80. Elvis Presley – I Got Stung/One Night (1959)

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Elvis Presley was drafted into the US army on 24 March 1958. He became a private at Fort Chafee, Arkansas. Back then, all men under 26 were required to register for the draft, and Elvis had done so in 1953, a few months before he first recorded for Sun Records. As the press gathered, Presley told them ‘the Army can do anything it wants with me’, and his trademark quiff was subsequently shorn, giving birth to the famous headline pun ‘Hair today, gone tomorrow’ being used for the first time. While training, his mother died, She was only 46, and she and Elvis were very close. Nonetheless, the training continued and he joined the 3rd Armored Division in Friedberg, Germany that October. While there he was introduced to amphetamines, which he took to using often, and also learned karate, which he would later become fond of showcasing at live shows.

Fans were obviously concerned about his career. What would happen to his music for the next two years? Luckily for them, RCA producer Steve Sholes and publisher Freddy Bienstock had it all mapped out. They had gathered plenty of material to be released during his hiatus. People would hardly notice his absence.

I Got Stung had been written for Presley by Aaron Schroeder and David Hill. Hill had released his version of All Shook Up before Elvis did, but had more success writing for ‘The King’ than releasing the same material as him. Elvis had recorded I Got Stung at his final Nashville session before leaving for Germany. It’s a slight but fun rock’n’roll track. Beginning with the cry of:’Holy smokes land sakes alive I never thought this would happen to me’, Elvis likens falling in love to being stung by a bee. I hope whoever was responsible (it wasn’t Priscilla, she met him in September 1959) didn’t die after releasing their sting… The lyrics are fairly cheesy and pedestrian, but Elvis’s vocal transforms it. He performs with rapid-fire delivery, and uses all his trademark mannerisms to lift the song. His backing band also do an admirable job, too.

One Night was granted double A-side status and featured on the flip side. It had been written by Dave Bartholomew (a collaborator with Fats Domino; together they had written Ain’t That a Shame) and Pearl King, and had first been a hit for Smiley Lewis in 1956. Originally concerning a night of sin, Presley recorded a version in 1957, but RCA and Colonel Tom Parker had reservations due to the lyric, ‘One night of sin is what I’m now paying for’. Elvis was keen on the song, though, and with Anita Steinman he reworked it to become ‘One night with you is what I’m now praying for’. Blander, but more palatable for conservative audiences. Fortunately, it doesn’t really matter, as Elvis’s performance is raunchy enough to suggest he’s planning on sinning anyway. It’s another great vocal, and once more he lifts the whole song. I’m beginning to get why he’s considered such a legend. Neither I Got Stung or One Night are up there with Jailhouse Rock, but they’re pretty good and certainly better than some of the star’s future number 1s.

Upon what would have been Elvis’s 70th birthday, a glut of his most famous singles were re-released in January 2005. I Got Stung/One Night was among them, and knocked the re-release of Jailhouse Rock from the top, earning it the honour of being the 1000th UK number 1. It also became the fourth track ever to be number 1 twice, and it was the third time that an artist has replaced themselves at the top of the charts.

Written by:
I Got Stung: Aaron Schroeder & David Hill/One Night: Dave Bartholomew, Pearl King & Anita Steinman

Producer: Steve Sholes

Weeks at number 1: 3 (30 January-19 February)

Births:

The Cure keyboardist/drummer Lol Tolhurst – 3 February

Deaths:

Physicist Owen Willand Richardson – 15 February 

79. Jane Morgan – The Day the Rains Came (1959)

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The new year began with no change at the top for some time, as Conway Twitty’s It’s Only Make Believe kept its grip at number 1. This finally changed on 23 January when US singer Jane Morgan toppled him with her version of The Day When the Rains Came. This was a cover of a French song, Le Jour où la Pluie Viendra, written by lyricist Pierre Delanoë and singer and composer Gilbert Bécaud. The duo were responsible for some of France’s biggest hits of the time, but this was their first to be translated into English and become well-known. The Day When the Rains Came’s lyrics came from Carl Sigman, who by now had a formidable reputation for adapting music from overseas and turning them into UK hits (see Answer Me and It’s All in the Game, number 1s in 1953 and 1958 respectively). Jane Morgan was a beautiful bilingual singer who performed in English and French, and was the perfect performer for this new version. She even threw in the French version on the B-side.

