1975

382. Queen – Bohemian Rhapsody (1975)

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The Intro

‘My time has come’

And how. Initially ridiculed upon its release, Bohemian Rhapsody established Queen as rock royalty. It is the third biggest number 1 of all time, selling over six million worldwide, and became the first to reach number 1 twice – for nine weeks in 1975/76 and again for five weeks in 1991/92 after singer Freddie Mercury’s death, making it the only song to be a Christmas number 1 twice. It also spearheaded the rise in popularity of music videos, had an Oscar-winning film named after it, and even has it’s own nickname. I will not be referring to it as ‘Bo Rap’ here.

Before

Before Queen there was Smile, a struggling rock band featuring guitarist Brian May and drummer Roger Taylor. Their singer, Tim Staffell, had befriended a fellow Ealing Art College student named Freddie Bulsara. The movie Bohemian Rhapsody contains many factual inaccuracies, and Bulsara joining Smile was the first. He didn’t stand and audition in broad daylight, he was already a fan when Staffell quit in 1970 to form Humpy Bong with former Bee Gees drummer Colin Petersen. Taylor’s friend Mike Grose became Smile’s bassist and soon after their first gig that June, Bulsara suggested they change their name to Queen. At the same time, he became Freddie Mercury. Several bassists later, John Deacon joined in February 1971.

Queen were playing to tiny audiences in the early 70s, but set to work on their eponymous debut. Queen was released in July 1973, with production by Roy Thomas Baker and John Anthony. It was a mix of heavy metal riffs and progressive rock, featuring tracks including debut single Keep Yourself Alive and My Fairy King, containing a mention of ‘Mother Mercury’, which is where the singer’s surname originated from. Neither Keep Yourself Alive or second single, also from the album, Liar, charted.

A month after the LP’s release they set to work on its sequel, Queen II, while supporting glam rockers Mott the Hoople on tour. When their next single was released shortly before the album, it rocketed to number 10. Seven Seas of Rhye showcased a more sophisticated production, very-70s fantastical lyrics, and was very catchy. Queen II, incidentally, features the Mick Rock photo of the band in Marlene Dietrich poses, which would prove the inspiration for much of the Bohemian Rhapsody video.

The third album, Sheer Heart Attack, got them noticed in the UK and abroad. A more eclectic collection, its first single, camp pop anthem Killer Queen just missed out on the top spot at two in the UK and was their first US hit. Now I’m Here got to 11 in the UK.

Queen’s star was rising ever higher, but they were broke and unhappy with their management deal with Trident Studios. They broke away and with Elton John’s manager John Reid taking care of business, they set to work on their fourth album A Night at the Opera.

Usually Queen’s songs germinated in the studio, but Mercury had it in mind to join together three song fragments, some dating back to the late-60s. Chris Smith, keyboardist in Smile, said that Mercury played him a tune he was working on called The Cowboy Song, which featured the lyrics ‘Mama, just killed a man’. Producer Roy Thomas Baker once recalled Mercury playing him the opening section on the piano, stopping abruptly and saying ‘and this is where the opera section comes in!’.

Mercury, May, Deacon and Taylor rehearsed Bohemian Rhapsody and other songs from A Night at the Opera at Ridge Farm Studio in Surrey in mid-75. The recording of the single began on 24 August at Rockfield Studios in Monmouth, Wales, but due to its elaborate nature was also recorded at Roundhouse, Sarm East Studios, Scorpio Sound and Wessex Sound Studios.

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

Review

There have been many interpretations of the lyrics of Bohemian Rhapsody. Is it Mercury dealing with personal issues? May has suggested it was, but that he never actually said so to the other band members. Could he be talking about his homosexuality? He hadn’t come out to his then-partner Mary Austin at that point. Taylor said on a BBC Three documentary about the song that he thought the subject matter was ‘fairly self-explanatory’ with ‘a bit of nonsense in the middle’. It’s definitely worth noting that when Queen released a Greatest Hits in Iran (the first official pop release ever in that country), they included a booklet with translations and explanations of the songs. It says that Bohemian Rhapsody is about a young man who has accidentally killed someone and, like Faust, sold his soul to the devil. On the night before his execution he calls God in Arabic, ‘Bismillah’, and so regains his soul from Satan. So perhaps we really are meant to take the lyrics literally.

Where does one start with a review of Bohemian Rhapsody?! It’s almost too big to even have one. I first heard it on a cassette compilation as a child, and back then, strangely, I didn’t find it too weird. Maybe childhood in the 80s was so constantly weird, a nearly-six-minute-long single about murder and the devil didn’t seem that strange. The thing I found ‘very, very frightening’ was the video. Growing up, Mercury’s look was short hair and moustache. Seeing him looking different, lined up in that famous formation with the others, I found them all ghostly and unsettling, but Mercury especially. At first, I didn’t even believe they were the same person.

How strange that this stitched together prog-influenced epic should somehow become a monolith of pop music. The nearest thing to it in 1975 is 10 cc’s I’m Not in Love, another lengthy symphony, but at least that has a relatable message at its core. Bohemian Rhapsody just screams ‘album track’. So why has it not only endured, but grown in stature?

It may well be as basic as: it’s fun to sing along to, from power ballad to surreal opera to rock anthem and back to ballad, it’s as eclectic as it gets. Like I’m Not in Love, it’s beautifully produced and sounds great through good speakers. It also shows how far production had come since The Beach Boys similarly landmark moment Good Vibrations in 1966 (Brian Wilson was very complimentary about Bohemian Rhapsody). And the moment in which the opera section turns to rock is always a total joy and release of energy and tension. May’s guitar work throughout is excellent, not just when he rocks out either, he does a great line in maudlin accompaniment as Mercury describes his woes.

Of course, Bohemian Rhapsody is really all about Mercury. What a voice. Anyone can attempt and enjoy singing along to this track, as I’ve already said, but nobody could perform it with the prowess of Mercury. And as downright odd as the opera section may be, it’s a great display of an amazing vocal talent. Not that it’s only Mercury at that point – he takes the middle range, with May on the low notes and Taylor on the high. To create the virtual choir took 180 separate overdubs and three weeks alone to finish. The tape was worn out several times, resulting in repeated transfers. The piano Mercury plays is the same used by Paul McCartney on another lengthy number 1 classic, Hey Jude.

My opinion of Bohemian Rhapsody has changed several times over throughout my life. I loved it in my teens and 20s, and spent much of my 30s thoroughly sick to death of it, and feeling there were many better ‘weird’, long songs out there that did what it does better. I was wrong to an extent, and in my 40s, I love it once more. I’m no superfan of Queen, and can take or leave some of their material. But this is fantastic and deserving of its status.

Back to the video. It does annoy me when this gets the credit of being the first promo for a single. It’s simply not true. Promos were being made in the 60s. The Beatles made loads, for example. And Queen! What is true is that they became more and more popular, and more adventurous in the wake of this number 1. You may well see more and more appearing on this blog. According to May, they decided on a video to avoid miming a complex song on Top of the Pops and were touring at the time anyway. I wonder what Pan’s People would have made of it?

It was filmed in November 1975 at Elstree Studios and directed by Bruce Gowers. The spooky effect in which Mercury’s face repeats on ‘Magnifico’ and ‘Let me go’ is a very simple trick in which a camera is pointed at a monitor, creating visual feedback. I stumbled across it as a teenager while playing with my camcorder and it blew my mind. After the many hours spent recording the song, the video was ready in five hours and rushed to the BBC for its debut on Top of the Pops.

After

Despite pressure from EMI, Queen wouldn’t cave in and edit Bohemian Rhapsody, thankfully. Radio 1 DJ Kenny Everett, a close friend of Mercury, was instrumental in its initial success. He promised the band not to play the song in full at first and he would tease listeners by playing snippets. Eventually he played it in full 14 times in two days, and fans were asking in shops for it before its release.

