242. Georgie Fame – The Ballad of Bonnie and Clyde (1968)

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On with 1968, then, and what a strange year of number 1s it is. We have the good, the bad, and even The Good, the Bad and the Ugly to listen to.

The Beatles were still at number 1 for most of January with their Christmas chart-topper, Hello, Goodbye, before finally running out of steam. They were replaced by Lancashire-born jazz cat Georgie Fame and his third and last number 1, The Ballad of Bonnie and Clyde.

Before hearing this track I assumed it would be taken from the soundtrack to the 1967 movie Bonnie and Clyde, starring Warren Beatty and Faye Dunaway. I was wrong, but that didn’t surprise me, as not only have I never seen the film, I don’t actually know much about the subject matter either.

Arthur Penn’s multi-Academy Award-winning landmark crime biography detailed the rise and fall of Bonnie Parker and Clyde Burrow. In the Great Depression of the 1930s, the duo captured the imagination of the US on a two-year crime spree. Although the romantic image of the duo as Robin Hood-style characters has endured, the reality is their many bungled robberies resulted in innocent people being killed. The movie is considered one of the first films of the New Hollywood era, prompting more filmmakers to show sex and violence in their work. At the time, the duo’s death was considered a truly shocking end to a Hollywood movie.

Songwriters Mitch Murray (the man behind both Gerry and the Pacemakers number 1s – How Do You Do It? and I Like It) and Peter Callander saw the film and felt inspired to write a 30s-style jazz spoof telling the tale of the duo. Georgie Fame, who had enjoyed two number 1s with his backing band the Blue Flames (Yeh Yeh and Get Away) was the perfect artist to record their new track.

Since Get Away topped the charts, the band had enjoyed two further top 20 hits with Sunny and Sitting in the Park. They released one more album, Sweet Thing in 1966, before Fame chose to sign with CBS Records and go solo. The Blue Flames disbanded, and drummer Mitch Mitchell became a third of the Jimi Hendrix Experience soon after. Fame released his first solo album Sound Venture later that year. His first two solo singles failed to chart, but The Ballad of Bonnie and Clyde, released in 1967, became number 1, and was his only top ten hit in the US.

This quirky, rickety little track certainly gets 1968 off to a weird start. It may not have been in the film, but without it, there’s no way Fame would have outsold the Beatles. It’s not without its charm, and I always enjoy a Georgie Fame vocal, but by reducing the story of Bonnie and Clyde to a bit of fun, it’s nothing more than a throwaway novelty track.

It’s quite a sparse recording, featuring mainly Fame and a banjo, but there’s some brass too, plus sound affects, including the sound of gunfire as it reaches its climax. I think we’re supposed to go ‘Awww!’ when Fame sings ‘Bonnie and Clyde/They lived a lot together/And finally together/They died’, which is going a bit easy on bankrobbing murderers really. I’m now trying to imagine other inappropriate tunes, such as The Ballad of Fred and Rose West, or Peter Sutcliffe’a Sad Sad Song.

Fame’s hits began to dry up soon after, but Somebody Stole My Thunder in 1970 is a strong shot of R’n’B. He formed a partnership with organist Alan Price, formerly of the Animals, and they had a hit with Rosetta in 1971, but they split two years later. Much of the early 70s was spent writing jingles for television and radio, and making the soundtrack for the Till Death Us Do Part big-screen spin-off, The Alf Garnett Saga (1972). In 1974 he reformed the Blue Flames, but by the 80s he was back in the advert industry.

In 1989 he began working with cantankerous Irish singer-songwriter Van Morrison as his producer and performing in his live band, as well as recording their collaborative LP, How Long Has This Been Going On in 1996. This partnership lasted until 1998, with occasional work together ever since.

Fame suffered tragedy in 1993 when his wife, Nicolette Powell, jumped off the Clifton Suspension Bridge to her death. They had married in 1972 after having a baby while she was still married to Alistair Vane-Tempest-Stewart, 9th Marquess of Londonderry. When tests proved the baby was theirs, the Marchioness had divorced him for Fame. Suffering from depression, Powell had left a suicide note in which she said she had no purpose in life now their children had grown up.

In 1998 Fame also became a founding member of former Rolling Stone Bill Wyman’s Rhythm Kings, with whom he worked for a couple of years before going it alone again. He has released albums ever since and has performed at Glastonbury Festival. His live band sometimes includes his two sons Tristan and James. What a shame Nicolette didn’t live to enjoy their performances.

Written by: Mitch Murray & Peter Callander

Producer: Mike Smith

Weeks at number 1: 1 (24-30 January)

Births:

Journalist Matthew d’Ancona – 27 January
Rapper Tricky – 27 January

Deaths:

Spymaster Maxwell Knight – 27 January 

172. The Animals – The House of the Rising Sun (1964)

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It may have only spent a week at number 1, but the Animals’ The House of the Rising Sun‘s impact was huge. It ushered in a new genre, folk rock, inspired Bob Dylan to go electric, and proved a hit single could be twice as long as was expected.

