219. Georgie Fame and the Blue Flames – Get Away (1966)

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After coming out on top in their group, England’s World Cup winning ways continued in the knockout stages. On 23 July they defeated Argentina at Wembley Stadium thanks to a goal in the last 15 minutes from Geoff Hurst. Three days later, two goals from Bobby Charlton against Portugal, also at Wembley, saw England secure their place in the final. Their opponents were to be West Germany, who had defeated the Soviet Union 2-1 the previous day.

At number 1 that week were jazz and R’n’B group Georgie Fame and the Blue Flames. Since their previous number 1, Yeh Yeh in January 1965, the group had released three singles. In the Meantime, Like We Used to Be and Something didn’t make it into the top 20. Fame, real name Clive Powell, wrote Get Away to be used in a television advertisement for National petrol. Four years since Cliff Richard and the Shadows’ Summer Holiday, this was a more swinging, hip way of celebrating British summertime, and with the World Cup ongoing, all eyes were on England. Its release proved timely.

Set to an upbeat acoustic guitar, Fame’s gravelly but chipper vocal and chiming brass, Get Away is one of the lesser-known number 1s of the 60s, and is certainly not a classic like the recent Paperback Writer or Sunny Afternoon. That’s not to say it’s a bad track, and I’d imagine it worked very well as an advert jingle., but it rather outstays its welcome as a single. The lyric ‘Don’t mind the weather girl’ proved prescient, as although we like to imagine the summer of 66 was always glorious, in reality July was wet and dull most of the time.

Georgie Fame and the Blue Flames released two more singles that year, making the top 20 with Sunny and Sitting in the Park. They released third album Sweet Things (featuring new drummer Mitch Mitchell, only a year away from joining the Jimi Hendrix Experience) and shortly after, Fame made the decision to sign with CBS and become a solo artist. He would have one more number 1.

In the 70s, Get Away (which was also known as Getaway due to misprints on records) found further life as the theme tune to a long-running travel show in Australia called, you guessed it, Getaway.

Written by: Clive Powell

Producer: Denny Cordell

Weeks at number 1: 1 (21-27 July)

Births:

Politician Diana Johnson – 25 July 

149. The Shadows – Foot Tapper (1963)

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The movie Summer Holiday had been out for months, but its popularity was still very high in March 1963, leading to an unusual chart occurrence. For the second time in three months, Cliff Richard found himself knocked from the top of the charts by his backing band, the Shadows. Summer Holiday had been at number 1 for a fortnight, but Foot Tapper replaced it for a week, only to be overtaken by the film’s title track once more.

Foot Tapper was also from the film’s soundtrack, and Bruce Welch had co-written both. The Shadows final number 1 was also written by its most famous member, bespectacled guitarist Hank Marvin. It’s another uptempo piece of incidental music, in a similar vein to their previous bestseller, Dance On!.

It’s a bit better than Dance On!, but only a bit. Once more, you can imagine it working as incidental music for a film score, after all, that’s what it was. But Foot Tapper jangles along for just over two minutes and leaves little impression – it lives up to its name and that’s it. The best bit is the drum work from Brian Bennett, but compare it to Jet Harris and Tony Meehan’s Diamonds and Foot Tapper just doesn’t stand up. The Shadows had been an inspiration to many aspiring musicians, many of which would ultimately outdo and replace them, but their own well was starting to look very dry, and after backing Cliff Richard on seven number 1s, and achieving five in their own right, the group never topped the charts again.

Bassist Brian Locking left the group that October to concentrate on being a Jehovah’s Witness and was replaced with John Rostill. The hits began to dry up as Beatlemania conquered all in its path, and they starred alongside Cliff in another film, Finders Keepers. This 1966 movie features the bizarre premise of the boys arriving in a Spanish town to perform, only to find that the locals have fled in panic because a small bomb has landed nearby. So Cliff and the Shadows decide to find the bomb and get things back to normal. What a lovely set of lads. The Rolling Stones wouldn’t have done that, would they?