The Outro

Bohemian Rhapsody‘s nine-week run was the longest concurrent stint since Paul Anka’s Diana in 1957. An incredible achievement, particularly for such a bold experiment in pop. It even reached nine in the US, which was also unexpected. Perhaps another reason it did so well is the sense I get after reviewing 1975’s number 1s that with depressingly few exceptions, it was a rather drab year for pop. With glam gone and disco yet to make its mark, few songs stand out or push the envelope other than this or I’m Not in Love, and Space Oddity is six years old at this point. 1976 would be another poor year, although ABBA were about to make a big return. Weirdly, Mamma Mia would finally dislodge Bohemian Rhapsody, a rather odd event considering the latter’s ‘Mamma mia let me go’.

The Info

Written by

Freddie Mercury

Producers

Roy Thomas Baker & Queen

Weeks at number 1

9 (29 November 1975-30 January 1976)

Trivia

Births

5 December 1975: Snooker World Champion Ronnie O’Sullivan
12 December: Gymnast Jackie Brady
19 January 1976: Actress Marsha Thomason
21 January: Spice Girl Emma Bunton

Deaths

29 November 1975: Racing driver Tony Brise (see below)/Racing driver Graham Hill (see below)
5 January 1976: Beatles roadie Mal Evans
12 January: Writer Agatha Christie
13 January: Actress Margaret Leighton

Meanwhile…

29 November: Two-time Formula One world champion Graham Hill, 46, dies in an air crash in Hertfordshire. He was piloting a plane in thick fog containing five other members of the Embassy Hill team who all also died, including Tony Brise.

5 December – The Government ends internment of suspected terrorists in Northern Ireland. 

6-12 December: IRA members on the run from police break into a London flat on Balcombe Street, taking the residents hostage. The siege ends after six days with the gunmen giving themselves up to the police.

11 December: Donald Neilson is arrested in Mansfield, Nottinghamshire on suspicion of being the ‘Black Panther’, believed to have carried out five murders in the last two years.

29 December 1975: The Sex Discrimination Act 1975 and the Equal Pay Act 1970 come into force.

2 January 1976: Hurricane-force winds of up to 105mph kill 22 people across Britain, causing millions of pounds worth of damage to buildings and vehicles.

5 January: 10 Protestant men are killed in the Kingsmill massacre at South Armagh, Northern Ireland, by members of the IRA who used the alias ‘South Armagh Republican Action Force’.

7 January: The third Cod War continues, with British and Icelandic ships clashing.

18 January: The Scottish Labour Party was formed by a group of disaffected Labour MPs. It disbanded five years later.

20 January: Emily Jackson is stabbed to death in Leeds, and police believe she may have been killed by the same man who murdered Wilma McCann in the city three months previously. It is revealed that Jackson was a part-time prostitute and the unidentified killer becomes known as ‘The Yorkshire Ripper’.

21 January: The first commercial Concorde flight takes off from Heathrow. 

29 January: 12 IRA bombs explode in London’s West End. They are the first in the city in over a year.

381. Billy Connolly – D.I.V.O.R.C.E. (1975)

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The Intro

‘The Big Yin’ had a number 1? Really? Yes, Glaswegian giant of comedy Sir Billy Connolly covered country icon Tammy Wynette’s break-up song, turned it into a ditty about his dog and topped the charts. How very 1975.

Before

To say Connolly came from humble beginnings is rather an understatement. William Connolly was born at home in Anderston, Glasgow on 24 November 1942. This home had no hot water, and he was bathed in the sink. His father was in Burma during the Second World War and afterwards, in 1946, his teenage mother abandoned him and his older sister Florence for a new man. Considering the circumstances at the time, he has never felt ill will towards his mother and said he would have done the same. They were raised by two aunts, but not happily, as they resented the children. His father eventually returned, and physically and sexually abused his son until he was 15.

Connolly did at least take solace in discovering the joy of being able to make people laugh while a young schoolboy of seven, and at 14 he fell in love with the music of Jerry Lee Lewis and Chuck Berry. He left school a year later with two engineering qualifications – one belonging to a boy named Connell. Taking up odd jobs until he was old enough to be an engineer, he was ruled overqualified and so he became a boilermaker at a shipyard. Shooting up in height as a teen, he soon towered over his father and earned the ‘Big Yin’ nickname.

In his late-teens during the early-60s Connolly attended the Edinburgh Festival Fringe and began modelling himself on the folk singers that performed there. Following jobs including building an oil platform in Nigeria, he decided to become a folk musician and bought a banjo. In 1965 he and guitarist Tam Harvey became The Humblebums and they began touring the pubs. In 1969 they were approached by a singer named Gerry Rafferty and they became a trio. After recording one album that year (First Collection of Merry Melodies), Harvey left. Connolly and Rafferty released two more albums before they split in 1971, with Rafferty going on to release, among others, Stuck in the Middle with You (with Stealers Wheel) and Baker Street.

So, Connolly was a folk singer on his own now, and he became known for his charismatic stage performances, where the introductions to the songs were as lengthy and entertaining as the music. In 1972 he made his comic debut with a revue called Connolly’s Glasgow Flourish. The Edinburgh Festival Fringe then beckoned, and his first solo album, Billy Connolly Live! was released, a mix of comedy and songs. But it was the 1973 double album Solo Concert that propelled Connolly to the mainstream. Sell-out gigs followed, and in 1975 came the first of a record 15 appearances on Parkinson, in which an edgy joke about bikes changed his life forever.

Connolly was by then signed with Polydor Records and had released The Welly Boot Song. Next up was a timely rewrite of Wynette’s 1968 hit D.I.V.O.R.C.E. Timely because she had just divorced George Jones and had been number 1 with Stand by Your Man, also from 1968. In the original, Wynette is heartbroken and determined not to tell her four-year-old-son that his dad will soon be elsewhere, so she spells out the word, and several others, including ‘C.U.S.T.O.D.Y’. It’s all very maudlin, so ripe for spoofing.

Review

Connolly made it about a dog that was going into ‘Q.U.A.R.A.N.T.I.N.E’ because it’s bitten him, caused he and his wife to have an argument, in which she bit his arse, and then the dog bit the vet too. As a result of which, Connolly has decided to get a D.I.V.O.R.C.E. Yes, all a bit silly really, and it hasn’t aged well at all. Held in by the need to make it family-friendly, Connolly doesn’t get the chance to be let off the leash. Although, there is the line ‘She sank her teeth in my B.U.M. and called me an effin C’. I’m guessing he’d say ‘cunt’ when performing this live. So without the shock element, it’s not very funny.

Also, why would you need to avoid saying ‘quarantine’ in front of a dog anyway? I mean, I know this isn’t meant to be realistic, but the whole thing is rather pointless, and isn’t helped by Connolly constantly bursting into laughter. You can’t deny Connolly has bucketloads of charm, but I don’t like to think of him seeming so smug about something so unfunny. I doubt you’d get away with the closing line of ‘Oh I must admit that dog is acting Q.U.E.R. queer’ these days either, but that’s with 45 years of hindsight.

After

Further similarly tame spoofs followed, including No Chance (the awful No Charge, originally) in 1976 and In the Brownies (yep, In the Navy) in 1979. He served as Elton John’s warm-up man on a US tour in 1976, but he bombed. By then he was living like a rock star himself, using cocaine and alcohol in large doses, and collapsed in a studio, and shocked comedian Pamela Stephenson with his self-destructive ways backstage in 1979. They fell in love and began an affair. That same year, Connolly became the first non-Oxbridge member of The Secret Policeman’s Ball.

As the 80s began Connolly was now concentrating almost solely on comedy. 1985 was to be an eventful year. He went teetotal, starred in the British film Water, sang the rollicking theme to Children’s ITV series Super Gran (released as a single) and divorced his first wife after four years separated. He also introduced Elton John at Live Aid. In 1989, Connolly and Stephenson married.

