Elton John

471. John Lennon – (Just Like) Starting Over (1980)

/ robbarker1979

The Intro

It’s one of pop’s sadder ironies that it took the shocking murder of John Lennon to give him his first solo number 1, with a song that begins ‘Our life together is so precious together’. The former Beatle had returned to music in 1980, and was talking about his hope for the new decade in his final interviews. The year instead ended with vigils across the globe for a murdered hero.

Before

‘Let’s take a chance and fly away, somewhere.’

Lennon was born 40 years previous, on 9 October 1940, at Liverpool Maternity Hospital. His childhood was famously a mix tragedy and luck. His father Alfred, a n’e’er-do-well merchant seaman, was away from home at the time. At four, his mother, Julia, gave her sister Mimi custody. Aged six, Lennon’s father visited and attempted to take his estranged son to live in New Zealand with him, but it didn’t happen and there would be no further contact between the two until Beatlemania.

Raised by the well-to-do Mimi and her husband, Lennon was considered the class clown, and would draw surreal cartoons for his school magazine The Daily Howl. He was regularly visited by Julia, who bought him his first guitar in 1956. Famously, his aunt turned her nose up at this, saying: ‘The guitar’s all very well, John, but you’ll never make a living out of it.’ The 15-year-old Lennon payed no mind to this and started a band – The Quarrymen. In 1957, at a legendary village fete in Woolton, Lennon met Paul McCartney and asked him to join the band.

Lennon’s mother was killed when she was hit by a car driven by an off-duty policeman who was under the influence. The trauma brought Lennon and McCartney, who had lost his own mother to cancer, closer together, but the already wayward Lennon drowned his sorrows and frequently got into fights. Now a Teddy Boy, he was accepted into the Liverpool College of Art.

Despite McCartney’s father’s disapproval, Lennon and McCartney began writing songs together. Despite initial reluctance, Lennon agreed to allow George Harrison into the band. The three guitarists’ ranks were soon bolstered by Lennon’s art school friend Stuart Sutcliffe on bass, even though he could hardly play. By 1960, they were The Beatles, and Lennon was their leader. They went to Hamburg for a residency, along with new drummer Pete Best. Three residences in and The Beatles, buoyed by the drug Preludin and playing stupidly long sets, became a force to be reckoned with.

Brian Epstein became their manager in 1962, and although the rebellious Lennon bristled at the idea of cleaning up their act and donning suits, he relented. When Sutcliffe decided tasty in Hamburg, McCartney took over on bass, and Best was replaced by Ringo Starr before their debut single on Parlophone, Love Me Do.

From The Beatles rise to fame, through to Beatlemania and the British Invasion, Lennon was their acerbic leader. Brilliantly witty, sarcastic, and prone to many unfortunate ‘cripple’ impressions, he and McCartney were the greatest songwriting team of all time. Writing most of their early work together, they co-wrote three number 1 singles in 1963 – From Me to You, She Loves You (the greatest 60s chart-topper) and I Want to Hold Your Hand.

In 1964 The Beatles released their first film – A Hard Day’s Night. Lennon wrote the film and accompanying LP’s title track, and also the 1964 Christmas number 1, I Feel Fine, which featured feedback from Lennon in the intro. The Beatles had begun to widen their sonic palette.

By 1965, despite being at the peak of their commercial fame, Lennon was feeling disillusioned. He was overweight, exhausted by Beatlemania and literally crying out for help, which translated into the title track of their second film – not that their screaming fans were noticing – they were too busy shaking their heads to yet another pop classic. He and Harrison took LSD for the first time, and further experimentation came from one of their greatest mid-period songs, Ticket to Ride – another primarily Lennon song, and another number 1. But in a sign that Lennon and McCartney were growing apart as songwriting partners, they disagreed on their Christmas single, resulting in the former’s Day Tripper sharing equal billing with We Can Work It Out – although Lennon came up with the pleading middle eight of McCartney’s track.

1966 was a tumultuous year for the Fab Four. An interview with Lennon about the decreasing popularity of the church was blown out of all proportion, resulting in a rare public apology, most likely forced on him by Epstein. Nevertheless, records were burned, and Lennon was threatened. All this, plus the group exhaustion with their endless touring, resulting in a decision that would ultimately change popular music. They didn’t go public with the decision, but that August, they stopped performing for audiences. Despite all this, they entered their imperial phase of studio recording. Lennon was integral in this, contributing the concept of backwards recording in Rain and then the amazing experimentation of Tomorrow Never Knows.

The increasingly pioneering sounds coming out of Abbey Road contributed to the cultural zeitgeist of the Summer of Love in 1967. Although perhaps their single finest record – Lennon’s Strawberry Fields Forever, combined with Penny Lane – failed to top the charts, they were at the peak of their creative powers, releasing Sgt Pepper’s Lonely Hearts Club Band. And Lennon was responsible for the anthemic number 1 All You Need Is Love, too. But Lennon was lost in constant use of LSD, and later said it came close to erasing his identity. This and the loss of Epstein resulted in McCartney increasingly looking like the band’s new leader, and this started to cause problems.

Lennon’s wife Cynthia found her husband at home with the artist Yoko Ono in May 1968, after they had recorded what became the experimental LP Two Virgins. Soon, the duo were inseparable, for most of the rest of his life. This inevitably had an impact on the already often strained relationships of The Beatles, who wrote and recorded much of their eponymous double album as solo songs, which the rest of the band would merely provide backing to. Although Lennon and Ono were turned on to heroin, his decreasing use of LSD saw a return to his more fiery personality. While more experimental than ever on the sound collage of Revolution 9 and the unreleased What’s the New Mary Jane?, Lennon’s pop dominance of the band had decreased so much, he only contributed one song to the two number 1 singles in 1968, and Revolution was relegated to the B-side of Hey Jude – written by McCartney to give comfort to Lennon’s son, Julian, while his parents divorced.

While Peter Jackson’s Get Back has proved that the Let It Be sessions of early 1969 weren’t as miserable as the world was led to believe, the initial sessions were an often bleak affair, yet by the time of their last public appearance on the rooftop of Apple Studios, Lennon was in his element, offering surreal banter inbetween their set, which featured one of his best later-Beatles-period songs, Don’t Let Me Down.

Relieved that the project was over, The Beatles splintered. Relations between the four were not fab, as Lennon persuaded Harrison and Starr to sign Allen Klein as their new manager, while McCartney relented. Lennon focused on Ono, developing their new project, the Plastic Ono Band. Most of the duo’s material between 1969 and 1974 was credited to this revolving line-up, featuring, at various points, Harrison, Starr, Eric Clapton, Klaus Voorman and Keith Moon. Lennon and Ono married that March, resulting in the last Beatles number 1 in the band’s lifetime – The Ballad of John and Yoko. The first Plastic Ono Band release was the anti-war classic Give Peace a Chance, in July, which peaked at two. The band went on a brief hiatus while The Beatles recorded what was to be their swansong. Lennon was absent for some of the sessions after a car accident with Ono, but his raunchy Come Together was promoted to an A-side.