The origins of this traditional folk tale, whose author is unknown, date back hundreds of years. It shares a similar theme to the 16th-century ballad The Unfortunate Rake. Originally, the song was written from the perspective of a prostitute who worked at a brothel called the Rising Sun, with the oldest published lyrics (from 1925) beginning:

‘There is a house in New Orleans, it’s called the Rising Sun
It’s been the ruin of many a poor girl
Great God, and I for one’

The earliest recording, known as Rising Sun Blues, was performed by Clarence “Tom” Ashley and Gwen Foster in 1928. Later versions came from Woody Guthrie in 1941, Lead Belly in 1944 and 1948 (entitled In New Orleans and The House of the Rising Sun respectively), Joan Baez in 1960 and Nina Simone in 1962.

The version by the Animals most closely resembles Bob Dylan’s cover for his eponymous debut album in 1962. This is the first and certainly not the last time we’ll encounter Robert Zimmerman, who has never scored his own number 1 but whose songs have topped the charts several times over the years. However, Dylan had swiped his arrangement too, from fellow folk revivalist Dave Van Ronk. An unusually sheepish Dylan asked Ronk if he was okay with him recording it, and Van Ronk asked him to hold off as he was about to go into the studio to record it himself. Dylan then admitted he had already recorded it.

The Animals formed when singer Eric Burdon joined the Alan Price Rhythm and Blues Combo, who had been a unit since 1958. Making up the rest of the band were Alan Price on organ and keyboards, Hilton Valentine on guitar, Bryan ‘Chas’ Chandler on bass and John Steel on drums. It’s usually believed that their new name came from their wild stage act, but in 2013 Burdon claimed they used their name by way of tribute to a mutual friend known as ‘Animal’ Hogg. They moved to London in 1964 in the wake of Beatlemania to get signed, and subsequently did, to EMI Columbia. They specialised in heavy versions of R’n’B numbers, and their first single, Baby Let Me Take You Home narrowly missed out on the top 20. According to Burdon, the Animals first heard The House of the Rising Sun in a Newcastle club, sung by Northumbrian folk singer Johnny Handle. They were touring with Chuck Berry, and were searching for a number to close their sets with that would make them stand out from other groups. It’s doubtful they realised they had stumbled upon their sole chart-topper.

Producer Mickie Most certainly didn’t realise. Most made a name for himself as a producer of  many hit singles over the 1960s and 70s, and clearly had an ear for a good tune. And really, who could blame him for thinking The House of the Rising Sun was too long and not commercial enough?

It took only 15 minutes and one take in a tiny studio to record one of the decade’s most memorable number 1s. Valentine’s spine-tingling arpeggio intro, in which he plays Dylan’s chord sequence but on an electric guitar, is one of the greatest openings to a song of all time. Then Burdon’s deep growl begins, and the rest is history. Some have argued that the lyric change to make it about a man with a gambling addiction make the theme of the song less interesting, and they have a point, but really, all should be forgiven during this tour de force.

No number 1 had ever stayed stuck in one groove before, and certainly not for over four minutes (previously the record for the longest duration for a number 1 belonged to Harry Belafonte’s Mary’s Boy Child in 1957; the Animals would hold the record until the Beatles’ Hey Jude in 1968). The feeling is hypnotic and relentless, particularly during the second half when the band take it up a notch and Price goes to town on his Vox Continental. I can imagine the impact of hearing this back then must have been similar to the birth of skiffle, where Lonnie Donegan had plundered old tunes and added an intensity that had rarely been heard up to that point. By the time they had finished, Most was a believer. Despite the fact the whole band contributed to the arrangement, there was only room for one name on the record label, and as Alan Price’s forename was first alphabetically, he got the credit. This would later cause resentment, as Valentine understandably thought he should receive royalties for his part.

Two months after hitting pole position in the UK charts, The House of the Rising Sun spent three weeks at number 1 in the US, becoming the first bestseller during the British Invasion to be unconnected to the Beatles. Upon hearing it on his car radio, Bob Dylan immediately stopped driving, got out and banged on the bonnet. He was blown away, and a seed had been planted.

The Animals went on to have more great hits, including We Gotta Get Out of This Place and Don’t Let Me Be Misunderstood. In May 1965 Alan Price left to go solo, citing personal and musical differences and a reluctance to fly while on tour. He formed the Alan Price Set, whose highlights include Simon Smith and His Amazing Dancing Bear. Dave Rowberry became his replacement, but by the end of the year the group were already falling apart. The history books are full of bands who got a raw deal due to mismanagement, but the Animals had suffered more than most. In 1966 Burdon formed a new backing group and they became known as Eric Burdon & the Animals, adopting a harder psychedelic sound and relocating to California. He also later formed the funk band War in the following decade. Meanwhile, Chas Chandler became Jimi Hendrix’s manager and producer and was an integral part of his success, before doing the same with Slade in the 70s. The original line-up of the Animals reformed in 1968, 1975 and 1983, and several different versions of the band using that name have existed over the years.

The Animals stood out in 1964 for refusing to play the game and adopt the Merseybeat approach. They didn’t turn on the charm, and they didn’t smile for the cameras. Another group were rising up the charts, and their fame would soon eclipse that of the Animals. The Rolling Stones were about to have their first number 1.

Written by: Traditional (arranged by Alan Price)

Producer: Mickie Most

Weeks at number 1: 1 (9-15 July)

Births:

Pocket cartoonist Matt Pritchett – 14 July