Back in the days before Tinder, US pop singer Tony Orlando of Dawn had a novel approach to dating. He proposed a system where, if the girl was game, all they had to do was knock three times on his ceiling. If they found his methods a little intense and sinister, they were to hit their pipe twice and he’d hopefully leave them alone, and not follow this up with a note attached to one of his vital organs. At least, I think that’s the message we should take from the first of this pop singer’s two number 1s.
Orlando was born Michael Anthony Orlando Cassavitis on 3 April 1944 in New York City. The son of a Greek father and Puerto Rican mother, he spent his childhood in Hell’s Kitchen before they moved to New Jersey.
In 1959 at the age of 15 he formed doo-wop group The Five Gents. The demo tapes they recorded got the interest of Don Kirshner, who hired Cassavitis to write songs in a building across from New York’s Brill Building, with other future big names including Bobby Darin, Carole King and Neil Sedaka. He also began recording as Tony Orlando, and was only 16 when he had his first charting song in 1961, Halfway to Paradise, which did much better in the UK when it was covered by Billy Fury, reaching number three that year too.
Orlando would score a few more minor hits before Kirshner sold his company to Screen Gems. In 1967, the same year Kirshner’s new project The Monkees became a phenomenon, Orlando was hired by Clive Davis to work for Columbia Records, heading up subsidiary April-Blackwood Music. By the end of the 60s Orlando was vice president of CBS, where he signed co-wrote and produced Barry Manilow, and worked with artists including The Grateful Dead.
In 1970 Orlando found himself tempted back to singing when producers Hank Medress and Dave Appell were working on a track called Candida. Blues singer Frankie Paris had tried, but the producers wanted a more ‘ethnic’ feel, and contacted Orlando to help them out. The backing vocals had already been laid down by the song’s co-writer Toni Wine (who sang on Sugar Sugar) and Jay Siegel. Orlando was reluctant, as he was doing perfectly fine in his job and working for Bell Records probably wouldn’t go down well. Medress reassured him they wouldn’t use his name, and he relented. He was glad he did, as Candida, by Dawn, became a hit worldwide, and number 1 in several countries.
Medress and Appell were understandably keen to repeat the formula, and had a song written by Irwin Levine and L Russell Brown. Inspired by Up on the Roof, they cooked up this tale of a man in love with the woman living in the apartment directly below him. Afraid to be direct, he wants her to let him know either way by banging instead. Wine was back on backing vocals, alongside Linda November, who sang the famous Miaow Mix TV advert.
If it wasn’t for the weird lyrics, Knock Three Times wouldn’t make an impression at all. It’s an old-fashioned lightweight pop cheesefest, but the singer’s obsession gives it a sinister edge, at least, to a cynic like me.
It would appear Orlando has fallen for this woman after laying on the ground and listening to her dancing to music alone night after night, ‘One floor below me, you don’t even know me’… And yet he expects her to be interested in him? How does that work? By hitting her ceiling three times, apparently. The weirdest lines are ‘If you look out your window tonight/Pull in the string with the note that’s attached to my heart’.
It may be cheap to take these words so literally, but if I didn’t, I’d have hardly anything to say about Knock Three Times at all. I think there’s a cowbell in there, which is always nice I guess. Orlando’s vocal is far too serious and snarky for such a silly song. The Vic Reeves version from Shooting Stars, here, is pretty special though.
Nevertheless, it was even bigger than Candida, reaching number 1 in the US and UK. Orlando decided to quit the day job and go on tour, so he needed a permanent duo of singers to work with. Enter Telma Hopkins and Joyce Vincent, who had previously sang on Freda Payne’s Band of Gold. Upon learning there were six group touring under the name Dawn, they became Dawn featuring Tony Orlando.
Written by: Irwin Levine & L Russell Brown
Producers: Hank Medress & Dave Appell
Arranged by: Norman Bergen
Weeks at number 1: 5 (15 May-18 June)
Conservative Chancellor of the Exchequer George Osborne – 23 May Actor Paul Bettany – 27 May Footballer Lee Sharpe – 27 May Journalist Richard Gunn – 28 May Conservative MP Julian Sturdy – 3 June Northern Irish actress Susan Lynch – 5 June
Theatre director Sir Tyone Guthrie – 15 May
20 May: 1970 FA Cup winners Chelsea won the European Cup Winners’ Cup with a 2–1 win over Spain’s Real Madrid in Athens, Greece.
