Here Comes Summer is often considered one of the first tailor-made summer anthems. The problem is, in the UK at least, that it arrived late. It entered the charts in August 1959 and didn’t reach number 1 until 9 October, toppling Only Sixteen by Craig Douglas. It was written and performed by wholesome singer-songwriter Jerry Keller.
Before
Jerry Paul Keller was born 20 June 1938 in Fort Smith, Arkansas, but the Kellers moved to Tulsa, Oklahoma when he was six. He formed The Lads of Note Quartet sometime in the 50s and was also a member of The Tulsa Boy Singers, in addition to becoming a disc jockey.
In 1956 he moved to New York determined to make it big, and recorded a series of demos for record labels. Getting nowhere, his church friend Pat Boone (who had the biggest-selling single of that year in the UK with I’ll Be Home) introduced him to Marty Mills, who became his manager. With its vivid lyrics of finishing school and enjoying a summer romance, Keller had finally found the hit he had been looking for.
Review
Much like Bobby Darin’s Dream Lover, Here Comes Summer is the quintessential sound of 50s teen-pop to me. It’s not as good, but it’s not far off. It’s musically warm and wistful, and makes you look back to a summer that you never actually had, but feel like you did anyway. The backing vocals spoil it somewhat though, overpowering the song at times, drowning out Keller’s voice and spoiling the production.
After
Unfortunately Keller was the first of many artists who become so identifiable with a summer hit that they’re rarely, if ever, heard of again as a performer.
He did, however, enjoy further success as a songwriter. He wrote Almost There, a hit for Andy Williams, and The Legend of Shenandoah, recited by James Stewart in the film Shenandoah (1965). In 1966 he wrote the English lyrics for Un homme et une femme, translated as A Man and a Woman, which was covered by many artists including Ella Fitzgerald, Engelbert Humperdinck and Johnny Mathis.
The Outro
In the 70s and 80s he appeared in films and was used as a vocalist in television jingles, before disappearing into obscurity, but Here Comes Summer still gets used in adverts from time to time, a charming memory of relative teenage innocence.
The Info
Written by
Jerry Keller
Producer
Richard Wolf
Weeks at number 1
1 (9-15 October)
Trivia
Births
10 October: Singer Kirsty MacColl 15 October: Sarah, Duchess of York
Teenager Craig Douglas ended Living Doll‘s six weeks at pole position with this chirpy upbeat pop ditty.
Before
Douglas was born Terence Perkins, a twin in Newport, Isle of Wight on 12 August 1941. Before he became a singer he was known as the ‘Singing Milkman’ while doing his rounds.
Winning a local talent contest at 16, he became managed by Bunny Lewis, who had co-written 1954 number 1 Cara Mia under the pseudonym Lee Lange. Perkins changed his name to Craig Douglas on Lewis’s suggestion (not the most of exciting of stage names anyone has ever come up with), and, still 16, began singing lessons for his move into professional singing.
He made his television debut on the BBC’s Six-Five Special alongside Cliff Richard and Joe Brown. He specialised in songs about teenagers, being one himself. His first single was A Teenager in Love, earlier in 1959, and second single Only Sixteen made him one of the youngest number 1 acts up to that point – he was 17 at the time. It was US soul singer-songwriter Sam Cooke’s song, but Douglas’s version eclipsed it in this country.
Review
The most surprising aspect of this song is Douglas’s vocals. Had I not read about him beforehand, I’d have thought he was twice the age he was. He doesn’t look that young on pictures from the time either. In fact, there’s little youthful exuberance to be found here, unfortunately. It sounds leaden, safe and old-fashioned – not living up to the now risqué title. The fact the singer is only a year older than the song’s subject matter makes the record safer than originally suspected anyway. The highlight is the whistling from Mike Sammes. You’d think the singing milkman would be the whistler, but it wasn’t meant to be.
After
For the next few years Douglas troubled the lower reaches of the top ten, but the writing was on the wall when The Beatles started their chart domination. Now in his late-70s, he still tours internationally on the nostalgia circuit.