With Abbey Road in the can, Lennon went back to concentrating on his new band, and privately decided he was going to leave The Beatles. The grim account of heroin withdrawal, Cold Turkey, followed, then the concert recording Live Peace in Toronto 1969 was released as the 60s – and unbeknownst to the world – The Beatles, drew to a close. The dream was over.

The 70s got off to a great start for Lennon, releasing perhaps his greatest post-Beatles single, Instant Karma!, which began a long working relationship with the unhinged Phil Spector. McCartney angered Lennon, by announcing he had left The Beatles, as publicity for his first solo album. Lennon had been working through primal therapy, resulting in the raw, often painfully honest eponymous album John Lennon/Plastic Ono Band, one of the last lyrics of which was ‘Don’t believe in Beatles’.

In 1971, Lennon and McCartney were publicly fighting via song, resulting in the bitter How Do You Sleep? on Lennon’s best solo LP, Imagine. That August he and Ono moved to live in New York and began their association with radical left-wing politics. President Richard Nixon’s administration became determined to deport him. At Christmas the couple released their festive classic Happy Xmas (War Is Over) with the Harlem Community Choir.

Over the next few years, Lennon’s commercial standing began to drop, with he and Ono releasing the highly political but average Some Time in New York City with Elephant’s Memory in 1972. Then aLennon self-produced and released the decidedly poor Mind Games in late-1973 – although the title track is excellent. He and Ono’s marital problems resulted in their separation, and the start of an 18-month period immortalised as the ‘Lost Weekend’, in which he had a relationship with his and Ono’s personal assistant, May Pang. Lennon ran wild, often with Harry Nilsson, drinking heavily and making headlines.

During that time he released Walls and Bridges, featuring one of his best solo songs, #9 Dream. Elton John featured on Whatever Gets You thru the Night – his first US number 1. Lennon had made a bet that that if the single topped the charts, he’d perform live with John, which he duly did. Lennon and Ono were reunited in 1975, and he co-wrote and performed on David Bowie’s first US number 1, Fame. But following Rock ‘n’ Roll, a covers album, in 1975, Lennon went on hiatus to help raise his and Ono’s son, Sean, and would only record the occasional demo when inspiration took hold.

When McCartney released the single Coming Up in 1980, Lennon was impressed and even said so publicly, with the former Beatles having made amends and occasionally meeting during the 70s. Then in June, Lennon was involved in a sailing trip which was hit by a storm. As all the crew fell ill, Lennon was forced to take control, and the incident affected him profoundly. His confidence restored, and with a newfound zest for life, he decided to release a new album with his wife – their first since Some Time in New York City.

Ono approached producer Jack Douglas with a batch of demos, and that August they started recording in secret at New York City’s Hit Factory, as Lennon was concerned the sessions might not be good enough. By September they were more confident and went public that they were back. The newly formed Geffen Records was successful, thanks in part to David Geffen making it clear he regarded Ono’s contributions as the same quality as Lennon’s.

With its warm, nostalgic 50s feel and lyrics about rejuvenation, it made perfect sense to place (Just Like) Starting Over at the start of Double Fantasy, and to make it his comeback single. The song’s origins began with the demo recordings Don’t Be Crazy and My Life. Lennon wrote Starting Over, as it was originally called, in Bermuda, and despite being recorded on 9 August, it was one of the last songs to be completed for the album, mixed at the Record Plant on 25 and 26 September. Featuring on the recording are David Bowie’s guitarist Earl Slick, Hugh McCracken, also on guitar, King Crimson’s Tony Levin on bass, keyboardist George Small, Sly and the Family Stone drummer Andy Newmark and Arthur Jenkins on percussion. Providing the doo-wop-style backing vocals are Michelle Simpson, Cassandra Wooten, Cheryl Manson Jacks and Eric Troyer.

Review

(Just Like) Starting Over (the extra bit in brackets was added to avoid confusion with Dolly Parton’s Starting Over Again) begins with a deliberate callback to Mother, the opening track on John Lennon/Plastic Ono Band 10 years previous. Whereas the bells that toll on Mother are slow and foreboding, and reminiscent of a funeral bell, the ringing here is light and airy, and (sadly ironically) herald a hopeful, optimistic Lennon, softened by years of time as a father and absent from the music business. His fire seems to be gone, he’s retreated into the rock’n’roll of his youth, and he’s perfectly content with that. And so am I.

Lennon might not have thought (Just Like) Starting Over was the best track on Double Fantasy, but it’s one of the strongest on what is otherwise a pretty average album. Had he not been out of the public eye for so long, this track wouldn’t have had that added poignancy, and wouldn’t have sounded out of place on Rock ‘n’ Roll, that ropey collection of mostly poor covers that soundtracked his youth. Gone is one of the best voices of his generation, as Lennon ramps the pastiche levels up even more by singing in a style that brings to mind Elvis Presley and Roy Orbison. Sure, this idealistic vision of Lennon and Ono is schmaltzy, saccharine and most likely somewhat false, but it’s rather charming and lovely. And of course, in hindsight, those lyrics are desperately sad. Thumbs down to the awfully mixed backing vocals, though. Was it a failed attempt by Douglas to capture that echoey 50s sound?

After

(Just Like) Starting Over was released in the UK on 23 October, and a day later in the US. Riding on a wave of goodwill as the world welcomed back an old friend, the single was Lennon’s strongest performing record in the UK since Happy Xmas (War Is Over), which had reached four in 1971. It peaked at eight, and although reviews for Double Fantasy were warning that Lennon had lost his bite (and he was looking older than his years and was painfully thin), the future looked bright. He and Ono had recorded enough material for a follow-up, and with his confidence returning, maybe we’d see some of that fire return. Of course, we’ll never know.

Lennon’s comeback single had slipped to 21 here, and six in the US by 8 December, but promotional work continued for Double Fantasy, released a few weeks prior. At around 5pm, he was stopped outside his home, the Dakota building, by a random fan. Lennon was photographed signing a copy of his new album for the grinning Mark Chapman, and then left with Ono for a session at the Record Plant. At approximately 10.50pm Lennon and Ono returned and were walking through the archway of the Dakota, when Chapman shot him twice in the back and twice more in the shoulder at close range. Lennon was pronounced dead less than half an hour later.

Shocked, confused and in mourning, the world chose to pay tribute to Lennon, who had soundtracked the lives of so many, by listening to his music. In much the same way his hero Buddy Holly’s It Doesn’t Matter Anymore became a posthumous chart-topper after his untimely death, (Just Like) Starting Over inevitably began to sell once more. 12 days after his death, Lennon had his first solo number 1. Such was the magnitude of his loss, it wouldn’t be his last.

