB40, plenty of time for that when I reach the 80s). Most of that is simply down to Boothe’s voice. Some find his delivery too exact and too tight to the music but his trademark deep timbre is unusual and makes the performance feel real to me, suggesting Boothe is wounded and broken but hopeful. However, it sounds like it was his fault, as Boothe mentions taking someone for granted.

Musically, Boothe’s version is better, but I prefer the lyrics to the original. They stand out more and after all, there are a million songs in which the singer is broken-hearted and trying to persuade their lover back. Not bad at all though.

After

Boothe had one more UK hit from the same album when Crying Over You reached 11. Unfortunately Trojan’s financial difficulties resulted in the label suspending operations, and Boothe’s career struggled to regain momentum when it returned in 1978. That year, he was name-checked in The Clash’s (White Man) In Hammersmith Palais.

Boothe and Trojan parted ways again, and his recording output dropped considerably from then on, with only two albums released in the 80s – Imagine (1986) and Don’t You Know (1987), but often he was reworking old Studio One material. UB40 (there they are again) covered Boothe on their Labour of Love album in 1983, and its sequel in 1992. In 1995 Boothe collaborated with Shaggy on a remake of The Train Is Coming on the soundtrack to the action film Money Train.

The Outro

In 2003, Boothe was awarded the Order of Distinction from his homeland for his contribution to Jamaican music.

The Info

Written by

David Gates

Producer

Lloyd Charmers

Weeks at number 1

3 (26 October-15 November)

Trivia

Births

29 October: Cricketer Michael Vaughan
2 November: Hammer thrower David Smith
4 November: Singer Louise Redknapp

Deaths

28 October: Poet David Jones

Meanwhile…

28 October: The wife and son of Sports Minister Denis Howell survived a Provisional IRA bomb attack on their car.

4 November: Judith Ward was sentenced to life imprisonment for the M62 coach bombing on 4 February. It took 18 years for her to be released due to a wrongful judgement.

7 November: Richard John Bingham, 7th Earl of Lucan, better known as Lord Lucan, went missing after his children’s nanny, Sandra Rivett, was bludgeoned to death in the Lucan family home. He was never found and his death certificate was granted in 2016.
Also that day, an IRA bomb explodes at the Kings Arms, Woolwich, killing two. 

11 November: The New Covent Garden Market in Nine Elms opened.

13 November: The Americanisation of the UK took a giant leap forward when the first McDonald’s restaurant opened in Woolwich, South London.