The Info
Written by
Sam Cooke
Producer
Bunny Lewis
Weeks at number 1
4 (11 September-8 October)
Trivia
Births
7 October: Music producer Simon Cowell
Deaths
21 September: Soprano Agnes Nicholls
Meanwhile…
8 October: The Conservatives won their third successive General Election, becoming the only party since World War Two to do so while increasing their majority. The election was perfect timing for Harold Macmillan’s party, due to an economic boom. Labour suffered due to Hugh Gaitskell’s claim that Labour would not raise taxes, despite their manifesto stating otherwise. It was Jo Grimond’s first election as leader of the Liberals, and the election saw future Liberal leader Jeremy Thorpe and Conservative leader Margaret Thatcher enter parliament for the first time.
18 September: 47 miners died in the Auchengeich mining disaster in Lanarkshire, Scotland.
7 October: 300 people needed rescuing when fire broke out on Southend Pier.
‘Look out! Cliff!’ It’s hard to believe now, but when Sir Cliff Richard’s first single Move It narrowly missed out on number 1 to Connie Francis’s Carolina Moon/Stupid Cupid in 1958, he was considered edgy, and the closest we had to our own Elvis Presley. Tommy Steele’s impersonation of ‘the King’ on Singing the Blues was too similar, and he soon began concentrating on his film career.
Unlike Elvis, Cliff was and is mainly a British phenomenon, and his cool image soon disappeared, to be forever replaced by that of the wholesome Christian entertainer. Not that it damaged his career. Cliff is the third biggest-selling artist in the history of the UK singles chart, behind The Beatles and Elvis, selling over 21 million in this country alone. This is the first of many staggering statistics – 67 UK top ten singles, 14 of which were number 1. Along with Elvis, he is the only act to make the chart in the first six decades, and is the only singer to have had number 1s from the 50s through to the 90s. This is the story of Living Doll, his first.
Before
Harry Rodger Webb had been born in Lucknow, British India on 14 October 1940. The Webbs had a modest life, but following Indian Independence in 1948 they moved into a smaller semi-detached house in Carshalton, south London. The teenage Webb became keenly interested in skiffle, like so many future stars, and his father bought him a guitar for his 16th birthday. In 1957 he formed The Quintones, before becoming the singer in The Dick Teague Skiffle Group, and then The Drifters. This was, of course, not the US soul group of the same name.
Entrepreneur Harry Greatorex became their manager, and suggested Webb needed a name change if they were to get anywhere. He came up with ‘Cliff’– because it sounded like ‘rock’, and band member Ian Samwell thought Richard would make a great surname and could also serve as a tribute to Little Richard. Together with drummer Terry Smart and guitarist Norman Mitham, they were now Cliff Richard and The Drifters, and Move It, penned by Samwell, stormed the charts. Cliff was a sensation, with his good looks, scowl and rock’n’roll attitude. John Lennon even called it the first British rock record.
Subsequent singles High Class Baby in 1958 and Mean Streak in 1959 reached the top 10. By the time of Richard’s film debut, in the film Serious Charge (1959), the line-up of The Drifters had settled on Hank Marvin and Bruce Welch on guitars, bassist Jet Harris and Tony Meeham on drums.
Lionel Bart had been approached to write songs for the film. Bart had already won awards for his pop songs, and had helped discover Tommy Steele, before moving into musicals soon after. He was browsing a newspaper when he came across an advert for a child’s doll. 10 minutes later he had written the controversial lyric for Living Doll. Originally planned as a rock’n’roll song (as featured in the film), Richard was not a fan, and was horrified to hear it was going to be their next single. Producer Norrie Paramor told him they could record it any way they wanted as long as it got done. It was Welch that came up with the genius idea of slowing down the tempo and making it a country song. Previously, The Drifters had only accompanied Cliff in live performances. This was their recording debut.