The Outro

In 2010 Ono and Douglas released Double Fantasy Stripped Down, which was an attempt to wipe away the studio sheen of the original album. The version of (Just Like) Starting Over is thankfully free of those odd backing vocals, and is OK but pretty inconsequential.

The Info

Written by

John Lennon

Producers

John Lennon, Yoko Ono & Jack Douglas

Weeks at number 1

1 (20-26 December)

Trivia

Births

20 December: Footballer Ashley Cole/Footballer Fitz Hall
21 December: Scottish actress Louise Linton

Deaths

20 December: Locomotive engineer Roland Bond/Footballer Tom Waring
22 December: Magician Lewis Ganson/Physician Thomas Cecil Hunt
23 December: Playwright Frank Norman/Anglican bishop Ambrose Reeves
25 December: Comedian Fred Emney/Explorer Quintin Riley

Meanwhile…

26 December: Sightings of unexplained lights near RAF Woodbridge in Suffolk became known as the ‘Rendlesham Forest Incident’ – the most famous reported UFO sightings in the UK.

461. Olivia Newton-John/Electric Light Orchestra – Xanadu (from the Original Motion Picture Soundtrack) (1980)

/ robbarker1979

The Intro

The 1980 musical fantasy Xanadu was a box office failure, even inspiring the Golden Raspberry Awards. But the soundtrack album, featuring Olivia Newton-John, Electric Light Orchestra, Cliff Richard and the Tubes, was a global smash. And the theme gave Newton-John her third chart-topper and – surprisingly – ELO’s sole number 1.

Before

1978 was a mammoth year for Newton-John. The Australian pop star and actress became a superstar thanks to her role as Sandy in Grease. And together with co-lead John Travolta, she was a chart mainstay, with two lengthy number 1s – You’re the One That I Want and Summer Nights. So enduring was the image of Newton-John, sexed-up and dressed in tight black leather at the film’s finale, she adopted it for her next LP, Too Hot, released at the end of the year. Its first single, A Little More Love, was a worldwide hit and peaked at four. But 1979 was a barren year for UK singles success.

She began 1980 by duetting with Andy Gibb on I Can’t Help It in the US, as well as a TV special – Hollywood Nights. Then came Xanadu. Originally conceived as a low-budget film cashing in on the roller-disco craze, it grew in scale as big names joined the production, most notably Newton-John and the legendary dancer Gene Kelly, in what was toby his final role.

Xanadu, directed by Robert Greenwald, was based on the 1947 movie Down to Earth, which also featured Kelly. The new film was named after the nightclub setting, which in turn referenced Samuel Taylor Coleridge’s 1816 poem Kubla Khan. However, the filming ran into difficulties due in large part to several script changes. The soundtrack LP was split, with tracks by Newton-John (plus Richard, the Tubes and Kelly) on side one. All tracks there were written by John Farrar, who before writing You’re the One That I Want had been in The Shadows. Side two exclusively featured ELO, with the final song featuring both acts together on the title track.

ELO was originally conceived by Roy Wood, singer-songwriter in 1969 chart-toppers The Move. He spoke to fellow Brummie Jeff Lynne of psychedelic pop act The Idle Race, about a new group that would ‘pick up where The Beatles left off’, employing classical instruments on a full-time basis. Lynne liked the idea but was determined to try and find fame with his own group rather than join The Move to get things started. But by January 1970, when Trevor Burton left The Move, he’d changed his mind – on the condition that he and Wood concentrated on their new project – the Electric Light Orchestra.

That summer, a track intended to be a B-side for The Move developed into the first ELO track. And what a debut 10538 Overture was, when it finally hit the shops in 1972. Written by Lynne, with around 15 Chinese cello parts played and overdubbed by Wood, there had been nothing like it before, and it reached nine in the charts. The debut eponymous ELO LP had been released the previous December, and was and is still known in the US as No Answer, due to a misunderstood note left by a United Artists Record Executive. Their call to the UK to find out the name of the album had resulted in ‘no answer’. This album features a far less slick sound than later work, and features only three core members – Lynne, Wood and Bev Bevan on drums.

The Move finally became defunct shortly before the release of 10538 Overture and around the time of ELO’s live debut, which saw the trio joined by Bill Hunt on keyboards and French horn, Andy Craig, Hugh McDowell and Mike Edwards on cello, Wilfred Gibson on violin and Richard Tandy on bass. This line-up proved short-lived, as the making of the second ELO album later in 1972 saw a raft of departures. First Craig, then – most importantly, Wood, who among other reasons cited being unable to hear the classical instruments over the electric when performing live. Wood took Hunt and McDowell with him and of course, went on to form Wizzard, who scored two number 1s with See My Baby Jive and Angel Fingers (A Teen Ballad) in 1973. With Wood’s departure no doubt in mind, Lynne ensured that all band members were properly amplified when playing gigs from then on.

Wood only featured on two tracks on ELO 2, released in 1973. Neither were the cover of Roll Over Beethoven, which soared to six in the singles chart. The new line-up included Tandy switching to keyboards to replace Hunt, plus new recruits Mike du Albuquerque picking up the bass and cellist Colin Walker. Third single Showdown showcased a new, funkier direction and surprisingly missed out on the top 10, finishing at 12.

Further changes came during the making of the next LP, On the Third Day. Gibson was sacked, Walker quit and Mik Kaminski joined as violinist. Then McDowell bounced back from Wizzard during the end of recording. Concept album Eldorado was released in 1974 and saw the end of Lynne multi-tracking strings and using a full orchestra instead. Albuquerque left during recording.

Lynne took on a deliberately more commercial sound and the line-up finally stabilised after Eldorado. Kelly Groucutt became their bassist and Melvyn Gale replaced Edwards as a cellist. The next album, Face the Music, saw ELO deservedly score a number 10 hit with Evil Woman in 1975.

Sixth LP A New World Record (1976) was the first to feature the classic ELO logo and their first top 10 UK album. It spawned three great singles – Livin’ Thing (my favourite) peaked at four, and then in 1977, Rockaria! climbed to nine and Telephone Line reached eight. And later that year came the huge, multi-platinum Out of the Blue. First single Turn to Stone did respectably (18), but in 1978 Mr Blue Sky, Wild West Hero and Sweet Talkin’ Woman all reached six. The first and latter are obviously classic pop songs.

ELO were now massive, and so were their gigs at the time. Taking a leaf out of George Clinton’s book, Lynne and co performed in front of a spaceship, with elaborate lasers and smoke machines, on a huge world tour dubbed ‘The Big Night’, which was the highest-grossing tour ever at the time. They also performed a record-setting eight sold-out gigs at Wembley Arena.