Morgan was born Florence Catherine Currier in 1942 in Newton, Massachusetts. Born into a talented musical family, at the age of five she was taking piano lessons and singing. Her mother taught her Italian and French. As she grew older she was accepted into New York’s prestigious Juilliard School of Music, and intended to become an opera singer. To pay her way she began singing in nightclubs. Orchestra leader Art Mooney hired her, and came up with her stage name Jane Morgan from two of his other singers, Janie Ford and Marian Morgan. Morgan’s knowledge of French came in handy when bandleader Bernard Hilda hired her to perform two shows a night at his new club near the Eiffel Tower in 1948. She began with US songs but quickly took to performing French songs as her language skills improved, and soon the audiences were flocking to her gigs. By 1949 she had her own television show in France, and later she moved between Europe, Canada and back to her own country, in the hope of becoming more famous, but agents feared her skills were too specialised. Eventually she was signed to the fledgling Kapp Records and released her debut album, appropriately named The American Girl from Paris. Her cover of Fascination was released in 1957 and remained in the charts for over six months, and it became her signature song.

The Day When the Rains Came was one of those throwbacks to the pop sound of several years previous. My initial thoughts were of how similar it sounds to previous number 1, The Garden of Eden, by Frankie Vaughan, which sounded old-fashioned when it hit the top in 1957. This isn’t a criticism, as that was a serviceable enough tune and so is this. Usually in love songs, rain is used as a metaphor for loss, but Sigman’s lyrics take a different approach, comparing the beauty of rainfall bringing plants to life with the wonder of a developing romance:

‘The day that the rains came down
Buds were born, love was born
As the young buds will grow
So our young love will grow
Love, sweet love’

Morgan’s vocals are worthy enough – she hits all the right notes, but ultimately there’s nothing about the song, lyrics or performance to lift this above average. January has often historically been a quiet month for new number 1s after the madness of Christmas – it seems The Day When the Rains Came may be an early example of this phenomenon. Nonetheless it brightened up that last week of the first month of 1959, in which the most dense fog to hit the country in seven years caused havoc.

Morgan carried on releasing music into the 1970s, and appeared in numerous TV shows over the years. She has also performed for five US presidents –  John F Kennedy, Richard Nixon, Gerald Ford, Jimmy Carter, and George W. Bush. Unlike many stars of the time she survives to this day, and received a star on the Hollywood Walk of Fame in 2011.

Written by: Pierre Delanoë & Gilbert Bécaud/Carl Sigman (English lyrics)

Producer: Vic Schoen

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

78. Conway Twitty – It’s Only Make Believe (1958)

On Christmas Eve 1958, the south of England was covered by a blanket of thick fog. BOAC Bristol Brittania 312 had left Heathrow on a test flight. After completion, the crew requested to land at Hurn Airport instead, probably due to the poor conditions. Three minutes later, the plane hit a ploughed field, bringing down telephone lines and trees. All seven passengers were killed, and two of the five crew also died.

The Christmas number 1 that year was Conway Twitty’s It’s Only Make Believe. Much like Andy Williams, Twitty was somewhat of an Elvis copyist to begin with, before developing his own style. Yet sounding like Elvis is what garnered him a number 1 single (Butterfly by Andy Williams was nothing like his later work but his sole number 1). Twitty had been born Harold Lloyd Jenkins in 1933 in Coahoma County, Mississippi. The family moved to Helena Arkansas when he was ten years old, where he formed his first group, the Phillips County Ramblers. He later served in the Far East where his new group, the Cimmerons, would entertain his fellow troops. After his return, he heard Presley’s Mystery Train and became determined to follow in his footsteps, travelling to Sun Studios in the process.

Depending on which story you believe, he either took the name Conway Twitty from a map (Conway is in Arkansas and Twitty is in Texas), or he stole it from a man who his manager served with in the army, upon his suggestion. He switched from Sun Records to MGM Records and began releasing singles. It’s Only Make Believe had been quickly written by Twitty and his drummer Jack Nance between sets at the Flamingo Lounge in Hamilton. Taking a whole year to climb the charts, it reached number 1 in the US and and subsequently 21 other countries. To begin with, some listeners assumed the performer was Elvis, recording under a pseudonym, the vocal was so similar.

I didn’t cover It’s Only Make Believe during my blog on my mammoth listen to every Christmas number 1, here, but I was impressed by the intensity of the performance, and even more so since then. As the song began, I was ready to dismiss it as a sub-standard Elvis ballad rip-off like Pat Boone’s I’ll Be Home. However, as Twitty proclaims his wish that his lover felt as strongly as he did, he moves out of the croon and really lets rip, and it’s a great vocal performance. He sounds genuinely pained by the time he reaches the song’s title at the end of each verse. I still think it’s a shame Lord Rockingham’s XI’s Hoots Mon didn’t stay at number 1 for another week to become the festive chart-topper, though.