23 May: Jackie Stewart won the Monaco Grand Prix.
7 June: Long-running children’s show Blue Peter buried a time capsule in the grounds of BBC Television Centre, which was due to be opened on the first episode of the year 2000.
14 June: The first Hard Rock Cafe opened near Hyde Park Corner in London. Also on this day, Education Secretary Margaret Thatcher became known as ‘Thatcher Thatcher milk snatcher’ when her proposals to end free school milk for children aged over seven years were backed by a majority of 33 MPs.
15 June: Upper Clyde Shipbuilders went into liquidation.
The first classic number 1 of the 70s, Bridge over Troubled Water‘s message of the importance of friendship in times of emotional pain made it one of the most famous songs of all time, and yet it did further damage to Simon & Garfunkel’s already strained relationship, and helped quicken their disintegration.
Paul Frederic Simon was born on 13 October 1941 in Newark, New Jersey. Arthur Ira Garfunkel was born 5 November in New York City, also 1941. They grew up three blocks from each other in Queens, New York and attended the same schools and admired The Everly Brothers. They became friends in 1953 when appearing in a sixth grade production of Alice in Wonderland. In addition to forming a street corner doo-wop quintet called The Peptones, Simon and Garfunkel began performing as a duo at school dances. In 1956 they wrote their first song, The Girl for Me and signed with independent label Big Records aged only 15.
As Tom & Jerry (Garfunkel was Tom Graph, Simon was Jerry Landis) the duo had some success with 1957 single Hey Schoolgirl, but were unable to follow it up. While both at university, and still officially a duo, Simon released a single under the name True Taylor. This can be seen as the first crack in their relationship, as it caused some resentment with Garfunkel.
They went their separate ways for some time, recording under a variety of names and working with other acts. Then in 1963, they both graduated from university and began to work together again. By now they had moved on from rock’n’roll and were both enjoying the burgeoning folk scene in Greenwich, and billed themselves as Kane & Garr. One of the songs they would perform was The Sound of Silence. Columbia Records producer Tom Wilson, who later helped Bob Dylan in his transition to electric, was impressed by the duo, and helped get them signed to the label.
In 1964, as Simon & Garfunkel, they recorded their debut LP, Wednesday Morning, 3 A.M. Featuring compositions by Simon and covers, it bombed, and Simon decided to move to the UK soon after, going solo once more.
Fast forward to 1965, and Simon had released solo album The Paul Simon Songbook, which hadn’t done too well. Garfunkel, who had been to visit his friend in the UK, was at Columbia University. Then everything changed.
The Sound of Silence was gaining in popularity with colleges on the radio, and Wilson decided to make a remix featuring electric instruments and drums, without telling either of them. Simon was horrified when he found out, but then the new folk-rock version hit number 1 in the US in January 1966. He hastily returned to the US, and they reunited to quickly record a new album, Sounds of Silence. Featuring remade versions of tracks from Simon’s solo LP, including I Am a Rock, it was a rush-job, but extremely popular, and they were famous at last.
They decided to take time over their third album, and became more interested in production, while making Parsley, Sage, Rosemary and Thyme, released that October. With their version of Scarborough Fair/Canticle, and a remade Homeward Bound among the included material, it was one of their best collections.
Simon developed writer’s block while working on the next album, but managed to pen material for Mike Nichols’ smash romantic comedy The Graduate in 1967, including Mrs. Robinson. Fourth album Bookends eventually surfaced in 1968, and included the title track, America and Hazy Shade of Winter.
By now huge recording and touring stars, their partnership began to suffer, thanks in part to Garfunkel’s acting career. Simon was to join him in Nichols’ Catch-22 (1970) but found his part written out. Matters were exacerbated by the filming taking longer than expected. Eventually they began work, with members of The Wrecking Crew and producer Roy Halee on their fifth and final album, turning down an invitation to perform at Woodstock Festival while doing so.