ELO’s fame peaked in 1979 with the multi-platinum LP Discovery. Featuring a mix of ultra-glossy pop and rock with disco influences, this album contained four top 10 singles – Shine a Little Love (six), The Diary of Horace Wimp (eight), the highlight, Don’t Bring Me Down (three) and Confusion/Last Train to London (eight).

Whoever had the idea of Newton-John and ELO for the soundtrack to Xanadu, it was a great move. A side each for the lead actress, fresh from Grease, and one of the biggest bands of the late 70s. Throw in legends Richard and Kelly, plus a hip band in the Tubes, and it was bound to do well. And it was certainly way more successful than the film itself.

However, initially the signs weren’t promising in the UK. Newton-John’s Magic was released first and although it was a US number 1, it couldn’t manage better than 32 here when released in May. ELO’s I’m Alive came next and climbed to 20. It was time to bring out the big one.

Review

Xanadu was written by Lynne as an ELO song with Newton-John in his place as lead singer. It’s easy to see why people rushed out to make it number 1 for a fortnight in the summer of 1980. Especially as there had been two months of sad ballads in the top spot beforehand.

Although disco was fading in popularity and the ridiculous Disco Demolition Night had taken place the previous year, Xanadu was designed as a coke-fuelled floorfiller. It ticks lots of boxes, and I can remember playing my brother’s single as a boy and loving it. Which makes sense as it’s like a hit of pure sugar from a bag of sweets. And yet, if you strip away Lynne’s sheen, it sounds rather throwaway now. The soaring chorus is strong – with piano flourishes reminiscent of Dancing Queen – but the rest doesn’t leave much of a mark. It’s an argument you could make about a fair bit of ELO’s material. Of course, there’s classics in there like Mr Blue Sky and Livin’ Thing, but sometimes the production is hiding substandard material. I would bet on many buyers listening to Xanadu once or twice and then forgetting all about it. It doesn’t help that, as I keep banging on about here, that there are so many classic chart-toppers in 1980. Xanadu doesn’t stand the test of time as well as I’d expected it to.

The official video to Xanadu, is, I assume, taken from the film itself. It’s predictably flashy, with a predictably stunning Newton-John mining among roller-skaters and even body-poppers, in a sign of things to come. There’s no sign of ELO at all. The effects may be dated, and I’ve no idea what’s going on at the end when Newton-John turns blue and then ends proceedings in a Marilyn Monroe-style pose in white. But it’s all rather charming, thanks in large part to Newton-John.

After

Press screenings of Xanadu were cancelled, which raised suspicions that Universal weren’t confident. The suspicions proved true, and it sunk at the box office, despite critics applauding the soundtrack. A double feature of Xanadu and Can’t Stop the Music inspired the first ever Golden Raspberry Awards (or Razzies), highlighting the worst in cinema every year since. Greenwald won the initial Worst Director Award and his movie was nominated six more times.

One further track was lifted from the soundtrack. It’s love theme, Suddenly, was a Newton-John/Richard duet, and it reached 15. Refusing to let the failure of the film curtail her career, she followed the project with her most successful album, Physical, in 1981. The surprisingly risqué title track, hidden behind a memorable ‘keep fit’ video, was a Billboard number 1, but somehow only made it to seven on these shores. Newton-John also made a video version of this album, with a short film for every song. One song, Landslide, was her final UK hit for eight years, reaching 18 in 1982. A year later she starred with Travolta once more, but the romantic fantasy Two of a Kind was a flop. Nevertheless, as with Xanadu, the accompanying album did well.

Newton-John’s fortunes began to slide with the release of her 1985 LP Soul Kiss, and she went on hiatus after giving birth to daughter Chloe in 1986. She returned in 1988 with the album The Rumour, but although the title track was written and produced by Elton John, it failed to make an impact. The next album – her last to be produced by Farrar – was Warm and Tender, and it also got nowhere. It took the nostalgia of The Grease Megamix in 1990 to return her to the charts, peaking at three. In 1992, a planned comeback was waylaid when she discovered she had breast cancer on the same weekend her father died. Fortunately she recovered, and added cancer awareness to her impressive resume of charity and humanitarian work.

Gaia: One Woman’s Journey was released in 1994. Co-produced by Newton-John, this album chronicled her time with cancer. In 1995 she reunited with her showbiz pal Richard for his musical Heathcliff, and their duet Had to Be finished up at 22. In 1998, the Martian Remix of You’re the One That I Want did extremely well, becoming a number four hit.

Newton-John concentrated on releasing material in Australia from then on, but occasionally toured the UK. She married John Easterling in 2008, and continued to act, including two cameos in popular US musical comedy drama Glee. Occasionally she’d reunite with Travolta, including on the charity festive album This Christmas in 2012, or to celebrate the Grease phenomenon.

In 2017, Newton-John’s cancer returned and spread to her back. Despite significant pain, she was able to relieve her pain with cannabis oil. But on 8 August 2022 she died, aged 73. As a mark of respect, Melbourne and Sydney lit up some of their most famous landmarks.

Two more ELO tracks were released from the Xanadu soundtrack – All Over the World (one of Lynne’s best, which went to 11) and Don’t Walk Away (21). Next came their sci-fi concept LP Time in 1981, on which they replaced their trademark strings with synths. Its first single, Hold On Tight, was their last top 10 hit, peaking at four. The last Time release, The Way Life’s Meant to Be, could get no higher than a paltry 85.

Lynne wanted to release a double album in 1983, but CBS blocked the plan and he was forced to edit down Secret Messages to a single LP. This, combined with dwindling ticket sales and arguments with his manager Don Arden, took their toll. He decided to wrap up ELO. Rock ‘n’ Roll Is King sold respectably, reaching 13, but no further singles made the charts.

Bevan went to play for Black Sabbath, while Lynne concentrated on production, working with the Everly Brothers and ABBA’s Agnetha Fältskog. He also collaborated with Tandy on the soundtrack to Electric Dreams (1984). However, ELO were contractually obligated to complete one more album, so Lynne, Bevan and Tandy reunited to record Balance of Power, released in 1986. The first single it spawned, Calling America, was their final top 40 hit (28). ELO leader Lynne disbanded the group once more and produced George Harrison’s comeback album Cloud Nine in 1987, before the duo joined supergroup The Traveling Wilburys.

ELO returned to life in 2000 with the release of the box set Flashback featuring, among various out-takes, an inferior new remake of Xanadu. A year later a new album, Zoom, was released featuring only Lynne from the classic line-up – bar Tandy on one track. A new line-up followed, with Tandy returning to the fray, for a planned world tour, that never materialised.