Twitty failed to set the charts alight again for some time, until he decided to move from rock’n’roll to country music in 1965. Country radio stations were sceptical at first, but Twitty seemed genuine, and his career took off once more. His biggest country hit became Hello Darlin’ in 1970, but he maintained his country chart success until 1990, and achieved an incredible 55 number 1s in total. On 4 June 1993 he collapsed on stage in Missouri and subsequently died of an abdominal aortic aneurysm the following day. He was 59.

1958’s number 1 singles definitely showed rock’n’roll taking control of the record-buying market. A number of future classics hit the top, and the easy listening ballads largely took a back seat. Unfortunately, so did the female artists, as once again, with the exception of Connie Francis, the top of the charts was dominated by men.

It’s Only Make Believe stayed at number 1 well into 1959. During that time, Tyne Tees Television, the ITV franchise for the north east, began transmission on 15 January, and a week later, racing driver Mike Hawthorn died after his car hit a tree on the A3.

Written by: Jack Nance & Conway Twitty

Producer: Jim Vinneau

Weeks at number 1: 5 (19 December 1958-22 January 1959)

Births:

Singer Sade Adu – 16 January 

Deaths

Racing driver Mike Hawthorn – 22 January

77. Lord Rockingham’s XI – Hoots Mon (1958)

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On 13 September 1958, Oh Boy!, the first all-music show for teenagers began on ITV. Producer Jack Good had previously worked on the BBC’s Six-Five Special, but had wanted to make it music-only. When the BBC declined, he resigned. The show featured top stars and future hit-makers, including Cliff Richard, Shirley Bassey, Conway Twitty and Billy Fury. The show’s house-band were Lord Rockingham’s XI, a group of session musicians led by Harry Robinson, who had also worked on Six-Five Special. Other notable members included Benny Green on saxophone (he later became a Radio 2 presenter) and Hammond organ player Cherry Rainer.

In addition to backing artists on the show, they began recording novelty instrumentals for Decca. First single Fried Onions didn’t chart, but Robinson was on to a winner when he decided they should record a jazz-rock’n’roll hybrid version of traditional Scottish song The Hundred Pipers. The lyrics were ditched and replaced with four terrible over-the-top Scottish dialect outbursts, namely, ‘Och aye’, ‘Hoots mon’, ‘There’s a moose loose aboot this hoose’ and ‘It’s a braw, bricht, moonlicht nicht’. As Robinson was Scottish he decided he should be the one to perform these, risking inciting hatred from his fellow countrymen. All in all, it sounds like a terrible idea, doesn’t it?

It wasn’t. Hoots Mon is an excellent novelty single and I love the fact something like this was once able to make it number 1. The band are having a whale of a time, and it’s infectious, you really can’t help but enjoy it too. It’s also surprisingly heavy sounding for its time. Apparently, the engineer wasn’t happy with the bass and wanted the band to re-record it. Record buyers with lightweight needles even complained that the vinyl would jump, and it became banned in some factories as workers couldn’t stand the noise. It would have made a great Christmas number 1 and nearly was, but Conway Twitty’s It’s Only Make Believe overtook it after three weeks at the top.

Oh Boy! was replaced in 1959 by another Good project, Boy Meets Girls. Lord Rockingham’s XI hadn’t been able to maintain their fame, and also had to settle out of court with the real Lord Rockingham (hang on, there’s a real Lord Rockingham?), so they disbanded at the same time. Robinson moved into arranging and conducting songs for musicals, and subsequently became a noteworthy string arranger for several folk artists of the late 1960s. In particular, his work on Nick Drake’s River Man is sublime and sometimes I think it might be the best use of strings I’ve ever heard in a ‘pop’ song.

I first heard Hoots Mon, like lots of 50s and 60s songs, in an advert. Maynard’s Wine Gums used it in 1993 and rewrote the most famous line, coming up with ‘There’s juice loose aboot this hoose’. A mad caricature of a Scotsman manically chews sweets while items around the house come to life courtesy of Aardman Animations (incidentally, this very track was number 1 when Nick Park was born. Clearly, it was meant to be). If only all adverts were as ridiculous and fun as this. I hope Robinson enjoyed this remake. Sadly he passed away in 1996.

One of my favourite groups of all time, the Bonzo Dog Doo-Dah Band, reformed in 2006 for an amazing anniversary gig at the London Astoria. One of the live highlights of my life, they decided to carry on for a while, and released an album, Pour l’amour des Chiens in 2007. It was patchy, but one of the highlights was Hawkeye the Gnu (get it?) a reworked version of Hoots Mon, featuring vocals from Stephen Fry. An inspired decision, and I’m only surprised the band never recorded it in their original incarnation.