What was to become the title track began originally as a gentle two-verse guitar number that had been inspired in part by a line from 1958 song Mary Don’t You Weep, a gospel track by the Swan Silvertones: ‘I’ll be your bridge over deep water if you trust in me”. Simon later presented singer-songwriter Claude Jetter with a cheque to acknowledge his inspiration. The civil rights unrest and political assassinations in the stormy years leading up to this time also helped Simon come up with a message of hope.
Over the years, the duo have both given different stories over what happened next. Simon claimed he thought it would be perfect as a solo spot for Garfunkel’s angelic voice, but that he didn’t want to do it, and Simon felt hurt. Garfunkel says Simon was gracious when Garfunkel told him politely that he felt Simon should do it as it sounded lovely performed by him. Who knows – but I do know from reading and seeing interviews that both men can be oversensitive and precious.
Simon & Garfunkel, musicians and production crew assembled at CBS studios to work Bridge over Troubled Water out in November 1969. The final track to be recorded for the album, but the first to be completed, it was felt that, as nice as it was, the song should feature an extra verse, and open out to become a real epic in the style of a Phil Spector number. And so Simon wrote the ‘silver girl’ verse at Garfunkel’s suggestion, but wasn’t too keen. While some say it’s a reference to a drug user’s needle, it’s apparently an in-joke – Simon’s wife Peggy Harper had noticed she was turning grey. Simon seems to regret ever adding a third verse, and he’s not alone in that.
Bridge over Troubled Water has been criticised for being calculated and manipulative – a glossy exercise in tugging the heartstrings, and that it’s too epic, too, that it would have been better in its original incarnation. I understand all these points, and it’s certainly been used since in countless covers as the go-to song to make people emotional, but I think it’s simply a beautiful song and that no amount of stories of two stars whose egos were incompatible can spoilt it for me.
Simon is right in that the first verse, in particular, is the most moving. Garfunkel’s always beautiful voice is perfect here, and I admire the technical brilliance of being able to wring every bit of emotion out of each syllable. Garfunkel later claimed this verse took the most amount of takes, whereas the finale was the easiest. Wonderful support on the piano by Larry Knetchel, too. The performance makes me imagine that the person Garfunkel is singing to is so fragile, his almost hushed tones are all they can take.
He/they grow in strength in the second verse, adding meaning to Simon’s already powerful words, and the cymbal crashes from Hal Blaine suggest the message is getting through. Then the strings come in, courtesy of Jimmy Haskell, who had misheard the name of the song and labelled his arrangement Like a Pitcher of Troubled Water. Bass enters the fray, and Blaine gets on the drum kit. Its unclear whether that’s double-tracked singing from Garfunkel or Simon finally getting his voice heard, but I think it’s the former. Yes, the lyrics don’t match what came before, but the music picks up the slack, and then the epic rousing finale, in which Garfunkel gives it his all, leaving the darkness behind, with Blaine creating that unique drum sound by slapping the chains from his snow tyres on to his snare drum (used again on The Boxer). If this track hasn’t at least once made you want to cry when your defences are down (or just very pissed), are you even human?
The song was complete, and despite being over five minutes in length, label boss Clive Davis insisted it was too good to be anything but the first single from the album. He was totally correct, of course. It went to number 1 in the US in February, then the UK a month later, and like Wand’rin’ Star before it, it kept The Beatles’ swansong single, Let It Be, from number 1. Clearly, the mood of the time was for gospel-influenced, big message songs. The Beatles may be the greatest band of all time, but Bridge over Troubled Water was the better song here. It rightfully went on to be one of the biggest-selling singles of all time.
And the album named after the song was also huge. It was the bestseller of 1970, 71 and 72, and until Michael Jackson’s Thriller it was the biggest of all time. But Simon & Garfunkel had had enough of each other for the forseeable. In 1971, the same year their final LP won six awards at the Grammys, they split.
Simon would confess to Bridge over Troubled Water causing him to feel jealous – he resented sitting in the wings watching Garfunkel getting adulation for performing his song. You’d be forgiven for thinking he needed to get over himself. But it’s also proof that you can be an incredible songwriting talent and still be as petty as any other human, I suppose.