Lynne and Tandy eventually returned under the name Jeff Lynne and Friends for Children in Need in 2013. They went down so well, the project expanded into Jeff Lynne’s ELO in 2014. A tour and a new album, Alone in the Universe, followed in 2015, but Tandy left a year later. ELO were inducted into the Rock and Roll Hall of Fame in 2017. The last Jeff Lynne’s ELO album to date was From Out of Nowhere in 2019.

The Outro

Xanadu grew a cult following over the years, with a spin-off musical hitting Broadway in 2007.

The Info

Written & produced by

Jeff Lynne

Weeks at number 1

2 (12-25 July)

Trivia

Births

18 July: DJ Gareth Emery/TV news presenter Tasmin Lucia-Khan/Engineer Scott James Remnant
19 July: Liberty X singer Michelle Heaton

Deaths

14 July: Welsh poet Andiron Talon Davies
15 July: Scottish painter Dorothy Johnstone
18 July: Theatre director Robert Kidd
21 July: Physiologist Isabella Leitch
23 July: Poet Olivia Manning
24 July: Comic actor Peter Sellers (See ‘Meanwhile…’)

Meanwhile…

19 July-3 August: Great Britain and Northern Ireland win five gold, seven silver and 9 bronze medals at the controversial Olympic Games in Moscow.

22 July: Unemployment hits nearly 1.9 million – a 44-year high.

24 July: Shortly after dinner with his former Goon friends Harry Secombe and Spike Milligan, actor and comedian Peter Sellers dies of heart failure. He was 54.


455. The Detroit Spinners – Working My Way Back to You (1980)

/ robbarker1979

The Intro

After the state-of-the-nation address of Going Underground by The Jam, we’re back onto more familiar fare at the top of the hit parade. 26 years after their formation, soul group The Detroit Spinners were at number 1 with their cover of a Four Seasons hit from 1966.

Before

R’n’B outfit The Detroit Spinners, so-called in the UK to avoid confusion with the folk group The Spinners, were formed in the suburb of Ferndale, Michigan in 1954. Back then, the quintet, known as The Domingoes, consisted of tenor/baritone Billy Henderson, baritone Henry Fambrough, bass Pervis Jackson, lead tenor CP Spencer and co-lead tenor James Edwards. All five were friends who lived in Detroit’s Herman Gardens public housing project.

There quickly followed a number of line-up changes, as Edwards left after a few weeks to be replaced by Bobby Smith. Soon after, Spencer departed and George Dixon filled the gap. They renamed themselves The Spinners in 1961, which is when they released their debut single, That’s What Girls Are Made For on Harvey Fuqua’s Tri-Phi Records. It performed respectably for a first shot at the charts, reaching 27 on the Billboard Hot 100. Some sources suggest it was Fuqua on lead vocal.

Change was afoot in 1963, when Dixon was replaced by Edwards’ brother, James – known as Chico. Tri-Phi was then bought out by Fuqua’s brother-in-law, Berry Gordy, and The Spinners joined Motown Records, where they became billed as The Detroit Spinners here in the UK. I’ll Always Love You reached 35 in the US in 1965, but they were struggling, releasing one single per year for the rest of the 60s, while Gordy used the group as road managers and even chauffeurs for other, more successful Motown acts. GC Cameron joined The Detroit Spinners when Chico left in 1967.

After spending most of the last decade in the doldrums, Stevie Wonder, Syreeta Wright and Lee Garrett saved The Detroit Spinners with the classic It’s a Shame. Returning them to the Hot 100, where it peaked at 14, it was also their first UK hit, climbing to 20.

Finally, The Detroit Spinners were succeeding at Motown, but their contract was coming to a close. Aretha Franklin told them to sign with Atlantic, but Wonder was producing an LP for them as their contract winded up. It was never released, as The Detroit Spinners jumped ship. Due to contractual obligations, Cameron remained with Motown, and yet another line-up change occurred as he persuaded his cousin, Phillipé Wynne, to sign up in his place.

Franklin’s advice was spot on. Teamed up with Philly soul songwriter/producer Thom Bell, The Spinners became one of the biggest soul groups of the decade. In 1972 they reached 11 in the UK with Could It Be I’m Falling in Love? and a year later Ghetto Child peaked at seven. In 1974 Dionne Warwick joined them on Then Came You, which finished up at 29.

With fame came ego clashes. Wynne believed his lead vocals were why the group were now doing well, and wanted to change the name to Phillipé Wynne and the Spinners. The others refused, and so The Rubberband Man was their last hit with Wynne on board, who went solo and then teamed up with George Clinton. You can hear him on the Funkadelic classic (Not Just) Knee Deep. John Edwards filled his spot in The Detroit Spinners.

Following two years of dwindling chart positions, The Detroit Spinners and Bell parted ways, and they set their sights on a disco sound, with help from Michael Zager, who’s Michael Zager Band had a hit in 1978 with Let’s All Chant. Coming several years after the genre had been considered new and exciting, this might have seemed desperate and out of touch. But not for long, because in 1980, their cover of Working My Way Back to You (written by Sandy Linzer and Denny Randell) was combined with a new bridge by Zager. In some countries this hit single was billed as Working My Way Back to You/Forgive Me, Girl (medley).

Working My Way Back to You details a serial cheater’s attempt to get back with his girl after too much time having his cake and eating it. In 1966 and 1980, this character might have gained more sympathy than he’ll get from listening in 2023. Particularly the cheater’s confession that he used to get off on making his ex cry.

Review

The Detroit Spinners’ UK number 1 is an average dose of dated disco. The tune is an earworm, working its way into your head and staying there a fair while, but not in a very welcome way. The disco element seems tacked on in an attempt to update their sound. It’s no Rock Your Baby, where it’s at the heart of the song. The bass vocal line from Jackson is laughably old-fashioned. ‘Work’ is the operative word here, as workmanlike sums up this single. In a year of great chart-toppers, this is… well, it’s OK. It’ll do.

After

The next single by The Detroit Spinners nearly gained them two chart-toppers in a row, when Cupid/I’ve Loved You for a Long Time (medley) peaked at four. But from there it was downhill all the way, with no further charting singles here or in the US top 40s. Wynne died of a heart attack in 1984 aged 43, the same year that the group and Atlantic parted ways. Three years later the group released Spaceballs on the Mel Brooks’ film soundtrack of the same name.

The Detroit Spinners became regulars on the nostalgia circuit, and old age took its toll. Dixon died in 1994. Edwards left after a stroke in 2000, and Cameron rejoined as lead vocalist for a while, but jumped ship to The Temptations in 2003.

In 2003 The Detroit Spinners sort-of returned to the top of the charts, thanks to an old collaboration with Elton John. In 1977 the group recorded backing vocals for two versions of John’s Are You Ready for Love – one featuring them all, the other, just Wynne. The latter version was released as a single in 1979 but it bombed. 24 years later the track was remixed by Ashley Beedle and thanks in part to its use on a Sky Sports advert, it gave John his sixth number 1. It’s functional, pleasant enough 70s soul, so good enough to stand out in the charts of 03.