After several false starts, the Big Yin finally conquered the Big Apple and the rest of the US in the 90s. He starred in stand-up TV specials and landed a part in the sitcom Head of the Class and spin-off Billy. In 1994 World Tour of Scotland, for the BBC, followed the comedian around his home country, and spawned Billy Connolly’s World Tour of Australia a year later. He even provided his voice to a character in Disney’s Pocahontas (1995). Connolly was fast becoming a jack of all trades, and won critical acclaim and BAFTA nominations for his role in 1997 historical drama Queen Victoria, alongside Dame Judi Dench.

Further ‘World Tour’ series followed in the 00s, and roles in Hollywood films The Last Samurai (2003), Lemony Snicket’s A Series of Unfortunate Events (2004). He also voiced a character in Brave (2012) and starred in The Hobbit: The Battle of the Five Armies in 2014.

The Outro

In 2013 Connolly announced that he had undergone minor surgery for prostate cancer, and was also in the early stages of Parkinson’s. Since then, the disease has progressed and has caused Connolly to retire from live stand-up, aged 78. Connolly has been a singer, artist, actor, playwright and boilermaker, but it his outrageous comedy for which he will be remembered mostly. Let’s hope he has many years left to enjoy his retirement.

Trivia

Written by

Billy Connolly

Producer

Phil Coulter

Weeks at number 1

1 (22-28 November)

Trivia

Deaths

25 November: Actress Moyna Macgill
27 November: Co-founder of the Guinness Book of Records Ross McWhirter (see below)

Meanwhile…

27 November: The Provisional IRA assassinated Ross McWhirter, co-founder with twin brother Norris of the Guinness Book of Records. He was shot dead for offering reward money to IRA informers.

380. David Bowie – Space Oddity (1975)

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The Intro

‘Liftoff’

2016: I saw tweets claiming David Bowie had died before I set off for work, and so I checked his official site and there was nothing. Relieved, I set off for Hull, but I had a nagging feeling this could turn out to be true, and so I turned off Morrissey on the stereo and switched to Radio 1, where I heard David Cameron of all people paying tribute as the final notes of Life on Mars? rang out. I couldn’t believe it. Perhaps the greatest solo pop star of all time was dead. In 2020, I’m still not over it. I immediately listened to my favourite Bowie tracks, and Space Oddity was the first.

2000: I was at uni sat on my bed. I was a mess at the time, but it was nearly the summer, and as usual I had a ticket for Glastonbury in a month or so. David Bowie was headlining, and although I knew how important he was, I’d never been that into him. I decided I needed to reacquaint myself, and so I put a cassette of Changesbowie on, and from the first few seconds that faded in slowly, I was gripped, hooked and obsessed. The song was, of course, Space Oddity, the song that rightly or wrongly is considered the start of his career. I missed his Glastonbury set due to a stay in hospital, and I never got the chance to see him perform.

1975: David Bowie has put behind the glam rock that made him so famous, and his last album was a fine collection of soul tunes called Young Americans. He is about to reach his most inspired, creative era, but he is not well. Emaciated and heavily into cocaine, he was just finishing his next album Station to Station, which he later claimed he had no recollection of making. It was one of his greatest pieces of work. His record label RCA reissued Space Oddity as a maxi-single, part of a series of occasional re-releases bringing attention to some of his best-known songs. Six years after its first release, it became Bowie’s first number 1 single and is his best-selling single of all time.

1969: David Bowie, after several false starts, including an album released the same day as Sgt. Pepper’s Lonely Hearts Club Band that sank, has finally made it to the singles chart thanks to Space Oddity. With a timely release to coincide with the Apollo 11 mission to the moon, Bowie appears on Top of the Pops for the first time. But can he prove he’s not just a novelty, a one-hit wonder?

It took a few years, but yes, I think I it’s safe to say he did. At the time of his death he had sold over 12 million singles in the UK alone. Two years later it was reported he had sold a further five million. If he had only had Space Oddity and the Ziggy Stardust years, he’d still be remembered fondly, but there is so much more. You could write a whole series of books on this chameleon, this genius, this effortlessly cool, witty… I don’t have enough superlatives.

Before

So it seems unreal to think he was originally just David Robert Jones, born 8 January 1947 in Brixton, London. His father Haywood was a promotions officer for Barnardo’s from Doncaster in Yorkshire and his mother Margaret was born at Shorncliffe Army Camp in Kent. He was known as a gifted child, and a bit of a brawler. Between 1953 and 1955 the Jones’s lived in several places before settling in Sundridge Park. Aged nine, his interpretations in music and movement classes were considered ‘vivdly artistic’. It was at this age that his father introduced him to rock’n’roll via songs by Elvis Presley, the Teenagers and Little Richard.

By the end of 1956, young Jones would enjoy skiffle sessions with friends, where he could be found playing the ukelele and tea-chest bass, and was also learning the piano. He would wow audiences by copying the gyrations of heroes like Elvis. After passing his eleven -plus he went to Bromley Technical High School, where he studied art, music and design, and thanks to his older half-brother Terry Burns he got into jazz, which led to his mother buying him a saxophone in 1961.

In 1962, aged 15, Jones formed his first band, The Konrads, who would play local events such as weddings. In the band was his friend George Underwood, who that year punched Jones in a fight over a girl and gave him the famous discoloration in his left eye that added to his alien appearance. Despite four months in hospital, they remained friends.

Jones left The Konrads in 1963 and released his first single, Liza Jane, credited to Davie Jones with the King Bees, in 1964. Making no impact, he jumped ship to The Manish Boys. I Pity the Fool did just as badly in 1965, and then came two singles with blues trio The Lower Third. He was credited as ‘Davy Jones’ on the first, You’ve Got a Habit of Leaving, but on Can’t Help Thinking About Me in 1966, he had become ‘David Bowie’, after James Bowie, the inventor of the knife he gave his surname to. And that ended any confusion with the much more famous Davy Jones of The Monkees.

But all this jumping around record labels with very typical mid-60s R’n’B groups (and there was one more, The Buzz) was getting Bowie nowhere. Later that year, he signed with Deram, and so began his psychedelic/Anthony Newley phase with the single Rubber Band. This period, which also included, of course, novelty single The Laughing Gnome and Love You Till Tuesday, was disowned by Bowie for decades, which is a shame as I like all three songs, and others from that eponymous debut. They’re a fascinating showcase of a nascent talent.

Bowie then moved into the dramatic arts, particularly mime, with the help of teacher Lindsay Kemp. It was here that he first became really interested with the idea of characters and assuming identities, which would be a large part of the rest of his career. Although music had taken a back seat, in 1968 he formed Feathers, a trio with girlfriend Hermione Farthingale and John Hutchinson, and they would perform a very late-60s mix of poetry, folk and mime. It was short-lived, as Bowie and Farthingale split-up in early 1969. And it was around that time that Space Oddity was penned.

Unsurprisingly, Space Oddity was inspired by Stanley Kubrick’s classic 2001: A Space Odyssey. Released in the spring of 1968, Bowie watched it while stoned several times and was very interested in the idea of a space mission going wrong, particularly watching an astronaut floating off in silence among the stars, and with the Apollo 11 mission around the corner, he set to work.

The earliest unearthed recording of Space Oddity is a simple demo recorded by Bowie on his 12-string in his flat in late-1968 or early-1969. He and Hutchinson then recorded another primitive version soon afterwards, with Hutchinson in the ‘Ground Control’ role. Then, in February, the first studio take was made to be used in Love You Till Tuesday, a promo film thought up by his manager Kenneth Pitt to try and reignite record label interest. Hutchinson was Ground Control again, and among the line-up was Dave Clague, one-time bassist in The Bonzo Dog Band. All versions of this song are worth hearing, and this studio version in particular, to note its development. This version definitely sounds more like a novelty song than the finished product. It’s too camp and lacking the haunting quality that makes it so great.

In June 1969, Pitt negotiated a one-album deal with Mercury Records on the strength of Bowie and Hutchinson’s demos. Tony Visconti, who produced Bowie’s friend Marc Bolan, was assigned Bowie, and he liked what he heard… apart from Space Oddity, which he considered a cheap cash-in on the moon landing. He assigned production to Gus Dudgeon instead, and the majority was recorded at Trident Studios on 20 June 1969.