The 1970s began with the group featuring as regular guests on Cliff’s variety show for the BBC, It’s Cliff Richard!. Rostill left the group and sadly committed suicide in 1973, prompting yet another line-up change, and it wouldn’t be the last. The group took part in the 1975 Eurovision Song Contest, coming in second place with Let Me Be the One. Onetime guitarist John Farrar, who came and went in the mid-70s, went on to write You’re the One That I Want for John Travolta and Olivia Newton-John, one of the biggest-selling number 1s of all-time. The 80s saw keyboard thrown into the mix but like so many bands from their era, an attempt at sounding contemporary just made them look more old-fashioned. The band reunited with Cliff for live shows several times, and Hank Marvin helped on his collaboration with the Young Ones on a remake of their first number 1, Living Doll in 1986, which was the first Comic Relief single. The band’s most famous rhythm section, Jet Harris and Tony Meehan, joined them on stage in 1989 for a special performance of Move It at Cliff’s The Event show. In 2004 they announced a farewell tour, and each of the band’s line-up at the time received an OBE, but Hank Marvin gave it back (fair play). Despite the tour, they have continued to perform and record, with Singing the Blues, their last collaboration with Cliff, reaching the top 40 in 2009.

It may be easy to sneer at the Shadows in the 21st century, but if you can look past the white-than-white image and the quaint walk they would famously perform together on stage, Hank Marvin, Bruce Welch and various members ably assisted one of rock’n’roll’s biggest ever stars for years, had a hand in making some of his biggest records, became huge stars in their own right, and released Apache, one of the greatest instrumentals of all time, which would go on to influence hip-hop artists decades later. And if it wasn’t for the Shadows, there would perhaps be no Merseybeat. And after lots of teasing, we’ve finally reached that era.

Written by: Hank Marvin & Bruce Welch

Producer: Norrie Paramor

Weeks at number 1: 1 (28 March-3 April) 

 

 

148. Cliff Richard and the Shadows – Summer Holiday (1963)

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The Beatles came one step closer to conquering the world on 22 March when they released their debut album, Please Please Me. Their label, Parlophone Records, were keen to capitalise on the success of Love Me Do, and their follow-up single that shared the album’s title. To this day, it angers many Beatles fans that the single Please Please Me is not considered an official number 1. That’s a story for another time, however…

As one era was beginning, another was coming to an end. Summer Holiday marked the last time Cliff would make it to number 1 with the Shadows. He would continue to work with them occasionally, and obviously, further solo number 1s were to come, but the film, album and song sharing this name were the high watermark of Cliff’s career, and like Elvis, from here on in he was no longer guaranteed a number 1. He had to work for it.

Cliff’s latest film was a massive money-spinner at the box office, eventually becoming the biggest of the year. The Next Time/Bachelor Boy were both from the movie, and had been the first number 1 of 1963. The title track, written by rhythm guitarist Bruce Welch and drummer Brian Bennett, was so catchy, it must have been a shoe-in to be their next single, and two months after the film’s release, it rocketed to the top.

I’ve not been shy of criticising Cliff Richard in my blogs, because I feel he’s let me down somewhat. I was hoping some of these early chart-toppers would be similar to Move It, but too many have been bland, generic and safe. But it’s impossible to dislike Summer Holiday, even after all these years of exposure to it, on countless TV shows and adverts. You can find it amusing, sure, but in an affectionate way. How can you tire of a song that looks ahead to getting away from all your troubles, even if it is just ‘for a week or two’? The lack of edge to Cliff, Hank and co works in their favour on this track, and with its release coming straight off the back of one of the longest winters this country has ever seen, there’s no wonder the public took it to so much. It’ll probably always be considered Cliff’s best song, and is now a part of British culture, subject to countless spoofs. My first exposure to it came via Kevin the Gerbil in 1984. Kevin was the companion of 80s puppet superstar Roland Rat, and this version was one of my first ever pieces of vinyl. Summer Holiday was also interpolated into the terrible but highly amusing Holiday Rap by Dutch duo MC Miker G & DJ Sven in 1986.

After a fortnight at the top, Cliff found himself in the unlikely situation of being knocked off the top by his backing band, for the second time in a few months. More on that in the next blog.

The charts weren’t the only place in which change was coming. On 27 March, Dr Richard Beeching, the Chairman of British Railways, issued a report on drastic cuts to the rail network. This infamous report predicted the closure of over 2000 railway stations, plus the scrapping of 8000 coaches and the loss of 68,000 jobs. This was not the age of the train.