While Hoots Mon was riding high, The British Electronic Computer Exhibition, the world’s first of its kind, was held at Earl’s Court in London. It ran from 28 November to 4 December. On 30 November, viewers of Armchair Theatre were left puzzled when actor Gareth Jones disappeared inbetween scenes during the play Underground. The drama was broadcast live, and Jones had suffered a fatal heart attack. Bizarrely, his character was supposed to suffer one later in the programme. The rest of the cast were forced to improvise an ending, which I imagine was a bit of a mess. As winter began, the country’s first motorway, the Preston Bypass, was opened by Prime Minister Harold Macmillan on 5 December.

Written and produced by: Harry Robinson 

Weeks at number 1: 3 (28 November-18 December)

Births:

Animator Nick Park – 6 December

Deaths:

Actor Gareth Jones – 30 November

76. Tommy Edwards – It’s All in the Game (1958)

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10 November 1958, and Donald Campbell breaks the world water speed record in his Bluebird K7. This was the fifth time he had done so. Campbell seemed to be invincible, but eventually his luck ran out in the worst possible way.

Sitting at number 1 at the time was a song with an unusual history. It’s All in the Game dates back to 1911, when banker Charles G Dawes wrote Melody in A Major. It soon also became known as Dawes’s Melody, and followed him into his political career, and he came to hate it. Dawes eventually became Vice President of the United States under Calvin Coolidge from 1925 to 1929.

In 1951, Brill Building songwriter Carl Sigman decided to write lyrics to this melody. He had a knack for adapting songs, and specialised in writing English lyrics to songs composed in other languages. For example, in 1953 he wrote lyrics for that year’s Christmas number 1, Answer Me. Bizarrely, on the day Sigman took his finished work, It’s All in the Game, to Warner Brothers publishing executive Mac Goldman, Dawes died of a heart attack. Goldman quipped that Sigman’s lyrics must have killed him.

Tommy Edwards was born in Richmond, Virginia in 1922. He began performing at nine years old, but it was in 1946 that he began a recording contract with MGM. He began making inroads into the charts three years later, before hitting number 18 with his waltz-time cover of It’s All in the Game. By 1958 however, MGM were ready to drop Edwards. In a last-ditch effort to save his career, he hit upon the idea of re-recording  his hit in a doo-wop style. One of the first stereo singles to ever be recorded, the new version struck gold.

The number 1 version suffers by comparison to some of the other songs covered in 1958. On the whole, it’s been the year with the highest quality of number 1 singles I’ve covered so far. It’s serviceable enough though. Edwards is being philosophical to some poor broken-hearted girl, informing her that love is all one big daft game and all will be well eventually. I don’t want to sound cynical, but I think his optimism might be slightly misplaced. If her beau doesn’t call once in a while, he’s not necessarily soon going to be by her side once more. A harsh dose of reality might be better advice. It’s very well produced, and it’s great to hear a stereo recording finally. The song also works well in a doo-wop style, but the problem is, Edwards kept his vocals largely the same as his 1951 version, so they sound a bit too mannered for my liking, and it drags the whole thing down.

Edwards tried to repeat the trick and re-recorded other past songs in the same style, and they did okay, but not well enough. It’s All in the Game was later covered by acts including the Four Tops and Cliff Richard. Tommy Edwards died in 1969 of a brain aneurysm, believed to have been brought on by alcoholism. He was only 47.

Written by: Charles G. Dawes & Carl Sigman 

Producer: Harry Myerson

Weeks at number 1: 3 (7-27 November)

Births:

Model Kim Ashfield – 25 November

Deaths:

Politician Lord Robert Cecil – 24 November 

75. Connie Francis – Carolina Moon/Stupid Cupid (1958)

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Thanks to Who’s Sorry Now? Connie Francis had become a star. MGM changed their minds and offered her a new contract. The problem now was, how do you follow it up? Her next two singles, I’m Sorry I Made You Cry and Heartaches, sank without trace. Francis needed another track that would appeal to both young and old listeners. As luck would have it, she got one of each.

Yet again, her father suggested wisely when he picked Carolina Moon. Like Who’s Sorry Now? it was an oldie. It had been written by Joe Burke and Benny Davis in 1924, and was a hit for Gene Austin four years later. Both songwriters were responsible for a number of famous tunes – Joe Burke came up with Tiptoe Through the Tulips and Davis wrote Baby Face with Harry Akst.