With Hutchinson gone, Bowie sang all the vocals, but he did sound rather like him in the Ground Control lines at the start. He also played 12-string acoustic guitar and that charming analog keyboard operated by a stylus, the Stylophone. In-house session player Rick Wakeman, later of Yes, was on the Mellotron, with Mick Wayne of Junior’s Eyes on guitar, Blue Mink’s Herbie Flowers on bass and Pentange’s drummer Terry Cox, plus assorted musicians on orchestral accompaniment. Bowie and Dudgeon encouraged improvisation from the musicians.

Review

Space Oddity long since transcended being remotely considered a novelty, and that’s thanks to Bowie, then 22, already showing an existential insight into the human condition, covering alienation and emptiness, all wrapped up in one of his other favourite recurring subjects – space. I don’t feel enough credit is given to Dudgeon here. Visconti is rightly considered Bowie’s top producer but he made a big mistake handing over the reins here. Dudgeon makes a brilliant job of giving Space Oddity it’s haunting atmosphere. The slow fade-in (shorter on the original UK mono single) really does capture the feel of tension as Major Tom prepares for his mission. The ‘This is Ground Control to Major Tom’ section sounds triumphant, all is well and Major Tom is in the news. And then my favourite verse:

‘For here
Am I sitting in a tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do’

Here, Bowie sounds both serene and unsettled, resigned to his/mankind’s fate, that, far from being superhuman, he is just one man, in space, and his mission will actually achieve little. Is the Earth ‘blue’ because of humans? It’s a line as deep as the oceans Major Tom is staring at. The instrumental section is beautiful, with the Stylophone and Mellotron sounding charmingly primitive and futuristic at the same time. Banish all thoughts of Rolf Harris on the former instrument, and imagine it was just Bowie’s adverts for the Stylophone and this song that inspired 90s acts like Pulp and Orbital to use it too.

And then the mission goes awry. Major Tom is either resigned to his fate or has had a breakdown and sabotaged his craft himself when he says ‘I think my spaceship knows which way to go’. I love the way Ground Control’s repeated ‘hear’ to Major Tom merges into the doomed astronaut ‘here’ in his ‘tin can’. In the vastness of space, Major Tom doesn’t feel like a hero. He’s just a man in a tin can. And who knows where he’s going next? The stereo mix captures the uncertainty perfectly – you feel you are in that tin can, bumping from side to side as the effects are panning, hinting at the psychedelia of the Star Gate sequence of 2001: A Space Oddity.

And then on a different level, Space Oddity is just a nice little tune to get stoned to, with the space travel metaphor relating to getting out of your head, and, as Bowie fan Jarvis Cocker later asked, ‘What if you never come down?’. So, with Apollo 11 taking place in July upon its release, Bowie hoped to appeal to the counterculture as well as the wider public fascinated in man on the moon, plus your average pop fan (the strum followed by two simple handclaps is a hell of a hook).

After

But upon its release, it looked as though Space Oddity would be another failure. Apparently the BBC refused to play it until Apollo 11 was returning home safe and by then it was slipping down the chart. Until the new marketing director for Philips, part of Mercury, set his entire staff to work selling it in September, due to lack of anything else to market. It worked, and Space Oddity peaked at five in November, the same month his second album, David Bowie was released. When Bowie signed with RCA, they wisely renamed the LP Space Oddity to avoid confusion with his 1967 album. It’s an uneven collection, and the ‘title’ track is certainly the best bit, but Memory of a Free Festival is also a highlight. He ended the year singing a an Italian version of Space Oddity, with new lyrics by Mogol, called Ragazza Solo, Ragazza Sola (Lonely Boy, Lonely Girl).

Bowie made sure he couldn’t be pigeonholed, and as we all know, every album that followed was different from the last. But The Man Who Sold the World (1970) and Hunky Dory (1971) spawned no charting singles. It’s understandable with the former, it being a heavy, unusual collection, but the latter had Changes and Life on Mars? (which did at least reach number three when re-released in 1973). At best, Bowie at this point could hope to become some kind of cult figure.

All that changed when he and his band became Ziggy Stardust and the Spiders from Mars and appeared on Top of the Pops in 1972 to promote Starman. Bowie had finally pulled it off. He rode the glam rock wave bolder and brighter than most of his contemporaries. The Jean Genie almost became Christmas number 1 that year, and then Space Oddity was reissued in the US and went to 15. To promote the reissue, Mick Rock made a film in which Bowie, in full Ziggy regalia, mimed along as if sat in his spaceship. Space Oddity fitted the Ziggy era perfectly, but Bowie later said he had moved on and couldn’t understand why he was still promoting it. In live shows over the next few years he would still perform it, but it would be reworked.

For several years most Bowie singles entered the upper reaches of the top 10, including Drive-In Saturday (three in 1972), Sorrow (three in 1973) and Rebel Rebel (five in 1974). Even an unofficial reissue of The Laughing Gnome went to six!

It’s interesting to note that Rebel Rebel was the last to reach the top five for nearly two years, as it was in effect his farewell to glam. Ziggy Stardust and the Spiders from Mars were retired in the summer of 1973 and in 1974 he moved to the US. After Diamond Dogs, where elements of funk crept in, he paid tribute in full to the US soul and funk of the era, resulting in Young Americans. The UK would still buy Bowie in droves, whatever his current sound, but they did prefer the glam era. But Fame, his collaboration with John Lennon, became his first US chart-topper.

Which takes us to the maxi-single that brought Bowie his first UK number 1, six years after it was first released. Why 1975 and not 1969? It’s a strange one. Clearly Bowie was still a huge star in the mid-70s, but how many people needed to buy a song that missed out first time around? Perhaps the temptation of getting their hands on Velvet Goldmine for the first time interested his fans (something Bowie wasn’t happy about – he said it hadn’t even been mixed properly). Perhaps it was just right place, right time. The mid-70s were a strange and often bleak time for pop singles. Glam was over, disco hadn’t fully blossomed and albums were where the serious music buyer’s taste lay. Whatever the reason, it was fully deserving.

The Outro

1979: Bowie had a change of heart. He decided to revisit Major Tom, but on his own terms with a sparse, desolate remake of Space Oddity, a decade on. His next number 1, a proper sequel, was right around the corner.

The Info

Written by

David Bowie

Producer

Gus Dudgeon

Weeks at number 1

2 (8-21 November)

Trivia

Births

12 November: Rower Katherine Grainger
18 November: Presenter Anthony McPartlin

Meanwhile…

16 November: British and Icelandic ships clash once more, marking the beginning of the third Cod War. 

379. Art Garfunkel – I Only Have Eyes for You (1975)

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The Info

Paul Simon was the brains behind Simon & Garfunkel’s impressive catalogue of folk and pop, including 1970 number 1 Bridge over Troubled Water. He continued to have success after they split, but it was Art Garfunkel who scored not one but two solo number 1s.

Before

You can find a profile of the duo in the blog I linked to above, but I’ll briefly touch on Garfunkel’s early years here.

Arthur Ira Garfunkel was born 5 November 1941 in New York City. He was of Romanian Jewish descent. His love of singing began in first grade, and he would often sing in synagogue. His father later bought him a wire recorder and he would spend his afternoons singing, recording, and playing it back to listen for flaws and learn how to improve. Such was his obsession, he performed for four hours at his bar mitzvah in 1954.

It was in sixth grade that Garfunkel first crossed paths with Simon, in a production of Alice in Wonderland, and Simon apparently first became interested in singing after hearing Garfunkel in a school talent show.

Between 1956 and 1962 they recorded together as Tom & Jerry, but Garfunkel released his first solo record, Beat Love, in 1959, under the name Artie Garr. When he and Simon graduated, he went to Columbia University, becoming heavily involved in sports and a capella group the Columbia Kingsmen.

Simon & Garfunkel reformed in 1963, and the rest is history, and in my blog. But it’s also worth noting that although Simon wrote everything, Garfunkel did get involved in the production side. He also wrote the Canticle in Scarborough Fair/Canticle, would work out how the material would be sung, and was credited with the arrangement on The Boxer.