Review
Welch’s change of pace proved to be a masterstroke, and completely made the song, It’s still an ear worm now, as I can’t get it out of my head after relistening.
The problem with Living Doll, of course, is Bart’s lyrics. They really haven’t aged well, and it’s hard to match Christian crusader Cliff Richard with words that objectify women so badly. The easy-going charm of the tune cannot disguise the sinister, misogynistic lyrics that Cliff is crooning (and his crooning is really effective here – Living Doll is a great production by Paramor). The words are just plain odd at times, too. For instance, if they are taken literally, then Cliff is chuffed that, although his girl looks like a doll, her hair is in fact real, and what’s more, he’ll let you have a feel if you like.
Even worse, Cliff seems to get jealous very easily, and is prepared to lock her in a trunk to keep her away from other men. I wonder if Cliff ever wonders what God thinks of him singing this? Of course, in 1959, nobody gave a toss about comparing women to dolls, and Living Doll became the biggest-selling song of the year. It also marked the beginning of the end of ‘Edgy Cliff’, with his sound becoming more family-oriented.
The Outro
It was 27 years later that Cliff took the irreverent Comic Relief charity version of the same song back to the top alongside the cast of The Young Ones, and that’s the version I first heard, but we’ll hear about that when we get to 1986.
The Info
Written by
Lionel Bart
Producer
Norrie Paramor
Weeks at number 1
6 (31 July-10 September) *BEST-SELLING SINGLE OF THE YEAR*
Trivia
Births
31 July: Journalist Kim Newman 1 August: Del Leppard singer Joe Elliott 5 August: Dead or Alive singer Pete Burns
Deaths
5 August: Poet Edgar Guest 19 August: Sculptor Jacob Epstein 6 September: Actress Kay Kendall
Meanwhile…
4 August: Barclays made history as the first bank to install one of those new-fangled computers.
26 August: The first Mini, an icon of the following decade, went on sale.
So here I am, still trying to get my head around a pop culture that is at times completely alien to me, wondering how pianist Russ Conway’sinstrumental Side Saddle got to number 1 when surrounded by the likes of songs by Buddy Holly and Elvis Presley, and now I have to review his second number 1, which actually knocked Elvis from the top. As I said in my blog for A Fool Such As I/I Need Your Love Tonight, these tracks were poor by Elvis’s standards, but still…
Review
Roulette sounds like a throwaway from Conway, who, probably astounded by Side Saddle‘s success, probably thought he could just repeat the formula. And it worked. Actually, Roulette is better than his best-selling number 1, as the tune is a little catchier – after all, it was made to order, whereas Side Saddle was only ever meant to be incidental music. I could imagine it sounding appropriate in an old-fashioned London pub or strolling along Blackpool’s beach. I’m struggling to find any other use for it though.
After
I shouldn’t be so hard on Russ Conway. He clearly was very good at what he did, with further hits and TV shows. There were three more top 10 hits in 1959 alone, and plenty more top 40 entries until 1962. In his lifetime he sold over 30 million records, which gave him a lifestyle of mansions, Bentleys and Rolls-Royces.
However, he suffered for his art. He became blighted by ill health, although smoking 80 cigarettes a day and drinking a lot won’t have helped.
In 1963 he suffered a nervous breakdown, and then fell and fractured his hip, which left him paralysed for three days. Two years later he suffered his first stroke, aged only 38. For several years he was unable to play, and was prescribed anti-depressants to help him cope with these issues and his own self-doubt in his abilities. Many believe his hidden homosexuality was also a considerable factor in his depression.
The Outro
Conway was diagnosed with stomach cancer in the late-80s and founded the Russ Conway Cancer Fund in 1990. Despite this he battled on, and even lost part of a second finger after getting it stuck in the door of his Rolls-Royce. It still didn’t stop him playing though, and it wasn’t until 16 November 2000 that he finally succumbed to cancer, aged 75.