Carolina Moon is a sweet, wistful ballad, tenderly sang by Francis. She’s missing her love and is hoping the moon will find him and tell him she’s ‘blue and lonely’. They can’t have had a decent postal service near Francis, I guess. Crap joke aside, it’s a good showcase for the singer, and the plaintive harmonica solo is a highlight. On it’s own though, I doubt it would have reached number 1 Luckily for Francis, her luck turned once more.

Howard Greenfield and Neil Sedaka were still in their teens and struggling to get their foot in the door of the world of songwriting. Eventually they wound up at the office of Aldon Music, a new company formed by producers Don Kirshner and Al Nevins. I say office… by all accounts the tiny room was a piano, two desks and lots of boxes as they had only just moved in. Nonetheless, Kirshner was impressed (Nevins less so), and he contacted Francis to say the boys could help her out.

Kirshner, Greenfield and Sedaka were surprised to see Francis was still living in humble surroundings, in a small house with no carpet. They played ballad after ballad to her and Bobby Darin (the singer had started in music as Francis’s songwriter). She later recalled in an interview for DISCoveries Magazine that hours later, after Kirshner had left, she said, ‘Look, fellas. I hate to tell you this and don’t get me wrong, your music is beautiful, but it’s too educated. The kids don’t dig this kinda stuff anymore. You guys are putting me to sleep. Don’t you have something a little more lively?’ Greenfield told Sedaka to play a sample of a new song they had written for the Shepherd Sisters. Sedaka was horrified. He considered Francis way too classy to even suggest such a thought. He relented, played her Stupid Cupid, and finally Francis, Kirshner, Greenfield and Sedaka got what they looking for. A big hit.

Stupid Cupid was inspired. Sedaka might not have thought it was classy, but music didn’t need to be anymore. It had witty lyrics, a memorable tune and great production from Morty Kraft. The bass player remains unknown but whoever it was, their work is considered some of the best in rock’n’roll up to that point. The guitar twang every time Francis reaches ‘Stupid Cupid, stop picking on me’ is clever or annoying depending on your mood, but the way Francis sings that line is perfect. She certainly had a knack of owning the songs she worked on

Spending six weeks at number 1, Carolina Moon/Stupid Cupid finally established Francis, and although she never reached the top again, the hits continued. Lipstick on Your Collar is still considered a 50s classic. She continued her winning ways around the world for years to come, and had further number 1 success in the US into the 60s, but the 70s were tough on the singer. She was raped and nearly suffocated in a motel in 1974. The attacker was never found, and Francis became reclusive and addicted to medication. In 1977 she completely lost her voice following surgery. When it returned, she had to learn to sing all over again. She began performing again, but in 1981 her brother was murdered by Mafia hitmen, and she was diagnosed with manic depression before being committed to 17 different hospitals. Having led such a rollercoaster life, she decided to release her autobiography, Who’s Sorry Now? in 1984, and it became a bestseller. Despite her tribulations she is remembered as one of the biggest stars during a time that was mainly male-dominated. Greenfield and Sedaka of course became very successful, and Sedaka later a star in his own right, and Kirshner earned himself the nickname ‘The Man with the Golden Ear’, managing, among others, The Monkees, before they broke free.

On 1 October the sovereignty of Christmas Island is transferred from the UK to Australia, and two of the BBC’s longest-running television series also began during Francis’s second reign at the top. 11 October saw the start of sports programme Grandstand, which lasted until 2007, and five days later, Blue Peter began, which continues to this day. 21 October saw the first women take to their seats in the House of Lords, and a week later, the State Opening of Parliament was broadcast on TV for the first time.

Written by:
Carolina Moon: Joe Burke & Benny Davis/Stupid Cupid: Howard Greenfield & Neil Sedaka

Producers: Connie Francis/Leroy Holmes

Weeks at number 1: 6 (26 September-6 November)

Births:

Novelist Irvine Welsh – 27 September
Musician Thomas Dolby – 14 October
Duran Duran singer Simon Le Bon – 27 October 

Deaths:

Birth control advocate Marie Stopes – 2 October
Cricketer Charlie Townsend – 17 October
Philosopher GE Moore – 24 October
Physicist Stephen Butterworth – 28 October 

74. The Kalin Twins – When (1958)

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On 29 August, Move It, the debut single of a young act named Cliff Richard and the Drifters, was released. Eventually reaching number 2 in the charts, it is widely considered to be one of the first true rock’n’roll singles released by an act from this country. With his heart-throb appearance, and permanent scowl, it’s hard to imagine now, but Richard was considered to be a dangerous threat with his rebellious demeanour, and overtook Tommy Steele as the UK’s answer to Elvis Presley. The Drifters were in danger of getting into trouble with the US group of the same name, but that’s another story for another time.