After the break-up in 1970, Garfunkel avoided music for three years. He starred in two Mike Nichols films – Catch-22 (1970) and Carnal Knowledge (1971). He then spent 1971 to 1972 teaching geometry in Connecticut. But following a greatest hits album and a one-off reunion with Simon at a benefit concert for presidential candidate George McGovern, he decided to go solo.

Garfunkel’s debut solo LP, Angel Clare, was released in 1973. Co-produced by the singer and Simon & Garfunkel producer Roy Halee, it featured covers of material by Van Morrison, Jimmy Webb and Randy Newman. Simon contributed guitar on one track, and it also featured Jerry Garcia and JJ Cale on guitars, plus members of The Wrecking Crew including Hal Blaine. A single from it, Webb’s All I Know, was a big hit in the US, reaching nine.

I Only Have Eyes for You was the first material to be lifted from Garfunkel’s forthcoming second album Breakaway. Another album of mostly contemporary covers, this single was unusual in that the song dated further back. It was written by multi-Oscar winner Harry Warren and lyricist Al Dubin for the 1934 musical movie Dames. The most famous version came from influential doo-wop group The Flamingos in 1959.

Review

You can’t really go wrong combining as beautiful a song as this with the always-lovely singing of Garfunkel. And with a lush production from Richard Perry (who produced Without You), it’s a song you can wrap yourself in like a warm blanket. Having said that, it might not be to everyone’s taste. Some may find it overdone and too schmaltzy, and if so, they’d likely prefer the version by The Flamingos. I’ve got room in my heart for both though.

The Outro

This version seems to be mostly forgotten in 2020 – indeed, until now I had assumed Garfunkel had only scored a number 1 with Bright Eyes. Perhaps because The Flamingos song has such a reputation for being a classic. But this is worth your time, especially if you like Simon & Garfunkel.

The Info

Written by

Al Dubin & Harry Warren

Producer

Richard Perry

Weeks at number 1

2 (25 October-7 November)

Trivia

Births

27 October: Novelist Zadie Smith

Deaths

27 October: Royal Air Force officer Frederick Charles Victor Laws

Meanwhile…

30 October: West Yorkshire Police launch a murder investigation when 28-year-old prostitute Wilma McCann is found dead in Chapeltown, Leeds. 

6 November: A pub rock group called Bazooka Joe performed at Saint Martins College. Their support band were performing for the first time. They were called Sex Pistols.

378. David Essex – Hold Me Close (1975)

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The Intro

Since David Essex’s first number 1, Gonna Make You a Star, he had, with the help of producer Jeff Wayne, remained a top 10 mainstay. His next single Stardust was the theme to the sequel to the film That’ll Be the Day (1973). In Stardust, as before, Essex was the lead, playing wannabe pop star Jim MacLaine. This time his rise and fall took place through the 60s and early-70s. It’s not a bad song, but tries too hard to recapture the lightning-in-a-bottle magic of Rock On. Stardust reached seven in the singles chart, and the film, released in October 1974, did well, but Essex felt it was inferior to That’ll Be the Day.

Before

Next, Essex and Wayne set to work on a concept album of sorts. All the Fun of the Fair was a schizophrenic collection which touched upon Essex’s fascination with fairs as a child. Among the album’s personnel was session guitarist extraordinaire Chris Spedding, who had featured on the number 1 Barbados, and soul group The Real Thing, who would soon go from supporting Essex to having a number 1 in their own right with You to Me Are Everything. First single Rolling Stone went to five.

Ironically, Hold Me Close, which became Essex’s second and last number 1, was almost an afterthought in production. With record label executives waiting in the studio reception to hear the album in full, Essex banged out two vocal takes, and the mix was made in only half an hour.

Review

This information perhaps explains one of the problems with Hold Me Close. Now, Essex was a proper bona fide working-class Londoner, but he definitely played up to stereotypes and laid on the friendly cockney schtick too much at times on this vocal. And that, combined with Wayne’s cheesy production, makes this number 1 seem light years away from the edginess of Rock On. Essex’s transformation to light entertainment star was complete. Which, knowing now that the LP this comes from was all over the place stylistically, is a shame. Mind you, Essex, still popular all these years later, is probably fine with that. He’s very likeable, and despite my criticism, I can’t dislike Hold Me Close too much, it’s good at what it is.

Soon after this, Essex’s chart sales tailed off somewhat, although Oh What a Circus reached three in 1978. But he did take on a role in the original theatre run of Andrew Lloyd Webber’s Evita. It was also the year he appeared as the Artilleryman on Wayne’s huge concept double album, Jeff Wayne’s Musical Version of The War of the Worlds, an idea the producer had been working on for years. Now a star in his own right, Wayne went on to be a prolific writer of music for TV, including the TV-AM and Good Morning Britain themes of the 80s. The War of the Worlds has spawned a remake and a theatre show.

After

The 80s started off well for Essex with a lead role in motor-racing film Silver Dream Racer (1980) and a song from it, Silver Dream Racer (Part 1) motoring to number four. In 1982 his seasonal single A Winter’s Tale did very well, reaching two in January. It’s been a festive favourite ever since. Tahiti, in 1983, is his last hit to date, reaching eight. As his music slowed, his theatre and TV roles were increasing, and Tahiti came from the West End show Mutiny!, which he co-wrote and starred in. He was the lead in BBC One’s gentle 1988 sitcom The River, which I enjoyed as a nine-year-old but I dare say it won’t have aged well.

Essex was still releasing albums to mixed degrees of success throughout the 90s, and rounded off the millennium with an OBE in 1999. He played a kind-hearted nomad in an episode of Heartbeat in 2000, a subject close to his heart due to his gypsy roots. He had been Patron of Britain’s National Gypsy Council before moving to the US.

The Outro

In 2005 he was a guest vocalist on dance group St Etienne’s album Tales from the Turnpike House, and was due to join the cast of EastEnders in 2006 but couldn’t fit the time needed into his schedule. He eventually joined the soap in 2011 as Eddie Moon for several months. 2008 was a big year for Essex, with the stage debut of his jukebox musical All the fun of the Fair, based on his back catalogue. It had a West End run two years later. In 2013 he starred in and wrote the score for Traveller, a film in which his real-life son Billy Cook played a half-gypsy searching for his true identity. Now aged 73, Essex still has that boyish smile that charmed so many in the 70s and beyond. Rock on.

The Info

Written by

David Essex

Producer

Jeff Wayne

Weeks at number 1

3 (4-24 October)

Trivia

Births

5 October: Actress Kate Winslet
9 October: Actor Joe McFadden

Deaths

22 October: Historian Arnold J Toynbee

Meanwhile…

9 October: The IRA strike again. An explosion outside Green Park tube station near Piccadilly in London kills one person and injures 20.

13 October: Motorcycle producer Norton Villers in Wolverhampton closes down due to bankruptcy. 

23 October: Another IRA bomb, this time intended for Conservative MP Sir Hugh Fraser, kills oncologist Gordon Hamilton Fairley.

377. Rod Stewart – Sailing (1975)

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The Intro

1975 was a pivotal year for Rod Stewart. He switched labels, left the UK, released this, his most popular of six number 1s, and lost his bandmates when Faces split. He became a superstar and lost credibility at the same time.

Before

Such was Stewart’s popularity when his previous chart-topper, You Wear It Well was released in 1972, his uncredited appearance on Python Jackson’s In a Broken Dream soared to number three. The album Never a Dull Moment spawned number four hit What’s Made Milwaukee Famous (Has Made a Loser Out of Me). In 1973, Faces recorded their final album Ooh La La. It wasn’t supposed to be, but tensions made it so. Stewart didn’t turn up for the first few weeks of recording, then complained the songs were in the wrong key, leaving the band to re-record them. The title track, a classic, was made three times before Stewart eventually passed vocal duties on to guitarist Ronnie Wood.