Written by: Bruce Welch & Brian Bennett

Producer: Norrie Paramor

Weeks at number 1: 3 (14-27 March, 4-10 April)

Births:

Actor Jerome Flynn – 16 March
Actor David Thewlis – 20 March
DJ Andrew Weatherall – 6 April
Musician Julian Lennon – 8 April 

Deaths:

Economist William Beveridge – 16 March 

146. Jet Harris and Tony Meehan – Diamonds (1963)

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Just under a month after Labour leader Hugh Gaitskell’s shock death, the party elected 46-year-old Huyton MP Harold Wilson as its new leader. Gaitskell had moved the party to the right, but Wilson was more left wing, and had made an unsuccessful challenge for leadership in November 1960. He defeated George Brown and James Callaghan to become Leader of the Opposition just as the Government was weakening, and things would soon become even worse for Macmillan.

In the music world, the Shadows suffered the embarrassment of being knocked from number 1 by their old rhythm section, when Dance On! was replaced after a week by Jet Harris and Tony Meehan’s Diamonds. This instrumental was written by Jerry Lordan, the man behind the two best Shadows number 1s, Apache and Wonderful Land.

Harris, born Terence Harris in Willesden, North West London in July 1939, earned the nickname ‘Jet’ due to his sprinting prowess at school. He went on to play skiffle in the Vipers before joining the Drifters, and it was Harris that suggested they become the Shadows to avoid legal issues with the soul group. As well as being one of the first UK musicians to play an electric bass, he also provided vocals for the group on their own songs and those of Cliff Richard. Harris married in 1959, but they separated within years, and he later attributed the start of his depression and alcohol problems to his ex-wife’s affair with Cliff. His waywardness and arguments with rhythm guitarist Bruce Welch led to him leaving the group. Other than Hank Marvin, Harris was the only real Shadow with frontman material due to his moody charisma and good looks, so Decca took him on as a solo artist, and he had success with covers of Besame Mucho and The Man with the Golden Arm. From there, he crossed paths once more with Tony Meehan.

Meehan, known in the music business as ‘The Baron’, was born Daniel Meehan in March 1943, and was also raised in Willesden. He became interested in drums aged ten, and was in a band at 13, first meeting Harris in the Vipers. Meehan had his own unique style that proved influential to many. Mick Fleetwood from Fleetwood Mac was inspired to become a drummer after seeing him perform in The Young Ones (1961). Depending on who you believe, in October 1961 Meehan either left the Shadows of his own accord to work with Joe Meek, or was sacked for tardiness. Only a few months later he had moved on to Decca, and during this time was involved in the Beatles auditioning for the label. He was unconvinced they were going to get anywhere.

As I mentioned in my previous blog, replacing Harris and Meehan with two men called Brian seemed to take away what little element of surprise and danger there was in the Shadows, and this theory is borne out by comparing Dance On! to Diamonds. There’s a lot crammed into the Harris and Meehan track, from Harris’s signature moody bass, to an outbreak of brass, and best of all Meehan’s scattershot drums – the most exciting and loudest drums we’ve heard on a number 1 yet (no doubt due to the drummer also being the producer). While you could argue it doesn’t all hang together so well, there’s no shortage of ideas, and Diamonds winds up sounding like the theme to some early-60s gangster drama.

Harris and Meehan, buoyed by their number 1 achievement, released further top ten hits Scarlett O’Hara and Applejack. and future Led Zeppelin bassist John Paul Jones joined them for some live shows (it’s also heavily rumoured that Jimmy Page plays acoustic guitar on Diamonds). However, the duo split following Harris and girlfriend Billie Davis’s car crash. The injured Harris refused to promote Applejack, leaving poor Meehan to mime. He attempted a comeback with the Jet Harris Band in 1966, and was briefly in the Jeff Beck Group in 1967, but it was downhill from there, and the only time he made it into the newspapers was in reports of his drunken behaviour or misdemeanours. In 1988 he was declared bankrupt, and his old friend Cliff (Christian guilt for supposedly contributing to Harris’s alcoholism all those years ago?) helped him out by letting him and Meehan on stage to help perform Move It at his big concert at Wembley, The Event in 1989. He gave up drink and joined the nostalgia circuit, finding some peace with himself. Unfortunately he couldn’t give up smoking heavily, and he died of cancer in March 2011.

Meehan remained on good terms with the Shadows, and briefly returned to the group when Brian Bennett was in hospital. He quit music in the 90s and became a psychology lecturer. Sadly he died after falling down the stairs to his flat in November 2005.