The Info
Written by
Trevor Stanford
Producer
Norman Newell
Weeks at number 1
2 (19 June-2 July)
Trivia
Births
19 June: Chef Sophie Grigson I27 June: Inspiral Carpets keyboardist Clint Boon
Elvis made it to the top once more with another double-A-side single of recordings he made before leaving to be a soldier in Germany. It was his fourth and final number 1 of the 50s.
Reviews
Opening with a now comically deep baritone vocal from Jordanaire Ray Walker, A Fool Such As I is a sign of Presley treading water. It had been written by Bill Trader back in 1952, and the original version was sung by country star Hank Snow. Whereas Elvis’s vocal helped lift previous single I Got Stung/One Night, here it just sounds a bit lazy and Elvis-by-numbers, and the most interesting part of the track is the guitar from either Presley, Chet Akins and/or Hank Garland.
Clearly, the single’s performance suggests record buyers were more than happy, though, and perhaps some of his female fans, heartbroken and concerned about their hero being a GI in Germany, identified with the verse:
‘Pardon me if I’m sentimental When we say goodbye Don’t be angry with me should I cry Well, you’re gone, yet I’ll dream A little dream as years go by Now and then there’s a fool such as I’
There’s even less to say about I Need Your Love Tonight. It had been written by frequent Presley collaborator Sid Wayne, along with Bix Reichner. It’s more of the same really. It trundles along and then it’s done, and the lyrics are just as forgettable:
‘Oh, oh, I love you so Uh, uh, can’t let you go Oh, oh, don’t tell me no I need your love tonight’
The Outro
Elvis was now equal with Frankie Laine and Guy Mitchell for the highest amount of UK number 1s in the 50s (four each), but there was a noticeable decline here. These songs signified that Elvis and his team thought they could get by with releasing songs without the danger or wit of previous material, and they were right. There was worse to come in the 60s, though.
The Info
Written by
A Fool Such As I: Bill Trader/I Need Your Love Tonight: Sid Wayne & Bix Reichner
Producer
Steve Sholes
Weeks at number 1
5 (15 May-18 June)
Trivia
Births
15 May: The Sisters of Mercy singer Andrew Eldritch 16 May: Actress Tracy Hyde 17 May: Comedian Paul Whitehouse 22 May: Singer Morrissey 29 May: Actor Rupert Everett/Actor Adrian Paul 1 June: Racing driver Martin Brundle 11 June: Comedian Hugh Laurie
Meanwhile…
1 June: The first edition of music series Juke Box Jury on the BBC. Presented by David Jacobs, the presenter would ask a panel of four each week to judge whether a new record was a hit or miss. The original panel featured Pete Murray, Alma Cogan, Gary Miller and Susan Stranks. The series ran until 1967, but briefly returned in the 70s, 80 and 10s.
11 June: Christopher Cockerill’s hovercraft was officially launched.
Ah. Now, unlike Russ Conway’s Side Saddle, here is a number 1 that I can clearly understand. Buddy Holly’s It Doesn’t Matter Anymore is the first posthumous UK chart-topper. The infamous plane crash that tragically cut short the lives of Holly and fellow stars Ritchie Valens and JP Richardson, aka The Big Bopper, occurred on 3 February.
Before
Holly had already been well on the way to becoming a musical legend. Since The Crickets had their sole number 1 with That’ll Be the Day in late-1957, Holly had achieved success with the group and under his own name, thanks to Peggy Sue, backed with Everyday, and Rave On.
In early 1958, he joined the rest of The Crickets to tour the UK and Australia. Later that year he met and fell in love with María Elena Santiago. The romance was swift – he asked her out when they first met, and proposed on their first date. Producer and manager Normal Petty didn’t approve, and asked Holly to keep their wedding quiet to avoid upsetting his fans. She pretended to merely be his secretary, but the damage was done – there was dissension in the ranks, not helped by the other Crickets also having their doubts in trusting Petty with all the money they were earning.
Despite money troubles, Holly had various interesting ideas about the direction his career would go, including making an album with Ray Charles and Mahalia Jackson. This suggests the 60s could have been a very different decade for pop had Holly not died.