In the meantime, Stewart’s solo career was still holding firm, with a medley of Farewell/Bring It On Home to Me/You Send Me reaching seven in 1974. I also have to mention the best song title I’ve seen in a while, also from that year – You Can Make Me Dance, Sing or Anything (Even Take the Dog for a Walk, Mend a Fuse, Fold Away the Ironing Board, or Any Other Domestic Shortcomings. This was the final single by Rod Stewart and Faces. Note that billing. Either the record label knew the singer now had more pulling power, or he insisted on it himself.

In 1975, Stewart left Mercury Records and signed with Warner Bros. and decided to leave England with his girlfriend Britt Ekland for Los Angeles, in order to avoid paying 83% tax on his earnings. With a bigger budget, Stewart ditched his colleagues to work with famous producer Tom Dowd and the legendary Muscle Shoals musicians in Alabama. Cleverly, the LP was named Atlantic Crossing. On Ekland’s suggestion, the album was sequenced to have a slow side and a fast side.

It’s likely that Stewart may have suggested he cover Sailing to tie in with the theme of travelling to a new country. The fact it’s a cover was a surprise to me, and it’s original meaning wasn’t so literal either. It was written by Gavin Sutherland, one half of folk duo The Sutherland Brothers. It was released as a single in July 1972, and was a more haunting affair than the better-known cover. Featuring Gavin on bass drum and Iain on harmonium, it was intended as representing one man’s Celtic spiritual journey to freedom. Deep. If you like the gist of Sailing but find Stewart’s too overblown, it’s worth a try. Stewart became aware of The Sutherland Brothers the year their single came out and apparently they even co-wrote two songs with him intended for Atlantic Crossing but they never saw the light of day.

Stewart, despite his confidence, always needed a drink or two back then to record his vocals. So he was in for a shock when Dowd rang his hotel room at 10am telling him the backing track was ready so he had to go sing it ASAP. And so he found himself recording, stone-cold sober, at an ungodly hour for any musician, for the first time. And in front of world-famous musicians, to boot. But he loosened up enough to get it in six or seven takes, he later recalled. The choir were put together by Bob Crewe, a writer and producer for The Four Seasons.

Review

Sailing seems to be a song you either love or hate. As he moved into the big league, Stewart ditched the folk sound and the lyrical talent displayed on previous number 1s Maggie May and You Wear It Well. He used to have a great way of making the characters in his songs relatable and more human than your average songwriter. From here on in, he started to become mainly interested in covering other people’s material and showing off his famously gravelly voice. I may perhaps be over-generalising though, as The Killing of Georgie (Parts I and II) was still a year away.

As for me, I neither love nor hate it. It’s inferior to the songs I’ve just mentioned, and yes it’s overlong and overblown, but there was far worse to come. Nice guitar sound during the solo too. Perhaps you had to be there at the time to really feel it an overfamiliar dirge. And with four weeks at number 1, followed by almost repeating the feat a year later when it was used as the theme tune to Sailor, a BBC One documentary series on the Ark Royal, it was certainly a familiar song back then.

After

Sailing has sold over a million and became one of Stewart’s signature songs. Two videos were made. The first, from 1975, also starred Ekland, and the second, in which he dons a sailor outfit and looks all wistful at New York, was made in 1978 and became one of the first videos to be shown on MTV. You can see it above. It became a popular tune during the Falklands conflict, and was re-released in 1987 to raise money for charity following the Herald of Free Enterprise disaster. Whichever version you prefer, you cannot argue that it was Stewart who made it the anthem it’s known as to this day.

The Info

Written by

Gavin Sutherland

Producer

Tom Dowd

Weeks at number 1

4 (6 September-3 October)

Trivia

Births

18 September: Football player Richard Appleby
23 September: Radio DJ Chris Hawkins
25 September: Presenter Declan Donnelly

Deaths

10 September: Nobel Prize laureate George Paget Thomson

Meanwhile…

19 September: John Cleese’s classic sitcom Fawlty Towers debuted on BBC Two.

24 September: Douglas Haston and Doug Scott became the first British people to climb Mount Everest.

27 September: York’s National Railway Museum became the first national museum outside London.

28 September–3 October – The Spaghetti House siege, in which nine people are taken as hostages at the Spaghetti House restaurant , takes place in London.

376. The Stylistics – Can’t Give You Anything (But My Love) (1975)

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The Intro

Philly soul group The Stylistics notched up many hits in the 70s, thanks largely to the unique falsetto of Russell Thompkins Jr and slick production of Thom Bell. But by the time they had a number 1 in the UK their fortunes were sliding in the US and they had a new production team.

Before

The Stylistics came about when two Philadelphia vocal groups merged in 1968. The Monarchs – Thompkins, James Smith and Airrion Love, joined forces with James Dunn and Herb Murrell of the The Percussions. Two years later they recorded debut single You’re a Big Girl Now, written by their road manager Marty Bryant and Robert Douglas from their backing band Slim and the Boys. It became a regional hit for Sebring Records and got them signed with Avco Records. They re-recorded it and it reached seven in the US Billboard R&B chart in 1971.

Avco approached Bell to be their producer in the hope he could work his magic on them the way he had with The Delfonics. However he was unimpressed with their audition and only agreed to work with them because he liked Thompkins voice. Avco gave Bell creative control and so he built most songs around Thompkins. Within the year they were number three in the Billboard Hot 100 with You Are Everything. Two of their best-known hits followed in 1972 – Betcha by Golly, Wow and I’m Stone in Love with You, which were their first entries in the UK charts, at 13 and nine respectively.

The hits kept coming over the next few years, notably, in the UK, notably Rockin’ Roll Baby, reaching six in 1973, and most famous of all, the classic soul of You Make Me Feel Brand New. This duet with Love reached two here and in the US, where it became their biggest hit. But it was one of the last songs that Bell was involved with, and they split in 1974.

That same year they were teamed up with songwriters and producers Hugo Peretti and Luigi Creatore, better known as Hugo & Luigi. Together they had co-written or co-produced big hits in the 50s and 60s including Twistin’ the Night Away, Shout and, and George David Weiss, Can’t Help Falling in Love. Also thrown into the mix was songwriter, producer and arranger Van McCoy. He had co-written the classic I Get the Sweetest Feeling in 1968. He became a pop star in his own right shortly before arranging Can’t Give You Anything (But My Love) when his disco smash The Hustle, produced by Hugo & Luigi, lit up the charts earlier in the summer of 75.

Review

There’s no escaping the fact working with Hugo & Luigi was considered a step down for The Stylistics, despite their new producers having an impressive pedigree themselves. I have mixed feelings about Can’t Give You Anything (But My Love) because it’s grown on me and if it is less slick, it’s a great chorus and has bags of energy, and Van McCoy’s arrangement, while very similar to The Hustle, doesn’t overpower the song and complements it well. The lyric is hardly original, a poor guy tells a woman he may not be able to promise much but his devotion.

Not only that, I’m not actually a fan of Thompkins’ falsetto. I love falsettos, but his is overdone I find. He gets away with it here though. You do have to wonder what is the point of the other singers though, there’s a great video of the group performing this on a rooftop, and the choreography is hilariously messy. But it’s all good fun in a rather cheesy, dated 70s way.

After

Although they were lucky if they scraped the top 50 in America in this era, the UK hits continued for a while for The Stylistics. Na-Na is the Saddest Word reached five, Funky Weekend climbed to 10, and an inevitable cover of Can’t Help Falling in Love hit four in 1976. $7,000 and You, in 1977, was their last chart entry. Their next producer was Teddy Randazzo and the group felt they were looking out-of-date next to disco. They ended the 70s with a small role in the film adaptation of the musical Hair (1979).

The Outro

The Stylistics were reunited with Bell in 1980, but couldn’t recapture the magic. Dunn left that year and Smith a year later. Raymond Johnson was recruited but when he left in 1985 they became a trio. To date, their last album was Love Talk, released in 1991. They continued to tour until 2000 when Thompkins left. Line-up changes have continued ever since, and Thompkins formed The New Stylistics in 2004.