Written by: Jerry Lordan

Producer: Tony Meehan

Weeks at number 1: 3 (31 January-20 February)

Births:

Actor Phillip Glenister – 10 February 
Long jumper John King – 13 February
Mountain climber Alison Hargreaves – 17 February 
Singer Seal – 19 February 

145. The Shadows – Dance On! (1963)

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After three weeks at number 1 with The Next Time/Bachelor Boy, Cliff Richard found himself usurped by his own backing band. The Shadows scored their fourth chart-topper in their own right with Dance On!, a track written by sisters-in-law Valerie and Elaine Murtagh and Ray Adams. This trio were better known to the public as pop vocal group the Avons. By this point, drummer Brian Bennett and bassist Brian ‘Licorice’ Locking were firmly established as the replacements for Tony Meehan and Jet Harris respectively. Bennett had been a regular performer on Jack Good’s TV show Oh Boy! before working with Marty Wilde and then Tommy Steele. Locking performed alongside Bennett in Wilde’s Wildcats, and it was Bennett who suggested him as a replacement for Harris. Bennett and Locking brought some reliability to the Shadows, but as far as their recorded output goes, it seems they lost two vital sparks in Meehan and Harris, who were more musically adventurous. And let’s face it, you’d never consider the Shadows the most ‘dangerous’ of bands to begin with.

Dance On! is simply not in the same league as Apache or Wonderful Land, or even Kon-Tiki. It’s only two minutes long, but is so boring it feels longer. As a piece of incidental music in a 60s rock’n’roll film, it would be serviceable enough, but as a number 1 single? I can only imagine that many of Cliff’s fans would buy Shadows singles after snapping up those of their hero out of a sense of loyalty. It’s missing a killer guitar line from Hank Marvin, really. If it wasn’t ironic enough that the Shadows replaced themselves (in part) at number 1, only a week later they found themselves overtaken by their two former member, who had released a superior instrumental. Singer Kathy Kirby later released a vocal version of Dance On!, which reached number 11 in September.

As the first wintry month of 1963 drew to a close, 29 January saw President of France Charles de Gaulle veto the UK’s entry into the European Economic Community, along with Denmark, Norway and Ireland. De Gaulle was concerned that the membership of the UK would see US influence creep in.

Written by: Valerie Murtagh, Elaine Murtagh & Ray Adams

Producer: Norrie Paramor

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

Births

Wham! singer Andrew Ridgeley – 26 January
Journalist George Monbiot – 27 January 

144. Cliff Richard and the Shadows – The Next Time/Bachelor Boy (1963)

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1963 may have been a landmark year for the charts, but it started like any other. Elvis had been 62’s Christmas number 1 with Return to Sender, but was replaced on 3 January by the UK’s very own Elvis, Cliff. A year since he and the Shadows had ruled the charts with a film soundtrack (The Young Ones), they were at it again. The musical Summer Holiday was about to be released, and as the UK was still in the early stages of one of the longest, coldest winters of all time, it’s easy to see why this cheesy tale of escapism was about to become so huge.

Summer Holiday is the story of Don (Cliff) and his friends, who are London bus mechanics. One typically miserable summer’s day, Don tells his mates that London Transport will let them borrow a double-decker bus, to convert into a caravan and drive across Europe. This sounds like such a preposterous film, I’m almost tempted to watch it. Almost. Along the way, Don and co are joined by a runaway female singer, who initially pretends to be a man, and they are pursued by her mother and her agent. They end up in Greece, for some reason, and I assume they all live happily ever after. I’d like to see a post-Brexit version, where Don and his pals never get out of the UK due to the feared customs gridlock. Cliff and the Shadows first release of 1963 was a double A-side of tracks from the film, which was released on 11 January, a week into their time at the top.

The Next Time is an average unlucky-in-love ballad by US songwriters Buddy Kaye (who co-wrote Dickie Valentine’s 1955 Christmas number 1, Christmas Alphabet) and Phillip Springer. In the film, Cliff sings this as he wanders around Greece in a string vest, like a young, depressed Rab C Nesbitt. I’m assuming he’s just had a fight or split up with his love interest, as his friends have advised him he’ll love again some day. The problem is, Cliff’s not sure there will be a next time as he’s still in love. It seems primarily designed for Cliff to look all doe-eyed and for his female fans to swoon at, but as far as this sort of thing goes, it’s okay, and Cliff puts in a good performance.