He and Santiago settled in Greenwich Village, where he recorded acoustic songs including Crying, Waiting, Hoping. That October saw Holly’s final recording session take place. Four songs were recorded with an 18-piece orchestra, including It Doesn’t Matter Anymore and the B-side Raining in My Heart.
Review
It Doesn’t Matter Anymore had been written by Paul Anka, whose Diana had been number 1 directly before That’ll Be the Day. Still a teenager, Anka was, like Holly, prodigiously talented. Obviously the song’s title became eerily prescient, but it actually concerned the end of a romance. Chirpy pizzicato strings belie the singer’s bitterness at the break-up, as do Holly’s occasional trademark vocal stutters (which can be irritating to modern ears, it has to be said), but its lush production hinted at the future direction of pop, and displays Holly’s desire to experiment with his sound. Also, is it just me, or does this sound very similar to John Kongos’s He’s Gonna Step On You Again – later known as Step On by Happy Mondays?
After
As 1958 drew to a close, Holly parted ways with Petty. Despite the rest of The Crickets’ concerns, they decided to stay with their manager, so Holly left the band.
Due to Petty withholding his royalties, Holly was forced to immediately form a new band (featuring Waylon Jennings) and get out on the road. They began their ‘Winter Dance Party’ tour’, joined by Ritchie Valens and The Big Bopper, but the tour was beset with problems, with buses breaking down and performers suffering from flu and even frostbite. Tired of being on the road, Holly decided to charter a plane to Fargo, North Dakota.
The story goes that The Big Bopper was suffering with flu, and asked Jennings if he would consider giving up his seat for him. When Holly found out his bassist wasn’t travelling with him, he quipped ‘Well, I hope your ol’ bus freezes up’. In a response that was to haunt Jennings for the rest of his life, he replied ‘Well, I hope your ol’ plane crashes’. Valens used to be terrified of flying, but asked Holly’s guitarist to toss a coin to decide who got to fly, and Valens won. The plane took off safely in light snow, but five minutes later, contact was lost. The plane had somehow cartwheeled across a frozen field, and Holly, Valens and Richardson had been thrown from the craft, with the pilot caught in the wreckage. All four had died instantly.
The incident shocked the music world, and was later immortalised by Don McLean as ‘The Day the Music Died’ in American Pie. Anka kindly gave the royalties of his song to Holly’s widow, who suffered a miscarriage when she was told of her husband’s death.
The Outro
It Doesn’t Matter Anymore proved posthumous singles offered music fans a way to mourn the heroes they had lost. It also showed record company bosses that it was a great way of making money out of dead artists.
The Info
Written by
Paul Anka
Producer
Norman Petty
Weeks at number 1
3 (24 April-14 May)
Trivia
Births
27 April: Singer Sheena Easton 3 May: Comedian Ben Elton 5 May: Echo & the Bunnymen singer Ian McCulloch 12 May: Director Deborah Warner
By the spring of 1959 it had been three years since Winifred Atwell had last topped the charts, with The Poor People of Paris. Despite the changes in musical tastes since then, there was still a market for jolly old honky tonk instrumentals that you could have a knees-up to. Who could fill that gap? Step forward, Russ Conway.
Before
Born Trevor Stanford (the name his self-penned songs would be credited to) on 2 September 1925 in Bristol, his mother had been a pianist but died when he was only 14. His two brothers had formal musical education, but no real talent to speak of, whereas Conway was the opposite.
He served in the Navy during World War Two, where he was awarded a Distinguished Service Medal for ‘gallantry and devotion to duty’. During the war his many health problems began, which saw him discharged due to a stomach ulcer. He had lost one of the tips of a finger in an accident with a bread-slicer, but that didn’t stop him taking his friend’s advice, and upon his return, Conway agreed to stand in for a holidaying club pianist. He then began performing in pubs and clubs, before being spotted by the choreographer Irving Davies. He signed to EMI’s Colombia label, where he would play piano for stars including Gracie Fields.