Further line-up changes ensued, and Henderson was dismissed in 2004 over a legal battle. That same year Spencer died of a heart attack at the age of 66. Henderson died from diabetes three years later, aged 67. Jackson, who was still touring with the group, died at the age of 70 from cancer in 2008. Smith died of complications from pneumonia and flu in 2013, aged 76.

In 2021 The Detroit Spinners released a brand new album – Round the Block and Back Again. Two years later, Fambrough, the sole surviving member from 1954, retired. The classic line-up, consisting of Fambrough, Smith, Jackson, Henderson, Edwards and Wynne, were inducted into the Rock and Roll Hall of Fame. The Spinners name continues, albeit without anyone from before 2009.

The Outro

Working My Way Back to You became Boyzone’s debut single in 1994. I could only manage about a minute of it, because it sounds exactly as you’d expect it to.

The Info

Written by

Sandy Linzer & Denny Randell

Producer

Michael Zager

Weeks at number 1

2 (12-25 April)

Trivia

Births

15 April: Actress Natalie Casey
25 April: Snooker player Lee Spick

Deaths

13 April: Physician Sir Arthur Massey
15 April: Actress Catherine Salkeld
16 April: Plant pathologist Lawrence Ogilvie 
17 April: Physicist John Saxton
19 April: Actor Tony Beckley
20 April: Diplomat Sir Stephen Holmes
23 April: Businessman Sir John Methven/Politician David Cleghorn Thomson

Meanwhile…

18 April: Zimbabwe becomes independent of the UK.

22 April: Unemployment is at 1.5million – a two-year high.

393. Elton John & Kiki Dee – Don’t Go Breaking My Heart (1976)

/ robbarker1979

The Intro

Sir Elton Hercules John is a pop and rock icon and one of the biggest-selling stars of all time. Over 300 million records sold. More than 50 top 40 singles and seven UK number ones, among them Candle in the Wind 1997, the best-selling of all time in both the UK and US, which sold over 33 million worldwide. And yet he didn’t achieve a solo number 1 until Sacrifice in 1990, by which point he was way past his peak. But this first number 1, a duet with friend Kiki Dee, came 14 years beforehand.

Before

A lot of the following info will be familiar to anyone who’s seen the 2019 biopic Rocketman, but John was born Reginald Kenneth Dwight on 25 March 1947 in Pinner, Middlesex. The unassuming Dwight had a rocky relationship with his parents, particularly his straight-laced father, a Royal Air Force flight lieutenant. But they were both keen on music, and passed that down to Dwight, particularly his mother, who loved the rock’n’roll stars of the 50s. Dwight took particular notice of the pianists Jerry Lee Lewis and Little Richard, and it was his beloved grandmother’s piano that he took to from a young age. His mother would get him to play at family gatherings. At seven he started formal piano lessons, and four years later he won a junior scholarship to the Royal Academy of Music. Dwight had lessons each weekend but left at 16 before his final exams.

His parents, who had never really got on, divorced when their son was 14. He did like his new stepfather though, and John loved being in their new apartment so much, he remained until he had four albums simultaneously in the US top 40.

They encouraged his musical development, and at 15 he was hired as a pianist at a local pub, where, known as simply Reggie, he would perform standards and throw some of his own material in for good measure. He also performed briefly with a group called The Corvettes, and around this time he began wearing glasses on stage. He didn’t need to – it was just his tribute to Buddy Holly.

In 1962 he formed Bluesology with friends and inbetween solo shows, within a few years the group were backing touring US soul and R’n’B musicians including The Isley Brothers and would also work as Long John Baldry’s backing band in a new line-up. Dwight and Baldry would become close friends, and Baldry, who was openly homosexual, helped Dwight come to terms with his own sexuality and the fact he did not love his fiancée.

Dwight answered a New Musical Express ad placed by Ray Williams, A&R manager of Liberty Records. Williams was looking for songwriters, and at their first meeting he handed Dwight an unopened envelope of lyrics written by Bernie Taupin, who had also answered the ad. Dwight wrote a song around the words and sent it to Taupin, beginning one of pop’s most enduring and successful partnerships. Six months later Dwight renamed himself Elton John in honour of Bluesology’s saxophonist Elton Dean and Baldry and by the end of the year he had left that band. He legally became Elton Hercules John in 1972.

John and Taupin joined Dick James’s DJM Records in 1968 as staff writers and over the next two years they penned songs for acts including Lulu. They were a two-man factory, Taupin would write the lyrics in under an hour and John would set them to music in half an hour. On the advice of music publisher Steve Brown, John began composing for himself and released his debut single, the John/Taupin composition I’ve Been Loving You in 1968. His first album, Empty Sky, followed in 1969 but it was Elton John in 1970 that really got the ball rolling. Gus Dudgeon was on board as producer and the beautiful second single Your Song reached seven in the charts here and eight in the US. John was finally a star.

The next few albums, country and western concept LP Tumbleweed Connection, live album 17-11-70 and soundtrack to the film Friends all sold nicely, and John’s US tour also went down very well. 1971 album Madman Across the Water contained the classic Tiny Dancer. Honky Château, recorded in France and released in 1972, saw John take a more rocky approach and Rocket Man became his biggest hit to date, shooting to two.

In 1973 John’s flamboyance made him a natural to join the glam rock movement, and Don’t Shoot Me I’m Only the Piano Player spawned the hits Crocodile Rock (five, and his first US number 1) and Daniel (four). Goodbye Yellow Brick Road was his best album yet, featuring Saturday Night’s Alright for Fighting (seven) and the moving title track (six). He topped the year off with the festive Step Into Christmas (eight).

John formed his own music label in 1974. Calling it The Rocket Record Company, he signed Neil Sedaka and Dee, who he took a close interest in. Dee, born Pauline Matthews on 6 March 1947 in Bradford, West Riding of Yorkshire, had always wanted to be a pop star. She won a talent contest aged 10 and at 16 she was singing with a dance band in Leeds while working in Boots by day. She became a session singer and worked with Dusty Springfield among others, and soon she was signed to Fontana Records.

In 1963 she released her debut single, Early Night, from her first album I’m Kiki Dee (songwriter Mitch Murray came up with her stage name). Despite becoming the first British white artist to be signed by Motown in the States, Dee wasn’t really going anywhere until John took her under her wing after two failed singles on the legendary Detroit label. Her fortunes improved with her cover of Amoureuse, which climbed to 13 in 1973. I’ve Got the Music in Me, credited to The Kiki Dee Band, went to 19 in 1974.