Bachelor Boy is the more famous of the two, and became one of the singer’s signature tunes, yet it was only an afterthought for inclusion in the film. Shadows guitarist Bruce Welch wrote the bulk of it, with help on a verse from Cliff, earning him his only number 1 songwriting credit. The chorus is fairly memorable, but what terrible lyrics. According to the song, Cliff’s father told him when he was young that he’d be a bachelor boy until his dying days. Cliff remembered this ‘advice’ when he fell in love at 16, and swiftly ditched his partner. Bit over the top, no? But the worst lyric (and I’m sorry but I can’t help wonder if this is the singer’s work) contains this dire rhyme:

‘As time goes by I probably will
Meet a girl and fall in love
Then I’ll get married have a wife and a child
And they’ll be my turtle doves’

‘Turtle doves’? He then goes on to sing the chorus again, smug in the knowledge he’s not actually bothered if this doesn’t happen, because he’ll die happy if he remains a bachelor anyway. Of course, Bachelor Boy has become so identifiable with Cliff because that’s exactly what he is, and despite a number of high-profile romances in the past (and an affair with former Shadow Jet Harris’s ex-wife), the rumours over his sexuality have never gone away, and this song is often brought up ironically. It doesn’t help that in Summer Holiday, the song is performed by Cliff, the Shadows and Melvyn Hayes via the most camp skipping dance you’re ever likely to see. Take a look at the clip above, and try not to laugh…

While Cliff Richard enjoyed his sixth run at the top, the political world was stunned at the news of the sudden death of Labour leader Hugh Gaitskell, aged 56. In December 1962 he was recovering from flu when he visited the Soviet Union for talks with leader Nikita Kruschev. He contracted another illness while there, and was admitted to hospital after returning home on 4 January. Two weeks later, he died from complications following a bout of lupus. Labour had been doing well in the polls and it was thought that Gaitskell had a very good chance of being the next Prime Minister, in much the same way that John Smith was considered to be the next PM before his shock death in 1994. Gaitskell’s death was so unexpected and sudden, conspiracy theories regarding his demise have remained ever since. The most popular involves an alleged Soviet KGB plot to ensure that Harold Wilson (supposedly a KGB agent) became Prime Minister. The claim returned to make news upon the publishing of the controversial book Spycatcher in 1987.

Written by:
The Next Time: Buddy Kaye & Phillip Springer/Bachelor Boy: Bruce Welch & Cliff Richard 

Producer: Norrie Paramor

Weeks at number 1: 3 (3-23 January)

Births:

Presenter James May – 16 January 
Speaker of the House of Commons John Bercow – 19 January
Journalist Martin Bashir – 19 January 

Deaths:

Mathematician Edward Charles Titchmarsh – 18 January
Labour leader Hugh Gaitskell – 18 January

133. Elvis Presley with the Jordanaires – Rock-A-Hula Baby (“Twist” Special)/Can’t Help Falling in Love (1962)

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So far, the 1960s had seen mixed fortunes for the King. When he was good, he was great (see (Marie’s the Name) His Latest Flame), and when he was bad, he was execrable (see Wooden Heart). He wasn’t always guaranteed to top the charts in the US anymore, but record buyers in the UK were still sending nearly every release to number 1. The problem, in part, was the fact he was stuck on the movie treadmill, forever churning out sugary musicals that also demanded soundtrack albums. In 1960 he tried to wrestle control, starring in the straight drama Flaming Star. He insisted on cutting back on the songs, and it featured only two. However, it performed poorly, and when his next drama, Wild in the Country (1961) did the same, it was back to the light-hearted, song-packed romances that audiences loved.

Blue Hawaii was the first, and most famous, of three Elvis films shot on the island. He starred as former soldier Chadwick Gates (!), and his mother was played by Angela Lansbury. No, Lansbury hasn’t always been old – she was only ten years older than he was, in reality. He arrived in Hawaii to record the soundtrack and shoot location filming in March 1961, and both Rock-A-Hula Baby (“Twist” Special) and Can’t Help Falling in Love were considered the strongest material to release together as singles before the film’s release in late 1961. Eventually they toppled Cliff Richard and the Shadows’ The Young Ones after its six-week run at number 1 on 22 February. This single is perhaps the finest example of just how all-over-the-place quality control had become in the Presley camp.

Rock-A-Hula Baby (“Twist” Special) was written by Ben Weisman, Fred Wise and Delores Fuller. Weisman was nicknamed ‘The Mad Professor’ by Elvis, and held the record for having had the most number of songs recorded by Presley – 57 in total. Fuller was once the girlfriend of cult low-budget film director Ed Wood, and had starred in his 1953 docu-drama Glen or Glenda and this was her first published song. Weisman was keen to combine Hawaiian music with the dance craze ‘the twist’, born via Chubby Checker’s cover of The Twist in 1960.