The duo got back together in 1972 for a benefit concert for Democrat hopeful George McGovern, but it was another three years before they spoke to each other when they visited a recording session by John Lennon and Harry Nilsson. They collaborated in the studio once more, and came up with a new single, My Little Town, which was a hit. For the rest of the 70s they would occasionally make rare TV and live appearances. Garfunkel would have two UK number 1s, most notably the beautiful Bright Eyes from animated movie Watership Down (1978) – it was number 1 on the day I was born, 19 April 1979.
The 80s began with both Simon and Garfunkel’s solo careers in decline, until they were persuaded to perform at a free concert in Central Park, New York City in 1981. An incredible 500,000 attended the show – the largest ever at the time. They tried to capitalise on the renewed interest with a world tour in 1982, but old tensions rose and they barely spoke to each other throughout. Warner Bros. pushed for a tour extension and reunion album, but after early recording attempts, Simon opted for a new solo LP instead, with Garfunkel’s refusal to give up cannabis among the reasons given. Simon would go on to be very popular for the rest of the decade, particularly for his crossover world music album Graceland in 1986.
Simon & Garfunkel were inducted into the Rock and Roll Hall of Fame in 1990, and managed to perform three songs together, despite Simon being pretty snide in his speech, and the duo refusing to speak to each other afterwards. A year later Simon did his own Central Park show, pointedly refusing an offer from his former partner to join him there. However in 1993 they were touring once more. Guess what? They fell out again for the rest of the decade.
In 2001 Simon was inducted into the Hall of Fame as a solo artist. He thanked Garfunkel, but ended up saying he wasn’t in a rush to make peace with him, either. Nice. A lifetime achievement Grammy for the old friends/sworn enemies in 2003 resulted in another halt to their Cold War. They toured the US and Europe for a year, and performed at a Hurricane Katrina benefit in 2005. Their final performance as Simon & Garfunkel took place at the New Orleans Jazz & Heritage Festival in 2010, with the latter struggling with vocal cord paresis. Further dates were postponed indefinitely, and it would be four years before his voice was back to full strength.
Simon announced his retirement from touring in 2018. Does that mean we’ll never see them on stage ever again? Who knows. They’re both approaching 80, and it seems Simon in particular is unlikely to want to do so, but it would be nice to think they could end their days as friends once more. Hopefully it would be for genuine reasons, rather than the money.
If it doesn’t happen, best to take comfort in the fact the duo were able to produce some brilliant songs, had real alchemy together, and that despite the result it had on their relationship, Bridge over Troubled Water has helped so many people for 50 years.
Among the multitude of covers, it’s been number 1 twice since, for great causes – making up part of A Bridge over You, the 2015 Christmas number 1 by Lewisham & Greenwich NHS Choir, and in its own right in 2017, when stars including Robbie Williams, Rita Ora, Roger Daltrey and Stoemzy united under the banner Artists for Grenfell.
Written by: Paul Simon
Producers: Roy Halee, Paul Simon & Art Garfunkel
Keyboard: Larry Knechtel
Weeks at number 1: 3 (28 March-17 April)
April Fool’s Day: Everton won the Football League First Division title.
10 April: Paul McCartney announces that he has left The Beatles, marking the end of the Fab Four.
11 April: Chelsea and Leeds United drew 2–2 in the FA Cup final at Wembley Stadium, making it the first to require a replay since 1912.
16 April: The controversial Dr. Ian Paisley entered the Parliament of Northern Ireland after winning the Bannside By-election.
May 1967, and much had changed since Brian Poole and The Tremeloes were at number 1 with Do You Love Me?four years previous. Beatlemania had just begun, and with Poole and co toppling the mighty She Loves You, the future bode well for the beat group from Dagenham. However, they simply couldn’t compete with the Fab Four, and as fashions changed, their fortunes were mixed. In 1964 they had two top 10 hits with covers of Roy Orbison’s Candy Man and The Crickets’ Someone Someone, but sales dropped the following year for I Want Candy and Good Lovin.
In 1966, singer Brian Poole left the group to try out a solo career. This didn’t work out, and he went on to form a label called Outlook Records. By the 70s he was working in his brother’s butchers. He would later have career in cabaret though, and his daughters Karen and Shelly made it to the charts in 1996 as Alisha’s Attic.