The Everly Brothers All I Have to Do is Dream/Claudette outsold every other single that year, but after seven weeks, Don and Phil were usurped by another brotherly double act. The Kalin Twins, known to fans as Hal and Herbie, saw out most of the rest of the summer with five weeks at the top thanks to their one-hit wonder When. Harold and Herbert were born in Port Jervis, New York in 1934. They were discovered by Jimmy Jones, who among other things wrote I’m Alive for the Hollies. Their management hoped that twin brothers with Elvis-style quiffs would appeal to the youth, but were struggling to find decent material for them to record, until they came across When, written by Paul Evans and Jack Reardon. The Everly Brothers had already turned the song down, and producer Jack Pleis also rejected it, but was overruled. Evans went on to write for big stars like Elvis, and had recording success of his own.

I feel as though I’ve heard When before, but can’t be sure. It could be because it sounds so similar to so many uptempo hits of the time – particularly Runaround Sue, off the top of my head. That’s not necessarily a criticism – the song has a summery charm and energy (the castanets are a nice touch), and it’s easy to imagine teens in a dancehall going wild and dancing to this at the time. Despite five weeks at number 1 though, it seems to be largely forgotten now.

The Kalin Twins toured the UK with Cliff Richard as their support. However, they couldn’t follow up When. Hal and Herbie decided to pursue college degrees, and didn’t perform again until a mutual friend persuaded them to play his new nightclub in 1977. They would occasionally perform with their younger brother, Jack, as the Kalin Brothers, but disappeared from public view again until 1989, when Cliff Richard returned the favour and asked them to support him as part of a televised concert from Wembley Stadium. The twins would tour the cabaret circuit, now sporting beards, but sadly in August 2005, Hal died of injuries from a car accident, and the following July, Herbie died of a heart attack.

The day after the release of Move It, riots broke out in Notting Hill. An argument between Jamaican Raymond Morrison and his Swedish wife Majbritt resulted in fights between hundreds of Teddy Boys and West Indians. The riots lasted until 5 September, and on 1 September the first Cod War between the UK and Iceland began. So it wasn’t all summer loving in 1958.

Written by: Jack Reardon & Paul Evans

Producer: Jack Pleis

Weeks at number 1: 5 (22 August-25 September)

Births:

Comedian Lenny Henry – 29 August
Comedian Bobby Davro – 13 September
Model Linda Lusardi – 18 September
Radio presenter Simon Mayo – 21 September

Deaths:

Composer Ralph Vaughan Williams – 26 August
Politician Henry Arthur Evans – 25 September 

73. The Everly Brothers with Orchestra conducted by Archie Bleyer – All I Have to Do is Dream/Claudette (1958)

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The first of four number 1s for the duo in this country, and the best-selling single of 1958. All I Have to Do is Dream/Claudette enjoyed a seven-week run at the top of the charts and established the Everly Brothers as one of the biggest and most influential acts of the next few years.

Don was born in Brownie, Muhlenberg County, Kentucky in 1937, and Phil came two years later in Chicago, Illinois. Born into a musical family, their father Ike was a guitarist and mother Margaret a singer. They sang as the Everly Family on the radio in the mid-1940s, with the boys known as ‘Little Donny’ and ‘Baby Boy Phil’. In 1955 the brothers moved to Nashville, Tennessee. By this point, their musical prowess already had an important fan – family friend Chet Atkins, a record producer and songwriter. Atkins used his contacts to get Don and Phil a record deal, and their first single, Bye Bye Love (later covered by Simon & Garfunkel as the last track on Bridge Over Troubled Water) was a smash-hit, selling over a million and reaching number 6 over here. They continued to work with its songwriters, Felice and Boudleaux Bryant (Bryant’s solo work, Hey Joe, performed by Frankie Laine, had been a UK number 1 in 1953), releasing Wake Up Little Susie, which reached number 2, before working on All I Have to Do is Dream, which was by Bryant alone, and allegedly written in only 15 minutes.

Opening with the lush jangle of Chet Atkins on guitar, All I Have to Do is Dream begins straight away with that memorable chorus, a trick later used by ABBA and Stock, Aitken & Waterman to pull the listener in. If that jangle doesn’t grab you (and if it doesn’t, what’s wrong with you?), the vocals will. Don and Phil’s unique harmonies still sound sublime today. The only misfire is the dated, corny lyric:

‘Only trouble is, gee whiz,
I’m dreamin’ my life away’

Fortunately before you have time to dwell on that too much you’re back into the chorus. This is the sound of the Everly Brothers and Boudleaux Bryant at their best. According to Phil, the acetate featuring Bryant on vocals would have been a hit anyway, such was the beauty of the song. Maybe so, but it’s his and brother Don’s voices, and Atkins’ guitar work, that make All I Have to Do is Dream a classic.