Hats off to Elvis again for trying different styles, but this is one of his poorer singles. I quite like the initial couplet ‘The way she moves her hips to her finger tips/I feel I’m heaven bound’, but it’s downhill from there. It probably works as a scene in Blue Hawaii (I’m not going to watch it to find out, I doubt I’ll ever watch an Elvis musical), but as a single, it’s ill-judged at best. Unlike the flip side.

Can’t Help Falling in Love fully deserves its classic status, and is Elvis’s finest ballad. It came from the songwriting team of Hugo Peretti, Luigi Creatore and George David Weiss, who were responsible for the 1961 English-language version of Mbube for the Tokens, which they renamed The Lion Sleeps Tonight. 20 years later Tight Fit went to number 1 with their version. Can’t Help Falling in Love wasn’t an entirely original track either – the melody was taken from the 1784 French song Plaisir D’Amour by Jean-Paul Egide-Martini (who was German, despite his name). Apparently, Elvis’s associates and film producers disliked the demo, but he insisted on recording it. Yet another sad example of the fact that Elvis may have been better off without some of his team and allowed to make his own decisions more often.

Elvis purrs the lyrics beautifully, the production is intimate and, well, pretty much perfect. The Jordanaires, often overused, make for the perfect vocal accompaniment. Hal Blaine is the drummer here, and the session drummer went on to become one of the most in-demand session drummers, playing with the Beach Boys and Simon and Garfunkel, among others. The lyrics hint that Elvis is perhaps involved in an illicit relationship (‘Shall I stay?/Would it be a sin?’), but ultimately it doesn’t matter – he’s surrendering to his emotions (‘Take my whole life too’… ‘Some things are meant to be’).     However, in Blue Hawaii, the song features in a scene in which he presents his love interest’s grandmother with a music box for her birthday. This version starts with the music box as the backing, before transforming to the single version.

It soon became apparent this was one of Elvis’s best songs, and Can’t Help Falling in Love became the finale of his live shows in the late 60s and 70s. It lost some of its magic though, as it was played faster than the intimate original recording. It came the last song Elvis performed on TV, closing his 1977 special, Elvis in Concert, and the last song he ever performed, at Market Square Arena in Indianapolis on 26 June that year. Less than two months later, he was dead.

In 1993 it topped the charts once more, via a rubbish reggae-lite cover by UB40. More on that another time. For me, the best use of this song came at the hands of Jason Pierce’s space-rockers Spiritualized. He added it to the end of the title track to his strung-out free-jazz, gospel and psychedelic masterpiece, Ladies and Gentlemen We Are Floating in Space in 1997, mixing it in amongst Pachalbel’s Canon and lyrics of obsessed love, to astounding affect. Unfortunately, the Presley estate objected (perhaps due to the drug overtones of the album?) and blocked the use after the earliest pressings. Pierce was forced to re-record the track, adding his own lyrics, which he now claims to prefer (there’s not a lot in it, but I prefer the original). However, in 2009 Pierce planned to release a deluxe edition of the album, and permission was granted to return the ‘Elvis mix’ to the start of the album, providing he rename the track Ladies and Gentlemen We Are Floating in Space (I Can’t Help Falling in Love). This seems a bit rich, considering Peretti, Creatore and Weiss borrowed so much of the melody in the first place, but that’s the music business for you.

Elvis’s tenth stint at number 1 lasted a month. On 26 February, the Irish Republican Army officially called off its Border Campaign in Northern Ireland, calling to a halt its attempt to halt British rule and unite Ireland. On 15 March, the Orpington by-election marked the start of the Liberal Party’s revival when Eric Lubbock caused an upset by defeating expected winner, Conservative Peter Goldman.

Written by:

Rock-A-Hula Baby (“Twist” Special): Ben Weisman, Fred Wise & Dolores Fuller/Can’t Help Falling in Love: Hugo Peretti, Luigi Creatore & George David Weiss

Producer: Steve Sholes

Weeks at number 1: 4 (22 February-21 March)

Births:

Novelist John Lanchester – 25 February 
Comic book artist Simon Bisley – 4 March 
Altered Images singer Clare Grogan – 17 March