The Info

Written by

Hugo & Luigi & George David Weiss

Producers

Hugo & Luigi

Weeks at number 1

3 (16 August-5 September)

Births

22 August: Actress Sheree Murphy

Meanwhile…

16 August: Football hooliganism was on the rise in the 70s, and on the opening day of the English league season, hundreds of fans were arrested at games across the country.

19 August: The campaign for the release of George Davis, convicted of armed robbery, culminated in Headlingley cricket ground being vandalised, causing the scheduled test match between England and Australia to be abandoned.

21 August: The unemployment rate reaches the 1,250,000 mark.

27 August: 14-year-old Tracy Browne is badly injured in a hammer attack on a country lane at Silsden, near Keighley.

375. Typically Tropical – Barbados (1975)

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The Intro

Here’s a number 1 that is very 1975. Typically Tropical’s Barbados combines two of the decade’s crazes in the UK – the package holiday, and political incorrectness – earning itself the status of a summer smash. Holidays overseas were getting ever cheaper, resulting in songs like Y Viva Espana by Sylvia Vrethammar becoming huge, and controversial sitcom Love Thy Neighbour, about a black couple moving next door to a racist, was an ITV mainstay.

Before

Typically Tropical were two Welsh audio engineers, Jeff Calvert and Max West, who worked at Morgan Studios. Based in Willesden Green, London, Morgan was used by some of the biggest stars of the 70s, including Paul McCartney and Pink Floyd. In 1974 Calvert had returned from a holiday in Jamaica, and felt inspired. He and Hughes penned Barbados in two hours, sitting down with a piano and a guitar before heading to Morgan to put a demo together. On the strength of that demo they signed a three-single deal with Gull Records, and Barbados was to be the first.

Now known as Typically Tropical, they recorded a proper version, and used a fine roll call of session musicians, including guitarists Chris Spedding and Vic Flick, legendary drummer Clem Cattini (been a while since we’ve heard of him) and Blue Mink’s Max West and Roger Coulam on keyboards.

Review

Oh dear. If you’re equipped with the knowledge that the men behind this are two white Welshmen pretending to be black, it makes it pretty hard to stomach. Talk about racial stereotyping… the intro begins with ‘Captain Tobias Willcock welcoming you aboard Coconut Airways Flight 372’… The song is sung from the point of view of a Brixton bus driver who can’t wait to be back on the island, reunited with his girlfriend ‘Mary Jane’. It’s a joke about ganja, get it? You know, because he’s black? Awful.

What can I say in its favour? Well it’s a decent tune, so much so, it went to number 1 again when the Dutch Eurodance outfit Vengaboys reworked it into We’re Going to Ibiza! in 1999. I expect you’re more likely to hear that than Barbados on the radio anymore as it’s more PC, and that’s certainly fair enough. If it wasn’t for the stereotyping, I’d actually prefer Barbados, as I couldn’t stand the Vengaboys at the time.

After

On the strength of reaching number 1, Typically Tropical made the album Barbados Sky. Two singles came from it, Rocket Now and Everybody Plays the Fool but they failed to chart. They also released songs as Captain Zero, Calvert & West and Black Rod between 1975 and 1979, but they sank too. They did however score a hit when they wrote Sarah Brightman’s I Lost My Heart to a Starship Trooper in 1978.

The Info

Written & produced by

Jeffrey Calvert & Max West

Weeks at number 1

1 (9-15 August)

Meanwhile…

14 August: Hampstead entered the UK weather records with the highest 155-min total rainfall at 169mm.

15 August: Olive Smelt, a 46-year-old woman from Halifax, is severely injured in a hammer attack in an alleyway.

374. Bay City Rollers – Give a Little Love (1975)

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The Intro

In the summer of 75, Bay City Rollers were the biggest band in the UK. Their cover of The Four Seasons’ Bye Bye Baby had become the biggest seller of the year, they had their own ITV series, Shang-a-Lang, and ‘Rollermania’ was considered the new ‘Beatlemania’. There was one more number 1 to come.

Before

Give a Little Love was penned by Johnny Goodison and Phil Wainman. Goodison had been a member of The Brotherhood of Man’s original line-up in 1969 until 1971, and Wainman was a former colleague of Nicky Chinn and Mike Chapman, producing many of their hits including The Sweet’s number 1 Block Buster !. They conjured up an anthem for their loyal fans to hold their tartan scarfs aloft and sway away to.

Review

By starting Give a Little Love with ‘It’s a teenage dream to be 17/And to find you’re all wrapped up in lo-o-ove’, Goodison and Wainman are ensuring every adoring teenage girl feels like singer Les McKeown is speaking directly to them about their love of the Rollers. The whole song is a love letter to the fans and I can imagine tears being shed to this one at live shows. It’s OK as far as this sort of thing goes, but it goes on a bit, and the single version is strangely missing the strings that were included in the album version – did this get rush-released to capitalise on Bye Bye Baby?

After

Bay City Rollers capped off the end of their peak year with the album Wouldn’t You Like It?, featuring the superior string-laden version of this single, and non-album track Love Me Like I Love You climbed to four. With the UK theirs, they next looked to repeat their fame in the US with the help of Clive Davis, head of Arista. It paid off in early 1976 when Saturday Night, a UK single from 1973, reached 1 on the Billboard Hot 100. However, the pressures of megastardom took their toll on bassist Alan Longmuir, one of the original members of the band. He was replaced by 17-year-old Ian Mitchell from Northern Ireland, the first non-Scottish member. Money Honey and a cover of Dusty Springfield’s I Only Want to Be with You were huge hits in the UK, peaking at three and four respectively.

From 1977, the fortunes of the Rollers faded. It’s a Game reached 16, but You Made Me Believe in Magic only just scraped into the UK top 40, and it was their last single to do so here and in the US. Mitchell quit and was replaced by Pat McGlynn, and there were arguments over the band’s future direction. They worked with Harry Maslin, a producer for David Bowie, but it didn’t work out.

At the end of 1978, McKeown quit and manager Tam Paton was fired. They decided to become a new wave band, and became simply the Rollers. South African Duncan Faure became the new singer. But they couldn’t come close to the fame they had in the mid-70s, and called it a day in 1981. In 1982 Paton was convicted of gross indecency with two teenage boys aged 16 and 17.

The inevitable reunions with shifting line-ups soon began and continued throughout the 80s and 90s. 1999 saw the classic line-up of McKeown, Alan Longmuir (Derek declined), Stuart ‘Woody’ Wood and Eric Faulkner performed on the final New Year’s Eve of the millennium outside Edinburgh Castle. Paton found himself in the news several times in the last few years of his life as further allegations of his predatory past came to light. He was arrested for child sexual abuse charges in 2003 but they were later dropped, and he was also accused of trying to rape McGlynn in a hotel room in 1977, but it was decided there was insufficient evidence. Original singer Gordon ‘Nobby’ Clark claimed in 2016 that Paton had urged the band to have sex with paedophile Radio 1 DJ Chris Denning. Paton died in 2009 of a suspected heart attack.

In 2007 the ‘classic’ line-up of the group plus Faure announced a lawsuit against Arista for ‘tens of millions’ in unpaid royalties. But their move was delayed by a 2010 lawsuit by Clark, Mitchell and McGlynn against the band. It took until 2016 for the original case to be decided, with an out-of-court settlement in which parent company Sony Music awarded each member £70,000.

The latest incarnation of the Bay City Rollers began in 2018, and includes Wood. Alan Longmuir died in 2018 after falling ill while on holiday in Mexico, and Mitchell died in 2020 from throat cancer. McKeown died of a cardiac arrest in 2021, aged 65.

The Outro

In 2023, ITV broadcast the documentary Secrets of the Bay City Rollers. DJ Nicky Campbell, who was himself abused as a child, highlighted the shocking abuse members of the band suffered at the hands of Paton.