In addition to Poole’s departure, bassist Alan Howard left, so only rhythm guitarist and keyboardist Alan Blakley and drummer Dave Munden remained from the original line-up. They regrouped as a four-piece with new bass player Len ‘Chip’ Hawkes (father of 90s one-hit wonder Chesney Hawkes), and were now known as simply The Tremeloes. Making a conscious decision to cover more ‘hip’ material, their first two singles were versions of Paul Simon’s Blessed and The Beatles’ Good Day Sunshine. Neither charted, but a cover of Cat Stevens’ Here Comes My Baby reached number six.
For reasons unknown, they decided to follow this with Silence Is Golden. Previously a B-side for The Four Seasons, it had been written by their producer Bob Crewe and group member Bob Gaudio, the duo responsible for The Sun Ain’t Gonna Shine Anymore. The Tremeloes version closely followed the sound and arrangement of the original, with the band apeing The Four Seasons’ distinctive harmonies.
It had been three years since the original version of Silence Is Golden, and tastes had changed, so what were The Tremeloes thinking? Actually, scratch that, what were the British public thinking to take it to number 1 and make me look stupid?
It’s not that it’s a terrible song (although certainly no classic like The Sun Ain’t Gonna Shine Anymore), it’s just an unusual chart-topper as tastes had changed since 1964 and we’re here at the start of the Summer of Love, such an exciting time for music, and somehow, this single was at number 1 for five whole weeks.
What makes it worse is the lyrics suggest the singer is feeling sorry for themselves because a girl they care for is being mistreated by their lover, and they daren’t do anything about it, so ‘Silence is golden, but my eyes still see’. Well, forgive me for not thinking you should have a word with yourself and do something about the situation… A rather mediocre number 1, and the harmonies make me slightly nauseous.
The rest of the 60s were a mixed bag for The Tremeloes, with singles failures like Bob Dylan’s I Shall Be Released in 1968, and big hits such as (Call Me) Number One in 1969, which ironically went to number two.
In 1970 they were set to release a song called Yellow River by Jeff Christie as their follow-up. However when they changed their minds, producer Mike Smith removed their vocals and replaced them with Christie’s lead. It was a number 1 that June, while The Tremeloes’ By the Way bombed.
From 1972 onwards the group went through several line-up changes, with Munden the only constant throughout. Hawkes left to record solo albums but returned in 1979. In 1983 the original quartet reformed briefly. Hawkes left again in 1988 to manage his son, whose The One and Only was a big number 1 in 1991. To celebrate the 40th anniversary of the band, Brian Poole, Chip Hawkes and The Tremeloes toured together in 2006. Poole briefly appeared with them again in 2019, before retiring from touring.
Written by: Bob Crewe & Bob Gaudio
Producer: Mike Smith
Weeks at number 1: 5 (18 May-7 June)
Politician Graham Brady – 20 May Footballer Paul Gascoigne – 27 May Oasis singer-songwriter Noel Gallagher – 29 May
Poet John Masefield – 12 May Children’s presenter Derek McCulloch – 1 June Author Arthur Ransome – 3 June
20 May: Tottenham Hotspur defeated Chelsea 2-1 in the first all-London FA Cup final at Wembley Stadium.
25 May: Celtic FC became the first British and Northern European team to reach a European Cup final and also to win it, beating Inter Milan 2-1.
That same day, Conservative MP Enoch Powell attacked the Labour government, calling Britain the ‘sick man of Europe’.
28 May: Sir Francis Chichester arrived in Plymouth after completing a single-handed sailing voyage around the world in his yacht Gipsy Moth IV. It had taken him nine months and one day.
29 May: The first Spring Bank Holiday occurred on the last Monday of the month, replacing the former Whitsun holiday in England and Wales.
The Tulip Bulb Auction Hall hosted music festival Barbeque 67, featuring up-and-coming rock acts The Jimi Hendrix Experience, Cream and Pink Floyd.
1 June: The release of The Beatles’ landmark album Sgt. Pepper’s Lonely Hearts Club Band, as well as the eponymous debut of a singer called David Bowie.
4 June: The Stockport Air Disaster was all over the papers when British Midland flight G-ALHG crashed in Hopes Carr, Stockport, killing 72 people.