That year was another hugely successful one for John. The original Candle in the Wind, from Goodbye Yellow Brick Road, was a smash, peaking at 11. Then came the album Caribou, allegedly recorded in a fortnight and featuring two of his best-known hits Don’t Let the Sun Go Down on Me (16) and The Bitch Is Back (15). He also collaborated with John Lennon on a cover of Lucy in the Sky with Diamonds and then sang harmonies and played piano on Lennon’s Whatever Gets You Thru the Night.

When it became the former Beatles’ only solo number 1 in the US. When they recorded it, John made a bet with Lennon that the song would top the charts. Lennon was so skeptical he promised John he would perform at one of his shows if it happened. He fulfilled the promise with a rare appearance at a Madison Square Garden gig. They performed their two collaborations and a rendition of The Beatles’ I Saw Her Standing There. It would be Lennon’s final major show.

In 1975 John released the autobiographical account of John and Taupin’s early years together. Captain Fantastic and the Brown Dirt Cowboy contained only one single, Someone Saved My Life Tonight, in which he paid tribute to Baldry helping to stop him wanting to commit suicide. The album was the first to go straight to number 1 in the US, and the last to feature the Elton John Band, who had been an important part of his rise to fame. John dismissed drummer Nigel Olsson and bassist Dee Murray. Guitarist Dave Johnstone was retained. That year John starred in Ken Russell’s adaptation of The Who’s rock opera Tommy as the ‘Local Lad’ and recorded a storming version of Pinball Wizard, which was a number seven smash in 1976. By the time that year rolled around, John was heavily into drugs and dressing ever more flamboyantly for his stage appearances. Critically and commercially adored, nobody could see how unhappy he was behind the facade.

He and Taupin originally wrote Don’t Go Breaking My Heart as a duet for John to record with Dusty Springfield. Using the pseudonyms Ann Orson (John) and Carte Blanche (Taupin), they planned a disco-flecked affectionate tribute to Motown duets of the likes of Marvin Gaye and Tami Terrell. When Springfield turned it down due to illness, John decided to give it to Dee, who in addition to being on his label would perform backing vocals on Goodbye Yellow Brick Road and most recent LP Rock of the Westies. Also on the track were James Newton Howard on acoustic piano and orchestral arrangements, Johnstone and Caleb Quaye on electric guitars, new rhythm section Kenny Passarelli on bass and Roger Pope, plus Cindy Bullens, Ken Gold and Jon Joyce on backing vocals, uncredited.

Review

While I don’t deny John’s talent, and a few of the songs I’ve mentioned above are undeniable classics, I’m not always a fan, particularly of his 80s output onwards. So it’s a shame some of his more deserving tracks didn’t top the charts but the later material did. So it goes.

Don’t Go Breaking My Heart isn’t a classic, but it is pretty good. It’s slick and well-produced and does a good job of copying that Motown duet sound. It’s plain to see, from the pseudonyms used and the fluffy lyrics that John and Taupin aren’t taking themselves seriously, but are such talented songwriters, when they do go for a commercial pop sound, they nail it. Dee duets well with John but I’d have loved to hear Springfield’s take.

Having said that, John and Dee clearly have a genuine friendship, as you can see in the video above. The sleeve of the single is another matter – it looks like John is giving her a dirty look behind her back for some reason.

This is one of the better number 1s of the year – not that that’s saying much, and I think John and Taupin winning the Ivor Novello award for Best Song Musically and Lyrically is a bit much but there you go.

After

1976 was a very memorable summer for Dee. As well as holding the number 1 spot for a very impressive six weeks, she went on to support Queen at Hyde Park, performing for more than 150,000 people. The Kiki Dee EP went to 13 later that year. She had a couple more hits in 1977 – First Thing in the Morning (32) and Chicago (28). Things went quiet for a few years but she made a successful comeback in 1981 with Star, which later became the theme tune to BBC One’s Opportunity Knocks. Also on the album it came from, Perfect Timing, was another duet with John, Loving You Is Sweeter Than Ever. Two years later she was singing backing vocals on John’s album Too Low for Zero.

She released music sporadically in the 80s but duetted with John at Live Aid on their number 1. She moved into theatre, and was acclaimed for her performance in Blood Brothers, even receiving an Olivier Award nomination in 1989. She returned to the singles chart with John when True Love nearly garnered another number 1, but it stalled at two in 1993. Her last album to date is A Place Where I Can Go, released in 2013. Rachel Muldoon played her in Rocketman.

The Outro

As for John, well, we know we’ll hear much more from him, but not for a fair while. But I will point you to the 1994 remake of this number 1 in which drag queen RuPaul took the place of Dee. It was a number seven hit and it’s good fun.

The Info

Written by

Ann Orson & Carte Blanche

Producer

Gus Dudgeon

Weeks at number 1

6 (24 July-3 September)

Trivia

Births

27 July: AI researcher Demis Hassabis
9 August: Radio producer Aled Haydn-Jones/Actress Rhona Mitra/Conservative MP Sam Gyimah
13 August: Idlewild singer Roddy Woomble
1 September: Cricketer Clare Connor

Deaths

19 August: Actor Alastair Sim – 19 August
30 August: Labour MP David Rees-Williams, 1st Baron Ogmore

Meanwhile…

27 July: The UK breaks diplomatic relations with Uganda. 

29 July: A fire destroys the head of Southend Pier.

5 August: The Great Clock of Westminster, aka Big Ben, suffers internal damage and stops running for over nine months.

6 August: John Stonehouse, the last person to serve as Postmaster General, is sentenced to seven years in jail for fraud.

14 August: 10,000 Protestant and Catholic women demonstrate for peace in Northern Ireland. 

30 August: 100 police officers and 60 carnival-goers are injured during riots at the Notting Hall Carnival.

1 September: The summer heat takes its toll, as drought measures are introduced in Yorkshire.

August 31-3 September: Riots ensue at Hull Prison.

313. T. Rex – Metal Guru (1972)

/ robbarker1979

The Intro

With a triumphant ‘Aaaaawh yeah!’ to kick things off, Metal Guru was a return to form after the lacklustre Telegram Sam. It was their fourth number 1 single, but it was to be their last chart-topper, and Bolan would be dead only five years later.

Before

March 1972 was a busy time for the band, with two nights headlining at the Empire Pool, Wembley, filmed by Ringo Starr, who was to direct a T. Rex film, Born to Boogie. That same month the group began recording their third album The Slider. It was made at Château d’Hérouville near Paris, France, after Elton John suggested it as a way to avoid paying tax. Produced once more by Visconti, it captured T. Rextasy at its peak, but the fall was to be steep.

Metal Guru was rightly picked to be the opening track and gets the LP off to a blistering start. Bolan had been inspired to write about religion, and when explaining the message behind the song, proclaimed to believe in a god but wasn’t religious. Metal Guru was to represent all gods. Its mentions of the guru sitting in an ‘armour plated chair’, ‘all alone without a telephone’ create a vague image of a godhead who can communicate without the aid of BT, but as usual it’s an excuse for Bolan to conjure up some brilliant lines, and some terrible ones, even within the same verse. Consider;

‘Metal Guru has it been, just like a silver-studded sabre-tooth dream
I’II be clean you know pollution machine, oh yeah’

First line, brilliant, second, not great.