The other song, Claudette, hasn’t aged as well, but it’s a decent enough uptempo acoustic track, written by Roy Orbison and named after his first wife. As a B-side, however, it would certainly have been better than average, and as it helped propel ‘The Big O’ to success and helped buy him a cadillac, then it’s alright by me.

The Everly Brothers tied at number 1 for their first week with Vic Damone’s On the Street Where You Live, but went on to spend most of the summer at the top. During that time, the first parking meters were installed on 10 July, and the British Empire and Commonwealth Games were held in Cardiff from 18-26 July. On the final day of the games, the Queen gave her eldest son Charles the customary title of Prince of Wales, and the presentation of débutantes to the royal court were abolished. And on 1 August, Carry On Sergeant, the first of the Carry On films, premiered. Different in tone from the bawdy humour that was to come, it featured Bob Monkhouse and the first star of Doctor Who, William Hartnell.

Written by:
All I Have to Do is Dream: Boudleaux Bryant/Claudette: Roy Orbison 

Producer: Archie Bleyer

Weeks at number 1: 7 (4 July-21 August)*BEST-SELLING SINGLE OF THE YEAR*

Births:

Comedian Jennifer Saunders – 6 July
Singer-songwriter Kate Bush – 30 July
Athlete Daley Thompson – 30 July
Iron Maiden singer Bruce Dickinson – 7 August
Politician Rosie Winterton – 10 August
Singer Feargal Sharkey – 13 August
Politician Philip Dunne – 14 August 

Deaths:

Campaigner Margaret Haig Thomas, 2nd Viscountess Rhondda – 20 July 

72. Vic Damone – On the Street Where You Live (1958)

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The old-school swingers may have been on the wane, but they didn’t go down without a fight. Vic Damone’s On the Street Where You Live dates back to 1956. Written by Frederick Loewe and Alan Jay Lerner for the musical My Fair Lady, the show had enjoyed two years of huge stateside success and had recently opened in London, causing the single to surge up the charts. Ironic really, considering Loewe wasn’t happy with the tune and had wanted it removing before the musical was released.

It was the last number 1 produced by Mitch Miller, who had been responsible for many chart-toppers – Guy Mitchell’s She Wears Red FeathersLook at That Girl and Singing the Blues, Johnnie Ray’s Such a Night, Just Walkin’ in the Rain and Yes Tonight Josephine, and Rosemary Clooney with the Mellomen’s  Mambo Italiano. Mitchell hated rock’n’roll, probably because he knew his demand as a producer would drop. He remains a divisive figure, for relying on novelty songs and adding gimmicks to records, and artists including Frank Sinatra resented some of his methods. There’s no denying his hit rate though, and his influence would remain. Miller helped conceive the idea of sound effects and soundscapes. Without Miller, there may not have been a George Martin, and without George Martin, there may not have been a Sgt Pepper’s Lonely Hearts Club Band.

Despite numerous versions of On the Street Where You Live, Damone’s remains the most popular. He was born Vito Rocco Farinola in Brooklyn, New York in 1928. Like so many others, he was inspired by Sinatra. He dropped out of high school when his father was injured at work, and worked as an usher elevator operator at the Paramount Theatre in Manhattan. One day he met none other than Perry Como, and seizing his opportunity, he stopped the elevator between floors and sang for him. Como was impressed and referred him to a local bandleader. From there, he went on to appear on and win an edition of Arthur Godfrey’s Talent Scouts in 1947, which was later used as a springboard for stardom by Marvin Rainwater and Connie Francis, who had also had number 1s in 1958. Damone had a number of hits, and also began appearing in films, before going into the army, where he served with Johnny Cash.

Despite being written in 1956, Damone’s On the Street Where You Live sounds even older, and harks back to the first number 1, Al Martino’s Here in My Heart. Damone bellows out the vocals over a grand backing. Not much of a fan of musicals, the only part of this song I actually recognised was the famous opening couplet

‘I have often walked down this street before
But the pavement always stayed beneath my feet before’

I think my dad liked to sing it when I was growing up, although I may be confusing this with any number of songs my dad likes to occasionally burst into. I have to confess though that this song leaves me cold. Like many love songs in musicals, it lays on the sentiment way too thick, and after so many progressive number 1s this felt like a big, unnecessary step back. On the Street Where You Live enjoyed a fortnight at the top, but shared its second week with The Everly Brothers’ double A-side All I Have to Do Is Dream/Claudette.