The Info

Written & produced by

Johnny Goodison & Phil Wainman

Weeks at number 1

3 (19 July-8 August)

Births

30 July: Artist Graham Nicholls
31 July: Radio DJ Stephanie Hirst

Deaths

7 August: Labour MP Jim Griffiths

Meanwhile…

19 July: Hatton Cross tube station was opened, completing the first phase of the extension of the London Underground’s Piccadilly line to Heathrow Airport.

1 August: The Government’s anti-inflation policy came into full effect. During the year, inflation reached 24.2% – the second-highest recorded level since records began in 1750, and the highest since 1800.

372. 10 cc – I’m Not in Love (1975)

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The Intro

With a thud resembling a human heartbeat it begins, and then the ethereal, icy voices float in around a warm, liquid electric piano line, enveloping the listener in a never-before-heard aural ecstasy. I’m Not in Love is not only 10 cc’s best number 1, it is their masterpiece, and one of the greatest chart-toppers of the 70s.

Before

Following the success of Rubber Bullets in 1973, the Mancunian quartet proved they weren’t a flash in the pan when The Dean and I reached 10 in the hit parade. Joined by second drummer Paul Burgess, they embarked on a UK tour before returning to Strawberry Studios to work on second album Sheet Music. Released in 1974, it featured the singles The Wall Street Shuffle (another number 10 hit) and Silly Love (24). Sheet Music helped the band make inroads in the US.

However, 10 cc were struggling financially. They were still signed to Jonathan King’s UK Records and haemorrhaging money due to a meagre royalty rate, so they needed a bigger label. Fortunately, they had a song that would blow the minds of record company executives.

I’m Not in Love was written in 1974 and stemmed from Eric Stewart’s wife Gloria complaining that he didn’t say ‘I love you’ to her enough. So he went away and tried to think of a clever way of saying it without making it explicit. A very 10 cc thing to do. The lyric about the picture on the wall hiding a ‘nasty stain’ refers to a photo of Gloria that he had used in his bedroom at his parents’ house

He wrote most of the melody and lyrics on the guitar, and asked Graham Gouldman to help him finish it in the studio. Gouldman suggested some different chords for the melody and came up with an intro and bridge. After two or three days they had a bossa nova guitar-led version to present to the other band members Kevin Godley and Lol Creme. All four worked on recording the first version, with Creme on guitar, Gouldman on bass and Godley on drums. Stewart later recalled Godley and Creme didn’t like it, particularly Godley, who said ‘It’s crap.’ Stewart was taken aback and asked for something constructive to work with, and Godley told him to ‘chuck it’. So the original demo was wiped, which is a shame as it wold be fascinating to hear how the song developed.

Stewart and Gouldman instead helped Godley and Creme with Une Nuit a Paris, but Stewart noticed staff at Strawberry Studios were singing the melody to I’m Not in Love, and suggested they try again. Godley remained sceptical. He and Creme were considered the more ‘arty’ of the band, while Stewart and Gouldman came from a more ‘pop’ angle. Godley relented on the condition they ‘totally fuck it up’ and not use instruments, relying on voices instead. I’m Not in Love was back on.

Am acoustic guitar guide track was recorded first in order to help with the melody, but they then concentrated on creating a wall of vocal sound. Stewart spent three weeks recording Gouldman, Godley and Creme singing ‘ahhhh’ 16 times for each note of the chromatic scale, creating a ‘choir’ of 48 voices for each note. To keep the voices running through the track, Creme suggested tape loops, having become obsessed with them since Revolution 9 from The Beatles. Stewart created 12 , each 12 inches long, to play through separate channels of the mixing desk.

Godley backed down on the ‘no instrument’ rule, but they were kept minimal. Stewart played the electric piano, Gouldman used an electric guitar for the rhythm melody and Godley borrowed Creme’s Moog synthesiser for the heartbeat drum sound. For the bridge and middle eight, Creme played the piano and replicated some lyrics that were rightly omitted: ‘Don’t feel let down. Don’t get hung up. We do what we can – do what we must.’ Gouldman added a nice touch of bass, and a toy box was double-tracked out of phase for the middle eight and fade-out.

It’s interesting to note that after spending so much time on the production, they decided Stewart’s guide vocal couldn’t be improved on. It was so heartfelt they kept it in. Godley and Creme recorded the backing vocals. That haunting keyboard that comes in when Stewart sings ‘It’s just a silly phase I’m going through’? It’s not, apparently a keyboard, but a chorus of treated kazoos.

The recording was just about finished, but Godley felt it was lacking something. Creme remembered when testing the grand piano mics that he, apropos of nothing, said ‘Be quiet, big boys don’t cry’. Stewart soloed the line, and they felt they had something, but not the right voice. While considering this, their secretary Kathy Redfern entered the studio and whispered ‘Eric, sorry to bother you. There’s a telephone call for you.’. Creme jumped up and said she had the perfect voice. It took some coaxing but Redfern put down the famous whisper, and I’m Not in Love was complete.

Review

A common criticism of 10 cc is that, while they were clearly uncommonly stuffed with talent and brimming with ideas, their songs lacked heart and soul. You can’t say that here. I’m Not in Love was one of the most beautifully intelligent songs yet to top the charts, and a fascinating glimpse into the male psyche. Here, Stewart is steadfastly refusing to acknowledge his feelings, but he can’t stop the tide of emotion he feels. He may claim it’s a ‘silly phase’ but he doth protest too much, to the extent of being arrogant and cold. ‘Don’t think you’ve got it made’ is a pretty cocky way of making his point and telling the muse not to tell her friends suggests he’s ashamed of loving her.

Try as he might though, he can’t stem the tide of emotion, represented by the gorgeous sound of the celestial choir, a million voices telling him ‘don’t fight it, feel it’. Just at the point it sounds like it will completely overcome him, he comes up with another comeback, but the voices remain, and will always return. The ‘Be quiet, big boys don’t cry’ section is inspired, and it seems too good to be true that it was a happy accident. Or maybe Creme subconsciously said it because that is the very essence of the song? This man is unable to reveal his true feelings, be they love or hurt, because he was told as a child to ‘man up’. And a lifetime of thinking like that is doing him harm. When he sings ‘You’ll wait a long time for me’, it’s through gritted teeth.

Production-wise, I’m Not in Love is light years ahead of most if not all other number 1s from 1975. A lush mix of prog-rock and pop with far-out effects, but yet very commercial at the same time. Godley and Creme did a great job of fucking it up, and the use of the choir is so good it sends shivers down my spine, but at the heart of I’m Not in Love is a great pop song, with a beautiful performance from Stewart.

After

10 cc’s manager Ric Dixon invited Nigel Grainge, head of A&R at Mercury Records to Strawberry to hear the track and he was blown away. With the rest of the album The Original Soundtrack in the can, they signed with the label for a million dollars. This infuriated Creme – as far as he was concerned, 10 cc were about to join Richard Branson’s fledgling Virgin label, but he and brother-in-law Stewart were on holiday with their wives.

10 cc released Life Is a Minestone as a preview of their forthcoming LP The Original Soundtrack and it reached seven. 10 cc knew they had a great song to follow it, but at six minutes-plus, how was I’m Not in Love going to fare as a single? Stewart refused to edit it at first, but backed down and they made a four-minute version for the radio. I’d advise not bothering with the edit. It’s pretty clumsy. Fortunately, it began selling well, so well in fact, public demand meant the full version began to be played instead.

The Outro

Not only were the band vindicated when it spent a fortnight at number 1 in the UK, it also went to two in the US. A year later Godley was telling the NME that I’m Not in Love was his favourite 10 cc song, a far cry from the ‘crap’ judgement he originally had. By the time 10 cc had their third and final number 1, he and Creme were no longer members of the group.

The Info

Written by

Eric Stewart & Graham Gouldman

Producers

10 cc

Weeks at number 1

2 (28 June-11 July)

Trivia

Deaths

2 July: Actor James Robertson Justice

Meanwhile…

30 June: UEFA reduces Leeds United’s ban from European competitions to one season on appeal.

5 July: 36-year-old Ann Rogulskyj from Keighley, West Yorkshire is badly injured in a hammer attack in an alleyway.