Review

Fortunately the music behind Metal Guru is better. No great change to what had come before, but the similarities aren’t as obvious as Telegram Sam, and the sound is bigger and more muscular without sounding bloated, which it often became once Visconti stopped working with Bolan. The ‘yeah, yeah, yeah’ chant brings to mind the end of Hot Love, but rather than comparing it to past glories, you’re likely to notice how much Panic by The Smiths sounds like it, which Morrissey and Marr did deliberately, both being huge T. Rex fans.

After

Metal Guru enjoyed a month at number 1, and with a new album set for release later that summer and the film to follow, it seemed T. Rex would be around for a long time to come. The Slider is very much Electric Warrior Part Two, but that’s no bad thing, and with tracks like Baby Strange, it’s a great glam time capsul. But Born to Boogie, released in December, was a surreal mess of a movie, blasted by critics but loved by fans. It was Bolan’s very own Magical Mystery Tour.

Children of the Revolution was released inbetween the two projects, and although it was another excellent single, but it missed the top spot. They also recorded fourth album Tanx. Finally moving on from the sound of the last two LPs, Howard Kaylan and Mark Volman were ditched as backing vocalists and replaced with a gospel sound. It’s patchy at best.

Much better was the standalone single 20th Century Boy, released two months after Tanx in March 73. Muscular and sparky, it’s the first T. Rex song I ever heard, and still my favourite, thanks to its use in a Levi’s advert starring Brad Pitt in 1991, having been re-released at the time.

Although Bolan shouldn’t be criticised for finally trying to develop his sound, it came too late. His friend/rival David Bowie was now racing ahead thanks to his Ziggy Stardust creation, and Slade were the most popular glam outfit. Bolan was also putting on weight, no longer that attractive, elfin glam god. 1974 album Zinc Alloy and the Hidden Riders of Tomorrow – A Creamed Cage in August was credited to ‘Marc Bolan & T. Rex’. The line-up was expanded to feature second guitarist Jack Green and pedal steel guitarist BJ Cole, and Bolan’s lover Gloria Jones featured in backing singers The Cosmic Choir. It’s an interesting listen, but the magic was getting harder to find. They were dropped in the US before the album could be released, and drummer Bill Legend quit.

Soon after Bolan’s already huge ego became out of control. He sacked Visconti and Mickey Finn left the group. The single Zip Gun Boogie was released as a solo single but performed so badly he took on the T. Rex mantle again.

He produced the next album Bolan’s Zip Gun (1975) himself, and it was savaged. The music press mocked him for his weight gain and he became a tax exile in Monte Carlo. The production became even more far-out on Futuristic Dragon, featuring disco backings and even a sitar. It also performed badly, but it’s a pretty interesting listen.

Single I Love to Boogie, also released in 1976, was a return to a simplistic sound, and with punk on the rise, suddenly a comeback was on the cards. Bolan slimmed down and toured with punk pioneers The Damned. He set to work on Dandy in the Underworld, released in March 1977 to critical acclaim.

Six months later, he was even fronting his own TV show. Marc, broadcast over six weeks on ITV, saw Bolan introducing some of his favourite new punk bands including The Jam and Generation X, as well as T. Rex performing old and new songs, albeit miming. The final episode featured none other than Bowie, then producing some of the most adventurous music of his life, produced by, ironically, Visconti. Both singers were glad to see each other and wrote a song together, Madman, before recording the show. In an eerie symbolic premonition of what was to come, during their duet, Bolan tripped on a microphone cable and fell off the stage. This final episode of Marc was broadcast on 20 September, four days after Bolan’s fatal accident.

According to Vicky Aram, a former nightclub singer who had been invited to discuss recording with Bolan after a party, she was driving behind Bolan’s Mini, being driven by his girlfriend Jones and with Bolan beside her, when the Mini hit a steel-reinforced fence post after failing to negotiate a small humpback bridge near Barnes, south-west London. She found the car near a sycamore tree (now a rock shrine). Bolan had died from a horrific head injury due to an eye bolt in the fence, and Jones was severely injured.

Of the classic T. Rex line-up, only Legend remains. Guitarist Steve Currie played with Chris Spedding before moving to the Algarve in Portugal, where he too died in a car crash in 1981 in Portugal. Finn played as a session musician for The Soup Dragons and The Blow Monkeys before his death in 2003 of possible liver or kidney failure.

The Outro

Bolan’s star shone relatively briefly compared to some musical legends, but it also shone brighter than many. Were it not for him, who knows if glam rock would ever have happened. He took a potentially moribund decade and made it fun, sexy and cool. Pop had been declining ever since The Beatles had split, and Bolan brought it back to life. It’s likely that his 1977 comeback would have been short-lived, as his musical range was limited, but we’ll never know. What we do know is that T. Rex at their best – Hot Love, Get It On, Metal Guru, 20th Century Boy – have not only aged extremely well, they sound better than ever, all these years later. For as long as there is the teenage dream, there is Marc Bolan, and there is T. Rex.

The Info

Written by

Marc Bolan

Producer

Tony Visconti

Weeks at number 1

4 (20 May-16 June)

Trivia

Births

23 May: Cricketer Martin Saggers
3 June: Footballer Steve Crane
4 June: Actress Debra Stephenson
7 June: Athlete Curtis Robb

Deaths

22 May: Poet Cecil Day-Lewis/Actress Margaret Rutherford
28 May: Edward, Duke of Windsor (see Meanwhile…)

Meanwhile…

22 May: The Dominion of Ceylon became the Republic of Sri Lanka.

24 May: The final stretch of the M6 motorway opened between junctions 6 (Spaghetti Junction) and 7 north of Birmingham.
Also that day, Glasgow-based Rangers FC won the UEFA Cup Winners’ Cup, beating FC Dynamo Moscow 3-2 in the final at Camp Nou in Barcelona. Celebrations were marred by a pitch invasion from their supporters, which led to the team being banned from defending the trophy next season.

26 May: State-owned travel company Thomas Cook & Son was privatised.

28 May: 35 years after he abdicated the throne, the controversial royal Edward, Duke of Windsor, formerly King Edward VIII, died of cancer at his home in France.

30 May: The Official Irish Republican Army declared a ceasefire in Northern Ireland.

1 June: Hotels and boarding houses became required to obtain certification when the Fire Precautions Act 1971 came into force.

3 June: A Protestant demonstration in Derry turned into a battle.

5 June: The funeral of The Duke of Windsor was held at Windsor Castle.