Eventually Conway made it on to The Billy Cotton Band Show, and it was Cotton who was instrumental in persuading Conway to loosen up and develop the style that made him a solo star. His first solo single, Party Pops, was released in 1957, and was a medley in the vein of Atwell’s 1954 Christmas number 1, Let’s Have Another Party. However, it was by composing that he made his breakthrough. When writing a score for a TV musical version of Beauty and the Beast, Conway was asked at the last minute to write a tune for a ballroom scene. He hastily came up with one and called it Side Saddle.
Review
This has to be one of the strangest number 1 singles so far. I’m really struggling to grasp how it happened. At least with Atwell, her number 1s were covers of familiar tunes played at a manic pace. I’ve now listened to Side Saddle several times and I can’t remember the tune, let alone work out how it spent a month at the top. It has a certain quaint charm I guess and will have reminded the oldies of the time of their youth, perhaps. That’s the best I can manage, I’m afraid.
The Info
Written by
Trevor Stanford
Producer
Norman Newell
Weeks at number 1
4 (27 March-23 April)
Trivia
Births
15 April: Actress Emma Thompson 17 April: Painter Peter Doig 21 April: The Cure singer Robert Smith
Meanwhile…
30 March: An early CND rally took place in Trafalgar Square that saw 20,000 demonstrators attend.
2 April: United Dairies merged with Cow & Gate to become Unigate. You might say, ‘So what?’, and it’s before my time too, but Unigate are fondly remembered for their ‘Watch out there’s a Humphrey about’ adverts in the 70s… My mind is wandering… can we have a number 1 I can understand next, please?
Although originally written in 1933 by Jerome Kern and Otto Harbach (co-writer of Rose Marie, which was a huge hit for Slim Whitman in 1955) for the musical Roberta, the 1959 number 1 version of Smoke Gets in Your Eyes by The Platters is widely considered to be the definitive version, and was the highest-selling, spending a week at the top of the charts.
Before
The Platters had formed in Los Angeles in 1952. Originally the line-up consisted of Alex Hodge, Cornell Gunter, David Lynch, Joe Jefferson, Gaynel Hodge and Herb Reed, who came up with their name. Several line-up changes occurred, most notably the addition of a female vocalist, Zola Taylor. Taken under the wing of entrepreneur Buck Ram, they were eventually signed, but only as part of a deal in which the Mercury Records took on The Penguins, the act they really wanted. The Penguins never scored a hit once signed.
The first track they recorded with Mercury was Ram’s haunting Only You (And You Alone). It had been rejected by Federal Records, but the group were convinced it could be a hit, and they were right. Also in the summer of 1955, follow-up The Great Pretender performed even better. The Platters appeared in the 1956 film, Rock Around the Clock, performing both tracks, which are now considered classics. A string of further hits followed, and the group hit upon the notion of recording old standards. Smoke Gets in Your Eyes was a natural choice, a tortured slice of soul about the way love can make you blind.
Review
There was some controversy upon the song’s release, as Kern’s widow claimed Jerome would have balked at his composition becoming a rock’n’roll number. She even threatened legal action to prevent its distribution. Harbach, on the other hand, congratulated Ram and The Platters in covering his song ‘with taste’, according to Ram himself. Harbach was right and Kern’s widow seems to have been some sort of over-the-top idiot. To react the way she did, you’d think the Sex Pistols had covered it.
The Platters’ version is respectful to the original, and an interesting bridge between rock’n’roll and the soul music that would later follow, and Reed’s lead vocal is particularly effective. Smoke Gets in Your Eyes hit number 1 both in the US and the UK, where despite only spending a week at the top, it spent 20 weeks in total in the top 30.
After
1959 saw The Platters at their peak, before the four male members were arrested on drug and prostitution charges. Nobody was convicted, but it caused irreparable damage to their reputation in the US. From then on it was downhill all the way, as members were sacked and formed their own versions of the group. Buck Ram also formed his own version, so there are now probably more members or ex-members of The Platters in the world then there are people who have never claimed to be a Platter.