Damone’s music, film and television careers continued into the 70s, when bankruptcy caused him to take up residency in Las Vegas. He was offered the role of Johnny Fontane in The Godfather (1972) but turned it down, and Al Martino accepted it instead. He retired after suffering a stroke in 2002. Damone has had some dodgy connections in his time. In his autobiography he revealed he was once dangled out of a hotel window by a Mafia member after breaking off his relationship with the thug’s daughter for insulting Damone’s mother. His life was allegedly spared when New York mob boss Frank Costello ruled in his favour. Damone’s daughter also once recalled that a bookie showed up insisting that Damone owed him a lot of money. The singer phoned Sinatra and asked him to intervene, but when ‘Ol’ Blue Eyes’ arrived on the scene, the bookie showed him a secret sign, which meant Sinatra had to keep out of it. Damone had to pay it all back. By far Damone’s dodgiest connection, however, is President Trump, who counts him as a close friend. In May 2016, Trump offered to be a character witness for the singer during a legal battle with his stepdaughters.

UPDATE (13/2/18): Vic Damone died of complications from a respiratory illness on 11 Feb 2018. He was 89.

Written by: Frederick Loewe & Alan Jay Lerner

Producer: Mitch Miller

Weeks at number 1: 2 (27 June-10 July)

Births:

Racewalker Les Morton – 1 July 

Deaths:

Poet Alfred Noyes – 28 June

71. Connie Francis – Who’s Sorry Now? (1958)

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October 1957: Connie Francis was finished. Her recording contract with MGM was almost at an end and she had failed to make an impact, bar a recent duet with Marvin Rainwater on The Majesty of Love. The record company had let her know they would not be renewing her contract, and she had one single left to record. Born Concetta Rosa Maria Franconero in 1937, the Italian-American had suffered one setback after another during her music career. Her father and manager financed a four-track demo that nearly every label turned down, on accounting of Francis sounding too similar to singers like Kitty Kallen and Kay Starr. MGM only signed her because one of the tracks was called Freddy, and that was the name of the son of a company co-executive, who thought Francis’s success with the record would make a nice birthday gift. But Freddy had sank.

And so Francis prepared to give it all up and study medicine at university, but she had one last single to record. Her father had asked her to perform a cover of Who’s Sorry Now?, a break-up song by Tin Pan Alley songwriters Ted Snyder, Bert Kalmar and Harry Ruby. Originally recorded by Isham Jones & his Orchestra in 1923, it had also featured in the Marx Brothers film A Night in Casablanca in 1946. George Franconero Sr tried to tell his daughter that adults would remember the song, and, with the proper arrangement, teenagers would love it too, but she disagreed, and several heated arguments took place. She delayed recording on the other three tracks at the session so much, she told her father there wasn’t enough tape left to record it anyway. However, he insisted, and the session ended with seconds of tape left to spare. After its release, it seemed Francis was correct – Who’s Sorry Now? hadn’t made an impact. But on New Year’s Day 1958, she performed the single on Dick Clark’s American Bandstand, and the momentum began. George was right, Connie was wrong.

Until I discovered the origins of the song, I thought Who’s Sorry Now? was an example of the growing sophistication of pop – so it must have been very innovative back in the 20s. A jilted lover has warned her ex that they would regret leaving them, and they’ve been proven right. The fact vows are mentioned suggests they have divorced – not your average subject matter for a pop song. Producer Harry A Myerson did an excellent job in proving Francis’s father correct – the song sounds completely of its time, and is key to its success, as is Francis’s delivery. For someone who didn’t like the song, her performance really suggests otherwise as she is in complete control, especially as the drums kick in for the  second half of the song and she mocks her ex with ‘I’m glad that you’re sorry now’.

After so many failed attempts, Francis was fully deserving of her new stardom, and it was ironic that it was her old singing partner Marvin Rainwater’s Whole Lotta Woman that she knocked from the top. Who’s Sorry Now? was number 1 for an impressive six weeks, with a double A-side to come later that year. She had also finally broken the ridiculously long run of male domination of the charts. No woman had been at the top since Anne Shelton with Lay Down Your Arms in October 1956 – 17 months previous.

Written by: Ted Snyder, Bert Kalmar & Harry Ruby

Producer: Harry Myerson

Weeks at number 1: 6 (16 May-26 June)

Births:

Singer Toyah Wilcox – 18 May
Singer-songwriter Paul Weller – 25 May 

Deaths:

Actor Ronald Colman – 19 May
Actor Robert Donat – 9 June
Writer Edwin Keppel Bennett – 13 June