The Outro
Ironically, when I think of Smoke Gets in Your Eyes, I think of Shirley Bassey performing it on The Morecambe and Wise Christmas Show in 1971. It was Bassey’s As I Love You that the Platters had usurped. Despite not being a fan of hers, she gave an excellently-timed comic performance alongside Eric and Ernie, gamely soldiering on as the scenery collapsed all around her.
The Info
Written by
Jerome Kern & Otto Harbach
Producer
Buck Ram
Weeks at number 1
1 (20-27 March)
Trivia
Births
20 March: Actor Steve McFadden 21 March: Boxer Colin Jones
Shirley Bassey became the first Welsh artist to have a UK number 1 when As I Love You knocked Elvis Presley from the top.
Before
Born on 8 January 1937 in the large multi-ethnic area of Tiger Bay, Cardiff, Shirley Veronica Bassey’s father was Nigerian and her mother was English. Bassey grew up in a nearby community – the fantastically named Splott. She was equipped with that famously loud singing voice (more on that later) before she had even hit her teens, but it made her teachers and fellow students feel uncomfortable and she was often being told to, in her words, ‘shut up’. She left school at 14 to work in a steel factory while singing in pubs and clubs on evenings and at the weekend.
Her pre-fame life was tough and eventful, with the whole family struggling to afford to eat. Bassey was only in her teens when she began performing, but dirty old men in the crowd would be shouting at her to get her clothes off. She became pregnant with her first child at 16 but never revealed the name of the father.
In 1955 while appearing in the West End, she was offered a record deal with Philips. Her first single, Burn My Candle, was banned by the BBC in 1956 for its slightly saucy lyrics. Bassey had her first hit with her rendition of The Banana Boat Song the following year. In mid-1958 she recorded both As I Love You and Kiss Me, Honey Honey, Kiss Me, with both reaching the top three simultaneously.
Review
So, Bassey’s voice. I have to confess I am not a fan. I think you either love her powerful bellow or hate it, and I’m the latter. This made me reticent to try As I Love You, but fortunately, the shouting is kept to a minimum.
Jay Livingston and Ray Evans’ (the duo behind Doris Day’s Que Sera, Sera (Whatever Will Be, Will Be)) tune is a chirpy love song, and it sounds ahead of its time. It’s hardly innovative, but to me it’s comparable to the type of tune Bacharach and David were writing in the 60s, complete with some catchy brass sounds in the chorus. It’s not as impressive though, and rather throwaway.
After
Shirley Bassey was the last female artist to have a number 1 in the 50s, and it was a full two years before a woman scale such heights again.
The Outro
Bassey would reach the top again in 1961, with Reach for the Stars/Climb Ev’ry Mountain.
The Info
Written by
Jay Livingston & Ray Evans
Producer
Johnny Franz
Weeks at number 1
4 (20 February-19 March)
Trivia
Births
23 February: Field hockey player Richard Dodds 27 February: Philosopher Simon Critchley 9 March: Zoologist Mark Carwardine 15 March: Poet Ben Okri
Deaths
Scholar Kathleen Freeman – 21 February
Meanwhile…
23 February: As the winter drew to a close, Prime Minister Harold Macmillan visited the USSR to meet with Soviet premier Nikita Khrushchev. Macmillan was the first British leader since Sir Winston Churchill during World War Two to visit the country. At the time there had been a slight thaw in the Cold War. The atmosphere at the meeting was cordial, and the two discussed expanding cultural ties, but a few days later, the famously volatile Khruschev snubbed Macmillan and his entourage.
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.
Before
While training, Presley’s mother died. She was only 46, and she and Elvis were very close. Nevertheless, 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.
Reviews
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.
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 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.
The Outro
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.
The Info
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)
Trivia
Births
3 February: The Cure keyboardist/drummer Lol Tolhurst
